Annual Report 2016 A Contents

Company Profile 2 2016: At A Glance 4 Chair’s Report 6 Incoming Chair’s Report 8 Artistic Director’s Report 9 Executive Director’s Report 12 2016 Season 14 National & International Touring 29 Awards 32 Board & Staff 33 Donors 34 Financial Statements 38 Partners, Sponsors & Supporters 62

Was thinking we could run the contents down the middle of that Blind Giant is Dancing pic?

B Emma Jackson, Dan Spielman & Zahra Newman in The Blind Giant is Dancing. Photo: Brett Boardman. This Is Our Company

Theatricality. Variety of life. Faith in humanity.

Belvoir is a theatre company on a side At Belvoir we gather the best theatre street in Surry Hills, . We share our artists we can find, emerging and street with a park and a public housing established, to realise an annual season of estate, and our theatre is in an old works – new Australian plays, Indigenous industrial building. It has been, at various works, re-imagined classics and new times, a garage, a sauce factory, and international writing. Audiences remember the Nimrod Theatre. When the theatre many landmark productions including was threatened with redevelopment in The Drover’s Wife, , 1984, more than 600 people formed a Brothers Wreck, , syndicate to buy the building and save Neighbourhood Watch, , the theatre. Thirty years later, Belvoir St Medea, The Diary of a Madman, Death of Theatre continues to be home to one a Salesman, The Blind Giant is Dancing, of ’s most celebrated theatre Hamlet, Cloudstreet, Aliwa, The Book of companies. Everything, Keating!, The Exile Trilogy, Exit the King, and Who’s Afraid In its early years Belvoir was run of Virginia Woolf? cooperatively. It later rose to international prominence under first and longest- Today, under Artistic Director Eamon Flack serving Artistic Director Neil Armfield and and Executive Director Brenna Hobson, continued to be both wildly successful Belvoir tours nationally and internationally, and controversial under Ralph Myers. and continues to create its own brand Belvoir is a traditional home for the great of rough magic for new generations of old crafts of acting and story in Australian audiences. Belvoir receives government theatre. It is a platform for voices that support for its activities from the federal won’t otherwise be heard. And it is a government through the Major Performing gathering of outspoken ideals. In short: Arts Panel of the Australia Council and the theatricality, variety of life, and faith in state government through Arts NSW. humanity. OUR Mission To produce theatrical works from a shared vision that question and affirm our culture, extend and develop our artists, and provide audiences with experiences of imaginative daring and emotional depth.

Acknowledgement We acknowledge the Gadigal people of the Eora nation who are the traditional custodians of the land on which Belvoir St Theatre is built. We also pay respect to the elders past and present.

Will McDonald in The Drover’s Wife. Photo: Brett Boardman. 202 3 WORKSHOPS HOSTED IN at a 38 REGIONAL SCHOOLS glance APPLICATIONS 2016 SUBMITTED FOR THE 2,905 BELVOIR ARTIST ATTENDEES NEW WORKSHOP TO UNWAGED AUSTRAL AN PERFORMANCES 15 5 PLAYS 156 NEW WORKS UNDER COMMISSION 1 97,578 THEATRE 1,072 STUDENTS ATTENDEES TO 2016 PRODUCTIONS CAT LITRES PARTICATED OF WINE CONSUMED

1,770 IN A WORKSHOP NEW SOCIAL MEDIA NEW SOCIAL MEDIA FOLLOWERS AT OPENING NIGHTS 6,775 $3,642,408 4,245

1,220 PERFORMANCES SCHOOL ATTENDEES AT BOX OFFICE 154 STUDENTS

ARTISTS SUBSCRIPTIONS SOLD ATTENDED A REVENUE SCHOOL PERFORMANCE EMPLOYED 5,942 FREE OF CHARGE 382 THANKS TO OUR ON STAGE ACCESS PROGRAM SMOOCHES UNIQUE WEBSITE 10,623,828 VISITORS 270,274 TOTAL REVENUE 7:5 $ FEMALE-DIRECTED PRODUCTIONS : MALE-DIRECTED PRODUCTIONS 4 5 Chair’s Report Andrew Cameron AM

This will be my last Our financial results for 2016 showed a broaden Belvoir’s reach and reputation. Finally, I am delighted that Sam Meers has Chair’s report as my small surplus. Our shows were well attended We are very grateful for all this work. agreed to take over as Chair of Belvoir. Sam time in this position and we were delighted at the quality and During the year we farewelled our brings enormous energy and experience has come to an end. breadth of new Australian writing in the much-loved Deputy Executive Director, to the position, as well as a great love for After nine years on season. In addition to the productions which Nathan Bennett, who left us to take up a Belvoir and a vision for its future. She and the Belvoir Board – made it to the main stage this year, we have position as Executive Director of the Perth her family have been generous supporters including six years as a large number of new Australian works International Arts Festival. This is a big job, of the company for many years, and she Chair and before that, under commission and in development. and we wish him well. I am delighted that previously sat on the Belvoir Board from five years on the board New Australian and Indigenous writing and Aaron Beach has accepted our offer to be 2006 to 2008. I am very grateful that of Belvoir St Theatre development of new work remain a core the new Deputy Executive Director. she agreed to take on this role and I look Ltd – it’s time to leave part of Belvoir’s mission. forward to working with her in the future. Without the brilliant artistic leadership the stage. Our Government partners continue to provided by Eamon Flack in 2016, I am passionate about Belvoir and will For the past six years, everyone has support our activities. We are very grateful together with all the hugely talented and remain connected through my ongoing been hard at work to protect and build to the Australia Council and Create NSW for hardworking creatives including actors, involvement with the nascent Belvoir on the extraordinary legacy left by my their invaluable ongoing financial and project set and costume designers, lighting and Foundation. We will be working to build predecessor, Louise Herron, and founding specific support. We also value all our sound designers, and our production team, up an endowment fund from bequests Artistic Director, Neil Armfield. Personally, partners from the small to medium sector none of this would have been achieved. and donations to help support and sustain I have had the great pleasure to work with with whom we collaborate closely, and We will remember 2016 as a year with Belvoir’s future. The last nine years have two hugely talented Artistic Directors: continually draw inspiration, talent and ideas. many highlights. These productions have been quite a ride, but I wouldn’t have firstly, Ralph Myers who brought enormous continued to sustain, intrigue and delight missed it for anything. In addition, we have increasingly looked energy, panache and generational change us. On behalf of the Board, and in saying to private philanthropy to help fund our to Belvoir; and more recently, the brilliant farewell, I congratulate everyone at Belvoir. Andrew ambitions, and have significantly extended Eamon Flack, who is one of Australia’s the reach of these activities. In 2016, we most acclaimed theatre directors, and has added the Honey Bs, a group of women brought a clear and passionate artistic in business looking to support women in vision to Belvoir. the arts, to our existing stable of supporter During my tenure, I have enormously groups. Once again, we were delighted to enjoyed working with all Board members present productions with funds from The – Anne Britton, Michael Coleman, Peter Hive, the Creative Development Fund and Carroll, Rob Brookman, Frank Macindoe, The Chair’s Group. We are very grateful Richard Evans, Gail Hambly and Olivia for this ongoing support and all these Pascoe, as well as current Board members, loyal friends who donate generously and Ian Learmonth, Tracey Driver, Mitchell advocate tirelessly for Belvoir. Butel, Peter Wilson and Luke Carroll. As We are also extremely grateful to the a group, we have delighted in Belvoir’s Balnaves Foundation for their ongoing many successes and triumphs on so commitment to Belvoir – specifically many fronts – artistic achievement, the in supporting the production of two development of new work and talent, Indigenous-led theatre works each year. In Indigenous theatre making, education and 2016, the Balnaves Foundation supported outreach, and international touring. We the staging of the wonderful have also weathered some storms along The Drover’s and . The fifth the way. I have greatly appreciated the Wife Title and Deed annual Balnaves Foundation Indigenous ideas, commitment and generosity that all Playwright’s Award was awarded to the the Board members have shown over the very talented . period of my chairmanship. The Belvoir Board continues to work diligently to build None of this would have been achieved a stable, robust platform from which our without the outstanding Belvoir team, led artists can make great theatre. by Brenna Hobson. Brenna and her team have worked with great skill to deliver an ambitious program, strengthen the company’s governance and systems, and 6 Eamon Flack and Ursula Yovich at the Balnaves Foundation Indigenous Playwright’s Award presentation. Photo: Patrick Boland. INCOMING Chair’s Report Artistic Director’s Report Sam Meers Eamon Flack

What a privilege it Belvoir’s outgoing chair, the remarkable Like all beginnings it walking into the future which we now know is to step into the Andrew Cameron, leaves a significant came about somewhat remains as troubled as the past. The show’s Chair role of this legacy: he has stewarded the company by accident, but it was own simplicity seemed like a reminder glorious theatre with great care and skill over an important a marvellous beginning of what an open mind can do for us. The company. When period of transition for Belvoir, and we nonetheless. Kate greatest pleasure of the show was the big, Andrew Cameron are all deeply grateful to him for ensuring Mulvany’s adaptation of happy response of its audiences, from eight- graciously handed the company has a solid platform from Jasper Jones unfurled year-olds to grandmas. me the Chair’s baton, which to continue to flourish. His passion with that special mix At the same time, in a nearby backyard, or I knew Belvoir was for the company, and for all it represents, of theatrical simplicity on rainy evenings in our rehearsal room, we an extraordinary, is absolutely contagious, and we won’t be and human messiness presented a little show about a single, simple much-loved theatre letting him go far… that is the essential thing: the death of a grandmother. company; that it had Belvoir way. It was a The Tribe I’d like to take this opportunity to offer came to Surry Hills from Michael Mohammed an authentic connection to the creative beautiful production, directed with love and my thanks to Brenna and Eamon, and to Ahmad’s novel via Urban Theatre Projects’ community and a loyal and growing a beady eye by Anne-Louise Sarks. A tree, the hardworking and generous Belvoir Bankstown:Live project. Hazem Shammas audience; and that it was committed a few old bits of a house, and a dirty-white Board, for their patience and support over was at his very best – charming, utterly clear, to actively developing new work and stage stood in for a town, which stood in the past few months as I have settled in. funny, charismatic – and Mo’s writing shone. nurturing Australian creative talent. What for Australia. A small cast unfolded a big I have also been heartened by the very Everyone’s grandmother dies, but when, with has made me marvel is the dedication and story, and they were all terrific, led by Tom warm welcome I’ve received from the her, the living connection to another country tireless energy of the extended Belvoir Conroy’s spectacled and shiny-eyed Charlie extended Belvoir family. and another life also dies, the story is bigger. team, led by our Executive Director, the Bucktin. What to remember most? Tom These stories, about migration and loss and indomitable Brenna Hobson, and the We are excited about what the future and Charles Wu sharing a watermelon? The love, are the stories I want us to tell… way in which the extraordinary vision holds for us at Belvoir. We move into 2017 cricket match? ’s Mrs Bucktin and talent of our Artistic Director, Eamon with a sound financial platform and a telling her son why she’s leaving? Perhaps Our third show that January played Flack, inspires us all to aim higher. The strong, diverse season aimed at creating it was Guy Simon as Jasper at the very end, at Granville Town Hall with Catherine commitment of our extended Belvoir an exchange of ideas that will delight, community is a testament not only to provoke and nourish. I encourage you to these gifted individuals, but to the spirited join us on the journey. integrity that defines the company’s approach to theatre making. Sam

