Belvoir Annual Report 2010

Belvoir Annual Report 2010

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 & Robin McLeavy in Measure for Measure. Photo: Heidrun Löhr. Contents

The Belvoir Story 02 Core Values, Principles and Mission 03 Chair’s Report 04 Artistic Director’s Report 06 General Manager’s Report 08 New Artistic Director’s Note 11 2010 Season and Tours 12 B Sharp 26 Creative and Artistic Development 28 Awards 29 Education 30 Board and Staff 33 Donors 34 Partners and Government Supporters 36 Financial Statements 37 Key Performance Indicators 38 Directors’ Report 40 Statement of Comprehensive Income 44 Statement of Financial Position 45 Statements of Cash Flows and Changes in Equity 46 Notes to the Financial Statements 47 Auditor’s Independence Declaration and Report 56

01 The Belvoir Story Core Values and Principles

One building. • Belief in the primacy of the Six hundred people. artistic process Thousands of stories. • Clarity and playfulness in One dream. storytelling • A sense of community within the theatrical environment When the Nimrod Theatre building in Belvoir Belvoir’s position as one of ’s most • Responsiveness to current Street, Surry Hills, was threatened with innovative and acclaimed theatre companies demolition in 1984, more than 600 people has been determined by such landmark social and political issues – ardent theatre lovers together with arts, productions as The Diary of a Madman, The • Equality, ethical standards and entertainment and media professionals – Blind Giant is Dancing, Cloudstreet, Measure shared ownership of artistic formed a syndicate to buy the building and for Measure, Keating!, Parramatta Girls, Exit and company achievements save this unique performance space in the King, The Alchemist, Hamlet, Waiting inner-city . for Godot, The Sapphires, Who’s Afraid of • Development of our Virginia Woolf? and Stuff Happens. Over 25 years later, this space, known as performers, artists and staff Belvoir St Theatre, continues to be the home Belvoir receives government support for of one of Australia’s most celebrated theatre its activities from the Federal Government companies – Belvoir. Under the artistic through the Major Performing Arts Board leadership of Ralph Myers and General of the Australia Council and the State Manager Brenna Hobson, Belvoir engages Government through Arts NSW. Australia’s most prominent and promising Mission playwrights, directors, actors and designers to realise an annual season of work that is dynamic, challenging and visionary. As well To produce theatrical works as performing at home, Belvoir regularly from a shared vision that takes to the road, touring to major arts centres and festivals both nationally and question and affirm our culture, internationally. extend and develop our artists and provide audiences with Both the Upstairs and Downstairs stages at Belvoir St Theatre have nurtured the talents experiences of imaginative of many renowned Australian artists: actors daring and emotional depth. including Geoffrey , , Catherine McClements, Deb Mailman and ; writers such as Tommy Murphy, Jonathan Gavin, Lally Katz and Kate Mulvany; directors including Benedict Andrews, , Rachael Maza Long and former Belvoir Artistic Director .

02 in That Face. Photo: Brett Boardman. Chair’s Report Louise Herron

Continuum has a lovely with the company, including Simon Stone definition: a gradual (Resident Director), Eamon Flack (Associate transition from one Director – New Projects) and Anthea Williams condition to a different (Literary Manager). The gardening analogy he condition, without any used at the launch seemed particularly apt: abrupt changes. he feels he has been handed a well-cared-for garden that he is going to tend, fertilise and It would have been harvest for our collective pleasure. I have hard to imagine, even every confidence he will. five years ago, a post- Neil Belvoir. But as the 2010 was not without challenges, the most number of plays directed by people other notable has been planning the move away than Neil increased, as our education and from the parity system under which all artists Indigenous work flourished, as we changed and administrative staff at Belvoir are paid the Ralph, Neil and Belvoir artists gather for the Season 2011 media call. Photo: Heidrun Löhr. to Brenna Hobson as General Manager, same hourly rate. As I reported last year, the as our Board evolved and our physical NSW Government has committed to funding There were a number of changes to the I would also like to thank the other very home and theatre were made secure, we half of the cost of the move away from Board in 2010. We were sad to see Mary active and expert members of the board: got the sense that a post-Neil Belvoir was parity ($320,000 per year) for five years. The Vallentine’s six-year term end. Mary brought Michael Coleman who chairs the Finance achievable. Commonwealth Government was able to a deep understanding of arts administration, sub-committee; Andrew Cameron for his commit to one year’s funding for the shift; we Neil has been endlessly gracious and caring as well as her discipline and incisive candour. endless ideas and generosity; Peter Carroll are continuing to work with them and expect about Belvoir and the transition to Ralph, We wish her every success in her role as for his representation of artists; Gail Hambly to secure additional ongoing funding for which has been a three-year process: CEO of the Recital Centre. In who has worked intensely with Brenna on this purpose. More on this issue in Brenna’s determining the most appropriate people to the move away from parity and the Belvoir • In the first year, 2009, we came to terms report, along with our significant decision to be nominated for Board positions, we look at staff representative whose input is always with Neil’s decision and selected Ralph replace B Sharp with Belvoir-produced work the skills required on the Board. As a result welcome. Myers as Neil’s successor. Ralph’s in our Downstairs Theatre. we made four appointments in 2010: appointment was universally well received Artistically, it was a most successful year, We were delighted by The Balnaves as bold, exciting and generation-changing. • Rob Brookman (previously General as described in more detail in Brenna’s Foundation’s three-year commitment to us. Manager of the ) report. It is enormously satisfying to think • 2010 was Neil’s last season. Meanwhile Their significant donation will be used to and Rachel Healy (previously Director of what was achieved: new works, new Ralph planned and launched his 2011 present Indigenous theatre in both theatres. of Performing Arts at the Sydney Opera directors and co-productions staged, season. We ended the year with a cracking We are ever grateful to our corporate partner House) for their arts administration skills touring (including to South Korea!) and the party at the Town Hall to thank Neil. It Optus and our major sponsors including and knowledge of theatre in particular; crescendo of The Diary of a Madman. What is hard to imagine how our collective Baker & McKenzie, UXC and Ernst & Young. a triumph. It is with pleasure that we present appreciation could have been more Our government partners are also very • Anne Britton (Administrative Appeals the resulting accounts, showing a modest appropriately and deeply expressed. important. Tribunal) boosts our government relations surplus for 2010. and, together with Gail Hambly, assisted • Now in 2011, Ralph has assumed the role Special thanks to our growing number of Brenna on the parity negotiations with the My sincere thanks to Brenna, Ralph, Neil, of Artistic Director and it feels as if we are loyal donors, including an unexpected and Media Entertainment and Arts Alliance; Richard Drysdale (Finance), Katy Wood achieving the continuum. most welcome bequest. The donors to the (Development) and all other members of staff Creative Development Fund and the Chair’s • Frank Macindoe (JB Were) will help the Ralph’s season launch was full of his unique and artists that made 2010 such a success. Group, as well as all our other donors, allow company with new sponsorships, through energy and freshness. No abrupt change We are well pleased with the continuum us to give Ralph freedom to shape Belvoir’s his corporate contacts. but without missing a beat, we adopted which, without you, would not have been theatrical works. These donations provide the new chair logo and returned, from possible. We are in good shape. Company B Belvoir, to the name ‘Belvoir’. financial support for activities that we could Ralph has gathered a stunningly able group not fund from our normal operating budget. Louise of associates, some new and some already

04 05 Two years ago Scott Rankin and Trevor Outside of our main Upstairs season we Artistic Director’s Report Jamieson brought their beautiful also produced a few ‘add-ons’. Downstairs Neil Armfield Big hArt Ngapartji Ngapartji to Belvoir. To Eamon Flack directed commemorate the 50th anniversary of the in a beautifully sculpted performance of death of the great Australian painter, they Beckett’s short story The End. Then Wesley returned in 2010 with Namatjira. Co-directed Enoch directed a new production (Belvoir/ by Scott and , Trevor was at Black Swan State Theatre Company) of his So now I face the balloons, Amber McMahon and a marvellous the centre, supported in a brilliant debut sensational 2004/5 hit The Sapphires by bitter-sweet duty of ensemble of men made Hare’s demanding performance by Derek Lynch (for which he , with the irrepressible Casey delivering my final narrative explicit, vivid and funny. For me, won the Sydney Theatre Best Newcomer Donovan and Jimi Bani leading a company Artistic Director’s Chris Stollery and Tony Llewellyn-Jones Award) and surrounded by members of that delighted audiences around Australia, report. It feels a little stood out in a field of fine performances, Albert Namatjira’s family each night chalking Korea, and recently at London’s Barbican. odd and anachronistic exquisitely lit by Danny Pettingill. the walls of Belvoir with the landscapes of For three weeks Upstairs in November given that I’ve been the MacDonnell Ranges, and Genevieve we ran the Version 1.0 production of Paul Benedict Andrews, back at Belvoir after his out of my office for a Lacey weaving her musical textures, while Dwyer’s marvellous The Bougainville brilliant Who’s Afraid of Virginia Woolf? three few months (I had a at the side of the stage Robert Hannaford Photoplay Project. years earlier, took Shakespeare’s notoriously dream where I went quietly composed his portrait of Trevor as difficult Measure for Measure and rendered And on 12 December there was, organised back and it had been gyprocked over – Albert. And these two wonderful performers it with utter modernity, clarity and perception. by the fantastic Belvoir staff (with a totally inaccessible!) and the incumbents are gave us an indelible memory. Namatjira won With Sean Bacon’s CCTV projections playing lot of help from their friends) the most clearly powering along… However, a duty Best New Australian Work in the Sydney across Ralph Myers’ hyperreal four-star hotel phenomenal farewell party for Yours Truly, is a duty. Theatre Awards. room, layer upon layer was added in the in the Lower Sydney Town Hall. Casey The year began with the impressive Belvoir illumination of this troubling masterpiece. And to finish the year and all my years Bennetto wrote a suite of songs performed debuts of three significant young directors. In a wonderful cast, Toby Schmitz, Robin as Artistic Director, we reprised the show by Mike McLeish and the Keating! band, First there was Lee Lewis’ elegant production McLeavy, Helen Thomson, Ashley Lyons and that in many ways was a gateway for there was dancing and speeches by of Polly Stenham’s excoriating black comedy the late Frank Whitten were all magnificent; us as artists, and suggested (to some Governor Marie Bashir, Rachel Healy and That Face. Tough, bitter and painfully tender, Colin Moody gave one of the performances extent) a house style: Geoffrey Rush in Brenna Hobson, Alan John, David Marr, Susie Porter delivered one of her great of a lifetime as the monstrously human my production of Gogol’s The Diary of Geoffrey Rush and my dad Len Armfield. stage performances releasing Martha’s full, Barnadine. a Madman. This show that we created And I did my best to thank all the actors, catastrophic energy onto her tenacious, with writer David Holman in 1989 had playwrights, designers, directors, musicians, Some five years ago, Tommy Murphy won damaged, children – wonderfully realised been a major hit in its time, and Geoffrey’s composers, stage managers, production The Philip Parsons Young Playwright’s by making her second Belvoir performance much awarded. It was managers, crew, general managers, literary Award; a commission for his play about appearance, and Kenji Fitzgerald making amazing to see the clown Poprishchin and B Sharp directors, producers and memory and family. Gwen in Purgatory hit his first. still so alive in this incomparable actor’s companies, costumiers, box office and Belvoir Upstairs in 2010, the third year in a body, and so beautifully complemented front of house managers and staff, all the Next was Matt Lutton’s uncompromising row that the Parsons/B Sharp commission by Yael Stone (for which she won the administrative, financial, development, world premiere production of Tom had done so, following Kate Mulvany’s Sydney Theatre Award for Best Actress education, marketing and production staff, Holloway’s Love Me Tender. Coming straight The Seed in 2008 and ’s in a Supporting Role), the musicians the Boards, audiences, agents, patrons to Belvoir from the International Arts Ruben Guthrie in 2009. Tommy and I and Erkki Veltheim and Paul Cutlan playing and supporters – everyone who has helped Festival, on Adam Gardnir’s diamond of dramaturg Eamon Flack had developed the Alan John’s music (with Paul Charlier, every day across 17 years and productions green Australian turf, under mist and smoke play in workshops across many months Sydney Theatre Award for Best Score numberless. and rain, a brilliant cast stood simply and with many great actors while Tommy or Sound Design) under Mark Shelton’s It is the most incredible organisation, Belvoir. told Tom’s epic, poetic tale of fathers, shaped and cut and polished along the expressionistic lighting (Sydney Theatre It has been such a privilege to be part of it. daughters, fire and sacrifice. Particularly way. Finally, with finding one Award for Best Lighting Design) in Tess memorable were Arky Michael and Kris of her greatest roles as Gwen, Sue Ingleton Schofield’s fabulous painted clothes It’s in fabulous hands with Ralph and Brenna McQuade as a rapt, bewildered chorus, and brilliant as daughter Peg, and Nat Dean, (Sydney Theatre Award for Best Costume and the team. And Louise. Belinda McClory enacting an utterly fearless Pacharo Mzembe and Grant Dodwell all Design) in Catherine Martin’s Fauvist attic How lucky we are to have it in our lives. dance of pre-teen sexuality. hitting aces, a truly accomplished comedy space. Diary played to packed houses in of contemporary Australia was revealed. Third was Sam Strong’s beautifully judged Sydney (people were queuing for returns With thanks, A co-production with ’s La Boite, production of David Hare’s exploration of the from 4am) and then went straight to a Neil it also toured to Geelong taking Stephen global financial crisis, The Power of Yes. In thrilling run at the Brooklyn Academy of Curtis’ beige, tiled Queanbeyan townhouse designer Dale Ferguson’s eerie control room, Music in New York in early 2011. along with it. on a floor littered with a thousand burst

