Annual Report 2020 Contents

Vision Statement 3

History 4

Chair’s Report 5

Artistic Director’s Report 7

General Manager’s Report 10

Achievements 13

2020 Program 14 Emily Loves to Bounce The Lighthouse Me & My Shadow I Wish… Spark

2020 Activities 22

2020 Company, Artists and Associates 24

2020 Performance Statistics 26

Financial Report 27

History of Productions 1972 – 2020 41

Schools Attending Patch in 2020 42

Acknowledgements 44

Patch Theatre acknowledges the traditional owners of Country throughout Australia upon whose land the company creates and performs, and pays its respect to their Elders past, present and future.

All images credit to Matt Byrne with Emily Loves to Bounce images courtesy of The A.S.K. Vision Statement

Patch Theatre creates world-class theatre that celebrates big ideas – ideas that explore some of the world’s inexplicable questions from a child’s point of view.

Our works explore the way that children see the world, acknowledging the relevance of their thinking with stories that promote imagination, wonder and discovery.

Patch Theatre is dedicated to the creation, presentation and touring of high-quality theatre experiences for children, now extended to four to ten year olds and their families.

3 History

Adelaide-based Patch Theatre is Australia’s flagship theatre company making professional theatre for 4-10 year olds. The company has performed 110 new works to more than 1.85 million children and their families since its inception. For many, seeing a Patch production is a family tradition with parents bringing their children and now their grand-children to see its work, providing the company with a long term, loyal audience base.

The company was founded in 1972 by Morna Jones, a pioneer in Australian children’s television and theatre who believed that quality arts experiences were an essential part of childhood learning and development. Morna’s “Little Patch Theatre” provided enriching performing arts experiences for children and young people in .

Following Morna’s death in 1982, Artistic Director Christine Anketell developed a relationship with the Festival Centre Trust that saw the realisation of large-scale adaptions of children’s literature and the early genesis of Patch Theatre’s national profile. ZOOOM

Throughout the 1990s and 2000s and under the leadership of Artistic Director Dave Brown, the company evolved into a highly regarded national and international touring company with a newly crafted, world-class repertoire of diverse, vibrant and challenging devised theatre for its young audiences.

In 2015 Dave Brown stepped down as Artistic Director after two decades and handed the creative reigns to Artistic Director Naomi Edwards who devised and directed two new works for the company, Yo Diddle Diddle in 2017 and Can You Hear Colour? in 2018 which premiered at .

In 2019 Geoff Cobham began a very successful journey as Artistic Director creating a reimagined style of design-rich theatrical experiences.

Patch has since focussed on expanding family audiences with promenade, installation style works - 2020’s Ruby Award winning The Lighthouse, while it continues to make highly acclaimed in-theatre productions - 2019’s ZOOOM.

4 Chair’s Report

I expect that almost every annual report for the 2020 year will begin with words such as ‘2020 was a year like no other’. And so it was for Patch Theatre – its creative and management teams, artists, technical contractors and its precious young audiences. Nevertheless some good luck and much good management played their part in Patch completing another successful year both creatively and financially.

The China tour of Emily Loves to Bounce was completed just before it became unsafe for the company to remain overseas. Sold- out shows and critical acclaim confirmed our high standing in the international market for theatre for young people, while at home The Lighthouse managed to complete all of its sold-out season just days before live theatre was suspended. The Lighthouse, a Me & My Shadow light-inspired, totally magical installation work, is the product of Patch’s commitment to develop and make work that will engage young people and their families and allow them to discover and expand their own creativity. Patch Artistic Director Geoff Cobham brought together an extraordinary team to deliver The Lighthouse, which now looks set for a long and geographically wide international life. Programmed with the support of commissioning partner, Adelaide Festival, The Lighthouse was also honoured with a Ruby Award for ‘Best work or event within a festival’.

And then the lockdown came. Much of the year’s planning could not be realised, so new and clever ways had to be found to keep Patch alive. The talent within the company was well matched to creating a series of educational activities for parents to use at home, at the same time employing local artists whose livelihood had disappeared, literally overnight. For a time, the emphasis switched to creative development and management housekeeping (all those important but not urgent tasks), fostering external relationships and continuing the preparation for the 10th anniversary presentation of Me & My Shadow. This opening was also a happy and greatly valued collaboration with the team in successfully getting through the uncharted territory of a COVID safe opening night.

The remainder of the year saw the creative development of new works including a new partnership with the amazingly talented members of South Australian company Gravity & Other Myths.

5 Chair’s Report continued

And so in simple numbers Patch in 2020 delivered 233 performances to 15,633 people in collaboration with 66 artists.

In all these activities our small and talented team of Geoff Cobham, Teena Munn, Penny Camens, Michelle ‘Maddog’ Delaney, Mirella Innocente and Nicole McKenzie were ever flexible, resourceful and successful.

Of course at this time we were more grateful than ever for the public and private support given to the company. We acknowledge that Patch could not give young people and their families the very best of creative experiences The Hon. MP, Premier of without the support of the State Government South Australia speaking at Me & My Shadow through the Department for Education and the Department of the Premier and Cabinet via Arts SA; and the Federal Government through the Australia Council, the Major Festivals Initiative and the RISE Fund grant program. And I wish to thank The Hon. John Gardner MP, Minister for Education and The Hon. Steven Marshall MP, Premier of South Australia, for their personal enthusiasm for our company.

We also enjoyed the generous support of the James and Diana Ramsay Foundation in support for new work and in building the creative and management capacity of our company; and the John T Reid Charitable Trusts for the creative development of new in-schools program Spark.

Private foundations such as these are invaluable in sustaining arts organisations of all shapes and sizes. Patch is proud to be a beneficiary. Our private donors so often provide that last little bit of money needed to fully realise an idea – we are grateful to them all as well as to Hither & Yon Wines which has continued to help us celebrate our successes.

