Australian Performing Arts Centres Association PO Box 265, Glen Forrest WA 6071 P 08 9298 8822 F 08 9298 8833 www.apaca.com.au Photograph inside: ‘Glen Street Auditorium’ by Keith Saunders, courtesy of Glen Street Theatre. Photograph cover: ‘The Perfect Gentlemen’ by Ferne Millen 2008 www.fernemillen.com, courtesy of Geelong Performing Arts Centre. Mission Statement

The Australian Performing Arts Centres Association is the national network of performing arts centres, dedicated to the advocacy, and professional development and support of its membership, whilst contributing to the development of the performing arts throughout Australia.

Aspirational Objectives Values

To assist in the presentation To develop and/or disseminate The Australian Performing of the performing arts by and exchange information on Arts Centres Association its members. the management of performing Promotes and furthers the arts centres and the presentation interests of its members who To facilitate the bringing together of the performing arts including of artists and audiences. provide cultural leadership music, dance, theatre film, to their communities. To foster ethical standards and lectures and related programs. Promotes and furthers the effective business practices in the To promote the freedom of performing arts centre operation, development of performing artistic expression and the arts in Australia. presentation and management. pursuit of excellence within the To assist in the professional performing arts. Provides its membership with efficient, effective and proactive development of personnel To encourage cultural and involved in the operation of leadership with regard to policy, aesthetic diversity within the protocols and research. performing arts centres and in the performing arts. presentation and management of Is recognised as the peak performing arts centres. To extend the performing arts national body representing marketplace and stimulate the To influence public policy and performing arts centres integration of the performing arts throughout Australia. public opinion to advance the into the fabric of society. interest of its members. To assist in the promotion of activities which will enable members to develop audiences and the performing arts activity in their own communities. O2 O3