6 7 General Manager’s Report Brenna Hobson

As I sit down to write on to tour to Russia. To bring it back 21 this reflection on years later felt like both a perfect fit for Neil’s 2010, 2011 is already last production and also somewhat of a well under way and risk – would the piece have the resonance it probably at its most did in the different world of 1989 when our hectic. I’m en route theatre was run on a shoestring and Europe from where was radically re-imagining itself? We needn’t our Associate Director have worried. It went down a treat and the – New Projects, story of the functionary Poprishchin was Eamon Flack, has just just as poignant and relevant in 2010 as it brought to life a magical children’s show was in 1989, and indeed when Gogol first produced by the Darwin Festival. And I’m penned the story in 1835. heading toward the closing night of The Also in 2010 we were thrilled to welcome Wild Duck where Ralph and I are standing Neil is farewelled at the Sydney Town Hall by long-time comrade Geoffrey Rush. Photo: William Yang. back Benedict Andrews with his production in for Simon Stone, the show’s director of Measure for Measure after a three-year and our Resident Director, who bumps Director of Griffin Theatre Company, gave passion, and our exuberant Associate absence. I think those of you who saw the in his /Sydney Theatre us an implausibly clear and compelling Producer Tahni Froudist, who round out our show will agree that it was worth the wait Company production of Brecht’s first work, production of David Hare’s gripping work Artistic and Programming team. to have him back, and we were thrilled that Baal, on Monday. In truth our feet are only about the GFC, The Power of Yes. While we the show picked up Best Direction, Best We decided to undertake some major just getting back to earth two weeks after were sorry to lose Sam, it’s great to have a Design and Best Production at the Sydney structural changes, some as part of the our return from New York and London colleague like him at Griffin. Tom Holloway’s Theatre Awards. transition to a new Artistic Director, and with The Diary of a Madman and The work as a playwright is both arresting and some because we felt that they were long Sapphires respectively. Ngapartji Ngapartji touched many people often troubling; we were pleased to join our overdue and because dogged appeals to deeply back in 2008 when it kick- friends at Griffin Theatre Company in co- So, how to reflect on 2010? The year government began to pay off. Belvoir’s proud started our season, so we were thrilled producing his latest work, Love Me Tender. started with a pleasing increase in season history of equally valuing each and every staff to welcome Trevor Jamieson back to ticket holders, and finished with a modest The focus of everything we do at Belvoir member’s contribution to the organisation Belvoir with Namatjira, which brought to surplus and an investment in creative is, and should be, the shows that we put has meant that everyone has been paid the life the story of Albert Namatjira. The fact development. It was Neil’s year in every way on stage but it would be disingenuous to same amount per hour. While this system that our own Artistic Associate Wayne we hoped that it would be. His final season play down the major changes that were of parity pay has had many advantages, the Blair was co-director of the piece made saw the staging of a new Australian work happening in 2010. We announced the fact that we were asking senior artists and it particularly special. Indigenous work is that we had commissioned through the appointment of Ralph Myers as our new staff to accept wages well below industry incredibly important to us at Belvoir so Philip Parsons Young Playwright’s Award, Artistic Director back in November 2009. standard started to feel like it had outlasted the opportunity to co-produce a major Gwen in Purgatory. As well as being a In 2010 Ralph spent the whole year with the its welcome. We have been working with Australian tour of The Sapphires with our great opportunity to present a new direction company assembling his artistic team and both state and federal funding bodies to colleagues at Black Swan State Theatre in the wonderful Tommy Murphy’s work, programming our 2011 season. As part of address this issue for over two years now, Company was a welcome one. We were Gwen in Purgatory gave us the chance to that process we were indebted both to the and we’ve laid the ground work for a modest particularly proud when the work was renew our relationship with the Geelong continuity and the continued inspiration of but meaningful pay increase for many of our invited to tour to South Korea off the back Performing Arts Centre and to co-produce Eamon Flack, alongside our 2010 Associate artists and staff. of that tour – a country which, I can assure for the first time with ’s La Boite Artists Wayne Blair, Sarah John, Susanna you, loves a good musical! We also made the much more bitter-sweet Theatre Company. Neil ended the year Dowling, Cristabel Sved and Stefan Gregory. decision to move away from the B Sharp with The Diary of a Madman, a production Other highlights included finally welcoming We welcomed the enormous energy and program in favour of fully producing work first created in 1989 with an as-yet largely Lee Lewis to the Upstairs Theatre as a talent of Simon Stone and more recently (to in the Downstairs Theatre. Belvoir has unknown Geoffrey Rush, and with Catherine director with her scorching production of the extent that I shouldn’t be announcing always been proud to channel a significant Martin designing. That original production Polly Stenham’s That Face. Sam Strong, them in this year’s report) Anthea Williams, amount of resources into supporting the was a landmark one for Belvoir and went then our Literary Associate, now Artistic a Literary Manager of great intellect and

08 09 Perpetual continue to be loyal supporters. Neil’s tenure with us. It was wonderful In 2010 we also welcomed on board The to be in a room with so many friends, Balnaves Foundation, whose generosity colleagues and supporters from means that from 2011 we are able to throughout Belvoir’s history. The fund Indigenous productions in both the Keating! company reassembled in a Upstairs and Downstairs Theatres for the truly memorable evening that featured next three years. a mini musical in Neil’s honour, the signature tune of which was Kneel Our government partners are no less Before Neil. The slightly tongue-in- significant, both in their provision of core cheek nature of this song, and indeed funding and their support of specific the whole night, was perfect. Neil is projects. In 2010 both the Australia Council the sort of leader and person who and Arts NSW supported our tour to South inspires enormous affection, a measure Korea, and Arts NSW also supported some of awe and a small amount of playful of our regional education programs. The mocking. I’ve been guilty of all three in Australia Council continued their strong working with him, right from the start support of our various emerging artists and of my professional career. So I’d like to professional development initiatives, one say thanks and, in the time you aren’t of which first brought Ralph Myers into the around, we’ll miss you Neilski... fabric of the company. Brenna We rounded off the year with the biggest Farewell, Neil. Photo: William Yang. party we’ve ever thrown in honour of annual season of independent work that Theatre Limited Boards. The Belvoir Board in was B Sharp, and was excited by the particular showed its enormous capacity for emerging artists that came to light through both daring and measured belief in the value that program. We’d like to say a particular of its decisions and artists this year. thanks to our B Sharp partner, Macquarie Creating a piece of theatre, let alone Group Foundation, for their support over New Artistic Director’s Note a whole season, takes time, effort and the past three years. The fact is it was substantial resources. In 2010 Belvoir’s Ralph Myers little known that the artists who worked sponsors were right there behind us, led in the Downstairs Theatre were working by corporate partner Optus and including: for a cut of the box office of each show, partners UXC Connect and Freehills; which generally amounted to less than major sponsors Baker & McKenzie, Ernst I think I’m starting to audience. Then, fresh from drama school, I $1000 total for an eight-week engagement. & Young, Woolcott Research, The Sydney understand why Neil was lucky enough to land a job here; working Now, 12 years after B Sharp’s inception, Morning Herald and Interactive Investor; was Artistic Director with him is the best education a set designer the opportunities available to independent associate sponsors Avant Card, Palace of this company for can get. He taught me to see through the artists in Sydney have grown significantly, Cinemas, SOS Print & Media and Regents 17 years. Every day eye of the audience; that we’re making and we decided that the best thing we Court; event sponsors Vini, El Bulli, Yellow I spend in this role theatre for them, not us. So Neil, on behalf can do for these artists is to ensure that Tail, Bird Cow Fish, Coopers, One Earth I enjoy more than of this company and this city, thank you. everyone, regardless of seniority, is paid Foods and Silver Spoon Caterers. The the last. It is a truly Sydney owes you a great debt. an above-award wage for their work support we receive from our donors is extraordinary company: Downstairs. We’re really thrilled with the And personally – thanks. It is an extraordinary also invaluable, we extend our thanks to a passionate, range of artists and productions we’ve opportunity for a group of young artists to the Foundation donors who provide much committed, dedicated gang of artists been able to program in the Downstairs inherit a company, a theatre and an audience needed high-level support for creative and staff, an astute, critical and engaged Theatre in 2011. that is so healthy and vibrant. development, the Chair’s Group who audience, and what is probably the best All of that change took at leap of faith from support Indigenous creative development, theatre stage in the country.* We’ll make the most of it, I promise. staff members, artists and supporters alike. our loyal B Keepers, Education donors and It is Neil who I have to thank for this Ralph I’d like to particularly thank everyone who general donors. Trusts and Foundations inheritance. Over those 17 years, under his works at Belvoir for meeting each new issue provide us with vital funding towards gentle, benign care this company grew from and hurdle with their customary good grace, our Education program. The Coca-Cola a trembling, delicate seedling into the robust, * With the possible exception of the humour and irreverence. That sentiment also Australia Foundation, Greatorex Foundation proud tree that it now is. I grew up watching Theatre Royal in ! applies to both the Belvoir and Belvoir St and Teen Spirit Foundation managed by his theatre, learning from amongst the

10 11 Kenji Fitzgerald and Susie Porter. Photo: Brett Boardman.

2010 Season and Tours That Face 6 February – 14 March

Statistics Performances 48 Total Available Tickets 16,320 Total Audience 12,693 Box Office Income $428,967

Written by Voice Coach With Polly Stenham Danielle Roffe Emily Barclay Directed by Fight Director Krew Boylan Lee Lewis Scott Witt Kenji Fitzgerald Marcus Graham Set Designer Stage Manager Laura Hopkinson Brian Thomson Luke McGettigan Susie Porter Costume Designer Assistant Stage Manager Alice Babidge Amy Morcam Lighting Designer Verity Hampson Composer & Sound Designer Stefan Gregory

An early contender for one of the Company B’s season–launcher is best dramas of the year. a little piece of dynamite ... punchy, The Sun Herald elegant and psychologically astute. Time Out Sydney

12 13 Kris McQuade, Luke Hewitt and Belinda McClory. Photo: Jon Green. Robert Menzies. Photo: Heidrun Löhr.

Love Me Tender The End 18 March – 11 April 15 April – 9 May Downstairs Theatre

Statistics Statistics Performances 30 Performances 23 Total Available Tickets 10,200 Total Available Tickets 1,909 Total Audience 7,762 Total Audience 1,871 Box Office Income $236,288 Box Office Income $49,425

Written by Production Manager Written by Stage Manager Tom Holloway Sharon Custers Samuel Beckett Luke McGettigan Directed by Stage Manager Translated in collaboration with With Matthew Lutton Nell Ranney Samuel Beckett by Robert Menzies Set & Costume Designer Assistant Stage Manager Richard Seaver Adam Gardnir Lydia Sarks Directed by Lighting Designer With Eamon Flack Karen Norris Luke Hewitt Lighting Designer Composer & Sound Belinda McClory Teegan Lee Designer Kris McQuade Kelly Ryall Arky Michael Colin Moody

Dazzingly scripted by Tom Holloway, Thought provoking, challenging ... Menzies squeezes every last drop of Eamon Flack’s production of cannily directed by Matt Lutton. with superb direction from Lutton, juice from the prose. Every line is a The End, with its characteristic The West Australian this play may leave you discussing surprise and he zooms in unerringly on combination of bleakness and rich the themes of the narrative for hours Beckett’s punchlines. humanity, is a theatrical triumph. after you’ve seen it. The Sydney Morning Herald The Australian Australian Stage 14 15 Jonathan Elsom and Tony Llewellyn-Jones. Photo: Heidrun Löhr. Robert Menzies and Chris Ryan. Photo: Heidrun Löhr.

