company b ANNUAL REPORT 2008

A Contents

Company B STORY...... 2 Key Performance Indicators ...... 30 Core Values, Principles & Mission ...... 3 Financial Report ...... 32 Chair’s Report ...... 4 Directors’ Report ...... 32 Artistic Director’s Report ...... 6 Directors’ Declaration ...... 34 General Manager’s Report ...... 8 Income Statement ...... 35 Company B STAFF...... 10 Balance Sheet ...... 36 Season 2008 ...... 11 Cash Flow Statement ...... 37 Touring ...... 20 Statement Of Changes in Equity ...... 37 B Sharp...... 22 Notes To The Financial Statements ...... 38 Education ...... 24 Independent Audit declaration Creative & ARTISTIC Development ...... 26 & Report ...... 49 Community Access & Awards ...... 27 Donors, Partners & Government Supporters ...... 28

1 The Company B Story

Company B sprang into being out of the unique action taken to save Landmark productions like Cloudstreet, The Judas Kiss, The Alchemist, Core Values the Nimrod Theatre building from demolition in 1984. Rather than Hamlet, Waiting for Godot, Gulpilil, , Stuff Happens, lose a performance space in inner city , more than 600 arts, Keating!, Parramatta Girls, Exit the King, Who’s Afraid of Virginia Woolf? entertainment and media professionals as well as ardent theatre lovers, and Toy Symphony have consolidated Company B’s position as one of & Principles formed a syndicate to buy the building. The syndicate included nearly ’s most innovative and acclaimed theatre companies. Company B every successful person in Australian show business. also supports outstanding independent theatre companies through its . Belief in the primacy of the artistic process annual B Sharp Season. . Company B is one of Australia’s most celebrated theatre companies. Clarity and playfulness in storytelling Under the artistic leadership of , the company performs Company B receives government support for its activities from the . A sense of the community within the theatrical environment at its home at Belvoir St Theatre in Surry Hills, Sydney and from Federal Government through the Major Performing Arts Board of the . A responsiveness to current social and political issues there tours to major arts centres and festivals both nationally and Australia Council and the state government through Arts NSW. . internationally. Company B engages Australia’s most prominent and Equality, ethical standards and shared ownership of artistic and company achievements promising playwrights, directors, actors and designers to present an . Development of our performers, artists and staff annual artistic program that is razor-sharp, popular and challenging.

Belvoir St Theatre’s greatly loved Upstairs and Downstairs stages have been the artistic watering holes of many of Australia’s great performing artists such as Geoffrey , , Jacqueline McKenzie, Mission Noah Taylor, , Max Cullen, Bille Brown, , and Catherine McClements. To produce theatrical works from a shared vision that question and affirm our culture, extend and develop our artists and provide audiences with experiences of imaginative daring and emotional depth.

2 3 Federal Government through the Australia Council emerging directors, script development, longer clear enough, in particular the independence of and Arts NSW. The model under which this rehearsal periods and building productions of the companies whose works form part of the Chair’s Report funding is provided is currently being reviewed scale. Our target for this fund is $1 million over season. We have now added a plaque outside for the 2011–2013 financial years. That review four years. Of this, so far external donors have the Downstairs Theatre and to our programs process began last year and we continue to work committed $350,000 and the Company itself in an effort to ensure there is no confusion. Early in the year, Brenna Hobson returned to the with Company B’s philosophy of sharing financial on submissions that may assist the Australia contributed $250,000 to a 10% interest in Shane We are also negotiating with the MEAA for a company as General Manager, having expanded her success with its collaborators whenever possible. Council and Arts NSW in determining the most Warne The Musical, supporting many of the recommended contract to be provided to artists production experience at Bangarra Dance Theatre As you know, Belvoir St Theatre Limited (BSTL) appropriate form of that funding. artists that contributed to the success of Keating!. by those companies so that the terms of their and worked as General Manager of Jigsaw Theatre is the owner of the refurbished theatre and Profits from any projects assisted by the Creative participation is clear. Company in Canberra. Whatever the combination, A significant issue we are grappling with is warehouse. The total cost of the building project Development Fund will be reinvested in the Fund. it has worked. From the time Brenna assumed the our long-standing wage parity policy, under There were a number of changes to the Board in was over $12 million. Company B was largely role of General Manager, it has felt right. And the which each member of staff – performers, Another issue that has occupied the Board is 2008. Sadly, Orli Wargon’s six year term came responsible for fundraising and lent the funds to year has not been without its challenges. administration, box office and bar – is paid ensuring that the relationship between to an end at the May AGM. As Neil said, Orli’s BSTL to allow it to pay for the building and works. the same hourly rate of just over $25 per hour. B Sharp and the independent companies whose time on the board had passed very quickly, it had Our artistic successes were remarkable. Some In 2007, Company B was able to advise BSTL During 2008 the company agreed that while productions form part of the B Sharp Season been fruitful and personal, and she was a great of these were acknowledged by awards won, that we would not require repayment of $1 million the wage parity policy is consistent with the is well articulated. Each year B Sharp selects barometer of common sense. We welcomed such as Helpmann and Australian Business Arts of loans provided, leaving BSTL with remaining company’s roots, it can make it very difficult to and curates a season of works by independent Ann Sherry AO to fill the vacancy left by Orli. Foundation awards. Others were acknowledged by debt to Company B of about $500,000. Well attract, and in some cases retain, excellent artists production companies, providing them with the Andrew Cameron joined the Finance Committee you, the audience and supporters of Company B. the great news from 2008, is that given the As I write this we have returned to more usual and staff. So we are currently looking at the opportunity to present theatre in the professional ably led by Michael Coleman, and Anne Britton These are detailed later in this report. surplus Company B has advised BSTL that it will financial budgets with box office targets of most appropriate way of retaining the spirit of environment of the Downstairs Theatre, with continued her enormous work with Brenna on not require repayment of that final $500,000. around $2.5m for 2009. There is considerable Financially, it was a successful year with a total Company B while also making sure we remunerate access to a purpose built B Sharp rehearsal room, issues relating to staff, such as the Collective So BSTL is now debt free, owning the buildings uncertainty as to where the current financial of over $11 million in revenue, of which over $8 all of our artists and staff fairly. Any change will Company B’s box office and marketing, and the Agreement. Special mention must also be made outright. They are occupied mainly by Company B crisis will lead us, but I am confident that we million was in box office takings. The centrepiece require additional government funding. In 2008 benefit of the Macquarie Group Foundation’s of Mary Vallentine and her ability to summarise as tenant under a lease agreement negotiated have the team in place to meet the challenges of our financial success wasKeating! that closed we began planning for this. three year commitment to B Sharp. In return and clarify tricky issues. between the two companies. Like any negotiation, and to react as best we can, minimising any in the middle of the year after a total of about Company B receives a small share of box office it was not without moments of tension, but we Consistent with our objective of always pulling our On behalf of the Finance Committee and the adverse effect on Company B and its work, so 400 shows over three years, having been seen by takings as a way of partially covering costs. The are all satisfied with the end result. weight, we established the Creative Development Board of Company B I would like to thank Richard ably led by Brenna and Neil. over 250,000 people across the country. arrangement has always been structured in this Fund. The Creative Development Fund will Drysdale and Ann Brown for their continued The other major regular source of income is our way; in fact Company B is providing more support Louise Herron, Chair What did this continued extraordinary financial provide funds for the areas that are crucial yet superb work in the area of business management government funding. The funding is under a three to the program than ever before. We were success allow us to do? We were pleased to be able expensive, and not able to be funded from our and finance. year arrangement, contributed equally by the concerned that this may not have been made to pay artists and staff a welcome bonus, consistent normal operating budget. These include funding

4 5 Steve Toulmin combined to create a beautiful this company of great musicians, performers and Artistic Director’s Report soundscape and score and Nigel Levings, in a crew who kept Casey Bennetto’s groundbreaking welcome return to our Upstairs Theatre stage, lit show delivering miraculously night after night to the production with great craft and sensitivity. so many for so long.

I’m writing this one week after the adventure of St; with a choir of Pitjantjatjara women raising and with designers Nick Dare and Jo Briscoe he For some years Dallas Winmar has, with And in the Downstairs Theatre B Sharp continued Exit the King opening on Broadway. It’s a waste their voices into glorious threnody in the centre directed a beautifully clear and savage reading of director , been developing her its spiralling success. We are so energised and of time spending your working life hoping to of the stage – was an event to treasure for a Martin McDonaugh’s chilling black comedy The play Yibiyung, a retelling of her grandmother’s humbled by those independent companies who get a show up on Broadway, but when the stars lifetime. Pillowman. A great quartet of performers: Dan experiences of growing up at the mercy of the bring so much passion, commitment and talent align and the opportunity arises, and even better, Wyllie and Marton Csokas as detectives Ariel Western Australian Protector of Aborigines, to our vibrant little Downstairs Theatre. began The Seed as a response to when it seems to be a ‘hit’ then the pleasure is and Tupolski, and and Steve separated from family and friends and sent out the Philip Parsons Young Playwrights’ Award. It Company B belongs to its artists, its staff and pretty visceral. Rodgers as Katurian and Michael, made this into domestic service, until finally breaking free grew through the independent B Sharp Season its audience and I thank all of them for another bitter fairytale tragically, uncomfortably hilarious. and returning to family to begin her adult life. I think what was most satisfying was the sense under the immaculate direction of Iain Sinclair, wonderful year. I must thank our two boards, Dallas writes with a kind of sophisticated naivety that this, reputedly the most sophisticated and then developed into a full Company B One of the loveliest experiences of directing that our patrons and our sponsors, governmental and – rendering scenes of apparent simplicity with theatre audience in the world, was sitting up and production in the Upstairs Theatre with all of I’ve had in years was working with the wonderful private. great depth and emotional and psychological taking notice of a production style and a way of its young creative team supporting the trio of group of performers in Wajdi Mouawad’s epic revelation. Many wonderful performances were Before finishing I should acknowledge the sad acting – an approach to theatre – that has been brilliant performances by Martin Vaughn, Danny tale of dispossession, alienation and ultimately lead by Miranda Tapsell (with thanks to NIDA!) passing during the last year of the following developing at Belvoir St for years and years. It Adcock and Kate herself. The Seed has become a transcendent reconnection, Scorched. On as Yibiyung and Jimi Bani as Smiley. artists: And I must thank Brenna Hobson for her return was a triumph for Company B. modern classic of our theatre and as I write this, Stephen Curtis’ beautiful space of sand covering to Belvoir after a couple of years of being away, a year later, the production is enjoying a tour of an intricate Islamic pattern, in Anna Borghesi’s And completing the year was the English comedy • The great actors Aunty Dot Collard (No Back to home base, the year swang into action to take her place in the great succession of communities and cities across Australia. superbly judged costumes, a tale was told double act Ridiculusmus – David Woods and Sugar, Aliwa!) and Frank Gallacher (The with the Sydney Festival presentation of women who have held the crucial role of General both ancient and frighteningly current. Arabic Jon Haynes – performing both their notorious Lieutenant of Inishmore) Ngapartji Ngapartji, directed by Scott Rankin. Also building on his success over several years in Manager of Company B. Thanks again. kids from some of Sydney’s roughest schools The Importance of Being Earnest and the new This show – with Trevor Jamieson at the centre B Sharp, director Chris Kohn delivered • The great agent John Cann (agent and came to this play and sat there for three hours disturbing take on Western sex tourism, Tough Neil Armfield, Artistic Director of this devastating recounting of his own family’s a highly original production of Sophocles great lifeline for so many of our artists and mesmerised – it was their families’ own stories time nice time. story; with his own brother onstage behind play Antigone – with great performances shows, in particular Gulpilil) being told. The uniformly brilliant cast saw him reliving his own incarceration; with Albert particularly from Deb Mailman, Gillian Jones and, And down in the York Theatre as well as just outstanding performances from Ashley Lyons • The great production coordinator and props Namatjira’s tribal grandson Elton Wirri, a piece just out of NIDA Pacharo Mzembe. about every other theatre in the country was and Yael Stone as the twins, Brian Lipson as the maker Sam Richards (who worked for of chalk in his hand nightly retracing the ghostly Keating!, completing its amazing almost two For some years now Craig Ilott has been revealing hapless lawyer Alphonse Lebel, Hazem Shammas Company B from 2005–2007). echo of his country on the black walls of Belvoir year run of performances. We are so indebted to himself as a director of vision and authority, and Gillian Jones. Carl Dewhurst, Alan John and