As always I wish to record my personal gratitude to each member of the Patch Theatre Board. Between them they have a formidable bank of skills, and individually they give generously of their time and wisdom.

Janet Worth Chair

6 Artistic Director’s Report

Premiering The Lighthouse at the 2020 Adelaide Festival was a dream come true. This work of scale was made possible with the exceptional support of Adelaide Festival, three other co-commissioning partners, funding from the Major Festivals Initiative and a Commissioning Grant from Arts SA.

I cannot tell you how thrilled, and somewhat relieved, I was that the show was a hit with all age groups. Making a piece of this scale involves a lot of fear. However, by surrounding myself with talented experienced artists, I was able to stay confident and trust my instincts. I knew that if we created spaces that we found were full of wonder, then we would be okay. In the many late nights in the Queen’s Theatre, as we built and tested things, we would stand with our jaws ajar as the magic of light worked its wonder. None of us tired of seeing the laser images emerge on the glow floor, or of seeing how light played upon the six metre high bubble column. We held our nerve and kept experimenting, embracing fabulous accidents and improving on successes right up until the moment the first audience joined us.

I am very grateful for the work and support of the stellar team that made The Lighthouse the success that it has become.

The Lighthouse

7 Artistic Director’s Report continued

Once we open a show I usually do not attend every performance, but with The Lighthouse I literally could not stay away. I was at nearly all of the 165 shows. I would sneak around backstage watching the audiences’ faces as they played amongst the light….it made me beam like a Cheshire cat to see them all enjoying light as I do. I often met with the audience afterwards and they would tell me the story of their journey through The Lighthouse, each one was unique, a true sign of good art.

Winning the Ruby Award for Best work or event within a festival at the end of the year, was of course, the icing on the cake.

Then the world became something from a 1980’s science fiction film with the arrival of COVID-19. It has been such a confronting and humbling time. We are all very thankful to live in Adelaide, and have support from our State and Federal Governments with some additional funding. We lost all the amazing momentum and International interest that The Lighthouse had generated, and expect it will be years before our plans for world domination are able to be realised. We are, however, very grateful that we were able to complete the Adelaide season and defer, rather than cancel, our national seasons of The Lighthouse as well as continue to make other new work.

After a few weeks of hibernation in lockdown, we made plans of how to face this new world. After a short deliberation we made the decision not to target an online audience for our works. We have spent years getting children off screens, so for us, it seemed counter-intuitive to try and now occupy this increasingly busy space. As such, we brought forward a planned new work, Spark, a show that arrives at a school and is unpacked by the students in the classroom. Maddog Delaney, Temeka Lawlor and I made one of the pilot versions of this work and took it into some selected schools to test our ideas. Being able to connect with our audience on an intimate scale was as exciting as I hoped it would be. We were able to take design and wonder and literally put it in their hands. This project will be further developed in 2021 in a variety of formats and offered to Spark schools in 2022.

8 Artistic Director’s Report continued

With an enormous amount of good fortune, we managed to complete a very successful season of Me & My Shadow in Adelaide, with the help of Adelaide Festival Centre, and then our regional tour of South Australia.

There was lots of adjusting for COVID but thankfully we were able to exceed our audience targets, with many eager to return to see live performance in the theatre.

Next, we began work on I Wish... our new collaboration with Gravity & Other Myths. The first creative development was unbelievably productive. We had a very strong team of six makers involved, and in four days at least 25 minutes of very usable material was produced! This is unheard of, given we started the week with nothing. It is a testament to Gravity & Other Myths’ ability to work extremely well and fast together, Director Darcy Grant’s ability to focus and inspire performers and the long creative association I have had with both. Next year we will continue to develop the show around the ideas of what makes us “us”. We will also explore themes of trying on lots of personas, being made up of lots of different emotions and being different sorts of people throughout your day / week / life. This show will be presented next year in August in Space Theatre, then tour regional South Australia.

It is surreal now to think that at the very start of 2020 we were in Beijing performing Emily Loves to Bounce to packed houses. We had advanced plans to return to more cities in China late in 2020 with ZOOOM and interest in The Lighthouse touring in later years. For now, those plans are on hold, as we turn our focus to opportunities in Australia, but we hope it’s not too long until we can share our stories with families around the globe again.

I want to thank the backbone of our operation – Teena, Penny, Maddog, Jacinta, Mirella, Nicole and Krystle. Patch is a unique team of like-minded and talented people who are all focussed on the making of art. We do lots of doing and less meeting as we speak the same “arts” language. It is so inspiring to be part of such an efficient and streamlined team that I am able to spend a lot of time laughing with too!

Geoff Cobham Artistic Director

9 General Manager’s Report

Well, 2020 feels like one of the longest and shortest years we have had, where the number of things we did not do is as long as the list that we did!

Still, we are so proud to have presented 233 performances to 15,633 children and families and nine workshops with 331 participants. The year resulted in eight weeks in creative development, three weeks in rehearsal and 12 weeks of performances, including a regional tour of South Australia, (plus eight weeks in lockdown!) collaborating with some 66 artists, Emily Loves to Bounce crew and secondments.

Even in this year of a pandemic, Patch Theatre has still managed to achieve considerable milestones in 2020. Emily Loves to Bounce wrapped up a six-week tour of China in January delighting families in Beijing and Shanghai. Kicking off the year with our Major Festivals commissioned work, The Lighthouse premiered at Adelaide Festival and showcased at the Australian Performing Arts Market in Melbourne in February. With many sold-out sessions, this production generated a lot of excitement and interest from a broad range of potential national and international presenting partners. Created by a team of nine collaborating creatives, operated by three technical crew and featuring 11 performers, this is one of the largest teams that Patch has ever assembled. Thanks to the four co-commissioning partners, funding from the Major Festivals Initiative and a Commissioning Grant from Arts SA, Patch was able to take a huge leap into creating a large-scale installation work presenting 165 performances to small audience groups to maximise interaction.