of Environment, Water, Heritage and a real interest in performing arts touring Membership President’s Report the Arts, in particular providing a having previously been employed as detailed response to a proposal that the Blue Heeler for Western Australia. the Playing Australia program be Rick has certainly been able to hit the There are two categories of APACA Membership. It is with a degree of sadness I moved to the management of ground running and I thank him for his commence to write what will be my the Australia Council for the Arts. genuine enthusiasm and interest in the 1. Ordinary Members consist of performing arts centres located in Australia, having the facilitation last president’s report for the role of the association and our industry The passing year has seen a in general. of the presentation of the performing arts as one of their primary functions. Australian Performing Arts Centres strengthening of our partnership with Association, APACA. I will continue in key industry bodies in Live Performance The 2007 conference also provided 2. Associate Members consist of any other individual or organisation with substantially similar the role of the Queensland member- Australia (LPA) and the Australian Major the association with the opportunity objectives to those listed in the Constitution of the Association, that is, to assist in the presentation representative until next year’s AGM Performing Arts Group (AMPAG). It to formally acknowledge the work of by which time I will have served three of the performing arts and to facilitate the bringing together of artists and audiences. was my very great pleasure earlier this outgoing Executive Officer Christine consecutive terms as a member of the financial year to attend LPA’s 2007 Dunstan and her partner at CDP, Management Committee. It is for this Helpmann Awards to see the inaugural Cherrie McDonald. reason I have decided not to stand for Regional Touring Award presented There has been little change in the the position of President at our AGM to the / CDP co- ranks of the association’s management Benefits in 2008. production Six Dance Lessons in Six committee and to this band of active Weeks. In April 2008 the management 2007/2008 has again been a very and supportive members goes my committee agreed to support the work productive and successful year for our sincere thanks for their ongoing of AMPAG in establishing the “We All Ordinary and Associate Members Participating in strategic planning Delivery of the annual APACA association and I commend to you commitment to the growth and Play a Part” campaign. share all the same benefits with for national tours of professional Conference, providing relevant the work undertaken by the executive development of our association and the exception that only Ordinary performing arts products. and topical professional officer and management committee. During the year a whole-of-industry the performing arts industry as a whole. Members are able to be elected development and critical debate committee has continued the to the Committee of Management. Profiling members and the I am pleased to report that, as in past It would also be remiss of me, in my as well as unequalled networking development of the National Touring Association through the APACA years, the total membership of the last president’s report, to not express Otherwise benefits include: opportunities. Framework with a paper being sent to website [including venue association continues to increase my thanks to the Rockhampton the Federal Arts Minister late in 2007. To Advocacy and advice to Federal, specifications]. On-line discussion group with all with a total of 109 ordinary members Regional Council, the staff of State and Local Government on a members providing the collective and 15 associate members as at the date we understand that government Development of strategic Rockhampton Venues and Events and range of important industry issues. knowledge of hundreds of years end of the financial year. The advice has not considered the matter. alliances with other industry and especially a true partner in more ways experience in the performing arts. of the association and its collective The development and distribution relevant bodies including AMPAG While detailed in a separate report, than one, Roz Owens, the centre’s membership continues to be widely of industry benchmark codes (Australian Major Performing Arts On-line discussion group for I must make special mention of the Operations Manager who has allowed sought by both potential new members and best practice guidance for Group), LPA (Live Performance Member Marketing Managers/staff. work of our two Directors of Arts me to devote significant time and and existing long-term members as we members in regard to industry Australia), the Australia Council Services Australia, Bronwyn Edinger energy to the work of the association all strive to provide our communities issues e.g. Touring, OH&S, for the Arts, MEAA (Media APACA’s biennial Economic and David Lloyd. The past year has over the past five years. with the best performing arts government and funding policy, Entertainment Arts Alliance), RAA Impact Venue Charges and seen them consider the long-term infrastructure, services and programs. It has truly been an honour to have this value of the arts. (Regional Arts Australia), ALGA Salaries Report [50% discount position of the association’s continued to Associate Members]. opportunity to serve as the president (Australian Local Government While our association has continued investment in Arts House, a vital source Maintenance of effective of the association over the past Association), CHASS (Council for to build on our existing strong of income for APACA. association and relationships with Discounts across Arts Hub years. I look forward to maintaining the Humanities, Arts and Social working relationships with all levels of national performing arts networks packages providing all members 2007/2008 has also seen a significant my involvement with an association Sciences) and ArtsPeak. government, it has been particularly including Playing Australia, Long with weekly emails of national arts change in the day-to-day functioning that continues to be dedicated to disappointing for the management the professional development and Paddock, Arts On Tour NSW and Compilation and distribution of news and jobs bulletins. of the association. At last year’s committee that some eight months support of members, advocating for the Blue Heelers through Regional Venue and Membership Directory conference held in Launceston, I was after being appointed as the Minister its membership, whilst contributing to Arts Australia. in soft copy format. able to announce the appointment of for the Arts in the new Rudd Labor Rick Heath as the association’s new the development of the performing arts government, the association has executive officer following an extensive throughout Australia. been unable to secure a meeting with search which drew applications from the Honourable Peter Garrett AM MP. a number of experienced and capable Despite this difficultly, we have been contractors from across the country. able to maintain a positive dialogue As many of you would be aware, with officers of the Arts Policy and Rick brings a broad knowledge and Peter Owens Access Unit now in the Department understanding of our industry with President O4 O5

