Celebrating 20 Years of Democracy! Contents

THE MARKET THEATRE • LABORATORY • PHOTO WORKSHOP

AN AGENCY OF THE DEPARTMENT OF ARTS AND CULTURE

ANNUAL REPORT 2013/14

Celebrating 20 years of Democracy! Contents

Act 1 Highlights 02 Act 2 Submission of the Annual Report to the Executive Authority 03 Act 3 Corporate Governance Report 04 Act 4 Chairperson’s Report 06 Act 5 Chief Executive Officer’s Report 08

© Ruphin Coudyzer FPPSA Act 6 Human Resources Report 11 Market Theatre Act 7 Artistic Director’s Report 12 Act 8 Annual Performance Report 14 Act 9 Report of the Finance and Audit Committee 21 Act 10 Report of the Auditor-General 22 Act 11 Report of Council 24 Act 12 Statement of Financial Position 27 Act 13 Statement of Financial Performance 28 Act 14 Statement of Changes in Net Assets 29 Act 15 Cash Flow Statement 30 Act 16 Accounting Policies 32 Act 17 Notes to the Annual Financial Statements 36 Act 18 Schedule of Operating Costs 49 Act 19 Report of the Market Laboratory 50 Act 20 Report of the Market Photo Workshop 54 © Ruphin Coudyzer FPPSA The Last Moustache Act 21 The Market Theatre Productions 58 Act 22 Acronyms 63 Act 23 The Market Theatre Foundation Council and Patrons 64 Act 24 Organisational Structure 65 Act 25 Staff 66 Act 26 Management Team 68

0001 ActHighlights 1: ActSubmission 2: of the Annual Report to the Executive Authority

Productions • Alumni Harriet Manamela wins Best Supporting Actress In accordance with the provisions of the Public Finance (3) engaging, educating and developing a diverse in a TV Drama at the SAFTAs for her role in Skeem and Management Act, 1999 (Act 1 of 1999), we take community through the performing and visual arts to • Received 30 Naledi Awards nominations. Saam. pleasure in submitting to Parliament, this report of the become enthusiastic audience members and • Formalised a new partnership with the Naledi Awards • Alfred Motlhapi, 2013 graduate, is selected as an intern activities of the Market Theatre Foundation for the financial supporters. for the inaugural Sophie Mgcina award for the Best with the Vuyani Dance Company. year ended 31 March 2014. Emerging Voice – bolstering the Market Theatre’s • Salome Sebola 2013 graduate, is selected by the VALUES commitment to the empowerment of emerging arts National Children’s Theatre to take part in their Young APPLICABLE ACTS practitioners by providing them with a platform to Directors Programme. • We are proudly South African and deeply conscious of perfect their skill. • Alumni Omphile Molusi to present a reading of his new This report is submitted in compliance with the Constitution our history and current social context. • Presented a season of “Market Madness” in association play at the Royal Court in London as part of the Royal of the Republic of South Africa, 1996 (Act 108 of 1996), the with the National Arts Festival, Grahamstown. A total of Court New Writing Programme. Public Finance and Management Act (Act 1 of 1999 as • We value and protect our artistic independence and 6 productions were presented on the main and student amended by Act 29 of 1999), Treasury Regulations (2001), right of free expression. festivals in one week. The Market Photo Workshop the Cultural Institutions Act (Act 119 of 1998), amongst other • As part of the Department of Arts and Culture’s Mzanzi applicable acts and regulations. • We produce and present authentic South African and Golden Economy strategy, funding under the Touring • The Transition exhibition was launched at the international art that is innovative and of the highest Venture was made available to present productions in Rencontres d’Arles, France and between July to Vision quality. remote areas of the country in order to ‘take theatre to September 2013, received 43,289 visitors and was the people’. The Market Theatre toured 2 productions, visited by French President François Hollande. The The vision of the Market Theatre Foundation (MTF) is • We value our clients and aim to delight them with our Woza Albert! and The Line to the following venues: publication Transition, published by Xavier Barral to create an authentic South African arts and culture offerings and service. o Thusong Centre, Alexandra township; Editions, was launched in France and South Africa and experience which is committed to providing the highest o Grahamstown (National Arts Festival); became a key contemporary document of landscape level of artistic excellence. • We are conscious of and accept our social responsibil- o The Steve Biko Centre, Ginsberg in King Williamstown; photography, 100 years after the Natives Land Act ity to train quality performing and visual artists and to o PACOFS, Bloemfontein; (1913) restricted and confined land ownership. use our art forms to improve people’s lives. o The Hilton Festival; • The inclusion of the Photo Workshop in the milestone Mission o Casterbridge Centre, Whiteriver, outside Nelspruit; exhibition My Jo’burg at Maison Rouge, Paris. A • We are custodians of the Foundation and always act o Witbank Civic Theatre, eMalahleni. dedicated room was given to the Photo Workshop to In order to realise our vision, our mission is to ensure the long in its best interest within the parameters of the Con- curate a contemporary narrative of Johannesburg, term future of the MTF by: stitution, Bill of Rights, legislation and the principles of Market Laboratory placing 11 Photo Workshop photographers amongst good governance. some of South Africa’s most important artists. (1) producing and providing a platform for a professional performing and visual arts repertoire that is • Student production, Milk and Honey, wins 3 awards at • The Apartheid & After exhibition at the prestigious Huis • We respect all our stakeholders and their needs. authentic and artistically excellent; the National Arts Student Festival, including “Production Marseille Museum and Gallery in Amsterdam, where with the Most Potential for a Professional Run”. the Photo Workshop produced a video insert as well • We treat all people with respect and act with honesty (2) developing the next generation of South African • The Lab, in collaboration with Think Theatre, hosts Liz as work from 7 photographers. The exhibition was a and integrity in all we do. performing and visual arts talent; Bradley, Chair of Drama at the Tisch School of the Arts, major photography retrospective after apartheid and New York University, for the Self-Start Intensive, a short included work from David Goldblatt, Santu Mofokeng, • We acknowledge the commitment of our staff and course in artistic entrepreneurship. Pieter Hugo, Jo Ractliffe and Guy Tillim, amongst others. recognise them as our most valuable asset. • Philip Dikotla wins the Fleur du Cap for Best • Alumni Zanele Muholi was awarded the prestigious Performance in a Revue, Musical or One Person Show, Prince Claus Award for her ‘visual activism’. as well as the Best of the 2013 Zabalaza Theatre Festival • Alumni Sabelo Mlangeni and Thabiso Sekgala were and an Encore Ovation Award at the National Arts included in the notable exhibition curated by Okwui Festival for his one-man show, Skierlik. Enwezor and Rory Bester Rise and Fall of Apartheid: Photography and the Bureaucracy of Everyday Life shown in New York, Munich and Johannesburg. Both photographers are included in the epic catalogue.

Financial

• Cash on hand at year end amounted to R92,7 million (2013: R81,6 million) of which R86,5 million (2013: R71,9 million) are conditional grants. R74,6 million (2013: R68,6 million) included in the conditional grants may be spent on Capital Works only. • The Foundation maintained its going concern status and ended the year with an accumulated surplus of © Ruphin Coudyzer FPPSA R11,4 million (2013: R10,8 million). © Ruphin Coudyzer FPPSA Asinamali Four Seasons

02 0003 ActCorporate 3: Governance Report

Background Council and independent external members. • obtain the necessary assistance of personnel in The Committee met 4 times. departments and functions of the Market Theatre The MTF subscribes to the sound principles of good Foundation where they perform audits, as well as corporate governance. The Finance and Audit Committee was fully functional as other specialised services from within or outside the is evident from its report on page 21. organisation. The MTF is a Schedule 3A entity, set up by an act of Parliament in 1998 – the Cultural Institutions Act (No 119 of Risk Policy Framework Internal Audit reports quarterly to the Finance and 1998, as amended). The corporate governance principles Audit Committee. The report to the Finance and Audit of the MTF are governed by the Cultural Institutions Act, as A policy was adopted to manage all categories of risk Committee includes: amended by the Cultural Laws Amendment Act (No 36 of associated with the Foundation’s business operations 2001) & the Public Finance Management Act (No 1 of 1999). through the development and maintenance of a formal • results of the internal audit reviews undertaken and risk policy framework. finalised during the preceding 6 months; and The Council Charter was approved by Council with a clear definition of the roles and responsibilities of the constituent A risk profile was developed and updated from which • progress against the approved Annual Internal Audit elements of the MTF’s management structure. This enables a Risk Assessment Report was prepared detailing the Plan – including any deviations from the approved Council to plan, execute, control and monitor the management actions taken and to be taken in relation to plan. Foundations’ activities in accordance with the strategic each risk identified. objectives. The Delegated Authorities policy determines Investment Policy levels of authority for Council and Management in respect Fraud Prevention Strategy of financial and operational decision-making, including Council has adopted the following investment policy major investments, capital expenditure and contractual which has been complied with during the year: engagements. The internal audit function monitors An anti-fraud policy statement was adopted and an anti- compliance with these assigned levels. fraud strategy was developed. No fraudulent activities The Management of the Foundation only has the were identified. An independent Fraud Reporting System authority to invest the funds of the MTF in a bank account In terms of Section 5 of the Act, the MTF functions under was implemented and employees and clients are made at an investment graded bank and in the name of the © Ruphin Coudyzer FPPSA the authority of a Council appointed by the Minister aware of its existence on an ongoing basis. Market Theatre Foundation and should not be fixed for a Ukutshona Ko Mendi... Did We Dance of Arts and Culture. The Council consists of at least 8 period exceeding 12 months. members. Internal Audit

Governance KPMG served the 2nd year of the 2nd term of a 3 year appointment. A Strategic Three-year Rolling and Annual In terms of the PFMA we had a functional Finance and Internal Audit Plan was prepared to provide efficient and Audit Committee and internal audit function (outsourced effective assurance service to: to KPMG) for the year under review. • Council Committees of Council • Chief Executive Officer • The Finance and Audit Committee and Council has delegated specific responsibilities to a number • Management. of committees which operate within terms of reference approved by the Council. The following Committees were The internal audit approach is a risk-based plan to operational for the financial year under review: align the priorities of the internal audit function with the objectives and goals of the Foundation and the related i. Finance and Audit Committee strategic risks as identified for the Foundation. ii. Risk Committee iii. Human Resources Committee Internal Audit evaluates and contributes to the iv. Fundraising and Marketing Committee improvement of risk management, control and v. Building Project Committee governance systems. Internal Audit is authorised to:

• have unrestricted access to all functions, records, Meetings property and personnel of the Market Theatre Foundation; Council: Council meetings are held at least 4 times a year. During • have full and uninhibited access to the Finance and the period under review, Council held 4 meetings and Audit Committee; met with staff twice. © Ruphin Coudyzer FPPSA • allocate its own resources, determine frequencies, The Mountaintop Finance and Audit Committee: subjects, scope of work to be performed and apply the The Finance and Audit Committee is chaired by an techniques required to accomplish its audit objectives; external member and comprises 4 members, 2 from

04 0005 ActChairperson’s 4: Report

The Market Theatre Foundation continues to push I would like to acknowledge the following organisations for up, hence our staff are under economic pressure. Our boundaries, speaks truth to power and produces cutting their support to the MTF, which makes it possible for us to wage negotiations were centred on integrity and good edge Artistic work. Our own evolution is inspired by our do the work we do: faith – where we flattened the hierarchy in negotiations own Cultural Revolution which seeks to disrupt our comfort and became part of one team. In the end, we reached zone and how we programme art. Through this revolution Barney Simon Trust an agreement – where the Market Theatre Foundation we want our Art to meet Commerce - this will provide Business and Arts South Africa won. As Council we have promised to continue to look for interdependence and sustainability of our work whilst Department of Arts and Culture further resources to direct towards our employees welfare. we serve our communities with artistic truth and integrity. Embassy and Consulate General of the United States of This is a promise – a promise we have made and a promise We want to remain iconic and continue to be one of the America we shall keep for as long as it takes to achieve it. We need, leading theatres and artistic institutions of the world. We Gauteng Province - Department of Sports, Arts, we want, we demand a professional and world class team. want to be the gold standard for great Artistic work. Culture and Recreation We thank each member of staff for their sterling efforts Getty Images towards this focused goal. Our organisation is international with a strong local National Arts Council of South Africa presence. This approach motivates us to create National Festival of the Arts We would like to thank each and every member of collaborations that matter, have impact and are good National Lottery Distribution Trust Fund management who continues to inspire their team to be for the long-term. We are on a modest but aggressive Open Society Foundation for South Africa the best. Each business unit and its staff members remain journey to reconnect with all our illustrious alumni. People Pro Helvetia central in the execution of our Cultural Revolution. To who made and continue to make the Market Theatre The Media Development and Diversity Agency James Ngcobo – Artistic Director, we have seen good Foundation what it is today – a place of Artistic Excellence. Tierney Family Foundation things - we still expect great things ahead. To Christine The series of Chairman’s dinners have been one of the McDonald – Chief Financial Officer, continue to be the most effective vehicles to reconnect, re-energise and I would like to extend my sincere thanks to DLA Cliffe stability factor, keeping the organisation within its means re-inspire our institution to friends, funders, partners and Dekker Hofmeyr Inc for providing legal advice to the whilst being creative on the future direction. To Annabell patrons. We continue to use soft power to further enhance Foundation on a pro bono basis. Lebethe – Chief Executive Officer, you are a sign of new our Artistic Output. life, progress and growth. Thank you for all your efforts. The Foundation was given a responsibility to manage We welcome the R1,5 billion rand worth of investments and be the accounting authority of Windybrow Arts Our decision making is improved multi-fold with vigour in the precinct. Our value as an organisation is beyond Centre. This institution has been plagued by successive when we execute diligently. the numbers on our balance sheet – the economic value maladministration, poor governance and equally poor enormous. Several companies will be moving to the leadership over time. We have taken this challenge During the year under review – we deployed a member Newtown precinct by mid-2014, making this area alive from the Department of Arts and Culture with humility, of Council Dr Mokone-Matabane whilst our CEO was on again with a mix: corporate, retail and art. vigour and a single mind of restoring it to its mandate. maternity leave. She continues on a limited but related We have created teams to work on the turn-around with assignment with The Market Theatre Foundation – you have I am proud of our achievements for the year under review, all our committees including Council, to have oversight. done us proud, especially on the human element. which include the following: The DAC officials are working alongside us through JOC (Joint Operations Committee) in addressing every single To all my Council members, individually and collectively, • Signing of Shareholder’s Compact with the Minister of challenge towards a winning solution. We will get it right you have been and continue to be the best Council any This report is presented in the year we mark the 20 years Arts and Culture within a reasonable time. Arts institution has ever had. To all committee members, of democracy in our beautiful land, a country of great • Purchase of the property on Bree, Miriam Makeba, you have done exceptional work, your efforts grant us the potential and promise for its people. Great strides have Gerard Sekoto and Jeppe Streets The Market Theatre Foundation has a long history of privilege of a clean audit as standard – we thank you. At been made to dismantle apartheid and its systematic • Opening of the Main Theatre, our signature stage, after working on global stages in collaborations. The foreign the centre of each decision making, there is The Market dividend which is prevalent in our communities across our a 7 month renovation project Diplomatic Corps in South Africa have always been Theatre Foundation’s best interest and that is leadership land. It’s also a time to reflect on the performance of our • Appointment of Mr James Ngcobo as the Artistic supportive of our Artistic endeavours through consumption, at its best. You have made my tenure as Chairman – a leaders based on what they could have done given the Director of the Market Theatre collaborations, tours and fundraising. We shall continue rewarding journey. I salute you. challenges we faced and resources at their disposal. The with this activation – to deepen our friendship and reset latter gives us results which are of a mixed bag – leaving a The Department of Arts and Culture (DAC) has been at where necessary. To this end, I would like to single out sour taste, unfulfilled promises but yet we still believe in the its best under Minister Paul Mashatile, Deputy Minister Ambassador Patrick Gaspard (United States of America to South African Dream. Phaahla and Director-General Sibusiso Xaba. They gave South Africa), for leading his team to collaborate with us in this department a human face, a point of reference and hosting Ketekang – a production celebrating 20 years of The Theatre, Photo Workshop and Laboratory will be a willingness to try new things. We have noticed the efforts democracy. Ambassador Gaspard has led from the front, focused on marking this great occasion not only with a lens of the DAC officials where it matters the most. We remain inspired other diplomatic missions and reconfirmed our Kwanele Gumbi of 20 years but through a lens of our human interaction as supportive of all efforts that seek to improve the overall strong partnership and sealed our friendship for the next Chairperson of Council a people, over time. What the future holds will also be put performance of the department to be the most efficient generation. 25 July 2014 under sharp scrutiny especially that we are in an election and resourced, with greater impact. Our relationship with year. “One Man, One Vote” is one of the key pillars of DAC is beyond funding – it’s a partnership to create a All our efforts hinge on the well-being and efforts of democracy and that’s where every administration gets its legacy for the country, its people and also be the world’s our employees. The economic climate continues to mandate and credibility to form and lead government. best within the Arts. deteriorate and the standard of living is forever going

06 0007 ActChief Executive 5: Officer’s Report

I am pleased to present this Annual Report in the midst of policy developed in 1998, following the ACTAG process. and training block opposite Mary Fitzgerald Square and major and exciting changes taking shape in the Newtown This review is significant for the MTF, other cultural institutions Newtown Junction. Cultural Precinct. Despite the physical conditions around and the arts, culture and heritage sector, as it will hopefully us, the MTF continued to excel and present diverse lay a new foundation for institutional architecture, sector The major construction works present exciting opportunities programming that speaks to our mandate and raison support and development and the role of funding for the precinct and the temporary disruption should bode d’etre. organisations. well for the future of precinct.

