ANNUAL REPORT 2016 “Queensland Ballet is a thriving company in terms of collaborators, donors and dreams.” Sharon Verghis The Weekend Australian
Cover: Principal Artist Laura Hidalgo Photographer: Simon Lekias Inside Cover: Principal Artists Yanela Piñera and Victor Estévez in Derek Deane’s Strictly Gershwin Photographer: David Kelly “The rise and rise of CHAIR’S REPORT 4 – 5 ARTISTIC DIRECTOR’S REPORT 6 – 7 Queensland Ballet [is] great EXECUTIVE DIRECTOR’S REPORT 8 – 9 PERFORMANCE SUMMARY 10 – 11
for Brisbane audiences.” Mainstage Season 12 – 19 Deborah Jones Studio Season 20 – 21 The Australian Guest Performances 22 Canberra Tour 23 Little Red Riding Hood 24 Regional Queensland Tour 25
2016 YEAR IN REVIEW 26 – 27
QUEENSLAND BALLET ACADEMY 28 – 29
REACH, EDUCATION & ENGAGEMENT 30 – 31
OUR PARTNERS 32
OUR SUPPORTERS 33
THE COMPANY 34
CORPORATE GOVERNANCE 35
DIRECTORS’ REPORT 36 – 38
AUDITOR’S INDEPENDENCE DECLARATION 39
FINANCIALS 40 – 58
Principal Artists Laura Hidalgo and Victor Estévez in Liam Scarlett’s A Midsummer Night’s Dream Photographer: David Kelly 2016 was certainly a year in which the Company fulfilled Our Academy touched more lives this year as young dancers this commitment wholeheartedly. This is something we’re sought to further their dreams of becoming professional exceedingly proud of as we aim to build on our 56 year dancers through our elite workshops in Queensland and history to help foster and develop a lasting legacy for interstate. It’s inspiring to see the investment in our Academy ballet in Queensland, Australia and abroad. As grateful starting to really bear fruit as we lift the barre and attract as we are for our loyal audiences who love this art form, student dancers of an increasingly high standard. They we are acutely aware of the need to always stay relevant, are in turn motivated by what is now well and truly a world appeal to new audiences and introduce ballet to those class Company. CHAIR’S who are yet to discover a love of dance. We are empowered in what we do each and every day by This year saw us visit many Queensland regional an extraordinarily generous group of supporters, benefactors towns and centres with our extensive Tutus on Tour program. and partners. We talk much about the Queensland Ballet family REPORT This tour was so wide-ranging that we undertook a northern and we genuinely believe that all our supporters, from the and southern tour, with the Company dividing in two to individual givers to the corporate partners, really are part of perform a mixed program that was received wonderfully well that family. Our Lead Partner Suncorp and Major Partners BMW, by audiences. We took to the Canberra stage in November JC Decaux and Virgin Australia, as well as our other partners to share Ben Stevenson’s The Nutcracker, which was again and philanthropic support, help us reach for our bold vision. acclaimed by both critics and audiences alike and prompted This support is bolstered by assistance from both the state and calls for us to return to the nation’s capital sooner rather than federal governments, although we continue to work with the later. It was the first time we had performed in Canberra in federal government to encourage a re-evaluation of its funding 25 years. model across our sector. I also would like to acknowledge I couldn’t be more pleased to share that all of the the incredible support of Ian Potter Foundation who remain Company’s mainstage productions this year surpassed even committed to enabling us to develop and grow. On behalf our own high expectations in terms of sales and the number of the Queensland Ballet Board I gratefully acknowledge all of people we reached with our performances. For every of your invaluable contributions. mainstage season this year we sold more tickets than the I’ve heard it often said that Queensland Ballet is ambitious remarkably high targets we set for ourselves. There are not and daring. Yes we are, and we make no apologies for that. many arts organisations in this country that could set such We’re aiming incredibly high and we’re excited by that. The high targets and hope to achieve them. I’m very proud of brave vision we have would be daunting to some, not so our our Company’s achievements in growing audience numbers Artistic Director Li Cunxin and Executive Director Dilshani and offering a program that not only appeals to confirmed Weerasinghe. This duo has a vision and drive few can keep up It has been an ongoing balletomanes but also to those without a love or knowledge with, and they have the talent and ability to lead our Company of ballet. Opening night has become one of the hottest forward with an unshakeable commitment to excellence. commitment of Queensland tickets in town. On behalf of the Board, I thank you Dilshani and Li, for your Derek Deane’s blockbuster Strictly Gershwin was leadership of Queensland Ballet, your belief in our team and Ballet’s to share the beautiful somewhat of a gamble for us as a Company and was billed your astonishing passion for ballet. A final word of thanks must art form of ballet with as as ‘Queensland Ballet like you’ve never seen us before’. It go to the Board for having the courage to support that bold was, without a doubt, a gamble that paid off with the ballet vision and for believing in the Company. Through the tireless many people as possible. becoming our highest selling production ever in terms of efforts of each Director, we are ensuring that Queensland Ballet number of tickets sold. The season sold out even before has a prosperous and sustainable future. it opened and inspired calls for it to swiftly return to the Brisbane stage and even tour the nation. While our acclaimed productions are the DNA of Brett Clark Queensland Ballet, part of our make-up is undoubtedly Chair our community and how we engage with them. From the youngest ballet fans to aspiring ballet students, we aim to share our art form with all those keen to engage at any level. Our far-reaching education and engagement activities are something we become increasingly committed to the more we see how powerful they are. These activities formed a major component of our Tutus on Tour program and provided another way for the communities in 17 locations to experience, learn about and marvel in the magic of ballet. Our workshops, Q&A events and pre-performance activities offer a wonderful opportunity for people to participate more fully in what we do.
Company Artist Georgia Swan and Demi-Soloist Vito Bernasconi in Natalie Weir’s We Who Are Left as part of Lest We Forget Photographer: David Kelly
4 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 5 welcome back some of our most loved former Principal including the addition of an all-male level in the Junior Dancers Matthew Lawrence, Christian Tátchev and Rachael Program. As well as world class training, the Academy Walsh. A grateful acknowledgement must also go to our has offered masterclasses, workshops and an annual dear friend Amanda Talbot, supporter and board member Summer School with an extensive reach for elite students, of Queensland Ballet, and our co-presenters Queensland with 57 percent coming from interstate or overseas. It’s Performing Arts Centre (QPAC), whose generosity allowed very rewarding to see more and more of our students this production to reach fruition. progressing and developing into young professionals ARTISTIC Our Lest We Forget season moved through three with five of the eight Jette Parker Young Artists in 2016 very different ballets by three impeccable choreographers, being graduates of our Pre-Professional Program. I’d like each telling a distinctive story honouring the legacy of to acknowledge the dedication of Academy Director DIRECTOR ’S the ANZACs. It was a very moving season made possible Christian Tátchev and his team for their unstinting through the Australian Government’s ANZAC Centenary Arts nurturing of our young dancers. REPORT and Cultural Fund. We welcomed guest choreographers This year we farewelled one of our Principal Dancers, Ma Cong with In the Best Moments and Natalie Weir with Meng Ningning as she retired from the stage to pursue We Who are Left, to present two contemporary works other interests and enjoy motherhood. Ningning was a alongside Paul Taylor’s seminal piece of Americana modern treasured member of our Queensland Ballet team, always dance, Company B. It was a season we were very proud of captivating audiences with her artistry and we wish her as we reflected on the sacrifice of those who fought for our very well. country’s peace and those who were left behind. Reflecting on another year that has passed, I’m so We are overjoyed year after year, to see the way in very proud of how far we’ve come and am energised by which Brisbane audiences have adopted Queensland Ballet’s what is yet to come. My sincere thanks must go to our production of The Nutcracker as a Christmas tradition and Board, Dilshani, partners and supporters in enabling us so we hoped that Canberra audiences would feel the same to dream bigger and bolder, and to set our sights higher. If 2015 was the year of fairy tales for way about this Christmas classic. For the first time in 25 We will strive to reach higher heights, share our passion for years, the Company toured to Canberra and presented Ben ballet, challenge and inspire our audiences and continue Queensland Ballet, then 2016 was the Stevenson’s The Nutcracker ahead of our Brisbane season. to build a lasting legacy for this breath-taking art form. The critical and audience response was so overwhelmingly year that dreams became a reality. positive that I don’t think there’s any way we cannot return to Canberra very soon. It was a pleasure for us to be renewing Li Cunxin connections in other cities and I’m sure we’ll be back there Artistic Director in the future. Sure, we started off the year still in the land of fairies After our success with Midsummers and the immediate 2016 was a year in which we as a Company sought out with Liam Scarlett’s A Midsummer Night’s Dream which connection we made with Liam as a Company, we quickly Australian and local talent as we worked with Natalie Weir, was a runaway success, but the reality of how far realised we had unfinished business and knew we had Lucas Jervies, Gareth Belling, Paul Boyd, Amy Hollingsworth, we’ve come as a Company really hit home when Derek more magic to make together. We were delighted when Paulina Quinteros, Greg Horsman and nurtured the emerging Deane’s Strictly Gershwin became our highest selling Liam accepted our offer to join Queensland Ballet as our choreographic talent of one of our Company Artists, Jack production to date. It was successes such as these that Artistic Associate. We couldn’t be happier to have Liam call Lister. This is an integral part of who we want to be as a allowed us to achieve our highest box office sales in Queensland Ballet his second home, in addition to his role as Company: to support and develop our own and to share the Queensland Ballet’s history with $4.6 million in tickets Artist in Residence with The Royal Ballet. What a privilege it work of Australian artists both at home and internationally. sold throughout 2016. will be to continue to present Liam’s works here in Australia We love to collaborate and enjoy a fruitful working What warms my heart more than performance at the and abroad into the future. relationship with QPAC who not only co-presented Strictly box office is the knowledge that those numbers translate Derek Deane’s Strictly Gershwin was a vast undertaking Gershwin with us but also joined forces with us on our into more people than ever experiencing our inspiring art for Queensland Ballet as it demanded a large cast including inaugural My First Ballet with Little Red Riding Hood form of ballet. As a dancer, as an Artistic Director, as a lover tap dancers and a full-scale jazz orchestra accompanied developed for Out of the Box Festival. Little Red was such of arts and culture and someone who believes in the power by singers performing live on stage. We knew it would a wonderful opportunity for us to create a work especially that art has to transform, the fact that we are introducing stretch us, we expected and met the challenges, and the for younger audiences and saw us collaborate with more people than ever to ballet is incredibly rewarding. results spoke for themselves. Its numbers outshone our guest dancers, academics from Queensland University of 2016 was a season of largely new productions not previous record breaking productions including Sir Kenneth Technology specialising in early childhood education and seen before by Brisbane audiences and yet they trusted MacMillan’s Romeo & Juliet in 2014 and Greg Horsman’s other creatives. Its success ensured further My First Ballet that we would deliver. And deliver we did with Liam The Sleeping Beauty in 2015. The production would not seasons to come in the future. Scarlett’s A Midsummer Night’s Dream, our co-production have been possible without Derek Deane’s incredible vision, Our training programs have always been something with Royal New Zealand Ballet. This whimsical tale, told so Gareth Valentine’s unique role as guest conductor and the we’ve been committed to developing and I could not be poetically and musically by Liam, captivated audiences vocal talents of guest singers Rachael Beck, Michael Falzon, prouder of where we’ve taken this part of our Company. In and critics with its humour, magical choreography and Alexandra Flood and Luke Kennedy. The incomparable 2016, we re-branded this integral training arm to establish magnificent sets and costumes. Liam is a master story- Queensland Symphony Orchestra donned their jazz shoes the Queensland Ballet Academy, recognising the extent of teller, one of the most exciting and respected international to accompany superb guest tap dancers Bill Simpson and our commitment to developing the next generation of ballet choreographers today, with a unique talent and ability. Kris Kerr who led an ensemble of tappers including guests artists. This commitment to excellence and the strength of and some of our own dancers. We were also delighted to the Academy is reflected in the growth of our enrolments
