ANNUAL REPORT ————2020 01 ———————————— C O M PA N Y P R O F I L E 04 ———————————— C H A I R ’ S R E P O R T 08 ———————————— EXECUTIVE REPORT 10 ———————————— 2 0 2 0 S E A S O N 28 ———————————— T H E E N G I N E R O O M 32 ———————————— PROMPT EDUCATION PROGRAM 34 ———————————— V E N U E 36 ———————————— EQUITY AND DIVERSITY 2020 ANNUAL REPORT ANNUAL 2020
MALTHOUSE THEATRE MALTHOUSE 38 ———————————— P H I L A N T H R O P Y 42 ———————————— COMPANY INFORMATION 48 ———————————— AUDITED FINANCIAL STATEMENTS
CONTENTS MALTHOUSE THEATRE
2020 SEASON LAUNCH MALTHOUSE THEATRE PROFILE COMPANY
2020 SEASON LAUNCH MALTHOUSE THEATRE
WHAT HAPPENS NEXT
Malthouse Theatre has been developing and producing bold new Australian work for over thirty years in the historical Malthouse, a unique theatre and hospitality venue in the thriving arts precinct of Southbank in Melbourne. Malthouse Theatre’s vision of provocative, innovative, and contemporary live performance reaches tens of thousands of audience members per year, providing employment, and professional development for hundreds of artists, creatives, and technicians. Malthouse Theatre is a home for sharing conversations, community, ideas, and experiences. Malthouse Theatre is what happens next.
Welcome to Malthouse Theatre.
2020: ALL IN 2020 was a milestone for Malthouse Theatre—30 years of Melbourne’s most provocative theatre company occupying an iconic Melbourne building. Malthouse Theatre has become indelibly imprinted into the fabric of our city. Thousands of stories have been created and shared within these walls. Our brilliant successes and spectacular failures have generated spirited conversations for generations and spread their tendrils across the world. Throughout these 30 years, Malthouse Theatre has created a community that values the alchemy of artists and audiences coming together.
2020 ANNUAL REPORT ——> PG 1 MALTHOUSE THEATRE 2020 IN NUMBERS
9 CANCELLED PRODUCTIONS
12,000 TICKETS RETURNED
95% DROP IN ATTENDANCES AT THE MALTHOUSE
255 DAYS OF CLOSURE
2020 ANNUAL REPORT MALTHOUSE THEATRE
5 WORLD PREMIERES
72 ARTISTS SUPPORTED 12,000 DURING TICKETS LOCKDOWN RETURNED 19 NEW WORKS DEVELOPED 95% DROP IN ATTENDANCES 1,129 NEW AT THE SOCIAL MEDIA MALTHOUSE FOLLOWERS
104,531 255 DAYS OF VISITORS CLOSURE ONLINE
2020 ANNUAL REPORT ——> PG 3 MALTHOUSE THEATRE
REPORT CHAIR’S Malthouse Theatre has a It is with immense pride and gratitude that we present the Annual Report for 2020, reputation for ‘making the detailing the resilience, innovation, and impossible inevitable’ and creativity with which the Company met the in the face of a pandemic, challenges of the year. this mantra has never been The much-anticipated 2020 season more necessary as a reminder opened with a production of Ridiculusmus’ The Importance of Being Earnest, this to keep going. In a year of new staging proving just as popular and extraordinary hardship and beloved by audiences as its previous incarnation in 2006. disruption, the Company has gone from closures and In March, The Malthouse closed its doors for the first time in 30 years to protect staff, mass cancellations to two artists, creatives, and the community from innovative responses in the the threat of the COVID-19 pandemic. form of Malthouse Outdoor The Company returned nearly 12,000 Stage and the immersive tickets to audiences, but also saw a huge groundswell of support from donors through theatrical adventure Because the 'Ghost Light to Spotlight' campaign. It is The Night. There is something our highly valued relationship with sponsors, uniquely Malthouse Theatre philanthropic supporters, and private donors who truly understand the work we do that in this ambitious answer enables us to achieve great things.
to the challenges of live On behalf of my fellow Board members, performance in the time I would also like to thank our government of COVID-19. supporters, Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative, Australia Council for the Arts, Creative Victoria, and City of Melbourne for their crucial investment in The Malthouse.
Deep in lockdown, when theatres were dark and the iconic Malthouse building stood closed and empty for many months, the Company turned their minds to reopening and reemergence, contemplating deeply on what theatre could be in a COVID-normal world.
The first innovative idea to emerge was the creation of The Lockdown Monologues, a digital yet wholly theatrical new work responding immediately to the collective experience of Victorians living through the first lockdown of 2020. In a time of incredible hardship for many artists, writers, and other creatives, this project was able to commission and produce new work, generously supported by the Malcolm Robertson Foundation, as well as offer a collective moment of reflection, joy, and solace to over 2,000 audience members as they watched from their homes.
2020 ANNUAL REPORT MALTHOUSE THEATRE
The nimbleness of the Company was proved The resilience, creativity, and hard work of again with the online delivery of Hello, World! Malthouse Theatre allowed the organisation to as part of the award-winning Education rise to the challenges of 2020 with curiosity, program The Suitcase Series. Entirely devised, flexibility, and innovation. On behalf of the rehearsed, and performed remotely, Hello, Board, I am proud to present this Annual Report World! connected over 700 VCE students of their achievements in the face of a year of across Victoria with the creative team at unprecedented difficulty. Malthouse Theatre and each other in a unique digital theatre experience designed to respond to the immediate pressures and challenges of Victoria’s second lockdown. On behalf of the Board, I gratefully acknowledge the support of the Victorian Department of Education and Training for supporting this unique and long- standing Education program. Fiona McGauchie / The final production of the original season, Chair Loaded, was also rapidly adapted into an audio experience, backed by the incredible skill and innovation of Malthouse Theatre’s production and technical staff, as well as the talented creatives who reimagined this iconic Melbourne story for a new medium.
While maintaining creative development, commissioning new work, and continuing to present through a digital medium, the Company was busy planning and working on what Malthouse Theatre would do after restrictions lifted. 2020 was full of learning about what our communities truly value in the arts: catharsis and comfort, a sense of gathering and connection even when far apart, and sometimes simply a laugh or a song to distract us when the world seems too dark. The Company’s creation of Malthouse Outdoor Stage thanks to the significant support of the Sidney Myer Fund and Because The Night, both incepted, designed, and built during 2020, shows Malthouse Theatre's ability to respond to the world around them with ambition, understanding, and daring.
At a Board level, in 2020 we supported the Executive and Company by forming a COVID-19 Crisis sub-committee that met weekly to guide, advise, strategise, and sometimes just commiserate. This year also saw the retirement of Jan Owen from the Board. Jan had served on the Board since 2015 and overseen the successful Vanguard program, and we thank her sincerely for her invaluable contribution.
2020 ANNUAL REPORT ——> PG 5 SURVEY RESPONDENT ‘I LOVE ATTENDING MALTHOUSE THEATRE. THE PRODUCTIONS ARE WONDERFUL AND THE ATMOSPHERE IS FRIENDLY’ MALTHOUSE THEATRE MALTHOUSE 2020 APAM LAUNCH APAM 2020
2020 SEASON SURVEY RESPONDENT PG 7 > ‘I LOVE ATTENDING —— MALTHOUSE THEATRE. THE PRODUCTIONS ARE WONDERFUL AND THE ATMOSPHERE IS FRIENDLY’ MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT ANNUAL 2020 MALTHOUSE THEATRE REPORT EXECUTIVE
2020 ANNUAL REPORT MALTHOUSE THEATRE
2020 was to be a milestone We commissioned and produced The Lockdown Monologues with the support of the Malcolm year for Malthouse Theatre— Robertson Foundation, and employed writers, it was the 30th anniversary actors, directors, designers, and production experts of the Company operating in to deliver responsive and ephemeral stories to audiences. We moved our Education program, The our iconic building. Instead, Suitcase Series online, and in doing so reached a we closed our doors to the much larger number of high school students than before. We also created an aural version of Christos public for the first time, Tsiolkas’ seminal novel Loaded with the creative without knowing when we team who would have created this for the stage. would reopen. Our 2020 These are the highlights of a very dark year. season of productions These were responsive projects but we needed a plan for the future, and one that would work with captured the values and and not against the challenges that COVID-19 ambitions of Malthouse imposed on live performance. This led to the idea of an outdoor stage and with support from the Theatre, our dedication to Sidney Myer Fund, this became a reality. And we new Australian work, our dreamed up Because The Night. As a major work commitment to established of scale, it enabled us to keep our experienced production team working and to employ many and emerging artists, and our casual arts workers who had lost their jobs. It was drive to engage in a dialogue also a hugely exciting artistic risk. with our city and the world. Survival is the most motivating of forces. The ingenuity of artists and the love and support of our In 2020, we were able to present only one audiences and community has kept us going. We season production as planned, The Importance remain on high alert, understanding how tenuous of Being Earnest—a joyful return of a formally our place in the world is, and we remain poised inventive interpretation of Wilde’s camp ready to fiercely defend it. comedy—before we closed our doors. From that moment we were in unknown territory. As the months progressed and the virus was transmitted in Melbourne, we were forced to undertake the extremely difficult task of cancelling productions. This process was highly fraught and emotional for everyone, none more Matthew Lutton / so than the artists who lost work overnight Artistic Director & Co-CEO and who were unable to access the Federal JobKeeper support. Years of creative work evaporated. Fear for the future, and for the health and well-being of our colleagues was paralysing. Finding a plan that we could drive through, was paramount. Sarah Neal / Kandinsky is noted for saying that ‘necessity Executive Producer & Co-CEO creates form’ and this was true for how we responded to the impacts of the global pandemic. The surge of digital pivoting became ubiquitous in the live performance industry. Artists found ways to create and connect online. Some of this worked, and sometimes the results reminded us of what we had lost. Our approach was not to leap into the digital space, but to only adapt or create work that naturally connected to digital forms.
2020 ANNUAL REPORT ——> PG 9 MALTHOUSE THEATRE 2020 SEASON
2020 ANNUAL REPORT / 2020 SEASON MALTHOUSE THEATRE
THE IMPORTANCE OF BEING EARNEST 14 FEBRUARY – 8 MARCH
Malthouse Theatre A PLAY BY / Oscar Wilde presents the Ridiculusmus production of The ADAPTED BY / Jon Haynes, Jude Kelly, Importance of Being ‘There’s never been anything and David Woods Earnest by Oscar Wilde. CAST / Jon Haynes and David Woods quite like this iteration of ORIGINAL DIRECTION / Jude Kelly Wilde’s sparkling comedy’ SET & COSTUME DESIGN / Zöe Atkinson LIGHTING DESIGN / Stephen Hawker — ARTS HUB (Inspired by the original design by Jo Currey) SOUND REALISER / Tom Backhaus VENUE: Merlyn Theatre (Inspired by the original design by Lawrence English) TOTAL NUMBER OF PERFORMANCES: 23 STAGE MANAGER / Lyndie Li Wan Po TOTAL ATTENDANCES: 7,380 ASSISTANT STAGE MANAGER & DRESSER / Wendy Findlater PRODUCER / Erin Milne, Bureau of Works
2020 ANNUAL REPORT / 2020 SEASON ——> PG 11 MALTHOUSE THEATRE 2020 SEASON
MADE IN CHINA 2.0 27 – 29 FEBRUARY
Made in China 2.0 A PLAY BY / Wang Chong is supported by the VENUE: Tower Wang Chong Playking Foundation, TOTAL NUMBER OF PERFORMANCES: 3 CAST / Arts Centre Melbourne CO-DIRECTION / Emma Valente TOTAL ATTENDANCES: 89 and Sidney Myer Fund. DRAMATURG / Mark Pritchard STAGE MANAGER / Brendan Jellie PRESENTATION OF A WORK IN DEVELOPMENT.