The Summit received an overwhelming Of course the trees we’re saving Executive Officer’s Report response with 100% of surveyed is a key benefit as well. I am COMMITTEE OF MANAGEMENT MANAGEMENT COMMITTEE meetings delegates rating the Summit in overall pleased to add that the number terms as either useful or very useful. of APACA Members continues It was with some trepidation that Similarly, 100% either agreed or to steadily increase. President I commenced the role of Executive strongly agreed that the information In accordance with Privacy Peter Owens APACA management Meeting Dates Officer in December 2007. Trepidation provided in the Summit would enable Legislation APACA developed Rockhampton QLD as I was filling the daunting shoes them to better perform their job. a Privacy Statement that has been 5 July 2007 10 October 2007 2 April 2008 Financial and programming assistance of now Touring Legend, Christine reviewed by the Arts Law Society Vice President and providing by the Australia Council Dunstan. The legacy she has of Australia. Whilst a draft of the Public Officer 15 August 2007 5 November 2007 7 May 2008 for the Arts was fundamental to the left in APACA is testament to her statement has been available for Evol Mcleod success of the project. commitment, dedication and sheer some time I am pleased to note that Canberra ACT 21 August 2007 5 December 2007 4 June 2008 hard work. APACA has been passed The Summit also saw the information provided from Arts Law to me in very good shape and I relish announcement of the Australia will make the statement both more Treasurer 24 August 2007 6 February 2008 the opportunity to lead the organisation Council’s Go See Fund. An initiative robust and easy to use. Bronwyn Edinger into the next phase of its development. providing APACA members with The APACA Website Technical NSW 17 September 2007 12 March 2008 Within days of commencing in the role financial support to see shows Specifications Project came to fruition beyond their own backyard. it was evident that national touring this year. This has seen the uploading Secretary was on the top of APACA’s agenda Development of the 2008 APACA of masses of information to a single Robin Lohrey APACA management committee Meeting attendance and I am pleased to say a significant conference, Creating Cultural Capital portal on the APACA Website. This Launceston TAS milestone in this regard was soon has been a challenging and yet project will provide a centralised and MEMBER in attendance apology achieved. This was the development highly rewarding process. Similarly, standardised national repository for Committee Members of a national touring position paper early 2008 saw the commencement venue, plans, photos and technical Peter Owens Steve Saffell 12 1 jointly drafted in collaboration with of planning for a slight shift in the specifications. The endorsement President Adelaide SA Regional Arts Australia, Arts On way the 2009 APACA Conference from the APACA membership to Evol McLeod Tour NSW, the Australian Major and Long Paddock will be move forward with this project was Brian Robartson 13 Performing Arts Group [AMPAG] and programmed. Discussions with a key driver in seeing the project Geraldton WA Vice-President the Blue Heeler convener proved come to life this year. The take up representatives from the small to Robin Lohrey most fruitful and I look forward to from Members has been protracted Hamish McDonald 13 medium performing arts sector. Secretary On December 17 this paper was delivering the 2009 conference but a significant number of venues Darwin NT delivered to the newly appointed including greater engagement now have their information available Bronwyn Edinger David Lloyd 11 2 Minister for the Arts, the Honorable with our producing friends. through the APACA website. Bendigo VIC Treasurer Peter Garrett AM MP. Representation of APACA continues APACA represents a suite of venues In the period since the document to be a key role for the Executive throughout Australia that are far more Executive Officers Hamish McDonald 10 3 was drafted and delivered, the Officer. Meetings with Regional Arts than bricks and mortar. These venues Christine Dunstan and newly convened National Touring Australia, AMPAG, Live Performance are constantly filled with and generate Cherrie McDonald David Lloyd Organisation Steering Committee Australia, Arts Hub, the Australia creative energy that engage, inspire July – December 2007 13 met on several occasions to design Council, state based arts centre and entertain. As Executive Officer associations, the Blue Heelers and I look forward to communicating Rick Heath a new body intent on ensuring the Brian Robartson 10 3 exemplary delivery of touring product the newly formed Department of that energy and vibrancy directly December 2007 – June 2008 throughout Australia. Environment, Water, Heritage and to a myriad of stakeholders… Of significant success this year was Arts have proved most beneficial in Steve Saffell 13 developing ongoing relationships. the first APACA Marketing Summit. …Watch this space! This year has seen the move to a Christine Dunstan Over 40 centres were represented at 8 the summit, held at the Arts Centre, soft copy Member and Venue Executive Officer July to December Melbourne, with their generous Directory. This has been instigated Cherrie McDonald support. The summit gave members to allow us to keep the Membership 2 the opportunity to hear new ideas more easily and regularly updated Finance Officer July to December and similarly to provide the Directory and strategies from some leading Rick Heath Rick Heath in a format that is downloadable. 6 international thinkers in Arts Marketing. Executive Officer Executive Officer December to June O6 O7

