Belvoir Annual Report 2013
A Contents
This Is Our Company 02 Core Values, Principles and Mission 03 Chair’s Report 04 Artistic Director’s Report 07 Executive Director’s Report 08 2013 Season and Tours 10 Co-producers’ Seasons 31 Education 33 Artistic and Programming 36 Marketing 38 Development 40 Donors 42 Board and Staff 44 Financial Statements 48 Key Performance Indicators 50 Directors’ Report 52 Directors’ Meetings 56 Statement of Profit or Loss and Other Comprehensive Income 57 Statement of Financial Position 58 Statements of Changes in Equity and Cash Flows 59 Notes to the Financial Statements 60 Directors’ Declaration 68 Auditor’s Report 69 Partners, Sponsors and Supporters 70
B Meyne Wyatt & Geraldine Hakewill in Peter Pan. Photo: Brett Boardman. This Is Our Company Core Values and Principles
One building. • Belief in the primacy of the Six hundred people. artistic process Thousands of stories. • Clarity and playfulness in When the theatre in an old tomato sauce Belvoir’s position as one of Australia’s most storytelling factory at 25 Belvoir Street was threatened innovative and acclaimed theatre companies • A sense of community within with redevelopment in 1984, more than 600 has been determined by such landmark people – passionate lovers and makers of productions as The Wild Duck, The Diary of the theatrical environment theatre – formed a syndicate to buy the build- a Madman, The Blind Giant is Dancing, The • Responsiveness to current ing and save it. Book of Everything, Cloudstreet, Measure for Measure, Keating!, Parramatta Girls, Exit the social and political issues It was an act of love, to theatre and to our city. King, The Alchemist, Hamlet, Waiting for Go- • Equality, ethical standards Thirty years later, Belvoir is still going strong dot, The Sapphires, Who’s Afraid of Virginia and shared ownership – producing fresh, dynamic and challenging Woolf?, Stuff Happens and Medea. work here in Surry Hills. Belvoir has nurtured of artistic and company We love playing at our home in Surry Hills but the finest theatrical talents in this country – achievements our work also goes further afield to regional actors, writers, directors, designers and arts Australia, other capital cities and to overseas workers. We fill our two beautiful theatres • Development of our festivals and venues. Australian artists are year-round with performances that are performers, artists and staff fantastic cultural ambassadors and we are visionary, bold and risky. pleased to play our part. We believe in the Both the Upstairs and Downstairs stages intrinsic value of theatre and in its power to have nurtured the talents of many renowned change our society for the better. Australian artists: actors including Geoffrey Belvoir receives government support for its Rush, Cate Blanchett, Toby Schmitz, Robyn activities from the federal government through Mission Nevin, Deb Mailman and Richard Roxburgh; the Major Performing Arts Board of the writers such as Tommy Murphy, Rita Kalne- Australia Council and the state government To produce theatrical works jais, Lally Katz and Kate Mulvany; directors through Arts NSW. including Simon Stone, Anne-Louise Sarks, from a shared vision that Benedict Andrews, Wesley Enoch, Rachael question and affirm our culture, Maza and former Belvoir Artistic Director extend and develop our artists, Neil Armfield. and provide audiences with experiences of imaginative Acknowledgement daring and emotional depth. We show our respect and acknowledge the Traditional owners of the land on which Belvoir St Theatre is built: the Gadigal tribe of the Eora Nation. We pay respect to their Ancestors and Elders past, present and future.
02 Irma Woods & Luke Carroll in The Cake Man. Photo: Heidrun Löhr. Chair’s Report Andrew Cameron
2013 was another was received by Jada Alberts; her new play, Awards ambitious year for Brothers Wreck, is slated for the Upstairs Belvoir. Again this Theatre in 2014. Belvoir garnered five industry awards 2013 Green Room Awards year we presented 14 in 2013. Dance – Concept and Realisation The Hive, our group of young, enthusiastic productions in total Conversation Piece supporters, continued to gather momentum, 2013 Helpmann Awards – nine in the Upstairs (Belvoir/Lucy Guerin Inc) and this year it presented Lally Katz’s Stories Best Actor in a Leading Role Theatre and five in the I Want to Tell You in Person. The Hive’s Colin Friels (Death of a Salesman) Theatre – Direction Downstairs Theatre. collaboration with Playwriting Australia has Neil Armfield (The Book of Everything) We presented our most 2013 Sydney Theatre Awards yielded some exciting outcomes. Best Actress in a Supporting Role in a (Belvoir/Kim Carpenter’s Theatre of ambitious production to Image – presented by Melbourne During the year we made one new Mainstage Production date – the two parts of Theatre Company) Angels in America – to great acclaim. Many appointment to the Board. Well-known and Susan Prior (Small and Tired) of our shows sold out. A couple moved to highly regarded actor Mitchell Butel joined Theatre – Ensemble the Theatre Royal, following sell-out runs the Board to take the place of Peter Carroll. Cast of The Book of Everything at Belvoir. We continued our program of Peter was a Belvoir Board member for many (Belvoir/Kim Carpenter’s Theatre of supporting Indigenous theatre, in both years and provided quiet, considered and Image – presented by Melbourne performance and playwriting, and undertook valued advice. Thank you, Peter. We believe Theatre Company) an ambitious touring program to New York it is important to have two artists, including and Europe. an actor, on the Board. I would also like to thank all the hardworking members of the Unfortunately, our artistic successes have not Belvoir Board for their commitment, skill and been reflected in the bottom line. In 2013, financial support. in our most ambitious year, we endured an almost ‘perfect storm’ of things going wrong None of what we achieved in 2013 would behind the scenes. We understand precisely have been possible without the outstanding what went wrong, and have taken action to Belvoir team and the leadership of our make sure that this does not happen again. Executive Director, Brenna Hobson. Brenna I am pleased that the loss was not caused has worked tirelessly and with great skill by any problems with our revenue line. We to strengthen the company internally and sold more tickets in 2013 than ever before. broaden Belvoir’s activities and profile in We are fortunate that Belvoir has substantial the community. Brenna’s skill and expertise retained earnings, so we can absorb the loss have been recently recognised with her on this occasion. appointment to the Sydney Opera House Trust. We were delighted to be able to present productions using funds from the Creative Finally, without the artistic leadership provided Development Fund and the Chair’s Group. by Ralph Myers and all the talented creatives These are two of our valued supporter who have worked at Belvoir during 2013 we groups that raise funds for Belvoir projects would not have the many productions that and productions, and both ensure that we have sustained, intrigued and delighted us can extend our reach and ambition. We are this year. They have played to great acclaim grateful for this support. in our beloved Belvoir St Theatre, around Australia and overseas. On behalf of the We are also extremely grateful to The Board, I thank and congratulate them. Balnaves Foundation for their ongoing commitment to Belvoir towards the staging Andrew of Indigenous productions. In 2013 the Foundation supported Coranderrk and The Cake Man. The second annual Balnaves Foundation Indigenous Playwright’s Award Jada Alberts receives The Balnaves Foundation Indigenous Playwright’s Award from Neil Balnaves. 04 Photo: Tom Cramond. Artistic Director’s Report Ralph Myers
Theatre is an – Travis Cardona’s turn as the defiant, blind ephemeral thing. I’m Ducky in Nakkiah Lui’s brilliant and angry often reminded (usually play This Heaven. when trying to explain – The wonderful Ewen Leslie pulling a third my job to taxi drivers) bottle of Echo Spring Whiskey out of his of how strange it is to trousers in Cat on a Hot Tin Roof. Pure dedicate so much of comedy. your existence to the creation of something – Lally Katz slow-dancing with a seven-foot that we know must bear to Lana Del Ray in Stories I Want to have such a tragically Tell You in Person. And how she could short lifespan, and that will, almost by make us feel genuinely sad while doing definition, be just a flicker before our eyes. something so palpably absurd. In the end, all that we have for the trouble – Colin Moody as Gerry in Tom Holloway’s of making or watching theatre are our heart-wrenching Forget Me Not. He was memories. And memories are, famously, incandescent with sadness and rage. It unreliable. But thinking back over the 2013 was almost too hard to watch at times. Season as I sit down to write this, I’m struck – The slow realisation by the audience that by how many great moments – how many the tiny bearded rabbi in the first moments reliably great memories – come flooding of Eamon Flack’s wonderful rendering of Susan Prior & Tom Conroy in Small and Tired. Photo: Brett Boardman. back. I was, most certainly, moved and Angels in America was in fact Robyn Nevin changed by the theatre we made together as in a beard. Some people never figured out a company over the year. it was her, and wondered why that terrific I’ve come to realise that theatre is a little man never came out for the curtain compact between all of us, the audience call! and the actors and the ushers and the stage – The infectious exuberance and energy of managers – everyone in that room together – the women in The Baulkham Hills African to make those memories, to make moments Ladies Troupe as they told their almost that change us in some way. And they make unbelievably tragic life stories. And the us richer. Not literally, of course. There’s no generosity they showed in sharing them money in it (particularly for the ushers). But with us. as individuals and as a city and a culture we are made to think and feel things we – The image of Taylor Ferguson curled up otherwise wouldn’t have thought or felt. around the empty birdcage at the end of Simon Stone and Leticia Cáceres’ Miss So here are just a few of the things that Julie, with the brilliant Brendan Cowell and bubble up out of the soup of my mind when I Blazey Best lying, Steenkamp-like, in pools think back over that season. of their own blood. – The little kids who yelled stuff out from the – Susan Prior dancing to a dicky jukebox in audience of Peter Pan. I think we could all Small and Tired. Her performance was so learn something from the immediacy and raw and honest (and was justly rewarded honesty of a room full of children. I loved with a Sydney Theatre Award). hearing them yelp and gasp when Peter appeared silhouetted in the window for the I could go on and on! But there’s no time for first time. reminiscing. We’ve got another 13 shows to get on first. Ralph Robyn Nevin in Angels in America. Travis Cardona in This Heaven. Photo:06 Heidrun Löhr. Photo: Brett Boardman. 06 07 Executive Director’s Report Brenna Hobson
2013 was a strong year support that both the Australia Council for financial risk did not pay off for a variety of 2013, then, was a mixed year for the artistically for Belvoir, the Arts and the Andrew Cameron Family reasons. However the ability to expose more company – some wonderful achievements while presenting Foundation gave to our international touring audience members to works like Angels in artistically as well as ground-breaking the company with efforts last year. America made for significant artistic and tours internationally that will stand us in some significant but audience development rewards that are not good stead for the future. This is balanced Alongside the Australia Council for the Arts, short-term financial to be underestimated. against a poor financial result that means Arts NSW provides core funding to the challenges. Our home we will need to do some rebuilding of company; the support of both state and Andrew referred to a ‘perfect storm’ in his seasons at Belvoir reserves in the future. I thank our Board federal governments is keenly felt. In his report and that’s certainly what 2013 felt like performed strongly for their ongoing enthusiasm and support Chair’s report, Andrew has mentioned our on some levels. Like much of the business with both Upstairs and throughout this complicated year. various donor programs that ensure that we community we struggled with reduced Downstairs productions are able to develop our work and artists, as interest earnings. We also lost a key non- Andrew Cameron in particular has been a exceeding their audience and box office well as provide funding for our education theatrical commercial hire of our space. tireless advocate for the company, and a targets. A particular highlight was presenting programs that run throughout NSW (more When you add some personnel changes sympathetic and perceptive leader. the terrifically ambitious Angels in America, in the Education report on pp33–35). One at crucial times, the odd bit of actor illness the first professional production in Sydney Another thing that hasn’t changed is the foundation that I would like to single out is and the ending of our partnership with since 1993. Well before the production extraordinary dedication that everyone The Balnaves Foundation; 2013 represented Optus after 14 great years, we started to feel opened we announced a transfer to the who works in our little corner of Surry Hills their third year of supporting Indigenous as though we’d copped all the mishaps a Theatre Royal, based purely on subscription brings to their work. Actors, artists, staff and productions in both the Upstairs and theatre company could in one calendar year. audience demand. crew never cease to amaze me with their Downstairs Theatres and their second year of I’m pleased to say that we have entered 2014 professionalism, care and generosity. I thank Another highlight was our expanded supporting an Indigenous playwriting award with a great, refreshed team as well as some them all. presence outside of our home venue. In – both have been reaping great rewards. new systems. 2013 we took our co-production with Force It was so pleasing that our co-production Brenna Majeure, Food, to regional Victoria and with ILBIJERRI Theatre Company, Beautiful Brisbane, and I’m Your Man to 10 venues One Day, was able to extend its life to play at across Australia. The fact that we now Melbourne’s Arts House in 2013 following its produce our own work in the Downstairs Sydney season in 2012. Theatre means that it is now possible All of this work takes considerable to reach many more people in regional resources however. Belvoir has expanded Australia, and we are particularly pleased its activity significantly in the last five about that. years, and in 2013 we undertook a much- On the international front we continued needed restructure of our set and prop to expand with The Wild Duck touring manufacturing. That came at a cost but to the Holland Festival as well as Wiener will ensure that we are able to support the Festwochen, two of Europe’s most highly artistic needs of our productions while regarded festivals. The production received better managing costs well into the future. a rapturous response from audiences and Our philosophy behind transferring work critics and looks set to tour further in 2014 to the Theatre Royal, and venues like it, is and beyond. We also had the great joy of about ensuring that Belvoir isn’t a closed taking Peter Pan to the New Victory in New shop when many of our productions sell out. York – the children’s venue on 42nd Street Opening up to new audiences is important and Broadway where The Book of Everything for the company in general, and we strive to had such a great reception in 2012. Finally, do this within Sydney as well as regionally, while we were in New York we took up the nationally and internationally. 2012’s offer to do a one-off performance of Lally production of Death of a Salesman proved Katz’s Stories I Want to Tell You in Person that this can be successful both artistically at the Public Theater’s cabaret space, Joe’s and commercially but we have always been Pub. I’d like to acknowledge the invaluable aware that it is not without risk. In 2013 the Peter Pan cast (and ASM Mel Dyer) with Brenna in New York City. 08 09 Gareth Davies & Geraldine Hakewill. Photo: Brett Boardman.