2020 ANNUAL REPORT / 2020 SEASON MALTHOUSE THEATRE
FOLDING BEIJING 29 FEBRUARY
Presented by Malthouse VENUE: Bagging Room A PLAY BY / Daniel Keene adapted from Theatre as part of Asia Hao Jingfang’s novelette TOPA. Folding Beijing TOTAL NUMBER OF PERFORMANCES: 1 is supported by Arts CAST / Kane Felsinger, Jenevieve Chang, Centre Melbourne and TOTAL ATTENDANCES: 33 Anthony Brandon, Lui Fengi, Jin Yi Alice Qin, Sidney Myer Fund. James Wong PLAY READING TO AN DIRECTION / Matthew Lutton SET DESIGN / Dale Ferguson INVITED AUDIENCE. TRANSLATOR / Jin Yi
2020 ANNUAL REPORT / 2020 SEASON ——> PG 13 MALTHOUSE THEATRE 2020 SEASON
THE LOCKDOWN MONOLOGUES 3 JUNE – 3 JULY
A Malthouse Theatre digital production. The ‘The Lockdown Monologues Lockdown Monologues are supported by The prove that art can be Malcolm Robertson Foundation. immediately responsive to momentous social change’ — THE AGE
DELIVERY: Online performances TOTAL NUMBER OF PERFORMANCES: 3 Parts TOTAL ATTENDANCES: 2,474
2020 ANNUAL REPORT / 2020 SEASON MALTHOUSE THEATRE
PART 1 PART 2 PART 3 THE CLOWN BETTER, TEMPORARILY THE SINGER BY / Tom Holloway BY / Jean Tong BY / Tom Holloway CAST / Daniel Schlusser CAST / Margot Tanjutco CAST / Emma J. Hawkins DIRECTION / Bridget Balodis DIRECTION / Bridget Balodis DIRECTION / Bridget Balodis DRAMATURGY / Mark Pritchard DRAMATURGY / Mark Pritchard DRAMATURGY / Mark Pritchard PING CAT LADY SANS CAT AT YOUR OWN PERIL BY / Jean Tong BY / Jane Harrison BY / Jean Tong CAST / Sophie Ross CAST / Maude Davey CAST / Bernard Sam DIRECTION / Bridget Balodis DIRECTION / Bridget Balodis DIRECTION / Ra Chapman DRAMATURGY / Mark Pritchard DRAMATURGY / Mark Pritchard DRAMATURGY / Mark Pritchard COCOONING THE DRUMMER WHAT MATTERS BY / Jane Harrison BY / Tom Holloway BY / Jane Harrison CAST / Henry Tseng CAST / John Marc Desengano CAST / Lisa Maza DIRECTION / Bridget Balodis DIRECTION / Bridget Balodis DIRECTION / Kamarra Bell-Wykes DRAMATURGY / Mark Pritchard DRAMATURGY / Mark Pritchard DRAMATURGY / Mark Pritchard
2020 ANNUAL REPORT / 2020 SEASON ——> PG 15 MALTHOUSE THEATRE 2020 SEASON
2020 ANNUAL REPORT / 2020 SEASON MALTHOUSE THEATRE
LOADED THE AUDIO EXPERIENCE 30 OCTOBER
Malthouse Theatre presents ADAPTED BY / Dan Giovannoni & Christos Tsiolkas Loaded. Malthouse Theatre from the novel by Christos Tsiolkas would like to thank Sydney Theatre Company for the use 'Explosive...The writing works CAST / Roy Joseph of their recording facilities. DIRECTION / Stephen Nicolazzo brilliantly’ DESIGN & CREATION OF VISUAL CONTENT / — THE AGE Eugyeene Teh, Katie Sfetkidis VIDEO EDITING / Katie Sfetkidis COMPOSITION & SOUND DESIGN / Daniel Nixon DELIVERY: Online performance TOTAL ATTENDANCES: 998
2020 ANNUAL REPORT / 2020 SEASON ——> PG 17 MALTHOUSE THEATRE 2020 SEASON PLANNED
26 MARCH – 19 APRIL 9 – 31 MAY
COULD NOT PROCEED DUE TO COVID-19
29 MAY – 21 JUNE 2 – 19 JULY
2020 ANNUAL REPORT / PLANNED 2020 SEASON MALTHOUSE THEATRE
COULD NOT PROCEED DUE TO COVID-19
10 JULY – 2 AUGUST 25 AUGUST – 20 SEPTEMBER PRIMA FACIE PRIMA FACIE PRIMA FACIE
16 SEPTEMBER – 4 OCTOBER 9 – 25 OCTOBER
2020 ANNUAL REPORT / PLANNED 2020 SEASON ——> PG 19 MALTHOUSE THEATRE EVENTS EXTRA
2020 APAM LAUNCH MALTHOUSE THEATRE
SMOKE AND FIRE 24 – 26 FEBRUARY
Presented by Malthouse Theatre as part of APAM. TOTAL NUMBER OF EVENTS: 4 CURATED BY / Jason Tamiru, Yorta Yorta man BAD APPLES MUSIC SMOKE AND FIRE PARTY VENUE / Merlyn Theatre VENUE / Merlyn Theatre ARTISTS / BIRDZ, Briggs SPEAKERS / Uncle Jack Charles, Clinton Nain FACILITATOR / Paola Balla DANCERS / Djirri Djirri Dancers, Koori Youth PANELISTS / Nathan Leitch, BIRDZ, Cerisa Grant Will Shake Spears, Culture Evolves MUSIC / The Deans, BIRDZ DJAB WURRUNG BIRTHING TREES POWER AND THE PASSION: VENUE / The Malthouse Courtyard OUR ANCESTORS FACILITATOR / Lidia Thorpe RETURN HOME PANELISTS / Dtarneen Onus Williams, Sissy Austin VENUE / The Malthouse Courtyard FACILITATOR / Jane Harrison PANELISTS / Jim Berg, Shannon Faulkhead
2020 ANNUAL REPORT / 2020 SEASON ——> PG 21 MALTHOUSE THEATRE 2020 SEASON
2020 APAM LAUNCH SURVEY RESPONDENT PG 23 > ‘ALWAYS A GREAT —— EXPERIENCE, GOOD VENUE, GREAT PERFORMANCES’ MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT / 2020 SEASON 2020 / REPORT ANNUAL 2020 MALTHOUSE THEATRE MALTHOUSE 2020 ON TOUR / WAKE IN FRIGHT IN WAKE / TOUR ON 2020
2020 ON TOUR MALTHOUSE THEATRE
WAKE IN FRIGHT VENUE: Sydney Opera House, Sydney DATES: 11 – 15 February TOTAL NUMBER OF PERFORMANCES: 6 TOTAL ATTENDANCES: 1,556
2020 ANNUAL REPORT ——> PG 25 MALTHOUSE THEATRE MALTHOUSE 2020 ON TOUR / CLOUDSTREET / TOUR ON 2020
2020 ON TOUR MALTHOUSE THEATRE
CLOUDSTREET VENUE: His Majesty’s Theatre, Perth DATES: 21 February – 15 March TOTAL NUMBER OF PERFORMANCES: 17 TOTAL ATTENDANCES: 10,022
2020 ANNUAL REPORT ——> PG 27
by , a set of nine monologues nine monologues , a set of by Lally Katz Lally by by Vidya Rajan Vidya by by Kamarra Bell-Wykes, Ra Ra Bell-Wykes, Kamarra by Ra Bell-Wykes, Kamarra by by Wang Chong Wang by by Daniel Keene Daniel by by Maxine Beneba Clarke Maxine Beneba by by Natesha Somasundaram Natesha by by Ash Flanders by Ash Flanders by by Claire G. G. Claire by the World of at the End by Aran Thangaratnam Aran by Thangaratnam Aran by by Emme Hoy, in collaboration with with in collaboration Hoy, Emme by , an adaptation by Van Badham Van by , an adaptation by Dan Giovannoni and Christos Tsiolkas and Christos Giovannoni Dan by by Carly Sheppard Carly by DEVELOPMENT DEVELOPMENT NEW WORK IN WORK NEW by Jane Harrison, Tom Holloway and Jean Tong Jean and Holloway Tom Harrison, Jane by Claire G. Coleman Claire Chapman and Matthew Lutton development also held creative We 12 new works: for workshops Chapman and Matthew Lutton choreographer Stephanie Lake Stephanie choreographer Monsters Monsters Race Hate The in China 2.0 Made Beijing Folding Chase Loaded Black Betty at the End of the World of at the End Betty Black Woke Stay Monologues Lockdown The Exit No Town The Upon Night One SS Metaphor Night The Because Betty Black Woke Stay SS Metaphor Night The Because Alibrandi for Looking World! Hello, Malthouse Theatre has an extensive, multi-level multi-level has an extensive, Theatre Malthouse new contemporary of the creation to commitment mid-career, with emerging, work We work. them with supporting and established artists, across expertise, and resources time, space, conception, life—from a project’s all stages of through and development to commissioning, new work of range run a We to production. commissions, residencies, programs, development to designed are which workshops, and script We and projects. artists of support a wide range is a space Theatre that Malthouse to ensure aim and rigour, ambition, experimentation, creative for the innovation, terms of in the industry leading work. our of and inclusivity diversity, happen couldn’t this work 2020 much of For to work to continue able were onsite, but we we commissions of quantity the large on remotely of starting a number as well had initiated in 2019, workshops development Creative new projects. Zoom, via remotely lockdowns, happened between the year. of the end onsite at or new plays seven of total 2020, a In commissioned: were Coleman MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT REPORT ANNUAL 2020 Much of this is activity we have been doing been doing have we this is activity of Much that is but in a way years, for the scenes behind the supporters, and to audiences, opaque often for us know People artistic community. broader get only they on stage but present we the work about. In comes this work how glimpses of rare few public a and only financial jeopardy of a year to do better needed we realised we presentations, new important how of story the telling in work and culture, creative our to is development work the goes beyond as a company impact that our we put on stage. work finished of to sharing more this is a commitment to Key processes, artistic and programming internal our opportunities and open access more creating and holding ourselves artists, for pathways artist Our work. we the way for accountable has much clearer page now development with to working approach our explanations of helping new and diverse artists and is already to engage with us. We’ve artists understand how Room the Engine blog as our also overhauled commissioning now which we’re through Blog, for artists by and interviews and publishing essays having we’re the conversations artists, sharing community. the wider with internally paradigm is a framework Room Engine The do, what we communicate we the way shift in and measures success/failure from away moving about artistic practice holistically thinking more wealth the incredible promotes It as research. mainstage our do beyond we work creative of play we role vital the evidences and program It community. the creative and the industry, in and stakeholders artists, audiences, also allows new work of the nature understand to better with us. the journey on and come development In 2020, we established an an established we 2020, In for framework overarching development: new work our Engine The Room. the Engine and the research is Room the arm of development encompassing Company, new play from everything to commissions residency workshops, project programs, development professional artistic and programs, a new as as well experiments, research, on creative focus and reflection. exchange,
THE ENGINE ROOM MALTHOUSE THEATRE
FEMALE DIRECTOR IN RESIDENT RESIDENCE PROGRAM ARTISTS The Female Director in Residence program In 2020, we welcomed three new resident artists provides intensive career development, personal into the Company—Jada Alberts, Kamarra Bell- mentoring, and a salary to an emerging female Wykes, and Ra Chapman. These three multi-skilled theatre director. The only program of its kind in artists joined the artistic and programming team, Australia, the program offers a deeply engaged with Kamarra and Ra each directing one of The professional development opportunity, through Lockdown Monologues, writing essays for the the generous support of Craig Reeves. Engine Room Blog, and becaming co-writers on Because The Night. In this 10th year of the program, Bridget Balodis was appointed as Director in Residence for the Jada Alberts is an award-winning actor and writer, period 2020 – 2022. Joining our Artistic and and is regarded as one of the most important Programming team, she directed two digital voices in Australian theatre’s next generation. Jada productions in 2020: The Lockdown Monologues was born and raised on their mother’s country, and The Suitcase Series play Hello, World! Larrakia country (Darwin, NT), and has family ties to the Yanyuwa, Bardi, and Wardaman peoples. Bridget trained as a director at the VCA and Australian National University. She works As a writer, Jada has been awarded the Balnaves primarily with new Australian writing and is a Indigenous Playwright’s Award in 2013 and the member of theatre collective, New Working Mona Brand Emerging Playwright’s Award in Group. As a dramaturg/director Bridget has 2016. In 2014 their debut work Brothers Wreck developed work with playwrights Michele Lee, was part of the mainstage season at Belvoir David Finningan, Dan Giovannoni, Amelia Evans, St Theatre to critical acclaim. In 2018, Jada Morgan Rose, and Rachel Perks. directed their play Brothers Wreck at Malthouse Theatre and the State Theatre Company of South Her recent directing credits include She Is Australia to rave reviews. Vigilante (Theatre Works), Cybec Electric (Melbourne Theatre Company), MORAL PANIC Kamarra Bell-Wykes is a Yagera and Butchulla (Darebin Arts), Desert, 6:29pm (Red Stitch woman with over 15 years’ experience as Actors’ Theatre/Wuzhen Theatre Festival), a playwright, director, dramaturg, devisor, GROUND CONTROL (Next Wave/Brisbane facilitator, performer, producer, and education Festival), Jurassica (Red Stitch Actors’ Theatre/ consultant. Critical Stages), and Kids Killing Kids (Next Wave). She is best known for her work on ILBIJERRI’s Bridget was assistant director on The Dream award-winning community-education productions (Bell Shakespeare) and The Histrionic (Malthouse Chopped Liver, North West of Nowhere, Body Theatre/Sydney Theatre Company). In 2015 and Armour, Viral, and Scar Trees. Combined, these 2016 she lived in New York, where she worked works, targeting prisons, schools, and First Nation with downtown legends Elevator Repair Service communities have toured over 15 years and been and Wooster Group alumna, Anna Kohler. seen by 60,000 people across Australia. Her 2018 work MORAL PANIC was nominated Kamarra recently resigned from ILBIJERRI for six Green Room Awards and her 2015 work, Theatre Company after serving five years as their Jurassica, was nominated for five. She was a part Education Manager and Creative Director, to of the inaugural Melbourne Theatre Company’s freelance, explore, and deepen her various artistic Women Director’s program in 2014 and has been and therapeutic practices. the recipient of the Ian Potter Cultural Trust Award, Mike Walsh Fellowship, and Dame Joan Ra Chapman is a Korean-Australian writer and Sutherland Award. actor. She has strong ties with the adoption community and works closely with inter-country adoptees and diverse artists. Ra is an alumnus of Malthouse Theatre’s Besen Family Artist Program and Living Now Residency. She was awarded the 2018 Hot Desk Fellowship (the Wheeler Centre) and her play K-BOX will premiere at The Malthouse in the coming years. Ra was selected to take part in StoryLab (Cinespace) and Talent Camp (AFTRS), both FilmVic funded development programs, and is the Program Coordinator for StoryLab 2.0.
2020 ANNUAL REPORT ——> PG 29 MALTHOUSE THEATRE ARTISTIC DEVELOPMENT BESEN FAMILY INDEPENDENT ARTISTS ARTIST PROGRAM & SMALL-TO-MEDIUM Since 2005, the Besen Family Artist Program THEATRE COMPANIES at Malthouse Theatre has provided workplace Malthouse Theatre plays a crucial role in the learning experiences for Australian theatre- theatre ecology, providing opportunities to a makers. In 2020, the program continued to offer range of independent artists through residencies, opportunities to early and mid-career artists development, and presentation as well as who seek value in observing specific Malthouse partnerships with theatre companies from Theatre productions and the ongoing artistic the small-to-medium sector. work of Malthouse Theatre, as well as being mentored by a company artist. We also offer in-kind support to independent
artists, through professional and dramaturgical We expanded the design of the program to advice, industry connections, and rehearsal enable the artists to have a more comprehensive space where possible. engagement with the Company, including a bespoke workshop series focussed on their In 2020, artists and companies supported through personal practice, leadership, and pitching the provision of in-kind space were: Stage Mom skills, and giving insights into programming, (Alberto Di Troia and Hannah Fallowfield), Ming-Zhu development, and operations. Hii, Janice Muller, Declan Greene and Ash Flanders. Due to the disruption to our onstage activities, these placements have continued into the first half of 2021. Through the Besen Family Artist Program, Malthouse Theatre partners with the Besen Family Foundation to grow the next generation of innovative theatre-makers and cultural practitioners. Rachel Lee Lighting Design placement Because The Night Morgan Rose Dramaturgy placement Hello, World!, Because The Night and various works in development Hannah Fallowfield Directing placement Because The Night and One Night Upon The Town James Henry Composition & Sound Design Because The Night
2020 ANNUAL REPORT MALTHOUSE THEATRE
MALCOLM ROBERTSON ARTISTIC EVALUATION WRITERS PROGRAM Malthouse Theatre work is shaped by a desire for theatre to be provocative, inventive, Malthouse Theatre’s Malcolm Robertson Writers and entertaining. Our evaluation framework Program commissions two emerging artists per establishes a process for Malthouse Theatre year to write a new Australian work for theatre. to assess artistic vibrancy and our impact. The aim is to increase the commissioned output The scope of evaluation includes: of work by emerging Australian playwrights and provide real development and presentation ARTISTIC EXCELLENCE: DOES OUR WORK pathways within the support structures of a major REALISE ITS AIMS AND AMBITIONS? theatre company. AUDIENCE AND COMMUNITY The Malcolm Robertson Writers Program ENGAGEMENT: IS OUR WORK CONNECTING participants for 2020 were Claire G. Coleman WITH THE PUBLIC? and . Aran Thangaratnam CONTRIBUTION TO ARTIST AND ARTFORM Claire G. Coleman is a Wirlomin Noongar woman DEVELOPMENT: WHAT IS OUR IMPACT ON whose ancestral country is on the south coast of THE SECTOR? Western Australia. Born in Perth she has spent most The Company has formal and informal of her life in Naarm (Melbourne). Her novel Terra mechanisms for seeking feedback from artists, Nullius, written while travelling in a caravan, was audiences and peers. Malthouse Theatre leads published by Hachette in Australia and Small Beer ongoing conversations with respected colleagues, Press in the US. Terra Nullius won a black&write! visiting experts and collaborating companies Fellowship, a Norma K. Hemming Award, was and artists to gain one-on-one feedback about shortlisted for the Stella Prize, the Aurealis Science individual works. We also regularly seek feedback Fiction Award, among many others. from youth and education networks and our She writes poetry, short-fiction, and essays, and community partners. her work has featured in The Saturday Paper, Invaluable audience feedback is gathered in The Guardian, Meanjin, Australian Poetry, Art partnership with Roy Morgan Research through Collector, ABC, Griffith Review, Overland, their comprehensive annual survey. This provides Timothy McSweeny's Quarterly Concern, and annual data and qualitative responses from a many others. Claire is a popular speaker and wide cross-section of attendees, including key performer and has appeared on radio and podcasts markers of satisfaction and motivation. dozens of times. Survey respondent quotes: Aran Thangaratnam is a playwright, sketch comedian, and doctor based in Melbourne, ‘The Malthouse develops high quality work Australia. He first started at the Improv that is not just entertaining but provokes Conspiracy writing and performing sketches and thinking and discussion. It should be seen by improvised comedy, then moved on to playwriting. as many as possible’ Aran wrote and performed in his first play,The ‘It is critical to support a vibrant arts community, Aussie Ethnic Identity Crisis at the 2019 Melbourne especially an independent, committed company Fringe Festival which received a Green Room like Malthouse Theatre’ Award nomination. ‘Really excited about the outdoor stage that is being built—can’t wait to have you back’ ‘Keep on with the superb, questing, captivating theatre—arguably the best in Melbourne’
2020 ANNUAL REPORT ——> PG 31
Natesha Natesha a play that that a play World! Hello, THE SUITCASE SERIES SERIES SUITCASE THE Malthouse Theatre’s award-winning Education Education award-winning Theatre’s Malthouse ten Series, celebrated Suitcase The program, theatre-making a participatory in 2020. As years a 9 and 10, it holds in Year students for program education theatre the Victorian unique position in Suitcase The in 2010, landscape. Conceived by response on a performed focusses Series 2020, climate change. In of the issue to students Malthouse Theatre commissioned to Somasundaram write climate change between the relationship explores and technology. The to move decided we reasons, obvious For This 2020. online in Series program Suitcase for online space a private creating involved responses performance their to share students a professional and producing with each other technologies digital only (using remotely production also produced 2020, we In and videography). to provide videos the scenes behind a series of Theatre’s Malthouse into with an insight students meetings Zoom Regular process. production closely the Company kept and online workshops time when with participating schools in a connected with a and dealing remotely working was everyone challenging year. thinking creatively challenging, While it was to led this program of the digital delivery about schools located for particularly access, increased to excited are Victoria. We of areas in regional inclusion and in 2021, of exploration this continue the program, model of a hybrid trialling will be we to participate remotely schools can opt whereby in-person. or
MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT REPORT ANNUAL 2020 Malthouse Prompt is a program a program is Prompt Malthouse into people young invites that through attending the fold, productions, contemporary workshops, tours, bespoke and programs. next the encourage We to engage artists of generation our with all aspects of deeply to provoke and aim work, debate, conversations, robust the world on and reflections us. around
PROMPT: YOUTH AND EDUCATION PROGRAM MALTHOUSE THEATRE
HELLO, WORLD! 23 OCTOBER
A Malthouse Theatre digital A PLAY BY / Natesha Somasundaram production. The Suitcase ‘It was an absolute godsend for Series also receives generous CAST / Casey Filips, Cheryl Ho, and Brooke Lee support from individual me in remote learning to have DIRECTION / Bridget Balodis Malthouse Muse donors. the script to read together, hold SET & COSTUME DESIGN / Emily Collett discussions, think tank ideas, and COMPOSITION & SOUND DESIGN / Ian Moorhead LIGHTING DESIGN / Rachel Lee then play with physically when DRAMATURGY / Mark Pritchard we returned... It was absolutely STAGE MANAGER / Tia Clark fantastic’ — WARRNAMBOOL COLLEGE
DELIVERY: Online workshop TOTAL NUMBER OF PERFORMANCES: 8 TOTAL ATTENDANCES: 781
2020 ANNUAL REPORT ——> PG 33 MALTHOUSE THEATRE VENUE During the lockdowns of VENUE HIRE 2020 when normal activities The Malthouse continues to support the were unable to continue in Company’s strategic vision and to be a home for our venue, our team used the cutting-edge theatre. The venue has functioned to support Malthouse Theatre’s objective to time to complete many vital diversify our community, become a social hub for maintenance and upgrade the arts and culture sector, and to be a place that is welcoming and inclusive. When our stages are works, including: not being utilised for own works, the theatres, —Replacement of air rehearsal rooms, conference facilities, and event spaces are open to creative, commercial and conditioning systems corporate hirers, and event partners. In 2020, this included theatre hires from Performing Lines, —Refurbishment of Creative Victoria, Museum of Western Australia, dressing rooms Drama Victoria, Chamber Made, The Sound (ABC), The Weekly (ABC), Fisk (ABC), Musica —Installation of new security Viva, Oxfam, Theatre Network Australia, Culture cameras and system Counts, VALiD, Royal Academy of Dance, Victoria Actors' Benevolent Fund, Black Swan Theatre —Refurbishment of café/MALT Company, Coopers, KIIS FM, University Kitchen & Pantry facilities of Melbourne, Token, and the SES.
