Belvoir Annual Report 2015

A Contents

This Is Our Company 02 Core Values, Principles and Mission 03 Chair’s Report 04 Artistic Director’s Report 06 Incoming Artistic Director’s Report 08 Executive Director’s Report 10 2015 Season and Tours 12 Co-producer’s Season 25 National & International Touring 27 Education 32 Artistic and Programming 36 Development 38 Donors 40 Board and Staff 42 Financial Statements 47 Key Performance Indicators 48 Directors’ Report 50 Directors’ Meetings 54 Auditor’s Independence Declaration 54 Statement of Profit or Loss and Other Comprehensive Income 55 Statement of Financial Position 56 Statements of Changes in Equity and Cash Flows 57 Notes to the Financial Statements 58 Directors’ Declaration 68 Auditor’s Report 69 Partners, Sponsors and Supporters 70

BMiranda Tapsell & Leah Purcell in Radiance. Photo: Brett Boardman. This Is Our Company OUR Core Values and Principles

One building. • Belief in the primacy of the artistic process Six hundred people. • Clarity and playfulness in storytelling Endless stories. • A sense of community within the theatrical environment

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

Acknowledgement We would like to acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir Street Theatre is built. We would also like to pay respect to the elders past and present.

Colin Friels, Robyn Nevin, Leah Purcell, Hunter Page-Lochard, Emily Milledge, Nakkiah Lui 02 & Barry Otto. Photo: Brett Boardman. Chair’s Report Andrew Cameron AM

2015 was a year of funds for Belvoir’s creative projects and 2015 Sydney Best Actor in a transition for Belvoir. support productions. We are very grateful Awards Theatre Awards Supporting Role Again, this year for this ongoing support and all these in a Mainstage Production Belvoir won six industry Best Mainstage we presented 12 loyal friends who donate generously and Production John Howard (Ivanov) productions in total – advocate tirelessly for Belvoir. awards in 2015 Ivanov Best Actress in a eight in the Upstairs We are also extremely grateful to the Supporting Role theatre and four in the 2015 Helpmann Awards Best Direction of a Balnaves Foundation for their ongoing in a Mainstage Production Downstairs theatre. Best Play Mainstage Production commitment to Belvoir – specifically Blazey Best (Ivanov) In September, our The Glass Menagerie Eamon Flack (Ivanov) in supporting the production of two Artistic Director Ralph Indigenous theatre works each year. In Myers left Belvoir after 2015 Green Room Awards 2015, the Balnaves Foundation supported five seasons. Ralph’s Contemporary the staging of Radiance and Kill the time at Belvoir has been transformative. Performance Text Messenger. The fourth annual Balnaves He has overseen generational change at Oedipus Schmoedipus Foundation Indigenous Playwright’s Award the company. I will mention just a few – (post, Arts House and Belvoir) was awarded to Katie Beckett. The Wild Duck, Neighbourhood Watch, Summer of the Seventeenth Doll, The Dark During the year we made one new Room, As You Like It, Thyestes, Death of a appointment to the Board. After many Salesman, Private Lives, Strange Interlude, years on the Board, Gail Hambly stepped Angels in America, Peter Pan, Hamlet, The down, and I am delighted to say she has Government Inspector, A Christmas Carol, agreed to join our loyal band of Co- The Glass Menagerie, The Dog/The Cat, conspirators. We were thrilled that highly- Ivanov – all wonderful shows that were regarded actor Luke Carroll accepted our staged as part of Ralph’s five seasons at offer to join the Board. I would also like to Belvoir. Ralph has made an enormous thank all the hardworking members of the contribution to Belvoir. We will miss him Belvoir Board for their commitment, skill and we wish him well in his future career. and financial support.

In September, Eamon Flack commenced None of what we have achieved in 2015 as the new Artistic Director of Belvoir. We would have been possible without the are delighted with the enthusiasm, vision outstanding Belvoir team, led by Brenna and excitement that Eamon has brought to Hobson. They have worked tirelessly and the role already. with great skill to deliver an ambitious program, strengthen the company Our financial results for 2015 were internally and broaden Belvoir’s activities disappointing and arose from the nationally and internationally. confluence of a number of factors – the loss of a major corporate sponsor Finally, without the artistic leadership after 14 years, significant investment in provided by Ralph Myers and Eamon capacity building technology, a couple Flack in 2015, together with all the talented of shows not meeting budget and a creatives who have worked at Belvoir during highly competitive market for performing the year, we would not have the many arts dollar in Sydney which affected productions that have sustained, intrigued subscriptions. We are addressing all these and delighted us this year. These shows issues and are approaching 2016 with have played to great acclaim in our beloved caution and financial discipline. Belvoir Street Theatre, on stages around Australia and overseas. On behalf of the Once again, we were delighted to be able Board, I thank and congratulate them. to present productions using funds from The Hive, the Creative Development Fund and the Chair’s Group. These are three of Andrew our valued supporter groups which raise

Katie Beckett & Ralph Myers at the Balnaves Foundation Indigenous Playwright’s Awards night. 04 Photo: Patrick Boland. Artistic Director’s Report Ralph Myers

The task of sitting Each play we produced went from its Theatre is where we enter into a mutual great stories, the great human problems, down and writing this genesis as an idea, as a dream in the mind world of make-believe together. Children to present for our fellow humans the note for the Belvoir of one of our playwrights or directors, are brilliant at this. They instinctively know fundamental condition of being human. Annual Report has, to a living, breathing thing. And then it how to play, how to make a milk carton And five years may feel like a long time (to over these last five went back again to the realm of the mind, and a coat hanger into a spaceship. Or me), but really we are just the most recent years, been something to being just a memory. But now it is a a chair and a gumboot into a horse. We people to hold a flame that goes back to, that I always found collective dream, existing in the minds of old people are much less good at this – at I’m sure, before the invention of language, reasons to avoid. Every the thousands of people who were there playing along. We’re guarded and cynical to when we would play and mimic and year I would shunt to see it. and worried and tired. But by choosing to scare each other around the fire at night to it to the end of my come to the theatre, or to make it, we’re keep out the darkness. As an Artistic Director your job is to have to-do list until finally, electing to at least try to rediscover some faith in people’s dreams. My task was to Theatre really is a living, breathing thing. about a fortnight after of our childhood ability to play along – to provide venture capital to actual dreamers And we are part of something great. deadline, Gabe, our Publications Manager, suspend disbelief. to enable them to make their hallucinations Something so enormous that stretches would give me this particular death-ray, in to the fleeting we all come to What I have tried to do at Belvoir over the back so far into antiquity that we really squinty look and I knew I’d pushed my things Belvoir Street to experience. Shows. last five years is to create a place where don’t know where it began. luck too far and I’d have to sit down at this can happen. A place for theatremakers the keyboard and write. But transforming a dream into a living, People come and go. But the task and audiences of all kinds to come into a breathing, concrete thing a couple of hours continues. It’s easy to forget, but at And the truth is, that once I was actually room and dream, together. long that plays eight times a week is a Belvoir we’re all involved in something writing, it was a task I enormously enjoyed, pretty difficult task. It’s not something that All of us at Belvoir, whether we are actors much bigger. It was a pleasure and an because it provided a rare moment in the you would ever expect, or want, to work or carpenters or ticket-sellers or artistic honour to have been part of it. mayhem of running a theatre company to every time. directors or accountants, are part of actually sit and think. To think about each something very big. A continuous attempt Ralph of the dozen or so shows of that season. But, as the lucky guy who got invited to put on stage, to enact, to play, the To remember the thrill of seeing a brand into those dreams right at the start, new play in front of an audience for the my memories are corrupted by those first time, to recall the triumphs (and the early visions. And by the passion and hiccoughs) of a whole year of full time, the brilliance of the dreamers and the furious theatremaking. hundreds of wonderful artists who actually made those shows. So that’s why some of Now that I’ve left the company (and my favourites are not necessarily the ones been replaced by my mega-talented that broke box office records and played Associate Director Eamon Flack) it feels endless tours around the world. like a particularly daunting task. Sitting here, surveying a whole rolling landscape So I’m using this report as an opportunity of memories, five years and sixty-seven- to fondly recall the moments and shows odd new shows, I don’t know how to I loved, without telling you what they even begin. actually are. I’m like a drunk old guy at the pub who tells you his life was amazing but Usually I would write a little summary of never gets around to telling you anything the bits of the year I really loved. I don’t about it. have space to write a list of the shows I’ve loved, there are too many of them, and I What theatremakers are endlessly searching don’t quite know what the point of that for is chemistry. A click between those of would be anyway. Many of them were us on stage playing, and those of us in the shows that everyone loved. But, in truth, audience watching. The truth is that the my strongest affection looking back is audience is playing as well. Their role is just for some of those shows that went a bit as important to the enterprise as that of the unloved, the ones that didn’t quite work. players on stage. They’re players too. I’ll tell you why.

Benedict Hardie, Ralph Myers & Blazey Best onstage at Ralph’s farewell event. 06 Photo: William Yang. Incoming Artistic Director’s Report Eamon Flack

I appear here in The task ahead for Belvoir is an the cameo role of interesting one, to put it mildly. The Incoming Artistic world is wild and difficult. The arts Director. This is a are at a low ebb when it comes to magnificent theatre policy and funding. Uncertainty is rife. company. It was born But this company seems to thrive on in an act of defiance adversity and so we shall, I hope, cut a and it has remained path. The big themes for the years to defiant. Sometimes come? Opening up our work so that our its defiance is simply stage is as varied and complex as the a refusal to take city we’re in. Continuing to be a home things seriously. for the great old crafts of acting and Other times it’s Quixotic sallying. Other writing. A commitment to the vital idea times it’s hard-nosed critique. At any of outspokenness. And generosity to the rate it has always been a necessary audience, above all. oddity in the cultural landscape, and I certainly intend for it to remain so. Eamon

I began my tenure in September with the launch of the 2017 season – my tenth season at the company, and my first as Artistic Director. I have had the great pleasure to work for both of my predecessors and I owe my working life to Neil and Ralph. My thanks to both. My special thanks to Ralph for his excellent good grace and support during the hand-over. My thanks too to his departing Resident Directors, Anne-Louise Sarks and Adena Jacobs, for their help with putting 2017 together. Thank you to Andrew Cameron, whose commitment to the company is astonishing. To the Artistic and Programming Department and the whole company, thank you – change is never easy. Finally to Brenna Hobson, for living in two regimes at once with such aplomb: thanks.

Robyn Nevin, Keiren Smith & Eamon Flack in rehearsal for Mother Courage and Her Children. 08 Photo: Lisa Tomasetti. Executive Director’s Report Brenna Hobson

2015 marked Belvoir’s work, developed a new production based We were pleased to make modest We didn’t reach the number of subscribers 30th year of being a on Belvoir’s original production with an gains in the area of philanthropy and we aspired to in 2015 although our single producing company English cast and design team. This means I can’t stress enough how important ticket sales were stronger than 2014. 2016, and in many ways that the key artists have a far deeper the support we receive from our loyal then, is set to be a period of rebuilding for the year mirrored the engagement than just touring can provide. donors is. One of the things that this the company from an audience and financial company’s history. The production garnered four and five star support enables us to do is run an perspective. We undertake that task with a There were great reviews and extended its season, indeed it extensive education program. It’s not great deal of enthusiasm and a belief in the highs achieved, bold was so successful that we anticipate being the most visible part of our work but power of storytelling and the work that we risks taken, the odd able to announce another production the impact that we see on the young do at our little theatre in Surry Hills. failure survived, along similar lines in London later in 2016. people who benefit from our workshops, As ever, we owe an enormous debt to and the proud performances and learning materials is 2015 marked Ralph Myer’s final year as the commitment and passion of the continuation of a incredibly important to us, particularly Artistic Director of the company. Much staff, artists, Board members, donors and company that refuses to be complacent as many of the young people we reach has been said about his tenure but it audiences who come together to make or take the easy path. It was a wonderful, would not otherwise be able to access would be remiss of me not to re-state this company what it is. We look forward painful and exhausting ride and if that theatre. I urge anyone with an interest his extraordinary contribution. Ralph to welcoming them all back in 2016. doesn’t describe the arts in Australia then in this area to read Jane May’s report introduced Belvoir to a new generation I don’t know what does. (see page 32) and get in touch to find of artists, he oversaw the creation of new out more. Brenna Belvoir is a company founded on ideals Australian work and radically re-worked that don’t always fit with Australia as we classics, and he proved that while our now experience it and ideals that are more history will always be important to Belvoir, important now than they ever have been. we do not need to be wholly defined by it. To that end we were proud to present 2015 also marked the end of the tenure of two Indigenous-led works in our Upstairs his two Resident Directors, Adena Jacobs theatre in 2015, Kill the Messenger and and Anne-Louise Sarks, after two years Radiance. and eight productions with the company. We look forward to welcoming them back We worked with over 180 artists and as freelance artists. producers and showcased their talents in our home in Surry Hills, as well as on tour 2015 saw the commencement of Eamon in Melbourne, Brisbane, Adelaide and other Flack as Belvoir’s Artistic Director, as I write major and regional Australian cities, and this we have just begun his first season internationally in Paris and London (twice!). for the company. Eamon has been one of Belvoir’s most inspirational directors over the Over the last five years our international past several years and we were thrilled that profile and touring activity has gone his production of The Glass Menagerie won from strength to strength and 2015 saw the Helpmann Award for Best Production a pleasing evolution to that work. In following on from the previous year’s November last year we partnered with the success with Angels in America. Gate Theatre in London to present Medea, first staged in Belvoir’s Downstairs theatre Organisationally, it was an important in 2012. The work features two children year for the company. We have invested in the roles of Medea’s sons with their heavily in technology to ensure that we are mother as a powerful but largely absent managing our relationships with audience presence. The realities of children growing members, donors and other stakeholders up prompted us to embark upon a new to the best of our ability. This has been model with the Gate whereby Anne-Louise a huge undertaking for what is still a Sarks, the director and co-writer of the very lean organisation, but one we are confident will pay off in years to come.

