Annual Report 2013 Annual Report 2013

4 Objectives and Mission Statement 50 Open Door 6 Key Achievements 9 Board of Management 52 Literary 10 Chairman’s report Literary Director’s Report 12 Artistic Director’s report Mtc is a department of the University of Melbourne 14 Executive Director’s report 54 Education 16 Government Support Education Manager’s Report and Sponsors 56 Education production – Beached 18 Patrons 58 Education Workshops and Participatory Events 20 2013 Mainstage Season MTC Headquarters 60 Neon: Festival of 252 Sturt St 22 The Other Place Independent Theatre Southbank VIC 3006 24 Constellations 03 8688 0900 26 Other Desert Cities 61 Daniel Schlusser Ensemble 28 True Minds 62 Fraught Outfit Southbank Theatre 30 One Man, Two Guvnors 63 The Hayloft Project 140 Southbank Blvd 32 Solomon and Marion 64 THE RABBLE Southbank VIC 3006 34 The Crucible 65 Sisters Grimm Box Office 03 8688 0800 36 The Cherry Orchard 66 NEON EXTRA 38 Rupert mtc.com.au 40 The Beast 68 Employment Venues 42 The Mountaintop Actors and Artists 2013 Throughout 2013 MTC performed its Melbourne season of plays at the 70 MTC Staff 2013 Southbank Theatre, The Sumner and The Lawler, 44 Add-on production and the Fairfax Studio and Playhouse at The Book of Everything 72 Financial Report Arts Centre Melbourne. 74 Key performance indicators 46 MTC on Tour: 76 Audit certificate Managing Editor Virginia Lovett Red 78 Financial Statement Graphic Designer Emma Wagstaff Cover Image Jeff Busby 48 Awards and nominations Production Photographers Jeff Busby, Heidrun Löhr

Cover Roger Oakley, Pamela Rabe, David Paterson, Nikki Shiels and Gareth Davies in The Cherry Orchard 4 MTC Annual Report 2013 MTC Annual Report 2013 5

To enrich lives with understanding and empathy by the storytelling Vision power of the finest theatre imaginable

To produce classic and contemporary Australian and international theatre with style, Purpose passion and excellence in order to entertain, challenge and enrich audiences Strategic goals 2013–2017

Establish new Develop new artistic Create a national Deliver a new look MTC Deliver a multi-faceted audiences – young people, relationships and partnerships presence with an (aesthetic style, new Artistic theatre program centred on families, Melbourne’s Theatre across the artistic community international profile team, stronger commitment diverse experiences which is Community to Australian writing, explore flexible and financially artistic boundaries) sustainable

• Young audience • Open Door program • Co-productions • Re-brand (including • Family-friendly shows development • Alliances • Australian touring renaming MTC Theatre • Neon Festival (Festival of to Southbank Theatre) • Family-friendly shows • VCA relationship • International touring Independent theatre) • Neon Festival (Festival of • New website (increase • Play readings • Work with Major • Increase national media digital communications) Independent theatre) Festivals in Victoria coverage • Different genres • Commissions • Work closer with state theatre (Australian writing focus) • Improve philanthropy companies across Australia engagement • Employment opportunities for • Work closer with the different sort of artists • Revenue growth, funding independent theatre sector levels, cash reserves • Invest in training, EHS policies • Secondments and improve salaries • Mix revenue from • Age/gender/cultural focus different venues • Extended use of • Extension of HQ Southbank Theatre 6 MTC Annual Report 2013 Goal Deliver a multi-faceted, diverse and financial sustainable theatre program 2013 12 mainstage $23.2 million Net Surplus productions revenue $37,232 5 World Premieres 9% (net) 4 Melbourne theatres of Australian 677 Performances works government 32 audio-described Achievements 5 Australian Premieres grants and captioned 2 Revivals/adaptations 71.5% box office performances Goal Deliver a 8 Goal Goal 14 stage new-look MTC Establish graduate management, directors Develop new artistic design and new audiences and relationships directorial Highest box office ever designers and partnerships secondments $13.5 million 70,000 Inaugural NEON Festival of Independent Theatre 19,816 subscribers single tickets 5 independent companies staging 52 performances 33% first time 6,477 tickets and 35% first-time ticket buyers Biggest theatre 100% of $121,000 box office to companies subscriber at MTC Collaborated with Melbourne International Multicultural Arts Victoria, base in Australia 8, 656 students National Theatre Comedy Festival, City of Melbourne, of Great Britain, Queensland Tourism Victoria at MTC shows Arts Centre Melbourne, Theatre Company, and Melbourne Festival, Belvoir Theatre Company, Destination Melbourne 263,000 1,453 students at attendances learning activities 95 actors and 71 creative artists 450 casual and fulltime staff 1 education show Beached 8 Australian writers commissioned 3 of these plays produced in 2013 First family show in over 10 years 89% more Facebook followers and The Book of Everything Goal 30% more referrals to mtc.com.au Create a national presence with 25 student ambassadors 73% more Twitter followers from 25 Melbourne schools an international profile 1 interstate tour Red First international tour in 42% more online ticket sales 11% audience from 1 international 30 years announced: regional Victoria Rupert off to Kennedy and interstate co-production 60 years as a theatre company One Man Two Guvnors Center in 2014 8 MTC Annual Report 2013 MTC Annual Report 2013 9 MTC Board of Management 2013

Derek Young AM (Chair) Ian Marshman Managing Director of Accenture Australia Senior Vice-Principal, University of Melbourne Ltd up to 2003; Chair of Australian Major Chair of the Universitas 21 Managers Group; Performing Arts Group; Chair Accenture Director of Headspace National Youth Australia Foundation; CPA/FCCA. Board Mental Health Foundation; Chair, VTAC member since 1 July 1994. Chairman from Committee of Management; BA (Honours), LLB. 1 June 2005 to 31 December 2013. Board member since 1 January 2009.

Lyndsey Cattermole AM Colin Masters Company Director of Treasury Wine Estates Executive Director, Mental Health Research Ltd, Tatts Group Ltd, Melbourne Rebels Institute; Senior Deputy Director Florey Rugby Pty Ltd, JadeLynx Pty Ltd, Victorian Institute of Neuroscience and Mental Major Events Company Pty Ltd. B.Sc. Health; Laureate Professor, The University of Board member since 3 June 2002. Melbourne; B.Med Sc. (Hons), M.B., B.S, M.D. Board member from 1 January 2006 to Professor Barry Conyngham AM September 2013. Dean, Faculty of the Victorian College of the Arts and Melbourne Conservatorium of Terry Moran AC Music, University of Melbourne; Emeritus Secretary of the Department of Prime Minister Professor University of Wollongong and and Cabinet to 2011; Chair of the Barangaroo Southern Cross University; MA (Hons), Delivery Authority; Special Adviser on Public DMUS. Board member since October 2013. Sector Reform at the Boston Consulting Group; Chair Cranlana Programme; Board Glyn Davis AC Member Grattan Institute; Senior Adviser Vice Chancellor, The University of at Maddocks law firm; Governor of the Melbourne; Professor of Political Science; Committee for Economic Development of past Chair, Universities Australia; B.A (Hons), Australia; BA (Hons). Board member since PhD, D.Lit. AC, FASSA. January 2012. Chairman from 1 January 2014. Board member since 1 January 2005. Martyn Myer AO Jonathan Feder Chairman, Myer Family Company Holdings Partner at K & L Gates; Theatre Producer Ltd; Member of the Council of the (JAF Productions and Two Left Feet University of Melbourne; Chairman of Productions); B.Laws (Hons), B.Sc. Cogstate Limited; B.Mech Eng, M.Eng. Board member since 1 June 2010. Science, M. Sc in Management, FIEA. Board member since 1 January 2011. Gillian Franklin Founder and Managing Director of The Brett Sheehy AO Heat Group; Board member of Cosmetic, Artistic Director of MTC Toiletry and Fragrance Association of Board member since 1 January 2012. Australia (CFTA), ACCORD, The Heat Group and Australian Formula 1 Grand Prix. Virginia Lovett Board member since 15 September 2006. Executive Director MTC; Board member since 1 January 2013. 10 MTC Annual Report 2013 MTC Annual Report 2013 11 Chairman’s Report

A theatre It also meant that Derek Young, who MTC of around $3,500 is just one tenth downside to being a Department of the company should stepped down as MTC Chair at the end given to each performance of opera, and University of Melbourne. Ludicrously, the surprise and of 2013, could set sail on a high tide. Over even less than that when compared to grant from the Victorian Government delight us, tell us nineteen years on the MTC Board, nine as orchestral concerts and ballet almost matches its payroll tax bill, stories about our Chair, he oversaw a succession of performances. In a way, this is a meaning that after we exchanged lives, culture and challenges for the Company, including a testament to the efficiency of the cheques with the Government this year, history, explore successful restructuring of the Company Company and its ability to deliver so the Company was a mere $13,407 better possibilities of in the nineties, the commissioning of a much to the cultural life of the city, state off. If you take this tax into account, the where we should theatre of our own in Southbank, and the and nation with such limited support. Yet help we receive from all Government go in the future rehousing of the Company in its current it is difficult to escape the conclusion that sources falls to 9.3% of total revenue. and bring people headquarters on Sturt Street. All Board we are being undervalued by All these issues of Government funding together to think members and MTC supporters have Governments – or that in the past we will be visited and revisited in the about who we great cause for gratitude for all his work have undervalued ourselves in seeking coming years, as will the level of private are and what helps us cohere now as a on behalf of the Company. public sector support. sponsorship and donation, another area civilisation. Importantly, a great company However, the success of the 2013 season Governments looking for efficiencies will in which we have not achieved the levels must find a large broad audience and, and knowledge that MTC has survived always take a hard look at arts funding. enjoyed by other comparable arts through it, have impact for good and many troubles in the past should not lull We don’t fear the scrutiny, provided the companies. shed insight on our whole society. It us into believing that the future is secure. true, whole value of a vibrant arts culture cannot be a cottage industry for a select In the end, our success has been largely To be a non-profit arts organisation is to is taken fully into account. It isn’t just few. In my view, MTC satisfies all these due to the people working for the accept life on a financial knife edge and, accounting or economics. We welcome requirements – and has been satisfying Company, a dedicated group that knowing that operating costs will the recent announcement by the Federal them throughout sixty years of operation. includes permanent and casual staff at inevitably rise in the next few years, the Minister for the Arts, Senator Brandis, that It has achieved a sustained contribution the Southbank Theatre and Sturt Street Company must find the resources to current federal funding levels will be to Australian and Victorian culture Headquarters and many individuals maintain and extend its programs. There maintained in the 2014 budget, but we shared by only a handful of cultural contracted on specific projects. It’s not is a limit to how high we can raise ticket have a strong case for greater support. organisations. only that the labour of these technicians, prices before we begin to lose audiences The curtain went up 560 times last year administrators, production workers and For our sixtieth year, the Company had a and so we must look towards other on MTC mainstage shows, another fifty artists leads to wonderful productions, new leadership team of Artistic Director revenue sources and efficiency gains. more on Beached (MTC Education) and but that their willingness to always give Brett Sheehy and Executive Director the QTC season of Red, and then there One obvious area is government funding their best and fullest efforts to MTC Virginia Lovett and, for their sakes were the sixty independent – city, state and federal – where MTC creates the basis for the efficiencies that especially, it was gratifying to see the performances we subsidised in our receives a surprisingly small subsidy keep this Company going. public respond so positively to their inaugural NEON Festival. This Company is (about 11.7 per cent of income) compared inaugural artistic programme. The definitely not shirking its self-imposed On behalf of the Board, I thank them all. to other major arts organisations previous team of Simon Phillips and Ann obligation to bring theatre to the operating in Victoria. Of course, making Tonks saw a succession of artistic and broadest possible audience – particularly comparisons across different art forms box office triumphs, and they were a hard when you take into account our vibrant is difficult; we are all working within act to follow; yet our box office increased (and unfunded) Education Program, different funding and operational models. Terry Moran AC and the critical and audience reception which offers a range of learning and Nevertheless, it is clear that each MTC Chairman from 1 January 2014 of the shows was wonderful. Season life-changing experiences to the young ticket is subsidised at a far lower rate 2013 became one of the most successful people of Victoria. Surely, this cultural than a comparable ticket to the opera, in our long history, providing good value should be recognised. ballet or orchestra. There are many ways evidence that theatregoers will get of presenting this. If you were to Yet, at state level, MTC is alone among behind a strong artistic vision and follow compare how much each separate major non-profit arts organisations in it in new directions. performance is funded, the figure for the having to pay payroll tax, the only 12 MTC Annual Report 2013 MTC Annual Report 2013 13 Artistic Director’s Report