—Refurbishment of The The dollar value of discounted and in-kind venue hire Malthouse Bar provided to the arts sector in 2020 was $6,059. Venue Hire 2020 2019 2018 These works have contributed Total Number of 19 59 122 to our ongoing resilience External Hires to the COVID-19 crisis and Total Number 35 382 316 allowed us to reopen for of Ticketed normal operations with greater Performances efficiency, safety, and amenity. Total Attendances 570 38,863 26,375 Total Hirer Event 20 196 406 and Workshops
TIME TO TALK Throughout the season we invite audiences to a free post show discussion with members of a show’s cast and creative team. Audiences were given the opportunity to learn how the show was made, what thoughts it inspired in others, and share their own perspective. In 2020, we were able to provide a Time To Talk experience for our first scheduled production. The Importance of Being Earnest Tuesday 25 February PANEL / John Haynes, David Woods, Wendy Findlater, Annie Bourke (Moderator)
2020 ANNUAL REPORT MALTHOUSE THEATRE
2020BROTHERS SEASON WRECK, LAUNCH 2019 ——> PG 35 MALTHOUSE THEATRE DIVERSITY EQUITY AND Since 2013, Malthouse ACCESSIBLE Theatre has maintained a PERFORMANCES Disability Action Plan and At Malthouse Theatre we welcome all members of a Diversity Plan, as well as the community to connect with our performances including values of equity and programs. We work hard to remove barriers and increase access to our works and our venue. and inclusion in the Strategic We offer a range of services to make our theatre Plan, Code of Conduct, and accessible to all: in the Constitution since the Company’s inception. WHEELCHAIR ACCESS All mainstage performances at The Malthouse In 2019, the SHIFTING THE BALANCE Report was are accessible to wheelchair users. released by Diversity Arts Australia, which found structural and systemic barriers to participation, AUSLAN INTERPRETED AND AUDIO
including leadership, for culturally diverse, First DESCRIBED PERFORMANCES Nations, and Deaf and disabled people in the Selected performances throughout the season are Australian Arts sector. This body of research was offered as accessible performances for audience welcomed by Malthouse Theatre and formed the members who are deaf, blind, or who have low vision. basis for a renewed focus on equity and inclusion In 2020, we facilitated a relaxed performance of The in the Company. Importance of Being Earnest and wherever possible, made our digital performances accessible through In 2020, Malthouse Theatre participated in the captioning and audio description. Fair Play Program, funded by Creative Victoria and delivered by Diversity Arts Australia. This COMPANION CARD program is an equity and inclusion capacity Developed by the Victorian Network on Recreation building program for organisations that receive and Disability (VICNORD), the Companion Card multi-year funding through Creative Victoria. provides patrons who are cardholders with a The program seeks to address barriers to complimentary ticket for their companion. participation by underrepresented groups in Victoria’s creative industries, with a focus on HEARING ASSISTANCE developing an organisation's skills and capacity in Malthouse Theatre offers a Hearing Assistance working with three groups: System in all venues which allows patrons to tune — First Nations people into the frequency of that venue through their — People with disability hearing aid or headphones. — People from underrepresented cultural and linguistic backgrounds. RELAXED PERFORMANCES As part of the program, Malthouse Theatre We partnered with VALID (Victorian Advocacy undertook a facilitated audit of policies, League for Individuals with Disability) to connect with procedures, and practices surrounding equity audiences who are deaf or disabled and would enjoy and diversity, and began work on a comprehensive a relaxed performance. We were thrilled to welcome Equity Action Plan to be implemented in new audiences to The Malthouse for this performance, 2021 – 2024. as many participants had not previously attended professional theatre. In 2020, Malthouse Theatre provided a range of accessible performances and events for audience members who are blind, visually impaired or deaf. These activities included: — One relaxed performance of Malthouse Theatre’s production The Importance of Being Earnest — Production of Loaded: The Audio Experience — Closed captioning of The Lockdown Monologues and Hello, World! — In-kind venue hire for VALID (Victorian Advocacy League for Individuals with Disability)
2020 ANNUAL REPORT MALTHOUSE THEATRE
COMMUNITY NIGHTS VOLUNTEERS Malthouse Theatre Community Nights provide Malthouse Theatre is supported by a loyal an opportunity to welcome individuals who would and hardworking group of Volunteers. The normally feel excluded from theatre because of time, passion, and generosity provided by our lack of representation or for whom the cost of Volunteers is enormously appreciated and professional theatre is prohibitive. gratefully acknowledged. For each Community Night, we identify a Joyce Anson (Coordinator) performance in our season as a connection point Rod & Yvonne Albury for a particular community or target audience. Fay Batiste We offer free tickets for community members, Alison Besselaar reducing the financial barriers, and creating a Genyce Dean welcoming and low-risk offer. Community Nights Jan & Patrick Doran are promoted through direct invitation and we Angela Farrugia work closely with key partners to identify the Rosemary Forbes right performances and audiences. Jenny Jeffries Yvonne Laird With the support of City of Melbourne, Cathy MacFarlane Malthouse Theatre delivered one Community Joan March Night during Season 2020, for the performance Alex Parfait of The Importance of Being Earnest on Friday Jean Ross 21 February. Patricia Ryan Elisabeth & John Schiller Producer Jason Tamiru summarises that, John Thomas ‘Community Nights offer a culturally safe Charles Wilkins environment for Aboriginal and Torres Strait Islanders audiences and performers to celebrate identity without compromise. Community nights break down those barriers allowing mainstage theatre to be inclusive for all.’ The program has helped to build awareness of Malthouse Theatre as a site of inclusion and a gathering space for active participation in cultural and civic life, regardless of cultural background, physical ability or social disadvantage.
2020 ANNUAL REPORT ——> PG 37 MALTHOUSE THEATRE DEVELOPMENT PHILANTHROPY EXTRAORDINARY Philanthropic support forms a vital revenue stream SUPPORT FOR for Malthouse Theatre. Tax deductible gifts from our generous supporters across Partnerships, MALTHOUSE Private Giving, Trusts and Foundations provides OUTDOOR STAGE critical support towards five Malthouse Theate development pillars: New Theatre, Indigenous work, The visionary investment of the Sidney Myer Fund Artist Development, Education, and International along with the State Government through Creative Collaborations. Victoria and Federal Government through the Restart Investment to Sustain and Engage Fund, During an extraordinary year in which The Malthouse has allowed Malthouse Theatre to build and present closed our doors for the first time in history, our Malthouse Outdoor Stage. The outdoor stage supporter community banded together to ensure has opened a world of new artistic and audience our very survival. Malthouse Theatre was humbled to engagement opportunities. This significant piece of receive much needed gestures of support that truly infrastructure will continue to be developed from demonstrate the commitment to purpose and kinship its current form and we expect the stage to inform shared by our supporter community. new organisational approaches, innovative artist-led initiatives, and radical creative thinking for many PARTNERSHIPS years to come. We thank these three funders for their extraordinary Our corporate partners reaffirmed their support of support to develop this new platform for the diverse Malthouse Theatre during this year of crisis, even artistic voices of Malthouse Theatre. when we could not deliver many of the reciprocal benefits that form part of these agreements. Nonetheless, we were able to find moments of collaboration with our partners, from an illuminating donor insights survey conducted by Roy Morgan Research, through to special offers for our audience to enjoy a glass of Scotchmans Hill wine, Coopers beer or even a Salus Body product whilst stuck at home. As ever, we gratefully acknowledge the ongoing and critical support of our core government funding partners The Australia Council for the Arts, the Australian Government's arts funding and advisory body, and Creative Victoria. Finally, Malthouse Theatre wants to acknowledge and recognise the hard work and legacy of our Industry Partner, the Australian Major Performing Arts Group (AMPAG), who closed their doors after 21 years as the representative body of the 28 major performing arts companies of Australia. AMPAG ensured the importance of the arts in Australian life was championed to all levels of government and articulated a cohesive vision for the extraordinary ambitions of the performing arts in Australia.
2020 ANNUAL REPORT MALTHOUSE THEATRE
PARTNERS
GOVERNMENT PARTNERS
CORPORATE PARTNERS
Beverage Partner Beverage Partner Accommodation Partner
Corporate Partner Corporate Partner Corporate Partner
Education Partner Corporate Partner Supporter
Media Partner Media Partner Media Partner
2020 ANNUAL REPORT ——> PG 39
ERATO—MUSE OF LOVE—$250+ OF LOVE—$250+ ERATO—MUSE Brown, & Andrew Chris Ahrens Abrahams, Simon Carlien Blackburn, Bathgate, Allan, Rachael Jane & Stewart Bawden, Lesley Blackmore, Prue & Chloe Boulton Beyer, Nicole Philippa Bell, & Alexandra John Kaufman, Kim Briscoe, Stefan Campbell, Lynette Elise Callander, Busselmaier, Lyndy Casamento, Rosalinda Carroll, MaryAnne Josephine Alan Connolly, Fiona Clyne, Clarke, Curry, Lorel Reid, & Mr Cunningham Dr Croci, Alison & Edward Dalloway, Mrs & Phil Curtis, Mim D'Souza, Marita Natasha Doyle, Brian Davies, & Heather Keith Elly, Kerry Dyer, Sarah Dunbar, Garcia, Mary Fernon, Paula Febey, Claire Fagg, Whelan, Jay & Goretzki Goodwin, Monika Iona Monica & Sam Abrahams, Frankie Airey & Steve & Steve Airey Frankie & Sam Abrahams, Monica Annie AO, Besen & Eva AC Besen Marc Solly, Ingrid Brown, Nan & Polly, Clyne Darren Bourke, Min Casey, Ros Carman’s Kitchen, Carlsen, & Per Mark & Craig, Jason Coleman, Georgie Li Chong, Firstenberg, Evelyn Donazzan, Roger Davey, Jo Russell Hall, Geoffrey David Goddard, Brian Robert Philippa & Dr & Matthew Lutton, Hooper Landvogt, & Michael Julie Fiona Kelly, Karoly, Jonge, De Alice & Dr Manning Ian J Lowther, Susan Prior, & Warren Mellor Suzanne Marr, David & Rendle-Short Francesca Dr Ned's, Nathan, Robert Rikard-Bell, Jane & Mike Horacek, Judy Lynne Fitzgerald, Sessions AM & Christina Maria Solà, Tim Sherwood, the late & Sherwood Wilson, Anonymous Phil & Heather Watson, Pinky (5) OF DANCE—$500+ TERPSICHORE—MUSE Anderson, Martin & Anita Graham AJC & MKC, Arnold, Bathman Michael Armstrong, Toni & & Amanda Berry Peter Beanham, Sandra Family, Anne Fund, Browne Sally Bourke, Jennifer Quirk, Cecil, Tim & Rachel R Butler, Bruce Bruning, Chris Clough, Cleary, Ciesielski, Pauline Michael Constantine, & Yvonne Sandy Coller, Ross Dr Natasha J Cowen, Conyngham, Barry & Dr Deb Dr Mosso, PSM & Lauren Mark Duckworth Dow, Floyd, Carolyn Fairbank, Sian Dr Evans, Bronwen Danielle Gibbins, & Helen John Gaidzkar, Taleen Brad Gordon, Damyn Steve, & Sideshow Giordano Dr Irvine, Irene Dr Family, Ibaceta-Lynch Hooper, Joan &Johnson OAM, Graeme Jefford, Michael Johnson, & Graham Ann Kemeny Kearsey, Irene Cameron Elizabeth Leslie, Dr Lansdowne, Robyn Lovett, Virginia Lewis, Janice & Richard Lewis, & Gib Morrow Gayl Molloy, Jan Millard, John & Tom O'Neill, Kaylene Neal, Sarah Wettenhall, Charlie Poole, Emma Pavitt, Dean O’Dea, Ruth Rohitha Redston, & Roger Rosemary Powles, Schell, Liz & Chris Lew, Fon & Mi Rupesinghe Smyth, Tom Hessling, & Pearce Simmons Davey Lester, David & Dr Tell Lily D N Stocker, Andrew & OAM Wells Jillian Upton, Meg Dr Thomas, John (8) Anonymous OAM, Wells David Prof EUTERPE—MUSE OF MUSIC—$1,000+ MUSIC—$1,000+ OF EUTERPE—MUSE
PRIVATE GIVING PRIVATE MUSE LIST AS AT 28 JANUARY 2021 2021 JANUARY 28 AT AS LIST MUSE MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT REPORT ANNUAL 2020 MELPOMENE—MUSE OF TRAGEDY—$2,500+ MELPOMENE—MUSE OF TRAGEDY—$2,500+ & Angela Kayser, Boell Bruce OAM, Ball Rowland Elligate AM, Michael Fr Rev Dahn, Susanne Jankie Michael Hocking, & Ian Forbes Rosemary Sue Kingston, Dr Michael Poznanski, & Vivienne Lauren AO, McGauchie Elizabeth & Donald Lutton, & Mitchell Stephen Shawyer, & Bradley Mitchell PRRRH, Glen, & Paul Prestney Sue Ailie Hansen, Kate & Stephen Schwarz, Jenny Viorica Samson, Dr Peter Newcombe, & Paul Fiona Sweet Shelmerdine, AM QC, Matt Collins & Dr Vary Leonard Templeton, Williams, Dr Jan AM, Webster Jon Walls, Rosemary (1) Anonymous Tee, Melinda & Dr Wu Terry CLIO—MUSE OF HISTORY—$10,000+ OF HISTORY—$10,000+ CLIO—MUSE & Darbyshire Jennifer Foundation, Quine Canny & Leonard Kirkham, Richard Suzanne Walker, David & Fiona McGauchie Lourey, Gerlinde Scholz, Simone Janine McLennan, & Peter Mary-Ruth Penlidis, James (2) Anonymous Foundation, Moore Vera The Tai, OF COMEDY—$5,000+ THALIA—MUSE Family, Gjergja Besen, Daniel Bates, & Lorraine John Geoff Golvan, Deborah AM QC & Dr Golvan Colin Alison & Peter Levine, Michele & Christine Grenda, Reed, Christopher Foundation, Pratt The Mitchell, (1) Anonymous AO, Vallentine Mary CALLIOPE—MUSE OF POETRY—$50,000+ OF POETRY—$50,000+ CALLIOPE—MUSE Reeves Craig THE STARS—$25,000+ OF URANIA—MUSE Circle5 Foundation, Bardas Foundation, Andyinc Humanity The AM, Dadon Debbie Foundation, AO Wheeler Tony & AO Wheeler Maureen Foundation, The Muse private giving program is one of our most our of is one program giving private Muse The Malthouse within groups philanthropic important asked 2020, we In community. supporter Theatre’s support extraordinary their for community Muse our darkness. of times in alive stayed theatre our to ensure annual giving to Spotlight Light 2020 Ghost The as old an outstanding result, campaign achieved the to ensure support their offered and new Muses had 116 We lives. in all our theatre of power continued annual giving during our the program join new Muses target. annual our 160% of campaign and achieved of 1,000 patrons to over so grateful were We the to support who chose Theatre Malthouse tickets their of the value gifting by Company This as a donation. performances to cancelled cancelled from ticketing of a majority represented with over the Company and provided performances $160,000 in critical support. a are they donors, than just our more are Muses Our and discuss, to enjoy, together who come community so are We theatre. contemporary of love their in share group much-expanded Muse our to welcome excited back to the theatre in 2021.