10 The cast of Ivanov. Photo: Brett Broadman. 011 Shari Sebbens, Miranda Tapsell & Leah Purcell. Photo: Brett Boardman. 2015 Season and Tours Radiance 3 January – 8 February Upstairs Theatre

Statistics Performances 39 Total Available Tickets 13,299 Total Audience 9,594 Box Office Income $398,640

Written by Associate Sound Lighting Design Louis Nowra Designer Secondment Steve Toulmin Kelsey Lee Directed by Leah Purcell Fight Director With Scott Witt Leah Purcell Set & Costume Shari Sebbens Designer Cressy Stand-in Miranda Tapsell Dale Ferguson Sharni McDermott

Lighting Designer Stage Manager Damien Cooper Luke McGettigan

Composer & Assistant Stage Manager Sound Designer Keiren Smith Brendan O’Brien

It’s barely January and already To have Purcell, Sebbens and Tapsell in we might have some of the one play is an embarrassment of riches, year’s best theatre in Radiance. and it’s so easy and wonderful to watch The Daily Telegraph them together. 12 Aussie Theatre 13 Nakkiah Lui & Sam O’Sullivan. Photo: Brett Boardman. Nick Coyle. Photo: Lisa Tomasetti. Kill the Messenger Blue Wizard 14 February – 8 March 19 February – 15 March Upstairs Theatre Downstairs Theatre

Statistics Statistics Performances 25 Performances 26 Total Available Tickets 8,525 Total Available Tickets 2,340 Total Audience 5,924 Total Audience 1,630 Box Office Income $198,573 Box Office Income $48,241

Written by Dramaturg Stage Management Written by Composer & Sound Nakkiah Lui Jada Alberts Secondment Nick Coyle Designer Kaytlin Petrarca Steve Toulmin Directed by Photographer Dramaturg Anthea Williams Amanda James Rehearsal Room Observer Adena Jacobs Stage Manager John McCallum Design Consultant Edwina Guinness Set Designer Voice Coach Ralph Myers With With Ralph Myers Alistair Toogood Nick Coyle Matthew Backer Lighting Designer Costume Designer Fight Director Katie Beckett Damien Cooper Mel Page Scott Witt Nakkiah Lui Lighting Designer Stage Manager Sam O’Sullivan Katie Sfetkidis Isabella Kerdijk Lasarus Ratuere

Composer Assistant Stage Manager Presented in association with Sydney Gay and Lesbian Mardi Gras Kelly Ryall Kirsty Walker Originally commissioned and presented by PACT centre for emerging artists

Fierce and often funny … [it] swirls with complex This is a compelling, … a fun, camp but genuinely moving ★★★★ currents of anger, indignation, shame and guilt. taut, provocative piece exploration of current queer experience, Daily Review The Sydney Morning Herald of theatre. tentatively shaping its own place in history. Australian Stage Aussie Theatre 14 15

Hunter Page-Lochard & Katherine Tonkin. Photo: Lisa Tomasetti. Emily Milledge & Luisa Hastings Edge. Photo: Brett Boardman. Elektra/Orestes The Wizard of Oz 14 March – 26 April 2 May – 31 May Upstairs Theatre Upstairs Theatre

Statistics Statistics Performances 48 Performances 33 Total Available Tickets 16,320 Total Available Tickets 11,055 Total Audience 7,736 Total Audience 6,519 Box Office Income $266,198 Box Office Income $235,513

Written by Composer Lighting After Dance Captain Sound Design Jada Alberts & & Sound Designer Secondment L. Frank Baum Luisa Hastings Edge Secondment Anne-Louise Sarks Stefan Gregory Romy McKanna Directed by Stage Manager Katelyn Shaw Director Dramaturg Stage Management Adena Jacobs Sarah Stait Rehearsal Room Anne-Louise Sarks Cristabel Sved Secondment Set Designer Assistant Stage Manager Observer Set Designer Fight Director Jennifer Parsonage Ralph Myers Grace Nye-Butler John McCallum Ralph Myers Scott Witt With Costume Designer Director’s Attachment With Costume Designer Stage Manager Linda Cropper Kate Davis Stephanie Dimitriou Paul Capsis Ursula Mills Luisa Hastings Edge Mel Page Luke McGettigan Lighting Designer Costume Design Hunter Page-Lochard Anca Frankenhaeuser Lighting Designer Assistant Stage Manager Emma Valente Secondment Katherine Tonkin Melita Jurisic Damien Cooper Brittany Jones Tyler Hawkins Ben Winspear Composer Eileen Kramer & Sound Designer Emily Milledge Max Lyandvert Jane Montgomery Griffiths

A taut, narratively riveting, The cast is terrific, all delivering Jacobs has imbued every moment The Wizard of Oz is a compelling one-hour thriller. nuanced performances as these of this production with richness, and clever dark fairytale. magic, and the capacity to trigger Limelight complicated, flawed characters. ArtsHub bucketloads of emotion. The Guardian 16 Daily Review 17 Benjamin Creek & Ashleigh Cummings. Photo: Lisa Tomasetti. Alex Menglet, Paula Arundell, Robyn Nevin & Emele Ugavule. Photo: Heidrun Löhr. Samson Mother Courage and Her Children 7 May – 31 May 6 June – 26 July Downstairs Theatre Upstairs Theatre

Statistics Statistics Performances 42 Performances 56 Total Available Tickets 3,598 Total Available Tickets 19,432 Total Audience 2,287 Total Audience 13,843 Box Office Income $62,884 Box Office Income $582,707

Written by Dramaturg With Written by Lighting Designer Rehearsals Observer Julia-Rose Lewis Anthea Williams Benjamin Creek Bertolt Brecht Benjamin Cisterne Alistair Clark Ashleigh Cummings Directed by Fight Director Translated by Fight Choreographer With Belinda Jombwe Kristine Landon-Smith Scott Witt Michael Gow Scott Witt Paula Arundell Charles Wu Set & Costume Designer Stage Manager Directed by Production Manager Tom Conroy Michael Hili Danielle Ironside Eamon Flack Mark Haslam Lena Cruz Michael McStay Lighting Designer Stage Manager Music Composition Stage Manager Alex Menglet Ben Hughes Secondment Stefan Gregory Isabella Kerdijk Lara Qualtrough Arky Michael Composer Set Designer Assistant Stage Manager Robyn Nevin & Sound Designer Robert Cousins Keiren Smith Anthony Phelan Kim Bowers Costume Designer Richard Pyros Alice Babidge Hazem Shammas Emele Ugavule A co-production with La Boite Theatre Company

Challenging and confronting, Samson The four young actors turn Nevin’s performance is magnificent … not Dull animal endurance is is an extremely impressive first play by in excellent, energetic a moment of this great play is neglected. given eloquence and a robust Julia-Rose Lewis. performances. This is a very fine production. mocking humour in Bertolt ArtsHub Daily Review The Australian Brecht’s classic play. 18 Australian Stage 19 Benedict Hardie & Andrea Demetriades. Photo: Brett Boardman. Anna Volska, Maggie Dence, John Gaden, Peter Carroll & Barry Otto. Photo: Brett Boardman. The Dog/The Cat Seventeen 18 June – 9 August 1 August – 13 September Downstairs Theatre Upstairs Theatre

Statistics Statistics Performances 55 Performances 48 Total Available Tickets 4,840 Total Available Tickets 16,464 Total Audience 4,679 Total Audience 14,348 Box Office Income $161,456 Box Office Income $667,879

Written by Co-Costume Designer Lighting Associate Written by Sound Designer With Brendan Cowell & Mel Page Brittany Jones Matthew Whittet Nate Edmondson Peter Carroll Lally Katz Composer & Stage Manager Directed by Dramaturg Maggie Dence Director Sound Designer Mel Dyer Anne-Louise Sarks Anthea Williams John Gaden Genevieve Lemon Ralph Myers Stefan Gregory With Set Designer Choreographer Barry Otto Set & Costume Associate Composer & Andrea Demetriades Robert Cousins Sara Black Anna Volska Designer Sound Designer Benedict Hardie Costume Designer Movement Director Ralph Myers Riley McCullagh Xavier Samuel Mel Page Scott Witt Lighting Designer Stage Manager Paul Jackson Luke McGettigan Composer Assistant Stage Manager Alan John Vanessa Martin

Watching [this] rom com double bill (with added pets) is like eating a Seventeen is a comedy first and … get on down to Belvoir and revel in a CWA-standard double layer sponge cake. It’s a sweet, light and fluffy guilty foremost, but when youth and show that combines charm and intensity pleasure crafted with great skill and love. old age seem to melt into each and most of life’s deeper truths. Totes Daily Review other it shimmers. recommended. 20 The Sydney Morning Herald Stage Noise 21 Emma Maye Gibson, Ash Flanders & Zindzi Okenyo. Photo: Patrick Boland. Blazey Best, Ewen Leslie & Helen Thomson. Photo: Brett Boardman. La Traviata Ivanov 27 August – 20 September 19 September – 1 November Downstairs Theatre Upstairs Theatre

Statistics Statistics Performances 41 Performances 49 Total Available Tickets 3,444 Total Available Tickets 16,611 Total Audience 1,842 Total Audience 11,684 Box Office Income $57,829 Box Office Income $456,162

Written by Composer & Stage Manager Written by Lighting Designer With Sisters Grimm (Ash Sound Designer Keiren Smith Anton Chekhov Verity Hampson Fayssal Bazzi Flanders & Declan Greene) Steve Toulmin Design Secondment Adapted & Directed by Composer & Sound John Bell with the cast Dramaturg Chris Brain Eamon Flack Designer Blazey Best Airlie Dodds Directed by Anne-Louise Sarks With Set Designer Steve Toulmin Mel Dyer Declan Greene Assistant Director Ash Flanders Michael Hankin Stage Manager John Howard Set & Costume Designer Emma McManus Emma Maye Gibson Amy Harris Costume Designer Ewen Leslie Marg Horwell Michael Lewis Production Manager Mel Page Assistant Stage Manager Zahra Newman Zindzi Okenyo Lighting Designer Eliza Maunsell Associate Costume Mel Dyer Yalin Ozucelik Matthew Marshall Designer Helen Thomson Alicia Clements

A co-production with Sisters Grimm

Hilarious, original, insightful The great pleasure of La Traviata is that It’s brilliantly funny. Eamon Flack’s adaptation of Ivanov and quite brilliant. it is like nothing else that has been on Daily Review is sublime. ArtsHub Sydney stages this year. Arts Hub Aussie Theatre 22 23 Tom Conroy & Colin Friels. Photo: Brett Boardman. Charles Wu & Belinda Jombwe. Photo: Dylan Evans. Mortido CO-PRODUCER SEASON 6 November – 17 December A co-production with La Boite Theatre Company Upstairs Theatre SAMSON Statistics 17 April – 2 May Performances 52 Roundhouse Theatre, Brisbane Total Available Tickets 17,680 Total Audience 10,525 Statistics Box Office Income $446,448 Performances 13 Total Audience 2,539 Written by Dramaturg Assistant Stage Manager Angela Betzien Anthea Williams Sean Proude Written by Dramaturg With Directed by Movement Director With Julia-Rose Lewis Anthea Williams Benjamin Creek Leticia Cáceres Scott Witt Toby Challenor Directed by Fight Director Ashleigh Cummings Tom Conroy Set & Costume Designer Assistant Director Kristine Landon-Smith Scott Witt Belinda Jombwe Robert Cousins Rachel Chant Otis Jai Dhanji Charles Wu Calin Diamond Set & Costume Designer Stage Manager Lighting Designer Dialect Coach Colin Friels Michael Hili Danielle Ironside Geoff Cobham Jennifer White Matt Goldwyn Lighting Designer Stage Manager Composer Stage Manager Louisa Mignone Ben Hughes Secondment THE SWEATS Luke McGettigan Renato Musolino Composer Lara Qualtrough David Valencia Sound Designer & Sound Designer Nate Edmondson Kim Bowers A co-commission with Playwriting Australia A co-production with State Theatre Company of South Australia

A potent, edgy and electrifying Mortido presents us with a world in which This is a wonderful, hugely Grief, guilt, loyalty and loss of faith theatrical experience. nightmare, fantasy and reality form an enjoyable new Australian play are just some of the emotions and Australian Stage engulfing swirl. which deserves a wide audience. themes explored. The Sydney Morning Herald The Daily Telegraph The Sydney Morning Herald 24 25 Otis Jai Dhanji & Colin Friels. Photo: Brett Boardman. Imat Akelo-Opie, Nancy Denis & Effie Nkrumah. Photo: Amanda James.

CO-PRODUCER SEASON National & International Touring A co-production with State Theatre Company of South Australia A co-production with Racing Pulse Productions MORTIDO The Baulkham Hills African Ladies Troupe 16 – 31 October Statistics Dunstan Playhouse, Adelaide Performances 16 Statistics

Performances 17 Written & Directed by Dramaturgs Touring venues Total Audience 5,176 Ros Horin Yana Taylor, Riverside Theatre, Associate Director/ Natalia Savvides Parramatta Movement 18–21 February Written by Sound Designer Stage Manager Technical Programmer Lucia Mastrantone Angela Betzien Nate Edmondson Luke McGettigan Phil Downing The Nottingham Set Designer Original Producer Playhouse, UK Directed by Dramaturg Assistant Stage Manager 3 March Leticia Cáceres Anthea Williams Sean Proude Dan Potra Michelle Kotevski The Southbank Centre, Set & Costume Designer Movement Director With Video Designer Tour Producer Mic Gruchy Pippa Bailey London, UK Robert Cousins Scott Witt Toby Challenor 5–7 March Tom Conroy Songwriter Tour Production Manager Lighting Designer Assistant Director Sydney Opera House Geoff Cobham Rachel Chant Otis Jai Dhanji Aminata Doumbia Tom Warneke Calin Diamond 26–29 March Composer Dialect Coach Associate Designer & Stage Manager Colin Friels Costume Designer THE SWEATS Jennifer White Tanya Leach Matt Goldwyn Emma Kingsbury Assistant Stage Manager A co-production Louisa Mignone Musical Director Gina Bianco with Racing Pulse Renato Musolino Basil Hogios Productions & Riverside A co-commission with Playwriting Australia With Lighting Designer Imat Akelo-Opie in association with Nicholas Rayment Yarrie Bangura STARTTS Aminata Conteh-Biger A gutsy production. Colin Friels displays his Sound Designer & Nancy Denis virtuosity in several roles. additional music The Australian Steve Toulmin Aminata Doumbia The Advertiser Yordanos Haile-Michael Filmmaker Rosemary Kariuki-Fyfe Justine Kerrigan 26 Effie Nkrumah 27 Chris Ryan, Thomas Henning & Ewen Leslie. Photo: Isabella Kerdijk. Magdalena Blackley & Kylie Doomadgee. Photo: Richie Hallal.