6 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 7 Our aspiration to enrich as many lives through ballet as Australia, BMW and JC Decaux make our dreams a reality possible was furthered this year with the launch of our and embolden us to dream even bigger. Their support, QB Junior Friends program, the expansion of our public together with that of all our other partners, individual givers dance classes and workshop offering which attracted more and government stakeholders allow us to focus on what it than 43,000 participants, Queensland Ballet dance camps is that we’re here to do. in regional Queensland and increased engagement with In 2016 we welcomed new partners to our family schools and studios. Our Dance for Parkinson’s initiative including Cook Medical, Sealy Australia, Bloch, Botanica EXECUTIVE continues to form the cornerstone of our expanding creative Residences and Norwegian Cruise Lines. We continued to health endeavour and our commitment to exploring the enjoy heartfelt support from individual philanthropic donors, various ways in which ballet can facilitate positive health welcomed five new members to the Artistic Director’s DIRECTOR’S outcomes is thriving. Circle and introduced the Music Director’s Circle for those At the heart of Queensland Ballet is a team of particularly keen to direct their support to live music. We REPORT incredibly dedicated, gifted and extraordinary people who also launched Queensland Advocates, a new initiative for live and breathe ballet every day. They have a resolute business leaders who wish to support Queensland Ballet’s commitment to excellence on and off the stage and an vision and crucially, 2017 will see an expanded Jette Parker unstinting passion for the astonishing artform in which Young Artists Program thanks to increased pledges from we work. Queensland Ballet is a company often embracing Oak Foundation and other visionary supporters as we invest surprising new opportunities and this means we ask a lot of in the development of tomorrow’s ballet stars. our teams. I would like to thank each and every one of them We love that many of our partners share our for giving so generously of themselves every day. Of course, commitment to our community with Suncorp’s Wish Upon none of this would be possible without the bold leadership a Ballet Star continuing to give one lucky child the of Li, who inspires us all with his dedication to excellence. opportunity to perform on The Nutcracker stage. This year 2016 saw a growth of the Queensland Ballet family as the competition attracted even more entries and the winner, In our 56th year we continued on our journey with our dancer ensemble, Academy and enabling teams grew Leo, a young dancer from south west Queensland, captured to build depth in our artistic, training and business delivery. all our hearts. Workshops at Westfield and QGC dance dedication and passion like so many before us, Increased base funding support from the Queensland camps in Chinchilla are other instances of the collaborative Government through Arts Queensland commenced this projects borne out of valuable partnerships. to honour ballet, to honour Queensland Ballet. year and underpinned the growth in our dancer ensemble 2016 saw us embrace diverse opportunities and create enabling us to invest, nurture and expand. Our continued a unique, energetic momentum that will continue on into the commitment to dancer wellbeing is embodied in a diverse future. I have no doubt that the surprises will keep coming, multi-disciplinary health team comprising both in-house will continue to keep us on our toes and inspire us every day. Standing on the shoulders of the many dancers, creatives, Our patrons enjoyed 145 performances in 2016 including and external consultants driven by world-class best practice. arts administrators and other enablers who have embraced eight world premières, three Australian premières and Future plans will build on the foundations of wellbeing to Dilshani Weerasinghe Queensland Ballet before us, we continued to take new festival showcases. We explored Brisbane, regional consider dancer development initiatives, resilience programs Executive Director strides in 2016 with impactful and meaningful outcomes Queensland, Canberra, the Gold Coast and Sunshine Coast; and professional development opportunities for our teams on and off the stage. The higher we reach and the more the reach of our Academy and community engagement on and off the stage. we stretch to fulfil our dreams and aspirations, the more initiatives took us to 31 Local Government Areas in Australia. 2016 was also a year of progression in the we venture into ‘the new’: new collaborations, new models, Collaborations of varied forms underpinned our ambitious refurbishment plans for the Thomas Dixon Centre, our home new thinking, new cultures. Li and I believe in the beauty program and I’d like to acknowledge Royal New Zealand for 25 years, as we align the development of our building in of Queensland Ballet’s nimble ways, in our team’s ability to Ballet, QPAC, Canberra Theatre, BLEACH Festival, Noosa line with our Company’s growth. Following the commitment consider alternatives, to know that together, we can climb Long Weekend Festival, the ANZAC Centenary Arts and of a long-term lease and associated funding support from that hill of possibility, to sustainability. Culture Fund, Playing Queensland and of course, the myriad Queensland Government, and the visionary grant from Ian Given the increase in our turnover of 10% from of talented choreographers, artists and technicians who Potter Foundation, our architects and design team have 2015 to 2016, building on 30% growth from 2014 to 2015, created magic with us. We must make special mention of our begun developing our masterplan in consultation with the sustainability was a key focus in 2016. It will remain one own world-class music department and ongoing partnership Queensland Ballet team. for the foreseeable future as we strive to underpin our with Queensland Symphony Orchestra. Under the guidance The beauty of ballet and the nature of those who work expanding endeavour with certainty, to ensure Queensland of our Music Director, this partnership consistently elevates with our artform provides many avenues for story-telling Ballet continues to thrive. 2016 saw increased investment in our audience’s experience thanks to the power of live and digital engagement. Our online presence remains an our art, our Academy, our people, our home and our future — orchestral accompaniment. increasing priority and one that is embraced by dancers and all with an unwavering commitment to quality, longevity and our creative teams alike. We delivered diverse forms of digital a strong desire to contribute meaningfully to society. engagement and we are delighted that our newly launched QB Junior Friends site won numerous awards including an Australian Graphic Design Association (AGDA) Design Award, Gold W3 Award and Silver Advertising and Design Awards. We’re privileged to work with many talented partners who share our unwavering commitment to best practice. Our Lead Partner Suncorp alongside Major Partners Virgin
8 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 9 Queensland Ballet’s 2016 performing year encompassed four PERFORMANCE mainstage seasons, two SUMMARY studio seasons, a regional Queensland tour and a Canberra season. The Company’s reach was extended through additional performances at non-traditional venues and events.
145 PERFORMANCES
3 AUSTRALIAN PREMIÈRE PRODUCTIONS
8 WORLD PREMIÈRE PRODUCTIONS
73,788 PAID ATTENDANCE*
82,946 TOTAL ATTENDANCE
$4,606,326 BOX OFFICE*
*excludes regional tour
Queensland Ballet Artists in Paul Taylor’s Company B as part of Lest We Forget Photographer: David Kelly
10 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 11 16 PERFORMANCES
A MIDSUMMER 12,921 ATTENDANCE
NIGHT’S DREAM $797,163 BOX OFFICE
1 – 16 APRIL BRISBANE Shakespeare’s whimsical masterpiece PLAYHOUSE, QPAC was given new life thanks to acclaimed choreographer Liam Scarlett. Together with Mendelssohn’s wonderful music, Scarlett’s witty choreography brought the magical woods and vivid characters to life.
A Midsummer Night’s Dream was a co-production with Queensland Ballet and Royal New Zealand Ballet (RNZB).
Choreographer Liam Scarlett Composer Felix Mendelssohn Arrangement & Additional Orchestration Nigel Gaynor Costume & Set Designer Tracy Grant Lord Lighting Designer Kendall Smith Stager Gillian Whittingham Musicians Queensland Symphony Orchestra
Principal Artists Laura Hidalgo and Victor Estévez in Liam Scarlett’s A Midsummer Night’s Dream Photographer: David Kelly
12 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 13 10 PERFORMANCES
STRICTLY 20,431 ATTENDANCE
GERSHWIN $1,705,563 BOX OFFICE
27 MAY — 4 JUNE BRISBANE HIGHEST SELLING LYRIC THEATRE, QPAC PRODUCTION TO DATE
A dazzling celebration of George and Ira Gershwin and the sparkling age of Hollywood musicals, Strictly Gershwin took audiences on a nostalgic dance journey from ballet to tap, ballroom to jazz, back to an era of glamour and style.
Strictly Gershwin was co-presented by Queensland Ballet and Queensland Performing Arts Centre
Devised, choreographed and directed by Derek Deane Words and Music George Gershwin and Ira Gershwin Music adapted, supervised and conducted by Gareth Valentine Musicians Queensland Symphony Orchestra Lighting Design Howard Harrison Costume Design Roberta Guidi Di Bagno Assistant to the Choreographer Ivan Gil Ortega Tap Choreographer/Guest Artist Bill Simpson Orchestrator Don Sebesky Lyricist Dubose Heyward Guest Pianist Daniel Le Vocalists Rachael Beck, Michael Falzon, Alexandra Flood, Luke Kennedy
Principal Artist Clare Morehen and Guest Artist Christian Tátchev in Derek Deane’s Strictly Gershwin Photographer: David Kelly
14 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 15 10 PERFORMANCES
LEST 7,500 ATTENDANCE
WE FORGET $434,256 BOX OFFICE
29 JULY — 6 AUGUST BRISBANE War in its very nature plays on myriad PLAYHOUSE, QPAC emotions, in a way that is often beyond description in its intensity. Lest We Forget used the power of dance to present a poignant reflection on war, as we remembered those who served and those who were left behind in a moving triple-bill.
In the Best Moments and We Who Are Left were commissioned by Queensland Ballet and Queensland Performing Arts Centre.
This program was supported by the Australian Government’s Anzac Centenary Arts and Culture Fund.
IN THE BEST MOMENTS Choreographer Ma Cong Music Philip Glass: The Hours Suite Arranger Michael Riesman Lighting Designer David Walters Costume Designer Noelene Hill Set Designer Thomas Boyd
WE WHO ARE LEFT Choreographer Natalie Weir Music Benjamin Britten: War Requiem OP.66 (Excerpts) Lighting Designer David Walters Costume Designer Noelene Hill Sound Designer Wil Hughes
COMPANY B Choreographer Paul Taylor Music Songs sung by The Andrews Sisters Stager Richard Chen See Lighting Designer Jennifer Tipton Lighting Recreated by David Walters Costume Designer Santo Loquasto
Principal Artists Yanela Piñera and Victor Estévez in Ma Cong’s In the Best Moments as part of Lest We Forget Photographer: David Kelly
16 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 17 19 PERFORMANCES
THE 15,075 ATTENDANCE
NUTCRACKER $926,453 BOX OFFICE
9 – 23 DECEMBER BRISBANE A classical ballet in two acts, based on PLAYHOUSE, QPAC ETA Hoffmann’s tale ofThe Nutcracker and the Mouse King (1816). First produced on 18 December, 1892 by the Imperial Ballet at the Mariinsky Theatre, St Petersburg, Russia.
Choreographed by Ben Stevenson in 1976, this production of The Nutcracker was first performed in 1987 by Houston Ballet in the Wortham Theater, Houston, Texas. Queensland Ballet’s first performance of this production was on 5 December, 2013.