PHILANTHROPY MALTHOUSE THEATRE
Keith Gow, Ash Gray, Marguerite Griffith & Dr Vincent Griffith, Joanne Griffiths, Janet & Craig TRUSTS & Haire, Lara Halperin, Sharon & Leon Hanraweiss, FOUNDATIONS Tina Harpman Howard, Damien Hewitt, Abbe Trusts and Foundations’ support allows Malthouse Holmes, Robert Hoskin & Henry Gaughan, Dr Theatre to deliver sector leading strategic Dell Horey, Arechea Hounsell, Hours After, projects which have far reaching impacts across Graham & Judy Hubbard, Sarah Hunt, Nannette representation, access, education, and artistic Hunter, Rosalind Hustler, Lachlan Hywood, innovation. In a year when we could not present new Linda Iles, Rachel & Peter Irons, Carolyn & Keira work on stages, our Trusts and Foundation partners Jarred, Ed Johnson, David Kelly, Chris Keppel, ensured that we could still employ artists and develop Mira & Dr David Kolieb, Don Laird, Julia Lambert, new work from a diverse range of Australian voices. Carole Lander, Mark Larsen, Rosemary Lever, Dr Justus Lewis, Dr Mary Lewis, Sandy Lie, Lorraine The Playking Foundation allowed Malthouse Theatre to engage 20 actors, writers, composers, and Mace, Dr Kristina Macrae & Bruce Macrae, designers in professional development opportunities Dr Sarah Maddison & Hayley Conway, Fiona during lockdown. The Malcolm Robertson Foundation Mahony, Stuart Main & Steve Thomas, Maisie, C enabled Malthouse Theatre to commission and Mason & L Dunn, Michelle Mason, Gin Masters, develop The Lockdown Monologues, a three-part Susan McKeand Humphries, Ann McLaren, series of live online performances capturing the Susan McLean, Ian McRae AO & Åsa Hasselgard, experiences of people living through the COVID-19 Sue Miller-Randle, Steve Milton, Justin & Gail pandemic in Australia. The Foundation’s support Monjo, Barbara Mothersdale, Glenn Munari directly employed 21 creatives from across Victoria. & Maria O'Shannessy, Dr Anne Myers, Trevor Alongside this support, we were able to continue Nathan & Katie Valentine, Patrick Ng & Belinda to rollout the Malcolm Robertson Writers Program Lim, Lisa Nichols QC, Prof Robert Nordlinger, which supported the commission of two new works Linda Notley, Brad & Tanya O'Connor, Anne from Claire G. Coleman and Aran Thangaratnam. O'Donovan AO, Tony Oliver, Tim Orton & Barb Dennis, L Pradier, Janet Parr, Anda Petrapsch, Pinkerton Abbey Family, Richard Piper, Carly Pocock, Gerard Powell, Pritchard Family, Prue & Will Pyke, Jo Renkin & Geoff Hansen, Rosalba Renzella, Michael Riordan & Geoffrey Bush, Fay Rice, Anita Roberts, Diana Robertson, Dr Jessica Robertson & Henry Gardner, Dr Sheryle Rogerson, Dani Rothwell & Greg Paxton, Dr Shelley Rowlands, Rob Ryan, Jean Ross, Da Sheng, Dr Tim Smyth, Elizabeth Spence, Peter W Sutton, Georgie Swan, Michael Taylor & Anna Colbasso, Chris Teh, Dianne Temby, Dr Julie Thompson, Jennifer Vaughan, Ronny Vercauteren, Dr Barry & Margaret Vieira, Dr Marita Walmsley, Walsh Family, Dr Catherine & George Watkins, Gary Westbrook, Dr David & Julie Whittle, Jo Whyte, M J Williams, Jane & Harriet Wing, Jo Wilson & Chris Broughton, H Wood, Barbara Yuncken, Meg Zerafa, Charles & Stasia Zika, Anonymous (29)
2020 ANNUAL REPORT ——> PG 41 BOARD OF DIRECTORS (AS AT 31 31 AT (AS DIRECTORS OF BOARD 2020) DECEMBER Fiona McGauchie (Chair) Fiona McGauchie Zehnder Egon Consultant Chair) (Deputy Kantor Michael Director Theatre Schlieper Nick Designer AO Vallentine Mary Arts Manager Rabe Pamela and Director Actor Prestney Sue Ltd. Pty & Associates Prestney Sue of Principal Accountants Chartered Dadon Debbie Foundation Family Besen Chair, AM Myer Andrew Group Myer AV and Director, Founder Cheetham, AO Deborah Opera Black Short Artistic Director,
and 2022. of a special COVID-19 Crisis Subcommittee; Crisis a special COVID-19 of to secure and advocacy Guidance the Sidney from investment philanthropic Stage; Malthouse Outdoor for Fund Myer (Creative Government to State Advocacy for financial support to secure Victoria) in Victoria’s COVID-19 Theatre Malthouse funds; relief and on risk management Executive Guiding producing alternative of implementation in 2021 Theatre Malthouse for models involves Night The Because of (production alternative redeployment, time staff full risk and investment); forecasting, budget Group planning session with Nous Strategic 2021 for strategy governance to confirm Audit, Finance and Risk Committee; Committee; and Risk Finance Audit, and Committee; Development Committee Nominations and People Guidance of the Executive through the through the Guidance of Executive formation the crisis, including COVID-19 MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT REPORT ANNUAL 2020 BOARD SUCCESSION PLANNING SUCCESSION — — — — The appointment of individual board members is board individual of appointment The and Nominations the People through managed with a crucial skills matrix including Committee, fundraising and financial, entrepreneurial, artists. as high calibre expertise as well six times a year and comprises members who and comprises times a year six three the one of to sit on at least all required are Sub-Committees: Board — — — Led by Chair Fiona McGauchie, Malthouse Malthouse Fiona McGauchie, Chair by Led the oversees Directors of Board Theatre’s management and financial leadership strategic the to championing addition In the Company. of is responsible the Board and its work, Company roles, the executive of appointment the for as being well as direction, on strategic advising and philanthropic, to government, advocates meets Board The stakeholders. sector private of conduct. conduct. of milestones included: governance 2020, key In — In compliance with the Australia Council’s Council’s the Australia with compliance In Arts for Practices Governance Essential functions are the Board’s Organisations, governance, for policies established guided by code and interest of conflict confidentiality,
STAFF MALTHOUSE THEATRE
Head Technician (Lighting) Box Office Staff STAFF Rob Ballingall Nicki James Artistic Director and Co-CEO Mellita Ilich Venue Head Mechanist Matthew Lutton Min Kingham Ivan Smith Paul Buckley Executive Producer and Co-CEO Venue Technician Emily Burke Sarah Neal Brendan Jellie Harry Diviny Bronya Doyle Resident Artist Head of Wardrobe Ra Chapman Emma Whitby Delia Spicer Liz White Resident Artist Set Builder Kamarra Bell-Wykes Front of House & Bar Staff Elizabeth Whitton Ben Anderson Resident Artist Set Builder Kate Calton Jada Alberts Lennon Fowler Jai Cameron New Work Manager Emily Casey Set Builder Mark Pritchard Amy Dowd Mitch O'Sullivan Sophia D’Urso Director in Residence Scenic Artist Abi Murray Bridget Balodis Patrick Jones Rachel Naparstek Hayley Newman Producer, Indigenous Projects Venue Manager Jason Tamiru Gem Clarke John Byrne Sanne Rodenstein Company and Casting Manager Events Manager Barney Spicer Marline Zaibak Anita Posterino Matilda Woodroofe Gianni Agostinoni Company Administrator Front of House Manager Mitchell Brotz Allie Stapleton Emma Corbett Georgia Cam Finance Manager Graphic Design Alice Dixon Bear Grace Ness Harwood Hours After Dirk Hoult Finance Administrator Publicist Ryan Jones Liz White TS Publicity, Tatia Sloley Tom Kantor Finance Assistant & Mary Thompson Hannah McKittrick Connie Stella Georgia Mein Mick Roe Company Producer Gretel Sharp Annie Bourke Lee Threadgold Marketing and Communications Kenny Waite Manager Leonie Whyman Davey Simmons Production & Technical Staff Marketing and Communications Adam Brunskill Coordinator Nathan Burmeister Jacqui Bathman John Collopy Stephen Hawker CRM and Ticketing Manager Eugene Mackinnon Prue Sutherland Sidney Millar Box Office Supervisor Rebecca Neeson Fiona Wiseman James Paul Darren Peet Development Manager Rhys Robinson Fiona Kelly John Carberry Philanthropy Coordinator Edwin Cheah Belinda Locke Jacob Shears Max Wilkie Sponsorship Coordinator Ounie Witherow-Aitken Chloe Boulton Production Manager David Miller Technical Manager Baird McKenna Workshop Manager Goffredo Mameli Operations Manager Dexter Varley Production Coordinator Tia Clark
2020 ANNUAL REPORT ——> PG 43 MALTHOUSE THEATRE
FROM GHOST LIGHT TO SPOTLIGHT, 2020 MALTHOUSE THEATRE
——> PG 45 MALTHOUSE THEATRE 2020 REVENUE
GOAL MEASUREMENT 2018 2019 2020
ARTISTIC Season 2020 Malthouse Makes 7 4 4 Co-Productions 5 5 0 Presentations 4 4 1 TOTAL 16 13 5 New Australian 10 6 3 Extant Australian 2 5 1 New Australian Adaptation 2 1 1 Extant International 2 1 0 Publications 2 TOTAL 16 13 7
SECTOR DEVELOPMENT Emerging Artist Opportunities 53 57 19 Industry Collaborations 33 34 3 Venue Hire Subsidy $68,172 $35,000 $6,059
AUDIENCE & ACCESS Number of Subscription Season 283$6.09m 235 23 Performances Additional Programming 241 310 8 Touring 13 58 23 External Hires 81 73 35 TOTAL 618 676 Education Participation 7,276 4,733 781 Total Subscribers 1,826 1,981 1,313 Website Visitors 375,000 246,690 100,278 eNews Subscribers 20,091 22,627 26,985
FINANCIAL Annual Turnover $8.22m $8.64m $6.09m Operating Result $(149,820) $107,905 $193,782 Sponsorship & Philanthropy Ratio 13.2% 11.4% 12.7% Reserves Ratio 23.9% 22.8% 32.3%
2020 ANNUAL REPORT MALTHOUSE THEATRE
2020 SEASON LAUNCH ——> PG 47 MALTHOUSE THEATRE MALTHOUSE THE MALTHOUSE, 2020 THE MALTHOUSE,
FINANCIAL STATEMENTS MALTHOUSE THEATRE
DIRECTORS’ REPORT
The directors present this report on the Company — Number of commissions and development; for the financial year ended 31st December 2020. — Number and demographic of artists employed; The names of each person who has been a director — Audience satisfaction during the year and to the date of this report are: — Number of opportunities provided to emerging artists; Fiona McGauchie (Chair) — Number participants engaged in Michael Kantor (Deputy Chair) education activities; Debbie Dadon AM — Digital audience engagement. Andrew Myer AM Jan Owen AM (Resigned 22 June 2020) Sue Prestney OBJECTIVES Pamela Rabe The Company’s objectives are: Nick Schlieper
Mary Vallentine AO ARTISTIC Deborah Cheetham AO — Develop, produce and present theatre that sits at the forefront of artistic practice Directors have been in office since the start — Be a leader of contemporary performance of the financial year to the date of this report and collaborative practice unless otherwise stated. — Be a theatre of diverse ideas, the unexpected and an agent for change COMPANY SECRETARY ACCESS & INCLUSION The position of Company Secretary was — Stand for equality and diversity, and live held by Sarah Neal. our core values on and off-stage — Ensure our theatre reflects the diversity of our community PRINCIPAL ACTIVITIES — Be a world leader engaging with Aboriginal The principal activity of the Company (Playbox and Torres Strait Islander people by Theatre Company trading as Malthouse Theatre) supporting their right to self-determine during the financial year was to collaborate with their artistic identity local and international artists to create, develop — Remove barriers to our work and curate inventive performances that cut to the core of the human experience. SECTOR DEVELOPMENT — Maximise our interconnection with the small PERFORMANCE MEASURES to medium sector and independent artists Revenue from performances and other commercial — Maintain professional pathways for artists sources was significantly affected by COVID-19 — Partnerships with small to medium and related closures. The organisation strove hard independent arts sector for additional fundraising and funding to cover AUDIENCE DEVELOPMENT the shortfall. In 2020 the organisation received — Grow a loyal and diverse audience $1.675m of support from the Federal Jobkeeper — A fully activated and dynamic venue supplement and Cashflow Boost, plus a further $818k of COVID-specific grants, with further — Increased audience engagement funding to be received in 2021. This resulted in — Build our profile and audience nationally a positive result, which is required to offset the and internationally ongoing impact of COVID-19 in 2021 and the FINANCIAL & GOVERNANCE delivery of the 2021 season. — Adapt to changing financial, artistic The Company measures its performance in and cultural drivers the amount of income raised and also artistic — Be a sustainable company with diverse development, arts access and engagement, income streams and contribution to sector development. — Be an accountable, professional company The key performance measures include: with good governance — Total revenue; — Number of performances and percentage of new productions presented as part of the annual season program;
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 49
our presence interstate interstate presence our theatre internationally tralian Aus Champion earned income and new partnerships innovative Develop existing ones strengthen personnel key for planning Succession and artists the company across collaboration Encourage silo-ing to avoid contribute fully to and staff board Empower to the vision the company of in the retention of existing audiences existing audiences of the retention in through work our of life continued the Ensure and collaboration touring, partnerships to maximise network a national Maintain raising capacity to expand to expand capacity fundraising our Grow FINANCIAL AND AND FINANCIAL GOVERNANCE SPECIAL RESPONSIBILITIES — — — — — Fiona McGauchie Zehnder Egon Partner, and the Board/People of Chair Committee Nominations Kantor Michael Director Theatre and Committee/People Development Committee Nominations AM Dadon Debbie Foundation Family Besen Chair, Committee Development Myer Andrew Group Myer AV and Director, Founder Committee and Risk Finance Audit, Prestney Sue Ltd. & Associates Pty Prestney Sue of Principal Accountants Chartered Committee and Risk Finance Audit, Rabe Pamela and Director Actor Schlieper Nick Designer Committee and Nominations People AO Vallentine Mary Arts Manager Committee/People and Risk Finance Audit, Committee and Nominations Cheetham AO Deborah and Playwright Composer Actor, Singer, — — —
forge partnerships with major festivals, festivals, partnerships with major forge that aligns with our core values values core that aligns with our through new audiences of Acquisition awareness and profile brand increased investing by Theatre to Malthouse loyalty Build forums and discussions forums independent for the venue to access Facilitate artists to medium sector & small and financial expertise artistic, producing Share artists and companies with emerging around our program program our around artists and audiences staff, ATSI for Indigenous of profile and repertoire Build in local, national and international theatre markets accessibility to increase Find opportunities venue, physical performances, across and participation. employment through people engaging young Actively education and learning programs of contemporary theatre theatre of contemporary new work of the development in Invest forms new that extends and explores from artists between collaboration Facilitate and backgrounds practices diverse those artists with ambition and Engage who ask critical social questions that is adventurous, Seek out work expectations transcends and ideas driven conversation political robust Invite free events and community activities activities and community events free hire venue curated more towards Work Actively artists career advancement through through advancement artists career Offer and exposure commissions employment, and skills development professional Provide and masterclasses residencies placements, in collaboration new work and present Develop to medium companies with small gatherings, industry-wide for a space Be fy the cultural backgrounds of staff, staff, of backgrounds the cultural fy Diversi and audiences collaborators by work and present develop Commission, backgrounds cultural of a range from artists opportunities company-wide Increase work for our main stage in our for new work Create and local of with a range collaboration artists and companies international season a diverse and present Produce AUDIENCE AUDIENCE DEVELOPMENT STRATEGIES FOR FOR STRATEGIES THE ACHIEVING OBJECTIVES SECTOR DEVELOPMENT DEVELOPMENT SECTOR ACCESS & INCLUSION & ACCESS ARTISTIC ARTISTIC MALTHOUSE THEATRE MALTHOUSE — — — — — — — — — — — — — STATEMENTS FINANCIAL / REPORT ANNUAL 2020 — — — — — — — — — —
FINANCIAL STATEMENTS MALTHOUSE THEATRE