International Touring National & International Touring Thyestes A co-production with ILBIJERRI Theatre Beautiful One Day Statistics Statistics Performances 13 Performances 18 Total Audience 1,185 Total Audience 3,051

Co-Written by Dramaturg With Devisors (& Performer = P) Lighting Designer Drum Theatre, Dandenong Thomas Henning, Chris Anne-Louise Sarks Thomas Henning Sean Bacon Frank Mainoo 22 April Ryan, Simon Stone & Mark Production Manager Ewen Leslie Magdalena Blackley (P) Composer & Sound Designer Footscray Community Arts Winter after Seneca Mark Haslam Chris Ryan Kylie Doomadgee (P) Paul Prestipino Centre Paul Dwyer (P) Directed by Touring venues AV Operators 24 & 25 April Stage Manager Eamon Flack Simon Stone Théâtre Nanterre- James Lipari (VIC) Matthew Schubach Rachael Maza (P) Frankston Arts Centre Amandiers, Paris, France Sean Bacon Set & Costume Designer Assistant Stage Manager Jane Phegan (P) 29 April 20 March – 3 April (London, Palm Is, Brisbane) Claude Marcos Isabella Kerdijk Harry Reuben (P) Whitehorse Performing Composer Sound Operator David Williams Sound Operator Arts Centre (Palm Is) & Sound Designer Steve Toulmin Director Paul Prestipino 1 & 2 May Stefan Gregory Eamon Flack Tour/Stage Manager Origins Festival of First

Lighting Designer AV Designer Brock Brocklesby Nations Southbank Govin Ruben Sean Bacon Production/Tour Manager Theatre, London, UK 24 & 25 June Cultural Custodian Natasha James (Palm Is, Brisbane) Bwgcolman Community Originally created by THE HAYLOFT PROJECT Magdalena Blackley Production Manager/ School, Palm Island A Malthouse Theatre commission Dramaturg Technical Manager/Advisor 5 September David Williams Glenn Dulihanty Brisbane Festival Acting/Script Coach/ 23-26 September Simon Stone is certainly exciting and disturbing. He is ruthless in his ways of analysing Rehearsal Director VIC tour Touring venues or dissecting human relationships and amplifying their violence and passions. Kylie Farmer Forge Theatre, Bairnsdale A co-production with (Kaarljilba Kaardn) 15 April Toute La Culture, Paris ILBIJERRI Theatre Set & Costume Designer Her Majesty’s, Ballarat Company & version 1.0 Ruby Langton-Batty 18 April 28 29 Mish Grigor & Zoë Coombs Marr. Photo: Ellis Parrinder. Keir Edkins-O’Brien & Bobby Smalldridge. Photo: Ikin Yum.

National Touring International Touring Oedipus Schmoedipus Gate Theatre, London, presenT Medea

Statistics Statistics Performances 6 Performances 34 Total Audience 759 Total Audience 2,397

Written by Fight Director Touring venues Written by Assistant Designer Touring venue Zoë Coombs Marr Scott Witt Arts House, Melbourne Kate Mulvany & Lizzy Leech Gate Theatre, London, Mish Grigor Production Manager 6–10 May Anne-Louise Sarks Production Manager UK Natalie Rose Eliza Maunsell after Euripides Peter Williams 2–5 December Directed by Stage Manager Original Concept & Stage Manager Zoë Coombs Marr Allison Jeny Directed by Charlotte McBrearty Mish Grigor Anne-Louise Sarks Assistant Stage Manager With Set & Costume Designer Brittany Jones Set & Costume Designer Emma Beattie Robert Cousins Amy Jane Cook Assistant Stage Manager/ Keir Edkins-O’Brien Lighting Designer Volunteer Coordinator Lighting Designer Bili Keogh Matthew Marshall Hannah Rundman Josh Pharo Samuel Menhinick Bobby Smalldridge Composer With Sound Designer & Sound Designer Zoë Coombs Marr Adrienne Quartly James Brown Mish Grigor Assistant Director Dramaturg & a cast of volunteers Bella Loudon Anne-Louise Sarks

It’s a bloody good time. Who Oedipus Schmoedipus finds a ★★★★ ★★★★ knew death could be so funny? voice in all its gory glory. A gentle and beautifully observed study of the Gloriously fresh. ArtsHub The Age children caught in the middle of a tragedy. Financial Times, UK The Stage, UK 30 31 Education

Visiting Belvoir is a valued part of of high schools – government and non- with director Anne-Louise Sarks and It was great to have the students introducing Drama to our students. government, local schools and schools designer Ralph Myers about the process engage with a professional theatre Teacher, Strathfield South High School in regional NSW and the ACT. Of these of bringing Elektra/Orestes to the stage. maker who was so ready to give her students, 1,479 attended through our free Students needed to purchase a ticket to time, understanding and attention. In 2015, Belvoir held 20 school matinees ticket program, designed to make Belvoir’s an evening performance of Elektra/Orestes Teacher, Jamison High School of Upstairs and Downstairs theatre work accessible to schools identified as to attend the forum. 61 tickets were sold to productions. Each school matinee is disadvantaged or geographically remote. this event. followed by a Q&A session with the cast. Participating schools came from Kempsey, Professional development workshops Of our 2015 Season, school bookings Nowra, Forbes, Kurri Kurri and Merriwa and Theatre workshop program for teachers were strongest for Radiance and from Sydney’s western and south-western Belvoir’s workshop program brings In 2015, three professional development Mother Courage and Her Children, while suburbs including Ashcroft, Auburn, students, teachers and industry workshops were held at Belvoir with Seventeen had an extraordinary impact on Bankstown, Blacktown, Cabramatta, professionals together. In 2015, we 33 teachers participating. Held on a younger audiences. Stage Manager Luke Chester Hill, Condell Park, Eagle Vale, delivered 118 workshops and reached 2,187 Saturday, these full-day workshops are McGettigan described students’ reactions Liverpool, Miller, Minto and Mount Druitt. students through our extensive student a great way for Belvoir to meet teachers to the show as ‘some of the best ever … Through the generous support of the workshop program, delivering workshops face-to-face and to learn about how joyously unfiltered and genuine’.Ivanov Crown Resorts Foundation we were able in performance, production, playwriting we can better support their teaching was another big hit with schools, with to extend the reach of this access program and design at Belvoir and to a range of practice. Professional development students responding with both dismay (to in 2015, with an additional 400 free tickets schools throughout Sydney and regional workshops were held around the areas of the predicament of Anna) and delight (at provided for schools in western Sydney. NSW. By offering subsidised workshops costume, set design and group devising, the performances, in particular, of Fayssal Belvoir’s commitment to providing a free hosted both at schools and at Belvoir we with our tutors sharing their professional Bazzi and Blazey Best). In 2015 we were ticket program each year supports schools were able to meet the needs of schools experience and processes with teachers again reminded that Belvoir’s work has as in low socio-economic communities who want to visit a professional theatre and exploring approaches to working much to offer a school audience as it does in providing rich and ongoing learning and rehearsal space, as well as those with students through practical activities. an adult audience. experiences for their students. schools for whom the cost of travel and workshop fees is a barrier to participation. Theatre Enrichment The experience of attending a The play didn’t try to patronise us This program means my students actually Once again, the generous support of performance at Belvoir is extended for and made us feel like adults. This was see theatre. Most families would not pay the Crown Resorts Foundation allowed a large number of students through our without a doubt the best play at for their children to see theatre as they us to increase participation rates in our unique Theatre Enrichment Program – Belvoir I’ve ever seen! have not experienced it themselves. workshop program, with 300 students a fully subsidised program offered to Student, Thomas Reddall High School, Thank you so much for this invaluable from schools in western Sydney students at government high schools after attending Seventeen program for our students. participating in our workshops for the in western and south-western Sydney Teacher, Thomas Reddall High School first time in 2015. This play was one of the most unique and regional NSW. In 2015, 353 students experiences I’ve had in my life. and their teachers participated in this Student, Liverpool Boys High School, after Schools also brought their students to We are ten hours away from Sydney on program. Participating schools included attending Mortido Belvoir evening performances, either public transport. Travelling is both an Kooringal High School in Wagga Wagga, by purchasing subscription packages expensive and time demanding activity. I loved it. For my first play to ever see, Coffs Harbour High School, Corrimal or by booking specific productions. In In-school workshops make this affordable High School in the Illawarra, Condell I’m glad it was Ivanov. 2015, more than 1,972 students and their and possible. Student, Westfield Sports High School, Park High School and Chifley College teachers attended an evening performance Teacher, Macintyre High School Senior Campus in Sydney’s west. Through after attending Ivanov at Belvoir. It helped me to develop skills and I think this program, students were invited to It was an experience I will not forget. 2015 saw a new initiative to encourage I will be able to use these in the future. attend a school matinee performance Student, Granville South High School, after individual high school students to attend It was also inspiring to hear from and be of either Samson or Ivanov. Beforehand, attending Seventeen an evening performance at Belvoir. During taught by someone in the industry. they participated in a 90-minute session our season of Elektra/Orestes, Belvoir Student, Bowral High School at their school, designed to introduce Education hosted an in-depth forum for them, through practical activities, to the In 2015, 4,587 students and their senior drama students planning Individual The fact that this workshop was free of elements of theatre used by a director to teachers attended a school matinee at Projects in Critical Analysis (Director’s charge improved student participation bring a text to life on stage. After seeing Belvoir. Students attending our school Folio and Theatre Criticism), Set Design because money is an issue for my the show, students met a member of the performances came from the full range and Playwriting in the Upstairs theatre. students. cast or creative team who visited their Teacher Alix Stirling hosted a conversation Teacher, Ashcroft High School school for a Q&A session.

32 33 In 2015, playwright Julia-Rose Lewis (Samson) Work experience and actors Fayssal Bazzi, Blazey Best and Yalin Year 10 students have the opportunity Ozucelik (Ivanov) visited schools as part of our to learn more about Belvoir and our Theatre Enrichment program. productions first hand through our work experience program. In 2015, 12 students Straight after this play the students turned completed one week of work experience to me and began listing the theatrical at Belvoir. Students came from schools techniques. Students are always asking in both the Sydney region, as well as the when the next Belvoir play is. Illawarra and the Central West of NSW. Teacher, Condell Park High School 11 students took part in work placement as part of their Vocational Education and The students have asked to go again. Training Entertainment Certificate. These Students loved the pre-show intro to the Year 11 and 12 students spent one week play and asked if I could introduce all of with Belvoir’s Production department, their texts in this way! participating in the bump-in of a Belvoir Teacher, Kooringal High School production. Additional resources Youth Express Students continue to access Belvoir’s Belvoir’s outreach program, Youth Express, history and past productions through ran for the eleventh year in 2015. Working additional resources provided by the with four youth-support organisations company. In 2015, 118 students went on a – Youth Off the Streets’ Key College, backstage tour and 461 students watched Regenesis Youth, The John Berne School an archival recording of one of Belvoir’s and Twenty10 – Belvoir delivered a 16-week productions. program of drama workshops to 29 young In 2015, 1,100 teachers received our people at risk. Under the guidance of Education e-bulletins, and our annual directors James Winter and Gavin Vance, Schools Book was posted to 1,888 teachers young participants devised their own short in NSW as well as 131 teachers interstate. performances based on their experiences and views of the world. Performed in the Belvoir’s Education webpages received Downstairs theatre, the pieces reflected 23,400 page views in 2015, a significant the various groups’ concerns and experiences increase from 13,400 in 2014, highlighting around issues such as bullying, petty crime, the value of this accessible online the role of social media, gender, identity resource for schools and students. and abandonment. The Youth Express Through continuing to support, promote program challenges young people to step and broaden the reach of our Education outside their comfort zone by committing programs, Belvoir was successful in to the process and having the courage achieving our aim of supporting school to stand up in the public forum and tell students in accessing and understanding their story. our work. We are committed to continuing to develop these opportunities Doing the Drama workshops with James in 2016. this year I found that there are enjoyable ways to vent my anger and frustration Jane May and share my views with others. Education Manager Participant, Youth Express