Assuming the artistic stewardship of we had a great story to tell, which was international production with the National Australia, the peak national body for Melbourne Theatre Company in 2013 was appropriate for an artistic enterprise Theatre’s One Man, Two Guvnors; we playwrights; we presented our first family a tremendous privilege. Succeeding my which is Melbourne’s primary home of negotiated our first international tour in show in a decade with the multi-award friend and colleague Simon Phillips as live storytelling. It is a story which was thirty years (Rupert that would play in winning The Book of Everything; and we Artistic Director and following in the summed up by the end-of-year editorial Washington DC in March 2014); we achieved all that with no additional footsteps of the interim (2012) in the Saturday Age, which chose to presented our first co-production with Government funding whatsoever, and programming team of Aidan Fennessy, focus on culture as the defining element Melbourne International Comedy Festival without letting any of these critical Robyn Nevin and Pamela Rabe meant of Melbourne’s year. Under the title (and Melbourne Festival), delivering to us initiatives negatively affect what we have walking in the shadows of four eminent ‘Culturally, a year of revitalisation’ it many thousands of new audiences for always done so well – presenting a Australian artists. These were, collectively, named MTC and our friends, the NGV, The Beast; we created and presented program of outstanding mainstage immensely big shoes to fill, and I hope as the two organisations primarily Melbourne’s first festival of independent productions, which in 2013 delivered our that in the past twelve months the new responsible for Melbourne’s cultural theatre with the tremendously successful highest box office in our sixty-year history team has done our predecessors proud. renaissance. NEON Festival; we launched our at $13.5 million – a margin $750,000 inaugural Women Directors Program as a above our previous high. With new Associate Artistic Director Sam MTC’s part in this renaissance was also a first step towards redressing the Strong, new Associate Director Leticia result of the latitude and encouragement All this is to say that we are engaging imbalance of women directors on Caceres, new Literary Director Dr Chris given to us by outgoing Chairman Derek with as much of Melbourne as possible at Australia’s mainstages; we launched our Mead and a management team led by Young AM. Having navigated MTC so every level, and we are pushing to do so inaugural MTC Connect program with Executive Director Virginia Lovett, we successfully for nearly a decade, Derek even more. We are, after all, Melbourne’s Multicultural Arts Victoria, another first embarked on a vision built on what we’d was able to uphold that rich legacy of the theatre company, and we belong to each step in addressing an imbalance, this inherited – one of the two largest theatre former vision while championing each and every one of the four million citizens time the paucity of diverse voices on our companies in the nation, a company in new proposal put before him by the new of this city. stages and in our audiences; we made a robust health and supported by the team. For doing so, and with such vigorous commitment to Australian largest subscriber base of any passion, wisdom, grace and energy, we writing with the appointment of Sam performing arts company in Australia. are deeply indebted to him. Strong, who had been running Australia’s We were fortunate indeed! In 2013 we renamed the Southbank only mainstage company dedicated This legacy gave us the room to pursue a Theatre, locating it firmly as the theatre solely to Australian writing (Griffin Theatre Brett Sheehy AO raft of initiatives, each of which has paid hub of the Southbank Cultural Precinct; Company in Sydney) and Chris Mead dividends in spades. At the close of 2013 we presented our first ever original who had been running Playwriting 14 MTC Annual Report 2013 MTC Annual Report 2013 15 Executive Director’s report

2013 marked We partnered with Multicultural Arts The PwC report indicated that MTC is a the restructure of the entire Development significant change Victoria, Melbourne Festival, Melbourne very lean machine with a very strong Department and the adoption of a for Australia’s Comedy Festival, Melbourne culture and operational focus, and multi-year Development Strategy by longest running Conversations and the City of Melbourne, employees who take great pride in the Board in early 2014, the Company theatre company; Destination Melbourne and Tourism delivering quality performances. There will start to see real growth over the next a new leadership Victoria, as well a number of small-to- were, however, a few things we could do five years. team began its medium and independent theatre better. The first recommendation, already I thank Major Partners Audi and The Age, inaugural year, companies. In doing this, we reinforced implemented, was a better design and Production Partners Genovese, Goldman and we MTC’s position as a game-changer in the costing process to avoid the all–too- Sachs, UBS, and our other corporate celebrated our Victorian creative industries contributing frequent budget blowouts on supporters, together with all of our sixtieth anniversary. real economic benefit, creating new productions. The second Leading and Supporting Patrons for your With such a career pathways, and fostering new recommendation was to make generosity of spirit and for helping us as pedigree and artistic and professional collaborations. Southbank Theatre work harder and we strive to bring out the very best in foundation, it was the year for the smarter for the Company; the venue was One of the key roles of the Executive theatre. Thank you all and I look forward Company to confidently and excitedly designed to give MTC the flexibility to Director is to ensure the continuing to continuing and growing our face the future with renewed energy stage shows ranging from larger to health and sustainability of the Company, relationship with you into the future. and vision. smaller scale. In 2014, we will work ensuring it has the ability to embrace to increase the commerciality of the My first full year as Executive Director at As the state’s flagship theatre company, change and realise the Artistic Director’s organisation without compromising MTC was exhilarating, surprising and at MTC has a responsibility to lead, foster vision. Sustainability requires a long-term its creative integrity. Further general times exhausting, but above all extremely and engage the wider community. In strategy, and the basis of that is a positive findings by PwC have led to specific fulfilling. I would like to thank the entire 2013, we saw MTC reaching out, not and happy work culture. One of two key recommendations now being realised in team at MTC for making me feel so merely through programs such as Open measures I took early on in 2013 was to the business model and throughout the welcome. It is truly inspiring to lead a Door and the NEON Festival, but in every appoint a Human Resources Manager Company. company of such committed and aspect of our day-to-day approach to to implement a complete suite of HR passionate professionals, and I look making theatre for Melburnian and practices and protocols. The other Finally, despite the support of many forward to creating and sharing more Australian arts lovers. key measure was to commission a long-term patrons – to whom we are fantastic theatre with you all in the future. productivity review. The previous season deeply grateful – the review indicated As we embarked on a new direction, I had come in with a modest surplus, but that MTC was very much below average was able to draw on my past experiences costs were rising and ticket prices were with our national peers in the area of with festivals and major events, forming pushed to the limit. This, along with the private giving. With the downturn in collaborative partnerships and creating continuing issue of the Company being corporate sponsorship and very little positive, ongoing relationships – with the required to pay payroll tax, our immediate opportunity to increase our community, with government, and with subsequent inability to use the full State government subsidy, the need to engage other arts organisations. There had been, Government grant, and the downturn in and attract private philanthropy is now a I felt, a sense in the arts industry that Virginia Lovett corporate sponsorship, I realised what a major strategy and crucial objective for MTC was a monolith: something solid, delicate position we were in. I believed the whole of the Company. We have the sitting on its own turf, daunting to there must be ways MTC could work largest subscriber base in the country, outsiders. It was time to break down that smarter, plan better, budget more and we must now look to these avid illusion: to show the community that MTC carefully. There must be savings to be theatre-goers to ask them to more fully was a much more vibrant, flexible and made and new revenue to be found, so I embrace the Company by becoming daring beast than its reputation engaged PricewaterhouseCoopers (PwC) patrons. With the appointment of the suggested. to conduct a review. new Development Director Tiffany Lucas, 16 MTC Annual Report 2013 MTC Annual Report 2013 17 Corporate Partners

MTC would like to thank the following organisations for their generous support in 2013.

Melbourne Theatre Company is a department of the University of Melbourne. Corporate Partners

Melbourne Theatre Company is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body, and by the State Government of Victoria through Arts Victoria.

Major Partners Corporate Members

Opening Night Media Braithwaite Steiner Pretty The Deck Restaurant Donald Cant Watts Corke Lisa Ring

Production Partners MTC is a member of Live Performance Australia and the Australian Major Performing Arts Group 18 MTC Annual Report 2013 MTC Annual Report 2013 19 Leading Patrons Supporting Patrons

MTC gratefully acknowledges the support of the following Patrons, Trusts 1000+ and Foundations in 2013 James and Helen Angus Gill Family Foundation Ross and Judy Milne-Pott Margaret Astbury Prue Gillies AM David and Barbara Mushin Ann Auld Mr Brian Goddard Naphtali Family Foundation 20000+ John and Dagnija Balmford Judy and Leon Goldman Dr Paul and Mrs Sue Nisselle Miriam Bass and Peter Jaffe Roger and Jan Goldsmith Uri and Nili Palti Supporters of Education Season Donors John and Lorraine Bates John and Jo Grigg Mrs Alison Park Dr Geraldine Lazarus and Louise and Martyn Myer AO Caroline and Derek Young AM Jay Bethell and Peter Smart Sir Andrew and Lady Grimwade Dr and Mrs Harry Perelberg Mr Greig Gailey David and Rhonda Black Ian and Wendy Haines Dr Annamarie Perlesz Ross and Alix Bradfield Jane Hansen Dug and Lisa Pomeroy Sally Browne Fund – Australian Mr Glen Harrington Bill and Katharine Ranken 10000+ Communities Foundation and Mrs Robyn Eastham Marnie Rawlinson Cattermole Family Gordon Moffatt AM and Luisa Valmorbida Patricia L Burke David Harris Peter and Terryl Read Mr Norman and Mrs Betty Lees Jacqueline Moffatt Diana Burleigh and Chrys Black Mr Michael Heine Sally Redlich David Byrne Scott Herron Victoria Redwood Pam Caldwell Dawn and Graham Hill OAM Julie and Ian Reid Alison and John Cameron Mr Tony Hillery Ian and Diana Renard John and Jan Campbell and Mr Warwick Eddington Mr David Richards 5000+ Ingrid and Per Carlsen Gil and Sandi Hoskins Leah Rodger-Hoskins Supporters of Literary The Dowd Foundation Season Donors Clare and Richard Carlson Professor Andrea Hull AO Dr S M Richards AM Development Supporters of Education James Best and Doris Young Mark Carlson Will and Jennie Irving and Mrs M R Richards Dr Andrew Buchanan and Mr Peter Anne Le Huray Ian and Jillian Buchanan Fiona Caro Peter and Halina Jacobsen Rae Rothfield Darcy Dr Michael and Mrs Lynne Wright Margaret GardnerAO and A Carroll Ed and Margaret Johnson Edwina Sahhar John and Robyn Butselaar Glyn Davis AC Chef’s Hat Ms Inge Jonston Susan Santoro Dr Helen Ferguson Supporters of Professional Susanna Mason Elizabeth Chernov Malcom Kemp Max and Jill Schultz Mrs Jane Hemstritch Development Ian and Margaret McKellar Sue Clarke and Lindsay Allen Fiona Kirwan-Hamilton Mr Berek Segan AM OBE Professor David Penington AC and Daniel Neal and Peter Chalk Dr Robin and Mr Neil Collier and Simon E Marks SC and Mrs Maria Segan Supporters of Costume Dr Sonay Hussein Tom and Ruth O’Dea John and Christine Collingwood Doris and Steven Klein Serendipity Lavender Farm and Design Jeanne Pratt AC Sandy Bell and Daryl Kendrick Pinky Watson Mark and Jo Davey Margaret Knapp Diana and Jeffrey Sher Maureen and Tony Wheeler Mrs Jocelyn Davies B Kornhauser Judith and John Sime Pamiela Davies Elizabeth Laverty Jane Simon and Peter Cox Lenor and Gary Dempsey Rosemary Leffler Tim and Angela Smith 2000+ Jessica Denehey Mrs Alison Leslie Reg and Elaine Smith OAM Mark and Amanda Derham Mary Lipshut Earimil Gardens Charity Supporters of Literary Season Donors Lesley Griffin Katharine Derham-Moore Mr Peter and Mrs Judy Loney Diana and Brian Snape AM Development Rosemary Ayton and Sam Bruce and Mary Humphries Kathy and George Deutsch Mrs Elizabeth Lyons Ricci Swart Bill and Sandra Burdett Ricketson Irene Kearsey Elizabeth and Geoffrey Donnan Carol Mackay and Greg Branson Rodney and Aviva Taft Stephen and Jenny Charles Peter and Carolyn Berger Joan and George Lefroy Robert Drake Ken and Jan MacKinnon M Taylor Grant Fisher and Helen Bird Marc Besen AO and Eva Besen AO Mr Alex and Mrs Halina Lewenberg Bev and Geoff Edwards Alister and Margaret Maitland Miriam and Frank Tisher Heather and Bob Glindemann OAM Bill Bowness Dr Peter and Mrs Amanda Lugg Florentine England Bernard Marin AM Lyle Thomas and Christina Turner Robert and Jan Green Beth Brown and Tom Bruce AM Ian and Judi Marshman George and Eva Ermer Joyce and Bernard Marks Ann Tonks Louisa Bewley Janet and Michael Buxton George and Rosa Morstyn Farrands Family Pamela Marshall Peter and Liz Turner Price and Christine Williams The Michael and Andrew Buxton Donald Murray Dr Alastair Fearn Stuart and Noela McDiarmid Kevin and Elizabeth Walsh Supporters of Costume Foundation Orloff Family Charitable Trust Nola Finn Garry McLean Erna and Neil Werner OAM and Design Robert and Caroline Clemente Janet Reid OAM and Allan Reid Jan and Rob Flew Elizabeth McMeekin Ursula Whiteside Mrs Patricia Burke Sandy and Yvonne Constantine Colin and Josephine Rendell Gillian and Wayne Franklin Douglas and Rosemary Meagher Mandy and Ted Yencken Jan Nolan Dr Anthony Dortimer and Ernst Riest John Fullerton Dr Gabriele Medley AM Graeme and Nancy Yeomans Laurel Young-Das and Mrs Jillian Dortimer Professor Barry Sheehan and Lindsay Garner Dr Mark and Dr Alla Medownick Greg Young Heather Finnegan Melody and Jonathan Feder Pamela Waller Nigel and Cathy Garrard Robert and Helena Mestrovic Ange and Pete Zangmeister Paul and Janice Ferla Tim and Lynne Sherwood Diana and Murray Gerstman Mr John G Millard Supporters of Education Rosemary Forbes and Ian Hocking Trawalla Foundation Robert Bird and Jane Howe Michelle Gallaher and Cheryl and Paul Veith The Joan and Peter Clemenger Trust Barry and Joanne Cheetham Michael Avery Ralph Ward-Ambler AM Philanthropic Trusts The Cybec Foundation Larry Kornhauser and Gjergja Family and Barbara Ward-Ambler The Myer Foundation Sophie Russell and Foundations Henry Gold Ray and Margaret Wilson Marshall Day Acoustics (Denis Irving Scholarship) Sandy and Sandra Murdoch Murray Gordon and Lisa Norton Roz Zalewski and Jeremy Ruskin Sidney Myer Fund (Geoffrey Cohen AM Scholarship) Jane and Andrew Murray Isabella Green OAM and Gillian and Tony Wood Richard Green To find out more about our Patrons Program please call 03 8688 0959. 20 MTC Annual Report 2013 MTC Annual Report 2013 21

2013 Mainstage Season

There were eleven shows in MTC’s mainstage subscription season in 2013. Three new Australian plays received their World Premieres and MTC audiences were the first in Australia to see five works fresh from the stages of London, New York and Cape Town. We revived two classic works in The Crucible and The Cherry Orchard and presented the National Theatre of Great Britain smash hit production of One Man, Two Guvnors. Another innovation for 2013 was Zeitgeist, a slot in the season left open for a new Australian work that demanded an immediate production. It turned out to be The Beast, a raucous satire from Eddie Perfect. Finally, as an add-on to our season and for a family treat in the lead up to Christmas, we presented Belvoir’s popular The Book of Everything. MTC Annual Report 2013 23 THE OTHER PLACE by Sharr White

Emotionally intense and deeply mysterious, Sharr White’s The Other Place was a psychological thriller about a pharmaceutical researcher, played by Catherine McClements, caught in a labyrinth of conspiracy and suspicion. Multi-award-winning film director Nadia Tass returned to the Company to stage a gripping Australian premiere, with a score supplied by Paul Grabowsky.

