THE COURT THEATRE TRUST 2016 REPORT CONTENTS 2016 Report
Chairman______3 The Dunstan Creek Séance______18 Chief Executive______5 The Events______19 Artistic Director______6 A Christmas Carol______20 Mary Poppins______8 The Court Jesters______21 Winston’s Birthday______9 Children’s Shows______22 Macbeth______10 Midwinter Readings______24 Matthew, Mark, Luke & Joanne ______11 Education Manager______25 Educating Rita______12 Matariki - Little Eyes in the Sky______26 That Bloody Woman______13 Duets/Lysistrata______27 Waiora: Te ū kai pō – The Homeland______14 Court Company______28 The Streaker______15 Partners & Funders______30 Legally Blonde The Musical______16 Financial Statements______31 The Wonderful Wizard of Oz______17 Independent Auditor’s Report______46
2 CHAIRMAN 2016 Report
y emotions are running high that support us through grants and as I write this report and I turn sponsorship and in 2016 we were joined Mmy thoughts to The Court and by a new Principal Sponsor, led by an the year that has been. But perhaps the indefatigable trio of brothers – Giesen emotions are more complex as it is our Wines. city that I’m also thinking about. The brothers, Theo, Marcel and Alex, We have progress in the CBD… the have generously supported us in the past semblance of a city! Steel, concrete and and it’s an honour for us that they have glass forms. And people. In contrast, taken on this leadership role. Their wines we still have road cones, diversions and and craft beers have reached peaks of detours. We put up with this because we achievement and regularly now win have progress. accolades both internationally and at The city is in repair. The underground home. We hope that we can bring them new audiences. infrastructure is now largely completed a laugh, a smile, a frown or to pose a The Court Foundation has reinvented and SCIRT has done its job. Rather question. From the very young to the itself as it prepares to lead a major than slip away unnoticed, SCIRT has very old there is a rich and appealing gift campaign to support the future of reinvented itself in Kaikoura where there attraction to the work you have all the company. Our gratitude goes to is an all too familiar picture of grief, played a part in creating. Jenny Reeve, the retiring Chair, and our stress and anxiety accompanying the A big thanks also to Ross Gumbley, welcome goes to Catherine Boyer who destruction. Our thoughts go out to the our Artistic Director, who has once again has taken on the mantle. Catherine’s people of North Canterbury. selected a programme that has been specific skills and experience in The residential build in Christchurch is well balanced and set standards even fundraising will be gratefully embraced. long past its peak. Now the commercial higher in terms of performance. If there John Holland and Laura Palomino build is having its day in the sun with is one play that I could single out that de Forbes joined that organisation as the public sector build starting to show really did it, not only for me, but for every Trustees, while John Harrison stepped its presence. We have confidence that audience, that would be That Bloody down having given service on both the soon we, The Court, will join the ranks in Woman. What a musical! Trust Board and the Foundation Board redeveloping. Finally, Philip Aldridge. A very big thank as well as having being a committee The Court has continued to deliver and you from the Board. We are so fortunate member of The Supporters and a Chief perform artistically and commercially. to have such a talented Chief Executive. Usher for many years. It was a delight to It’s with great pleasure that I thank Leading an artistic organisation is never see such dedicated service recognised my fellow Trustees for not only their going to be easy. We hope and trust you when he became the inaugural Fellow of support and enthusiasm but also their sleep soundly at night knowing that you The Court. have our full support. commitment to The Court. The Trustees The Court Supporters are family. This To the future. We have a great 2017/18 have continued to pursue best practice large group of theatre lovers do so much programme. We are going to make great models of governance. We have invested for the company by way of fundraising progress this year in our quest to build in time in governance training, reviewed and the gift of their time as ushers and the city. Watch this space… practices and we annually carry out front of house volunteers. They are ably Board and Trustees’ evaluation through led by Rev. David Winfield as Chairman the provision of services from our and his hard-working committee and we Steven van der Pol distinguished sponsors, Sheffield Ltd, for offer them our sincere gratitude. - Chairman which we are very grateful. To the wide and talented staff at The We owe great thanks to all of our Court, a big thank you. You often put in partners. To Creative New Zealand, the huge hours and continue to lift the bar bedrock of our funding, to Christchurch in every aspect of The Court. It is one City Council, to Meridian Energy, to the amazing company and always a pleasure many grant making trusts that support to see everything come together on the us particularly Pub Charity, Mainland stage, giving so much joy to so many Foundation and the Rātā Foundation. people. Our audience is diverse and There are over 100 organisations yet there is always something to bring 3 44 CHIEF EXECUTIVE 2016 Report