34 School Performance Q&A at Elektra/Orestes. Photo: Patrick Boland. 35 Artistic and Programming DEPARTMENT

Artistic and Programming experienced playwrights. Julia-Rose Lewis’ In the Downstairs theatre, Nick Coyle’s Playwriting Australia, the Australia Council 2015 was an exciting year for programming debut play Samson was a raw and honest solo work Blue Wizard had been originally and major festivals, Belvoir undertook a and artistic development at Belvoir. It look at teenage relationships, while Lally produced at Sydney’s PACT Theatre but commitment to bring this epic new play was a year that saw the delivery of the Katz and Brendan Cowell put modern adult was afforded a reimagining with a number to the stage. With a cast of 14 actors and final season of outgoing Artistic Director relationships under the microscope with of key Belvoir artists including Ralph Myers spanning over 50 years, the play charts the Ralph Myers, engaging a wide range their hilarious and highly-popular double- and Adena Jacobs to present the work in journey of many generations of a Sri Lankan of artists in an incredibly diverse group bill The Dog/The Cat under the direction of association with Sydney Gay and Lesbian family from the independence, unrest and of works, alongside the programming Ralph Myers. Mardi Gras. civil war in their country to finding a new home in Australia. Throughout the year and development of new works for the Classics La Traviata was co-produced with creative a number of readings and developments inaugural season of incoming Artistic team Sisters Grimm, directed by Declan Robyn Nevin took the title role in Eamon took place, culminating in a week-long Director Eamon Flack. Greene and starring Ash Flanders. This Flack’s sprawling production of Brecht’s workshop in December with a full cast collaboration allowed the work of this The Artistic and Programming team for Mother Courage and Her Children with a alongside cultural consultants, musicians the year comprised of Jada Alberts, Luke new translation by Michael Gow and music successful company to reach a new and designers. Cowling, Eamon Flack, Brenna Hobson, by Stefan Gregory, and performed by a audience at Belvoir. Awards Adena Jacobs, Anne-Louise Sarks and multi-talented ensemble cast. Development Anthea Williams. Eamon Flack continued to engage with The NSW Philip Parsons Fellowship for 2015 was an incredibly busy year for the Emerging Playwrights continued in 2015 After two years in the Artistic and classical theatre, creating a new adaptation company in the development of new with a somewhat surprising outcome. For Programming department, Resident Directors of Chekhov’s Ivanov with Ewen Leslie in work from a range of playwrights for the first time the fellowship was awarded to Adena Jacobs and Anne-Louise Sarks the lead and another wonderful ensemble programming in future seasons. two recipients for their development of new completed their terms, in addition to Associate cast reflecting a modern Russia with strong work – S. Shakthidharan and Nakkiah Lui. Artist Jada Alberts also completing her Australian parallels. The production was Throughout the year there were a number Both writers have had ongoing associations contract at the end of the year. awarded Best Play and Best Direction at of development and readings for work in the Sydney Theatre Awards, with John the lead up to programming, including with the company and their sharing of the New Works Howard and Blazey Best awarded Best The Great Fire by Kit Brookman and The award will allow them both to work on new commissions. 2015 continued to be a strong year for Supporting Male and Female Actors. Drover’s Wife by Leah Purcell, which were new writing at Belvoir, with original works both included in the 2016 season. The Balnaves Foundation Indigenous Anne-Louise Sarks and Jada Alberts Playwright’s Award was run for the fourth making up a significant portion of the In collaboration with Adelaide’s Brink created an inventive new adaptation of the time in 2015, attracting applications from season. Nakkiah Lui’s autobiographical Productions and with funding from the Greek myths with Elektra/Orestes, replaying across the country. Rachael Maza and play Kill the Messenger told the story of Australia Council, there were two readings the same tragic action from the point of Wesley Enoch again joined Belvoir’s Eamon her experiences of institutional racism, and a week-long workshop of Atlantis by view of both characters. Flack and Anthea Williams as judges with Seventeen by Matthew Whittet assembled Lally Katz, a continuing narrative from her actor, musician and playwright Ursula a cast of some of our favourite senior artists Leah Purcell directed and starred in a previous plays Stories I Want to Tell You in Yovich joining the panel for the first time. tapping back into their youth for a night of new production of the Australian classic Person and Neighbourhood Watch. teenage mayhem, while Angela Betzien’s Radiance by Louis Nowra. First produced at Writer and actor Katie Beckett was judged Mortido delved beneath the surface of the Belvoir in 1993, Purcell’s new interpretation With the support of the University of the winner of the award, for her vision of a international drug trade. truly claimed the Indigenous heritage of Wollongong, an open reading of Beatrix play tackling difficult subject of the new, and largely unknown, stolen generation. Adena Jacobs took a radical feminist angle this powerful work. Christian’s The Coleridge Papers was held, with a number of their students in In NSW 6,300 Indigenous children are on the magic and mystery of The Wizard of Co-productions attendance. New works by Yael Stone and wards to the state, nearly 10% of the Oz, whilst in the Downstairs theatre, Nick Aboriginal child population. Katie is a writer Coyle delivered an original work of queer In 2015 Belvoir continued to develop Angela Betzien were also given development strong artistic exchanges with both major opportunities throughout the year. with great passion who believes this story theatre in Blue Wizard, an intergalactic gay interstate companies and independent needed to be uncovered. The judges were space adventure which we presented in The most significant new development artists. Mortido was co-produced with convinced by her unique voice and the association with Sydney Gay and Lesbian undertaking for 2015 was with playwright State Theatre South Australia and enjoyed commitment she showed to developing her Mardi Gras. Later in the year Sisters Grimm and Artistic Director of Curious Works, S. a highly successful run in Adelaide, while writing craft. co-produced their take on art and politics Shakthidharan, on his new play A Counting in Brisbane our co-production of Samson through their reinvention of La Traviata. and Cracking of Heads. Under the direction with La Boite Theatre Company brought Luke Cowling of Eamon Flack, and with funding support Downstairs also hosted a number of Julia-Rose Lewis’ debut play back to its city Associate Producer from a number of sources including exciting new plays by both first-time and of origin.

36 37 Development

Belvoir generated $2.093 million in 2015 For the second year, our Co-conspirators support for our family programming, relationship over the coming years. through private sector gifts, sponsorship – together with our Board Development funding the creative development of new All of these positive results are made and grants compared to $2.186 million Sub-Committee – provided high-level work for young people and ticket subsidies possible through the strong relationships in 2014. This 4% softening was due to a guidance across our development for families who would otherwise be unable we develop with individuals; people who $138,000 decline in corporate sponsorship, program and assisted with its execution to attend the theatre. understand the important role Belvoir plays which was partially offset by modest by identifying strategic opportunities on our stages in Surry Hills, across Australia growth in private philanthropy and Trust and providing access to new networks of With Trusts and Foundation grants and around the world. We recognise that & Foundation income. supporters. In 2015 we were delighted to becoming increasingly competitive, managing and building these relationships welcome David Pumphrey and Gail Hambly we were pleased to continue building One of the event highlights of the year is of critical importance, particularly as our to the group and have already benefited these funding relationships in 2015. Our was a celebration we held in October development program increases in reach from their involvement. As private most significant foundation support is hosted at the beautiful home of long- and complexity. With this in mind, 2015 sector income becomes increasingly provided by the Balnaves Foundation, standing supporters, Roslyn and Tony saw us undertake the biggest technology important, the contribution made by this with Neil Balnaves, Hamish Balnaves and Oxley. The event marked the anniversary project in Belvoir’s history. After 18 months small and dedicated group of donors is other Foundation Trustees providing a of Belvoir’s 30th season and honoured of due diligence, Belvoir’s Board took immeasurable. three year commitment of funds towards a dedicated group of individuals who our Indigenous activities, which include the strategic decision to implement a have made extraordinary contributions One of the successful initiatives developed the Balnaves Foundation Indigenous new Customer Relationship Management over the lifetime of the company. Our by Co-conspirator Mark Warburton was the Playwright’s Award and the Indigenous- system called Tessitura. This software inaugural group of Life Members includes establishment of a ‘syndicate’ of Macquarie led work we produce on our stages. will revolutionise the way we use data, Neil Armfield AO, Neil Balnaves AO, Bank employees who came together in 2015 was the fifth year we have enjoyed integrating our ticketing, e-commerce, Andrew Cameron AM, David Gonski AO, 2015 to support the creative development this support and we look forward marketing and development systems Rachel Healy, Louise Herron AM, Sue Hill, of Belvoir’s 2016 production, The Great Fire. to continuing to foster this valuable so we can provide each stakeholder – Geoffrey Rush AC, Orli Wargon OAM and The group raised an impressive $20,000, relationship with the Foundation. not just donors and sponsors, but also Chris Westwood. We thank these faithful which was matched dollar-for-dollar by the subscribers, single ticket buyers, students, We are also grateful for the project supporters for the time, energy and Macquarie Foundation. This philanthropic teachers and others – with the most grants we received from the Gandevia passion they have dedicated to Belvoir model is an effective way of connecting positive and relevant experience every Foundation, the Greatorex Foundation, over three decades. small groups of like-minded donors with time they connect with us. We are grateful the Coca Cola Australia Foundation, the specific projects and we hope to establish to Creative Partnerships Australia, Mark Another notable event in 2015 was our Vincent Fairfax Family Foundation, the similar donor syndicates in the future. Warburton and The Andrew Cameron inaugural Games Night, which successfully Crown Resorts Foundation, and the AMP Family Foundation for their belief in this raised $50,000 through donations, ticket Matching campaigns are an increasingly Foundation that support various parts project as well as their financial support, sales and auction items. Hosted by Belvoir popular mechanism through which to of our extensive education activities which helped to make this exciting Board member and performer, Mitchell generate new philanthropic support, and across NSW (see Education Report on development possible. Butel, the event was attended by 140 guests Belvoir was pleased to embrace this model page 32). Together with a growing group who enjoyed an evening of entertainment, in 2015 through an opportunity with Creative of individual donors, these foundations While Tessitura will help us improve the both on stage and table-side, from some of Partnerships Australia. This new Federal understand the importance of providing way we manage relationships, the system Belvoir’s finest performers. The fundraiser Government initiative has been established young people with access to world-class is only as powerful as the people who drive was a great success and one we hope to assist arts organisations and individual theatre and we simply couldn’t educate it. For that reason we rely on our small, will return as a regular fixture on Belvoir’s artists increase their capacity to generate and inspire as many students as we do hard-working Development team, as well development calendar. private sector support. In 2015 Belvoir without their support. as our dedicated Board Directors and Co- was awarded a $50,000 Plus1 matching conspirators. Our Chair, Andrew Cameron, The bulk of our philanthropic support In 2015 we were also thrilled to establish a grant from Creative Partnerships Australia enthusiastically leads these groups with continues to be facilitated through our new partnership with the Actors College of in a highly-competitive funding round, his generosity and passion for Belvoir. well-established donor programs including Theatre and Television, which enabled the with the release of pre-approved funds Andrew is the finest example of an arts the B Keepers, Creative Development Fund, College to bring their third year students conditional on our ability to successfully philanthropist and we continue to benefit Education, Chair’s Group and, more recently, into our rehearsal space and Downstairs secure $50,000 in ‘new money’. Motivated from his leadership. The Hive. In 2015 we were fortunate to theatre for their graduating performances. by the grant deadline and the compelling receive increased donations from existing This strategic industry partnership gives match opportunity, our Development team supporters while also welcoming new ACTT students the rare opportunity to Nathan Bennett and Board began actively seeking out donors across all of these programs. perform in a working theatre and we Deputy Executive Director and new supporters in late 2015. This targeted look forward to continuing this important Head of Development campaign aims to deliver philanthropic

38 39 Donors We give our heartfelt thanks to all our donors for their loyal and generous support.

CREATIVE DEVELOPMENT FUND THE CHAIR’S GROUP $1,000 – $1,999 EDUCATION DONORS Xanthi Kouvatas Trevor Carroll $10,000+ $3,000+ Anonymous (3) $10,000+ Veronica & Matthew Latham Michael & Andrew Cameron AM Judge Joe Harman Berg Family Foundation** Doc Ross Family Foundation Ruth Layton Colleen Chesterman* & Cathy Cameron** Marion Heathcote & Brian Burfitt** Max Bonnell** Susie & Nick Kelly Jennifer Ledgar & Bob Lim* Lucy Chipkin Sherry-Hogan Foundation* Penny Ward* Dr Catherine Brown-Watt PSM Ian Learmonth & Julia Pincus David Marr Tim & Bryony Cox* Jan Burnswoods* & Sebastian Tesoriero Jane Diamond* Kim Williams AM David & Jennifer Watson** $2,000 – $4,999 & Catherine Dovey Mary Jo & Lloyd Capps** Mary Miltenyi Elizabeth Fairfax $1,000 – $2,999 Elaine Chia Anonymous (2) Polese Family Jono Gavin $5,000 – $9,999 Antoinette Albert** Jane Christensen* Ian Barnett* Angela Raymond Peter Gray & Helen Thwaites Anonymous (1) Jill & Richard Berry Jeanne Eve** Andrew Cameron AM Peter & Janet Shuttleworth* Priscilla Guest* Stephen Allen Jillian Broadbent AO** Lisa Hamilton & Rob White & Cathy Cameron** Nawal Silfani Kim Harding & Irene Miller Anne Britton** Chris Brown Wendy & Andrew Hamlin** Estate of the late Angelo Chris & Bea Sochan* Harrison & Kate Higgs* Hartley Cook* Jan Chapman AO Libby Higgin* Comino Kerry Stubbs Dorothy Hoddinott AO** Louise Herron AM & Clark & Stephen O’Rourke** Michael Hobbs* Ari Droga Drew Tait Iphygenia Kallinikos Butler** Louise Christie** Avril Jeans** Julie Hannaford* Ingrid Villata Robert Kidd Peter & Rosemary Ingle* Wesley Enoch Kevin & Rosemarie Jeffers-Palmer** Judge Joe Harman Richard & Sue Walsh Daniel Knight Helen Lynch AM & Helen Bauer** Kathleen & Danny Gilbert** Corinne & Rob Johnston* Matthew Kidman Andrew Watts Wolf Krueger Frank Macindoe* Sophie Guest* Margaret Johnston Olivia Pascoe** & José Gutierrez* Doc Ross Family Foundation Michael Hobbs* A. le Marchant* $500 – $1,999 GENERAL DONORS Frans Lauenstein Victoria Taylor** Hilary Linstead** Stephanie Lee* Sarah Lawrence 32 Edward St 10,000+ Ross McLean & Fiona Beith* Atul Lele* R S McColl $2,000 – $4,999 Anonymous (7) Anonymous (1) Cajetan Mula (Honorary Member) Professor Elizabeth More AM** Dr David & Barbara Millions Neil Armfield AO** Len & Nita Armfield Andrew Cameron AM Steve Rankine K Nomchong SC Irena Nebenzahl Jill & Richard Berry Art House Gallery & Cathy Cameron** Alex Oonagh Redmond** Jacqueline & Michael Palmer Anthony Nugent* Justin Butterworth & Stephen Victor Baskir Ross Littlewood & Alexandra Michael Rose & Jo D’Antonio* Dr Natalie Pelham* Judy & Geoff Patterson* Asher David Bennett AO Curtin* John Cary Ann Sherry AO* Greeba Pritchard* & Anne Bennett Kathirasen Ponnusamy* Janet & Trefor Clayton* Kim Williams AM** David & Jill Pumphrey AB* $5,000 – $9,999 Leigh Sanderson Michael Coleman* Richard & Heather Rasker* Michael & Colleen Chesterman* Helen Lynch AM & Helen Bauer** Elfriede Sangkuhl Bob & Chris Ernst 2015 B KEEPERS Colleen Roche Tracey Clancy $2,000 – $4,999 Abhijit & Janice Sengupta Richard Evans $5,000+ Lesley & Andrew Rosenberg* Karen Cooper & Simon Tuxen Anonymous (2) Dr Agnes Sinclair Lisa Hamilton & Rob White Robert & Libby Albert** David Round Erin Devery Baiba Berzins* Eileen Slarke & Family* Victoria Holthouse* Ellen Borda* Andrew & Louise Sharpe* Diane Dunlop* Brenna Hobson Andrew Smyth-Kirk David Marr** Constructability Recruitment Jennifer Smith Veronica Espaliat Anita Jacoby* Dr Titia Sprague David Robb Marion Heathcote Chris & Bea Sochan* & Ross Youngman Patricia Novikoff* Paul Stein Jeremy Storer & Annabel Crabb Mike Thompson $500 – $1,999 & Brian Burfitt** John B Fairfax AO Lynne Watkins & Nicolas Harding Sue Thomson* Suzanne & Ross Tzannes AM* Helen Argiris Don & Leslie Parsonage* & Libby Fairfax Paul & Jennifer Winch $500 – $1,999 Jane Uebergang Richard Banks Geoffrey & Patricia Gemmell* $3,000 – $4,999 Anonymous (5) Louise & Steve Verrier Chris Collett Dorothy Hoddinott AO** Anonymous (1) Victor Baskir Chris Vik & Chelsea Albert Joanna Collins THE HIVE Sue Hyde* Bev & Phil Birnbaum** Ian Breden & Josephine Key* Sarah Walters* Linda English $2,500 Peter & Rosemary Ingle* Anne Britton** Angela Browne Louisa Ward & Tim Coen Phillip English Anthony & Elly Baxter David Jonas & Desmon Du Plessis Louise Christie** Dr & Mrs Gil Burton Elizabeth Webby AM Timothy Hale Nathan & Yael Bennett Stewart & Jillian Kellie* Suzanne & Michael Daniel** Brian & Trish Wright Roey Higgs Robyn Godlee & Tony Maxwell Justin Butterworth Michael Hobbs Colleen Kane** & Stephen Asher Stephanie Hutchinson Dan & Emma Chesterman S Khouri & D Cross * 5+ years of giving ** 10+ years of giving *** 15+ years of giving Angus Hutchinson Chantal & Greg Roger** Este Darin-Cooper & Chris Burgess Alec Leopold Peter & Jan Shuttleworth* Joanna Davidson & Julian Leeser Janine Perrett* Jeremy Goff & Belvoir is very grateful to accept donations of all sizes. Donations over $2 are tax deductible. $2,000 – $2,999 Steve Rankine Amelia Morgan-Hunn If you would like to make a donation or would like further information about any of our donor Claire Armstrong & John Sharpe** Penelope Seidler Piers Grove programs, please call our Development Team on 02 9698 3344 or email [email protected] Chris & Bob Ernst** Alenka Tindale Ruth Higgins & Tamson Pietsch Cary & Rob Gillespie Sheryl Weil Emma Hogan & Kim Hogan Peter Graves** Nicola Marcus & SPECIAL THANKS David & Kathryn Groves* Jeremy Goldschmidt We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. CO-CONSPIRATORS David Haertsch** Bruce Meagher & Greg Waters They will always be remembered for their generosity to Belvoir. $10,000+ John Head** G W Outram & F E Holyoake Gail Hambly** Jennifer Ledgar & Bob Lim* These people and foundations supported the redevelopment of Belvoir Street Theatre Olivia Pascoe Anita Jacoby* Louise Mitchell & Peter Pether and purchase of our warehouse. Andrew & Louise Sharpe* David & Jill Pumphrey Dr David Nguyen** Andrew & Cathy Cameron (refurbishment of theatre & warehouse) Simpsons Solicitors Mark Warburton Timothy & Eva Pascoe** Russell Crowe (Downstairs theatre & purchase of warehouse) Michael Sirmai Peter Wilson Merilyn Sleigh The Gonski Foundation & The Nelson Meers Foundation (Gonski Meers foyer) The Sky Foundation Cathy Yuncken & Raoul de Ferranti Andrew & Wendy Hamlin (Brenna’s office) Peter Wilson & James Emmett Judy Thomson* Hal Herron (The Hal Bar) Lynne Watkins Geoffrey Rush (redevelopment of theatre) & Nicholas Harding* Fred Street AM (Upstairs dressing room) 40 41 Board and Staff In the Rehearsal Room