MEMBERSHIP ARTS SERVICES AUSTRALIA PTY LTD Treasurer’s Report LIST

ACT Queanbeyan Performing Riverway Arts Centre Geelong Performing Arts Services Australia Pty Ltd (ASA) is a joint venture The organisation has turned in another good result Canberra Theatre Centre Arts Centre Roundhouse Theatre Arts Centre between APACA and Regional Arts Australia (RAA). for 2007-08, especially considering unbudgeted Erindale Theatre Richard J Stuart Sunshine Coast Arts Hamilton Performing ASA’s only purpose is to manage a property investment expenditure across several initiatives incurred in the Arts Centre Street Theatre Riverside Theatres Parramatta & Exhibition Centre in Canberra called Arts House, located at 40 Macquarie campaign to support national touring. An operating deficit Her Majesty’s Theatre Street, Barton. ASA’s interest represents roughly 10% of $12,038 was returned against a budgeted deficit of Tuggeranong Arts Centre Seymour Theatre Centre The Events Centre Karralyka Centre of the entire building. $8,329, resulting in a deficit variance of $3,709. Total Sutherland The J Entertainment Centre Kingston Arts Centre equity at year’s end was $171,623. New Zealand The Majestic Theatre The Directors of ASA comprise equal membership of THE EDGE Latrobe Regional APACA and RAA, each party having two representatives The annual conference, managed by Christine Dunstan Townsville Civic Theatre Performing Arts Centre Sydney Theatre on the ASA Board. For the financial year 2007/2008, the Productions, generated its best financial result yet NSW Live Performance Australia Tamworth Regional Council* SA APACA Directors of ASA were David Lloyd and Bronwyn returning a small surplus against a budgeted deficit. Albury Convention and Macedon Ranges Shire Performing Arts Centre Wagga Wagga Civic Theatre Adelaide Festival Centre Edinger (Chair). Arthur Frame and Ken Lloyd represent Held in Launceston, the conference attracted major Council Town Hall, Kyneton the interests of RAA. Officers of both organisations share sponsorship from Tickets.com and received a grant Arts on Tour NSW Wyong Shire Council Barossa Arts and Convention Centre Malthouse Theatre the provision of secretarial services and Country Arts from the Australia Council to fund the attendance of Bathurst Memorial Zenith Theatre and Mildura Arts Centre Convention Centre Chaffey Theatre South Australia has provided accounting functions for speakers and panel members. APACA thanks these Entertainment Centre Portland Arts Centre a nominal fee. The accounting function will be undertaken sponsors for their support and generosity. Country Arts South Australia Broken Hill NT Regional Arts Victoria by APACA from 1 July, 2008. Entertainment Centre Golden Grove Arts Centre Another stream of income resulted from the sale Araluen Arts Centre Robert Blackwood Hall Carriageworks Marion Cultural Centre CB Richard Ellis continues to manage the property. of APACA’s Member and Venue Directory and Venue Darwin Entertainment Centre SeatAdvisor Australiasia* Christine Dunstan Middleback Theatre The tenanted space is leased to the Australian Medical and Salary Survey. The Arts Centre Melbourne Council until 31/1/2009. The ownership of the remainder Productions Pty Ltd* QLD & Whyalla Cinema The total value of the income distribution from Arts The Capital - Bendigo’s of the building has changed hands twice in the past City Recital Hall Angel Place Boonah Cultural Centre Noarlunga Theatre Performing Arts Centre 12-month period. The new owner, Hamib Pty Ltd, is Services Pty Ltd was lower than previous years to Brisbane City Hall Northern Festival Centre Civic Theatre Newcastle Wangaratta Performing undertaking extensive capital replacement and upgrades accommodate the possibility of increased maintenance Coffs Harbour Jetty Brisbane Powerhouse Parks Community Centre - Arts Centre to the property. ASA will be required to make a pro rata and capital upgrades, however this was anticipated Memorial Theatre Brolga Theatre Theatres and Functions Warrnambool contribution to expenditure categories specified under and budgeted accordingly. CB Richard Ellis continues Dubbo City Council* Burdekin Theatre Playford Civic Centre Entertainment Centre the lease. In light of the tenant’s expiry date, ASA is to manage this asset for APACA. Glasshouse Arts Conference Caboolture Central Project Port Noarlunga Arts Centre West Gippsland Arts Centre continuing to investigate options that will maximise return The continuing reliable financial performance of & Entertainment Centre Cairns Civic Theatre Sir Robert Helpmann Theatre Whitehorse Performing on investment. APACA is attributable to the skills of Cherrie McDonald Glen Street Theatre Arts Centre Empire Theatre Financial Outcome and Christine Dunstan to December 2007 and APACA’s Griffith Regional Theatre TAS new Executive Officer, Rick Heath with assistance Gladstone WA This year Arts Services Australia has distributed a Princess Theatre from Deanna Faust, who have overseen this year’s Hills Centre for the Entertainment Centre Albany Town Hall Theatre total of $80 000 [$40 000 to each of the shareholders]. Performing Arts Theatre Royal finances. Thanks must go to these people for their Gold Coast Arts Centre Bunbury Regional A reserve of $40000 is being held within the Association’s firm fiscal control. Illawarra Performing Ipswich Civic Hall VIC Entertainment Centre funds as a strategy to address the need for future Arts Centre Judith Wright Centre Alexander Theatre Carnarvon Civic Centre building maintenance and property management. APACA is in a strong financial position with a growing Joan Sutherland of Contemporary Arts Country Arts WA membership base and a sound equity position that Performing Arts Centre Benalla Performing Arts Arts House continues to provide a major income Logan Entertainment Centre & Conference Centre ensures the organisation will continue to provide Don Russell Performing stream to APACA to facilitate service delivery Laycock Street Theatre Arts Centre tangible benefits for its members. Mackay Clocktower Centre to its members. Lismore City Hall Entertainment Centre Darebin Arts and Goldfields Arts Centre Manning Mount Isa Civic Centre Entertainment Centre His Majesty’s Theatre Entertainment Centre Pilbeam Theatre Drum Theatre Mandurah Performing Musica Viva Australia Arts Centre Queensland Arts Council Eastbank Centre, Newcastle City Hall Queensland Performing Shepparton Matt Dann Cultural Centre Bronwyn Edinger Orange Civic Theatre Arts Centre ESSO BHP Queens Park Theatre Parade Theatres QUT Gardens Theatre Billiton Wellington University Theatres Pegasus Group Redland Performing Entertainment Centre Walkington Theatre of Companies* Arts Centre Frankston Arts Centre *Denotes new member. O8 O9