The year under review was marked with the achievement We look forward to the finalisation of this process as nearly Main Theatre Renovation of a significant milestone with the opening of the Main 20 years of a democratic dispensation require a refreshed Theatre. We successfully provided work opportunities to and contemporary approach to arts, culture and heritage The renovation of the Main Theatre was completed in July over 241 practitioners and arts organisations, without whom support. 2013. The renovated space boasts an increased seating we would be unable to present the work of the MTF. capacity, new seats and state-of-the-art sound and Artistic Re-visioning lighting equipment. This iconic stage, which has hosted arts and culture luminaries, was reopened with much fan-fare, glamour The MTF embarked on an exercise to define and re-vision Cosac Construction and artistic mastery. I wish to acknowledge the support its artistic proposition. The artistic vision was defined to provided by the Department of Arts and Culture in encapsulate the principles of artistic excellence that will Work on the construction of the Market Theatre generously granting the capital works budget to the MTF, guide the work we produce and present. which has enabled us to renovate existing infrastructure administration and training complex began in earnest in January 2014. and purchase properties in Newtown. This exercise was important for us, as the operating context is under continuous change. The organisation has to be We presented 54 productions which resulted in 744 The complex will house the corporate offices, the Market mindful of the social issues, the environment and the Photo Workshop school and gallery, and the Market performances. A total of 50 938 patrons and visitors changing nature of the role of the arts and institutions shared in the experience of the performances and Laboratory drama school and Ramolao Makehene tasked with promoting the work of artists. Defining the theatre. exhibitions we produced and presented. This further artistic vision was done with the explicit understanding that resulted in 241 work opportunities being created for great organisations have to continuously improve and It is anticipated that occupation of the new offices, training arts practitioners and arts enterprises, with an estimated refine their offering in order to remain relevant. production cost of R11,7 million. facilities and gallery will be in July 2015. I wish to note with gratitude the funders and partners DAC Relationships who continue to demonstrate their recognition of the Laager Theatre Foundation through continued financial and non-financial The relationship with the Department remains healthy and support. Construction of the new Laager Theatre commenced supportive. The MTF signed the shareholder’s compact for in early 2014. The new theatre is opposite the Newtown Junction and we trust that close proximity to the shopping the year under review, based on the MTF’s service delivery Position in the Newtown Cultural mandate and targets. centre will attract new audiences to our shows. The Laager Precinct Theatre should be completed in March 2015. The DAC provided much needed support to the MTF in the form of a touring grant under the Mzansi Golden Economy The MTF has embarked on a daring and bold strategy to Becker Street Touring programme. This grant allowed the Market Theatre assert its position as the anchor cultural organisation in to tour 2 productions – The Line and Woza Albert! – to the Newtown. Historically, the artistic programmes and related The role and position of the MTF within the cultural precinct National Arts Festival in Grahamstown (EC), The Steve Biko activities of the MTF have attracted an average of 60 000 remains strong. We remain committed to ensuring the Centre in Bisho (EC), the Alexander Community Centre patrons, visitors and students and once all the construction sustainability of the Foundation and to this end we have (GP), the Witbank Civic Theatre, Casterbridge Centre in projects in Newtown are complete, this average will acquired another property within the Newtown cultural Mpumalanga, PACOFS (FS) and the Hilton Festival (KZN). increase in the coming years. precinct. Permission to acquire this significant asset was granted by Minister Mashatile in January 2014 and we are We are buoyed by the opportunity the new spaces present Arts, Culture and Heritage Policy Review grateful that the Ministry supports and shares our vision for a including a new Laager Theatre, a new administration well-functioning cultural precinct. The cultural policy review process initiated by the Department is a welcome step towards updating the

08 0009 Act 6: Chief Executive Officer’s Report(continued) Human Resource Report

The spaces that the Foundation has acquired over the STAFF STRUCTURE 31/03/2014 31/03/2013 past 2 years, underpin our vision to be a significant arts and culture stakeholder in the precinct and to provide access Male Female Vacancy Total % Male Female Vacancy Total % to cultural infrastructure to practitioners and patrons. Managers 1 8 2 11 Managers 1 9 1 11 Annual Performance African 5 5 46% African 5 5 46% Indian 0 0% Indian 1 1 9% A detailed outline of the MTF’s performance against White 1 3 4 36% White 1 3 4 36% objectives is listed in the Annual Performance Report on Vacancies 2 2 18% Vacancies 1 1 9% pages 14 to 16. Administration 17 17 3 37 Administration 16 21 1 38 African 16 16 32 87% African 16 19 35 92% Human Resources Indian 1 1 2% Indian 0% White 2 2 5% Like all organisations the movement in and out of staff White 1 1 2% remains high on the dashboard. One of the most significant Vacancies 3 3 9% Vacancies 1 1 3% additions to the MTF family was the appointment of Mr Other 2 1 3 Other 2 1 3 James Ngcobo. I look forward to working with James and African 2 2 67% African 2 2 67% trust that he will jealously guard the MT brand. © Ruphin Coudyzer FPPSA Vacancies 1 1 33% Vacancies 1 1 33% Nongogo Total full time Total full time There were no dismissals during the period under review. 20 25 6 51 19 30 3 52 positions positions Further information is provided in the Human Resource % 36% 58% 6% 100% Report on page11. % 39% 49% 12% 100%

Financial Highlights

The financial position of the Foundation remains healthy. STAFF TURNOVER 2014 2013 Cash flows are positive. The Foundation raised R10.4 million Number of staff at beginning of year 49 49 to support our artistic programmes. The cash and cash equivalents balance at the end of the financial year of Retirement 0 0% 0 0% almost R93 million includes unspent DAC capital works Resignations 10 20% 4 10% grants of R74,6 million that has been allocated to the 2 Dismissed 0 0% 1 2% building projects currently in progress. New appointments 6 12% 5 10% Number of staff at end of year 45 49 Fraud

During the period under review, there were no cases of fraud reported. LABOUR RELATIONS I wish to express my sincere gratitude to Council, Misconduct and disciplinary hearings: Type of misconduct: Management and members of staff who work tirelessly and Written warnings 7 Failure to follow procedures demonstrate an unquestionable commitment to the MTF Disciplinary 2 Failure to follow procedures, insubordination brand. You are a remarkable team.

TRAINING PROVIDED

MALE MALE MALE FEMALE FEMALE FEMALE SHORT COURSES AFRICAN INDIAN WHITE AFRICAN INDIAN WHITE

Annabell Lebethe Management 1 10 Chief Executive Officer Sales and marketing 1 2 25 July 2014 Technical 3 1 © Ruphin Coudyzer FPPSA Accounting 2 9 2 Milk & Honey Total no of courses 4 2 1 21 3

The majority of the staff of the Market Theatre Foundation are members of UASA.

10 0011 ActArtistic Director’s7: Report

First of all I would like to take my hat off to the stellar work students to work alongside seasoned actors, as we are and passion that Malcolm Purkey displayed during his convinced that these windows of performance will help tenure at the Market Theatre Foundation. He produced them begin to understand the cogs that turn the machine works that continued to excite audiences and I wish him of our theatre industry before they graduate. well and thank him on behalf of everybody who had the opportunity to work with him over the years. The major construction projects happening around Newtown and at the doorstep of the theatre, have This has been a year that has seen a lot of effort and brought on a lot of challenges which in turn had energy going towards programming that should speak impacted on the numbers of visitors who walk through to the diversity we find in this city that is evolving every our doors. The opening of Newtown Junction mall will year. We have gone out of our way to establish new hopefully provide a catchment for new audiences. The partnerships with theatre companies around the country new spaces under construction (Laager Theatre and and there are still regions that we are reaching out to. Cosac building) are spaces that will help shape the vision The aim is to find a new path with these companies that would guide us in the forthcoming season. and co-produce works that would definitely translate into programming that makes it difficult for anyone, to We will be observing “International African Writers Day” stylistically pigeon-hole the Market Theatre. on the 7th of November by reading works from Nigerian and Kenyan writers. These interventions are crucial as part We are working hard to find new audiences and new of the staging process but they further assist us to refine patrons - people who visit theatres everywhere in Jo’burg, future projects. Theatres in the greater Johannesburg but somehow never come to the Market Theatre. We will area, and nationally, are changing in the repertoire achieve this by creating activity around the precinct and on offer and it is exciting to have conversations with by constantly looking for ways to change the palate of audience members who support our efforts to reposition the content and quality of works we programme. the Market Theatre and remain at the forefront of cutting- edge theatre. On the 14th of March we hosted an opera night on the © Ruphin Coudyzer FPPSA Main Stage, which received a warm response from our The year ahead presents a wonderful opportunity to look Nongogo audiences. On the 23rd of April we had a Shakespeare back at the collective achievements of our nation and in night that brought a whole lot of people that one rarely the installation for the year we have already showcased sees at The Market. works that have directly dealt with the 20th anniversary head-on and as the year unfolds there are still a couple Mentorship is another area that we are focusing on of productions that are coming up, that would see these by bringing young enthusiastic theatre makers to work celebrations happening all the way to the end of the year as assistant directors. We will be announcing the 2 with Ketekang the musical. residencies that will produce new works for 2014/2015. The growing number of young directors, music composers, choreographers and set and costume designers has inspired us to establish a new category in the Naledi Awards, sponsored by the Market Theatre Foundation, called the Sophie Mgcina Best Emerging Voice. The inaugural recipient of this award, Lulu Mlangeni, will create new work for the Market Theatre, which will also travel to 5 cities in the Netherlands next year. James Ngcobo From the launch of the Main Theatre last year to the US Artistic Director Ambassadors Night, we have cast our 2nd year drama 25 July 2014

12 0013 ActAnnual 8:Performance Report on predetermined objectives for the year ended 31 March 2014

Strategic Outcome-Oriented Goals Objective Statement 1.2: To identify, develop and produce new photography programmes to progressively advance the cultural wellbeing of all South Africans. During the year under review, the MTF focused on the following strategic objectives: Number of 278 24 175 151 Achieved i. Development, Preservation and Promotion of Arts, Culture and Heritage within South Africa photographers and Positive variance caused can ii. Artistic Skills Development curators showcased be attributed to the number of iii. Stakeholder Management and Awareness more public programmes being presented and exhibitions hosted STRATEGIC OBJECTIVE 1: Development, Preservation and Promotion of Arts, Culture and Heritage within South Africa as well as the kind of exhibitions that allow public participation Objective Statement 1.1: To identify, develop, host and produce performing arts productions to progressively advance the cultural wellbeing of all South Africans. Number of visitors to 10 688 1 100 6 275 5 175 Achieved exhibitions and public Positive variance attributed Performance Indicators Actual Planned Actual Variance Comment on variances programmes largely due to increased Achieved Target Achievement between (Dependent on funding) publicity activities and additional 2012/13 2013/14 2013/14 Target and exhibitions presented Actual 2013/14 Number of publications New 1 4 3 Achieved produced indicator Positive variance attributed to Number of productions 27 16 54 38 Achieved additional funding staged Positive variance caused by (Output indicator, additional productions being Number of listeners or New 120 252 132 Achieved dependent on funding) presented and the partnership participants in public indicator Positive variance attributed with Arts Alive programmes largely due to increased publicity activities and additional Number of audiences 56 103 55 000 50 938 4 062 Partially achieved exhibitions presented attending shows The negative variance is due to (Outcome indicator but the renovation of the Main Theatre. not controllable by the Only 2 theatres were operational STRATEGIC OBJECTIVE 2: Artistic Skills Development MTF) for most part of the year Objective Statement 2.1: To identify, develop and contract individuals (with particular focus on youth and women) Number of 6/12 2 2 0 2 Not achieved so as to increase the number of professionals (theatre directors, actors, designers, technical Conversations hosted Funding not secured to personnel, photographers). (6/12 conversations are a implement 6/12 conversations series of industry-related Performance Indicators Actual Planned Actual Variance Comment on variances discussions convened by the Market Theatre Foundation on Achieved Target Achievement between any relevant topic or issue of 2012/13 2013/14 2013/14 Target and the day) Actual (Output indicator, 2013/14 dependent on funding) Number of directors, 0 4 1 3 Not achieved actors, designers Limited funding available to and technical implement empowerment Objective Statement 1.2: To identify, develop and produce new photography programmes to progressively advance personnel identified for initiative caused the negative the cultural wellbeing of all South Africans. development and/or variance Performance Indicators Actual Planned Actual Variance Comment on variances empowerment Achieved Target Achievement between (Output indicator, 2012/13 2013/14 2013/14 Target and dependent on funding) Actual Number of directors, 242 8 241 233 Achieved 2013/14 writers, actors, designers Positive variance attributed to Number of exhibitions 13 6 9 3 Achieved and technical personnel DAC support for MGE Touring held Positive variance caused by employed, with Venture. 2 productions, The Line (Output indicator, additional funding particular focus on and Woza Albert! toured EC, dependent on funding) youth (under 35) and Mpumalanga, Freestate, KZN women and Gauteng Number of public 14 4 4 - Achieved (Outcome indicator but programmes (other than not controllable by the MTF exhibitions) convened due to the dependency on donor funding)

14 0015 Annual Performance Report (continued) Annual Performance Report (continued)

Objective Statement 2.2: To train and develop interns, students and community theatre practitioners. Objective Statement 2.3: To empower students, individual participants and rural communities in photography.