BELVOIR BOARD OF DIRECTORS FINANCE & OPERATIONS Technical Manager Anne Britton Head of Finance & Operations Warren Sutton till 15.05.15 Mitchell Butel Kate Chalker from 26.06.15 Will Jacobs from 04.05.15 Andrew Cameron AM Company Accountant Resident Stage Manager Luke McGettigan Luke Carroll (Appointed: 01.06.15) Komal Rabadiya Tracey Driver Commercial Business Manager Richard Evans Acting Company Accountants Simon Boyd from 02.03.15 Eamon Flack Will Deng from 05.01.15 to 26.07.15 Production Coordinator (Appointed: 09.09.15) Eliza Maunsell Gail Hambly (Resigned: 27.05.15) Jonathan Phillips from 20.07.15 Costume Coordinator Brenna Hobson Accounts Administrator Judy Tanner Ian Learmonth Susan Jack Ralph Myers IT & Operations (Resigned: 09.09.15) FRONT OF HOUSE Jan S. Goldfeder Olivia Pascoe Front of House Manager Peter Wilson Ohmeed Ahi MARKETING (Appointed: 10.02.15) Assistant Front of House Marketing Manager Manager Gemma Frayne till 21.06.15 ARTISTIC & PROGRAMMING Scott Pirlo Amy Goodhew from 05.10.15 Artistic Director Front of House Assistants Digital Content Producer Ralph Myers till 09.09.15 Maia Andrews, Lorena Arancibia, Marty Jamieson till 08.11.15 Eamon Flack from 09.09.15 Chris Cunningham, Luke Executive Director Marketing & Digital Content Dansby-Scott, Kate Dillon, Brenna Hobson Coordinator Georgia Goode, William Hickey, Jacqueline McLeish from 14.12.15 Associate Director – Kelsey Lee, Dale March, Olga Adena Jacobs – The Wizard of Oz. Photo: Brett Boardman. New Projects Publications Manager Markovic, Luke Martin, Xanthe Eamon Flack till 08.09.15 Gabrielle Bonney Paige, Lara Pigott, Whitney Richards, Cecelia Peters, Ryder Publicity & Public Affairs Manager Associate Producer Stevens, Kieran Summers, Elly Michelle Baxter Luke Cowling Venetia Taylor, Emma White Associate Director – Literary DEVELOPMENT Anthea Williams BOX OFFICE Deputy Executive Director Resident Directors Box Office Manager & Head of Development Adena Jacobs till 04.09.15 Tanya Ginori-Cairns Nathan Bennett Anne-Louise Sarks Assistant Box Office Managers Philanthropy Manager Associate Artist Andrew Dillon Liz Tomkinson Jada Alberts till 23.08.15 Laura Henderson Acting Philanthropy Manager Box Office Staff Charlotte Bradley from 14.12.15 EDUCATION Annabel Blake, Jessica Cassar, Education Manager Development Coordinator Laura Frangelli, Emma Furno, Jane May Aimee Timmins Quinn Gibbes, Alana Hicks, Rebecca Hitch, Patrick Magee, Education Coordinator PRODUCTION Maeve O’Donnell Simone Evans Acting Head of Production Subscriptions Manager Acting Education Coordinator Tom Warneke from 05.01.15 till Jason Lee Hannah McBride from 05.10.15 15.02.15 Derrin Brown from 23.03.15 till Subscriptions Staff ADMINISTRATION 28.06.15 Emily Burke, Carla Frank, Jorjia Gillis, Lucinda Gleeson, Rose Artistic Administrator Warren Sutton from 10.08.15 Goldfeder, Julia Gove, Brenda John Woodland Staging & Construction Managers Hartley, Holly McNeilage, Trainee Administration Joel Goodall till 18.02.15 Penelope Parsons–Lord, Coordinator Penny Angrick Rosanna Scarcella, Dana Trijbetz Isaiah Mercado from 27.03.15 to 22.05.15 Assistant Staging & Construction Manager Anthony Blanch from 22.05.15 Brianna Russell from 18.05.15

Actors Kate Box & Peter Carroll – Nakkiah Lui & Sam O’Sullivan – . Nick Coyle & Adena Jacobs – . 42 A Christmas Carol. Photo: KillBrett the Messenger Blue Wizard 43 Photo: Brett Boardman. Photo: Katy Green Loughrey. Boardman. In the Rehearsal Room

Andrea Demetriades, Benedict Hardie & Xavier Samuel – The Dog/The Cat. Photo: Brett Boardman.

Leah Purcell & Miranda Tapsell – Radiance. Renato Musolino & Colin Friels – Mortido. Photo: Mark Rogers. Photo: Brett Boardman.

Emma Maye Gibson – La Traviata. Robyn Nevin – Mother Courage and Her Children. Blazey Best & John Bell – Ivanov. Photo: Brett Boardman. Photo:44 Emma Furno. Photo: Lisa Tomasetti. 45 Financial Statements

46 47 Key Performance Indicators

ARTISTIC VIBRANCY Subscription Season Readings FINANCIAL VIABILITY 2015 2014 2013 Upstairs Downstairs STRENGTH OF RESERVES 2015 2014 2013 2015 2014 2013 2015 2014 2013 Net assets / $813,466 / $1,305,227 / $1,301,741 / PROFILE OF WORKS Annual Turnover $9,612,231 (8.46%) $10,654,692 (12%) $11,132,558 (11.69%) New 6 6 3 4 4 4 13 11 8 Net assets / $813,466 / $1,305,227 / $1,301,741 / Existing 2 3 6 0 0 1 0 0 0 Total Assets $4,743,844 (17.15%) $4,652,663 (28%) $5,186,377 (25.10%)

ORIGIN OF WORK PROFITABILITY Australian – New 5 6 3 4 4 4 13 11 8 Total income minus expenditure -$491,761 $3,486 -$567,872 Australian – Existing 1 0 1 0 0 1 0 0 0 EARNED INCOME GENERATING ABILITY Overseas – Existing 2 3 5 0 0 0 0 0 0 TOTAL PROFILE OF PRODUCTIONS Total earned income / $7,544,459 / $8,577,104 / $9,027,503 / Total income $9,612,231 (78.49%) $10,654,692 (80.5%) $11,132,558 (81.09%) New 8 9 8 4 4 5 n/a n/a n/a Existing 0 0 1 0 0 0 n/a n/a n/a BOX OFFICE Total box office / $4,004,666 / $4,916,966 / $5,723,516 / Total income $9,612,231 (41.66%) $10,654,692 (46.15%) $11,132,558 (51.41%)

PRIVATE SECTOR Total private sector / $2,093,764 / $2,186,354 / $1,922,031 / ACCESS Attendances Number of Performances Total income $9,612,231 (21.78%) $10,654,692 (20.52%) $11,132,558 (17.26%) 2015 2014 2013 2015 2014 2013 OTHER INCOME SELF-PRESENTED Total other income / $1,446,029 / $1,473,784 / $1,381,956 / Belvoir Upstairs 80,173 93,284 108,846 323 364 369 Total income $9,612,231 (15.04%) $10,654,692 (13.83%) $11,132,558 (12.41%) Belvoir Downstairs 10,438 9,326 14,235 134 131 208 GOVERNMENT FUNDING CONTRIBUTION Other Sydney Venues 0 0 7,800 6 0 12 Govt. funding / $2,067,772 / $2,077,588 / $2,105,055 / Total income $9,612,231 (21.51%) $10,654,692 (19.50%) $11,132,558 (18.91%) SOLD TO EXTERNAL PRESENTERS Regional 668 10,006 2,657 8 58 17 Interstate 10,257 34,442 16,749 39 101 109 International 4,182 8,160 3,226 59 22 22

OTHER Free Concert Attendances 2,706 2,221 2,366 8 8 9 Educational Performances 4,587 5,569 5,340 20 25 25 Educational Workshops 2,976 2,550 3,343 203 176 132 Education – Other 1,084 1,033 854 94 106 81