Australian Premiere

Season 26 January to 2 March 2013 Paid Attendance 16,676 Arts Centre Melbourne, Playhouse Subscriber Briefing 21 January Production Opening Night 31 January Director Nadia Tass Forum Night 4 February Set Designer Shaun Gurton Audio Described Performances Costume Designer Edie Kurzer 19 and 23 February Lighting Designer Nigel Levings Captioned Performance 16 February Composer Paul Grabowsky Sound Designer Russell Goldsmith ‘The Other Place is an involving, Cinematographer David Parker accomplished and ultimately moving theatrical mystery.’ Cast Cameron Woodhead, The Age Heidi Arena, Catherine McClements, David Roberts, David Whiteley ‘MTC’s production by Nadia Tass is directed with Video Cast great élan and power and it Minka Deacon Craig, Madison Fenn, has an authority and restraint Kate Mylius rare for the Australian stage.’ Catherine McClements Peter Craven, The Spectator Leon Ford and Alison Bell MTC Annual Report 2013 25

CONSTELLATIONS by Nick Payne

In UK writer Nick Payne’s mind-boggling Constellations the life-paths of two people branched out into a forest of possibilities. The witty and devastating two-hander had Alison Bell and Leon Ford dancing lightly through space, time and alternate realities, with Associate Director Leticia Cáceres making her MTC mainstage debut.

Australian Premiere

Season 8 February to 23 March 2013 Arts Centre Melbourne, Fairfax Studio

Production Director Leticia Cáceres Set and Costume Designer Marg Horwell Lighting Designer Rachel Burke Composer and Sound Designer THE SWEATS Assistant Director Petra Kalive

Cast Alison Bell, Leon Ford ‘It’s an absolute gift for actors. And, when performed with the Paid Attendance 13,228 panache and skill Bell and Ford bring, it’s a gift for audiences.’ Subscriber Briefing 4 February Chris Boyd, The Australian Opening Night 13 February Forum Night 18 February Audio Described Performances 5 March ‘Constellations is a complex idea and 9 March executed with brilliant simplicity.’ Captioned Performance 16 March Megan Hanson, Time Out MTC Annual Report 2013 27 OTHER DESERT CITIES by Jon Robin Baitz

Following in the tradition of Arthur Miller in mixing a nation’s politics and history with a family in crisis, US playwright Jon Robin Baitz brilliantly bridged the public and personal in Other Desert Cities. World-acclaimed visual artist Callum Morton created the sun-soaked Palm Springs environment for Sam Strong’s first production for the Company as Associate Artistic Director.

Australian Premiere

Season 2 March to 17 April 2013 Education Performance 13 March Southbank Theatre, The Sumner Audio Described Performances 2 and 6 April Production Captioned Performance 13 April Director Sam Strong Set Designer Callum Morton ‘Sam Strong has made a Costume Designer Esther Marie Hayes compelling first impression at Lighting Designer Danny Pettingill Melbourne Theatre Company (Bluebottle) in his production of Jon Robin Composer and Sound Designer Baitz’s Pulitzer-nominated play, Steve Francis Other Desert Cities.’’ Design Associate Andrew Bailey Kate Herbert, Herald Sun Assistant Director Kim Hardwick

Cast ‘Gaden is wonderful as the John Gaden, Sacha Horler, Sue Jones, peacemaker with a terrible secret. Ian Meadows, Robyn Nevin Nevin is riveting as his poker-faced consort. Meadows and Horler Paid Attendance 19,506 are entirely believable in very different, and treacherous, roles. Subscriber Briefing 25 February Jones strikes the right note Opening Night 7 March as the cranky drunk.’ Robyn Nevin Forum Night 11 March Chris Boyd, The Australian MTC Annual Report 2013 29 TRUE MINDS by Joanna Murray-Smith

Exhibiting the verve of a thirties screwball comedy, Joanna Murray-Smith’s True Minds came alive with her characteristic wit and needle-sharp social observation. Commissioned by MTC and blessed with a superbly comic cast headed by Nikki Shiels and Adam Murphy, the World Premiere production delighted audiences by showing that true love overcomes all impediments.

New Australian Play

Season 25 April to 8 June 2013 Southbank Theatre, The Sumner Subscriber Briefing 22 April Production Opening Night 29 April Director Peter Houghton Forum Night 6 May Set and Costume Designer Audio Described Performances Tracy Grant Lord 21 and 25 May Lighting Designer Rachel Burke Sound Designer Ben Grant ‘Shiels is an attractive romantic Assistant Director Sarah McCusker lead. She binds the increasingly Dramaturg Chris Mead mortifying scenarios that develop and indulges in some consummately Cast silly physical comedy.’ Matthew McFarlane, Alex Menglet, Cameron Woodhead, The Age Genevieve Morris, Adam Murphy, Nikki Shiels, Louise Siversen ‘The cast is clever and funny, hurling themselves into the roles.’ Adam Murphy and Nikki Shiels Paid Attendance 19,715 Kate Herbert, Herald Sun MTC Annual Report 2013 31

ONE MAN, TWO GUVNORS by Richard Bean based on The Servant of Two Masters by Carlo Goldoni, with songs by Grant Olding

Richard Bean’s gloriously knockabout adaptation of Carlo Goldoni’s classic farce, A Servant of Two Masters, had been a massive hit for the National Theatre of Great Britain before conquering the West End and the world. In a first for MTC, we were excited to collaborate with the National Theatre and Arts Centre Melbourne to bring all the fun and mayhem to Victorian audiences.

A National Theatre of Mark Monero, Alan Pearson, Kellie Shirley, Great Britain production Seun Shote, Russell Wilcox, Leon Williams, Matthew Woodyatt, Rosie Wyatt Season 17 May to 29 June 2013 Musicians (The Craze) Arts Centre Melbourne, Playhouse Richie Hart, Oliver Seymour Marsh, Billy Stookes, Philip Murray Warson Production Director Nicholas Hytner Paid Attendance 33,693 Physical Comedy Director Cal McCrystal Revival Director and Associate Director Opening Night 21 May Adam Penford Forum Night 27 May Designer Mark Thompson Audio Described Performances Lighting Designer Mark Henderson 4 and 8 June Music and Songs Grant Olding Captioned Performance 15 June Sound Designer Paul Arditti Fight Director Kate Waters ‘Irresistible comic genius. Rush to see it.’ Cast Cameron Woodhead, The Age Owain Arthur, Edward Bennett, Amy Booth-Steel, Sabrina Carter, ‘The funniest play on the planet Nick Cavaliere, Alicia Davies, lands in Melbourne.’ Owain Arthur Mark Jackson, Joshua Lacey, Colin Mace, Simon Parris, Theatre People MTC Annual Report 2013 33 SOLOMON AND MARION by Lara Foot

A painful dissection of South Africa’s recent past, Lara Foot’s Solomon and Marion was also an examination of what true reconciliation means. Adrift on Richard Roberts’s stage of sand and under Pamela Rabe’s beautifully modulated direction, actors Gillian Jones and Pacharo Mzembe personified the old and the new South Africa yearning for some sort of future together.

Australian Premiere

Season 7 June to 20 July 2013 Arts Centre Melbourne, Fairfax Studio

Production Director Pamela Rabe Set and Costume Designer Richard Roberts Lighting Designer Rachel Burke ‘Solomon and Marion is an Composer and Sound Designer intensely human play that David Bridie focuses on one relationship that challenges our view of tolerance, Cast compassion and surviving Gillian Jones, Pacharo Mzembe violence and grief.’ Kate Herbert, Herald Sun Paid Attendance 14,107 ‘[Gillian Jones is] transfixing to Subscriber Briefing 3 June watch, and utterly authentic. Opening Night 12 June Pacharo Mzembe is a lovely Forum Night 17 June foil, heartbreaking in the Captioned Performance 6 July climatic scene, but funny Audio Described Performances and winning throughout.’ Gillian Jones and Pacharo Mzembe 9 and 13 July Tim Byrne, Time Out Melbourne MTC Annual Report 2013 35 THE CRUCIBLE by Arthur Miller

A masterpiece of twentieth century drama, Arthur Miller’s The Crucible, with its story of superstition and ignorance sweeping all reason aside, has never seemed more terrifying or relevant. Sam Strong’s authoritative ensemble production, led by actors David Wenham and Anita Hegh, brought clarity and power to a classic text.

Season Subscriber Briefing 17 June 22 June to 3 August 2013 Opening Night 27 June Southbank Theatre, The Sumner Forum Night 1 July Captioned Performance 20 July Production Audio Described Performances Director Sam Strong 23 and 27 July Set and Costume Designer Education Performances 24 and 31 July Dale Ferguson Lighting Designer Paul Jackson ‘Those who want to experience Composer and Sound Designer a fine-grained, sensitive and Kelly Ryall faithful interpretation of Miller’s Assistant Director Samara Hersch masterpiece performed by a talented ensemble – look no further.’ Cast Cameron Woodhead, The Age Julia Blake, Heather Bolton, Grant Cartwright, Paul English, ‘Sam Strong’s intimate and Anita Hegh, Brian Lipson, emotional production … highlights Amanda McGregor, John McTernan, characters and relationships Elizabeth Nabben, Sarah Ogden, against a background of Naomi Rukavina, Edwina Samuels, community hysteria, religious Greg Stone, James Wardlaw, fervour and judicial prejudice ... David Wenham As the elderly Rebecca Nurse, Julia Blake lights the stage with Paid Attendance 25,442 her exceptional, understated and intensely human performance.’ David Wenham and Anita Hegh Kate Herbert, Herald Sun MTC Annual Report 2013 37 THE CHERRY ORCHARD by Simon Stone after Anton Chekhov

Chekov’s masterful playing out of tangled human motivation was given a contemporary, Australian retelling by writer-director Simon Stone. The stand-out ensemble re-interpreted a timeless tragi-comedy for today and allowed MTC audiences to see this beloved masterpiece afresh.

Season 10 August to 25 September 2013 Southbank Theatre, The Sumner Subscriber Briefing 5 August Opening Night 15 August Production Forum Night 19 August Director Simon Stone Education Performance 28 August Set and Costume Designer Audio Described Performances Alice Babidge 3 and 7 September Lighting Designer Niklas Pajanti Composer and Sound Designer ‘Stone’s true strength as a Stefan Gregory director – his ability to imbue Assistant Director Zoey Dawson ensemble acting with subtle Dramaturg Chris Mead energy, fluidity and fascination – is something you can’t help but Cast surrender to and admire.’ David Paterson, Gareth Davies, Ronald Falk, Cameron Woodhead, The Age Pamela Rabe and Nikki Shiels Robert Menzies, Eloise Mignon, Steve Mouzakis, Zahra Newman, ‘Simon Stone’s faithful Roger Oakley, David Paterson, reimagining of Chekhov’s work Pamela Rabe, Nikki Shiels, lays bare the play’s emotional Katherine Tonkin, Toby Truslove machinery in an elegant production.’ Paid Attendance 19,090 Alison Croggon, The Guardian MTC Annual Report 2013 39

David Willaimson’s RUPERT

Australia’s best-known playwright David Williamson went back to his larrikin roots to tackle the most controversial public figures in Rupert, a freewheeling biographical portrait of media mogul Rupert Murdoch. Griffin’s Artistic Director Lee Lewis directed this smash-hit production that would go on to a season at the World Theatre Festival in Washington DC in 2014.

New Australian Play

Season 24 August to 28 September 2013 Arts Centre Melbourne, Playhouse

Production Director Lee Lewis Set and Costume Designer Stephen Curtis Subscriber Briefing 19 August Lighting Designer Niklas Pajanti Opening Night 29 August Composer Kelly Ryall Forum Night 2 September Assistant Director Clare Watson Captioned Performance 14 September Choreographer Andrew Hallsworth Audio Described Performances Choreographer’s Assistant Tanya Mitford 17 and 21 September Dramaturg Chris Mead ‘Delightfully funny … Lewis sets Cast a cracking pace and her cast Marg Downey, Guy Edmonds, doesn’t miss a beat.’ Daniela Farinacci, Simon Gleeson, Chris Boyd, The Australian Bert LaBonté, HaiHa Le, Sean O’Shea, Scott Sheridan ‘An absorbing, very funny, Bert LaBonté, Sean O’Shea very theatrical production.’ and HaiHa Le Paid Attendance 27,348 Andrew Fuhrmann, Time Out Melbourne Travis Cotton and MTC Annual Report 2013 41 Sheridan Harbridge THE BEAST by Eddie Perfect

With a desire to react quickly to a great new Australian work as it came rolling out of the playwright’s printer, we left a slot open in our season and called the innovation Zeitgeist. Early in 2013, we received Eddie Perfect’s brutal satire of nose-to-tail dining and bourgeois values, The Beast, and we knew we had our play.