MEETINGS OF MEMBERS’ DIRECTORS GUARANTEE The number of meetings of the Company’s The Company is incorporated under the Board of Directors (‘the Board’) and of each Corporations Act 2001 and is a Company Board committee held during the year ended limited by guarantee. If the Company is 31 December 2020, and the number of meetings wound up, the Memorandum and Articles attended by each director were: of Association states that each member is required to contribute a maximum of $10 each ATTENDED NUMBER NUMBER towards meeting any outstanding obligations ELIGIBLE ATTENDED of the Company. As at 31st December Fiona McGauchie 7 6 2020, the total amount that members of Michael Kantor 7 7 the Company are liable to contribute if the Debbie Dadon 7 7 Company is wound up is $180 (2019 $170). Andrew Myer 7 6 Jan Owen 3 3 AUDITOR’S Sue Prestney 7 7 INDEPENDENCE Pamela Rabe 7 4 Nick Schlieper 7 6 DECLARATION Mary Vallentine 7 7 The lead auditor’s independence declaration Deborah Cheetham 7 6 for the year ended 31st December 2020 has FULL BOARD DIRECTORS’ MEETINGS been received and can be found on page 6 of the financial report. AUDIT, RISK & FINANCE COMMITTEE MEETINGS ATTENDED NUMBER NUMBER SUBSEQUENT ELIGIBLE ATTENDED EVENTS Fiona McGauchie 7 6 On 12 March 2020 a global pandemic was Andrew Myer 7 6 declared by the World Health Organisation. Sue Prestney 7 7 As at 31 December 2020 the pandemic was Mary Vallentine 7 6 ongoing and capacity restrictions were still in place in Melbourne, Victoria. Malthouse Theatre PEOPLE AND NOMINATIONS resumed its hospitality operations in a limited COMMITTEE MEETINGS capacity in November 2020 and opened its ATTENDED NUMBER NUMBER outdoor stage to ticketholders in January 2021. ELIGIBLE ATTENDED Although there is ongoing uncertainty created Fiona McGauchie 5 5 by the public health crisis, Malthouse Theatre Michael Kantor 5 5 opened its first fully produced production on Jan Owen 2 0 23 March 2021. Nick Schlieper 5 3 The directors’ report is signed in accordance Mary Vallentine 5 5 with a resolution of the Board of Directors:
DEVELOPMENT COMMITTEE MEETINGS ATTENDED NUMBER NUMBER ELIGIBLE ATTENDED Fiona McGauchie 6 5 Fiona McGauchie, Director Michael Kantor 6 6 Debbie Dadon 6 6
Sue Prestney, Director Dated this 13th day of April 2021
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 51 6 6 6
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and independentlegal entity. Findex (Aust) PtyLtd and its affiliates are not responsible or liable for any acts or omissions other member Crowe of Global. Crowe Global does notrender any professional services and does nothave an ownership or partners Findex (Aust) Pty Ltd.Services are provided by Crowe Melbourne, an affiliate Findex of (Aust) Pty Ltd. Ltd Pty (Aust) Findex 2021 © Findex (Aust) Pty Ltd,trading as Crowe Australasia is a member Crowe of Global, Swissa verein.Each member firm Crowe of Glob Liability limited by a scheme approved under Professional Standards Legislation. The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of pe equityinterest (shareholder) its in parententity, Findex Group Limited.The only professional service offering iswhich conducted by a partnership is Crowethe Australasia external audit division.All other professional services offered by Findex Group Limited are conducted by organisation and/orsubsidiaries. its
have been contraventionsno of: 1) The independence auditor requirements asout set in Section Not-for-profits and Commission Act 2012 to the Directors Declaration Independence of Auditor I declare that, to the best knowledgeof my and belief, during 2) applicable Any code of professional conduct in relation t to Playbox Theatre Company Limited Company Theatre Playbox o the o the and independentlegal entity. Findex (Aust) PtyLtd and its affiliates are not responsible or liable for any acts or omissions other member Crowe of Global. Crowe Global does notrender any professional services and does nothave an ownership or partners Findex (Aust) Pty Ltd.Services are provided by Crowe Melbourne, an affiliate Findex of (Aust) Pty Ltd. Ltd Pty (Aust) Findex 2021 © Findex (Aust) Pty Ltd,trading as Crowe Australasia is a member Crowe of Global, Swissa verein.Each member firm Crowe of Glob Liability limited by a scheme approved under Professional Standards Legislation. The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of pe equityinterest (shareholder) its in parententity, Findex Group Limited.The only professional service offering iswhich conducted by a partnership is Crowethe Australasia external audit division.All other professional services offered by Findex Group Limited are conducted by organisation and/orsubsidiaries. its Findex (Aust) Pty Ltd,trading as Crowe Australasia is a member Crowe of Global, Swissa verein.Each member firm Crowe of Glob Liability limitedand independent by legal a schemeentity. Findex (Aust) PtyapprovedLtd and its affiliates under are Professionalnot responsible or liable for any acts or omissionsStandards Legislation. other member Crowe of Global. Crowe Global does notrender any professional services and does nothave an ownership or partners The title ‘Partner’ conveys that the person is a senior member within their respective division, and is Findex among(Aust) Pty Ltd.Services the are providedgroup by Crowe Melbourne, of pe an affiliate Findex of (Aust) Pty Ltd. equityinterest (shareholder) its in parententity, Findex Group Limited.The only professional service offering iswhich conducted by a partnership Ltd is Pty (Aust) Findex 2021 © Crowethe Australasia external audit division.All other professional services offered by Findex Group Limited are conducted by organisation and/orsubsidiaries. its have been contraventionsno of: 1) The independence auditor requirements asout set in Section have been contraventionsno of: Not-for-profits and Commission Act 2012 1) The independence auditor requirements asout set in Section Not-for-profits and Commission Act 2012 to the Directors Declaration Independence of Auditor to the Directors Declaration Independence of Auditor I declare that, to the best knowledgeof my and belief, during I declare that, to the best knowledgeof my and belief, during 2) applicable Any code of professional conduct in relation t to 2) applicable Any code of professional conduct in relation t to Playbox Theatre Company Limited Company Theatre Playbox Limited Company Theatre Playbox AUDITOR INDEPENDANCE DECLARATION DECLARATION INDEPENDANCE AUDITOR THEATRE PLAYBOX OF DIRECTORS THE TO LIMITED COMPANY MALTHOUSE THEATRE MALTHOUSE 2019 Findex (Aust) Pty Ltd 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 CROWE MELBOURNE
MartinThompson Senior Partner Melbourne Geelong, 13 2021 April
CROWE MELBOURNE MartinThompson Senior Partner Melbourne Geelong, 13 2021 April CROWE MELBOURNE MartinThompson Senior Partner Melbourne Geelong, 13 2021 April Findex Findex (Aust) Pty Ltd,trading independentlegal entity. Findex (Aust) PtyLtd and itsaffiliates are notresponsible or liable for any acts or omissions of member Croweof Global.Crowe Global does not render any professional services and does not have an ownership or partnership (Aust) Pty Ltd.Services are provided by Crowe Melbourne, an affiliate of Findex (Aust) Pty Ltd. © Other Other directorsThe are responsible included in the Company’s report annual for year the a report Our opinion on the financial does report notcover the other information and accordingly we notdo express any form assuranceof conclusion thereon. Liability limited by a scheme approved under Professional Standards Legislation. The title ‘Partner’ conveys thatthe person is a senior member within their respective division, and is among the group of pe interest (shareholder) in its parent entity,Findex Group Limited. Australasia external audit division. and/or its subsidiaries. those standards are further described thein section of report. our We areindependent of requirements of the requirements ofthe Accounting Professional and Ethical Standards Board’s APES 110 Professional Accountants have also fulfilled otherour believeWe thatthe audit evidence we have obtained is sufficient appropriateand to provide a basis for opinion.our Matter of Emphasis We draw attention to Note of24 the Organisation’s declaration a of global health COVID income,the statement of changes in equity and the statement cashof flows for the year then ended, and tonotes the financial statements, includingsummary a significant of accounting policies, and thedirectors’ declarati our In opinion, the accompanyingfinancial report of the Division 60 of the for Opinion Basis conductedWe our audit in accordance withAustralian Auditing Standards. Our responsibilities under Indep T Opinion haveWe audited financial the report of comprises the statement of financial positionas at
FINANCIAL STATEMENTS MALTHOUSE THEATRE
STATEMENT OF PROFIT OR LOSS & OTHER COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2020
NOTE 2020 2019 Revenue from continuing operations $ $ Ticket Sales 2(a) 395,021 2,009,000 Co-production and touring fees 2(a) 138,263 593,279 Government Grants · Australia Council 2(b) 1,422,976 1,412,387 · Creative Victoria 2(b) 1,366,204 1,446,229 · Other 2(b) 15,675 134,572 · Jobkeeper and Cashflow Boost 2(b) 1,675,300 - Fundraising and Sponsorship 2(c) 770,682 985,037 Venue Hire and Bar 175,447 1,304,862 Other revenue 2(d) 130,736 756,228 6,090,305 8,641,594 Expenses from continuing operations Wages and oncosts - Permanent 3,412,589 2,880,829 Wages and oncosts - Casual 305,274 1,192,753 Payments to Artists and Creatives 504,689 1,368,632 Production and Touring 454,640 1,409,271 Marketing and Sponsorship 115,027 553,676 Venue costs 545,202 697,380 Other expenses 3 612,572 889,522 5,949,995 8,992,063 Profit/(loss) before income tax 140,310 (350,469) Income tax expense 1(m) - - Profit/(loss) before earnings from investments 140,310 (350,469) Earnings from investments 4 77,542 130,020
Other Comprehensive Income - - Items that will not be reclassified subsequently to profit or loss: None - - Items that may be reclassified subsequently to profit or loss: Change in fair value of financial assets 4 (24,070) 328,355 Total comprehensive income/(loss) for the year, net of tax 193,782 107,905
Total comprehensive income attributable to members of the Company 193,782 107,905
The accompanying notes form part of these financial statements
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 53 $ 2019 62,128 62,128 21,500 52,402 84,208 383,331 212,858 146,337 201,490 299,706 299,706 233,358 786,855 524,080 524,080 1,565,195 1,565,195 1,966,313 1,966,313 2,087,891 2,087,891 2,774,320 2,774,320 1,285,474 1,285,474 2,234,228 3,298,399 4,583,873 2,349,645 2,349,645 2,349,645 2,349,645 $ 2020
21,500 577,114 577,114 116,196 116,196 62,708 53,488 46,430 218,707 393,614 243,572 243,572 659,465 659,465 329,445 329,445 1,966,313 1,966,313 2,841,155 2,841,155 3,701,910 3,701,910 2,231,660 3,585,714 6,245,337 2,543,427 2,543,427 2,740,370 2,740,370 2,845,502 3,504,967 3,504,967 7 5 9 6 8 11 12 12 13 13 15 16 14 10 NOTE STATEMENT OF FINANCIAL POSITION FINANCIAL OF STATEMENT 2020 DECEMBER 31 AS AT The accompanying notes form part of these financial statements of part form notes accompanying The TOTAL EQUITY TOTAL MALTHOUSE THEATRE MALTHOUSE Reserves TOTAL CURRENT LIABILITIES TOTAL NON-CURRENT LIABILITIES entitlements Employee Borrowings LIABILITIES TOTAL NET ASSETS EQUITY earnings Retained TOTAL NON-CURRENT LIABILITIES TOTAL TOTAL NON-CURRENT ASSETS TOTAL TOTAL ASSETS TOTAL CURRENT LIABILITIES payables and other Trade entitlements Employee Borrowings Contract and other liabilities and other Contract Investments TOTAL CURRENT ASSETS CURRENT TOTAL NON-CURRENT ASSETS & equipment plant Property Other current assets current Other CURRENT ASSETS Cash and cash equivalents Inventories Trade and other receivables and other Trade 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020
FINANCIAL STATEMENTS MALTHOUSE THEATRE
STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 31 DECEMBER 2020
Accumulated Surplus Reserves Total Balance at 1 January 2020 383,331 1,966,313 2,349,645 Profit attributable to the Company 193,782 - 193,782 Balance at 31 December 2020 577,114 1,966,313 2,543,427
Balance at 1 January 2019 275,426 1,966,313 2,241,740 Profit attributable to the Company 107,905 - 107,905 Balance at 31 December 2019 383,331 1,966,313 2,349,645
2020SUMMER ANNUAL SERIES, REPORT 2019 / FINANCIAL STATEMENTS ——> PG 55 MALTHOUSE THEATRE STATEMENTS FINANCIAL STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 DECEMBER 2020
NOTES 2020 2019 $ $ Cash flows from operating activities Receipts from government grants 5,620,697 3,278,062 Receipts from patrons, sponsors 2,269,772 6,411,781 Payments to creditors and employees (6,145,277) (9,521,730) Interest received 802 2,337 Dividends received 44,097 61,439 Net cash provided by operating activities 20 1,790,091 231,889
Cash flows from investing activities Payment for plant and equipment (261,978) (116,093) Payments for investments (421,228) (85,004) Receipts from investment redemption 359,421 316,533 Net cash provided by investing activities (323,786) 115,436
Cash flows from financing activities Repayment of loan principal (21,500) (21,500) Net cash used in financing activities (21,500) (21,500)
Net increase/(decrease) in cash held 1,444,805 325,825
Cash and cash equivalent held at the beginning of the year 786,855 461,030
Cash and cash equivalent held at the end of the year 5 2,231,660 786,855
2020 ANNUAL REPORT / FINANCIAL STATEMENTS MALTHOUSE THEATRE
THE MALTHOUSE, 2020 ——> PG 57 MALTHOUSE THEATRE STATEMENTS FINANCIAL NOTES
The financial statements are for Playbox Theatre 3. Determining the transaction price; Company Limited as an individual Company, 4. Allocating the transaction price to the incorporated and domiciled in Australia. performance obligations; Playbox Theatre Company Limited is a Company 5. Recognising revenue when/as performance Limited by Guarantee. obligation(s) are satisfied. 1 — SUMMARY OF SIGNIFICANT Revenue is recognised either at a point in time ACCOUNTING POLICIES or over time, when (or as) the Company satisfies The financial statements are general purpose performance obligations by transferring the financial statements that have been prepared promised goods or services to its customers. in accordance with Australian Accounting The Company recognises contract liabilities for Standards - Reduced Disclosure Requirements consideration received in respect of unsatisfied of the Australian Accounting Standards Board performance obligations and reports these (AASB), the Australian Charities and Not- amounts as other liabilities in the Statement for-profits Commission Act 2012 and the of Financial Position. Similarly, if the Company Corporations Act 2001. The Company is a not- satisfies a performance obligation before for-profit entity for financial reporting purposes it receives the consideration, the Company under Australian Accounting Standards. recognises either a contract asset or a receivable in its Statement of Financial Position, Australian Accounting Standards set out depending on whether something other than accounting policies that the AASB has the passage of time is required before the concluded would result in financial statements consideration is due. containing relevant and reliable information about transactions, events and conditions. All revenue is stated net of the amount of Material accounting policies adopted in the goods and services tax (GST). preparation of these financial statements are Ticket Sales presented below and have been consistently Ticket sales are recognised when the applied unless stated otherwise. performance obligation has been met. The financial statements, except for the cash Government Grants flow information, have been prepared on Grant revenue is recognised in the Statement an accruals basis and are based on historical of Comprehensive Income when the Company costs, modified, where applicable, by the obtains control of the grant, it is probable that measurement of fair value of selected non- the economic benefits gained from the grant current assets, financial assets and financial will flow to the entity and the amount of the liabilities. The amounts presented in the grant can be measured reliably. financial statements have been rounded to The Company recognises income immediately the nearest dollar. in the Statement of Comprehensive Income The financial statements were authorised when control is achieved over the funds for issue on 29 March 2020 by the directors and the contract is not enforceable or of the Company. sufficiently specific.
