Annual Report 2018 1 2 Contents
Vision Statement 4
Honorary Life Members and Current Company Members 5
History 6
Chair’s Report 7
Artistic Director’s Report 9
Producer’s Report 11
2018 Company, Artists and Supporters 13
2018 Program 15
Performance and Employment Statistics 21
Independent Audit Report
Report and Statement of the Board of Management 22
Financial Report 23
List of Performances 1972 – 2018 33
Acknowledgements 35
Patch Theatre Company acknowledges the traditional owners of the country throughout Australia upon whose land the company creates and performs, and pays its respect to their Elders past, present and future.
3 Vision Statement
Patch Theatre creates world-class theatre that celebrates big ideas – ideas that explore some of the world’s inexplicable questions from a child’s point of view. Our works explore the way that children see the world, acknowledging the relevance of their thinking with stories that promote imagination, wonder and discovery.
Patch Theatre is dedicated to the creation, presentation and touring of high quality theatre experiences for children aged four to eight years and their families.
4 Members
Honorary Life Members 2018 Patch Theatre Board Helen Rose Janet Worth Jill Gael Anne-Marie Shin Rainer Jozeps Julie Mitchell (until September 2018) Joan Clemow Amanda Wheeler Patrea Channon Karen Bryant Elspeth Harley Jason Dunstone Bob Weatherly Chris Drummond Dave Brown Peter Campbell Ben Opie
5 History
Adelaide-based Patch Theatre is Australia’s flagship theatre company making work for 4-8 year olds. The company has performed 107 new works to more than 1.8 million children and their families since its inception. For many, seeing a Patch production is a family tradition with parents bringing their children and now their grand-children to see its work, providing the company with a long and loyal audience base.
The company was founded in 1972 by Morna Jones, a pioneer in Australian children’s television and theatre who believed that quality arts experiences were an essential part of childhood learning and development. Morna’s “Little Patch Theatre” provided enriching performing arts experiences for children and young people in South Australia.
Following Morna’s death in 1982, Artistic Director Christine Anketell developed a relationship with the Adelaide Festival Centre Trust that saw the realisation of large-scale adaptions of children’s literature and the early genesis of Patch Theatre’s national profile.
Throughout the 1990’s and 2000’s and under the leadership of Artistic Director Dave Brown, the company evolved into a highly regarded national and international touring company with a finely crafted, world-class repertoire of diverse, vibrant and challenging theatre for its young audiences.
In 2015 Dave Brown stepped down as Artistic Director after two decades and handed the creative reigns to Artistic Director Naomi Edwards who devised and directed two new works for the company, Yo Diddle Diddle in 2017 and Can You Hear Colour? in 2018 which premiered at the Adelaide Festival.
In late 2018 Patch embarked on an exciting new direction under the leadership of Geoff Cobham (Artistic Director) and Teena Munn (Producer). It will focus on a reimagined style of design-rich theatrical experiences to expand its family audiences with installation, promenade style works, while continuing to make its highly acclaimed in-theatre productions.
6 Chair’s Report
Last year I reflected upon the considerable changes and challenges of 2017, little realising that 2018 would present a new set of challenges, albeit this word is often, and rightly, interchanged with ‘opportunities’.
Early in the year, Patch was for the first time a part of the Adelaide Festival, presenting a magical opera, created especially for our precious young audience, with colour, light, music and enchantment, showing just how ‘okay’ it is to be different. We are grateful to the Adelaide Festival for giving us the opportunity to shine, and to Naomi Edwards and Alan John who devised the work.
It was therefore sad for me and for Patch to receive Naomi’s decision to return to her home in Melbourne. Her professional generosity enabled Patch to continue as usual, delivering its 2018 commitments, retaining the good will of our many partners, and paving the way for new local and overseas relationships. Naomi has Patch’s gratitude for her creative contribution to the company (two new works) and for her innovative thinking, as well as our very best wishes for her resumed life and career in Melbourne.
Our 2018 successes could not have happened without the leadership of Bec Pannell as Acting Executive Producer, following the resignation of Ebony Bott. Bec’s experience and wisdom, as well as a particular talent for caring for and about the members of the Patch team, not only delivered a very full performance program but also enabled the Patch Board to take time to consider what operational structure Patch would need in order to remain at the forefront of children’s’ theatre in Australia.
Above all, Patch needed to retain a strong artistic program underpinned by its artistic vision. We acknowledged the need to address the ever-changing expectations of our audiences, and to employ new ways of delivering the magic of theatre. So rather than traditional, prescriptive advertising for the two leadership positions, we invited proposals to realise Patch’s future from individual artistic directors and executive producers, or from those who might wish to apply as a team.
Patch is indeed fortunate to have secured a ‘dream team’ of two highly experienced, highly talented, highly regarded theatre professionals in Geoff Cobham and Teena Munn who jointly and separately have a profound belief in the value of theatre for young children – and have the ability to turn a belief into reality.
I will have them speak for themselves: 7 Chair’s Report
My favourite audience is children of all ages; people who still wonder at the universe. Light still fascinates me every day and I love sharing its nebulous beauty and the magical worlds it can create. I look forward to creating design focused, immersive experiences for four to eight year olds and beyond by giving new audiences the opportunity to discover the magic of Patch Theatre locally, nationally and internationally. Geoff Cobham
Having collaborated in the creation of work for young people in the past and witnessing first-hand the incalculable affect it has on the curiosity, creativity and imagination, it is a thrill and a privilege to be able to do this again. Teena Munn
Patch HQ continued to please as a work and creative space. With changes to the machinery of government, we very much enjoyed establishing a relationship with our new Minister, the Hon John Gardner MP, Minister for Education, and officers of his Department, all of whom have been welcoming and supportive.
We ended the year welcoming a smaller operational team, well chosen to deliver Patch’s future. Despite all the demands of the year not one member of the former team ever wavered from loyalty to Patch, hard work for Patch and generosity in accepting change. I thank them all.
Members of the Patch Theatre Company Board continued to give generously of their time and experience. Patch is indeed fortunate to be able to draw on such a wide and balanced range of skills. I thank each of them.