The Power of Yes Measure for Measure 17 April – 30 May 5 June – 25 July

Statistics Statistics Performances 49 Performances 56 Total Available Tickets 15,827 Total Available Tickets 18,088 Total Audience 14,364 Total Audience 12,936 Box Office Income $482,924 Box Office Income $418,648

Written by Voice & Accent Coach Tony Llewellyn-Jones Written by Video Designer & Operator Assistant Stage Manager David Hare Danielle Roffe Amber McMahon William Shakespeare Sean Bacon Mel Dyer Directed by Movement Consultant Rhys Muldoon Adapted & Directed by Assistant Director With Sam Strong Craig Bary Luke Mullins Benedict Andrews Duncan Graham Maeve Dermody Set & Costume Designer Stage Manager Set Designer Sound Operator Damon Gameau Graham Rouse Dale Ferguson Mark Lowrey Ralph Myers Jeremy Silver Ashley Lyons Christopher Stollery Robin McLeavy Lighting Designer Assistant Stage Manager Costume Designer Assistant Lighting Designer David Whitney Robert Menzies Danny Pettingill Edwina Guinness Dale Ferguson Tom Willis Arky Michael Composer & Sound With Lighting Designer Floor Technician Colin Moody Designer John Derum Nick Schlieper Jonathan Yeoman Steve Rodgers Steve Francis Jonathan Elsom Composer & Sound Stage Manager Chris Ryan Assistant Director Russell Kiefel Designer Nell Ranney Toby Schmitz Nikola Amanovic Brian Lipson Stefan Gregory Helen Thomson Frank Whitten

Sam Strong’s production is clear, Full credit to Strong’s vision. This An extraordinary, daring production. The most exciting theatre I’ve breezy and light on its feet. is a dazzling main stage debut. The Sunday Telegraph seen all year ... Don’t miss it. Time Out Sydney The Sun Herald Oz Babyboomers

16 17 Melissa Jaffer and . Photo: Heidrun Löhr. Nicole Forsyth and Trevor Jamieson. Photo: Brett Boardman.

Gwen in Purgatory Namatjira 31 July – 19 September 25 September – 7 November

Statistics Statistics Performances 56 Performances 49 Total Available Tickets 18,088 Total Available Tickets 15,827 Total Audience 14,140 Total Audience 13,372 Box Office Income $452,424 Box Office Income $428,954

Written by Sound Designer With Written by Creative Producer With Tommy Murphy Paul Charlier Nathaniel Dean Scott Rankin Sophia Marinos Nicole Forsyth Directed by Dramaturg Grant Dodwell Co-Directors Associate Producer Robert Hannaford Neil Armfield Eamon Flack Sue Ingleton Scott Rankin & Wayne Blair Clare Atkins Trevor Jamieson Melissa Jaffer Genevieve Lacey Set Designer Assistant Director Set Designer Community Producers Pacharo Mzembe Derek Lynch Stephen Curtis Cristabel Sved Genevieve Dugard Sia Cox & Pru Gell Kevin Namatjira Costume Designer Stage Manager Costume Designer Sound Operator Evert Ploeg Bruce McKinven Mark Lowrey Tess Schofield Nick Shipway Elton Wirri Lighting Designer Assistant Stage Manager Composer & Music Director Assistant Lighting Designer David Walters Sophie Baker Genevieve Lacey Christopher Page Lighting Designer Stage Manager Nigel Levings Luke McGettigan Sound Designer Assistant Stage Manager Tommy Murphy’s new play is as deft The best thing about this production Jim Atkins Jessica Smithett and pungent a comedy as you are ... is the chance to see the wonderful likely to see this year or any other. Melissa Jaffer on stage again. We rose to applaud Namatjira without Jamieson’s is a great virtuoso The Sydney Morning Herald The Australian hesitation … brought to our feet by this performance channelling Namatjira generous and enlightening production ... into the 21st century. The Sydney Morning Herald The Australian 18 19 Paul Dwyer. Photo: Heidrun Löhr. Geoffrey Rush. Photo: Heidrun Löhr.

The Bougainville Photoplay Project The Diary of a Madman 9 – 28 November 4 December 2010 – 6 February 2011 A Version 1.0 production

Statistics Statistics Performances 21 Performances 56 Total Available Tickets 6,783 Total Available Tickets 19,032 Total Audience 1,824 Total Audience 18,932 Box Office Income $37,035 Box Office Income $646,553

Devised & Performed by Written by Costume Designer With Paul Dwyer Nikolai Gogol Tess Schofield Paul Cutlan Director Adapted by Lighting Designer Geoffrey Rush David Williams David Holman with Neil Mark Shelton Yael Stone Erkki Veltheim Video Artist Armfield & Geoffrey Rush Sound Designer Sean Bacon Director Paul Charlier Lighting Designer Neil Armfield Set Design Assistant Frank Mainoo Music by Chris Tangney Technical Assistant Alan John (after Stage Manager Russell Emerson Mussorgsky) Mark Lowrey Lighting Operator Set Designer Assistant Stage Manager Teegan Lee Catherine Martin Mel Dyer

This is compelling, innovative, In around 75 minutes, Dr Paul Dwyer It is such a great joy to see Rush Rush is in exuberant form as heart-wrenching theatre. reinvents theatre ... It’s an education our back on the stage re-creating one of Poprischin ... If you haven’t secured The Brag media and politicians failed to give us. his finest roles ... Yael Stone is superb. a seat already, it’s standing room And a profound lesson in humanity. Not The Australian only if you want to see this show – to mention highly engaging theatre. and still money well spent. Crikey! The Sydney Morning Herald 20 21 Kylie Farmer, Kenneth Ransom, Casey Donovan, Hollie Andrew, Oliver Wenn and . Photo: Heidrun Löhr.

Touring The Sapphires

Statistics Scott Theatre, Adelaide Performances 76 25 February – 14 March Total Audience 36,404 Westside Performing Arts Centre, Shepparton Written by Production Managers Wigmaker 28 April – 1 May Tony Briggs Hall Murray Deanna Nishi Frankston Arts Centre, Frankston Ashley Page Directed by Dresser 6 – 8 May Wesley Enoch Technical Manager Erryn Hanson Geelong Performing Arts Centre, Geelong Musical Director Christopher Page Lighting Coordinator 12 – 15 May Peter Farnan Casting Director Benjamin Fry Set Designer Annie Murtagh-Monks Lighting Secondee Illawarra Performing Arts Centre, Wollongong Richard Roberts Stage Manager Amy Hammond 18 – 22 May Costume Designer Rebecca Gibbs With Tim Chappel Assistant Stage Manager Aljin Abella Seymour Centre, Sydney 26 May – 25 June Lighting Designer Holly Woollard Hollie Andrew Trent Suidgeest Rehearsal Stage Manager Christine Anu Daegu Opera House, South Korea Jimi Bani 30 June – 3 July Choreographer Peter Sutherland Simon Burke Tony Bartuccio Wardrobe Manager Ben Collins Sacha Mahboub Sound Supervisor/Operator Daniele Di Paola Tom Brickhill Wardrobe Assistant/ Casey Donovan Well beyond feelgood. How about Christine Anu, Casey Donovan, Hollie Head Cutter Assistant Director Kylie Farmer “feelgrrreat”? Andrew and Kylie Farmer each radiate Mandy Elmitt Kenneth Ransom Kyle Morrison The Sun Herald energy, charm and charisma, and Costumiers Andrew Weir Assistant Musical Director together they produce a sound as Holly Barker Oliver Wenn Simon Burke vibrant and dynamic as any girl group Lyndell Darch anywhere. Touring Company Manager Penny Mazzuchelli Michael Norman Sandy Mitchell Independent Weekly

22 23 . Photo: Heidrun Löhr. Melissa Jaffer, Pacharo Mzembe and Sue Ingleton. Photo: Heidrun Löhr.

Touring Page 8 Touring Gwen in Purgatory

Statistics Statistics Performances 7 Performances 4 Total Audience 1,507 Total Audience 1,510

Written by Sound Designer Glen Street Theatre Written by Assistant Director With Steve Francis 18 – 23 May Tommy Murphy Cristabel Sved Nathaniel Dean & David Page Stage Manager Directed by Production Manager Grant Dodwell Original concept by Luke McGettigan Neil Armfield Glenn Dulihanty Sue Ingleton Melissa Jaffer David Page Assistant Stage Manager Set Designer Head Electrician Pacharo Mzembe Directed by Amy Morcom Stephen Curtis Brent Forsstrom-Jones With Costume Designer Electrician Geelong Performing Arts Set Designer David Page Bruce McKinven Michael Gill Centre, Geelong Robert Cousins Lighting Designer 23 – 25 September Head Mechanist Costume Designer David Walters Darran Whatley Jodie Fried Sound Designer Stage Manager Lighting Designer Paul Charlier Mark Lowrey Mark Howett Dramaturg Assistant Stage Manager Lighting Realiser Eamon Flack Rebecca Chin Ling Li Matt Cox

Humour, nostalgia and poignancy are perfectly Neil Armfield’s impeccable direction finds the affection balanced in David Page’s well-travelled and sadness beneath the prickly surface. autobiographical show. It is a classic of the genre. The Sun Herald The Sydney Morning Herald Gwen in Purgatory was a co-production with La Boite Theatre Company. The La Boite season played at the Roundhouse Theatre, Brisbane, from 29 September until 24 October. La Boite’s 24 figures are not included here. 25 B Sharp Statistics Performances 258 Belvoir St Downstairs Theatre Total Available Tickets 21,006 18 February – 19 December Total Audience 15,574 Through careful strategic planning, 2010 was years. Overall box office targets were met Box Office income $241,420 the first year to see the B Sharp program fully comfortably with six productions achieving a occupy the Downstairs Theatre year-round, capacity over 80%. which was a significant achievement. The three-year cycle of B Sharp creative Comedy and Cabaret B Sharp Season Yellow Moon (The Ballad The program was expanded to include the development came to an end in 2010, having Season of Leila and Lee) B Sharp Summer Comedy and Cabaret Bent generated an extraordinary amount of new white blackbird Season alongside the existing twin-season The Fabulous Frances Focus Theatre work. Outcomes included work presented at Written by David Greig theatre presentation model and one Belvoir- Faye in Australia Written by Martin Sherman B Sharp: post’s Everything I Know About The Directed by Susanna Dowling produced production. The summer season Cre8ion Directed by Pete Nettell Global Financial Crisis In One Hour as part 2 – 26 September worked exceptionally well – presenting new Written and performed by 18 February – 14 March of the double bill A Distressing Scenario with forms of performance in the space; providing Nick Christo Fool For Love Version 1.0; Susanna Dowling’s investigation The Suicide an opportunity for excellent small scale works with LB Little Big Band Savage Productions into movement language for her production The Hayloft Project to have another life; experimenting with a Directed by Neil Gooding Written by Sam Shepard of Yellow Moon; The Hayloft Project’s By Nikolai Erdman rotating program performed in repertory; 5 January – 12 February Directed by Imara Savage adaptation of The Suicide; Matthew Whittet’s In a new version by engaging new audiences and proving 30 September – 24 October solo work Silver; Robert and Joseph Couch’s Monster of the Deep 3D Simon Stone an excellent programming choice for the Lady of Mstensk and Rick Viede’s Written and performed by Directed by Simon Stone The Sweetest Thing traditionally difficult January slot in competition play Whore, which went on to win the 2010 Claudia O’Doherty 18 March – 11 April Arts Radar with Sydney Festival. Produced by Nicole Gaff Queensland Premier’s Literary Award for Parlour Song Written by Verity Laughton 7 January – 14 February The February – June season featured one Drama Script (Stage) Award. mt productions Directed by Sarah Goodes world premiere of a new Australian play; a new 28 October – 21 November There was also work which saw life beyond Double Exposure Written by Jez Butterworth adaptation of a classic; one contemporary B Sharp: Fatherland by Tom Holloway will A double bill Directed by Cristabel Sved A Distressing Scenario classic and two new international texts. premiere at London’s The Gate Theatre in Cre8ion 13 May – 6 June A double bill by post The August – December (and final B Sharp) Beyond The Pale 2011; floogle’s And Burn My Shadow will Bang and Version 1.0 season included two world premieres of by Paul Livingston be recorded by ABC Radio; Janice Muller’s Whitebox Theatre Part One: new Australian works – one new play and Happy and Clean A Woman in Berlin has seasons at The Old Written by Jonathan Gavin Everything I Know About one new devised work; one classic and two by Marty Murphy Fitzroy and Malthouse Theatre; Silver was Directed by Kim Hardwick The Global Financial Crisis contemporary international works. Over 180 9 January – 10 February performed at The National Theatre of Iceland, 10 June – 4 July artists were engaged in the performance In One Hour and Whore was presented in New York. In season and creative development program; Dirty Butterfly Devised and performed by addition, there are a raft of projects currently in more than half of the projects were creatively flour sugar tea-Tales Zoe Coombs Marr, Mish Grigor development. driven by women and the majority of artists and Arts Radar and Natalie Rose. were working with B Sharp for the first time. This list indicates the creative development Written by Debbie Tucker Green Part Two: program has been a great success by tapping Directed by Wayne Blair The total number of patrons in 2010 was The Market Is Not Functioning into the diverse artistic visions by extraordinary 8 July – 1 August 15,574, representing an overall capacity of Properly independent artists, and providing genuine over 74%. This represents a slight increase in Woyzeck Devised and performed by Jane and project-specific support to help realise the total number of patrons attending B Sharp Arts Radar Phegan and Kym Vercoe their work. productions over the past year, a growth trend Written by Georg Büchner Directed by David Williams which has been consistent over the past three Directed by Netta Yashchin 25 November – 19 December 5 – 29 August 26 27 Creative and Artistic Awards Development