2013 Season and Tours Peter Pan 5 January – 10 February Upstairs Theatre
Statistics Performances 40 Total Available Tickets 13,720 Total Audience 12,016 Box Office Income $377,172
Written by Composer & Sound Designer With J.M. Barrie Stefan Gregory Paula Arundell Adapted by Assistant Director Jimi Bani Tommy Murphy Isaac Drandic Gareth Davies Harriet Dyer Directed by Fight Director Charlie Garber Ralph Myers Scott Witt Geraldine Hakewill Set Designer Choreographer Megan Holloway Robert Cousins Sara Black John Leary Costume Designer Stage Manager Meyne Wyatt Alice Babidge Luke McGettigan Lighting Designer Assistant Stage Manager Damien Cooper Amy Morcom
… a production that weaves comedy, If it’s true that fairies are created with magic and melancholy beautifully. peals of laughter, Sydney will surely The Sun Herald become the fairy kingdom this month. Vogue 10 11 Jada Alberts & Eden Falk. Photo: Brett Boardman. Ewen Leslie & Jacqueline McKenzie. Photo: Heidrun Löhr.
This Heaven Cat on a Hot Tin Roof 7 February – 17 March 16 February – 7 April 10–21 April Downstairs Theatre Upstairs Theatre Theatre Royal
Statistics Statistics Statistics Performances 42 Performances 64 Performances 13 Total Available Tickets 3,486 Total Available Tickets 21,506 Total Available Tickets 9,386 Total Audience 3,126 Total Audience 17,310 Total Audience 5,559 Box Office Income $75,150 Box Office Income $673,112 Box Office Income $221,531
Written by Composer With Written by Associate Sound Designer With Nakkiah Lui Steve Francis Jada Alberts Tennessee Williams Caitlin Porter Ruby Alexander Directed by Sound Designer Joshua Anderson Directed by Assistant Director Alex Chorley Lee Lewis Nate Edmondson Travis Cardona Simon Stone Kit Brookman Oscar Clarke Eden Falk Lynette Curran Set & Costume Designer Production Manager Set Designer Production Manager Tessa Rose Gareth Davies Sophie Fletcher with Neil Fisher Robert Cousins Glenn Dulihanty Alan Dukes Alice Babidge Stage Manager Costume Designer Stage Manager Bonnie FitzGerald Lighting Designer Khym Scott Alice Babidge Eva Tandy Ewen Leslie Luiz Pampolha Lighting Designer Assistant Stage Managers Rebecca Massey Damien Cooper Mel Dyer Jacqueline McKenzie Marshall Napier Composer & Sound Designer Sarah Stait Ella Nicol Stefan Gregory Justin Smith Natalie Theodore
The final scenes are tragic and The tragedy of an Aboriginal death This is a good production Curran wrings pathos from the put- breathtakingly affecting. That it in custody is all too common and made great by McKenzie’s upon, gauche, but ultimately lovable should come to this. so there’s a real poignancy to the beautiful performance. Big Mama, and generates the show’s The Australian anger, frustration and helplessness The Australian most moving moments. the protagonists display. The Sydney Morning Herald 12 The Daily Telegraph 13 Lally Katz. Photo: Heidrun Löhr. Mandy McElhinney & Colin Moody. Photo: Lisa Tomasetti.
Stories I Want to Tell You in Person Forget Me Not 18 April – 26 May 20 April – 19 May Downstairs Theatre Upstairs Theatre
Statistics Statistics Performances 42 Performances 33 Total Available Tickets 3,486 Total Available Tickets 10,791 Total Audience 3,250 Total Audience 8,464 Box Office Income $88,575 Box Office Income $267,403
Written by Production Manager Written by Stage Managers Lally Katz Glenn Dulihanty Tom Holloway Luke McGettigan Directed by Stage Managers Directed by Eva Tandy Anne-Louise Sarks Amy Morcom Anthea Williams Assistant Stage Manager Set & Costume Designer Grace Nye-Butler Set & Costume Designer Chantelle Foster Ralph Myers With Dan Potra With Lighting Designer Lally Katz Lighting Designer Mandy McElhinney Damien Cooper Matthew Marshall Colin Moody Eileen O’Brien Composer & Sound Designer Composer & Sound Designer Oscar Redding Max Lyandvert Stefan Gregory
A co-production with Malthouse Theatre A co-commission with Liverpool Everyman and Playhouse
All the time it is funny. …she’s a natural performer: funny, One of the finest pieces of writing currently There’s no actor to touch Wildly, fall-about funny. super-likeable, vibrant and with a fund on Sydney stages, remarkably acted and Moody in conveying The Sydney Morning Herald of fabulous anecdotes… honest, it is one of the best plays of the year. emotional fragility clothed in The Australian Aussie Theatre bloody-mindedness. 14 The Australian 15 DeObia Oparei & Amber McMahon. Photo: Robert Catto. Luke Mullins & Paula Arundell. Photo: Heidrun Löhr.
A Gay Fantasia on National Themes A Gay Fantasia on National Themes Angels in America Part One: Millennium Approaches Angels in America Part Two: Perestroika 28 May – 14 July 18–28 July 29 May – 14 July 18–28 July Upstairs Theatre Theatre Royal Upstairs Theatre Theatre Royal
Statistics Statistics Statistics Statistics Performances 32 Performances 6 Performances 26 Performances 6 Total Available Tickets 10,464 Total Available Tickets 6,900 Total Available Tickets 8,502 Total Available Tickets 6,900 Total Audience 9,947 Total Audience 4,266 Total Audience 7,191 Total Audience 3,534 Box Office Income $341,491 Box Office Income $187,569 Box Office Income $264,439 Box Office Income $190,132
Written by Composer Assistant Stage Manager Written by Composer Assistant Stage Manager Tony Kushner Alan John Roxzan Bowes Tony Kushner Alan John Roxzan Bowes Directed by Sound Designer With Directed by Sound Designer With Eamon Flack Steve Francis Paula Arundell Eamon Flack Steve Francis Paula Arundell Set Designer Assistant Director Mitchell Butel Set Designer Assistant Director Mitchell Butel Michael Hankin Shelly Lauman Marcus Graham Michael Hankin Shelly Lauman Marcus Graham Amber McMahon Amber McMahon Costume Designer Fight Director Costume Designer Fight Director Luke Mullins Luke Mullins Mel Page Scott Witt Mel Page Scott Witt Robyn Nevin Robyn Nevin Lighting Designer American Dialect Coach DeObia Oparei Lighting Designer American Dialect Coach DeObia Oparei Niklas Pajanti Paige Walker-Carlton Ashley Zukerman Niklas Pajanti Paige Walker-Carlton Ashley Zukerman Associate Lighting Designer Stage Managers Associate Lighting Designer Stage Managers Ross Graham Mel Dyer Ross Graham Mel Dyer Eva Tandy Eva Tandy
If you only see one play this year, make it two… It is hard to recommend Belvoir’s Angels is delicious, There is so much to savour and to Takes you past familiar experience and leaves you this production more highly, decadent and absolutely unmissable. love about this production. poised for something new and unforgettable. especially to those who have Aussie Theatre Stage Noise Concrete Playground never experienced Angels with its wings fully extended. 16 17 The Sydney Morning Herald Meredith Penman & Karen Sibbing. Photo: Ellis Parrinder. Yarrie Bangura. Photo: Heidrun Löhr.
Persona The Baulkham Hills 15 August – 15 September Downstairs Theatre 24 July – 18 August African Ladies Troupe Upstairs Theatre
Statistics Statistics Performances 28 Performances 42 Total Available Tickets 9,156 Total Available Tickets 3,486 Total Audience 8,820 Total Audience 2,789 Box Office Income $315,255 Box Office Income $69,640
Based on the film by Lighting Designer With Written and Directed by Musical Director & Composer Stage Manager Ingmar Bergman Danny Pettingill Sean Campbell Ros Horin Basil Hogios Karen Faure Conceived by Sound Designer Brandon Easson Associate Director/ Lighting Designer Assistant Stage Manager Adena Jacobs, Russell Goldsmith Meredith Penman Movement Nicholas Rayment Gina Bianco Daniel Schlusser Dayna Morrissey & Recorded voice-over Lucia Mastrantone Sound Designer & Producer Karen Sibbing Danny Pettingill Jane Montgomery Set Designer additional music Michelle Kotevski Directed by Griffiths Dan Potra Steve Toulmin Performers & Devisors Adena Jacobs Stage Manager Video Designer Filmmaker Yarrie Bangura Translated by Edwina Guinness Mic Gruchy Justine Kerrigan Aminata Conteh-Biger Keith Bradfield Assistant Stage Manager Associate Designer & Dramaturgs Nancy Denis Production Designer Katie Hankin Costume Yana Taylor Eden Dessalegn Dayna Morrissey Emma Kingsbury Natalia Savvides Aminata Doumbia Yordanos Haile-Michael Songwriter Technical Programmer Rosemary Kariuki-Fyfe A Fraught Outfit Production Aminata Doumbia Phil Downing Tariro Mavondo A co-production with Racing Pulse Productions and Effie Nkrumah … brave, exciting and harrowingly A startlingly original work performed Riverside in association with STARTTS Lisa Viola beautiful theatre. with extraordinary precision and The Sydney Morning Herald passion, it’s stylishly austere, Sheer entertainment packed into a … a powerful, uplifting and confronting and deeply intelligent. political powerhouse. humbling experience.
18 The Monthly Stage Noise jolitson.com 19 Taylor Ferguson & Brendan Cowell. Photo: Ellis Parrinder. Susan Prior & Luke Mullins. Photo: Brett Boardman.
Miss Julie Small and Tired 24 August – 6 October 26 September – 3 November Upstairs Theatre Downstairs Theatre
Statistics Statistics Performances 49 Performances 40 Total Available Tickets 16,023 Total Available Tickets 3,320 Total Audience 14,762 Total Audience 3,015 Box Office Income $562,520 Box Office Income $82,257
Written by Composer & Sound Designer Assistant Stage Manager Written and Directed by Stage Manager Simon Stone after THE SWEATS Khym Scott Kit Brookman Edwina Guinness August Strindberg Fight Director With Set & Costume Designer With Directed by Scott Witt Blazey Best Mel Page Tom Conroy Leticia Cáceres Voice Coach Brendan Cowell Lighting Designer Paul Gleeson Set Designer Danielle Rolfe Taylor Ferguson Verity Hampson Sandy Gore Luke Mullins Robert Cousins Directing Secondment Composer & Sound Designer Susan Prior Costume Designer Cathy Hunt Tom Hogan Tess Schofield Stage Managers Dramaturg Lighting Designer Karen Faure Anthea Williams Damien Cooper Luke McGettigan
Simply sensational theatre. The performances are excellent across This is a powerful new Susan Prior is riveting as the mercurial, The Daily Telegraph the board, led by Taylor Ferguson, 20, work, movingly rendered by occasionally manic Electra. Her emotions making a truly impressive stage debut in a strong cast. seem permanently poised on a knife-edge. the title role. Australian Stage The Sydney Morning Herald 20 The Guardian 21 Toby Schmitz. Photo: Brett Boardman. James Slee & Oscar Redding. Photo: Heidrun Löhr.
Hamlet The Cake Man 12 October – 1 December 14 November – 8 December Upstairs Theatre Downstairs Theatre
Statistics Statistics Performances 57 Performances 42 Total Available Tickets 19,494 Total Available Tickets 3,486 Total Audience 18,277 Total Audience 2,055 Box Office Income $683,965 Box Office Income $47,741
Written by Lighting Designer With Written by Stage Manager William Shakespeare Benjamin Cisterne Emily Barclay Robert J. Merritt Sue Wilkes Directed by Composer & Sound Designer Luke Byrne Directed by With Simon Stone Stefan Gregory Thomas Campbell Kyle J. Morrison Luke Carroll John Gaden Set Designer Stage Manager Set & Costume Designer Oscar Redding Ewen Leslie Ralph Myers Eva Tandy Stephen Curtis George Shevtsov Nathan Lovejoy James Slee Costume Designer Assistant Stage Manager Lighting Designer Robyn Nevin Tim Solly Mel Page Angharad Lindley Jenny Vila Anthony Phelan Irma Woods Maximilian Riebl Composer & Sound Designer Toby Schmitz Wayne Freer Greg Stone
A co-production with Yirra Yaakin Theatre Company
While sometimes it feels as though This is thrilling, exhilarating theatre. … a show that needs to be seen. It is an Slee shows himself to be Hamlet has little new left to offer, Australian Stage important part of our history – both our one to watch, an up-and- Belvoir makes it fresh again. national and theatrical history. This is a really coming Meyne Wyatt. The Daily Telegraph great production. The Daily Review Australian Stage 22 23 Bjorn Stewart, Jack Charles & Mathew Cooper. Photo: Patrick Boland. Fayssal Bazzi & Emma Jackson. Photo: Heidrun Löhr.
Coranderrk National Touring Food 7 December – 3 January 2014 A co-production with Force Majeure Upstairs Theatre
Statistics Statistics Performances 27 Performances 21 Total Available Tickets 9,067 Total Audience 3,888 Total Audience 6,500 Box Office Income $214,979 Written by Composer & Touring venues Steve Rodgers Sound Designer Geelong Performing Written by Lighting Designer With Directed by Ekrem Mülayim Arts Centre, Geelong Andrea James & Damien Cooper Katherine Beckett Kate Champion & Assistant Director 13–16 March Giordano Nanni Composer & Sound Designer Jack Charles Steve Rodgers Danielle Micich Whitehorse Centre, Mathew Cooper Concept Ben Grant Set & Costume Designer With Nunawading Kelton Pell 19–20 March Giordano Nanni AV Designer Anna Tregloan Fayssal Bazzi Melodie Reynolds-Diarra Director Peter Worland Kate Box Frankston Arts Centre, Bjorn Stewart Lighting & Audio Visual Emma Jackson Frankston Isaac Drandic Stage Manager Designer 22 March Set & Costume Designers Chantelle Foster Martin Langthorne La Boite Theatre, Ruby Langton-Batty Assistant Stage Manager Brisbane Ralph Myers Grace Nye-Butler 16–27 April
A co-production with ILBIJERRI Theatre Company
What is theatrically compelling here is the ... compulsory viewing. The performances of Box, Food is – the foodie analogies way in which the company gradually claims The Daily Review Jackson and Bazzi are superb. are irresistibly appropriate – a ownership of a piece of the past. The trio work together seamlessly. nourishing theatrical dish with The Australian Oz Baby Boomers some unexpected flavours. 24 Time Out 25 Eloise Mignon. Photo: Heidrun Löhr. Katia Molino. Photo: Heidrun Löhr.