Performance Indicators Actual Planned Actual Variance Comment on variances Performance Indicators Actual Planned Actual Variance Comment on variances Achieved Target Achievement between Achieved Target Achievement between 2012/13 2013/14 2013/14 Target and 2012/13 2013/14 2013/14 Target and Actual Actual 2013/14 2013/14

Market Laboratory: 23 20 17 3 Partially achieved Market Photo Workshop: Number of students enrolled enrolled enrolled 19 students were originally Number of short courses enrolled and attending enrolled, 2 students dropped presented the 1st year Drama out when their auditions for 2nd • Foundation 6 6 6 - Achieved Course (Recruitment for the year were unsuccessful • Intermediate 3 3 3 - Achieved Market Laboratory occurs (Dependent on funding) during October to December (in the 3rd Q) with classes Number of year-courses starting in January to March (Q4) of each year) presented: • Advanced Number of students that 21 20 17 3 Partially achieved Programme in have completed the completed 19 students were originally Photography 1 1 1 - Achieved 1st year Drama Course enrolled, 2 students dropped • Photojournalism mentioned above out when their auditions for 2nd and Documentary (Quality indicator but year were unsuccessful Photography not controllable by the Programme 1 1 1 - Achieved MTF) (Dependent on funding)

Number of students New 12 10 2 Partially achieved Number of photography 14 4 8 4 Achieved selected for the 2nd indicator selected Student attrition led to the exhibitions featuring Additional funds available to year intern programme negative variance students (past 3yrs and host extra exhibitions, resulting in (8months) current) the positive variance (Dependent on funding) Number of students New 12 10 2 Partially achieved that have completed indicator completed Student attrition led to the Number of public 14 4 4 - Achieved the 2nd year intern negative variance projects / programmes programme undertaken (Dependent on funding) Number of festivals 2 2 2 - Achieved organised Number of mentorship 6 2 4 2 Achieved (Outcome indicator but programmes completed Additional funds available to not controllable by the (Output indicator, host extra mentorships, resulting MTF) dependent on funding) in the positive variance

Number of participants 389 225 388 163 Achieved Number of individuals 133 120 129 9 Achieved at the festivals Positive variance is attributed that have registered in Additional funds available to mentioned above to the number of participants in the structured training register additional learners, each group initiatives mentioned resulting in the positive variance above Number of audiences 3 857 2 000 4 468 2 468 Achieved (Outcome indicator but not attending the festivals Positive variance attributed to controllable by the MTF) mentioned above the number of shows hosted during both festivals Percentage of 73% 65% 91,3% 26,3% points Achieved individuals that have Good quality control ensured successfully completed better rate the various training initiatives mentioned above (Quality indicator but not controllable by the MTF)

16 0017 Annual Performance Report (continued) Annual Performance Report (continued)

STRATEGIC OBJECTIVE 3: Stakeholder Management and Awareness Objective Statement 3.2: To obtain sufficient funding from donors to support the projects and operations of the MTF.

Objective Statement 3.1: To promote the activities of the MTF in order to promote and enhance the brand of the MTF Number (minimum) of 1 1 1 - Achieved within South Africa. reports submitted to each donor per year Performance Indicators Actual Planned Actual Variance Comment on variances Achieved Target Achievement between Amount of actual R11,8 million R12 million R11 million R1 million Partially achieved 2012/13 2013/14 2013/14 Target and funding secured, The target was not achieved Actual excluding DAC as a result of a difficult funding 2013/14 (Outcome indicator but environment caused by the not controllable by the adverse economic climate Number of stakeholder 13 11 11 - Achieved MTF) newsletters distributed per annum

Number of newspaper 203 200 189 11 Partially achieved advertisements placed Some productions presented daily (Tuesday to Friday) were in partnership with eg. the when programme is Indian High Commission, Arts running Alive and as such, the publicity was managed by the partners and not the Market Theatre. This resulted in the negative variance

Number of internal 12 11 11 - Achieved newsletters distributed to staff per year

Publicity value achieved New R3,5 million R8,7 million R5,2 million Achieved indicator The positive variance is a result of improved publicity activities

MTF website updated Monthly Monthly Monthly - Achieved on a monthly basis (Output indicator)

Number of stakeholders 12 681 14 000 15 4621 1 462 Achieved added to the database Improved audience (Outcome indicator but development activities led to not controllable by the the positive variance MTF)

1. The figure is not cumulative and some details may be deleted either due to change of email addresses or undelivered e-mail

Objective Statement 3.2: To obtain sufficient funding from donors to support the projects and operations of the MTF.

Performance Indicators Actual Planned Actual Variance Comment on variances Achieved Target Achievement between 2012/13 2013/14 2013/14 Target and Actual 2013/14

Number of funding 60 30 42 12 Achieved proposals submitted to Increased fundraising activities donors provided new opportunities (Input indicator) to engage with prospective © Ruphin Coudyzer FPPSA funders through the submission Four Seasons of funding proposals, leading to the positive variance

18 0019 ActReport of9: the Finance and Audit Committee

We are pleased to present our report for the financial year ended 31 March 2014.

Finance and Audit committee members and attendance

The Finance and Audit Committee consists of the members listed hereunder and meets not less than twice per annum as per its approved terms of reference. During the current year four meetings were held on the following dates:

23 May 2013; 24 July 2013, 19 November 2013 and 11 March 2014. © Ruphin Coudyzer FPPSA Expectant Name of member Number of Gender Race Date resigned or appointed meetings attended T F Mosololi (Chairperson) 4 Male African Appointed 01 March 2005 (reappointed October 2011) Dr S Mokone-Matabane 4 Female African Appointed 01 September 2004 J B Spector (US citizen) 3 Male White Appointed 09 May 2012 M Maponya 3 Male African Appointed 24 February 2011

In addition to the above members, persons attending the Accordingly, we can report that the system of internal committee meetings by standing invitation include: control over financial reporting for the period under review was efficient and effective. • Chief Executive Officer, • Chief Financial Officer, Evaluation of annual financial • Representatives from the Auditor-General of South Africa (AGSA), and statements • Representatives from the internal auditors, KPMG. The Finance and Audit committee has:

Finance and Audit Committee • Reviewed and discussed the audited Annual Financial © Ruphin Coudyzer FPPSA Milk & Honey Responsibility Statements to be included in the Annual Report, with the AGSA and the Accounting Authority; The Finance and Audit Committee reports that it has • Reviewed the AGSA’s Management Report and adopted appropriate formal terms of reference as its management’s response thereto; audit committee charter, has regulated its affairs in • Reviewed changes in accounting policies and compliance with this charter and has discharged all its practices; responsibilities as contained therein. • Reviewed the entity’s compliance with legal and regulatory provisions; The effectiveness of internal control • Reviewed significant adjustments resulting from the audit. The system of internal controls is designed to provide cost effective assurance that assets are safeguarded and that The Finance and Audit Committee concurs with and liabilities and working capital are effectively managed. In accepts the AGSA’s report on the Annual Financial line with the PFMA and the King III Report on Corporate Statements, and are of the opinion that the audited Governance requirements, Internal Audit provides the Annual Financial Statements should be accepted and Finance and Audit committee and management with read together with the report of the AGSA. assurance that the internal controls are appropriate and effective. This is achieved through a risk management process, as well as the identification of corrective actions and suggested enhancements to the controls and processes. From the various reports of the Internal Auditors, the Audit Report on the Annual Financial T F Mosololi © Ruphin Coudyzer FPPSA Statements, and the Management Report of the AGSA, it Chairperson of the Finance and Audit Committee Roadkill was noted that no significant or material non-compliance Johannesburg, 24 July 2014 with prescribed policies and procedures have been reported.

20 0021 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

ActReport of10: the Auditor-General To Parliament on the Financial Statements of the Market Theatre Foundation for the year ended 31 March 2014

REPORT ON THE FINANCIAL STATEMENTS accounting estimates made by management, as well • Objective 1: Development, Preservation and original invitation for quotations, in contravention of as evaluating the overall presentation of the financial Promotion of Arts, Culture and Heritage within South Treasury Regulations 16A6.3(a) and the Preferential Introduction statements. Africa on pages 14 to 15. Procurement Regulations.

1. I have audited the financial statements of the Market 5. I believe that the audit evidence I have obtained is • Objective 2: Artistic Skills Development on pages 15 18. Sufficient appropriate audit evidence could not be Theatre Foundation set out on pages 27 to 48, sufficient and appropriate to provide a basis for my to 17. obtained that contracts were awarded to bidders which comprise the statement of financial position audit opinion. based on points given for functionality that were as at 31 March 2014, the statement of financial 10. I evaluated the reported performance information stipulated in the original invitation for bidding, as performance, statement of changes in net assets, Opinion against the overall criteria of usefulness and reliability. required by SCM regulation Treasury Regulations and cash flow statement for the year then ended, 16A6.3(a) and Preferential Procurement Regulations. as well as the notes, comprising a summary of 6. In my opinion, the financial statements present 11. I evaluated the usefulness of the reported significant accounting policies and other explanatory fairly, in all material respects, the financial position performance information to determine whether it EXPENDITURE MANAGEMENT information. of the Market Theatre Foundation as at 31 March was presented in accordance with the National 2014 and its financial performance and cash flows Treasury’s annual reporting principles and whether 19. The accounting authority did not take effective steps Accounting Authority’s responsibility for the year then ended, in accordance with the reported performance was consistent with the to prevent irregular expenditure as required by section for the financial statements South African Standards of Generally Recognised planned objectives. I further performed tests to 51(1)(b)(ii) of the Public Finance Management Act. Accounting Practices (SA Standards of GRAP) and determine whether indicators and targets were well the requirements of the Public Finance Management defined, verifiable, specific, measurable, time bound 2. The council which constitutes the accounting Internal control Act of South Africa. and relevant, as required by the National Treasury’s authority is responsible for the preparation and Framework for managing programme performance 20. I considered internal control relevant to my audit of fair presentation of these financial statements information (FMPPI). the financial statements, annual performance report in accordance with South African Standards of Additional matter and compliance with legislation. The matters reported Generally Recognised Accounting Practice (SA 7. I draw attention to the matter below. My opinion is 12. I assessed the reliability of the reported performance below are limited to the significant internal control Standards of GRAP) and the requirements of the not modified in respect of this matter. information to determine whether it was valid, deficiencies that resulted in and the findings on non- Public Finance Management Act of South Africa, accurate and complete. compliance with legislation included in this report. 1999 (Act No. 1 of 1999) (PFMA), and for such internal control as the accounting authority determines is Unaudited supplementary information 13. I did not raise any material findings on the usefulness necessary to enable the preparation of financial LEADERSHIP 8. The supplementary information set out on page 49 and reliability of the reported performance statements that are free from material misstatement, does not form part of the financial statements and information for the selected objectives. 21. Management did not exercise oversight responsibility whether due to fraud or error. is presented as additional information. I have not regarding compliance and related internal controls. Auditor-general’s responsibility audited this schedule and, accordingly, I do not Additional Matter express an opinion thereon. Financial management 14. Although I raised no material findings on the 3. My responsibility is to express an opinion on these usefulness and reliability of the reported performance 22. Management did not adequately monitor the financial statements based on my audit. I conducted REPORT ON OTHER LEGAL AND REGULATORY information for the selected objectives, I draw procurement process to ensure compliance with my audit in accordance with the Public Audit Act REQUIREMENTS attention to the following matter: applicable laws and regulations. of South Africa, 2004 (Act No. 25 of 2004) (PAA), the general notice issued in terms thereof and In accordance with the PAA and the general notice International Standards on Auditing. Those standards issued in terms thereof, I report the following findings Achievement of planned targets require that I comply with ethical requirements, and on the reported performance information against 15. Refer to the annual performance report on pages plan and perform the audit to obtain reasonable predetermined objectives for selected objectives 14 to 19 for information on the achievement of the assurance about whether the financial statements presented in the annual performance report, non- planned targets for the year. Pretoria are free from material misstatement. compliance with legislation as well as internal control. The objective of my tests was to identify reportable 4. An audit involves performing procedures to obtain findings as described under each subheading but not to Compliance with legislation 31 July 2014 audit evidence about the amounts and disclosures gather evidence to express assurance on these matters. 16. I performed procedures to obtain evidence that in the financial statements. The procedures selected Accordingly, I do not express an opinion or conclusion on the public entity had complied with applicable depend on the auditor’s judgement, including the these matters. legislation regarding financial matters, financial assessment of the risks of material misstatement of management and other related matters. My findings the financial statements, whether due to fraud or Predetermined objectives on material non-compliance with specific matters in error. In making those risk assessments, the auditor key legislation, as set out in the general notice issued considers internal control relevant to the entity’s 9. I performed procedures to obtain evidence in terms of the PAA, are as follows: preparation and fair presentation of the financial about the usefulness and reliability of the reported statements in order to design audit procedures performance information for the following selected that are appropriate in the circumstances, but not objectives presented in the annual performance Procurement and Contract Auditing to build public confidence for the purpose of expressing an opinion on the report of the public entity for the year ended Management effectiveness of the entity’s internal control. An audit 31 March 2014: also includes evaluating the appropriateness of 17. Quotations were awarded to bidders based on accounting policies used and the reasonableness of points given for criteria that were not stipulated in the

22 0023 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

ActReport of11: Council For the Year Ended 31 March 2014

Council has pleasure in presenting its report on the The Annual Financial Statements are prepared on a going 5. Council activities of the institution for the year ended 31 March concern basis. Nothing has come to the attention of the 2014. members of Council to indicate that the institution will not The members of Council of the institution for the year under review were as follows: remain a going concern for the foreseeable future. 1. General review Name of member Date resigned or appointed Gender Race Number of Remuneration paid 4. Financial Results meetings The Market Theatre Foundation, a Declared Cultural attended Institution in terms of the Cultural Institutions Act (No 119 The financial results of the institution’s activities for the Gumbi K (Chairperson) Appointed 30 July 2009 Male African 4 Donated of 1998) has no share capital. The institution is governed year are as follows: McKenzie P Appointed 09 March 2010 Male Coloured 4 3 651 by the Council, appointed by the Minister of Arts and 2014 2013 Culture. R R Mokone-Matabane S Dr * Appointed 30 July 2009 Female African 4 7 301 Income excluding Spector J B (US citizen) Appointed 30 July 2009 Male White 4 6 571 2. Services rendered by The Market Government Grant 19 497 616 20 307 956 Ractliffe J A Appointed 01 August 2011 Female White 1 730 Theatre Foundation Expenditure (47 274 416) (46 894 990) Nunn C P Appointed 01 August 2011 Male Coloured 2 1 460 Shortfall for the year before The main objective of the Market Theatre Foundation is to Government Grant (27 776 800) (26 587 034) Dhlomo-Mautloa B Appointed 01 August 2011 Female African 4 4 381 provide theatre entertainment to the public as well as the running of a performing arts Laboratory for developing Government Operations Grant 27 029 333 24 611 000 Moshebi O M Dr Appointed 01 August 2011 Male African 3 2 921 young artists and a Photo Workshop for developing young Deficit from Operations (747 467) (1 976 034) Lebethe A (CEO) Appointed 01 August 2011 Female African 4 Full time employee photographers. - see note 17 Government Capital Grant 16 156 065 13 823 482 The institution’s services to the public are in line with Surplus for the year 15 408 598 11 847 448 * Dr S Mokone-Matabane acted as CEO from November 2013 to February 2014 the national imperatives of employment creation, skills development, poverty alleviation and cohesive and sustainable communities. In addition to its programmes Income decreased by 5% (2013: 44% increase) when The Council met four times during the year on the following dates: the Foundation also provides facilities for corporate compared to the prior year as a result of the decrease functions, meetings, television and film shoots. The of 11% in donations received, a decrease in operating 11 April 2013 theatres are also made available to outside theatre income of 19% and an increase in interest received of 25 July 2013 productions for rental services. 41%. Funding received from the Department of Arts and 21 November 2013 Culture for operating costs amounted to R26 million (2013: 20 February 2014 R24 million), capital works funding utilised amounted to Council met with staff on 5 and 10 September 2013. 3. Statement of Members of Council’s R16 million (2013: R14 million) and project funding to R833 Responsibility 333. In addition to the above members, Christine McDonald (Chief Financial Officer) and James Ngcobo (Artistic Director) attended the Council meetings by standing invitation. Council members are responsible for the maintenance Expenditure increased by 1% (2013: 18% increase) when of adequate accounting records and the preparation compared to the previous year. This was attributable and integrity of the Annual Financial Statements and to cost containment and managing costs in line with 6. Secretary related information. The Auditor-General is responsible reduced funding. for reporting on the fair presentation of the Annual Council performs the secretarial duties. Financial Statements. The financial statements have been The Foundation budgeted to use R2,4 million of its Business address: prepared in accordance with South African accumulated surplus for the current year to fund 56 Margaret Mcingana Street Statements of Generally Recognised Accounting productions, but only used R747 467 as a result of funding Newtown Practice. The Auditor-General has audited the financial raised. The operating surplus for the year is R15,4 million Johannesburg statements and their report appears on pages 22 - 23. (2013: R11,8 million). The variance between the budgeted 2001 Council is also responsible for the systems of internal and the actual results is a result of Capital Grants spend control. These systems are designed to provide of R16 million and interest received of R5 million. The Postal address: reasonable but not absolute, assurance as to the utilisation of Capital Grants of R1,4 million (2013: R1,7 P O Box 8656 reliability of the financial statements and to adequately million) contributed to an accumulated surplus of R11,4 Johannesburg safeguard, verify and maintain accountability for assets million (2013: R10,8 million) at year end. The total assets 2000 and to prevent and detect material misstatements (R138 million) of the Foundation exceeded its liabilities and loss. The systems are implemented and monitored (R91 million) by R47 million. by suitably trained personnel with an appropriate segregation of authority and duties. Nothing has come Council has reviewed the budget for the next three years to the attention of the members of Council to indicate and is confident that the Foundation is a going concern that any material breakdown in the functioning of these for the foreseeable future. controls, procedures and systems has occurred during the year under review.