Choreographer Ben Stevenson OBE Music Pyotr Ilyich Tchaikovsky Conductor Nigel Gaynor Musicians Queensland Symphony Orchestra Set Designer Thomas Boyd Costume Designer Desmond Heeley Associate Costume Designer Noelene Hill Lighting Designer David Walters Lighting Re-created by Cameron Goerg
Company Artists Mia Heathcote and Zhi Fang in Ben Stevenson’s The Nutcracker Photographer: David Kelly
18 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 19 DANCE DANCE DIALOGUES DIALOGUES STUDIO SEASON STUDIO SEASON
SUMMER SPRING
11 – 20 FEBRUARY 10 PERFORMANCES 8 – 17 SEPTEMBER BRISBANE BRISBANE CHARLES LISNER STUDIO, 1,483 ATTENDANCE CHARLES LISNER STUDIO, THOMAS DIXON CENTRE THOMAS DIXON CENTRE
$55,126 BOX OFFICE
CADENCE, INTERRUPTED PERFORMANCES Concept and Direction Amy Hollingsworth 11 Choreographer Amy Hollingsworth, in collaboration with the dancers 1,576 ATTENDANCE Music Ólafur Arnalds Lighting Designer Cameron Goerg and Amy Hollingsworth $56,229 BOX OFFICE
WINGS OF LOVE Choreographer Paulina Quinteros ERSHTER VALS Music Sergei Rachmaninov: First Movement Choreographer Ma Cong of Piano Concerto No 2 in C Minor, opus 18 Music Klezroym: Es iz a klug, Rumkovski khaym, Lighting Designer Cameron Goerg Kalt: a lid fin lodzger getto (from the album Yankele Nel BRISBANE TO BUENOS AIRES Ghetto), Ershter Vals, Fel Shara (from the album Klezroym) Choreographer Paulina Quinteros Costume Designer Tamara Cobus Music Piazolla: Excerpt from Lighting Re-created by Cameron Goerg Bandoneon Concerto Lighting Designer Cameron Goerg THREE PRELUDES Choreographer Ben Stevenson OBE SIBELIUS FOR 5 Music Sergei Rachmaninoff: Opus 32, Choreographer Paulina Quinteros no. 10, Opus 23, no. 1, Opus 32, no. 9 Music Jean Sibelius: 3rd Movement of Original Lighting Designer Matt Scott Violin Concerto in D Minor, Opus 47:3 Allegro Lighting Re-created by Cameron Goerg Lighting Designer Cameron Goerg
FONDER HEART VERDI VARIATIONS Choreographer Jack Lister Choreographer Greg Horsman Music Philip Glass: Tirol Concerto, Music Giuseppe Verdi: Jérusalem (pas de quatre, Movement II pas de deux, pas solo), I vespri siciliani (Le quattro stagioni) Lighting Designer Cameron Goerg Costume Designer Noelene Hill Lighting Designer Cameron Goerg
Company Artists Georgia Swan and Alexander Idaszak in Jack Lister’s Fonder Heart Company Artists Mia Heathcote and Alexander Idaszak in Ben Stevenson’s Three Preludes Photographer: David Kelly Photographer: David Kelly
20 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 21 THE NUTCRACKER GUEST PERFORMANCES CANBERRA 23 – 27 NOVEMBER CANBERRA CANBERRA THEATRE CENTRE
PERFORMANCE LOCATION PERFORMANCE DESCRIPTION NO. OF TOTAL PERFORMANCES ATTENDANCE
Sofitel Mother’s Day Sofitel Grand Senior Program students performed class 2 700 May 8 Ballroom, Brisbane and pas de deux demonstrations
Noosa Long Weekend The J Theatre, Noosa 8 Jette Parker Young Artists performed 2 654 Festival Heads Amy Hollingsworth’s Cadence, Interrupted July 16 & 17 and Greg Horsman’s Back to Bach, and 2 Company Artists performed Ben Stevenson’s Three Preludes
Creative Generation: Brisbane Convention Pre-Professional Program students 4 8,000 State Schools on Stage & Exhibition Centre performed a new work choreographed by one performance July 15 & 16 Paul Boyd televised nationally
Muscle Memory The Judith Pre-Professional Program students 4 581 August 17 – 20 Wright Centre of performed in 5 works choreographed Contemporary Arts by Gareth Belling in a collaboration with Collusion
Pre-Professional Charles Lisner Studio, Pre-Professional Program students 2 261 Program Presentation Thomas Dixon Centre performed in a full-length program of October 14 & 15 short works and repertoire pieces 6 PERFORMANCES Senior Program Playhouse, QPAC Senior Program students performed in a 2 730 2016 Graduation full-length program of short works and 7,151 ATTENDANCE Performance repertoire pieces 11 & 12 December Bleach Festival Currumbin Estuary — Part of the Shifting Sands production, 2 4,000 $433,438 BOX OFFICE 12 & 13 March Palm Beach Parklands work choreographed by Amy Hollingsworth and featuring Jette Parker The Nutcracker has been performed for Brisbane audiences for Young Artists the last four years and is now established as a festive tradition QB 2017 Season Launch Concert Hall, QPAC 2 Principal Artists and 5 Company Artists 2 1,000 in the city. This is the first time Queensland Ballet has toured the 19 September performed excerpts from Season 2017 production, sharing it with Canberra audiences in a sell-out season. Music & Dance Queensland A concert with Queensland 1 800 21 October Conservatorium Conservatorium Symphony Orchestra, featuring 2 Principal Artists, 2 Jette Parker Young Artists and 2 Pre-Professional Program dancers Principal Artist Yanela Piñera and Company Artist Alexander Idaszak in The Nutcracker Photographer: James McCarthy
22 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 23 TUTUS LITTLE RED ON TOUR
RIDING HOOD 20 SEPTEMBER – 8 OCTOBER REGIONAL AND METRO QUEENSLAND: 21 – 28 JUNE Mackay, Townsville, Cairns, Hughenden, BRISBANE Mount Isa, Longreach, Capella, PERFORMANCES PLAYHOUSE, QPAC 23 Redcliffe, Ipswich, Caloundra, Toowoomba, Gladstone, Esk, Chinchilla, 9,668 ATTENDANCE Roma, Goondiwindi and Logan. 19 PERFORMANCES
$198,098 BOX OFFICE 7,141 ATTENDANCE
Joining in the fun of QPAC’s 2016 Out of the Box Choreographer Lucas Jervies ERSHTER VALS THREE PRELUDES VERDI VARIATIONS Festival, we launched our My First Ballet series with a Dramaturge Sandra Gattenhof Choreographer Ma Cong Choreographer Ben Stevenson OBE Choreographer Greg Horsman very special première. Funny, cheeky and feisty, Little Set Designer Thomas Boyd Music Klezroym: Es iz a klug, Rumkovski Music Sergei Rachmaninoff: Opus 32, Music Giuseppe Verdi: Jérusalem Red Riding Hood was a delightful mashup of ballet Costume Designer Noelene Hill khaym, Kalt: a lid fin lodzger getto (from no. 10, Opus 23, no. 1, Opus 32, no. 9 (pas de quatre, pas de deux, pas solo), and creative theatrics for families. A unique re-telling Composer Tristen Parr the album Yankele Nel Ghetto), Ershter Original Lighting Designer Matt Scott I vespri siciliani (Le quattro stagioni) of a classic fairytale, set to an original score to enthral Lighting Designer Ben Cisterne Vals, Fel Shara (from the album Klezroym) Lighting Re-created by Cameron Goerg Costume Designer Noelene Hill the littlest lovers of dance and theatre. Costume Designer Tamara Cobus Lighting Designer Cameron Goerg Lighting Re-created by Cameron Goerg First commissioned by QPAC for the 2016 Out of the Box Festival for Children 8 years and under. Tutus on Tour was supported by The Playing Queensland Fund and arTour, initiatives of the Queensland Government through Arts Queensland, part of the Department of the Premier and Cabinet.
Indya Gardner, Charles Ball and Joseph Simons in Lucas Jervies’ Little Red Riding Hood Queensland Ballet Artists in Greg Horsman’s Verdi Variations Photographer: David Kelly Photographer: David Kelly
24 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 25 Sponsorship and Season Ticket Income Channels Philanthropy Income Holders
11% OTHER 652 47, 3,1 29% $ 3 2 BOX OFFICE 1 0 0 1 7,378 2 6 7,263
$ 5 24% 2016 YEAR ,7 2 GOVERNMENT 0 , 1 7
8
0
IN REVIEW 3 5,332
4
,
0
2
4
, 3
4,316
$
4
1
0 2 36% SPONSORSHIP & PHILANTHROPY
20 15 $6,207,801 2013 2014 2015 2016 2013 2014 2015 2016
CONTRIBUTED INCOME INCREASED BY OVER 15% SEASON TICKET SALES GENERATED SPONSORSHIP AND PHILANTHROPY EXCLUDING DIRECTED DONATIONS OVER 37% OF BOX OFFICE GENERATED 36% OF OUR TOTAL INCOME Key Facts
2015 2016
ARTFORM VIBRANCY New works to repertoire 8 13
Revivals 1 2 Australian premières 3 3 Self-Generated Box Office Paid World premières 6 8 Income Income Attendance*
ACCESS 73,788 20 16 $4 Brisbane mainstage performances 55 79 ,60 6,3 26 201 Other Brisbane performances 32 36 5 $3 ,23 0, 60
24% 2 Interstate performances 1 6 2014 $2 $3,761,022 , 90 9 ,3 1 Regional performances 11 24 2013 9 $ 2 46,535 ,4 0 42,455 International performances 12 Nil 0 41,446 , 9
2 76% Education & engagement 22,141 43,642 0 $12,025,546 programs — total participation
SECTOR DEVELOPMENT Self-generated income Artistic collaborations with other 5 7 Other income companies/artists 2013 2014 2015 2016
New commissions 11 8
Dancer training programs & 289 620 activities — total participation 76% OF OUR TOTAL INCOME EXCEEDED BOX OFFICE TARGET PAID ATTENDANCE HAS INCREASED WAS SELF-GENERATED BY OVER 30% BY 63% FROM 2015 *Excludes Regional Tours
26 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 27 151 200 120 STUDENTS ACROSS 6 LEVELS PARTICIPANTS IN THE ANNUAL PARTICIPANTS ACROSS OF THE ACADEMY WITH 47% SUMMER SCHOOL 4 MOCK-AUDITION CLASSES COMING FROM INTERSTATE AND A FURTHER 10% BEING QUEENSLAND INTERNATIONAL STUDENTS BALLET ACADEMY
2016 saw a decisive leap towards our Company’s vision in the development of future ballet artists, with the formation of Queensland Ballet Academy to formally represent our training programs.
While these programs have long held great respect and and Senior Program students. Open Days and formal esteem within the dance community and we continue graduation performances saw our programs open their to offer the same exceptional training and commitment doors to the public, with the students performing both to excellence, this rebranding is representative of demonstrations and short repertoire pieces. The Jette Queensland Ballet’s drive to be a centre of ballet training Parker Young Artists and Pre-Professional Program dancers excellence in the Asia Pacific. also joined the Company for mainstage performances In 2016, the Academy offered world-class training The Nutcracker and Strictly Gershwin. to over 550 talented young students, through our year- As well as learning experiences within the round training programs, workshops, Summer School Company, external performance opportunities such as and audition preparation days. These programs attracted the Pre-Professional Program dancers’ involvement in participants from across Australia and internationally, often Muscle Memory provided these students with invaluable delivered not only in Brisbane, but within other areas of professional experience. For this collaborative piece the Queensland as well as South Australia, Victoria and New dancers worked with choreographer Gareth Belling and South Wales. 2016 also saw the introduction of our first, musical ensemble Collusion, in two public performances all-male level in the Junior Program. at the Judith Wright Centre of Contemporary Art, further For those gifted dancers in our Academy, we offered preparing their artistry and performance skills for their a learning environment steadfast in developing their career beyond the Academy. We encouraged our talents, under the guidance of our acclaimed teaching students to seek opportunities to continue learning and faculty, with many opportunities to work with guest developing these skills and as a result, this year five of teaching artists such as Derek Deane, Ma Cong and the eight dancers accepted into the Jette Parker Young Richard Chen See. Public performances were abundant Artist Program were graduates of our Pre-Professional throughout the year, with the majority of the Company’s Year, in a clear mark of the level of talent being developed guest appearances being fulfilled by our Pre-Professional throughout all levels of the Academy.
Pre-Professional Program Dancer Hannah Clark Photographer: David Kelly
28 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 29 ENGAGING WITH OUR COMMUNITY REACHING OUT WITH OUR PARTNERS As the state’s ballet company, Queensland Ballet We are proud to work each year with our Lead Partner acknowledges our role in cultivating the Australian and Suncorp to present the Wish Upon a Ballet Star international dance ecology. Our education and engagement competition around our Christmas production of programs continued to grow and enrich lives through ballet The Nutcracker. This unique competition offers a lucky during the year, with a commitment to programs that offer Queensland child the opportunity of a walk-on role educative and inclusive dance experiences. Ongoing support with the Company in a special Suncorp performance REACH, from Tim Fairfax Family Foundation enabled capacity building of The Nutcracker. Each year this competition attracts across our education and engagement program, particularly hundreds of entries from all corners of the state and this our regional deliverables. We are very grateful for their support year was no exception with more than 650 entries. We’re EDUCATION AND in allowing us to take ballet to even more people — in fact over grateful for the commitment of Suncorp that allows us 43,000 people in 2016. to reach out to our wider community beyond the city to ENGAGEMENT Our curriculum-based activities for schools engaged invite them to be part of the Queensland Ballet family. more than 4200 students and saw more than 250 educators We also worked with Season Partner, Westfield Carindale participating in our professional development programs. This to provide fun and interactive classes in their facility in commitment was developed further with the première of the form of holiday workshops and Twinkle Toes dance Little Red Riding Hood, a co-commissioned work with QPAC classes and QGC enabled us to deliver a Dance Camp and Queensland Ballet’s first production in the My First Ballet in the regional community of Chinchilla. With the help of series. This was complemented by the continuation of our our partners, these initiatives allowed us to bring more QB Junior Friends program, which shares Queensland Ballet people closer to ballet in 2016. with young Queenslanders, regardless of their dance ability, mobility, age or geographical location. Membership of QB CONNECTING ONLINE