Only days after wrapping the highly successful premiere season, the whole country went into lockdown due to the COVID-19 global pandemic. While the lockdown in South Australia was relatively short lived, allowing a relaxation of restrictions from late May, the repercussions will still be felt across many of Patch’s operations over the coming years.

We worked extensively with our co-commissioning partners to postpone and reschedule the other national premiere seasons of The Lighthouse and we have been so grateful for their positive and committed approach, as we continue planning into 2021 and 2022.

10 General Manager’s Report continued

By chance, 2020 was one of the two years since 2004 that Patch was not planning to deliver a national tour of a repertoire work, having deferred the tour to 2021 in order to extend it. It did, however, put on hold plans to tour 2019’s award winning ZOOOM to the prestigious Shanghai International Arts Festival and a subsequent six-week tour of China presented by Art Space for Kids as part of the third year of our partnership.

Reopening the Adelaide Festival Centre with Me & My Shadow 10th anniversary season in August, and subsequent COVID-safe, socially distanced touring around Regional SA to a further seven venues, brought so much joy to our young audiences. A huge thank you to Liz Hawkins and Douglas Gautier for their tireless support of the home companies to bring performances back to Adelaide Festival Centre, including liaising with the SA Health Transition committee, relocating our season to the larger Playhouse Theatre and waiving venue rental charges to reduce the risk Patch were facing in presenting the season. As always, Patch were supported by the venue teams at Country Arts SA, who went to great efforts re-ticketing to ensure the shows could go ahead.

We finished up the year with Creative Developments on a new workI Wish… in collaboration with Gravity & Other Myths, which will premiere in 2021. It delighted Patch supporters at a behind the scenes sneak peek event.

Late in 2019 Patch submitted its 2021-24 Strategic plan to the Australia Council’s four year organisation funding second stage. After some delays to the announcement, we were fortunate in April to secure funding in an extremely competitive round, in support of the vision put forward by Geoff and Teena. However, this was bittersweet knowing that reduced Federal funding meant considerably less companies were being funded, and with the arts sector in such a precarious position not knowing when audiences would be able The Lighthouse to again gather in theatres.

Since moving to the State Government’s Education portfolio in 2018, Patch has enjoyed a supportive relationship with the Education Minister culminating in a direct funding model, and four year funding confirmed for 2020-24 directly from the Department. Patch thanks Carclew for their support in administering state funding in previous years and in our smooth transition to the Education Department.

We must also acknowledge the Australia Council’s continuing National Touring Status funding to support Remote and Regional touring, with a variation approved to extend the use of these funds up to the end of 2021. Other grants secured have also supported us in

11 General Manager’s Report continued

repositioning the company’s operations going forward, including support for new work in 2021-22 through Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government initiative, with matched funding from and an Arts SA Touring Grant to support our regional SA touring in 2021.

We are grateful to be in the fifth year of our strong partnership with the James and Diana Ramsay Foundation, who support development of our new work, capacity building and importantly enable Patch to continue to reach our regional SA audiences and provide them with subsidised ticket prices, especially for disadvantaged students. Patch also welcomes a new partnership with John T Reid Charitable Trusts to support the development of our very new in schools program Spark during 2021-22.

The staff and Board sincerely thank the loyal donors who support Patch’s activity – from supporting the development of ambitious works, to ensuring they are accessible to all South Australian children with over 2,500 students receiving subsidised tickets in 2020.

Staff at Patch are a small and mighty team, with Geoff Cobham’s exceptional artistic leadership, myself transitioning into the General Manager role from August under the mentorship of Teena Munn, who continues part-time as Producer. Michelle ‘Maddog’ Delaney’s creative design and making; Mirella Innocente as our part-time Finance Co-ordinator; Nicole McKenzie joined the team in January as Marketing and Development Coordinator for Krystle Aunger’s maternity cover; Jacinta Way in between stage managing tour legs joined the office part-time managing tour logistics. The Federal Government’s JobKeeper support allowed Patch to maintain the team, in the absence of its ability to earn much of its income, and this included Technical Assistant Alex Hatchard and Performer/Maker Temeka Lawlor having a more ongoing role in the development and maintenance of shows.

Taking advantage of some non-performance time, we have been able to undertake some major administrative projects, including a major overhaul of the Customer Relationship Management database, streamlining statistical reports, consolidating reporting into online formats accessible remotely, updating contract templates, reviewing Work Health Safety policy and Risk Management procedures.

The Board have smoothly overseen these changes within the company and welcomed new member Dr Boram Lee to the board in 2020. We really would not achieve nearly as much without their trust and unwavering support.

Penny Camens General Manager

12 Achievements

Check out our 2020 Achievements Sure, 2020 threw us some curveballs, but between shutdowns, lockdowns and hand sanitiser we achieved a lot.