24 0025 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) Act 12: Report of Council (continued) Statement of Financial Position As at 31 March 2014

7. Operating leases Note(s) 2014 2013 R R Premises Landlord Expiry date Assets Market Theatre building City of Johannesburg Metropolitan Council 31 May 2016 Market Theatre offices City of Johannesburg Metropolitan Council Three months’ notice Current Assets Market Photo Workshop City of Johannesburg Metropolitan Council 01 July 2015 Trade and other receivables from exchange transactions 6 1 935 993 1 451 642 Market Laboratory City of Johannesburg Metropolitan Council 31 March 2020 Prepayments 7 5 665 647 - Market Theatre storage Corplo 1360 CC 30 November 2014 Cash and cash equivalents 8 92 726 599 81 647 211 100 328 239 83 098 853

8. COMMITMENTS Non-Current Assets Property, plant and equipment 3 37 631 564 22 508 577 During the year the Foundation awarded three tenders: Intangible assets 5 441 544 618 712 The construction of the Laager Theatre (MTF 07/10/2013) for R13,6 million 38 073 108 23 127 289 ICT outsourced services for a three year period (MTF 15/10/2013) for R1,7 million The construction of the Cosac block ( MTF 30/09/2013) for R55,3 million Total Assets 138 401 347 106 226 142 The following projects, funded by the Department of Arts and Culture, are in progress: Liabilities Project Estimated cost Actual spending Expected Capital commitment to date completion date Current Liabilities Main Theatre renovation 13 296 965 12 501 986 Complete 794 979 Finance lease obligation 10 - 14 871 COSAC building 75 813 534 14 457 005 May 2015 61 356 529 Trade and other payables from exchange transactions 12 4 827 141 2 864 326 Laager Theatre rebuild 18 056 216 938 080 March 2015 17 118 136 Unspent conditional grants and receipts 11 86 506 547 71 905 514 Subtotal 107 166 715 27 897 071 79 269 644 Provisions 13 310 498 299 960 91 644 186 75 084 671 The Annual Financial Statements and schedule of operating costs set out on pages 27 to 49 were approved by Council on 25 July 2014 and were signed on its behalf by: Total Liabilities 91 644 186 75 084 671

Net Assets 46 757 161 31 141 471

Net Assets Revaluation reserve 3 023 012 2 815 920 Capital grants reserve 9 32 352 825 17 553 204 Accumulated surplus 11 381 324 10 772 347 Kwanele Gumbi Annabell Lebethe Total Net Assets 46 757 161 31 141 471 Chairperson Chief Executive Officer

26 0027 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

ActStatement 13: of Financial Performance ActStatement 14: of Changes in Net Assets For the Year Ended 31 March 2014 For the Year Ended 31 March 2014

Note(s) 2014 2013 Revaluation Capital Accumulated Total Net R R Reserve Grants Surplus Assets Reserve Revenue R R R R Operating income 14 3 987 209 4 949 576 Balance at 01 April 2012 1 374 100 5 347 433 11 130 670 17 852 203 Revenue from non-exchange transactions: Government Grant 15 43 185 398 38 434 482 Changes in net assets Revenue from non-exchange transactions: Other 16 10 433 926 11 759 291 Utilisation of reserve - (1 680 792) 1 680 792 - Total revenue 57 606 533 55 143 349 Capital works grant received - 13 886 563 (13 886 563) - Revaluation of artwork 1 441 820 - - 1 441 820 Expenditure Surplus for the year - - 11 847 448 11 847 448 Personnel (18 000 220) (16 627 138) Balance at 01 April 2013 2 815 920 17 553 204 10 772 347 31 141 471 Selling and fundraising costs (13 561 927) (11 588 134) Changes in net assets Depreciation and amortisation (2 252 320) (2 424 388) Utilisation of reserve - (1 356 444) 1 356 444 - Repairs and maintenance (2 863 966) (2 354 614) Capital works grant received - 16 156 065 (16 156 065) - Loss on disposal of assets (294 298) (470 840) Revaluation of artwork 207 092 - - 207 092 Administration expenses (10 301 685) (13 429 876) Surplus for the year - - 15 408 598 15 408 598 Total expenditure (47 274 416) (46 894 990) Balance at 31 March 2014 3 023 012 32 352 825 11 381 324 46 757 161 Notes(s) 9 Surplus from operations 10 332 117 8 248 359

Interest 18 5 076 481 3 599 089

Surplus for the year 15 408 598 11 847 448

28 0029 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

ActCash Flow 15: Statement For the Year Ended 31 March 2014

Note(s) 2014 2013 R R Cash flows from operating activities

Receipts Cash receipts from non-exchange transactions - other 10 433 926 11 759 291 Cash receipts from government grants 43 185 398 38 434 482 Sale of goods and services 3 502 858 4 810 845 Other receipts - 29 149 Interest recovered 269 400 - 57 391 582 55 033 767

Payments Personnel cost (17 989 677) (16 573 629) Suppliers (24 764 763) (27 677 716) Interest paid - (143 885) (42 754 440) (44 395 230) Net cash flows from operating activities 19 14 637 142 10 638 537 © Ruphin Coudyzer FPPSA The Last Moustache Cash flows from investing activities

Purchase of plant and equipment 3 (17 245 788) (14 568 173) Proceeds from sale of fixed assets 14 259 - Prepayments made on purchasing property 7 (5 665 647) - Purchase of other intangible assets 5 (53 821) (467 246) Interest income 4 807 081 3 751 582 Net cash flows from investing activities (18 143 916) (11 283 837)

Cash flows from financing activities

Finance lease payments (14 871) (57 275) Increase in unutilised grants 14 601 033 6 508 418 Net cash flows from financing activities 14 586 162 6 451 143

Net increase in cash and cash equivalents 11 079 388 5 805 843 Cash and cash equivalents at the beginning of the year 81 647 211 75 841 368 Cash and cash equivalents at the end of the year 8 92 726 599 81 647 211

30 0031 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

ActAccounting 16: Policies For the Year Ended 31 March 2014

1. Presentation of Annual Financial Any decrease in an asset’s carrying amount, as a result 1.3 Intangible assets 1.6 Finance costs Statements of a revaluation, is recognised in surplus or deficit in the current period. The decrease is debited directly to a Intangible assets are carried at cost less any accumulated Finance costs are dealt with in the period in which they revaluation surplus to the extent of any credit balance The Annual Financial Statements have been prepared in amortisation and any impairment losses. Amortisation is are incurred. existing in the revaluation surplus in respect of that asset. accordance with the Standards of Generally Recognised provided to write down the intangible assets on a straight Accounting Practice (GRAP) including any interpretations, line to their residual values at 25% per annum. The residual 1.7 Retirement benefits HISTORICAL COST guidelines and directives issued by the Accounting value of intangible assets is regarded as zero due to the Standards Board. fact that intangible assets are not resaleable. It is the policy of the institution to provide retirement Plant and equipment are stated at historical cost less benefits for certain employees. Contributions to defined accumulated depreciation and subsequent impairment These Annual Financial Statements have been 1.4 Impairment contribution retirement benefit funds are charged against losses. Depreciation is charged so as to write-off the cost prepared on an accrual basis of accounting and are income in the year in which they are payable. of assets over their expected useful lives using the straight- in accordance with historical cost convention unless Impairment is a loss in the future economic benefits line basis, on the following: specified otherwise. They are presented in South African or service potential of an asset, over and above 1.8 Leasing Rand. the systematic recognition of the loss of the asset’s Item Average useful life future economic benefits or service potential through A lease is classified as a finance lease if it transfers Land Infinite SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES depreciation (amortisation). substantially all the risks and rewards incidental to Buildings 50 years ownership. A lease is classified as an operating lease if Furniture and fixtures 10 to 34 years The principal accounting policies adopted in the Carrying amount is the amount at which an asset it does not transfer substantially all the risks and rewards Motor vehicles 8 to 10 years preparation of these financial statements are set out is recognised in the Statement of Financial Position incidental to ownership. IT equipment 4 to 6 years below and are consistent in all material respects with after deducting any accumulated depreciation and Leasehold improvements 10 to 12 years those applied in the previous year, except as otherwise accumulated impairment losses thereon. When a lease includes both land and buildings elements, the Books 10 years disclosed. entity assesses the classification of each element separately. Where an impairment loss subsequently reverses, the The residual value and useful life of each asset is reviewed The preparation of financial statements requires carrying amount of the asset is increased to the revised FINANCE LEASES - LESSEE on an annual basis. management to make judgements, estimates and estimate of its recoverable amount, but so that the assumptions that affect the application of policies and increased carrying amount does not exceed the carrying Finance leases are recognised as assets and liabilities The gain or loss arising from the derecognition of an the reported amounts of assets and liabilities, income and amount that would have been determined had no in the Statement of Financial Position at amounts equal item of plant and equipment is included in surplus or expenses. The estimates and associated assumptions impairment loss been recognised for the asset in prior to the fair value of the leased property or, if lower, deficit when the item is derecognised. The gain or loss are based on experience and other factors considered years. A reversal of the impairment loss is recognised as the present value of the minimum lease payments. arising from the derecognition of an item of plant and reasonable under the circumstances. Actual results income immediately, unless the relevant asset is carried at The corresponding liability to the lessor is included in equipment is determined as the difference between the may differ from the estimates. Estimates and underlying a revalued amount, in which case the reversal of the the Statement of Financial Position as a finance lease net disposal proceeds, if any, and the carrying amount of assumptions are reviewed on an ongoing basis. impairment loss is treated as a revaluation increase. obligation. the item. The provision for bonus is calculated on the assumption Recoverable amount is the higher of fair value less The discount rate used in calculating the present value of that staff will receive one month’s salary as a bonus even 1.2 Heritage assets cost to sell and value in use. In assessing value in use, the minimum lease payments is the interest rate implicit in the though the payment of a bonus is a Council decision. The the estimated future cash flows are discounted to their lease. Artworks are revalued each year by the curator of the Heritage assets are assets that have a cultural, present value using a discount rate that reflects current Wits Art Museum for insurance purposes and this value environmental, historical, natural, scientific, technological market assessments of the time value of money and the Minimum lease payments are apportioned between the is used as the estimate for the value for the Artworks for or artistic significance and are held indefinitely for the risks specific to the asset. finance charge and reduction of the outstanding liability. accounting purposes. benefit of present and future generations. A heritage The finance charge is allocated to each period during the asset is recognised as an asset if it is probable that future lease term so as to produce a constant periodic rate on 1.5 Provisions the remaining balance of the liability. 1.1 Plant and equipment economic benefits or service potential associated with the asset will flow to the economic entity, and the cost Provisions are recognised when: or fair value of the asset can be measured reliably. Any contingent rents are expensed in the period in which REVALUATION they are incurred. Heritage assets are measured at cost. After recognition • the Foundation has a present obligation as a result of as assets the heritage assets are carried at cost less any Artwork and collectables consist of works of art and a past event; accumulated impairment losses. At each reporting date Rentals payable under operating leases are charged photographs stored at the Wits Gallery as well as a heritage assets are assessed for impairment. If any such to income on a straight-line basis over the term of the Steinway piano and keyboard. These assets are revalued • it is probable that an outflow of resources embodying indication exists, the recoverable amount or recoverable relevant lease. annually in accordance with their fair values. Collectables economic benefits or service potential will be required service amount of the heritage assets are estimated. A and art works are not depreciated as they appreciate in to settle the obligation; and heritage asset is derecognised on disposal or when no value over time and therefore the residual values of these future economic benefit or service potential is expected assets exceed their carry values. • a reliable estimate can be made of the obligation. from its use or disposal. The gain or loss arising from the derecognition of a heritage asset is the difference Any increase in an asset’s carrying amount, as a result of Provisions are measured at the Council’s best estimate between the net disposal proceeds and the carrying a revaluation, is credited directly to a revaluation surplus. of the expenditure required to settle the obligation at value. Such difference is recognised in surplus or deficit The increase is recognised in surplus or deficit to the year end and are discounted to present value where the when the heritage asset is derecognised. extent that it reverses an impairment of the same asset effect is material. previously recognised in surplus or deficit.