ACCOUNTING POLICIES Where the agreement is sufficiently specific, revenue is recognised when the obligation has Accounting policy applicable to comparative period been satisfied. (31 December 2019) Fundraising and Sponsorship (a) REVENUE RECOGNITION Where an agreement is not enforceable or Revenue arises mainly from the sale of sufficiently specific, fundraising and sponsorship performance tickets, government grants, are recognised as revenue when received and fundraising and sponsorship, and venue hire the amount can be reliably measured. and bar sales. Where an agreement is sufficiently specific, To determine whether to recognise revenue, revenue is recognised when the obligation the Company follows a 5-step process: has been satisfied. 1. Identifying the contract with a customer; 2. Identifying the performance obligations;
2020 ANNUAL REPORT / FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
Venue Hire and Bar (e) DEPRECIATION Revenue from the rendering of a service or The depreciable amount of all fixed assets is provision of a good is recognised upon delivery depreciated on a straight line basis over their to the customer. useful lives to the Company commencing from Other Revenue the time the asset is held ready for use. Revenue from the rendering of a service or Depreciation rates used for each of depreciable provision of a good is recognised upon delivery assets are: to the customer. Furniture & equipment 10% - 20% Revenue from the rendering of a service is recognised upon the delivery of the service to Theatre fixtures & fittings 5% - 20% the customer. Workshop improvements 5% - 10%
(b) EARNINGS FROM INVESTMENTS The assets’ residual value and useful lives are reviewed, and adjusted if appropriate, at the Distributions received in respect of the Future end of each reporting period. Fund and interest earned by investing funds held in the Future Fund Reserve and Incentive Asset classes’ carrying amount is written down Scheme Reserve are recorded as income. immediately to its recoverable amount if the asset’s carrying amount is greater than its (c) INVENTORIES estimated recoverable amount. Inventories of bar and workshop consumables Gains and losses on disposals are determined by have been measured at the lower of cost and comparing proceeds with the carrying amount. net realisable value. These gains or losses are included in the (d) PLANT AND EQUIPMENT statement of comprehensive income. Each class of property, plant and equipment (f) FINANCIAL INSTRUMENTS is carried at cost less, where applicable, Recognition, initial measurement and accumulated depreciation and any impairment derecognition losses. Financial assets and financial liabilities are The carrying amount of plant and equipment is recognised when the entity becomes a party reviewed annually by directors to ensure it is not to the contractual provisions of the financial in excess of the recoverable amount from these instrument, and are measured initially at fair assets. The recoverable amount is assessed on value adjusted by transactions costs, except the basis of the expected net cash flows that for those carried at fair value through profit or will be received from the assets employment loss, which are measured initially at fair value. and subsequent disposal. The expected net cash Subsequent measurement of financial assets flows have been discounted to their present and financial liabilities are described below: value in determining recoverable amounts. Financial assets are derecognised when the The cost of fixed assets constructed within the contractual rights to the cash flows from the Company includes the cost of materials, direct financial asset expire, or when the financial labour, borrowing costs and an appropriate asset and all substantial risks and rewards are proportion of fixed and variable overheads. transferred. A financial liability is derecognised when it is extinguished, discharged, cancelled Subsequent costs are included in the asset’s or expires. carrying amount or recognised as a separate asset, as appropriate, only when it is probable Classification and subsequent measurement that future economic benefits associated with of financial assets the item will flow to the Company and the cost Except for those trade receivables that do of the item can be measured reliably. All other not contain a significant financing component repairs and maintenance are charged to the and are measured at the transaction price, all statement of comprehensive income during the financial assets are initially measured at fair value financial period in which they are incurred. adjusted for transaction costs (where applicable)
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 59 Financial assets at fair value through profit profit through value at fair Financial assets loss (FVPL) or held within a different that are Financial assets to collect’ than ‘hold business model other categorised are and sell’ to collect ‘hold or Further, and loss. profit through value fair at business model financial of irrespective not are cash flows assets whose contractual are and interest principal of payments solely financial at FVPL. All derivative for accounted for except category, this into fall instruments as hedging effective those designated and the hedge accounting which for instruments, apply. requirements Financial assets of Impairment use more requirements AASB 9’s impairment to recognize information looking forward credit the ‘expected losses - expected credit the within Instruments model’. losses (ECL) included loans requirements the new of scope measured financial assets debt-type and other receivables trade and FVOCI, at amortised cost and some financial and loan commitments not that are the issuer) (for contracts guarantee loss. or profit through value fair at measured of range a broader considers entity The risk and when assessing credit information including losses, measuring expected credit and reasonable conditions, current past events, the that expected affect forecasts supportable the of cash flows future the of collectability instrument. receivables and other Trade a simplified approach use of makes entity The receivables and other trade for in accounting the amount at the loss allowance and records losses. In credit the expected lifetime to equal uses the entity expedient, this practical using indicators external its historical experience, to calculate information forward-looking and assesses entity losses. The the expected credit on a collective receivables trade of impairment risk characteristics possess credit they basis as past due. the days based on of and measurement Classification financial liabilities financial liabilities include entity’s The payables. and other trade and borrowings at measured initially Financial liabilities are applicable, adjusted and, where value, fair the entity unless costs transaction for value fair at designated a financial liability loss. or profit through amortised cost amortised cost loss (FVPL) or profit through value fair other through value fair at instruments equity (FVOCI) income comprehensive the managing for business model entity’s The financial asset of characteristics cash flow contractual The the financial assets held within a business model whose are they financial assets and the to hold is objective cash flows its contractual collect the financial assets terms of the contractual payments solely that are flows to cash rise give the principal on principal and interest of outstanding amount For the purpose of subsequent measurement, measurement, subsequent the purpose of For those designated and than other financial assets classified are as hedging instruments effective categories upon initial following the into recognition: • • • to financial and expenses relating All income loss are or in profit recognised that are assets income costs, finance within finance presented impairment for except financial items, other or within which is presented receivables trade of expenses. other both: by determined Classifications are • • to financial and expenses relating All income loss are or in profit recognised that are assets income costs, finance within finance presented impairment for except financial items, other or within which is presented receivables, trade of expenses. other Financial assets at amortised cost at amortised cost measured Financial assets are (and conditions following the the assets meet if designated as FVPL): not are • • measured these are initial recognition, After interest the effective using at amortised cost the is omitted where method. Discounting The entity’s is immaterial. of discounting effect and most other trade cash and cash equivalents, financial of this category into fall receivables that deposit as long-term as well instruments classified as held-to-maturity previously were AASB 139. under MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
(g) IMPAIRMENT OF ASSETS (j) DEFERRED INCOME At the end of each reporting period, the The liability for deferred income is the Company reviews the carrying values of unutilised amounts of grants received on the its tangible assets to determine whether condition that specified services are delivered there is any indication that those assets have or conditions are fulfilled. The services are been impaired. If such indication exists, the usually provided or the conditions usually recoverable amount of the asset, being the fulfilled within 12 months of receipt of the higher of the asset’s fair value less costs to grant. Where the amount received is in respect sell and value in use, is compared to the of services to be provided over a period that asset’s carrying value. Any excess of the exceeds 12 months after the reporting date, or asset’s carrying value over its recoverable the conditions will only be satisfied more than amount is expensed to the statement of 12 months after the reporting date, the liability comprehensive income. is discounted.
Where an impairment loss on a revalued (k) BORROWING COSTS asset is identified, this is debited against Borrowing costs are recognised as expenses in the revaluation reserve in respect of the the period in which they are incurred. same class of asset to the extent that the impairment loss does not exceed the (l) GOODS AND SERVICES TAX (GST) amount in the revaluation reserve for Revenues, expenses and assets are recognised the same class of asset. net of the amount of GST, except where the (h) EMPLOYEE ENTITLEMENTS amount of GST incurred is not recoverable from the Australian Tax Office (ATO). In these Provision is made for the Company’s liability circumstances, the GST is recognised as part of for employee benefits arising from services the cost of acquisition of the asset or as part rendered by employees to the end of the of an item of the expense. Receivables and reporting period. Employee benefits that are payables are stated inclusive of the amount of expected to be settled within one year have GST receivable or payable. The net amount of been measured at the amounts expected to GST recoverable from, or payable to, the ATO be paid when the liability is settled. Employee is included with other receivables or payables in benefits payable later than one year have the statement of financial position. been measured at the present value of the estimated future cash outflows to be Cash flows are presented on a gross basis. made for those benefits. In determining the The GST components of cash flows arising liability, consideration is given to employee from investing or financing activities which wage increases and the probability that are recoverable from, or payable to, the the employee may not satisfy vesting ATO are presented as operating cash flows requirements. Those cash flows are discounted included in receipts from customers or using market yields on corporate bonds with payments to suppliers terms to maturity that match the expected timing of cash flows. (m) INCOME TAX No provision for income tax has been raised as Contributions are made by the Company the Company is exempt under Division 50 of to employee superannuation funds and are the Income Tax Assessment Act, 1997. charged as expenses when incurred.
(i) CASH AND CASH EQUIVALENTS Cash and cash equivalents include cash on hand, deposits held at call with banks and other short-term highly liquid investments with original maturities less than three months.
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 61 ESTIMATES JUDGEMENTS AND ESTIMATES CRITICAL ACCOUNTING ACCOUNTING CRITICAL The directors evaluate estimates and evaluate directors The the financial into incorporated judgements and based on historical knowledge statements Estimates information. current best available future expectation of assume a reasonable and trends on current based and are events and externally both data, obtained economic the Company. within – Impairment Estimates Key the end at assesses impairment Company The conditions evaluating date by each reporting of be indicative that may Company the to specific of triggers. impairment assets on non-financial Impairment non- of assesses impairment Company The by date reporting financial assets at each Company the to specific conditions evaluating and to the lead to asset that particular may the exists, trigger an impairment If impairment. the asset is determined. of amount recoverable disposal or of less costs value fair involves This a calculations, which incorporate value-in-use and assumptions. estimates key of number benefits provision Employee benefits employee Short-term including and salaries, wages for Liabilities and long benefits, annual leave non-monetary to be settled within 12 expected leave service recognised date are reporting the of months employees’ of liabilities in respect in current date and are the reporting to up services to be paid expected the amounts at measured settled. the liabilities are when benefits employee long-term Other and long service leave annual for liability The settled within 12 to be expected not leave recognised date are the reporting of months is an there liabilities, provided in non-current the of settlement to defer right unconditional the present as is measured liability The liability. to be made payments future expected of value employees by provided services of in respect the projected date using the reporting to up is given method. Consideration unit credit levels, and salary wage future to expected and periods departures employee of experience are payments future Expected service. of the reporting at yields using market discounted to maturity terms bonds with date on corporate as possible, that match, as closely and currency cash outflows. future the estimated
) r ( CLASSIFICATION CLASSIFICATION COMPARATIVE AMOUNTS AMOUNTS COMPARATIVE DEPENDENCE ECONOMIC TRADE AND OTHER PAYABLES PAYABLES OTHER AND TRADE CURRENT AND NON-CURRENT NON-CURRENT AND CURRENT Where required, comparative figures have have figures comparative required, Where with changes in to conform been adjusted year. financial the current for presentation upon is dependent Company Theatre Playbox the for Victoria and Creative Council Australia this the date of At activity. its core funding of to has no reason Directors of the Board report continue. this support will not that believe Trade and other payables represent the represent payables and other Trade by received goods and services for liabilities period the reporting during the Company the reporting the end of unpaid at that remain as a current is recognised balance The period. paid within normally the amounts with liability the liability. of recognition of 30 days Assets and liabilities are presented in the in presented are Assets and liabilities based on current financial position of statement classification. and non-current to be when: it is expected An asset is current consumed to be sold or intended or realised held primarily it is cycle; in normal operating to be it is expected trading; purpose of the for the reporting after within 12 months realised cash equivalent the asset is cash or period; or or being exchanged from unless restricted least 12 months at for to settle a liability used assets are period. All other the reporting after classified as non-current. to be when: it is expected is current A liability it is held cycle; settled in normal operating to it is due trading; the purpose of for primarily the reporting after be settled within 12 months to right is no unconditional there period; or at least for the liability of the settlement defer All other period. the reporting after 12 months classified as non-current. liabilities are
) ) ) ) p q o n MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 ( ( ( ( NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
Key judgements Estimation of useful lives of assets The Company determines the estimated useful lives and related depreciation and amortisation charges for its property, plant and equipment. The useful lives could change significantly as a result of technical innovations or some other event. The depreciation and amortisation charge will increase where the useful lives are less than previously estimated lives, or technically obsolete or non-strategic assets that have been abandoned or sold will be written off or written down. written off or written down. (s) NEW OR AMENDED ACCOUNTING STANDARDS AND INTERPRETATIONS ADOPTED "The Company has adopted all of the new or amended Accounting Standards and Interpretations issued by the Australian Accounting Standards Board (‘AASB’) that are mandatory for the current reporting period. Any new or amended Accounting Standards or Interpretations that are not yet mandatory have not been early adopted."