International Touring National Touring I’m Your Man The Wild Duck A co-production with Sydney Festival in association with BYDS Toured by Performing Lines for Mobile States
Statistics Statistics Performances 7 Performances 49 Total Audience 2,946 Total Audience 3,711
Written by Assistant Director With Created & Directed by With Vitalstatistix, Adelaide Simon Stone with Chris Anne-Louise Sarks Blazey Best Roslyn Oades Michael Mohammed Ahmad 7–11 August Ryan after Henrik Ibsen Dramaturg Brendan Cowell Set & Lighting Designer Billy McPherson Salamanca Arts Centre, Directed by Eamon Flack John Gaden Neil Simpson Katia Molino Hobart Damon Herriman Justin Rosniak Simon Stone Stage Manager Sound Designer 15–17 August Eloise Mignon John Shrimpton Set Designer Luke McGettigan Bob Scott Darwin Festival, Anthony Phelan Ralph Myers Assistant Stage Manager Choreographer Touring Venues Browns Mart Theatre Costume Designer Amy Morcom Touring venues Lee Wilson Carriageworks, Sydney 22–24 August Halle G im MuseumsQuartier Tess Schofield Tour Management (Branch Nebula) 10–20 July Brisbane Powerhouse Wiener Festwochen, Vienna, Lighting Designer Arts Projects Australia Script Consultant 28–31 August Austria Perth Institute of Niklas Pajanti Raimondo Cortese Arts House, Melbourne 18–21 May Contemporary Arts Composer & Sound Designer Production Manager 24–28 July 4–8 September Muziekgebouw aan ’t IJ Stefan Gregory Holly Woollard HotHouse Theatre, Wodonga Holland Festival, Amsterdam, Mandurah Performing 11–15 September The Netherlands Stage Manager Arts Centre 2–4 June Laura Harris 31 July – 3 August Riverside Theatres, Sydney 20–21 September
This exciting new production showcases an … all bring great measures of energy, The drive, sweat and pumped-up incredible cast, whilst bringing an old story focus, humour, generosity and truthfulness psyches of boxers is portrayed to Het Parool, Amsterdam to a new audience with clarity and vigour… to this deservedly popular show. riveting effect. The performances are stunning. Hobart Mercury The Sun Herald 26 The Brag 27 Lally Katz. Photo: Heidrun Löhr. Harriet Dyer & John Leary. Photo: Brett Boardman.
International Touring International Touring Stories I Want to Tell You in Person Peter Pan A co-production with Malthouse Theatre Statistics Statistics Performances 14 Performances 1 Total Audience 6,519 Total Audience 280 Written by Fight Director With Written by Associate Lighting Designer J. M. Barrie Scott Witt Paula Arundell Lally Katz Christopher Page Adapted by Choreographer Gareth Davies Harriet Dyer Directed by Technical Manager Tommy Murphy Sara Black Charlie Garber Anne-Louise Sarks Warren Sutton Directed by Production Manager Geraldine Hakewill Ralph Myers Chris Mercer Set & Costume Designer With Megan Holloway Ralph Myers Lally Katz Set Designer Associate Lighting Designer Uli Latukefu Robert Cousins Christopher Page Lighting Designer Touring Venue John Leary Damien Cooper Joe’s Pub, Public Theater, Costume Designer Head Technician/ Meyne Wyatt Alice Babidge Head Mechanist Composer & Sound Designer New York Touring Venue Warren Sutton Max Lyandvert 29 September Lighting Designer New Victory Theater, Damien Cooper Stage Manager New York Composer & Sound Designer Luke McGettigan 3–13 October Stefan Gregory Assistant Stage Manager Assistant Director Mel Dyer Isaac Drandic
… this show is pure entertainment. For the audience, it’s an irresistible Critics’ pick! Endlessly fun and inventive, this is Time Out glimpse into the unpredictable world of The New York Times truly a Peter Pan to crow about. being Lally Katz. New York Post The Daily Telegraph 28 29 Co-producers’ Seasons In 2013 five of Belvoir’s co-producers hosted their seasons of our co-productions. Conversation Piece A co-production with Lucy Guerin Inc 19–24 March Arts House, Melbourne
Statistics Performances 7 Total Audience 873
Matthew Whittet. Photo: Heidrun Löhr. Megan Holloway. Photo: Brett Boardman.
National Touring Book of Everything The Baulkham Hills A co-production with Kim Carpenter’s Theatre of Image African Ladies Troupe A co-production with Racing Pulse Productions and Riverside in association with STARTTS Statistics 9–18 May Performances 31 Riverside Theatres, Sydney Total Audience 8,400 Statistics Claire Jones Written by Sound Designer Performances 11 Guus Kuijer Steve Francis John Leary Total Audience 2,121 Adapted by Choreographer Genevieve Picot Richard Tulloch Julia Cotton Matthew Whittet Directed by Assistant Director Touring venue Effie Nkrumah, Tariro Mavondo & Rosemary Neil Armfield Eamon Flack Melbourne Theatre Company, Kariuki-Fyfe. Photo: Lisa Tomasetti. Set & Costume Designer With Southbank Theatre Kim Carpenter Alison Bell 27 November – 22 December Lighting Designer Peter Carroll Nigel Levings Andrea Demetriades Stories I Want to Julie Forsythe Composer Iain Grandage Tell You in Person Iain Grandage A co-production with Malthouse Theatre 9–25 August Malthouse, Melbourne
Statistics Director Neil Armfield uses whimsy to balance The inimitable Forsyth Performances 18 out some of the bleaker subject matter in this deserves special accolades for Total Audience 2,135 inventive and playful production. her impeccable comic timing The Age and hilarious depiction of Mrs Van Amersfoort. 30 Lally Katz. Photo: Heidrun Löhr. 31 Herald Sun Education
‘What I will remember most about this play Schools also brought their students to Belvoir is how brave the ladies are for sharing their evening performances, either by purchasing stories with the world,’ wrote a student subscription packages or by booking specific from Holroyd High School after seeing The productions. This year, 2,526 students Baulkham Hills African Ladies Troupe. ‘It’s the and their teachers attended an evening best show I’ve ever seen.’ performance at Belvoir. In 2013, Belvoir offered 25 schools matinees The play wasn’t about nothing. It was of Upstairs and Downstairs Theatre important and about real issues. productions. Student, Dungog High School, after attending Angels in America Students attending our schools performances came from the full range of high schools Theatre workshop program Luke Carroll & James Slee. Photo: Heidrun Löhr. Rachael Maza. Photo: Ponch Hawkes. – government and non-government, local Belvoir’s workshop program brings students, schools and schools in regional NSW and teachers and industry professionals together. even, on occasion, from interstate. Our In 2013 we again delivered a huge program Co-producers’ Seasons most heavily booked performances were for of practical workshops in performance, Hamlet, Peter Pan, This Heaven, The Cake production and design at Belvoir and at Man and The Baulkham Hills African Ladies schools throughout regional NSW. Troupe. The emotional impact on students of We ran 84 workshops for 1,582 students in the production and story of Forget Me Not metropolitan and regional schools, at Belvoir was strong. ‘Before I had seen this play, I did St Theatre and in our rehearsal rooms. More The Cake Man Beautiful One Day not know that there was child immigration, than half of these students experienced the which made me see a different side to the 24 October – 9 November 26 November – 1 December workshops at their own regional schools. world,’ one student wrote. A teacher said, State Theatre Centre, Perth Arts House, Melbourne The quality, reach and impact of our Regional ‘My students commented on the emotion Workshop program goes part way to closing they felt. They were excited by the fact that A co-production with Yirra Yaakin A co-production with ILBIJERRI the cultural gap between students at regional they felt emotion.’ Theatre Company Theatre Company high schools and their metropolitan peers. In our schools audiences we also see a mix Through these opportunities students are of theatre-going experience – from those who able to develop levels of sophistication Statistics Statistics have been attending our productions for a in presentation and performance styles. number of years, to others coming for the first Performances 14 Performances 7 Through Belvoir visiting us a greater time. Each schools matinee is followed by a Total Audience 1,286 Total Audience 817 number of students have access to Question & Answer session with the cast. resources they cannot normally afford. In 2013, 5,340 students and their teachers Teacher, Kelso High School (Bathurst) attended a schools matinee at Belvoir. Of The things I have learnt I can use in my these, 1,022 attended through ticket and HSC performance. travel subsidy programs offered to schools Please give us more. identified by the NSW Department of Students, Murwillumbah High School Education & Training as disadvantaged or geographically remote. Participating schools Professional development came from Coffs Harbour, Macksville and workshops for teachers Ballina, Nowra and Wollongong, Batlow and Four professional development workshops Goulburn, Dungog, Mudgee, Narrandera were held at Belvoir with 52 teachers and Cowra, and from Sydney’s western and participating. These full-day workshops, held south-western suburbs including Blacktown, on a Saturday, are a great way for Belvoir to Cabramatta, Campbelltown, Liverpool, meet teachers face-to-face and to learn about Lurnea, Miller, Mount Druitt and Wiley Park. how we can better support their teaching. Professional development workshops were
32 33 Youth Express Work experience ‘Good, I’m feeling good! I got to perform in High school students have the opportunity to front of all the people. I was nervous at the learn more about Belvoir and our productions beginning of it, but then when I got to the end first hand through our work experience of it, I was proud that I was standing on the program. In 2013, 16 students completed stage where everybody was, just everybody one week of work experience at Belvoir; looking at me, getting applause and all that. It as well as Sydney students, we hosted was good!’ students from the NSW North Coast and Southern Highlands, three students from Belvoir’s outreach program, Youth Express, interstate and one student from Manila in the ran for the ninth year in 2013. Forty-three Philippines. Eighteen students took part in young people participated, with 25 of them work placement as part of their Vocational Actor DeObia Oparei with Albion Park High School students for performing on stage. We worked with four Education and Training Entertainment Belvoir’s Theatre Enrichment Program. Photo: Cathy Hunt. youth-support organisations – Youth Off the Certificate. These Year 11 and 12 students Streets’ Key College, Regenesis Youth, The spent one week with Belvoir’s Production John Berne School and Twenty10 – to deliver department, participating in the bump-in of a held around teaching Group Devising, A highlight of the 2013 Theatre Enrichment a 16-week program of drama workshops Belvoir production. Monologue Performance, Playwriting and Set Program was undoubtedly taking playwright to young people at risk. With director Design. Our tutors share their professional Nakkiah Lui to talk to students at Chifley James Winter they devised their own short More resources we provide experience and processes with teachers, and College Senior Campus in Mount Druitt and performances, based on their experiences Students continue to access Belvoir’s history explore approaches to working with students the nearby Rooty Hill High School. Students and views of the world. Performed in the and past productions. In 2013, 192 students through practical activities. Teachers love the from Chifley College were blown away that Downstairs Theatre, the pieces were strong went on a backstage tour and 283 students chance to participate in an artist’s process for a playwright from Mount Druitt had written a and honest, tackling issues such as crime, watched an archival recording of one of a day. play set in Mount Druitt. cycles of violence in families, bullying and Belvoir’s productions. our capacity to break destructive patterns of It was inspirational and engaging. It gave This play made me think about social In 2013, 986 teachers received our quarterly behaviour. The program challenges the young me so many ideas… Awesome way to injustice. Sometimes we forget that these Education e-bulletin, and our annual School people to step outside their comfort zone by spend a Saturday! things happen right under our nose! Book was posted to 1,860 teachers in NSW committing to the process and having the Teacher, Evans High School Student, Chifley College Senior Campus as well as 96 schools interstate. courage to stand up in the public forum and Theatre Enrichment Access to quality live theatre is limited in tell their story. Belvoir’s Education webpages received The experience of attending a performance the immediate area in which my students 13,600 page views in 2013, proving that our I’m mesmerised. I did something I’ve at Belvoir is extended for some students live. This program offered a valuable online resources are attractive, user-friendly never done before. I grew. I grew the through our unique Theatre Enrichment opportunity for many to experience and are being utilised by both teachers and urge to just go up and just say, ‘do it’. Program – a fully subsidised program offered their first live theatre production. A students alike. It’s better done than not done at all. It’s to students at government high schools in brilliant program! I feel we have opened good. It’s a good feeling. Jane May western and south-western Sydney and a door for some of our students to an Student, Youth Express Education Manager regional NSW. In 2013, 333 students and experience and a world they may have their teachers participated in this program. otherwise never have been introduced to. Students attended a school matinee Teacher, Albion Park High School performance of This Heaven, Cat on a Hot Tin Roof or Angels in America (Part One). Beforehand, they participated in a 90-minute session at their school, designed to introduce them, through practical activities, to the elements of theatre used by a director to bring a text to life on the stage. After seeing the show, students met a member of the cast or creative team who visited their school for a Question & Answer session.
