ANNUAL REPORT ————2019 01 ———————————— C O M PA N Y P R O F I L E 04 ———————————— C H A I R ’ S R E P O R T 07 ———————————— EXECUTIVE REPORT 08 ———————————— ARTISTIC PROGRAM 34 ———————————— V E N U E 36 ———————————— P H I L A N T H R O P Y 40 ———————————— COMPANY INFORMATION 45 ———————————— KEY PERFORMANCE INDICATORS 2019 SEASON LAUNCH SEASON 2019
MALTHOUSE THEATRE MALTHOUSE 70 ———————————— AUDITED FINANCIAL STATEMENTS
CONTENTS MALTHOUSE THEATRE
2019 ANNUAL REPORT MALTHOUSE THEATRE PROFILE COMPANY
CLOUDSTREET, 2019 MALTHOUSE THEATRE
WHAT HAPPENS NEXT
At Malthouse Theatre we collaborate with local and international artists to create performances that cut to the core of the human experience. Theatre has the power to interrogate, disrupt, and to be an agent of change —we think it always should. At Malthouse Theatre the work we produce explores the world personally, socially and politically. Based in a dedicated venue, The Coopers Malthouse in Melbourne, we are a home for innovative live experiences that entertain and provoke a dialogue with and within audiences. Welcome to Malthouse Theatre.
2019: YOUR JOURNEY AWAITS 2019 was filled with fresh theatre that was joyous, gripping and left our audiences awestruck. From the Lambs to the Pickles, bogans to bourgeoisie, wrenching road trips and outback mysteries, Malthouse Theatre’s Season 2019 was an adventure that began in Melbourne and travelled onward to out-of-this-world experiences. Featuring seven world premieres celebrating global politics, Malthouse Theatre’s dedication to nurturing new artistic expression and enriching Melbourne’s cultural identity has never been more evident.
2019 ANNUAL REPORT ——> PG 1 MALTHOUSE THEATRE 2019 IN NUMBERS
7 WORLD PREMIERES
188 ARTISTS ENGAGED
OVER 152,000 ATTENDANCES AT THE COOPERS MALTHOUSE
$8.64M ANNUAL TURNOVER
2019 ANNUAL REPORT MALTHOUSE THEATRE
5,200 NEW SOCIAL MEDIA FOLLOWERS
246,690 VISITORS ONLINE
1,981 SEASON SUBSCRIBERS
2019 ANNUAL REPORT ——> PG 3 MALTHOUSE THEATRE ‘ALWAYS ‘ALWAYS REPORT CHAIR’S SURVEY RESPONDENT ROY MORGAN A year of epic ambition and These successes are even more rewarding when PROVOKING.’ AND THOUGHT CHALLENGING STIMULATING, considering the volatile environment in which we innovative collaboration that led operate. It is our highly valued relationship with to extraordinary achievements sponsors, philanthropic supporters and private for Malthouse Theatre. donors who truly understand the work that enables us to achieve great things, as demonstrated during It is with immense pride that we present the Season 2019. Annual Report for 2019, detailing the scale and On behalf of my fellow Board members, breadth of the Company’s achievements across I would like to also thank our government the year, both on and off the stage. On behalf supporters, Australia Council for the Arts, of the Board, I would like to congratulate our Creative Victoria and City of Melbourne for
Co-CEOs Sarah and Matthew and the whole their crucial investment in the Company. We Malthouse Theatre team on such a monumental also gratefully acknowledge the support of year. Given the fundamental shift that has the Department of Education and Training for occurred more recently due to COVID-19, it’s supporting our unique and long-standing Education poignant to consider that 2019 may be forever program, The Suitcase Series. known as the last year of ‘normal’ operations until the world overcomes this pandemic and At a Board level, in 2019 we bid farewell to Kerri
its aftermath. Turner who stepped down as a Director after eight years. Thank you Kerri, for your wonderful The success of 2019 was evident from our contribution to the Company over your tenure. opening production, Underground Railroad Game In December, we were thrilled to welcome through to our finale,Apocalypse Meow: Crisis Deborah Cheetham to the Board of Directors. is Born. Across the season, Malthouse Theatre presented a suite of bold and critically acclaimed productions, led groundbreaking collaborations with international partners and achieved a record- breaking box office result. Our large scale production of Cloudstreet was the Company’s most ambitious work to date and called for bold and unwavering support from Fiona McGauchie / everyone involved. The Board took a leap of faith Chair financially to realise this once-in-a-generation story—a risk we took with full trust in the team, led by Artistic Director Matthew Lutton. I am thrilled to report that on this occasion, the risk was rewarded and we were overwhelmed by the tremendous results onstage and at the box office. Malthouse Theatre is committed to collaborating with local and international artists to create inventive performances and redefine artistic possibilities. In 2019, we saw two major international collaborations come to fruition. Malthouse Theatre partnered with The Royal Lyceum Theatre Edinburgh and the Lyric Hammersmith (London) to create Solaris, and with Dublin’s Pan Pan Theatre to create The Temple. The world premiere of Solaris was a triumphant execution of genuine collaboration. This adaptation of Stanisław Lem’s classic sci-fi novel brought together master Scottish writer David Greig, Director Matthew Lutton and a team of first-rate actors and creatives from Australia and the UK. What resulted was an astonishing production that portrayed Lem’s story in a way that would not have been possible in the absence of such a successful, multilateral artistic process.
2019 ANNUAL REPORT ROY MORGAN PG 5 > SURVEY RESPONDENT ——
‘ALWAYS STIMULATING, CHALLENGING AND THOUGHT PROVOKING.’ MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT ANNUAL 2019 MALTHOUSE THEATRE REPORT EXECUTIVE
2019 ANNUAL REPORT MALTHOUSE THEATRE
Malthouse Theatre’s 2019 My Dearworthy Darling created by Melbourne theatre legends, THE RABBLE, evoked Alison Season was epically ambitious, Croggon’s tale of a woman summonsing strength with large scale productions, from a medieval mystic in a visually ravishing style. international collaborations Australian Realness was the mainstage debut local of writing maverick Zoey Dawson, in a comedy and major world premieres. that saw Australian class stereotypes established We haunted audiences with and then blown apart on the Merlyn stage. And in a thrilling ass-kicking return, we welcomed back ghost stories, exposed how our favourite superhero Blackie Blackie Brown: The history permeates the present Traditional Owner of Death mid-year to remind us moment, and premiered new that she. Is. Always. Watching. Us. Australian stories that were Our 2019 Season concluded with Malthouse Theatre royalty—Meow Meow’s Apocalypse Meow: Crisis joyous and awe-inspiring. is Born. This was perhaps one of Meow Meow’s most personal and spectacular performances, Opening the year with our Civil Rights Summer demonstrating yet again why she is an international Series: Underground Railroad Game and Barbara superstar. and the Camp Dogs were two provocative perspectives on partnerships and race. Ursula 2019 also saw Malthouse Theatre productions Yovich and Elaine Crombie brought the house touring the world. In addition to Solaris’ seasons down with their rock music and deep emotion in in London and Edinburgh, our 2018 production Barbara and the Camp Dogs, and the American Wild Bore blasted onto stages in New York City and duo who created Underground Railroad Game Berlin. exposed how American slave history infiltrates From the viewpoint of 2020, it’s impossible to the present, in one of Melbourne’s most reflect on our 2019 Season without a sense of controversial and lauded shows of the year. nostalgia. As we cheered with Meow Meow in early After more than two years in planning we Summer, we could never have known how much our brought Tim Winton’s Cloudstreet to the stage reality would be changed by a pandemic in Autumn. for the first time since its premiere production We are hugely grateful to all our supporters who 21 years ago. A new generation of theatregoers enabled us to dream with epic ambition throughout fell in love with the Lambs and the Pickles, 2019. We thank our brilliant artists for their daring sharing their epic 5-hour story as we laughed, and audacious theatre and our passionate staff who cried and ate together. The production brought bring it all together. And we thank our audience our vision of reinventing Australian classics to its for your heartful response, and for being with us zenith and was rewarded by earning the largest every step of the way. It would be impossible for box office in the Company’s history. The Coopers Malthouse to exist without all of us Our international collaboration The Temple, was working and being together. a surreal exploration of a ‘wellness’ therapy cult, devised by five Melbourne theatremakers and Dublin based director Gavin Quinn. Bonkers. Artist in Residence, Declan Greene then took on the cult Australian story Wake in Fright with Zahra Newman to create a radical solo production that exposed the contemporary Matthew Lutton / terror in Kenneth Cook’s classic. This was Artistic Director & Co-CEO undoubtedly one of the theatrical highlights of the year. From the outback to outer space—Solaris had its world premiere stage adaptation at The Coopers Malthouse, before travelling to Edinburgh and London in a major international collaboration with the Royal Lyceum Theatre and the Lyric Sarah Neal / Hammersmith. Adapted by master playwright, Executive Producer & Co-CEO David Greig from Stanislaw Lem’s 1960s space ghost story, Solaris was a haunting and prescient fable that drew new audiences to The Coopers Malthouse.
2019 ANNUAL REPORT ——> PG 7 MALTHOUSE THEATRE 2019 SEASON
UNDERGROUND RAILROAD GAME 30 JAN – 17 FEB
Malthouse Theatre CREATED BY / Jennifer Kidwell & Scott R. presents The Ars Sheppard with Lightning Rod Special Nova Production of Underground Railroad DIRECTION / Taibi Magar Game. A show I'll be thinking about for years to come CAST / Jennifer Kidwell, Scott R. Sheppard PRODUCTION DESIGN / Tilly Grimes —THE AGE SCENIC DESIGN / Steven Dufala LIGHTING DESIGN / Oona Curley Venue Beckett Theatre SOUND DESIGN / Mikaal Sulaiman Total Number of Performances 20 Total Attendances 3,007
2019 ANNUAL REPORT / 2019 SEASON MALTHOUSE THEATRE
BARBARA AND THE CAMP DOGS 7 FEB – 3 MAR
Presented in association BY / Ursula Yovich, Alana Valentine with Vicki Gordon Music Productions. DIRECTION / Leticia Cáceres Malthouse Theatre presents takes the ground from CAST / Troy Brady, Elaine Crombie, Ursula Yovich a Belvoir production. SONGS BY / Alana Valentine, Ursula Yovich, Barbara and the Camp under you, even as it entertains Dogs had its World Adm Ventoura Premiere at Belvoir in the hell out of you SET DESIGN / Stephen Curtis December 2017. Indigenous —THE AGE Theatre at Belvoir is COSTUME DESIGN / Chloe Greaves supported by The Balnaves LIGHTING DESIGN / Karen Norris Foundation. Barbara Venue Merlyn Theatre and the Camp Dogs was SOUND DESIGN / Steve Toulmin co-commissioned by Vicki Total Number of Performances 23 Gordon Music Productions. MUSICIANS / Sorcha Albuquerque, Proudly supported by Art Total Attendances 4,212 Jessica Dunn, Michelle Vincent Series Hotels. STAGE MANAGER / Khym Scott Winner of four Green Room Awards for Best Performance, Music Composition & Sound ASSISTANT STAGE MANAGER / Cecilia Nelson Design, Writing/Adaptation for the Australian Stage and Production.
2019 ANNUAL REPORT / 2019 SEASON ——> PG 9 MALTHOUSE THEATRE 2019 SEASON
THE TEMPLE 3 – 26 MAY
Malthouse Theatre and Delightful and endlessly CREATED BY / Gavin Quinn, Aljin Abella, Pan Pan present The Ash Flanders, Mish Grigor, Nicola Gunn, Temple. Developed with the assistance of the surprising Marcus McKenzie Arts Council Ireland —THE AUSTRALIAN DIRECTION / Gavin Quinn and Culture Ireland. CAST / Aljin Abella, Ash Flanders, Genevieve Venue Beckett Theatre Giuffre, Mish Grigor, Marcus McKenzie Total Number of Performances 22 SET & LIGHTING DESIGN / Aedín Cosgrove Total Attendances 2,354 COSTUME DESIGN / Harriet Oxley SOUND DESIGN / Tom Backhaus Nominated for a Green Room Award for STAGE MANAGER / Lyndie Li Wan Po Best Ensemble.
2019 ANNUAL REPORT / 2019 SEASON MALTHOUSE THEATRE
CLOUDSTREET 6 MAY – 16 JUN
Malthouse Theatre ADAPTED BY / Nick Enright and and Black Swan State Justin Monjo from the novel by Tim Winton Theatre Company present Cloudstreet. DIRECTION / Matthew Lutton Cloudstreet was first Theatre at its most rich commissioned by Black —STAGE NOISE CAST INCLUDES / Arielle Gray, Brenna Harding, Swan State Theatre Natasha Herbert, Bert LaBonté, Ebony McGuire, Company and Company Mikayla Merks, Ian Michael, Benjamin Oakes, Scott B Belvoir in 1998. Venue Merlyn Theatre Proudly supported by Sheridan, Guy Simon, Greg Stone, Alison Whyte Total Number of Performances 34 the Cloudstreet Giving SET & COSTUME DESIGN / Zoë Atkinson Circle led by Maureen Total Attendances 10,442 Wheeler AO & Tony LIGHTING DESIGN / Paul Jackson Wheeler AO. SOUND DESIGN / J. David Franzke Natasha Hebert received a Green Room Award COMPOSITION / Elizabeth Drake nomination for Outstanding Performer. ASSOCIATE DIRECTOR / Katt Osborne SOUND OPERATOR / Blake Stickland STAGE MANAGER / Natalie Rowan ASSISTANT STAGE MANAGERS / Danae Crawford, Angus Robson
2019 ANNUAL REPORT / 2019 SEASON ——> PG 11 MALTHOUSE THEATRE 2019 ‘ATTENDING A SEASON SURVEY RESPONDENT ROY MORGAN AND HELPFUL.’ STAFF ARE SO FRIENDLY ACCESSIBLEAND THE THE VENUE IS HIGHLY A JOYFULEXPERIENCE. PRODUCTION IS ALWAYS MALTHOUSE THEATRE
WAKE IN FRIGHT 21 JUN – 14 JUL
A Malthouse Theatre A NEW PLAY / Adapted from Kenneth production. Cook’s novel by Declan Greene Brilliant, bold and deeply CAST & CO-CREATOR / Zahra Newman unnerving theatre MUSIC & COMPOSITION BY / friendships SOUND DESIGN / James Paul —THE AGE LIGHTING & PROJECTION DESIGN / Verity Hampson Venue Beckett Theatre STAGE MANAGER / Cecily Rabey Total Number of Performances 23 Total Attendances 3,544
Nominated for three Green Room Awards for Best Performer, Best Lighting Design and Best Music Composition & Sound.