Without the public and private support we so gratefully receive, we would not exist. We are proud that our State Government through Carclew and Arts South Australia, and the Federal Government through the Australia Council acknowledged our worth with substantial grants in 2018; The James and Diana Ramsay Foundation confirmed a further three years of funding to support our new work and to build the capacity of our company; Bank SA supported our workshop program especially for disadvantaged schools; and ESTO Wines helped us to celebrate our successes. And of course, our amazing private donors, sharing our belief in the value of theatre for young children, ensured we could complete all we had planned for the year.
At the end of 2018, I was more than satisfied with the way the year turned out and could not wait for 2019 to begin!
Janet Worth Chair 8 Artistic Director’s Report
When Dave Brown, Patch’s iconic Artistic Director, first suggested I apply to become the new Artistic Director, I thought it would be a radical departure from my career path. I am pleased to say that upon reflection it is a perfect fit. I have rediscovered my love of young audiences, in fact I feel like I have found “my people” and am delighted to be collaborating with a like-minded team all focused on making great art. I wish to thank the Board for their bold choice and total support of Teena and myself.
While I could not commence in October due to other commitments, it was clear what the company had achieved to date. It was a bumper year with a new work premiering at the Adelaide Festival, two Adelaide seasons, an outer metro and regional tour, an extensive national tour and an international tour, all delivered with the usual Patch professional efficiency and flair.
Teena and I have had a very productive last few months of the year. As well as the company restructure we managed to pull together a stellar team of dance theatre makers for the first Creative Development of our new workZoom . Prior to this I worked with our inhouse design and technical team: Michelle Maddog Delaney, Chris Petridis and our young intern Alex Hatchard, to develop some of the technical design elements of the show. I was also lucky enough to get some training from some 4 and 5 year olds who kindly came to our office and played with me and my toys! I learnt a lot about how the ideas for Zoom are seen from our audiences’ point of view and discovered our shared sense of wonder. It takes a village to make a show and I am blessed to be surrounded by so many talented people. I look forward to sharing Zoom with you soon.
We also held extensive auditions for the Me and My Shadow 2019 national tour and the Emily Loves to Bounce 2019/20 China tour. I am pleased to say that we have employed four recent graduates, continuing the long tradition at Patch in the support and training of young actors.
Prior to my arrival, Patch undertook the following;
9 Artistic Director’s Report
The year began with the presentation of Can You Hear Colour? at the Adelaide Festival in March. This was a major undertaking and the first time the company has presented at this prestigious Festival. This was the culmination of 3 years of extensive research, creative developments and rehearsals. It included connection with various primary schools in the final rehearsal period.
Meanwhile Yo Diddle Diddle embarked on a major national tour after a period of redevelopment, a tour that was well managed and delivered by the Patch team. This tour included extensive access provisions, including Auslan shadow interpreting, audio description, tactile tours and relaxed performances.
The ever-popular Cranky Bear had an Adelaide schools’ season at the Arts Theatre and a holiday season at the Dunstan Playhouse, which was co-presented with the Adelaide Festival Centre. It then performed at two outer metro venues and toured to five regional venues.
Me and My Shadow went to China and spent a week in Beijing and a week in Changsha. Naomi directed the show into Beijing and commented as follows:
Me and My Shadow enjoyed a triumphant season in Beijing last weekend. I want to share with you our experiences of our first Chinese audience. On our first weekend we performed to close to 2,500 children and their families at the magnificent National Centre of Performing Arts in Beijing. The response from the audience was joyous, buoyant, quiet (when the show demanded it) and full of wonder. So many wonderful conversations with audiences as they exited the theatre, full of both the magical spirit of the work and the intrigue of its theatrical trickery. It was an honour and a privilege to shepherd this season of the show and I want to pass on the congratulations to you, its makers, from our Chinese hosts and audiences. While I return to Adelaide, the team travel onto Changsha and open this evening. Naomi Edwards
Naomi had many ongoing relationships with various organisations around the world. Her connection with Nic Mahmat, a previous Patch Artistic Associate, and his subsequent move to the prestigious Julliard school in New York has culminated in the proposal to record Me and My Shadow to be used as a teaching resource as part of Julliard Creative Classrooms.
We wish her well in her new adventure as Assistant Director for the play Harry Potter and the Cursed Child which opens in Melbourne in 2019.
Geoff Cobham Artistic Director
10 Producer’s Report
2018 was a huge year of delivery and change for Patch. With the departure of both the Artistic Director and Executive Producer, there was an opportunity to build on the company’s long successful history to take it into a new direction. The Board were excited by the proposal that Geoff Cobham, an award-winning designer and long-time Patch collaborator, and I proposed for the company’s future and we are grateful to them for their trust and support. We were incredibly excited to start this journey in late 2018.
I am grateful to Bec Pannell who as Acting Executive Producer admirably held the management reins of the company until my appointment, along with the rest of the Patch team, in what proved a very busy and challenging year. This was a year in which the company premiered a new work for the first time at the Adelaide Festival and delivered highly successful seasons of their works in repertoire in Adelaide as well as delivering regional, national and international tours.
Patch played to over 40,000 children in 2018, an envious outcome for most companies, and one which Patch has consistently averaged throughout its long history.
Importantly, in addition to our core staff, Patch provided the equivalent of 241 weeks of paid employment at a value of $337,956 for our artists, performers, production and technical teams, providing a huge contribution to South Australia’s arts ecology.
Financially the company is in a strong position, having achieved a better than budgeted surplus of $21,714 bringing the company’s reserves to $361,903. This was the result of excellent box office results and good management of its expenditure. Securing creative partnership funding, alongside a very successful donor campaign, as well as a three year grant from James and Diana Ramsay Foundation will support new work in 2019 and our regional touring.
The Company continues to be supported federally by the Australia Council and also secured three-year funding for the second time through the Australia Council’s National Touring Status. This guarantees that Patch can undertake major national touring from 2018-2020 and provides an exceptional level of stability for its touring
11 Producer’s Report
operations.
Building on the successful first tour to China ofMe & My Shadow we have already confirmed a six-week tour of Emily Loves to Bounce in 2019/2020 and an ongoing relationship with our Chinese presenter.
Taking into consideration the skills that Geoff and I bring to the company and the style and delivery of the new work we will be making at Patch, it was necessary to restructure the staffing requirements of the company. Several departures of staff and roles made redundant meant a major changeover, which was done with much goodwill and we sincerely thank past Patch employees for their hard work, grace and understanding.