New Australian Play

In association with Melbourne International Arts Festival and Melbourne International Comedy Festival

Season 3 October to 9 November 2013 Paid Attendance 19,162 Southbank Theatre, The Sumner Subscriber Briefing 30 September Production Opening Night 7 October Director Iain Sinclair Forum Night 14 October Set Designer Luke Ede Audio Described Performances Costume Designer Esther Marie Hayes 22 and 26 October Lighting Designer Niklas Pajanti Composer David Franzke ‘Laugh out loud entertainment.’ Dramaturg Chris Mead Cameron Woodhead, The Age

Cast ‘The Beast feels like a new Tom Budge, Travis Cotton, beginning for MTC … The cast Virginia Gay, Sheridan Harbridge, are – for want of a slightly Hamish Michael, Kate Mulvany, different adjective – perfect.’ Hayden Spencer Byron Bache, Herald Sun Zahra Newman and Bert LaBonté MTC Annual Report 2013 43 THE MOUNTAINTOP by Katori Hall

Katori Hall’s inspired and inspiring documentary-fantasy about the final hours of Martin Luther King Jr had already been a prize-winner and an audience-pleaser on London and Broadway stages before Alkinos Tsilimidos directed the perfect pairing of Bert LaBonté and Zahra Newman in MTC’s Australian premiere.

Australian Premiere

Season 1 November to 18 December 2013 Arts Centre Melbourne, Fairfax Studio

Production Director Alkinos Tsilimidos Set and Costume Designer Shaun Gurton Lighting Designer Matt Scott Composer and Sound Designer Tristan Meredith

Cast Bert LaBonté, Zahra Newman ‘A seamless evening at the theatre. Paid Attendance 17,928 Nuanced and beautifully paced direction. You must see it.’ Subscriber Briefing 28 October Cameron Woodhead, The Age Opening Night 6 November Forum Night 11 November ‘Genuine stage magic … Captioned Performance 30 November Two of the performances Audio Described Performances of the year.’ 3 and 7 December Van Badham, The Guardian Add-on production MTC Annual Report 2013 45 THE BOOK OF EVERYTHING by Guus Kuijer adapted by Richard Tulloch

As our Christmas treat to Melbourne’s families and as an add-on to our subscription season, we presented Belvoir’s hit production of Richard Tulloch’s charming and touching stage version of Guus Kuijer’s popular children’s story, The Book of Everything. Neil Armfield’s acclaimed production had already taken Sydney and New York by storm and all the original enchantment was retained for the Sumner Theatre season.

A Belvoir and Kim Carpenter’s Theatre of Image co-production Paid Attendance 7,023 Season 27 November to 22 December 2013 Opening Night 29 November Southbank Theatre, The Sumner Audio Described Performances 17 and 21 December Production Director Neil Armfield ‘Richard Tulloch’s sensitive Set and Costume Designer adaptation, directed by Neil Kim Carpenter Armfield, is excellent theatre Lighting Designer Nigel Levings by any standards … I walked out Composer and Musician Iain Grandage with my heart singing.’ Sound Designer Steve Francis Alison Croggon, The Guardian Choreographer Julia Cotton Assistant Director Eamon Flack ‘Neil Armfield directs imaginatively, creating a Cast playful, energetic production Alison Bell, Peter Carroll, that tells a powerful story with Andrea Demetriades, Julie Forsyth, Claire humour, capable performances Jones, John Leary, Genevieve Picot, and simple but ingenious Matthew Whittet theatrical devices.’ Matthew Whittet Kate Herbert, Herald Sun MTC ON TOUR MTC Annual Report 2013 47 RED by John Logan

John Logan’s multi-award-winning portrait of an artist who reduced his art and life to essentials was a hit for MTC in 2012. With Colin Friels again playing obsessive colour- field painter Mark Rothko, Alkinos Tsilimidos’s production toured to Brisbane for its Queensland Theatre Company season.

Queensland Theatre Company season Playhouse Queensland Performing Arts Centre Brisbane 2 to 19 May 2013

Production Director Alkinos Tsilimidos Set Designer Shaun Gurton Costume Designer Jill Johanson Lighting Designer Matt Scott Composer and Sound Designer Tristan Meredith

Cast Colin Friels Tom Barton

Colin Friels Paid Attendance 8,487 MTC Annual Report 2013 49 Awards and Nominations

2013 Helpmann Award nomination NEON Festival Green Room Awards – Independent Female Actor Theatre Category Alison Bell, Constellations Male Performer Ash Flanders The Sovereign Wife, 2013 Green Room Award nominations Sisters Grimm (Winners underlined) Ensemble Female Actor Cast of The Sovereign Wife, Alison Bell, Constellations Sisters Grimm Julie Forsyth, The Book of Everything Zahra Newman, The Mountaintop Set and Costume Design Kate Davis (Set and Costume) Male Actor The Story of O, The Rabble Steve Mouzakis, The Cherry Orchard Dayna Morrissey (Set) On the Bodily Bert LaBonté, The Mountaintop Education of Young Girls (Fraught Outfit) Brian Lipson, The Crucible Owen Phillips (Costume) and Romanie Ian Meadows, Other Desert Cities Harper (Set), The Sovereign Wife Best Ensemble (Sisters Grimm) The Book of Everything Direction Lighting Design Adena Jacobs, On the Bodily Education Danny Pettingill (Bluebottle), of Young Girls, Fraught Outfit Other Desert Cities Production Rachel Burke, Solomon and Marion The Sovereign Wife Sisters Grimm Matt Scott, The Mountaintop On the Bodily Education of Young Girls, Set and Costume Fraught Outfit Kim Carpenter, The Book of Everything Writing Callum Morton, Other Desert Cities Declan Greene and Ash Flanders, Sound/Composition The Sovereign Wife, Sisters Grimm Steve Francis, Other Desert Cities Iain Grandage, The Book of Everything Drama Victoria Awards Direction Best Performance by a Theatre Neil Armfield, The Book of Everything Company for VCE Theatre Students Simon Stone, The Cherry Orchard The Cherry Orchard Production Best Performance by a Theatre The Book of Everything Company for Secondary Students The Cherry Orchard (7–10) One Man, Two Guvnors Writing/Adaptation for the Australian Stage Beached, Melissa Bubnic The Book of Everything, Richard Tulloch Steve Mouzakis in (adaptation) The Cherry Orchard 50 MTC Annual Report 2013 MTC Annual Report 2013 51

Open Door

In 2013, we placed all our activities beyond our main stages under one umbrella, calling it Open Door. It included our long-established Literary and Education programs, as well as NEON, our new Festival of Independent Theatre. With Open Door we invited MTC’s regular theatre-goers to explore stimulating new theatre experiences, as well as welcomed new theatre practitioners and audiences to Southbank Theatre. 52 MTC Annual Report 2013 53

Literary Director’s Report

On commencing total of seventy-seven plays. Following Cornelius, Hannie Rayson (a co-commission With no directing responsibilities, I could at MTC, the new the MPAB Company Script Policy, we with Manhattan Theatre Club, New York) and work as required on all new plays. My work artistic team under generally return unsolicited scripts Robert Reid. We could also support a new play on Moths by Michele Lee was followed by Brett Sheehy unread, referring writers to Playwriting from Angela Betzien, in partnership with the Education production of Beached by established five Australia. Yet there’s a significant grey Terrapin Puppet Theatre and the Australia Melissa Bubnic, and on the main stage, key priorities for area and the Literary Office has Council (through an Interconnections grant). True Minds by Joanna Murray-Smith and the Literary acknowledged receipt, and later, In addition, Lally Katz, who was awarded an The Cherry Orchard by Simon Stone after Office that attempted to respond to many of these Australian Writers’ Guild Fellowship, brought Chekhov. For the main stage plays, I spent built on the scripts, time permitting. her idea for a new play to us, wanting to roughly a week to ten days in the rehearsal achievements of work with us on its development, giving us room at the beginning of rehearsals The second priority was to establish a the past while another new possible play for programming attending to questions of detail and play rigorous artist development program as establishing a consideration. structure. I also attended previews, a key part of MTC culture. With respect to hub for artistic recommending further trims and minor developing playwrights and directors, the A fourth priority was to look closely at research and development led by a changes up to opening. For Rupert by David Cybec reading series was identified as cultural and linguistic diversity and how dedicated Literary Director. Williamson the script work stretched over a useful platform for renovation. A new best to support it institutionally. One of almost my entire first year with MTC. We Firstly, we needed to maintain good model was costed and signed-off by my first jobs at MTC was to join a team went through fifty drafts, with changes made relations with playwrights in Melbourne Roger Riordan, the head of the Cybec sent to Bendigo to work with young right through the previews. I worked closely and nationally. By year’s end I had met Foundation. Under the heading Cybec people as part of an MTC Education with the director Lee Lewis and David to with fifty-eight individual playwrights Electric, five plays, selected for their Department initiative called ‘Finding synthesise all the different opinions, from across Australia. Of these, thirty-one ambition, intelligence, diversity and formal Your Voice’. It was especially challenging suggestions, histories, biographies, thoughts were women and twenty-seven men; qualities, were read twice publicly over teaching playwriting to a group of young and comments into beneficial dramaturgical eight you could place in the category three weeks in early February 2014. In people, half of whom were Karen/ interventions. In a similarly long and involved of culturally and linguistically diverse terms of artistic development, the readings Burmese refugees. Meeting with the new process that continued right up until (CALD), four were Indigenous, and I think have already pushed a number of team at Footscray Community Arts; early Opening Night, I worked on the development nineteen were writers classified as young careers a little further down the track. development work on Michele Lee’s play of Eddie Perfect’s first play The Beast. or emerging. Beyond this, I have begun Moths (about the sex lives of Asian The commissioning of plays was a third formalising the relationship with VCA and Australians); as well as my previous work Thus, 2013 was a busy year in the Literary priority for the new team and, to that end, have met with all of the recent writing at Playwriting Australia on diversity and Office, both on production dramaturgy we received twenty-six pitches, solicited graduates, seen their graduation plays the Platform Paper I wrote on the subject, and in setting the foundations for a quite a few more, and met as a team to and incorporated the best as Writing meant that combating institutional persuasive and rigorous culture of devise a shortlist of playwrights. The bulk Interns in 2014. I also ran a series of three racism continued to be an important part development and production, for new of the commissions are supported by the playwriting workshops as part of the of my working life. The MTC team was Australian plays at MTC. Clemenger Trust and three playwrights were NEON Festival of Independent Theatre. very receptive to increasing openness to put to Joan and Peter Clemenger and were artists from diverse cultural backgrounds. Beyond that, we overhauled the system duly approved: Declan Greene, Roslyn Brett’s connection with Multicultural Arts of tracking new Australian scripts Oades and Simon Stone. Indeed by year’s Victoria meant that we could move through the Company, creating a end, Simon’s free adaptation of The Cherry quickly to establish MTC Connect, a database of plays and assessments that Orchard had been rehearsed, performed scheme to bring more diverse audiences, the Creative team can access. By the end and well-reviewed. Beyond the Clemenger artists and stories to MTC shows. Chris Mead of 2013, the new system showed that Trust, due to particular historical circum- fifty-six men and twenty-one women stances, we were able to expand the program A fifth priority was to increase the consistency (with one co-written) had submitted a and commission new plays from Patricia and accountability of in-house dramaturgy. 54 MTC Annual Report 2013 MTC Annual Report 2013 55 Education Manager’s Report

Overall, it was an mainstage productions, Other Desert wrote, attending a performance of expression and collegiality amongst interesting year Cities and The Cherry Orchard, were Beached and performing in the Lawler twenty-six diverse participants. YSC of consolidation both listed, with the latter proving empowered the participants, giving alumni Sean Scanlon returned this year and planning for exceptionally popular with school them ‘the idea of what is possible … that as a volunteer to assist on the course, the future for our audiences. At the annual Drama Victoria their voice can make it to the stage.’ proof of its life-changing effects. At the Education Teachers Conference, MTC received two end of the year the participants were Another group of eager and enthusiastic department. awards for services to the drama invited back to MTC to attend a matinee Year 11 students from across the state In 2013, we education sector – Best Performance performance of The Book of Everything. participated in the 2013 MTC presented just by a Theatre Company for VCE Theatre They spoke enthusiastically about their Ambassador program. Meeting one production Studies (The Cherry Orchard) and Best experience on the course and where it approximately once a month from March from within the Performance by a Theatre Company for has taken them since we last met. to December the program offered its Company, the Secondary Students Years 7–10 (One participants an insider’s view of the MTC Education were again able to new Australian Man, Two Guvnors – shared with Arts Company, including meetings with key offer free tickets across six productions play Beached by Melissa Bubnic, which Centre Melbourne). staff and artists, an HQ tour, as well as for disadvantaged students through had already won the 2010 Patrick White In a unique partnership with Bendigo the opportunity to be a part of the 2014 the Sidney Myer Geoffrey Cohen AM Playwrights Award before Petra Kalive Senior Secondary College and Arts Season Launch. The diversity of Scholarship Fund. With access to directed its premiere season in the Victoria, MTC participated in an productions the students attended schemes such as these, students Lawler. Listed on the VCE Drama playlist, Extended Schools Residency program created a great platform for in-depth disadvantaged by geography, social the play explored society’s obsession entitled Finding Your Voice. Resident discussion, with One Man, Two Guvnors conditions or economic factors are able with weight loss and reality TV. Andrew MTC Literary Director, Chris Mead, and being a stand-out favourite. The to engage with the artistic work of Bailey’s clever and flexible set design of guest artist, playwright Ned Manning, twenty-five Ambassadors also had the the Company. moving screens and set pieces, aided by travelled to Bendigo on a fortnightly opportunity to hear Artistic Director, the inventive incorporation of live and Finally, Education Manager, Suzie basis throughout school Terms 2 and 3 Brett Sheehy, and Executive Director, pre-recorded projected sequences, Thomas took a year’s maternity leave to run a series of practical two-hour Virginia Lovett, speak on the illuminating provided excellent scope for student from May and soon proudly announced workshops that introduced students to topic of Advice I Would Give My Fifteen discussion around non-naturalistic the arrival of her son Hugo. She returns playwriting, with a focus on developing Year-old Self, which contained rare and styles of presentation, essential for May 2014. It was my pleasure to act in collaboration and communication skills. generous advice for these young lovers VCE Drama inclusion. this role during Suzie’s absence. In total more than fifty students of theatre. A change in circumstances led to the participated in the program, including More than a decade after its inception, cancellation of our planned La Boîte twenty-two students from the ethnic the Youth Scholarship Course continues Theatre Company production I Love You, Karen student population of the school. to maintain its popularity and impact. Bro, which we had hoped would be Their involvement gave the project a Disadvantaged students from across the included on the VCE playlist. Once it truly rich cultural engagement. Bendigo state attended the free week long failed to be selected, the proposed as a community has a growing Karen Noel Jordan intensive from 23 to 27 September. As a season became unfeasible. It highlighted migrant population that, in many novice to the program, I found it easy to the risk we have taken every year in instances, have fled military persecution be moved and awed by the incredible announcing works that might not make after time in refugee camps on the Thai/ focus and generosity of spirit of the the Victorian Curriculum Assessment Burma border. With public performances young ensemble of performers. The Authority’s selected works. There is a at the Bendigo Fire Station and the program’s pastoral care approach plan to move VCAA announcements Lawler, some of the most powerful work values individual voices and actively prior to our season launch, so this presented in the program was from encourages self-confidence, self- situation can be avoided in future. Two these students. As Chris Mead later Education Production MTC Annual Report 2013 57 B EACH ED by Melissa Bubnic

Melissa Bubnic’s Beached, which won the 2011 Patrick White Playwright’s Award, intrigued and shocked school and general audiences with its weighty satire of Arty, the young man trapped in his own enormous body who becomes an overnight media sensation.