APACA 21ST ANNUAL CONFERENCE REPORT

Written by Hamish McDonald arts this had led to conjoining laziness and mediocrity. He also noted Producers and presenters should Marion Potts, the hypothetical director An Indigenous Voice microcosms of mediocrity. The the need for criticism to be challenging commence their dialogue very early of both productions, thought it was Sam Cook, Tom E Lewis, The 21st Annual APACA Conference Australian Opera, for example, was and invigorating and that artists should in the touring process, and producers necessary to keep the experience Susan Moylan-Coombs was held in Launceston on 19 & 20 now concentrating on musicals and not shy away from it. In closing he needed to think about touring before authentic, others wondered whether Three indigenous producers related September 2007 and was attended Gilbert and Sullivan in search of box noted, as Lindy had spoken about, production; indeed, feedback from casting a Muslim would pander to their experiences of trying to bring by 150 delegates. office returns. that in deed, the foyers of our centres presenters on potential touring shows contemporary negative images of indigenous work to Australia’s stages were important. That they should be would be useful for producers. Islam. Josephine Ridge argued that The conference was moderated and communities. With the imminent election, she felt welcoming spaces where people casting a Muslim could be good by Genevieve Picot and was the mood was changing; that people Libby Anstis noted the difficulty in could stay, discuss and re-live the for publicity purposes, while Fotis Susan Moylan-Coombs began by made possible by the generosity wanted spiritual nourishment, a sense making the big companies commit to experience of the play in a social Kapetopoulos argued that making a talking about the Deadly Yarns initiative, of our sponsors and funding bodies of connection to heart and spirit, and touring: in the case of QTC Libby noted atmosphere rather than scurrying rap version and setting it in the horn which gave indigenous people a tickets.com, Australia Council to renew the sense that beauty can be that they were governed by an Act of away to their isolated lives. of Africa and casting someone from platform for telling their stories in the for the Arts, Theatre North, subversive. Her experience has taught Parliament which imposed obligations a TV show (such as Fat Pizza) would film and broadcast media, and her Arts Tasmania and the City her that Festivals can play a part in to Queensland audiences which make the production a hit. experience of bringing people together of Launceston. this, and that performing arts centres PLENARY SESSIONS needed to be fulfilled before interstate Getting To Know You in the Ku-ring-gai Festival. The conference, a 21st celebration should be able to do the same. touring could be contemplated. Some of the subsequent discussion Libby Anstis, Annette Downs, looked at the question of hirers Tom E Lewis had fire in his belly for APACA, was titled Stories by Stages Andrew Upton Form followed theme Robert Love proposed his 21 points Pamela Foulkes, Robert Love, from particular ethnic or religious as he exhorted the audience to be and covered a breadth of topics from in this challenging and delightful for Touring Made in Heaven, not the Teena Munn backgrounds making discriminatory brave, take risks and eschew political multiculturalism to ticketing trends to keynote address: the mode of least of which stated that artistic and demands of venues. The final point correctness. He stated that theatre the production of indigenous work exposition in drama was fragmentary, This session explored the relationships social purpose must drive touring, not questioned what had happened to was a medicine that could help in and touring. In addition much he said, held together by unseen between producers and presenters, efficiency and political expediency. the notion of colourblind casting. healing and must be enjoyed and networking and socialising built threads and continuities – and so it and concentrated on increasing His points were very well received by understood by both cultures. He felt stronger relationships whilst dealing was with his speech. understanding between the