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 63
- - - - 49,126 49,126 12,540 97,538 97,538 97,538 40,000 219,330 219,330 268,456 968,534 602,540 550,000 Unearned Income forward carried
- - - - 15,675 118,144 118,144 48,346 1,199,714 1,199,714 1,422,976 1,422,976 1,422,976 1,422,976 1,675,300 1,690,975 1,690,975 1,366,204 4,480,155 4,480,155 Earned Grants Earned Income
- - - 28,215 118,144 118,144 267,676 267,676 1,199,714 1,199,714 550,000 1,422,976 1,422,976 2,253,515 1,422,976 1,422,976 1,675,300 1,585,534 5,262,025 Grants income Grants received
------49,126 49,126 49,126 49,126 97,538 97,538 97,538 97,538 40,000 40,000 186,664 Unexpended brought Grants forward
REVENUE FROM CONTINUING OPERATIONS OPERATIONS CONTINUING FROM REVENUE On 16th March Malthouse Theatre temporarily closed its doors due to the COVID-19 pandemic and pandemic and the COVID-19 to closed its doors due temporarily Theatre Malthouse March 16th On that it became apparent the health crisis progressed As cancellations. performance of the process began 2020 the to cancel decided and it was the year of the remainder for to restart unlikely were operations other the but to an audio experience converted was Loaded, year, the of final production The season. and Cloudstreet touring productions, two The entirety. their in cancelled were shows unproduced eight Being of Importance The were which proceeded productions The also cancelled. were in Fright, Wake and Made in China 2.0. Beijing Folding public readings, two and experience) (audio Earnest and Loaded price ticket their to have - options three offered were productions the cancelled to holders Ticket to Malthouse back tickets their to donate or to a gift certificate tickets their to convert refunded, fully donated back. were performances cancelled for tickets presold 34% of Theatre. GOVERNMENT GRANTS GOVERNMENT TICKET SALES/CO-PRODUCTION AND TOURING FEES FEES TOURING AND SALES/CO-PRODUCTION TICKET
) Early Childhood Early (COVID-19 recovery) (COVID-19 Transport, Regional Regional Transport, and Development for Communications (Office the Arts) ) 2020 b a MALTHOUSE THEATRE MALTHOUSE Department of Education & Education of Department TOTAL Project Other Melbourne of City Department of Infrastructure, Infrastructure, of Department Boost / Cashflow Jobkeeper 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 ( 2 — 2 ( Strategic Investment Investment Strategic NGO Maintenance Creative Victoria Creative Grant Core Project Australia Council Australia Grant Core NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
2019 Unexpended Grants income Earned Grants Unearned Grants brought received Income Income forward carried forward Australia Council Core Grant - 1,400,567 1,400,567 - Project 11,820 97,538 11,820 97,538 11,820 1,498,105 1,412,387 97,538 Creative Victoria Core Grant - 1,199,714 1,199,714 - NGO Maintenance - 147,127 147,127 - Project 148,513 - 99,388 49,126 148,513 1,346,841 1,446,229 49,126 Other Department of Education - 31,350 31,350 - & Early Childhood City of Melbourne 90,000 40,000 90,000 40,000 Austrade - 13,222 13,222 - 90,000 84,572 134,572 40,000 TOTAL 250,333 2,929,518 2,993,188 186,664
NOTES 2020 2019
(c) FUNDRAISING AND SPONSORSHIP Fundraising - Artistic Projects - 173,328 Fundraising - General 575,278 353,955 Fundraising - Ticket conversions (COVID-19 closure) * 169,046 - Sponsorship - Cash 9,915 372,021 Sponsorship - Contra 16,444 85,733 770,682 985,037
* Malthouse Theatre cancelled 8 of its 10 mainstage productions for the year due to COVID-19 closure. Ticket holders were offered the option of a refund or donating their ticket back to Malthouse. 34% chose to donate.
(d) OTHER REVENUE Interest earned 802 2,337 Ticketing Services 34,770 212,382 Workshop External Commissions 24,296 102,295 Other revenue from continuing operations 70,867 439,214 130,736 756,228
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 65 $ 2019 (816) (816) 6,905 6,905 79,165 79,165 18,283 67,397 117,759 117,759 33,388 131,229 225,118 20,230 103,237 261,583 284,418 889,522 458,374 458,374 $ - 2020 22,311 4,093 25,165 (4,627) 37,278 37,278 67,872 67,872 53,472 44,509 125,724 125,724 (19,443) (19,443) 612,572 612,572 126,592 264,178 264,178 (27,608) (27,608)
NOTES MALTHOUSE THEATRE MALTHOUSE Income earned Income Incentive scheme reserve Incentive financial assets of value fair Change in 4—TOTAL EARNINGS FROM INVESTMENTS FROM EARNINGS 4—TOTAL Fund Future financial assets of value fair Change in earned Income assets on sales of Gain (loss) assets on sales of Gain (loss) Total earnings from investments earnings from Total 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 3—EXPENSES FROM CONTINUING OPERATIONS CONTINUING FROM 3—EXPENSES Expenses Other Depreciation Sales (Bar) of Cost Other Audit fees fees Audit – external Costs Finance Services Ticketing Administration NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2020 2019 $ $
5—CASH AND CASH EQUIVALENTS
Cash on Hand 5,730 3,800 Cash at Bank 305,877 311,804 Deposits at call 1,920,053 471,251 2,231,660 786,855
6—TRADE AND OTHER RECEIVABLES
GST - 17,078 Sundry debtors 7,255 106,056 Accrued income 59,817 87,824 Accrued Jobkeeper revenue 174,600 - Deposits paid 1,900 1,900 243,572 212,858 All of Company’s trade and other receivables have been reviewed for indicators of impairment. No trade receivables were found to be impaired and an allowance for credit losses has not been recorded
7—INVENTORIES At Cost: Workshop Consumables 28,200 33,530 Bar & Sponsorship Stock 18,230 18,872 46,430 52,402
8—OTHER CURRENT ASSETS Prepayments 218,707 233,358 218,707 233,358
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 67 $ - - 2019 Total 47,911 47,911 750,150 750,150 218,786 261,978 261,978 257,383 257,383 524,080 (211,240) (211,240) 220,365 299,706 299,706 735,483 430,026 299,706 299,706 (172,454) (172,454) 659,465 659,465 (492,767) (492,767) (126,592) 524,080 524,080 2,774,320 2,774,320 2,038,836 $ - 47,911 47,911 2020 (11,537) 36,374 36,374 10,275 36,374 36,374 199,412 199,412 199,625 199,625 788,771 795,997 795,997 Workshop Workshop (183,991) (183,991) 220,365 393,614 393,614 422,895 659,465 224,053 383,339 (571,944) (571,944) (223,483) (223,483) 2,056,731 2,845,502 Improvement
16,505 Theatre Theatre Fittings NOTES 199,412 199,412 218,786 (35,879) (35,879) Fixtures & Fixtures (79,177) (79,177) 45,847 257,383 257,383 224,053 Equipment Furniture & Furniture - - Work in Work 199,625 199,625 Progress
2020 MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 Carrying amount at the Carrying amount Depreciation Expenses Depreciation Additions Balance at the beginning the at Balance Incentive Scheme Reserve Deposit Scheme Reserve Incentive Corporate Domestic comprise Deposit Scheme Reserve the Incentive and Fund the Future in Investments Equities. and International Equities, Domestic Assets, Property, Alternative Bonds, GST Payable to considered are values carrying The term. short liabilities are All above 11—TRADE & OTHER PAYABLES OTHER & 11—TRADE & accruals creditors Sundry value. fair of approximation be a reasonable 10—FINANCIAL ASSETS 10—FINANCIAL Fund Future end of the year end of of the of year Less accumulated depreciation accumulated Less Workshop Improvements Workshop depreciation accumulated Less & EQUIPMENT PLANT PROPERTY, TOTAL Furniture and equipment Furniture depreciation accumulated Less and fittings fixtures Theatre set out below: are year financial current the the beginning and end of at values the written down of Reconciliations 9—PROPERTY, PLANT & EQUIPMENT & PLANT 9—PROPERTY, Stage - Outdoor in Progress Work NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2020 2019 $ $
12—PROVISIONS Current Employee entitlements - Annual leave 104,351 63,443 Employee entitlements - Long service leave 225,094 138,048 329,445 201,490 Non Current Employee entitlements - Long service leave 53,488 62,128 53,488 62,128
13—BORROWINGS Current Bank Loan – secured 21,500 21,500
Non Current Bank Loan – secured 62,708 84,208
Bank loan and overdraft facilities with National Australia Bank Ltd are secured by Registered Mortgage Debenture over the whole of the Company’s assets but excluding funds held in the Incentive Scheme Reserve.
14—CONTRACT AND OTHER LIABILITIES Others 234,404 176,526 Unearned Australia Council grants 2(a) 97,538 97,538 Unearned Creative Victoria grants 2(a) 268,455 49,125 Income received in advance 2,240,758 1,242,006 2,841,155 1,565,195
Advances received for contract work and deferred income represent payments received in advance of performance (contract liabilities) that are expected to be recognised as revenue in 2021.
15—RETAINED EARNINGS Retained earnings at the beginning of year 383,331 275,426 Net profit (loss) for the financial year 193,782 107,905 Transfer to Future Fund Reserve - - Transfer to Incentive Scheme Reserve - - Retained earnings at the end of financial year 577,114 383,331
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 69 $ - - - 2019 127,459 127,459 127,459 127,459 127,459 444,473 444,473 444,473 1,394,381 1,394,381 1,966,313 1,966,313 1,394,381 $ - - - 2020 127,459 127,459 127,459 127,459 127,459 444,473 444,473 444,473 1,394,381 1,394,381 1,966,313 1,966,313 1,394,381 NOTES FUTURE FUND RESERVE FUND FUTURE ) INCENTIVE SCHEME RESERVE SCHEME INCENTIVE ) ) CAPITAL ASSET RESERVE ASSET CAPITAL ) ) c b a Closing balance Scheme Reserves the Incentive terms of the to subject are Scheme Reserve the Incentive held in Funds the Company. Victoria and Creative Council, the Australia 2004 between June, dated 21 Agreement Funding without be accessed and cannot (to 18/10/2023) years fifteen for held in escrow funds are these particular In circumstances. prescribed funding bodies under the of agreement the express the held over charge the security from excluded expressly are Scheme Reserve the Incentive held in Funds the amount records Scheme Reserve Incentive The Ltd. Bank Australia the National by the Company assets of the Company. of operations future term the long fund to set aside Transfer from accumulated surplus/(deficit) accumulated from Transfer the for a sustainable capital base and accumulating accruing the purpose of for fund is established The Fund is The Company. the of Objects Cultural the of viability term financial the long to support Company the Board. of committee & Risk Finance the Audit, managed by Closing balance GUARANTEE 17—MEMBERS’ and Articles of the Memorandum up, is wound the Company If guarantee. is limited by Company The $10 cash a maximum of to contribute is required that each member states the Company Association of of the number 2020, 31 December At the Company. outstanding obligations of meeting any towards 18 (2019: 17) members was ( the year: during Movements balance Opening ( the year: during Movements balance Opening surplus/(deficit) accumulated from Transfer 16—RESERVES Capital Assets Reserve ( balance Opening Future Fund Reserve Fund Future Movement Closing balance Incentive Scheme Reserve Scheme Incentive at the Company to transferred assets and equipment plant of the value records Capital Assets Reserve The University. with Monash relationship the Company’s of the conclusion MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2020 2019 $ $
18—COMMITMENTS AND CONTINGENT LIABILITIES There are no contingent liabilities not otherwise disclosed or provided for in the accounts at 31st December 2020. There are $76,477 of capital expenditure commitments at 31st December 2020. These are related to the building of the outdoor stage.
19—RELATED PARTY TRANSACTIONS Transaction between related parties are on normal commercial terms and conditions no more favourable than those available to other persons unless otherwise stated. During the year a company controlled by Michael Kantor, a director, paid $5,441 in production reimbursements and room hire.
20—CASH FLOW INFORMATION Reconciliation of Net Cash Used in Operating Activities to Profit from Continuing Operations Net profit 193,782 107,905 Unrealised gain on investments 24,070 (328,355) Depreciation 126,592 131,229 (Profit)/Loss on sale of investments 27,608 (17,467) Dividends reinvested (61,052) (51,114) Change in net assets and liabilities (Increase)/Decrease in receivables (30,713) 8,125 (Increase)/Decrease in other current assets 14,651 (59,803) (Decrease)/Increase in payables 93,909 (66,633) (Increase)/Decrease in inventories 5,972 45,207 (Decrease)/Increase in other liabilities 1,275,959 486,740 (Decrease)/Increase in provisions 119,314 (23,945) Net cash provided by Operating Activities 1,790,091 231,889
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 71 $ 2019 Total Total Total Total 21,500 21,500 62,708 415,114 84,208 212,858 393,614 999,714 321,206 243,572 786,855 405,414 2,774,320 2,475,232 3,774,033 2,231,660 5,320,734 2,845,502 477,822 299,706 $ ------2020 FVOCI FVOCI FVOCI FVOCI ------FVPL FVPL FVPL FVPL 2,774,320 2,845,502 2,845,502 NOTES 2,774,320 - - Costs Costs Costs Costs 21,500 21,500 62,708 415,114 84,208 999,714 212,858 393,614 999,714 999,714 321,206 243,572 477,822 786,855 299,706 405,414 2,231,660 2,475,232 2,475,232 Amortised Amortised Amortised Amortised Amortised Amortised Amortised Amortised 5 6 5 6 11 11 13 13 13 13 10 10 Note Note Note Note Financial Assets - 2020 Financial Liabilities - 2020 Financial Assets - 2019 Financial Liabilities - 2019 21—FINANCIAL ASSETS AND LIABILITIES AND ASSETS 21—FINANCIAL follows: as are Assets & Financial Liabilities in each category Financial of amounts carrying The MALTHOUSE THEATRE MALTHOUSE 2020 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2020 Current Cash and Cash Equivalent Trade and other receivables and other Trade Non-current Investments Total financial Assets Total Current Loan Bank Trade and other payables and other Trade Non-current Loan Bank Total financial Liabilities Total Current Cash and Cash Equivalent Trade and other receivables and other Trade Non-current Investments Total financial Assets Total Current Loan Bank Trade and other payables and other Trade Non-current Loan Bank Total financial liabilities Total NOTES
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2020 2019 $ $
21—FINANCIAL ASSETS AND LIABILITIES 22—DIRECTORS’ REMUNERATION Directors do not receive remuneration for services provided in their role as directors although they are The carrying amounts of Financial Assets & Financial Liabilities in each category are as follows: eligible to be reimbursed for out of pocket expenses.
Amortised Financial Assets - 2020 Note FVPL FVOCI Total 23 —KEY MANAGEMENT PERSONNEL REMUNERATION Costs The total remuneration paid to key management personnel of the Company during the period is as follows: Current Cash and Cash Equivalent 5 2,231,660 - - 2,231,660 Key management personnel compensation: 388,999 412,730 Trade and other receivables 6 243,572 - - 243,572 2,475,232 - - 2,475,232 25 —SUBSEQUENT EVENTS Non-current On 12 March 2020 a global pandemic was declared, resulting in the temporary closure of the Malthouse Investments 10 - 2,845,502 - 2,845,502 venue. The pandemic was ongoing as at 31 December 2020. Malthouse Theatre resumed its hospitality Total financial Assets 2,475,232 2,845,502 - 5,320,734 operations in a limited capacity in November 2020, with ticketed events resuming in January 2021 on the outdoor stage and the first self-produced performances opening on 23 March 2021. Management continues to review the ongoing operational capacity and reserves of Playbox Theatre Company Limited and, subject to Amortised Financial Liabilities - 2020 Note FVPL FVOCI Total the duration and extent of COVID-19 restrictions and continuity of Government funding, has assessed that Costs the company is able to continue for the foreseeable future. Current Bank Loan 13 21,500 - - 21,500 Trade and other payables 11 393,614 - - 393,614 26 —COMPANY DETAILS 415,114 - - 415,114 The registered office of the Company is: 113 Sturt Street Southbank Vic 3006 Non-current The Principal place of business is: The Malthouse, 113 Sturt Street Southbank Vic 3006 Bank Loan 13 62,708 - - 62,708 Total financial Liabilities 477,822 - - 477,822
Amortised Financial Assets - 2019 Note FVPL FVOCI Total Costs Current Cash and Cash Equivalent 5 786,855 - - 786,855 Trade and other receivables 6 212,858 - - 212,858 999,714 - - 999,714 Non-current Investments 10 - 2,774,320 - 2,774,320 Total financial Assets 999,714 2,774,320 - 3,774,033 999,714 Amortised Financial Liabilities - 2019 Note FVPL FVOCI Total Costs Current Bank Loan 13 21,500 - - 21,500 Trade and other payables 11 299,706 - - 299,706 321,206 - - 321,206 Non-current Bank Loan 13 84,208 - - 84,208 Total financial liabilities 405,414 - - 405,414
2020 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 73 MALTHOUSE THEATRE STATEMENTS FINANCIAL DIRECTORS’ DECLARATION
The directors of the Company declare that: 1. The financial statements and notes, as set out on pages 7 to 25, are in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012 and: (a) comply with Accounting Standards – Reduced Disclosure Requirements, Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013 and other mandatory reporting requirements in Australia; and (b) give a true and fair view of the financial position as at 31 December 2020, and of the performance for the year ended on that date of the Company. 2. In the directors’ opinion, there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. This declaration is made in accordance with a resolution of the Board of Directors of Playbox Theatre Company Limited.