We threw open the doors in 2010: almost we supported and commissioned about Emerging artists 2010 Sydney Theatre Awards 20 different works in development, five new 20 different new works. These ranged from 2010 was the year when Belvoir’s decade-old BEST MAINSTAGE PRODUCTION Associate Artists based at the company, and outright speculation to major investment. The flagship program for new artists paid off. In this Measure for Measure an Artistic Director-elect overseeing it all. This themes and subjects of the various projects its final year, B Sharp was its own testimony: BEST DIRECTION little springtime was the culmination of three ranged from the politics of voice in Black nine of the artists in Ralph’s first programming Benedict Andrews (Measure for Measure) years of assiduous tending – the slow and Australia to boxing, from white guilt to the cycle were alumni, and most of them are careful growth of relationships with new artists, individual adrift in world history. Some of this working in the 2011 season. In fact, of the key BEST STAGE DESIGN new programs of support from the Australia work ripened for 2011; a good deal of the rest artists in the last few years of B Sharp, many Ralph Myers with Sean Bacon Council, a company-wide renewal of interest of it will turn up on our stages in the coming have gone on to have mainstage gigs. There (Measure for Measure) in new work, and a Board-led pursuit of few years. are numerous award-winners in there, several BEST ACTRESS IN A SUPPORTING ROLE resources for creative development. Capping We presented a workshop reading of Lally associates of major companies, and a couple Yael Stone (The Diary of a Madman) off the year was Ralph’s first season launch Katz’s The Hope Dolphin Rides Again, with of Artistic Directors. Most of them got their start and a new articulation of the company’s work: BEST COSTUME DESIGN the indomitable in the lead in the Downstairs Theatre. radically reworked classics, new Australian Tess Schofield (The Diary of a Madman) role. Robyn’s firepower lent the play the work, and continuing the long conversation We spent 2010 building a new edifice for momentum which saw it through a series of BEST LIGHTING DESIGN between Belvoir and Black Australia. emerging artists. The Downstairs Theatre workshops with Simon Stone and Eamon continues to be the foundation, and from 2011 Mark Shelton (The Diary of a Madman) Season programming Flack, the result of which is Neighbourhood onwards, for the first time ever, all the artists BEST SCORE OR SOUND DESIGN This was Ralph’s first. Alongside the existing Watch, the new-work centrepiece of our 2011 who work there will be paid at least Equity Alan John and Paul Charlier artistic team of Brenna Hobson (General season. Other readings also presented us minimum. Beyond that, we have reconstituted (The Diary of a Madman) Manager), Eamon Flack (Artistic Associate), with Angela Betzien’s The Dark Room, which the Artistic and Programming department BEST NEW AUSTRALIAN WORK Sam Strong (Literary Associate) and Annette will close our 2011 Downstairs season. Wayne according to the principle that any original, Scott Rankin (Namatjira) Madden (Downstairs Theatre Director), Ralph Blair directed Richard Frankland’s Nyamat serious and talented artist at any stage of their was joined by a team of new Associate Maar in a workshop showing, performed lifelong emergence should be able to begin a BEST NEWCOMER Artists: Susanna Dowling, Stefan Gregory, by a cast of actors aged from 11 to 29 and relationship with Belvoir. Opportunities range Derek Lynch (Namatjira) with backgrounds ranging from Indigenous from conversation to observation to Assistant Sarah John, Simon Stone and Cristabel Sved. JUDITH JOHNSON AWARD FOR Australia to the Middle East. Our collaboration Directorships to Associate Artists to putting Susanna, Sarah and Cristabel came to us BEST PERFORMANCE BY AN ACTRESS with Urban Theatre Projects continued. The your work on in our season. care of the Australia Council’s Young and IN A MUSICAL Emerging Artists funding. Sam left us halfway Quarry is a rare project: a well-resourced, The Philip Parsons Young Playwright’s Christine Anu (The Sapphires) through the year to become the Artistic slow-burn process which is as much about Director of Griffin Theatre Company. getting to know your society as it is about Award and Memorial Lecture BEST PRODUCTION FOR CHILDREN making a piece of theatre. Delivered by academic and critic John The Book of Everything Ralph came with a set of questions: Who McCallum, the lecture ‘Putting It Back Together (Belvoir/Kim Carpenter’s Theatre of Image) Old work made new are the best directors? What do they want and Getting It On the Road: Australian Theatre to direct? What are the best unproduced This was also the year for taking a good look in the 21st Century’ was a rallying cry for Australian plays? What are the stories we want at the canon of Australian and international 2010 Australian Business Arts urgent, difficult and bold theatre from urgent, Foundation Awards to be telling? How do we tell them? The result drama that we’ve inherited and discovering its difficult and bold artists. was that the programming process and the contemporary potential. Thanks to the Australia State Winner, SME Award creative development program joined forces. Council, Simon Stone and the Hayloft Project The Philip Parsons Young Playwright’s Award (for Belvoir’s partnership with Avant Card) A set of ongoing conversations with artists were able to continue their investigations into is a joint commission and award presented gave rise to a series of projects, many of which the work of Ibsen in two separate workshops. annually to a NSW-based writer under 35 years ended up in the 2011 season. We dusted off Jonathan Gavin’s brilliant 2007 of age whose work demonstrates an original black comedy Tiger Country for a reading. The and compelling theatrical voice. The award is New work result of this was that Jonathan came on board made on both the basis of the writer’s existing This was the biggest year in the company’s to turn Gorky’s Vassa Zheleznova into The body of work and their proposal for what they’d history for new work in development. Including Business for our 2011 season. like to write next. The winner was Matthew B Sharp’s Macquarie Foundation program, Whittet, whose distinctive imagination and sense of theatrical possibility is as formidable as it is disarming. He’s consequently busy 28 writing Old Man Parts One and Two. 29 In 2010, 6,125 high school Education students from over 140 different schools from NSW and across Australia attended a Belvoir production, and 303 students saw B Sharp productions.

Belvoir’s Education Program aims to give Just thank you – I would never have gone A total of 623 students students as much access as possible both if this wasn’t offered by our school. For participated in a Belvoir on stage and behind the scenes to our my first play, it’s an A+++. workshop in metropolitan productions and to the work, artists and Student, Chifley College Senior Campus. Sydney and 1,021 students in resources of a professional theatre company. regional NSW. For these kids, who have never seen a live Our program was supported by Freehills. performance, you cannot imagine exactly A total of 106 teachers Schools performances what it does for them. We had ‘footballer’ participated in a Belvoir professional development Belvoir offered schools performances of boys with us for this performance and workshop, 36 of these in subscription season shows, providing they suggested they would definitely go regional NSW. secondary students the opportunity to to the theatre again. We seriously cannot experience the same calibre of work as express the gratitude we have for your season ticket holders, for a heavily subsidised continued generosity. ticket price. Schools performances were Teacher, Chifley College Senior Campus. Director Shannon Murphy (centre, at rear) with Year 9 & 10 Narrabri High School students. followed by Q&A sessions with the cast. Schools at evening performances Resources to support learning were provided Schools brought their students to Belvoir The workshops were Creating Performance We developed and presented new workshops to schools (and are accessible on our website). evening performances, either by purchasing through Improvisation, Brecht and Political in Teaching Monologue Performance and In 2010, 21 schools performances of subscription packages or by booking Theatre, Monologue Performance, Teaching Playwriting. Playwriting, Directing, Costume Design, Belvoir mainstage productions were held. performances for specific productions. Theatre Enrichment Performances at Belvoir St Theatre and the One thousand two hundred and eleven Set Design and Lighting and Lighting Design. We offered Theatre Enrichment for English Seymour Centre were attended by 4,914 students from over 40 different schools We also offered two new workshops in Group and drama students in western and south- students from 103 different schools. Many attended Belvoir evening performances, Devising. western Sydney in 2010. Students attend secondary students experienced professional including 415 regional students and 121 We ran 23 workshops at our premises for schools performances, participating in pre- theatre for the first time. This includes 799 students from schools outside NSW. High 414 students from regional schools from and post-show experiences to equip them students from 22 different regional schools school students attending an evening as far afield as Dungog, Griffith, Orange, with the confidence, language and tools to and 56 students from schools outside performance of a B Sharp production Narrabri, Nambucca Heads, Wagga Wagga analyse and respond to texts in performance. NSW. Of these, 1,177 secondary students numbered 158. Of these, 34 were from and Rockhampton. Subsidised regional Through this program 125 metropolitan attended through subsidy programs offered regional schools. workshops for students were held at schools students and their teachers saw That Face, to schools identified by the NSW Department Theatre workshop program throughout NSW; 1,021 students participated Gwen in Purgatory, Namatjira and The of Education & Training as disadvantaged or Belvoir runs an extensive theatre workshop in one of 66 workshops, including two video- Bougainville Photoplay Project. geographically remote. Participating schools conferenced workshops. came from West Wyalong and Tullibigeal program in areas of performance and design Both Year 9 and Year 11 have already said: in the Western Riverina, the Illawarra and for students both at the theatre and in Travel costs us a lot, so we usually miss “Will we get to work with Belvoir again Hunter, Central Coast and from Sydney’s metropolitan and regional schools. Full-day out on having access to such things next year, Miss? We had so much fun with western and south-western suburbs including professional development workshops are because of our isolation from the city. them/ learnt a lot/ did things I’d never Auburn, Bankstown, Campbelltown, Fairfield, available for teachers. Teacher, Gunnedah High School. thought I could do. I nearly cried, Miss. I Liverpool, Macquarie Fields and Mount Druitt. Workshops for students Professional development didn’t know acting could really do that.” Schools performances of B Sharp shows in In 2010, we ran 101 workshops for 1,644 workshops for teachers Teacher, John Edmondson High School. the Downstairs Theatre were attended by 145 students in metropolitan and regional schools During the year, we ran six teacher Regional Theatre Enrichment students. Over 325 students went on one and at Belvoir’s Surry Hills premises in our professional development workshops at For the first time, Belvoir’s Theatre Enrichment of 21 backstage tours of Belvoir St Theatre, theatre and rehearsal rooms. We conducted Belvoir St Theatre and five at schools in program included schools outside including 264 from schools in regional NSW 12 in-school workshops for 209 students regional NSW. Workshops were run by metropolitan areas. From five schools in and interstate (ACT, Northern Territory and around metropolitan and greater metropolitan industry professionals in Teaching Set Design, regional NSW, 132 students saw Gwen Queensland). Sydney, including the western suburbs, north Teaching Lighting and Lighting Design, in Purgatory. Prior to travelling to Sydney, shore and eastern suburbs. These workshops Teaching Promotion and Program, Teaching students were prepared by workshops are available on a fee-for-service basis. Costume and Costume Design. focusing on aspects of text and production. 30 31 Afterwards, the playwright or an actor Work experience Board and Staff returned to schools for sessions with the Belvoir accepts high school students for students, discussing the production and work experience; the program aims to careers in the theatre industry. offer students a snapshot of all areas of Youth Express the company’s artistic and administrative operations. In 2010, students came from In 2010, Belvoir continued the Youth Express Coffs Harbour, Orange and the Blue program for acutely disadvantaged and Mountains; 14 completed one week of marginalised young people. Youth Express Belvoir Board of Administration Technical Manager work experience and 10 took part in work aims to give young people access to a Directors Artistic Administrator Chris Page placement as part of their VET Entertainment Production Deputy professional theatre company, encouraging Neil Armfield AO John Woodland Certificate. Glen Dulihanty participants to develop increased self-esteem, Anne Britton from 30.05.10 Administration Coordinator Alexis Joy until 18.05.10 Resident Stage Manager Rob Brookman from 15.11.10 communication and coping skills to improve Website Pearl Kermani from 19.05.10 Mark Lowrey Andrew Cameron their lives. We re-launched the Education pages on Head Mechanist Peter Carroll Finance & Operations Thane Browne until 01.10.10 Young people at risk of disengaging with the Belvoir website. These pages are now Michael Coleman Downstairs Technical full-time education participate in a six-month even more comprehensive, with updated Gail Hambly Head of Finance & Operations Managers information and improved resources for Rachel Healy from 30.05.10 Richard Drysdale program of theatre workshops during which Teegan Lee students and teachers. Plans of the Upstairs Louise Herron Financial Administrator they create their own devised piece of theatre Jack Audas Preston from Brenna Hobson Ann Brown to be performed at Belvoir St Downstairs Theatre for HSC drama students designing a 10.04.10 Frank Macindoe from 30.05.10 Accounts Payable Theatre. They attend schools performances set for their individual project are accessible Costume Coordinator Mary Vallentine AO until 30.05.10 Fiona Matthews throughout the year. For many this is their online, as well as clips for VET Entertainment IT & Operations Judy Tanner first experience of any sort of drama activity. students, costume research collages Jan S. Goldfeder Artistic & Front of House Youth Express offers the opportunity to make and renderings, set model box images Programming creative discoveries in a safe environment. and interviews with cast and creatives in Marketing Front of House Manager Artistic Director transcript and video forms. Our Education Damien Storer Neil Armfield AO Marketing Manager As well as working with established partners webpages also provide information about Assistant Front of House General Manager Jenny Robertson until 24.09.10 Key College and Marist Youth Care, Twenty10 Manager upcoming student and teacher workshops Brenna Hobson Justine Lewis from 16.12.10 and Creative Youth Initiatives (CYI), we ran Bianca Rowe until 14.03.2010 in metropolitan and regional areas, as well Associate Artists Acting Marketing Manager shorter pilot programs with two other youth Bar Staff as funded access programs such as Theatre Wayne Blair Nathalie Vallejo from 27.09.10 support services, Millers Point Youth and Alexander Bryant-Smith, Enrichment and ticket subsidy programs. Susanna Dowling until 08.12.10 Michael Cullen, Georgina Employment Partnership and the Exodus Stefan Gregory Marketing Coordinator Buchanan, Rebecca Irwin, Foundation. On 21 June, Key College Communication with teachers Sarah John Nathalie Vallejo until 24.09.10 Jessica Norman, Bridget Le May, performed I am the best at the worst I do, Over 800 teachers around Australia receive Ralph Myers Tahni Froudist from 27.09.10 Dale March, Calum Martin, a piece exploring what keeps individuals our quarterly e-bulletin, which covers Belvoir Simon Stone Publications Coordinator Stephen Asher until 24.12.10 Lisa Mumford, Mark Pritchard, trapped in habits of failure, while Marist Youth productions, workshops, resources, special Cristabel Sved Publicist Alanna Proud, Jacqueline Care performed Hunter Hunted, investigating Artistic Associate offers and student opportunities. Meera Hindocha Robson, Alistair Watts masculinity and the tendency to destroy Eamon Flack Schools book Literary Associate fragility rather than nurture and protect it. Development Box Office Belvoir produces a yearly schools book for Sam Strong until 23.05.10 On 8 November, young people from CYI and Box Office Manager teachers informing them of our activities: Downstairs Theatre Director Development Manager Twenty10 performed pieces examining the Katy Wood Nicole Traynor schools performances, ticket prices and Annette Madden functioning of relationships: men and women B Sharp Coordinator Partnerships Manager Assistant Box Office booking forms, as well as other opportunities in Hearts on the Line and extroverted and Tahli Corin Frances McDonald until 26.03.10 Managers introverted types in A Love Story. such as workshops. In 2010, we distributed Partnerships Coordinator Tanya Ginori-Cairns our book to all government, Catholic and Education Cathy Herlihy from 18.03.10 Alana Hicks I discovered that I am more confident Box Office Staff independent high schools in NSW and the Education Manager until 28.09.10 because at the beginning of the year I Annabel Blake, Jessica Cassar, ACT, as well as interested schools in other Jane May Zoe Hart from 01.10.10 would of never thought I could stand in Alexandra Craig, Andrew Dillon, states and territories. Acting Education Manager Philanthropy Coordinator Tahni Froudist, Emma Furno, front of 80 people and act. Cathy Hunt from 10.05.10 Kennie Ward until 31.03.10 Susan Jack, Anna Martin, Student, Key College Education Coordinator Shauna Wolifson from 12.04.10 Jenna Martin, Tahlia Trijbetz, Cathy Hunt until 06.05.10 Sophie Webb Tahni Froudist from 06.05.10 Production Production Manager Hall Murray Construction Manager Govinda Webster