48 49 Directors’ Report

The Directors of Company B Limited (trading Bridge, The Laramie Project, Snugglepot and a chartered accountant. She is an audit partner and Angels in America both won Best Play at the as, and hereafter referred to as, “Belvoir” or Cuddlepie, Strange Interlude, Angels in America with KPMG. Tracey has spent time working in Helpmann Awards. Coming up in 2016 Eamon “the Company”) submit herewith the annual and The Government Inspector. Writing credits the UK and US and has experience dealing with will be directing Twelfth Night at Belvoir. financial report for the financial year ended include And Now For the Weather, Killing Time a wide range of global businesses. 31 December 2015. and Meow Meow’s Little Match Girl (co-writer). Gail Hambly Mitchell has also been a Special Projects Officer Richard Evans Deputy Chair, Member: Finance sub-committee Directors for the NSW Office of the Board of Studies and Member: Development sub-committee The names and details of the Company’s Gail is Group General Counsel and Company has taught at ATYP, NIDA and the Australian Richard is an experienced practitioner in Secretary of Fairfax Media and is responsible Directors in office during the financial year Institute of Music (AIM). He has been a proud and until the date of this report are as follows. arts, culture, events and place making and for the provision of legal, corporate governance member of Actors Equity since 1988, a member is Principal of the firm REA Consulting. An communications and internal audit services to Directors were in office for this entire period, of the National Performers Committee since unless otherwise stated. experienced producer, chief executive, and the Fairfax Group. Gail is Chairman of Copyco 2007 and was Federal Vice President of the public servant, Richard has previously held Pty Limited, a Director of Trade Me Group Anne Britton Media, Entertainment and Arts Alliance from roles as Executive Director of Bell Shakespeare, Limited, a member of the Advisory Board of Mitchell Butel 2010–2013. He is also on the Advisory Panel the Australian Ballet and CEO of Sydney Opera the Centre of Media and Communications Andrew Cameron AM for the Australia Council-funded New Musicals House. In his role at the Opera House, Richard Law at Melbourne University, a member of the Luke Carroll (Appointed: 1 June 2015) Australia. oversaw 2,500 events annually, established Media and Communications and Privacy Law Tracey Driver Andrew Cameron AM a number of new festivals and activations, Committees of the Law Council of Australia Richard Evans (Resigned: 31 December 2015) significantly developing the public domain and a Director of the Sydney Story Factory – Chair, Member: Finance, Development & Eamon Flack (Appointed: 9 September 2015) and overseeing a period of unprecedented a not-for-profit organisation which provides Planning sub-committees Gail Hambly (Resigned: 27 May 2015) economic and visitation growth. Richard is education services with a special focus on Brenna Hobson A Director of Belvoir St Theatre Board since currently Interim Managing Director of the disadvantaged children in Sydney. Ian Learmonth 9 August 2001, Andrew joined the Belvoir Melbourne Symphony Orchestra, incoming Ralph Myers (Resigned: 9 September 2015) Board in October 2007. He was elected Chair Managing Director of the Australian Chamber Brenna Hobson Olivia Pascoe of Belvoir in June 2011. Andrew is currently Orchestra, Chair of the Confederations of Executive Director & Company Secretary Peter Wilson (Appointed: 10 February 2015) the Chair of Trustees at Art Gallery of NSW Australian International Arts Festivals and is Member: Finance, HR, Development, Artistic & Foundation, and a Board member of Australian working on cultural infrastructure planning and Planning sub-committees Information on Directors Major Performing Arts Group, the Sherman development projects around the region. Brenna joined Belvoir as General Manager in Foundation and the Andrew Cameron Family Anne Britton February 2008 and is now Executive Director. Foundation. He is also the Chairman and Member: HR sub-committee Eamon Flack She has a Masters of Management (Arts) Managing Director of a number of privately Anne re-joined the Belvoir Board in 2010 Incoming Artistic Director: Artistic from University of Technology Sydney and owned companies with interests in industrial having served on the Board for close to a sub-committee sits on the Seymour Centre Artistic Advisory services and investment. He was made a decade. Currently a Principal Member of the Eamon is Belvoir’s Artistic Director. He was Committee. Previous to this she was the member of the Order of Australia in the 2014 NSW Civil and Administrative Tribunal, Anne born in Singapore and grew up in Singapore, General Manager of Jigsaw Theatre Company Honours List for significant services to the has held senior roles in Commonwealth and Darwin, Brisbane and Cootamundra. He trained in Canberra where she was also a Board visual and performing arts. state tribunals for the past 16 years. Previously as an actor at WAAPA from 2001 to 2003 and Member of the ACT Council of Cultural and Anne was the national secretary of Actors has since worked as a director, actor, writer Community Organisations, part of the steering Luke Carroll Equity of Australia and, on its merger with and dramaturg all over the country, from committee of Canberra Living Artists Week Member: Artistic sub-committee the Australian Journalist Association in the Milikapiti on the Tiwi Islands to Melbourne and and the ACT representative of Critical Stages. 1990s, the joint national secretary of the Media Luke joined the Board in June 2015. He is a Perth. For Belvoir, Eamon has directed Ivanov, Her credits as an independent producer include Entertainment and Arts Alliance. proud member of the Wiradjuri nation and Angels in America Parts One and Two, The Now that Communism is Dead My Life Feels was born and grew up on Gadigal land in the Glass Menagerie, The Blind Giant is Dancing, Empty (Melbourne International Arts Festival/B Mitchell Butel inner suburbs of Sydney. Luke has appeared Babyteeth, As You Like It, Mother Courage Sharp), The Suitors (Old Fitzroy Theatre) and Member: Artistic sub-committee in The Cake Man, Capricornia, A Midsummer and Her Children, Once in Royal David’s City Vital Organs (B Sharp). She has also been Night’s Dream and Conversations with the Dead Mitchell joined the Belvoir Board in May 2013. As and The End. He co-adapted Ruby Langford Production Manager of Bangarra Dance Theatre at Belvoir, and has extensive credits across an actor, singer and writer, Mitchell has worked Ginibi’s memoir Don’t Take Your Love to Town and spent 11 years in Belvoir’s production theatre, film and TV. In 2013 Luke won the for most state theatre and commercial theatre with Leah Purcell, and co-devised Beautiful One department. Brenna was appointed an Opera Deadly Award for Male Actor of the Year for his companies and most Australian television Day with artists from ILBIJERRI, version 1.0 and House Trustee in January 2014 as a member of performance in Redfern Now. He is currently a networks for the last 20 years. He holds three Palm Island. His dramaturgy credits for Belvoir the Audit and Risk and People’s Committees. presenter on Play School. Helpmann Awards for leading actor for The include Neighbourhood Watch, The Wild Duck, Brothers Wreck and The Book of Everything. Ian Learmonth Venetian Twins, Avenue Q and The Mikado, Tracey Driver Green Room Awards for and and His adaptations include Chekhov’s Ivanov, Gorky’s Member: Development sub-committee Hair Piaf Member: Finance sub-committee multiple other nominations for Helpmann, Green Summerfolk and Sophocles’ Antigone. Ivanov Ian joined the Belvoir Board in late 2011 and Room, AFI and Sydney Theatre Awards. His work Tracey joined the Board at Belvoir in December won four 2015 Sydney Theatre Awards, including is also member of the Development sub- at Belvoir includes Dead Heart, A View from the 2011 and is a member of the Finance sub- Best Mainstage Production and Best Direction. committee. Ian was formerly an Executive committee. Tracey has 20 years’ experience as Eamon’s productions of The Glass Menagerie 50 51 Director of Macquarie Bank for over 12 years nurturing new Australian talent. Olivia is an Specific goals for the Company to reach Artists and has worked in London, Sydney and Hong independent Strategy Consultant & Executive these objectives are: • Provide opportunities for artists to develop Kong in various fields of investment banking. Coach who works with exec teams and boards Artistic work: To produce thought provoking, their skills, enjoy increased employment After leaving Macquarie in 2011, Ian is now the on integrated strategy/change/leadership, inspiring, outstanding theatrical works opportunities with Belvoir and enjoy Executive Director of Impact Investing at Social across industries. For the 15 years prior to from a shared vision that question and improved career prospects Ventures Australia, a not-for-profit organisation this, she worked for multinational corporates affirm our culture, and provide audiences • Continue to seek new ways to increase established in 2002 that addresses social and consulting firms in Asia, Europe and the with experiences of imaginative daring and creative development opportunities disadvantage in Australia. Ian is also on the Americas. She was previously a member of emotional depth • Fully produce work in the Downstairs theatre Board for Australian Affordable Housing the Contempo Committee of the Art Gallery • Pay artists a fair and living wage Securities and e-waste recycler PGM Refiners. of NSW and also contributes to the health, Artists: Support and extend our current and future artists and play a leading role in education and international development of Management Ralph Myers not–for profit sectors. supporting the wider theatrical community • Build to and subsequently maintain Outgoing Artistic Director Audience: Consolidate and expand our reserves at 20% of annual turnover Executive Director Member: Artistic sub- Peter Wilson audiences, target markets and brand • Maintain a professional management committee Member: Development sub-committee Development: Increase commercial and culture supported by efficient management Graduating from NIDA in 2000, Ralph is a set Peter joined the Board on 10 February 2015. philanthropic income while retaining the procedures and infrastructure designer whose work has toured internationally He is a Managing Director of Greenhill & Co, character and values of Belvoir • Maintain a strong Board governance policy and won many awards. For Belvoir he has Inc., a global independent corporate advisory Management: Consolidate Belvoir’s position • Work proactively to anticipate and respond directed Peter Pan, directed and designed firm, and was previously a lawyer. He is Chair as a world renowned, financially stable arts to external change Private Lives and The Dog/The Cat, and of Playwriting Australia and a member of the organisation via the establishment of sound • Establish Belvoir as a world renowned designed Elektra/Orestes, Kill the Messenger, Finance Council of the Institute of the Sisters management and governance practices that theatre company Is This Thing On?, The Government Inspector, of Mercy in Australia and Papua New Guinea. maximise the return on available resources Coranderrk, Hamlet, Stories I Want to Tell You He has previously served as Chair of the Inner There was no significant change in the nature in Person, Death of a Salesman, Summer of City Legal Centre, as a Director of Belvoir Street Dividends of these activities during or since the end of the Seventeenth Doll, The Seagull, The Wild Theatre Limited, as a member of the Finance The provisions of the Memorandum and the financial year. Duck, Measure for Measure, Toy Symphony, Council of the Sisters of the Good Samaritan Articles of Association of the Company prohibit Parramatta Girls, Ray’s Tempest, The Spook, and as a Trustee of the English Association. the payment of a dividend. Accordingly, no Operating and Financial Review The Fever, Conversations with the Dead and dividend has been paid or declared during or The operations of the Company during The Cosmonaut’s Last Message to the Woman Mission Statement since the end of the financial year or since the the financial year were the operations of He Once Loved in the Former Soviet Union. To produce theatrical works from a shared Company’s incorporation. a live theatre, production of live theatrical Ralph’s other credits include The City, vision that question and affirm our culture, performances and hire of the theatre to A Streetcar Named Desire, Blackbird, extend and develop our artists and provide Members external hirers. A Midsummer Night’s Dream, A Kind audiences with experiences of imaginative There were 46 members of the Company as of Alaska/Reunion, The Lost Echo, Mother daring and emotional depth. at 31 December 2015 (2014: 43). The net operating loss, before interest and Courage and Her Children, Boy Gets Girl, This depreciation of the Company for the year Core values and principles: Little Piggy, Far Away, Morph, Endgame, The Principal Activities ended 31 December 2015, was $439,672 7 Stages of Grieving and Frankenstein, which • Belief in the primacy of the artistic process The principal activity of the Company during (2014: profit of $15,673). • Clarity and playfulness in storytelling the financial year was the operation of a live he also directed (Sydney Theatre Company); The Company has a target of achieving and theatre and the production of live theatrical Enlightenment, Cruel and Tender, Dinner, • A sense of community within the maintaining reserves of 20% of annual turnover. Frozen (Melbourne Theatre Company); theatrical environment performances within the home venue, Belvoir St Theatre, and on tour both nationally and Othello (Bell Shakespeare); Wonderlands • A responsiveness to current social and Significant Changes in the State of Affairs internationally. These activities have assisted (Griffin Theatre Company/HotHouse Theatre political issues There have been no significant changes in the Company); Borderlines, Sweet Phoebe (Griffin the Company to achieve its objectives • Equality, ethical standards and shared state of affairs of the Company during the year. Theatre Company); Frame of Mind (Sydney which are measured against the specific key ownership of artistic process and company Dance Company); Eora Crossing (Legs on the performance indicators as below: achievements Significant Events After Reporting Date Wall/Sydney Festival); Black Box (Ballet de • Development of our performers, artists Artistic work There has not been any matter or l’Opera de Lyon); Caligula (English National and staff Produce and present six to eight critically circumstance, other than that referred to in the Opera); , , The Marriage of Figaro Peter Grimes acclaimed new productions per year in the financial statements or notes thereto, that has (Opera Australia); Short-term and Long-term Objectives Così fan tutte La Bohème Upstairs theatre and a suite of work in the arisen since the end of the financial year, that (New Zealand Opera); and Two Faced Bastard Belvoir’s overarching goal for the coming Downstairs theatre based on four strands has significantly affected, or may significantly (Chunky Move). Ralph is on the Board of NIDA. three year period is to build on the success of work: affect, the operations of the Company, the achieved during the tenure of Ralph Myers, a) New Australian work in a variety of forms results of those operations, or the state of Olivia Pascoe the Company’s second Artistic Director, while (text based, musical and physical theatre) affairs of the Company in future financial years. Member: Development sub-committee establishing the new leadership of incoming Olivia joined the Board in September 2012 Artistic Director Eamon Flack. The Company will b) Indigenous work Likely Developments and Expected Results and is also a member of the Development continue to pursue international opportunities c) Innovative interpretations of the classics In the opinion of the Directors there were no and expand its audience base in its home city. sub-committee. This has included the launch d) Support for new artists and an expansion of significant changes in the state of affairs of the of Belvoir’s next frontier of patronage, The our notion of what constitutes theatrical form Company that occurred during the financial Hive, targeted at 30–45 year old theatre lovers year under review not otherwise disclosed in this report or the financial statements. 52 53 Directors’ Meetings Statement of Profit or Loss and Other Comprehensive Income

(1) Board of Directors’ Meetings Nathan recently returned from the US where he During 2015, six meetings of Directors were was Director of Development at Philadelphia’s For the year ended 31 December 2015 Notes 2015 ($) 2014 ($) held. Attendance was as follows: Pig Iron Theatre Company. Prior to moving to the US, Nathan held roles as General Manager at REVENUE FROM OPERATIONS Number eligible Number Griffin Theatre Company and Company Manager at Bell Shakespeare. Directors to attend attended Production income Anne Britton 6 5 Auditor Independence Home venue income 3,632,317 3,908,882 Andrew Cameron AM 6 6 The Directors received an independence Touring and sell off income 372,349 1,008,084 Mitchell Butel 6 5 declaration from the auditor of Company B Limited. A copy has been included below. Total production income 4,004,666 4,916,966 Tracey Driver 6 2 Grants income 4(a) 2,067,772 2,077,588 Richard Evans 6 3 Signed in accordance with a resolution of the Gail Hambly 2 2 Directors. Bar income 350,535 320,546 Brenna Hobson 6 6 Box office income 398,733 428,396 Iain Learmonth 6 6 2,817,040 2,826,530 Ralph Myers 4 4 OTHER REVENUE Olivia Pascoe 6 5 Andrew Cameron AM Sponsorship income 824,548 964,112 Peter Wilson 6 5 Chair Fundraising and donations 1,269,216 1,222,242 Luke Carroll 3 1 Sydney, 21 March 2016 Eamon Flack 5 5 Other income 4(b) 595,866 579,497 Auditor’s Independence Declaration to the Total other revenue 2,689,630 2,765,851 Directors of Company B Limited Total revenue from operations 9,511,336 10,509,347 (2) Finance Committee Meetings In relation to our audit of the financial report The Finance Committee is a sub-committee of Company B Limited for the financial year EXPENSES of the Board. During the financial year, ended 31 December 2015, and in accordance six meetings of Directors were held. with the requirements of Subdivision 60-C of Production (4,804,204) (5,725,669) the Australian Charities and Not-for-profits Attendances were as follows: Marketing and promotions (868,357) (898,160) Commission Act 2012, to the best of my knowledge and belief, there have been no Occupancy (343,610) (352,271) Number eligible Number contraventions of the auditor independence Fundraising (312,978) (325,386) Members to attend attended requirements of the Australian Charities and Andrew Cameron AM 6 6 Not-for-profits Commission Act 2012 or any Administration (3,621,859) (3,192,188) Tracey Driver 6 2 applicable code of professional conduct. Operating (loss)/income for the year (439,672) 15,673 Gail Hambly 2 2 Interest income 100,895 145,345 Brenna Hobson 6 6 Depreciation and amortisation expenses (114,367) (101,359) Finance costs (38,617) (56,173) Ernst & Young Other Information (Loss)/profit before tax (491,761) 3,486 Nathan Bennett Income tax expense Deputy Executive Director (Loss)/profit for the year (491,761) 3,486 Nathan Bennett was appointed Deputy Other comprehensive income Executive Director in 2014. He has held the position of Head of Development at David Simmonds Total comprehensive (loss)/income for the year (491,761) 3,486 Belvoir with oversight of the company’s Partner marketing, audience management, corporate 21 March 2016 The above statement of profit or loss and other comprehensive income should be read in conjunction partnerships and private philanthropy with the accompanying notes. strategies. Having worked for arts companies in Australia and overseas for over 15 years,