Emily Loves to Bounce went to China We collaborated with Gravity & Building on our 2018 partnership with Art Other Myths Space for Kids, we successfully undertook a We had our first creative development six-week tour to Shanghai and Beijing during with Gravity & Other Myths to make our Dec 2019 - Jan 2020. Emily Loves to Bounce 2021 in theatre work I Wish… played to sold out audiences in China and we are now working to reschedule touring We started developing theatre in a box plans for another two works. We took the very first steps to creating 16 performances • 120 workshop Spark – a travelling theatre show in a box, participants • 2,886 attendees designed to bring an interactive theatre experience into the classroom. The Lighthouse premiered in SA The Lighthouse premiered at Queen’s Patch Artistic Director Geoff Cobham Theatre as part of Adelaide Festival led a study unit for final year architecture (showing 25 Feb – 7 Mar). The Lighthouse students from The University of Adelaide, amazed audiences of all ages, received rave exploring initial design concepts for Spark. reviews, sparked interest from presenters across the globe and filled our minds (and We wowed international presenters our Instagram feeds) with the beauty of light. at online art markets 165 sessions • Rave reviews We attended and presented our works at • 4,051 attendees • Ruby Award win the Australian Performing Arts Market in February before switching to virtual Arts We kept families entertained in lockdown Markets. We were part of International We created a series of educational activities Performing Arts for Youth (North America), for parents to try at home while schools and NOW (China), PAMS (Korea) and the SA theatres were closed. Fringe Virtual Hive Market (North & South America and UK & European delegates). We reopened Adelaide Festival Centre with Me & My Shadow Thank you Me & My Shadow returned to the stage for Thanks to the support of the James and its 10th anniversary in 2020. It reopened the Diana Ramsay Foundation and our donors Adelaide Festival Centre after COVID-19 we were able to provide subsidised tickets shutdown, touring seven regional and for disadvantaged students – over 2,500 metropolitan venues from Whyalla to Mt students received subsidised tickets in Gambier. Students and families were eager 2020. to return to the theatre and reacted with joy and wonder to the classic Patch production. 52 performances • 8,696 attendees • Sold out family season

13 2020 Program

EMILY LOVES TO BOUNCE INTERNATIONAL TOUR

Emily Loves to Bounce

Inspired by three of the most loved books by Stephen Michael King, Emily Loves to Bounce creates a whimsical world full of balls and boxes, where amazing ideas express themselves in extraordinary ways. Follow carefree Henry and practical Amy as they turn the world upside down and right way round and learn that working together in spite of their differences brings out the best in everyone.

Following our sold out two-week tour of Me & My Shadow to China in 2018, we successfully undertook a six-week tour of Emily Loves to Bounce to Shanghai and Beijing. Well received with full houses and a very happy presenter, we are already in discussions for touring our next two works.

International Tour 2019-2020

Date December 6-22 Art Space for Kids, Shanghai December 26 - January 12 Tianqiao Performing Arts Centre, Beijing

6 weeks, 2 venues

2019 2020 TOTAL

Performances 32 16 48 Attendees 4,942 2,886 7,828

Workshops 7 with attendance of 280 3 with attendance of 120 10 with attendance of 400

14 2020 Program

EMILY LOVES TO BOUNCE continued INTERNATIONAL TOUR

Emily Loves to Bounce

“A masterstroke of ingenuity – a beautiful Audience responses in Beijing: blend of sound, mime and illusion. “I’ve asked myself many times if it is worthy It is intriguing, mystical, funny, irresistible traveling across Beijing for almost 3 hours to and thoroughly absorbing.” see a 40-minute show. The answer is definitely YES. When looked back to each show we have Adelaide Theatre Guide watched, I am so glad to experience happy and unforgettable scenes with you together, and see you grow up in the theatre.”

By Stephen Michael King Collaboratively created by Geoff Cobham, Zoë Barry, Dave Brown, Jon Bode, Greg Cousins, Astrid Pill, Belinda Gehlert, Ingrid Voorendt Remount Director Roz Hervey Touring Company Cast Jonathan Darby, Belinda Gehlert, Maiah Stewardson Stage Manager Abby Heuer Technician Tom Bayford

15 2020 Program

THE LIGHTHOUSE CREATIVE DEVELOPMENT & ADELAIDE FESTIVAL SEASON

An interactive light and sound wonderland. The Lighthouse beckons young people and their adults to explore the endless wonders of light. This immersive promenade performance is part installation, part scientific quest, part rave.

Designed for all ages, this house of marvels is full of intimate vignettes and grand lighting marvels. A series of interconnected rooms await, each full of hands-on experiences exploring a different property of that elusive yet fundamental force of nature: light.

The Lighthouse is an immersive promenade performance piece for all ages.

Taking light out of traditional theatre spaces and moving it into a new terrain, The Lighthouse puts children and their families at the centre of an exploration of light.

The Lighthouse is a conversation with the universe. It exists at the intersection of science The Lighthouse and art, sparking curiosity at the world around us. Through its innovative use of light, sound, Adelaide Festival Premiere Season perspective and reflection, the performance Date February 25 – March 7 encourages you to engage and experiment. 2 weeks, Queen’s Theatre

Performances 165 Presented with four co-commissioning partners:

Attendees 4,051 Adelaide Festival, where the work premiered in 2020, with seasons at Arts Centre Melbourne, Workshops 25 attendance /Out of the Box Festival and Perth Teacher Preview 39 attendees Festival planned for 2021 and beyond.

16 2020 Program

THE LIGHTHOUSE continued CREATIVE DEVELOPMENT & ADELAIDE FESTIVAL SEASON

“That was SO cool.” “Tangible, exciting, creative, exquisite Teenager, age 14 and planned” Fest Mag (Miranda, age 11) “I want to live in there” Child, age 5 “The Lighthouse is a well-designed visual treat for the young and the young “I left there feeling as though I’d at heart.” been on holidays in another world.” InDaily Kate, mother

“Exhilarating until the very last laser” Kiddo Mag

* 2020 Ruby Award for Best work or event within a festival * 175 posts on Instagram tagged #PatchLighthouse * The Lighthouse was declared the best family experience of Adelaide Festival by the Sunday Mail * Youngest audience member: 4 weeks old, oldest audience member: 94 years old * Created by a team of nine collaborating creatives, operated by three technical crew, and featuring 11 performers, this is one of the largest teams that Patch has ever assembled