6 7 anticipated and brilliantly received season in steadfast supporters of Company B along with SOS Brisbane before finishing up in Sydney at the Print & Media. The Sydney Morning Herald and General Manager’s Report Seymour Centre for its fourth season there on Woolcott Research helped us communicate with our 31 August. Along the way it delighted thousands audience and then evaluate how we’ve been faring, of audience members and generated many weeks and the Macquarie Group Foundation has continued The last few years have been a cycle of that we have properly settled into our redeveloped on our Upstairs Stage in 2001, and we were of extra employment for a wonderful cast and its support of the B Sharp program. wonderful triumph with works like Keating!, theatre and rehearsal spaces we are turning our thrilled to be able to share it with our colleagues crew. In a show of firsts for Company BKeating! Exit the King and Who’s Afraid of Virginia attention back to the creation of new work. We at . The option to renew our It was particularly pleasing to win two Australian also marked the first time we have been part of a Woolf?, and enormously hard work under need to give our artists the room to dream big relationship with Big hART through Ngapartji Business Arts Foundation awards alongside our live broadcast. A joint initiative between Company difficult circumstances as the vital building dreams, test new ideas and occasionally try things Ngapartji was also very welcome and often Education Partners, Freehills. The two organisations B, the Australia Council and the Australian redevelopment did what building projects do; ran that don’t work. It’s a huge undertaking but one great fun, as anyone who has now sung ‘Heads, won the National Awards in the Australia Broadcasting Corporation saw Keating! filmed in late and over budget, involved more work than that we think is vital to ensuring that we have new Shoulders, Knees and Toes’ in Pitjantjatjara with Council Work with Young People and the Toyota front of one of our regular audiences and broadcast anyone could have imagined and then finally, with Australian stories and high calibre artists to create 320 other audience members will attest. Community Award categories. This recognition is live on ABC2 as well as the eight Australian Film an exhausted staff and Board, delivered what them. We are pleased to have launched a Creative a timely acknowledgement of the work with young 2008 was a year in which three of the directors in Commission regional screens around the country. everyone knew it could. It is fitting then that Development Fund under the never tiring eye of people that Freehills and Company B have been the Upstairs Theatre were new to mainstage work: We are thrilled to have been able to work with the 2008 represented the chance for Company B Louise Herron to enable us to fulfil these dreams. committed to for over five years. Iain Sinclair (The Seed), Chris Kohn (Antigone) above organisations to give audiences in regional to do some self assessment and to address the There were a number of projects in our 2008 and Craig Ilott. Iain and Chris had worked in the and remote Australia the chance to see such Our individual donors too, many of whom have areas where we had been working people too Season that made us particularly proud. The Downstairs Theatre before through B Sharp and an uplifting piece of theatre. We subsequently been with us for many years were again supportive fantastic eleven years in the Production Department hard for too long. To that end we welcome staff Seed, which started life as a Philip Parsons’ Craig Ilott had performed for Company B but his released a DVD of the broadcast through Madman in 2008. Whether they are people who give before spending time with Bangarra Dance Theatre members to newly created roles in the Education, commission before being produced by Sam scathingly funny production of Martin McDonagh’s Entertainment so even though the production has what they can to special appeals, B Keepers, the and Jigsaw Theatre Company in Canberra. I’d like to Production, Marketing and Literary departments. Hawker and Mimmam Productions for the 2007 The Pillowman was his directorial debut for us. finally closed you can still relive the moment. Chair’s Group or our wonderful major donors to thank the entire staff and both boards for a year of 2008 was also the year that the Major Performing B Sharp Season, transferred to the Upstairs Stage Providing opportunities to emerging directors is the Creative Development Fund, individual donors brilliant support and enthusiasm – it’s not always Again in 2008 we have received wonderful and Arts organisations received additional funding to to great acclaim. We are particularly pleased essential to the ongoing vibrancy of our industry contribute an enormous amount to Company B. easy having a new general manager to train up but much needed support from a number of sponsors. improve artistic vibrancy in a joint initiative between that this production has allowed us to renew and we are happy to be contributing. The money that they give often goes to high risk everyone has responded with enormous grace and Optus, now in their second decade with us as state and federal governments. Details about our relationship with the some of the smaller work, which takes vision and trust to contribute good humour. Finally to Neil, who believed that the The juggernaut that is Keating! kept on keeping Corporate Partner, continued to assist us in government funding are often dry but in this case Australian venues as it embarks on a three month to, and we thank every one of them. kid he first met as a 17-year-old assistant stage on in 2008. The production returned to and our development. They also helped to provide the additional funding has meant that we have tour of regional Australia this year (but that’s for manager could be trusted with running his company Melbourne then travelled to Geelong, , community access to our work through their On a personal note 2008 represented a bit of a been able to begin some really exciting creative next year’s report). Yibiyung too was the result 15 years later, thanks. Penrith, the Casula Powerhouse in Liverpool, the support of our unwaged performances. Getronics, homecoming for me and I have to say I’m thrilled to development projects, the results of some of which of a Company B commission to Dallas Winmar Gold Coast, Canberra, Newcastle and a highly Baker & McKenzie and Ernst & Young remained be back. I started at Company B in 1994 and spent a Brenna Hobson, General Manager we hope to have on our stages in the future. Now who wrote the wonderful Aliwa!, which appeared

8 9 ARTISTIC & DOWNSTAIRS TECHNICAL MANAGER PROGRAMMING Eddi Goodfellow until 21.01.08 Teegan Lee from 22.07.08 ARTISTIC DIRECTOR COSTUME COORDINATOR Neil Armfield AO Judy Tanner SEASON 2008 GENERAL MANAGER Vicki Middleton until 24.02.08 COMPANY B BOARD OF DIRECTORS FRONT OF HOUSE Brenna Hobson from 04.02.08 FRONT OF HOUSE MANAGER Neil Armfield AO, Anne Britton, Andrew Cameron, Michael Coleman ASSOCIATE ARTISTs Damien Storer , Gail Hambly from 27.01.09, Louise Herron, from 01.01.08 ASSISTANT FRONT OF HOUSE MANAGER Brenna Hobson from 18.02.08, Vicki Middleton until 22.02.08, Wesley Enoch from 01.01.08 Bianca Rowe Anne Sherry AO from 24.09.08, Brian Thomson AM, artistic Associate BAR STAFF Mary Vallentine AO, Orli Wagon until 25.05.08 Eamon Flack Emily Brennan, Alexander Bryant- literary associate Smith, Georgina Buchanan, from 12.05.08 FINANCE & OPERATIONS DEVELOPMENT Ann Marje Bussink, Sophie Cook, DOWNSTAIRS THEATRE DIRECTOR HEAD OF FINANCE & OPERATIONS PHILANTHROPY MANAGER Rebecca Irwin, Kallista Kaval, Annette Madden from 21.01.08 Richard Drysdale Christine Sammers Bridget LeMay, Dale March, Jessica B SHARP ASSOCIATE PRODUCER FINANCIAL ADMINISTRATOR PARTNERSHIPS MANAGERS Norman, Ashlie Pellow, Mark Sam Hawker until 25.05.08 Ann Brown Janine Collins until 01.07.08 Pritchard, Christopher Richardson, B SHARP coordinator FINANCIAL CONSULTANT Frances McDonald Jacqueline Robson, Alistair Watts Tahli Corin from 03.11.08 Sue Procter until 10.04.08 development MANAGER BOX OFFICE EDUCATION ACCOUNTS PAYABLE Janine Collins from 28.07.08 BOX OFFICE MANAGER education manager Jane Powles until 18.08.08 PRODUCTION Carly Leonard until 02.06.08 Jane May Fiona Matthews from 08.07.08 PRODUCTION MANAGER Nicole Treynor from 09.05.08 it & operations acting education manager Liam Fraser ASSISTANT BOX OFFICE MANAGERS Robyn McLean from 26.03.08 Jan S. Goldfeder PRODUCTION COORDINATOR Amanda Burns until 24.04.08 education assistant Shaun Poustie until 10.08.08 Lucy Marinelli Cathy Hunt from 18.03.08 MARKETING Eddi Goodfellow from 13.08.08 Richard Mead from 15.08.08 MARKETING MANAGER TECHNICAL MANAGER Paul Robson from 24.04.08 until 19.10.08 ADMINISTRATION Caroline Pearce until 14.03.08 Chris Mercer until 28.07.08 BOX OFFICE STAFF ARTISTIC ADMINISTRATOR Ali Gordon from 21.04.08 Chris Page from 08.12.08 Annabel Blake, Cassandra Booth, John Woodland MARKETING & Production deputy Jessica Cassar, Andrew Dillon, ADMINISTRATION COORDINATOR publications COORDINATOR Glen Dulihanty from 23.02.08 Tanya Ginori, Anna Martin, Jenna Rebekah Moore until 02.03.08 Christine Bradburn resident stage manager Martin, Timothy Maybury, Simon Natalie Wall from 21.02.08 MARKETING & DEVELOPMENT ASSISTANT Kylie Mascord until 17.08.08 Phillips, Catherine Soper, Vesna Nathalie Vallejo from 15.02.08 HEAD MECHANIST Sulic, Tahlia Trijbetz, Elizabeth PUBLICIst Thane Browne Webb, Sophie Webb Siobhan Robertson (Mollison Communications) Trevor Jamieson and members of the Ngapartji Ngapartji Choir. Photo: Heidrun Lo..hr

10 11 9 January — 10 FEBRUARY 16 february — 30 march Ngapartji Ngapartji THE SEED

Performances Total Available Tickets Total Sold Tickets Box Office Income Performances Total Available Tickets Total Sold Tickets Box Office Income 29 9,338 8,170 $306,480 47 15,134 9,480 $342,941

Written by Choir Coordinator/ Company Manager Written by Set & Costume Designer Companion Artists Scott Rankin Musician Mariaa Randall Kate Mulvany Micka Agosta Set & Costumes Co-creator/Key Beth Sometimes Production Assistant Directed by Lighting Designer Dale Ferguson Performer Key Language & Culture Jordan Wright Iain Sinclair Matt Cox Lighting Trevor Jamieson Advisor/Teacher Translators Companion Director Composer & Sound Damien Cooper Directed by Lorna Wilson Lorna Wilson, Thomas Neil Armfield Designer Sound Scott Rankin Production Manager Holder, Yumi Umiumare, Steve Toulmin Paul Charlier Musical Director Mel Robertson Najeeba Azimi, Lex Cast Stage Manager Damian Mason Stage Manager Marinos Danny Adcock Jess Smithett Kylie Mascord Set & Costume Design With Kate Mulvany Assistant Stage Assistant Stage Genevieve Dugard Jangala Jamieson, Saira Lighting Design Manager/Ceramicist Luther, Andrew MacGregor, Manager Neil Simpson Zoe Churchill Pantjiti McKenzie, Lex Nell Ranney Assistant Director Choreographer Marinos, Julie Miller, Yumi Umiumare Dani Powell Beth Sometimes, Yumi Kate Mulvany’s terrific play of family, war, The Seed has grown even Shadow Imagery Umiumare and members Creative Producer lies and inter-generational cause and more strikingly powerful Alex Kelly Richard Bradshaw of the Pitjantjatjara The DAILY TELEGRAPH Filmmaker/Arts Mentor AV System Designer community and the effect... is even better in this outing Suzy Bates Olaf Meyer Ngapartji Ngapartji Choir. The sydney morning Herald

9/10... This is the one show you shouldn’t ... an emotional, educational, The original B Sharp production of The Seed premiered at Belvoir St Downstairs Theatre miss. It’s the gift that keeps on giving effective and deeply affecting on 20 July 2007, produced by Sam Hawker for Mimmam Productions. The Sun Herald experience of Indigenous history The sydney morning Herald

Ngapartji Ngapartji was presented by Company B, Sydney Festival and Big hART, in association with Melbourne International Arts Festival, Perth International Arts Festival and .