8 Russell Kiefel & Dan Spielman in The Blind Giant is Dancing. Photo: Brett Boardman. Judy Davis’ production of Faith Healer was We finished the year with a party – a show McClements and a different choir every awfulness because the two shows we played as precise and large and beautiful as the about passing from your beginnings to your night. The play was David Greig’s The Events. then were determined to defy the bleakness Brodsky Quartet playing Beethoven. Brian future. The show was Windmill’s production A brutal, brutalised young man guns down of that winter. Back at the Dojo was Lally Friel’s play is a great one, a pure act of of Matt Whittet’s Girl Asleep. Playful, joyous a choir, but the story we watch is of how to Katz’s tale of a man a little like her own theatre, really: a single story told three ways, and topsy-turvy, it was a gift to anyone put ourselves and our communities back father who refused to go to war in Vietnam, directly to us, from beyond the grave, about who’s ever felt out of place. Jonathon together again. I’ll never forget Choir of Love lost his way instead, and then found it again. belief. , Alison Whyte and Pip Oxlade’s set turned our theatre into a sort of and One World Choral singing together at Watching Harry Greenwood’s Danny fall in Miller lived every word of it, consummately. drab purple wonderland. It’s final moments the end of that opening night in Granville: love with Cat Davies’ Lois was a beautiful We played it without an interval – a long, of two kids swapping into each other’s “We’re all in here.” Catherine was exquisite. thing – both of them were terrific. Luke gentle, superb show. clothes – one into a dress, the other into The show travelled around the country before Mullins showed once again that no one can pants – was a lovely summing up of the it came to Belvoir St a few months later. do uncanny and magnetic like Luke can. We had a few other shows throughout the great game of Belvoir: liberating, wayward, year. Ruby’s Wish played in the September Stephen Sewell’s The Blind Giant is Dancing The other show we made that winter was unapologetic, with a wink. school holidays, for kids and parents, all is a sort of Old Testament document for Twelfth Night. We made it, myself and a smiles and tears. Hannah Gadsby split sides This was my first year as Artistic Director. I Belvoir. Its past productions – at Lighthouse magnificent company, utterly in defiance of with Dogmatic. We added extra shows to won’t lie, it’s not easy to run a company. The in 1983 and Belvoir in 1996 – have both been the outside awfulness. We wanted to begin meet the demand. The Wild Duck played for times are out of joint, and theatre can often foundational productions for the company. with the simplest human things – love and the fifth year in a row, this time at the Perth seem like a weird marginal undertaking. But We revived it because its battles – to shed play – and see where they could take us. International Arts Festival. Jada Alberts, this is a marvellous company. From the box our inherited rage, to fight for an equal As it turns out, no show in my 11 years at who has acted and written for Belvoir, made office to the casual techs to the actors and society, to defy the dehumanising effects of Belvoir has been so beset by misfortune – by her directing debut, and it was a damn fine the audiences, it is a marvellous company. capitalism – haven’t gone away. We came illness and injury and bad luck. Our apple- debut. Far more experienced directors have Our job is to join in on a bigger undertaking: to it as a new generation. Dan Spielman cart was always being upset. And yet. The stumbled on plays less difficult than Will our culture must be opened up, time must was electric and completely plugged-in closing night of that show is one of the most Eno’s Title and Deed; Jada made great sense be marked, life must be celebrated. We do as Alan Fitzgerald. Ivan Donato gave a glorious I’ve ever been to – mad and a little and beauty of it. Jimi Bani’s solo performance our bit. How lucky we are. definitive performance as Ramon Gris. But out of control, an upwelling overcoming of was one of those great theatrical pleasures, the real heartbreak of the show came many everything, just as we’d always wanted it to charismatic and funny and beautiful. Eamon months after it closed, when it turned out be. I could talk about each of the actors in that Russell Kiefel’s performance – his third, that show, their brilliance, but there’s one one in each of the three Blind Giants I’ve person I have to highlight: Peter Carroll’s mentioned – was his last for Belvoir. At his Malvolio ended the season on crutches. memorial another great alumni of the play, A joyfully ridiculous dance was lost along Gillian Jones, said that watching Russell as the way, but Peter found more wonders Doug Fitzgerald she saw the play’s terrible with crutches. This is how it should be. Our heart unlocked: the battle of a father and a Twelfth Night was embattled, but it was son to do the right thing without knowing magnificently embattled. Late in its season what that might be. it began to get standing ovations. We made it with love. Kit Brookman’s The Great Fire, in its gentle way, more by poetry than by dialectic, was is a powerhouse actor, this about what happened to the great social we’ve known for some time. Her new version experiment that the Blind Giant generation of The Drover’s Wife announced her as a fought for. Did it all end up in a squabble powerhouse writer. Drover’s was perhaps the about property prices? Or is there a greater truest achievement of our season – a brutal legacy? The Great Fire was a big play – ten and tender portrait of colonial Australia, and actors spanning three generations. It wasn’t a black woman’s unsparing retelling of our as big as Blind Giant was when it premiered history. It was directed by Leticia Cáceres a generation ago, but it was bigger than – one of the few directors in the country new Australian plays generally are. Big plays who could really ride that bull. Leah went present big pictures. We have to do big plays. brilliantly, even alarmingly to her outer limits in the title role. The performances were Last winter was a terrible, bleak time. all terrific, but Mark Coles Smith’s quiet, The Federal election seemed terminally subversive performance as Yadaka was a beside the point, the US election was standout. I hope that was the beginning of rat-awful, hateful men were murdering a great stage career. This show was one of people throughout Europe… I mention this those special ones.

10 Amber McMahon, Emele Ugavule & Damien Ryan in Twelfth Night. Photo: Brett Boardman. Executive Director’s Report Brenna Hobson

2016 was Eamon development income now outstrips call. Sally and Amy in particular are his commitment to the arts is enormous Flack’s first full year state and federal government support terrifyingly young and will be running the and I know he will continue to contribute as Artistic Director combined. We literally couldn’t keep the world (or at least the arts bit of it) before to the sector greatly. We are incredibly of Belvoir and his doors open without the extraordinary we know it. fortunate to have persuaded Sam Meers program offered generosity of so many of you so thank to take on the role of Chair. I’ve only Many of you know Andrew Cameron and a strong sense of you, it makes all the difference. been working with her for a few months his extraordinary commitment to Belvoir what is to come. but she has already proven herself to be Belvoir produces up to 14 new works over many years. He was Chair of the Threaded through a tireless advocate for the company, an each year, many of them in conjunction company that owns the buildings during the works was a astute reader of the organisation and its with smaller companies like ILBIJERRI, the redevelopment of the theatre and sense of community needs, and an absolute joy to work with. Windmill, Urban Theatre Projects, Force the purchase of the warehouse, and has and a commitment to Majeure and others. Following the cuts to been Chair of Belvoir itself for the last six We’ve landed at the beginning of 2017 expanding both the the Australia Council in 2015, we joined years. He stepped down from that role with an extraordinary sense of optimism. work that we can do and the audiences with a broad swathe of the industry at the end of 2016 and I can’t thank him Thank you to you all for contributing to we can meet with that work. From The to work on the #IStandWithTheArts enough, both for his strong, steadfast that. I look forward to seeing you in the Events at Granville Town Hall which campaign in the lead-up to the federal and generous leadership of the company foyer. featured a different community choir election. As part of that campaign, we and also for his personal support. His every night to the beautiful simplicity appealed to our audiences to make their departure is a great loss for Belvoir but Brenna of Urban Theatre Projects’ The Tribe belief in the value of the arts felt by staged in backyards in Surry Hills, it writing to their elected representatives. was exciting to push the boundaries Over 16,000 people wrote to their MPs of how a mainstage piece of theatre in NSW in two short weeks ensuring comes about. In the theatre too, the that the message that Australians value ongoing preoccupation was, how do we the arts was clear to all. In March this live together? From the glorious Jasper year it was announced that funding will Jones to The Blind Giant is Dancing and be returned to the Australia Council. The Great Fire, this question was at the This is a great step and one that our core of much of our work in 2016. audiences have contributed to. There’s From a financial point of view, following still a great deal of uncertainty amongst on from a tumultuous 2015, 2016 was small to medium organisations but things very much a year of stabilisation and are looking brighter than they have for consolidation. We posted a modest almost two years. surplus, a $500,000 turnaround from the Belvoir is only ever as strong as the previous year. We were pleased to see people who band together to create it. audiences respond to many of the works Audience members see many of these in Eamon’s first season by turning up in people on our stages and hear from droves and ensuring we sold out. These people like myself and Eamon in other included the extraordinary Leah Purcell ways. The Belvoir offices are (not quite) writing and starring in The Drover’s Wife full (enough) of people who apply and the theatrical gem that was Faith enormous amounts of talent and care Healer (as well as the aforementioned to ensuring that this company creates Jasper Jones). Audiences around the the best possible work that it can and country can expect to see more of those that that work connects with as many works in the future. people as possible. We undertook some We also enjoyed a strong year in restructuring in 2016 and I have to development support, particularly particularly commend Amy Goodhew in philanthropy. This is an area of our Marketing, Sally Withnell in Production operations that is increasingly important and Susan Jack in Finance for stepping to the sustainability of the company; up and going above and beyond the

12 013 Hazem Shammas performing in a Surry Hills backyard for The Tribe. Photo: Luke Cowling. Tom Conroy & Charles Wu. Photo: Brett Boardman. 2016 Season and Tours JASPER JONES 2 January – 7 February Upstairs

Statistics Performances 40 Total Available Tickets 14,139 Total Audience 13,319 Box Office Income $562,265

Based on the novel by Assistant Lighting Designer Design Secondment Craig Silvey Daniel Anderson Kelsey Lee

Adapted by Composer & Sound Designer Stage Manager Kate Mulvany Steve Toulmin Isabella Kerdijk

Director Fight Choreographer Assistant Stage Manager Anne-Louise Sarks Scott Witt Jennifer Parsonage

Set Designer Choreographer With Michael Hankin Sara Black Tom Conroy Kate Mulvany Costume Designer Indigenous Advisor Matilda Ridgway Mel Page Jada Alberts Steve Rodgers Lighting Designer Guy Simon Matt Scott Charles Wu

…[a] big fat, satisfying, thought-provoking, laugh-making, tear-jerking smash hit. Stage Noise

14 15 Hazem Shammas & Oonagh Sherrard. Photo: Luke Cowling. Zahra Newman & Dan Spielman. Photo: Brett Boardman. THE TRIBE THE BLIND GIANT IS DANCING 19 January – 7 February 13 February – 20 March Surry Hills Backyards Upstairs

Statistics Statistics Performances 26 Performances 41 Total Available Tickets 2,340 Total Available Tickets 14,268 Total Audience 1,703 Total Audience 10,803 Box Office Income $54,558 Box Office Income $414,133

Based on the novel by Belvoir Front of House Written by Composer & Sound With Michael Mohammed Ahmad Coordinator Stephen Sewell Designer Kelsey Lee Steve Toulmin Ivan Donato Adapted by Director Andrew Henry Michael Mohammed With Eamon Flack Fight Choreographer Emma Jackson Ahmad & Janice Muller Hazem Shammas Scott Witt Set & Costume Designer Russell Kiefel Oonagh Sherrard Director Dale Ferguson Stage Manager Genevieve Lemon Janice Muller An Urban Theatre Projects Melanie Stanton Lighting Designer Production Zahra Newman Composer Verity Hampson Assistant Stage Manager Dan Spielman Oonagh Sherrard Grace Nye-Butler Yael Stone Designer & Operator Ben Wood Frank Mainoo

You’ll laugh, you’ll cry, you’ll wish the story didn’t end. It is epic, wild, paranoid and passionate, full of personal and political Time Out hope and despair.

16 17 Genevieve Picot, Marcus McKenzie, Geoff Morrell & Peter Carroll. Photo: Brett Boardman. Catherine McClements & Johnny Carr. Photo: Lisa Tomasetti. THE GREAT FIRE THE EVENTS 2 April – 8 May 12 May – 12 June Upstairs Upstairs

Statistics Statistics Performances 40 Performances 35 Total Available Tickets 13,923 Total Available Tickets 12,184 Total Audience 10,036 Total Audience 8,423 Box Office Income $375,250 Box Office Income $321,743

Written By Associate Sound Designer With Written by Fight Choreographer A co-production with Kit Brookman Michael Toisuta Sarah Armanious David Greig Scott Witt Malthouse Theatre and Peter Carroll State Theatre Company Director Assistant Set Designer Director Stage Manager Lynette Curran South Australia in Eamon Flack Charles Davis Clare Watson Natalie Moir Eden Falk association with Sydney Set Designer Stage Manager (rehearsals) Sandy Gore Set & Lighting Designer Assistant Stage Manager Festival Michael Hankin Mel Dyer Shelly Lauman Geoff Cobham Vanessa Martin Marcus McKenzie Costume Designer Stage Manager Geoff Morrell Lighting Director With Jennifer Irwin Luke McGettigan Yalin Ozucelik Richard Vabre Luke Byrne Johnny Carr Lighting Designer Assistant Stage Manager Genevieve Picot Musical Director Catherine McClements Damien Cooper Gina Bianco Luke Byrne Sydney community choirs Composer & Sound Designer Composer Steve Francis John Browne

…a vibrant reflection of middle-class confusion, disillusionment, It was impossible not to be moved. sparkling with wit and energy. SMH The Music

18 19 Harry Greenwood, Catherine Davies, Dara Clear, Natsuko Mineghishi, Fayssal Bazzi, Hannah Gadsby & Doug. Photo: Alan Moyle. & Brian Lipson. Photo: Brett Boardman. HANNAH GADSBY: DOGMATIC BACK AT THE DOJO 20 – 29 May 18 June – 17 July Upstairs Upstairs

Statistics Statistics Performances 7 Performances 32 Total Available Tickets 2,784 Total Available Tickets 11,138 Total Audience 2,014 Total Audience 7,146 Box Office Income $71,821 Box Office Income $230,738

Written by Written by Karate Consultant Directorial Secondment Hannah Gadsby Lally Katz Natsuko Mineghishi Olivia Satchell

With Director Voice Coach With Hannah Gadsby Chris Kohn Suzanne Heywood Fayssal Bazzi Dara Clear Set & Costume Designer Dialect Coach A Token Events production Catherine Davies Mel Page Jennifer White Harry Greenwood Lighting Designer Stage Manager Brian Lipson Richard Vabre Mel Dyer Natsuko Mineghishi Luke Mullins Sound Designer Assistant Stage Manager Shari Sebbens Jethro Woodward Keiren Smith A co-production with Dramaturgs Producer – Stuck Pigs Stuck Pigs Squealing Louise Gough & Squealing Anthea Williams Nina Bonacci

Hannah Gadsby is a comic at the height of her powers. It weaves a powerful spell and moved me to tears. The Music Scene and Heard

20 21 Peter Carroll. Photo: Brett Boardman. Mark Coles Smith. Photo: Brett Boardman. TWELFTH NIGHT, OR WHAT YOU WILL THE DROVER’S WIFE 23 July – 4 September 17 September – 16 October Upstairs Upstairs