Fiona McGauchie, Director Sue Prestney, Director
Dated this 13th day of April 2020
2020 ANNUAL REPORT / FINANCIAL STATEMENTS MALTHOUSE THEATRE
INDEPENDENT AUDITOR’S REPORT
Independent Auditor’s Report IndepTo theendent Directors Auditor’s of Playbox Report Theatre Company Limited
To the Directors of Playbox Theatre Company Limited Opinions OpinionWe haves audited the financial report of Playbox Theatre Company Limited (the Company), which comprises the statement of financial position as at 31 December 2020, the statement of comprehensive We have audited the financial report of Playbox Theatre Company Limited (the Company), which income, the statement of changes in equity and the statement of cash flows for the year then ended, and comprises the statement of financial position as at 31 December 2019, the statement of comprehensive notes to the financial statements, including a summary of significant accounting policies, and the directors’ income, the statement of changes in equity and the statement of cash flows for the year then ended, and declaration. notes to the financial statements, including a summary of significant accounting policies, and the directors’ declaratiIn our opinion,on. the accompanying financial report of the Company has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including: In our opinion, the accompanying financial report of the Company has been prepared in accordance with Division 60(a) of the giving Australian a true Charities and fair and view Not of- for the-profits Company’s Commission financial Act position2012, including: as at 31 December 2020 and of its financial performance and cash flows for the year then ended; and (a) giving a true and fair view of the Company’s financial position as at 31 December 2019 (b) and complying of its financial with Australian performance Accounting and cash Standards flows for –the Reduced year then Disclosure ended; and Requirements and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013. (b) complying with Australian Accounting Standards – Reduced Disclosure Requirements and Basis for OpinionDivision 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.
BasisWe conducted for Opinion our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under section of our report. We are independent of the Company in accordance with the auditor independence those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the ethical section of our report. We are independent of the Company in accordance with the auditor independence requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the ethical Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for have also fulfilled our other ethical responsibilities in accordance with the Code. Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We haveWe also confirm fulfilled that our the other independence ethical responsibilities declaration requiredin accordance by the with Co rporationsthe Code. Act 2001, which has been given to the directors of the Company, would be in the same terms if given to the directors as at the time We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for of this auditor’s report. our opinion. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for Emphasisour opinion. of Matter – Subsequent Event
We draw attention to Note 24 of the financial statements, which describes the effects of the World Health Organisation’s declaration of a global health pandemic on 12 March 2020 relating to the spread of COVIDEmphasis-19. Our opinionof Matter is not –modified Subsequent in respect ofEvent this matter. Re; COVID-19
OtherWe draw Information attention to Note 24 of the financial statements, which describes the effects of the Coronavirus (COVID-19) pandemic which continues to impact both communities and businesses throughout the world Theincluding directors Australia are responsible where the entityfor the operates. other information. Our opinion The is notherot modified information in respect comprises of this thematter. information included in the Company’s annual report for the year 31 December 2019 but does not include the financial report and our auditor’s report thereon. Our opinion on the financial report does not cover the other information and accordingly we do not express any form of assurance conclusion thereon. Liability limited by a scheme approved under Professional Standards Legislation.
The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of persons who hold an equity interest (shareholder) in its parent entity, Findex Group Limited. The only professional service offering which is conducted by a partnership is the Crowe LiabilityAustralasia limited external by a scheme audit division. approved All under other Professionalprofessional Standardsservices offered Legislation. by Findex Group Limited are conducted by a privately owned organisation and/or its subsidiaries. The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of persons who hold an equity interestFindex (shareholder) (Aust) Pty Ltd, in tradingits parent as entity,Crowe Findex Australasia Group is Limited.a member The of only Crowe professional Global, a serviceSwiss verein. offering Each which member is conducted firm of byCrowe a partnership Global is ais separatethe Crowe and Australasiaindependent external legal entity.audit division. Findex (Aust)All other Pty professional Ltd and its affiliatesservices areoffered not responsibleby Findex Group or liable Limited for any are acts conducted or omissions by a privately of Crowe owned Global organisation or any other and/ormember its subsidiaries. of Crowe Global. Crowe Global does not render any professional services and does not have an ownership or partnership interest in Findex (Aust) Pty Ltd. Services are provided by Crowe Melbourne, an affiliate of Findex (Aust) Pty Ltd. Findex© 2021 (Aust) Findex Pty (Aust) Ltd, trading Pty Ltd as Crowe Australasia is a member of Crowe Global, a Swiss verein. Each member firm of Crowe Global is a separate and independent legal entity. Findex (Aust) Pty Ltd and its affiliates are not responsible or liable for any acts or omissions of Crowe Global or any other member of Crowe Global. Crowe Global does not render any professional services and does not have an ownership or partnership interest in Findex 27 (Aust) Pty Ltd. Services are provided by Crowe Melbourne, an affiliate of Findex (Aust) Pty Ltd. © 2019 Findex (Aust) Pty Ltd
INDEPENDENT AUDITOR’S REPORT ——> PG 75 MALTHOUSE THEATRE
INDEPENDENT AUDITOR’S REPORT
Other Information
IndepThe directorsendent are responsible Auditor’s for the otherReport information. The other information comprises the information included in the Company’s annual report for the year 31 December 2020 but does not include the financial Treporto the and Directorsour auditor’s report of thereon. Playbox Theatre Company Limited
Our opinion on the financial report does not cover the other information and accordingly we do not express Opinionany form sof assurance conclusion thereon. In connection with our audit of the financial report, our responsibility is to read the other information and, in We have audited the financial report of Playbox Theatre Company Limited (the Company), which doing so, consider whether the other information is materially inconsistent with the financial report or our comprises the statement of financial position as at 31 December 2019, the statement of comprehensive knowledge obtained in the audit or otherwise appears to be materially misstated. income, the statement of changes in equity and the statement of cash flows for the year then ended, and notesIf, based to the on financial the work statements, we have performed, including a wesummary conclude of significantthat there accountingis a material policies, misstatement and the of directors’ this other declaratiinformation,on. we are required to report that fact. We have nothing to report in this regard. In our opinion, the accompanying financial report of the Company has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including: Responsibilities of the Directors for the Financial Report (a) giving a true and fair view of the Company’s financial position as at 31 December 2019 The directors andof the of itsCompany financial are performance responsible and for cash the preparatioflows for then of year the thenfinancial ended; report and that gives a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements (b) complying with Australian Accounting Standards – Reduced Disclosure Requirements and and the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and for such internal Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013. control as the directors determine is necessary to enable the preparation of the financial report that gives Basisa true andfor fairOpinion view and is free from material misstatement, whether due to fraud or error. In preparing the financial report, the directors are responsible for assessing the ability of the Company to We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under continue as a going concern, disclosing, as applicable, matters related to going concern and using the those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report going concern basis of accounting unless the directors either intend to liquidate the Company or to cease section of our report. We are independent of the Company in accordance with the auditor independence operations, or have no realistic alternative but to do so. requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the ethical requirementsThe Directors of are the responsible Accounting forProfessional overseeing and the Ethical entity’s Standards financial reporting Board’s process.APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We haveAuditor’s also fulfilled Responsibilities our other ethical responsibilities for the Audit in accordance of the Financialwith the Code. Repor t WeOur believe objectives that theare auditto obtain evidence reasonable we have assurance obtained about is sufficient whether and the appropriate financial report to provide as a wholea basis is forfree ourfrom opinion. material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit Emphasisconducted inof accordanceMatter – withSubsequent the Australian Event Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, We draw attention to Note 24 of the financial statements, which describes the effects of the World Health individually or in the aggregate, they could reasonably be expected to influence the economic decisions of Organisation’s declaration of a global health pandemic on 12 March 2020 relating to the spread of COVIDusers -taken19. Our on opinion the basis is notof this modified financial in respect report. of this matter. As part of an audit in accordance with the Australian Auditing Standards, we exercise professional Otherjudgement Information and maintain professional scepticism throughout the audit. We also: The directorsx Identify are responsible and assess for thethe risksother of information. material misstatement The other information of the financial comprises report, the whether information due to included in thefraud Company’s or error, annualdesign reportand perform for the audityear 31procedures December responsive 2019 but todoes those not risks, include and the obtain financial audit report and ourevidence auditor’s that report is sufficientthereon. and appropriate to provide a basis for our opinion. The risk of not Our opinion ondetecting the financial a material report misstatementdoes not cover resulting the other from information fraud is and highe accordinglyr than for we one do resultingnot express from any form of assuranceerror, as fraud conclusion may involve thereon. collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.
Liability limited by a scheme approved under Professional Standards Legislation.
The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of persons who hold an equity interest (shareholder) in its parent entity, Findex Group Limited. The only professional service offering which is conducted by a partnership is the Crowe Australasia external audit division. All other professional services offered by Findex Group Limited are conducted by a privately owned organisation and/or its subsidiaries.
Findex (Aust) Pty Ltd, trading as Crowe Australasia is a member of Crowe Global, a Swiss verein. Each member firm of Crowe Global is a separate and independent legal entity. Findex (Aust) Pty Ltd and its affiliates are not responsible or liable for any acts or omissions of Crowe Global or any other 28 member of Crowe Global. Crowe Global does not render any professional services and does not have an ownership or partnership interest in Findex (Aust) Pty Ltd. Services are provided by Crowe Melbourne, an affiliate of Findex (Aust) Pty Ltd. © 2019 Findex (Aust) Pty Ltd
INDEPENDENT AUDITOR’S REPORT MALTHOUSE THEATRE
INDEPENDENT AUDITOR’S REPORT
Other Information x Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Company’s internal control. The directors are responsible for the other information. The other information comprises the information Independent Auditor’s Report included in the Company’s annual report for the year 31 December 2020 but does not include the financial To thex Directors Evaluate the appropriateness of Playbox of Theatre accounting policies Company used and Limited the reasonableness of report and our auditor’s report thereon. accounting estimates and related disclosures made by the directors. Our opinion on the financial report does not cover the other information and accordingly we do not express x any form of assurance conclusion thereon. Conclude on the appropriateness of the directors’ use of the going concern basis of accounting Opinions and, based on the audit evidence obtained, whether a material uncertainty exists related to In connection with our audit of the financial report, our responsibility is to read the other information and, in events or conditions that may cast significant doubt on the Company’s ability to continue as a We have audited the financial report of Playbox Theatre Company Limited (the Company), which doing so, consider whether the other information is materially inconsistent with the financial report or our going concern. If we conclude that a material uncertainty exists, we are required to draw comprises the statement of financial position as at 31 December 2019, the statement of comprehensive knowledge obtained in the audit or otherwise appears to be materially misstated. attention in our auditor’s report to the related disclosures in the financial report or, if such income, the statementdisclosures of arechanges inadequate, in equity to and modify the statement our opinion. of cash Our conclusiflows forons the areyear based then ended, on the and audit If, based on the work we have performed, we conclude that there is a material misstatement of this other notes to the financialevidence statements, obtained up including to the date a summary of our auditor’s of significant report. accounting However, policies, future events and the or directors’conditions information, we are required to report that fact. We have nothing to report in this regard. declaration. may cause the Company to cease to continue as a going concern.
In our opinion,x Evaluate the accompanying the overall presentation,financial report structure of the Company and content has ofbeen the prepared financial in report, accordance including with the Division 60 ofdisclosures, the Australian and Charities whether andthe financialNot-for-profits report Commission represents the Act un 2012derlying, including: transactions and events Responsibilities of the Directors for the Financial Report in a manner that achieves fair presentation. (a) giving a true and fair view of the Company’s financial position as at 31 December 2019 The directors of the Company are responsible for the preparation of the financial report that gives a true and of its financial performance and cash flows for the year then ended; and We communicate with the directors regarding, among other matters, the planned scope and timing of the and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements audit and(b) significantcomplying audit with findings, Australian including Accounting any significant Standards deficiencies – Reduced in Disclosureinternal control Requirements that we identify and and the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and for such internal during the audit.Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013. control as the directors determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error. Basis for Opinion
In preparing the financial report, the directors are responsible for assessing the ability of the Company to We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under continue as a going concern, disclosing, as applicable, matters related to going concern and using the Crowe Melbourne those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report going concern basis of accounting unless the directors either intend to liquidate the Company or to cease section of our report. We are independent of the Company in accordance with the auditor independence operations, or have no realistic alternative but to do so. requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the ethical The Directors are responsible for overseeing the entity’s financial reporting process. requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for
Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We Auditor’s Responsibilities for the Audit of the Financial Report have also fulfilled our other ethical responsibilities in accordance with the Code. Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free We believeMartin Thompsonthat the audit evidence we have obtained is sufficient and appropriate to provide a basis for from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion.Senior Partner our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit Geelong, 13 April 2021 conducted in accordance with the Australian Auditing Standards will always detect a material Emphasis of Matter – Subsequent Event misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, We draw attention to Note 24 of the financial statements, which describes the effects of the World Health individually or in the aggregate, they could reasonably be expected to influence the economic decisions of Organisation’s declaration of a global health pandemic on 12 March 2020 relating to the spread of users taken on the basis of this financial report. COVID-19. Our opinion is not modified in respect of this matter. As part of an audit in accordance with the Australian Auditing Standards, we exercise professional judgement and maintain professional scepticism throughout the audit. We also: Other Information x Identify and assess the risks of material misstatement of the financial report, whether due to The directors are responsible for the other information. The other information comprises the information fraud or error, design and perform audit procedures responsive to those risks, and obtain audit included in the Company’s annual report for the year 31 December 2019 but does not include the financial evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not report and our auditor’s report thereon. detecting a material misstatement resulting from fraud is higher than for one resulting from Our opinion on the financial report does not cover the other information and accordingly we do not express error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the any form of assurance conclusion thereon. override of internal control.
Liability limited by a scheme approved under Professional Standards Legislation.
The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of persons who hold an equity interest (shareholder) in its parent entity, Findex Group Limited. The only professional service offering which is conducted by a partnership is the Crowe Australasia external audit division. All other professional services offered by Findex Group Limited are conducted by a privately owned organisation and/or its subsidiaries.
Findex (Aust) Pty Ltd, trading as Crowe Australasia is a member of Crowe Global, a Swiss verein. Each member firm of Crowe Global is a separate and 28 independent legal entity. Findex (Aust) Pty Ltd and its affiliates are not responsible or liable for any acts or omissions of Crowe Global or any other member of Crowe Global. Crowe Global does not render any professional services and does not have an ownership or partnership interest in Findex (Aust) Pty Ltd. Services are provided by Crowe Melbourne, an affiliate of Findex (Aust) Pty Ltd. 29 © 2019 Findex (Aust) Pty Ltd
INDEPENDENT AUDITOR’S REPORT ——> PG 77 MALTHOUSE THEATRE MALTHOUSE THEATRE
2020 SEASON LAUNCH