.. .. Trevor Jamieson. Photo: Heidrun Lohr Martin Vaughan and Kate Mulvany. Photo: Heidrun Lohr 12 13 5 APRIL — 25 MAY 31 MAY — 13 JULY

The Burial at Thebes ANTIGONE a version of Sophocles’ play by Seamus Heaney THE PILLOWMAN

Performances Total Available Tickets Total Sold Tickets Box Office Income Performances Total Available Tickets Total Sold Tickets Box Office Income 48 15,696 11,488 $404,489 46 14,812 10,253 $381,348

Directed by Assistant Director Cast Written by Assistant Sound Cast Chris Kohn Janice Muller Paul Blackwell Martin McDonagh Designer Amanda Bishop Set & Costume Designer Stage Manager Katie Fitchett Directed by Chris Mercer Marton Csokas Dale Ferguson Luke McGettigan Gillian Jones Craig Ilott Fight Director Lauren Elton Lighting Designer Assistant Stage Deborah Mailman Set Designer Kyle Rowling Damon Herriman Luiz Pampolha Manager Pacharo Mzembe Nicholas Dare Stage Manager Steve Rodgers Composer & Sound Lydia Sarks Boris Radmilovich Costume Designer Kylie Mascord David Terry Designer James Saunders Jo Briscoe Assistant Stage Dan Wyllie Manager Jethro Woodward Hazem Shammas Lighting Designer Sarah Quinn Niklas Pajanti

Composer & Sound Designer Deborah Mailman... is a Chris Kohn’s production is beautifully set... Jethro Woodward splendid Antigone: unwavering, [his] multiracial casting and setting, remind us spirited and principled why, after 2,500 years, this play still resonates This riveting production, superbly directed ... compelling energy and fascination The sydney morning Herald The australian by Craig Illot and featuring some extremely The sydney morning Herald fine acting... [is] seriously good The sunday telegraph

.. .. Deborah Mailman. Photo: Heidrun Lohr Damon Herriman. Photo: Heidrun Lohr 14 15 19 JULY — 7 SEPTEMBER 13 SEPTEMBER — 26 OCTOBER SCORCHED YIBiYUNG

Performances Total Available Tickets Total Sold Tickets Box Office Income Performances Total Available Tickets Total Sold Tickets Box Office Income 57 18,354 10,081 $359,383 47 15,134 8,199 $275,835

Written by Sound Designer Cast Written by Assistant Sound Cast Wajdi Mouawad Steve Toulmin Dallas Winmar Designer Jada Alberts Translated by Assistant Director Carl Dewhurst Dramaturgy by Michael Toisuta Jimi Bani Linda Gaboriau Wayne Blair Adam Hatzimanolis Louise Gough Language & Cultural Sibylla Budd Directed by Stage Manager Gillian Jones Directed by Consultant Neil Armfield Luke McGettigan Brian Lipson Wesley Enoch Roma Winmar Russell Dykstra Set Designer Assistant Stage Ashley Lyons Set Designer Assistant Director Roxanne McDonald Stephen Curtis Manager Lucia Mastrantone Jacob Nash Kyle Morrison David Page Costume Designer Jamie Twist Zindzi Okenyo Costume Designer Stage Manager Melodie Reynolds Anna Borghesi Production Hazem Shammas Bruce McKinven Rebecca Anderson Miranda Tapsell Lighting Designer Coordinator George Spartels Lighting Designer Assistant Stage Nigel Levings Eddi Goodfellow Yael Stone Niklas Pajanti Manager Joshua Sherrin Composers Composer & Sound Carl Dewhurst & Designer Alan John Steve Francis

Melbourne The Beckett Theatre, The CUB Malthouse ... extraordinarily ... an absorbing and inspiring ... strident, eloquent and 31 October – 16 November powerful example of the power that strangely unsettling The AUSTRALIAN theatre has to tell stories The Sydney morning herald A beautiful story told with a directness and ... sweet, funny and irresistible The daily telegraph simplicity... full of boisterous good humour The sydney morning Herald and moments of delight THE AUSTRALIAN

Yibiyung was presented by Company B in association with Malthouse Melbourne.

.. .. Hazem Shammas. Photo: Heidrun Lohr Russell Dykstra and Miranda Tapsell. Photo: Heidrun Lohr 16 17 30 OCTOBER — 21 DECEMBER THE COMPANY B FESTIVAL OF RIDICULUSMUS

Performances Total Available Tickets Total Sold Tickets Box Office Income 55 18,700 14,238 $425,038

30 OCTOBER — 30 NOVEMBER 2 — 21 DECEMBER THE IMpORTANCE OF BEING EARNEST TOUGH TIME, NICE TIME

Written by Original Lighting Stage Manager Written by Lighting Designer Cast Oscar Wilde Designer Joshua Sherrin Jon Haynes & David Mischa Twitchin Jon Haynes Devised & Edited by Jo Currey Dresser Woods Stage Manager David Woods Jon Haynes, David Music & Sound Wendy Findlater Set Designers Joshua Sherrin Woods & Jude Kelly Designers Jon Haynes, David Jon Haynes, David Cast Directed by Woods & Mischa Woods, Jude Kelly & Jon Haynes Jude Kelly Twitchin Lawrence English David Woods Set & Costume Designer Zoe Atkinson Choreography (Galliard) Tough time, nice time is a Ridiculusmus production presented by Company B. Marcelle Davies It was co-commissioned by BITE:08, Barbican, London.

The Importance of Being Earnest is a Ridiculusmus production presented by Company B. It was co-commissioned by BITE:05, Barbican, London and Brisbane Powerhouse. ... strangely engaging and Tough time, nice time is an uncomfortable, unsettling in the exploration of fascinating and horribly funny piece, a truth, morality and myth glance into a dark mirror ... witty, fun and joyously Wilde’s humour... is made The Sydney morning herald The Sun herald bad-mannered strange and funny again THE DAILY TELEGRAPH The Sydney morning herald

.. .. David Woods. Photo: Heidrun Lohr Jon Haynes and David Woods. Photo: Heidrun Lohr 18 19 TOURING 9 JANUARY — 31 AUGUST KEATING! Performances Total Audience Perth Canberra 188 117,171 The Regal Canberra Theatre Centre 9 January – 3 February 3 – 8 June Written by Head of Sound Cast and band Melbourne Gold Coast Casey Bennetto Robin McCarthy Robert Bertram Directed by until 09.03.08 Brendan Coustley The Comedy Theatre Gold Coast Arts Centre Neil Armfield Simon O’Riordan Alon Ilsar 13 February – 9 March 17 – 21 June Musical Director from 10.03.08 Mike McLeish Head Mechanist Geelong Wollongong Casey Bennetto Eden Ottignon Christopher Page Geelong Performing Arts Illawarra Performing Set Designer Enio Pozzebon Company Manager Centre Arts Centre Brian Thomson Terry Serio Costume Designer Michael Norman 11 – 15 March 24 – 28 June Matthew Stuart Jennifer Irwin Stage Manager Mick Stuart Adelaide Penrith Lighting Designer Suzanne Large Damien Cooper Assistant Stage Her Majesty’s Theatre Q Theatre at the Joan Manager Choreographer 3 – 19 April Sutherland Performing John O’Connell Mel Dyer Arts Centre Brisbane Sound Designer 8 – 12 July Steve Francis Performing Associate Lighting Arts Centre, Playhouse Belrose Designer 23 April – 10 May Glen Street Theatre Brent Forsstrom-Jones 15 – 26 July Liverpool Casula Powerhouse Arts Sydney The band is again a knockout, Seeing Keating! for the ... revel in the Centre The Seymour Centre while Mike McLeish is obviously third time is still an energy, wit and 13 – 18 May 30 July – 31 August still relishing in the lead role... It invigorating theatrical talent of this really is one of those shows you experience... production Newcastle hr .. would kick yourself to miss The herald SUN THE COURIER MAIL Civic Theatre The AGE 23 – 31 May

.. .. Mike McLeish and Brendan Coustley. Photo: Heidrun Lohr Alon Ilsar, Terry Serio and Eden Ottignon. Photo: Heidrun Lohr Photo: Photo: Heidrun Lo 20 21 Belvoir St Downstairs Theatre Performances Total Available Tickets Total Sold Tickets Box Office Income B sharp 17 April – 21 December 202 16,766 11,370 $218,472*

The Philip Parsons Young Playwrights’ B Sharp is a unique partnership between categories. The Downstairs Theatre was rated B Sharp continued to generate new Ruben Guthrie Homebody/Kabul Award and Memorial Lecture Company B and small independent theatre by Time Out Sydney as one of the top three opportunities for independent artists murri fulla films Sam Hawker & companies that aims to support developing theatre venues in Sydney, presenting “some including a forum addressing the current Kristy Edmunds (Artistic Director 2005–2008, 17 April – 11 May Tangent Productions theatre practice and showcase fantastic of the most exciting drama available” with state and future of independent theatre in Melbourne International Arts Festival and Head, 11 September – theatrical work in a nurturing mainstream the diversity of the work in the 2008 season Sydney, and facilitating three ‘Navigating My Name is VCA Performing Arts) delivered the 2008 Philip 5 October environment. The B Sharp season delivers a being one of its drawcards. and Negotiating Connection’ workshops Rachel Corrie Parsons Memorial Lecture on 16 November in vibrant range of dynamic small-scale works in partnership with the Australia Council’s Bareboards Killer Joe In 2008 B Sharp launched a three year the Upstairs Theatre at Belvoir St. Edmunds Productions inspired by big visions and big hearts: new Theatre Board. A Downstairs sub-committee Adam Booth partnership with the Macquarie Group gave a stirring speech on the topic of ‘Why 14 May – 8 June Australian work, reinvented classics and of independent theatre representatives has 9 October – Foundation that provides visionary support Contemporary Performance Matters’, discussing the very best of contemporary international also been established to facilitate ongoing Miss Julie 2 November for creative development, increased what keeps it vital and what threatens its role writing. discussion and dialogue in the sector. Vanilla Productions marketing support and a dedicated rehearsal in the current climate. A View of 11 – 22 June 2008 was a remarkable year for B Sharp on space for B Sharp companies. Through the 2008 Programming Concrete The Philip Parsons Young Playwrights’ Award all fronts. A season of artistic excellence was creative development strand B Sharp can be Spring Awakening MPower Youth The 2008 season showcased a remarkable is presented annually to a writer under the age Productions reflected in the box office results with three truly responsive and nurture a variety The Hayloft Project mix of work and artistic voices featuring of 35 whose work demonstrates an original and 5 – 23 November sell out shows (Ruben Guthrie, An Oak Tree, of emerging theatrical voices – something 25 June – 13 July three new Australian plays (two of which compelling theatrical voice. The 2008 finalists Killer Joe) and all ten shows exceeding their that is crucial to the independent sector Queen C were world premieres), two re-envisaged were Khoa Do, Jonathan Gavin and Caleb Lewis An Oak Tree box office targets. The reach and profile of and the continued development of Australian Sauna Productions classics and five contemporary international with the judging panel selecting Khoa Do and Ride On the program continues to grow and draw new culture. & inc. studios plays (including two Australian premieres). commissioning his play 100 Years of Happiness. 16 July – 10 August audiences with the total number of patrons 27 November – In 2008 B Sharp re-branded and launched Ruben Guthrie was the result of a Philip attending B Sharp productions across the Annette Madden Bumming with Jane 21 December a new visual identity. This has created Parsons Young Playwrights’ Award season increasing by 36% from 2007. All Downstairs Theatre Director Collide a unified and recognisable look for the commission. B Sharp has also embarked four nominations in the Best Independent 13 August – 7 September season’s marketing material which has on a new programming process of moving Production category at the Sydney Theatre increased exposure and strengthened the B towards a model of open dialogue and Awards were B Sharp productions and overall Sharp brand. rolling programming. B Sharp artists were nominated across eight *The majority of B Sharp box office income is returned to the independent production companies. Cosmo Polke. Photo: Alex Craig