COLLABORATIVELY CREATED BY: Creator/Designer/Director Geoff Cobham Maker in Residence Michelle ‘Maddog’ Delaney Technical Design Chris Petridis Creative Consultants Zoë Barry, Daisy Brown Composer Jason Sweeney Design/Costume Design Meg Wilson Design/Build Wendy Todd Musician Clara Grant Bubble Consultant Marty McBubble PERFORMERS: Lighthouse Keepers Ashton Malcolm, Stephen Noonan Astronauts Antoine Jelk, Emma Beech, Nathan O’Keefe, Stephen Sheehan Celestial Cellist Clara Grant Light Empress Elizabeth Hay, Temeka Lawlor Storyteller Rachel Burke, Rebecca Mayo Text Ellen Steele/Zoë Barry Voiceover Goldie Palmer CREW: Stage and Site Manager Steph Bone Technician Alex Hatchard Assistant Stage Manager Taylor Dawson Production Intern (Institut d’etudes Politiques, Aix-en-Provence) Eva Cohen Production Intern (NIDA) Lucia Haddad Design/Build Chris Bartlett

17 2020 Program

ME & MY SHADOW SOUTH AUSTRALIAN TOUR

Me & My Shadow

South Australian Tour 10th anniversary season

Date August 12 – September 25 The fanciful escapades of a girl making friends with her shadow. Children love to play with 7 weeks, 8 venues, 63% regional and remote shadows but making friends with your shadow can be a tricky business. There are things to sort Performances 52 out, problems to solve, adventures to have and Attendees 8,696 laughter to be shared. Tour Dates

Aug 12-29 Dunstan Playhouse, Adelaide Me & My Shadow is a gentle magical visual poem for children, using paper, light, shadow,

Sept 1 Northern Festival Centre, Pt Pirie colour, water, music, sound and words to create a world of play where the imagined becomes

Sept 3 Middleback Arts Centre, Whyalla real. With fantastical imagery, quirky physical performances and an intriguing score, Me & Sept 8 Chaffey Theatre, Renmark My Shadow ignites the imagination in a poetical experience that explores the trials and joys Sept 10 Sir Robert Helpmann Theatre, of friendship. Mt Gambier

Sept 15-18 Hopgood Theatre, Noarlunga

Sept 22 Barossa Arts Centre, Tanunda

Sept 24-25 Golden Grove Arts Centre

18 2020 Program

ME & MY SHADOW continued SOUTH AUSTRALIAN TOUR

“We loved it. Playful, magical and thought provoking.” Teacher

“It’s quirky, physical and charming kid’s theatre at its absolute finest” Kiddo Mag

“An imaginative and physical theatre performance that’s quirky and clever” Play & Go

“Wow, that’s amazing, how did they do that?” Student

“The magic never ends!” Student

“It was magical, brilliant and entertaining.” Teacher

WINNER (2011) Helpmann Award for Best Presentation for Children

WINNER (2013) Victor Award for Best Showcase Production IPAY

Me & My Shadow

Collaboratively created by Geoff Cobham, Zoë Barry, Dave Brown, Roz Hervey, Nathan O’Keefe, Astrid Pill, Bob Weatherly Cast Temeka Lawlor, Tim Overton Stage Manager Jacinta Way Technician Tom Bayford

19 2020 Program

I WISH… CREATIVE DEVELOPMENT

I Wish...

An acrobatic adventure exploring all of the things we could be.

People are made of stuff – good stuff and bad stuff, happy and sad stuff, stinky, odd, boring, dangerous, funny, sparkling potions of stuff. People also have secret ingredients – what could your secret ingredient be?

I Wish… is an exciting collaboration between Patch Theatre and renowned South Australian circus company Gravity & Other Myths. Through physical theatre and stunning visuals, the show explores our differences to reveal the magic of individuality.

Gravity & Other Myths is an Australian circus company pushing the boundaries of contemporary circus. Their work utilises an honest approach to performance to create shows with a focus on human connection and acrobatic virtuosity.

Bull (previous working title) May Creative Development (remote) Creator Geoff Cobham Director Darcy Grant Composer Shenzo Gregory Performers Dylan Phillips, Jordan Hart

I Wish... (updated title) November Creative Development Creator Geoff Cobham Director Darcy Grant Maker/Designer Michelle ‘Maddog’ Delaney Maker/performers Zoë Dunwoodie, Emily Gare, Lisa Goldsworthy, Temeka Lawlor, Simon McClure, Lewis West Stage Manager Jacinta Way Technician Alex Hatchard Documentation Matt Byrne Voiceover workshop Alberton Primary School

20 2020 Program

SPARK CREATIVE DEVELOPMENT

Spark is a travelling theatre show in a box, designed to bring an interactive theatre experience into the classroom.

This in-school workshop brings innovative light and technology-based activities direct to the classroom. Spark will inspire and engage students, sparking their imaginations and creativity while providing a live performance experience and innovative hands-on activities.

Schools will be able to book this whenever it suits them and we will have a squad of trained facilitators (local Spark actors) to deliver these to schools.

April-May - Chrysalis - Remote Creative Development Based on the Spark concept devised by Geoff Cobham, The Paperboats, with support from Arts SA, undertook an exploration by six Regional artists of a Chrysalis Box to design and deliver an arts experience in a box to classrooms. The outcomes were four boxes that were delivered to seven schools in the South East and Mid-North of SA during May – June. Creatives Dave Brown, Robyn Brown, Gavin Clarke, Anya McKee, Juliette Griffin, Scott Griffin, Temeka Lawlor, Angus Leighton.

“The children experimented with the little wonders to make them light up as they engaged in drawing painting and exploring the medium of light” Teacher Mt Gambier Children’s Centre

June - Creative Development Sally Hardy, writer and teaching artist, spent a week developing concepts for Spark with Geoff Cobham. She has written several versions of this project gradually bringing us closer to our aim.