We now move forward with a leaner but incredibly talented and experienced core team which includes Michelle Delaney as our Maker-in-Residence and Penny Camens as our Company Manager.
Taking advantage of the wonderful space we have inherited, we remodelled the office to allow for a small rehearsal space and the ability to host emerging and independent artists. This provides an opportunity to both make savings in rehearsal costs and for all of us to be closer to the making of the work, as well as support the next generation of theatre-makers. We have also restructured our ticket bookings to be on-line, moved to a more efficient IT system, installed a new scheduling system and rationalised our storage requirements.
We successfully secured Seed Funding from the Major Festivals Initiative for our proposed new large-scale family installation/promenade work, The Lighthouse, for a presentation at the Commissioning Site to be held in Adelaide in March 2019.
It was an incredibly busy start to what we see as Patch’s next exciting adventure and I am thrilled and energised to be working with Geoff and the rest of the new team to deliver what I believe will be some incredible work to our most important audience members and hopefully the next generation of theatre goers.
Teena Munn Producer
12 2018 Company, Artists and Supporters
Artistic Directors Artistic Associates Community Engagement / Geoff Cobham (From October) Tim Overton Remount Director Patch Satellite Artists Naomi Edwards (Until August) (New Zealand) & Provocateur Nathan O’Keefe Sally Hardy Dramaturg/Writer Sarah Brokensha Producer / General Manager Jason Sweeney Sound Artist Ashton Malcolm Teena Munn (From August) Dave Brown Remount Director Nicholas Cannon Nescha Jelk Remount Director Rachel Burke Acting Executive Producer Dave Brown Advisors Rebecca Mayo Rebecca Pannell (January to August) Martin Westwell Scientist-in-Residence Elizabeth Hay Professor Antoine Jelk Executive Producer Professor Anina Rich Synaesthesia Emma Beech Ebony Bott (Until January 2018) Research Centre, Macquarie University Professor Margaret Barrett Head of Music, Creative Development Devisers Company Manager University of Queensland Emma Beech Anne-Marie Shin Roz Hervey Penny Camens (From December) Richard Gill AO Astrid Pill Stephen Sheehan Program & Tour Coordinator International Agent Ingrid Voorendt Lynda de Koning (Until September) Boat Rocker Entertainment, New York Edith Voorendt Alexander Hatchard (Carclew Fellowship) Maker in Residence Designers Michelle Maddog Delaney (From Ailsa Patterson Stage/Tour Managers November) Geoff Cobham Bob Weatherly Kathryn Sproul Jacinta Way Production Manager Chelsea Albanesi Nadia Bobaly Ben Flett (Until November) Lighting Designers Ben Flett Mark Heuer Nicola Filsell Bookings & Administration Geoff Cobham Nic Mollison Coordinator Technicians Elda Corbo (Until November) Visual Artist Bob Weatherly Thom Buchanan Aaron Herczeg Marketing & Development Darian Tregenza Coordinator Composers Zoe Doherty-Dawson (Until December) Belinda Gehlert Projected Imagery/Illusion DJ Tr!p Chris Petridis Nic Mollison Publicist Alan John Zoë Barry Greg Cousins Anthea Hagar Performers Wardrobe, Set, & Costume Construction Finance Officer Alan John Emma Brockliss Theresa Williams Ashton Malcolm Bob Weatherly Bethany Hill Michelle Maddog Delaney Board Michaela Burger Seana O’Brien Janet Worth Chair Sarah Brokensha Karen Bryant Deputy Chair Nathan O’Keefe Photography and Video Ben Opie Treasurer Stuart Day Sam Oster, Silver Trace Amanda Wheeler Nicholas Cannon Stu Nankivell, Blue Goanna Digital Anne-Marie Shin Rachel Burke Chris Drummond Antoine Jelk Graphic Design Jason Dunstone Rebecca Mayo Black Squid Julie Mitchell (until September 2018) Elizabeth Hay Paoli Smith Peter Campbell Carlo Jensen – Peculiar Familia
13 2018 Company, Artists and Supporters
Critical Appraisal Panel Patch 2018 Donors Very Special Thanks (Can You Hear Colour?) Alan Dean Adelaide Festival Centre, Liz Hawkins Chris Drummond (facilitator) Andrew Young Adelaide Festival, Rachel Healy, Neil Eliza Lovell Chris Drummond Armfield, Kate Hillgrove Sean Riley Hon Di Laidlaw AM Alan Dean, Nick Dean, Stephen Dean Joshua Van Konkelenberg Edna Dunstone Anita Thackeray, Douglas Printing Anthony Peluso Mimi Crowe Carclew, Tricia Walton, Sidsel Fawkes, Tiffany Lyndall-Knight Janeen Brian Hana Fittes Janet Leske Claire Ridley, Black Squid Front of House Janet Miles Claire Tannahill (Pirate) Katie O’Reilly Janet Worth Creative Partnerships Australia Jasmin McWatters Jason Dunstone Dave Brown Ted Wilkins John Walsh Farnham Roadlines Abbie Clarke Judy Potter Filomena Di Maria, Show Group Julie Mitchell Enterprises Funding Bodies Karen Wilson Jim Weiner, Boat Rocker Entertainment Australia Council – 4 Year Core Funding Mark & Catey Livesy Nick Mahmat K-RESA Australia Council – National Touring Maurice Crotti Bank SA, Olivia Thomas Status via Playing Australia Miriam Alford Slingsby, Andy Packer, Stacey Balwin Carclew Naomi Edwards Tony Wilson Arts South Australia Neil Armfield Vitalstatistix, Emma Webb, Toby Neville Olivia Thomas A.S.K. China, Monica Wu Foundation Support Pauline Menz Michael Godbee, Gypsy Entertainment Bank SA Foundation Peter Campbell Transport Creative Partnerships Plus 1 Matched Richard & Margaret Heathcote Funding Rob Brookman AM Robert Pontifex Generous Support Russell Duncan Country Arts South Australia Lord Mayor Sandy Verschoor Esto Wines SAYarts William Buck Susan Armitage Black Squid Torben & Richelle Brookman
14 2018 Program
CAN YOU HEAR COLOUR?