22 23 4,185 students attended a Company B matinee productions at Company B. Thank you all for Workshops in ‘Teaching Lighting and Lighting Work Experience Program Youth Express: Youth Engagement Project performance for schools. such opportunities. Teacher, North Sydney Design in the Classroom’, ‘Teaching Costume Design Company B accepts high-school students for work In 2008 with the support of the City of Sydney and Education Girls’ High School (after seeing Antigone). in the Classroom’, ‘Teaching Set and Set Design Many schools also booked evening performances. experience. The aim of the program is to offer private donors, Company B completed another highly in the Classroom’ and ‘Approaches to Theatre for Schools take out an evening season package or students a snapshot of all areas of the company’s successful year of our Youth Express Project which School Workshops the English Classroom’ were held with teachers Company B recognises the role that theatre plays book one or two performances during the year. artistic and administrative operations. In 2008, 17 was run with Key College and Marist Youth Care. travelling from as far away as Tamworth, Ballina, for high school students; not only as part of their More than 2,824 high school students attended In 2008 Company B continued its In School students completed one week of work experience and Cootamundra and Griffith. The young people attending Key College, Surry Hills education but so they might engage as current and an evening performance in 2008. Workshop Series. Twenty-four workshops 12 students completed a week of work placement as (a ‘Youth Off the Streets’ accredited high school) life-long participants in the arts. were held at schools throughout Sydney and at Far exceeded my expectations! I am finally part of their VET Entertainment Certificate. Company B’s Priority Funded Schools Program and Marist Youth Care are acutely disadvantaged Company B for schools. Workshops in playwriting, feeling confident when my students say they In 2008 we had the continued support of continued in 2008 thanks to the support of youth working to overcome immense trauma, costume design, set design, lighting and would like to take on design. Teacher from Additional Projects our Education Partner Freehills. Company B Freehills. This program provides free tickets to neglect or abuse. lighting design, monologue performance, stage Narrabeen about the ‘Teaching Costume & Costume aims to give students as much access to our our school matinee performances for students Performance Alive!: Workshops for Students management, directing, and Brecht and political Design in the Classroom’ Workshop. For four years Company B has worked in partnership productions, both on stage and behind the who would otherwise not be able to attend due and Teachers in Regional NSW theatre were offered. Workshops ran for two hours with these schools to provide a performing arts scenes, as possible. This aim is delivered to socio-economic circumstances or the distance The most comprehensive workshop I’ve done for and were conducted by artists associated with Funding from the Westpac Foundation, Vincent program that aims to increase the self-esteem, through the following strategies: they live from Sydney. drama and entertainment teaching purposes. Company B and B Sharp. Over 500 secondary Fairfax Family Foundation and Arts NSW allowed communication skills, social awareness and coping Teacher from Ballina about the ‘Teaching Lighting Company B to continue its regional schools School Attendance at Performances 775 students from 23 different high schools school students participated in a workshop at their mechanisms of those involved. The participants and Lighting Design’ Workshop. attended a Company B matinee under our Priority school or at Company B in 2008. workshops program for students and teachers take part in six months of theatre skills workshops In 2008 over 7,000 high school students Funded Schools program or with the support of outside the Sydney metropolitan area. culminating in a public performance of a self- attended a Company B production. Company B also ran four specialised talks for E-newsletters a travel subsidy. Funding from Arts NSW made devised piece of theatre in the Downstairs Theatre students at the theatre. These included talks given In 2008, 178 students from 23 different high Up to four schools’ performances were scheduled travel subsidies and, where necessary, additional Company B Education values their strong network at Belvoir St. Participants also attend performances by Company B’s Artistic Associate Wesley Enoch schools participated in the workshops for students mid-week during each production season. tickets available for regional schools. Students of teachers and keeps them updated through throughout the year from the Company B and Chris Kohn on directing Yibiyung and Antigone. at regional locations around NSW. Tickets were sold as single tickets or through from Richmond River, Tamworth, Nambucca email announcements, lucky draws and our subscription season in the Upstairs Theatre. In addition 40 teachers participated in professional a mini-subscription. Heads and Moree were able to travel to Sydney regular quarterly newsletter. Currently we have 811 Professional Development Workshops In the second half of 2008 with a view to further teachers receiving our email newsletter including development workshops at four different regional to attend a Company B production thanks to this for Teachers Teachers notes were distributed to more than centres in NSW. extending our Youth Express Project we established travel subsidy. teachers from South Australia, , 198 schools and were also made available In 2008 Company B ran five professional some new partner organisations in preparation for Queensland and the Northern Territory. We This program provided NSW high school students online. Question and answer session were I love what you are doing. It’s wonderful to development workshops for teachers. the 2009 program with Mission Australia’s Creative have taken a further step to focus our marketing and teachers from Wagga Wagga to Tamworth held with the cast and crew after each school give the students the opportunity to see Youth Initiatives, Twenty 10 and Red Cross Young A total of 94 teachers from Sydney, regional NSW and opportunities by creating a separate bulletin for with the opportunity to work with theatre industry matinee performance and students had the such a high standard of theatre. All I can Parents program. the ACT attended these workshops at Company B. metropolitan and regional teachers. professionals in playwriting, improvisation, and opportunity to tour the backstage area. In 2008, say is that it’s a treat for all of us to see costume, set and lighting design. Robyn McLean, Acting Education Manager

24 25 immigrant Australia, about the ghosts of middle script read and assessed by an industry professional. CREATIVE Australia’s working class past, about the Chinese While the production strike rate for unsolicited scripts COMMUNITY ACCESS 2008 awards diaspora, about the epic forces of Indigenous history, is low, we think it’s important that anyone who wants AND ARTISTIC about a Vietnamese wedding in Adelaide, about Dante, to be part of a theatre community can. Company B aims to give access to the company’s work by 2008 SYDNEY THEATRE AWARD WINNERS FOR 2008 PRODUCTIONS about brotherhood and about what the old have to Connecting Upstairs and Downstairs minimising or eliminating the financial and social reasons that Best Independent Production My Name is Rachel Corrie offer the young and vice versa. Some of this work is DEVELOPMENT B Sharp and the Downstairs Theatre are a great way to deter attendance by potential audiences. The aim to develop new (Bareboards Productions in association with B Sharp) playwriting, some of is collaborative theatre-making welcome new artists to Company B. We’re very aware audiences and provide access to the company’s work and this is Best Actor in a Lead Role Trevor Jamieson for Ngapartji Ngapartji using music, dance, song, video and design. Some of Thanks in part to our Keating! largesse, in part that opportunities for new artists are at a premium delivered through the following strategies: (Company B and Big hART) to the funding review, and in part to the Creative the work is classic drama, some of it is an adventure in and it’s not easy to grow, so in 2008 we enhanced our Community Access Program Best Actor in a Supporting Role Christopher Stollery for Killer Joe Development Fund, 2008 was the beginning of what might be possible. Some of the artists are highly support for B Sharp. We now make our artistic staff The Community Access Program, sponsored by Company B’s (Adam Booth in association with B Sharp) some new thinking about how we commission and established, some are at the beginning of wonderful available to all our B Sharp artists, both in development corporate partner Optus since the beginning of 2006, is made develop new work and how we support artists. It careers. Some of the stories are unfamiliar and some and production of their work, and the B Sharp creative up of two key components: Company B’s established Unwaged 2008 HELPMANN AWARD WINNERS FOR 2007 PRODUCTIONS began with a bolstering of artistic staff: Wayne Blair are classic Company B. But all of this work is geared development program (thanks to the Macquarie Group Performance Program and a Charitable Tickets Program. One Best Direction Neil Armfield for Toy Symphony joined Wesley Enoch as an Associate Artist, Eamon towards trying to tell more of those many, many Foundation) is allowing new and mid-career artists to mid-week matinee performance of each show is performed free- Best Male Actor Richard Roxburgh for Toy Symphony Flack transformed from Literary Manager to Artistic stories that deserve a place on the Belvoir St stage. take real risks on growing their work. of-charge for unwaged members of the community. Entry is via Best Supporting Male Actor Russell Dykstra for Toy Symphony Associate, Annette Madden joined us as Downstairs Readings and Play Development We also worked to advocate for greater display of an individual’s health care card. This unique initiative has Best New Australian Work Michael Gow for Toy Symphony Theatre Director and Sam Strong joined us as part- In May and June we presented readings of five new opportunities in the small–medium sector, been in place for twenty years and ensures that the most financially Best Female in a Supporting Role for Exit the King time Literary Associate. Having these extra hands Australian plays, four of them premieres: Warren by lobbying public bodies and hosting a day-long open disadvantaged members of the community are still able to attend Best Play Who’s Afraid of Virginia Woolf? and minds has let us put a lot more energy into Matt Whittet, The Sugar House by Alana Valentine, conversation in the Upstairs Theatre for 250 artists, live theatre performances. These performances are promoted via Best Regional Touring Production Keating! growing new work and new artists. Beyond the Neck by Tom Holloway, The Water Carriers policy-makers and commentators. Avant Cards and posters, provided by Optus, to a comprehensive by Ian Wilding and Buy Guns by Gareth Ellis. The Sugar 2008 AUSTRALIAN BUISNESS ARTS FOUNDATION AWARDSS New Work mailing list of community organisations. The Charitable Tickets House has since been commissioned and Beyond the In 2009 four B Sharp alumni will make their As a start, in 2008 we commissioned Nicki Bloom, Program provides 600 tickets per annum to Optus to be distributed National Winner, Toyota Community Award Neck will be produced in the 2009 B Sharp Season. Company B directing debuts – Wayne Blair, Geordie Khoa Do, Lally Katz, Jake Nash and Alana Valentine; to its nominated community groups and charitable organisations. National Winner, City of Melbourne Encouragement Award Brookman, Rachael McDonald and Simon Stone – we began collaborations on major new works We continued to support the development of new Company B also fulfils around 50 ticket requests per year from and Brendan Cowell’s Ruben Guthrie, which opened with Malthouse Theatre, Urban Theatre Projects, plays through PlayWriting Australia, and donated a various charitable organisations for fundraising events. the 2008 B Sharp Season, is receiving a new PlayWriting Australia and the Indigenous activist, full-time artist to their showcase and development Company B production. This is in addition to the Concession Tickets songwriter and playwright Richard Frankland; we events in 2008. many actors, designers and production crew who Concession ticket prices for students, pensioners and the began to make theatre about Indigenous children We continued to accept unsolicited manuscripts for a work in both spaces – Upstairs for a parity wage, unemployed are set at least 30% less than full price and kept at and Palestinian children, about Western Sydney and basic fee, which (almost) covers the cost of having the Downstairs for love. levels below industry standard.