two, the audience. with significant issues for the industry. largely by opening up the world of New Trends In Ticketing that whitefellas still needed to explore Beginning with a quote from Jung producers and how they work. The David Borg, Tim Roberts, the bush. The campfire is open, he The Stirring Pot KEYNOTE ADDRESSES about collective human consciousness distinction between a director and a Craig Thurmer said, for you to come. and meaning in life, we ended in the producer was teased out, as well as Facilitated by Jean Kittson with Lindy Hume, opera and theatre This session concentrated on Sam Cooke related some of the foyers of the the inner workings of a company. panellists Fotis Kapetopoulos, director and former Director of the the phenomenon of marketing to difficulties of getting the work of Yirra and the question of how to create more Shahin Shafaei, Marion Potts, Perth International Arts Festival, began the emerging ‘generation y’ market, Yaakin to tour – noting that often it was involvement in our theatrical culture. Robert Love noted the distinction Josephine Ridge her talk by lamenting the cultural between producers and presenters characterised as being discerning more welcome overseas, and similarly The magic of theatre being noted as With its theme of multiculturalism despondency that had developed over was becoming blurred; Parramatta and skeptical, having conservative that she had had success in sourcing our one viable asset: through this a in the arts, The Stirring Pot was a the life of the Howard government. Riverside Theatre had decided to tastes, and being well versed in new funding from the US to mount work dialogue about society (our collective hypothetical which looked at two produce in order to build audiences media, such as the internet. Despite when it was not forthcoming here. Lindy noted that funding had being) could be fostered. scenarios – the Sydney Festival and because appropriate product the knowledge and use of the internet, She also noted the popularity of increased and good work was being production of a version of Othello Theatre thrived in an atmosphere of was not available to them. He noted they sought human interaction in Windmill Baby in regional areas, produced, but it was clear that the in which Othello is to be a Muslim freedom and flourishing debate – his want to see more risk-sharing their experiences and were wary of in contrast to how it had been arts did not inform the world view and Desdemona converts to Islam indeed, theatre could raise questions arrangements between producers traditional marketing techniques – received in metropolitan areas. of the government. She further and wears a veil; and a production about the nature of identity and and presenters, with money from marketing needed to concentrate commented that here was an odd of The Men from Snowy Mountain The session finished with a chant, mixture of generosity and meanness, consciousness. presenters going in to pre-production. on the emotional experience rather which looked at the building of than traditional persuasive techniques, let by Tom E Lewis, which had all which she likened to trying to dance Andrew commented that mainstream Pamela Foulkes cited the problem of the Snowy Mountain Scheme and the delegates on foot and singing! in a straight jacket. and selling an idea rather than a theatre needed the lifeblood of a lively lack of professional development for which was to cast actors from the particular product, or show, was Many factors went into creating the fringe scene. Independent producers staff in venues – sometimes this could appropriate ethnic backgrounds. often effective. The importance of mood of cultural despondency: were now veering towards the lead to a lack of confidence in the Much of the discussion addressed being able to respond to feedback incidents like the Tampa affair mainstream and we were becoming ability of venues to deliver the service the question of authenticity in casting: and trends quickly and find ‘initiators’ and the intervention in indigenous averse to risk and failure. Big risks required for presenting a production. was also noted. communities in the NT; and in the needed to be taken and there had to be room for failure; the alternative was 10 11