54 55 Statement of Financial Position Statement of Changes in Equity

Retained Total As at 31 December 2015 Notes 2015 ($) 2014 ($) For the year ended 31 December 2015 earnings ($) equity ($)

ASSETS At 1 January 2015 1,305,227 1,305,227 Current assets Loss for the year (491,761) (491,761) Cash 5 1,300,698 1,660,569 Other comprehensive income - - Trade and other receivables 6 603,001 283,114 Total comprehensive loss (491,761) (491,761) Inventories 54,760 41,828 At 31 December 2015 813,466 813,466

Prepayments 425,527 367,857 At 1 January 2014 1,301,741 1,301,741 Security deposits 60,846 58,906 Profit for the year 3,486 3,486 Total current assets 2,444,832 2,412,274 Other comprehensive income - - Total comprehensive income 3,486 3,486 Non-current assets At 31 December 2014 1,305,227 1,305,227 Investments 7 1,953,126 1,909,895 Property, plant and equipment 8 343,084 318,463 The above statement of changes in equity should be read in conjunction with the accompanying notes. Intangible assets 9 2,802 12,031 Total non-current assets 2,299,012 2,240,389 Total assets 4,743,844 4,652,663

LIABILITIES AND EQUITY Statement of Cash Flows Current liabilities Trade and other payables 10 661,191 773,164 For the year ended 31 December 2015 Notes 2015 ($) 2014 ($) Provision 11 26,737 14,578 OPERATING ACTIVITIES Employee benefits liabilities 12 286,921 241,163 Receipts from patrons, customers and grant providers 9,591,916 11,787,963 Deferred revenue 13 2,889,945 2,274,769 Payments to suppliers and employees (9,825,780) (11,574,777) Total current liabilities 3,864,794 3,303,674 Net cash from/(used in) operating activities (233,864) 213,186

Non-current liabilities INVESTING ACTIVITIES Employee benefits liabilities 12 65,584 43,762 Purchase of property, plant and equipment 8 (224,962) (301,092) Total non-current liabilities 65,584 43,762 Interest received 100,895 145,345 TOTAL LIABILITIES 3,930,378 3,347,436 Increase in security deposits (1,940) (3,580) Net cash flows (used in)/from investing activities (126,007) (159,327) EQUITY Retained earnings 813,466 1,305,227 FINANCING ACTIVITIES Total equity 813,466 1,305,227 Net cash flows from financing activities (359,871) 53,859 Net increase/(decrease) in cash and cash equivalents 1,660,569 1,606,710 TOTAL EQUITY AND LIABILITIES 4,743,844 4,652,663 Cash and cash equivalents at 1 January 5 1,300,698 1,660,569 The above statement of financial position should be read in conjunction with the accompanying notes. Cash and cash equivalents at 31 December

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

56 57 Notes to the Financial Statements For the year ended 31 December 2015

1. CORPORATE INFORMATION (c) Changes in accounting policy, disclosure, and subsequently measured at cost using the the Company’s CGUs to which the individual The financial report of Belvoir for the year standards and interpretations effective interest method, less an allowance assets are allocated. These budgets and ended 31 December 2015 was authorised for The accounting policies adopted are consistent for impairment. forecast calculations generally cover a period issue in accordance with a resolution of the with those of the previous financial year. Collectability of trade receivables is reviewed of five years. A long-term growth rate is Directors on 21 March 2016. on an ongoing basis. Individual debts that calculated and applied to project future cash (d) Going concern flows after the fifth year. Belvoir is a public not-for-profit Company are known to be uncollectible are written off The financial report has been prepared on limited by guarantee, incorporated and when identified. An impairment provision is Impairment losses, including impairment on a going concern basis, which contemplates operating in Australia. recognised when there is objective evidence inventories, are recognised in the statement of continuity of normal business activities that the Company will not be able to collect profit or loss and other comprehensive income The registered office and principal place of and realisation of assets and settlement of the receivable. as an expense. business of the Company is 18 Belvoir Street, liabilities in the ordinary course of business. Surry Hills, NSW 2010, Australia. (h) Inventories For assets, an assessment is made at each (e) Current versus non-current classification reporting date to determine whether there The nature of the operations and principal Inventories consist of finished goods and are is an indication that previously recognised The Company presents assets and liabilities in activities of the Company are described in the valued at the lower of cost and net realisable impairment losses no longer exist or have the statement of financial position based on Directors’ Report. value. Net realisable value is the estimated decreased. If such indication exists, the current/non-current classification. An asset is selling price in the ordinary course of business, Company estimates the asset’s or CGU’s 2. SUMMARY OF SIGNIFICANT current when it is: less estimated costs of completion and the recoverable amount. A previously recognised ACCOUNTING POLICIES - Expected to be realised or intended to be estimated costs necessary to make the sale. impairment loss is reversed only if there has (a) Basis of preparation sold or consumed in the normal operating (i) Impairment of non-financial assets been a change in the assumptions used to The financial report is a general purpose financial cycle determine the asset’s recoverable amount The Company assesses, at each reporting report, which has been prepared in accordance since the last impairment loss was recognised. - Held primarily for the purpose of trading date, whether there is an indication that with the requirements of the Corporations Act The reversal is limited so that the carrying - Expected to be realised within 12 months an asset may be impaired. If any indication 2001, Australian Accounting Standards and other amount of the asset does not exceed its after the reporting period, or exists, or when annual impairment testing for authoritative pronouncements of the Australian recoverable amount, nor exceed the carrying an asset is required, the Company estimates Accounting Standards Board, and the Australian - Cash or cash equivalent unless restricted amount that would have been determined, the asset’s recoverable amount. An asset’s Charities and Not-for-Profits Commission from being exchanged or used to settle a net of depreciation, had no impairment loss recoverable amount is the higher of an asset’s Regulation 2013. liability for at least 12 months after the been recognised for the asset in prior years. or cash-generating unit’s (CGU) fair value reporting period Such reversal is recognised in the statement of The financial report has been prepared on the less costs of disposal and its value in use. All other assets are classified as non-current. profit or loss and other comprehensive income basis of the historical cost convention. Cost is The recoverable amount is determined for unless the asset is carried at a revalued based on the fair value of the consideration A liability is current when: an individual asset, unless the asset does amount, in which case, the reversal is treated given in exchange for assets. not generate cash inflows that are largely - It is expected to be settled in the normal as a revaluation increase. The financial report is presented in Australian operating cycle independent of those from other assets or dollars unless otherwise stated. groups of assets. When the carrying amount (j) Held to maturity investments - It is held primarily for the purpose of trading of an asset or CGU exceeds its recoverable Non-derivative financial assets with fixed or (b) Statement of compliance - It is due to be settled within 12 months amount, the asset is considered impaired and determinable payments and fixed maturities after the reporting period, or The financial report is a general purpose is written down to its recoverable amount. are classified as held-to-maturity when the financial report, which has been prepared - There is no unconditional right to defer the In assessing value in use, the estimated future Company has the positive intention and in accordance with the requirements of settlement of the liability for at least 12 cash flows are discounted to their present ability to hold them to maturity. After initial the Corporations Act 2001, Australian months after the reporting period value using a pre-tax discount rate that measurement, held-to-maturity investments Accounting Standards – Reduced Disclosure The Company classifies all other liabilities as reflects current market assessments of the are measured at amortised cost using effective Requirements and other authoritative non-current. time value of money and the risks specific to interest rate (EIR), less impairment. Amortised pronouncements of the Australian Accounting the asset. In determining fair value less costs cost is calculated by taking into account any Standards Board. The Company is a not-for- (f) Cash of disposal, recent market transactions are discount or premium on acquisition and fees profit entity which is not publicly accountable. Cash in the statement of financial position taken into account. If no such transactions can or costs that are an integral part of the EIR. Therefore, the financial statements for the comprises cash at bank and on hand. be identified, an appropriate valuation model The EIR amortisation is included as interest Company are tier two general purpose is used. These calculations are corroborated For the purposes of the statement of cash income in the statement of profit or loss and financial statements which have been by valuation multiples, quoted share prices for flows, cash and cash equivalents consist of other comprehensive income. prepared in accordance with Australian publicly traded companies or other available cash as defined above. Accounting Standards – Reduced Disclosure fair value indicators. (k) Held for trading investments Requirements (AASB – RDRs). (g) Trade and other receivables The Company bases its impairment calculation Financial assets held for trading are Trade receivables, which generally have 30-90 on detailed budgets and forecast calculations, designated upon initial recognition at fair day terms, are recognised initially at fair value which are prepared separately for each of value through profit or loss. Financial assets