“MAGNIFICENT. The cast and creative team of Patch Theatre Company should be truly proud of their new 45-minute offering which left its audience – young and old – spellbound.” VALERINA CHANGARATHIL, Adelaide Advertiser
Through a sensorial feast of colour, play and song, a young girl Adelaide Festival Season Dates: March 9 – 15 discovers that the very same gift Performances: 10 which sets her apart, can also be a Audience attendees: 1,937 bridge between herself and others. Venue: Main Theatre, Adelaide College of the Arts Community engagement/workshop attendances: 160 Can You Hear Colour? revels not only in the joy which comes from learning to share your gift with the world, but also the power of empathy and the role which artistic expression can play in understanding our self and others.
Collaboratively created by Naomi Edwards, Michaela Burger, Bethany Hill, Alan John, Kathryn Sproul, Ben Flett and Sally Hardy with Tim Overton, Bob Weatherly, Nathan O’Keefe & Chris Petridis.
Director Naomi Edwards Composer Alan John Performers Michaela Burger, Bethany Hill, Alan John Lighting Designer Ben Flett Set & Costume Designer Kathryn Sproul Dramaturge Sally Hardy Production Manager Bob Weatherly Stage Manager Mark Heuer Technical Manager Aaron Herczeg Artistic Associate Tim Overton (thanks to the James and Diana Ramsay Foundation) Musicians Mitch Berick, Rob Wallace, Owen Morris Advisory Associates Professor Martin Westwell, Prof Anina Rich and Professor Margaret Barrett
15 2018 Program
YO DIDDLE DIDDLE - NATIONAL TOUR
“Our students thoroughly enjoyed yesterday’s performance of Yo Diddle Diddle. They particularly enjoyed the DJ dog and his catchy tunes! I thought Yo Diddle Diddle was a well-presented and professional show that was well-suited to our younger students. The costuming and set-design was simple and clever. I look forward to their future productions!”
One Cow. One moon. One mission. National Tour Dates: May 3 to 11 September and October 9 - 14 What if your dream was only one Performances: 63 jump away? The hilarious rhyme Audience attendees: 12,892 and rhythm of Tony Wilson’s The Araluen Arts Centre – Alice Springs Cow Tripped Over The Moon is Tank Arts Centre – Cairns transformed into a hip hop infused Riverway Arts Centre – Townsville adventure story of one cow and Redlands Performing Arts Centre, Cleveland QLD The Events Centre – Caloundra her desire to jump the moon. A Empire Theatre – Toowoomba stellar cast bring the farm to life as Canberra Theatre Centre we discover the night the famous Orange Civic Theatre – Orange Bathurst Memorial Centre – Bathurst nursery rhyme was created. Civic Centre Wagga Wagga Exploring the theme of resilience, Eastbank Centre – Shepparton the fun-filled Yo Diddle Diddle was The Cube – Wodonga Ulumbarra Theatre – Bendigo the first work for Patch directed by Bunjil Place – Narre Warren Naomi Edwards. Theatre Royal – Hobart Riverside Theatre – Parramatta Ballarat Boardwalk Theatre, Ballarat Collaboratively created by Mandurah Performing Arts Centre – Mandurah Naomi Edwards, Ben Flett, Ashton Red Earth Arts Precinct – Karratha Malcolm, Nic Mollison, Ailsa Darwin Entertainment Centre – Darwin Q Theatre – Penrith Paterson, Jo Stone, DJ TR!P, Sally Wangaratta Performing Arts Centre – Wangaratta Hardy and Prof Martin Westwell Wellington Entertainment Centre – Sale Sydney Opera House – Sydney
14 Workshops with attendances of 415 Access: Relaxed attendance 123 Auslan attendance 152
Director Naomi Edwards Set and Costume Designer Ailsa Paterson Lighting and AV Designer Nic Mollison Composer DJ TR!P Performers Sarah Brokensha, Ashton Malcolm, Elizabeth Hay, Rebecca Mayo, Antoine Jelk Stage Managers Chelsea Albanesi, Nadia Bobaly Technical Managers Aaron Herczeg, Darian Tregenza Associate Writer Sally Hardy Scientist in Residence Professor Martin Westwell Remount Director for Sydney Nescha Jelk 16 2018 Program
CRANKY BEAR
“To experience live theatre is such an important part of understanding the arts and to understand that every text can be interpreted in a variety of ways…A huge thank you to Patch Theatre Company and Bank SA Foundation for your generosity and support to experience ‘The Very Cranky Bear’ performance and workshop” Rachel Beavis, Melaleuca Primary School, Mt Gambier.
In the jingle jangle jungle on a cold and rainy day... Adelaide (2 seasons), Outer Metro, Regional Tour Dates: July 25 to October 13 Performances: 46 Inspired by the award-winning Teacher Preview: 61 attendees best-selling book, The Very Cranky Audience attendees: 20,042
Bear, by Nick Bland. Zebra, Lion and Venues: Moose each think they know how Arts Theatre Adelaide to solve the Bear’s crankiness, but Keith Michell Theatre – Port Pirie Middleback Theatre – Whyalla their shenanigans just make him Chaffey Theatre – Renmark even crankier! It takes a humble Robert Helpmann Theatre – Mt Gambier and empathetic Sheep with an open Brenton Langbein Theatre – Tanunda Golden Grove Arts Centre heart and listening ear to solve the Dunstan Playhouse – Adelaide Bear’s woes. (co-presented with Adelaide Festival Centre)
Community engagement/workshops: 60 attendees Cranky Bear is a rollicking cabaret- sponsored by Bank SA style show for 4 - 8 year olds packed with music, laughter and mayhem.
Collaboratively created by Dave Brown, Geoff Cobham, Dave Gadsden, Belinda Gehlert, Cameron Goodall, Jude Henshall, Tim Overton, Ailsa Paterson and Stephen Sheehan
Director Dave Brown Composer and Musical Director Belinda Gehlert Designer Ailsa Paterson Lighting Designer Geoff Cobham Performers Rachel Burke, Nicholas Cannon, Stuart Day Stage Manager Jacinta Way Technical Managers Bob Weatherly & Ben Flett
17 2018 Program
ME & MY SHADOW – INTERNATIONAL TOUR TO CHINA
A sell out season in both Beijing and Changsha, with scalpers in the Beijing foyer trying to get tickets! The season was so successful the Chinese presenters immediately booked another of our shows for an eight-week tour in 2019/2020.