APACA 21ST ANNUAL DROVER awards CONFERENCE REPORT continued

BREAK OUT SESSIONS in which they worked and continued SOCIAL FUNCTIONS The 2007 Drover Awards were presented at the Awards Dinner in the Grand Chancellor Managing Up – Merryn Crawford by responding to the needs of that Cocktail Party hosted demographic. A key part of their Launceston Hotel on 20 September, by the 2006 Touring Legend . The theme of Managing Up was how by Arts Tasmania strategy was an outreach program to influence those around you. Merryn The Design Centre of Tasmania which meant going out into the Crawford admitted that she was provided the glorious setting for community. They had also invested trying to cram too much information this function to welcome delegates The APACA Drover Awards were Design Excellence heavily in converting their Centre so into a 90 minute time-slot, so it was to Tasmania, and the island’s instigated in 2003 to recognise Bangarra Dance Theatre for Clan that it suited their needs, in particular a fast-paced session. The attendees premier professional company, excellence in performing arts touring. the creation of studio spaces. were invited to look at the people Tasdance, provided some The purpose of the awards is to: Tour Management Excellence whom they needed to influence. unforgettable human sculptures. • Acknowledge the skill and Expressions Dance Company for The 5th Door & Virtually Richard 3 This could range from boards and Ethical Business Practices Dr Anna Alomes, Robyn Ayres, Cocktail Party hosted by expertise required for touring. council aldermen down to staff and Road Crew Excellence Ian McDonald the City of Launceston audience. The session focused on • Promote the importance of Patch Theatre Company for Who Sank The Boat? building relationships so that ideas This session brought together lawyers The historic Princess Theatre, built in touring for APACA members. could be positively promoted, and 1911, had become familiar to many and ethicists to discuss various issues Excellent Audience Response typical negative reactions (such as fear, of the delegates as the host venue • Encourage excellence. with which venue managers often have This year there were two winners: TaikOz for Daha Pounding Wave and resistance to change, and ‘what’s in it for Long Paddock, held immediately to grapple. The discussion tended • Reward and show APACA’s D’Arrietta Productions for The Blonde The Brunette & The Vengeful Redhead for me’) could be overcome. A three- to revolve around specific issues: prior to the Conference. However appreciation for the excellence, stage model for promoting influence e.g. copyright, ownership of data, the reception was held on stage with hard work and dedication Special Panel Award for Innovation was proposed: i) prepare, ii) conduct, the position of venues when hirers the speeches being delivered from demonstrated by touring Expressions Dance Company for The 5th Door & Virtually Richard 3 and iii) conclude. Various strategies had done something potentially illegal the dress circle. This gave delegates companies. could be used, particularly engaging or unethical. The ethicist pointed out a unique opportunity to view the and persuading. These strategies used that often an ethical approach could wonderfully decorative auditorium, Each year is a fantastic celebration Special Panel Award for Audience Development varying techniques including involving, be taken by looking at the question innovatively lit for the occasion, from of everything that is touring – Bell Shakespeare motivating, reasoning and asserting. of the rights of the individuals and a perspective which they rarely get. creativity, collaboration and sheer organisations involved. Venues could Alison Farrow provided background hard work. 2007 was no exception Touring Excellence Community Partnerships often manage these issues through vocals, and Cheryl Wheatley, in her as we rewarded the excellence and Monkey Baa Theatre for Young People for Jackie French’s Hitler’s Daughter guise as Lois from Flinders Island dedication of our national touring Evol McLeod and Luisa Pauletto their contractual arrangements (e.g. indemnities) or through clear got delegates laughing. companies. Evol McLeod and Luisa Pauletto Touring Legend policies emphasised through from the Tuggeranong Arts Centre in Drover Awards Dinner Christine Dunstan adequate signage around the venue. Canberra, gave delegates an overview It was often appropriate that venues The Grand Ballroom at the Launceston of the Centre and the strategies and take an ethical lead on these issues Grand Chancellor Hotel was the venue Cherrie McDonald & Christine Dunstan Sandy Collins & Jasmine Gulash Jacki Weaver programs it had used for community by informing the groups using their for this much anticipated annual Christine Dunstan Productions Bangarra Dance Theatre engagement in the years since in venues of the legal situation and Awards Dinner. Fine food, excellent opened in 1998. One core element taking appropriate action against wine, lively music by local band of its success was securing funding questionable practices. Arauco Libre and spirited conversation from sources other than arts funding ensured a great evening. The Drover bodies: these included education, Awards were presented by the 2006 heritage, multicultural affairs and Touring Legend Jacki Weaver and all health. Community engagement the winners were on hand to accept included running arts related courses, their award. A very fitting way to end a a specific youth-at-risk program, a full conference week. contemporary dance program, an active gallery space and a digital storytelling program. They had begun by identifying the demographic 12