t the risk of being dull, excuse me a for us. It became clear that I must adapt little repetition. I began my and improve. 2015 Annual Report by reporting It also became clear that this would anotherA record year of attendances at develop into a key theme of a change The Court. 2014 had also set a record. I’m programme – everyone of us needs delighted to report that we can say the to embrace change, behaviours and same of 2016. attitudes. That sounds as good as it undoubtedly What came through most strongly was is but it masks a series of fitful results. the dedication, passion and love of the Plays that we thought would sell strongly theatre that binds us all to the work and did well – but not what we planned. is brought to the stage daily – which is Plays that we thought carried greater what the audience sees. And this is not risk surprised us with outstanding about us, it’s about the audience. attendances. The new New Zealand We also were able to distribute an end punkish rock musical, That Bloody of year bonus to everyone who worked in Woman, about Kate Shepherd, fell into the company in 2016 – actors, designers, the latter category and the 99% business contractors and staff, about 250 people. that Mary Poppins (from the book by PL This is something we are rarely in a The Chairman’s report records our Travers written in NZ, in Christchurch too) position to do. We did it in 2007 and 2012 grateful thanks to the many donors, achieved in 2016 meant we were home but it’s rare that there is sufficient surplus funders and companies that we partner and hosed even with the other blips. The to give a little Christmas Bonus. The with to make this enterprise sing. I echo longer I spend in this business the more amount is not large but it is a significant his gratitude to them all. The stage is a I understand how little I know. Who’d be way for the company to recognise that collaborative art which brings together an arts programmer? In retrospect it all we are only as good as the people we artists from a spectrum of practices seems obvious, as many commentators employ. and similarly we collaborate with wide observe. ‘Of course Mary Poppins would and diverse constituencies to fund our work.’ It doesn’t seem so obvious when iscussions with council and endeavours. To them all we owe deep we are planning. government, which have limped gratitude. The larger than anticipated forward since the government My thanks too go to the whole Dannounced in 2012 that The Court would company, the actors, designers, directors attendances allowed us to implement some initiatives beyond budget. We move back into the inner-city, began to and teachers who create wondrous commissioned four new plays, where gain traction towards the end of 2016. worlds of inspiration for us as well as all we had planned two; we undertook Government, now represented by the those who work behind the scenes: the additional play development; we new body Ōtākaro Ltd, has acquired the technicians, stage managers, builders, invested in IT and training but most majority of the land designated for the administrators and supporters (the significantly we invested in the Performing Arts Precinct and the Council wondrous Supporters!). development of the culture within the has committed funding to the project. I’m particularly appreciative of the company and individual professional Not enough to build a new Court but management team who have faced development. enough to keep us at the table. change and challenge in 2016. These This last part is a significant initiative At the risk of a little repetition from things have been tackled with courage for us. While outwardly successful - previous annual reports, we are still and an enthusiasm for reinvention which financially, artistically and in attendances talking. I’m confident that in 2017 we is inspiring. We enter 2017 determined to – internally we have grown without will know if The Court has a future in take a good company and make it into a developing systems and culture to the inner-city as the government has great company. match. We have managers who have described. I’d like to thank and acknowledge not been trained to manage; we have the Chairman, Steven van der Pol, and expectations of each other that are e endeavour to give audiences all of the Trustees who generously give not being met; and the long hours and the best possible experience their time and wisdom to the company. dedication that the theatre demands on the stage and try to make Steven is a wise leader who never resiles Wit as convivial as possible before and from the course of action that the exert pressures that we can be poor at handling. afterwards. This year we introduced Trustees adopt. As such he facilitates After an eruption of disgruntlement, food service with wood-fired pizzas management’s role and is a delight to I spent an hour over coffee with every (and lots more) now available. This has work for. permanent member of staff (53 of us transformed front of house without at the time) in an effort to come to an turning it into a restaurant. It’s a casual Philip Aldridge understanding of the issues. This was and welcoming vibe that is beginning to - Chief Executive a process which revealed multifarious bring audiences into the house earlier problems and caused me to look closely in the evening. It’s also a service that is at myself. Communication in a growing enhancing revenue, both from food sales company is always an issue and so it is and increased beverage sales. 5 ARTISTIC DIRECTOR 2016 Report
his was an outstanding year for high energy extravaganza right down to The Court with an artistically its freshly dyed roots. challenging programme that Supporting the voice of the drew record numbers at the indigenous people of New Zealand on Tbox office. stage is a major remit for us. In 2016 On the main stage, January saw the we remounted, on the main stage, continuation of the phenomenally Hone Kouka’s seminal work Wairoa. successful run of Mary Poppins. The Under the direction of Hone himself reviews, the word of mouth and sheer this play has lost none of its ability to buzz around this show were first rate. move an audience. The play’s theme It was also the largest professionally of what is lost and gained when produced show in the history of New people are displaced has grown ever Zealand theatre. It was gratifying then more resonant in recent years. With that this auspicious production, with an eye to the future the company has risks. The Forge year kicked off with just shy of 23,000 ticket sales, holds the commissioned Hone to write a new The Wonderful Wizard of Oz, a devised attendance record for a single Court play and we very much look forward to retelling of the L. Frank Baum classic. show. our ongoing relationship with such an Presented as a collaboration with the Mary Poppins was chased off the important Māori artist. Christchurch City Council, as part of stage by a curmudgeonly Winston The primary schools touring show their Summertimes programme, this Churchill doing his best