Statistics Statistics Performances 49 Performances 32 Total Available Tickets 17,147 Total Available Tickets 11,409 Total Audience 10,508 Total Audience 10,630 Box Office Income $353,061 Box Office Income $424,304

Written by Composer With Written by Dramaturg Assistant Stage Manager William Shakespeare Alan John Peter Carroll Leah Purcell Anthea Williams Keiren Smith Anita Hegh Director Sound Designer Director Movement Director With John Howard Eamon Flack Caitlin Porter Leticia Cáceres Scott Witt Tony Cogin Lucia Mastrantone Mark Coles Smith Set Designer Movement Director Amber McMahon Set Designer Traditional Movement & Benedict Hardie Michael Hankin Scott Witt Anthony Phelan Stephen Curtis Language Consultant/ Will McDonald Keith Robinson Spear Maker Assistant Set Designer Stage Manager Costume Designer Leah Purcell Damien Ryan Sean Choolburra Charlie Davis Luke McGettigan Tess Schofield Nikki Shiels Produced by Belvoir Dialect Coach Costume Designer Assistant Stage Manager Emele Ugavule Lighting Designer in association with Jennifer White Stephen Curtis Kaytlin Petrarca Verity Hampson Oombarra Productions Stage Manager Supported by Lighting Designer Composer & Sound Designer Isabella Kerdijk The Balnaves Foundation Nick Schlieper THE SWEATS

Twelfth Night is deliciously staged, filled with laughter yet laced with melancholy. This might be the most important new Australian play written this year. Limelight Daily Review

22 23 Holly Austin. Photo: Brett Boardman. Jimi Bani. Photo: Brett Boardman. RUBY’S WISH TITLE AND DEED 21 September – 9 October 13 October – 6 November Downstairs Downstairs

Statistics Statistics Performances 33 Performances 28 Total Available Tickets 2,842 Total Available Tickets 2,341 Total Audience 1,869 Total Audience 1,648 Box Office Income $35,256 Box Office Income $42,122

Written by Lighting Design Associate Interactive Designer Written by Composer & Sound Designer Holly Austin, Adriano Alexander Berlage Annie McKinnon Will Eno Kelly Ryall Cappelletta & Jo Turner Puppetry Director Producer Director Stage Manager Concept Alice Osborne Clara Iaccarino Jada Alberts Kaytlin Petrarca Holly Austin Composer & Sound Production & Stage Set & Costume Designer With Director Designer Manager Anna Gardiner Jimi Bani Jo Turner Steve Francis Natalie Moir Lighting Designer Supported by Set & Costume Designer Animation With Ross Graham The Balnaves Foundation Pip Runciman Tim Watts Holly Austin Adriano Cappelletta Lighting Designer Puppets Kate Sherman Verity Hampson Erth Visual & Physical Inc. A MAKEbeLIVE production

Ruby’s Wish is something truly special. …a very impressive piece of indigenous theatre with some universal AltMedia truths at its core. Daily Review

24 25 Colin Friels. Photo: Brett Boardman. Dylan Young & Ellen Steele. Photo: Lisa Tomasetti. FAITH HEALER GIRL ASLEEP 22 October – 27 November 2 – 24 December Upstairs Upstairs

Statistics Statistics Performances 41 Performances 24 Total Available Tickets 14,887 Total Available Tickets 8,809 Total Audience 12,770 Total Audience 6,709 Box Office Income $555,767 Box Office Income $201,390

Written by Associate Lighting With Written by Additional Original Music With Brian Friel Designer Colin Friels Matthew Whittet Harry Covill Ruby Burke Daniel Barber Pip Miller Sheridan Harbridge Director Director Movement Alison Whyte Amber McMahon Judy Davis Composer & Sound Rosemary Myers Gabrielle Nankivell Martha Morgan Designer Set Designer Set & Costume Designer Movement Re-rehearsal Ellen Steele Paul Charlier Brian Thomson Jonathon Oxlade Carlee Mellow Matthew Whittet Directorial Secondment Dylan Young Costume Designer Lighting Designer Stage Manager Duncan Ragg Tess Schofield Richard Vabre Isabella Kerdijk A Windmill Theatre Stage Manager Lighting Designer Original Soundtrack Assistant Stage Manager production Luke McGettigan Verity Hampson Luke Smiles – motion Alex Hayley Assistant Stage Manager laboratories Roxzan Bowes

This will go down as one of those nights when you feel that theatre …the appeal of this funny, unsettling and optimistic tale is universal. has laid its hands on you. SMH SMH

26 27 CO-PRODUCER SEASON INTERNATIONAL SEASON

Catherine McClements. Photo: Lisa Tomasetti. Lally Katz. Photo: Heidrun Löhr. THE EVENTS STORIES I WANT TO TELL YOU IN PERSON

Sydney Festival 7 – 26 January India 3 – 13 February Statistics Statistics Performances 6 Performances 6 Total Audience 982 Total Audience 1000+

State Theatre Company South Australia 26 February – 14 March Written by With Statistics Lally Katz Lally Katz

Performances 11 Director Anne-Louise Sarks Total Audience 6,238 Touring venues Set & Costume Designer Abhimanch Auditorium Malthouse Theatre 21 June – 10 July Ralph Myers H.K Auditorium Jagriti Theatre Lighting Designer Statistics Tagore Theatre Damien Cooper Performances 21 Experimental Theatre Head of Lighting Total Audience 3,589 Christopher Page & Holly Woollard Written by Musical Director Assistant Stage Managers Composer David Greig Luke Byrne (Syd Fest & Malthouse) Keiren Smith (Syd Fest) & Sound Designer Carol Young (STCSA) Emily Barraclough (STCSA) Director Max Lyandvert Clare Watson Composer Amber Bock (Malthouse) Production John Browne With Set & Lighting Designer & Stage Manager Luke Byrne Geoff Cobham Fight Choreographer Luke Cowling Scott Witt (Syd Fest & Malthouse) Lighting Director Johnny Carr Richard Vabre Stage Managers Catherine McClements Michelle McKenzie (Syd Fest) Carol Young (STCSA) Natalie Moir (STCSA & Malthouse) Community Choirs 28 29 NATIONAL SEASON NATIONAL SEASON

Rose Riley & Harry Greenwood. Photo: Brett Boardman. Anthony Phelan. Photo: Simon Cowling. THE GLASS MENAGERIE THE WILD DUCK

Geelong Performing Arts Centre 12 – 14 May Perth Festival 3 – 13 March Statistics Statistics Performances 4 Performances 14 Total Audience 1,596 Total Audience 5,106

Canberra Theatre Centre 3 – 7 May Written by Composer Stage Manager Statistics Simon Stone & Sound Designer Luke McGettigan Performances 7 with Chris Ryan Stefan Gregory Assistant Stage Manager after Henrik Ibsen Total Audience 3,300 Assistant Director Amy Morcom Director Anne-Louise Sarks With Simon Stone Malthouse Theatre 18 May – 5 June Dramaturg Airlie Dodds Set Design Eamon Flack John Gaden Statistics Ralph Myers Anthony Phelan Production Manager Performances 21 Richard Pyros Costume Designer Glenn Dulihanty Steve Rodgers Total Audience 7,255 Tess Schofield Head of Sound/Operator Katherine Tonkin Lighting Designer Caitlin Porter Written by Lighting Designer Dialect Coach Niklas Pajanti Tennessee Williams Damien Cooper Paige Walker-Carlton

Director Composer & Sound Stage Manager Eamon Flack Designer Isabella Kerdijk Stefan Gregory Set Designer Assistant Stage Manager Michael Hankin Video Design Consultant Katie Hankin Sean Bacon Costume Designer With Mel Page Assistant Director Harry Greenwood Jada Alberts Luke Mullins 30 Rose Riley 31 Awards Board and Staff

Belvoir won seven industry awards in 2016 BELVOIR BOARD OF DIRECTORS Accounts Administrator Resident Stage Manager Anne Britton Susan Jack Luke McGettigan Sydney Theatre Awards Mitchell Butel IT & Operations Commercial Business Manager Best Mainstage Production Andrew Cameron AM Jan S. Goldfeder Simon Boyd Luke Carroll The Drover’s Wife Production Coordinator Tracey Driver MARKETING Eliza Maunsell Eamon Flack Best Direction of a Mainstage Production Marketing Manager Brenna Hobson Costume Coordinator Amy Goodhew Leticia Cáceres (The Drover’s Wife) Ian Learmonth Judy Tanner Samantha Meers Marketing Coordinator Best New Australian Work (Appointed: 30 November 2016) Jacqueline McLeish FRONT OF HOUSE Leah Purcell (The Drover’s Wife) Olivia Pascoe (04.01.16 – 11.03.16) Front of House Manager (Resigned: 22 December 2016) Georgia Goode Ohmeed Ahi Best Composition/Sound Design Peter Wilson (Appointed 18.04.16) of a Mainstage Production Assistant Front of House Manager Publications Manager Scott Pirlo THE SWEATS (The Drover’s Wife) ARTISTIC & PROGRAMMING Gabrielle Bonney Front of House Assistants Artistic Director (Resigned 19.02.16) Best Male Actor in a Leading Role Maia Andrews, Lorena Arancibia, Eamon Flack in a Mainstage Production Communications Coordinator Michael Becker, Katie Dillon, Executive Director Cara Nash (Appointed 11.04.16) Felix Grech, William Hickey, Rob Colin Friels (Faith Healer) Brenna Hobson Publicity & Public Affairs Manager Johnson, Kelsey Lee, Sally Lewis, Best Female Actor in a Supporting Role Artistic Associate Elly Baxter Olga Markovic, Luke Martin, Aime Neeme, Xanthe Paige, Whitney in a Mainstage Production Tom Wright (Appointed 04.01.16) DEVELOPMENT Richards, Mitchell Parham, Alison Whyte (Faith Healer) Cecelia Peters, Eddie Sharp, Deputy Executive Director Associate Producer Ryder Stevens, Erin Thomas, & Head of Development Best Male Actor in a Supporting Role Luke Cowling Emma White in a Mainstage Production (Resigned 02.12.16) Nathan Bennett Pip Miller (Faith Healer) Associate Director – New Work Philanthropy Manager BOX OFFICE Liz Tomkinson Anthea Williams Customer Experience Green Room Awards Associate Artist Acting Philanthropy Manager & Ticketing Manager Nell Ranney Charlotte Bradley till 11.11.16 Andrew Dillon (Appointed Best Female Performer (Appointed 22.02.16) Acting CRM Manager 19.12.16) (Theatre Companies) Charlotte Bradley from 14.11.16 Box Office Manager Rose Riley (The Glass Menagerie) EDUCATION Tanya Ginori-Cairns till 23.12.16 Development Coordinator Education Manager Aimee Timmins Ticketing Systems Jane May (Resigned 27.05.16) Administrator Education Coordinator Jessica Vincent Tanya Ginori-Cairns (Appointed Simone Evans (Contract 30.05.16 – 11.11.16) 26.12.16) Acting Education Coordinator (Appointed full-time 14.11.16) Assistant Box Office Managers Hannah McBride Andrew Dillon till 16.12.16 (Contract 06.10.15 – 02.09.16) PRODUCTION Laura Henderson (Resigned 10.01.16) Acting Head of Production ADMINISTRATION Warren Sutton (Resigned 11.03.16) Box Office Staff Artistic Administrator Sally Withnell Annabel Blake, Jessica Cassar, John Woodland (Appointed 25.04.16) Laura Frangelli, Emma Furno, Quinn Gibbes, Lucinda Gleeson, Trainee Administration Staging & Construction Alana Hicks, Rebecca Hitch, Coordinator Managers Joshua Magee, Patrick Magee, Anthony Blanch till 30.06.16 Penny Angrick Maeve O’Donnell Acting Administration Assistant Staging & Subscriptions Manager Coordinator Construction Manager Jason Lee (Resigned 07.10.16) Rebecca Levy from 29.08.16 Brianna Russell Rachel Sinclair from 14.10.16 (Resigned 24.01.16) Subscriptions Staff Bryanna Ryan Brenton Amies, Emily Burke, FINANCE & OPERATIONS (Appointed 04.04.16) Tom Conroy, Eunice Huang, Angharad Lindley, Penelope Head of Finance & Operations Technical Manager Parsons–Lord, Jessica Paterson, Kate Chalker (Resigned 17.06.16) Will Jacobs Julia Patey, Pengilley, Company Accountant Theatre Technician Lois Vega Komal Rabadiya Caitlin Porter 32 33 Colin Friels in Faith Healer. Photo: Brett Broadman. Donors We give our heartfelt thanks to all our donors for their loyal and generous support.