2019 ANNUAL REPORT / 2019 SEASON ROY MORGAN PG 13 >
SURVEY RESPONDENT ——
‘ATTENDING A MALTHOUSE THEATRE PRODUCTION IS ALWAYS A JOYFUL EXPERIENCE. THE VENUE IS HIGHLY MALTHOUSE THEATRE MALTHOUSE ACCESSIBLE AND THE SEASON 2019 / REPORT ANNUAL 2019 STAFF ARE SO FRIENDLY AND HELPFUL.’ MALTHOUSE THEATRE 2019 SEASON
2019 ANNUAL REPORT / 2019 SEASON MALTHOUSE THEATRE
SOLARIS 28 JUN – 21 JUL
Solaris is a triumphant and emotionally vibrant production —THE MUSIC
Venue Merlyn Theatre Total Number of Performances 23 Total Attendances 4,999
A NEW PLAY BY / David Greig adapted from Stanisław Lem’s novel DIRECTION / Matthew Lutton CAST INCLUDES / Leeanna Walsman, Keegan Joyce, Jade Ogugua, Fode Simbo FEATURING / Hugo Weaving as Gibarian (video) SET & COSTUME DESIGN / Hyemi Shin LIGHTING DESIGN / Paul Jackson SOUND DESIGN & COMPOSITION / Jethro Woodward STAGE MANAGER / Lyndie Li Wan Po CASTING DIRECTOR / Laura Donnelly CDG
Malthouse Theatre, The Royal Lyceum Theatre Edinburgh and the Lyric Hammersmith present Solaris.
2019 ANNUAL REPORT / 2019 SEASON ——> PG 15 MALTHOUSE THEATRE 2019 SEASON
MY DEARWORTHY DARLING 2 – 18 AUG
Malthouse Theatre and BY / Alison Croggon THE RABBLE present My Dearworthy DIRECTED & DESIGNED BY / THE RABBLE Darling. Developed Ambitious and often (Emma Valente, Kate Davis) while in residence at CAST INCLUDES / Natalie Gamsu, La Chartreuse Centre national des écritures strangely beautiful Ben Grant, Jennifer Vuletic du spectacle; with —TIME OUT STAGE MANAGER / Jess Keepence the assistance of the Copyright Agency’s Cultural Fund; and Venue Beckett Theatre generously supported through the Monash Total Number of Performances 16 University Centre for Theatre and Total Attendances 2,070 Performance, Artist in Residence Program.
2019 ANNUAL REPORT / 2019 SEASON MALTHOUSE THEATRE
AUSTRALIAN REALNESS 16 AUG – 8 SEP
Commissioned by BY / Zoey Dawson Malthouse Theatre through the support of DIRECTION / Janice Muller the Malcolm Robertson Hilariously intelligent... CAST / Linda Cropper, André de Vanny, Foundation. Australian Emily Goddard, Walter Henry Phillips, Realness was developed with assistance from Damn good comedy Chanella Macri, Greg Stone the Monash University —THE MUSIC LIGHTING DESIGN / Amelia Lever-Davidson Centre for Theatre and Performance, Artist SOUND DESIGN & COMPOSITION / James Paul in Residence Program. Venue Merlyn Theatre SET & COSTUME DESIGN / Romanie Harper Total Number of Performances 23 STAGE MANAGER / Josh Sherrin Total Attendances 3,969 ASSISTANT STAGE MANAGER / Cointha Walkeden DRAMATURG / Declan Greene VIDEOGRAPHY / Einwick
2019 ANNUAL REPORT / 2019 SEASON ——> PG 17 MALTHOUSE THEATRE 2019 ‘ SEASON SURVEY RESPONDENT ROY MORGAN WANTING MORE! AND LEAVES ME ALWAYS ENGAGING LOVE YOUR WORK.
’
APOCALYPSE MEOW: CRISIS IS BORN 7 NOV – 1 DEC
Malthouse Theatre CREATED & PERFORMED BY / Meow Meow presents Apocalypse WITH / A little help from her friends Meow: Crisis is Born. Originally commissioned Brilliantly funny DIRECTION / Michael Kantor and produced by CAST / Michaela Burger, Annie Jones, Southbank Centre. —TIME OUT Dusty Bursill, Charlotte Barnard, Riya Mandrawa Venue Merlyn Theatre MUSICIANS / Mark Jones, Dan Witton Total Number of Performances 21 MUSICAL DIRECTION / Jethro Woodward Total Attendances 5,828 LIGHTING DESIGN / Paul Jackson STAGE MANAGER / Lisa Osborn
2019 ANNUAL REPORT / 2019 SEASON ROY MORGAN PG 19 >
SURVEY RESPONDENT ——
‘LOVE YOUR WORK. ALWAYS ENGAGING AND LEAVES ME WANTING MORE!’ MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT REPORT ANNUAL 2019 MALTHOUSE THEATRE EVENTS SPECIAL
COMMON GROUND 13 – 17 MAR
Malthouse Theatre CREATED BY / Anouk van Dijk presents a Chunky Move FOR & WITH PERFORMERS / production as a part of Dance Massive. Fast, precise, Richard Cilli, Tara Jade Samaya LIGHTING DESIGN / Paul Jackson miraculously strong SET & COSTUME DESIGN / Marg Horwell —THE AGE COMPOSER & SOUND DESIGN / Jethro Woodward Venue Merlyn Theatre DRAMATURGICAL ADVICE / Jerry Remkes Total Number of Performances 5 Total Attendances 1,543
2019 ANNUAL REPORT MALTHOUSE THEATRE
SKELETON TREE 16 – 23 MAR
Malthouse Theatre and CREATED & CHOREOGRAPHED BY / Stephanie Lake Company Stephanie Lake present – SKELETON TREE in association Felt, skilled, and DANCERS / Marlo Benjamin, Nicola Leahey, with Dance Massive. James O'Hara SKELETON TREE has been funded by the undeniably beautiful DRAMATURG / Matthew Lutton Australian Government —THE AGE SOUND DESIGN / Robin Fox through the Australia Council for the Arts COSTUME DESIGN / Paula Levis and the Victorian Venue Beckett Theatre LIGHTING DESIGN / Niklas Pajanti Government through PRODUCTION MANAGER / Glenn Dulihanty Creative Victoria. Total Number of Performances 6 Generously supported by Linda Herd. Total Attendances 1,036
Marlo Benjamin received a Green Room Award nomination for Outstanding Performer.
2019 ANNUAL REPORT ——> PG 21 MALTHOUSE THEATRE EVENTS SPECIAL
BLACKIE BLACKIE BROWN: THE TRADITIONAL OWNER OF DEATH 29 AUG – 14 SEP
A Malthouse Theatre BY / Nakkiah Lui and Sydney Theatre DIRECTION / Declan Greene Company production. The creative development Fast-paced adventure that CAST / Tahlee Fereday, Ash Flanders of Blackie Blackie DESIGN / Elizabeth Gadsby Brown was produced by Performing Lines with brings the house down ANIMATION & VIDEO / Mike Greaney support from ACMI, — ARTSHUB for Oh Yeah Wow the Australia Council for the Arts and Create LIGHTING & PROJECTION DESIGN / NSW. Proudly presented Venue Beckett Theatre Verity Hampson by Victoria University. Total Number of Performances 15 COMPOSITION & SOUND DESIGN / Steve Toulmin Total Attendances 2,040 FOLEY ARTIST & ASSISTANT SOUND DESIGN / Nate Edmondson CONCEPT ARTIST / Emily Johnson
2019 ANNUAL REPORT MALTHOUSE THEATRE EVENTS EXTRA CIVIL RIGHTS SUMMER SERIES In 2019, Jason Tamiru curated the Civil Rights Summer Series, a program of outdoor events that
transformed The Coopers Malthouse precinct into a hub for activists, spoken word artists and musical disruptors. A thematic extension to Malthouse Theatre’s mainstage productions playing during this time (Underground Railroad Game and Barbara and the Camp Dogs), the Civil Rights Summer Series activated the Courtyard with Friday night events from January to March. This program celebrated and acknowledged the disruptors of the order and engaged local artists and speakers who asserted their identify through their craft. BLAK FRIDAY 25 JANUARY Featuring: King RU, Master Charles (Tai Chi), Racerage, African Star Dance & Drumming, Uncle Jack Charles, MC Jason Tamiru THE RIGHT TO INCIVILITY 13 FEBRUARY Featuring: Professor Gary Foley and Moderator Kim Kruger CIVIL RIGHTS SESSIONS – DJ MUSIC & POETRY 15 FEBRUARY Honey), Poet Neil Morris, Poet Lay) لسع Featuring: DJ the Mystic
22 FEBRUARY Featuring: DJ Stani Goma, Poet Tenda McFly, Poet Atong Atem
1 MARCH Featuring: DJ Drum Warrior, Poet Wani Le Frere, Poet Tariro Mavondo
2019 ANNUAL REPORT ——> PG 23 MALTHOUSE THEATRE MALTHOUSE SOLARIS, 2019 SOLARIS,
2019 ON TOUR MALTHOUSE THEATRE
SOLARIS
Venue Royal Lyceum Theatre Edinburgh (UK) Dates 12 Sep – 5 Oct 2019 Total Number of Performances 25 Total Attendances 9,279
Venue Lyric Hammersmith Theatre (UK) Dates 10 Oct – 2 Nov 2019 Total Number of Performances 27 Total Attendances 7,973 WILD BORE
Venue The Sophiensæle (Germany) Dates 3 – 4 Dec 2019 Total Number of Performances 4 Total Attendances 172
Venue Skirball Centre, New York (USA) Dates 27 – 28 Sep 2019 Total Number of Performances 2 Total Attendances 696
2019 ANNUAL REPORT ——> PG 25 MALTHOUSE THEATRE THEATRE MALTHOUSE MALTHOUSE COMEDY FESTIVAL, 2019 FESTIVAL, COMEDY
COMEDY FESTIVAL MALTHOUSE THEATRE
COMEDY FESTIVAL AT THE COOPERS MALTHOUSE The Coopers Malthouse was the place to be during Comedy Festival 2019. Comedy Festival at The Coopers Malthouse featured 20 unique shows over twenty-two days. With cabaret, stand-up, and musical comedy throughout the building, the lively southside spot made for the perfect night out to picnic and get pickled. The laughs were flowing for the young and the young at heart, with an exclusive new program of family-friendly entertainment from The Listies and Captain Cauliflower and Marvin the Mischievous Moose. Or, patrons left their angels at home for an evening and headed to Daniel Kitson’s KEEP. and Garry Starr’s Garry Starr Conquers Troy.
Show Venue Performance DAZZA AND KEIF Merlyn 10 Dazza and Keif Go Viral BUNK PUPPETS Tower 22 Dark and Stormy TANYA LOSANNO Shell 22 The Good, Bad and the Elderly THE KAGOOLS Beckett 10 Cirque du Kagool GRANNY BINGO Merlyn 22 Country Ladies DR JASON LEONG Harmful if Swallowed Tower 22 HANS Beckett 10 Hans: Like a German THE ESTABLISHMENT Shell 10 Le Bureau de Strange GARRY STARR Tower 22 Garry Starr Conquers Troy GILLIAN ENGLISH Shell 22 10 Things I Hate About Taming of the Shrew DANIEL KITSON Merlyn 22 KEEP. FRINGE WIVES CLUB Beckett 22 Glittergrass MAD ETIQUETTE Merlyn 14 Captain Cauliflower and Marvin the Mischievous THE LISTIES Beckett 19 ROFLSHALBOWCO COMPANY 13 Merlyn 12 MacDeth DAMIAN CALLINAN Beckett 12 The Merger MARGOT TANJUTCO Merlyn 12 Vanity Fair Enough DANE SIMPSON Shell 12 Origins ANDREW MCCLELLAND Beckett 12 Andrew McClelland’s Mix Tape JOANNE BROOKFIELD Merlyn 1 No Apologies TOTAL NUMBER OF PERFORMANCES 310 TOTAL VENUE VISITORS 48,000
2019 ANNUAL REPORT ——> PG 27
BESEN FAMILY ARTIST FAMILY BESEN PROGRAM Ming-Zhu Hii is a director, writer and actor with an and actor writer is a director, Hii Ming-Zhu and forms, multiple of the intersections in interest to narratives this lends possibilities the expanded film, theatre, spans work of body Her and audiences. Ming-Zhu installation. As an actor, art and video Australia, across companies with has performed has also appeared She Theatre. including Malthouse programs. television films and feature in on increased has written and spoken Ming-Zhu diverse and culturally women of representation television film and theatre, the mainstream artists in the on both the past sat has in industries. She & Alternative and Hybrid Theatre Independent & Experimental Contemporary (now Performance panels and Award Room Green Performance) Women the Australian of member founding a was the of member is a current She Alliance. Director’s of and a graduate Committee Diversity MEAA Equity the Arts. of Victorian College Since 2005, the Besen Family Artist Program Artist Program Family Besen the 2005, Since workplace has provided Theatre at Malthouse theatre- Australian for learning experiences to offer continued the program 2019, In makers. artists who to mid-career to early opportunities specific professional in observing seek value the ongoing and Malthouse Theatre productions as being as well Theatre, Malthouse of artistic work artist. a Company by mentored Malthouse Program, Artist Family the Besen Through Foundation Family the Besen partners with Theatre theatre- innovative of the next generation to grow practitioners. and cultural makers Maudlin Katy (Matthew Lutton) – Solaris placement Directing Kimber Kellie-Anne – Cloudstreet placement Sound Design Franzke) (J. David Moody Jessica Realness – Australian placement Directing Muller) (Janice Lew James – placement Design Set & Costume Harper) (Romanie Realness Australian also encompasses Artist Program Family Besen The a bespoke Program, Writers Family the Besen early for opportunity development professional form the takes The program playwrights. career New run by workshops skills-based a series of of Artist and Resident Mark Pritchard Manager Work mentorship 12 months by followed Greene, Declan as Mark Pritchard from support and dramaturgical a and develop the Company about learn more they a commission. for proposal , Baldwin Alistair 2019 were for selected writers The . Thangaratnam , and Aran Ballard Tom
by Tom Ballard Tom by FEMALE DIRECTOR IN DIRECTOR FEMALE PROGRAM RESIDENCE NEW WORK IN WORK NEW DEVELOPMENT MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT REPORT ANNUAL 2019 The Female Director in Residence program provides provides program in Residence Director Female The personal mentoring development, career intensive theatre female to an emerging and a salary in Australia, its kind of program only The director. engaged professional a deeply offers the program opportunity. development 18 month her continued Hii Ming-Zhu 2019, In more working in Residence, position as Director in development. projects of on a number intensively for nine new works: for de Geer van Louris by Tower Watch The Chapman Ra by K-BOX workshops) (two Harvey John by Return The Savanadasa Rajith by Exposure Kit Lazaroo by a Girl of Body Newman and Zahra Greene Declan by in Fright Wake Alison Croggon by Darling Dearworthy My Clarke Maxine Beneba by Race Hate The Chong Wang by in China 2.0 Made Malthouse Theatre has an extensive, multi-level multi-level has an extensive, Theatre Malthouse new contemporary of the creation to commitment and mid-career with emerging, work We work. time, them with established artists, supporting all stages of across expertise and resources space, to commissioning conception, life—from a project’s run We to production. through and development programs, development new work of a range which workshops, and script commissions residencies, artists and of support a wide range to designed are is Theatre that Malthouse to ensure aim We projects. and ambition, experimentation creative for a space the innovation, of terms in the industry leading rigour, work. our of and inclusivity diversity commissioned: were 14 new plays of total a 2019, In Lee Michele by Party Healing The Federation Somasundaram Natesha by World! Hello, Clarke Maxine Beneba by Race Hate The Giovannoni & Dan Tsiolkas Christos by Loaded Rajan Vidya by Perfect Futures Smith Murray Joanna by Family The Badham Van by Ape Hairy The Miller Suzie K by Anna Hoy Emme by A Monster Alison Bell by Builder Master The Rajan Vidya by Untitled Giovannoni Dan by & Fear Love Chapman Ra by & Love Fear workshops development also held creative We
ARTISTIC DEVELOPMENT MALTHOUSE THEATRE
gain one-on-one feedback about individual works. INDEPENDENT We also regularly seek feedback from youth and ARTISTS & SMALL- education networks and our community partners. TO-MEDIUM THEATRE Invaluable audience feedback is gathered in partnership with Roy Morgan Research through COMPANIES their comprehensive annual survey. This provides Malthouse Theatre plays a crucial role in the annual data and qualitative responses from a wide theatre ecology, providing opportunities to a cross-section of attendees, including key markers range of independent artists through residencies, of satisfaction and motivation. We continued to use development and presentation as well as Culture Counts to evaluate the impact of our work partnerships with theatre companies from the and to collate customer experience insights. small-to-medium sector. Survey respondent quotes: In 2019, artists and companies supported were: ‘I love Malthouse Theatre and their Jessica Knight, Belinda Locke, Playwriting commitment to producing thought-provoking Australia, Shekinah Jacob, Vidya Rajan, Scout and highly entertaining new works.’ Boxall, Tamzen Hayes, Daniel Lammin, Aseel Tayah, ‘Malthouse Theatre provides an essential Alice Tovey, Polyglot, Olivia McLeod & Mikhayla platform for individual voice. It celebrates diversity Dennis, ActNow Theatre & Very Theatre (Taiwan), and encourages all of us to think beyond our Olivia Satchell, Theatre Works and Midsumma own perspectives.’ Festival. ‘A progressive, uncompromising, brave and bold MALCOLM theatre space – thank you!’ ROBERTSON WRITERS PROGRAM Malthouse Theatre’s Malcolm Robertson Writers Program commissions two emerging artists per year to write a new Australian work for theatre. The aim is to increase the commissioned output of work by emerging Australian playwrights and provide real development and presentation pathways within the support structures of a major theatre company. The Malcolm Robertson Writers Program participants for 2019 were Tom Ballard and Vidya Rajan. ARTISTIC EVALUATION Malthouse Theatre work is shaped by a desire for theatre to be provocative, inventive and entertaining. Our evaluation framework establishes a process for Malthouse Theatre to assess artistic vibrancy and our impact. The scope of evaluation includes: — Artistic excellence: does our work realise its aims and ambitions? — Audience and community engagement: is our work connecting with the public? — Contribution to artist and artform development: what is our impact on the sector? The Company has formal and informal mechanisms for seeking feedback from artists, audiences and peers. Malthouse Theatre leads ongoing conversations with respected colleagues, visiting experts and collaborating companies and artists to