New Australian Play

Season 22 April to 10 May 2013 Southbank Theatre, The Lawler

Production ‘Beached is strong for its Director Petra Kalive complex of moral issues Set Designer Andrew Bailey surrounding image, identity, Costume Designer Kat Chan relationships, the media, and Lighting Designer Lisa Mibus its concern for living a healthy Sound Designer Robert Jordan physical and mental life.’ Animator Rebecca Hayes Simon Eales, InPress

Cast ‘One of the highlights is Anthony Ahern, Susie Dee, Susie Dee’s detailed, funny Fanny Hanusin, Damien Sunners and finally poignant Damien Sunners and performance as JoJo.’ Anthony Ahern Paid Attendance 2,663 Kate Herbert, Herald Sun Open Door MTC Annual Report 2013 59 Workshops and Participatory Events

For more than fifty years, MTC has provided life-changing educational experiences to young Victorians, a key element of which has been our many workshops and events held throughout the year. These include our long-running Monologue and Solo Performance workshops, our Ambassadors program, and our Youth Scholarship course. Student groups regularly toured our Headquarters and thousands attended our production, Beached, and our mainstage shows. This year we also held an extended Playwriting Residency at Bendigo Senior Secondary College (thanks to Arts Victoria) that saw a writer, director and a dramaturg working with students to tell their own stories.

VCE Summer School Course 14 to 18 January 2013 MTC Headquarters Paid Attendance 21 Pre-show Talks and Post-show Q&As MTC and Harvey World Travel Theatre March to August 2013 Study Tour Southbank Theatre, The Sumner 22 to 26 April 2013 and The Lawler MTC Headquarters and MTC Theatre, Paid Attendance 919 The Lawler Attendance 33 MTC Ambassador Program April to December 2013 VCE Solo Performance Workshops MTC Headquarters 14 to 21 June 2013 Attendance 25 MTC Headquarters Paid Attendance 214 MTC Headquarters and Theatre Tours February to November 2013 Youth Scholarship Course Tour groups 24 23 to 27 September MTC Headquarters Work Experience Placements Attendance 26 and Volunteers January to December 2013 VCE Monologue Performance Attendance 13 Workshops 12 to 16 August 2013 Education sales for MTC Mainstage MTC Headquarters and The Lawler productions: Paid Attendance 212 Paid Attendance 8,656 NEON MTC Annual Report 2013 61

NEON

In a first for MTC, we launched NEON, our Festival of Independent Theatre. With $500,000 financial and in-kind support from the Company, five Melbourne-based independent theatre companies were given complete freedom to stage whatever works they chose in whatever Daniel Schlusser Ensemble form they wanted for five ten-day seasons in the Lawler, taking 100% of the box-office. Menagerie With an attendant series of readings, workshops by Daniel Schlusser Ensemble and forums, the festival vindicated our belief in opening our doors, bringing regular MTC audience members to new work and new Season audience members to MTC. 16 to 26 May 2013 Southbank Theatre, The Lawler Post-show Q&A 22 May

‘MTC’s Neon Festival of Independent Theatre Production has been one of the most exciting events in Director Daniel Schlusser Producer Nicole Smith the local calendar … has already proven itself Designer Dale Ferguson Paid Attendance 941 a brave and rewarding experiment.’ Costume Design Zoë Rouse John Bailey, The Age Sound Designer Darrin Verhagen ‘Menagerie will delight theatrical and James Paul trainspotters who know their ‘The most important initiative in Lighting Design Nicola Andrews Williams, but there’s enough truth Melbourne theatre this year.’ and wonder in the bricolage – Alison Croggon, ABC Cast as well as Dr John and Bon Jovi – Jane Badler, Kevin Hofbauer, to captivate those who know ‘Standing ovation for MTC’s NEON Festival.’ Zahra Newman, Josh Price, little or nothing about him.’ Herald Sun Karen Sibbing, Edwina Wren Chris Boyd, The Australian 62 MTC Annual Report 2013 NEON NEON MTC Annual Report 2013 63

Fraught Outfit The Hayloft Project On the Bodily Education of Young Girls By Their Own Hands Conceived by Fraught Outfit by Benedict Hardie and Anne-Louise Sarks Inspired by Frank Wedekind’s 1903 novella Mine-haha, or On the Bodily Education of Young Girls Season 13 to 23 June 2013 Southbank Theatre, The Lawler Post-show Q&A 19 June Season 30 May to 13 June 2013 Production Southbank Theatre, The Lawler Directors Benedict Hardie and Anne- Post-show Q&A 5 June Louise Sarks Cast Designer Marg Horwell Production Mika Andrew, Fantine Banulski, Lighting Designer Matt Scott ‘Sarks and Hardie give brilliant, Director Adena Jacobs Bianca Coppa, Tove Due, Composer Kelly Ryall understated performances that Set Designer Dayna Morrissey Luisa Hastings Edge, Cindy Hu, Dramaturg Carl Nilsson-Polias range from romantic comedy to Costume Designer Chloe Greaves Annie McKenna-Freeman, Anna Performance Dramaturgy Tom Healey the pity and terror that tragedy so Lighting Designer Danny Pettingill Schlusser, Lois Scott, Karen Sibbing, Associate Sound Design Raya Slavin rarely, in practice, achieves.’ Composer Kelly Ryall Carla Tilley, Artimis Wilson Producer Bek Berger Cameron Woodhead, The Age Dramaturg Aaron Orzech Associate Artist Pia Johnson ‘This piece waxes lyrical without Cast ‘The performances are near Associate Producer Luisa Hastings Edge words, it becomes a poem of Benedict Hardie, Anne-Louise Sarks flawless, the story is riveting and movement.’ the imagery is unforgettable.’ Paid Attendance 971 Cassandra Fumi, Inpress Paid Attendance 958 Benjamin Meyer, Inpress 64 MTC Annual Report 2013 NEON NEON MTC Annual Report 2013 65

The Rabble Sisters Grimm Story of O The Sovereign Wife by THE RABBLE after Pauline Réage Created by Ash Flanders and Declan Greene

Season 11 July to 21 July Southbank Theatre, The Lawler Season Post-show Q&A 17 July Felix Ching Ching Ho, Bessie Holland, 27 June to 7 July 2013 Morgan Maguire, Peter Paltos Southbank Theatre, The Lawler Production Post-show Q&A 3 July Director Declan Greene Paid Attendance 1,134 Text Ash Flanders and Declan Greene Production ‘This is, arguably, as rich and Set Designer Romanie Harper ‘[T]his radically ambitious and Creators Emma Valente and evocative a piece of theatre as the Costume Designer Owen Phillips very funny gender-bending romp Kate Davis best of Barrie Kosky, only the Sound Designer and Composer Jed Palmer smells of the future, even as it casts Director Emma Valente references are contemporary, Lighting Designer Katie Sfetkidis an ironic glance (through fake lashes) Designer Kate Davis rarely obscure, and almost Video Projection Rohan Spring at out colonial past.’ always illuminating.’ Choreographer James Welsby Cameron Woodhead, The Age Cast Chris Boyd, The Australian Dramaturg Nakkiah Liu Gary Abrahams, Pier Carthew, Producer Bek Berger ‘This is an endlessly surprising Emily Millege, Jane Montogomery Griffiths, ‘Everyone will react differently, piece. It’s not just the highlight of Dana Miltins, Mary Helen Sassman, but the conversations it will Cast the NEON Festival, it’s the show generate are vital.’ Paul Blenheim, Joseph Chetty, Jason de to beat, so far, in 2013.’ Paid Attendance 1,147 Rebecca Harkins-Cross, The Age Santis, Ash Flanders, Genevieve Giuffre, Chris Boyd, The Australian 66 MTC Annual Report 2013 Open Door NEON MTC Annual Report 2013 67

NEON Extra

As part of our opening up Southbank Insights for Independents Theatre as a place of connection and collaboration, we created NEON Extra, Doing More for Less, Better a program of conversations, discussions, 23 May 2013 discoveries and workshops for Southbank Theatre independent creative artists Profit Share Today Open Up – A Toolbox for Producers 7 July 2013 7 June 2013 Southbank Theatre, The Sumner Southbank Theatre Panel Patrick Brammall, Lally Katz, Ralph Meyers, Josephine From Page to Stage Ridge, Daniel Schlusser, Brett Sheehy, 21 June 2013 Emma Valente Southbank Theatre

NEON Conversations The Pitch 11 July 2013 Innovation and Independence Southbank Theatre 19 May 2013 Southbank Theatre, The Sumner Participants 39 Chair Daniel Clarke Panel Stephen Armstrong, Alison Neon Connect Croggon, Matthew Lutton, Anne-Louise Free networking event Sarks, Brett Sheehy 18 June 2013 Southbank Theatre Leading the Way Attendance 93 2 June 2013 Southbank Theatre, The Sumner Directing Masterclass Chair Fiona Gruber 10 July Panel Martin Coetts, Wesley Enoch, Xani MTC Headquarters Kolac, Alkinos Tsilimidos, Anouk Van Dijk with Sam Strong and Leticia Cáceres Participants 12 The Art of Adaptation 21 July 2013 Writers Workshops Southbank Theatre, The Sumner Chair Dr Jane Montgomery Griffiths Structure & Creativity Panel Adena Jacobs, Joanna Murray- 31 May 2013 Smith, Simon Stone, Andrew Upton, Southbank Theatre Cameron Woodhead Knowing & Not Knowing Attendance for all panels 510 10 July 2013 MTC HQ

Carrying Voices 19 July Daniel Clarke, Matthew Lutton and Southbank Theatre Anne-Louise Sarks in Innovation and Independence Panel. Participants 39 Photo: Sarah Walker 68 EMPLOYMENT MTC Annual Report 2013 69