CREATIVE DEVELOPMENT THE CHAIR’S GROUP $1,000 – $1,999 HONEY BS Sue Hyde* Gillian Fenton FUND $3,000+ Anonymous (2) $1,000+ Peter & Rosemary Ingle* Sandra Ferman Berg Family Foundation** David Jonas & Desmon Du Plessis Jono Gavin $10,000+ Judge Joe Harman Margaret Butler Andrew Cameron AM Marion Heathcote & Brian Burfitt** Max Bonnell** Catherine Jones Tim Gerrard Charlene & Graham Bradley AM Marla Heller Stewart & Jillian Kellie* Peter Gray & Helen Thwaites & Cathy Cameron** $1,000 – $2,999 Tristan Landers Helen Lynch AM & Helen Bauer** Dr Catherine Brown-Watt PSM Xanthi Kouvatas Priscilla Guest* Antoinette Albert** Jan Burnswoods* Louise McCoach Veronica & Matthew Latham Dr Cheryl Hanbury Frank Macindoe* Jill & Richard Berry Janet Pennington Sherry-Hogan Foundation* Mary Jo & Lloyd Capps** Benjamin Nicholas Law Kim Harding & Irene Miller Jillian Broadbent AO** Elaine Chia Sylvia Preda John McGuinness Harrison & Kate Higgs* Kim Williams AM & Catherine Chris Brown Janna Robertson Dovey Jane Christensen* Ruth Layton Dorothy Hoddinott AO** Jan Chapman AO & Jeanne Eve** Arlene Tansey Jennifer Ledgar & Bob Lim* Clyth Hoult $5,000 – $9,999 Stephen O’Rourke** Lisa Hamilton & Rob White Lauren Thompson Damian Lovell Robert Kidd Anonymous (1) Wendy & Andrew Hamlin** Cathy Yuncken David Marr & Sebastian Tesoriero Daniel Knight Stephen Allen Kathleen & Danny Gilbert** Libby Higgin* Pamela Mcgaw Wolf Krueger & José Anne Britton** Sophie Guest Michael Hobbs** EDUCATION DONORS Mary Miltenyi Gutierrez* Hartley Cook* Michael Hobbs* Susan Ingram $10,000+ Patricia Novikoff Franz Lauenstein Gail Hambly* Hilary Linstead** Avril Jeans** Polese Family Lisa Manchur Louise Herron AM & Clark Butler** Ross McLean & Fiona Beith* Doc Ross Family Foundation Kevin & Rosemarie Jeffers-Palmer ** Margaret Butler Nigel Poole Wailyn Mar Peter & Rosemary Ingle* Cajetan Mula (Honorary Member) Corinne & Rob Johnston* Justin Punch Julianne Maxwell Don & Leslie Parsonage Sherry-Hogan Foundation Susie & Nick Kelly Margaret Johnston Ian Learmonth & Julia Pincus Richard, Heather & Rachel Rasker E.J.R McDonald Dan & Jackie Phillips Steve Rankine A. le Marchant* Angela Raymond Julian Meagher Doc Ross Family Foundation Alex Oonagh Redmond** Professor Elizabeth More AM** $2,000 – $5,000 Ruth Ritchie Irene Miller Victoria Taylor** Michael Rose Stephanie Lee* Anonymous (3) Stephen & Christy Roberts Dr David and Barbara Millons Shemara Wikramanayake Ann Sherry AO* Atul Lele* Ian Barnett* Peter & Janet Shuttleworth* Irena Nebenzahl & Ed Gilmartin Penny Ward* Hilary Linstead* Andrew Cameron AM & Nawal Silfani Louise & Michael Nettleton David & Jennifer Watson** $2,000 – $4,999 Christopher Matthies Cathy Cameron** Chris & Bea Sochan* Patricia Novikoff* Kim Williams AM** Neil Armfield AO** K Nomchong SC Ben Collier Kerry Stubbs Anthony Nugent Jill & Richard Berry Jacqueline & Michael Palmer Estate of the late Angelo Drew Tait Judy & Geoff Patterson* Justin Butterworth & Stephen Asher B KEEPERS Dr Natalie Pelham* Comino Hugh Thomson Dr Natalie Pelham John Cary Greeba Pritchard* Ari Droga Daniela Torsh Georgina Perry $5,000+ Julie Hannaford* Janet & Trefor Clayton* Robert & Libby Albert** David & Jill Pumphrey Ingrid Villata Kathirasen Ponnusamy* Michael Coleman* Richard, Heather & Rachel Rasker* Judge Joe Harman Richard & Sue Walsh Kim Rosser Ellen Borda* Bill Hawker Bob & Chris Ernst Anne Britton** Richmond Sisters Andrew Watts Leigh Sanderson Lisa Hamilton & Rob White Colleen Roche Sam May Ali Yeldham Elfriede Sangkuhl Constructability Recruitment Louise Mitchell & Peter Pether Victoria Holthouse* Marion Heathcote & Brian Burfitt** David Round Emily Young Abhijit & Janice Sengupta David Robb Don & Leslie Parsonage* Andrew & Louise Sharpe* $500 – $1,999 Dr Agnes Sinclair Jennifer Smith 32 Edward St GENERAL DONORS Eileen Slarke & Family** $500 – $1,999 $3,000 – $4,999 Chris & Bea Sochan* AB* Alexia Smyth-Kirk Helen Argiris Anonymous (1) $10,000+ Jeremy Storer & Annabel Crabb Anonymous (2) Anonymous (1) Andrea Socratous Richard Banks Bev & Phil Birnbaum** Camilla & Andrew Strang Len & Nita Armfield Dr Titia Sprague Tim Bishop Louise Christie** Andrew Cameron AM Sue Thomson* Argyle Property Group & Cathy Cameron** Paul Stein Chris Collett Tom Dent Alese Watson Arrow Commodities Yael Stone Joanna Collins Suzanne & Michael Daniel** Ross Littlewood Paul & Jennifer Winch Art House Gallery & Alexandra Curtin* Axel & Diane Tennie Michael Dowe Bob & Chris Ernst** David Bennett AO & Anne Mike Thompson Linda English Robyn Godlee & Tony Maxwell $2,000 – $4,999 THE HIVE Bennett Gayle Tollifson Phillip English David & Kathryn Groves* Judy Binns Anonymous (2) Helen Trinca $2,500 Timothy Hale Colleen Kane** Tim Bishop Richard Evans Suzanne & Ross Tzannes AM* Anthony & Elly Baxter Roey Higgs S Khouri & D Cross Christina Boyce Brenna Hobson Jane Uebergang Nathan & Yael Bennett Michael Hobbs Chantal & Greg Roger ** Brand New You Anita Jacoby* Louise & Steve Verrier Justin Butterworth & Stephen Asher Stephanie Hutchinson Peter & Jan Shuttleworth* John Campbell Raymond McDonald Chris Vik & Chelsea Albert Dan & Emma Chesterman Angus Hutchinson Jann Skinner Michael & Colleen Chesterman* Ralph Myers Sarah Walters* Este Darin-Cooper & Chris Burgess Alec Leopold Merilyn Sleigh & Raoul de Ferranti Esther Helen Cossman Patricia Novikoff* Mark Warburton Janine Perrett* Joanna Davidson & Julian Leeser $2,000 – $2,999 Tracey Clancy Lynne Watkins & Nicolas Harding* Louisa Ward & Tim Coen Jeremy Goff & Steve Rankine Claire Armstrong & John Sharpe** Karen Cooper & Simon Tuxen $500 – $1,999 Dr Rosemary White Amelia Morgan-Hunn Richard, Heather & Rachel Rasker Dr. Kimberly Cartwright & Erin Devery Anonymous (5) Richard Willis Piers Grove Penelope Seidler Mr. Charles Littrell Mike Dixon & Dee de Bruyn Victor Baskir Brian & Trish Wright Ruth Higgins & Tamson Pietsch Alenka Tindale Cary & Rob Gillespie Diane Dunlop* Baiba Berzins* Emma Hogan & Kim Hogan Mark Warburton Peter Graves** Veronica Espaliat & Christine Bishop * 5+ years of giving Bruce Meagher & Greg Waters Penny Ward David Haertsch** Ross Youngman Allen & Julie Blewitt ** 10+ years of giving G W Outram & F E Holyoake Sheryl Weil John Head** John B Fairfax AO & Mr Dennis Bluth & Dr Diana Marks *** 15+ years of giving Olivia Pascoe Jennifer Ledgar & Bob Lim* Libby Fairfax Angela Bowne List correct at time of David Rayment & Mary Nguyen CO-CONSPIRATORS Louise Mitchell & Peter Pether Sandra Ferman Keith Bradley AM printing. Andrew & Louise Sharpe* Dr David Nguyen** Laurie Foal Ian Breden & Josephine Key* $10,000+ Michael Sirmai & Timothy & Eva Pascoe** Suzy Gellert Anne Britton** Gail Hambly** Rebecca Finkelstein Lesley & Andrew Rosenberg* Geoffrey & Patricia Gemmell* Trevor Carroll Anita Jacoby* Chris Smith Judy Thomson* Natasha Goulden Colleen & Michael Chesterman David & Jill Pumphrey Saurabh Thaper Lynne Watkins Peter Gray Esther Helen Cossman Mark Warburton The Sky Foundation & Nicholas Harding* Bill Hawker Tim & Bryony Cox* Peter Wilson Jourdan Thompson Dorothy Hoddinott AO** Jane Diamond* Cathy Yuncken Peter Wilson & James Emmett Julia Horne Elizabeth Fairfax 34 35 Donors Continued

SPECIAL THANKS We would like to acknowledge Cajetan Mula, Len Armfield and Geoffrey Scharer. They will always be remembered for their generosity to Belvoir. We also thank our Life Members, who have made outstanding contributions to Belvoir over more than thirty years. They have changed the course of the company and are now ingrained in its fabric: Neil Armfield AO, Neil Balnaves AO, Andrew Cameron AM, David Gonski AC, Rachel Healy, Louise Herron AM, Sue Hill, Geoffrey Rush AC, Orli Wargon OAM and Chris Westwood.

These people and foundations supported the redevelopment of Belvoir St Theatre and purchase of our warehouse.

Andrew & Cathy Cameron Andrew & Wendy Hamlin (refurbishment of theatre & warehouse) (Brenna’s office) Russell Crowe Hal Herron (Downstairs theatre & (The Hal Bar) purchase of warehouse) Geoffrey Rush The Gonski Foundation (redevelopment of theatre) & The Nelson Meers Foundation Fred Street AM (Gonski Meers Foyer) (Upstairs dressing room)

The Girl Asleep gang. Kate Mulvany – Jasper Jones.

In the Rehearsal Room

36 37 Keith Robinson & Lucia Mastrantone – Twelfth Night. Jada Alberts & Jimi Bani – Title and Deed. Photos: Brett Boardman. Key Performance Indicators

ARTISTIC VIBRANCY Subscription Season Readings Upstairs Downstairs 2016 2015 2014 2016 2015 2014 2016 2015 2014 PROFILE OF WORKS New* 5 6 6 2 4 4 8 13 11 Existing 4 2 3 1 0 0 3 0 0

ORIGIN OF WORK Australian – New 5 5 5 2 4 4 5 13 11 Australian – Existing 1 1 0 0 0 0 0 0 0 Overseas – Existing 3 2 4 1 0 0 6 0 0

PROFILE OF PRODUCTIONS New 8 8 9 1 4 4 n/a n/a n/a Financial Statements Existing 1 0 0 2 0 0 n/a n/a n/a *Written within two years of its production year.

ACCESS Attendances Number of Performances 2016 2015 2014 2016 2015 2014

SELF-PRESENTED Upstairs 90,344 80,173 93,284 334 350 364 Downstairs 7,234 10,438 9,326 95 164 131 Other Sydney Venues 982 0 0 6 0 0

TOURING Regional 0 2,028 10,006 0 21 58 Interstate 17,257 1,446 34,442 46 10 101 International 1,000+ 3,918 8,160 6 54 22

EDUCATION School Performances* 4,245 4,587 5,569 19 20 25 Workshops** 2,451 2,976 2,550 172 203 176 Other*** 1,189 1,084 1,033 105 94 106

OTHER Unwaged Performances 2,905 2,706 2,221 9 8 8

*School matinee performances in both the Upstairs and Downstairs theatres.

**Includes workshops held at Belvoir, regional schools and Sydney schools, professional development workshops for teachers, Theatre Enrichment pre-show workshops and Youth Express workshops.

***Includes archival viewings, tours of the theatre, Theatre Enrichment post-show forums at schools, attendees at Youth Express performances (twice a year), work experience, work placement and other 'extra' activities.