26 27 We give our heartfelt thanks to all our donors who GENERAL DONATONS OVER $100 COMPANY B DONORS have generously supported Company B in 2008 We thank the patrons who through general donations to Company B support our special appeals and projects.

Anonymous (34) Jan Harland A. O’Driscoll Foundation The Chairman’s B KEEPERS Julianne Alroe Dr A.W.F. Harris Brian & Lyn Oliver Donors Group Our B Keepers play a vital role within the company. B Keepers are a unique Margaret Andrews Virginia Hart D. Parsonage Len Armfield John Head Gary & Sharon Price The measure of any great theatre This group provides special group of individuals whose financial support, often over many years, is a Damaris Bairstow Rosemary Heal Heather Pulseford is its capacity to provide a strong support for the development reflection of their passion for and commitment to Company B. Income received D.M. Beaver Louise Herron Angela Raymond foundation for its long term and staging of Indigenous from B Keepers is pooled and funds spread across all our activities. Linden Birch Elaine & Geoff Hiley Beth & Kim Rosser renewal. The following major theatre at Company B and John Blattman Ann Hoban Dr Shefali S. Rovik Margaret Borgenicht Dr Ailsa Hocking Craig Sahlin donors have made significant enhanced opportunities for many Corporate B Keeper: Sterling Mail Order Gina Bowman Dorothy Hoddinott Mark & Ruth Sampson financial investment to the Indigenous creative artists. Elizabeth Brennan William Hook Sandra See Company B Creative Development Mary Burchell Carol Johnson Eileen Slarke & family Fund, the recently created Anonymous (3) Anonymous (8) Erica Hahn Hilary Linstead Dr Brian Carey Corinne & Robert Johnston Jean Smail vehicle which supports artistic Antoinette Albert Robert & Libby Albert Andrew & Wendy Hamlin Mary Jane McKerihan Margaret & Timothy Cavanough Gloria Jones Megan & Paul Schnitzler Bazmark Inq Gil Appleton Beth Harpley Winifred Clark Ronaele Jones Ian Scobie development beyond the demands Tony & Carol Berg Amazing Paper Marion Heathcote & Professor Elizabeth More Victor Cohen Despina Kallinikos Ann Sherry of our annual season and budget. Jennifer Cornish Michael Kelly & Cath Ward Jean Smail Louana Butler Phil & Beverley Birnbaum Brian Burfitt Rae & Peta Morris Max Bonnell Louise Herron Dr David Nguyen Bryony & Timothy Cox Simon Kidd Ross & Sally Smith Anne Britton Suzie Carleton Anne Britton Michael & Doris Hobbs Timothy & Eva Pascoe Hugh Cranswick Carol & Geoffrey Lack Chris & Bea Sochan Andrew Cameron Louise Christie Denise & Neil Buchanan Sue Hunt Bob, Sheila & Katie Pitts John Crocker Mark Lalor & Terry O’Neill Ingrid Storm & Kevin McCreton Alan & Catherine Cunningham Andrew Lampe Deborah Stow Michael Coleman Danny Gilbert Andrew Cameron Peter & Jessie Ingle Colleen & Larry Roche Anne Harley Mary Jo & Lloyd Capps Rosemary & Adam Ingle Greg Roger Greg Dodd Sarah Lawrence Lee Tanabe Leon Fink Peter Donahue John Lewis Carmel & Mark Taylor Isabel Herron Elaine Chia Anita Jacoby Gail Hambly Jane Christensen Jarzabek family John Sharpe & Margaret & Ian Dunlop Joseph Lipski Ingmar Taylor Louise Herron Sharon & Hartley Cook Louise & Edwina Christie Avril Jeans Claire Armstrong Susan Donnelly Andrew Lumsden John Thacker Hal Herron Victoria Holthouse Vic Cohen & Rosie McColl Chris Jennings Sherman Pictures Estate of Eileen & Terry Lustig Jeanne Marie Thomas Elaine & Bill Evans Marilyn Lyford & Brad Horan Helen Thwaites & Peter Gray Louise Herron & Clark Butler Belinda Hutchinson Peter Cudlipp & Margaret Johnston Peter & Jan Shuttleworth Shirley Jarzabek Barbara Schmidt Kachoyan family Edward Simpson Richard & Pamela Evans Bicky Macintyre Hermi Vari Ann Sherry & Michael Hogan Ronald Falk Jim & Michael McAlary Louise & Steve Verrier Ruby CY Lin & family Suzanne & Michael Daniel Su Kennedy Judith & Howard Smith Sue Donnelly Ian & Nan Landon-Smith Julie & Rob Smith Carole Ferrier David & Vasantha Martin Chris Vik & Chelsea Albert Hilary Linstead Chris & Bob Ernst Elizabeth & Colin Laverty Victoria Taylor Dennis Foster Sandra Mathews Margaret Ward Robyn Love Jeanne Eve Linda & Richard Laznik Brian Thomson & Graham Galt Chris Matthies Professor Elizabeth Webby Helen Lynch Ronald Falk Jennifer Ledgar & Budi Hernowibowo Ronald Lee Gaudreau Dr David & Barbara Millons Helene & Ian Wechsler Robyn Neasmith Peter Fay Bob Lim Sue Thomson Ken Graham Jo Millyard Nicky & John Whiteing Alex Craig Photography, Avant Card, Boomerang One to One, Coopers, Gilfillan Soundwork, Priscilla Guest Cynthia Mitchell Murray Wilcox Kate Richter Margaret Fink Stephanie Lee & Hilary Vallance iMedia, LJ Hooker, Sierra Slammer, Silver Spoon Caterers, Moves Travel Group, The Greatorex Jennifer & Ross Glasson Peter Wheatley Orli Wargon Sophie Guest Russell Mitchell & Valmay Hill Jill Wran Foundation, The Ian Potter Foundation, Matana Foundation for Young People, Foundation for Jillian Segal Peter Graves Atul Lele Alison M. Wearn Bronwyn Haddock Professor Elizabeth More Brian & Trish Wright Regional and Rural Renewal, Vincent Fairfax Family Foundation, Westpac Foundation. Victoria Taylor David & Kathryn Groves Antoinette Le Marchant Paul & Jennifer Winch Regina Hall Dr Peter & June Musgrove Carolyn Wright For more information on corporate partnership opportunities please contact our Kim Williams David Haertsch Iain & Judy Wyatt Louise Hamshere K.P. & B.M. O’Connor Anna Yeatman Julie Hannaford Elizabeth Zealand Partnerships Manager on (02) 8396 6209 or email [email protected]

28 29 Key Performance Indicators

Artistic Vibrancy Access Financial Viability Profile of works 2008 play Paid attendanceS paid Attendances Total PaiD no. of 2008 2007 2006 Season b sharp readings Mainstage non-Mainstage aTTendanceS performances Strength of reserves - New 3 3 4 Self-Entrepeneured Net assets/total assets: $1,393,466 / $4,629,286 (30.10%) $1,282,612 / $5,205,599 (24.64%) $947,427 / $4,452,085 (21.28%) - Existing 5 7 1 Home city 69,852 _ 69,852 363 Profitability Profile of works Metropolitan 6,285 _ 6,285 9 - Australian – New 2 2 3 Other capital city 58,475 _ 58,475 79 Total income minus expenditure $110,854 $335,185 ($453,063) - Australian – Existing - 1 2 SHARED RISK Earned income generating ability - Overseas – New 2 3 n/a Other capital city 11463 _ 11463 18 - Total - Overseas – Existing 3 4 n/a Sold Off Total earned income/total income $10,631,537 / $11,885,951 (89.45%) $11,650,289 / $12,688,229 (91.82%) $3,696,616 / $4,607,951 (80.2%) Profile of ProductionS - Box Office - New 6 9 n/a Metropolitan 20,190 _ 20,190 48 Total box office/total income $8,171,439 / $11,885,951 (68.75%) $9,273,821 / $12,688,229 (73.09%) $2,274,038 / $4,607,951 (49.3%) - Existing 2 1 n/a Other B Sharp 11,370 202 - Private Sector Total private sector/total income $1,169,085 / $11,885,951 (9.83%) $1,052,767 / $12,688,229 (8.30%) $554,807 / $4,607,951 (12%) - Other income Free concerts Total other income/total income $1,294,013 / $11,885,951 (10.89%) $1,323,701 / $12,688,229 (10.43%) $867,771 / $4,607,951 (18.8%) No. attendences 1,441 No. performances 7 - Cost/revenue dynamic Educational Earned income minus expenditure ($1,143,560) ($702,755) ($1,364,399) No. individuals reached 7,009 - Government funding contribution No. matinees 18 Government funding/total income $1,251,414 / $11,885,951 (10.53%) $1,037,940 / $12,688,229 (8.18%) $911,335 / $4,607,951 (19.8%) No. workshops 29