Actors and Artists 2013

Actors Catherine Russell Wilcox Stephen Curtis Choreographers Armourer Stage Rehearsal and Anthony Ahern McClements Leon Williams Luke Ede Andrew Hallsworth Len Steel Management Production Heidi Arena Colin Mace Matthew Woodyatt Dale Ferguson Tanya Mitford Secondments Photographers Owain Arthur Matthew Rosie Wyatt Tracy Grant Lord Julia Cotton Audio-visual Tara Bennett Jeff Busby Alison Bell McFarlane Shaun Gurton Researcher Alice Dawes Pam Kleemann Edward Bennett Amanda McGregor Musicians Esther Marie Hayes Dialect, Text and Tania Lentini Amy Furman Heidrun Löhr Julia Blake John McTernan Richie Hart Poppy Hall Voice Coaches Vanessa Martin Gina Milicia Heather Bolton Ian Meadows Oliver Seymour Marg Horwell Jacquie Crago Illustrator Shannyn Miller Amy Booth-Steel Alex Menglet Marsh Edie Kurzer Suzanne Heywood Conrad Miles Meg Richardson Tom Budge Robert Menzies Billy Stookes Callum Morton Anna McCrossin- Cameron Stewart Peter Carroll Hamish Michael Philip Murray Richard Roberts Owen Animator Julia Truong Sabrina Carter Eloise Mignon Warson Mark Thompson Leith McPherson Rebecca Hayes Grant Cartwright Mark Monero Jennifer White Wardrobe Nick Cavaliere Genevieve Morris Video cast Lighting Literal Translator secondments Travis Cotton Steve Mouzakis Minka Deacon Designers Education Francesca Manfrin Gina Drew Alicia Davies Kate Mulvany Craig Rachel Burke Consultant Emily Brewster Gareth Davies Adam Murphy Madison Fenn Mark Henderson Meg Upton Directorial Susie Dee Pacharo Mzembe Kate Mylius Nigel Levings Secondments Playwrights Under Andrea Elizabeth Nabben Lisa Mibus Teaching Artists Tom Carmody Commission Demetriades Zahra Newman Directors Niklas Pajanti Jane Bayly Daniel Czech Angela Betzien Marg Downey Robyn Nevin Neil Armfield Danny Pettingill Andrew Gray Brigid Gallacher Beatrix Christian Guy Edmonds Roger Oakley Leticia Cáceres Matt Scott Emily Taylor Luke Kerridge Brendan Cowell Paul English Sarah Ogden Peter Houghton Tom Snell Rebecca Matthews Rohan Maloy Declan Greene Ronald Falk Sean O’Shea Nicholas Hytner Eli Erez Eddie Perfect Daniela Farinacci David Paterson Petra Kalive Composers and Josephine Lange Design Joanna Murray- Leon Ford Alan Pearson Lee Lewis Sound Designers Secondment Smith Julie Forsyth Genevieve Picot Adam Penford Paul Arditti Education Artist Gina Drew Roslyn Oades Iain Grandage Pamela Rabe Pamela Rabe David Bridie in Residence Simon Stone John Gaden David Roberts Iain Sinclair Steve Francis Ned Manning Stage Virginia Gay Naomi Rukavina Simon Stone David Franzke Management VCA Professional Simon Gleeson Edwina Samuels Sam Strong Russell Goldsmith Assistant Jessica Burns pathways Fanny Hanusin Scott Sheridan Nadia Tass Paul Grabowsky Directors Christine Bennett Internship Sheridan Nikki Shiels Alkinos Tsilimidos Iain Grandage Zoey Dawson Sam Smith Kat Chan Harbridge Kellie Shirley Ben Grant Eamon Flack Millie Mullinar Anita Hegh Seun Shote Physical Comedy Stefan Gregory Kim Hardwick Sally Hitchcock Denis Irving Sacha Horler Louise Siversen Director Robert Jordan Samara Hersch Jessica Keepence Award Mark Jackson Hayden Spencer Cal McCrystal Valanga Khosa Petra Kalive Whitney Alice Dawes Claire Jones Greg Stone Tristan Meredith Sarah McCusker McNamara Gillian Jones Damien Sunners Set and Costume Grant Olding Clare Watson Julia Smith Robert McDonald Sue Jones Katherine Tonkin Designers Kelly Ryall Keiren Smith MTC Professional Bert LaBonté Toby Truslove Jonathan Allen THE SWEATS Fight Vivienne Poznanski Award Joshua Lacey James Wardlaw Alice Babidge (Pete Goodwin) Choreographers Philippa Wright Kat Chan HaiHa Le David Wenham Andrew Bailey Brad Flynn Jessica Maguire Brian Lipson David Whiteley Kim Carpenter Video Direction Felicity Steel Stephen Moore John Leary Matthew Whittet Kat Chan David Parker Kate Waters Natalie Moir 70 EMPLOYMENT MTC Annual Report 2013 71

Emily Davies Philip Ivan Pietruschka Database Specialist Millinery Staging Supervisors Nicholas Ravenswood Ben Gu Phillip Rhodes Grant Kennelly Nicholas Reich VIP Ticketing Officer Margaret Chrisfield Sound Supervisor Andrew Ride Michael Bingham Wigs & Makeup Terry McKibbin Warwick Sadler Box Office Supervisors Jurga Celikiene MTC Staff 2013 Lawler Studio Michael Sammonds Julie Wood Jutta Schmitz Technician Nicholas Scawin Adam Walsh Martelle Hunt Executive Major Donations and Marketing Production Electrician Josh Noble Nathaniel Sy Julianne Hamilton Casual Wig and Head Flyman Michael Taylor Box Office Attendants Hair Dresser Artistic Director Foundations Manager Co-ordinators Adam Bowring James Tucker Sarah Trevorrow Joel Checkley Sally Garcia Crew Brett Sheehy AO Adrienne Conway Lydia Gibala Electrics Casual Stage and Alasdair Watson Jean Lizza Martelle Hunt Executive Director Fundraising and Event Charlotte Oppenheim David Farmer Technical Staff House Supervisors Bridget Mackay Art Finishing Virginia Lovett Manager (from March) Scott McAlister Madeline Allan Tash Commons Andrea McNamara Josephine Johnson Assistant to the Artistic Mandy Jones Marketing Assistant Nicholas Wollan Nicola Andrews Marisa Cuzzolaro Teal Nicholls Lauren Trivett Director Patron Ticketing Officer Daniel Coghlan Production Peter Andrews Matthew Phoenix Kaytlin Petrarca Lisette Drew Ryan Nicolussi Senior Graphic Administrator Workshop Designer Alyson Brown Michelle Bain Nathan Smith Daniel Scaffidi Executive Administrator Workshop Supervisor Education Lydia Baic Production Cye Bishop Bar Supervisors Samuel Yeo Stephanie Convery Aldo Amenta Education Managers Graphic Designers Co-ordinator Tom Brayshaw Natasha Cuddihy Subscription Supervisor Deputy Supervisor Artistic Suzie Thomas (on leave Kate Francis Michaela Deacon Ashley Buchanan Soren Jensen Shannon Woodford Andrew Weavers Associate Artistic from May) Helena Turinski Production Design Timothy Blundell Daniel O’Farrell Subscriptions Team Set Makers Director Noel Jordan (from May) Bethany Wilksch Co-ordinator Stephen Campbell Tain Stangret Leader Ken Best Sam Strong Education Bookings/ Andrew Bailey Robert Cole Andrew Thomson Katie Dirks Bryce Hartnett Associate Director Ticketing Officer PR and Production Managers Dale Cook House and Bar Subscriptions 30+ Philip de Mulder Leticia Cáceres Mellita Ilich Communications Paul Doyle Simon Culliver Attendants Booker Alastair Read Associate Producer Education Co-ordinator Public Relations and Andrew Barker James Cunningham Danny Alder Lee Threadgold Jamie Spiers Martina Murray Mattie Young Communications Production Manager Kieran Daniels Stephanie Barham Subscription Team Justin Deutscher Tanya Batt Gemma Cotterell Literary Director Directors Touring Volunteers Finance and Debora McInnes Michelle Preshaw Rohan Dodd Alexandra Burgess Peter Dowd Chris Mead Finance Administration Christy Hopwood Production Assistant David Dudek Paul Blenheim David Fineberg Casting Director Jen Dutton Finance Director (on leave) Laura Harris Gavin Faull Rhea Famlonga Simon Hiler Janine Snape (from Carolyn Elvins March) Patrick Healey Publicists Drafting Casuals Peter Fitzgerald Susannah Frith Natalie Holmwood Adam Froling Kasey Gambing Sarah Lorens Kylie McCormack Systems Manager Rosie Shepherdson- Jacob Battista Consultants Michael Schuettke Stephanie Gaffric Damian Harrison Jess Maguire Casting Executive Cullen Consultant Speech Company Accountant Properties Adam Graf Natalie Holmwood Timon Sotiropolous Matt Bebbington Receptionists Pathologist Ness Harwood Supervisor Luke Gathercole Daniel Jonkov Tain Stangret Claire Haggan Debbie Phyland Catering Accountant Mary Gotsi Geoff McGregor Richard Gorr Angus Keech Rhiannon Stevens Manager Stan Wong PR Assistants Properties Maker Christian Green David Loney O’Sullivan Overseas Andrea Purvis Accounts Officers Rebecca Jones Colin Penn James Harris Andrea McNamara Paul Terrell Representatives Robert Harrison Brienna Macnish Drew Thomson Assistant Manager Ivan Downey Mary Gotsi London Scenic Art James Henry Ross MacPherson Melanie Velissaris Anita Lyovic Kimberley Bettinson Yunuen Perez Martinez Yolande Bird/ Supervisor Adam Hanley Paige Marshall James Williams Café Attendant McCay Publications Diana Franklin Shane Dunn Gareth Holton Cameron Moore Alisdair Wilson Norma Seger Casual Accountant Co-ordinator New York Yolly Thomas-Kalos Paul Galloway Scenic Artists Samuel Hopkins Caley Otter Assistants Wardrobe Stuart Thompson Eleanora Figueroa- Salaries Officer Tansy Elso Christopher Hubbard Zoe Partington Steiner Julia Godinho Production Colin Harman Jake Hutchings Thomas Pollard Wardrobe Manager Jennifer Heenan Head of Production Julia Knibbs Glyn Roberts Judy Bunn Human Resources Southbank Theatre Justin Job Adam J Howe Dave Korcass Richard Saxby Costume Makers Judith Mitchell HR Manager Senior Technical Theatre Manager Peter Lavery Caitlyn Staples John Molloy Nicholas Muni Christelle Harris Manager – Lighting & Mark D Wheeler Paul Lim Paul Terrell Jocelyn Creed Alisha Winter Personnel Administrator Sound Building Services James Lipari Andrew Thomson Lyn Molloy Christine Verginis Kerry Saxby Manager Anthony Ludwig Harriet Wallace Tiffany Abbott Development EHS Co-ordinator Acting Technical Justin Murphy (from Feb) Andrew McClintock Jamaica Zuanetti Rebecca Cassin Development Director Eliza Neil Manager – Staging Stuart Duffield Marcus Macris Debbie Zuckerman Sophie Collie Andrew Boyd David Hobbs (to March) Theatre Operations Mark McGrath Justine Coultham Marketing Ticketing Tiffany Lucas (from Nov) Technical Manager Manager William Maconachie Peggy Moad Corporate Partnerships Marketing Directors Staging Samantha Potts Rangi Mana Nia Director CRM and Sophie Woodward Executive Vanessa Rowsthorn Andrew Bellchambers Production Services Bianca Mastroianni Ticketing Buyers Laura Vamos Kerry Noonan (from Dec) Acting Senior Head Manager Kane Meade Dale Bradbury Lucy Moran Corporate Partnerships Marketing Manager Mechanist Frank Stoffels Paul Micklewright Ticketing Manager Keryn Ribands Co-ordinator James Wright Andy McLintock Lighting Supervisor Nick Mulder Brenna Sotiropoulos Wardrobe Hire Julia Dyer Digital Manager Senior Production James Conway Fiona Murray Ticketing Services Liz Symons Megan Byrne Technician House Services Kevin O’Brien Administrator Wardrobe Maintenance Allan Hirons Manager Abraham Otenstein Lisa Mibus Angela Cavalot 72 MTC Annual Report 2013 MTC Annual Report 2013 73

Financial Report 2013 74 MTC Annual Report 2013 MTC Annual Report 2013 75

KEY PERFORMANCE INDICATORS

2013 2012 2013 2012 2013 2012 2013 2012 Artistic Vibrancy Access Number of Financial Viability Paid Attendances Based on Audited Subscription Season Number of Performances Accounts Productions 10 9 Self Entrepreneured Co-Productions 1 2 Self Entrepreneured Home City 232,918 197,438 Strength of reserves 34.2% 32.3% Buy-ins 0 1 Home City 560 523 Total 11 12 NEON Studio Season Profitability (excluding non-operating -$ 354,349 -$ 345,485 New productions 11 12 Studio Season Home City 5,151 3,231 income) Home City 52 60 Studio Season Buyins Sources of Income Productions 0 3 Buyins Home City 0 26,133 as % of Total NEON Festival 5 0 Home City 0 44 Total 5 3 Sold Off New productions 5 3 Sold Off Home City 5,216 0 Box Office * 71.5% 68.9% Home City 15 0 Regional 0 934 Private Sector 4.0% 3.7% Other Plays Regional 0 5 Other Capital City 8,487 24,291 Other Income 15.2% 17.8% Touring 0 1 Other Capital City 24 62 Government Funding 9.3% 9.6% Entreprenuerial 1 1 Education 2,663 4,711 Contribution ** Co-productions 0 0 Education 23 40 Buy-ins 0 0 Development 0 95 Total 100.0% 100.0% Total 1 2 Development 0 3 New productions 1 1 Total Paid Performances 254,435 256,833 * Includes Ticketing Fees earned on Box Office sales Total Performances 677 737 ** Excludes Non-Operating income and netting State Profile of plays Regional Government Grant Against Payroll tax expense New Australian 8 5 Existing Australian 0 2 Number of Productions 0 1 Grants Operating New overseas 1 0 Number of Towns 0 1 Existing overseas 7 8 Commonwealth Base $2,069,154 $2,020,658 Total Commonwealth Education Program $2,069,154 $2,020,658 Grants Productions 1 2 Tours 0 0 State Explorations 0 0 Base $485,575 $503,187 Workshops/Forums/Talks 5 6 Less Payroll Tax -$496,236 -$481,388 Holiday Program 3 3 paid to State Ambassador Program 1 1 Total State Grants -$10,661 $21,799

Project Grant Australia Council $30,000 0 (Moths) Arts Victoria $24,068 0 (Professional Pathways) $54,068 0 76 MTC Annual Report 2013 MTC Annual Report 2013 77

INCOME AND EXPENDITURE

2013 INCOME TICKETING 6% BOX OFFICE 64% OTHER INCOME TICKETING 6% INCLUDING EDUCATION AND TOURING 11% BOX OFFICE 64% OTHER INCOME INCLUDING EDUCATION AND TOURING 11%

DEVELOPMENT 7%

INTERESTDEVELOPMENT RECEIVED 1% 7% GRANT LOST TO PAYROLL TAX 2% INTEREST RECEIVED 1% GRANT LOST TO PAYROLLGRANT TAX 9%2%

GRANT 9%

2013 EXPENDITURE

DEVELOPMENT 2% MARKETING 7% SALARIES AND ASSOCIATED COSTS 52% ROYALTIES AND DEVELOPMENT 2% COMMISSIONS 6%MARKETING 7% SALARIES AND ASSOCIATED COSTS 52% ADMINISTRATIONROYALTIES 2%AND COMMISSIONS 6%