to celebrate was Matariki – The Little Eyes in the Sky. wildly comedic rendering of Dorothy his 88th birthday. Winston’s Birthday, This bilingual work, created by Rutene and her friends attracted audiences by Otago playwright Paul Baker, was Spooner and Holly Chappell, enthralled in their thousands. Set in the grounds presented as a collaboration with its junior audiences. During the year we of Riccarton House the production the Fortune Theatre in Dunedin. This were proud to host Taki Rua and Tikapa complemented a perfect Canterbury play provided a tantalising glimpse Productions with their important play summer. behind the façade of a famous and a Not in our Neighbourhood. Written In April The Dunstan Creek Séance was spectacularly dysfunctional family. It and directed by Jamie McCaskill this presented in the Pub Charity Studio. was the first of five New Zealand works poignant and honest work featured This collaboration with Rollicking to appear on our main stage. an astonishing performance from Kali Entertainment sent a collective The second in this antipodean Kopae. In September, The Court hosted chill down the spine of its audience. quintet was Matthew, Mark, Luke and Taki Rua again to bring the charming The production is ready to tour and Joanne. A Court Theatre commission, te reo work Whakaahuatia Mai to already bookings have been taken by Carl Nixon, it looked at Christianity Canterbury audiences. for destinations in New Zealand and in a consumerist age. That Bloody Bringing great works back to life is overseas. Woman, Luke di Somma and Greg one of the most exciting things we do The Events by David Grieg was a Forge Cooper’s thrilling musical reinvention in the theatre and tucked inside the work which took its place on the main of the story of New Zealand women’s sandwich of New Zealand plays was a stage for a limited run in November. This suffrage, turned Kate Sheppard into a revival of Willy Russell’s classic comedy theatrical tour de force brought a new rock goddess. On the back of breath- Educating Rita. With a script still as fresh community choir onto the stage every taking reviews it attracted audiences as a Merseyside morning, Kathleen night. The play dealt with the timely in droves. The Streaker, another Court Burns and George Henare completely and serious issue of mass shootings. commission, ostentatiously took its owned their characters in Yvonne This moving production was brought place on our stage and was a striking Martin’s pitch perfect production. In elegantly to life by departing Associate addition to a season rich in the New March, Macbeth stormed back on to Director Daniel Pengelly. Zealand voice. our stage. This fascinating and complex Dan has become the Creative Director The year on the main stage was study in self-corruption played out at Centrepoint Theatre in Palmerston ushered out in a sea of pink as Legally brutally on Harold Moot’s contemporary North and we wish him well and Blonde the Musical, under the design war-torn set. look forward to many collaborations and direction of Stephen Robertson and The Forge at The Court is the home between our two companies in the musical direction of Richard Marrett, for work that is more challenging. It’s future. strutted its stuff. This was a mythical, where we can take greater artistic The Forge year closed with Dan Bain’s 66 highly interactive retelling of Charles Tipaka Productions and Centrepoint commission. Works from Hone Kouka, Dickens’ A Christmas Carol, which was Theatre. We enjoyed ongoing mutually Alison Quigan, Rutene Spooner (with hugely successful and enjoyed an beneficial relationships with the Greg Cooper as script advisor), Gary extended season. National Academy of Singing and Henderson and Oscar Kightley are all Our youngest audiences were served Dramatic Art, the Christchurch Art currently under commission. We look well in 2016 with inventive New Zealand Gallery, The Christchurch City Council forward to reading their new scripts, adaptations of Badjelly the Witch; Cops and continued to develop work with the which are responses to life in Aotearoa, and Robbers; The Little Mermaid; and Christchurch Arts Festival. and developing their plays, with them, Puss in Boots; as well as the primary The literary department remained as over the coming years. schools tour of Matariki – The Little Eyes busy as ever in 2016 with a regular diet The Court had a full and exciting year in the Sky. of readings, both public and internal, with its Education Programme, The 2016 saw The Court combine and script workshops. The Mid-Winter Court Youth Company and The Court with a large number of like-minded Readings hosted The Magic Cookbook, Jesters. Details of which can found organisations to produce, promote The Gift of Tonguesand Centrepoint. and distribute New Zealand work. Presented as works in progress these elsewhere in this report. We co-produced two main stage plays were given a rehearsed reading This was a rich satisfying year which plays: Winston’s Birthday with the which are followed with public forums. saw the company deliver excellent Fortune Theatre, which played in This is an invigorating process and theatrical experiences to an ever- Christchurch and Dunedin; and That allows input from the people the play expanding and diverse audience. Bloody Woman with the Auckland was written for, the audience. Theatre Company. which played in After a sterling year at the box office, Auckland and Christchurch. We also The Court was able to double the Ross Gumbley had collaborations with Taki Rua, amount of plays we would normally - Artistic Director
7 “This Court Theatre production honours the wonder and magically restorative powers of this story and is one of the best productions I have seen at The Court Theatre. Bravo!” Naomi van den Broek, THEATREVIEW
MARY POPPINS the Broadway Musical