TV/RADIO Keating! Broadcast – Audience Reach: 74,600

30 31 OPERATING AND FINANCIAL REVIEW The operations As well as directing for film and television, Neil has KPMG, Head of Risk & Regulation in Australia Louise Herron cruise ship operator. Prior to this, Ann was Chief Directors’ Report of the company during the financial year were the directed for all Australian state theatre companies and the Asia Pacific region and Chairman of the Chair Executive Officer, Westpac New Zealand and was the operations of a live theatre, production of live theatrical and a number of opera companies internationally, Australian firm’s Audit Committee Institute. Member: Finance sub-committee, HR sub-committee, first female CEO of a bank in New Zealand. The directors of Company B Limited submit performances and hire of the theatre to external hirers. and is currently directing Exit the King on Broadway. Michael is a member of the Financial Reporting Development sub-committee, Ann is a non-Executive Director of Wilson HTM herewith the annual financial report for the financial The net profit of the company for the financial year was In 2007, Neil was awarded Officer of the Order Council, Chair of the Reporting Committee of Planning sub-committee Investment Group, and Chairman of the Queensland year ended 31 December 2008. In order to comply $110,854 (2007: profit of $335,185). of Australia in recognition of his service to the the Australian Institute of Company Directors, a Louise has been a director of Company B since Government’s Public Service Commission. Ann is a with the provisions of the Corporations Act 2001, arts, nationally and internationally, as a director director of Planet Ark Environmental Foundation 2 February 2001 and Chairman since 2002, leading SIGNIFICANT CHANGES IN STATE OF AFFAIRS Fellow, Financial Services Institute of Australasia, the directors’ report is as follows: of theatre, opera and film, and as a promoter and Osteoporosis Australia, and Chair of the the board during the fundraising, acquisition and During the financial year, there was no significant change a Fellow of the Institute of Public Administration of innovative Australian productions including Advisory Board of the Centre for Accounting and renovation of the warehouse and theatre. DIRECTORS The names of the directors of the company in the state of affairs of the company other than that and a member of the Institute of Company Australian Indigenous drama. Assurance Services Research at the University of in office during or since the end of the financial year were: referred to in the financial statements or notes thereto. Louise has been a corporate adviser for 10 years, in a Directors. She is a Director of Indigenous Enterprise Anne Britton . • Neil Armfield AO • Vicki Middleton LIKELY DEVELOPMENTS AND EXPECTED range of different contexts. Before recently co-founding Partnerships, the Catherine Freeman Foundation and • Anne Britton Resigned 22 Feb 2008 RESULTS In the opinion of the directors there were Member: HR sub-committee Russell Dykstra Ironbark Ferrier, Louise advised on takeovers, sales and the Australian Indigenous Education Foundation. • Andrew Cameron • Ann Sherry AO A director since 27 October 2003, Anne Britton Member: Artistic sub-committee acquisitions, IPOs and other capital raisings at Ironbark, • Michael Coleman appointed 24 sep 2008 no significant changes in the state of affairs of the Brian Thomson AM is the former national secretary of the Media, Russell joined the board on 25 November 2003. Strategy & Transactions and Carnegie Wylie; with • Russell Dykstra • Brian Thomson AM company that occurred during the financial year Member: Artistic sub-committee • Gail Hambly • Mary Vallentine AO Entertainment and Arts Alliance, the professional Russell is a well-known Australian actor who has Investec, she focused on private equity transactions and under review not otherwise disclosed in this report A director since 11 May 2003, Brian is one of appointed 27 Jan 2009 • Orli Wargon organisation representing performers, theatre workers worked regularly with Company B. His theatre, film for Macquarie Bank, she managed a new technology • Louise Herron Resigned 25 May 2008 or the financial statements. Australia’s most acclaimed designers and is a regular and journalists. Anne has extensive experience in and TV work is wide-ranging and he is the recipient company. Previously, Louise was a partner at Minter • Brenna Hobson in the Company B ensemble. A Tony Award winner, Appointed 18 FEB 2008 SIGNIFICANT EVENTS AFTER BALANCE DATE industrial relations and media policy. She is currently of an AFI Award for Best Actor. Ellison for over 10 years, specialising in corporate and he recently received an Order of Australia (AM) for There has not been any matter or circumstance, other a Deputy President of the Administrative Decisions technology transactions. Louise is also a Trustee of Directors were in office for this entire period unless than that referred to in the financial statements or Gail Hambly his contribution to Australian Theatre and Opera. Tribunals and an arbitrator with the Worker’s Gail is General Counsel and Company Secretary Sydney Grammar School. otherwise stated. notes thereto, that has arisen since the end of the Mary Vallentine AO Compensation Commission. for the Fairfax Group, being responsible for the financial year, that has significantly affected, or may Brenna Hobson Member: Development sub-committee, PRINCIPAL ACTIVITIES The principal activity Andrew Cameron provision of legal and company secretarial services Executive Director and Company Secretary significantly affect, the operations of the company, the HR Sub-committee of the company during the financial year was the Member: Finance sub-committee across the Group, as well as Risk Management Member: Finance sub-committee, results of those operations, or the state of affairs of Mary originally joined the Board on 18 September 2004 operation of a live theatre and the production of live A director and former Chair of Belvoir Street Theatre and Internal Audit. Her legal responsibilities HR sub-committee, Development sub-committee, the company in future financial years. and was re-appointed on 28 May 2007. She has worked theatrical performances. There was no significant Board since 9 August 2001, Andrew joined the include media regulation, intellectual property, Artistic sub-committee, Planning sub-committee in music and theatre administration for over 30 years. change in the nature of these activities during or DIRECTORS’ RENUMERATION Refer to Note 18 for Company B board on 9 October 2007. Andrew is defamation and other media issues as well as Brenna joined the Board on 18 February 2008 Positions held include Assistant Manager Musica Viva since the end of the financial year. details on the directors remuneration. also Deputy Chair, Biennale of Sydney, was Deputy mergers and acquisitions and the provision of when she became General Manager of Company B. Australia (1974-78), Administrator Adelaide Festival Commissioner for Australia’s presentation at the 2007 commercial legal services to the Fairfax Group. As Previous to this she was General Manager of Jigsaw DIVIDENDS The provisions of the Memorandum and INFORMATION ON DIRECTORS (1978-1982), General Manager State Theatre Company Articles of Association of the company prohibit the Venice Biennale and is a Board member of the Australian part of the key executive team she contributes to Theatre Company and spent 11 years in Company B’s Neil Armfield AO of S.A. (1982-84), and more recently Managing Director payment of a dividend. Accordingly, no dividend has Centre for Contemporary Art (ACCA) in Melbourne. strategic development. production department. Executive Director of the Sydney Symphony Orchestra (1986-2002). She been paid or declared during or since the end of the Member: Artistic sub-committee, Michael Coleman She is a member of the Media and Communications Ann Sherry AO now works as Director Business Development Concerts financial year or since the company’s incorporation. Planning sub-committee Member: Finance sub-committee Committee and the Privacy Committee of the Member: Development sub-committee for Musica Viva Australia and her board memberships MEMBERS There were 50 members of the company Neil Armfield is one of Australia’s foremost directors Michael Coleman joined the Board at Company B Law Council of Australia and a member of the Ann joined the board on 24 September 2008, filling include Chairman Australian Youth Orchestra and as at 31 December 2008 (2007: 61). who has been Artistic Director of Company B since as Treasurer in May 2006 and chairs the Finance Advisory Board of the Centre for Media and a casual vacancy. She is CEO of Carnival Australia, a Member of NSW Rhodes Scholarship Committee. 1994 and Executive Director since 27 October 2003. sub-committee. Michael is an audit partner with Communications Law. division of Carnival Corporation, the world’s largest

32 33 Directors’ Report INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS Income Statement During the financial year, the company paid a premium in respect of a contract insuring the directors of MEETINGS OF DIRECTORS the company against a liability incurred as such a director, secretary or executive officer to the extent permitted by the Corporations Act 2001. The contract of insurance prohibits disclosure of the nature of FOR THE YEAR ENDED 31 DECEMBER 2008 NOTE 2008($) 2007($) Board Meetings the liability and the amount of the premium. Revenue 3 During 2008, seven meetings of directors were held. The company has not otherwise, during or since the financial year, indemnified or agreed to indemnify Production income 8,171,439 9,273,821 Attendance was as follows: an officer or auditor of the company against a liability incurred as such an officer or auditor. Grants income 1,251,414 1,037,941 Director No. Eligible number Other income 2,463,098 2,376,467 to AttenD aTTended AUDITOR’s independence DECLARATION 11,885,951 12,688,229 Neil Armfield AO 7 7 The directors received the declaration from the auditor of Company B Limited and is included on Expenses 3 Anne Britton 7 7 page 49 of the Annual Report. Production expenses 7,122,251 7,666,724 Andrew Cameron 7 5 Employee expenses 2,280,938 1,903,527 Michael Coleman 7 7 DIRECTORS’ declaration Marketing and promotions expenses 438,749 391,463 Russell Dykstra 7 3 In accordance with a resolution of the directors of Company B Limited, Occupancy expenses 186,247 210,957 Gail Hambly 0 0 I state that: Fundraising expenses 25,666 25,487 Louise Herron 7 7 In the opinion of the directors: Lump sum payment to Belvoir St Theatre Limited 438,445 1,040,714 Brenna Hobson 7 7 (a) the financial statements and notes of the company are in accordance with the Corporations Administration expenses 1,282,801 1,114,172 Vicki Middleton 1 1 Act 2001, including: 11,775,097 12,353,044 Ann Sherry AO 1 1 (i) giving a true and fair view of the company’s financial position as at 31 December 2008 Profit/(loss) before income tax 110,854 335,185 Brian Thomson AM 7 3 and of its performance for the year ended on that date; and Income tax expense - - Mary Vallentine AO 7 7 (ii) complying with Accounting Standards and Corporations Regulations 2001; and Net profit/(loss) for the period 110,854 335,185 Orli Wargon 2 2 (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. Finance Committee Meetings On behalf of the Board The Finance Committee is a sub-committee of the Board. During the financial year, six meetings of directors were held. Attendances were as follows:

members No. Eligible number Louise Herron to AttenD aTTended Chair Andrew Cameron 6 5 Sydney, 26 March 2009 Michael Coleman 6 6 Louise Herron 6 6 Brenna Hobson 6 6

34 35 Balance Sheet Cash Flow Statement

as at 31 DECEMBER 2008 NOTE 2008($) 2007($) FOR THE YEAR ENDED 31 DECEMBER 2008 NOTE 2008($) 2007($)

CURRENT ASSETS cash flows from operating activities Receipts from patrons, customers and grant providers 11,636,278 12,770,167 Cash and cash equivalents 14(a) 4,054,375 4,315,871 Payments to suppliers and employees (11,855,060) (10,904,206) Receivables 4 344,228 111,249 Interest received 248,814 202,758 Inventories 5 17,458 35,976 Net cash flows from operating activities 14(c) 30,032 2,068,719 Other current assets 6 77,060 153,400 CASH FLOWS FROM INVESTING ACTIVITES TOTAL CURRENT ASSETS 4,493,121 4,616,496 Purchase of plant and equipment (41,528) (79,747) NON-CURRENT ASSETS Investment in Shane Warne Production (250,000) – Receivables 7 14,333 452,511 Net cash used in investing activities (291,528) (79,747) Plant and equipment 8 121,832 136,592 CASH FLOWS FROM FINANCING ACTIVITIES TOTAL NON-CURRENT ASSETS 136,165 589,103 Funding of building redevelopment – (847,594) TOTAL ASSETS 4,629,286 5,205,599 Net cash flows used in financing activities – (847,594) CURRENT LIABILITIES Payables 9 829,506 1,191,637 Net increase/(decrease) in cash held (261,496) 1,141,378 Deferred revenue 10 2,030,957 2,443,213 Cash at the beginning of the financial year 4,315,871 3,174,493 Provisions 11 361,824 282,880 Cash at the end of the financial year 14(a) 4,054,375 4,315,871 TOTAL CURRENT LIABILITIES 3,222,287 3,917,730 NON-CURRENT LIABILITIES Provisions 11(a) 13,533 5,257 Statement of Changes in Equity TOTAL NON-CURRENT LIABILITIES 13,533 5,257 TOTAL LIABILITIES 3,235,820 3,922,987 FOR THE YEAR ENDED 31 DECEMBER 2008 Retained earnings (Accumulated Losses) $ Total $

NET ASSETS 1,393,466 1,282,612 Attributable to equity holders of the Company EQUITY 1 January 2007 947,427 947,427 Retained profits 1,393,466 1,282,612 (Loss) for the year (335,185) (335,185) TOTAL EQUITY 1,393,466 1,282,612 At 31 December 2007 1,282,612 1,282,612 At 1 January 2008 1,282,612 1,282,612 Net Profit/(Loss) for the year 110,854 110,854 At 31 December 2008 1,393,466 1,393,466