Junior Friends grew throughout the year, with over 350 We continued to develop our digital offering in 2016, 14,770 765 105 young ballet lovers enjoying dedicated classes and with more than 85 galleries and 27 videos helping to workshops, supported by the interactive, award-winning share the Queensland Ballet story far and wide. Our REGISTRATIONS FOR STUDIO STUDENTS TOOK COMMUNITY ENGAGEMENT QB Junior website. social media channels continue to grow exponentially OUR DANCE CLASSES PART IN AN ADOPT-A- PROGRAMS DELIVERED WITH THE We seek to share the beauty and the depth of our each year. With a highly-engaged audience, followers PROGRAM DANCER CLASS WITH ONE QUEENSLAND REGIONAL TOUR art form with as many people as possible and promote across our three major social media channels increased OF OUR COMPANY ARTISTS the benefits of dance for social and physical wellness. Our by more than 24 percent from 2015. Adopt-a-Dancer program, Masterclasses and children’s auditions opened our Company to communities throughout THROUGHOUT OUR STATE Queensland and in our home town dance classes formed Queensland Ballet strives In 2016, our company toured extensively throughout a solid component of Queensland Ballet’s after-hours to make ballet accessible for regional Queensland, with a triple-bill of acclaimed works. activity. The Company continued to prioritise seniors in our With the ambition to reach further, visiting more locations communities with the Seniors in Studio program, scheduled all people, offering a diverse than ever before, we split the company into two casts every Sunday as part of the dance class timetable. range of experiences around for Tutus on Tour. Each cast was also accompanied by a touring party team including production, wardrobe, events our artform in addition to our and company management professionals. Working with our core performances. Touring Partner, Artour, we delivered 19 performances in 17 locations covering all regions of the State from Far North Website Facebook Instagram Twitter to Central Queensland and back to the South-East corner, 199,975 VISITORS 63,639 FOLLOWERS 21,758 FOLLOWERS ensuring that a greater number of communities could 3,555 FOLLOWERS 370,459 VISITS AT 31 DECEMBER 2016 AT 31 DECEMBER 2016 AT 31 DECEMBER 2016 enjoy the performances. These were supplemented by an 1,166,045 PAGE VIEWS extensive distribution of community engagement activities including dance classes for participants from the age of two years to secondary school age, pre-show storytelling and post-show Q&A sessions. E-newsletters
AT THE BARRE REPERTOIRE DANCE CLASSES 12,125 1,938 3,026 AVG 42.0% OPEN RATE AVG 38.5% OPEN RATE AVG 38.3% OPEN RATE PER ISSUE PER ISSUE PER ISSUE
30 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 31 Dancers’ Circle & Frank Cunningham, Kathryn Russell, Ross Sadler, Anonymous (1) Jacky Da Costa, The Joanne Scott, Jake Shavikin, Barbara Bedwell Davies Family, Dr C Michael & Angela Sheridan, Dr Julie Beeby Davison, Jennifer Davy, Isabella Shue, Robynne Siemon, Virginia Bishop Marina De Jager, Laurie Dr Nerida Smith, Leonard Winna & Russell Brown James Deane, Pamela Sparkes, Dr Anne Spooner, Veronika Butta Douglas, Rosemary Linda Steele, Jane Steinberg, OUR OUR Carole Byron Douglas, Mary Duggan, Irene Symons, Rhonda Taffs, Roslyn Carter Hazel Eivers, Tristan Patricia Tyler, Barbara Tynan, PARTNERS SUPPORTERS Sharyn Crawford Englart, Lorrene Evans, Malcolm Tyrrell, Dr Sharyn Van Ron & Margot Finney Paul Evans, Christine Alphen, Peter & Jan Van de Velde, Kylie Ganko Forrester, Jennifer Maureen Van Der Zalm, Beryl & The Godber Family Forrester, Penelope Michael Ward, Frances Ware, Andrea Graham Fraser-Benson, Rhiannon Julie Wilkie, Colleen Wilson, Gay Hull French, Beverlee Garnett, Susan Wilson, Helen Withey, Robyn & Ray Prof. Mary Garson, Troy Sean Woellner, D & J Woodward, Hüttenmeister & Karelia Gianduzzo, Jessie Yeowart. Lynne Masters Allan Green, John & Lois In loving memory of Mardi Jennifer Morrison Griffin, Dr Mirko Guaralda, Bartlett. Dr Andreas Obermair & Danielle Guinea, Michael Queensland Ballet Principal Dancers’ Dr Monika Janda & Annette Gunn, Isabel Queensland Ballet is supported Queensland Ballet gratefully acknowledges the support gratefully acknowledges Circle Olive Oswald & Jessica Gunning, John by Queensland Ballet Friends. the generous support Anonymous (1) K Parascos & Sandra Haggarty, Joan of the following partners: of the following patrons Clive & Conchita John & Mandy Peden Hall, Ruth Hamlyn-Harris, Annual Donors from 1 January to 31 Armitage Rhyl Row Louise Hamshere, David Anonymous (68), Dayrelle Abbey, December 2016: Mary & John Barlow Darryl & Kate Sim Hardidge, Dr Alana Harris, The Amethyst Dance Studios, Aileen & Rodd Brockett Marie-Louise Theile Carmel Harris, Jean Anastasia Anderson, Cherryl GOVERNMENT LEAD PARTNER Visionaries John & Lynnly Chalk The Hon. Justice David Heimgartner, Marion Barnes, JC & JM Bell, Diana Ian Potter Foundation Brett & Maria Clark Thomas & Mrs Jane Hellier, Margaret Henry, Bendeich, Hannah Burns, Carolyn Oak Foundation Ben Duke & Cate Thomas Sarah Hickman, Jenny Caleo, Kate Case, Sue Chan, Heyworth-Smith William & Susan Hicks, Kerri Hinde, Rachael Christopherson, Sue Artistic Director’s Dr Stephen Margolis & Thompson Dr Rhyl Hinwood am, Cotterell, Barbara Crawford, Ailsa Circle Dr Valmae Ypinazar Robyn & Todd Wanless Jane Hirschfeld, Jennifer Curran, Jenny Davidson, Rosalind Anonymous (1) Helen & Dan McVay Dilshani Weerasinghe & Hodgkinson, Mervyn Davis, Sarah Dean, Shirley MAJOR PARTNERS Veronika Butta Morgans Foundation James Neaum Holland, Doe Hoyle, Iona Dwyer, Annette Eldershaw, Barbara Duhig Trevor & Judith St Baker Elizabeth & Graeme Iredale, Megan Janke, Lindsay Enright, Ruth Farrawell, Ian & Cass George Family Foundation Wikman Carole-Joy Kidd, Diane & Cassandra Fehervary, Carole Lynn Harvey Paul Kierce, Lynn Kincade, Francis, Camilla Gebauers, Simon & Catriona Mordant Soloists’ Circle Supporters Colin & Noela Kratzing, Kristine George, Anne Graves, Patricia Macdonald Anonymous (1) Anonymous (50), Penny Andrea Kriewaldt, Stuart Elizabeth Gray, Pamela Gunn, Memorial Foundation Darren & Carmel Brown Ackland, Dr David Adamec, Landsberg, Margaret Luda Harding, Eleanor Hartland, SEASON PARTNERS Miss Valmai Pidgeon am Mrs Jane Douglass am Robyn Adams, Annelise Lansdown, Robyn Lawrie Harvey, Janice Heale, Gerry & Val Ryan Martin Gordon Allan, Julieanne Alroe, Leeder, Dr Katrina Lines, Margaret Henderson, Astrid Hill, Amanda Talbot John & Belinda Haines Anita Anderson, Patricia Jane Lee Ling, Andrew Margaret Hobbs, Dianne Hooker, Roy & Nola Thompson Roy Hoskins Anderson, The Anderson/ & Kate Lister, Barbara Susan Hoopmann, Jean Hume, Tim Fairfax Family Dr Joan M Lawrence am Sage Family, Dr Pitre & Mrs Lloyd, Elizabeth Loane, Lesley Hunt, Carmel Jarvis, Foundation Li Cunxin & Mary Li Monique Anderson, Brian Shannon Lord & Tony Stanley Jones, Leigh Kavanagh, Keith McCamley & Pam Andrew, Simon Irving, Elizabeth Lukeij, Patricia Kennedy, Jane Knight, Principal Benefactors The McLaren Family & Georgina Anthonisz, Susan Mabin, Chriss Helen Lack, Patricia Lamb, Cecilie Frazer Family Foundation Paula McLuskie & Helen Armstrong, Gillian Macaranas, SE & P Lander, Jennifer Letizia, Elizabeth Nathan Sticklen Aston, Lorelei Bache, MacDonald, Elizabeth Lever, Ann Liekens, Katija Lusic, Benefactors Denise O’Boyle Pam Barnett, Russell Macintosh, Norman & Sophia Lynch, Sally Macqueen, Jack & Sharon Cowin Marion Pender Barnett, Flora Barwick, Cathy Maher, Georgia Rachel Matthews, Therese Susan & Craig Davison Ross & Jennifer Perrett SUPPORT PARTNERS Nicole Beasley, Trudy Martin, Michelle May, McCabe, Kerry McGovern, Helen Goldburg Family Mr John B Reid ao & Mrs Bennett, Ashley & Darcy Pamela McGaw, Graham McKeague, Elizabeth McLaren, Foundation Lynn Rainbow-Reid am Basford, Robert Biggs, McKay, Karen McLean, Matthew & Ainsley McLaren, Khitercs Hirai Foundation Bruce & Sue Shepherd Elin Birks, Don Blunden, Anthony Mellick, Doug Shirley McMahon, Edith McPhee, Dr Cathryn Mittelheuser am Siganto Foundation Martine Bond, Christine Merritt, Gino Milani, Dan D & M Miller, Marilyn Mobbs, Simon & Catriona Mordant Peter & Jayne Smith Bowker, Jennifer Brangan, & Kate Miles, Desmond Judith Morgan-Dudley, Carolyn Robin Campbell & Siobhan & Helen Brodie, B Misso Esq, Christine Muller, Sheila Neal, Elizabeth Bruce Parncutt Charles Lisner Circle Elene Carides, Elizabeth Moore, Lynette Moore, Newton, Judith Nicol, John Mrs Beverley J Smith REALISED BEQUESTS Carrigan, Lucien Castand Michael & Jacqueline O’Connor, Lesleigh O’Keeffe, Isla Stack Family Foundation Isabell Honor Hall & Donald Robson, Ann Morrow, Deanna Murphy, Rose & Savannah M Parry, Lyn Maynard Caston, Jacinta Chalmers, Hugh Nalder, Jake Parsons, Auriel Perkins, Debra Music Director’s NOTIFIED BEQUESTS Chip Hedges Pty Ltd, Peter Neaum, Shanel Neaum, Pinkerton, Robert & Chris Reid, Circle Anonymous (1) & Gabrielle Chisholm, Siena Neaum, Leonard & Judy Reynolds, Laurene Rinder, Mr Robert Albert ao & Lucien Castand & Michelle Chittenden, Glenda Neilsen, Pauline Elizabeth Ruinard, Bronwyn Mrs Libby Albert Donald Robson Caroline Clark, Bob North, Barbara O’Connor, Saunders, Diana Simula, Case OFFICIAL POINTE CORPORATE CLUB RESTAURANT PARTNERS AND OFFICIAL SUPPLIERS Anne Symons Dr Stephen Margolis & Cleland, Lyn Colquhoun, Jonathon Perrett, Leah Smit, Caitlin Sorour, Erin Strange, SHOE PARTNER Dr Valmae Ypinazar Dr Judy Cominos, Zoë Perry, Caroline Poon, Daisy Thomas, Rhondda Todd, Kathleen Nowik Bank of Queensland, Careers Australia, A La Barre, Darling & Co, The Regatta Hotel, Connolly, Lucinda Cooper, Colin Power, Forbes Pratt, Carol Walker, Carolyn Walker, Jane Steinberg Dr. Lily Vrtik, FIIG Securities, Infocus Wealth Through the Looking Glass, Urbane, Angela Cornford-Scott, Martin Quinn, C Ralph, , Jacqueline Walker, Robyn
Management, King & Wood Mallesons, LMT White Rabbit Brewery, Yamaha Music Australia Barry Cowdell, Laurie Lynne & Chris Raymont, Wallace, Timothy Way, Samantha Surgical, Queensland X-Ray, Sunsuper Cowled, Carolyn Craig, Barbara Robins, Spencer West, Jan Whittaker, Morgan Robin Crebert, Drs Ailbhe Routh, Judy Russell, Williams, Alan Wood
32 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 33 ARTISTIC MUSIC Promote ethical and responsible The Board continued to work with Greg Horsman Ballet Master & Head Nigel Gaynor Music Director & Principal decision making Executive Staff and the Workplace of Artistic Operations Conductor Queensland Ballet has in place a Health and Safety committee to Mary Li Ballet Mistress & Principal Répétiteur Kylie Foster Principal Pianist company-wide code of conduct monitor, review and improve health Janette Mulligan Ballet Mistress & Artistic Helen David Pianist Coordinator Gary Dionysius Pianist that includes a set of values to be and safety conditions to fulfil our Amy Hollingsworth Ballet Mistress & Brett Sturdy Pianist CORPORATE embodied by company members, legislative obligations. THE Creative Associate (from 27 January) directors and employees. Our member engagement Craig Cathcart Company Manager OPERATIONS There are mechanisms in place includes our Annual General Meeting, COMPANY Tess Callanan Artistic & Training Assistant Campbell Misfeld Facilities Coordinator GOVERNANCE for identifying and managing conflicts performances and events, annual (from 18 January to 30 August) Karen Iddon Receptionist of interest of Board members and report, website, season launch, and Tess Callanan Company & Academy Amanda Newman Office Coordinator Coordinator (from 1 September) (to 21 February) employees and all directors are asked ongoing communication through print Natasha Mayhew-Sanders Administration to disclose changes to the interests and digital channels. The company’s BUSINESS Trainee (from 22 February to 2 December) register at the commencement of each supporters are acknowledged Jean Attwater Grants & Projects Manager Brianna Hanby Administration Trainee meeting. throughout the year at company Melissa Batterbee Strategic Projects Manager (from 5 December) performances and events and in our Patricia Cotterell Executive Assistant Promote diversity print and digital publications. Our PRODUCTION engagement with government is DEVELOPMENT Thomas Boyd Technical Director An updated Cultural Diversity Policy PATRON Georgina Anthonisz Development Director Shaun O’Rourke Production Stage Manager Queensland Ballet has maintained was approved by the board in 2010. through formal reporting under our His Excellency the Honourable Zoe Connolly Philanthropy Manager Cameron Goerg Lighting and Technical sound corporate governance in 2016 The organisation as a whole is funding arrangements. The Chair Paul de Jersey ac, Governor of Queensland Rachael Walsh Corporate Partnerships Manager creating value through accountability committed to promoting inclusive and Executive Director have regular Manager Scott Chiverton Technical Coordinator and controls systems to align with practices and understanding. The contact with Government regarding BOARD OF DIRECTORS Jake Shavikin Development Executive Dan Villiers Staging Coordinator associated risks, in accordance with company code of conduct recognises the operations and strategic direction Chair Brett Clark Sarah Badman Philanthropy Coordinator the eight principles set out by the the need to respect individual of the company. Deputy Chair Justice David Thomas (to 25 November) ACADEMY (FKA TRAINING) Directors Winna Brown, Peter Godber, Paula Laura Oliver Corporate Partnerships Christian Tátchev Academy Director Tripartite Funding Agreement. differences and strive for an inclusive McLuskie (from 28 November), Catriona Coordinator (to 1 February) Gabrielle Johnston Academy Programs workplace where every person can Recognise and manage risk