PRODUCTION: Bert (Alternate), Park Keeper & Ensemble: Nick Purdie Co-Director, Choreographer, Costume Designer : Stephen Robertson Jane Banks: Olivia Costello Co-Director: Ross Gumbley Jane Banks: Emma Moore Musical Director : Richard Marrett Michael Banks: Ollie Bubb Set Designer: Harold Moot Michael Banks: Toby Cammock-Elliott Lighting Designer: Grant Robertson Ensemble: Tizane McEvoy Sound Designer: Ben Rentoul Mrs Corry & Ensemble: Kim Garrett Sound Designer: Glen Ruske Annie & Ensemble: Hannah Spedding Animation Designer: Dave Spark Katie Nanna & Ensemble: Jane Leonard Stage Manager: Ashlyn Smith Miss Lark & Ensemble: Awhimai Fraser Assistant Stage Manager: Erica Browne Ensemble: Brylee Lockhart Flymen: David Bosworth & Robert Henderson Fannie & Ensemble: Allegra Canton Wig Stylist: Sarah Greenwood Northbrook & Ensemble: Ben Freeth Dresser: Beth MacDonald Ensemble: Chris McRae Sound Operators: Dominic Crossman & Te Aihe Butler Von Hussler & Ensemble: Jack Marshall Sound Effects: Giles Tanner Valentine & Ensemble: Tom Worthington Chaperones: Lucy Porter & Emily Burns Ensemble: Olly Humphries Neleus & Ensemble: Jason Yang- Westland CAST: Mary Poppins: Laura Bunting BAND: Bert: Jan Di Pietro Conductor/Keyboard: Richard Marrett Mr Banks: Michael Lee Porter Keyboard: Matt Everingham Mrs Banks: Ali Harper Bass: Michael Story Miss Andrew: Angela Johnson Cello: Iain Brandram-Adams Admiral Boom/Bank Chairman: Steven Ray Mrs Brill: Yvonne Martin Total Attendance: 23,050 Show sponsor Robertson Ay: Cameron Douglas 21 November 2015 – 30 January 2016 Bird Woman: Lucy Porter Mary Poppins (Alternate): Emily Burns 8 “Winston’s Birthday is a comedy about a family, riddled with expectation, struggling to mend its past and envision its future. Their despair is certainly the audience’s joy.” Georgina Stylianou, THE PRESS
WINSTON’S BIRTHDAY by Paul Baker
PRODUCTION: Total Attendance: 4,706 Director: Lara Macgregor 6 - 27 February 2016 Set Designer: Peter King Costume Designer: Deborah Moor By arrangement with Lighting Designer: Sean Hawkins Sound Designer & Operator: Giles Tanner Stage Manager: Jo Bunce
CAST: Winston Churchill: Geoffrey Heath In collaboration with Show sponsor Lady Clementine Churchill: Yvonne Martin Randolph Churchill: Roy Snow Sarah Churchill/Lady Audley: Hilary Halba Dr Stephen Jenkins: Jonathan Martin 9 “The Court’s presentation of Macbeth’s shift from ambitious soldier to tyrannous despot and his ultimately bloody defeat is grimly satisfying.” Erin Harrington, THEATREVIEW
MACBETH by William Shakespeare
PRODUCTION: Duncan/Doctor: Michael Keir-Morrissey Director: Ross Gumbley Malcolm/Third Murderer: Tola Newbery Assistant Director: Melanie Luckman Ross: Barry de Lore Set Designer: Harold Moot Lennox/Second Murderer/Siward: Adam Brookfield Costume Designer: Tina Hutchison-Thomas Lady Macduff/Gentlewoman: Kim Garrett Lighting Designer: Giles Tanner Angus/First Murderer/Porter/Lord: Jared Corbin Sound Designer: Henri Kerr Fleance/Young Siwald/Macduff’s Son/Servant: Tom Worthington Stage Manager: Ashlyn Smith Donalbain/Menteith/Servant: Jack Marshall First Witch: Raewyn Lippert Second Witch: Kathleen Burns CAST: Third Witch: Brylee Lockhart Show sponsor Macbeth: Mark Hadlow Lady Macbeth: Lara Macgregor Banquo/Seyton: Tom Peters Total Attendance: 4,940 Macduff: Owen Black 5-26 March 2016 10 “A witty, smart and profound play.” Charlie Gates, THE PRESS
MATTHEW, MARK, LUKE & JOANNE by Carl Nixon
PRODUCTION: CAST: By arrangement with Director: Steven Ray Matthew Sullivan: Tom Peters Set Designer: Nigel Kerr Joanne Sullivan-Smith: Luanne Gordon Costume Manager: Sarah Douglas Mark Ray: Phil Vaughan Lighting Designer: Giles Tanner Show sponsor Sound Designer: Sean Hawkins Total Attendance: 5,731 Music Editing: Hamish Oliver 9 April – 7 May 2016 Stage Manager: Jo Bunce
11 “This production is in the not to be missed category. A must for lovers of theatre.” Barry Southam, CHRISTCHURCH STAR
EDUCATING RITA by Willy Russell
PRODUCTION: CAST: Director: Yvonne Martin Rita: Kathleen Burns Set Designer: Harold Moot Frank : George Henare Costume Designer: Pam Jones Show sponsor Lighting Designer: Sean Hawkins Total Attendance: 7,150 Sound Designer & Operator: Giles Tanner 28 May – 25 June 2016 Properties Co-ordinator: Christy Lassen Stage Manager: Ashlyn Smith 12 “This is a righteous rock musical with wit, verve, humour and heart.” Charlie Gates, THE PRESS
THAT BLOODY WOMAN by Luke Di Somma and Gregory Cooper
PRODUCTION: Gang/Ensemble: Amy Straker Director: Kip Chapman Gang/Ensemble: Phoebe Hurst Musical Director: Luke Di Somma Gang/Ensemble: Kyle Chuen Associate Musical Director: Andy Manning Gang/Ensemble: Cameron Douglas Set Designer: Rachael Walker In association with Costume Designer: Lisa Holmes BAND: Auckland Theatre Lighting Designer: Brendan Albrey Guitar: Tim Heeringa Company Choreographer: Olivia Tennet Drums: Cameron Burnett Stage Manager: Cally Castell Keys & Guitar: Andy Manning Show sponsor Bass: Emma Hattaway CAST: Esther Stephens: Kate Sheppard Total Attendance: 11,855 Richard ‘King Dick’ Seddon: Geoffrey Dolan 2 July – 5 August 2016 (extended season) 13 “… in Te Ao Māori the issues and elements at the core of Waiora remain as relevant now as they were 20 years ago.” Chelita Kahutianui Zainey, THEATREVIEW
WAIORA: TE Ū KAI PŌ – THE HOMELAND by Hone Kouka
PRODUCTION: Rongo: Te Awhina Kaiwai-Wanikau Playwright/Director/Sound Designer: Hone Kouka Boyboy: Tola Newbery Set & Costume Designer: Mark McEntyre Steve Campbell: Phil Grieve Lighting Designer: Giles Tanner Louise Stones: Hannah Spedding Sound Facilitator/Operator: Sean Hawkins Tipuna: Sheree Waitoa Properties Co-ordinator: Christy Lassen Tipuna: Wiremu Waretini Stage Manager: Jo Bunce Tipuna: Jared Hiakita Tipuna: Tania Gilchrist CAST: Hone (John): Taungaroa Emile Total Attendance: 5,108 Wai Te Atatu (Sue): Kim Garrett 13 August – 3 September 2016 Amiria: Maia Diamond 14 “This is a play rich in local allusion, but its light-hearted take on the adventure of streaking will have them chuckling wherever the comedic aspects of dilemma are enjoyed.” Lindsay Clark, THEATREVIEW
THE STREAKER by Gregory Cooper
PRODUCTION: CAST: Director: Mark Hadlow Ron: Mark Wright Set Designer: Nigel Kerr Linda: Vanessa Wells Costume Designer: Tina Hutchison-Thomas Bill: Geoffrey Heath Show sponsor Lighting Designer/Operator: Sean Hawkins Llana: Lynn Waldergrave Sound Designer: Giles Tanner Murray/Eddie: Jared Corbin Properties Co-ordinator: Christy Lassen Eva/Various: Chelsea McEwan-Millar Stage Manager: Ashlyn Smith Total Attendance: 7,136 17 September – 22 October 2016 15 “a light-hearted, upbeat world of colour that leaves you with a satisfied and happy heart – this show is a must.” Janelle Blythe, MAKELEMONADE.NZ