38 39 Key Performance Indicators (CONTINUED) Directors’ Report

FINANCIAL VIABILITY 2016 2015 2014 The directors of Company B Limited (trading Interlude, Snugglepot and Cuddle Pie, The as, and hereafter referred to as, “Belvoir” or Laramie Project, A View From The Bridge “the Company”) submit herewith the annual and Dead Heart. His writing credits include STRENGTH OF RESERVES financial report for the financial year ended 31 And Now For the Weather, Killing Time and Net assets / $829,983/ $813,466 / $1,305,227 / December 2016. Meow Meow’s Little Match Girl (co-writer). Annual Turnover $10,623,828 $9,612,231 $10,654,692 Mitchell has also been a Special Projects (7.81%) (8.46%) (12%) Directors Officer for the NSW Office of the Board of Net assets / $829,983/ $813,466 / $1,305,227 / The names and details of the Company’s Studies and has taught at ATYP, NIDA and Total Assets $4,345,185 $4,743,844 $4,652,663 directors in office during the financial year the Australian Institute of Music (AIM). He has (19.10%) (17.15%) (28%) and until the date of this report are as follows. been a proud member of Actors Equity since Directors were in office for this entire period, 1988, a member of the National Performers PROFITABILITY unless otherwise stated. Committee since 2007 and was Federal Vice Total income minus expenditure $16,517 ($491,761) $3,486 President of the Media, Entertainment and Anne Britton Arts Alliance from 2010 to 2013. He is also on EARNED INCOME GENERATING ABILITY Mitchell Butel the Advisory Panel for the Australia Council- Andrew Cameron AM funded New Musicals Australia. TOTAL Luke Carroll Total earned income / $8,495,410/ $7,544,459 / $8,577,104 / Tracey Driver Andrew Cameron AM total income $10,623,828 $9,612,231 $10,654,692 Eamon Flack Chair (until 31 December 2016), (79.97%) (78.49%) (80.5%) Brenna Hobson Member: Finance, Audit and Risk Committee, Ian Learmonth Development Committee BOX OFFICE Sam Meers (Appointed: 30 November 2016) Andrew is currently the Chair of Trustees at Total box office / $4,517,551/ $4,004,666 / $4,916,966 / Olivia Pascoe (Resigned: 22 December 2016) Art Gallery of NSW Foundation, and a Board total income $10,623,828 $9,612,231 $10,654,692 Peter Wilson member of Australian Major Performing Arts (42.52%) (41.66%) (46.15%) Patricia Akopiantz Group, the Sherman Foundation and the (Appointed: 7 February 2017) Andrew Cameron Family Foundation. He is PRIVATE SECTOR also the Chairman and Managing Director Information on Directors Total private sector / $2,469,093/ $2,093,764 / $2,186,354 / of a number of privately owned companies total income $10,623,828 $9,612,231 $10,654,692 Anne Britton with interests in industrial services and (23.24%) (21.78%) (20.52%) Member: Nominations and Governance investment. He was made a member of the Committee (Chair) Order of Australia in the 2014 Honours List for significant services to the visual and OTHER INCOME Currently a Principal Member of the NSW performing arts. Total other income / $1,508,766/ $1,446,029 / $1,473,784 / Civil and Administrative Tribunal, Anne has total income $10,623,828 $9,612,231 $10,654,692 held senior roles in Commonwealth and state Luke Carroll (14.20%) (15.04%) (13.83%) tribunals for the past 16 years. Previously Member: Audience Engagement Committee Anne was the national secretary of Actors Luke is a proud member of the Wiradjuri GOVERNMENT FUNDING CONTRIBUTION Equity of Australia and, on its merger with nation and was born and grew up on Gadigal Govt. funding / $2,128,418/ $2,067,772 / $2,077,588 / the Australian Journalist Association in the land in the inner suburbs of Sydney. Luke has total income $10,623,828 $9,612,231 $10,654,692 1990s, the joint national secretary of the Media appeared in The Cake Man, Capricornia, A (20.03%) (21.51%) (19.50%) Entertainment and Arts Alliance. Midsummer Night’s Dream and Conversations Mitchell Butel with the Dead at Belvoir, and has extensive Member: Audience Engagement Committee credits across theatre, film and TV. In 2013, (Chair) Luke won the Deadly Award for Male Actor of the Year for his performance in . As an actor, singer and writer, Mitchell has He is currently a presenter on Play School. worked for most state and commercial theatre companies and most Australian television Tracey Driver networks for the last 20 years. He holds three Member: Finance, Audit and Risk Committee for leading actor for The (Chair) Mikado, Avenue Q and The Venetian Twins, Tracey has 20 years’ experience as a chartered Green Room Awards for Hair and Piaf, and accountant. She is an audit partner with multiple other nominations for Helpmann, KPMG. Tracey has spent time working in the Green Room and Sydney Theatre Awards. UK and US and has experience dealing with a His work at Belvoir includes The Government wide range of global businesses. Inspector, Angels In America, Strange 40 41 Eamon Flack Ian Learmonth the Art Gallery of NSW and also contributes Short and Long Term Objectives Artistic Director Member: Member: Development Committee, to the health, education and international Belvoir’s overarching goal for the coming Audience Engagement Committee Nominations and Governance Committee development of not-for-profit sectors. three year period is to build on the vision of our Artistic Director, Eamon Flack. The Eamon is Belvoir’s Artistic Director. He was Ian was formerly an Executive Director of Peter Wilson Company will continue to pursue international born in Singapore and grew up in Singapore, Macquarie Bank for over 12 years and has Member: Development Committee (Chair), opportunities and grow our home audience Darwin, and Cootamundra. He worked in London, Sydney and Hong Kong Finance, Audit and Risk Committee through our artistic leadership and excellence trained as an actor at WAAPA from 2001 to in various fields of investment banking. Peter is a Managing Director of Greenhill & Co, in customer service. 2003 and has since worked as a director, After leaving Macquarie in 2011, Ian is now Inc., a global independent corporate advisory actor, writer and dramaturg, from Milikapiti on the Executive Director of Impact Investing firm, and was previously a lawyer. He is Chair Specific goals for the Company to reach these the Tiwi Islands to Geraldton and Melbourne. at Social Ventures Australia, a not-for- of Playwriting Australia and a member of the objectives are: For Belvoir, Eamon has directed Ivanov, profit organisation established in 2002 that Finance Council of the Institute of the Sisters Artistic work: To produce thought provoking, Angels in America Parts One and Two, The addresses social disadvantage in Australia. Ian of Mercy in Australia and Papua New Guinea. inspiring, outstanding theatrical works Glass Menagerie, Babyteeth, As You Like It, is also on the board of Australian Affordable He has previously served as Chair of the Inner from a shared vision that question and Twelfth Night or What You Will, The Blind Housing Securities and a member of the City Legal Centre, a member of the Finance affirm our culture, and provide audiences Giant is Dancing, The Great Fire, Once in Royal investment committee of the Government’s Council of the Sisters of the Good Samaritan with experiences of imaginative daring and David’s City and The End. He co-adapted Ruby Clean Energy Finance Corporation. and a Trustee of the English Association. He emotional depth Langford Ginibi’s memoir Don’t Take Your Love is also a Philanthropy Adviser to the Council to Town with Leah Purcell, and co-devised Sam Meers Artists: Support and extend our current Member: Development Committee (Chair), of The Women’s College within the University Beautiful One Day with artists from ILBIJERRI, of Sydney. and future artists and play a leading role in version 1.0 and Palm Island. His dramaturgy Finance, Audit and Risk Committee supporting the wider theatrical community Chair (from 1 January 2017), credits for Belvoir include Neighbourhood Patricia Akopiantz Audience: Consolidate and expand our Member: Finance, Audit and Risk Committee, Watch, The Wild Duck, Brothers Wreck and Member: Audience Engagement Committee audiences, target markets and brand Development Committee The Book of Everything. His adaptations and Nominations and Governance Committee Development: Increase commercial and include Chekhov’s Ivanov, Gorky’s Summerfolk Sam is executive deputy chairman of Patricia is a non-Executive Director of AMP philanthropic income while retaining the and Sophocles’ Antigone. Ivanov won four property and investment group the Nelson Limited, Ramsay Healthcare and Belvoir. At character and values of Belvoir Sydney Theatre Awards in 2015 including Best Meers Group, and co-founder and trustee of AMP, she is Chair of AMP Bank and Chair of Management: Consolidate Belvoir’s position Mainstage Production and Best Direction. the Nelson Meers Foundation. Her current the People and Remuneration Committee. She as a world renowned, financially stable arts Eamon’s productions of The Glass Menagerie board appointments include chairman of was previously a non-Executive Director of organisation via the establishment of sound and Angels in America both won Best Play at Documentary Australia; deputy chairman AXA APH, Coles Myer, Energy Australia, the management and governance practices that the Helpmann Awards. of the Federal Government’s Creative NSW State Library Foundation and YWCA maximise the return on available resources Partnerships Australia; a trustee of the Art Brenna Hobson NSW. Patricia has over 30 years’ experience Gallery NSW; and a director of the State primarily in consumer-related industries and Dividends Executive Director & Company Secretary Library of NSW Foundation. Sam also sits on has worked for McKinsey and David Jones. The provisions of the Memorandum and Member: Finance, Audit and Risk Committee, advisory boards for the University of Sydney She is a member of Chief Executive Women Articles of Association of the Company prohibit Nominations and Governance Committee, and the Centre for Social Impact at the and received the Centenary Medal for Services the payment of a dividend. Accordingly, no Development Committee, Audience University of NSW. Sam began her career as to Australian Society in Business Leadership. dividend has been paid or declared during or Engagement Committee a commercial lawyer with Mallesons Stephen Patricia has an MBA from Harvard Business since the end of the financial year or since the Brenna joined Belvoir as General Manager in Jacques (now King and Wood Mallesons), School and a Bachelor of Arts in Political Company’s incorporation. February 2008 and is now Executive Director. and her executive career included senior Science from Wellesley College. She has a Masters of Management (Arts) from management roles in the media sector. Sam Members the University of Technology Sydney and is a member of Chief Executive Women and a Mission Statement There were 37 members of the Company as at sits on the Seymour Centre Artistic Advisory fellow of the Australian Institute of Company To produce theatrical works from a shared 31 December 2016 (2015: 46). Committee. Previous to this, Brenna was the Directors. vision that question and affirm our culture, General Manager of Jigsaw Theatre Company extend and develop our artists and provide Principal Activities in where she was also a Board Olivia Pascoe audience with experiences of imaginative The principal activity of the Company during Member of the ACT Council of Cultural and Member: Development sub-committee daring and emotional depth. the financial year was the operation of a live Community Organisations, part of the steering Olivia is a member of the Development sub- theatre and the production of live theatrical committee of Canberra Living Artists Week committee. This has included the launch of Core values and principles: performances within the home venue, Belvoir and the ACT representative of Critical Stages. Belvoir’s next frontier of patronage, The Hive, • Belief in the primacy of the artistic process St Theatre, and on tour both nationally and Her credits as an independent producer targeted at 30 to 45-year-old theatre lovers • Clarity and playfulness in storytelling internationally. These activities have assisted include Now That Communism Is Dead My nurturing new Australian talent. Olivia is an • A sense of community within the theatrical the Company to achieve its objectives Life Feels Empty (Melbourne International independent Strategy Consultant & Executive environment which are measured against the specific key Arts Festival/B Sharp), The Suitors (Old Coach who works with executive teams and • A responsiveness to current social and performance indicators as below: Fitzroy Theatre) and Vital Organs (B Sharp). boards on integrated strategy, change and political issues She has also been Production Manager of leadership across industries. For the 15 years • Equality, ethical standards and shared Artistic work Bangarra Dance Theatre and spent 11 years in prior to this, she worked for multinational ownership of artistic process and company • Create and develop new and classic work Belvoir’s production department. Brenna was corporations and consulting firms in Asia, achievements appointed Opera House Trustee in January Europe and America. She was previously • Seek out and commission the most • Development of our performers, artists 2014 as a member of the Audit and Risk and a member of the Contempo Committee of promising emerging and the best and staff People’s committees. established writers from all parts of the 42 community 43 • Commission work that addresses urgent • Maximise philanthropic income issues not being discussed elsewhere • Ensure that financial systems and controls significant changes in the state of affairs of the (2) Finance Committee Meetings • Partner with the most vibrant and are robust and enforced Company that occurred during the financial The Finance Committee is a sub- exceptional independent artists and • Build towards longer running productions year under review not otherwise disclosed in committee of the Board. During the companies particularly those with skill bases this report or the financial statements. • Co-produce where there is artistic financial year, 5 meetings of directors and experiences that are different to Belvoir alignment were held. Attendances were as follows: Artists HR Indemnification and Insurance of Directors and Officers • Provide the best possible environment for • Ensure staff satisfaction During the financial year, the Company paid Number eligible Number artists • Create pathways within the Company for a premium in respect of a contract insuring Members to attend attended • Provide flexibility and support in artistic progression the directors of the Company against a decision making Andrew Cameron AM 5 5 • Ensure staff are engaged with the artistic liability incurred as such a director, secretary Tracey Driver 5 5 • Seek out and employ the most talented work of the Company and see their place in or executive officer to the extent permitted theatre artists across the generations its creation by the Corporations Act 2001. The contract Brenna Hobson 5 5 • Support skills development for artists • Empower and mentor staff of insurance prohibits disclosure of the across all stages of their careers • Remunerate staff fairly and as well as is nature of the liability and the amount of the Auditor Independence • Invest in the next generation of theatre financially sustainable premium. The directors received an independence makers emerging from the full breadth of There was no significant change in the nature declaration from the auditor of Company B our society of these activities during or since the end of Indemnification of Auditors Limited. A copy has been included on page 9 Access the financial year. To the extent permitted by law, the Company of the report. has agreed to indemnify its auditors, Ernst • Share the work broadly Operating and Financial Review & Young, as part of the terms of its audit Signed in accordance with a resolution of the • Ensure that young people, those from The operations of the Company during engagement agreement against claims by Directors. low socio-economic backgrounds and the financial year were the operations of third parties arising from the audit (for an culturally and linguistically diverse artists a live theatre, production of live theatrical unspecified amount). No payment has been and audiences can see work that is relevant performances and hire of the theatre to made to indemnify Ernst & Young during or to their lives at Belvoir and are assisted in external hirers. since the financial year. being able to access and enjoy this work Samantha Meers • Ensure that work of excellence is given The net operating profit before interest and DIRECTORS’ MEETINGS Chair every opportunity to meet a broad depreciation of the Company for the year The number of meetings of directors held Sydney, 27 March 2017 audience whether it is at Belvoir St Theatre, ended 31 December 2016 was $62,054 (2015: during the year and the number of meetings around the country or around the world loss of $439,672). attended by each director were as follows: Auditor’s Independence Declaration to the Audience The Company has a target of achieving Directors of Company B Limited • Ensure every interaction with an audience and maintaining reserves of 20% of annual (1) Board of Directors’ Meetings member is positive turnover. n relation to our audit of the financial report During 2016, 5 meetings of Directors were of Company B Limited for the financial year • Empower front line staff to interact held. Attendance was as follows: ended 31 December 2016, and in accordance genuinely with audience members Significant Changes in the State of Affairs with the requirements of Subdivision 60-C of • Measure and track audience sentiment There have been no significant changes in the the Australian Charities and Not-for profits more effectively state of affairs of the Company during the year. Number eligible Number Commission Act 2012, to the best of my Directors to attend attended • Improve audience amenity through foyer Significant Events After Reporting Date knowledge and belief, there have been no comfort and website usability Anne Britton 5 5 12,973 ordinary shares in AFIC were sold on 19 contraventions of the auditor independence • Create a friendly and non-threatening January 2017 for a total value of $76,430.27 Mitchell Butel 5 4 requirements of the Australian Charities and atmosphere in all audience engagements Not-for profits Commission Act 2012 or any and the remaining 16,771 ordinary shares Andrew Cameron AM 5 4 • Rebuild audience confidence were sold on 31 January 2017 total value of applicable code of professional conduct. Luke Carroll 5 3 • Rebuild subscriber base $98,689.78. The average price per share was Tracey Driver 5 5 • Ensure that all new work has been fully $5.95. developed and is ready to be staged Eamon Flack 5 2 • Ensure that audience members are clearly There has not been any other matter or Brenna Hobson 5 5 Ernst & Young communicated with about the type of work circumstance, other than that referred to in Ian Learmonth 5 4 being staged the financial statements or notes thereto, Olivia Pascoe 5 3 • Make Belvoir’s offerings accessible and that has arisen since the end of the financial exciting year, that has significantly affected, or may Peter Wilson 5 5 Finance significantly affect, the operations of the Sam Meers - - Company, the results of those operations, or • Ensure financial stability Patricia Akopiantz - - the state of affairs of the Company in future David Simmonds • Maximise ticketing income through financial years. Partner dynamic pricing 27 March 2017 • Diversify income streams through set Likely Developments and Expected Results building, venue hire and equipment rental In the opinion of the directors there were no 44 45 Statement of Profit or Loss and Other Statement of Financial Position Comprehensive Income As at 31 December 2016 Notes 2016 ($) 2015 ($)