36 37 Notes to the Financial Statements

FOR THE YEAR ENDED 31 DECEMBER 2008 b) Statement of compliance day terms, are recognised initially at fair value and In assessing value in use, the estimated future cash Company as lessee bond rate relative to the expected life of the The financial report complies with Australian subsequently measured at cost using the effective flows are discounted to their present value using a Operating lease payments are recognised as an provision is used as a discount rate. If the effect of 1. CORPORATE INFORMATION Accounting Standards, which include Australian interest method, less an allowance for impairment. pre-tax discount rate that reflects current market expense in the income statement on a straight-line the time value of money is material, provisions are The financial report of Company B Limited for the equivalents to International Financial Reporting assessments of the time value of money and the basis over the lease term. discounted using a current pre-tax rate that reflects Collectibility of trade receivables is reviewed on an year ended 31 December 2008 was authorised for Standards (‘AIFRS’). risks specific to the asset. the time value of money and the risks specific to ongoing basis. Individual debts that are known to Company as lessor issue in accordance with a resolution of the directors the liability. The increase in the provision due to the c) New accounting standards be uncollectible are written off when identified. An (v) Plant and equipment Leases in which the lessor retains substantially all the on 26 March 2009. passage of time is recognised as a finance cost. and interpretations impairment provision is recognised when there is Plant and equipment is stated at historical cost risks and benefits of ownership of the asset are classified Company B Limited is an unlisted non-profit There are no Australian Accounting Standards and objective evidence that the Company will not be able less accumulated depreciation and any accumulated as operating leases. Initial direct costs incurred in (x) Employee entitlements company limited by guarantee incorporated and Interpretations that have recently been issued or to collect the receivable. impairment losses. negotiating an operating lease are added to the carrying Provision is made for employee benefits accumulated amended that are applicable to the Group for the operating in Australia. The principal place of Depreciation is calculated on a straight-line basis amount of the leased asset and recognised over the lease as a result of employees rendering services up to annual reporting period ending 31 December 2008. (iii) Inventories business and principal registered office is: over the estimated useful life of the asset term on the same bases as the lease income. the reporting date. These benefits include wages & Inventories consist of finished goods and are valued d) Significant accounting policies Accounting as follows: salaries, annual leave, and long service leave. 18 Belvoir Street at the lower of cost and net realisable value. Net (viii) Trade and other payables policies are selected and applied in a manner which Surry Hills NSW 2010 realisable value is the estimated selling price in the Trade and other payables are carried at amortised Wages, salaries, annual leave and sick leave ensures that the resulting financial information Plant and equipment 3–7 years Australia ordinary course of business, less estimated costs cost and due to their short term nature they are not Liabilities for wages and salaries, including non- satisfies the concepts of relevance and reliability, Motor vehicles 6–7 years The nature of the operations and principal activities of of completion and the estimated costs necessary to discounted. They represent liabilities for goods and monetary benefits and annual leave expected to thereby, ensuring that the substance of the Furniture and fittings 5–10 years the Company are described in the Director’s Report. make the sale. services provided to the Company prior to the end of be settled within 12 months of the reporting date underlying transactions and other events is reported. the financial year that are unpaid and arise when the are recognised in respect of employees’ services The following significant accounting policies have (iv) Recoverable amount of non-current assets The assets’ residual values, useful lives and 2. SUMMARY OF SIGNIFICANT Company becomes obliged to make future payments in up to the reporting date. They are measured at the been adopted in the preparation and presentation of At each reporting date, the Company assesses ACCOUNTING POLICIES amortisation methods are reviewed, and adjusted if respect to the purchase of these goods and services. amounts expected to be paid when the liability is the financial report. The accounting policies adopted whether there is any indication that an asset may appropriate, at each financial year end. settled. Expenses for non-accumulating sick leave a) Basis of preparation The financial report is a are consistent with those of the prior year. be impaired. Where an indicator of impairment (ix) Provisions are recognised when sick leave is taken and are general purpose financial report which has been exists, the Company makes a formal estimate of (vi) Acquisition of assets Provisions are recognised when the Company has (i) Cash and cash equivalents measured at the rates paid or payable. prepared in accordance with the Corporations Act recoverable amount. Where the carrying amount of Assets acquired are recorded at the cost of a present obligation (legal or constructive) as a Cash and cash equivalents in the balance sheet 2001, Australian Accounting Standards and other an asset exceeds its recoverable amount the asset acquisition, being the purchase consideration result of a past event, it is probable that an outflow Long service leave comprise cash at bank and in hand and short-term authoritative pronouncements of the Australian is considered impaired and is written down to its determined as at the date of acquisition plus costs of resources embodying economic benefits will The liability for long service leave is recognised and deposits with an original maturity of three months or Accounting Standards Board. recoverable amount. incidental to the acquisition. be required to settle the obligation and a reliable measured as the present value of expected future less that are readily convertible to known amounts of (vii) Leases estimate can be made of the amount of the payments to be made in respect of services provided The financial report has been prepared on the basis cash and which are subject to an insignificant risk of Recoverable amount is the greater of fair value less The determination of whether an arrangement obligation. by employees up to the reporting date using the of the historical cost convention. Cost is based on changes in value. costs to sell and value in use. It is determined for projected unit credit method. Consideration is given to the fair value of the consideration given in exchange an individual asset, unless the asset’s value in use is or contains a lease is based on the substance Provisions are measured at the present value of For the purposes of the Cash Flow Statement, cash expected future wage and salary levels, experience of for assets. cannot be estimated to be close to its fair value of the arrangement and requires an assessment management’s best estimate of the expenditure and cash equivalents consist of cash and cash employee departures, and periods of service. Expected less costs to sell and it does not generate cash of whether the fulfilment of the arrangement is required to settle the present obligation at balance The financial report is presented in Australian dollars equivalents as defined above, net of outstanding future payments are discounted using market yields at inflows that are largely independent of those from dependent on the use of a specific asset or date using the discounted cash flow methodology. and no values have been rounded unless otherwise bank overdrafts. the reporting date on national government bonds with other assets or groups of assets, in which case, the assets and the arrangement conveys a right to The risks specific to the provision are factored into stated. terms to maturity and currencies that match, as closely (ii) Trade and other receivables recoverable amount is determined for the cash- use the asset. the cash flow and as such a risk-free government as possible, the estimated future cash outflows. Trade receivables, which generally have 30-90 generating unit to which the asset belongs. 38 39 Notes to the Financial Statements 3. REVENUE & EXPENSES 2008 ($) 2007 ($) Revenue (xi) Income tax value of the consideration received or receivable manufacturing cost of costumes, scenery sets and Production income 8,171,439 9,273,821 The company is exempt from income tax under to the extent that it is probable that the economic properties, is charged to income and expenditure Sale of goods – bar 345,748 448,205 Subdivision 50-B of the Income Tax Assessment Act benefits will flow to the Company and the revenue in the period each production is performed. This 1997, as granted by the Commissioner of Taxation can be reliably measured. The following specific procedure conforms to standard theatrical accounting Rental revenue – theatre and venue 196,793 87,381 on 8 June 2000. Consequently the company has recognition criteria must also be met before revenue practice as adopted in Australia and other parts of Sponsorship income 690,364 636,053 not provided for any liability for income tax in these is recognised: the world. Costs of production and other associated Fundraising and donations 478,721 416,714 financial statements. expenditure in respect of performances not yet Productions Grants income 1,251,414 1,037,940 performed but will be in the next 12 months are (xii) Other taxes Revenue is recognised upon the performance of Other 447,316 585,357 included in the Balance Sheet as part of prepaid Revenues, expenses and assets are recognised net of productions to which the ticket revenue relates. expenditure. Interest income 304,156 202,758 the amount of GST except: Interest Total revenue 11,885,951 12,688,229 (xvi) Advance box office • where the GST incurred on a purchase of goods Control of the right to receive the interest payment. Expenses Monies received from both subscribers and non- and services is not recoverable from the taxation Sponsorship and Donations revenue subscribers for advanced bookings are included Production expenses 7,122,251 7,666,724 authority, in which case the GST is recognised as Sponsorship Sponsorship commitments are in income progressively during each production Cost of sales – bar 176,168 197,119 part of the cost of acquisition of the asset or as brought to account as income in the year in which to which they relate, and not before. All monies part of the expense item as applicable; and Operating lease rental expense – minimum lease payments 153,000 85,338 sponsorship benefits are bestowed. received in advance for 2008 box office income is Depreciation of non-current assets: • Receivables and payables are stated with the recorded as deferred revenue and transferred to Donations All donations are brought to account as Plant and equipment 42,573 23,991 amount of GST included. income when the respective show commences. received. Furniture and fittings 5,048 2,306 The net amount of GST recoverable from, or payable (xiv) Government grants to, the taxation authority is included as part of Motor vehicle 5,497 5,482 Government grants are recognised at their fair value receivables or payables in the balance sheet. where there is reasonable assurance that the grant Cash flows are included in the Cash Flow Statement will be received and all attaching conditions will be 3.(a) GRANTS RECEIVED DURING THE YEAR 2008 ($) 2007 ($) on a gross basis and the GST component of cash complied with. Funding revenue is received from flows arising from investing and financing activities, the government for specific activities. The funding Australia Council – fundraising assistance grant – – which is recoverable from, or payable to, the taxation is received based on payment schedules contained Australia Council – Major Festivals Initiative grant for Snugglepot & Cuddlepie – 174,272 authority, are classified as part of operating cash in the funding agreement between the funding Australia Council – Base Grant, Major Performing Arts Board 572,927 392,334 flows. bodies and the Company. The funding is recognised Australia Council – Emerging Artists Grant, Major Performing Arts Board 7,000a – in the calendar year for which it is intended under Commitments and contingencies are disclosed net of the terms of the agreement due to the conditional Australia Council – Navigating Negotiating Connections Grant, Theatre Board 5,000 – the amount of GST recoverable from, or payable to, nature of the funding. the taxation authority. (xv) Productions (xiii) Revenue recognition The total cost of staging productions, including the Revenue is recognised and measured at the fair

40 41 Arts NSW – Base Grant 572,927 392,334 8. PLANT AND EQUIPMENT Arts NSW – Associate Artistic Director Grant 60,000 60,000 2008 Plant and Equipment Motor Vehicles Furniture & Fittings Total Arts NSW – ConnectEd: Performance Alive Education Workshop Grant 10,000a 10,000 Gross Carrying Amount ($) ($) ($) ($) Arts NSW – ConnectEd: Education Teacher Workshop Grant 10,000 – Balance at 31 December 2007 158,187 36,544 24,615 219,346 a Arts NSW – Phillip Parsons Program Grant 9,000 9,000 Additions 11,451 – 30,077 41,528 Arts NSW – Australian Performing Arts Market Grant 4560 – Disposals (3,170) – – (3,170) Arts NSW – ConnectEd: Education Teacher Workshop Grant 15000 – Balance at 31 December 2008 166,468 36,544 54,692 257,704 a Not all components of grant booked as income as some have been deferred. Accumulated Depreciation Balance at 31 December 2007 (40,977) (26,723) (15,054) (82,754) 4. current REceivables 2008 ($) 2007 ($) Disposals 608 – – 608 Depreciation expense (43,181) (5,497) (5,048) (53,726) Trade receivables 286,037 39,892 Balance at 31 December 2008 (83,550) (32,220) (20,102) (135,872) Allowance for doubtful debts – (2,714) Net Book Value As at 31 December 2007 82,918 4,324 34,590 121,832 286,037 37,178 Interest receivable 55,342 41,324 2007 Plant and Equipment Motor Vehicles Furniture & Fittings Total Amounts receivable from Belvoir St Theatre Limited – 14,334 Gross Carrying Amount ($) ($) ($) ($) Other 2,849 18,413 Balance at 31 December 2006 117,114 36,544 35,703 189,361 344,228 111,249 Additions 76,322 – 3,425 79,747 5. INVENTORIES Disposals (35,249) – (14,513) (49,762) Balance at 31 December 2007 158,187 36,544 24,615 219,346 Finished goods 17,458 35,976 Accumulated Depreciation 6. OTHER CURRENT ASSETS Balance at 31 December 2006 (39,990) (21,241) (26,736) (87,967) Prepayments 77,060 153,400 Disposals 23,004 – 13,988 36,992 7. NON CURRENT RECEIVABLES Depreciation expense (23,991) (5,482) (2,306) (31,779) Balance at 31 December 2007 (40,977) (26,723) (15,054) (82,754) Mortgage agreement receivable from BSTL – 438,177 Security Deposits 14,333 14,334 Net Book Value As at 31 December 2007 117,210 9,821 9,561 136,592 14,333 452,111