LEGALLY BLONDE THE MUSICAL
PRODUCTION: Pilar: Monique Clementson Director, Choreographer, Costume Designer: Stephen Robertson D.A. Joyce Riley/Ensemble/Understudy Elle: Emily Burns Musical Director: Richard Marrett Kate/Chutney/Ensemble: Holly Stokes Associate Choreographer: Gemma Kearney Judge/Store Manager/Ensemble: Kim Garrett Book: Heather Hach Aaron/Ensemble: Ben Freeth Music and Lyrics: Laurence O’Keefe: Kyle/Ensemble: Olly Humphries Music and Lyrics: Nell Benjamin Mom/Whitney/Ensemble: Greta Casey-Solly Set Designer: Harold Moot Dad/Winthrop/Dewey/Ensemble Nick Purdie Lighting Designer: Grant Robertson Nikos/Grandmaster Chad/Padamadan/Ensemble: Emiliano Pereyra Sound Designer: Ben Rentoul Courtney/Cashier/Ensemble: Brylee Lockhart Sound Designer: Glen Ruske Carlos/Pforzheimer/Ensemble: Isaac Pawson AV Designer: Dave Spark Lowell/Reporter/Ensemble: Jack Marshall Lighting Operator: Darren McKane Ensemble: Jeremy Hinman Sound Operator: Jonny Keating Kiki/Ensemble: Hayden Joseph Withers Properties: Christy Lassen Bookish Client/Ensemble: Julia Bell Costume Manager: Sarah Douglas Dance Captain/Ensemble/Stenographer: Gemma Kearney Construction Manager: Ioan Bramhall Bruiser: Niki/Bella Stage Manager: Ashlyn Smith Rufus: TJ/Boss Assistant Stage Manager: Tim Bain Stage Crew/Dresser: Scott Campbell BAND: Stage Crew/Props Assistant: Lydia Foate Conductor/Keyboard 1: Richard Marrett Guitar: Ben Eldridge CAST: Drums: Tim Sellars Elle Woods: Ellie Neal Bass: Chris Wethey Warner Huntington III: Damon Grebert-Wade Assistant Conductor/Keyboard 2: Matthew Everingham Emmett Forrest: Cameron Douglas Alternate Keyboard 2: Hamish Oliver Paulette Bonafonté: Ali Harper Professor Callahan: Roy Snow Vivienne Kensington: Jane Leonard Total Attendance: 13,722 Show sponsor Enid Hoopes: Lucy Porter 26 November 2016 – 21 January 2017 Brooke Wyndham/Ensemble: Kira Josephson Serena: Nomi Cohen Margot: Erin Wells 16 “…fun, well-crafted, high quality Summertimes shows like this remind us that there really is no place like home. Skip along on this Yellow Brick roadie while you can.” Margaret Agnew, THE PRESS
THE WONDERFUL WIZARD OF OZ based on the book by L. Frank Baum
PRODUCTION: Cowardly Lion: Andrew Ford Director: Daniel Pengelly Glinda/Winkie/Munchkin: Millie Hanford Set and Props Designer and Maker: Oliver Morse Wicked Witch of the West/Munchkin/Kansas neighbour: Kathleen Burns Costume Designer and Maker: Alison Roigard Uncle Henri/Wizard of Oz/Winkie/Munhckin/Flying Monkey: Jared Corbin Sound Design & Operator: Te Aihe Butler Aunty Em/Winkie/Munchkin: Becky Gallacher Stage Manager: Alice Pardoe Munchkin/Guard of Gate/Winkie/Flying Monkey: Vincent Andrew-Scammell
CAST: Total Attendance: 14,600 Dorothy: Maddie Harris 3-21 February 2016 Toto: Jesse Ranson Scarecrow: Zak Enayat Tinman: Nick Cheesebrough 17 “Tension and apprehension ratcheted up with skill and conviction” Lindsay Clark, THEATREVIEW
THE DUNSTAN CREEK SÉANCE by Lizzie Tollemache & David Ladderman
PRODUCTION: Stage Manager: Erica Browne Director: Daniel Pengelly Dramaturgy: Allison Horsley CAST: Dramaturgy: Richard van den Berg Suzanne/Rose: Lizzie Tollemache Supported by Costume Manager: Sarah Douglas Arthur/Ben: David Ladderman Lighting Designer/Operator: Sean Hawkins Sound Designer: Joe Hayes Total Attendance: 1,192 Properties Co-ordinator: Christy Lassen 16 April – 7 May 2016 18 “This powerful, beautiful and moving play left me emotionally overwhelmed by its conclusion.” Charlie Gates, THE PRESS
THE EVENTS by David Greig
PRODUCTION: FEATURED CHOIRS: Director: Daniel Pengelly A Capellago Musical Director: Matthew Everingham Atlas Voices Set Designer: Meggan Rollandi Cantabile Choir Costume Designer: Sarah Douglas Canterbury Lawyers’ Choir Lighting Designer/Operator: Giles Tanner Christchurch City Chorus Sweet Adelines Properties Co-ordinator: Christy Lassen Global Voices Stage Manager: Jo Bunce Jazzamatazz Jubilate Singers CAST: NASDA (1st & 3rd years) Claire: Alison Bruce Plainsmen Boy: Arlo Gibson Pops Choir Rockers of Ages
Total Attendance: 1,720 29 October – 12 November 2016 19 “A fabulous, festive way to entertain friends and family” Ruth Agnew, THEATREVIEW
A CHRISTMAS CAROL by Dan Bain
PRODUCTION: CAST: Writer/Director: Dan Bain A Comedian: Jared Corbin Stage Manager/Operator/Lighting Designer: Giles Tanner A Diva: Kathleen Burns Set Designer: Ioan Bramhall An Accompanist: Tom Harris Costume Manager: Sarah Douglas Sound Designer: Tom Harris Total Attendance: 2,074 Properties Coordinator: Christy Lassen 30 November 2016 - 23 December 2016 Properties Assistant: Sam Williams 20 THE COURT JESTERS 2016 Report
was a year of consolidation for the Jesters as, after two years of experimenting with other formats in order to see whether 2016scarcity was a viable model, we returned exclusively to our core version of Scared Scriptless - short form, fast-paced improvised comedy. We took Vincent Andrew Scammel on as an apprentice Jester as part of our ongoing commitment to the High Schools Theatresports programme. We made Criss Grueber and Tara Swadi full Jesters and renewed the apprenticeships of Cam McLeod, Kim Garrett and Emily Burns. Unfortunately, over the year all three of these renewed apprentices left due to conflicting priorities in their lives. Senior Jester Derek Flores left. Despite movement around personnel, the year was successful with the company returning to performing in the style they know best. Audience numbers were up overall, due to a shift in marketing priorities, an ongoing commitment to excellence and several ‘big event’ shows, including the two night sell out Birthday Bash and nights with celebrity guest performers. The Jesters also performed The Early Early Late Show and A Christmas Carol to exceptional houses. Offsite the Jesters performed at 77 different corporate events earning $80 489 and taking the Scriptless, Jester and Court Theatre brands out into the wider community with overwhelmingly positive feedback. Scared Scriptless celebrated its 26th consecutive year in 2016 and continues to be an ever-popular Christchurch late night attraction. The Court Jesters continues to be an incubator of exceptional comic talent in New Zealand.