For the year ended 31 December 2016 Notes 2016 ($) 2015 ($) ASSETS Current assets

REVENUE FROM OPERATIONS Cash 5 2,312,105 1,300,698 Production income Trade and other receivables 6 346,898 603,001 Home venue income 3,703,985 3,632,317 Inventories 40,286 54,760 Touring and sell off income 813,566 372,349 Prepayments 243,414 422,064 Total production income 4,517,551 4,004,666 Security deposits 62,341 60,846 Total current assets 3,005,044 2,441,369 Grants income 4(a) 2,128,418 2,067,772 Bar income 451,684 350,535 Non-current assets Box office income 445,369 398,733 Investments 7 1,004,754 1,953,126 3,025,471 2,817,040 Property, plant and equipment 8 210,401 343,084

OTHER REVENUE Intangible assets 9 124,986 2,802 Sponsorship income 778,197 824,548 Total non-current assets 1,340,141 2,299,012 Fundraising and donations 1,690,896 1,269,216 TOTAL ASSETS 4,345,185 4,740,381 Other income 4(b) 529,161 595,866 LIABILITIES AND EQUITY

Total other revenue 2,998,254 2,689,630 Current liabilities

Total revenue from operations 10,541,276 9,511,336 Trade and other payables 10 767,209 657,728

EXPENSES Provision 11 - 26,737 Production (5,434,101) (4,804,204) Employee benefits liabilities 12 298,300 286,921 Marketing and promotions (944,939) (868,357) Deferred revenue 13 2,363,567 2,889,945 Occupancy (355,189) (343,610) Total current liabilities 3,429,076 3,861,331 Fundraising (327,242) (312,978) Non-current liabilities Administration (3,417,751) (3,621,859) Employee benefits liabilities 12 86,126 65,584 Operating income/(loss) for the year 62,054 (439,672) Total non-current liabilities 86,126 65,584 TOTAL LIABILITIES 3,515,202 3,926,915 Interest income 82,552 100,895 Depreciation and amortisation expenses (119,306) (114,367) EQUITY

Finance costs (8,783) (38,617) Retained earnings 829,983 813,466 Profit/(loss) before tax 16,517 (491,761) Total equity 829,983 813,466 Income tax expense - - TOTAL EQUITY AND LIABILITIES 4,345,185 4,740,381 Profit/(loss) for the year 16,517 (491,761) The above statement of financial position should be read in conjunction with the accompanying notes. Other comprehensive income - - Total comprehensive income/(loss) for the 16,517 (491,761)

The above statement of profit or loss and other comprehensive income should be read in conjunction with the accompanying notes.

46 47 Statement of Changes in Equity Notes to the Financial Statements For the year ended 31 December 2016