2019 ANNUAL REPORT ——> PG 29 MALTHOUSE THEATRE ARTISTIC DEVELOPMENT Artists. With unparalleled access, the Vanguard cohort PROMPT: YOUTH had a year of unforgettable experiences, insights into AND EDUCATION Malthouse Theatre’s work, contributed to discussions about cultural leadership and built a new network with PROGRAM local arts lovers. Malthouse Prompt brings students and teachers The Vanguard alumni group also facilitated two pre- together with experienced industry professionals. show events which were designed to engage new We encourage young audiences and artists to audiences and introduce them to Malthouse Theatre. engage deeply with all aspects of our work and aim to provoke robust discussions, debate and Vanguard in 2019 was generously supported by reflections on the world around us. Debbie Dadon AM and led Malthouse Theatre’s Company Producer, Annie Bourke. In 2019, we presented the epic story of
Cloudstreet—our most ambitious production to 2019 VANGUARD MEMBERS date. Cloudstreet was selected for the 2019 Theatre Klari Agar Studies Playlist (Unit 3) and we developed bespoke Daniella Esposito education workshops, post-show discussions Carlo Guaia and learning resources to support students’ Madeleine Hale investigation of this production. Rachel Iampolski In addition to the education activities specifically Leah Jing tailored to complement Cloudstreet, we delivered Nathalie McLean a range of theatre workshops run by experienced Alana Michaud educators, actors and designers to inspire and Racheli Naparstek extend senior school students. Amelia Newman Max Paton Sweeney Preston THE SUITCASE SERIES Bindi Raja The Suitcase Series empowers young people to Sam Rogers use performance-making to tackle the greatest Rhys Ryan challenge of their generation: climate change. In May Sabet 2019, Year 9 and 10 students devised their own Ryan Sandor short works in response to the featured script, Flynn Smeaton Atomic by Amelia Chandos Evans, the 5th script to Christy Tan be commissioned as part of The Suitcase Series. Naveen Tenneti This award-winning education program is a chance Caleb Thaiday for students to expand their theatre-making skills and to gather in our theatre to share a BOARD OBSERVERSHIP performance day with their peers, before viewing Malthouse Theatre’s full production of the play. PROGRAM In 2019, Malthouse Theatre launched a Board VANGUARD Observership Program. This program facilitates facilitate the involvement of talented and energetic Representing the future of Malthouse Theatre, individuals with a diverse range of skills and Vanguard is a cohort of highly engaged and backgrounds in an experience on a for-purpose board. culturally curious agents of change who are welcomed into the Company as new ambassadors. This is a 12-month program intended to engage Vanguard invites individuals aged 18 to 30 to emerging community leaders who are already engaged connect with our theatre as a space for artistic, with the company, while giving Malthouse Theatre’s social and political discussion. Board insight into the next generation’s perspective. Participation in our Board Observer Program involves In 2019, we welcomed 12 new Vanguard members attendance at board and subcommittee meetings as and also facilitated a second year program, well as key company events. aimed to deepen engagement with nine alumni participants. Applications were invited from our Vanguard alumni for our inaugural year of this program, which officially Vanguard members received tickets to designated commenced in June. In 2019, our Board Observers preview performances, invitations to in were Bindi Raja and Sweeney Preston. conversation events and opportunities to connect with Malthouse Theatre Executive, Board and
2019 ANNUAL REPORT MALTHOUSE THEATRE
ATOMIC 23 – 25, 28 – 31 OCT
‘This is a very special program. WRITTEN BY / Amelia Chandos Evans The script really captured the DIRECTION / Sapidah Kian CREATED & CHOREOGRAPHED BY / DRAMATURG / Mark Pritchard students’Stephanie imagination…the Lake CAST / Alice Qin, Bernard Sam, researchDANCERS we explored / Marlo Benjamin, was very Nicola Leahey,Clarisse Bonello James O'Hara LIGHTING DESIGN / Katie Sfetkidis purposefulDRAMATURG and the / Matthewstudents Lutton had SET & COSTUME DESIGN / Eugyeene Teh a very authenticSOUND DESIGN experience / Robin Fox of SOUND DESIGN / Chris Wenn play makingCOSTUME and DESIGNperformance.’ / Paula Levis STAGE MANAGER / Claire Shepherd LIGHTING DESIGN / Niklas Pajanti — CULTURE COUNTSPRODUCTION SURVEY MANAGER RESPONDENT / Glenn Dulihanty
Venue Beckett Theatre Total Number of Performances 8 Total Attendances 803
2019 ANNUAL REPORT ——> PG 31 MALTHOUSE THEATRE ARTISTIC DEVELOPMENT Cloudstreet THEATRE FOR ALL 5pm, Saturday 25 May At Malthouse Theatre we are committed to Wake in Fright ensuring that everyone has an opportunity to 6pm, Sunday 7 July enjoy the performances and programs we offer. We work hard to remove barriers and increase RELAXED PERFORMANCES access to our works and our venue. Introduced in 2019, Relaxed Performances are We offer a range of services to make our theatre for anyone who would benefit from a more accessible and inclusive. relaxed environment—this can include but is not limited to people with autism, sensory WHEELCHAIR ACCESS sensitivities, learning disabilities, dementia as All mainstage performances at The Coopers well as those living with anxiety or who have Malthouse are accessible to wheelchair users. experienced trauma. Malthouse Theatre Relaxed Performances focus on adapting the theatre AUSLAN INTERPRETED environment and preparing the audience by PERFORMANCES providing pre-show resources. These resources Malthouse Theatre offers AUSLAN interpretation were prepared with the support of A_tistic’s for a select number of performances. In 2019, Artistic Director Tom Middleditch and included Malthouse Theatre partnered with Auslan Stage a Relaxed Performance guide specifically forThe Left to provide interpretation of the following Temple, and a comprehensive Relaxed Guide for performances: the venue. For a Relaxed Performance, lighting and sound may be adjusted, and the doors will Underground Railroad Game remain open to allow patrons to take a break in a 8pm, Friday 1 February designated quiet area. Cloudstreet (Part 1) In 2019, Malthouse Theatre partnered with 7.30pm, Thursday 6 June A_tistic to deliver the following session as a Cloudstreet (Part 2) Relaxed Performance: 7.30pm, Friday 7 June The Temple Australian Realness 2pm, Saturday 11 May 1.30pm, Saturday 31 August COMPANION CARD For the first time Malthouse Theatre was able The Companion Card has been developed to offer online booking for patrons wanting to by the Victorian Network on Recreation and use Auslan interpretation or Audio Description Disability (VICNORD). It admits carers to shows services. This allowed our audiences to book as complimentary guests. Holders of this card the most accessible seats in the theatre for we welcome at all Malthouse Theatre mainstage those performances. season performances. AUDIO DESCRIBED PERFORMANCES HEARING ASSISTANCE Specifically designed for people who are blind Malthouse Theatre offers a Hearing Assistance or have low vision, these performances feature System which allows patrons who use a hearing descriptions of visual elements in the production aid to tune into the frequency of that venue. For made available in a variety of formats including patrons without a hearing aid, we offer a similar pre-show notes and live description of the action. system and provide the patron with headphones. In addition, a tactile tour of the stage or a pre- These systems are available for all mainstage show foyer briefing with key props and costumes performances at The Coopers Malthouse. is available prior to each described performance. Malthouse Theatre is proud to partner with COMMUNITY NIGHTS Description Victoria. Malthouse Theatre Community Nights provide an Malthouse Theatre also commissioned opportunity to welcome individuals who would Description Victoria to develop an audio venue normally feel excluded from theatre. With the guide for The Coopers Malthouse, a new resource support of City of Melbourne, we offered the that provided wayfinding guidance and information Community Nights for the following Season 2019 for our precinct, indoor and outdoor spaces, and productions: our theatres. Barbara and the Camp Dogs Audio description services were provided by Will Cloudstreet McRostie for the following performances in 2019: Blackie Blackie Brown: The Traditional Owner Barbara and the Camp Dogs of Death (Tactile Tour only) 7.30pm, Friday 15 February
2019 ANNUAL REPORT MALTHOUSE THEATRE
COMMUNITY PARTNERSHIPS LIVING NOW In 2019, Malthouse Theatre proudly partnered with Footscray Community Arts Centre to continue our partnership through the Living Now program. This project was assisted by the Australian Government through the Australia Council for the Arts, its arts funding and advisory body, and the Malcolm Robertson Foundation. The Living Now program supports visionary storytellers to bring contemporary stories to the stage. 2019 was the second year of the program, and provided a residency and development opportunity for two writers from culturally diverse backgrounds. The 2019 Living Now resident writers were Vidya Rajan and Ra Chapman. VOLUNTEERS Malthouse Theatre is supported by a loyal and hardworking group of Volunteers who run our foyer Bookshop and the Play Club discussion and group. The time, passion and generosity provided by our Volunteers is enormously appreciated and gratefully acknowledged. Joyce Anson (Coordinator) Rod & Yvonne Albury Fay Batiste Alison Besselaar Genyce Dean Jan & Patrick Doran Angela Farrugia Rosemary Forbes Jenny Jeffries Yvonne Laird Cathy MacFarlane Joan March Alex Parfait Jean Ross Patricia Ryan Elisabeth & John Schiller John Thomas Charles Wilkins
2019BROTHERS ANNUAL WRECK, REPORT 2019 ——> PG 33 MALTHOUSE THEATRE VENUE My Dearworthy Darling VENUE ACCESS Saturday 17 August The Coopers Malthouse continues to support Australian Realness the Company’s strategic vision—to be a home for Saturday 7 September cutting-edge and diverse theatre. The venue has functioned to fortify Malthouse Theatre’s objective TIME TO TALK to diversify our community, become a social hub Throughout the season we invited audiences to a free for the arts and culture sector, and to be a place post-show discussion with members of the show’s that exudes welcome and inclusion. When our cast and creative team. Audiences were given the stages are not being utilised for own works, the opportunity to learn how the show was made, what theatres, rehearsal rooms, conference facilities and thoughts it inspired in others, and share their own event spaces are open to creative, commercial and perspective. corporate hirers and event partners. In 2019, this included theatre hires from Asia TOPA, Melbourne Underground Railroad Game Festival, Token Events, Drama Victoria, Melbourne Tuesday 5 February Jazz Roots Festival among many, as well as events Panel / Jennifer Kidwell, Scott R Sheppard and workshops by NIDA, VCASS, SES, Creative Moderator / Jason Tamiru Victoria and ABC. Outside of the venue’s red-brick Barbara and the Camp Dogs walls, the Courtyard was buzzing with activity with Tuesday 12 February the Sugar Mountain Festival, The Gentleman’s Bike Panel / Ursula Yovich, Elaine Crombie, Troy Brady, Ride, Melbourne Food and Wine among others. Leticia Caceres, Sorcha Albuquerque, Jessica Dunn, We maintained our support the sector for Michelle Vincent independent artists and community groups by Moderator / Jason Tamiru offering discounted or free venue hire to industry organisations including Musica Viva!, Multicultural The Temple Tuesday 14 May Arts Victoria, Chamber Made, Auspicious Arts, Aljin Abella, Ash Flanders, The Listies, Actors Equity Foundation, VALiD, Panel / Genevieve Giuffre, Mish Grigor, Marcus McKenzie The Australia Council and VAPAC. Moderator / Annie Bourke The dollar value of discounted and in-kind venue hire Wake in Fright provided to the arts sector in 2019 was $35,000. Tuesday 2 July Venue Hire 2019 2018 2017 Panel / Zahra Newman, Declan Greene, Nicholas Total Number of Brown (friendships), Misha Grace (friendships) 59 122 115 External Hirers Moderator / Ming-Zhu Hii Total Number Solaris of Ticketed 382 316 124 Tuesday 9 July Performances Panel / Keegan Joyce, Jade Ogugua, Total Attendances Fode Simbo, Leeanna Walsman to Ticketed 38,863 26,375 16,048 Moderator / Mark Pritchard Performances My Dearworthy Darling Total Hirer Event 196 406 94 Tuesday 13 August and Workshops Panel / Natalie Gamsu, Ben Grant, Jennifer Vuletic, Tessa Hulsbosch, Simran Giria, Alison Croggon, Kate Davis PUBLIC PROGRAMS Moderator / Matthew Lutton To amplify the conversation, we hosted a range Australian Realness of unique public programs to engage audiences with Tuesday 27 August the broader questions, themes and undercurrents Panel / Linda Cropper, André de Vanny, of Season 2019. Emily Goddard, Chanella Macri, Greg Stone, MONASH MEETS MALTHOUSE Zoey Dawson, Janice Muller Moderator / Toby Sullivan Our Major Partner, Monash University, offered Apocalypse Meow: Crisis is Born their scholarly expertise in four special afternoon Tuesday 12 November conversations following matinee performances Panel / Meow Meow, Jethro Woodward of the following productions: Moderator / Annie Bourke Underground Railroad Game Saturday 16 February Wake in Fright Saturday 13 July
2019 ANNUAL REPORT MALTHOUSE THEATRE
MALTHOUSE GREENLIGHT Malthouse Greenlight is our commitment to sustainability and encompasses programming, creation, purchasing and building management as well as behavioural considerations. Greenlight ensures that our environmental, social and economic impacts are identified, managed and monitored across all facets of our business. Given the limitations of working from a heritage building owned by the state government, Greenlight strategies have focused on behavioural and operational changes across the company that have day to day value and immediate impact.