August - Student Creative Development Geoff Cobham in collaboration with Architect Studio supervisor Esther Chew, lead a unit for 10 Adelaide University final year Architecture students. They undertook a module based onSpark , where they produced a design experience in a box for young children, then tested it with some young people in the Patch studio. Two workshops, 12 children participants.

21 2020 Activities

Summary of Activity Weeks in Development 233 performances to 15,633 audience 3 weeks The Lighthouse Jan-Feb 1 week Bull May Total Workshops 3 weeks Spark Apr-Aug 9 Workshops, 331 participants 1.5 week I Wish… November

Weeks in Performance Teacher Preview • 3 weeks in Beijing January The Lighthouse, February, 39 attendees • 2 weeks in Adelaide Festival March Me & My Shadow, August, 31 attendees • 3 weeks in Adelaide August • 4 weeks touring Regional SA September

Weeks in rehearsal 2 weeks The Lighthouse February 1 week Me & My Shadow August

Access • 3 relaxed performances of The Lighthouse were presented at Queen’s Theatre to accommodate bookings from Special Education schools. • Emily Loves to Bounce script was translated into Mandarin – performances accompanied by display of subtitles for the presentation of the Chinese tour. • Our suite of Educational activities were further developed with video resources to share and engage with a wider audience. • 2,519 subsidised tickets were offered to disadvantaged schools in SA.

Industry Engagement Teena Munn and Penny Camens attended the International Performing Arts for Youth (IPAY) showcase in Philadelphia in January 2020 with support from the Australia Council and Arts SA, followed by Teena showcasing The Lighthouse at APAM ASIATopa in Melbourne in February during its premiere season. Following that markets and conferences went online.

We were part of the 2021 Showcase in Place Spotlight for International Performing Arts for Youth (North America), NOW (China), PAMS (Korea) and the SA Fringe Virtual Hive Market (North & South America and UK & European delegates).

Participation by staff at the Australia Council’s Creative Connections series, Performing Arts Exchange, Showcase, and involvement in numerous industry groups was also undertaken.

22 2020 Activities continued

Training • Eva Cohen, Production Intern on The Lighthouse (Institut d’etudes Politiques, Aix-en-Provence) • Lucia Haddad, Production Intern on The Lighthouse (National Institute of Dramatic Art) • 10 students of Adelaide University School of Architecture undertook Spark case study unit at Patch

MARKETING AND COMMUNICATIONS In 2020 we had a • 90% increase in Facebook page likers • 36% increase in Instagram followers • 50% increase in general email subscribers • 14% increase in teacher email subscribers

Instagram Increase in posts and engagement • 133 posts (266% increase), 5.7k likes (259% increase), average of 43 likes per post (up from 50 posts receiving 2,199 likes in 2019)

Facebook Increase in posts and engagement • 149 posts (184% increase), 9.6k post reactions (200% increase), average of 59 reactions per post (109% increase)

Activities page on website • 9 new activities created. • Our activities received over 2,000 unique views with an average time on page of 2.52 mins, showing high engagement. • Most popular activity ‘Shadow Puppets’–274 unique page views and average time on page of 2.54 mins.

Expanded news section on Patch’s website • 13 news stories published in 2020. • Our news section received over 1,000 unique views with an average time on page of 3.14 mins, showing high engagement. • Most popular story ‘Meet Temeka’ – 178 unique page views and average time on page of 3.12 mins.

23 2020 Company, Artists and Associates

Artistic Director Artistic Associates Lisa Goldsworthy Geoff Cobham Chris Petridis, Technical Wizard Meg Wilson Jason Sweeney, Sound Artist Renate Henschke Producer & General Manager Daisy Brown, Creative Consultant Shenzo Gregory (to Jul) / Producer (from Aug) (The Lighthouse) Simon McClure Teena Munn Zoë Barry, Creative Consultant Steve Sheehan (The Lighthouse) Temeka Lawlor Company Manager (to Jul) Roz Hervey, Remount Director Wendy Todd / General Manager (from Aug) (Me & My Shadow) Zoë Barry Penny Camens Sally Hardy, Dramaturg/Writer Zoë Dunwoodie Darcy Grant, Director (I Wish…) Maker in Residence Performers Michelle ‘Maddog’ Delaney Advisors Antoine Jelk Anne-Marie Shin, Education Consultant Ashton Malcolm Touring Company Manager Dr Steve Brown, Risk Consultant Bec Mayo Jacinta Way (from Oct) Belinda Gehlert Education Resource Consultant Clara Grant Marketing & Development Robyn Brookes Elizabeth Hay Coordinator Emma Beech Nicole McKenzie International Agent Jonathan Darby (Krystle Aunger maternity leave Boat Rocker Entertainment, New York Maiah Stewardson from Feb) Nathan O’Keefe Designers Rachel Burke Publicist Geoff Cobham Steve Noonan Anthea Hagar Michelle ‘Maddog’ Delaney Steve Sheehan Meg Wilson Temeka Lawlor Finance Officer Wendy Todd Tim Overton Mirella Innocente Renate Henschke Community Engagement Technical Assistant Technical Designers Belinda Gehlert Alex Hatchard Chris Petridis Jonathan Darby Alex Hatchard Maiah Stewardson Associate Artist Temeka Lawlor Temeka Lawlor Composers Angus Leighton Belinda Gehlert Board Clara Grant Voiceover Janet Worth, Chair Jason Sweeney Goldie Palmer Karen Bryant, Deputy Chair Shenzo Gregory Ben Opie, Treasurer Zoë Barry Stage/Tour Managers Amanda Wheeler Jacinta Way Anne-Marie Shin Creative Development Devisers Abby Heuer Chris Drummond Angus Leighton Steph Bone Jason Dunstone Chris Petridis Taylor Dawson (Assistant SM) Peter Campbell Clara Grant Dr Boram Lee Daisy Brown Technicians Darcy Grant Tom Bayford Honorary Life Members Dave Brown Alex Hatchard Helen Rose Morris Dylan Phillips Jill Gael Ellen Steele Crew Rainer Jozeps Emily Gare Lucia Haddad Joan Clemow Graeme Denton (Marty McBubble) Ben Phillips Patrea Channon Jason Sweeney Darian Tregenza Elspeth Harley Jordan Hart Bob Weatherly Lewis West Dave Brown