Balance Sheet At 30 June 2008

Assets 2008 2007 Current Assets $213,997.31 $258,880.38 Other Assets $35,015.21 $3,087.34 Investments $20.00 $20.00 Equipment $3,630.00 $4,008.00 Total Assets $252,662.52 $265,995.72

Liabilities Current Liabilities $81,038.74 $82,333.00 Total Liabilities $81,038.74 $82,333.00

Net Assets $171,623.78 $183,662.72

Equity Retained Earnings $143,662.72 $138,424.17 Arts House Reserve $40,000.00 $40,000.00 Current Year Earnings ($12,038.94) $5,238.55 Total Equity $171,623.78 $183,662.72

Profit & Loss At 30 June 2008

income 2008 2007 Conference Registrations and Income 2007 $55,572.69 $0.00 Conference Registrations and Income 2006 $0.00 $47,336.49 Sponsorship/Australia Council $55,570.00 $44,560.00 Membership Fees 2006/2007 $0.00 $42,591.32 Membership Fees 2007/2008 $45,319.20 $0.00 Mem’ship Admin Fees $90.91 $0.00 Arts Hub Additional Membership $4,495.56 $0.00 Distribution Arts Services P/L $40,000.00 $45,000.00 Interest Income $11,591.06 $8,883.11 Credit Card Surcharge $1,646.30 $867.38 Sales $3,322.73 $2,271.08 Sundry Income $0.00 $250.00 Total Income $217,608.45 $191,759.38

Expenses Executive Services and Admin $106,714.17 $76,878.28 Membership Services $12,685.96 $7,708.00 National Projects $12,459.13 $12,732.18 Conference Expenses $97,788.13 $89,202.37 Total Expenses $229,647.39 $186,520.83

Net Profit/(Loss) ($12,038.94) $5,238.55

These reports are extracts from the full audited accounts of the association. A full set of reports is available to members on request. Australian Performing Arts Centres Association PO Box 265, Glen Forrest WA 6071 P 08 9298 8822 F 08 9298 8833 www.apaca.com.au