Recycling 2019 2018 2017 2016 2015 CO-MINGLED 50.1 t 49.9 t 47.2 t 46 t 39.3 t RECYCLING OTHER WASTE 49 t 47.5 t 59.17 t 48 t 61 t
2019 ANNUAL REPORT ——> PG 35 MALTHOUSE THEATRE PHILANTHROPY In 2019, Malthouse Theatre was delighted to continue PHILANTHROPY a relationship with our official Wine Partner Malthouse Theatre produces work that explores Scotchmans Hill to provide premium wines, grown the world personally, socially, and politically. right here in Victoria, to our audiences. This partnership We believe that theatre can be—and should be—an has led to a significant increase in wine sales from the agent of change. Philanthropic support for Malthouse bar and has given Scotchmans Hill increased visibility Theatre enables us to create theatre that is inventive, amongst our diverse and engaged patrons. Following provocative, and entertaining. Tax deductible gifts a highly successful first year which saw a range of sales from our generous donors and philanthropic partners promotions and on-site activations, Malthouse Theatre make a vital contribution to the work that we do, and Scotchmans Hill reached agreement on an exciting and we thank them for their inspiring support. further three-year arrangement. Long-term Accommodation Partner, Arts Series SPONSORSHIP Hotels, chose to renew their support for a further three years (2020–22) once again becoming the much-loved Malthouse Theatre greatly values the financial home away from home for our executives and artists. support of our corporate and government partners, In 2019, the hotel group threw their support behind and benefits from the extended audience reach the Green Room Award-winning Barbara and the and cooperative marketing opportunities these Camp Dogs with a range of consumer promotions via relationships afford. their vast networks in addition to hosting a corporate 2019 was a period of change within our corporate hospitality event for their VIP clients to see the show. partner portfolio—with some partners expiring and In 2019, Malthouse Theatre added four new partners exiting, some renewing in different categories, others to our sponsor family. choosing to extend their relationships while also welcoming new partners to Malthouse Theatre. Our groundbreaking production of Cloudstreet saw Australia’s favourite ice cream brand Peters supply This year saw a lengthy renegotiation with our long- ‘Lester Lamb’s famous vanilla ice cream’ enjoyed term Venue Partner, Coopers. A rearrangement by audiences and Millboard provide the composite of their business and a change of direction in decking used as the flooring in the house at number their sponsorship assets, meant that following one Cloud Street. The 100% timber free product extensive conversations, Coopers decided not to allowed the design and direction magic of Zoë Atkinson renew their naming partnership instead opting to and Matthew Lutton to fully flood the set on multiple table an exclusive pourage rights arrangement occasions with water, creating moments of beauty and for consideration. By not renewing their naming reflection during this epic five-hour production. Ned’s partnership it provided Malthouse Theatre with the Bake became our exclusive Cloudstreet caterer and opportunity to go out to market in the Exclusive provided a main meal and dessert for each audience Supplier category, before finally reaching terms member—allowing our patrons to break bread together with Coopers for a further two-year arrangement. at the dinner interval at every Cloudstreet Experience Since 2000 Victoria University (VU) and Malthouse performance of the Season. Theatre and have enjoyed a partnership built on a Malthouse Theatre also welcomed a new partnership shared vision to celebrate excellence, opportunity, with King Living who design and manufacture community, and individual empowerment. For 19 contemporary, award-winning furniture. A three-year years, Victoria University has gained significant agreement has seen this premium furniture brand brand exposure through their relationship with reinvent the venue’s Mezzanine and Kiln areas— Malthouse Theatre as our Education Partner. In providing comfortable and stylish spaces for our 2019, major changes to the University’s course audiences to enjoy. structure and sponsorship direction saw a shift in their partnership priorities, and a departure from the Our audiences were tracked by Research Partner Roy Education category to become a Program Partner Morgan Research, visitors to our venue were pampered supporting Malthouse Theatre’s indigenous works. with products from Salus Body, our Executives received VU successfully leveraged their support of Nakkiah strategic consultation from NOUS Group, our access Lui’s Blackie Blackie Brown: The Traditional Owner of and inclusion programs received support from City Death via their Advancement department, Western of Melbourne and our Season programs were given suburbs indigenous groups in association with the a voice by our Media Partners 3RRR, The Saturday Moondani Balluk unit and the Foley Collection—the Paper, oOH!media and Time Out. major historic archive collected over the past 45 years But when it comes to the business end of things, by Aboriginal activist and academic Gary Foley and we could not do what we do without the wonderful housed at Victoria University. support of our government partners Australia Council for the Arts and Creative Victoria who truly keep the drama on our stages.
2019 ANNUAL REPORT MALTHOUSE THEATRE
PARTNERS
GOVERNMENT PARTNERS
INDUSTRY PARTNER
Malthouse Theatre is proud to be a member of the Australian Major Performing Arts Group
CORPORATE PARTNERS
Venue Partner Program Partner Accommodation Partner
Corporate Partner Corporate Partner Corporate Partner
Corporate Partner Wine Partner Media Partner
Media Partner Media Partner Media Partner
CLOUDSTREET PARTNERS
2019 ANNUAL REPORT ——> PG 37
MUSE LIST AT 31 DECEMBER 2019 DECEMBER 31 AT LIST MUSE EUTERPE—MUSE OF MUSIC—$1,000+ EUTERPE—MUSE & Angela Boell Bruce AO, Besen & Eva AC Besen Marc Carlsen, & Per Ingrid Fund, Browne Sally Kayser, Jason Li Chong, Min Casey, Carman’s Kitchen, Ros Geoffrey David Goddard, Brian Davey, Jo & Mark Craig, Jankie Michael Varghese, Jacob & Hunter Jordana Hall, Fiona Kelly, Johnstone, Val Poznanski, & Vivienne Ibaceta, & Luis Lynch Craig Landvogt, & Michael Julie Rikard- Jane & Mike Ned's, Nathan, Susan Marr, David Tim the late & Sherwood Viorica Samson, Lynne Bell, (4) Anonymous Walls, Maria Solà, Rosemary Sherwood, OF DANCE—$500+ TERPSICHORE—MUSE & Anita Anderson, Graham Solly, & Steve Airey Frankie Beanham, Sandra OAM, Ball Arnold, Rowland Michael & Darren Annie Bourke & Amanda Quirk, Berry Peter Millar, Lynne & Dr Brown Rob Dr Brown, Nan Clyne, Chris Clough, Cecil, Tim & Rachel R Butler, Bruce & Yvonne Sandy Coller, Ross Dr Coleman, Georgie Coates, Rebecca & Dr Daley John Prof Constantine, John Gaidzkar, Taleen Mosso, & Lauren Mark Duckworth Brad Hill, Tyler Guppy, Douglas John Gibbins, & Helen Kearsey, Irene OAM, Johnson & Graeme Joan Hooper, Lovett, Virginia Johnson, & Graham Ann Kemeny Gayl Millard, John Jonge, De Alice & Dr Manning Ian Salvatore O’Dea, & Ruth Tom Wettenhall, & Gib Morrow Tom Redston, and Roger Rosemary Posterino, & Lea Phil & Heather Thomas, John & D Lester, Tell L Smyth, OAM, Wells David & Prof OAM Wells Jillian Wilson, (3) Anonymous CALLIOPE—MUSE OF POETRY—$50,000+ CALLIOPE—MUSE Reeves Craig THE STARS—$25,000+ OF URANIA—MUSE Dadon Debbie Foundation, Bardas Foundation, Andyinc & AO Wheeler Maureen Foundation, Humanity The AM, AO Wheeler Tony OF HISTORY—$10,000+ CLIO—MUSE Quine Canny Bates, & Lorraine John Annamila Fund, Walker, David & Darbyshire Jennifer Foundation, & Gerlinde Scholz, Leonard Kirkham, Richard Suzanne Penlidis, James & Fiona McGauchie Lourey, Simone Vera The Tai, Janine McLennan, & Peter Mary-Ruth (2) Anonymous Foundation, Moore OF COMEDY—$5,000+ THALIA—MUSE Family, Gjergja Firstenberg, Evelyn Besen, Daniel and Geoff Golvan, Deborah AM QC & Dr Golvan Colin Foundation, Pratt The Levine, Michele Christine Grenda, (1) Anonymous Watson, Pinky AO, Vallentine Mary MELPOMENE—MUSE OF TRAGEDY—$2,500+ Elligate Michael Fr Rev Donazzan, Roger Dahn, Susanne Hocking, & Ian Forbes Rosemary Fairbank, Sian AM, Dr AO, McGauchie Kingston, Elizabeth & Donald Michael Glen, & Paul Prestney Sue Mitchell, Alison & Peter Sessions & Robert Schwarz, Jenny Dr Reed, Christopher Fiona Shelmerdine, Kate & Stephen Christina Fitzgerald, Leonard Templeton, Peter Newcombe, & Paul Sweet Jan AM, Webster Jon AM QC, Matt Collins & Dr Vary (1) Anonymous Tee, Melinda & Dr Wu Terry Williams, Dr
Giving Circle Circle Giving Cloudstreet Cloudstreet PRIVATE GIVING PRIVATE MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT REPORT ANNUAL 2019 and we applaud their ongoing vision, commitment, commitment, vision, ongoing their applaud and we and generosity. led by Maureen Wheeler AO and Tony Wheeler Wheeler Tony and AO Wheeler Maureen led by needed support much raised Circle Giving The AO. this epic that to ensure passionate donors 11 from included campaign The realised. was production donors and increased Theatre Malthouse new three celebrated We others. five by commitment financial Circle the Giving hosting by campaign the successful on cast at an exclusive donors and Cloudstreet family. donor to our 26 new Muses the 2019 NOW CASTING launched April we In the for funds critical tax appeal raising annual this annual campaign 2020 Season. Whilst coming our of the delivery to due delayed slightly was and campaign, it gained momentum Cloudstreet our by embraced finished strongly—enthusiastically request our of the challenge to who rose group Muse NOW CASTING The family. theatre to join our budget annual giving our 45% of campaign delivered cementing April–June, of months three the in target annual an exceptional to deliver foundations the result. giving private Group Member Foundation Theatre’s Malthouse fundraising to our critical and was grow to continued donations. In high-level for and initiatives activities $10,000+ with our closely engaged more we 2019, salon intimate to a series of them donors inviting team of artistic the Company’s with style events the in writers, and performers—hosted directors, series This donors. most valued our homes of private the Company allowed events curated exclusive of and identify interest donor major of areas feature to in and resulted programming, future for support their gifts category. major to our adding six new donors of source to be a vital continued giving Private simply We in 2019. Theatre to Malthouse support annual our risks and make creative take cannot Muses our the support of without work Season of set dinner. to designed program Muse Theatre’s Malthouse with relationship $250+ donors with a closer provide exclusive a series of via work and its the Company 16% welcoming by grew access, the scenes behind In 2019, Malthouse Theatre’s philanthropic program program philanthropic Theatre’s Malthouse 2019, In our of the work in leading role a to play continued budget and delivering 148% of achieving Company, 2013. since result giving best private our the by driven was result exceptional This implementation the of
PHILANTHROPY MALTHOUSE THEATRE
ERATO—MUSE OF LOVE—$250+ our production of Tim Winton’s Cloudstreet. Gandel Simon Abrahams, Nicole Beyer & Kim Marriott, Philanthropy and AndyInc provided generous support Jennifer Bourke, John & Alexandra Busselmaier, Elise to the authentic casting of Ben Oakes, a performer Callander, Diane Clark, Lyndy Clarke, Fiona Clyne, who identifies as having intellectual disability to play Alan Connolly, Mrs Dalloway, Brian Doyle, Dr Bronwen the major role of Fish Lamb. Their financial assistance Evans, Carolyn Floyd, Mary Garcia, Iona Goodwin, ensured that Ben, in his first mainstage performance, Damyn Gordon, Ash Gray, Marguerite Griffith & Dr was supported by a range of consultants who Vincent Griffith, Joanne Griffiths, Russell Hooper, provided specialist help during his gruelling schedule. Arechea Hounsell, Graham & Judy Hubbard, Sarah In addition, the Pierce Armstrong Foundation Hunt, Lachlan Hywood, Dr Irene Irvine, Ed Johnson, supported Malthouse Theatre to increase our Mira & Dr David Kolieb, Julia Lambert, Mark Larsen, student engagement with the production by offering Dr Kristina Macrae & Bruce Macrae, Fiona Mahony, subsidy support for no cost or low-cost ticketing for Judith Maitland-Parr, Michelle Mason, Ann McLaren, disadvantaged schools. Susan McLean, Ian McRae AO & Åsa Hasselgard, In 2019, Malthouse Theatre was awarded a grant from Suzanne Mellor & Warren Prior, Dr Anne Myers, Lisa the Betty Amsden Foundation to provide support Nichols QC, Prof Robert Nordlinger, Linda Notley, to our multi-award-winning Education initiative The Dr Helen Nugent AO, Tony Oliver, Kaylene O’Neill, Suitcase Series. This assistance allowed us to offer Dean Pavitt, Anda Petrapsch, Pinkerton Abbey Family, support to disadvantaged students by waiving the Gerard Powell, Rosalba Renzella, Dr Jessica Robertson program application costs and offering low cost & Henry Gardner, Jean Ross, Elizabeth Spence, Andrew tickets. In some instances, this would be the first time D N Stocker, Michael Taylor & Anna Colbasso, Chris these students had attended a professional theatre Teh, Dr Julie Thompson, Jennifer Vaughan, Gary performance. Westbrook, Jo Whyte, H Wood, Barbara Yuncken, Anonymous (8) TRUSTS & FOUNDATIONS Malthouse Theatre relies on significant support from Philanthropic Trusts and Foundations to undertake many crucial core activities in the areas of Artistic Development, Education, Access and Inclusion, and International Touring. ANDYINC FOUNDATION Generously supported by the Besen Family Foundation and Debbie Dadon AM, 2019 saw the 14th year of our highly successful BESEN FAMILY ARTIST PROGRAM (BFAP). The program supports professional development for early to mid-career individuals. It is designed to cultivate the next generation of ambitious theatre makers by allowing them to gain experience and ongoing artistic work within a mainstage theatre company. This year the BFAP participants were: Katy Maudlin (Directing), Jess Moody (Directing), Kellie Anne Kimber (Sound Design) and James Lew (Design). The Robert Salzer Foundation supported our collaboration with composer and sound designer Jethro Woodward for his work on the adaptation of Stanisław Lem’s classic sci-fi novelSolaris and in the final year of our three-year agreement with the Malcolm Robertson Foundation to support new writing, Artistic Director Matthew Lutton announced Vidya Rajan and Tom Ballard as our two newly commissioned writers. Vidya has been commissioned to write Futures Perfect a reflection on Indian diaspora and Tom is embarking on a satirical look inside what Australia is as a nation with his play Federation. Three Trusts and Foundations stepped up to support
2019 ANNUAL REPORT ——> PG 39