34 35 Artistic and Programming
2013 was an important year for developing the Downstairs Theatre, Kyle J. Morrison, fellowship winner was Ian Meadows. The is a co-commission between Belvoir new works at Belvoir, many of which will Artistic Director of Western Australia’s Yirra award, now fellowship, has continued to and Playwriting Australia, so PWA’s Tim be seen over the following seasons on our Yaakin Theatre Company, directed Robert be an unusually successful generator of Roseman joined director Leticia Cáceres stages. We also appointed two new Resident J. Merritt’s classic The Cake Man after a new plays, with Matthew Whittet and Zoë and Anthea in a number of developments Directors, Adena Jacobs and Anne-Louise successful season in WA. Coombs Marr being programmed in Belvoir of that work throughout the year. Sarks, who were part of the programming seasons shortly after winning the award in The Baulkham Hills African Ladies Troupe, Supported by Belvoir’s young donors team for our 2014 Season along with Eamon previous years. premiering Downstairs in August, was a co- group The Hive, Tim Spencer joined our Flack, Tahni Froudist, Brenna Hobson, Ralph production with Raging Pulse Productions The Balnaves Foundation Indigenous Artistic and Programming team as our Myers and Anthea Williams. and Riverside. A celebration of the resilience Playwright’s Award was run for the PWA Writer-in-Residence. It was a joy New works and spirit of African women now living in second time in 2013, with a strong field of having Tim join the company, both for It was an excellent year for playwriting at Australia, it told the often-harrowing life applicants. Judges Wesley Enoch, Rachael his insight into shows being developed Belvoir. Both Nakkiah Lui and Kit Brookman, stories of its four leads: Yarrie Bangura, Maza, Eamon Flack and Anthea Williams and rehearsed and for his links to the who joined the company as Playwriting Aminata Conteh-Biger, Yordanos Haile- were joined by 2012’s winner Nakkiah Australian industry. Australia (PWA) Writers-in-Residence in Michael and Rosemary Kariuki-Fyfe. Lui. It was fantastic to have Wesley and Anthea Williams Eamon Flack 2012, had their professional debuts in the Rachael, both Artistic Directors of other Inspirational classics Literary Manager Associate Director Downstairs Theatre with This Heaven and companies, supporting the award and the We staged a number of classic plays in – New Projects Small and Tired respectively. Both plays writers who applied. Jada Alberts won the our 2013 Season to critical acclaim and heralded the arrival of serious new talent award this year for a work about her father, continued to examine how these works are and both Nakkiah and Kit have further entitled Me and Jungli and this play is now relevant to contemporary audiences. This commissions with the company, which we’re in development. Jada’s submission for the was achieved both on the stage and through excited to be working on. Tom Holloway’s award, Brothers Wreck, is part of Belvoir’s events such as the Sunday Forum for Miss new work Forget Me Not, a co-commission 2014 Season. Julie, entitled Misogyny and the Theatrical with the Liverpool Everyman and Playhouse, Canon. Chaired by Anthea Williams, it For the first time in 2013 Belvoir offered had its premiere in the Upstairs Theatre in included directors Leticia Cáceres and Sarah a commission with the University of April and received excellent reviews. Giles, and dramaturgs/academics Dr Laura Wollongong, supported by the Copyright Lally Katz premiered her one-woman show Ginters and Eleanor Skimin. Agency Cultural Fund. Over 50 playwrights Stories I Want to Tell You in Person to critical applied for this commission, which also Of particular interest has been the response acclaim. This co-production with Malthouse awarded the writer a visiting fellowship in the that Australian playwrights have had to Theatre also toured to Melbourne and Albury creative arts department of the University of Tony Kushner’s Angels in America, directed during the year, and even enjoyed a one- Wollongong. After an extensive application by Eamon Flack over June–July. Angels night showcase in New York City. It’s ample and assessment process, Beatrix Christian in America is one of the boldest and most proof that Lally’s writing talent is matched by was offered the commission. expansive plays of the twentieth century – her ability to entertain in person. political and personal, contemporary and Development Co-productions historic, the two parts of the production play 2013 was a busy year for new work In 2013 we continued our work to support for over six hours. It has been heartening development. Jada Alberts, Angela Betzien, Aboriginal and Torres Strait Islander artists to see how this work has inspired current Lally Katz, Nakkiah Lui and Matthew Whittet and to tell the stories of Indigenous Australia. commissions and the playwriting community were all supported with workshops of their As well as producing This Heaven, Belvoir at large. commissions. In June, Belvoir’s Literary co-produced with two of the country’s most Manager Anthea Williams spent two weeks Awards respected Indigenous theatre companies. developing Lally’s next work Atlantis with In 2013 The Philip Parsons Young ILBIJERRI Theatre Company’s Associate Chris Drummond (Artistic Director of Playwright’s Award changed to The Director Isaac Drandic directed Coranderrk Adelaide’s Brink Productions) and a room of Philip Parsons Fellowship for Emerging in the Upstairs Theatre, in a co-production actors. Nakkiah Lui won the Dreaming Award Playwrights, in recognition of the relationship with that company. Written by Andrea James for her new play Kill the Messenger, and built between Belvoir and the awarded and Giordano Nanni, the play is based we workshopped it in December. Matthew writers and the work that Belvoir does to on verbatim records of the 1881 Inquiry Whittet’s Autumn had several days with develop their plays. Welcome changes to into the Coranderrk Aboriginal Reserve. In actors in June. Angela Betzien’s Mortido the eligibility criteria saw the number of applications almost double. The inaugural 36 Aminata Conteh-Biger in The Baulkham Hills African Ladies Troupe. Photo: Lisa Tomasetti. 37 Marketing
2013 represented both a challenging and tourists. This has been particularly effective of the play’s themes. The street campaign Social media platforms are a powerful and rewarding year for Belvoir’s Marketing team. for profiling in light of our increased national assisted in communicating the playful, risk- integral part of Belvoir’s communications, and Subscriptions to our 2013 Season numbered and international touring, highlighting Belvoir taking, contemporary and accessible theatre we utilise our networks to share many aspects 8,688, making the year one of our best to both cast and creatives arriving in Sydney that Belvoir produces by stepping away from of the company with our loyal followers. three ever. Along with attendances at Belvoir and also global audiences. the usual portrait imagery, and created a Supporting Belvoir’s core values and St Theatre, transfers to the Theatre Royal fantastic buzz around the production. principles, our postings encourage a sense of In addition to the airport, we hit the retail provided extended lives for Cat on a Hot Tin community within the theatrical environment landscape via Ooh Media’s digital panels at Website and social media Roof and Angels in America (Parts One and and a responsiveness to current social and Westfield Bondi Junction and Sydney CBD. Our website is the digital gateway into Two) with 27.1% of audiences being first-time political issues, whether that be on our stages Strategically placed above escalators to all Belvoir activities on stage and behind attendees of a Belvoir production. A total or, for example, in a community space in provide uninterrupted viewing, the panels are the scenes. Apart from what happens on of 128,971 tickets were sold to our shows Newtown. As a result our Facebook, Twitter a high-impact format that maximises shopper the Belvoir stage, the website is our most both at home at Belvoir St and the Theatre and Instagram accounts have shown a steady engagement and provides beautiful image powerful voice and as a result we are Royal. In addition, our increased national and and consistent increase in followers for Belvoir alternatives to the usual corporate advertising constantly looking at ways to improve the international touring allowed us to reach more over 2013, consistent with the growth of found in these settings. Being digital also site and increase engagement. In 2013 our audiences than ever, with figures reaching these platforms globally. We have over 12,000 allows us to have multiple adverts appearing website received approximately 474,000 32,096. So combined attendances totalled active Facebook followers (up from 8,500 in at any one time – alternating between 2013 visits. Of this, 263,000 were unique visitors, 161,067 for Belvoir productions in 2013. 2012) with, predictably, the most engaged shows and the season as a whole. This has viewing 1,560,000 pages. Approximately age group being 25–34 years. We gained Campaign highlights been particularly efficient in promoting Belvoir 50% were new visits to the website. The 3,000 Twitter followers in the year, taking The imagery we utilise throughout our to the local community who may not be so majority of site visits are from Australia our number to 11,000. On the newest of the marketing campaigns endeavours to familiar with Belvoir’s work and profile as one (specifically Sydney) however we also social media platforms, Instagram, we enjoy convey the quality of work that takes place of Sydney’s principal theatre venues. experience healthy levels of visits from 1,600 followers, with numbers steadily rising. on Belvoir’s stages – clarity, playfulness, the US, the UK, New Zealand, Canada, Our production of Angels in America was a honesty and great storytelling. Portraits of Germany, France and South-East Asia. Like Year on year, Belvoir’s profile and following highlight of the year, both as a result of the our actors have become synonymous with our subscribers and social media followers, goes from strength to strength. And ambitious nature of this classic contemporary Belvoir and instantly recognisable. This year our website visitors are extremely loyal and this combined with the work created on work but also for the marketing opportunities the introduction of digital signage provided local spikes occur particularly when we send stage by our artists ensures that Belvoir is it afforded. The seven-week run at Belvoir great opportunity for Belvoir to demonstrate our monthly e-news to the mailing list of synonymous with top-quality theatre. St Theatre, then a two-week transfer to the our distinctive imagery through the enhanced 57,000. In addition, we experience increased Theatre Royal demanded marketing activity visibility that digital signage allows. Via Ooh visitation from other countries in alignment Gemma Frayne stay consistent throughout the campaign. Media we captured the attention of new with international tours, revealing sustained Marketing Manager audiences with multiple sites at both Sydney A street campaign of angel wings and halo interest in our work and our company. Airport and Westfield Shopping Centres. stencils, and footprints featuring our Belvoir web address, was hugely popular. Passers- The digital signage in Sydney Airport by took photos of each other between the baggage halls was extremely eye-catching: angel wings and standing on the footprints, 10 large digital screens positioned on the then tagged Belvoir using the stencilled baggage carousels concurrently displayed a hashtag #angelsbelvoir. The campaign Belvoir production. Following the success of took off of its own accord as soon as it the first campaign executed (Cat on a Hot Tin hit the streets and within 48 hours images Roof), Ooh Media became a media partner in were being uploaded across social media June and we continued through the year with – Facebook, Instagram, Twitter. This street more dynamic campaigns across both the campaign was also supported by four- Qantas and multi-user baggage reclaim halls, sheeter posters in the same locations to give as well as other areas of the airport. This context to the stencils, Angels in America has helped create greater awareness around and promote Belvoir’s profile. This street Belvoir with Australian commuters, along saturation was topped off by a beautiful with business networks and international rainbow crossing we had painted on the path leading into Belvoir St Theatre, in celebration
38 Bus backs carry Belvoir productions all over Sydney. Photo: APN Outdoor. 39 Development
Private-sector support has always whose engaged philanthropy enabled the underwritten Belvoir’s success. In fact, staging of The Cake Man and Coranderrk, the company was established through the as well as the awarding of the second generosity of a dedicated group of individuals Balnaves Foundation Indigenous Playwright’s who banded together to save the Belvoir St Award to young Larrakia/Yanuwa/Bardi/ Theatre from redevelopment. In 2013, our Wardaman woman, Jada Alberts. Alongside reliance on philanthropic revenue in particular our Chair’s Group, Neil Balnaves continues became increasingly critical to our operational to demonstrate exemplary philanthropic stability, with a year-end deficit highlighting the leadership through his foundation. We are difficulties arts organisations currently face. grateful to both The Balnaves Foundation and We relied on $1.9 million worth of revenue each member of the Chair’s Group for their through cash and in-kind sponsorships, commitment to sharing Indigenous stories Premier Barry O’Farrell (seated far right) was present at our Education trusts, foundations and individual donors. This with our audiences. Program fundraiser in August. Photo: Tom Cramond. financial support enabled us to make more Belvoir spent over $650,000 delivering quality work that reached great numbers of education programs in 2013. Together with people both at home and abroad. Despite a Playwriting Australia resident playwright While the balance of cash versus contra a loyal group of individual donors, several the challenges of our current operating each year; 2013’s resident, Tim Spencer, sponsorship income has continued its shift foundations made significant contributions environment, we are fortunate that our shared his Belvoir experience with Hive towards the latter, products and services that ensured we could reach thousands of philanthropic income has enjoyed above- members throughout the year. Ultimately, provided by our partners are also incredibly young people throughout New South Wales. average growth over the last few years when The Hive aims to fully underwrite the cost of important, with many of these arrangements Most notable of these are the Teen Spirit compared to other major performing arts staging work in our Downstairs Theatre. We providing real budget relief. From event Charitable Foundation, which funds almost companies. This is testament to the strength were thrilled with the program’s success in catering to media space, legal guidance to 10 per cent of our Education Program, and of Belvoir’s reputation as a company worthy its first year, which can largely be attributed IT support, our corporate supporters enable Gandevia Foundation, which contributes of support, and we can’t thank our donors to its steering committee of Olivia Pascoe Belvoir to focus expenditure on what is to both our regional workshop and Youth emphatically enough for their consistent vote (Belvoir Board Director), Peter Wilson (Belvoir certainly most important of all: developing Express programs. One of the year’s of confidence in us, and in our artists and St Theatre Ltd Board Director) and Andrew and staging extraordinary theatre. As well as Education fundraising highlights was the their work. Sharpe (Belvoir supporter), and we look taking comfort in the knowledge that they launch of our Theatre Enrichment partnership forward to its membership growing over the made a meaningful contribution to the arts, The Andrew Cameron Family Foundation with the Public Education Foundation. A coming years. our corporate sponsors also benefited from should be singled out for its dedication to key component of our Education Program, their involvement with us in 2013 by providing As well as the critical support provided by several critical areas of Belvoir’s activities, Theatre Enrichment provides senior English their staff, clients and friends with rich material donors, trusts and foundations, we are also most notably our Creative Development and Drama students in Western Sydney and for vibrant discussion and unique networking appreciative of the significant investment Fund and international touring activities. regional NSW with workshops before and opportunities. Our Development team can only succeed after a Belvoir production that enhance their made by our 2013 corporate sponsors, with strong Board involvement, and our understanding of our work. Premier Barry many of whom have been partnering with Belvoir’s Development department worked Chair’s sensitivity, dedication, leadership and O’Farrell launched the partnership at a special Belvoir for many years. We are especially tirelessly in 2013 to facilitate access to the generosity has significantly contributed to fundraising event – helping to raise awareness grateful to our Corporate Partner, Optus, company on behalf of our private-sector Belvoir’s Development income result. Andrew and ensure Belvoir’s Education team can who has shown deep commitment to supporters. With the assistance of our Board Cameron sets a powerful example to arts continue to run this important initiative. Belvoir since 1999. As well as providing and, in particular its Development Committee, supporters everywhere. He is an enormous core operating support, Optus’ sponsorship the team has secured revenue that represents Building on Belvoir’s long-running donor asset to Belvoir, particularly through his has underwritten our Community steady growth on previous years. The result programs – the B Keepers, Chair’s Group loyalty to and guidance of our Development Access Program, giving unwaged and is especially positive in light of an increasingly and Creative Development Fund – 2013 saw program. disadvantaged members of our community challenging corporate sponsorship us establish a brand new donor category: access to Belvoir productions, free of charge. environment, and reinforces our supporters’ Belvoir has a long and proud history of The Hive was created to provide young A corporate partnership of this length is rare, continual commitment to Belvoir’s long-term creating work that puts Indigenous artists philanthropists with direct access to the and with Optus’ sponsorship coming to an artistic vibrancy. and their stories at the forefront of theatrical creative development of a Downstairs Theatre end in early 2014, we celebrate this dynamic Nathan Bennett expression. In 2013, for the third year this production. In its inaugural year, members of arts sponsorship and thank Optus for the Head of Development commitment was reinforced through the The Hive shared Lally Katz’s journey as she enormous contribution they have made to generosity of The Balnaves Foundation, created the hugely successful Stories I Want the company over so many years. to Tell You in Person. The Hive also supports 40 41 Donors
We give our heartfelt thanks to all our donors for their loyal and generous support.