32 33 Kerry Stubbs Helen Thwaites & Peter Gray Anne O’Driscoll Donors Jennifer Symons Priscilla A M Guest Peter Oitmaa Victoria Taylor Sophie Guest Janette Parkinson We give our heartfelt thanks to all our donors for their loyal and generous support. Shirley Treloar Bronwyn Haddock & Roy Fernandez Carolyn Wright Louise Hamshere Geoff & Judy Patterson Jane Westbrook Julie Hannaford Kerrie Piper Peter White Jan Harland Jocelyn Plate Foundation Donors B Keepers Rae & Peter Morris Murray Wilcox Dr Juliet Harper Dr David Nguyen Ron Postle Make a significant financial Income received from Anthony Harris D & L Parsonage Matthew & Rebecca Ramaley investment in the Belvoir B Keepers underpins all of General Donations Virginia Hart Timothy & Eva Pascoe over $100 Angela Raymond Creative Development Fund. our activities. Libby Higgin David Rolph Bob, Sheila & Katie Pitts Provide valuable support to Harrison & Kate Higgs Neil Armfield AO Corporate B Keepers Richard & Heather Rasker Dr Andrew Rosenberg Anne Britton the projects most in need James Hill Bertram Rosenberg Sterling Mail Order Greg Roger throughout the year. James Gillespie & Ann Hoban Andrew Cameron Macquarie Group Foundation Geoffrey Rush Shefali Rovik Anonymous (22) Ailsa Hocking Janet & Trefor Clayton Emile Sherman Louise Roxburgh Annette Adair Dorothy Hoddinott AO Anne & Michael Coleman B Keepers Peter and Jan Shuttleworth Pamela Ryan Anonymous (6) Carolyn Allen Malcolm Holmes Hartley & Sharon Cook Edward Simpson Katherine Samaras Robert & Libby Albert Rosemary Allen Clyth Hoult Leon Fink Judith & Howard Smith Mark Sampson Gil Appleton Jes Anderson Aletha Hoy Gail Hambly Rob & Julie Smith Beverley Sarvay John Sharpe & Claire Armstrong Gil Appleton Vernon & Margaret Ireland Anne Harley Chris & Bea Sochan JC Savage Berg Family Foundation Ross Armfield Robert Jackson Hal Herron Victoria Taylor David Shillington Bev & Phil Birnbaum Sandra Lim & Phillip Arnold Robert Jenssen Clark Butler & Louise Herron Sue Thomson Andrew Sims Max Bonnell Ian Barnett Colin & Connie Jessup Victoria Holthouse Brian Thomson Catriona Simson Mary Jo & Lloyd Capps Prof Marie Bashir AC CVO Carol Johnson Helen Lynch & Budi Hernowibowo Agnes E Sinclair Brian T Carey Dianne Beale Gordon Johnson Frank Macindoe Hilary Vallance Eileen Slarke Elaine Chia Susan Bennett Judith & Arthur Johnson Ann Sherry & Michael Hogan Dr Orli Wargon Jean Smail Jane Christensen Baiba Berzins Gloria Jones Mary Vallentine AO Alison M Wearn Diana & John Smythe Louise Christie Peter Best Richard T Jones Kim Williams AM Paul & Jennifer Winch Kathryn Stitt Peter Cudlipp & Barbara Schmidt John Blattman Roger Jowett Iain & Judy Wyatt Deborah Stow Chair’s Group Suzanne & Michael Daniel Jennifer Bott Despina Kallinikos Kerry Stubbs Supports the creative Carmel Dwyer Education Donations Kathy & David Bradley Michael & Silvia Kantor Augusta Supple development of Indigenous & Charles Leedman over $100 Susan Braham Bob Kijurina Lee Tanabe work at Belvoir. Chris & Bob Ernst Siena Dune & Ian Buchanan Lois Knight Carmel Taylor Provide opportunities for Jann Kohlmann Anonymous (3) Jeanne Eve Denise & Neil Buchanan Prof Chris Tennant young people throughout Jacqueline Kott Antoinette Albert Ron Falk Mary Burchell Diane & Axel Tennie NSW to access our work. Robyn & Andrew Kremer Jillian Broadbent AO Peter Fay Andrew Cameron Janet Tepper Anonymous (10) Mark Lalor & Terry O’Neill Louana Butler Margaret Fink Stephen Center Helen Thompson Alexander Belford Carol Lack Jan Chapman Peter Graves Colleen & Michael Chesterman Judy Thomson Jan Burnswoods Elizabeth & Colin Laverty Louise Christie David & Kathryn Groves Tracey Clancy Douglas Trengove Richard Cogswell Sarah Lawrence Warren Coleman & Therese David Haertsch Victor Cohen Hermi Vari The Rev Cannon Warren Croft John Lewis Kenyon Diane Hague Dayn Cooper Chris Vik & Chelsea Albert Sandra Gross Ross Littlewood Kathleen & Danny Gilbert Wendy & Andrew Hamlin Colleen & Tony Cordato Edwina Waddy Sophie Guest Sally Lomax Marion Heathcote & Brian Burfitt Beth Harpley Bryony & Tim Cox John & Gail Ward Julie Hannaford Catherine L’Estrange HLA Management Pty Ltd John Head Sandra Csenderits Michael Ward Jan Harland & Louise-Anne Louw Belinda Hutchinson AM Marion Heathcote & Brian Burfitt Alan & Catherine Cunningham Sarah Walters John Harrison Andrew Lumsden The Jarzabek Family Michael & Doris Hobbs Jennifer Darin Lynne Watkins Michael & Doris Hobbs Liz Macfie Cassandra Kelly Sue Hunt Dr Susan Davenport Ellen Waugh Paul & Melissa Hobbs Wailyn Mar Hilary Linstead Peter & Jessie Ingle Vivianne De Vahl Davis Elizabeth Webby Dorothy Hoddinott Phil & Jenny Marchionni Wendy McCarthy AO Rosemary & Adam Ingle Jane Diamond Harold & Gwenda Welsh Susan Hyde David & Vasantha Martin A O Redmond Anita Jacoby Dr Anne Duggan Anne Whaite Shirley Jarzabek Ingrid Storm & Kevin McCreton Jillian Segal AM The Jarzabek Family Bruce Dunbar Stephen White Stewart & Jillian Kellie Irene Miller Ann Sherry AO Avril Jeans Diane Dunlop Margaret Whiting Jacqueline Kott David Millons Victoria Taylor Rosemarie & Kevin Jeffers-Palmer Margaret Dunlop Neil & Jill Wilson Robyn Kremer Jo Millyard Penny Ward Margaret Johnston David Eager Carolyn Wright Jennifer Ledgar & Bob Lim Cynthia Mitchell Kim Williams AM Rob & Corinne Johnston Sol Encel Patricia Wright Ken Leonhardt Ruth Moore Catherine Yuncken Phil Kachoyan Elaine Evans Jane Wynter Colleen Kane Peter Levett Carole Ferrier Frances Morris A le Marchant Ross Littlewood Celine Fitzgerald Jill Morrison Ian and Nan Landon-Smith Jim & Michael McAlary Dr Ronald Lee Gaudreau Dr Peter & June Musgrove Elizabeth & Colin Laverty Julie Mills Geoffrey & Patricia Gemmell Peter Murray Linda & Richard Laznick Elizabeth Meyer Eva Gerber Alison Nation Jennifer Ledgar & Bob Lim Patricia Novikoff Robyn Godlee Christopher Nelson Stephanie Lee Craig Pearce Thelma Gravenor Patricia Novikoff Atul Lele Louise Roxburgh Hilary Linstead Janet Ryan A & R Maxwell Sandra See Belvoir is very grateful to accept all donations. Donations over $2 are tax deductible. If you would like to make a Prof Elizabeth More AM Peter & Janet Shuttleworth donation, or would like further information about any of our donor programs please call our Development Manager Katy Wood on (02) 8396 6224 or email [email protected] 34 35 CORPORATE PARTNER

PARTNER IT PROJECTS PARTNER

MAJOR SPONSORS

Financial Statements

ASSOCIATE SPONSORS

EVENT SPONSORS

Bird Cow Fish, Coopers, One Earth Foods, Silver Spoon Caterers

GOVERNMENT PARTNERS

SUPPORTERS Coca-Cola Australia Foundation, The Greatorex Foundation, The Ian Potter Foundation, Macquarie Group Foundation, Matana Foundation for Young People, Media Tree, Michael Corridore Photography, Sidney Myer Fund, Stays in the Vines, Teen Spirit Foundation, Thomas Creative.