STAFF STAFF David Miller David Connie Stella Connie Producer Company Bourke Annie Manager and Communications Marketing November) (to Douglas Caraline Coordinator and Communications Marketing Bathman Jacqui Coordinator Marketing Digital March) (to Jordan Alexia Producer Content Digital March) (from Harrison David Manager Ticketing CRM and Sutherland Prue Manager Office Box Stapleton Allie Manager Development Fiona Kelly Coordinator Philanthropy Locke Belinda Coordinator Sponsorship Dibley-Hall Julian Manager Production Artistic Director and Co-CEO Artistic Director Lutton Matthew and Co-CEO Producer Executive Neal Sarah Artist Resident Greene Declan Manager Work New Pritchard Mark in Residence Director Hii Ming-Zhu Manager Strategy November) (to Sullivan Toby Associate Producer Tamiru Jason Manager and Casting Company Zaibak Marline Manager Finance Agostinoni June) Mario (to Manager Finance June) (from Harwood Ness Administrator Finance Liz White Assistant Finance
Active support for ambitious projects, ambitious projects, for support Active with a particular focus on fundraising through through fundraising on focus with a particular Circle; Giving the Cloudstreet reporting financial of and approval Oversight sub- and Risk Finance the Audit, through committee; Cheetham as Deborah of Appointment a Director; Engagement the Government of Formation the Board. of subcommittee MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT REPORT ANNUAL 2019 BOARD SUCCESSION PLANNING SUCCESSION DIRECTORS OF BOARD The appointment of individual board members is board individual of appointment The and Nominations the People through managed skills matrix including with a crucial Committee, expertise fundraising and financial, entrepreneurial, artists. as high calibre as well (Chair) Fiona McGauchie Zehnder Egon Consultant Chair) (Deputy Kantor Michael Director Theatre Schlieper Nick Designer Owen Jan Australians Young for Foundation CEO, AO Vallentine Mary Arts Manager Rabe Pamela and Director Actor Prestney Sue Ltd. & Associates Pty Prestney Sue of Principal Accountants Chartered Dadon Debbie Foundation Family Besen Chair, AM Myer Andrew Group Myer AV and Director, Founder Cheetham Deborah Opera Black Short Artistic Director, Led by Chair Fiona McGauchie, Malthouse Malthouse Fiona McGauchie, Chair by Led the oversees Directors of Board Theatre’s management and financial leadership strategic the to championing addition In the Company. of for is responsible the Board and its work, Company advising roles, the executive of the appointment advocates as being as well direction, on strategic sector and private philanthropic to government, and times a year meets six Board The stakeholders. to sit on required all members who are comprises Sub-Committees: Board four the at least one of Committee; and Risk Finance Audit, Committee; Engagement Government and Committee; Development Committee Nominations and People Essential Council’s the Australia with compliance In the Organisations, Arts for Practices Governance established policies by guided functions are Board’s interest of conflict confidentiality, governance, for governance key 2019, In conduct. of and code milestones included: • • • • (AS AT 31 DECEMBER 2019) DECEMBER 31 AT (AS
STAFF MALTHOUSE THEATRE
Production Coordinator Box Office Staff Production & Tia Clark Simon Braxton Technical Staff Paul Buckley Simon Bond Technical Manager Emily Burke Tim Bonser Baird McKenna Harry Diviny Adam Brunskill Workshop Manager Bronya Doyle Nathan Burmeister Goffredo Mameli Lachlan Hywood John Carberry Mellita Ilich Edwin Cheah Operations Manager Nicola James John Collopy Dexter Varley Min Kingham Jamie Cunningham Head Carpenter Lucy Kingsley Bec Dunn David Craig Claire Lancaster Jordan Fantone Emma Whitby Jo Foley Head Electrician Liz White Stephen Hawker Rob Ballingall Fiona Wiseman Esther Hayes Venue Head Mechanist Yani Kastrissios Ivan Smith Front of House & Bar Staff Eugene Mackinnon Mikaela Abbey Bianca Moran Head of Wardrobe Gianni Agostinoni Bec Neeson Delia Spicer Ben Anderson Andrew Nielsen Wardrobe Assistant Nelson Baker James Paul Rebecca Dunn (to November) Bear Baxter Thomas Roach Charlotte Beckett Rhys Robinson Theatre Technician Sermsah Bin Saad Jacob Shears Nathanael Bristow (to May) Mitchell Brotz Martin Shlansky Brendan Jellie (from May) Kate Calton Blake Stickland Georgia Cam Robert Stout Set Builder Jai Cameron Max Wilkie Elizabeth Whitton Emily Casey Ounie Witherow Aitken Youth and Education Manager Gem Clarke Alexandria Macalister-Bills (to August) Emma Corbett Fiona Di Berardino Venue Manager Alice Dixon Aaron Rowlands (to February) Amy Dowd Venue Manager Sophia D’Urso Simon Moss (to August) Mark Hoffman John Byrne (from August) Dirk Hoult Ryan Jones Events Manager Lara Kerestes Anita Posterino Tom Kantor Front of House Manager Nicole McKenzie Lara Kerestes (to November) Hannah McKittrick Emma Corbett (from December) Georgia Mein Araminta Miller Graphic Design Abi Murray Hours After Hayley Newman Publicist Sanne Rodenstein TS Publicity, Mick Roe Mary Thompson Gretel Sharp Dom Simonelli & Tatia Sloley Ida Sjodin Barney Spicer Cameron Taylor Lee Threadgold Kenny Waite Isabel Wassman Leonie Whyman
2019 ANNUAL REPORT ——> PG 41 MALTHOUSE THEATRE 2019 REVENUE
GOAL MEASUREMENT 2017 2018 2019
ARTISTIC Season 2019 - Malthouse Makes 11 7 4 - Co-Productions 4 5 5 - Presentations 3 4 4 18 16 13
- New Australian 7 10 6 - Extant Australian 6 2 5 - New Australian Adaptation 0 2 1 - Extant International 5 2 1 18 16 13
New Productions (% of season) 79% 77% 58% New Commissions, Developments 18 26 23 Artists Employed 109 98 161 Audience Satisfaction 95% 94% 93%
SECTOR DEVELOPMENT Emerging Artist Opportunities 25 53 57 Industry Collaborations 23 33 34 Venue Hire Subsidy $82,756 $68,172 $35,000
AUDIENCE & ACCESS Number of - Subscription Season 261 283 235 Performances - Additional Programming 244 241 310 - Touring 90 13 58 - External Hires 124 81 73 719 618 676
Paid Attendances - Subscription Season 44,486 37,156 37,407 - Additional Programming 11,429 11,870 20,033 - Touring 22,575 5,308 18,120 - External Hires 9,326 8,825 9,027 88,236 62,759 84,587
Education Participation 8,190 7,276 4,733 Total Subscribers 1,724 1,826 1,981 Website Visitors 215,394 375,000 2 246,690 eNews Subscribers 19,967 20,091 22,627
FINANCIAL Annual Turnover $8.09m $8.22m $8.64m Operating Result $244,856 $(149,820) $107,905 Sponsorship & Philanthropy Ratio 12.2% 13.2% 11.4% Reserves Ratio 24.3% 23.9% 22.8%
2019 ANNUAL REPORT MALTHOUSE THEATRE
2019 REVENUE
35% Government Grants
9% Other
11% Philanthropic & Sponsorship
45% Earned Income
REVENUE 2016–2019
$4,500,000
$4,000,000
$3,500,000
$3,000,000
$2,500,000
$2,000,000
$1,500,000
$1,000,000
$500,000
0 2016 2017 2018 2019
Government Grants Philanthropic & Sponsorship Other Earned Income
2019 ANNUAL REPORT ——> PG 43 MALTHOUSE THEATRE MALTHOUSE CIVIL RIGHTS SUMMER SERIES, 2019 SERIES, SUMMER RIGHTS CIVIL
FINANCIAL STATEMENTS MALTHOUSE THEATRE
DIRECTORS’ REPORT
The directors present this report on the Company for the financial year ended 31st December 2019. OBJECTIVES The Company’s objectives are: The names of each person who has been a director during the year and to the date of this report are: ARTISTIC Fiona McGauchie (Chair) — Develop, produce and present theatre that sits at Michael Kantor (Deputy Chair) the forefront of artistic practice Debbie Dadon AM — Be a leader of contemporary performance and Andrew Myer AM collaborative practice Jan Owen AM Sue Prestney — Be a theatre of diverse ideas, the unexpected and Pamela Rabe an agent for change Nick Schlieper Mary Vallentine AO ACCESS & INCLUSION Deborah Cheetham AO (Joined 2 December 2019) — Stand for equality and diversity, and live our core Kerri Turner (Resigned 27 May 2019) values on and off-stage Directors have been in office since the start of — Ensure our theatre reflects the diversity of our the financial year to the date of this report unless community otherwise stated. — Be a world leader engaging with Aboriginal and Torres Strait Islander people by supporting their right to self-determine their artistic identity COMPANY SECRETARY — Remove barriers to our work The position of Company Secretary was held by Sarah Neal. SECTOR DEVELOPMENT — Maximise our interconnection with the small to medium sector and independent artists PRINCIPAL ACTIVITIES — Maintain professional pathways for artists The principal activity of the Company (Playbox — Partnerships with small to medium and Theatre Company trading as Malthouse Theatre) independent arts sector during the financial year was to collaborate with local and international artists to create, develop AUDIENCE DEVELOPMENT and curate inventive performances that cut to the — Grow a loyal and diverse audience core of the human experience. — A fully activated and dynamic venue PERFORMANCE MEASURES — Increased audience engagement The Company measures its performance in — Build our profile and audience nationally and the amount of income raised and also artistic internationally development, arts access and engagement, and contribution to sector development. The key FINANCIAL & GOVERNANCE performance measures include: — Adapt to changing financial, artistic and cultural drivers — Total revenue; — Be a sustainable Company with diverse — Number of performances and percentage of new income streams productions presented as part of the annual season program; — Be an accountable, professional Company with good governance — Number of commissions and development; — Number and demographic of artists employed; — Audience satisfaction — Number of opportunities provided to emerging artists; — Number participants engaged in education activities; — Digital audience engagement.
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 45
earned income earned income existing ones strengthen and artists silo-ing to avoid the Company of the vision to in the retention of existing audiences existing audiences of the retention in and collaboration touring, partnerships interstate presence Succession planning for key personnel key for planning Succession FINANCIAL AND AND FINANCIAL GOVERNANCE SPECIAL RESPONSIBILITIES — Develop innovative new partnerships and new partnerships innovative — Develop — the Company across collaboration — Encourage contribute fully to and staff board — Empower Fiona McGauchie Zehnder Egon Partner, and Nominations People the Board of Chair Committee Kantor Michael Director Theatre and Committee/People Development Committee Nominations AM Dadon Debbie Foundation Family Besen Chair, Committee Development Myer Andrew — Grow our fundraising capacity to expand capacity fundraising our — Grow Group Myer AV and Director, Founder Committee & Risk Finance Audit, AM Owen Jan Australians Young for Foundation CEO, and Committee and Nominations People liaison to the Board Vanguard Prestney Sue Ltd. & Associates Pty Prestney Sue of Principal Accountants Chartered (Chair) Committee & Risk Finance Audit, Rabe Pamela and Director Actor Schlieper Nick Designer Committee and Nominations People AO Vallentine Mary Arts Manager and People Committee & Risk Finance Audit, Cheetham AO Deborah and Playwright Composer Actor, Singer, Committee Nominations — Build loyalty to Malthouse Theatre by investing investing by Theatre to Malthouse loyalty — Build through work our of life the continued — Ensure to maximise our national network a — Maintain internationally theatre — Champion Australian
our program program our free events and community activities and community events free values core aligns with our awareness and profile brand employment, commissions and exposure commissions employment, and masterclasses residencies placements, to medium companies with small and discussions artists to medium sector and small artists and companies with emerging collaborators and audiences and audiences collaborators backgrounds cultural of a range from artists audiences artists and staff, in local, national and international theatre markets venue, physical performances, across and participation employment education and learning programs collaboration with a range of artists and artists of with a range collaboration companies theatre contemporary forms new extends and explores and backgrounds practices diverse critical social questions expectations transcends and STRATEGIES STRATEGIES ACHIEVING FOR OBJECTIVES THE AUDIENCE DEVELOPMENT AUDIENCE SECTOR DEVELOPMENT SECTOR ACCESS & INCLUSION & ACCESS ARTISTIC MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019 — Actively forge partnerships with major festivals, festivals, partnerships with major forge — Actively that hire venue curated more towards — Work increased through new audiences of — Acquisition — Offer artists career advancement through through advancement artists career — Offer and skills development professional — Provide in collaboration new work and present — Develop forums gatherings, industry-wide for a space — Be independent for the venue to access — Facilitate and financial expertise artistic, producing — Share — Diversify the cultural backgrounds of staff, staff, of backgrounds the cultural — Diversify by work and present develop — Commission, ATSI for opportunities Company-wide — Increase Indigenous of profile and repertoire — Build accessibility to increase — Find opportunities through people young engaging — Actively — Create new work for our main stage in our for new work — Create season of a diverse present and — Produce that new work of the development in — Invest from artists between collaboration — Facilitate those who ask artists with ambition and — Engage ideas driven that is adventurous, — Seek out work around conversation political robust — Invite
FINANCIAL STATEMENTS MALTHOUSE THEATRE
MEETINGS OF MEMBERS’ DIRECTORS GUARANTEE The number of meetings of the Company’s The Company is incorporated under the Board of Directors (‘the Board’) and of each Corporations Act 2001 and is a Company limited Board committee held during the year ended 31 by guarantee. If the Company is wound up, the December 2019, and the number of meetings Memorandum and Articles of Association states that attended by each director were: each member is required to contribute a maximum of $10 each towards meeting any outstanding FULL BOARD DIRECTORS’ MEETINGS obligations of the Company. As at 31st December ATTENDED NUMBER NUMBER 2019, the total amount that members of the ELIGIBLE ATTENDED Company are liable to contribute if the Company is Fiona McGauchie 6 6 wound up is $170 (2018 $160). Michael Kantor 6 5 Debbie Dadon 6 4 Andrew Myer 6 6 AUDITOR’S Jan Owen 6 4 INDEPENDENCE Sue Prestney 6 5 DECLARATION Pamela Rabe 6 2 The lead auditor’s independence declaration for the Nick Schlieper 6 5 year ended 31st December 2019 has been received Mary Vallentine 6 4 and can be found on page 6 of the financial report. Kerri Turner 3 3 Deborah Cheetham 1 1 SUBSEQUENT EVENTS