The fanciful escapades of a girl making friends with her shadow. Dates: August 3 – 12 Performances: 12 Audience attendees: 4,224 (sold out seasons) Children love to play with shadows, but making friends with your Venues: National Centre for the Performing Arts Beijing shadow can be a tricky business. Changsha Concert Hall, Changsha There are things to sort out, Community engagement/workshop : 30 attendees. problems to solve, adventures to have and laughter to be shared.
Me & My Shadow is a gentle magical visual poem for children, using paper, light, shadow, colour, water, music, sound and words to create a world of play where the imagined becomes real. With fantastical imagery, quirky physical performances and an intriguing score, Me & My Shadow ignites the imagination in a poetical experience that explores the trials and joys of friendship.
Winner, Helpmann Award for Best Presentation for Children in 2011 Winner, Victor Award for Best Showcase Production IPAY 2013 Nomination, Sydney Theatre Award 2011 Best Production for Children
Collaboratively created by Zoë Barry, Dave Brown, Geoff Cobham, Roz Hervey, Nathan O’Keefe, Astrid Pill and Bob Weatherly
Composer Zoë Barry Lighting and Set Designer Geoff Cobham Remount Director Naomi Edwards Original Cast Nathan O’Keefe, Astrid Pill China Tour Cast Sarah Brokensha and Nathan O’Keefe Stage Manager Nicola Filsell Technical Manager Bob Weatherly
18 2018 Program
ZOOM - IN CREATIVE DEVELOPMENT
Creative Developments November/ December 2018 Zoom will premiere at the Space Theatre on 23 July 2019 then tour to two outer metro and five regional Zoom is a story of a child alone in venues in South Australia. her bedroom, unable to sleep and This creative development project is supported by the curious to understand. She begins a Creative Partnerships Plus 1 Matched Funding Grant, transformational journey with light and our generous Patch donors. and discovers that the dark is a magical space.
Adventures happen and with the help of the audience, the girl discovers that a community of people can solve her problems. Part music video, part dream, Zoom is a show about all sorts of perspective.
Inspired by iconic children’s book “Harold and The Purple Crayon”, Zoom channels the same philosophy; a child who makes sense of their world through art. The show is driven by the power of ‘child logic’, combined with the magic of science.
Created by Geoff Cobham, Dave Brown, Roz Hervey Composer Jason Sweeney Designer Michelle Delaney Technical Designer Chris Petridis Technical Intern Alexander Hatchard (Carclew Fellowship) Performers Tameka Lawlor, Angus Leighton Creative Devisers Emma Beech, Astrid Pill, Stephen Sheehan, Ingrid Voorendt, Edith Voorendt Visual Artwork Thom Buchannan
19 2018 Other Activities
Teacher attendance and professional development
Can You Hear Colour? Teacher Insight Evening, (21 attendees)
Cranky Bear Teacher preview with new Artistic Director (61 attendees)
Summary of Access, Panel Discussions, Workshops, Masterclasses
Total Workshops: 17 with 505 attendance
Access: 4 audio described performances 4 Auslan performances 1 relaxed performance
Patch Satellite Schools Bathurst: Raglan Primary, West Bathurst Primary, St Philomena’s Primary in association with Bathurst Memorial Entertainment Centre
Whyalla: Neta Krantz Kindergarten, Memorial Oval, Nicolson Avenue, Long Street Primary
Kalamazoo: St Augustine
The Juilliard School, New York Negotiations are underway for Me & My Shadow to be included in The Juilliard School’s Global K-12 Curriculum Resources, which will be used in classrooms around the world.
National Presenter Consortium Meeting 12 participants
20 Performance Statistics 2018
Name of No of No of Venue Type of Season No of Perfs Attendance Attendance Production Schools/ Workshops
Can You Festival, Adelaide Hear Colour Adelaide Festival Centre Season 10 1,937 18 1 160
Yo Diddle 23 Venues (including Sydney Diddle Opera House) National Tour 63 12,892 14 415
Adelaide Schools 8 venues Arts Theatre, Outer Season, SA Cranky Bear Metro & SA Regional Venues Regional Tour 36 15,850 238 2 60
School Holiday Copresentation with Adelaide Adelaide Holiday Cranky Bear Festival Centre Season 10 5,209
A.S.K: National Center performing Arts, Beijing; Changsha Concert Hall, Me and My Shadow Changsha China 13 4,220 1 30
Total 35 venues 132 40,108 256 17 635
Non-core staff - Employment Statistics - 2018
Role Equivalent No of Full Weeks of Employment Financial Value
Performers 110 $155,053
Production, Technical & Stage Management 89 $123,963
Creative Personnel - Fees and Royalties 42 $58,939
Total 241 $337,956
21 Independent Audit Report
AUDITOR’S INDEPENDENCE DECLARATION UNDER SECTION 60-40 OF THE AUSTRALIAN CHARITIES AND NOT FOR PROFITS COMMISSION ACT 2012 TO THE DIRECTORS OF THE BOARD OF MANAGEMENT OF PATCH THEATRE COMPANY INCORPORATED
I declare that, to the best of my knowledge and belief during the year ended 31 December 2018 there have been:
• no contraventions of the auditor independence requirements as set out in the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and
• no contraventions of any applicable code of professional conduct in relation to the audit.
William Buck Grant Martinella ABN 38 280 203 274 Partner
22 Independent Audit Report
Patch Theatre Company Incorporated Independent auditor’s report to members Report on the Audit of the Financial Statements
Opinion We have audited the financial report of Patch Theatre Company Incorporated (the Association), which comprises the statement of financial position as at 31 December 2018, the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies, and a report by the Board of Management.
In our opinion the financial report of Patch Theatre Company Incorporated has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including:
a) giving a true and fair view of the Association’s financial position as at 31 December 2018 and of its financial performance for the year then ended; and b) complying with Australian Accounting Standards to the extent described in Note 1, and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.
Basis for Opinion We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of our report. We are independent of the Association in accordance with the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
Emphasis of Matter – Basis of Accounting We draw attention to Note 1 to the financial report, which describes the basis of accounting. The financial report has been prepared for the purpose of fulfilling the Association’s financial reporting responsibilities under the ACNC Act. As a result, the financial report may not be suitable for another purpose. Our opinion is not modified in respect of this matter.