58 59 are classified as held for trading if they equipment are reviewed at each financial year the expense category that is consistent with a current pre-tax rate that reflects, when are acquired for the purpose of selling or end and adjusted prospectively, if appropriate. the function of the intangible assets. appropriate, the risks specific to the liability. repurchasing in the near term. Financial assets Assets acquired are recorded at the cost of Gains or losses arising from derecognition When discounting is used, the increase in at fair value through profit or loss are carried acquisition, being the purchase consideration of an intangible asset are measured as the the provision due to the passage of time is in the statement of financial position at fair determined as at the date of acquisition plus difference between the net disposal proceeds recognised as a finance cost. value with net changes in fair value presented costs incidental to the acquisition. and the carrying amount of the asset and are Wages and salaries as finance costs (negative net changes in fair recognised in the statement profit or loss and Liabilities for wages and salaries, including value) or finance income (positive net changes In the event that settlement of all or part of the cash consideration given in the acquisition of an other comprehensive income when the asset non-monetary benefits which are expected to in fair value) in the statement of profit or loss is derecognised. be settled within 12 months of the reporting and other comprehensive income. asset is deferred, the fair value of the purchase consideration is determined by discounting the A summary of the policies applied to the date are recognised in respect of employees’ (l) Property, plant and equipment amounts payable in the future to their present Company’s intangible asset is as follows: services up to the reporting date. They are measured at the amounts expected to be paid Construction in progress, plant and equipment value as at the date of acquisition. Ticketing system when the liabilities are settled. are stated at cost, net of accumulated (m) Leases Useful lives Long service leave and annual leave depreciation and accumulated impairment Finite (four years) losses, if any. Such cost includes the cost of The determination of whether an arrangement The Company does not expect its long service replacing part of the plant and equipment and is (or contains) a lease is based on the Amortisation method used leave or annual leave benefits to be settled borrowing costs for long-term construction substance of the arrangement at the inception Amortised on a straight-line basis over the wholly within 12 months of each reporting projects if the recognition criteria are met. of the lease. The arrangement is, or contains, period of the ticketing system date. The Company recognises a liability for Such cost includes the cost of replacing a lease if fulfilment of the arrangement is Internally generated or acquired long service leave and annual leave measured part of the property, plant and equipment. dependent on the use of a specific asset or Acquired as the present value of expected future When significant parts of property, plant assets and the arrangement conveys a right to payments to be made in respect of services use the asset or assets, even if that right is not Impairment testing provided by employees up to the reporting and equipment are required to be replaced When an indication of impairment exists at intervals, the Company depreciates them explicitly specified in an arrangement. date using the projected unit credit method. separately based on their specific useful lives. A lease is classified at the inception date as a (o) Trade and other payables Consideration is given to expected future wage and salary levels, experience of employee Likewise, when a major inspection is performed, finance lease or an operating lease. A lease that Trade and other payables are carried at departures, and periods of service. Expected its cost is recognised in the carrying amount of transfers substantially all the risks and rewards amortised cost and due to their short future payments are discounted using market the plant and equipment as a replacement if the incidental to ownership to the Company is term nature they are not discounted. They yields at the reporting date on national recognition criteria are satisfied. All other repair classified as a finance lease. An operating lease represent liabilities for goods and services government bonds with terms to maturity and and maintenance costs are recognised in profit is a lease other than a finance lease. provided to the Company prior to the end of currencies that match, as closely as possible, or loss as incurred. Operating lease payments are recognised the financial year that are unpaid and arise the estimated future cash outflows. Depreciation is calculated on a straight-line as an operating expense in the statement of when the Company becomes obliged to make basis over the estimated useful lives of the profit or loss and other comprehensive income future payments in respect to the purchase of Refer to Note 3 for the policy and assets as follows: on a straight-line basis over the lease term. these goods and services. assumptions relating to the provision for loss making productions. Plant and equipment – three to seven years (n) Intangibles (p) Provisions and employee benefit liabilities Motor vehicles – five to seven years (q) Revenue recognition The useful lives of intangible assets are Provisions are recognised when the Company Furniture and fittings – five to 10 years assessed to be either finite or indefinite. has a present obligation (legal or constructive) Revenue is recognised to the extent that it Leasehold improvements – over the initial is probable that the economic benefits will Intangible assets with finite lives are amortised as a result of a past event, it is probable term of the lease flow to the Company and the revenue can over the useful economic life and assessed for that an outflow of resources embodying be reliably measured, regardless of when the Assets under construction – not depreciated impairment whenever there is an indication economic benefits will be required to settle the obligation and a reliable estimate can payment is received. Revenue is measured at An item of property, plant and equipment that the intangible asset may be impaired. be made of the amount of the obligation. the fair value of the consideration received or and any significant part initially recognised The amortisation period and the amortisation When the Company expects some or all of a receivable, taking into account contractually is derecognised upon disposal or when no method for an intangible asset with a finite provision to be reimbursed, for example, under defined terms of payment and excluding future economic benefits are expected from useful life are reviewed at least at the end an insurance contract, the reimbursement taxes or duty. The specific recognition criteria its use or disposal. Any gain or loss arising on of each reporting period. Changes in the is recognised as a separate asset, but only described below must also be met before derecognition of the asset (calculated as the expected useful life or the expected pattern when the reimbursement is virtually certain. revenue is recognised. difference between the net disposal proceeds of consumption of future economic benefits The expense relating to a provision is and the carrying amount of the asset) is embodied in the asset are considered to Production income presented in the statement of profit or loss included in the statement of profit or loss and modify the amortisation period or method, Revenue is recognised upon the performance of and other comprehensive income net of any other comprehensive income when the asset as appropriate, and are treated as changes productions to which the ticket revenue relates. reimbursement. is derecognised. in accounting estimates. The amortisation Interest If the effect of the time value of money is The residual values, useful lives and methods expense on intangible assets with finite lives is Interest income is recorded using the effective material, provisions are discounted using of depreciation of property, plant and recognised in the statement of profit or loss in interest rate (EIR). The EIR is the rate that 60 61 exactly discounts the estimated future cash Cash flows are included in the statement these assumptions and estimates could result Provision for loss making productions payments or receipts over the expected life of cash flows on a gross basis and the GST in outcomes that require a material adjustment The Company makes an annual assessment as of the financial instrument or a shorter period, component of cash flows arising from investing to the carrying amount of assets or liabilities to whether prepaid production costs have any where appropriate, to the net carrying amount and financing activities, which is recoverable affected in future periods. future economic value, based on whether the of the financial asset. from, or payable to, the taxation authority is relevant production is expected to generate classified as part of operating cash flows. Estimates and assumptions sufficient proceeds to cover such costs. Sponsorship and Donations revenue The key assumptions concerning the The Company provides for its best estimate of Sponsorship (s) Government grants future and other key sources of estimation Sponsorship commitments are brought any losses which will arise under contractual Government grants are recognised at their uncertainty at the reporting date, that commitments at balance date which are to account as revenue in the year in which fair value where there is reasonable assurance have a significant risk of causing a material sponsorship benefits are bestowed. unavoidable due to either legal or constructive that the grant will be received and all attaching adjustment to the carrying amounts of assets obligations. In order to assess both the Donations conditions will be complied with. Funding and liabilities within the next financial year, recoverability of prepaid production costs and Income arising from the donation of an asset revenue is received from the government for are described below. The Company based its any onerous contract obligations, the Company to the Company is recognised when, and only specific activities. The funding is received assumptions and estimates on parameters makes an assessment of all future planned when, all the following conditions have been based on payment schedules contained in available when the financial statements productions and identifies those productions satisfied: the funding agreement between the funding were prepared. Existing circumstances and which are expected to generate losses. bodies and the Company. The funding is assumptions about future developments, Such losses are first applied to any prepaid a. the Company has obtained control of the recognised in the calendar year for which it is however, may change due to market changes donation or the right to receive the donation: production costs prior to making a further intended under the terms of the agreement or circumstances arising beyond the control of provision for any additional estimated losses as b. it is probable that economic benefits due to the conditional nature of the funding. the Company. Such changes are reflected in an onerous contract provision. compromising the donation will flow to the the assumptions when they occur. Company; and (t) Productions Further details may be found in Note 11. c. the amount of the donation can be The total cost of staging productions, measured reliably. including the manufacturing cost of costumes, scenery sets and properties, is charged to 4. REVENUE AND OTHER INCOME (r) Taxes income and expenditure in the period each (a) Government grants received Unexpended Grant Unexpended The Company is exempt from income tax production is performed. This procedure conforms to standard theatrical accounting Grants Grants Expenditure Grants under Subdivision 50-B of the Income Tax brought Income 2015 (Net carried Assessment Act 1997, as granted by the practice as adopted in Australia and other parts of the world. Costs of production and forward from Received Grant forward to Commissioner of Taxation on 8 June 2000. 2014 ($) 2015 ($) Income) ($) 2016 ($) Consequently the Company has not provided other associated expenditure in respect of for any liability for income tax in these financial performances not yet performed but will Australia Council 65,000 1,257,350 1,069,787 252,563 be in the next 12 months are included in the statements. Arts NSW 977,985 977,985 statement of financial position as part of Goods and services tax (GST) prepaid expenditure. Commonwealth Government 64,800 500 64,300 Revenues, expenses and assets are recognised Local Government – City of Sydney 15,000 15,000 net of the amount of GST except: (u) Advance box office Other Government 4,500 4,500 - When the GST incurred on a purchase Monies received from both subscribers and of assets or services is not payable to or non-subscribers for advanced bookings are TOTAL GRANTS 65,000 2,319,635 2,067,772 316,863 recoverable from the taxation authority, in included in income progressively during each which case the GST is recognised as part production to which they relate, and not All Government funding has been spent in accordance with funding agreements. of the revenue or the expense item or as before. All monies received in advance for part of the cost of acquisition of the asset, 2015 box office income is recorded as deferred (b) Other income 2015 ($) 2014 ($) as applicable revenue and transferred to income when the respective show concludes. Rental revenue – theatre & venue 223,453 138,339 ‐- When receivables and payables are stated with the amount of GST included. 3. SIGNIFICANT ACCOUNTING JUDGEMENTS, Rental revenue – set build & other 146,118 147,823 ESTIMATES AND ASSUMPTIONS The net amount of GST recoverable from, or Revenue – vehicle use 2,464 77,131 payable to, the taxation authority is included as The preparation of the Company’s financial Development workshop income - 75,312 statements requires management to make part of receivables or payables in the statement Other 223,831 140,892 of financial position. Commitments and judgements, estimates and assumptions that 595,866 579,497 contingencies are disclosed net of the amount affect the reported amounts of revenues, of GST recoverable from, or payable to, the expenses, assets and liabilities, and the taxation authority. accompanying disclosures, and the disclosure Government grants have been received for the investment of infrastructure for Company B. of contingent liabilities. Uncertainty about There are no unfulfilled conditions or contingencies attached to these grants.

62 63 Ticketing Total 5. CASH 2015 ($) 2014 ($) 9. INTANGIBLE ASSETS system ($) ($) Cash at bank and on hand 1,300,698 1,660,569 Cost 1,300,698 1,660,569 At 1 January 2014 77,684 77,684 For the purposes of the statement of cash flows, cash and cash equivalents consists of cash on hand and cash in bank. At 31 December 2014 77,684 77,684 Cash held in Escrow – Reserves Incentives Funding Scheme At 31 December 2015 77,684 77,684 The funds received under the Reserves Incentives Funding Scheme of the Australia Council and Arts NSW, together with any interest earned on those funds, are held in escrow and cannot be accessed without the express Amortisation agreement of the funding bodies under prescribed circumstances. These funds have not been used to secure any liabilities of the Company. As at 31 December 2015, the Company held $173,085 (2014: $172,946) under this scheme. At 1 January 2014 42,494 42,494 Amortisation 23,159 23,159 6. TRADE AND OTHER RECEIVABLES (CURRENT) 2015 ($) 2014 ($) At 31 December 2014 65,653 65,653 Trade receivables 586,348 237,301 Amortisation 9,229 9,229 Goods and services tax 10,294 37,029 At 31 December 2015 74,882 74,882 Other receivables 6,359 8,784 Net book value 603,001 283,114 At 31 December 2015 2,802 2,802

7. HELD TO MATURITY INVESTMENTS 2015 ($) 2014 ($) At 31 December 2014 12,031 12,031 Fair value at profit and loss 10. TRADE AND OTHER PAYABLES (CURRENT) 2015 ($) 2014($) Shares in listed company 1,150,826 Trade payables 117,012 114,768 At Amortised Cost Sundry payables 425,016 471,138 Convertible preference shares 802,300 1,909,895 Accrued expenses 119,163 187,258 1,953,126 1,909,895 661,191 773,164

8. PROPERTY, PLANT Plant & Motor Furniture Leasehold Assets under AND EQUIPMENT equipment vehicles & fittings improvements construction Total 11. PROVISIONS (CURRENT) 2015 ($) 2014 ($) ($) ($) ($) ($) ($) ($) Provision for loss making productions 26,737 14,578 Cost Total provisions 26,737 14,578 At 1 January 2014 288,056 18,280 78,303 - - 384,639 Additions 90,850 95,082 10,664 104,496 301,092 (a) Movements in provisions Provisions Total At 31 December 2014 378,906 113,362 88,967 104,496 685,731 ($) ($)

Additions 27,243 31,441 166,278 224,962 At 1 January 2015 14,578 14,578 Transfers 9,293 (104,496) (95,203) Arising during year 26,737 26,737 At 31 December 2015 415,442 113,362 120,408 166,278 - 815,490 Utilised during year (14,578) (14,578)

Depreciation At 31 December 2015 26,737 26,737

At 1 January 2014 235,667 4,197 49,204 289,068 Current – 2015 26,737 26,737 Depreciation charge Non-current – 2015 - - for the year 56,240 11,953 10,007 78,200 26,737 26,737 At 31 December 2014 291,907 16,150 59,211 367,268 Depreciation charge (b) Nature and timing of provisions for the year 53,056 16,366 14,673 21,043 105,138 At 31 December 2015 344,963 32,516 73,884 21,043 472,406 (i) Provision for Loss Making Productions Provisions for productions in subsequent calendar year(s) which management determine as Net book value deficit making, for which the Company has a firm commitment to produce. Refer to Note 2 for the relevant accounting policy in relation to recognition and measurement principles. At 31 December 2015 70,479 80,846 46,524 145,235 343,084 At 31 December 2014 86,999 97,212 29,756 104,496 318,463 64 65 12. EMPLOYEE BENEFIT LIABILITIES An operating lease for a workshop and storage space in Marrickville was renegotiated in October (CURRENT AND NON-CURRENT) 2015 ($) 2014 ($) 2013. The lease term is for five years with a termination date of 25 October 2017. There is an Current option to renew for a further five years. Long service leave 55,227 47,867 An operating lease for rent of the warehouse and theatre is currently in place with Belvoir St Annual leave 204,379 186,236 Theatre Limited (BSTL). The rental amount is a varying figure, being the equivalent of the annual outgoings incurred by BSTL and therefore is not included in the table above. Other employee benefits 27,315 7,060 (b) Sinking fund commitments 286,921 241,163 Non Current 65,584 43,762 In 2012, Company B became obliged to pay Belvoir Street Theatre Limited (BSTL) the first installment of a 10 year commitment of the sinking fund as required under the lease rental Long service leave 65,584 43,762 agreement between BSTL and Company B for the Belvoir Street Theatre and warehouse (i) Annual Leave and other short term employee benefits premises. The sinking fund is to enable Belvoir Street Theatre Limited to carry out works on the Refer to Note 2 for the relevant accounting policy and a discussion of the significant premises on a scheduled basis over 10 years in order to maintain and repair the building in which estimations and assumptions applied in the measurement of this provision. the theatre is housed in and the property plant and equipment used on the premises. (ii) Long service leave As at 31 December 2015 the value of the commitment payable to Belvoir Street Theatre Limited Refer to Note 2 for the relevant accounting policy and a discussion of the significant was as follows: estimations and assumptions applied in the measurement of this provision. 2015 ($) 2014 ($) Not longer than one year 62,954 62,954 13. DEFERRED REVENUE 2015 ($) 2014 ($) Longer than one year and not longer than five years 251,816 251,816 Advance ticket sales 2,252,211 2,102,430 Greater than five years 94,431 157,385 Government grants in advance 282,563 67,500 409,201 472,155 Sponsorship income in advance 88,579 1,850 Fundraising and donations income in advance 266,592 100,000 17. EVENTS AFTER REPORTING DATE Other deferred revenue - 2,989 There has not been any matter or circumstance, other than that referred to in the financial statements or notes thereto, that has arisen since the end of the financial year, that has 2,889,945 2,274,769 significantly affected, or may significantly affect, the operations of the Company, the results of those operations, or the state of affairs of the Company in future financial years. 14. RELATED PARTY DISCLOSURES There were no transactions with related parties during the year other than those with Directors. Payments made to Directors are not for their services as Directors of the Company for which no fee is received. Payments were made by the Company to some Directors for their contributions as employees of, or contractors to the Company. Total short-term employment benefits paid to Directors amounted to $418,158 (2014: $204,342).

15. MEMBERS’ GUARANTEE Belvoir is incorporated in New South Wales as a company limited by guarantee. In the event of the Company being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the Company’s liabilities. As at 31 December 2015, there were 46 members of Belvoir and the amount of capital that could be called up in the event of Belvoir being wound up is $920.

16. COMMITMENTS AND CONTINGENCIES 2015 ($) 2014 ($)

(a) Leasing commitments Non-cancellable operating leases Within one year 64,789 64,827 After one year but not more than five years 135,540 204,528 200,329 269,355

66 67 Directors’ Declaration

In accordance with a resolution of the Directors of Company B Limited, I state that in the opinion of the Directors: (a) the financial statements and notes of the Company are in accordance with the Australian Charities and Not-for-Profits Commission Act 2012, including: (i) giving a true and fair view of the Company’s financial position as at 31 December 2015 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not- for-Profits Commission Regulation 2013; and (b) there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. On behalf of the Board

Andrew Cameron AM Chair Sydney 21 March 2016

68 69 Partners, Sponsors & Supporters

Media Partners

Major Sponsors IT Partner

NCC Network Computing & Consulting

Associate Sponsors Key Supporter

Indigenous Theatre at Belvoir supported by BOUTIQUE ACCOMMODATION The Balnaves Foundation

Touring Fund

Mark Carnegie & Jessica Block Annual Report Production Coordination Event Sponsors Belvoir Marketing Department Design Alphabet Studio

For any Annual Report enquiries please contact: Belvoir Marketing Department 18 Belvoir St, Government Partners Youth & Surry Hills NSW 2010 Education tel +61 (0)2 9698 3344 Supporters fax +61 (0)2 9319 3165 [email protected] belvoir.com.au

Trusts & Foundations Supporters

Copyright Agency Ltd The Greatorex Macquarie Group Coca-Cola Australia Foundation Picket Studio Foundation Teen Spirit Charitable Thomas Creative Belvoir is proud to be a Crown Resorts Foundation Foundation Time Out Australia member of the Australian Major Gandevia Foundation Vincent Fairfax Family Foundation Performing Arts Group (AMPAG)

For more information on partnership opportunities please contact our Development team on 02 9698 3344 or [email protected] Otis Jai Dhanji in Mortido. Photo: Brett Boardman. 70 C 18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au

Front cover: Ewen Leslie in Ivanov. Photo: Brett Boardman. D