SUBSCRIPTION,ADMINISTRATION 2% CREDIT CARD FEES AND TICKETING 8% SUBSCRIPTION, CREDIT CARD FEES AND TICKETING 8%

THEATRE COSTS 13%

THEATRE COSTS 13%

OTHER 1%

PRODUCTION OTHER COSTS1% 9%

PRODUCTION COSTS 9% 78 MTC Annual Report 2013 MTC Annual Report 2013 79

INCOME STATEMENT FOR THE YEAR ENDED 31 DECEMBER 2013

Notes 2013 2012 Notes 2013 2012 $ $ $ $ REVENUE NET OPERATING SURPLUS/(LOSS) (354,349) (345,785) Commonwealth Government Grants 2 2,099,154 2,020,658 Victorian Government Grants 3 509,643 503,187 Extra Ordinary Items Donations and Bequests 606,974 527,789 Income on Reserve Incentive Scheme 11 98,909 231,593 Sponsorships 799,212 671,780 Insurance Income 21 0 1,036,649 Investment Income 4 310,308 405,411 MTC Development Fund 22 292,671 0 Retail Sales (Box Office MTC) 14,831,411 13,389,695 Net Extra Ordinary Items Gain/(Loss) 391,580 1,268,242 Gain on Sale of Non-Current Assets 5 0 1,410 Operating funds from Melbourne University 40,000 40,000 NET SURPLUS/(LOSS) 37,232 922,457 Other Income 20 4,080,021 4,013,339 TOTAL REVENUE 23,276,723 21,573,269 Transfers from/(to) Reserves 19 (391,580) (231,593)

LESS EXPENSE NET SURPLUS / (LOSS) AFTER TRANSFERS (354,349) 690,864 Salaries and Oncosts (incl. Leave Provns movement) 6 12,222,089 11,484,624 Audit Service Fees 7 29,384 26,000 ACCUMULATED FUNDS/(DEFICIT) AT START OF YEAR 3,780,443 3,089,579 Accountancy & HR Service Fees 7 49,570 3,198 Printing & Publications 334,663 362,491 ACCUMULATED FUNDS/(DEFICIT) AT END OF YEAR 19 3,426,094 3,780,443 Other Consumable Supplies 549,704 541,841 Depreciation and Amortisation Expense 8 142,778 87,360 Staff Training & Development 56,950 44,213 Travel & Accommodation on University Business 533,991 446,742 Motor Vehicle Running Expenses 23,578 22,786 Postage 196,546 248,709 Telephone Land Line Charges (Usage & Equipment) 42,049 40,661 Garbage and Refuse Removal 58,393 50,209 Contract Cleaning 184,548 170,670 Laundry Services 9,007 11,515 Electricity 228,501 216,805 Gas (Mains and LP) 27,709 22,728 Council Rates 12,029 86,238 Insurance 3,253 3,170 Entertainment 161,650 167,241 Computer Software and Services 224,250 132,095 Asset Expense $1,000-$9,999 156,305 131,261 General Expenses 9 2,180,552 1,924,391 Rent and Hire Charges 2,518,525 2,444,301 Catering 265,734 200,182 Repairs and Maintenance 439,559 330,139 Royalties and Commissions 1,441,634 1,348,548 Ticketing 1,538,122 1,370,936 TOTAL EXPENSE 23,631,072 21,919,054 80 MTC Annual Report 2013 MTC Annual Report 2013 81

BALANCE SHEET AND STATEMENT OF CHANGES IN EQUITY CASH FLOW STATEMENTS AS AT 31 DECEMBER 2013 FOR THE YEAR ENDED 31 DECEMBER 2013

Notes 2013 2012 Notes 2013 2012 $ $ $ $ CURRENT ASSETS Cash Flows from Operating Activities Cash Assets 8,234,855 8,895,496 Inflows: Receivables 10 146,870 260,911 Cash flows from government: Other Assets 12 1,901,535 1,914,045 Commonwealth Grants 2,099,154 1,962,105 TOTAL CURRENT ASSETS 10,283,260 11,070,452 Victorian Government Grants 509,643 503,187 Interest received 310,308 405,411 NON-CURRENT ASSETS Other income 20,830,580 18,835,091 Other Financial Assets 11 2,667,848 2,015,660 GST collected/refunded by the ATO (129,048) 43,891 Property, Plant & Equipment 13 4,855,946 4,851,865 Operating funds from Melbourne University 40,000 40,000 Intangible Assets 14 0 0 Outflows: TOTAL NON-CURRENT ASSETS 7,523,795 6,867,525 Payments to employees (12,411,247) (11,458,687) TOTAL ASSETS 17,807,055 17,937,977 Payments to suppliers (11,763,171) (10,172,406) Net Cash Inflow (Outflow) from Operating activities (513,781) 158,592 CURRENT LIABILITIES Payables 15 1,069,985 1,788,399 Cash Flows from Investing Activities Provisions 16 832,226 997,740 Inflows: Other Current Liabilities 17 9,689,316 9,217,581 Proceeds from sale of non–current assets 0 14,551 TOTAL CURRENT LIABILITIES 11,591,527 12,003,720 Outflows: Repayment of Pool Unit 0 0 NON-CURRENT LIABILITIES Unrealised gain on Pool Unit Investment 0 (93,631) Plant and equipment purchases (146,860) (144,671) Provisions 16 121,586 138,156 Net Cash Inflow (Outflow) from Investing activities (146,860) (223,751) TOTAL NON-CURRENT LIABILITIES 121,586 138,156 Cash Flows from Financing Activities TOTAL LIABILITIES 11,713,113 12,141,876 Inflows: NET ASSETS 6,093,942 5,796,101 None 0 0 Outflows: EQUITY None 0 0 Reserves 18 2,667,848 2,015,658 Net Cash Inflow (Outflow) from Financing activities 0 0 Retained Surplus/(Accumulated Deficit) 19 3,426,094 3,780,443 TOTAL EQUITY 6,093,942 5,796,101 Net increase/(decrease) in cash held (660,641) (65,159)

Cash at the beginning of the reporting period 8,895,496 8,960,655

Cash at the end of the reporting period 8,234,855 8,895,496

Reconciliation of Cash at end Cash (Overdraft) 8,214,727 8,875,224 Petty cash floats 20,128 20,272 Deposits – Maturity < 90 days 0 0 8,234,855 8,895,496

cont > 82 MTC Annual Report 2013 MTC Annual Report 2013 83

STATEMENT OF COMPREHENSIVE INCOME Supporting Notes to the financial statements

Notes 2013 2012 Note $ $ No. Operating result for the year (354,349) (345,785) Gain/(loss) on revaluation of land and buildings 1 Statement of Accounting Policies Insurance Income 0 1,036,649 The principal accounting policies adopted by MTC in the preparation of the financial report for Available-for-sale financial assets: the year ended 31 December 2013 are set out below. These policies have been consistently Reserve Incentive Scheme – Income 19 98,909 0 applied to all the years presented, unless otherwise stated. Reserve Incentive Scheme – Capital Gain 19 260,609 231,593 1.1 basis of Preparation MTC Development Fund 19 292,671 0 This special purpose financial report has been prepared in accordance with Australian equivalents to International Financial Reporting Standards (AIFRS’s), the Financial Management Total comprehensive income for the year 297,841 922,457 Act 1994, Urgent Issues Group Consensus Views and other authoritative pronouncements of the Australian Accounting Standards Board. The financial statements have also been prepared in accordance with the guidelines issued by the Department of Education, Employment and Workplace Relations (DEEWR). STATEMENT OF CHANGES IN EQUITY Compliance with IFRSs Australian Accounting Standards include Australian equivalents to International Financial Reporting Standards. Compliance with AIFRSs ensures that the financial statements and notes Notes 2013 2012 comply with International Financial Reporting Standards (IFRSs). The financial statements and $ $ notes also comply with IFRSs except that it has elected to apply the relief provided to parent Total Equity at the beginning of the financial year 5,796,101 4,873,644 entities in respect of certain disclosure requirements contained in AASB 132 Financial Instruments: Presentation and Disclosure, AASB 124 Related Party Disclosures and AASB 116 Total comprehensive income for the year 297,841 922,457 Property, Plant and Equipment. Reporting basis and Conventions 6,093,942 5,796,101 Total equity at the end of the financial year MTC is considered to be a not-for-profit entity, as such the financial report has been prepared in accordance with the not-for-profit requirements of AIFRS. The financial statements have been prepared on an accruals basis and are based on the historical cost convention as modified by the revaluation of available for sale financial assets, financial assets and liabilities at fair value through profit or loss, certain classes of property, plant and equipment and investment property. Critical accounting estimates The preparation of financial statements in conformity with AIFRS requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the Group’s accounting policies. Estimates and judgments are continually evaluated and are based on historical experience and other factors, including expectations of future events that are believed to be reasonable under the circumstances. (a) Critical accounting estimates and assumptions MTC makes estimates and assumptions concerning the future. The resulting accounting estimates will by definition, seldom equal the related actual results. The estimates and assumptions that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next financial year include impairment of assets as described in note 1.4 of the financial report. (b) Critical judgements in applying the entity’s accounting policies MTC does not apply any critical judgements that may have a material impact on the amounts presented in the Financial Report. 84 MTC Annual Report 2013 MTC Annual Report 2013 85

Supporting Notes to the financial statements

Note Note No. No.

1.2 Non-Current Assets Where it is not possible to estimate the recoverable amount of an individual asset, the Each class of property, plant and equipment is carried at cost or fair value less, where University estimates the recoverable amount of the cash-generating unit to which the asset applicable, any accumulated depreciation and impairment losses. belongs. 1.4 Intangible assets (i) Freehold Land and Buildings Land is recorded in the Statement of Financial Position at cost, which is considered to equate Software fair value. The MTC contributed $4,600,000 toward the development of the Sturt Street Head Major computer software is recorded in the Balance Sheet at cost less amortisation and where Quarters. The funds contributed by the MTC is recognised as interest in the land value: refer to applicable, any impairment losses. Only the cost of the software is capitalised, installation costs Note 14. are expensed in the Income Statement in the year they are incurred. Amortisation is provided (ii) Motor Vehicles on a straight line basis at the rate of 33 1/3%. Recorded in the Balance Sheet at cost less depreciation and where applicable, any impairment 1.5 Employee Benefits losses. Profits in respect of the sale or trade-in of motor vehicles are included in Note 5 to the Provision is made for the MTC’s liability for employee benefits arising from services rendered by Financial Statements. employees at the reporting date. Employee benefits expected to be settled within one year (iii) Furniture and Equipment together with entitlements arising from wages and salaries, annual leave which will be settled Recorded in the Balance Sheet at cost less depreciation and where applicable, any impairment after one year, have been measured at the amounts expected to be paid when the liability is losses. Profits and losses in respect of disposals are included in Note 5 to the Financial settled, plus related on costs. Employee benefits payable later than one year have been Statements. MTC has a policy of only recording as fixed assets furniture and equipment measured at the present value of the estimated future cash outflows to be made for those costing $10,000 or more. Items under $10,000 are expensed. benefits. (iv) Depreciation (i) Annual Leave Depreciation is provided on a straight line basis on all tangible fixed assets other than Freehold Liabilities for annual leave have been determined in accordance with Australian Accounting Land which is not depreciated. Major Depreciation Rates are: Standard AASB 119 Employee Benefits. Annual leave is an entitlement that an employee can access at any time and is therefore classified as a current liability. In Note 16 this balance is – Motor Vehicles 20% further segmented between the balance that we believe will be taken within 12 months (any – Furniture, Fixtures and Fittings 12.5% balance up to 20 days), and any balance that is likely to be taken after 12 months (any balance – Telephone Equipment (PABX System) 33.3% greater than 20 days). – General Equipment 20% (ii) Long Service Leave – Scientific and Computing Equipment 33.3% Liabilities for long service leave are measured using the nominal method and the projected unit credit method which measures the present value of expected future payments to be made in These rates have been consistently maintained and there has been no change from rates respect of services provided by employees up to the reporting date. Where there is no material applied in prior years. Acquisitions are depreciated from the date of purchase; disposals are difference, the nominal method is used which recognises leave entitlements of employees with depreciated up to the date of sale. more than four years service. The current portion of the liability is the amount that employees 1.3 Impairment of assets are entitled to take now. In Note 16 this figure is segmented between the amount we expect At each reporting date MTC assesses whether there is an indication of impairment for all assets people to take within the next 12 months and that amount expected to be taken after 12 except for, inventories, assets arising from employee benefits, investment property and months (based on historical patterns). financial instrument assets. If there is an indication of impairment, the assets concerned are (iii) Superannuation tested as to whether their carrying amount exceeds the recoverable amount, the difference is Employee contributory superannuation funds exist to provide benefits for MTC’s employees written-off by a charge to the Income Statement except to the extent that the write-down can and their dependents on retirement, disability or death of the employee. The contributions be debited to an asset revaluation reserve amount applicable to that class of asset made to these funds by MTC are recorded in the Income Statement. Further details are At each reporting date assets previously determined to be impaired are assessed for provided in Note 6. circumstances indicating that an impairment loss recognised in prior periods no longer exists 1.6 Revenue Recognition or may have decreased. If there is an indication that the impairment loss has been reversed, the Revenue is measured at the fair value of the consideration received or receivable. Revenue is assets concerned are tested as to whether the recoverable amount exceeds the carrying recognised for the major business activities as follows: amount, the difference not exceeding the original impairment is credited to the Income Statement except for revalued assets which are credited to an asset revaluation reserve. 86 MTC Annual Report 2013 MTC Annual Report 2013 87