23 Independent Audit Report
Responsibilities of Management and Those Charged with Governance for the Financial Report The management of the Association are responsible for the preparation of the financial report that gives a true and fair view and have determined that the basis of preparation described in Note 1 to the financial report is appropriate to meet the requirements of the ACNC Act and the needs of the members. Management’s responsibility also includes such internal control as management determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error. In preparing the financial report, management are responsible for assessing the Association’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless management either intend to liquidate the Association or to cease operations, or has no realistic alternative but to do so.
Management are responsible for overseeing the Association’s financial reporting process.
Auditor’s Responsibilities for the Audit of the Financial Statements Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with the Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of this financial report.
A further description of our responsibilities for the audit of these financial statements is located at the Auditing and Assurance Standards Board website at:
https://www.auasb.gov.au/auditors_responsibilities/ar4.pdf
This description forms part of our independent auditor’s report.
William Buck Grant Martinella ABN 38 280 203 274 Partner
24 Report by the Board of Management
During the financial year, no officer of the Association, or any firm of which an officer is a member, or any corporate in which an officer has a substantial interest, has received or become entitled to receive a benefit as a result of a contract between an officer, firm or corporation and the Association.
During the financial year, no officer of the Association has received directly or indirectly from the Association any payment or other benefit of a pecuniary value, other than in the case of officers employed by the Association, approved remuneration which has been determined in accordance with general market conditions. In the case of directors, payments are as disclosed separately in note 13 to the financial statements.
Dated at Adelaide this 2nd day of April, 2019.
Signed in accordance with a resolution of the Board.
Janet Worth Ben Opie Chair Treasurer
Statement by the Board of Management
The Board has determined that the Association is not a reporting entity and this special purpose financial report has been prepared in accordance with the accounting policies outlined in Note 1 to the financial statements.
In the opinion of the Board, the financial report as set out on pages 23 to 32 (a) presents fairly the results and cash flows of the Association as at 31 December, 2018 and the state of the affairs of the Association as at that date; and (b) as at the date of this statement, there are reasonable grounds to believe that the Association will be able to pay its debts as and when they fall due.
Signed in accordance with a resolution of the Board
Janet Worth Ben Opie Chair Treasurer
25 Statement of Profit or Loss and Other Comprehensive Income For the year ended 31 December 2018
2018 2017
Note $ $
Performance Fees 560,652 408,877
Grant Revenue 2(a) 956,278 889,914
Theatre Income - 66,326
Royalties Received 19,111 5,822
Transport Cost Recouped 64,393 57,986
Donations Received 4,146 18,447
Interest 4,009 4,971
Membership Subscriptions 210 300
Sundry Income 500 11,010
Cleaning - 2,800
Administration Services - 33,002
Total revenue 1,609,299 1,499,455
Administration 2(b) 579,786 638,921
Depreciation 11,869 13,390
Amortisation 4,208 4,208
Theatre Costs - 93,933
2018 New Work - Can You Hear Colour - 50,845
2019 New Work - Zoom 17,234
Emily Loves to Bounce - National Tour - 355,144
International Market Development 5 ,075 14,573
Can You Hear Colour - Adelaide Festival 110,471 -
Cranky Bear - Arts Centre 90,301 -
Cranky Bear - Dunstan Playhouse 76,086 -
Cranky Bear - Outer Metro 62,687 -
Cranky Bear - Regional 38,534 -
Me & My Shadow - China Tour 2018 61,445 -
The Moon’s A Balloon - US tour - 158,966
Yo Diddle Diddle - National Tour 527,670
Yo Diddle Diddle - Odeon Season - 161,344
Yo Diddle Diddle - Outer Metro - 60,603
Yo Diddle Diddle - Outer Metro - 41,693
Associate Director Residency Program - 10,112
Miscellaneous Projects 2 ,217 -
Total expenditure 1,587,583 1,593,620
Net surplus / (deficit) for the year 21,716 (94,165)
Other comprehensive income - -
Total comprehensive income for the year 21,716 (94,165) 26 Statement of Financial Position As at 31 December 2018
2018 2017
Note $ $
Current Assets
Cash and cash equivalents 11 944,706 1,152,291
Trade and other receivables 4 41,890 41,378
Total Current Assets 986,596 1,193,669
Non-Current Assets
Property and equipment 5 28,468 33,720
Intangible Assets 6 12,624 16,832
Total Non-Current Assets 41,092 50,552
Total Assets 1,027,688 1,244,221
Current Liabilities
Trade and other payables 7 68,278 305,560
Grant income deferred 8 590,129 542,036
Provisions 9 6,487 40,682
Total Current Liabilities 664,894 888,278
Non-Current Liabilities
Provisions 9 889 15,754
Total Non-Current Liabilities 889 15,754
Total Liabilities 665,783 904,032
Net Assets 361,905 340,189
Members’ Funds
Opening Balance 10 340,189 434,354
Surplus for the year 10 21,716 (94,165)
Total Members’ Funds 361,905 340,189
27 Statement of Cash Flows For the year ended 31 December 2018
2018 2017
Note $ $
Cash flows from operating activities
Receipts from Grants & Sponsorships 1,051,744 1,067,857
Receipts from Activities & Other Income 713,913 665,027
Interest Received 4,009 1,193,669
Payments for Administration (563,709) (621,323)
Payments for Projects & Activities (1,406,925) (1,010,740)
Net cash (used in) operating activities 11(b) (200,968) 105,791
Cash flows from investing activities
Acquisition of equipment (6,617) (2,720)
Net cash (used in) investing activities (6,617) (2,720)
Net decrease in cash (207,585) 103,071
Cash and cash equivalents opening 1,152,291 1,049,220
Cash and cash equivalents closing 11(a) 944,706 1,152,291
Representing :-
Grant income deferred 8 590,129 542,036
Grants refundable - 251,369
Unrestricted purposes 354,577 358,886
944,706 1,152,291
28 Notes to the financial statements For the year ended 31 December 2018
1. Statement of Significant Accounting Policies Patch Theatre Company Inc. (the “Association”) is an Association domiciled in Australia.
a) Statement of Compliance The financial report is a special purpose financial report prepared in order to satisfy the financial reporting requirements of the Australian Charities and Not-for-profits Commission Act 2012.
b) Basis of Preparation In the opinion of the Officers, the Association is a non-reporting entity, because there are unlikely to exist users who are unable to command the preparation of reports tailored so as to satisfy specifically all of their information needs. Accordingly, the financial report is a “Special Purpose Financial Report” that has been prepared solely to meet the requirements of the Board of Management, the Members of the Association, and the Associations Incorporations Act.