For more information on partnership opportunities please contact our Development Manager Katy Wood on (02) 8396 6224 or email [email protected]

36 37 Key Performance Indicators

ARTISTIC VIBRANCY Subscription Season B Sharp Readings FINANCIAL VIABILITY 2010 2009 2008 2010 2009 2008 2010 2009 2008 2010 2009 2008 STRENGTH OF RESERVES PROFILE OF WORKS Net Assets / $1,485,005 / $1,420,807 / $1,393,466 / New 5 5 3 8 7 3 8 8 4 Total Assets $6,289,235 (23.61%) $4,951,889 (28.69%) $4,629,286 (30.10%) Existing 4 4 5 5 4 7 - - 1 PROFITABILITY ORIGIN OF WORKS Total Income Minus Expenditure $64,197 $27,341 $110,854 Australian – New 3 1 2 6 6 2 8 8 3 Australian – Existing 1 3 - 2 1 1 - - 2 EARNED INCOME GENERATING ABILITY Overseas – New 2 4 2 2 1 3 - - - TOTAL Overseas – Existing 3 2 3 3 3 4 - - - Total Earned Income / $7,255,058 / $6,457,044 / $10,631,537 / Total Income $9,034,867 (80.3%) $7,869,567 (82.05%) $11,885,951 (89.45%) PROFILE OF PRODUCTIONS BOX OFFICE New 8 7 6 11 10 9 - - - Total Box Office / $4,310,179 / $3,822,385 / $8,171,439 / Existing 1 3 2 2 1 1 - - - Total Income $9,034,867 (47.71%) $7,869,567 (48.57%) $11,885,951 (68.75%) NB – “Overseas - New” = Australian premiere of existing international plays PRIVATE SECTOR Total Private Sector / $1,529,434 / $1,273,562 / $1,169,085 / Paid Attendances Number of Access Mainstage Performances Total Income $9,034,867 (16.93%) $7,869,567 (16.18%) $11,885,951 (9.83%) 2010 2009 2008 2010 2009 2008 OTHER INCOME SELF-ENTREPRENEURED Total Other Income / $1,415,445 / $1,361,097 / $1,294,013 / Home City 73,611 71,645 69,852 353 363 363 Total Income $9,034,867 (15.67%) $7,869,567 (17.30%) $11,885,951 (10.89%) Metropolitan 12,268 - 6,285 30 - 9 COST/REVENUE DYNAMIC Other Capital City - - 58,475 - - 79 Earned Income Minus Expenditure -$1,715,612 -$1,385,182 -$1,143,560 SHARED RISK GOVERNMENT FUNDING CONTRIBUTION Other Capital City - - 11,463 - - 18 Govt. Funding / $1,779,809 / $1,412,523 / $1,251,414 / SOLD OFF Total Income $9,034,867 (19.7%) $7,869,567 (17.95%) $11,885,951 (10.53%) Metropolitan 1,293 1,153 20,190 7 12 48 Regional 3,008 1,143 - 7 8 - Interstate 14,492 6,123 - 37 30 - International 3,645 - - 6 - -

OTHER B Sharp (Non mainstage) 11,669 11,792 11,370 258 226 202 Free Concert Attendances 1,601 1,328 1,441 7 6 7 Educational Performances 4,914 7,585 7,009 21 16 18 Educational Workshops 1,644 - - 112 108 29 TV/Radio (Audience Reach) - - 74,600 - - 1

38 39 Directors’ Report

The directors of Company B Limited (trading as, Members Information on Directors In 1992 he founded Australia’s leading world music and hereafter referred to as, “Belvoir”) submit There were 56 members of the company as at 31 Neil Armfield AO festival WOMADelaide and remained as Artistic herewith the annual financial report for the financial December 2010 (2009:61). Executive Director Director and/or Artistic Advisor until 2007. Rob has year ended 31 December 2010. In order to comply served on numerous arts boards and committees Operating and Financial Review Member: Artistic Subcommittee, with the provisions of the Corporations Act 2001, including Playing Australia, Sidney Myer Performing The operations of the company during the Planning Subcommittee the directors’ report is as follows: Arts Awards, Adelaide Symphony Orchestra, financial year were the operations of a live theatre, Neil Armfield is one of Australia’s foremost directors Australian Dance Theatre and the WOMADelaide Directors production of live theatrical performances and hire and was Artistic Director of Belvoir from 1994 Foundation. The names of the directors of the company in office of the theatre to external hirers. until December 2010 and Executive Director during or since the end of the financial year were: Andrew Cameron The net profit of the company for the financial year from October 2003 until December 2010. As well Member: Development sub-committee Neil Armfield AO (Resigned 31 December 2010) was $64,199 (2009: profit of $27,341). as directing for Belvoir, Neil has directed for all Anne Britton (Appointed 30 May 2010) Australian state theatre companies. He is also A director of Belvoir Street Theatre between 2001 Significant Changes In State Of Affairs Rob Brookman (Appointed 15 November 2010) a respected director of film and television and and 2007, Andrew joined the Belvoir Board in During the financial year, there was no significant Andrew Cameron regularly directs for Opera Australia and a number October 2007. Andrew has extensive experience change in the state of affairs of the company other Peter Carroll of opera companies internationally. In 2007, Neil in property development and finance. He trained than that referred to in the financial statements or Michael Coleman was awarded Officer of the Order of Australia in as an architect and has worked in a number of notes thereto. Gail Hambly recognition of his service to the arts, nationally and property development and merchant banking roles. Rachel Healy (Appointed 30 May 2010) Likely Developments And Expected Results internationally, as a director of theatre, opera and He is currently the Managing Director of a number Louise Herron In the opinion of the directors there were no film, and as a promoter of innovative Australian of privately owned importing, distribution and Brenna Hobson significant changes in the state of affairs of the productions including Australian Indigenous drama. property development companies. Frank Macindoe (Appointed 30 May 2010) company that occurred during the financial year Anne Britton Peter Carroll Mary Vallentine AO (Resigned 30 May 2010) under review not otherwise disclosed in this report Member: HR sub-committee Member: Artistic sub-committee or the financial statements. Directors were in office for this entire period unless Anne joined the Belvoir Board again in mid-2010 Peter’s distinguished career spans over 90 otherwise stated. Significant Events After Balance Date after previously serving on the Board for close productions since he was a member of the original There has not been any matter or circumstance, Principal Activities to ten years. She is a senior member of the Nimrod Theatre. A graduate of the University of other than that referred to in the financial The principal activity of the company during the Administrative Appeals Tribunal based in Sydney. Sydney and the Central School of Speech and statements or notes thereto, that has arisen since financial year was the operation of a live theatre Anne has been the Deputy President and Head of Drama in London, has appeared with all the state the end of the financial year, that has significantly and the production of live theatrical performances. the Community Services Division of the New South theatre companies and commercial managements affected, or may significantly affect, the operations There was no significant change in the nature Wales Administrative Decisions Tribunal (ADT) over the last 50 years. Peter has received of the company, the results of those operations, of these activities during or since the end of the since 2006, having been appointed to the ADT as Helpmann, Mo, Green Room, Glug, Variety Club or the state of affairs of the company in future financial year. a judicial member in 1999. Prior to that Anne was and Penguin awards; and a Sydney Theatre Critics’ financial years. the national secretary of Actors Equity of Australia Circle Award for Significant Contribution to Sydney Dividends and, on its merger in the 1990s, the joint national Theatre. Peter was head of the speech department The provisions of the Memorandum and Articles of secretary of the Media Entertainment and Arts at NIDA from 1970 to 1973. He was also a Board Association of the company prohibit the payment of Alliance. Member of SBS for 11 years and has an Honorary a dividend. Accordingly, no dividend has been paid Doctorate of Creative Arts from the University of or declared during or since the end of the financial Rob Brookman Wollongong. He is a proud member of the MEAA year or since the company’s incorporation. Member: Finance sub-committee and has been for over 40 years and in 2009 was Rob joined the Belvoir Board in November 2010. awarded the Inaugural MEAA Lifetime Achievement He is a leading Australian theatre producer, festival Award. director, cultural programmer and administrator. He has held key positions with a number of Michael Coleman Australasia’s foremost festivals and performing Member: Finance sub-committee arts organisations including the Michael Coleman joined the Belvoir Board as (Administrator, Associate Director, Artistic Director), Treasurer in May 2006 and chairs the Finance Adelaide Festival Centre (Programming Director, sub-committee. Michael has been a partner with Producer, Artistic Director), National Festival of KPMG since 1981. He is currently the Regional Australian Theatre (Artistic Director), New Zealand Leader for Asia Pacific Quality & Risk Management International Festival of Arts (Artistic Director), Arts and represents the region at a Global level. He is Projects Australia (Founding Co-Director) and Chairman of the Liability Reform Steering Group, a Sydney Theatre Company (General Manager). 40 41 loose affiliation of organisations (including the Big Louise Herron (Chair) Meetings of Directors 4 accounting firms) working towards professional Chair liability reform. Michael is Deputy Chair of the Member: Finance sub-committee, Government’s Financial Reporting Council, a HR sub-committee, Development sub-committee, member of the Government’s Not-For-Profit Sector Planning sub-committee Reform Council, Chair of the Reporting Committee Louise became a director of Belvoir on 2 February of the Australian Institute of Company Directors 2001 and has been Chair since 2002. Louise and Chair of the Advisory Board of the Centre for co-founded and is an executive director of Ironbark Board Meetings Indemnification and Insurance Accounting and Assurance Services Research at Corporate Advisory, a boutique advisory and During 2010, six meetings of Directors were held. of Directors and Officers the University of . Michael is also private equity firm. She advises on a wide range Attendance was as follows: During the financial year, the company paid a a Board Member of Osteoporosis Australia and of transactions including restructures, takeovers, premium in respect of a contract insuring the Chairman of Planet Ark Environmental Foundation. mergers and acquisitions. Louise has worked Number Eligible Number directors of the company against a liability incurred Gail Hambly with corporate advisers Carnegie Wylie, Investec Director to Attend attended as such a director, secretary or executive officer to Member: Finance sub-committee and was a director of their in-house Neil Armfield AO 6 3 the extent permitted by the Corporations Act 2001. private equity fund with investments in a range of Anne Britton 4 3 The contract of insurance prohibits disclosure of Gail is General Counsel and Company Secretary industries. Louise was previously a partner of Minter the nature of the liability and the amount of the of Fairfax Media Limited and a director of various Rob Brookman 1 1 Ellison Lawyers. Louise is a Trustee of Sydney premium. Fairfax Group companies in Australia and New Andrew Cameron 6 6 Grammar School. The company has not otherwise, during or Zealand. She is responsible for the provision of Peter Carroll 6 4 legal and company secretarial services across Brenna Hobson since the financial year, indemnified or agreed to Michael Coleman 6 5 the Group, as well as Risk Management and Executive Director and Company Secretary indemnify an officer or auditor of the company Internal Audit services. Her legal responsibilities Member: Finance sub-committee, Gail Hambly 6 5 against a liability incurred as such an officer or include media and corporate regulatory matters, HR sub-committee, Development sub-committee, Rachel Healy 4 4 auditor. intellectual property, defamation, employment law, Artistic sub-committee, Planning sub-committee Louise Herron 6 6 Auditor’s Independence Declaration corporations law and mergers and acquisitions Brenna joined the Board on 18 February 2008 Brenna Hobson 6 6 The directors received the declaration from the advice to the Fairfax Group. Gail is a member of when she became General Manager of Belvoir. Frank Macindoe 4 2 auditor of Belvoir and is included on page 56 of the the executive leadership team which develops and Previous to this she was General Manager of financial report. implements policy and strategy for the Group. She Mary Vallentine AO 2 2 Jigsaw Theatre Company in Canberra where she is a member of the Media and Communications Director’s Declaration was also a Board Member of the ACT Council of Committee and the Privacy Committee of the Law Finance Committee Meetings In accordance with a resolution of the directors of Cultural and Community Organisations, part of the Council of Australia and a member of the Advisory Company B Limited, I state that: steering committee of Canberra Living Artists Week The Finance Committee is a sub-committee of the Board of the Centre for Media and Communications and the ACT representative of Critical Stages. She Board. During the financial year, five meetings of In the opinion of the directors: Law at the University of Melbourne. directors were held. Attendance was as follows: has also been Production Manager of Bangarra (a) The financial statements and notes of Rachel Healy Dance Theatre and spent 11 years in Belvoir’s the company are in accordance with the Number Eligible Number production department. General Manager of Belvoir from 1997 to 2006, Members to attend attended Corporations Act 2001, including: Rachel has worked in the performing arts for Frank Macindoe Michael Coleman 5 5 (i) giving a true and fair view of the company’s 20 years as a manager and producer and has Member: Development sub-committee Gail Hambly 5 4 financial position as at 31 December 2010 and previously worked with The Australian Ballet, Frank joined the Belvoir Board mid-2010 and is a of its performance for the year ended on that Handspan Theatre and Magpie Theatre, the youth Louise Herron 5 4 member of the Development sub-committee. He is date; and wing of the State Theatre Company of South Brenna Hobson 5 5 an employee elected Trustee of the Goldman Sachs Australia. Rachel has served on a number of arts (ii) complying with Accounting Standards and & JB Were staff superannuation fund and chairs its boards including the Trust, Corporations Regulations 2001; and investment committee. Frank was a lawyer for 20 Other Information Legs on the Wall, Live Performance Australia, Kage (b) There are reasonable grounds to believe that years at Blake Dawson Waldron in Melbourne and Pearl Kermani Physical Theatre and has chaired the Helpmann the company will be able to pay its debts as and Sydney and Allen & Overy in London. He specialised Employee-elected representative – ex officio Awards’ theatre committee. In 1998 she was in domestic and international debt and equity when they become due and payable. awarded the inaugural Nugget Coombs Award for Pearl joined the Board as a non-voting member raisings, corporate reconstructions and infrastructure On behalf of the Board Arts Administration in the Young Manager category in January 2011. She has been involved in finance. He was a partner of Blake Dawson Waldron and served as Deputy Chair of the Theatre Board of theatre from a young age while at school and for 12 years and headed the national Banking & the Australia Council from 1999 to 2002. She was through university, being a member of SUDS while Finance group and the Project & Structured Finance a participant in the Prime Minister’s 2020 summit completing her Bachelor of Arts and Science at the group. Frank has an Honours Degree in Arts and and recently concluded four years as Director of University of Sydney. After completing her degree, Louise Herron a Bachelor of Law, both from the University of Performing Arts at Sydney Opera House. She is she studied theatre in France and on her return to Chair Melbourne. Frank is a Responsible Manager of Third now a director of her company, Rachel Healy & Australia began working at Belvoir in May 2010. Sydney, 28 March 2011 Link Growth Fund. Associates, and has recently become the Executive Manager Culture for the City of Sydney.