Creative Bev & Phil Birnbaum Corporate B Keepers Chris & Bea Sochan Sophie Guest Pamela Ryan Max Bonnell The Spence Family Julie Hannaford Elfriede Sangkuhl Development Fund Constructability Recruitment Ellen Borda Kerry Stubbs Kim Harding & Irene Miller Julia Selby Makes a significant financial Macquarie Group Foundation Anne Britton Sarah Walters Dr Juliet Harper Sherman Foundation investment in Belvoir’s Creative Dr Catherine Brown-Watt Margaret Harris Agnes Sinclair Development. The Hive Jan Burnswoods General Donations Marion Heathcote & Brian Burfitt Eileen Slarke & Family Neil Armfield AO Lloyd & Mary Jo Capps Young supporters of new over $250 Libby Higgin Sandra & Barry Smorgon OAM Anne Britton Brian T. Carey projects. Harrison & Kate Higgs Tim Smyth Andrew & Cathy Cameron Provide valuable support to David Chesterman AM Nathan Bennett & Yael Perry Brenna Hobson Andrew Smyth-Kirk Janet & Trefor Clayton the projects most in need Elaine Chia Joanna Davidson & Julian Leeser Dorothy Hoddinott AO Dr Titia Sprague Anne & Michael Coleman throughout the year. Jane Christensen Este Darin-Cooper & Chris Burgess Anita Jacoby Judy Stone Hartley Cook Anonymous (9) Louise Christie Julie & Jamie Garis The Honourable Justice Johnson Jeremy Storer Gail Hambly Charles & Hannah Alexander Suzanne & Michael Daniel Ruth Higgins & Liliana Munoz David Jonas & Desmon Du Plessis Catherine Sullivan Louise Herron & Clark Butler David Antaw Tracey Driver & Simon Robinson Emma Hogan & Kim Hogan Iphygenia Kallinikos Anthony Tarleton Victoria Holthouse Neil Armfield AO Dr Linda English Bruce Meagher & Greg Waters Su Kennedy Victoria Taylor Peter & Rosemary Ingle Ross & Barb Armfield Chris & Bob Ernst Gerard Outram & Fiona Holyoake Josephine Key Axel & Diane Tennie Helen Lynch & Helen Bauer Berry Family Jeanne Eve Olivia Pascoe Robert Kidd Janet Tepper Frank Macindoe Ian Barnett Peter Fay The Sky Foundation Jann Kohlman Mike Thompson David Marr Barrett Casting Peter Graves Andrew & Louise Sharpe Ray Lawler John Tuckey Sherry-Hogan Foundation Andrew & Jane Bennett David & Kathryn Groves Simpsons Solicitors Sarah Lawrence Ross Tzannes Victoria Taylor Baiba Berzins David Haertsch Michael Sirmai Ruth Layton Louise & Steve Verrier Mary Vallentine AO Angela Bowne Wendy & Andrew Hamlin Peter Wilson & James Emmett Margaret Lederman Chris Vik & Chelsea Albert Kim Williams AM & John Head Ian Breden & Josephine Key Hilary Linstead Lynne Watkins & Catherine Dovey Jillian Broadbent AO Marion Heathcote & Brian Burfitt Education Donations Joseph Lipski Nicholas Harding Anne Bromley Libby Higgin over $250 Ross Littlewood & Elizabeth Webby AM Chair’s Group Michael Hobbs Rob Brookman & Verity Laughton Alexandra Curtin Bronwen Whyatt Provide opportunities for Dr & Mrs Gil Burton Supports the creative Anita Jacoby Dr Carolyn Lowry Kim Williams AM & young people throughout NSW development of Indigenous Shirley Jarzabek Andrew & Cathy Cameron Wendy McCarthy Catherine Dovey to access our work. work at Belvoir. Avril Jeans Mary Jo & Lloyd Capps Christopher Matthies Peter Wilson & James Emmett Anonymous (2) Susan Casali Anonymous (1) Kevin & Rosemarie Jeffers-Palmer Dr Helen McCathie Brian & Patricia Wright Len & Nita Armfield Timothy & Bryony Cox Antoinette Albert Margaret Johnston Ruth McColl Lance Wright Ian Barnett Anne Duggan Berry Family Corinne & Rob Johnston Catherine McDonnell Jane Wynter Anne Bromley Diane Dunlop Jillian Broadbent AO Colleen Kane Irene Miller Mary G. Burchell Anton Enus & Roger Henning Jan Chapman & Antoinette le Marchant Dr David and Barbara Millons Belvoir is very grateful to accept Andrew Cameron AM Richard Evans Stephen O’Rourke Jennifer Ledgar & Bob Lim Carol Mills all donations. Donations over $2 Michael and Colleen Chesterman Elizabeth Evatt Louise Christie Stephanie Lee Cynthia Mitchell are tax deductible. If you would Karen Cooper Carole Ferrier Kathleen & Danny Gilbert Atul Lele John Morgan like to make a donation or would Peter Demou Frances Garrick Sophie Guest Hilary Linstead Annabelle Andrews & like further information about Jane Diamond Jono Gavin any of our donor programs Marion Heathcote & Brian Burfitt A. Maxwell & R. Godlee Peter Murray Veronica Espaliat & Ross Paul Gibson please call our Development Michael Hobbs Professor Elizabeth More AM Dr Peter & June Musgrove Youngman D. T. Gilbert Team on 02 8396 3344 or email Ross McLean & Fiona Beith Jane Munro Ralph Myers Nancy Fox Cary & Rob Gillespie [email protected] Cajetan Mula (Honorary Member) Dr David Nguyen Kevin O’Connor AM Kiera Grant Jill Gordon Steve & Belinda Rankine Don & Leslie Parsonage Judy & Geoff Patterson List correct as 31 December 2013. Chris Green & Rachel Simons The Gorr Burchmore Group Alex Oonagh Redmond Timothy & Eva Pascoe Susan Pearson Matthew Hall Anthony Gregg Michael Rose & Jo D’Antonio Greeba Pritchard Natalie Pelham Julie Hannaford Priscilla Guest Ann Sherry AO Richard & Heather Rasker Catherine Rothery Siobhan Hannan & James Talbot Penny Ward Colleen Roche Kim Harding & Irene Miller David & Jennifer Watson Greg Roger Susan Harte Special Thanks Kim Williams AM Lesley & Andrew Rosenberg Paul & Melissa Hobbs Cathy Yuncken Andrew & Louise Sharpe We would like to acknowledge long-time supporters Cajetan Mula and Len Armfield. They will always be Vivienne Sharpe Sue Hyde remembered for their generosity to Belvoir. These people and foundations supported the redevelopment of Peter & Rosemary Ingle B Keepers Peter & Jan Shuttleworth Belvoir St Theatre and purchase of our warehouse. Merilyn Sleigh & Raoul de Ferranti Stewart & Jillian Kellie Andrew & Cathy Cameron (refurbishment of theatre & warehouse) Income received from B Jennifer Smith Matthew Kidman Russell Crowe (Downstairs Theatre & purchase of warehouse) Keepers underpins all of Chris & Bea Sochan Xanthi Kouvatas The Gonski Foundation & The Nelson Meers Foundation (Gonski Meers Foyer) our activities. Judy Thomson Veronica and Matthew Latham Andrew & Wendy Hamlin (Neil’s, now Ralph’s, office) Sue Thomson Ian Learmonth & Julia Pincus Anonymous (3) Hal Herron (The Hal Bar) Lynne Watkins & Walter & Elizabeth Lewin Robert & Libby Albert Peter Ivany (Ivany Box Office) Nicholas Harding Olivia Pascoe Claire Armstrong & John Sharpe Geoffrey Rush (redevelopment of theatre) Alison Wearn Kate Pasterfield Berg Family Foundation Fred Street AM (Upstairs dressing room) Paul & Jennifer Winch Nicole Philps 42 Ian & Judy Wyatt 43 Board and Staff In the Rehearsal Room Belvoir Board of Finance & Operations Production Administrator (casual) Directors Head of Finance & Operations Jack H. Audas Preston Anne Britton Richard Drysdale until 06.12.2013 Costume Coordinator Mitchell Butel from 25.03.2013 Financial Administrator Judy Tanner Andrew Cameron Ann Brown Indigenous Technical Tracey Driver Payroll Officer Theatre Trainee Richard Evans Susan Jack Kopara Donovan from 01.02.2013 Gail Hambly IT & Operations until 31.05.2013 Brenna Hobson Jan S Goldfeder Ian Learmonth Ralph Myers Marketing Front of House Olivia Pascoe Front of House Manager Acting Marketing Manager Ohmeed Ahi Caroline Pearce until 08.02.2013 Assistant Front of House Artistic & Marketing Manager Manager Programming Gemma Frayne from 25.02.2013 Brooke Louttit until 24.02.2013 Artistic Director Marketing Coordinator Scott Pirlo from 15.04.2013 Ralph Myers Marty Jamieson Bar Staff Executive Director Publications Manager Alexander Bryant-Smith, Lucy Brenna Hobson Gabrielle Bonney Coleman, Andrew Dillon, Kate Associate Director – Publicist Dillon, Luke Dipple, Emma New Projects Elly Michelle Clough Johnston, Bridget Le May, Dale Eamon Flack March, Luke Martin, Steven Associate Producer Development McCall, Robert Nash, Aime Performers/devisors Aminata Conteh-Biger & Tahni Froudist Development Manager Neeme, James Parker-Brown, Director Leticia Cáceres – Miss Julie. Yordanos Haile-Michael – The Baulkham Hills Literary Manager Retha Howard until 08.05.2013 Lara Pigott, Whitney Richards, Photo: Brett Boardman. African Ladies Troupe. Photo: Lisa Tomasetti. Anthea Williams Head of Development Matthew Ringuet, Geordie Resident Director Nathan Bennett from 24.06.2013 Robinson, Ryder Stevens, Venetia Simon Stone until 10.03.2013 Corporate and Sponsorship Taylor, MacRae Vallery, Zara Zoe Associate Artists Officer Stefan Gregory Paul Hooper Timothy Spencer Box Office Philanthropy Officer Emerging Indigenous Box Office Manager Liz Tomkinson Producer Katinka Van Ingen Schenau until Louana Sainsbury until 15.02.2013 04.04.2013 Production Erin Algeo from 20.05.2013 Education Production Manager Assistant Box Office Managers Chris Mercer until 18.01.2013 Tanya Ginori-Cairns Education Manager Daniel Potter from 11.02.2013 Alana Hicks Jane May Downstairs Theatre and Box Office Coordinator Education Resources Touring Production Manager Jessica Cassar from 30.09.2013 & Regional Access Todd Wilson from 04.04.2013 Box Office Staff Cathy Hunt Downstairs Theatre Matt Bartlett, Emilia Batchelor, Education Assistant Production and Venue Annabel Blake, Craig Bonney, Caitlin Scarr from 01.03.2013 until Manager Jessica Cassar, Clare 01.12.2013 Daniel Potter until 10.02.2013 Chihambakwe, Sarah L. Davies, Construction Manager Andrew Dillon, Laura Frangelli, Administration Govinda Webster until 16.06.2013 Gia Frino, Emma Furno, Quinn Artistic Administrator Technical Manager Gibbes, Laura Henderson, John Woodland Warren Sutton Rebecca Hitch, Naomi Lane, Administration Coordinator Resident Stage Manager Jason Lee, Kathleen Linn, Patrick Maeve O’Donnell Luke McGettigan Magee, Jenna Martin, Janelle Head Mechanist Merry, Chloe Perrett, Billie Pleffer, Damien King until 06.09.2013 Aimee Timmins, Dana Trijbetz, Production Coordinator Tahlia Trijbetz Eliza Maunsell 44 Actors Jacqueline McKenzie & Ewen Leslie – Cat on a Hot Tin Roof. Photo: Heidrun Löhr. 45 In the Rehearsal Room
Writer Nakkiah Lui – This Heaven. Photo: Brett Boardman.
Actors Colin Moody & Mandy McElhinney – Forget Me Not. Photo: Brett Boardman.
Director Isaac Drandic & actor Jack Charles Director Anne-Louise Sarks & writer/performer Lally Katz – – Coranderrk. Photo: Heidrun Löhr. Stories I Want to Tell You in Person. Photo: Heidrun Löhr.
Designer Ralph Myers – Hamlet. Photo: Brett Boardman.