32 0033 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

Accounting Policies (continued)

1.9 Revenue from non-exchange If goods in-kind are received without conditions attached, amortisation process. A provision for impairment is made 1.12 Contingent liabilities transactions revenue is recognised immediately. If conditions are when there is objective evidence (such as the probability attached, a liability is recognised, which is reduced and of insolvency or significant financial difficulties of the A contingent liability is a possible obligation that arises revenue recognised as the conditions are satisfied. debtor) that the Foundation will not be able to collect all GOVERNMENT GRANTS from past events, the existence of which will be confirmed the amounts due, under the original terms of the invoice. only by the occurrence or non-occurrence of one or When funders remit grants on a re-imbursement basis, The carrying amount of the receivable is reduced through Government grants are recognised as revenue when: more uncertain future events not wholly within the control revenue is recognised when the qualifying expense has the use of an allowance account. Impaired debts are of the institution; or been incurred and to the extent that any other restrictions derecognised when they are assessed as uncollectable. • it is probable that the economic benefits or service have been complied with. potential associated with the transaction will flow to A contingent liability is a present obligation that arises Short term receivables with no stated interest rates are the entity; from past events but is not recognised because: 1.10 Revenue from exchange measured at the original invoice amount if the effect of discounting is immaterial. • the amount of the revenue can be measured reliably, and transactions • It is not probable that an outflow of resources will be required to settle the obligation; or CASH AND CASH EQUIVALENTS • to the extent that there has been compliance with Revenue is recognised on the accrual basis when it is any restrictions associated with the grant. possible that future economic benefits will flow to the • The amount of the obligation cannot be measured Cash and cash equivalents in the Statement of Financial with sufficient reliability. Foundation and these benefits can be measured reliably. Position comprise cash at banks and on hand and cash Where a transfer is subject to conditions, the MTF Ticket sales, rentals and other income are measured at equivalents with an original maturity of twelve months recognises a liability until the condition is fulfilled. 1.13 Comparative figures fair value of consideration received or receivable. Interest or less. For the purpose of the Cash Flow Statement, income is accrued on a time proportion basis, taking into cash and cash equivalents consist of cash and cash The entity assesses the degree of certainty attached to Comparative figures have been reclassified where account the principal outstanding and the effective rate equivalents as defined above, net of outstanding bank the flow of future economic benefits or service potential necessary to give a more appropriate comparison. over the period to maturity. Tuition fees are recognised on overdrafts. Cash and cash equivalents are recognised at on the basis of the available evidence. Certain grants a time proportion basis. cost. payable by one level of government to another are 1.14 Irregular, fruitless and wasteful subject to the availability of funds. Revenue from these 1.11 Financial instruments PAYABLES FROM EXCHANGE TRANSACTIONS grants is only recognised when it is probable that the expenditure economic benefits or service potential associated with The Foundation’s principal financial instruments are Payables are initially recognised at fair value. After initial the transaction will flow to the entity. An announcement Irregular expenditure means expenditure incurred receivables, cash and cash equivalents, payables and recognition, payables are subsequently measured at at the beginning of a financial year that grants may be in contravention of, or not in accordance with a lease liabilities. Financial assets and financial liabilities are amortised cost using the effective interest method. Gains available for qualifying entities in accordance with an requirement of any applicable legislation, including the recognised on the Foundation’s Statement of Financial and losses are recognised in surplus and deficit when agreed programme, may not be sufficient evidence PFMA. Position when the Foundation becomes a party to the liabilities are derecognised as well as through the of the probability of the flow. Revenue is then only the contractual provisions of the instrument. Financial amortisation process. Fruitless and wasteful expenditure means expenditure that recognised once evidence of the probability of the flow instruments are initially recognised using the trade date becomes available. was made in vain and would have been avoided had accounting method. Short term payables with no stated interest rates are reasonable care been exercised. measured at the original invoice amount if the effect of Restrictions on government grants may result in such FINANCIAL ASSETS discounting is immaterial. revenue being recognised on a time proportion basis. All irregular and fruitless and wasteful expenditure is Where there is no restriction on the period, such revenue is charged against income in the period in which they are Financial assets are stated at fair value through surplus incurred. recognised on receipt. or deficit, loans and receivables or held to maturity investment as appropriate. When financial assets are When government remits grants on a re-imbursement initially recognised they are measured at fair value. The basis, revenue is recognised when the qualifying expense Foundation determines the classification of its financial has been incurred and to the extent that any other assets on initial recognition and, where allowed and restrictions have been complied with. appropriate, re-evaluates this designation at each financial year end. The Foundation assesses at each OTHER GRANTS AND DONATIONS reporting date whether a financial asset or group of financial assets is impaired. Other grants and donations are recognised as revenue when: RECEIVABLES FROM EXCHANGE TRANSACTIONS

• it is probable that the economic benefits or service Receivables are non-derivative financial assets with fixed potential associated with the transaction will flow to or determinable payments that are not quoted in an the entity; active market.

• the amount of the revenue can be measured reliably; After the initial measurement, receivables are carried and at amortised cost, using the effective interest method © Eric Miller less any allowance for impairment. Gains and losses are Mother To Mother • to the extent that there has been compliance with recognised in surplus or deficit when the receivables any restrictions associated with the grant. are derecognised or impaired, as well as through the

34 0035 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

ActNotes to 1 the7: Annual Financial Statements For the Year Ended 31 March 2014

2. NEW STANDARDS AND INTERPRETATIONS Reconciliation of plant and equipment - 2014

2.1 Standards and interpretations issued, but not yet effective Opening Additions Disposals Revaluations Depreciation Carrying balance value

The entity has not applied the following standards and interpretations, which have been published and are mandatory for Land 5 249 139 - - - - 5 249 139 the entity’s accounting periods beginning on or after 01 April 2014 or later periods: Buildings 3 118 395 6 167 937 - - - 9 286 332 Standard/ Interpretation: Effective date: Expected impact: Furniture and fixtures 4 894 885 695 660 (148 929) - (719 923) 4 721 693 Years beginning on or after Motor vehicles 73 036 59 900 (70 098) - (10 178) 52 660 • GRAP 106: Transfers of functions between entities not under 01 April 2014 No significant impact IT equipment 1 378 801 918 827 (38 414) - (630 540) 1 628 674 common control Leasehold improvements 4 909 233 9 363 464 (51 119) - (653 717) 13 567 861 • GRAP 107: Mergers 01 April 2014 No significant impact Artwork 2 815 920 40 000 - 207 092 - 3 063 012 • GRAP 6 (as revised 2010): Consolidated and Separate 01 April 2014 No significant impact Financial Statements Books 69 168 - - - (6 975) 62 193 • GRAP 7 (as revised 2010): Investments in Associates 01 April 2014 No significant impact 22 508 577 17 245 788 (308 560) 207 092 (2 021 333) 37 631 564 • GRAP 8 (as revised 2010): Interests in Joint Ventures 01 April 2014 No significant impact Reconciliation of plant and equipment - 2013 2.2 Standards and interpretations not yet effective or relevant Opening Additions Disposals Transfers Revaluations Depreciation Carrying balance value The following standards and interpretations have been published and are mandatory for the entity’s accounting periods Land - 5 249 139 - - - - 5 249 139 beginning on or after 01 April 2013 or later periods but are not relevant to its operations: Buildings - 3 118 395 - - - - 3 118 395 Standard/ Interpretation: Effective date: Expected impact: Furniture and fixtures 4 802 548 1 222 003 (419 815) 300 - (710 151) 4 894 885 Years beginning on or after Motor vehicles 79 976 - - - - (6 940) 73 036 • GRAP 18: Segment Reporting 01 April 2013 No significant impact IT equipment 1 173 053 937 179 (19 178) (300) - (711 953) 1 378 801 Leasehold improvements 1 769 642 3 971 708 (31 847) - - (800 270) 4 909 233 3. PROPERTY, PLANT AND EQUIPMENT Artwork 1 374 100 - - - 1 441 820 - 2 815 920 Books - 69 749 - - - (581) 69 168 9 199 319 14 568 173 (470 840) - 1 441 820 (2 229 895) 22 508 577 2014 2013 Cost / Accumulated Carrying Cost / Accumulated Carrying Valuation depreciation value Valuation depreciation value 2014 2013 and and accumulated accumulated R R Land impairment impairment - Cosac block, purchase price: 18 March 2013 5 200 000 5 200 000 Land 5 249 139 - 5 249 139 5 249 139 - 5 249 139 - Capitalised expenditure - transfer costs 49 139 49 139 Buildings 9 286 332 - 9 286 332 3 118 395 - 3 118 395 5 249 139 5 249 139 Furniture and fixtures 9 014 021 (4 292 328) 4 721 693 8 672 828 (3 777 943) 4 894 885 Motor vehicles 59 900 (7 240) 52 660 159 013 (85 977) 73 036 The land consists of the Cosac block: remaining extent of Erf 582, Erf 608 and Erf 610, Newtown. The Cosac block will be IT equipment 3 028 874 (1 400 200) 1 628 674 3 159 055 (1 780 254) 1 378 801 developed over the next 18 months. The project is planned for completion by May 2015 and is funded by capital works Leasehold improvements 16 306 453 (2 738 592) 13 567 861 7 323 291 (2 414 058) 4 909 233 grants from DAC.

Artwork 3 063 012 - 3 063 012 2 815 920 - 2 815 920 Plant and equipment with a cost of R2,5 million, fully depreciated in prior years, are still in use. Books 69 749 (7 556) 62 193 69 749 (581) 69 168 Total 46 077 480 (8 445 916) 37 631 564 30 567 390 (8 058 813) 22 508 577

36 0037 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

Notes to the Annual Financial Statements (continued)

2014 2013 2014 2013 R R R R 4. HERITAGE ASSET 7. PREPAYMENTS

The MTF purchased Land and Buildings at the end of January 2014. The transfer of the property was effected in June 2014. - Purchase price: 18 March 2013 - - The prepayments consists of the purchase price and transfer costs paid to the transferring attorney plus the interest earned on the deposit but not received.

The heritage asset consist of The Schlom Eating House, built in 1914 on Erf 608 Newtown, which was acquired in March 2013. The ruin of this building will be restored as part of the Cosac building project over the next 18 months. The Prepayments made iro acquisition of land and buildings construction cost of The Schlom Eating House will be disclosed as its value in future years. Prepayments to transferring attorney 5 665 647 -

5. INTANGIBLE ASSETS 8. CASH AND CASH EQUIVALENTS

2014 2013 Cash on hand 6 220 5 330 Cost / Accumulated Carrying Cost / Accumulated Carrying Bank balances 92 720 379 81 641 881 Valuation depreciation value Valuation depreciation value and and 92 726 599 81 647 211 accumulated accumulated impairment impairment Bank balances held in respect of unutilised grants 86 506 547 71 905 514 Computer software 1 024 576 (583 032) 441 544 1 057 720 (439 008) 618 712 Other bank balances 6 220 052 9 741 697 92 726 599 81 647 211

Reconciliation of intangible assets - 2014 Opening Additions Amortisation Carrying 9. CAPITAL GRANTS RESERVE balance value Brought forward from previous year 17 553 204 5 347 432 Computer software 618 712 53 821 (230 989) 441 544 Utilisation of reserve (1 356 444) (1 680 791) Capital works grant received 16 156 065 13 886 563 32 352 825 17 553 204 Reconciliation of intangible assets - 2013 Opening Additions Amortisation Carrying The capital donations reserve represents the book value of fixed assets acquired using external funding. balance value Computer software 345 958 467 246 (194 492) 618 712 10. FINANCE LEASE OBLIGATION

Payable within one year - 15 387 6. TRADE AND OTHER RECEIVABLES FROM EXCHANGE TRANSACTIONS Less future finance charges - (516) Present value of minimum lease payments - 14 871 Trade debtors from exchange transactions 1 836 020 1 357 663 Current portion of minimum lease payments - (14 871) Deposits 99 973 93 979 Long term portion of minimum lease payments - - 1 935 993 1 451 642 The finance lease agreement pertains to a photocopier. Council considers that the carrying amount of trade and other receivables approximate its fair value. The agreement was concluded in June 2008. The interest rate is 20,5%. The obligation under the finance lease is secured by the lessor’s title to the leased asset. The lease terminated in April 2013.

38 0039 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

Notes to the Annual Financial Statements (continued)

2014 2013 13. PROVISIONS R R 11. UNSPENT CONDITIONAL GRANTS AND RECEIPTS Reconciliation of provisions - 2014 Opening Additions Utilised during Total Movement during the year balance the year Opening balance brought forward 71 905 514 65 397 096 Provision for bonus 299 960 310 498 (299 960) 310 498 Amounts received during the year 25 034 959 18 267 709 Special operating expenditure incurred (10 433 926) (11 759 291) Reconciliation of provisions - 2013 Balance at end of the year 86 506 547 71 905 514 Opening Additions Utilised during Total balance the year The balance at the end of the year comprises the following unutilised grants: Provision for bonus 246 451 299 960 (246 451) 299 960

Unspent conditional grants and receipts Provisions are measured at the Council’s best estimate of the expenditure required to settle the obligation in December, DAC - conditional grant in respect of capital works for building projects 74 609 663 68 551 728 and are discounted to present value where the effect is material. Open Society 436 373 156 741 2014 2013 Pro Helvetia 10 934 87 754 R R Getty Images 861 434 973 626 14. OPERATING INCOME Edward Ruiz 45 100 114 968 Rental and other income 1 131 314 1 792 060 Capital Works Grants 7 821 000 - Theatre and training income 2 855 895 3 157 516 Sex Workers Project 66 555 - 3 987 209 4 949 576 British Council 1 074 000 - MPW and Lab tuition fees 644 269 518 359 Other 82 183 99 756 15. REVENUE FROM NON-EXCHANGE TRANSACTIONS: GOVERNMENT GRANT WJ Kentridge - 366 347 Operating grants City of Johannesburg 332 677 332 677 Department of Arts and Culture (DAC) - MTEF allocation 26 196 000 24 611 000 US Embassy 20 Years of Freedom Celebration 311 045 - Project grant received from DAC 833 333 - Giselle Wulfsohn 140 050 63 915 27 029 333 24 611 000 Tierney Fellowship 85 831 93 293 Capital works grant received 16 156 065 13 823 482 Gauteng Province 74 600 - 43 185 398 38 434 482 86 595 714 71 359 164 MDDA - final tranche outstanding (18 298) 6 746 The Foundation leases the theatre building from the City of Johannesburg at R4 pm, which is below market related rate. National Arts Council - final tranche outstanding (70 869) 539 604 The lease expires on 31 December 2016. 86 506 547 71 905 514 16. REVENUE FROM NON-EXCHANGE TRANSACTIONS: OTHER Unspent conditional grants and receipts are earmarked for projects in future financial years. The spending of these grants will be done in terms of the grants agreements. National Lottery Distribution Trust Fund 7 128 209 4 704 370 Other donations 3 305 717 7 054 921 12. TRADE AND OTHER PAYABLES FROM EXCHANGE TRANSACTIONS 10 433 926 11 759 291

Trade payables from exchange transactions 3 585 646 1 994 118 Accrued expenses 1 241 495 872 868 Accrued audit fees - (2 660) 4 827 141 2 864 326

Council considers that the carrying amount of trade and other payables approximate its fair value.

40 0041 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

Notes to the Annual Financial Statements (continued)

2014 2013 2014 2013 R R R R 17. SURPLUS FROM OPERATIONS Artistic Director - Appointed August 2013 - Salary 517 025 - This is arrived at after taking the following items into account: - Annual bonus 33 191 - DAC capital works grants received and spent 16 156 065 13 823 482 - Pension Fund 38 830 - 589 046 - Auditors’ remuneration Non-executives Fees 727 231 391 550 Members of Council 31 611 27 015 Members of the Finance and Audit Committee 2 313 3 651 Depreciation and amortisation 33 924 30 666 Furniture and fixtures 719 923 710 151 Operating lease expenditure Motor vehicles 10 178 6 940 Premises 333 861 529 678 IT equipment 630 540 711 952 Equipment 33 254 70 853 Leasehold improvements 653 717 800 270 367 115 600 531 Intangible assets 230 987 194 494 Books 6 975 581 Loss on disposal of assets and liabilities 2 252 320 2 424 388 Loss on disposal of assets (294 298) (470 840)

18. INTEREST Senior management remuneration Finance costs Chief Executive Officer Trade and other payables - (143 885) - Salary 937 837 908 758 Finance leases - (8 608) - Annual bonus - 120 935 Recovery of interest paid in settlement of debt 269 400 - - Pension fund 70 654 66 638 269 400 (152 493) 1 008 491 1 096 331 Interest revenue Chief Executive Officer Interim (while CEO was on maternity leave) Bank 4 807 081 3 751 582 Salary 274 256 - 5 076 481 3 599 089

Chief Financial Officer 19. CASH GENERATED FROM OPERATING ACTIVITIES - Salary 970 548 942 039 Surplus for the year 15 408 598 11 847 448 - Annual bonus 92 438 82 441 Adjustments for: - Long service award 15 000 - Depreciation and amortisation 2 252 320 2 424 388 1 077 986 1 024 480 Loss on sale of assets and liabilities 294 298 470 840 Interest income (4 807 081) (3 751 582) Artistic Director - Resigned July 2013 Finance costs - 8 608 - Salary 189 379 910 032 Debt impairment - (10 275) - Annual bonus - 74 011 Movements in provisions 10 543 53 509 - Leave pay 14 000 - Changes in working capital: - Long service award - 8 000 Trade and other receivables from exchange transactions (484 351) (99 307) 203 379 992 043 Trade and other payables from exchange transactions 1 962 815 (305 092) 14 637 142 10 638 537

42 0043 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

Notes to the Annual Financial Statements (continued)

20. TAXATION AND DONATIONS TAX Liquidity risk management

The institution has been approved as a public benefit organisation in terms of section 30 of the Income Tax Act (the Act) and: The institution manages liquidity risk by reviewing the bank and cash balances on a daily basis. The institution has sufficient • the receipts and accruals are exempt from income tax in terms of section 10(1) (cN) of the Act; resources to meet its short-term obligations. All bank accounts are held with reputable banking institutions. • donations by or to the public benefit organisation are exempt from donations tax in terms of section 56(1)(h) of the Act; • bequests or accruals from the estates of deceased persons in favour of the public benefit organisation are exempt Exposure to liquidity risk from the payment of estate duty in terms of section 4(h) of the Estate Duty Act, 45 of 1955. The Foundation minimises this risk by ensuring that enough cash reserves are available to cover its current liabilities through the analysis of the commitments against the cash available in our current and call accounts. 21. STAFF INFORMATION The following table reflects the Foundation’s exposure to liquidity risk from financial liabilities: Number of employees 45 49

At March 2014 Carrying Total Not later than 1-5 Years 2014 2013 amount contractual one year R R cash flow 22. COMMITMENTS Trade and other payables from exchange transactions 4 827 141 4 827 141 4 827 141 - Operating lease commitments Unspent conditional grants and receipts 86 506 547 86 506 547 86 506 547 -

At the reporting date, the institution had outstanding commitments under non-cancellable operating leases, which fall due 91 333 688 91 333 688 91 333 688 - as follows: Within one year 329 356 373 049 At March 2013 Carrying Total Not later than 1-5 Years amount contractual one year In the second to fifth years inclusive 701 075 840 034 cash flow Thereafter 209 386 399 736 Finance lease liabilities 14 871 14 871 14 871 - 1 239 817 1 612 819 Trade and other payables from exchange transactions 2 864 326 2 864 326 2 864 326 - 23. FINANCIAL INSTRUMENTS Unspent conditional grants and receipts 71 905 514 71 905 514 71 905 514 - 74 784 711 74 784 711 74 784 711 - Credit risk management Interest rate risk Credit risk relates to potential exposure on trade receivables. At year end, the institution did not consider there to be any significant concentration of credit risk, which had not been adequately provided for. All financial instruments attract interest at rates linked directly to the prime bank overdraft rate.