Supporting Notes to the financial statements

Note Note 2013 2012 No. No. $ $ 2 Commonwealth Government Grants – Operating revenues are taken up in the Income Statement in the year to which they apply. From operating activities: – Revenue from rendering a service is recognised upon the delivery of the service. Australia Council MPAB Annual Grant 2,069,154 2,020,658 – Revenue from the sale of goods is recognised upon the delivery of goods to customers. Young & Emerging Artists Development of “Moths” – Project Grant 30,000 0 – Income in the form of endowments and bequests is brought to account as revenue when Please refer Note 27 for reconciliation of timing of receipt and 2,099,154 2,020,658 actually received by MTC, except where they are tied to specific expenditures, in which case recognition of grants they are brought to account at the same time as the relevant expenditure. 1.7 Investments 3 Victorian Government Grants Investments in University of Melbourne Pool Units are carried at fair value, and are From operating activities: consequently restated on an annual basis. Income is taken to account as credited to the fund. Arts Victoria Annual Grant 485,575 503,187 1.8 Leases Professional Pathways Program 24,068 0 Please refer Note 27 for reconciliation of timing of receipt and 509,643 503,187 MTC leases a property for storage in Laverton. This lease is an operating lease and payments recognition of grants are brought to account in the Income Statement. MTC pays State payroll tax due to its status as a department of 1.9 Taxation the University of Melbourne. MTC is exempt from income tax pursuant to Part 50.1 of the Income Tax Assessment Act 1997. The net payment from the Victorian Government is: 1.10 Cash Operational Grant 509,643 503,187 For the purpose of the Statements of Cash Flows, MTC considers cash to include cash on hand less Payroll Tax (496,236) (494,921) and at bank, at-call deposits and commercial/ bank bills with a maturity of 90 days or less. Note 6 13,407 8,266 1.11 Revaluation of Non-Current Assets 4 Investment Income Accounting Standard AASB 116 Revaluation of Non-Current Assets and requires reporting Interest Receivable from University 310,308 405,411 entities to measure assets within each class of non-current asset on either the cost basis or on 310,308 405,411 a fair value basis. Subsequent to initial recognition, non-current physical assets, other than plant, equipment, vehicles and intangible assets, are measured at fair value. Plant, equipment and vehicles are measured at cost. 5 Profit/(Loss) on sale of Non-Current Assets Operational In accordance with the not-for-profit requirements of AASB 116, revaluation increments are Proceeds from Sale credited directly to the asset revaluation reserve, except that, to the extent that an increment Property, Plant and Equipment 0 14,551 reverses a revaluation decrement in respect of that class of asset previously recognised as an 0 14,551 expense in net result, the increment is recognised immediately as revenue in the net result. Carrying Amount of Assets Sold/Scrapped Revaluation decrements are recognised immediately as expenses in the net result, except that, Property, Plant and Equipment 0 13,141 to the extent that a credit balance exists in the asset revaluation reserve in respect of the same 0 13,141 class of assets, they are debited directly to the asset revaluation reserve. Net Profit/(Loss) Operational 0 1,410 Revaluation increments and decrements relating to individual assets within a class of property, plant and equipment are offset against one another within that class but are not offset in Net Profit/(Loss) 0 1,410 respect of assets in different classes. Revaluation reserves are transferred to accumulated funds on derecognition of the relevant asset. 1.12 Comparatives Comparative figures have been adjusted where there are changes in presentation for the current financial year unless otherwise stated. 1.13 Rounding All amounts shown in the financial statements are expressed by reference to the nearest dollar unless otherwise specified. 88 MTC Annual Report 2013 MTC Annual Report 2013 89

Supporting Notes to the financial statements

Note 2013 2012 Note 2013 2012 No. $ $ No. $ $ 6 Salaries and Oncosts 10 Receivables Total Salaries 9,548,341 9,175,207 Receivables (Current): Contributions to superannuation and pension schemes: Sundry Debtors – External 129,810 259,480 Superannuation Guarantee Charges 828,250 816,214 Less: Provision for Doubtful Debts (3,527) (3,527) Total Superannuation Contributions 828,250 816,214 126,283 255,953 Payroll Tax paid to the Victorian Government 496,236 494,921 Workcover 50,626 49,704 Sundry Debtors – Internal (owed by Uni of Melb Opns) 20,587 4,958 Long Service Leave Expense(*) (125,178) 34,449 146,870 260,911 Annual Leave (*) 124,254 324,293 Other 1,299,560 589,837 11 Other Financial Assets Total 12,222,089 11,484,624 Non-Current Investments: (*) Represents the movement (i.e. increase/(decrease)) in the provision Units in Uni of Melb. Investment Pool – Funds Invested from for accumulated long service leave and annual leave during the year. Incentive Scheme Reserve 2,375,177 2,015,659 MTC Development Fund 292,671 0 Employee Numbers 2,667,848 2,015,659 Full-time equivalent permanent and contract 101 100 Full-time equivalent casual 33 41 The Reserve Incentive Scheme Investment came about through grants from The Australia Average number of employees during the year 134 141 Council and Arts Victoria of $373,000 each, as well as a contribution by MTC of $373,000. The funds have been invested in the University of Melbourne Investment Pool. Each year MTC 7 Audit and Accounting Services recognises the capital gain or loss on the Pool Units as well as the income earned from the Auditing Accounts: Investment Pool Units. In 2013, the capital gain on the Investment Pool Units was $260,609 and – Auditor General (charged with Internal Audit Charge) 7,028 6,691 the income earned was $98,909. The capital gain and income earned is considered to be – Internal Audit Charge (Uni of Melb.) 20,272 19,309 extra-ordinary income as the amounts are unrealised gains that have not been used to fund Financial Operations Charge (Uni of Melb.) 1,274 1,215 operational activities. HR Charge (Uni of Melb.) 2,084 1,983 In 2007 the University Council approved the establishment of the Melbourne Theatre Company Price Waterhouse Coopers Review 48,296 0 Capital Fund (University Trust record 7.247). A capital campaign, ‘MTC@HOME,’ was conducted 78,954 29,198 from 2007 to 2010 to raise funds for the establishment of the MTC headquaters, now located at 252 Sturt Street Southbank. At the time the fund was established, provision was made that if 8 Depreciation and Amortisation Expense any unused funds remained at the revocation of the MTC Capital Fund, those funds would be Motor Vehicles 17,679 22,607 transferred to the Melbourne Theatre Company Development Fund. The revocation of the Furniture 13,614 13,614 Capital Fund occured in September 2013 and the remaining funds transferred to the MTC Computer Equipment 21,278 11,018 Development Fund. The MTC Development Fund is a trust for which the University of General Equipment 90,207 40,122 Melbourne is trustee, governed by University of Melbourne Trust Record 7.248 Software 0 0 142,778 87,360 12 Other Assets Prepaid Expense 478,895 560,887 9 General Expenses Accrued Income 1,410,771 1,337,959 Patron/Sponsor Benefits 243,810 238,332 Stock 11,869 15,199 Cartage and Freight 108,978 57,484 1,901,535 1,914,045 Advertising and Promotions 1,439,715 1,174,545 Other 388,048 454,029 2,180,552 1,924,391 90 MTC Annual Report 2013 MTC Annual Report 2013 91

Note 2013 2012 Note 2013 2012 No. $ $ No. $ $ 13 Property, Plant & Equipment 14 Intangible Assets Freehold Land Software 252 Sturt St At Cost 254,257 254,257 At Acquisition Costs- 4,600,000 4,600,000 Provision for Amortisation (254,257) (254,257) 4,600,000 4,600,000 Software after Amortisation 0 0 Total Freehold Land 4,600,000 4,600,000 15 Payables Motor Vehicles Current: At Cost 199,262 199,262 Creditors and Accruals – External 957,449 1,613,675 Provision for Depreciation (168,834) (151,155) Creditors and Accruals – Internal 170,561 191,206 Motor Vehicles after Depreciation 30,428 48,107 (owed to University of Melbourne Operations) GST payable to the Australian Taxation Office (58,025) (16,482) Furniture 1,069,985 1,788,399 At Cost 136,654 136,654 Provision for Depreciation: (83,771) (70,157) 16 Provisions Furniture after Depreciation 52,883 66,497 Current: Employee Entitlements Laboratory and Computing Equipment – Annual Leave 295,616 209,757 At Cost 176,769 176,769 – Long Service Leave 60,048 63,340 Provision for Depreciation: (137,964) (116,686) Other 10,852 3,778 Laboratory and Computing Equipment after Depreciation 38,805 60,083 366,516 276,875 Current provisions expected to be settled > 12 months General Equipment Employee Benefits At Cost 783,418 636,558 – Annual leave 146,945 256,371 Provision for Depreciation: (649,587) (559,380) – Long Service Leave 318,765 464,494 General Equipment after Depreciation 133,831 77,178 465,710 720,865 832,226 997,740 Communications Equipment At Cost 36,383 36,383 Non-Current: Provision for Depreciation: (36,383) (36,383) Employee Entitlements Communications Equipment after Depreciation 0 0 – Long Service Leave 121,586 138,156 121,586 138,156 Total Property, Plant & Equipment 17 Other Current Liabilities - At Cost 1,332,485 1,185,626 Income in Advance 9,689,316 9,217,581 At Independent Valuation 4,600,000 4,600,000 9,689,316 9,217,581 5,932,485 5,785,626 Provision for Depreciation and Amortisation: At Cost (1,076,538) (933,761)

Total written down value 4,855,946 4,851,865 92 MTC Annual Report 2013 MTC Annual Report 2013 93

Note 2013 2012 Note No. $ $ No. 18 Reserves 21 Extra Ordinary Item – Insurance Income 2012 Incentive Scheme Reserve Balance at beginning of year 2,015,659 1,784,065 In 2010 a severe hail storm damaged the Southbank (MTC) Theatre. Due to the damage and Reserve Incentive Scheme – Income 98,909 time required to repair the theatre, MTC lost a week of performances in February 2010. Also, Reserve Incentive Scheme – Capital Gain 260,609 231,593 normal programming of productions for the period 22 November, 2010 to 31 January, 2011 Balance at end of year 2,375,177 2,015,659 could not be undertaken while more extensive repairs were undertaken. As a result, MTC made an insurance claim for loss of income. That insurance claim was successful and paid to MTC in 2012 and has been allocated to retained earnings. MTC Development Fund Investment – MTC Development Fund 292,671 0 22 Extra Ordinary Item – Melbourne Theatre Development Fund 292,671 0 In 2007 the University Council approved the establishment of the Melbourne Theatre Company Capital Fund (University Trust record 7.247). A capital campaign, ‘MTC@HOME’, was conducted Total Reserves 2,667,848 2,015,659 from 2007 to 2010 to raise funds for the establishment of the MTC Theatre. At the time the fund was established, provision was made that if any funds remained unused at the revocation 19 Retained Surplus of the MTC Capital Fund, those funds would be transferred to the Melbourne Theatre Company Balance at beginning of year 3,780,443 3,089,579 Development Fund. The revocation of the Capital Fund occured in September 2013 and the Operating Surplus/(Deficit) (354,349) (345,785) remaining funds transferred to the MTC Development Fund. The funds raised for the Capital Reserve Incentive Scheme, Income 98,909 231,593 Campaign were not treated as income by MTC at the time and were held in Trust. The transfer Insurance Income 0 1,036,649 of the remaining balance of capital fund to the MTC Development Fund has been treated as MTC Development Fund 292,671 0 income at the time of the transfer. Transfers to Reserves (391,580) (231,593) 23 Unrecognised Funds Balance at end of year 3,426,094 3,780,443 1. Capital Fund 20 Other Income As per note 24, the Capital Fund revocation occurred in September, 2013 and the remaining Costume Hire 17,327 26,168 balance transferred to the Melbourne Theatre Company Development Fund. Staff Cafe 171,214 168,756 2. Sidney Myer Geoffrey Cohen Fund Studio Hire 8,504 3,666 In 2004 the Sidney Myer Fund on behalf of Geoffrey Cohen provided an endowment of Program Commission 75,924 80,175 $50,000 to the University of Melbourne for the benefit of the MTC Education Program. The net Education Programme 49,074 56,341 income of the fund will be applied to providing disadvantaged school students with access to Fundraising 101,051 98,152 a Melbourne Theatre Company (“MTC”) main stage production or an Explorations event each Ticketing 1,376,667 1,229,618 to be known as a Sidney Myer Fund Geoffrey Cohen Scholarship. The scholarships are to be Touring/Entrepreneurial (Excl box office) 138,784 83,270 awarded by the University Council on the recommendation of the director of MTC. After a Sponsorship Tickets 159,034 117,438 period of ten years from the 16 January 2004, the University Council, after consulting the Production Income 33,156 203,702 trustees of the Sidney Myer Fund and Mr Cohen will review the value of the capital and Co-Producer Box-Office Profit Share (183,597) decide whether it is to continue to be invested or the capital expended in full for the MTC Theatre Hire – Internal 970,273 1,067,047 MTC Education Program. MTC Theatre Hire – External 410,812 437,511 During 2013 MTC provided $2,728 in tickets for Sidney Myer Geoffrey Cohen AM Scholarship MTC Theatre Bar Sales 381,245 361,181 recipients (2012 – $2,749). As at 31 December 2013 the capital of the Fund was valued at Miscellaneous Income 370,553 80,314 $66,321 (2012 – $58,767). The result is a gain in 2013 of $4,665 in capital value (2012 – $3,866 ) 4,080,021 4,013,339 and income earned of $2,889 (2012 – $2,877) after administrative fees. 24 Cash For reconciliation of Cash, refer the Statement of Cash Flows 25 Subsequent Events No matter or circumstance has arisen since the end of the financial year that may subsequently affect the organisation. 94 Note No.

26 Timing of Receipt and Recognition of Grants MTC 2013 Annual Report

Unexpended Grants Grant Expenditure Unexpended Grants Grants Income Received brought forward from this year carried forward this year previous financial year (Net Grant income) to next financial year Australia Council Triennial 0 2,069,154 2,069,154 0 Access initiative 0 0 0 0 Young & Emerging Artists 0 0 0 0 Tour – Rupert USA 0 40,000 0 40,000 Development of ‘Moths’ 30,000 0 30,000 0 Australia Council total 30,000 2,109,154 2,099,154 40,000

Arts Victoria Triennial 0 485,575 485,575 0 Professional Pathways 0 25,000 24,068 932 Arts Victoria total 0 510,575 509,643 932

Total Grants 30,000 2,619,729 2,608,797 40,932 MTC 2013 Annual Report 95