The financial report have been prepared under the historical cost convention whereby all assets have been recorded at the lower of their cost or estimated net realisable value.
The financial report is presented in Australian dollars.
Other non-current assets are stated at the lower of carrying value and fair value less estimated costs of disposal. The preparation of financial statements requires management to make judgements, estimates and assumptions that affect the application of accounting policies and the reported amounts of assets, liabilities, income and expenses. Actual results may differ from these estimates. Estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in any future periods affected.
c) Income Tax The Association is exempt from income tax, pursuant to the Income Tax Assessment Act. Accordingly, Australian Accounting Standard AASB 112 “Income Tax” has not been applied and no provision for income tax has been included in the accounts.
d) Revenue recognition
(i) Grants Government Grants and other grants received are recognised as income only to the extent of work completed. In those circumstances the funds attributable to work still to be completed are carried forward as grants income deferred. (ii) Interest revenue Interest revenue is recognised as it accrues on a daily basis.
e) Depreciation and amortisation Depreciation, using the diminishing value method, has been provided for in the accounts on all non-current assets, so as to allocate their cost over their estimated remaining useful life. In assessing recoverable amounts of non-current assets the relevant cash flows have been discounted to their present value.
Amortisation, using the straight line method, has been provided for all intangible assets, so as to allocate their cost over their remaining useful life.
29 Notes to the financial statements For the year ended 31 December 2018
1. Statement of Significant Accounting Policies (Continued)
f) Employee Benefits Provision is made for the Association’s liability for employee benefits arising from services rendered by employees to balance date. Employee entitlements expected to be settled within one year together with entitlements arising from wages, salaries and annual leave which will be settled after one year, have been measured at their nominal amount. Contributions made by the Association to employee superannuation funds are charged as expenses when incurred.
g) Impairment The carrying amounts of the Association’s assets are reviewed at each balance date to determine whether there is any indication of impairment. If any such indication exists, the asset’s recoverable amount is estimated (see below). An impairment loss is recognised whenever the carrying amount of an asset exceeds its recoverable amount. Impairment losses are recognised in the income statement, unless an asset has previously been revalued in which case the impairment loss is recognised as a reversal to the extent of that previous revaluation with any excess recognised through the statement of profit or loss and other comprehensive income.
(i) Calculation of recoverable amount The recoverable amount of assets is the greater of their net selling price and value in use. Value in use is taken to be the depreciated replacement cost of the asset concerned.
(ii) Reversals of impairment An impairment loss is reversed if there has been a change in the estimates used to determine the recoverable amount.
(h) Cash and cash equivalents Cash and cash equivalents comprise cash, bank accounts and short term deposits maturing within 90 days.
(i) Goods and services tax Revenues, expenses and assets are recognised net of the amount of goods and services tax (“GST”). Receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from, or payable to, the Australian Taxation Office (“ATO”) is included as a current asset of current liability in the statement of financial position.
(j) Trade and other payables Trade and other payables are stated at cost.
(k) Receivables Trade and other receivables are stated at cost less impairment losses.
(l) Plant & Equipment Items of plant and equipment are stated at cost less accumulated depreciation and impairment losses (see accounting policy (g)).
(m) Intangible assets Intangible assets include website development costs which are carried at cost less any accumulated amortisation and impairment losses (see accounting policy (g)).
30 Notes to the financial statements For the year ended 31 December 2018
2018 2017
Note $ $
2. Surplus / (Deficit) from Ordinary Activities
(a) Revenues from Operating Activities
Grant Revenues:
Australia Council General Grant 306,000 300,000
Australia Council Project Grant 18,964 -
SAYAB Grant 278,500 298,500
SAYAB Special Grant - -
JD Ramsay Foundation - 50,000
Arts SA Community Grant - 14,000
Arts SA Special Project Grant 5,000 3,000
Carclew Special Grant 25,000 8,000
Carclew Set Storage Grant 8,000
Playing Australia Grant 285,664 216,414
Other Special Grants 29,150 -
Total grant revenue 956,278 889,914
(b) Personnel Expenses included in Expenses
Administration wages & salaries 400,913 406,287
Superannuation contributions 41,261 44,543
Increase in liability for annual leave 29,734 31,109
Increase in liability for long service leave (17,670) 5,843
454,238 487,782
3. Auditor’s Remuneration
Audit Services
Auditors of the Association:
Audit and review of financial reports 2,160 2,160
4. Trade and other receivables
Trade Receivables 25,850 25,424
Other trade receivables and prepayments 16,040 15,954
41,890 41,378
Trade receivables are shown net of impairment losses of $nil (2017: $nil)
31 Notes to the financial statements For the year ended 31 December 2018
5. Property and equipment
Cost Office & Stage Equipment Motor Vehicles Total
Balance at 1 January 2017 233,665 15,389 249,054
Acquisitions 2,720 - 2,720
Disposals - - -
Balance at 31 December 2017 236,385 15,389 251,774
Balance at 1 January 2018 236,385 15,389 251,774
Acquisitions 6,617 - 6,617
Disposals - - -
Balance at 31 December 2018 243,002 15,389 258,391