Retained Total For the year ended 31 December 2016 earnings ($) equity ($) 1. CORPORATE INFORMATION (d) Going concern The financial report of Belvoir for the year The financial report has been prepared on At 1 January 2016 813,466 813,466 ended 31 December 2016 was authorised for a going concern basis, which contemplates Profit for the year 16,517 16,517 issue in accordance with a resolution of the continuity of normal business activities and Other comprehensive income - - directors on 27 March 2017. realisation of assets and settlement of liabilities in the ordinary course of business. Total comprehensive income 16,517 16,517 Belvoir is a public not-for-profit Company limited by guarantee, incorporated and (e) Current versus non-current classification At 31 December 2016 829,983 829,983 operating in Australia. The Company presents assets and liabilities in The registered office and principal place of At 1 January 2015 1,305,227 1,305,227 the statement of financial position based on business of the Company is 18 Belvoir Street, Loss for the year (491,761) (491,761) current/non- current classification. An asset is Surry Hills, NSW 2010, Australia. Other comprehensive income - - current when it is: The nature of the operations and principal Total comprehensive loss (491,761) (491,761) • Expected to be realised or intended to be activities of the Company are described in the sold or consumed in the normal operating At 31 December 2015 813,466 813,466 directors’ report. cycle 2. SUMMARY OF SIGNIFICANT • Held primarily for the purpose of trading The above statement of changes in equity should be read in conjunction with the accompanying notes. ACCOUNTING POLICIES • Expected to be realised within twelve (a) Basis of preparation months after the reporting period, or • Cash or cash equivalent unless restricted The financial report is a general purpose from being exchanged or used to settle a financial report, which has been prepared liability for at least twelve months after the in accordance with the requirements of reporting period Statement of Cash Flows the Corporations Act 2001, Australian Accounting Standards and other All other assets are classified as non-current. authoritative pronouncements of the A liability is current when: For the year ended 31 December 2016 Notes 2016 ($) 2015 ($) Australian Accounting Standards Board, and • It is expected to be settled in the normal the Australian Charities and Not-for- Profits operating cycle OPERATING ACTIVITIES Commission Regulation 2013. • It is held primarily for the purpose of trading Receipts from patrons, customers and grant providers 10,722,756 9,591,916 The financial report has been prepared on the • It is due to be settled within twelve months Payments to suppliers and employees (10,631,167) (9,825,780) basis of the historical cost convention. Cost is after the reporting period, or based on the fair value of the consideration Net cash flows from/(used in) operating activities 91,589 (233,864) • There is no unconditional right to defer the given in exchange for assets. settlement of the liability for at least twelve INVESTING ACTIVITIES The financial report is presented in Australian months after the reporting period Purchase of property, plant and equipment 8 - (224,962) dollars unless otherwise stated. The Company classifies all other liabilities as Purchase of intangible assets 9 (134,278) - (b) Statement of compliance non-current. Interest received 82,552 100,895 The financial report is a general purpose (f) Cash Increase in security deposits (1,495) (1,940) financial report, which has been prepared Cash in the statement of financial position in accordance with the requirements of the Proceeds from sale of investment 973,039 - comprise cash at bank and on hand. Corporations Act 2001, Australian Accounting Net cash flows (used in)/from investing activities 919,818 (126,007) Standards – Reduced Disclosure Requirements For the purposes of the statement of cash and other authoritative pronouncements of the flows, cash and cash equivalents consist of FINANCING ACTIVITIES Australian Accounting Standards Board. The cash as defined above. - - Net cash flows from financing activities Company is a for-profit, private sector entity (g) Trade and other receivables Net increase/(decrease) in cash and cash equivalents 1,011,407 (359,871) which is not publicly accountable. Therefore, the financial statements for the Company are Trade receivables, which generally have 30-90 Cash and cash equivalents at 1 January 1,300,698 1,660,569 tier 2 general purpose financial statements day terms, are recognised initially at fair value Cash and cash equivalents at 31 December 5 2,312,105 1,300,698 which have been prepared in accordance with and subsequently measured at cost using the Australian Accounting Standards – Reduced effective interest method, less an allowance for The above statement of cash flows should be read in conjunction with the accompanying notes. Disclosure Requirements (AASB – RDRs). impairment. Collectability of trade receivables is reviewed (c) Changes in accounting policy, disclosure, on an ongoing basis. Individual debts that standards and interpretations are known to be uncollectible are written off The accounting policies adopted are consistent when identified. An impairment provision is 48 with those of the previous financial year. 49 recognised when there is objective evidence Impairment losses are recognised in the (l) Property, plant and equipment amounts payable in the future to their present that the Company will not be able to collect statement of profit or loss and other Construction in progress, plant and equipment value as at the date of acquisition. the receivable. comprehensive income as an expense. are stated at cost, net of accumulated (m) Leases (h) Inventories For assets, an assessment is made at each depreciation and accumulated impairment reporting date to determine whether there losses, if any. Such cost includes the cost of The determination of whether an arrangement Inventories consist of finished goods and are is an indication that previously recognised replacing part of the plant and equipment and is (or contains) a lease is based on the valued at the lower of cost and net realisable impairment losses no longer exist or have borrowing costs for long-term construction substance of the arrangement at the inception value. Net realisable value is the estimated decreased. If such indication exists, the projects if the recognition criteria are met. of the lease. The arrangement is, or contains, selling price in the ordinary course of business, Company estimates the asset’s or CGU’s Such cost includes the cost of replacing a lease if fulfilment of the arrangement is less estimated costs of completion and the recoverable amount. A previously recognised part of the property, plant and equipment. dependent on the use of a specific asset or estimated costs necessary to make the sale. impairment loss is reversed only if there has When significant parts of property, plant assets and the arrangement conveys a right to use the asset (or assets), even if that asset is (i) Impairment of non-financial assets been a change in the assumptions used to and equipment are required to be replaced determine the asset’s recoverable amount at intervals, the Company depreciates them (or those assets are) not explicitly specified in The Company assesses, at each reporting date, since the last impairment loss was recognised. separately based on their specific useful lives. an arrangement. whether there is an indication that an asset The reversal is limited so that the carrying Likewise, when a major inspection is performed, A lease is classified at the inception date may be impaired. If any indication exists, or amount of the asset does not exceed its its cost is recognised in the carrying amount of as a finance lease or an operating lease. A when annual impairment testing for an asset recoverable amount, nor exceed the carrying the plant and equipment as a replacement if the lease that transfers substantially all the risks is required, the Company estimates the asset’s amount that would have been determined, recognition criteria are satisfied. All other repair and rewards incidental to ownership to the recoverable amount. An asset’s recoverable net of depreciation, had no impairment loss and maintenance costs are recognised in profit Company is classified as a finance lease. amount is the higher of an asset’s or cash- been recognised for the asset in prior years. or loss as incurred. generating unit’s (CGU) fair value less costs of An operating lease is a lease other than a Such reversal is recognised in the statement disposal and its value in use. The recoverable Depreciation is calculated on a straight-line finance lease. Operating lease payments of profit or loss and other comprehensive amount is determined for an individual asset, basis over the estimated useful lives of the are recognised as an operating expense in income unless the asset is carried at a revalued unless the asset does not generate cash assets as follows: the statement of profit or loss and other amount, in which case, the reversal is treated inflows that are largely independent of those comprehensive income on a straight- line basis as a revaluation increase. Plant and equipment - 3 to 7 years Motor from other assets or groups of assets. When vehicles - 5 to 7 years Furniture and fittings - over the lease term. the carrying amount of an asset or CGU (j) Held to maturity investments 5 to 10 years (n) Intangibles exceeds its recoverable amount, the asset is Non-derivative financial assets with fixed or Leasehold improvements - over the initial considered impaired and is written down to its The useful lives of intangible assets are determinable payments and fixed maturities term of the lease recoverable amount. assessed to be either finite or indefinite. are classified as held-to-maturity when the Assets under construction - not depreciated In assessing value in use, the estimated future Company has the positive intention and Intangible assets with finite lives are amortised cash flows are discounted to their present ability to hold them to maturity. After initial An item of property, plant and equipment over the useful economic life and assessed for value using a pre-tax discount rate that reflects measurement, held-to-maturity investments and any significant part initially recognised impairment whenever there is an indication current market assessments of the time are measured at amortised cost using effective is derecognised upon disposal or when no that the intangible asset may be impaired. value of money and the risks specific to the interest rate (EIR), less impairment. Amortised future economic benefits are expected from The amortisation period and the amortisation asset. In determining fair value less costs of cost is calculated by taking into account any its use or disposal. Any gain or loss arising on method for an intangible asset with a finite disposal, recent market transactions are taken discount or premium on acquisition and fees derecognition of the asset (calculated as the useful life are reviewed at least at the end into account. If no such transactions can be or costs that are an integral part of the EIR. difference between the net disposal proceeds of each reporting period. Changes in the identified, an appropriate valuation model is The EIR amortisation is included as interest and the carrying amount of the asset) is expected useful life or the expected pattern used. These calculations are corroborated by income in the statement of profit or loss and included in the statement of profit or loss and of consumption of future economic benefits valuation multiples, quoted share prices for other comprehensive income. other comprehensive income when the asset is embodied in the asset are considered to publicly traded companies or other available derecognised. modify the amortisation period or method, fair value indicators. (k) Held for trading investments The residual values, useful lives and methods as appropriate, and are treated as changes in accounting estimates. The amortisation The Company bases its impairment calculation Financial assets held for trading are designated of depreciation of property, plant and expense on intangible assets with finite lives is on detailed budgets and forecast calculations, upon initial recognition at fair value through equipment are reviewed at each financial year recognised in the statement of profit or loss and which are prepared separately for each of profit or loss. Financial assets are classified end and adjusted prospectively, if appropriate. other comprehensive income in the expense the Company’s CGUs to which the individual as held for trading if they are acquired for the Assets acquired are recorded at the cost of category that is consistent with the function of assets are allocated. These budgets and purpose of selling or repurchasing in the near acquisition, being the purchase consideration the intangible assets. forecast calculations generally cover a period term. Financial assets at fair value through determined as at the date of acquisition plus of five years. A long-term growth rate is profit or loss are carried in the statement of costs incidental to the acquisition. Gains or losses arising from derecognition financial position at fair value with net changes of an intangible asset are measured as the calculated and applied to project future cash In the event that settlement of all or part of the flows after the fifth year. in fair value presented as finance costs difference between the net disposal proceeds (negative net changes in fair value) or finance cash consideration given in the acquisition of an and the carrying amount of the asset and are income (positive net changes in fair value) asset is deferred, the fair value of the purchase recognised in the statement profit or loss and in the statement of profit or loss and other consideration is determined by discounting the other comprehensive income when the asset is 50 comprehensive income. derecognised. 51 A summary of the policies applied to the date are recognised in respect of employees’ Donations revenue revenue is received from the government for Company’s intangible asset is as follows: services up to the reporting date. They are Income arising from the donation of an asset specific activities. The funding is received Ticketing system measured at the amounts expected to be paid to the Company is recognised when, and only based on payment schedules contained in when the liabilities are settled. when, all the following conditions have been the funding agreement between the funding Useful lives satisfied: bodies and the Company. The funding is Finite (10 years) Long service leave and annual leave The Company does not expect its long service a. the Company has obtained control of the recognised in the calendar year for which it is Amortisation method used leave or annual leave benefits to be settled donation or the right to receive the donation: intended under the terms of the agreement Amortised on a straight-line basis over the wholly within 12 months of each reporting due to the conditional nature of the funding. period of the ticketing system b. it is probable that economic benefits date. The Company recognises a liability for compromising the donation will flow to the (t) Productions Internally generated or acquired long service leave and annual leave measured Company; and The total cost of staging productions, Acquired as the present value of expected future c. the amount of the donation can be including the manufacturing cost of costumes, Impairment testing payments to be made in respect of services measured reliably. scenery sets and properties, is charged to provided by employees up to the reporting When an indication of impairment exists (r) Taxes income and expenditure in the period each date using the projected unit credit method. production is performed. This procedure (o) Trade and other payables The Company is exempt from income tax Consideration is given to expected future wage conforms to standard theatrical accounting under Subdivision 50-B of the Income Tax Trade and other payables are carried at and salary levels, experience of employee practice as adopted in Australia and other Assessment Act amortised cost and due to their short term departures, and periods of service. Expected parts of the world. Costs of production and nature they are not discounted. They represent future payments are discounted using market 1997, as granted by the Commissioner of other associated expenditure in respect of liabilities for goods and services provided to yields at the reporting date on high quality Taxation on 8 June 2000. Consequently the performances not yet performed but will the Company prior to the end of the financial corporate bonds with terms to maturity and Company has not provided for any liability for be in the next 12 months are included in the year that are unpaid and arise when the currencies that match, as closely as possible, income tax in these financial statements. statement of financial position as part of the estimated future cash outflows. Company becomes obliged to make future Goods and services tax (GST) prepaid expenditure. payments in respect to the purchase of these Refer to Note 3 for the policy and assumptions Revenues, expenses and assets are recognised (u) Advance box office goods and services. relating to the provision for loss making net of the amount of GST except: productions. Monies received from both subscribers and (p) Provisions and employee benefit • When the GST incurred on a sale or non-subscribers for advanced bookings are liabilities (q) Revenue recognition purchase of assets or services is not included in income progressively during Provisions are recognised when the Company Revenue is recognised to the extent that it is payable to or recoverable from the each production to which they relate, and has a present obligation (legal or constructive) probable that the economic benefits will flow to taxation authority, in which case the GST not before. All monies received in advance as a result of a past event, it is probable the Company and the revenue can be reliably is recognised as part of the revenue or for 2016 box office income is recorded as that an outflow of resources embodying measured, regardless of when the payment is the expense item or as part of the cost of deferred revenue and transferred to income economic benefits will be required to settle received. Revenue is measured at the fair value acquisition of the asset, as applicable when the respective show concludes. the obligation and a reliable estimate can of the consideration received or receivable, • When receivables and payables are stated (v) Comparatives be made of the amount of the obligation. taking into account contractually defined terms with the amount of GST included Where necessary, comparative figures have When the Company expects some or all of a of payment and excluding taxes or duty. • The net amount of GST recoverable from, or been reclassified to conform with changes in provision to be reimbursed, for example, under The specific recognition criteria described payable to, the taxation authority is included presentation in the current year. an insurance contract, the reimbursement below must also be met before revenue is as part of receivables or payables in the is recognised as a separate asset, but only recognised. statement of financial position. Commitments 3. SIGNIFICANT ACCOUNTING JUDGEMENTS, when the reimbursement is virtually certain. and contingencies are disclosed net of the ESTIMATES AND ASSUMPTIONS Production income The expense relating to a provision is amount of GST recoverable from, or payable Revenue is recognised upon the performance of The preparation of the Company’s financial presented in the statement of profit or loss to, the taxation authority. and other comprehensive income net of any productions to which the ticket revenue relates. statements requires management to make Cash flows are included in the statement judgements, estimates and assumptions that reimbursement. Interest of cash flows on a gross basis and the GST Interest income is recorded using the effective affect the reported amounts of revenues, If the effect of the time value of money is component of cash flows arising from investing interest rate (EIR). The EIR is the rate that expenses, assets and liabilities, and the material, provisions are discounted using and financing activities, which is recoverable exactly discounts the estimated future accompanying disclosures, and the disclosure a current pre-tax rate that reflects, when from, or payable to, the taxation authority is cash receipts over the expected life of the of contingent liabilities. Uncertainty about appropriate, the risks specific to the liability. classified as part of operating cash flows. these assumptions and estimates could When discounting is used, the increase in financial instrument or a shorter period, where appropriate, to the net carrying amount of the (s) Government grants result in outcomes that require a material the provision due to the passage of time is adjustment to the carrying amount of assets financial asset. Government grants are recognised at their fair recognised as a finance cost. or liabilities affected in future periods. value where there is reasonable assurance that Wages and salaries Sponsorship revenue the grant will be received and all attaching Liabilities for wages and salaries, including Sponsorship commitments are brought conditions will be complied with. Funding non-monetary benefits which are expected to to account as revenue in the year in which be settled within 12 months of the reporting sponsorship benefits are bestowed. 52 53 Estimates and assumptions future economic value, based on whether the Cash held in Escrow - Reserves Incentives Funding Scheme relevant production is expected to generate The key assumptions concerning the future and The funds received under the Reserves Incentives Funding Scheme of the Australia Council and sufficient proceeds to cover such costs. other key sources of estimation uncertainty Arts NSW, together with any interest earned on those funds, are held in escrow and cannot be at the reporting date, that have a significant The Company provides for its best estimate of accessed without the express agreement of the Funding bodies under prescribed circumstances. risk of causing a material adjustment to the any losses which will arise under contractual These funds have not been used to secure any liabilities of the Company. As at 31 December 2016, carrying amounts of assets and liabilities within commitments at balance date which are the Company held$173,253 (2015: $173,085) under this scheme. the next financial year, are described below. unavoidable due to either legal or constructive The Company based its assumptions and obligations. In order to assess both the 6. TRADE AND OTHER RECEIVABLES (CURRENT) 2016 ($) 2015 ($) estimates on parameters available when the recoverability of prepaid production costs Trade receivables 255,087 586,348 financial statements were prepared. Existing and any onerous contract obligations, the Goods and services tax 62,906 10,294 circumstances and assumptions about future Company makes an assessment of all future developments, however, may change due to planned productions and identifies those Other receivables 28,905 6,359 market changes or circumstances arising beyond productions which are expected to generate 346,898 603,001 the control of the Company. Such changes are losses. Such losses are first applied to any reflected in the assumptions when they occur. prepaid production costs prior to making a 7. INVESTMENTS 2016 ($) 2015 ($) further provision for any additional estimated Provision for loss making productions Fair value at profit and loss losses as an onerous contract provision. The Company makes an annual assessment as Shares in listed company 171,343 1,150,826 to whether prepaid production costs have any Further details may be found in Note 11. At amortised cost Convertible preference shares 833,411 802,300 4. REVENUE AND OTHER INCOME 1,004,754 1,953,126 (a) Government grants received Unexpended Grant Unexpended Grants Grants Expenditure Grants 8. PROPERTY, PLANT Plant & Motor Furniture Leasehold Assets under brought Income 2016 (Net carried AND EQUIPMENT equipment vehicles & fittings improvements construction Total forward from Received Grant forward to ($) ($) ($) ($) ($) ($) 2015 ($) 2016 ($) Income) ($) 2017 ($) Cost Australia Council 252,563 913,136 1,095,983 69,716 At 1 January 2015 378,906 113,362 88,967 - 104,496 685,731 Arts NSW - 1,002,435 1,002,435 - Additions 27,243 - 31,441 166,278 - 224,962 64,300 - 30,000 34,300 Commonwealth Government Transfers 9,293 - - (104,496) (95,203) TOTAL GRANTS 316,863 1,915,571 2,128,418 104,016 At 31 December 2015 415,442 113,362 120,408 166,278 - 815,490

Additions 6,907 - 480 - - 7,387 All Government funding has been spent in accordance with funding agreements. Disposals (520) - (488) (31,012) - (32,020) (b) Other income 2016 ($) 2015 ($) Transfers (758) - (80) - - (838) Rental revenue – theatre & venue 197,487 223,453 At 31 December 2016 421,071 113,362 120,320 135,266 - 790,019 Rental revenue – set build & other 185,665 146,118 Depreciation Revenue – vehicle use - 2,464 At 1 January 2015 291,907 16,150 59,211 - - 367,268 Other 146,009 223,831 Depreciation charge 529,161 595,866 for the year 53,056 16,366 14,673 21,043 - 105,138

Government grants have been received for the investment of infrastructure for Company B. At 31 December 2015 344,963 32,516 73,884 21,043 - 472,406 There are no unfulfilled conditions or contingencies attached to these grants. Depreciation charge for the year 37,014 16,375 19,011 34,812 - 107,212 5. CASH 2016 ($) 2015 ($) At 31 December 2016 381,977 48,891 92,895 55,855 - 579,618

Cash at bank and on hand 2,312,105 1,300,698 Net book value 2,312,105 1,300,698 At 31 December 2016 39,094 64,471 27,425 79,411 - 210,401 For the purposes of the statement of cash flows, cash and cash equivalents consists of cash on hand and cash in bank. At 31 December 2015 70,479 80,846 46,524 145,235 - 343,084

54 55 Ticketing Total 12. EMPLOYEE BENEFIT LIABILITIES 9. INTANGIBLE ASSETS system ($) ($) (CURRENT AND NON-CURRENT) 2016 ($) 2015 ($) Cost Current At 1 January 2015 77,684 77,684 Long service leave 78,396 55,227 At 31 December 2015 77,684 77,684 Annual leave 192,271 204,379 Additions 134,278 134,278 Other employee benefits 27,633 27,315 Disposal of asset (77,684) (77,684) 298,300 286,921 At 31 December 2016 134,278 134,278 Non-Current Long service leave 86,126 65,584 Amortisation 86,126 65,584 At 1 January 2015 65,653 65,653 (i) Annual Leave and other short term employee benefits Amortisation 9,229 9,229 Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations At 31 December 2015 74,882 74,882 and assumptions applied in the measurement of this provision. Amortisation 12,094 12,094 (ii) Long service leave Reversal of amortisation (77,684) (77,684) Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations At 31 December 2016 9,292 9,292 and assumptions applied in the measurement of this provision.