Dan Bain Associate Director & THE EARLY EARLY LATE SHOW Court Jesters Artistic Director PRODUCTION: “Totally Director: Dan Bain SCARED SCRIPTLESS Lydia Foate: Stage Manager Engaging and Musician: Nicky Marshall Enthralling” Charlie Gates, THE PRESS PRODUCTION: CAST: Artistic Director : Dan Bain Brendon Bennetts Jesters Manager: Dan Pengelly Emma Cusdin Daniel Pengelly Birthday weekend shows: 746 Tara Swadi Total attendance: 9,965 Corporate gigs: 77 SPECIAL GUESTS (from TV’s What Now?): Chris Kirk Show sponsor Bianca Seinafo Show sponsor Ronnie Taulafo
Total attendance: 1,254 11 - 23 July 2016 21 CHILDREN’S SHOWS 2016
BADJELLY THE WITCH based on the book by spike milligan, adapted by alanah o'sullivan Cops & Robbers PRODUCTION: by Hamish Parkinson & Daniel Pengelly Director: Melanie Luckman PRODUCTION: Set Designer: Harold Moot Director: Dan Bain Costume Designer: Tina Hutchison-Thomas Set Designer: Nigel Kerr Lighting Designer: Giles Tanner Costume Designer: Sarah Douglas Sound Designer & Musical Director: Hamish Oliver Lighting Designer & Operator: Giles Tanner Andrew Todd: AV Designer Sound Designer: Michael Bell Christy Lassen: Properties Properties Co-ordinator: Christy Lassen Bridget Carpenter: Stage Manager Stage Manager: Ashlyn Smith CAST: CAST: Badjelly: Kate Taylor Frederick the Great: Jared Corbin Rose: Beth Alexander Papa/Newspaper Boy: Ben Freeth Tim: Tim Earl Molly: Rebekah Head Dulboot/Binklebonk: Isaac Pawson Shark/Dinglemouse: Sophie Petersen Total attendance: 5,913 20-30 Apr 2016 Total attendance: 6,921 20 – 30 Jan 2016
Supported by
22 The Little Mermaid Adapted by Allison Horsley
PRODUCTION: Director: Jared Corbin Puss in Boots Set Designer: Richard van den Berg Adaptation and Lyrics by Georgia-Kate Heard, Costume Designer: Sarah Douglas music by Matt Everingham Sound Designer: Matt Everingham Lighting Designer/Operator: Giles Tanner PRODUCTION: Properties Co-ordinator: Christy Lassen Director: Ross Gumbley Stage Manager: Ashlyn Smith Set Designer: Nick Lowry Costume Designer: Grace Duval CAST: Lighting Designer: Sean Hawkins PJ – The Little Mermaid: Rebekah Head Sound Designer: Matt Everingham Pania /Kelpie: Jane Leonard Properties: Christy Lassen Dylan/Moremore/Mirror Fish: Isaac Pawson Stage Manager: Jo Bunce Stage Manager: Celia Mann Total attendance: 6,119 Sound Operator: Nicky Marshall Relaxed performance 125* Lighting Operator: Giles Tanner 13-23 Jul 2016 CAST: Puss: Lucy Porter Princess Grace: Jane Leonard Shoemaker/Queen Hippolotta: Jack Marshall *The Court Theatre was proud to introduce “Relaxed Performances” for children’s shows, designed to welcome those who will benefit from a more relaxed environment, including people with an Autism Spectrum Condition, sensory and Total attendance: 5,592, communication disorders or a learning difficulty. The first Relaxed Relaxed performance 58* Performance was on 16 July 2016 for The Little Mermaid. 28 Sept - 8 Oct 2016 23 MIDWINTER READINGS 2016
CENTREPOINT* by Anders Falstie-Jensen
PRODUCTION: THE MAGIC THE GIFT OF Director: Mel Luckman COOKBOOK TONGUES* Stage Manager: Tim Bain by Will Robertson by Michelanne Forster Operator: Lydia Foate & Andy Manning CAST: PRODUCTION: Neil: Tim Bartlett PRODUCTION: Director: Dan Bain Kate: Juliet Reynolds-Midgely Director: Dan Pengelly Stage Manager: Jo Bunce Tom: Josh Johnson Musical Director: Jason Te Mete Operator: Sean Hawkins Sally: Kathleen Burns Stage Manager: Jo Bunce Linda: Susannah Kenton Operator: Sean Hawkins CAST: Lisa: Brylee Lockhart Kitosan: Setsuko Lichtnecker Bert Potter: Adam Brookfield CAST: General MacArthur: Owen Black Carol: Yvonne Martin Danny: Ben Freeth Dell: Geoffrey Heath Steve: Geoffrey Heath Cookbook: Juliet Reynolds-Midgely Bud Jnr: Jared Corbin Paul/Chorus B: Owen Black Jill: Kathleen Burns Daisy: June Harvest Jack: Jonathan Martin Braegen: Naomi Ferguson Total attendance: 217 26 Jun 2016 Total attendance: 233 Total attendance: 202 12 Jun 2016 19 Jun 2016 *By arrangement with Playmarket. 24 EDUCATION MANAGER 2016 Report
he Court Education Programme employment at The Court as well as development workshops were held for continued to grow and develop in internship opportunities. teachers and artists, including workshops T2016. Improvisation classes, taught As part of the Macbeth and Waiora by Fergus Aitken in Mime and Movement by Court Jesters, were well attended seasons, school matinees and education and Massive Theatre Company in Devising with 288 students throughout the year packs were made available for teachers, reaching a total of 40 participants. (spread over four adult and two youth students and home-school learners. Opportunities to deepen engagement classes per week during term time). 547 individuals took a backstage tour with Main Stage and Forge works were Showcases were presented each term in 2016, with groups ranging from U3As developed including The Great Kate Chase at various venues including Orange to school groups and members of the (to support the season of That Bloody Studios, Heaton Intermediate School public. Woman) and the Waiora Community Gala. and The Pub Charity Studio. Internships and work experience Bespoke tutoring sessions for Our offer to children and young placements supported young people schools and community groups were people included intensive school holiday entering the creative industries. held throughout the year, including programmes which were held in April, Interns were hosted across multiple professional development in creative July and August; and regular drama departments including marketing, learning for primary school teachers; classes throughout the school terms. costume, directing and set design/ workshops for drama students in These programmes enabled 268 children construction. Shakespeare, audition technique, and young people to develop skills and The Youth Ambassador Programme absurdist theatre and other specific talents in theatre and performance. empowered 37 nominated students 2016 was The Court Youth Company from Canterbury schools to engage with forms; and community workshops with and The Court Youth Crew’s third year the theatre and to represent The Court’s partners. in action. The Youth Company was work in schools. In addition to attending To mark 2016 as the 400th anniversary selected by audition and 22 young performances and receiving discounted of Shakespeare’s death we hosted The people were accepted for the year-long tickets, Ambassadors had opportunities Sheilah Winn Canterbury Final on the training programme. Duets 2016, directed such as review-writing workshops, Tonkin and Taylor Main Stage. by Daniel Pengelly and Dan Bain, was backstage tours and practical theatre Community partners throughout 2016 mounted in June, showcasing their sessions. include Dementia Canterbury, Birthright talents with self-devised duos and solos The Theatresports™ programme had and The Cube, developing projects and performed in The Pub Charity Studio. 