Exposure to credit risk The Foundation’s exposure to market risk (in the form of interest rate risk) arises primarily from the Foundation’s investment in cash and cash equivalents and the obligations in respect of the Foundation’s finance leases. The Foundation’s financial Financial assets, which potentially subject the Foundation to the risk of default by counter parties and thereby subject the assets and financial liabilities are managed in such a way that the fluctuations in variable rates do not have a material Foundation to concentrations of credit risk, consist mainly of cash and cash equivalent and receivables. Receivables impact on the surplus or deficit as the Foundation settles its outstanding obligation within 30 days and interest on outstanding consists mainly of prepayments made to suppliers, rental deposits and trade receivables with a maximum exposure to debts is charged using the applicable rates. Refer to the sensitivity analysis below to illustrate the possible effect of changes credit risk equal to the carrying value of these instruments. in the variable interest rate on the financial assets and liabilities. 2014 2013 Cash and cash equivalents are placed with high credit quality financial institutions, therefore the credit risk with respect to cash and equivalents, is limited. R R Variable rate instruments Credit risk with respect to receivables is limited due to the nature of the Foundation’s revenue transactions. The Financial assets 92 726 599 81 647 211 Foundation trades only with recognised, creditworthy third parties and all debtors are requested to settle their accounts within 30 days. The entity does not have any significant exposure to any individual customer or counter-party. Financial liabilities - (14 871) Accordingly, the institution does not consider there to be any significant concentration of credit risk, which had not been 92 726 599 81 632 340 adequately provided for. Receivables are presented net of the allowance for doubtful debts.

The maximum exposure to credit risk at the reporting date was: Fixed rate instruments Financial assets – Trade and other payables from exchange transactions (4 827 141) (2 864 326) Loans and receivables Carrying Carrying amount 2014 amount 2013 Financial assets – Prepayments (5 665 647) - Financial liabilities – Trade and other receivables from exchange transactions 1 935 993 1 451 642 Cash and cash equivalents – AA rating 92 726 599 81 647 211 (8 556 795) (1 412 684) Trade and other receivables from exchange transactions – unrated 1 935 993 1 451 642

44 0045 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998)

Notes to the Annual Financial Statements (continued)

Fair value of financial instruments 2014 2013 R R At 31 March 2014 the carrying amounts of bank balances and cash, trade and other receivables, trade and other payables, 26. IRREGULAR EXPENDITURE unutilised subsidies and current portion of long term liabilities approximate their fair values due to the short term maturity of these assets and liabilities. The net fair value of the institution’s financial assets and liabilities are stated below: Opening balance 4 104 871 761 107 Fair Value Carrying Value Irregular expenditure current year 1 189 832 4 104 871 R R Irregular expenditure condoned by National Treasury (1 515 808) - Assets Irregular expenditure approved by Council in the current year (2 589 063) (761 107) Cash and cash equivalents 92 726 599 92 726 599 Total irregular expenditure awaiting condonation 1 189 832 4 104 871 Trade and other receivables from exchange transactions 1 935 993 1 935 993 Prepayments 5 665 647 5 665 647 Liabilities Details of irregular expenditure – current year Disciplinary steps taken/ Amount criminal proceedings Trade and other payables from exchange transactions 4 827 141 4 827 141 Unspent conditional grants and receipts 86 506 547 86 506 547 Contracts for internet lines, website maintenance, cleaning, The staff members responsible have 1 039 901 short term insurance, travel costs and computer services were received warning letters. Proper SCM awarded or renewed in the previous financial year without procedures have been followed getting 3 quotes and without following SCM procedures. as soon as the extended contracts 24. RELATED PARTIES Management renewed the contracts as the services received expired 2014 2013 were good. The contract terminated in the current financial year. The expenditure was not fruitless or wasteful and there R R was no malicious intent Related party balances SCM approval after placing the order The manager responsible was given 50 697 a warning letter as she contravened Department of Arts and Culture (DAC) procedures Unspent capital works grant 74 609 663 68 551 728 SCM approval after placing the order The employee did not submit quotes 13 050 to SCM - oversight. No action can be taken against her as she left the Related party transactions employ of the Foundation

The total scores allocated to prospective suppliers for Management will ensure that it 86 184 Grant received from the Department of Arts and Culture (DAC) 43 185 398 38 434 482 functionality were not allocated for the ICT tender MTF complies with relevant laws and 15/10/2013 regulations in future. No disciplinary steps were taken in this regard as Council approved the tender and The Market Theatre Foundation receives an annual grant from the Department of Arts and Culture. was given sufficient information to ensure that a competent supplier was awarded the tender 25. CONTINGENT LIABILITY 1 189 832 In terms of section 53(3) of the PFMA the Foundation has to obtain approval from National Treasury to retain its accumulated surplus funds as at year end. A submission has been made to National Treasury in this regard. If approval is not granted by National Treasury to retain the surplus funds, a maximum amount of R11,4 million (2013: R10.8 million) would be repayable to National Treasury.

46 0047 THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION THE MARKET THEATRE FOUNDATION IS A DECLARED CULTURAL INSTITUTION IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) IN TERMS OF THE CULTURAL INSTITUTIONS ACT (NO 119 OF 1998) Act 18: Notes to the Annual Financial Statements (continued) Schedule of Operating Costs For the Year Ended 31 March 2014

This schedule has not been audited.

2014 2013 Details of irregular expenditure condoned Condoned by (condoning authority) Amount R R Expenditure was condoned where the Foundation could National Treasury 1 515 808 Selling and fundraising costs provide a copy of the tax clearance certificate where the Marketing and advertising 1 214 152 1 084 586 original was not available Production costs 11 741 180 10 133 948 Contracts for internet lines, website maintenance, cleaning, Council 1 087 602 short term insurance, travel costs and computer services were Travel and entertainment - local 605 107 329 688 awarded or renewed without getting 3 quotes and without Travel and entertainment - overseas 1 488 39 912 following SCM procedures. Management renewed the Total selling costs 13 561 927 11 588 134 contracts as the services received were good. The expenditure was not fruitless or wasteful and there was no malicious intent Personnel costs Original tax clearance certificates were not obtained from Council 1 414 702 suppliers. The expenditure was not fruitless or wasteful and Salaries and wages 17 100 794 15 698 218 there was no malicious intent Staff transport 188 827 125 957 The QS of the building projects was requested to assist with Council 31 840 Staff training 197 081 307 958 arranging as built plans and the tender documentation of the Staff welfare 64 205 77 816 architect tender, without getting 3 quotes. Management appointed the QS as he was appointed on the project as Consultancy fees 449 313 417 189 QS and it was impractical and too costly to appoint another Total personnel costs 18 000 220 16 627 138 consultant. The expenditure was not fruitless or wasteful and there was no malicious intent Personnel cost as % of total operating costs 38% 35% A structural engineer was paid R30 000 in the settlement of a Council 30 000 dispute over work done. Management assumed the work was done on risk and the engineer assumed that he would be Administration costs awarded the bid, but was not. The expenditure was not Depreciation, amortisation and impairments 2 252 320 2 424 388 fruitless or wasteful and there was no malicious intent Auditors remuneration 727 231 391 550 A mobile bar company was appointed without getting 3 Council 24 919 Communications 272 825 340 082 quotes. The expenditure was not fruitless or wasteful and there was no malicious intent Commission paid 391 676 372 853

4 104 871 Computer expenses 1 182 392 990 124 Other expenses 326 800 279 004 Council approved the irregular expenditure having noted that no malicious intent was identified. Council acknowledges Insurance 337 068 379 602 that capital projects are not the normal business of the Foundation and that due care has been taken in spending the Laboratory expenses 1 441 343 1 372 805 capital works grant. Legal fees 162 523 178 892 Photo workshop expenses 3 468 964 6 771 106 Repairs and maintenance 2 863 966 2 354 614 Lease rentals on operating lease 367 115 600 531 Security 534 002 423 243 Printing and stationery 219 621 151 429 Utilities 795 049 1 178 655 Assessment rates & municipal charges 25 076 - Donations 50 000 - Loss on disposal of assets 294 298 470 840 Total administration costs 15 712 269 18 679 718

Total operating costs 47 274 416 46 894 990

48 0049 ActReport of19: the Market Laboratory

The Lab turns 25 years old this year, and the achievements Professor, Drama, Tisch School of the Arts, New York Where are they now? Graduate success of our students and alumni give us much to celebrate. University). The Self Start Intensive was offered without stories cost to 25 successful applicants, comprised of mid-career The 2nd year students’ production, Milk and Honey, artists from South Africa and Zimbabwe, and 2nd-year • Harriet Manamela (1996): won a SAFTA for Best written by Dom Gumede and directed by James Ngcobo, Market Lab students. Topics included: articulating a Supporting Actress in a TV Drama for her role in Skeem won 3 awards at the National Arts Student Festival in mission, the options for different producing models, Saam. Grahamstown: production with the most potential for a choosing collaborators, developing a strategic plan, professional run, best poster, and best overall promotional basic fundraising, marketing and managing the financial • Prince Lamla (2002): premiered his production of the material. They returned to Jo’burg to perform the play at aspects essential for start-up enterprises. classic struggle play Asinamali on the main programme the 969 Festival at Wits Theatre. Robyn Sassen, a theatre at the National Arts Festival. reviewer, wrote of the play: “the work itself rises supreme The programme culminated in a pitch session to a panel and sophisticated. It’s a must see. And it must have legs of industry professionals, including co-founder of The Lab, • Omphile Molusi (2004): will be presenting a reading of beyond this festival.” In September, Milk and Honey was John Kani. In addition to Elizabeth Bradley, the course his new play in May 2014 at the Royal Court in London. part of the Arts Alive Festival, performing at our own was taught by Anne Mundell (Associate Professor, Scenic

Ramalao Makhene Theatre to appreciative audiences. Design, Carnegie Mellon University) with the assistance • Tau Maseremule (2004): performed in The Man in the of David Betts (Principal, Deloitte Consulting LLP) and Green Jacket at Jo’burg Theatre. The Lab collaborated with the Hillbrow Theatre’s Inner City Bronwen Bradley (Senior Communications Manager, High Schools’ Festival as part of Arts Alive. The 2nd year Opera Atelier). • Phillip Dikotla (2010): won the Fleur du Cap for Best students were each assigned to a high school, where Performance in a Revue, Musical or One Person Show, they facilitated workshops and rehearsals throughout the The Lab has also been a busy hire venue – we continue to as well as the Best of the 2013 Zabalaza Theatre Festival year, supporting the learners in the development of plays host regular Word ‘n Sound poetry events, and were the and an Encore Ovation Award at the National Arts to present at the high school festival, while building their venue for the Jo’burg auditions for Clash of the Choirs. Festival for his one-man show, Skierlik. own facilitation and directing skills. Many of the graduates We welcome a new administrator, Pascar Dube, and a have returned to their placement schools in 2014, and our new venue technician, Sibusiso Ndumndu, who is also a • Peter Langa (2010): featured in the Sophiatown Young new 2nd years are also continuing the project. Due to the Lab graduate. Performer’s Programme with his one person show, skills acquired in this project, 2 graduates are teaching Tswalo/Source. drama in the Venanet Programme based at Jubulani Core PrinciplEs Technical School. • Alfred Motlhapi (2013): is an intern with Gregory The Market Lab Drama School aims to produce confident, Maqoma’s Vuyani Dance Theatre. The 1st years also had a busy and successful year. As disciplined performing arts professionals who are highly an acting project, they conceptualised and created © Patrick Selemani skilled in several modes of performance. Deeply • Anne Modula (2013): has just shot The Intruder, a short children’s theatre pieces with support from their acting, The Piper’s Tune embedded in the ethos of The Lab is our commitment film, and Mzansi Love Stories, which will be aired on mime and dance teachers. The resulting production, Fun to providing opportunities to talented youth from Loxion Bioscope. She is currently presenting eKasi House, was performed for excited audiences of Grade 3 disadvantaged backgrounds that would not otherwise Entreprise on E-TV. learners. Being involved in all aspects of the production, be able to pursue their passion for the arts or study further. from its inception, was a huge learning experience for the This 2-year programme is holistic in nature, focusing on the • Marcus Mabusela (2013): featured in a Vodacom students, especially the opportunity to create and perform development of both the person and the performer. commercial. He was the assistant director to James their work for a specific audience. They also devised a Ngcobo, in Nongogo and appears in a film called Imali play, Batsamai – The Travelers, under the guidance of In 1st-year, students focus on intensive training in various Yegazi directed by Scott Ness. Robert Colman and performed in a work choreographed disciplines aimed at creating multi-talented, multi-skilled by Portia Mashigo, Who am I, in these moments…? performers, including voice, singing, acting, play-making, • Salome Sebola (2013): was selected by the National physical theatre, improvisation and design. This year, Children’s Theatre to take part in their Young Directors Once again, our students have had the opportunity they will also be participating in collaboration with Dutch Programme. She will be the assistant director on South to engage with exceptional theatre practitioners theatre-makers specialising in children’s theatre. Venturing North, The Lab student production directed and international industry leaders through additional by Jeff Tshabalala. workshops and master classes. In 2nd-year, the students implement their skills by participating in the creation and performance of several • Lethabo Bereng (2013): was the assistant costume From the 17th – 21st of June, the Lab hosted Selina productions, getting as much performance experience designer for Colored Museum, an adjudicator for the Cadell and Richard Hahlo, 2 exceptionally skilled in as many different contexts as possible. This year, they RACA drama festival, stage managed Donkey Child at actors and teachers from the UK, who facilitated a have performed an adaptation of Hamlet, directed Hillbrow Theatre, modelled for Soweto Fashion Week, week of workshops with the 1st-years, exploring various by Dorothy Ann Gould, and a physical theatre play and is the assistant stage manager and costume Shakespeare texts. This was a tremendously successful directed by Jaques Da Silva, to hundreds of high school designer for Pale Natives at the Market Theatre. intervention as it allowed the students to develop their learners. They are currently rehearsing a play written confidence with heightened language and engage with and directed by Jeff Tshabalala which will debut at the • Mlilendeli Zondi (2013): He has started a production Shakespeare in a playful, embodied way. National Arts Festival in Grahamstown. It will also be a © Patrick Selemani company specialising in storytelling and site-specific I Ophelia part of the programme of the Arts Alive Festival, providing work. He worked on Agreed, directed by Sylvaine Strike In August 2013, in collaboration with Think Theatre, the a springboard for the students to enter the professional Lab hosted a 9 day artistic entrepreneurship course at the Market Theatre, as a performer, stage-manager performing arts arena. The 2nd-years will also be and assistant director. created and facilitated by Elizabeth Bradley (Arts performing at the 969 Festival and the Dance Umbrella.