AUDIT, RISK & FINANCE COMMITTEE On 12 March 2020 a global pandemic was declared, MEETINGS resulting in the temporary closure of The Malthouse ATTENDED NUMBER NUMBER venue. Management has reviewed the ongoing ELIGIBLE ATTENDED operational capacity and reserves of Playbox Theatre Fiona McGauchie 6 3 Company Limited and, subject to continuity of Government funding, has assessed that the Company Andrew Myer 6 4 is able to continue for the foreseeable future. Sue Prestney 6 6 Mary Vallentine 6 5 The directors’ report is signed in accordance with a Kerri Turner 3 2 resolution of the Board of Directors: PEOPLE AND NOMINATIONS COMMITTEE MEETINGS ATTENDED NUMBER NUMBER ELIGIBLE ATTENDED Fiona McGauchie 3 3 Michael Kantor 3 3 Fiona McGauchie, Director Jan Owen 3 3 Nick Schlieper 3 2 Mary Vallentine 3 2
DEVELOPMENT COMMITTEE MEETINGS ATTENDED NUMBER NUMBER Sue Prestney, Director ELIGIBLE ATTENDED Dated this 1st day of April 2020 Fiona McGauchie 5 5 Michael Kantor 5 4 Debbie Dadon 5 2
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 47 there
2019 interest in Findex obal is a separate and
rsons who hold an equity the AustralianCharities 31 December
. 40 of - ; and ended audit
whichis conducted by a partnershipis the Crowe otherorCrowe any omissionsGlobalof s or audit year
Section 60
in relationin to the
te te of Findex (Aust) Pty Ltd. The only professional service offering
:
All other professional services offered by Findex Group Limited are conducted by a privately owned organisation
profits Commission Act 2012 - 2020
for - April
auditor independence requirements as set out in th no contraventionsno of ny applicable code of professional conduct in relation the to , 8 The A and Notand Melbourne
have been to the Directors Independence Declaration of Auditor Limited Theatre Company Playbox I declare that, to the best of my knowledge and belief, during the
1) 2) Geelong Crowe Cassandra Gravenall Partner MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019 The title ‘Partner’ conveys thatthe person is a senior member within their respective division, and is among the group of pe interest (shareholder) in its parent entity,Findex Group Limited. Australasia external audit division. and/or its subsidiaries. independentlegal entity. Findex (Aust) PtyLtd and itsaffiliates are notresponsible or liable for any act member ofCrowe Global.Crowe Global does not render any professionalservices and does not have an ownership or partnership (Aust) Pty Ltd.Services are provided by Crowe Melbourne, an affilia © 2019 Findex (Aust) Pty Ltd Liability limited by a scheme approved under Professional Standards Legislation. Findex (Aust) Pty Ltd,trading as Crowe Australasia is membera Crowe of Global, Swissa verein.Each member firm Crowe of Gl AUDITOR INDEPENDANCE DECLARATION DECLARATION INDEPENDANCE AUDITOR THEATRE PLAYBOX OF DIRECTORS THE TO LIMITED COMPANY
FINANCIAL STATEMENTS MALTHOUSE THEATRE
STATEMENT OF PROFIT OR LOSS & OTHER COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2019
NOTE 2019 2018 Revenue from continuing operations $ $ Ticket Sales 2,009,000 1,497,947 Co-production and touring fees 593,279 870,517 Government Grants · Australia Council 2(a) 1,412,387 1,441,191 · Creative Victoria 2(a) 1,446,229 1,412,687 · Other 2(a) 134,572 74,118 Fundraising and Sponsorship 2(b) 985,037 1,088,086 Venue Hire and Bar 1,304,862 1,238,691 Other revenue 2(c) 756,228 599,816 8,641,594 8,223,053 Expenses from continuing operations Wages and oncosts - Permanent 2,880,829 2,837,525 Wages and oncosts - Casual 1,192,753 1,168,346 Payments to Artists and Creatives 1,368,632 1,350,668 Production and Touring 1,409,271 1,302,490 Marketing and Sponsorship 553,676 444,733 Venue costs 697,380 497,224 Other expenses 3 889,522 804,321 8,992,063 8,405,306 Profit/(loss) before income tax (350,469) (182,253) Income tax expense 1(m) - - Profit/(loss) before earnings from investments (350,469) (182,253) Earnings from investments 4 130,020 229,915
Other Comprehensive Income Items that will not be reclassified subsequently to profit or loss: None - - Items that may be reclassified subsequently to profit or loss: Change in fair value of financial assets 4 328,355 (197,483) Total comprehensive income/(loss) for the year, net of tax 107,905 (149,820)
Total comprehensive income attributable to members of the Company 107,905 (149,820)
The accompanying notes form part of these financial statements
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 49 $ 2018 19,707 19,707 47,301 47,301 97,609 97,609 107,501 107,501 173,555 953,177 953,177 539,215 539,215 275,427 461,030 154,802 366,339 240,263 240,263 220,984 220,984 1,966,313 1,966,313 3,148,128 3,148,128 4,101,305 4,101,305 2,608,913 2,608,913 1,078,455 1,859,566 1,859,566 2,241,740 2,241,740 2,241,740 1,704,764 1,704,764 $ 2019
62,128 62,128 21,500 52,402 84,208 212,858 146,337 201,490 383,332 299,706 299,706 233,358 786,855 524,080 524,080 1,565,195 1,565,195 1,966,313 1,966,313 2,087,891 2,087,891 2,774,320 2,774,320 1,285,474 1,285,474 2,234,228 3,298,399 4,583,873 2,349,645 2,349,645 7 5 6 9 8 11 12 12 13 13 15 16 14 10 NOTE The accompanying notes form part of these financial statements of part form notes accompanying The TOTAL NON-CURRENT LIABILITIES TOTAL LIABILITIES TOTAL CURRENT LIABILITIES CURRENT LIABILITIES payables and other Trade entitlements Employee Borrowings liabilities and other Contract CURRENT LIABILITIES TOTAL NON-CURRENT LIABILITIES entitlements Employee Borrowings Cash and cash equivalents ASSETS CURRENT TOTAL NON-CURRENT ASSETS & equipment plant Property NON-CURRENT ASSETS TOTAL ASSETS TOTAL CURRENT ASSETS receivables and other Trade assets current Other Investments Inventories Reserves NET ASSETS EQUITY earnings Retained EQUITY TOTAL STATEMENT OF FINANCIAL POSITION FINANCIAL OF STATEMENT 2019 DECEMBER 31 AS AT MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019
FINANCIAL STATEMENTS MALTHOUSE THEATRE
STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 31 DECEMBER 2019
Accumulated Surplus Reserves Total Balance at 1 January 2019 275,427 1,966,313 2,241,740 Profit attributable to the Company 107,905 - 107,905 Balance at 31 December 2019 383,332 1,966,313 2,349,645
Balance at 1 January 2018 425,247 1,966,313 2,391,560 Profit attributable to the Company (149,820) - (149,820) Balance at 31 December 2018 275,427 1,966,313 2,241,740
2019SUMMER ANNUAL SERIES, REPORT 2019 / FINANCIAL STATEMENTS ——> PG 51 MALTHOUSE THEATRE
STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 DECEMBER 2019
NOTES 2019 2018 $ $ Cash flows from operating activities Receipts from government grants 3,278,062 3,220,796 Receipts from patrons, sponsors 6,411,781 5,570,061 Payments to creditors and employees (9,521,730) (8,877,997) Interest received 2,337 6,925 Dividends received 61,439 82,869 Net cash provided by operating activities 19 231,889 2,654
Cash flows from investing activities Payment for plant and equipment (116,093) (161,378) Payments for investments (85,004) (809,296) Receipts from investment redemption 316,533 934,344 Net cash provided by investing activities 115,436 (36,330)
Cash flows from financing activities Repayment of loan principal (21,500) (21,500) Net cash used in financing activities (21,500) (21,500)
Net increase/(decrease) in cash held 325,825 (55,176)
Cash and cash equivalent held at the beginning of 461,030 516,206 the year
Cash and cash equivalent held at the end of the year 786,855 461,030
2019 ANNUAL REPORT / FINANCIAL STATEMENTS MALTHOUSE THEATRE
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 53 MALTHOUSE THEATRE STATEMENTS FINANCIAL NOTES
The financial statements are for Playbox Theatre 3. Determining the transaction price; Company Limited as an individual Company, 4. Allocating the transaction price to the incorporated and domiciled in Australia. performance obligations; Playbox Theatre Company Limited is a Company 5. Recognising revenue when/as performance Limited by Guarantee. obligation(s) are satisfied. 1 — SUMMARY OF SIGNIFICANT Revenue is recognised either at a point in time ACCOUNTING POLICIES or over time, when (or as) the company satisfies The financial statements are general purpose performance obligations by transferring the financial statements that have been prepared promised goods or services to its customers. in accordance with Australian Accounting The Company recognises contract liabilities for Standards - Reduced Disclosure Requirements consideration received in respect of unsatisfied of the Australian Accounting Standards Board performance obligations and reports these (AASB), the Australian Charities and Not- amounts as other liabilities in the Statement for-profits Commission Act 2012 and the of Financial Position. Similarly, if the Company Corporations Act 2001. The Company is a not- satisfies a performance obligation before for-profit entity for financial reporting purposes it receives the consideration, the Company under Australian Accounting Standards. recognises either a contract asset or a receivable in its Statement of Financial Position, Australian Accounting Standards set out depending on whether something other than accounting policies that the AASB has the passage of time is required before the concluded would result in financial statements consideration is due. containing relevant and reliable information about transactions, events and conditions. All revenue is stated net of the amount of Material accounting policies adopted in the goods and services tax (GST). preparation of these financial statements are Ticket Sales presented below and have been consistently Ticket sales are recognised when the applied unless stated otherwise. performance obligation has been met. The financial statements, except for the cash Government Grants flow information, have been prepared on Grant revenue is recognised in the Statement an accruals basis and are based on historical of Comprehensive Income when the Company costs, modified, where applicable, by the obtains control of the grant, it is probable that measurement of fair value of selected non- the economic benefits gained from the grant current assets, financial assets and financial will flow to the entity and the amount of the liabilities. The amounts presented in the grant can be measured reliably financial statements have been rounded to the The Company recognises income immediately nearest dollar. in the Statement of Comprehensive Income The financial statements were authorised for when control is achieved over the funds and issue on 19 March 2020 by the directors of the the contract is not enforceable or sufficiently Company. specific.
ACCOUNTING POLICIES Where the agreement is sufficiently specific, revenue is recognised when the obligation has Accounting policy applicable to comparative period been satisfied. (31 December 2018) Fundraising and Sponsorship a) REVENUE RECOGNITION Where an agreement is not enforceable or Revenue arises mainly from the sale of sufficiently specific, fundraising and sponsorship performance tickets, government grants, are recognised as revenue when received and fundraising and sponsorship, and venue the amount can be reliably measured. hire and bar sales. Where an agreement is sufficiently specific, To determine whether to recognise revenue, revenue is recognised when the obligation has the Company follows a 5-step process: been satisfied. 1. Identifying the contract with a customer; 2. Identifying the performance obligations;
2019 ANNUAL REPORT / FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
Venue Hire and Bar e) DEPRECIATION Revenue from the rendering of a service or The depreciable amount of all fixed assets is provision of a good is recognised upon delivery depreciated on a straight line basis over their to the customer. useful lives to the Company commencing from Other Revenue the time the asset is held ready for use. Revenue from the rendering of a service or Depreciation rates used for each of depreciable provision of a good is recognised upon delivery assets are: to the customer Furniture & equipment 10% - 20% Revenue from the rendering of a service is recognised upon the delivery of the service Theatre fixtures & fittings 5% - 20% to the customer. Workshop improvements 5% - 10% b) EARNINGS FROM INVESTMENTS The assets’ residual value and useful lives are reviewed, and adjusted if appropriate, at the Distributions received in respect of the Future end of each reporting period. Fund and interest earned by investing funds held in the Future Fund Reserve and Incentive Asset classes’ carrying amount is written down Scheme Reserve are recorded as income. immediately to its recoverable amount if the asset’s carrying amount is greater than its c) INVENTORIES estimated recoverable amount. Inventories of bar and workshop consumables Gains and losses on disposals are determined by have been measured at the lower of cost and comparing proceeds with the carrying amount. net realisable value. These gains or losses are included in the d) PLANT AND EQUIPMENT statement of comprehensive income. Each class of property, plant and equipment f) FINANCIAL INSTRUMENTS is carried at cost less, where applicable, Recognition, initial measurement and accumulated depreciation and any derecognition impairment losses. Financial assets and financial liabilities are The carrying amount of plant and equipment recognised when the entity becomes a party is reviewed annually by directors to ensure to the contractual provisions of the financial it is not in excess of the recoverable amount instrument, and are measured initially at fair from these assets. The recoverable amount value adjusted by transactions costs, except is assessed on the basis of the expected net for those carried at fair value through profit or cash flows that will be received from the loss, which are measured initially at fair value. assets employment and subsequent disposal. Subsequent measurement of financial assets The expected net cash flows have been and financial liabilities are described below: discounted to their present value in determining Financial assets are derecognised when the recoverable amounts. contractual rights to the cash flows from the The cost of fixed assets constructed within financial asset expire, or when the financial the Company includes the cost of materials, asset and all substantial risks and rewards are direct labour, borrowing costs and an transferred. A financial liability is derecognised appropriate proportion of fixed and variable when it is extinguished, discharged, cancelled or overheads. expires. Subsequent costs are included in the asset’s Classification and subsequent measurement carrying amount or recognised as a separate of financial assets asset, as appropriate, only when it is probable Except for those trade receivables that do not that future economic benefits associated contain a significant financing component and with the item will flow to the Company and are measured at the transaction price, the cost of the item can be measured reliably. all financial assets are initially measured at All other repairs and maintenance are charged fair value adjusted for transaction costs to the statement of comprehensive income (where applicable) during the financial period in which they are incurred.