Depreciation & impairment losses
Balance at 1 January 2017 189,275 15,389 204,664
Depreciation charge for the year 13,390 - 13,390
Balance at 31 December 2017 202,665 15,389 218,054
Balance at 1 January 2018 202,665 15,389 218,054
Depreciation charge for the year 11,869 - 11,869
Balance at 31 December 2018 214,534 15,389 229,923
Carrying Amounts
At 1 January 2017 44,390 - 44,390
At 31 December 2017 33,720 - 33,720
At 1 January 2018 33,720 - 33,720
At 31 December 2018 28,468 - 28,468
32 Notes to the financial statements For the year ended 31 December 2018
2018 2017
Note $ $
6. Intangible Assets
Website Development Costs as at 1 January 2018 16,832 21,040
Additions - -
Amortisation (4,208) (4,208)
Website Development Costs at 31 December 2018 12,624 16,832
7. Trade and other payables
Creditors and Accruals 68,278 54,191
Grants refundable - 251,369
68,278 305,560
8. Grants in Advance
Funding Description
Australia Council and others 590,129 542,036
590,129 542,036
9. Provisions
Current
Liability for Annual Leave 6,487 24,047
Liability for Long Service Leave - 16,635
6,487 40,682
Non-Current
Liability for Long Service Leave 889 15,754
33 Notes to the financial statements For the year ended 31 December 2018
2018 2017
Note $ $
10. Member’s Funds
Member’s Funds at beginning of year 340,189 434,354
Net surplus attributable to members 21,716 (94,165)
Member’s Funds at end of year 361,905 340,189
11. Notes to the Statement of Cash Flows
(a) Cash and cash equivalents
Cash on Hand 3,432 3,263
Cash at Bank 941,274 1,149,028
Cash and cash equivalents in the statement of 944,706 1,152,291
(b) Reconciliation of cash flows from operating
Cash flows from operating activities
Surplus for the period 21,716 (94,165)
Adjustments for:
Depreciation 5 11,869 13,390
Amortisation 6 4,208 4,208
Operating profit before changes in working capital and provisions 37,793 (76,567)
(Increase)/decrease in receivables/other assets (512) 80,412
(Decrease)/increase in creditors & accruals (237,282) 269,000
Increase/(decrease) in grants in advance 48,093 (149,969)
(Decrease) in provisions (49,060) (17,085)
Net Cash from Operating Activities - 105,791
34 Notes to the financial statements For the year ended 31 December 2018
12. Commitments and Contingent Liabilities The Association as at 31 December 2018 had no commitments and contingent liabilities (2017: Nil).
13. Related Party Disclosures The names of each person holding the position of Board member during the financial year are:
Janet Worth (Chairperson) Ben Opie (Treasurer) Amanda Wheeler Peter Campbell Jason Dunstone Karen Bryant Ann-Marie Shinn Chris Drummond
The persons listed above held the position of Board member for the whole of the financial year unless otherwise stated.
Remuneration Nil amounts (2017: nil) were paid to Board members during the year.
Other transactions with the Association There were no other payments made to specified members, or to entities where a specified member holds a position that results in them having control or significant influence over the financial or operating policies of those entities.
14. Events After the Reporting Period The Board is not aware of any significant events since the end of the reporting period.
15. Association Details The registered office and principal place of business of the association is:
Patch Theatre Company Inc. Level 1/154, Angas Street Adelaide SA 5000
35 Patch History of Productions - 1972 to 2018
1. The Tingalary Bird 55.Illusions 2. Thumbelina 56.Monkey See, Monkey Do 3. Everything Under the Sun 57.Melanie And The Night Animal 4. The Silken Scroll 58.Aesop’s Fables 5. Shadrack’s Journey 59.The Secret Garden 6. Benjamin and Brindletum 60.When I Was Young 7. Melt the Was Slowly 61.Clucky & The Vegetable Matter 8. Hands Off The Clock 62.Evensong For Antarctica 9.The Three Billy Goats Gruff 63.Beyond The Labyrinth 10.Who Murdered The English Language 64.The Hobbit 11.And What Did Yer Get For Your Birthday 65.Paula 12.Power Play 66.Birds Of The Moon 13.Australian Born, Australian Bred 67.Once Upon A Ruby Red 14.Everything Under the Sun 68.The Search For Biffy’s Head 15.Mr Rumble’s Jumble 69.Pigs Might Fly 16.Jeremy Jingle 70.The Red King 17.A Splash of Yellow 71.Rak Awin 18.A Secret Hiding Place 72.On the Lake 19.The Great Australian What? 73.Big Hand: Little Hand 20.Mr Cook-a-book’s Sound Recipe 74.The Littlest History Of Theatre In The World 21.Patches 75.Galax-Arena 22.Pig Tales 76.Kookookachoo 23.Come Fly With Me 77.Puppy Love 24.Wake The Night 78.Tjitjiku Inma 25.The Billabong Circus 79.Respectable Shoes 26.Bizzy, Dizzy, Daffy and Arthur 80.Freckle; An Australian Fairy Story 27.The Ballot’s The Things 81.The Boy and the Bamboo Flute 28.Bowser Bill from Barren’ill 82.Radio Brainstorm 29.Son of Romeo 83.Each Beach 30.Getoutovit 84.Granny and the Sea Monster 31.Nothing’s Sacred 85. A Giant Sleeps… 32.Peacemaker 86.Hyperactive 33.Bush Invaders 87.Visible Darkness 34.Treasure Island 88.The Sea of Space 35.Lost In Time 89.Postcards from Nanna 36.Gladys O’Conk And The Silly Robber 90.Who Sank the Boat 37.Dad Is Yuk 91.We Are Home Here – 38.The Soft Harry Show Centenary of Federation Song Cycle 39.1983 92.No Joke! 40.Cinderella Says No 93.Pigs, Bears and Billy Goats Gruff 41.Kasperle And His Friends 94.Sharon, Keep Ya Hair On! 42.If Only We Had A Cat 95.Wormhole! 43.The Happy Prince 96.Mr McGee and the Biting Flea 44.Bound For South Australia 97.Emily Loves To Bounce 45.My Place 98.Special Delivery 46.A.B.C 99.The Fastest Boy in the World 47.Wilfrid Gordon McDonald Partridge 100.The Happiest Show on Earth 48.Set Your Mind On Wishing 101.Me and My Shadow 49.The Ugly Duckling 102.Little Green Tractor 50.You And The Law 103.Theo and the Lion 51.The Man Whose Mother Was A Pirate 104.The Moon’s a Balloon 52.Middleton Market 105.Cranky Bear 53.Tiny Prod And The Silver Wings 106.Yo Diddle Diddle 54.Space Demons 107.Can You Hear Colour?
36 Patch is proudly supported by
Patch Theatre Company Inc. Level 1/154, Angas Street Adelaide SA 5000
www.patchtheatre.org.au [email protected] 38