42 43 9. PAYABLES 2008 ($) 2007 ($) (a). Movement in provisions Long service leave ($) Other ($) total Trade payables 445,111 778,297 At 1 Jan 2008 29,087 259,050 288,137 Goods and Services Tax (GST) payable 106,516 40,239 Arising during year 9,615 217,599 227,214 Sundry payables 112,419 164,453 Utilised during year - (139,994) (139,994) Accrued expenses 165,460 165,755 At 31 Dec 2008 38,702 303,655 375,357 Amounts payable to Belvoir St Theatre Limited – 42,893 Current 2008 25,169 336,655 361,824 829,506 1,191,637 Non-Current 2008 13,533 - 13,533 38,702 336,655 375,357 10. DEFERRED REVENUE Current 2007 23,830 259,050 282,880 Advance ticket sales 1,774,091 1,814,321 Non-Current 2007 5,257 - 5,257 Grants in advance 256,866 628,892 29,087 259,050 288,137 2,030,957 2,443,213

11. provisions 2007 ($) 2007 ($) 2008 2007 Long Service Leave 38,702 29,087 Number of permanent employees at end of financial year 31 24 Onerous Contracts 33,000 – (b) Nature and timing of provisions Other 303,655 259,050 (i) Annual Leave and other short term employee benefits Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and assumptions 375,357 288,137 applied in the measurement of this provision. (ii) Long service leave Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and assumptions applied in the measurement of this provision. (iii) Onerous Contracts Provisions for productions in subsequent calendar year(s) which management determines as loss-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.

12. REMUNERATION OF AUDITORS 2008 ($) 2007 ($) Audit of the financial report of the entity 45,000 40,000 Ernst & Young sponsors Company B Limited to the same value as the audit fee.

13. KEY MANAGEMENT PERSONNEL

(a) Details of Key Management Personnel (i) Directors: Neil Armfield (executive) Artistic Director Anne Britton (non-executive) Andrew Cameron (non-executive) Michael Coleman (non-executive) Treasurer Russell Dykstra (non-executive) Gail Hambly (non-executive – Appointed 27 January 2009) Louise Herron (non-executive) Chairperson Brenna Hobson (executive – Appointed 18 February 2008) Victoria Middleton (executive – Resigned 22 February 2008) Ann Sherry (non-executive – Apponted 24 September 2008) Brian Thomson (non-executive) Mary Vallentine (non-executive) Orli Wargon (non-executive – Resigned 25 May 2008)

44 45 Changes in net assets and liabilities: (b) Compensation of Key Management Personnel 2008 ($) 2007 ($) (Increase) / decrease in assets: Short-term 167,626 156,054 Current receivables (177,637) 226,625 Post employment - - Current inventories 18,518 (29,783) Other long-term - - Other Current Assets & Intangibles 76,340 75,991 Termination benefits - - Increase/ (decrease) in liabilities: Share-based payments - - Current payables (362,131) 592,187 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. Deferred revenue (412,258) (421,558) Provisions 87,221 204,809 14. NOTES TO THE STATEMENT OF CASH FLOWS 2008 ($) 2007 ($) Net cash from operating activities 30,032 2,068,719

(a) Reconciliation of Cash 15. COMMITMENTS AND CONTINGENCIES 2008 ($) 2007 ($) Cash at the end of the financial year as shown in the statement of cash flows is reconciled to the related items in the balance sheet as follows: Cash on hand 8,455 8,769 (a) Lease Commitments Cash at bank and short-term deposits 4,045,920 4,307,102 Non-cancellable operating leases – – 4,054,375 4,315,871 Not longer than 1 year – – (b) Cash held in Escrow Longer than 1 year and not longer than 5 years 10,750 10,750 Funds received under the Australia Council and NSW Ministry for the Arts’ Reserves Incentive Scheme, together with the company’s own contribution to the Scheme, are held Greater than 5 years 38,250 in escrow under the terms of an Agreement signed with the Australia Council and the NSW Ministry for the Arts governing the use of the funds. The funds have not been used 49,000 10,750 to secure any liabilities of the company and can only be released under the provisions of the funding Agreement. As at 31 December, 2008, the company is holding $164,948 An operating lease for renting the warehouse and theatre is currently in place with Belvoir Street Theatre Limited. (2007: $159,131).

(c) Reconciliation of Profit from Ordinary Activities to Net Cash Flows from Operation Activities Profit/(loss) from ordinary activities 110,854 335,185 (b) Contingent liabilities 16. FINANCIAL RISK MANAGEMENT OBJECTIVES AND POLICIES Non-cash flows in operating profit: Company B has a contingent liability to Belvoir Street Theatre Limited (BSTL) for (a) Significant Accounting Policies a sinking fund as required under the lease rental agreement between BSTL and Depreciation of non-current assets 53,118 31,779 Details of the significant accounting policies and methods adopted, including Company B for the Belvoir St Theatre and warehouse premises. At the date of the criteria for recognition, the basis of measurement and the basis on which Loss on disposal of non-current assets 2,904 12,770 signing this financial report, management of both companies have yet to come to an revenues are expenses are recognised, in respect of each class of financial agreement on the amount of the sinking fund required, as such Company B cannot Lump sum payment to Belvoir Street Theatre Limited 438,445 1,040,714 asset, financial liability and equity instrument are disclosed in Note 2 to the book a provision as at 31 December 2008. Shane Warne contribution 250,000 – financial statements. (c) Commitment Accrued interest (55,342) – (b) Interest Rate Risk Company B Limited originally advanced $1,500,000 to Belvoir Street Theatre The Company has cash and cash equivalents, short-term deposits, and money market Limited (BSTL) to assist with cost overruns arising from completion of the building investments at the end of the financial year totalling $4,054,375 (2007: $4,315,871). redevelopment. Under the lease agreement between Company B and BSTL, Company These are earning interest at market rates. The average effective interest rate was B pays rent to BSTL that includes mortgage payments on the loan. In view of this, 6.95% (2007: 6.04%). Company B has resolved that it will not require repayment of $438,445 (2007: $1,040,714) of the loan. The loan balance is now zero. 46 47 (c) Credit Risk Independent Audit Declaration & Report Credit risk refers to the risk that counterparty will default on its contractual obligations resulting in financial loss to the Company. The Company has adopted the policy of only dealing with creditworthy counterparties and obtaining sufficient collateral or other security where appropriate, as a means of mitigating the risk of financial loss from defaults. The Company measures credit risk on a fair value basis. Auditors Independence Declaration Auditors’ Responsibility Auditor’s Opinion The Company does not have any significant credit risk exposure to any single counterparty or any group of counterparties having similar characteristics. Our responsibility is to express an opinion on the financial In our opinion: Auditor’s Independence Declaration to the report based on our audit. We conducted our audit in the financial report of Company B Limited is in accordance Directors of Company B Limited (d) Maturity Analysis accordance with Australian Auditing Standards. These with the Corporations Act 2001, including: In relation to our audit of the financial report of Company Auditing Standards require that we comply with relevant Year ended 31 December 2007 < 6 months ($) 6-12 months ($) 1-5 years ($) > 5 years ($) TOTAL (i) giving a true and fair view of the financial position of B Limited for the year ended 31 December 2008, to the ethical requirements relating to audit engagements and Company B Limited at 31 December 2008 and of its Financial Assets best of my knowledge and belief, there have been no plan and perform the audit to obtain reasonable assurance performance for the year ended on that date; and Cash & cash equivalents 4,054,375 - - - 4,054,375 contraventions of the auditor independence requirements whether the financial report is free from material of the Corporations Act 2001 or any applicable code of misstatement. (ii) complying with Australian Accounting Standards Trade & other receivables 237,712 - - - 237,712 professional conduct. (including the Australian Accounting Interpretations) An audit involves performing procedures to obtain audit Ernst & Young and the Corporations Regulations 2001. Non-current receivables 14,333 - - - 14,333 evidence about the amounts and disclosures in the 4,306,420 - - - 4,306,420 financial report. The procedures selected depend on Ernst & Young our judgment, including the assessment of the risks of

David J Simmonds material misstatement of the financial report, whether

Financial liabilities Partner due to fraud or error. In making those risk assessments, David J Simmonds Sydney we consider internal controls relevant to the entity’s Trade & other payables (722,990) - - - (722,990) Partner 26 March 2009 preparation and fair presentation of the financial report Net Maturity 3,583,430 - - - 3,583,430 in order to design audit procedures that are appropriate Sydney Independent Audit Report in the circumstances, but not for the purpose of 26 March 2009 To the members of Company B Limited expressing an opinion on the effectiveness of the entity’s 17. SEGMENT INFORMATION 19. MEMBERS GUARANTEE We have audited the accompanying financial report of internal controls. An audit also includes evaluating the Company B Limited (the Company), which comprises the appropriateness of accounting policies used and the The company’s activities involve the operation of a live theatre and the production of Company B Limited is incorporated in New South Wales as a company limited by balance sheet as at 31 December 2008, and the income reasonableness of accounting estimates made by the live theatrical performances. The activities are conducted primarily within Australia. guarantee. In the event of the company being wound up, each member undertakes to statement, statement of changes in equity and cash flow directors, as well as evaluating the overall presentation of contribute a maximum of $20 respectively for payment of the company’s liabilities. statement for the year ended on that date, a summary of the financial report. 18. RELATED PARTY DISCLOSURES As at 31 December 2008 there were 50 members of Company B Limited and the significant accounting policies, other explanatory notes We believe that the audit evidence we have obtained is (a) Directors’ Remuneration and Retirement Benefits amount of capital that could be called up in the event of Company B Limited being and the directors’ declaration. wound up is $1,000. sufficient and appropriate to provide a basis for our audit No director has entered into a material contract with the Company since the end of Directors’ Responsibility for the Financial Report opinion. the previous financial year and there were no material contracts involving directors’ The directors of the company are responsible for the interests subsisting at year end other than employment contracts. One of the Independence preparation and fair presentation of the financial report In conducting our audit we have met the independence directors was involved in a Company B production during the current year and their in accordance with the Australian Accounting Standards remuneration for this work has been disclosed in note 13. requirements of the Corporations Act 2001. We have (including the Australian Accounting Interpretations) and given to the directors of the company a written Auditor’s (b) Loans to related parties the Corporations Act 2001. This responsibility includes Independence Declaration, a copy of which is included in establishing and maintaining internal controls relevant the directors’ report. During the year Company B has resolved that it will not require repayment on the to the preparation and fair presentation of the financial remaining $438,445 of the loan to Belvoir St Theatre Limited. Interest charged and report that is free from material misstatement, whether paid on the loan during the year was $22,306 (2007: $11,412) at a rate of 5% (2007: due to fraud or error; selecting and applying appropriate 5%) per annum. The loan balance is now zero. accounting policies; and making accounting estimates that are reasonable in the circumstances.

48 49 18 Belvoir Street Surry Hills Nsw 2010 Email [email protected] Web www.belvoir.com.au Administration (02) 9698 3344 Facsimile (02) 9319 3165 Box Office (02) 9699 3444

Front cover photo: Heidrun Löhr. Hazem Shammas and Zindzi Okenyo in Scorched. Back cover photo: Alex Craig