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 55 Financial assets at fair value through profit or or profit through value at fair Financial assets loss (FVPL) held within a different that are Financial assets to collect’ than ‘hold business model other categorised are and sell’ to collect ‘hold or Further, and loss. profit through value fair at business model financial of irrespective not are cash flows assets whose contractual are and interest principal of payments solely financial at FVPL. All derivative for accounted for except category, this into fall instruments as hedging those designated and effective the hedge accounting which for instruments, apply. requirements Financial asset of Impairment use more requirements AASB 9’s impairment to recognize information looking forward credit the ‘expected losses - expected credit the within Instruments model’. losses (ECL) included loans requirements the new of scope measured financial assets debt-type and other receivables trade and FVOCI, at amortised cost and some financial and loan commitments not that are the issuer) (for contracts guarantee loss. or profit through value fair at measured of range a broader considers entity The risk and when assessing credit information including losses, measuring expected credit and reasonable conditions, current past events, the that expected affect forecasts supportable of cash flows future the of collectability the instrument. receivables and other Trade a simplified approach use of makes entity The receivables and other trade for in accounting the amount at the loss allowance and records losses. In credit the expected lifetime to equal uses the entity expedient, this practical using indicators external its historical experience, to calculate information forward-looking and assesses entity losses. The the expected credit on a collective receivables trade of impairment risk characteristics possess credit they basis as past due. the days based on of and measurement Classification financial liabilities financial liabilities include entity’s The payables. and other trade and borrowings at measured initially Financial liabilities are for applicable, adjusted and, where value, fair designated the entity unless costs transaction through value fair at a financial liability loss. or profit amortised cost loss (FVPL) or profit through value Fair other through value fair at instruments equity (FVOCI) income comprehensive the managing for business model entities The financial asset of characteristics cash flow contractual The the financial assets held within a business model whose are they financial assets and the to hold is objective cash flows its contractual collect the financial assets terms of the contractual payments solely that are flows to cash rise give the principal on principal and interest of outstanding amount For the purpose of subsequent measurement, measurement, subsequent the purpose of For those designated than other financial assets are as hedging instruments and effective categories upon following the classified into initial recognition: • • • to financial and expenses relating All income loss are or in profit recognised that are assets income costs, finance within finance presented impairment for except financial items, other or within which is presented receivables trade of expenses. other both: by determined Classifications are • • to financial and expenses relating All income loss are or in profit recognised that are assets income costs, finance within finance presented impairment for except financial items, other or within which is presented receivables, trade of expenses. other Financial assets at amortised cost at amortised cost measured Financial assets are (and conditions following the the assets meet if designated as FVPL): not are • • measured these are initial recognition, After interest the effective using at amortised cost the is omitted where method. Discounting The entity’s is immaterial. of discounting effect and most other trade cash and cash equivalents, financial of this category into fall receivables that deposit as long-term as well instruments classified as held-to-maturity previously were AASB 139. under NOTES MALTHOUSE THEATRE THEATRE MALTHOUSE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES g) IMPAIRMENT OF ASSETS usually provided or the conditions usually At the end of each reporting period, the fulfilled within 12 months of receipt of the Company reviews the carrying values of grant. Where the amount received is in respect its tangible assets to determine whether of services to be provided over a period that there is any indication that those assets have exceeds 12 months after the reporting date, or been impaired. If such indication exists, the the conditions will only be satisfied more than recoverable amount of the asset, being the 12 months after the reporting date, the liability higher of the asset’s fair value less costs to is discounted. sell and value in use, is compared to the asset’s k) BORROWING COSTS carrying value. Any excess of the asset’s carrying value over its recoverable amount Borrowing costs are recognised as expenses in is expensed to the statement of comprehensive the period in which they are incurred. income. l) GOODS AND SERVICES TAX (GST) Where an impairment loss on a revalued asset is Revenues, expenses and assets are recognised identified, this is debited against the revaluation net of the amount of GST, except where the reserve in respect of the same class of asset to amount of GST incurred is not recoverable the extent that the impairment loss does not from the Australian Tax Office (ATO). In these exceed the amount in the revaluation reserve circumstances, the GST is recognised as part of for the same class of asset. the cost of acquisition of the asset or as part of an item of the expense. Receivables and h) EMPLOYEE ENTITLEMENTS payables are stated inclusive of the amount of Provision is made for the Company’s liability GST receivable or payable. The net amount of for employee benefits arising from services GST recoverable from, or payable to, the ATO rendered by employees to the end of the is included with other receivables or payables reporting period. Employee benefits that in the statement of financial position. are expected to be settled within one year have been measured at the amounts Cash flows are presented on a gross basis. The expected to be paid when the liability is GST components of cash flows arising from settled. Employee benefits payable later investing or financing activities which are than one year have been measured at the recoverable from, or payable to, the ATO are present value of the estimated future cash presented as operating cash flows included outflows to be made for those benefits. In in receipts from customers or payments to determining the liability, consideration is suppliers given to employee wage increases and the m) INCOME TAX probability that the employee may not satisfy vesting requirements. Those cash flows are No provision for income tax has been raised as discounted using market yields on corporate the Company is exempt under Division 50 of bonds with terms to maturity that match the the Income Tax Assessment Act, 1997. expected timing of cash flows. n) CURRENT AND NON-CURRENT Contributions are made by the Company CLASSIFICATION to employee superannuation funds and are Assets and liabilities are presented in the charged as expenses when incurred. statement of financial position based on current and non-current classification. I) CASH AND CASH EQUIVALENTS Cash and cash equivalents include cash An asset is current when: it is expected to be on hand, deposits held at call with banks realised or intended to be sold or consumed and other short-term highly liquid in normal operating cycle; it is held primarily investments with original maturities less for the purpose of trading; it is expected to be than three months. realised within 12 months after the reporting period; or the asset is cash or cash equivalent j) DEFERRED INCOME unless restricted from being exchanged or The liability for deferred income is the used to settle a liability for at least 12 months unutilised amounts of grants received on the after the reporting period. All other assets are condition that specified services are delivered classified as non-current. or conditions are fulfilled. The services are
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 57 provision benefits Employee benefits employee Short-term and salaries, including wages for Liabilities and long benefits, annual leave non-monetary be settled within 12 to expected leave service recognised date are the reporting of months employees’ of liabilities in respect in current date and are the reporting to up services to be paid expected the amounts at measured settled. the liabilities are when benefits employee long-term Other service and long annual leave for liability The to be settled within 12 expected not leave recognised date are the reporting of months is an there liabilities, provided in non-current the of settlement to defer right unconditional the present as is measured liability The liability. to be made payments future expected of value employees by provided services of in respect the projected date using the reporting to up is given method. Consideration unit credit levels, and salary wage future to expected and periods departures employee of experience are payments future Expected service. of the reporting at yields using market discounted to maturity terms bonds with date on corporate judgements as possible, that match, as closely and currency cash outflows. future the estimated Key assets of useful lives of Estimation the estimated useful determines Company The and amortisation depreciation related and lives and equipment. plant its property, for charges as a change significantly could useful lives The some other or technical innovations of result and amortisation depreciation The event. the useful lives where will increase charge or estimated lives, than previously less are assets non-strategic obsolete or technically will be sold been abandoned or that have written down. or written off ESTIMATES JUDGEMENTS AND ESTIMATES CRITICAL ACCOUNTING ACCOUNTING CRITICAL COMPARATIVE AMOUNTS COMPARATIVE DEPENDENCE ECONOMIC TRADE AND OTHER PAYABLES OTHER AND TRADE The directors evaluate estimates and evaluate directors The the financial into incorporated judgements and knowledge based on historical statements Estimates information. current best available future expectation of assume a reasonable and trends based on current and are events and externally both data, obtained economic within the Company – Impairment Estimates Key the end at assesses impairment Company The conditions evaluating date by each reporting of be indicative that may Company the to specific of triggers. impairment assets on non-financial Impairment non- of assesses impairment Company The by reporting date financial assets at each Company the to specific conditions evaluating and to the lead to asset that particular may the exists, trigger an impairment If impairment. the asset is determined. of amount recoverable disposal or of less costs value fair involves This a calculations, which incorporate value-in-use estimates and assumptions. key of number Where required, comparative figures have have figures comparative required, Where with changes in to conform been adjusted year. financial the current for presentation upon is dependent Company Theatre Playbox the for Victoria and Creative Council Australia this the date of At activity. its core funding of to has no reason Directors of the Board report continue. this support will not that believe Trade and other payables represent the represent payables and other Trade by received goods and services for liabilities period the reporting during the Company the reporting the end of unpaid at that remain as a current is recognised balance The period. paid within normally the amounts with liability the liability. of recognition of 30 days A liability is current when: it is expected to be when: it is expected is current A liability it is held cycle; settled in normal operating to it is due trading; the purpose of for primarily the reporting after be settled within 12 months to right is no unconditional there period; or least at for the liability of the settlement defer period. All other the reporting after 12 months classified as non-current. liabilities are
NOTES MALTHOUSE THEATRE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019 r) p) q) o)
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
s) NEW STANDARDS ADOPTED AS AT Playbox Theatre Company Limited holds two 1 JANUARY 2019 leases which are covered by the AASB 2018- The Company has adopted all of the new 8 amendment. The leases are for premises at or amended Accounting Standards and 111 Sturt Street (workshop), 113 Sturt Street Interpretations issued by the Australian (The Malthouse) and 117 Sturt Street (Arts Accounting Standards Board ('AASB') that are House). Playbox Theatre Company Limited mandatory for the current reporting period. is the lessor on these leases. All leases are currently within an optional extension period AASB 15 Revenue from Contracts with and are being renegotiated. Customers AASB 15 replaces AASB 118 Revenue, AASB The premises at 113 and 117 Sturt Street are 111 Construction Contracts and several revenue- leased from Creative Victoria for $175.00 related Interpretations. The new Standard per year. The premises at 111 Sturt Street has been applied as at 1 January 2019 using are leased from 111 Sturt Street Reserve the modified retrospective approach. Under Committee of Management Incorporated this method, the cumulative effect of initial for $115.00 per year. Both leases have been application is recognised as an adjustment expensed in the accounts at their below- to the opening balance of retained earnings market lease payment value, with no at 1 January 2019 and comparatives are not other recognition. restated. In accordance with the transition guidance, AASB 15 has only been applied to contracts that are incomplete as at 1 January 2019. The adoption of AASB 15 has not had a material impact to the Company. AASB 1058 Income of Not-for-profit Entities AASB 1058 replaces AASB 1004 Contributions. The new Standard has been applied as at 1 January 2019 using the modified retrospective approach. Under this method the cumulative effect of initial application is recognised as an adjustment to the opening balance of retained earnings at 1 January 2019 and comparatives are not restated. The adoption of AASB 1058 did not have a material impact on the Company's statement of financial position or statement of financial performance. AASB 16 Leases/AASB 2018-8 Right-of-Use Assets of Not-for-Profit Entities AASB 16 Leases became mandatorily effective on 1 January 2019. This standard is to be applied in conjunction with AASB 2018-8 Right-of-Use Assets of Not-for-Profit Entities. Accordingly, these standards apply for the first time to this set of interim financial statements. The nature and effect of changes arising from this standard is summarised below: AASB 16 replaces the provision of IAS 17 leases. AASB 2018-8 amends the provisions of AASB 16 as they apply to not-for-profit entities with leases which are below-market terms, otherwise known as 'peppercorn' leases.
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 59 ------11,820 11,820 49,125 49,125 49,125 49,125 97,538 97,538 97,538 97,538 148,513 148,513 90,000 90,000 40,000 40,000 186,663 250,333 Unearned Income carried forward Unearned Income carried forward 34,118 34,118 74,118 74,118 11,820 13,222 31,350 147,127 147,127 99,388 99,388 62,680 98,508 114,465 90,000 40,000 134,572 1,378,511 1,199,714 1,199,714 1,199,714 1,199,714 1,441,191 1,441,191 1,412,387 1,412,687 2,993,188 2,993,188 2,927,996 2,927,996 1,400,567 1,446,229 Earned Grants Income Earned Grants Income - - 34,118 34,118 13,222 31,350 97,538 97,538 147,127 147,127 84,572 124,118 124,118 114,465 90,000 40,000 247,020 247,020 1,378,511 1,199,714 1,199,714 1,199,714 1,199,714 1,378,511 1,561,199 1,561,199 1,498,105 1,498,105 2,929,518 2,929,518 1,346,841 1,400,567 3,063,828 Grants income Grants received Grants income Grants received ------11,820 11,820 74,500 74,500 74,500 74,500 148,513 148,513 90,000 90,000 40,000 40,000 114,500 250,333 Unexpended brought Grants forward Unexpended brought Grants forward
GOVERNMENT GRANTS GOVERNMENT REVENUE FROM CONTINUING OPERATIONS CONTINUING FROM REVENUE
) TOTAL City of Melbourne of City Other & Education of Department Childhood Early Project NGO Maintenance Creative Victoria Creative Grant Core Project 2018 Australia Council Australia Grant Core TOTAL Austrade City of Melbourne of City Other & Education of Department Childhood Early Project NGO Maintenance Creative Victoria Creative Grant Core Project Australia Council Australia Grant Core 2019 NOTES MALTHOUSE THEATRE THEATRE MALTHOUSE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019 a 2 —
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2019 2018 $ $ b) FUNDRAISING AND SPONSORSHIP Fundraising - Artistic Projects 173,328 259,608 Fundraising - General 353,955 424,729 Sponsorship - Cash 372,021 403,750 Sponsorship - Contra 85,733 - 985,037 1,088,086 c) OTHER REVENUE Interest earned 2,337 6,925 Ticketing Services 212,382 192,184 Workshop External Commissions 102,295 67,709 Other revenue from continuing operations 439,214 332,998 756,228 599,816
3—EXPENSES FROM CONTINUING OPERATIONS Other Expenses Depreciation 131,229 127,443 Audit fees 20,230 19,035 Finance Costs – external 6,905 7,443 Administration 284,418 248,714 Ticketing Services 117,759 104,151 Cost of Sales (Bar) 261,583 229,810 Other 67,397 67,724 889,522 804,321
4—TOTAL EARNINGS FROM INVESTMENTS Future Fund Change in fair value of financial assets 225,118 (150,925) Income earned 79,165 137,368 Gain (loss) on sales of assets 18,283 40,613
Incentive scheme reserve Change in fair value of financial assets 103,237 (46,558) Income earned 33,388 51,934 Gain (loss) on sales of assets (816) - Total earnings from investments 458,374 32,432
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 61 $ - 2018 5,814 1,900 1,900 8,894 39,158 39,158 52,636 97,609 97,609 65,423 153,661 173,555 173,555 203,914 203,914 248,222 248,222 461,030 461,030 220,984 220,984 $ - 2019 1,900 1,900 3,800 17,078 17,078 87,824 87,824 471,251 18,872 311,804 212,858 33,530 106,056 52,402 786,855 233,358 233,358 NOTES 7 —INVENTORIES 7 Cost: At Office Box Workshop Consumables Workshop Bar & Sponsorship Stock & Sponsorship Bar 8 —OTHER CURRENT ASSETS CURRENT —OTHER 8 Prepayments NOTES MALTHOUSE THEATRE THEATRE MALTHOUSE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019 Deposits at call Deposits 5 —CASH AND CASH EQUIVALENTS CASH AND —CASH 5 Cash on Hand Cash at Bank Deposits paid Deposits trade No impairment. indicators of for been reviewed have receivables and other trade Company’s All of been recorded. losses has not credit for and an allowance impaired to be found were receivables 6 —TRADE AND OTHER RECEIVABLES OTHER AND —TRADE 6 GST debtors Sundry income Accrued
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2019 2018 $ $ 9 —PROPERTY, PLANT & EQUIPMENT Furniture and equipment 750,150 650,533 Less accumulated depreciation (492,767) (408,916) 257,383 241,618
Theatre fixtures and fittings 430,026 384,942 Less accumulated depreciation (211,240) (146,954) 218,786 237,988
Workshop Improvements 220,365 220,365 Less accumulated depreciation (172,454) (160,756) 47,911 59,610
TOTAL PROPERTY, PLANT & EQUIPMENT 524,080 539,215
Reconciliations of the written down values at the beginning and end of the current financial year are set out below: 2019 Furniture & Theatre Workshop Total Equipment Fixtures & Improvemts Fittings Balance at the beginning of the year 241,618 237,988 59,610 539,215
Additions 99,616 16,476 - 116,093 Depreciation Expenses (83,852) (35,678) (11,699) (131,229) Carrying amount at the end of the year 257,383 218,786 47,911 524,080
10 —FINANCIAL ASSETS Future Fund 2,038,836 1,921,767 Incentive Scheme Reserve Deposit 735,483 687,146 2,774,320 2,608,913 Investments in the Future Fund and the Incentive Scheme Reserve Deposit comprise Domestic Corporate Bonds, Alternative Assets, Property, Domestic Equities, and International Equities.