50 0051 Report of the Market Laboratory (continued)

Teachers 2013 – 2014 Below is a summary of the work carried out through the year.

Alison Green (Yoga) Fieldwork Summary James Happe (Yoga) Year: 2013 Groups Plays Created Areas No of Group Group Dan Robbertse (Voice and Text and Performance) Mentored Served/ Fieldworkers Members: Members: Claudine Ullman (Improvisation) Visited Female Male Irene Stephanou (Theatre and Life) Monageng Motshabi (Acting and Play-making) Local Showcases 37 40 39 62 241 279 Jaques Da Silva (Mime and Physical Theatre) Local Fieldwork 11 12 11 13 54 53 Onthathi Matshidiso (Design and Visual Literacy) Thembi Kubheka (Singing) National Showcases 51 57 9 22 155 209 Portia Mashigo (Movement) National Fieldwork 19 20 13 19 47 74 Mbali Nkosi (Ballet) CTF Local 17 17 12 17 94 116 Jenine Collocot (Storytelling) Khayelihle Dom Gumede (Play-making) CTF National 25 25 20 25 92 41 Omphile Molusi (Heightened Text) Zwakala Local 4 4 4 4 14 12 Lesedi Job (Voice) Alex Halligey (Voice) Zwakala National 9 9 7 9 21 29 Dorothy Ann Gould (Acting) Robert Colman (Devised Theatre) Community Theatre Festival Year: 2013 Participating Plays Presented Areas Group Members: Group Members: FIELDWORK AND FESTIVALS Groups Participating Female Male Local 17 17 12 94 116 The year under review saw the implementation of new processes and development interventions, based largely National 25 25 20 92 41 on experiences from previous years. Audience Attendance at CTF: 2 764 Some of our notable successes include: Zwakala Festival Summary • A method of training and mentorship that allows Year: 2013 Participating Plays Presented Areas Group Members: Group Members: Xolani Ndlovu and Thando practitioners to grow to levels that enable them to Groups Participating Female Male Mahlangu in The Fun House move outside our own programme; Local 4 4 4 14 12 • Witnessing the said practitioners achieve this without National 9 9 7 21 29 solely relying on us to find and make these alternative presentations work; Audience Attendance at Zwakala Festival: 1 704 • The above is evident in productions that originated through the programme and were presented by other venues as follows: The Market Theatre Laboratory has aspirations to see an improvement in the quality of the new works being developed as well as an increase in the number of emerging playmakers from community theatre groups that successfully cross over o T.O. no Ma7 @ the South African State Theatre into the professional theatre arena. We believe we still have some distance to cover, however, looking at what we have o The Widow in Nelspruit managed to achieve this year, we believe we are well on our way to realising these objectives. o The Human Race @ the Windybrow Theatre

• Our ability to retain and/or draw back most of our experienced fieldworkers – who may be practicing as professionals. This is very valuable to us as it has a direct impact on the quality of the mentorship provided as well as the productivity and efficacy of the programme as a whole.

John Kani congratulating graduate Anne Modula

52 0053 ActReport of20: the Market Photo Workshop

This report covers the achievements and activities of the Education and Training: Aurélie Filippetti, Minister of Culture and Communication, to similar issues. Wulfsohn has worked on issues of MPW during the period 01 April 2013 to 31 March 2014. Photography Courses visited the exhibitions the 1st-time during the opening democracy, HIV/AIDS and positive sexual identities, week on the 6th of July 2013. François Hollande, President social inclusion and gender issues, always maintaining a of the Republic, visited the exhibitions on the 26th of July commitment to education and social change. Introduction and Highlights In the period of this report (01 April 2013 – 31 March 2014) 2013 accompanied by Aurélie Filippetti, Minister of Culture the following courses started: The Market Photo Workshop’s year programme was and Communication and Marie-Arlette Carlotti, Minister First recipient of this mentorship, Sydelle Willow Delegate to the Ministry of Health with responsibility for Smith, working alongside mentor Dave Southwood marked by several international exhibitions, as part of the 6 Foundation Courses (FC) (8 weeks full time) disabled people. Jean-Marc Ayrault, Prime Minister, visited investigates convivial relationships between migrated France-South Africa season amongst others, as well as 3 Intermediate Courses (IC) (13 weeks full time) the exhibitions on the 31st of August 2013. African nationals and South Africans; revealing the strong local mentorship outcomes and exhibitions that 1 Advanced Programme in Photography (APP)(1 year course) subtle ways in which individuals make sense of their interrogated photography’s role and relationship with 1 Photojournalism and Documentary Programme in Transition Johannesburg Publication Launch experiences; forming relationships and bonds that can history and society. Photography (PDP) ( 1 year course) 27 Nov 2013 challenge dominant perceptions wherein difference is celebrated and prejudices towards “foreign” Africans are The Transition exhibition was launched at the Rencontres 129 Students registered for courses: d’Arles, France and between July to September 2013, The launch of the Transition publication was held on the perpetuated. 27th of November 2013 at the Market Photo Workshop. It received 43,289 visitors and was visited by French • 96% were black, 4% were white. included a small selection of images from the exhibition Tierney Fellowship President François Hollande. The publication Transition, • 47% of the students were female and 53% were male. as well as text and mapping that referred back to the Now in its 6th year the Tierney Fellowship (in association published by Xavier Barral Editions, was launched in • 91% of the students who formally entered assessment project. The launch also included a panel discussion with the Tierney Family Foundation) supports emerging France and South Africa became a key contemporary completed successfully and were found competent. document of landscape photography, 100 years after about the ways in which images define how South photographers to overcome challenges that they face at Africans position themselves concerning land – this with the start of their career.The 6th recipient, Sipho Gonxeka, the Natives Land Act 1913 restricted and confined land The Photo Workshop’s trainers are all leading professional reference to events that are currently shaping discourse was selected as the Tierney Fellowship recipient for 2013, ownership. photographers and/or arts and culture practitioners: about land in South Africa. Patricia Hayes, Professor of mentored by Pieter Hugo. Sipho’s work deals with male History at the University of the Western Cape, moderated identities and representation. Another highlight was the inclusion of the Photo Workshop Antony Cousens, Buyaphi Mdledle, Claire Rousell, Daniel the discussion. Her teaching deals with visual history, in the milestone exhibition My Jo’burg at Maison Rouge, van Flymen, Delwyn Verasamy, Demelza Bush, Ilse van notably modern documentary photography in Southern Edward Ruiz Mentorship Paris. A dedicated room was given to the Photo Workshop der Merwe, James Oatway, John Hogg, Matthew Kay, Africa. Other panel members included Andile Mngxitama, The Edward Ruiz Mentorship (in association with to curate a contemporary narrative of Johannesburg, Michelle Harris, Michelle Loukidis, Mpho Kwezi, Musa Elmien du Plessis and Simmi Dullay. AngloGold Ashanti) is set out as a developmental placing 11 Photo Workshop photographers amongst Nxumalo, Nanka Hawes, Natalie Payne, Ruth Sacks, mentorship, aimed at assisting an emerging some of South Africa’s most important artists. Sydney Seshibedi, Taryn Cohn, TJ Lemon, Tracy Edser and photographer. The recipient also has the opportunity a number of other short session and guest trainers and Mentorships to work closely with a suitable mentor, who will provide The Apartheid & After exhibition followed soon at mentors. the prestigious Huis Marseille Museum and Gallery in Gisèle Wulfsohn Mentorship in Photography guidance and direction on the intended project. 9th recipient, Jerry Gaegane, was the recipient for 2013, Amsterdam, where the Photo Workshop produced a Public Programmes and Development The mentorship is seen as an opportunity to continue video insert as well as work from 7 photographers. The Gisèle Wulfsohn’s approach and interests in photography, mentored by Ilan Godfrey. His exhibition Marang a Letsatsi exhibition was a major photography retrospective after while developing younger voices who are committed opened in 2013 in The Photo Workshop Gallery. Students engage with projects as secondary layer of apartheid and included work from David Goldblatt, trainers with communities and professional environment to Santu Mofokeng, Pieter Hugo, Jo Ractliffe and Guy Tillim, better equip them for the photography industry. amongst others. These projects include Mentorships, Public Engagement Training remains the core of our business and our courses Projects and usually give voice through exhibitions and continue to examine relevance and inclusion of all publications. communities in photography. Transition Exhibition Our alumni had a successful year. Zanele Muholi was 01 Jul – 22 Sep 2013 awarded the prestigious Prince Claus Award for her ‘visual Les Rencontres d’Arles, Arles, France activism’. Sabelo Mlangeni and Thabiso Sekgala were included in the notable exhibition curated by Okwui The exhibition was open from 01 July to 22 September and Enwezor and Rory Bester Rise and Fall of Apartheid: had a total of 43,289 visitors to the exhibition. Photography and the Bureaucracy of Everyday Life that came to Johannesburg after successful showings in New The exhibition featured the work of Nolan Dennis at the York and Munich. Both photographers are included in the entrance to the exhibition. Nolan was invited on account epic catalogue. of the work produced as part of the resource centre in Johannesburg. 11 of the Transition photographers were in Arles for the opening week at the Rencontres.

An open-air night presentation was held on 03 July to ©Jerry Obakeng Gaegane an audience of about 1000 visitors, where each of the From the series Marang a Letsatsi curators and photographers presented the project.

54 55 Report of the Market Photo Workshop (continued)

Public Engagement Programmes 11 photographers shown as part of an exhibition that PDP Portfolio 13 looks at non-capital cities 04 Dec 2013 – 29 Jan 2014 Jo’burg–Photo–Harare Masterclass The Photo Workshop Gallery The Jo’burg–Photo–Harare Masterclass is an exchange Show us our Land Travelling Exhibition programme between the Market Photo Workshop and 27 June – 07 Jul 2013 Soft Walls Gwanza that focussed on professional development Grahamstown National Arts Festival, Eastern Cape Sydelle Willow Smith in photography within the visual arts contemporary 05 Feb – 02 April 2014 ©Mack Magagane practice. The exchange programme was a 3 tier Sidetracks: Working with two Photographic Collections The Photographers’ Gallery From the series ...in this city masterclass programme implemented over a 2-year 13 Jun – 31 Jul 2013 Gisèle Wulfsohn Mentorship period from 2012 to 2013 in Johannesburg, South Africa The Photo Workshop Gallery and Harare, Zimbabwe with both partner organisations Sidetracks is an exhibition that presents 2 very different Apartheid & After acting as host in which 16 photographers were selected, family-owned photographic collections. The 1st is a 15 March – 08 June 2014 from both South Africa and Zimbabwe. collection of family photographs, covering 150 years, Huis Marseille, Amsterdam, the Netherlands and belonging to a white English-speaking family from Video production, 7 contemporary photographers of the In addition, selected photographers and students from Estcourt, KwaZulu-Natal. The 2nd collection is made Market Photo Workshop that deals with the aftermath of the Market Photo Workshop attended the sessions. up of the work of Ronald Ngilima and his son Torrance, Apartheid. ambulant photographers who recorded the black, The project continued towards the development of a coloured and Indian communities living around Benoni in Publications publication. the 1950s. Ongoing production of publications included catalogues Sex Workers Project The 2 collections have been brought together by Tamsyn for Ke Lefa Laka, Marang a Letsatsi, Soft Walls and The Sex Workers Photography Training project is in Adams (South African) and Sophie Feyder (Luxembourger) Transition. collaboration with the African Centre for Migration & in the context of a joint PhD research project at Leiden University in the Netherlands. Society at Wits University, the Market Photo Workshop and Research and Archiving Sisonke Sex Worker Movement. The project trained sex The result is an engaging and educational exhibition that workers in basic photography skills. It was conducted in The documentation and preservation of photography Johannesburg (Aug-Sep) and Musina (Oct), and involved explores the different ways one can look at, and work with, archival photography. is a major resource for future generations to understand foreign-born men, women and transgendered persons the developmental history of this field in South Africa engaged in the sex industry in South Africa. Transition and elsewhere. There is a general lack of archives 01 Jul – 22 Sep 2013 of photography in the country. In this year the Photo The training was done through a number of workshops, Workshop has initiated an archiving project, which will Les Rencontres d’Arles, Arles, France Opening of Ke Lefa Laka exhibition. with support from the Photojournalism and Documentary be a resource for training purposes and research by Siphosihle Mkhwanazi Photography Programme students and alumni and also, members of the public. through an editing and final exhibition process. Ke Lefa Laka Lebohang Kganye Residency 07 Aug – 29 Sep 2013 Centre Photographique d’Île-de-France CPIF The Photographers’ Gallery collaborated with the Photo Workshop to develop an Tierney Fellowship international residency as part of the France-South Africa season from Oct-Dec 2013. It gave Mack Magagane Marang a Letsatsi the chance to work in Paris and develop a new body of Jerry Obakeng Kganye work that he subsequently exhibited at ROOM gallery in 09 Oct – 20 Nov 2013 Braamfontein, March 2014. The Photographers’ Gallery Edward Ruiz Mentorship Exhibitions Commitment #1 18 Oct – 29 Nov 2013 The exhibitions at the Photo Workshop assisted students Le Maillon, Strassbourg, France to showcase their work in a public platform and also to A collaboration with La Chambre, Strassbourg and 11 engage with current discussions around photography, contemporary photographers of the Photo Workshop. For increasing their knowledge and awareness. As a broader the 1st time, the Photo Workshop exhibited alongside its support to training, the public engagement projects founder, David Goldblatt. and travelling exhibitions encouraged community participation and visual literacy development in various My Jo’burg: Short Change parts of the country. 26 Oct 2013 – 05 Jan 2014 Staatliche Kunstsammlungen Dresden, SKD, Dresden, Sex Workers project My Jo’burg: Short Change Germany 20 June – 24 Sep 2013 9 contemporary photographers of the Market Photo La Maison Rouge, Paris, France Workshop

56 57 Act 21: Season: 29 November 2013 The Market Theatre Productions • HUGH MASEKELA • PU2MA

Season: 30 November 2013 • ZONKE DIKANA PRODUCTIONS FROM APRIL 2013 – MARCH 2014 THE COLORED MUSEUM MAIN THEATRE Season: 21 January – 23 February 2014 Author: George C Wolfe STANDARD BANK JOY OF JAZZ Director: James Ngcobo Season: 23 – 24 August 2013 Stage Manager: Thulani Mngomezulu Caretaker Stage Manager: Thunyelwa Rachwene MAIL & GUARDIAN LITERARY FEST Choreographer: Gregory Vuyani Maqoma Season: 30 August – 01 September 2013 Set Designer: Nadya Cohen Costume Designer: Thando Lobese DANCE UMBRELLA Lighting Designer: Oliver Hauser Season: 03 – 12 September 2013 Videographer: Jurgen Meekel Music Director & Pianist: Ezbie Moilwa THE ZULU Pianist: Johan Mthethwa Season: 19 September – 03 November 2013 Cast: Altovise Lawrence, Aubrey Poo, Aya Mpama, Bronwyn van Graan, Caroline Borole, Elisha Mudly, LIVE @ THE MARKET Lebo Toko, Lesedi Job, Michael Themba, Mona Season: 08 – 30 November 2013 Monyane, Naima Mclean, Rorisang Motuba, Tshepiso Tshabalala and Ziyanda Yako Season: 08 November 2013 • SIBONGILE KHUMALO FOUR SEASONS • RINGO MADLINGOZI Season: 27 February – 09 March 2014