24 2020 Company, Artists and Associates continued

Secondments Foundation Support Adelaide Festival Eva Cohen (The Lighthouse) James and Diana Ramsay Foundation Rachel Healy Lucia Hadad (The Lighthouse) Neil Armfield Generous Support Rachel Azzopardi Wardrobe, Set & Costume Country Arts South Australia Lesley Newton Construction Hither & Yon Wines Michelle Reid Bob Weatherly William Buck Kate Hillgrove Chris Bartlett Jacinta Way Eva Cohen Patch 2020 Donors Jimmy Dodd Amanda Wheeler Carclew Meg Wilson Ann Gorey Tricia Walton Michelle ‘Maddog’ Delaney Anne-Marie Shin Hana Fittes Robyn Cuneen Boram Lee Seana O’Brien Catherine Fitz-Gerald Grieve Gillet Architects Chris Drummond Esther Chew Photography and Video Ed Wilson Matt Byrne, Principal Filmmaker Edna Dunstone The PaperBoats and Photographer Elaine Chia Dave Brown Garry Stewart Robyn Brown Graphic Design Hither & Yon Bob Weatherly Robin Mather, Graphic Designer Jane Thompson Janet Worth Stage and Screen Audience test pilots Johannah Somfleth Rebecca Apostola Sturt St Primary, Kerri Watt Kathie & Jack Massey Hendon Primary, Sue Mittiga Kay Jamieson Boat Rocker Entertainment Specialised Assistance School Marjorie Fitz-Gerald Jim Weiner for Youth, Daisy Brown Patrick Morgan Alberton Primary School: The Petrea Smith BenFX Nest students, Amber Hall, Robert Pontifex Ben Phillips Marilyn Hayward Russell Duncan Teena Munn Flinders Park Cleaning Funding Bodies Wayne Macro Australian Government’s Major VERY SPECIAL THANKS Festivals Initiative Department for Education Art Space for Kids, China Australia Council – The Hon. John Gardner, MP Monica Wu + team 4 Year Organisational Funding Bec Lynas Australia Council – David Ensor Slingshot Promotions National Touring Status Mark Giorgio Nathan Thompson via Playing Australia Peter Cornish Carclew BASS Peter Maddock Arts South Australia Department of the Premier and Cabinet The Hon. Steven Marshall, MP, Ciro Cantone Department for Education Premier of South Australia Country Arts SA Co-Commissioning Partners Jennifer Layther Anthony Peluso (The Lighthouse) Peter Grace Sussan Baldwin Adelaide Festival Adelaide Festival Centre Queensland Performing Arts Douglas Gautier Centre: Out of the Box Festival Liz Hawkins Arts Centre Melbourne Susannah Sweeney Perth Festival Ruth Weldon

25 Performance Statistics 2020

Year Show Venue Activity Country Performances Attendance Workshop Participation Towns

2020 Emily Loves to A.S.K: Tianqiao International China 16 2,886 3 120 1 Bounce Performing Arts Tour Centre; Beijing

2020 The Adelaide Festival Festival, Australia 165 4,051 2 74 1 Lighthouse - 165 perfs (22 Adelaide sessions of 3 Season, hours) Premiere

2020 Me & My AFC, Outer Metro Adelaide Australia 52 8,696 31 8 Shadow and SA Regional Season, SA Regional tour

2020 Bull/I Wish... Creative Australia 1 94 1 Development May x 1 week Nov x 1 week

2020 Spark Creative Australia 2 12 1 Development

Total 233 15,633 9 331

Role Equivalent No of Full Weeks of Employment Financial Value

Performers 63.4 $68,798

Production, Technical & Stage Management 73.3 $110,976

Creative Personnel – Fees and Royalties 42.2 $70,105

Total 178.9 $249,879

26 Independent Audit Report

AUDITOR’S INDEPENDENCE DECLARATION UNDER SECTION 60-40 OF THE AUSTRALIAN CHARITIES AND NOT FOR PROFITS COMMISSION ACT 2012 TO THE DIRECTORS OF THE BOARD OF MANAGEMENT OF INCORPORATED

I declare that, to the best of my knowledge and belief during the year ended 31 December 2020 there have been:

• no contraventions of the auditor independence requirements as set out in the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and

• no contraventions of any applicable code of professional conduct in relation to the audit.

William Buck Grant Martinella ABN 38 280 203 274 Partner

Adelaide, 20 April 2021

27 Independent Audit Report

Patch Theatre Company Incorporated Independent auditor’s report to members Report on the Audit of the Financial Statements

Opinion We have audited the financial report of Patch Theatre Company Incorporated (the Association), which comprises the statement of financial position as at 31 December 2020, the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies, and a report by the Board of Management.

In our opinion the financial report of Patch Theatre Company Incorporated has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including:

a) giving a true and fair view of the Association’s financial position as at 31 December 2020 and of its financial performance for the year then ended; and b) complying with Australian Accounting Standards to the extent described in Note 1, and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.

Basis for Opinion We conducted 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 section of our report. We are independent of the Association in accordance with the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Emphasis of Matter – Basis of Accounting We draw attention to Note 1 to the financial report, which describes the basis of accounting. The financial report has been prepared for the purpose of fulfilling the Association’s financial reporting responsibilities under the ACNC Act. As a result, the financial report may not be suitable for another purpose. Our opinion is not modified in respect of this matter.