Mordant, Assoc. Prof. Gene Moyle, Allan Hayley Worsley Corporate Partnerships Manager Lay solid foundations for contribute to the endeavours of the Queensland Ballet has a risk Pidgeon am (from 18 April), Amanda Talbot Coordinator (from 18 January) Paul Boyd Teacher management and oversight company. management plan which is reviewed and Elena Kozhemyachenko Teacher Queensland Ballet has established updated annually. Divided into six key HONORARY LIFE MEMBERS EDUCATION AND ENGAGEMENT Zenia Tátcheva Teacher a Board Charter setting out the Safeguards integrity in financial areas (program, reputation, corporate, Marlene Collins, Pauline Crowe, Lynette Felicity Mandile Education and Wim Broeckx Associate Teacher Denny am, Prof. Ashley Goldsworthy ao obe, Engagement Director Louise Deleur Associate Teacher roles, responsibilities, structure and reporting financial, facilities and administration), Kevin Hodges, Patrick Kelly, François Klaus, Erin Halliday Community Engagement Anthony Lewis Associate Teacher processes of the Board of Queensland The Finance sub-committee meet the plan assigns a risk weighting based Valerie Lisner, Margaret Lucas oam, John Manager (maternity leave from 2 May to Grant McLay Associate Teacher Ballet, that is in addition to and regularly throughout the year to review, on the likelihood and impact of each Matthews, Dr Neil McCormack, Adjunct 16 October) Alana Sargent Associate Teacher consistent with Queensland Ballet’s monitor and advise on the company’s event. Included in the plan are controls Prof. Joan Sheldon AM, Neil Summerson am Kerry Sellers Learning & Participation Manager (from 16 February) constitution. A formal induction budgets, financial statements, and for managing each area of risk. The Jacob Williams Education Coordinator Melissa Tattam Associate Teacher process exists for all new directors other financial information. A detailed Board regularly assesses risks that have ARTISTIC DIRECTOR Li Cunxin Kathryn Power Community Engagement prior to attending their first meeting. the potential to impact on the operations EXECUTIVE DIRECTOR Dilshani Weerasinghe Coordinator (from 29 March to 17 October) WARDROBE financial report is presented at each Noelene Hill Wardrobe Production Manager Each director is protected by a deed of Board meeting. of Queensland Ballet at meetings. These DANCERS EVENTS & Resident Designer access, indemnity and insurance which The company’s annual discussions are recorded in minutes and Principal Artists Liz Cuffe Events & Touring Director Anna Ilic Principal Cutter & Workroom is issued on appointment. financial statements are audited by in reports from the Artistic Director and Victor Estévez (from 27 January), Laura Jessica Rose Events Manager Supervisor The Queensland Ballet Board an independent external auditor Executive Director. Hidalgo, Clare Morehen, Meng Ningning Erin Krosch Assistant Wardrobe Supervisor reviews and monitors the strategic appointed by the Board. The auditor’s (to 12 April 2016), Yanela Piñera, Shane FINANCE & Wardrobe Theatre Supervisor direction of Queensland Ballet as set independence, competence and Remunerate fairly and responsibly Wuerthner Lynne Masters Finance Director Amanda Newman Assistant to Wardrobe Tanya Kretschmann Financial & Systems Production Manager (from 22 February) out in our Strategic Plan 2016-2020. capability is reviewed by the Board. Queensland Ballet’s approach to Soloists Accountant Kathryn Lee Cutter, Coordinator The Board held seven formal meetings The Executive Director and the Finance remuneration is underpinned by Lisa Edwards, Camilo Ramos Diane Wouansi Accountant Isabelle Lacombe Senior Costumier in 2016. There are four sub-committees Director provide written declarations to the principles of attracting and Zoe Gibson Wardrobe Assistant & Dresser (Finance, Nominations, Artistic and the Board that the company’s financial retaining capable and committed Demi-Soloists MARKETING Governance) and additional meetings statements have been prepared in people, supporting the execution Vito Bernasconi, Teri Crilly, Lina Kim (from Alana Capra Marketing & Audience are held with these committees to conformity with generally accepted of the company’s strategic plan and 21 October), Alexander Idaszak (from 24 Development Director December) Kendall Battley Publicity Manager consider matters of strategic and accounting principles and they give a remunerating fairly and consistently. Amanda Lawson Marketing Manager operational importance. true and fair view of the state of affairs The Chair is responsible for performance Company Artists Kirby Leadle Marketing Manager of the company. and salary reviews of the Artistic D’Arcy Brazier (from 1 August), Zhi Fang, Dimity Vowles Patron Services Manager Structure the Board to add value Director and Executive Director. The Eleanor Freeman (to 6 August), Liam Geck, Laura Oliver Marketing Executive The Nominations sub-committee Recognise the legitimate interest Executive Director is responsible for Tamara Hanton, Mia Heathcote, Alexander (from 2 February) is responsible for identifying and of stakeholders ensuring salary levels of all employees Idaszak (to 23 December), Lina Kim Maggie Holmes Patron Services Coordinator (to 20 October), Zuquan Kou, Jack Lister, (from 1 February) recruiting new directors. Queensland Ballet acknowledges the are appropriate and competitive with Vanessa Morelli, David Power, Katherine Victoria Winter Marketing Coordinator The Board includes directors company’s legal obligations to our the market. The Company has made Rooke (to 21 February), Tara Schaufuss, (from 2 February) with a range of skills who provide their stakeholders, including government a firm commitment to remunerate Lou Spichtig (from 31 October), Georgia Swan, time and services on a voluntary basis, and employees, partners, members the dancers at a comparative level to Rian Thompson, Laura Tosar (from 4 April), MEDICAL together with the Executive Director and patrons. The Chair, Artistic Director industry standard and have endorsed Joel Woellner, Neneka Yoshida, Sophie Zoricic Zara Gomes Director of Performance Medicine and Artistic Director, who attend the and Executive Director maintain annual rate increases until 2019. The Pedro Alcobio Company Masseur Board meeting in an ex officio capacity. director’s positions are on an honorary Jette Parker Young Artist Program Louise Drysdale Assistant Physiotherapist regular contact with government D’Arcy Brazier (to 31 July), Harry Davis, Catherine Neal Pilates The Board annually evaluates its own funding agencies and are responsible basis and as such they do not receive Zoe Doonar, Zacharie Dun (from 1 August), Nicole Vass Pilates performance and that of the Artistic for ensuring all legal and financial remuneration for their role as directors Yayoi Matches, Tim Neff, Samuel Packer, Ze Wu Director and Executive Director. reporting requirements are met. of the Company.
ANNUAL REPORT 2016 — 35 WINNA BROWN ASSOCIATE PROFESSOR GENE DIRECTORS’ MEETINGS Currently the Boston Life Sciences MOYLE arad maps mcsep gaicd sfhea The number of Directors’ meetings and number of meetings attended by each Leader — Financial Accounting & A graduate from The Australian Ballet of the Directors of the Company during the financial year are indicated in the Advisory Services in EY’s Cambridge, School, QUT Dance and former dancer table below. DIRECTORS’ Massachusetts, USA office. Winna with Queensland Ballet, Gene holds REPORT was a former assurance partner in EY’s a Masters and Doctorate in Sport Brisbane office and has over 20 years’ and Exercise Psychology, and has DIRECTOR NO. OF MEETINGS ATTENDED NO. OF MEETINGS HELD experience in a variety of industries worked extensively with professional (DURING TENURE AS FOR THE YEAR ENDED DIRECTOR IN 2016)* including life sciences, software performing artists and elite athletes. 31 DECEMBER 2016 She was Head of Student Health & technology, retail, manufacturing and Winna Brown 6 7 distribution, and venture capital. Winna Welfare at The Australian Ballet School, a Senior Advisor at the Queensland has significant experience in servicing Brett Clark 7 7 entrepreneurial and fast growing Academy of Sport, Senior Performance companies, taking them from start-up Psychologist for the Australian Institute Peter Godber 6 7 through to successful public company of Sport/Olympic Winter Institute status in Australia and the United States. of Australia, including working with Paula McLuskie 1 1 The Directors present their report This has included the preparation for the Australian Winter Olympic Team and completion of initial public offerings (Torino 2006, Vancouver 2010, Sochi Catriona Mordant 5 7 together with the financial report of on the Australian Stock Exchange and 2014), and has lectured in Performance the NASDAQ. Psychology at QUT Dance since 2001. Gene Moyle 7 7 The Queensland Ballet Company Gene is on the Queensland Board PETER GODBER of the Psychology Board of Australia Allan Pidgeon 6 6 Limited (“the Company”) for the year Peter is a Partner at accounting (AHPRA), National President of the firm Grant Thornton and is a long- Ausdance National Council, a member David Thomas 7 7 ended 31 December 2016 and the standing season ticket holder and of the Queensland Academy of Sport Friend of Queensland Ballet. He has Performance Health Advisory Panel, Amanda Talbot 5 7 auditors’ report thereon. over 30 years’ experience in providing a National Committee Member of the professional advice to businesses of Australian Society for Performing Arts many sizes, including large companies Healthcare, and joined QUT Creative and privately owned businesses. He is a Industries Faculty as Head of Discipline National Councillor of The Tax Institute — Dance in November 2012, moving DIRECTORS and participates in Grant Thornton’s into the inaugural Head of School AMANDA TALBOT PRINCIPAL ACTIVITIES The Directors of the Company at any time during or since the end not-for-profit industry sector group. position of the School of Creative Amanda is a Director of the Talbot The principal activity of the Company of financial year are: Practice in January 2017. Family Foundation, which was during the financial year was the PAULA MCLUSKIE established with her late husband Ken presentation of dance productions and BRETT CLARK, CHAIR Paula is a Senior Assurance Partner in ALLAN PIDGEON am Talbot. The Foundation has focused the delivery of training and education Brett is the founder and Managing Director of ePharmacy and the Managing EY’s Brisbane office and has over 20 After completing degrees in on education, establishing The Chair activities. No significant changes in Partner of Chemist Warehouse stores in Queensland and Northern NSW. In years’ experience auditing and advising Commerce and Law, Allan gained of Entrepreneurship at QUT, and has the nature of the Company’s activities 2009, Brett received a Griffith University Medal for Management Innovation financial institutions, corporates and experience as a tax accountant and supported the Unit for OHS Education occurred during the financial year. from the Australian Institute of Management. In addition to the ePharmacy/ not-for-profits in both Australia and stockbroker. He is now a Director of at UQ, Pathways Health and Research Queensland Ballet’s goals are to: Chemist Warehouse board, Brett currently sits on the Market Reach Board. the UK. Paula works with executives a family property business. Among Centre and Mission Australia. Arts and — Be celebrated for the quality of our and the boards of many large financial other community involvements, Allan cultural projects supported by both program and our dancers; JUSTICE DAVID THOMAS, DEPUTY CHAIR institutions operating in complex, is President of the Australian National the Foundation and other related — Attract, engage and connect more David is a Judge of the Supreme Court of Queensland and President of the competitive and highly regulated Flag Association and a Trustee of the entities include the State Library of people to our work; Queensland Civil and Administrative Tribunal. Formerly a solicitor and senior markets, advising on accounting, risk, Lord Mayor’s Charitable Trust. He is Queensland, the completion of St — Be a financially strong, well partner at Minter Ellison Lawyers in Brisbane, David has more than 30 years’ treasury, regulatory, governance and also a Director of the Mater Hospital John’s Cathedral and the restoration of governed and efficient business; experience as a lawyer involved in a broad range of commercial matters. capital market transactions. Foundation and the Queensland Old Government House. Additionally, and An active member of our community, David holds other positions, including Private Enterprise Centre (allied with Amanda has over 15 years’ experience — Create an environment for our President of the RNA (Queensland), Chair of the Queensland Maritime CATRIONA MORDANT Griffith University Business School). overseeing the management and dancers, staff and students to be Museum, Trustee of the Royal Agricultural Society of the Commonwealth and Sydney-based, Catriona is a member development of local and international their best, have fun and learn. a Director of The Society of The Sacred Advent Schools Pty Ltd, which is the of the Foundation Board of the Museum commercial and residential trustee of St Margaret’s and St Aidan’s Anglican Girls Schools. He is an Adjunct of Contemporary Art Australia, a construction projects. These goals and the strategies to Professor at Murdoch University. member of the International Council of achieve them are outlined in the the Tate London, an advisory council Company’s 2013 – 2017 Strategic Plan. member at Venetian Heritage in Venice and was recently appointed to the Board of Sydney Dance Company.