11 —TRADE & OTHER PAYABLES Sundry creditors & accruals 299,706 350,417 GST Payable - 15,922 299,706 366,339 All above liabilities are short term. The carrying values are considered to be a reasonable approximation of fair value.
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 63 - - $ 11,820 2018 19,707 19,707 47,301 47,301 47,301 47,301 43,641 154,617 85,646 107,501 107,501 148,513 874,481 874,481 275,427 425,247 425,247 240,263 (149,820) (149,820) 1,078,455 $ - - 2019 62,128 62,128 49,125 49,125 62,128 62,128 21,500 97,538 97,538 63,443 84,208 176,526 176,526 107,905 107,905 275,427 138,048 383,332 201,490 201,490 1,565,195 1,565,195 1,242,006 1,242,006 NOTES NOTES MALTHOUSE THEATRE THEATRE MALTHOUSE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019 Advances received for contract work and deferred income represent payments received in advance of in advance received payments represent income and deferred work contract for received Advances in 2020. as revenue to be recognised expected that are liabilities) (contract performance Income received in advance (2a) in advance received Income year the financial for (loss) profit Net Reserve Fund to Future Transfer Scheme Reserve to Incentive Transfer year financial the end of earnings at Retained Unearned Australia Council grants Council Australia Unearned (2a) grants Victoria Creative Unearned Others EARNINGS —RETAINED 15 year the beginning of earnings at Retained Current – secured Loan Bank Current Non – secured Loan Bank Mortgage Registered by secured are Ltd Bank Australia National with facilities loan and overdraft Bank Scheme the Incentive in funds held assets but excluding the Company’s the whole of over Debenture Reserve. LIABILITIES OTHER AND —CONTRACT 14 13 —BORROWINGS 13 Employee entitlements - Long service leave service - Long entitlements Employee 12 —PROVISIONS 12 Current - Annual leave entitlements Employee Non Current Non leave service - Long entitlements Employee
FINANCIAL STATEMENTS MALTHOUSE THEATRE
NOTES
NOTES 2019 2018 $ $ 16 —RESERVES Capital Assets Reserve 127,459 127,459 Future Fund Reserve 1,394,381 1,394,381 Incentive Scheme Reserve 444,473 444,473
1,966,313 1,966,313 a) CAPITAL ASSET RESERVE Opening balance 127,459 127,459 Movement - - Closing balance 127,459 127,459
The Capital Assets Reserve records the value of plant and equipment assets transferred to the Company at the conclusion of the Company’s relationship with Monash University. b) INCENTIVE SCHEME RESERVE Movements during the year: Opening balance 444,473 444,473 Transfer from accumulated surplus/(deficit) - - Closing balance 444,473 444,473
Funds held in the Incentive Scheme Reserve are subject to the terms of the Incentive Scheme Reserves Funding Agreement dated 21 June, 2004 between the Australia Council, Creative Victoria and the Company. In particular these funds are held in escrow for fifteen years (to 18/10/2023) and cannot be accessed without the express agreement of the funding bodies under prescribed circumstances. Funds held in the Incentive Scheme Reserve are expressly excluded from the security charge held over the assets of the Company by the National Australia Bank Ltd. The Incentive Scheme Reserve records the amount set aside to fund the long term future operations of the Company. c) FUTURE FUND RESERVE Movements during the year: Opening balance 1,394,381 1,394,381 Transfer from accumulated surplus/(deficit) - - Closing balance 1,394,381 1,394,381
The fund is established for the purpose of accruing and accumulating a sustainable capital base for the Company to support the long term financial viability of the Cultural Objects of the Company. The Fund is managed by the Audit, Finance & Risk committee of the Board.
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 65 $ 2018 2,654 70,737 (3,505) (3,505) 30,729 (16,750) (16,750) (62,014) (62,014) (40,613) (40,613) 127,443 127,443 (26,742) (26,742) 197,484 197,484 (124,294) (124,294) (149,820) (149,820) $ 2019 8,125 8,125 (51,114) (51,114) 45,207 (17,467) (17,467) 131,229 107,905 107,905 (66,633) (66,633) (23,945) (23,945) 231,889 (59,803) (59,803) 486,740 486,740 (328,355) (328,355) NOTES Net cash provided by Operating Activities Operating by provided cash Net (Decrease)/Increase in other liabilities in other (Decrease)/Increase in provisions (Decrease)/Increase 19 —RELATED PARTY TRANSACTIONS PARTY —RELATED 19 favourable no more terms and conditions on normal commercial parties are related between Transaction parties related between transactions stated. No persons unless otherwise to other those available than year. the financial in occurred INFORMATION FLOW —CASH 20 Operations Continuing from to Profit Activities in Operating Cash Used Net of Reconciliation profit Net gain on investments Unrealised Depreciation of investments on sale (Profit)/Loss in payables (Decrease)/Increase in inventories (Increase)/Decrease 17 —MEMBERS' GUARANTEE —MEMBERS' 17 and Articles of Memorandum the up, is wound the Company If guarantee. is limited by Company The $10 cash maximum of a to contribute is required member that each states the Company Association of of the number 2019, 31 December At the Company. obligations of outstanding meeting any towards 17 (2018: 16) members was LIABILITIES CONTINGENT AND —COMMITMENTS 18 provided disclosed or otherwise liabilities not contingent or commitments no capital expenditure are There 2019. at 31st December the accounts in for Dividends reinvested Dividends Change in net assets and liabilities in receivables (Increase)/Decrease assets current in other (Increase)/Decrease NOTES MALTHOUSE THEATRE THEATRE MALTHOUSE MALTHOUSE 2019 ANNUAL REPORT / FINANCIAL STATEMENTS FINANCIAL / REPORT ANNUAL 2019
FINANCIAL STATEMENTS MALTHOUSE THEATRE
21 —FINANCIAL ASSETS AND LIABILITIES The carrying amounts of Financial Assets & Financial Liabilities in each category are as follows:
Financial Assets - 2019 Note Amortised FVPL FVOCI Total Costs Current Cash and Cash Equivalent 5 786,855 - - 786,855 Trade and other receivables 6 212,858 - - 212,858 999,714 - - 999,714 Non-current Investments 10 - 2,774,320 - 2,774,320 Total financial Assets 999,714 2,774,320 - 3,774,033
Financial Liabilities - 2019 Note Amortised FVPL FVOCI Total Costs Current Bank Loan 13 21,500 - - 21,500 Trade and other payables 11 299,706 - - 299,706 321,206 - - 321,206 Non-current Bank Loan 13 84,208 - - 84,208 Total financial Liabilities 405,414 - - 405,414
Financial Assets - 2019 Note Amortised FVPL FVOCI Total Costs Current Cash and Cash Equivalent 5 461,030 - - 461,030 Trade and other receivables 6 220,984 - - 220,984 682,014 - - 682,014 Non-current Investments 10 - 2,608,913 - 2,608,913 Total financial Assets 682,014 2,608,913 - 3,290,927
Financial Liabilities - 2019 Note Amortised FVPL FVOCI Total Costs Current Bank Loan 13 19,707 - - 19,707 Trade and other payables 11 366,339 - - 366,339 386,046 - - 386,046 Non-current Bank Loan 13 107,501 - - 107,501 Total financial liabilities 493,547 - - 493,547
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 67 MALTHOUSE THEATRE STATEMENTS FINANCIAL
NOTES 2019 2018 $ $ 22 —DIRECTORS’ REMUNERATION Directors do not receive remuneration for services provided in their role as directors although they are eligible to be reimbursed for out of pocket expenses.
23 —KEY MANAGEMENT PERSONNEL REMUNERATION The total remuneration paid to key management personnel of the Company during the period is as follows:
Key management personnel compensation: 412,730 360,170
24 —SUBSEQUENT EVENTS On 12 March 2020 a global pandemic was declared, resulting in the temporary closure of The Malthouse venue. Management has reviewed the ongoing operational capacity and reserves of Playbox Theatre Company Limited and, subject to continuity of Government funding, has assessed that the Company is able to continue for the foreseeable future.
25 —COMPANY DETAILS The registered office of the Company is: 113 Sturt Street Southbank Vic 3006 The Principal place of business is: The Malthouse, 113 Sturt Street Southbank Vic 3006
2019 ANNUAL REPORT / FINANCIAL STATEMENTS MALTHOUSE THEATRE
DIRECTORS’ DECLARATION
The directors of the Company declare that: 1. The financial statements and notes, as set out on pages 7 to 24, are in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012 and: (a) comply with Accounting Standards – Reduced Disclosure Requirements, Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013 and other mandatory reporting requirements in Australia; and (b) give a true and fair view of the financial position as at 31 December 2019, and of the performance for the year ended on that date of the Company. 2. In the directors’ opinion, there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. This declaration is made in accordance with a resolution of the Board of Directors of Playbox Theatre Company Limited.
Fiona McGauchie, Director Sue Prestney, Director
Dated this 1st day of April 2020
2019 ANNUAL REPORT / FINANCIAL STATEMENTS ——> PG 69 MALTHOUSE THEATRE
INDEPENDENT AUDITOR’S REPORT
Independent Auditor’s Report IndepTo theendent Directors Auditor’s of Playbox Report Theatre Company Limited
To the Directors of Playbox Theatre Company Limited Opinion s WeOpinion have saudited the financial report of Playbox Theatre Company Limited (the Company), which comprises the statement of financial position as at 31 December 2019, the statement of comprehensive We have audited the financial report of Playbox Theatre Company Limited (the Company), which income, the statement of changes in equity and the statement of cash flows for the year then ended, and comprises the statement of financial position as at 31 December 2019, the statement of comprehensive notes to the financial statements, including a summary of significant accounting policies, and the directors’ income, the statement of changes in equity and the statement of cash flows for the year then ended, and declaration. notes to the financial statements, including a summary of significant accounting policies, and the directors’ Indeclarati our opinion,on. the accompanying financial report of the Company has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including: In our opinion, the accompanying financial report of the Company has been prepared in accordance with Division(a) 60 of thegiving Australian a true Charitiesand fair viewand Notof -thefor -profitsCompany’s Commission financial Act position 2012, including:as at 31 December 2019 and of its financial performance and cash flows for the year then ended; and (a) giving a true and fair view of the Company’s financial position as at 31 December 2019 (b) andcomplying of its financial with Australian performance Accounting and cash Standards flows for – theReduced year then Disclosure ended; andRequirements and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013. (b) complying with Australian Accounting Standards – Reduced Disclosure Requirements and Basis for OpinionDivision 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.
WeBasis conducted for Opinion our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under section of our report. We are independent of the Company in accordance with the auditor independence those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the ethical section of our report. We are independent of the Company in accordance with the auditor independence requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the ethical Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for have also fulfilled our other ethical responsibilities in accordance with the Code. Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We Wehave believe also fulfilled that the our audit other evidence ethical responsibilities we have obtained in accordance is sufficient with and the appropriate Code. to provide a basis for our opinion. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for Emphasisour opinion. of Matter – Subsequent Event
WeEmphasis draw attention of Matterto Note 24 – of Subsequent the financial statements, Event which describes the effects of the World Health Organisation’s declaration of a global health pandemic on 12 March 2020 relating to the spread of WeCOVID draw-19. attention Our opinion to Note is not24 ofmodified the financial in respect statements, of this matter. which describes the effects of the World Health Organisation’s declaration of a global health pandemic on 12 March 2020 relating to the spread of OtherCOVID-19. Information Our opinion is not modified in respect of this matter.
TheOther directors Information are responsible for the other information. The other information comprises the information included in the Company’s annual report for the year 31 December 2019 but does not include the financial The directors are responsible for the other information. The other information comprises the information report and our auditor’s report thereon. included in the Company’s annual report for the year 31 December 2019 but does not include the financial reportOur opinion and our on auditor’s the financial report report thereon. does not cover the other information and accordingly we do not express any form of assurance conclusion thereon. Our opinion on the financial report does not cover the other information and accordingly we do not express any form of assurance conclusion thereon.
Liability limited by a scheme approved under Professional Standards Legislation.
The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of persons who hold an equity interestLiability (shareholder)limited by a scheme in its parent approved entity, under Findex Professional Group Limited. Standards The only Legislation. professional service offering which is conducted by a partnership is the Crowe
Australasia external audit division. All other professional services offered by Findex Group Limited are conducted by a privately owned organisation The title ‘Partner’ conveys that the person is a senior member within their respective division, and is among the group of persons who hold an equity and/or its subsidiaries. interest (shareholder) in its parent entity, Findex Group Limited. The only professional service offering which is conducted by a partnership is the Crowe FindexAustralasia (Aust) external Pty Ltd, audit trading division. as Crowe All other Australasia professional is a memberservices ofoffered Crowe by Global, Findex a Group Swiss Limitedverein. Eachare conducted member firmby a of privately Crowe Globalowned isorganisation a separate and independentand/or its subsidiaries. legal entity. Findex (Aust) Pty Ltd and its affiliates are not responsible or liable for any acts or omissions of Crowe Global or any other
memberFindex (Aust) of Crowe Pty Ltd, Global. trading Crowe as CroweGlobal Australasiadoes not render is a member any professional of Crowe servicesGlobal, a and Swiss does verein. not have Each an member ownership firm or of partnership Crowe Global interest is a separate in Findex and
(Aust)independent Pty Ltd. legal Services entity. are Findex provided (Aust) by Pty Crowe Ltd and Melbourne, its affiliates an affiliateare not ofresponsible Findex (Aust) or liable Pty Ltd.for any acts or omissions of Crowe Global or any other © 2019 Findex (Aust) Pty Ltd member of Crowe Global. Crowe Global does not render any professional services and does not have an ownership or partnership interest in Findex (Aust) Pty Ltd. Services are provided by Crowe Melbourne, an affiliate of Findex (Aust) Pty Ltd. © 2019 Findex (Aust) Pty Ltd
INDEPENDENT AUDITOR’S REPORT MALTHOUSE THEATRE
INDEPENDENT AUDITOR’S REPORT
In connection with our audit of the financial report, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial report or our knowledge obtained in the audit or otherwise appears to be materially misstated. 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 true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) 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 error. In preparing the financial report, the directors are responsible for assessing the ability of the Company to continue as a going concern, disclosing, as applicable, matters related 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. 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 audit conducted in accordance with the Australian Auditing Standards will always detect a material 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 judgement and maintain professional scepticism 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 Group’s internal control.
• Evaluate the appropriateness of accounting policies used and the reasonableness of 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 Group’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 evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the Group to cease to continue as a going concern.
© 2019 Findex (Aust) Pty Ltd
INDEPENDENT AUDITOR’S REPORT ——> PG 71 MALTHOUSE THEATRE
INDEPENDENT AUDITOR’S REPORT
• Evaluate the overall presentation, structure and content of the financial report, including the disclosures, and whether the financial report represents the underlying transactions and events in a manner that achieves fair presentation.
We communicate with the directors regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that we identify during the audit.
Crowe Melbourne
Cassandra Gravenall Partner Geelong, 8th April 2020
© 2019 Findex (Aust) Pty Ltd
INDEPENDENT AUDITOR’S REPORT MALTHOUSE THEATRE
2019 SEASON LAUNCH ——> PG 73