Actor46 Meredith Penman – Persona. Photo: Pia Johnson. Actors Gareth Davies, Megan Holloway, Jimi Bani & Geraldine Hakewill – Peter Pan. Photo: Brett Boardman.47 Financial Statements
48 49 Key Performance Indicators
ARTISTIC VIBRANCY Subscription Season Readings FINANCIAL VIABILITY 2013 2012 2011 Up Down Strength of reserves 2013 2012 2011 2013 2012 2011 2013 2012 2011 Net Assets / $1,301,741 / $1,869,613 / $1,787,636 / Profile of works Annual Turnover $11,132,558 (11.69%) $11,659,250 (16.04%) $10,805,923 (16.54%) New 3 6 3 4 5 4 8 4 15 Net Assets / $1,301,741 / $1,869,916 / $1,787,636 / Existing 6 3 5 1 0 1 0 2 1 Total Assets $5,186,377 (25.10%) $6,118,575 (30.56%) $6,118,575 (29.22%)
Origin of work Profitability Australian – New 3 6 3 4 5 4 8 4 15 Total Income Minus Expenditure -$567,872 $81,977 $302,630 Australian – Existing 1 1 3 1 0 1 0 1 0 Overseas – Existing 5 2 2 0 0 0 0 1 1 Earned income generating ability Total Profile of Productions Total Earned Income / $9,027,503 / $9,753,901 / $8,135,256 / New 8 8 6 5 5 5 n/a n/a n/a Total Income $11,132,558 (81.09%) $11,659,250 (83.66%) $10,805,923 (75.29%) Existing 1 1 2 0 0 0 n/a n/a n/a Box Office Please note that Angels in America Part 1 and Part 2 are being treated as separate productions Total Box Office / $5,723,516 / $6,482,160 / $4,947,416 / Total Income $11,132,558 (51.41%) $11,659,250 (55.6%) $10,805,923 (45.78%) Number of Access Attendances Performances Private Sector 2013 2012 2011 2013 2012 2011 Total Private Sector / $1,922,031 / $1,818,631 / $1,624,460 / Total Income $11,132,558 (17.26%) $11,659,250 (15.6%) $10,805,923 (15.03%) SELF-PRESENTED Belvoir Upstairs 108,846 108,455 97,031 369 390 308 Other income Belvoir Downstairs 14,235 14,346 11,178 208 181 165 Total Other Income / $1,381,956 / $1,453,110 / $1,563,380 / Other Sydney Venues 7,800 11,005 5,567 12 13 15 Total Income $11,132,558 (12.41%) $11,659,250 (12.46%) $10,805,923 (14.47%)
SOLD TO EXTERNAL PRESENTERS Government funding CONTRIBUTION Govt. Funding / $2,105,055 / $1,905,349 / $2,670,667 / Regional 2,657 7,116 3,148 17 18 12 Total Income $11,132,558 (18.91%) $11,659,250 (16.34%) $10,805,923 (24.71%) Interstate 16,749 55,644 12,887 109 108 40 International 3,226 5,680 30,658 22 17 42
OTHER Free Concert Attendances 2,366 2,220 1,959 9 8 9 Educational Performances 5,340 4,814 8,210 25 24 30 Educational Workshops 3,343 5,423 2,033 132 172 106 Education – Other 854 742 811 81 90 88
50 51 Directors’ Report
The directors of Company B Limited (trading as, and And Now For the Weather, Killing Time and Meow Gail Hambly Ralph Myers – Artistic Director hereafter referred to as, “Belvoir” or “the Company”) Meow’s Little Match Girl (co-writer). Mitchell has also Deputy Chair, Member: Finance sub-committee Executive Director submit herewith the annual financial report for the been a Special Projects Officer for the NSW Office of Member: Artistic sub-committee Gail is Group General Counsel and Company financial year ended 31 December 2013. the Board of Studies and has taught at ATYP, NIDA Secretary of Fairfax Media and is responsible Ralph is Belvoir’s Artistic Director. For Belvoir he and the Australian Institute of Music (AIM). He has Directors for the provision of legal, corporate governance has directed Peter Pan, directed and designed been a proud member of Actors Equity since 1988, The names and details of the Company’s directors communications and internal audit services to Private Lives, and designed The Government a member of the National Performers Committee in office during the financial year and until the date of the Fairfax Group. Gail is Chairman of Copyco Inspector, Coranderrk, Hamlet, Stories I Want to since 2007 and was Federal Vice President of this report are as follows. Directors were in office for Pty Limited, a Director of Trade Me Group Tell You in Person, Death of a Salesman, Summer the Media, Entertainment and Arts Alliance from this entire period. Limited, a member of the Advisory Board of the of the Seventeenth Doll, The Seagull, The Wild 2010–2013. Centre of Media and Communications Law at Duck, Measure for Measure, Toy Symphony, Anne Britton Andrew Cameron Melbourne University, a member of the Media and Parramatta Girls, Ray’s Tempest, The Spook, Mitchell Butel (Appointed: 26 March 2013) Chair, Member: Finance, Development & Communications and Privacy Law Committees of The Fever, Conversations with the Dead and The Andrew Cameron AM Planning sub-committees the Law Council of Australia and a director of the Cosmonaut’s Last Message to the Woman He Peter Carroll (Resigned: 26 November 2012) Sydney Story Factory – a not-for-profit organisation Once Loved in the Former Soviet Union. Ralph’s Tracey Driver A director of Belvoir Street Theatre Board since 9 which provides education services with a special other credits include The City, A Streetcar Named Richard Evans August 2001, Andrew joined the Belvoir Board in focus on disadvantaged children in Sydney. Desire, Blackbird, A Midsummer Night’s Dream, Gail Hambly October 2007. He was elected Chair of Belvoir in A Kind of Alaska/Reunion, The Lost Echo, Mother Brenna Hobson June 2011. Andrew is currently the Chair of the Art Brenna Hobson – Executive Director Courage and Her Children, Boy Gets Girl, This Ian Learmonth Gallery of NSW Foundation, Deputy Chair of the Executive Director & Company Secretary Little Piggy, Far Away, Morph, Endgame, The 7 Ralph Myers Biennale of Sydney, and a Board member of the Member: Finance, HR, Development, Artistic & Stages of Grieving and Frankenstein, which he also Olivia Pascoe Sherman Foundation and the Andrew Cameron Planning sub-committees Family Foundation. He is also the Chairman and directed (Sydney Theatre Company); Enlightenment, Information on Directors Managing Director of a number of privately owned Brenna joined Belvoir as General Manager in Cruel and Tender, Dinner, Frozen (Melbourne wholesaling, distribution and property development February 2008 and is now Executive Director. She Theatre Company); Othello (Bell Shakespeare); Anne Britton companies. He was made a member of the Order is currently undertaking a Masters of Management Wonderlands (Griffin Theatre Company/Hothouse Member: HR sub-committee of Australia in the 2014 Honours List for significant (Arts) at the University of Technology and sits on Theatre Company); Borderlines, Sweet Phoebe Anne joined the Belvoir Board again in mid-2010 services to the visual and performing arts. the Seymour Centre Artistic Advisory Committee. (Griffin Theatre Company); Eora Crossing (Legs after serving on the Board for close to 10 years. She Previous to this she was the General Manager of on the Wall/Sydney Festival); Black Box (Ballet de is a senior member of the Administrative Appeals Tracey Driver Jigsaw Theatre Company in Canberra where she l’Opera de Lyon); Caligula (English National Opera); Tribunal based in Sydney. Anne has been the Deputy Member: Finance sub-committee was also a Board Member of the ACT Council of The Marriage of Figaro, Peter Grimes, Così fan tutte President and Head of the Community Services Tracey joined the Board at Belvoir in December 2011 Cultural and Community Organisations, part of the (Opera Australia); La Bohème (New Zealand Opera); Division of the New South Wales Administrative and is a member of the Finance sub-committee. steering committee of Canberra Living Artists Week and Two Faced Bastard (Chunky Move). Decisions Tribunal (ADT) since 2006, having been and the ACT representative of Critical Stages. Her Tracey has over 18 years’ experience as a chartered Olivia Pascoe appointed to the ADT as a judicial member in 1999. credits as an independent producer include Now That accountant. She is an audit partner with KPMG. Member: Development sub-committee Prior to that Anne was the national secretary of Tracey has spent time working in the UK and US Communism is Dead My Life Feels Empty (Melbourne Actors Equity of Australia and, on its merger in the and has experience dealing with a wide range of International Arts Festival/B Sharp), The Suitors (Old Olivia joined the Board in September 2012 and is 1990s, the joint national secretary of the Media global businesses. Fitzroy Theatre) and Vital Organs (B Sharp). She has also a member of the Development sub-committee. Entertainment and Arts Alliance. also been Production Manager of Bangarra Dance This has included the recent launch of Belvoir’s next Richard Evans Theatre and spent 11 years in Belvoir’s production frontier of patronage The Hive, targeted at 30-45 Mitchell Butel Member: Development sub-committee department. Brenna was appointed Opera House year old theatre lovers nurturing new Australian Member: Artistic sub-committee Richard joined the Belvoir Board in July 2012. He Trustee in January 2014. talent. Olivia is an independent Strategy Consultant who works with Executive Teams and Boards on Mitchell joined the Belvoir Board in May 2013. As an has spent a lifetime working in and around the Ian Learmonth integrated business, organisational and leadership actor, singer and writer, Mitchell has worked for most performing arts. His posts include General Manager Member: Development sub-committee state theatre and commercial theatre companies of The Bell Shakespeare Company, Executive strategy, across industries. For the 15 years prior to and most Australian television networks for the Director of The Australian Ballet, and CEO of Sydney Ian joined the Belvoir Board in late 2011 and is also this, she worked for multinational corporates and last 20 years. He holds three Helpmann Awards Opera House. Most recently Richard held the role of member of the Development sub-committee (the consulting firms in Asia, Europe and the Americas. for leading actor for The Venetian Twins, Avenue Q Managing Director of BridgeClimb Sydney. Richard Co-Conspirators). Ian was formerly an Executive She was previously a Member of the Contempo and The Mikado, Green Room Awards for Hair and has served on a number of Boards of national and Director of Macquarie Bank for over 12 years and Committee of the Art Gallery of New South Wales Piaf and multiple other nominations for Helpmann, international arts and cultural organisations over the has worked in London, Sydney and Hong Kong in and also contributes to the health, education and Green Room, AFI and Sydney Theatre awards. His years and in 2012 was made a Life Member of Live various fields of investment banking. After leaving international development not-for-profit sectors. work at Belvoir includes Dead Heart, A View from Performance Australia. Macquarie in 2011 Ian is now the Executive Director the Bridge, The Laramie Project, Snugglepot and of Impact Investing at Social Ventures Australia, a Cuddlepie, Strange Interlude, Angels in America and not-for-profit organisation established in 2002 that The Government Inspector. Writing credits include addresses social disadvantage in Australia. Ian is also chairman of South Australia wind company Waterloo Wind and a director of e-waste recycler 52 PGM Refiners. 53 Mission Statement Dividends Audience Significant Changes in the State of Affairs To produce theatrical works from a shared vision that The provisions of the Memorandum and Articles of There have been no significant changes in the state • Retain Belvoir’s annual season and single ticket question and affirm our culture, extend and develop Association of the Company prohibit the payment of of affairs of the Company during the year. audiences levels our artists and provide audiences with experiences a dividend. Accordingly, no dividend has been paid Significant Events After the Balance Date of imaginative daring and emotional depth. or declared during or since the end of the financial • Maintain a high quality education program with a There has not been any matter or circumstance, year or since the Company’s incorporation. commitment to access Core values and principles other than that referred to in the financial statements Members • Maintain increased level of touring activity or notes thereto, that has arisen since the end of the • Belief in the primacy of the artistic process There were 43 members of the Company as at 31 financial year, that has significantly affected, or may • Seek ways to engage with new audiences • Clarity and playfulness in storytelling December 2013 (2012: 44). significantly affect, the operations of the Company, • Emphasise quality and innovation in all areas of the results of those operations, or the state of affairs • A sense of community within the theatrical Principal Activities customer service and patron amenity of the Company in future financial years. environment The principal activity of the Company during the financial year was the operation of a live theatre Development Likely Developments and Expected Results • A responsiveness to current social and political and the production of live theatrical performances In the opinion of the directors there were no issues • Build a strong and diverse philanthropic base led within the home venue, Belvoir St Theatre, and by the Creative Development Fund donors and significant changes in the state of affairs of the • Equality, ethical standards and shared ownership on tour both nationally and internationally. These Chair Andrew Cameron Company that occurred during the financial year of artistic process and company achievements activities have assisted the Company to achieve its under review not otherwise disclosed in this report or • Develop new revenue streams and take • Development of our performers, artists and staff objectives which are measured against the specific the financial statements. key performance indicators as below: advantage of commercial opportunities Short-term and Long-term Objectives Indemnification and Insurance of Directors • Develop strong and mutually beneficial Belvoir’s overarching goal for the coming three Artistic work and Officers relationships between Belvoir with its corporate During the financial year, the Company paid a year period is to build on the success achieved in • Produce and present six to eight critically partners and individual supporters premium in respect of a contract insuring the the first two years of the tenure of Ralph Myers, acclaimed new productions per year in the directors of the Company against a liability incurred the Company’s Artistic Director. This includes Upstairs Theatre and a suite of work in the Management capitalising on opportunities to showcase Belvoir’s as such a director, secretary or executive officer to Downstairs Theatre based on four strands of • Build to and subsequently maintain reserves at work internationally and engaging with commercial the extent permitted by the Corporations Act 2001. work: 20% of annual turnover transfer opportunities where possible. The contract of insurance prohibits disclosure of the a) New Australian work in a variety of forms (text • Maintain a professional management culture nature of the liability and the amount of the premium. Specific goals for the Company to reach these based, musical and physical theatre) supported by efficient management procedures objectives are: Indemnification of Auditors b) Indigenous work and infrastructure To the extent permitted by law, the Company has Artistic work: To produce thought provoking, agreed to indemnify its auditors, Ernst & Young, as c) Innovative interpretations of the classics • Maintain a strong board governance policy inspiring, outstanding theatrical works from a shared part of the terms of its audit engagement agreement vision that question and affirm our culture, and d) Support for new artists and an expansion of • Work proactively to anticipate and respond to against claims by third parties arising from the audit provide audiences with experiences of imaginative our notion of what constitutes theatrical form external change (for an unspecified amount). No payment has been daring and emotional depth Artists • Establish Belvoir as a world renowned theatre made to indemnify Ernst & Young during or since the Artists: Support and extend our current and future company financial year. • Provide opportunities for artists to develop their artists and play a leading role in supporting the wider skills, enjoy increased employment opportunities There was no significant change in the nature theatrical community with Belvoir and enjoy improved career of these activities during or since the end of the Audience: Consolidate and expand our audiences, prospects financial year. target markets and brand • Continue to seek new ways to increase creative Operating and Financial Review Development: Increase commercial and development opportunities The operations of the Company during the financial philanthropic income while retaining the character year were the operations of a live theatre, production • Fully produce work in the Downstairs Theatre and values of Belvoir of live theatrical performances and hire of the theatre • Pay artists a fair and living wage to external hirers. Management: Consolidate Belvoir’s position as a world renowned, financially stable arts organisation The net operating loss before depreciation of the via the establishment of sound management and Company for the year ended 31 December 2013 governance practices that maximise the return on was $492,363 (2012: net operating profit before available resources depreciation of $129,384). The Company has a target of achieving and maintaining reserves of 20% of annual turnover.