36 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 37 Playing Queensland, took a diverse DIRECTORS’ EMOLUMENTS program of ballet to 20 locations Since the end of the previous financial year, throughout Queensland. An interstate no Director of the Company has received DIRECTORS’ season of The Nutcracker in Canberra or become entitled to receive any benefit was performed to full houses and because of a contract made by the Company AUDITOR’S REPORT fulfilled the Company’s ambition to or a related body corporate with a Director explore a national footprint. or with a firm of which a Director is a member INDEPENDENCE CONTINUED The launch of the Queensland or with an entity in which the Director has Ballet Academy, previously referred to as substantial interest. DECLARATION FOR THE YEAR ENDED as Queensland Ballet’s Training program, 31 DECEMBER 2016 demonstrated a firm and continuous INDEMNIFICATION commitment to dancer training and Since 2005, the Company has entered into professional talent development. agreements indemnifying Directors of the A concerted focus on people Company. In 2016, the following Directors and culture to nurture and create the were indemnified: Brett Clark, David Thomas, best artists and best arts workers was Winna Brown, Peter Godber, Catriona COMPANY MEMBERSHIP underpinned by the establishment of Mordant, Gene Moyle, Paula McLuskie, Allan Company membership was 23 members Auditor’s Independence Declaration under the Dancer Retraining Fund and other Pidgeon and Amanda Talbot against all in 2016 (2015 members: 26). professional development initiatives. Our liabilities to another person (other than the subdivision 60-C section 60-40 of Australian operations during the year provided 205 Company or a related body corporate) that RESULT Charities and Not-for-profits Commission Act 2012 full-time, part-time, or casual employment may arise from their position as Directors of For 2016, a net operating profit of opportunities for arts workers, dancers, the Company, except where the liability arises $529,557 is reported (2015 net operating To: the Directors of Queensland Ballet Company creative artists and musicians. out of conduct involving a lack of good faith. profit: $1,552,338). Continued good governance The agreement stipulates that the Company I declare that, to the best of my knowledge and belief, in relation to the audit for the financial will meet the full amount of any such REVIEW AND RESULT OF was demonstrated through a balanced year ended 31 December 2016 there have been: liabilities, including costs and expenses. OPERATIONS Board membership, well-attended and (i) no contraventions of the auditor independence requirements as set out in the Australian In 2016 Queensland Ballet delivered a regular meetings, appropriate and timely Charities and Not-for-profits Commission Act 2012 in relation to the audit; and INSURANCE PREMIUMS total comprehensive profit of $518,643. reporting, development of policies and The Directors have not included details of the (ii) no contraventions of any applicable code of professional conduct in relation to the audit. Profit includes $855,000 in directed other documentation, a commitment to nature of the liabilities covered or the amount income (capital funding of $500,000 planning and adherence to protocols. of premium paid in respect of the Directors’ and $355,000 towards the Jette Parker DIVIDENDS liability and legal expenses insurance Young Artists Program 2018) which The Company is prohibited by its contracts, as such disclosure is prohibited KPMG resulted in an operating loss of $336,357. Memorandum of Association from under the terms of the contract. The directed income from Ian Potter paying or distributing any dividends Foundation and various philanthropists are to its members and none has been paid LEAD AUDITOR’S INDEPENDENCE to be utilised as specified by the givers. or declared during the financial year. DECLARATION Working with designers and The Lead Auditor’s Independence Declaration choreographers of international renown, M J Jeffery STATE OF AFFAIRS is set out on page 39 and forms part of the Queensland Ballet was celebrated for Partner In the opinion of the Directors, there Director’s report for the year ended its high technical and artistic standards Brisbane were no significant changes in the 31 December 2016. and enhanced production values. The 20 April 2017 state of affairs of the Company. Company’s ambitious artistic program Dated at Brisbane this 20th day of April, 2017. realised the Australian premières of Liam EVENTS SUBSEQUENT TO Signed in accordance with a resolution Scarlett’s A Midsummer Night’s Dream BALANCE DATE of the Directors: which was a co-production with Royal There has not arisen in the interval New Zealand Ballet and Strictly Gershwin between the end of financial year and the by Derek Deane which was co-presented date of this report any item, transaction with QPAC and broke box office records. or event of a material and unusual nature 2016 also saw an investment in new likely, in the opinion of the Directors of ballet commissions including Natalie the Company, to affect significantly the Brett Clark Director Weir’s We Who Are Left and Lucas operations of the Company, the results 20 April, 2017 Jervies’ Little Red Riding Hood — our of those operations, or the state of affairs first foray in our My First Ballet series. of the Company, in future financial years. Our vision to enrich lives through Liability limited by a scheme approved under Professional Standards Legislation. ballet was further deepened by a ENVIRONMENT REGULATION KPMG, an Australian partnership and a member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative multi-faceted education program, rich The Company’s operations are not (“KPMG International”), a Swiss entity. engagement experiences across digital subject to any significant environmental Winna Brown Director platforms and touring. Our regional regulations under either Commonwealth 20 April, 2017 reach via Tutus on Tour, enabled by or State legislation.
38 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 39 FINANCIAL REPORT
QUEENSLAND BALLET COMPANY ABN 26 009 717 079
Company Artist Jack Lister in Natalie Weir’s We Who are Left as part of Lest We Forget Photographer: David Kelly
40 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 41 STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME STATEMENT OF FINANCIAL POSITION FOR THE YEAR ENDED 31 DECEMBER 2016 AS AT 31 DECEMBER 2016
IN AUD NOTE 2016 $ 2015 $ IN AUD NOTE 2016 $ 2015 $
Revenue from ticket sales — subscriptions 1,723,911 1,717,938 Assets — single tickets 2,882,415 1,512,664 Cash and cash equivalents 8 2,477,287 1,164,470
Revenue from rendering of services 798,636 572,405 Cash and cash equivalents directed 2,675,222 2,000,000
Sponsorship (including Contra) 2,389,203 2,490,405 Trade and other receivables 9 829,542 1,095,391
Donations 2,476,675 1,717,396 Other current assets 10 723,852 1,109,657 Donations directed 6 855,000 2,000,000 Total current assets 6,705,903 5,369,518 Government Grants 16 3,761,022 3,776,629 Plant and Equipment 12 171,675 225,712 Other income 5 899,709 594,553 Other investments 11 668,466 721,545 15,786,571 14,381,990 Total non-current assets 840,141 947,257
Administration expenses (927,258) (872,346) Total assets 7,546,044 6,316,775 Artistic & Production expenses (2,812,510) (2,795,071)
Employee expenses (8,455,843) (6,837,079) Liabilities Trade and other payables 13 2,953,667 2,293,600 Marketing & Development expenses (2,806,908) (2,277,095) Employee benefits 14 593,047 365,626 Other expenses (330,280) (117,811)
Total current liabilities 3,546,714 2,659,226 Results from operating activities 453,772 1,482,588
Employee benefits 14 100,944 77,806 Financial income (interest and dividends received) 7 75,785 69,750 Trade and other payables 13 — 200,000 Financial expenses (impairment of available-for-sale financial assets) — — Total non-current liabilities 100,944 277,806 Net financing income 75,785 69,750 Total liabilities 3,647,658 2,937,032 Profit for the period 529,557 1,552,338 Net assets 3,898,386 3,379,743 Other comprehensive income Items that are or may be reclassified to profit or loss Equity Available-for-sale financial assets — net change in fair value 2,035 (5,894) Retained earnings 3,897,119 3,367,562
Available-for-sale financial assets — reclassified to profit or loss (12,949) (20,804) Fair value reserve 1,267 12,181
Other comprehensive income for the period (10,914) (26,698) Total equity 3,898,386 3,379,743
Total comprehensive income for the period 518,643 1,525,640
The statement of profit or loss and other comprehensive income is to be read in conjunction with the The statement of financial position is to be read in conjunction with the notes to and forming part of the notes to and forming part of the financial statements set out on pages 46 to 56. financial statements set out on pages 46 to 56.
42 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 43 STATEMENT OF CHANGES IN EQUITY STATEMENT OF CASH FLOWS AS AT 31 DECEMBER 2016 FOR THE YEAR ENDED 31 DECEMBER 2016
IN AUD FAIR VALUE RETAINED TOTAL IN AUD NOTE 2016 $ 2015 $ RESERVE $ EARNINGS $ EQUITY $ Cash Flows from Operating Activities Balance at 1 January 2015 38,879 1,815,224 1,854,103 Cash receipts from customers 11,026,533 8,063,652 Total comprehensive income for the period Government grants received 3,695,099 3,989,291 Profit for the year — 1,552,338 1,552,338 Cash paid to suppliers and employees (13,455,778) (12,412,614) Other comprehensive income Net cash provided by operating activities 1,265,854 (359,671) Net change in fair value of available-for-sale financial assets net of tax (26,698) — (26,698) Total comprehensive income for the period (26,698) 1,552,338 1,525,640 Cash Flows from Investing Activities Balance at 31 December 2015 12,181 3,367,562 3,379,743 Interest received 59,917 46,520
Balance at 1 January 2016 12,181 3,367,562 3,379,743 Investment Income 2,477 1,231
Total comprehensive income for the period Payments for Plant and Equipment (70,988) (187,419)
Profit for the year — 529,557 529,557 Contributions to Reserve Incentives Scheme (16,443) (18,240)
Other comprehensive income Proceeds on disposal of investments 72,000 340,000
Net change in fair value of available-for-sale financial assets net of tax (10,914) — (10,914) Net cash provided by investing activities 46,963 182,092
Total comprehensive income for the period (10,914) 529,557 518,643 Net increase/(decrease) in cash and cash equivalents 1,312,817 (177,579) Balance at 31 December 2016 1,267 3,897,119 3,898,386 Cash and cash equivalents at 1 January 1,164,470 1,342,049
Cash and cash equivalents at 31 December 8 2,477,287 1,164,470
The statement of financial position is to be read in conjunction with the notes to and forming part of the The statement of financial position is to be read in conjunction with the notes to and forming part of the financial statements set out on pages 46 to 56. financial statements set out on pages 46 to 56.