38 teams competing in Canterbury. The opportunities which offer participation to Lysistrata by Aristophanes, a youthful Court supported competitions in Nelson people who might otherwise not access reimagining of this classic text directed and Dunedin through collaboration with and engage with the arts. by Holly Chappell, was performed in Body in Space and the Fortune Theatre: We are so grateful for the hard work December at the Papa Hou Theatre the winners joined us for the South and commitment of our tutors and the (YMCA) to sold-out houses. Island Finals. Alongside the programme support of our partners and funders who The Youth Crew comprised of eight training, teams were also tutored by The make this work possible. young people spent the year developing Court Jesters in a number of schools technical knowledge and skills - across Canterbury. Rachel Sears members have since been offered casual Master classes and professional - Education Manager
The Farina Thompson Charitable Trust 25 MATARIKI – THE LITTLE EYES IN THE SKY created by Rutene Spooner and Holly Chappell
PRODUCTION: CAST/DEVISORS: Funded performances for Director: Holly Chappell Kim Garrett low decile schools thanks to Co-Creator: Rutene Spooner Justin Rogers the support of the Designer: Owen McCarthy Laura Hasson Pamela Webb Stage Manager: Jo Bunce Charitable Trust Assistant Stage Manager: Lydia Foate Total attendance: 11,250 30 May – 6 July 2016, performed to 21 schools around Canterbury 26 DUETS devised and performed by The Court Youth Company
PRODUCTION: Group B Director: Daniel Pengelly Harry Stanley and Sam McLean Assistant Directors: Dan Bain and Tom Eason Rachel Pugh Stage Manager and Operator: Jo Bunce Ola Ratka and Sophia Benter-Lynch Adelaide Perry CAST: Vincent Andrew-Scammell Group A Maddie Harris and Benji Clark William Burns and Electra Scott Jacob Kuek Total attendance: 464 Isabelle Kennedy and Georgia Doyle 23-25 Jun 2016 Nick Cheesebrough Calvin Kruger and Rosie Gilmore Jesse Ranson Millie Hanford and Patrick James
LYSISTRATA by Aristophanes Created by Holly Chappell, Tom Eason, Eden Cotter-Longworth and The Company
PRODUCTION: Maddie Harris Director: by Holly Chappell Patrick James Stage Manager: Eden Cotter-Longworth Isabelle Kennedy Stage Management Mentor: Jo Bunce Calvin Kruger Jacob Kuek Featuring The Court Youth Company: Sam Mclean Vincent Andrew- Scammell Tigerlily Perry Sophia Benter-Lynch Rachel Pugh William Burns Ola Ratka Alice Cheersmith Electra Scott Nick Cheesebrough Harry Stanley Benji Clark Georgia Doyle Performed at the Papa Hou Theatre at the YMCA Rosie Gilmore Total attendance: 229 Millie Hanford 8-10 December 2016 27 COURT COMPANY
Chief Executive Philip Aldridge ONZM Properties Coordinator Christy Lassen Artistic Director Ross Gumbley Properties Assistants Danielle Ferreira Beckner (until Feb) Development Manager Steve Brooker Lydia Foate (until Feb) Production Manager Mandy Perry (until Feb) Head Stage Manager Jo Bunce (from Nov) Charlotte Lloyd (Feb-Dec) Stage Managers Jo Bunce (until Nov) Flore Charbonnier (from Dec) Ashlyn Smith Business Manager Sarah Pugh Head Technician Giles Tanner Literary Manager Allison Horsley (until Sep) House Technician Sean Hawkins Roanna Dalziel (from Oct) I.T. Support Peter Booth (until Jun) Associate Director Dan Pengelly R & M Support Terry Preddy Marketing Manager Rob Wiley (until May) Subscriptions Consultant Lucy Porter Jeff Clark (from May) BASE @ The Court Manager Rod Thompson (from Sep) Communications Manager Wendy Riley (until Sep) Bar Supervisor/VIP Host Kay Lynch (Mar-Oct) Samantha McConnell (From Oct) Christine Weston (from Dec) Communications Assistant Kineta Knight Brooker (Oct) Front of House Alice Norton Graphic Designer Nick King (from Nov) Anthea Johnson Ticketing Manager Michael Berry Avril Lockhead Front of House Manager Roanna Dalziel (until Oct) Chris McRae House Manager Amanda Fiddes (until Dec) Chris Symon Emma Cusdin (from Dec) Christine Weston Client & Artist Manager Andrea Winder (until Oct) Claudia Leathhart Artist Manager Keren Oertly Ryan (from Oct) Emma Cusdin Relationship Manager Keren Oertly Ryan (until Oct) Fiona Haines Education Manager Rachel Sears Georgia Holibar Court Jesters Artistic Director Dan Bain Grace Irving Court Jesters Manager Dan Pengelly Isabella Aldridge Court Jesters Sales Manager Jared Corbin (Jul-Dec) Juliet Robertson Client Manager Rachel Wilson (from Sep) Kay Lynch Sponsorship Manager Lorenzo Massetti (Sep-Oct) Laurian Hemm Associate Development Manager Keith Walker (until Dec) Office Manager Annah Johnstone (from Dec) Lisa Shannon Administrative Assistants Avril Lockhead Louisa Hemm Fiona Haines Lucy Porter Margot Gray (until Nov) Nicky Marshall Kahapai Toi Noam Wegner (Māori and Pasifika Producer) Jared Hiakita (until July) Rachel Pugh Morehu Solomon (from Nov) Rebecca Radcliffe Costume Manager Sarah Douglas Rosie Brailsford Costume Department Deborah Moor Shanna Howden Louise Galloway Tara Swadi Tina Hutchison-Thomas Terry McCarten Construction Manager Ioan Bramhall (from Apr) Tim Bain Workshop Supervisor Nigel Kerr Vincent Andrew Scammell Set Construction Henri Kerr Theatre Chaplain Peter Beck (until Apr) Maurice Kidd (until Sep) David Winfield (from Apr) 2828 COURT COMPANY 2016