54 55 Directors’ Meetings Statement of Profit or Loss and Other Comprehensive Income
Directors’ Meetings Queensland and is completing a Master of Arts and For the year ended 31 December 2013 Notes 2013 ($) 2012 ($) (1) Board of Directors Meetings Entertainment Management at Deakin University. During 2013, six meetings of directors were held. Francisca Peña Revenue from operations Attendance was as follows: Head of Finance & Operations Home venue income 4,343,787 4,172,905 Number eligible Number Francisca joined Belvoir in January 2014 as Head of Commercial production income 670,987 654,653 Finance and Operations. Francisca has over 15 years Directors to attend attended Touring and sell off income 708,742 1,654,602 financial management experience in the local and Anne Britton 6 6 international media industry and has held executive Total production income 5,723,516 6,482,160 Mitchell Butel 4 3 finance roles at Network Ten and social enterprise, Grants income 4(a) 2,105,055 1,905,349 Andrew Cameron AM 6 6 Access Innovation Media. Francisca is a Certified Bar income 381,496 346,578 Tracey Driver 6 6 Practising Accountant and holds a Bachelor of Economics (Accounting) at Sydney University. Box office income 548,908 542,893 Richard Evans 6 6 8,758,975 9,276,980 Gail Hambly 6 6 Auditor Independence The directors received an independence declaration from Brenna Hobson 6 6 the auditor, Ernst & Young. A copy has been included Other revenue Ian Learmonth 6 4 below. Sponsorship income 926,787 924,402 Ralph Myers 6 6 Signed in accordance with a resolution of the directors. Fundraising and donations 995,244 894,229 Olivia Pascoe 6 5 Interest income 174,865 238,751 Other income 4(b) 276,687 324,888 Number eligible Number In attendance to attend attended 2,373,583 2,382,270 Elly Clough 6 5 Andrew Cameron AM Chair Total revenue 11,132,558 11,659,250 (2) Finance Committee Meetings Sydney, 21 March 2014 The Finance Committee is a sub-committee of the Expenses Board. During the financial year, five meetings of Production (7,348,744) (7,490,523) directors were held. Attendances were as follows: Auditor’s independence declaration to the directors of Company B Limited Marketing and promotions (892,717) (860,164) Number eligible Number In relation to our audit of the financial report of Company Occupancy (346,295) (330,168) Members to attend attended B Limited for the financial year ended 31 December Fundraising (262,917) (223,248) Andrew Cameron AM 5 5 2013, to the best of my knowledge and belief, there have Administration (2,774,248) (2,625,763) Tracey Driver 5 5 been no contraventions of the auditor independence Corporations Act 2001 Operating (loss)/income for the year (492,363) 129,384 Richard Drysdale 5 5 requirements of the or any applicable code of professional conduct. Gail Hambly 5 3 Depreciation (75,509) (47,407) Brenna Hobson 5 5 (Loss)/profit before tax (567,872) 81,977 Income tax expense - - Other Information (Loss)/profit for the year (567,872) 81,977 Elly Clough Ernst & Young Employee-elected representative – ex officio Other comprehensive income - - Elly has been the publicist at Belvoir since March Total comprehensive (loss)/income for the year (567,872) 81,977 2011. Prior to this appointment, Elly worked in various marketing and communications positions The above statement of profit or loss and other comprehensive income should be read in conjunction with the with NORPA (Northern Rivers Performing Arts), accompanying notes. Insight Communications, Friends of The Australian Ballet, ACMN Advertising and Marketing and as David Simmonds a freelance publicist. Throughout a varied career, Partner Elly has also worked in hospitality, politics and as 21 March 2014 an independent producer. Elly holds a Bachelor of Theatre Arts from the University of Southern
56 57 Statement of Financial Position Statement of Changes in Equity
As at 31 December 2013 Notes 2013 ($) 2012 ($) Retained Total For the year ended 31 December 2013 earnings ($) equity ($) Assets Current assets At 1 January 2013 1,869,613 1,869,613 Cash 5 1,606,710 3,206,137 Loss for the year (567,872) (567,872) Trade and other receivables 6 1,037,178 119,723 Other comprehensive income - - Inventories 25,768 17,176 Total comprehensive loss (567,872) (567,872) Prepayments 364,752 278,431 At 31 December 2013 1,301,741 1,301,741 Total current assets 3,034,408 3,621,467 At 1 January 2012 1,787,636 1,787,636 Profit for the year 81,977 81,977- Non-current assets Other comprehensive income - - Security deposits 55,326 55,326 Total comprehensive income 81,977 81,977 Held to maturity investments 7 1,965,882 1,982,233 At 31 December 2012 1,869,613 1,869,613 Property, plant and equipment 8 95,571 99,236
Intangible assets 9 35,190 56,536 The above statement of changes in equity should be read in conjunction with the accompanying notes. Total non-current assets 2,151,969 2,193,331 Total assets 5,186,377 5,814,798 Liabilities and equity Statement of Cash Flows Current liabilities Trade and other payables 10 845,183 1,022,825 Provisions and employee benefits liability 11 203,230 303,222 Deferred revenue 12 2,794,984 2,587,279 For the year ended 31 December 2013 Notes 2013 ($) 2012 ($) Total current liabilities 3,843,397 3,913,326 Operating activities Non-current liabilities Receipts from patrons, customers and grant providers 10,612,590 12,124,108 Provisions and employee benefits liability 11 41,239 31,859 Payments to suppliers and employees (12,336,384) (12,591,122) Total non-current liabilities 41,239 31,859 Net cash used in operating activities (1,723,794) (467,014) Total liabilities 3,884,636 3,945,185 Investing activities Equity Proceeds from sale of property, plant and equipment - 36,544 Retained earnings 1,301,741 1,869,613 Purchase of property, plant and equipment (50,498) (68,356) Total equity 1,301,741 1,869,613 Purchase of intangible assets - (44,684) Interest received 174,865 238,751
Total equity and liabilities 5,186,377 5,814,798 Increase in security deposits - (7,836) Net cash flows from investing activities 124,367 154,419 The above statement of financial position should be read in conjunction with the accompanying notes. Financing activities Net cash flows from financing activities - - Net decrease in cash and cash equivalents (1,599,427) (312,595) Cash and cash equivalents at 1 January 3,206,137 3,518,732 Cash and cash equivalents at 31 December 5 1,606,710 3,206,137
The above statement of cash flows should be read in conjunction with the accompanying notes.
58 59 (g) Impairment of non-financial assets (h) Held to maturity investments Notes to the Financial Statements The Company assesses, at each reporting date, Held to maturity investments are non-derivative whether there is an indication that an asset may be financial assets with fixed or determinable payments For the year ended 31 December 2013 impaired. If any indication exists, or when annual and fixed maturities that management have the impairment testing for an asset is required, the positive intention to hold to maturity. These assets 1. CORPORATE INFORMATION (c) Current versus non-current classification Company estimates the asset’s recoverable amount. are measured at amortized cost using the effective The Company presents assets and liabilities in An asset’s recoverable amount is the higher of an interest method. The financial report of Belvoir for the year ended asset’s or cash-generating unit’s (CGU) fair value less statement of financial position based on current/non- (i) Property, plant and equipment 31 December 2013 was authorised for issue in costs of disposal and its value in use. Recoverable current classification. An asset is current when it is: Property, plant and equipment is stated at cost, accordance with a resolution of the directors on amount is determined for an individual asset, unless net of accumulated depreciation and accumulated 21 March 2014. Belvoir is an unlisted non-profit - Expected to be realised or intended to be sold or the asset does not generate cash inflows that are impairment losses, if any. Such cost includes the Company limited by guarantee incorporated and consumed in the normal operating cycle largely independent of those from other assets or cost of replacing part of the property, plant and operating in Australia. The registered office and - Held primarily for the purpose of trading groups of assets. When the carrying amount of an equipment. When significant parts of property, principal place of business of the Company is 18 - Expected to be realised within twelve months after asset or CGU exceeds its recoverable amount, the plant and equipment are required to be replaced Belvoir Street, Surry Hills, NSW 2010, Australia. the reporting period, or asset is considered impaired and is written down to at intervals, the Company recognises such parts The nature of the operations and principal activities of - Cash or cash equivalent unless restricted from its recoverable amount. the Company are described in the directors’ report. being exchanged or used to settle a liability for at as individual assets with specific useful lives and least twelve months after the reporting period In assessing value in use, the estimated future cash depreciates them accordingly. Likewise, when a 2. SUMMARY OF SIGNIFICANT ACCOUNTING flows are discounted to their present value using a major inspection is performed, its cost is recognised POLICIES All other assets are classified as non-current. pre-tax discount rate that reflects current market in the carrying amount of the plant and equipment A liability is current when: (a) Basis of preparation assessments of the time value of money and the as a replacement if the recognition criteria are The financial report is a general purpose financial - It is expected to be settled in the normal operating risks specific to the asset. In determining fair value satisfied. All other repair and maintenance costs are report, which has been prepared in accordance cycle less costs of disposal, recent market transactions recognised in profit or loss as incurred. are taken into account. If no such transactions can with the requirements of the Corporations Act - It is held primarily for the purpose of trading Depreciation is calculated on a straight-line basis be identified, an appropriate valuation model is used. 2001, Australian Accounting Standards – Reduced - It is due to be settled within twelve months after the over the estimated useful life of the asset as follows: These calculations are corroborated by valuation Disclosure Requirements and other authoritative reporting period, or Plant and equipment – 3 to 7 years multiples, quoted share prices for publicly traded pronouncements of the Australian Accounting - There is no unconditional right to defer the Motor vehicles – 5 years companies or other available fair value indicators. Standards Board. The financial report has been settlement of the liability for at least twelve months Furniture and fittings – 5 to 10 years prepared on the basis of the historical cost after the reporting period The Company bases its impairment calculation on An item of property, plant and equipment and any convention. Cost is based on the fair value of the detailed budgets and forecast calculations, which The Company classifies all other liabilities as non- significant part initially recognised is de-recognised consideration given in exchange for assets. The are prepared separately for each of the Company’s current. upon disposal or when no future economic benefits financial report is presented in Australian dollars CGUs to which the individual assets are allocated. are expected from its use or disposal. Any gain unless otherwise stated. (d) Cash These budgets and forecast calculations generally or loss arising on de-recognition of the asset Cash in the statement of financial position comprise cover a period of five years. For longer periods, a (b) Changes in accounting policy, disclosure, (calculated as the difference between the net cash at bank and on hand. long-term growth rate is calculated and applied to standards and interpretations disposal proceeds and the carrying amount of the project future cash flows after the fifth year. (i) Changes in accounting policies, new and For the purposes of the statement of cash flows, asset) is included in the statement of profit or loss amended standards and interpretations cash and cash equivalents consist of cash as Impairment losses, including impairment on and other comprehensive income when the asset is The accounting policies adopted are consistent with defined above. inventories, are recognised in the statement of derecognised. those of the previous financial year. (e) Trade and other receivables profit or loss and other comprehensive income as The Company has adopted AASB 101 Presentation The residual values, useful lives and methods of Trade receivables, which generally have 30-90 expense. of Items of Other Comprehensive Income - depreciation of property, plant and equipment are day terms, are recognised initially at fair value and Amendments to AASB 101 as of 1 January For assets, an assessment is made at each reporting reviewed at each financial year end and adjusted subsequently measured at cost using the effective 2013. The amendments have no impact on the date to determine whether there is an indication prospectively, if appropriate. interest method, less an allowance for impairment. that previously recognised impairment losses no presentation, Company’s financial position or Assets acquired are recorded at the cost of longer exist or have decreased. If such indication performance. Collectability of trade receivables is reviewed on an acquisition, being the purchase consideration ongoing basis. Individual debts that are known to exists, the Company estimates the asset’s or CGU’s (ii) Accounting standards and interpretations issued determined as at the date of acquisition plus costs be uncollectible are written off when identified. An recoverable amount. A previously recognised but not yet effective incidental to the acquisition. impairment provision is recognised when there is impairment loss is reversed only if there has been Certain Australian Accounting Standards and objective evidence that the Company will not be able a change in the assumptions used to determine In the event that settlement of all or part of the cash Interpretations have recently been issued or to collect the receivable. the asset’s recoverable amount since the last consideration given in the acquisition of an asset is amended but are not yet effective and have not impairment loss was recognised. The reversal is deferred, the fair value of the purchase consideration been adopted by the Company for the annual (f) Inventories limited so that the carrying amount of the asset does is determined by discounting the amounts payable reporting period ended 31 December 2013. The Inventories consist of finished goods and are valued not exceed its recoverable amount, nor exceed the in the future to their present value as at the date of directors have not early adopted any of these new or at the lower of cost and net realisable value. Net carrying amount that would have been determined, acquisition. amended standards or interpretations. The directors realisable value is the estimated selling price in the net of depreciation, had no impairment loss been (j) Leases have not yet fully assessed the impact of these new ordinary course of business, less estimated costs of recognised for the asset in prior years. Such reversal The determination of whether an arrangement is, or or amended standards (to the extent relevant to the completion and the estimated costs necessary to is recognised in the statement of profit or loss and contains, a lease is based on the substance of the Company) and interpretations. make the sale. other comprehensive income unless the asset is arrangement at the inception date. The arrangement carried at a revalued amount, in which case, the is assessed for whether fulfilment of the arrangement reversal is treated as a revaluation increase. is dependent on the use of a specific asset or assets 60 61 or the arrangement conveys a right to use the asset Refer to Note 3 for the policy and assumptions Cash flows are included in the statement of cash Estimates and assumptions or assets, even if that right is not explicitly specified relating to the provision for loss-making productions. flows on a gross basis and the GST component The key assumptions concerning the future and in an arrangement. of cash flows arising from investing and financing other key sources of estimation uncertainty at the (m) Revenue recognition activities, which is recoverable from, or payable to, reporting date, that have a significant risk of causing Company as a lessee Revenue is recognised to the extent that it is the taxation authority is classified as part of operating a material adjustment to the carrying amounts of Operating lease payments are recognised as an probable that the economic benefits will flow to cash flows. assets and liabilities within the next financial year, operating expense in the statement of profit or loss the Company and the revenue can be reliably are described below. The Company based its and other comprehensive income on a straight-line measured, regardless of when the payment is being Commitments and contingencies are disclosed net assumptions and estimates on parameters available basis over the lease term. made. Revenue is measured at the fair value of the of the amount of GST recoverable from, or payable when the financial statements were prepared. consideration received or receivable, taking into to, the taxation authority. (k) Trade and other payables Existing circumstances and assumptions about account contractually defined terms of payment and Trade and other payables are carried at amortised (o) Government grants future developments, however, may change due to excluding taxes