44 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 45 NOTES TO THE FINANCIAL STATEMENTS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2016 FOR THE YEAR ENDED 31 DECEMBER 2016
(iii) Depreciation Financial liabilities are derecognised (C) IMPAIRMENT An impairment loss is recognised if the 1. Reporting entity 3. Significant Depreciation is recognised in profit if the Company’s obligations specified carrying amount of an asset or its cash- (i) Financial assets Queensland Ballet Company (“the or loss on a diminishing value basis in the contract expire or are discharged generating unit exceeds its recoverable accounting policies A financial asset is assessed at each Company”) is a not-for-profit company. over the estimated useful life of or cancelled. amount. A cash-generating unit is The accounting policies set out reporting date to determine whether each part of an item of property, Cash and cash equivalents the smallest identifiable asset group below have been applied consistently there is any objective evidence that it is 2. Basis of preparation plant and equipment. comprise cash balances and call that generates cash flows that largely to all periods presented in these impaired. A financial asset is considered (A) STATEMENT OF COMPLIANCE financial statements. deposits.Accounting for finance income are independent from other assets The estimated useful lives for the to be impaired if objective evidence The financial statements of the Certain comparative amounts in and expense is discussed in note F (ii). and groups. Impairment losses are current and comparative periods indicates that one or more events have Company are Tier 2 general purpose the statement of profit or loss and other recognised in profit or loss. Impairment are as follows: Held-to-maturity investments had a negative effect on the estimated financial statements which have been comprehensive income have been losses recognised in respect of cash- If the Company has the positive intent future cash flows of that asset. prepared in accordance with Australian reclassed to conform with the current plant and equipment 1 – 15 years generating units are allocated to the and ability to hold debt securities to An impairment loss in respect of Accounting Standards – Reduced year’s presentation (see note 22). carrying amount of the assets in the fixtures and fittings 1 – 7.5 years maturity, then they are classified as a financial asset measured at amortised Disclosure Requirements (AASB-RDRs) unit (group of units) on a pro rata basis. held-to-maturity. Held-to-maturity cost is calculated as the difference (A) PROPERTY, PLANT computer equipment 1 – 4 years The recoverable amount of an (including Australian interpretations) between its carrying amount, and the AND EQUIPMENT investments are measured at amortised adopted by the Australian Accounting asset or cash-generating unit is the cost using the effective interest present value of the estimated future Standards Board (AASB) and (i) Recognition and measurement Depreciation methods, useful lives, greater of its value in use and its fair method, less any impairment losses. cash flows discounted at the original Items of property, plant and equipment and residual values are reassessed value less costs to sell. In assessing Corporations Act 2001. effective interest rate. An impairment are measured at cost less accumulated at the reporting date. Available-for-sale financial assets value in use, the estimated future cash The financial report was loss in respect of an available-for- depreciation and impairment losses. The Company’s investments in equity flows are discounted to their present authorised for issue by the Directors sale financial asset is calculated by Cost includes expenditures that are (B) FINANCIAL INSTRUMENTS securities and certain debt securities value using a pre-tax discount rate that on 20 April, 2017. reference to its current fair value. directly attributable to the acquisition (i) Non-derivative financial are classified as available-for-sale reflects current market assessments of Individually significant financial (B) BASIS OF MEASUREMENT of the asset. The cost of self- instruments financial assets. Subsequent to initial the time value of money and the risks assets are tested for impairment on The financial report is prepared on the constructed assets includes the cost of Non-derivative financial instruments recognition, they are measured at fair specific to the asset. an individual basis. historical cost basis except for financial materials and direct labour, any other comprise investments in equity and value and changes therein, other than In respect of other assets, All impairment losses are instruments classified as available-for- costs directly attributable to bringing debt securities, trade and other impairment losses (see note (C), are impairment losses recognised in prior recognised in profit or loss. Any sale which are stated at their fair value. the asset to a working condition for receivables, cash and cash equivalents, recognised directly in equity. When periods are assessed at each reporting cumulative loss in respect of an its intended use, and the costs of and trade and other payables. an investment is derecognised, the date for any indications that the loss (C) FUNCTIONAL AND available-for-sale financial asset dismantling and removing the items Non-derivative financial cumulative gain or loss in equity is has decreased or no longer exists. An PRESENTATION CURRENCY recognised previously in equity is and restoring the site on which they instruments are recognised initially transferred to profit or loss. impairment loss is reversed if there has transferred to profit or loss. These financial statements are are located. Purchased software that at fair value plus, for instruments not been a change in the estimates used to Investments at fair value through An impairment loss is reversed presented in Australian dollars, which is integral to the functionality of the at fair value through profit or loss, determine the recoverable amount. An profit or loss if the reversal can be related objectively is the Company’s functional currency. related equipment is capitalised as any directly attributable transaction impairment loss is reversed only to the An instrument is classified as at fair to an event occurring after the part of that equipment. costs, except as described below. extent that the asset’s carrying amount (D) USE OF ESTIMATES value through profit or loss if it is held for impairment loss was recognised. When parts of an item of Subsequent to initial recognition non- does not exceed the carrying amount AND JUDGMENTS trading or is designated as such upon For financial assets measured at property, plant and equipment derivative financial instruments are that would have been determined, net The preparation of a financial report in initial recognition. Financial instruments amortised cost and available-for-sale have different useful lives, they are measured as described below. of depreciation or amortisation, if no conformity with Australian Accounting are designated at fair value through financial assets that are debt securities, accounted for as separate items A financial instrument is impairment loss had been recognised. Standards requires management to profit or loss if the Company manages the reversal is recognised in profit or (major components) of property, recognised if the Company becomes make judgements, estimates and such investments and makes purchase loss. For available-for-sale financial plant and equipment. a party to the contractual provisions (D) EMPLOYEE BENEFITS assumptions that affect the application and sale decisions based on their fair assets that are equity securities, the of the instrument. Financial assets of policies and reported amounts (ii) Subsequent costs value in accordance with the Company’s reversal is recognised directly in equity. (i) Defined contribution plans are derecognised if the Company’s of assets and liabilities, income and The cost of replacing part of an item documented risk management or (ii) Non-financial assets A defined contribution plan is a post- contractual rights to the cash flows expenses. Actual results may differ of property, plant and equipment is investment strategy. Upon initial The carrying amounts of the employment benefit plan under which from the financial assets expire or if the from these estimates. recognised in the carrying amount of recognition, attributable transaction Company’s non-financial assets are an entity pays fixed contributions into a Company transfers the financial asset to The estimates and underlying the item if it is probable that the future costs are recognised in profit or loss reviewed at each reporting date separate entity and will have no legal or another party without retaining control assumptions are reviewed on an economic benefits embodied within when incurred. Financial instruments to determine whether there is any constructive obligation to pay further or substantially all risks and rewards of ongoing basis. Revisions to accounting the part will flow to the Company and at fair value through profit or loss are indication of impairment. If any such amounts. Obligations for contributions the asset. Regular way purchases and estimates are recognised in the period its cost can be measured reliably. The measured at fair value, and changes indication exists then the asset’s to defined contribution superannuation sales of financial assets are accounted in which the estimate is revised and in costs of the day-to-day servicing of therein are recognised in profit or loss. recoverable amount is estimated. funds are recognised as an expense in for at trade date, i.e., the date that the any future periods affected. property, plant and equipment are profit or loss when they are due. Prepaid Company commits itself to purchase Other recognised in profit or loss as incurred. contributions are recognised as an or sell the asset. Other non-derivative financial asset to the extent that a cash refund or instruments are measured at amortised reduction in future payments is available. cost using the effective interest method, less any impairment losses.
46 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 47 NOTES TO THE FINANCIAL STATEMENTS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2016 FOR THE YEAR ENDED 31 DECEMBER 2016
(ii) Long-term service benefits (E) REVENUE (F) EXPENSES (H) GOODS AND SERVICES TAX (I) ASSUMPTIONS AND The Company’s net obligation in ESTIMATION UNCERTAINTIES 4. Determination (i) Ticket Income (i) Operating lease payments Revenue, expenses and assets are respect of long-term employee benefits Subscription and box office income Payments made under operating recognised net of the amount of Measurement of fair values of fair values is the amount of future benefit that from performance ticket sales are leases are recognised in the income goods and services tax (GST), except A number of the Company’s A number of the Company’s employees have earned in return for recognised when performances, for statement on a straight-line basis over where the amount of GST incurred accounting policies and disclosures accounting policies and disclosures their service in the current and prior which the tickets were sold, take place. the term of the lease. Lease incentives is not recoverable from the taxation require the measurement of fair values, require the determination of fair value, periods plus related on-costs; that authority. In these circumstances, for both financial and non-financial for both financial and non-financial (ii) Performance Fees received are recognised in the income benefit is discounted to determine the GST is recognised as part of the assets and liabilities. assets and liabilities. Fair values have Performance fees are recognised statement as an integral part of the its present value, and the fair value cost of acquisition of the asset or When measuring the fair value been determined for measurement as revenue when the performance total lease expense and spread over of any related assets is deducted. as part of the expense. of an asset or a liability, the Company and/or disclosure purposes based takes place. the lease term. The discount rate is the yield at Receivables and payables uses market observable data as far as on the following methods. Where (ii) Net financing costs the reporting date on high quality (iii) Government Grants are stated with the amount of GST possible. Fair values are categorised applicable, further information about Net financing costs comprise interest corporate bonds that have maturity An unconditional government included. The net amount of GST into different levels in a fair value the assumptions made in determining income on funds invested, dividend dates approximating the terms of the grant is recognised in profit or loss recoverable from, or payable to, hierarchy based on the inputs used in fair values is disclosed in the notes income, gains/ (losses) on the disposal Company’s obligations. The calculation as other income when the grant the ATO is included as a current the valuation techniques as follows: specific to that asset or liability. becomes receivable. of available-for-sale financial assets and is performed using the projected asset or liability in the balance sheet. Level 1: quoted prices (i) Investments in equity and debt Other government grants are changes in the fair value of financial unit credit method. Cash flows are included in (unadjusted) in active markets for securities recognised initially as deferred income assets at fair value through profit or (iii) Short-term service benefits the statement of cash flows on a identical assets or liabilities. The fair value of financial assets at when there is reasonable assurance loss. Interest income is recognised as Liabilities for employee benefits for gross basis. The GST components Level 2: inputs other than quoted fair value through profit or loss and that they will be received and that it accrues, using the effective interest wages, salaries and annual leave of cash flows arising from investing prices included in Level 1 that are available-for-sale financial assets the Company will comply with the method. Dividend income is recognised represent present obligations resulting and financing activities which are observable for the asset or liability, is determined by reference to their conditions associated with the grant. on the date that the Company’s right to from employees’ services provided recoverable from, or payable to, either directly (i.e. as prices) quoted bid price at the reporting date. Grants that compensate the Company received payment is established, which to reporting date and are calculated the ATO are classified as operating or indirectly (i.e. derived from prices). for expenses incurred are recognised in the case of quoted securities is the (ii) Trade and other receivables at undiscounted amounts based on cash flows. Level 3: inputs for the asset in profit or loss on a systematic basis in ex-dividend date. The fair value of trade and other remuneration wage and salary rates or liability that are not based on the same periods in which the expenses Finance expenses comprise receivables is estimated as the present that the Company expects to pay as observable market data are recognised. Non-reciprocal capital interest expense on borrowings, value of future cash flows, discounted at reporting date including related on- (unobservable inputs). grants are recognised as revenue when changes in the fair value of financial at the market rate of interest at the costs, such as workers compensation If the inputs used to measure the grants monies are received. assets at fair value through profit or reporting date. insurance and payroll tax. Non- the fair value of an asset or a liability loss, and impairment losses recognised accumulating non-monetary benefits, (iv) Sponsorship and Donations might be categorised in different levels on financial assets. All borrowing costs such as medical care, housing, cars and Sponsorships are recognised in of the fair value hierarchy, then the are recognised in profit or loss using free or subsidised goods and services, the period in which they are paid. fair value measurement is categorised the effective interest method. are expensed based on the net Donations are recognised as revenue in its entirety in the same level of the (G) INCOME TAX marginal cost to the Company as the when they are received. Directed fair value hierarchy as the lowest level benefits are taken by the employees. donations are funds with the express The Company is exempt from paying input that is significant to the entire A provision is recognised for the request that the donation is available income tax and accordingly no amount measurement. amount expected to be paid under to meet the intentions of the donor. has been provided or set aside. The Company recognises short-term cash bonus or profit-sharing transfers between levels of the fair plans if the Company has a present value hierarchy at the end of the legal or constructive obligation to pay reporting period during which the this amount as a result of past service change has occurred. provided by the employee and the Further information about the obligation can be estimated reliably. assumptions made in measuring fair values is included in the following notes: • Note 11 — other investments.
48 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 49 NOTES TO THE FINANCIAL STATEMENTS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2016 FOR THE YEAR ENDED 31 DECEMBER 2016
IN AUD 2016 $ 2015 $ IN AUD 2016 $ 2015 $
5. Other income 10. Other Current Assets Revenue from performance fees 410,046 234,750 Current
Membership fees 1,000 1,455 Prepayments — Insurance — 126,541
Other production and sundry income 488,663 358,348 — Deferred Production Costs 723,852 983,116
899,709 594,553 723,852 1,109,657
6. Sponsorships and Donations 11. Other investments Capital funding 500,000 2,000,000 Non-current investments
Jette Parker Young Artists Program 355,000 — Listed variable rate debt securities, available-for-sale 55,219 125,063
855,000 2,000,000 Interest in unlisted unit trust, available-for-sale 14,717 14,395 Reserve Incentives Scheme deposit 598,530 582,087 During the year, Queensland Ballet Company received monies from the Ian Potter Foundation as capital grant funding to be used for the refurbishment of the Thomas Dixon Centre. Queensland Ballet also received monies from various donors 668,466 721,545 for the Jette Parker Young Artists Program. These funds are directed to meet the intention of the donor.
7. Net financing income Reserves Incentive Scheme deposit Measurement of fair values The funds held in term deposit are under contractual Fair value hierarchy Interest income 59,917 46,520 obligations and were received from the following parties: The fair value measurements for the listed variable rate debt Investment income 2,477 1,230 instruments have been categorised as Level 1 fair values. Australia Council — $107,000 Profit on sale of investments 13,391 22,000 Arts Queensland — $107,000
75,785 69,750 The Company has also contributed $107,000. This total term deposit is to be held in Escrow subject to the terms 8. Cash and cash equivalents and conditions of the Reserves Incentive Scheme Funding Agreement. The deposit is not available for funding of Cash on hand 3,500 3,500 ordinary activities and has not been used to secure any Bank balances 445,109 488,449 liabilities of the Company. Interest accumulates on the deposit at market rates. Total interest accumulated as at Call deposits 2,028,678 672,521 31 December 2016 is $277,530 (2015: $261,087). Cash and cash equivalents in the statement of cash flows 2,477,287 1,164,470
9. Trade and other receivables Current
Trade receivables 819,582 1,094,578
Income receivable 9,960 813
829,542 1,095,391
50 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 51 NOTES TO THE FINANCIAL STATEMENTS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2016 FOR THE YEAR ENDED 31 DECEMBER 2016
IN AUD OFFICE PRODUCTION$ COMPUTER $ TOTAL $ IN AUD 2016 $ 2015 $ EQUIP $ 14. Employee benefits 12. Property, plant and equipment Current Cost Liability for annual leave 467,163 287,608 Balance at 1 January 2016 47,614 842,208 67,703 957,525 Liability for long-service leave 125,884 78,018 Acquisitions 4,363 44,172 22,453 70,988 593,047 365,626 Disposals (1,818) (139,492) — (141,310) Non-current Balance at 31 December 2016 50,159 746,888 90,156 887,203 Liability for long-service leave 100,944 77,806 Depreciation 100,944 77,806 Balance at 1 January 2016 (45,052) (636,536) (50,225) (731,813) Contributions to defined contribution plans included in employee expenses 626,562 516,994 Depreciation charge for the year (1,576) (90,596) (17,511) (109,683)
Disposals 1,818 124,150 — 125,968 626,562 516,994
Balance as at 31 December 2016 (44,810) (602,982) (67,736) (715,528)
IN AUD RETAINED FAIR VALUE TOTAL Carrying amounts EARNINGS $ RESERVE $ EQUITY $ At 1 January 2016 2,562 205,672 17,478 225,712
At 31 December 2016 5,349 143,906 22,420 171,675 15. Capital and reserves Balance at 1 January 2015 1,815,224 38,879 1,854,103
IN AUD 2016 $ 2015 $ Total recognised income and expense 1,552,338 (26,698) 1,525,640
Balance at 31 December 2015 3,367,562 12,181 3,379,743 13. Trade and other payables Balance at 1 January 2016 3,367,562 12,181 3,379,743 Current — unsecured Total recognised income and expense 529,557 (10,914) 518,643 Trade payables 684,869 131,543
Non-trade payables and accrued expenses 182,738 314,382 Balance at 31 December 2016 3,897,119 1,267 3,898,386
Subscriptions and other income in advance 1,886,060 1,847,675 The fair value reserve comprises the cumulative net change in the fair value of available-for-sale financial assets until the PowerArts obligations 200,000 — investments are derecognised or impaired.