Season: 09 – 10 November 2013 A NIGHT OF OPERA ARIAS WITH • SIBONGILE KHUMALO ZANDILE GWEBITYALA & FRIENDS • MBUSO KHOZA Season: 14 March 2014 Season: 15 November 2013 DR VICTOR & THE RASTA REBELS • NAKHANE TOURÈ Season: 15 March 2014 • THE LAYDERS • ZUKO COLLECTIVE BARNEY SIMON THEATRE Season: 16 November 2013 • THE FRIDGE THE EPICENE BUTCHER AND OTHER • KABOMO STORIES FOR CONSENTING ADULTS Season: 02 – 21 April 2013 Season: 21 November 2013 • THE BROTHER MOVES ON THE JOURNEY • TUMI Season: 30 April – 12 May 2013 Author: Simphiwe Vikilahle Season: 22 November 2013 Director: Simphiwe Kaya • KHULI CHANA Dramaturge: Mncedisi Baldwin Shabangu Season: 23 November 2013 Lighting Designer: Nomvula Molepo • JOEL ZUMA Set and Costume Designer: Christiaan Harris • MADALA KUNENE Stage Manager: Hlomohang Spider Mothetho Cast: Mojalefa Koyana and Mfundo Zono

58 59 MOTHER TO MOTHER LAAGER THEATRE Season: 22 May – 09 June 2013 THE CHESTER MISSING ROADSHOW ASINAMALI! Season: 30 April – 02 June 2013 Season: 16 July – 18 August 2013 Author: Mbongeni Ngema THE MOUNTAINTOP Director: Simthembile Prince Lamla Season: 12 June – 21 July 2013 Lighting Designer: Nomvula Molepo Musical Director: Boy Ngema THE LAST MOUSTACHE Set and Costume Designer: Karabo Legoabe Season: 07 August – 01 September 2013 Stage Manager: Bongani Motsepe Cast: Mncedisi Shabangu, Tshallo Sputla Chokwe, Menzi STER CITY Biyela, Lungi Pinda and Xolile Gama Season: 16 – 22 September 2013

DANCE UMBRELLA NONGOGO Season: 07 – 15 September 2013 Season: 09 October – 03 November 2013 HAYANI Author: Athol Fugard Season: 18 September – 27 October 2013 Director: James Ngcobo Lighting Designer: Wesley France ZAKES MDA: ‘SCULPTORS OF MAPUNGUBWE’ Set Designer: Nadya Cohen BOOK LAUNCH Stage Manager: Puleng Mabuya Season: 31 October 2013 Cast: Desmond Dube, Hamilton Dlamini, Tony Kgoroge, Masasa Mbangeni and Fana Mokoena RAINBOW SCARS Season: 02 November – 08 December 2013 ROADKILL Season: 13 November – 08 December 2013 EXPECTANT Season: 14 January – 02 February 2014 AGREED Author, Director, Set & Costume Designer: Penelope Season: 08 January – 02 February 2014 Youngleson Authors: Robert Browning, Nick Warren and Lionel Newton Lighting Designers: Penelope Youngleson and Philip Director: Sylvaine Strike Rademeyer Lighting Designer: Alex Farmer Production Manager: Philip Rademeyer Music: Kutlwano Masote Stage Manager: Hlomohang Mothetho Set Designers: Lionel Newton and Sylvaine Strike Cast: Rebecca Makin-Taylor Stage Manager: Lebeisa Molapo Apprentice Director: Mlindeli Emmanuel Zondi UKUTSHONA ko MENDI…DID WE DANCE Cast: Lionel Newton and Kutlwano Masote Season: 12 February – 16 March 2014 Author: Lara Foot Director & Set Designer: Mandla Mbothwe Art Director: Karabo Legoabe Lighting Designer: Nomvula Molepo Choreographer: Owen Manamela Mogane Musical Director: Nolufefe Gubevu Percussionist: Thapelo Kutoane Original Producer: Maurice Podbrey of MOPO Productions Stage Manager: Thunyelwa Rachwene Cast: Warona Seane, Amandla Vakala, Lulamile Bongo Nikani, Mongezi Ncwadi, Nhlanhla Mahlangu, Sanga Mabulu and Xolani Ngesi

60 61 ActAcronyms 22:

RAMOLAO MAKHENE THEATRE ACTAG Arts and Culture Task Group JOC Joint Operations Committee AGSA Auditor-General of South Africa MDDA Media Development & Diversity Agency WORD ‘N SOUND POETRY APP Advanced Programme in Photography MFMA Municipal Finance Management Act Seasons: CTF Community Theatre Festival MGE Mzansi Golden Economy • 06 April 2013 CEO Chief Executive Officer MPW Market Photo Workshop • 01 June • 06 July CFO Chief Financial Officer MTEF Medium-Term Expenditure Framework • 03 August COO Chief Operating Officer MTF Market Theatre Foundation DAC Department Of Arts and Culture PAA Public Audit Act FOOTSTEPS FC Foundation Courses in Photography PDP Photojournalism and Documentary Season: 20 – 26 May 2013 FOH Front Of House Programme in Photography FPPSA Fellow of Professional Photographers of PFMA Public Finance Management Act BLOOD AT THE ROOT Season: 22 June 2013 Southern Africa PPPFA Preferential Procurement Policy Framework Act GRAP Generally Recognised Accounting Practice QS Quantity Surveyor MILK AND HONEY IC Intermediate Courses in Photography SCM Supply Chain Management Season: 03 – 15 September 2013 ICT Information and Communications Technology UASA United Association of South Africa Author & Co-Director: Dominique Khayelihle Gumede IT Information Technology Directors: James Ngcobo IGRAP Interpretation of the Standards of Generally Lx Designer: Hlomohang Mothetho Set and Costume Designer: Moses Mkhumbuza Recognised Accounting Practice Choreographer: Nhlanhla Mahlangu Stage Manager: Hlomohang Mothetho Cast: Alfred Motlhapi, Anne Nthabeng Modula, Mlindeli Zondi, Kagiso Rathebe, Lethabo Bereng, Molebogeng Phiri, Marcus Mabusela, Salome Sebola, Tshepiso Mabaso and Tsholofelo Mmibi

KIPPIES

THE EPICENE BUTCHER AND OTHER STORIES FOR CONSENTING ADULTS Season: 28 May – 09 June 2013

COMEDY 2013 Seasons: • 31 May 2013 • 07 June • 28 June • 06 July • 26 July • 02 August • 30 August • 06 September • 27 September

62 0063 ActThe Market 23: Theatre Foundation Council ActThe Market 24: Theatre Foundation and Patrons Organisational Structure

FINANCE AND COUNCIL - current Mr Ian Haggie Chairpersons of Trustees 1976-2004 COUNCIL AUDIT COMMITTEE Mr Lawrence Herber Mr Kwanele Gumbi (Chairperson) Mr Manfred Hermer Mr Murray McLean Dr Sebiletso Mokone-Matabane Mr Helmut Hirsch Mr John Wall CHIEF Mr Peter McKenzie Ms Janice Honeyman Mr Ian Haggie EXECUTIVE OFFICER Ms Jo Ractliffe Dr Tamsanqa Kambule Mr Grahame Lindop CHIEF Dr John Kani Dr Nthato Motlana ARTISTIC DIRECTOR Dr Oupa Moshebi FINANCIAL OFFICER Ms Bongi Dhlomo-Mautloa Mr William Kentridge Ms Irene Menell Mr J Brooks Spector Ms Winnie Kunene Mr Cedric Nunn Ms Rosemary Krause Council Members 2004-2007 Mr Grahame Lindop HEAD OF SNR FRONT Ms Annabell Lebethe (CEO) PRODUCTION EDUCATION HR MARKETING PRODUCER PHOTO OF HOUSE FUNDRAISER Mr Rory Bester (Resigned) Ms Thelma Machogo Dr Sebiletso Mokone-Matabane MANAGER OFFICER PRACTITIONER MANAGER Ms Angela Makwetla (Chairperson) WORKSHOP MANAGER TRUSTEES AND COUNCIL Mr Mannie Manim Ms Bongi Dhlomo-Mautloa MEMBERS SINCE 1976 Prof Es’kia Mphalele Dr John Kani STAFF Mr Nigel Matthews Ms Angela Makwetla The Market honours the following per- Dr Ivan May Dr Ivan May sons who served as Trustees and / or Mr Fanyana Mazibuko Prof Zakes Mda MEMBERS OF COUNCIL: Back: Peter McKenzie, Bongi Dhlomo-Mautloa, Cedric Nunn, Dr Oupa Moshebi Front: Dr Sebiletso Mokone-Matabane, Mr Murray McLean Mr Les Phillips Council members since 1976: Kwanele Gumbi (Chairperson), Annabell Lebethe (CEO) Insert: J Brooks Spector, Jo Ractliffe Prof Zakes Mda Mr Allan Swerdlow Founding Trustees Ms Irene Menell Adv Kgomotso Moroka Dr Nthato Motlana Mr Brooks Spector Mr Cyril Fisher Ms Xoliswa Ngema Mr Petrus Breytenbach Mr Michael O’Dowd Council Members 2007-2011 Mr Mannie Manim Ms Joyce Ozynski Mr Murray McLean Mr Les Phillips Dr Sebiletso Mokone-Matabane (Chairperson) Mr Barney Simon Ms Jo Ractliffe Mr Peter McKenzie Mr Benjamin Trisk Mr Stephen Rendel Mr Kwanele Gumbi Mr Raymond Tucker Mr James Robertson Adv Kgomotso Moroka Mr Howard Sacks Ms Nicola Cloete Trustees 1976 - 2004 Mr Cassim Saloojee Ms Nomveliso Ntanjana Ms Mary Slack Ms Vanessa Cooke Prof Kadar Asmal Mr Barney Simon Mr J Brooks Spector Mr Wilby Baqwa Ms Thea Soggot Ms Marjorie Letoaba Mr Humphrey Borkum Mr Paul Stopforth Prof GuerinoBozzoli Mr Simon Steward Honorary Patrons Mr Petrus Breytenbach Mr Peter Thurling Ms Cheryl Carolus Mr Christopher Till Mr Arthur Mitchell Ms Vanessa Cooke Mr Benjamin Trisk Mr Athol Fugard Mr Philip Cronje Mr Raymond Tucker Ms Janet Suzman Mr Mohammed Dangor Mr Pieter-Dirk Uys Dr John Kani Mr Christopher Day Ms Christina van der Walt Mr Jules Feiffer Ms Anne Feldman Mr John Wall Ms Nadine Gordimer Mr Cyril Fisher Mr Wolf Weinek Mr Winston Ntshona Mr David Gevisser Mr John Wentzel Prof Zakes Mda Mr David Goldblatt Mr John White Spunner Mr Rodney Grosskopff

64 65 ActStaff 25:

CORPORATE THEATRE COMPLEX

Chief Executive Officer Annabell Lebethe Snr FOH Manager Thabisile Mbuli Chief Operations Officer Dr Sebiletso FOH Manager Grace Mokwena Mokone-Matabane FOH Assistant Manager Gabrielle Royeppen Fundraiser Penny Morris Box Office Siwe Hashe © Ruphin Coudyzer FPPSA HR Practitioner Hlubi Mtimkulu Box Office Assistant Sonke Maribe Roadkill HR Intern Tshepiso Mabale Interim Receptionist Lerato Ntamo Interim Marketing Manager Lusanda Zokufa Client Relations Officer Tebogo Konopi Publicist Robert Motseko Client Relationship Assistant Simpiwe Boya Audience Development Neo Letsogo Precinct Cleaner Bonnie Sibanda Audience Development Anthony Ezeoke Precinct Cleaner Samson Vilakazi Database Manager Thato Kobile Receptionist Kekeletso Matlabe

FINANCE MARKET PHOTO WORKSHOP

Chief Financial Officer Christine McDonald Head of Photo Workshop John Fleetwood Accountant Fazel Mayet Manager: Operations & Administration Patricia Kyungu Financial Administrative Clerk Reuben Myanga Manager: Programmes and Projects Lekgetho Makola Messenger Thuso Mapela Manager: Photo Journalism and SCM Assistant Lungi Moloi Documentary Photography Programme Khona Dlamini Manager: Courses and Training Maxine Thormik PRODUCTION Coordinator: Courses and Training Belinda Shange Coordinator: Mentorship and Training Bekie Ntini Artistic Director James Ncqobo Coordinator: Photo Journalism and © Ruphin Coudyzer FPPSA Producer Tshiamo Mokgadi Documentary Photography Programme Tsepo Gumbi Asinamali Production Manager Hailey Kingston Officer: Resources Tswaledi Thobejane Senior Stage Manager Motlalepule Makhate Assistant: Administration Babalwa Mtanga Stage Manager Thulani Mngomezulu Assistant: Projects Bafana Zembe Stage Manager Emelda Khola Assistant: Projects Bongani Njalo Head of Lighting Nomvula Molepo Assistant: Courses Phumzile Nkosi Project Administrator Mvuzo Mfobo Assistant: Courses Tebello Mohapi Project Administrator Nondumiso Sithole Assistant: Courses Sanele Moyo Assistant Stage Manager Lebeisa Molapo Assistant: Courses Patrick Selemani Assistant Stage Manager Thunyelwa Rachwene General Assistant Lungile Zapho Technical Coordinator Haccius Mokopakgosi Weekend Workshop Assistant Loyiso Old John Technical Crew Thabiso Maselaone Project Coordinator Sipho Mwale LABORATORY Administrative Assistant Seipati Ncube Producing Assistant Noma Stofile Administrator Pascar Dube Education Officer Clara Vaughan

66 67 The Management Team

THE MARKET THEATRE • LABORATORY • PHOTO WORKSHOP Back: Lusanda Zokufa (Interim Marketing Manager), Lekgetho Makola (Manager: Programmes & Projects), Annabell Lebethe (CEO), Tshiamo Mokgadi (Producer), John Fleetwood (Head of Market Photo Workshop), Thabisile Mbuli (Snr FOH Manager), Christine McDonald (CFO) AN AGENCY OF THE DEPARTMENT

Front: Hlubi Mthimkhulu (Human Resource Manager), Hailey Kingston (Production Manager), James Ngcobo (Artistic OF ARTS AND CULTURE Director), Grace Mokwena (FOH Manager - Day), Dr Sebiletso Mokone-Matabane (Interim COO)

THE MARKET THEATRE FOUNDATION UK MARKET THEATRE FOUNDATION (USA) INC THE MARKET THEATRE FOUNDATION RP141/2014 The Market Theatre Foundation UK is a registered The Market Theatre Foundation (USA) Inc was registered company (No 2621742) and is also registered as a UK as a corporation in May 1987 and received tax ISBN 978-0-621-42752-3 Charitable company (No 1003355). deductibility (501(c)3) status in terms of the United States Fundraising no: 01 10000400004 Internal Revenue Code in March 1988. Registered Office: 56 Margaret Mcingana Street, Johannesburg, 2001 Directors: William Frankel (OBE), Grahame Lindop, Dr John PO Box 8656, Johannesburg, 2000 Kani, Janet Suzman. President: Michael Kaiser

Auditors: Deloitte & Touche Vice-President: Penelope Jane Morris

Directors: Gordon Davidson, Joan Harris, Dr John Kani, Lewis Manilow, Manuel Manin, Gregory Mosher, Howard Orlin, Allen Turner.

Auditors: Radin, Glass & Co, LLP

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