Richard Daem COURT JESTERS Rob Hood Artistic Director Dan Bain SUPPORTERS Manager Dan Pengelly Patron Dame Adrienne Stewart DNZM, QSM Jesters Andrew Todd Chair David Winfield Ben Allan Honorary Secretary Judy Ashton Brendon Bennetts Criss Grueber Honorary Treasurer Aileen Wyld Derek Flores Honorary Membership Emma Brittenden Secretary Jay Pollock Henri Nelis Committee Annie Bonifant Jared Corbin Cheryl Colley Jarred Skelton David McBrearty (until Apr) Jeff Clark David Sutherland Kathleen Burns Johanna McCord Kirsty Gillespie John McSweeney Robbie Hunt Pat Braithwaite Scott Koorey Wendy Carryer Tara Swadi Vanessa Wells FOUNDATION Jester Musicians Hamish Oliver Patron Lady Stewart QSO Katie Cowan Kris Finnerty Chair Jenny Reeve (until Nov) Matt Everingham Catherine Boyer (from Nov) Nicky Marshall Secretary John Harrison (until Jul) Thomas Harris John McSweeney (Jul-Nov) Apprentices Cameron McLeod (until Oct) Board Catherine Boyer (Apr-Nov) Emily Burns (until Feb) David McBrearty Kim Garrett (until May) Laura Palimino De Forbes (from Dec) Vincent Andrew Scammell John Holland (from Sep) John McSweeney (until Jul) ASSOCIATES Bryan Aitken Tina Duncan Brian Gray Foundation Director Peter Smeele (from Sep) Derek Hargreaves MNZM Development Director Susi Haberstock (until Sep) Eilish Moran Development Manager Susi Haberstock (Sep-Dec) Elric Hooper MBE Geoffrey Heath Joe Hayes TRUST Judie Douglass Chair Steven van der Pol Lynda Milligan Secretary Derek Hargreaves MNZM Maurice Kidd Board Annie Bonifant Margaret McConney David McBrearty Paul Barrett Erin Jamieson Stewart Ross Ian Douthwaite Stuart Alderton Jane Huria CNZM Tony Geddes Stephanie Marsden Yvonne Martin Steve Wakefield Fellow of The Court John Harrison 29 PARTNERS & FUNDERS PRINCIPAL SEASON CORE FUNDER SPONSOR SPONSOR
MAJOR PARTNERS COURT 100 CLUB
PLATINUM
Health.Retail.Software
GOLD
PLATINUM PARTNERS SILVER AFI Systems Ltd Christchurch Symphony Orchestra Hargreaves & Felton Bruce & Mary Irvine Gabrielle Tasman John Rhind Ltd NZ Agriseeds Graham & Rae Ewing DIAMOND PARTNERS ACTORS IN RESIDENCE
BUSINESS PARTNERS GOLD PARTNERS Bankers Bank of New Zealand L O T Accountants Hargreaves & Felton 55 oneta INSURANCE AND INVESTMENT ADVISERS Lawyers Harmans oneta Auditors SILVER PARTNERS INSURANCE AND INVESTMENT ADVISERS PWC
CHARITABLE TRUST FUNDERS
The Pamela Webb Charitable Trust
BRONZE PARTNERS The Farina Thompson Charitable Trust
The Elizabeth Ball Charitable Trust
3030 31 3232 33 3434 35 3636 37 3838 39 4040 41 4242 43 4444 45
Independent auditor’s report To the Trustees of The Court Theatre Trust
The Court Theatre Trust’s financial statements comprise: the statement of financial position as at 31 December 2016; the statement of comprehensive revenue and expense for the year then ended; the statement of changes in equity for the year then ended; the statement of cash flows for the year then ended; and the notes to the financial statements, which include a summary of significant accounting policies.
Our opinion In our opinion the financial statements of The Court Theatre Trust (the Trust) present fairly, in all material respects, the financial position of the Trust as at 31 December 2016, its financial performance and its cash flows for the year then ended in accordance with the Public Benefit Entity Standards Reduced Disclosure Regime.
Basis for opinion We conducted our audit in accordance with International Standards on Auditing (New Zealand) (ISAs NZ) and International Standards on Auditing (ISAs). Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
We are independent of the Trust in accordance with Professional and Ethical Standard 1 (Revised) Code of Ethics for Assurance Practitioners (PES 1) issued by the New Zealand Auditing and Assurance Standards Board and the International Ethics Standards Board for Accountants’ Code of Ethics for Professional Accountants (IESBA Code), and we have fulfilled our other ethical responsibilities in accordance with these requirements.
Other than in our capacity as auditor we have no relationship with, or interests in, the Trust.
Information other than the financial statements and auditor’s report The Trustees are responsible for the annual report. Our opinion on the financial statements does not cover the other information included in the annual report and we do not express any form of assurance conclusion on the other information.
In connection with our audit of the financial statements, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the audit, or otherwise appears to be materially misstated. If, based on the work we have performed on the other information that we obtained prior to the date of this auditor’s report, we conclude that there is a material misstatement of this other information, we are required to report that fact.
PricewaterhouseCoopers PwC Centre, Level 4, 60 Cashel Street, Christchurch Central, PO Box 13244, Christchurch 8141, New Zealand T: +64 3 374 3000, F: +64 3 374 3001, pwc.co.nz 4646
esponsi ilities of the rustees for the financial statements The Trustees are responsi le, on ehalf of the Trust, for the preparation and fair presentation of the financial statements in accordance with the u lic Benefit Entit Standards educed isclosure e ime, and for such internal control as the Trustees determine is necessar to ena le the preparation of financial statements that are free from material misstatement, whether due to fraud or error
In preparin the financial statements, the Trustees are responsi le for assessin the Trust’s ability to continue as a oin concern, disclosin , as applica le, matters related to oin concern and usin the oin concern asis of accountin unless the Trustees either intend to li uidate the Trust or to cease operations, or ha e no realistic alternati e ut to do so
Auditor’s responsi ilities for the audit of the financial statements ur o ecti es are to o tain reasona le assurance a out whether the financial statements, as a whole, are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion easona le assurance is a hi h le el of assurance, ut is not a uarantee that an audit conducted in accordance with ISAs and ISAs will alwa s detect a material misstatement when it e ists isstatements can arise from fraud or error and are considered material if, indi iduall or in the a re ate, the could reasona l e e pected to influence the economic decisions of users ta en on the asis of these financial statements
A further description of our responsi ilities for the audit of the financial statements is located at the E ternal Reporting Board’s website at: https: r o t n Site Auditin Assurance Standards Current Standards a e asp
ho e report to This report is made solel to the Trustees, as a od ur audit wor has een underta en so that we might state those matters which we are required to state to them in an auditor’s report and for no other purpose To the fullest e tent permitted law, we do not accept or assume responsi ilit to an one other than the Trust and the Trustees, as a od , for our audit wor , for this report or for the opinions we ha e formed
The en a ement partner on the audit resultin in this independent auditor’s report is Nathan Wylie
or and on ehalf of:
Chartered Accountants Christchurch arch
47 The Court Theatre, PO Box 268, Christchurch, 8140. End of Bernard Street, Addington.