42 43 Statement of Statement of Comprehensive Income Financial Position

For the year ended 31 December 2010 Note 2010 ($) 2009 ($) As at 31 December 2010 Note 2010 ($) 2009 ($)

Revenue Current assets Production income 4,310,179 3,822,358 Cash and cash equivalents 13(a) 3,654,165 2,648,990 Grants income 3(a) 1,779,809 1,412,523 Receivables 4 263,911 157,165 Other income 3 2,944,880 2,634,686 Inventories 5 11,375 17,300 9,034,868 7,869,567 Other current assets 6 233,353 29,114 Total current assets 4,162,804 2,852,569 Expenses Production 5,189,753 4,473,679 Non-current assets Marketing and promotions 709,187 626,214 Receivables 7 58,882 14,333 Occupancy 291,024 153,734 Plant and equipment 8 40,660 67,211 Fundraising 229,438 179,512 Held to Maturity Investments 9 2,005,929 2,017,776 Administration 2,551,267 2,409,087 Total non-current assets 2,105,471 2,099,320 8,970,669 7842226

Total assets 6,268,275 4,951,889 Profit/(loss) before income tax 64,199 27,341 Income tax expense - - Current liabilities Net profit/(loss) for the period 64,199 27,341 Payables 10 1,037,207 679,538 Total comprehensive income for the period 64,199 27,341 Deferred revenue 11 3,335,096 2,343,873 Total revenue, expense and Provisions 12 389,437 484,565 valuation adjustments recognised directly in equity - - Total current liabilities 4,761,740 3,507,976 Total changes in equity other than those resulting from transactions with owners as owners attributable to Belvoir 64,198 27,341 Non-current liabilities The above statement of comprehensive income should be read in conjunction with the accompanying notes. Provisions 12 21,529 23,106 Total non-current liabilities 21,529 23,106

Total liabilities 4,783,269 3,531,082 Net assets 1,485,006 1,420,807

Equity Retained earnings 1,485,006 1,420,807 Total Equity 1,485,006 1,420,807 The above statement of financial position should be read in conjunction with the accompanying notes.

44 45 Statement of Cash Flows Notes to the Financial Statements For the year ended 31 December 2010 Note 2010 ($) 2009 ($) For the year ended 31 December 2010

Cash Flows From Operating Activites Receipts from patrons, customers and grant providers 9,685,740 8,170,357 1. Corporate Information The consolidated entity has early adopted the Payments to suppliers and employees (8,897,874) (7,769,357) provision for the Reduced Disclosure Requirements The financial report of Belvoir for the year ended Net cash flows from operating activities 787,866 401,000 which are mandatory for all accounting periods 31 December 2010 was authorised for issue in beginning on or after 1 July 2013. accordance with a resolution of the directors on 29 Cash Flows From Investing Activites March 2011. As at the date of this financial report, there are a Purchase of plant and equipment (11,907) (3,890) number of Australian Standards and Interpretations Belvoir is an unlisted non-profit company limited by that have recently been issued or amended Interest received 273,765 212,462 guarantee incorporated and operating in Australia. but are not yet effective however none of them Gain on disposal of assets - 2,819 The principal place of business and principal are expected to have a material impact on the Purchase of HTM Investments - (2,017,776) registered office is: company. Increase in security deposit (44,549) - 18 Belvoir Street c) Significant accounting policies Net cash used in investing activities 217,309 (1,806,385) Surry Hills NSW 2010 Accounting policies are selected and applied in a Australia manner which ensures that the resulting financial Cash Flows From Financing Activities The nature of the operations and principal activities information satisfies the concepts of relevance and Net cash flows used in financing activities - - of the Company are described in the Director’s reliability, thereby, ensuring that the substance of Report. the underlying transactions and other events is Net increase/(decrease) in cash held 1,005,175 (1,405,385) reported. Cash at the beginning of the financial year 2,648,990 4,054,375 2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES The following significant accounting policies have Cash at the end of the financial year 13(a) 3,654,165 2,648,990 been adopted in the preparation and presentation a) Basis of preparation of the financial report. The accounting policies The above statement of cash flows should be read in conjunction with the accompanying notes. The financial report is a general purpose financial adopted are consistent with those of the prior year. report which has been prepared in accordance with the Corporations Act 2001, Australian Accounting (i) Cash and cash equivalents Statement of Changes in Equity Standards and other authoritative pronouncements Cash and cash equivalents in the statement of of the Australian Accounting Standards Board. financial position comprise cash at bank and in hand and short-term deposits with an original The financial report has been prepared on the basis maturity of three months or less that are readily of the historical cost convention. Cost is based on Attributable to equity holders of the Company convertible to known amounts of cash and which the fair value of the consideration given in exchange For the year ended 31 December 2010 Retained earnings ($) Total ($) are subject to an insignificant risk of changes in for assets. value. At 1 January 2010 1,420,807 1,420807 The financial report is presented in Australian dollars For the purposes of the statement of cash flows, Net Profit/(Loss) for the year 64,199 64,199 unless otherwise stated. cash and cash equivalents consist of cash At 31 December 2010 1,485,006 1,485,006 b) Statement of compliance and cash equivalents as defined above, net of The financial report complies with Australian At 1 January 2009 1,393,466 1,393,466 outstanding bank overdrafts. Accounting Standards Reduced Disclosure (ii) Trade and other receivables Net Profit/(Loss) for the year 27,341 27,341 Requirements, which include Australian Equivalents Trade receivables, which generally have 30-90 At 31 December 2009 1,420,807 1,420,807 to International Financial Reporting Standards, day terms, are recognised initially at fair value and (AIFRS). The above statement of changes in equity should be read in conjunction with the accompanying notes. subsequently measured at cost using the effective The accounting policies are consistent with those of interest method, less an allowance for impairment. the previous financial year except for the adoption Collectability of trade receivables is reviewed on of the following new or amended accounting an ongoing basis. Individual debts that are known standards: to be uncollectible are written off when identified. AASB 2010-2: Amendments to Australian An impairment provision is recognised when there Accounting Standards arising from Reduced is objective evidence that the Company will not be Disclosure Requirements able to collect the receivable. AASB 1053: Application of Tiers of Australian Accounting Standards

46 47 (iii) Inventories (vi) Acquisition of assets the cash flow and as such a risk-free government (xiii) Other taxes Inventories consist of finished goods and are valued Assets acquired are recorded at the cost of bond rate relative to the expected life of the Revenues, expenses and assets are recognised net at the lower of cost and net realisable value. Net acquisition, being the purchase consideration provision is used as a discount rate. If the effect of of the amount of GST except: realisable value is the estimated selling price in the determined as at the date of acquisition plus costs the time value of money is material, provisions are • Where the GST incurred on a purchase of goods ordinary course of business, less estimated costs of incidental to the acquisition. discounted using a current pre-tax rate that reflects and services is not recoverable from the taxation completion and the estimated costs necessary to the time value of money and the risks specific to (vii) Held to Maturity Investments authority, in which case the GST is recognised as make the sale. the liability. The increase in the provision due to the Held to maturity investments are non-derivative part of the cost of acquisition of the asset or as passage of time is recognised as a finance cost. (iv) Recoverable amount of non-current assets financial assets with fixed or determinable part of the expense item as applicable; and At each reporting date, the Company assesses payments and fixed maturities that management (xi) Employee entitlements • Receivables and payables are stated with the whether there is any indication that an asset may have the positive intention to hold to maturity. Provision is made for employee benefits amount of GST included. be impaired. Where an indicator of impairment These assets are measured at amortised cost using accumulated as a result of employees rendering exists, the Company makes a formal estimate of the effective interest method. services up to the reporting date. These benefits The net amount of GST recoverable from, or payable recoverable amount. Where the carrying amount of include wages & salaries, annual leave, and long to, the taxation authority is included as part of (viii) Leases an asset exceeds its recoverable amount the asset service leave. receivables or payables in the statement of financial The determination of whether an arrangement is is considered impaired and is written down to its position. or contains a lease is based on the substance Wages, salaries, annual leave and other short term recoverable amount. of the arrangement and requires an assessment employee entitlements Cash flows are included in the statement of cash Recoverable amount is the greater of fair value less of whether the fulfilment of the arrangement is Liabilities for wages and salaries, including flows on a gross basis and the GST component costs to sell and value in use. It is determined for dependent on the use of a specific asset or assets non-monetary benefits, annual leave and other of cash flows arising from investing and financing an individual asset, unless the asset’s value in use and the arrangement conveys a right to use the employee entitlements expected to be settled activities, which is recoverable from, or payable cannot be estimated to be close to its fair value asset. within 12 months of the reporting date are to, the taxation authority, are classified as part of less costs to sell and it does not generate cash recognised in respect of employees’ services up operating cash flows. Company as lessee inflows that are largely independent of those from to the reporting date. They are measured at the Operating lease payments are recognised as an Commitments and contingencies are disclosed net other assets or groups of assets, in which case, amounts expected to be paid when the liability is expense in the statement of comprehensive income of the amount of GST recoverable from, or payable the recoverable amount is determined for the cash- settled. Expenses for non-accumulating employee on a straight-line basis over the lease term. to, the taxation authority. generating unit to which the asset belongs. benefits such as sick leave are recognised when (ix) Trade and other payables the leave is taken and are measured at the rates (xiv) Revenue recognition In assessing value in use, the estimated future cash Trade and other payables are carried at amortised paid or payable. Revenue is recognised and measured at the fair flows are discounted to their present value using a cost and due to their short term nature they are value of the consideration received or receivable pre-tax discount rate that reflects current market Long service leave not discounted. They represent liabilities for goods to the extent that it is probable that the economic assessments of the time value of money and the The liability for long service leave is recognised and services provided to the Company prior to the benefits will flow to the Company and the revenue risks specific to the asset. and measured as the present value of expected end of the financial year that are unpaid and arise can be reliably measured. The following specific future payments to be made in respect of services (v) Plant and equipment when the Company becomes obliged to make recognition criteria must also be met before revenue provided by employees up to the reporting Plant and equipment is stated at historical cost less future payments in respect to the purchase of these is recognised: date using the projected unit credit method. accumulated depreciation and any accumulated goods and services. Consideration is given to expected future wage and Productions impairment losses. (x) Provisions salary levels, experience of employee departures, Revenue is recognised upon the performance of Depreciation is calculated on a straight-line basis Provisions are recognised when the Company has and periods of service. Expected future payments productions to which the ticket revenue relates. over the estimated useful life of the asset as follows: a present obligation (legal or constructive) as a are discounted using market yields at the reporting Interest result of a past event, it is probable that an outflow date on national government bonds with terms to Plant and equipment 3 -7 years Control of the right to receive the interest payment. of resources embodying economic benefits will maturity and currencies that match, as closely as Motor vehicles 6 - 7 years be required to settle the obligation and a reliable possible, the estimated future cash outflows. Sponsorship and Donations revenue Furniture and fittings 5 -10 years estimate can be made of the amount of the Sponsorship (xii) Income tax The assets’ residual values, useful lives and obligation. Sponsorship commitments are brought to account The company is exempt from income tax under amortisation methods are reviewed, and adjusted if as income in the year in which sponsorship benefits Provisions are measured at the present value of Subdivision 50-B of the Income Tax Assessment appropriate, at each financial year end. are bestowed. management’s best estimate of the expenditure Act 1997, as granted by the Commissioner of required to settle the present obligation at balance Taxation on 8 June 2000. Consequently the Donations date using the discounted cash flow methodology. company has not provided for any liability for All donations are brought to account as received. The risks specific to the provision are factored into income tax in these financial statements.