Net book value 13. DEFERRED REVENUE 2016 ($) 2015 ($) At 31 December 2016 124,986 124,986 Advance ticket sales 2,217,415 2,252,211 At 31 December 2015 2,802 2,802 Government grants in advance 104,016 282,563 Sponsorship income in advance 42,136 88,579 10. TRADE AND OTHER PAYABLES (CURRENT) 2016 ($) 2015($) Fundraising and donations income in advance - 266,592 Trade payables 155,935 117,012 2,363,567 2,889,945 Sundry payables 12,133 2,123 Accrued payroll expenses 291,925 371,905 14. RELATED PARTY DISCLOSURES Payable to Belvoir St Theatre Limited 88,820 47,525 There were no transactions with related parties during the year other than those with Directors. Accrued expenses 218,396 119,163 Payments made to directors are not for their services as directors of the Company for which no fee is received. Payments were made by the Company to some directors for their contributions 767,209 657,728 as employees of, or contractors to the Company. Total short-term employment benefits paid to directors amounted to $274,818 (2015: $418,158). 11. PROVISIONS (CURRENT) 2016 ($) 2015 ($) 15. MEMBERS’ GUARANTEE Provision for loss making productions - 26,737 Belvoir is incorporated in New South Wales as a company limited by guarantee. In the event of the Total provisions - 26,737 Company being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the Company’s liabilities. As at 31 December 2016, there were 37 members of Belvoir and the amount of capital that could be called up in the event of Belvoir being wound up is (a) Movements in provisions Provisions Total $960. ($) ($) 16. COMMITMENTS AND CONTINGENCIES 2016 ($) 2015 ($) At 1 January 2016 26,737 26,737 Utilised during year (26,737) (26,737) (a) Leasing commitments At 31 December 2016 - - Non-cancellable operating leases Within one year 68,775 64,789 (b) Nature and timing of provisions After one year but not more than five years 70,749 135,540 (i) Provision for Loss Making Productions 139,524 200,329 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 relation to recognition and measurement principles..

56 57 Directors’ Declaration

An operating lease for a workshop and storage space in Marrickville was renegotiated in October In accordance with a resolution of the Directors of Company B Limited, I state 2013. The lease term is for five years with a termination date of 25th of October 2017. There is an that in the opinion of the Directors: option to renew for a further five years. (a) the financial statements and notes of the Company are in accordance with An operating lease for rent of the warehouse and theatre is currently in place with Belvoir St the Australian Charities and Not-for-Profits Commission Act 2012 , including: Theatre Limited (BSTL). The rental amount is a varying figure, being the equivalent of the annual (i) giving a true and fair view of the Company’s financial position as at 31 outgoings incurred by BSTL and therefore is not included in the table above. December 2016 and of its performance for the year ended on that (b) Sinking fund commitments date; and Company B is obliged to pay Belvoir St Theatre Limited installments in relation to a ten year (ii) complying with Australian Accounting Standards - Reduced Disclosure commitment of the sinking fund as required under the lease rental agreement between BSTL and Requirements and the Australian Charities and Not-for-Profits Commission Company B for the Belvoir Street theatre and warehouse premises. The sinking fund is to enable Regulation 2013; and Belvoir St Theatre Limited to carry out works on the premises on a scheduled basis over 10 years in (b) there are reasonable grounds to believe that the Company will be order to maintain and repair the building in which the theatre is housed in and the property plant able to pay its debts as and when they become due and payable. and equipment used on the premises. As at 31 December 2016 the value of the commitment payable to Belvoir Street Theatre Limited On behalf of the Board was as follows:

2016 ($) 2015 ($) Not longer than 1 year 62,954 62,954

Longer than 1 year and not longer than 5 years 251,816 251,816 Samantha Meers Greater than 5 years 31,477 94,431 Chair 346,247 409,201 Sydney 27 March 2017

17. EVENTS AFTER REPORTING DATE 12,973 ordinary shares in AFIC were sold on 19 January 2017 for a total value of $76,430.27 and the remaining 16,771 ordinary shares were sold on 31 January 2017 total value of $98,689.78. The average price per share was $5.95. There has not been any other matter or circumstance, other than that referred to in the financial statements or notes thereto, that has arisen since the end of the financial year, that has significantly affected, or may significantly affect, the operations of the Company, the results of those operations, or the state of affairs of the Company in future financial years.

58 59

Responsibilities of the Directors for the Financial Report

The directors of the Company are responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-Profits Commission Act 2012 and for such internal control as the directors determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or Ernst & Young Tel: +61 2 9248 5555 200 George Street Fax: +61 2 9248 5959 error. Sydney NSW 2000 Australia ey.com/au Ernst & Young Tel: +61 2 9248 5555 GPO Box 2646 Sydney NSW 2001 200 George Street Fax: +61 2 9248 5959 In preparing the financial report, the directors are responsible for assessing the Company’s ability to Sydney NSW 2000 Australia ey.com/au GPO Box 2646 Sydney NSW 2001 continue as a going concern, disclosing, as applicable, matters relating to going concern and using the going concern basis of accounting unless the directors either intend to liquidate the Company or to cease operations, or have no realistic alternative but to do so.

Independent auditor's report to the Directors of Company B Limited Auditor's Responsibilities for the Audit of the Financial Report Independent auditor's report to the Directors of Company B Limited Opinion Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that WeOpinion have audited the financial report of Company B Limited (the Company), which comprises the includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an statement of financial position as at 31 December 2016, the statement of comprehensive income, audit conducted in accordance with the Australian Auditing Standards will always detect a material statementWe have audited of changes the financial in equity report and statement of Company of cashB Limited flows (thefor theCompany), year then which ended, comprises notes to the the misstatement when it exists. Misstatements can arise from fraud or error and are considered material financialstatement statements, of financial including position asa summary at 31 December of significant 2016, accounting the statement policies, of comprehensive and the directors' income, if, individually or in the aggregate, they could reasonably be expected to influence the economic statementdeclaration. of changes in equity and statement of cash flows for the year then ended, notes to the decisions of users taken on the basis of this financial report. financial statements, including a summary of significant accounting policies, and the directors' declaration.In our opinion, the accompanying financial report of the Company is in accordance with the Australian As part of an audit in accordance with the Australian Auditing Standards, we exercise professional Charities and Not-for-Profits Commission Act 2012, including: judgment and maintain professional skepticism throughout the audit. We also: In our opinion, the accompanying financial report of the Company is in accordance with the Australian Charitiesa. giving and Not a true-for -andProfits fair Commission view of the Company'sAct 2012, including:financial posi tion as at 31 December 2016 and of • Identify and assess the risks of material misstatement of the financial report, whether due to its financial performance for the year ended on that date; and fraud or error, design and perform audit procedures responsive to those risks, and obtain audit a. giving a true and fair view of the Company's financial position as at 31 December 2016 and of evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not b. complyingits financial with performance Australian for Accounting the year endedStandards on that – Reduced date; and Disclosure Requirements and the detecting a material misstatement resulting from fraud is higher than for one resulting from Australian Charities and Not-for-Profits Commission Regulation 2013. error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the b. complying with Australian Accounting Standards – Reduced Disclosure Requirements and the override of internal control. Basis forAustralian Opinion Charities and Not-for-Profits Commission Regulation 2013. • Obtain an understanding of internal control relevant to the audit in order to design audit WeBasis conducted for Opinion our audit in accordance with Australian Auditing Standards. Our responsibilities under procedures that are appropriate in the circumstances, but not for the purpose of expressing an those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial opinion on the effectiveness of the Company’s internal control. ReportWe conducted section our of our audit report. in accordance We are independent with Australian of the Auditing Company Standards. in accordance Our responsibilities with the auditor under independencethose standards requirements are further describedof the Australian in the Auditor Charities’s Responsibilities and Not-for-Profits for the Commission Audit of the Act Financial 2012 and • Evaluate the appropriateness of accounting policies used and the reasonableness of theReport ethical section requirements of our report. of the We Accounting are independent Professional of the andCompany Ethical in Standards accordance Board with’ sthe APES auditor 110 Code accounting estimates and related disclosures made by the directors. ofindependence Ethics for Professional requirements Accountants of the Australian (the Code) Charities that are and relevant Not-for -toProfits our audit Commission of the financial Act 2012 report and inthe Australia. ethical requirements We have also of fulfilled the Accounting our other Professional ethical responsibilities and Ethical in Standards accordance Board with’s theAPES Code. 110 Code • Conclude on the appropriateness of the directors’ use of the going concern basis of accounting of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report and, based on the audit evidence obtained, whether a material uncertainty exists related to Wein Australia. believe that We thehave audit also evidence fulfilled ourwe haveother obtained ethical responsibilities is sufficient and in appropriateaccordance withto provide the Code. a basis for events or conditions that may cast significant doubt on the Company’s ability to continue as a our opinion. going concern. If we conclude that a material uncertainty exists, we are required to draw We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for attention in our auditor’s report to the related disclosures in the financial report or, if such ourInformation opinion. Other than the Financial Report and Auditor’s Report Thereon disclosures are inadequate, to modify our opinion. Our conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions TheInformation directors are Other responsible than thefor the Financial other information. Report and The otherAuditor’s information Report is the Thereon directors ’ report may cause the Company to cease to continue as a going concern.

accompanying the financial report. A member firm of Ernst & Young Global Limited The directors are responsible for the other information. The other information is the directors’ report Liability• limitedEvaluate by a scheme approved the overallunder Professional presentation, Standards Legislation structure and content of the financial report, including the Ouraccompan opinionying on thethe financialfinancial report.report does not cover the other information and accordingly we do not disclosures, and whether the financial report represents the underlying transactions and express any form of assurance conclusion thereon. events in a manner that achieves fair presentation. Our opinion on the financial report does not cover the other information and accordingly we do not Inexpress connection any form with of our assurance audit of conclusionthe financial thereon. report, our responsibility is to read the other information We communicate with the directors regarding, among other matters, the planned scope and timing of and, in doing so, consider whether the other information is materially inconsistent with the financial the audit and significant audit findings, including any significant deficiencies in internal control that we reportIn connection or our knowledgewith our audit obtained of the in financial the audit report, or otherwise our responsibility appears to is be to materially read the other misstated. information identify during our audit. and, in doing so, consider whether the other information is materially inconsistent with the financial If,report based or on our the knowledge work we haveobtained performed, in the audit we conclude or otherwise that appearsthere is ato material be materially misstatement misstated. of this other information, we are required to report that fact. We have nothing to report in this regard. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. We have nothing to report in this regard. Responsibilities of the Directors for the Financial Report

The directors of the Company are responsible for the preparation of the financial report that gives a Ernst & Young true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure RequirementsA member firm of Ernst & YoungandGlobal the Limited Australian Charities and Not-for-Profits Commission Act 2012 and for such Liability limited by a scheme approved under Professional Standards Legislation internal control as the directors determine is necessary to enable the preparation of the financial A member firm of Ernst & Young Global Limited reportLiability limited that by a schemegives approved a true under and Professional fair Standardsview and Legislation is free from material misstatement, whether due to fraud or error.

In preparing the financial report, the directors are responsible for assessing the Company’s ability to David Simmonds continue as a going concern, disclosing, as applicable, matters relating to going concern and using the Partner going concern basis of accounting unless the directors either intend to liquidate the Company or to Sydney cease operations, or have no realistic alternative but to do so. 27 March 2017

Auditor's Responsibilities for the Audit of the Financial Report

Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an 60audit conducted in accordance with the Australian Auditing Standards will always detect a material 61 misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of this financial report.

As part of an audit in accordance with the Australian Auditing Standards, we exercise professional judgment and maintain professional skepticism throughout the audit. We also:

• Identify and assess the risks of material misstatement of the financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for our opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.

• Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Company’s internal control.

A member firm of Ernst & Young Global Limited • Evaluate the appropriateness of accounting policies used and the reasonableness of Liability limited by a scheme approved under Professional Standards Legislation accounting estimates and related disclosures made by the directors.

• Conclude on the appropriateness of the directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the Company’s ability to continue as a going concern. If we conclude that a material uncertainty exists, we are required to draw attention in our auditor’s report to the related disclosures in the financial report or, if such disclosures are inadequate, to modify our opinion. Our conclusions are based on the audit

A member firm of Ernst & Young Global Limited Liability limited by a scheme approved under Professional Standards Legislation Partners, Sponsors & Supporters

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John Howard, Anthony Phelan For any Annual Report For more information on partnership opportunities please contact our & Keith Robinson in Twelfth Night. enquiries please contact: Photo: Brett Boardman. Development team on 02 9698 3344 or email [email protected] Belvoir Marketing Department Annual Report Production 18 Belvoir St, Surry Hills NSW 2010 Correct at time of printing. Coordination tel +61 (0)2 9698 3344 Belvoir is proud to be a Belvoir Marketing Department fax +61 (0)2 9319 3165 member of the Australian Design [email protected] Major Performing Arts 62 Alphabet Studio belvoir.com.au Group (AMPAG) C 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

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