or duty. The specific recognition cost and due to their short term nature they are not Government grants are recognised at their fair value market changes or circumstances arising beyond the criteria described below must also be met before discounted. They represent liabilities for goods and where there is reasonable assurance that the grant control of the Company. Such changes are reflected revenue is recognised. services provided to the Company prior to the end will be received and all attaching conditions will be in the assumptions when they occur. of the financial year that are unpaid and arise when Productions complied with. Funding revenue is received from Impairment of non-financial assets the Company becomes obliged to make future Revenue is recognised upon the performance of the government for specific activities. The funding is An impairment exists when the carrying value of an payments in respect to the purchase of these goods productions to which the ticket revenue relates. received based on payment schedules contained in asset or cash generating unit exceeds its recoverable and services. the funding agreement between the funding bodies Interest amount, which is the higher of its fair value less and the Company. The funding is recognised in (l) Provisions and employee benefit liabilities Revenue is recognised when control of the right to costs to sell and its value in use. The fair value less the calendar year for which it is intended under the General receive the interest payment has been obtained. costs to sell calculation is based on available data terms of the agreement due to the conditional nature Provisions are recognised when the Company has from binding sales transactions, conducted at arm’s Sponsorship and Donations revenue of the funding. a present obligation (legal or constructive) as a length, for similar assets or observable market prices Sponsorship commitments are brought to account result of a past event, it is probable that an outflow (p) Productions less incremental costs for disposing of the asset. The as revenue in the year in which sponsorship benefits of resources embodying economic benefits will The total cost of staging productions, including the value in use calculation is based on a discounted are bestowed. be required to settle the obligation and a reliable manufacturing cost of costumes, scenery sets and cash flow model. The cash flows are derived from estimate can be made of the amount of the Donations properties, is charged to income and expenditure the budget for the next five years and do not include obligation. When the Company expects some or Income arising from the donation of an asset to the in the period each production is performed. restructuring activities that the Company is not all of a provision to be reimbursed, for example, Company is recognised when, and only when, all the This procedure conforms to standard theatrical yet committed to or significant future investments under an insurance contract, the reimbursement following conditions have been satisfied: accounting practice as adopted in Australia and that will enhance the asset’s performance of the is recognised as a separate asset, but only when a. the Company has obtained control of the donation other parts of the world. Costs of production CGU being tested. The recoverable amount is the reimbursement is virtually certain. The expense or the right to receive the donation: and other associated expenditure in respect of most sensitive to the discount rate used for the relating to a provision is presented in the statement b. it is probable that economic benefits performances not yet performed but will be in the discounted cash flow model as well as the expected of profit or loss and other comprehensive income net compromising the donation will flow to the next 12 months are included in the statement of future cash-inflows and the growth rate used for of any reimbursement. Company; and financial position as part of prepaid expenditure. extrapolation purposes. c. the amount of the donation can be measured Wages, salaries, annual leave and other short-term (q) Advance box office Provision for loss making productions reliably. employee entitlements Monies received from both subscribers and non- The Company makes an annual assessment as to Liabilities for wages and salaries, including non- (n) Taxes subscribers for advanced bookings are included whether prepaid production costs have any future monetary benefits, annual leave and other employee The Company is exempt from income tax under in income progressively during each production economic value, based on whether the relevant entitlements expected to be settled within 12 months Subdivision 50-B of the Income Tax Assessment Act to which they relate, and not before. All monies production is expected to generate sufficient of the reporting date are recognised in respect of 1997, as granted by the Commissioner of Taxation received in advance for 2014 box office income is proceeds to cover such costs. employees’ services up to the reporting date. They on 8 June 2000. Consequently the Company has recorded as deferred revenue and transferred to The Company provides for its best estimate of are measured at the amounts expected to be paid not provided for any liability for income tax in these income when the respective show concludes. any losses which will arise under contractual when the liabilities are settled. Expenses for non- financial statements. (r) Prior year comparatives commitments at balance date which are unavoidable accumulating sick leave are recognised when the Goods and services tax (GST) Where necessary, comparatives have been due to either legal or constructive obligations. In leave is taken and are measured at the rates paid or Revenues, expenses and assets are recognised reclassified and repositioned for consistency with order to assess both the recoverability of prepaid payable. net of the amount of Goods and Services Tax (GST) current period disclosures. production costs and any onerous contract Long service leave except: obligations, the Company makes an assessment 3. SIGNIFICANT ACCOUNTING JUDGEMENTS, The liability for long service leave is recognised and - When the GST incurred on a purchase of goods of all future planned productions and identifies ESTIMATES AND ASSUMPTIONS measured as the present value of expected future and services is not recoverable from the taxation those productions which are expected to generate payments to be made in respect of services provided authority, in which case the GST is recognised as The preparation of the Company’s financial losses. Such losses are first applied to any prepaid by employees up to the reporting date using the part of the cost of acquisition of the asset or as statements requires management to make production costs prior to making a further provision projected unit credit method. Consideration is part of the expense item, as applicable judgements, estimates and assumptions that affect for any additional estimated losses as an onerous given to expected future wage and salary levels, - When receivables and payables are stated with the the reported amounts of revenues, expenses, assets contract provision. experience of employee departures, and periods of amount of GST included and liabilities, and the accompanying disclosures, Further details may be found in Note 11. service. Expected future payments are discounted The net amount of GST recoverable from, or payable and the disclosure of contingent liabilities. using market yields at the reporting date on national to, the taxation authority is included as part of Uncertainty about these assumptions and estimates government bonds with terms to maturity and receivables or payables in the statement of financial could result in outcomes that require a material currencies that match, as closely as possible, the position. adjustment to the carrying amount of assets or estimated future cash outflows. liabilities affected in future periods. 63 4. REVENUE AND OTHER INCOME 8. PROPERTY, PLANT Plant & Motor Furniture & (a) Government grants received Unexpected Grant Unexpended AND EQUIPMENT equipment ($) vehicles ($) fittings ($) Total ($) Grants Grants Expenditure Grants brought Income 2013 (Net carried Cost forward from Received Grant Income) forward to At 1 January 2012 201,979 36,544 63,806 302,329 2012 ($) 2013 ($) ($) 2014 ($) Additions 50,076 18,280 - 68,356 Australia Council Disposals - (36,544) - (36,544) Base Grant Total - 965,774 965,775 - At 31 December 2012 252,055 18,280 63,806 334,141 Other Grant Total - 40,000 40,000 - Additions 36,001 - 14,497 50,498
Communities NSW At 31 December 2013 288,056 18,280 78,303 384,639 Base Grant Total - 952,985 952,985 - Depreciation Other Grant Total 46,114 45,000 91,114 5,000 At 1 January 2012 164,111 36,544 37,013 237,668
Commonwealth Government Depreciation charge for the year 28,182 (36,003) 5,058 (2,763) Other Grant Total - 30,000 30,000 - At 31 December 2012 192,293 541 42,071 234,905 Depreciation charge for the year 43,374 3,656 7,133 54,163 Local Government – City of Sydney At 31 December 2013 235,667 4,197 49,204 289,068 Other Grant Total - 25,000 25,000 - TOTAL GRANTS 46,114 2,058,759 2,104,873 5,000 Net book value At 31 December 2013 52,389 14,083 29,099 95,571 All Government funding has been spent in accordance with funding agreements. At 31 December 2012 59,762 17,739 21,735 99,236
(b) Other income 2013 ($) 2012 ($) Rental revenue – theatre and venue 147,880 170,965 Ticketing 9. INTANGIBLE ASSETS system ($) Total ($) Other 128,807 153,923 Cost 276,687 324,888 5. CASH At 1 January 2012 33,000 33,000
Cash held in Escrow – Reserves Incentives Funding Scheme Additions 44,684 44,684 The funds received under the Reserves Incentives Funding Scheme of the Australia Council and Arts NSW, At 31 December 2012 77,684 77,684 together with any interest earned on those funds, are held in escrow and cannot be accessed without the express agreement of the Funding bodies under prescribed circumstances. These funds have not been used to secure At 31 December 2013 77,684 77,684 any liabilities of the Company. As at 31 December 2013, the Company is holding $172,931 (2012: $172,668) under this scheme. Amortisation At 1 January 2012 7,522 7,522 6. TRADE AND OTHER RECEIVABLES (CURRENT) 2013 ($) 2012 ($) Amortisation 13,626 13,626 Trade receivables 1,010,841 97,065 At 31 December 2012 21,148 21,148 Other receivables 26,337 22,658 1,037,178 119,723 Amortisation 21,346 21,346 At 31 December 2013 42,494 42,494 7. HELD TO MATURITY INVESTMENTS 2013 ($) 2012 ($) Net book value At Amortised Cost At 31 December 2013 35,190 35,190 Convertible preference shares 1,965,882 1,982,233 1,965,882 1,982,233 At 31 December 2012 56,536 56,536
To increase interest earnings, it was agreed by the Board in October 2013 to sell the convertible preference shares held between Westpac Banking Corporation (Westpac) and Commonwealth Bank of Australia (CBA) 10. TRADE AND OTHER PAYABLES (CURRENT) 2013 ($) 2012 ($) and purchase unsecured convertible notes with the Australian Foundation Investment Company Ltd (AFIC). The Trade payables 408,105 737,888 AFIC notes are for a five year term (to February 2017) with a fixed interest rate return of 6.25%. The pre-existing Sundry payables 278,720 185,103 preference shares with ANZ Bank remain in place. Accrued expenses 136,766 98,588 Goods and services tax 21,592 1,246 845,183 1,022,825
64 65 11. PROVISIONS AND EMPLOYEE BENEFITS LIABILITY 13. COMMITMENTS AND CONTINGENCIES 2013 ($) 2012 ($) (CURRENT AND NON-CURRENT) 2013 ($) 2012 ($) (a) Leasing commitments Long service leave 94,917 80,306 Non-cancellable operating leases Annual leave 122,398 91,111 Within one year 62,939 - Other employee benefits 20,000 102,772 After one year but not more than five years 269,355 - Total employee benefits liability 237,315 274,189 332,294 - Provision for loss-making productions 7,154 60,892 An operating lease for a workshop and storage space in Marrickville was renegotiated in October 2013. Total provisions 7,154 60,892 The lease term is for five years with a termination date of 25th October 2017. There is an option to renew for a further five years. Total provisions and employee benefits liability 244,469 335,081 An operating lease for rent of the warehouse and theatre is currently in place with Belvoir St Theatre Limited (BSTL). The rental amount is a varying figure, being the equivalent of the annual outgoings incurred by BSTL (a) Movements in provisions and employee Employee and therefore is not included in the table above. benefits liability benefits Provisions Total ($) ($) ($) (b) Sinking fund commitments In 2012, Company B became obliged to pay Belvoir Street Theatre Limited (BSTL) the first installment of a ten At 1 January 2013 274,189 60,892 335,081 year commitment of the sinking fund as required under the lease rental agreement between BSTL and Company B for the Belvoir Street Theatre and warehouse premises. The sinking fund is to enable Belvoir Street Theatre Arising during year 131,228 7,154 138,382 Limited to carry out works on the premises on a scheduled basis over 10 years in order to maintain and repair Utilised during year (168,103) (60,892) (228,995) the building in which the theatre is housed in and the property plant and equipment used on the premises. At 31 December 2013 237,314 7,154 244,468 As at 31 December 2013 the value of the commitment payable to Belvoir Street Theatre Limited was as follows:
Current – 2013 196,076 7,154 203,230 2013 ($) 2012 ($) Non-current – 2013 41,239 - 41,239 Not longer than 1 year 60,581 58,794 237,315 7,154 244,469 Longer than 1 year and not longer than 5 years 321,409 212,304 Greater than 5 years 159,969 329,655 Current – 2012 242,330 60,892 303,222 541,959 600,753 Non-current – 2012 31,859 - 31,859 274,189 60,892 335,081 14. RELATED PARTY DISCLOSURES There were no transactions with related parties during the year other than those with directors. Payments (b) Nature and timing of employee benefits liability and provisions made to directors are not for their services as directors of the Company for which no fee is received. Payments were made by the Company to some directors for their contributions as employees of, or contractors to the (i) Provision for Loss-Making Productions Company. Total short-term employment benefits paid to directors amounted to $195,913 (2012: $168,542). Provisions for productions in subsequent calendar year(s) which management determine as deficit making, for which the Company has a firm commitment to produce. Refer to Note 2 for the relevant accounting policy in 15. MEMBERS’ GUARANTEE relation to recognition and measurement principles. Belvoir is incorporated in New South Wales as a company limited by guarantee. In the event of the Company being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the (ii) Annual Leave and other short-term employee benefits Company’s liabilities. As at 31 December 2013, there were 43 members of Belvoir and the amount of capital Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and that could be called up in the event of Belvoir being wound up is $880. assumptions applied in the measurement of this provision. 16. EVENTS AFTER BALANCE DATE (iii) Long service leave There has not been any matter or circumstance, other than that referred to in the financial statements or notes Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and thereto, that has arisen since the end of the financial year, that has significantly affected, or may significantly assumptions applied in the measurement of this provision. affect, the operations of the Company, the results of those operations, or the state of affairs of the Company in future financial years. 12. DEFERRED REVENUE 2013 ($) 2012 ($)
Advance ticket sales 2,729,270 2,454,712 Government grants in advance 5,000 41,151 Sponsorship income in advance 43,917 26,917 Fundraising and donations income in advance 10,000 57,500 Other deferred revenue 6,797 6,999 2,794,984 2,587,279
66 67 Directors’ Declaration
In accordance with a resolution of the directors of Belvoir, I state that: In the opinion of the directors: (a) the financial statements and notes of the Company are in accordance with the Corporations Act 2001, including: (i) giving a true and fair view of the Company’s financial positions as at 31 December 2013 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards - Reduced Disclosure Requirements and the Corporations Regulations 2001 (b) there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. On behalf of the Board
Andrew Cameron AM Chair Sydney, 21 March 2014
A member firm of Ernst & Young Global Limited
68 69 Partners, Sponsors and Supporters Annual Report Production Coordination Belvoir Marketing Department Design Alphabet Studio
For any Annual Report Corporate Partner enquiries please contact: Belvoir Marketing Department 18 Belvoir St, Surry Hills NSW 2010 tel +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 [email protected] IT Partner Media Partners Supporters belvoir.com.au
Indigenous Theatre at Major Sponsors Belvoir supported by The Balnaves Foundation Belvoir is proud to be a member of the Australian Major Performing Arts Group (AMPAG)
Andrew Cameron Family Foundation Coca-Cola Australia Foundation Copyright Agency Cultural Fund Gandevia Foundation Goldman Sachs The Greatorex Foundation Associate Sponsors Street Promotions Australia Teen Spirit Charitable Foundation Thomas Creative
BOUTIQUE ACCOMMODATION
Event Sponsors
Government Partners
Silver Spoon Caterers
For more information on partnership opportunities please contact our Development team on 02 9698 3344 or [email protected]
70 Mathew Cooper, Katherine Beckett, Melodie Reynolds-Diarra & Jack Charles in Coranderrk. C Photo: Patrick Boland. 18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au
Front cover: Luke Mullins & Paula Arundell in Angels in America. Photo: Heidrun Löhr. D