48 49 (xv) Government grants and other associated expenditure in respect of 3.(a) government Grants Received During The Year Government grants are recognised at their fair value performances not yet performed but will be in the Unexpended Grants Grant Unexpended where there is reasonable assurance that the grant next 12 months are included in the statement of Grants Income Expenditure Grants will be received and all attaching conditions will be financial position as part of prepaid expenditure. Brought Received 2010 Carried complied with. Funding revenue is received from (xvii) Advance box office Forward 2010 (Net Grant Forward the government for specific activities. The funding is from 2009 Income) to 2011 Monies received from both subscribers and non- received based on payment schedules contained in subscribers for advanced bookings are included Australia Council the funding agreement between the funding bodies in income progressively during each production MPAB Annual Grant - 599,583 599,583 - and the Company. The funding is recognised in to which they relate, and not before. All monies the calendar year for which it is intended under Fostering Artistic Vibrancy - International Grant - 20,000 20,000 - received in advance for 2010 box office income is the terms of the agreement due to the conditional Fostering Artistic Vibrancy - Young & Emerging Artists - 15,000 15,000 - recorded as deferred revenue and transferred to nature of the funding. income when the respective show concludes. Fostering Artistic Vibrancy - Young & Emerging Artists - 15,000 15,000 - (xvi) Productions Remuneration Restructuring Grant - 320,000 - 320,000 (xviii) Prior year comparatives The total cost of staging productions, including the Interconnections Grant - 30,000 16,000 14,000 Where necessary, comparatives have been manufacturing cost of costumes, scenery sets and reclassified and repositioned for consistency with Arts Organisations, Young & Emerging Artists - 25,000 25,000 - properties, is charged to income and expenditure current period disclosures. Women Directors’ Forum Grant, Theatre Board - 23,000 23,000 - in the period each production is performed. This procedure conforms to standard theatrical (xix) Reserves Professional Development 15,000 - 15,000 - accounting practice as adopted in Australia and The Company has a target of achieving and Professional Development 15,000 -15,000 - - other parts of the world. Costs of production maintaining reserves of 20% of annual expenditure. Interconnections Grant 25,000 - 15,000 10,000 Forensic Artisitic Vibrancy – International Grant - 50,000 - 50,000 Australia Council Total 55,000 1,082,583 743,583 394,000

Arts NSW Annual Grant - 919,582 919,582 - 3. OTHER INCOME 2010 ($) 2009 ($) ConnectEd: Ticket & Travel Subsidy 1,667 4,500 5,010 1,157 ConnectEd: Theatre Enrichment - 15,000 15,000 - Other Income ConnectEd: Regional Education Workshops 5,000 - 5,000 - Sale of goods – Bar 344,353 345,897 Philip Parsons Program Grant - 9,000 9,000 - Rental revenue – Theatre and venue 186,251 203,428 Australian Performing Arts Market Grant - 2,344 2,344 - Sponsorship income 882,201 744,775 Project Grants - Voices - 50,000 50,000 - Fundraising and donations 647,233 528,787 Project Grants - Sapphires in Korea - 8,815 8,815 - Box Office Fee Income 487,108 445,947 Arts NSW Total 6,667 1,009,241 1,014,751 1,157 Other 128,087 208,732 Interest income 269,647 157,120 Commonwealth 2,944,880 2,634,686 Department of Families, Housing, Community Services & Indigenous Affairs - 290,000 - 290,000 Department of Foreign Affairs & Trade, Australia-Korea Foundation- 10,000 10,000 - Commonwealth Total - 300,000 10,000 290,000

Local Government Local Community Grants: Youth Express workshops 3,000 - 3,000 - Indigenous Audience Development - 10,000 5,000 5,000 Local Government Total 3,000 10,000 8,000 5,000

Other Housing NSW – Northcott Workshops 3,475 - 3,475 - Other Total 3,475 - 3,475 -

TOTAL GRANTS 68,142 2,401,824 1,779,809 690,157

All Government funding has been spent in accordance with funding agreements.

50 51 4. CURRENT RECEIVABLES 2010 ($) 2009 ($) 2009 Plant & Motor Furniture Equipment Vehicles & Fittings Total Trade receivables 173,651 144,051 Gross Carrying Amount Allowance for doubtful debts - - Balance at 31 December 2008 166,468 36,544 54,692 257,704 173,651 144,051 Additions 3,890 - - 3,890

Interest receivable 7,730 - Disposals (19,017) - (600) (19,617) Goods and Services Tax (GST) Receivable 35,502 13,11 Balance at 31 December 2009 151,341 36,544 54,092 241,977 Other 47,028 - Accumulated Depreciation 263,911 157,165 Balance at 31 December 2008 (83,550) (32,220) (20,102) (135,872) Disposals 7,138 - 240 7,378 5. INVENTORIES 2010 ($) 2009 ($) Depreciation expense (36,719) (4,324) (5,229) (46,272) Finished goods 11,375 17,300 Balance at 31 December 2009 (113,131) (36,544) (25,091) (174,766)

6. OTHER CURRENT ASSETS 2010 ($) 2009 ($) Net Book Value As at 31 December 2009 38,210 - 29,001 67,211 Prepayments 233,353 29,114 9. HELD TO MATURITY INVESTMENTS 2010 ($) 2009 ($) 7. NON-CURRENT RECEIVABLES 2010 ($) 2009 ($) Convertible Preference Shares at amortised cost 2,005,929 2,017,776 Security Deposits 58,882 14,333 The convertible preference shares, which were acquired December 2009 and are intended to be held to 8. PLANT AND EQUIPMENT maturity in September 2014, have a face value of $1,961,500.

2010 Plant & Motor Furniture 10. Payables 2010 ($) 2009 ($) Equipment Vehicles & Fittings Total Gross Carrying Amount Trade payables 556,820 441,052 Balance at 31 December 2009 151,341 36,544 54,092 241,977 Sundry payables 237,301 115,413 Additions 10,406 - 1,501 11,907 Accrued expenses 227,611 114,584 Disposals - - - - Amounts payable to Belvoir St Theatre Limited 15,475 8,489 Balance at 31 December 2010 161,747 36,544 55,593 253,884 1,037,207 679,538

Accumulated Depreciation 11. DEFERRED REVENUE 2010 ($) 2009 ($) Balance at 31 December 2009 (113,131) (36,544) (25,091) (174,766) Advance ticket sales 2,518,833 2,051,454 Disposals - - - - Grants in advance 816,263 286,584 Depreciation expense (31,358) - (7,100) (38,458) Other Deferred Revenue - 5,835 Balance at 31 December 2010 (144,489) (36,544) (32,191) (213,224) 3,335,096 2,343,873 Net Book Value As at 31 December 2010 17,258 - 23,402 40,660 12. PROVISIONS (CURRENT AND NON-CURRENT) 2010 ($) 2009 ($)

Long service leave 36,060 48,317 Annual Leave 91,037 104,497 Provision for Loss Making Productions 133,943 167,730 Other Employee Provisions 149,926 187,127 410,966 507,671

52 53 Movement in provisions 14. Commitments and contingencies 2010 ($) 2009 ($)

Employee Loss Other (a) Lease Commitments Leave Making Employee Non-cancellable operating leases: Entitlements Productions Provisions Total

$ $ $ $ Not longer than 1 year 91,299 45,432 At 1 Jan 2010 152,814 167,730 187,127 507,671 Longer than 1 year and not longer than 5 years 270,052 181,728 Arising during year 251,643 133,943 98,223 483,809 Greater than 5 years 400,950 117,366 Utilised during year (277,360) (167,730) (135,424) (580,514) 762,301 344,526 At 31 Dec 2010 127,097 133,943 149,926 410,966

Current 2010 105,568 133,943 149,926 389,437 A non-cancellable operating lease for renting a workshop and storage space in Lewisham is in place, with a Non-Current 2010 21,529 - - 21,529 remaining term of 20 months. A non-cancellable operating lease for renting a workshop and storage space in Marrickville is also in place, with a remaining term of 12 years. 127,097 133,943 149,926 410,966 An operating lease for rent of the warehouse and theatre is currently in place with Belvoir St Theatre Limited. Current 2009 129,708 167,730 187,127 484,565 The rental amount is a varying figure, being the equivalent of the annual outgoings, therefore is not included in Non-Current 2009 23,106 - - 23,106 the table above. 152,814 167,730 187,127 507,671 (b) Contingent Liabilities Belvoir will have from 2012, an obligation to BSTL for a sinking fund as required under the lease rental 2010 2009 agreement between BSTL and Belvoir for the Belvoir St Theatre and warehouse premises. At the date of signing this financial report, management of both companies have yet to come to an agreement on the Number of permanent employees at end of financial year 30 34 amount of the sinking fund required, as such Belvoir cannot book a provision as at 31 December 2010.

(b) Nature and timing of provisions 15. SEGMENT INFORMATION (i) Annual Leave and other short term employee benefits The company’s activities involve the operation of a live theatre and the production of live theatrical Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and performances. The activities are conducted primarily within Australia. assumptions applied in the measurement of this provision. (ii) Long service leave 16. RELATED PARTY DISCLOSURES Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and There were no transactions with related parties during the year other than those with Directors. Payments assumptions applied in the measurement of this provision. made to directors are not for their services as directors of the Company for which no fee is received. (iii) Provision for Loss Making Productions Payments were made by the Company to some directors for their contributions as employees of, or Provisions for productions in subsequent calendar year(s) which management determine as loss-making, for contractors to the Company. Total short-term employment benefits were made to directors was $174,512 which the company has a firm commitment to produce. Refer to Note 2 for the relevant accounting policy in (2009: $145,406). relation to recognition and measurement principles. 17. MEMBERS GUARANTEE 13. NOTES TO THE STATEMENT OF CASH FLOWS 2010 ($) 2009 ($) Belvoir is incorporated in New South Wales as a company limited by guarantee. In the event of the company (a) Reconciliation of Cash being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the Cash at the end of the financial year as shown in the company’s liabilities. As at 31 December 2010 there were 56 members of Belvoir and the amount of capital statement of cash flows is reconciled to the related items that could be called up in the event of Belvoir being wound up is $1,120. in the statement of financial position as follows:

Cash on hand 16,711 13,995 Cash at bank and short-term deposits 3,637,454 2,634,995 3,654,165 2,648,990

(b) Cash held in Escrow - Reserves Incentives Funding Scheme The funds received under the Reserves Incentives Funding Scheme of the Australia Council and Arts 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 not been used to secure any liabilities of the Company. As at 31 December 2010, the company is holding $168,023 (2009: $165,530) under this scheme.

54 55 Auditor’s Independence Declaration and Report

Auditor’s Independence Declaration An audit involves performing procedures to obtain to the Directors of Belvoir audit evidence about the amounts and disclosures in the financial report. The procedures selected In relation to our audit of the financial report of depend on the auditor’s judgment, including the Company B Limited (trading as Belvoir) for the assessment of the risks of material misstatement of year ended 31 December 2010, to the best of the financial report, whether due to fraud or error. my knowledge and belief, there have been no In making those risk assessments, the auditor contraventions of the auditor independence considers internal controls relevant to the entity’s requirements of the Corporations Act 2001 or preparation of the financial report that gives a true any applicable code of professional conduct. and fair view in order to design audit procedures Ernst & Young that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal controls. An audit also includes evaluating the appropriateness David Simmonds of accounting policies used and the reasonableness Partner of accounting estimates made by the directors, as Sydney, 28 March 2011 well as evaluating the overall presentation of the financial report. Independent Auditor’s Report to We believe that the audit evidence we have the Members of Company B Limited obtained is sufficient and appropriate to provide a (trading as Belvoir) basis for our audit opinion. We have audited the accompanying financial Independence report of Company B Limited, which comprises the In conducting our audit we have complied with the statement of financial position as at 31 December independence requirements of the Corporations Act 2010, the statement of comprehensive income, 2001. We have given to the directors of the company statement of changes in equity and statement a written Auditor’s Independence Declaration, a of cash flows for the year then ended, notes copy of which is included in the directors’ report. We comprising a summary of significant accounting confirm that the Auditor’s Independence Declaration policies and other explanatory information, and the would be in the same terms if given to the directors directors’ declaration. as at the time of this auditor’s report. Directors’ Responsibility for the Financial Report Auditor’s Opinion The directors of the company are responsible for In our opinion the financial report of Company B the preparation of the financial report that gives Limited is in accordance with the Corporations Act a true and fair view in accordance with Australian 2001, including: Accounting Standards – Reduced Disclosure (i) giving a true and fair view of the financial position Requirements and the Corporations Act 2001 of Company B Limited at 31 December 2010 and for such internal controls as the directors and of its performance for the year ended on that determine are necessary to enable the preparation date; and of the financial report that is free from material misstatement, whether due to fraud or error. (ii) complying with Australian Accounting Standards – Reduced Disclosure Requirements and the Auditor’s Responsibility Corporations Regulations 2001. Our responsibility is to express an opinion on the financial report based on our audit. We conducted Ernst & Young our audit in accordance with Australian Auditing Standards. Those standards require that we comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to David Simmonds obtain reasonable assurance about whether the Partner financial report is free from material misstatement. Sydney, 28 March 2011

56 Annual Report Production Coordination Belvoir Marketing Department Design Alphabet Studio Printing No Time To Lose

For any Annual Report 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]

The Sapphires. Photo: Heidrun Löhr.