2,953,667 2,293,600
Non-current
PowerArts obligations — 200,000
— 200,000
The PowerArts obligation relates to monies provided to fund the 2017 production of Peter Pan. Queensland Ballet Company is required to repay these funds.
52 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 53 NOTES TO THE FINANCIAL STATEMENTS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2016 FOR THE YEAR ENDED 31 DECEMBER 2016
IN AUD 2016 $ 2015 $ 17. Key management 19. Members Liability personnel disclosures The Queensland Ballet Company is incorporated in Queensland as a company limited by guarantee and 16. Government funding The following were key management personnel of the not having a share capital. The Queensland Ballet is the Company at any time during the reporting period: Grants received registered trading name of Queensland Ballet Company Limited. Australia Council — Base funding 497,552 489,717 NON-EXECUTIVE DIRECTORS Queensland Government Arts Grant — Base funding 2,978,544 1,947,388 Mr Brett Clark (Chair) The liability of the Company is limited by guarantee: Mrs Winna Brown • The maximum liability of individual members is $2.00; Queensland Government — Superstar — 170,000 Justice David Thomas and Brisbane City Council 45,000 45,000 Mr Peter Godber • The aggregate liability as at 31 December 2016 Mrs Amanda Talbot amounts to $46 (2015: $52), (10 ordinary members and Queensland Government — Arts Leverage Fund — 850,000 Mrs Catriona Mordant 13 Honorary Life Members). Attorney-General’s Department Ministry for the Arts — 100,000 Associate Professor Gene Moyle Mr Allan Pidgeon am (Appointed 18 April 2016) 20. Economic dependency Queensland Government — Matching subsidy 100,000 100,000 Ms Paula McLuskie (Appointed 28 November 2016) The Company is financially dependent on various Department of Communications and the Arts – Indigenous Language Grant 50,000 — sources of government funding and contributed income EXECUTIVES from sponsors and donors to ensure that the Company Queensland Government — Gambling Community Benefit — 24,524 Dilshani Weerasinghe (Executive Director) continues to trade for the foreseeable future. Government Queensland Government — Arts Illuminate Grant 77,038 — Li Cunxin (Artistic Director) funding is spent in accordance with funding agreements. 3,748,134 3,726,629 Key management personnel compensation was $415,237 for 21. Events subsequent the year ended 31 December 2016 (2015: $593,291). GST on grants received 374,813 372,662 to balance date Total cash received from government grants 4,122,947 4,099,291 18. Non-key management There has not arisen in the interval between the end of the financial year and the date of this report any item, Grants credited as income personnel disclosures transaction or event of a material and unusual nature likely, The Company did not enter any arrangements with non- in the opinion of the directors of the Company, to affect Australia Council 497,552 489,717 key management personnel during the year which were not significantly the operations of the Group, the results of Queensland Government Arts Grant — Base funding 2,978,544 1,947,388 commercial in nature or would unduly benefit such a party. those operations, or the state of affairs of the Company, in future financial years. Queensland Government — Superstar — 170,000
Brisbane City Council 45,000 45,000
Queensland Government — Arts Leverage Fund — 850,000
Attorney-General’s Department Ministry for the Arts 100,000 —
Queensland Government — Matching Subsidy 100,000 100,000
Indigenous Language and Arts Program 39,926 —
Arts development and investment funding — 150,000
Queensland Government — Gambling Community Benefit — 24,524
Total Grants Credited as Income 3,761,022 3,776,629
54 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 55 NOTES TO THE FINANCIAL STATEMENTS DIRECTOR’S FOR THE YEAR ENDED 31 DECEMBER 2016 DECLARATION INDEPENDENT AUDITOR’S
REPORT We confirm that the independence declaration required by 22. Restatement the ACNC Act 2012, which has been given to the Directors of These adjustments provide more (i) Statement of Profit or Loss and TO THE MEMBERS OF the Company on 20 April 2017, would be in the same terms if Other Comprehensive Income reliable and relevant information In the opinion of the Directors of QUEENSLAND BALLET given to the Directors as at the time of this Auditor’s Report. The presentation of the statement of for users of the financial the Queensland Ballet Company COMPANY profit or loss and other comprehensive statements in relation to aligning (the “Company”): OTHER INFORMATION income has been restated from the prior the information to other companies (a) The Company is not publicly Other Information is financial and non-financial information year, which presented expenses in a in a similar industry. accountable; in Queensland Ballet Company’s annual reporting which is different format to industry standards. (b) the financial statements and provided in addition to the Financial Report and the Auditor’s The presentation has been notes set out on pages 42 – 56, are in Report. This includes the Directors’ Report. The Directors are restated to consistently utilise a accordance with the Australian Charities We have audited the Financial responsible for the Other Information. presentation of expenses by their and Not-for-profits Commission Act The Other Information we obtained prior to the date classification, and the comparative Report, of the Queensland Ballet 2012, including: of this Auditor’s Report was the Directors’ report. information has been restated to align (i) giving a true and fair view Company (the Company). Our opinion on the Financial Report does not cover the with the current year presentation. of the Company’s financial position Other Information and, accordingly, we do not express an The significant change is the grouping as at 31 December 2016 and of its audit opinion or any form of assurance conclusion thereon. together of expenses. In our opinion, the accompanying Financial Report of the In connection with our audit of the Financial Report, performance, for the financial year Company is in accordance with the Australian Charities and our responsibility is to read the Other Information. In doing ended on that date; and Not-for-profits Commission (ACNC) Act 2012, including: so, we consider whether the Other Information is materially 2015 ORIGINAL ADJUSTMENTS AS RESTATED (ii) complying with Australian (i) giving a true and fair view of the Company’s financial inconsistent with the Financial Report or our knowledge IN AUD BALANCE $ $ $ Accounting Standards — Reduced position as at 31 December 2016, and of its financial obtained in the audit, or otherwise appears to be materially Disclosure Regime and the Australian performance and its cash flows for the year ended on that misstated. Cleaning Expenses 10,760 10,760 — Charities and Not-for-profits date; and Commission Regulation 2013; and We are required to report if we conclude that there is a Costumes $ Set 560,362 560,362 — (ii) complying with Australian Accounting Standards — (c) there are reasonable grounds material misstatement of this Other Information, and based Expenses Reduced Disclosure Requirements and the Australian on the work we have performed on the Other Information to believe that the Company will be Charities and Not-for-profits Commission Regulation 2013. Depreciation Expenses 92,732 92,732 — able to pay its debts as and when they that we obtained prior to the date of this Auditor’s Report we become due and payable. have nothing to report. Employee Expenses 7,009,164 172,085 6,837,079 The Financial Report comprises: (i) Statement of financial position as at 31 December 2016. Insurance 94,240 94,240 — RESPONSIBILITIES OF THE DIRECTORS FOR THE Signed in accordance with a resolution (ii) Statement of profit or loss and other comprehensive of the Directors: FINANCIAL REPORT Marketing & 2,229,129 (47,966) 2,277,095 income, Statement of changes in equity, and Statement of The Directors are responsible for: Development Dated at Brisbane this 20th day of cash flows for the year then ended. (i) Preparing the Financial Report that gives a true and fair April 2017. (iii) Notes including a summary of significant accounting Printing & Postage 66,327 66,327 — view in accordance with Australian Accounting Standards - policies. Reduced Disclosures Requirements and the ACNC. Rental Expenses 103,762 103,762 — (iv) Directors’ declaration of the Company. (ii) Implementing necessary internal control to enable the Royalties & Music 250,652 250,652 — preparation of a Financial Report that gives a true and fair BASIS FOR OPINION Expenses view and is free from material misstatement, whether due We conducted our audit in accordance with Australian to fraud or error. Shoes & Tights 155,424 155,424 — Auditing Standards. We believe that the audit evidence we (iii) Assessing the Company’s ability to continue as a going have obtained is sufficient and appropriate to provide a basis Telephone & 30,196 30,196 — concern. This includes disclosing, as applicable, matters Brett Clark for our opinion. Communication related to going concern and using the going concern Director Our responsibilities under those standards are further basis of accounting unless they either intend to liquidate Theatre Expenses 906,751 906,751 — 20 April, 2017 described in the Auditor’s responsibilities for the audit of the the Company or to cease operations, or have no realistic Financial Report section of our report. Travel Expenses 683,141 683,141 — alternative but to do so. We are independent of the Company in accordance Other expenses from 706,762 588,951 117,811 with the auditor independence requirements of the ACNC ordinary activities Act 2012 and the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code Administration Expenses — (872,346) 872,346 of Ethics for Professional Accountants (the Code) that are Winna Brown Artistic & Production — (2,795,071) 2,795,071 relevant to our audit of the Financial Report in Australia. We Expenses Director have fulfilled our other ethical responsibilities in accordance 20 April, 2017 with the Code. Total Expenses 12,899,402 — 12,899,402 Liability limited by a scheme approved under Professional Standards Legislation. KPMG, an Australian partnership and a member firm of the KPMG network of independent member firms affiliated with KPMG International Cooperative (“KPMG International”), a Swiss entity.
56 — QUEENSLAND BALLET ANNUAL REPORT 2016 — 57 INDEPENDENT AUDITOR’S REPORT TO THE MEMBERS OF QUEENSLAND BALLET
AUDITOR’S RESPONSIBILITIES FOR THE AUDIT (v) Concluding on the appropriateness of the Directors’ OF THE FINANCIAL REPORT use of the going concern basis of accounting and, based on Our objective is: the audit evidence obtained, whether a material uncertainty (i) to obtain reasonable assurance about whether exists related to events or conditions that may cast the Financial Report as a whole is free from material significant doubt on the Company’s ability to continue as a misstatement, whether due to fraud or error; and going concern. If we conclude that a material uncertainty (ii) to issue an Auditor’s Report that includes our opinion. exists, we are required to draw attention in our Auditor’s Reasonable assurance is a high level of assurance, but is not Report to the related disclosures in the Financial Report or, a guarantee that an audit conducted in accordance with if such disclosures are inadequate, to modify our opinion. Australian Auditing Standards will always detect a material Our conclusions are based on the audit evidence obtained misstatement when it exists. up to the date of our Auditor’s Report. However, future Misstatements can arise from fraud or error. They are events or conditions may cause the Company to cease to considered material if, individually or in the aggregate, they continue as a going concern. could reasonably be expected to influence the economic (vi) Evaluating the overall presentation, structure and content decisions of users taken on the basis of this Financial Report. of the Financial Report, including the disclosures, and whether Undertaking an audit in accordance with Australian the Financial Report represents the underlying transactions Auditing Standards, means exercising professional judgment and events in a manner that achieves fair presentation. and maintaining professional skepticism.
Our responsibilities include:
(i) Identifying and assessing the risks of material KPMG misstatement of the Financial Report, whether due to fraud or error. (ii) Designing and performing audit procedures responsive to those risks, and obtaining audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of Queensland Ballet Company Limited not detecting a material misstatement resulting from fraud M J Jeffery CAN 009 717 079 is higher than for one resulting from error. This is because Partner fraud may involve collusion, forgery, intentional omissions, Brisbane Annual Report for year ended 31 December 2016 misrepresentations, or the override of internal control. 26 April 2017 Registered Office and Principal Place of Business (iii) Obtaining an understanding of internal control relevant The Thomas Dixon Centre, Corner Drake Street to the Audit in order to design audit procedures that are and Montague Road West End QLD 4101 appropriate in the circumstances. This is not for the purpose of expressing an opinion on its effectiveness. Phone +61 7 3013 6666 (iv) Evaluating the appropriateness of accounting policies Fax +61 7 3013 6600 used and the reasonableness of accounting estimates and [email protected] related disclosures made by the Directors. queenslandballet.com.au
Guest Artists Rachael Walsh and Bill Simpson in Derek Deane’s Strictly Gershwin Photographer: David Kelly
58 — QUEENSLAND BALLET