28 Independent Audit Report

Responsibilities of Management and Those Charged with Governance for the Financial Report The management of the Association are responsible for the preparation of the financial report that gives a true and fair view and have determined that the basis of preparation described in Note 1 to the financial report is appropriate to meet the requirements of the ACNC Act and the needs of the members. Management’s responsibility also includes such internal control as management 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, management are responsible for assessing the Association’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless management either intend to liquidate the Association or to cease operations, or has no realistic alternative but to do so.

Management are responsible for overseeing the Association’s financial reporting process.

Auditor’s Responsibilities for the Audit of the Financial Statements 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.

A further description of our responsibilities for the audit of these financial statements is located at the Auditing and Assurance Standards Board website at: www.auasb.gov.au/auditors_responsibilities/ar4.pdf

This description forms part of our independent auditor’s report.

William Buck Grant Martinella ABN 38 280 203 274 Partner

Adelaide, 20 April 2021

29 Report by the Board of Management

During the financial year, no officer of the Association, or any firm of which an officer isa member, or any corporate in which an officer has a substantial interest, has received or become entitled to receive a benefit as a result of a contract between an officer, firm or corporate and the Association. During the financial year, no officer of the Association has received directly or indirectly from the Association any payment or other benefit of a pecuniary value, other than: • In the case of officers employed by the Association, approved remuneration which have been determined in accordance with general market conditions; • In the case of directors, payments as disclosed separately in note 14 to the financial statements.

Dated at Adelaide this 20th day of April 2021

Signed in accordance with a resolution of the Board.

Janet Worth Ben Opie Chair Treasurer

Statement by the Board of Management

The Board has determined that the Association is not a reporting entity and that this special purpose financial report has been prepared in accordance with the accounting policies outlined in Note 1 to the financial statements.

In the opinion of the Board, the financial report as set out on pages 31-40: (a) presents fairly the results and cash flows of the Association as at 31 December 2020 and the state of the affairs of the Association as at that date; and

(b) as at the date of this statement, there are reasonable grounds to believe that the Association will be able to pay its debts as and when they fall due.

Dated at Adelaide this 20th day of April 2021

Signed in accordance with a resolution of the Board.

Janet Worth Ben Opie Chair Treasurer

30 Statement of Profit or Loss and Other Comprehensive Income For the year ended 31 December 2020

2020 2019

Note $ $

Performance Fees 258,888 522,541 Grant Revenue 2(a) 754,503 771,535 JobKeeper Subsidy 180,300 - Cash Flow Boost 100,000 - Royalties Received - 12,378 Donations Received 7,697 52,780 Interest 543 2,132 Membership Subscriptions 270 210 Sundry Income 2 ,575 1,359 Trusts & Foundations 50,000 52,000 Other Production Income - 2,000

Total revenue 1,354,776 1 ,416,935

Administration 2(b) 613,209 474,828 Depreciation 15,937 18,553 Amortisation 6,572 4,208 Depreciation - Right of Use Asset 37,180 40,551 ELTB - China 41,429 86,145 Firefly - DreamBig ADL - 13,609 I Wish... Creative Development 46,208 - The Lighthouse - Adelaide 104,441 - The Lighthouse - Melbourne 5,446 - The Lighthouse - PreProd 149,860 156,617 The Lighthouse - Remount 15,924 - Me & My Shadow - Juilliard - 9,460 Me & My Shadow - National Tour - 327,530 Me & My Shadow - Adelaide 76,079 - Me & My Shadow - Metro 31,039 - Me & My Shadow - Regional 32,927 - Mr McGee - New Zealand - 14,315 Spark 19,476 - ZOOOM - Refurbishments 25,332 - ZOOOM - Adelaide Season - 94,605 ZOOOM - Outer Metro - 36,210 ZOOOM - Pre-Production - 95,156 ZOOOM - Regional - 29,599 ZOOOM - Engagement Tour 2,054 -

Total expenditure 1,223,114 1,401,387

Net surplus for the year 131,662 15,548 Other comprehensive income - - Total comprehensive income for the year 131,662 15,548

31 Statement of Financial Position As at 31 December 2020

2020 2019

Note $ $

Current Assets

Cash and cash equivalents 12 1,344,930 767,953

Trade and other receivables 4 3,316 41,547

Total Current Assets 1,348,246 809,500

Non-Current Assets

Property and equipment 5 77,798 64,099

Intangible Assets 6 13,662 20,234

Total Non-Current Assets 91,460 84,333

Total Assets 1,439,706 893,833

Current Liabilities

Trade and other payables 7 29,355 69,236

Grant income deferred 8 826,999 397,083

Provisions 9 15,895 11,375

Lease Liability 10 38,696 34,137

Total Current Liabilities 910,945 511,831

Non-Current Liabilities

Lease Liability 10 19,646 4,549

Total Non-Current Liabilities 19,646 4,549

Total Liabilities 930,591 516,380

Net Assets 509,115 377,453

Members’ Funds

Opening Balance 11 377,453 361,905

Surplus for the year 11 131,662 15,548

Total Members’ Funds 509,115 377,453

32 Statement of Cash Flows For the year ended 31 December 2020

2020 2019

Note $ $

Cash flows from operating activities

Receipts from Grants & Sponsorships 872,063 849,280

Receipts from Activities & Other Income 351,373 707,594

Receipts from Government funding 280,300 -

Interest Received 543 2,132

Payments for Administration (553,520) (411,516)

Payments for Projects & Activities (326,621) (1,256,376)

Net cash provided by/(used in) operating activities 12(b) 624,137 (108,886)

Cash flows from investing activities

Acquisition of equipment (5,725) (18,500)

Payments for website development - (11,818)

Net cash used in investing activities (5,725) (30,318)

Cash flows from financing activities

Payments for lease liabilities (41,435) (37,549)

Net cash used in investing activities (41,435) (37,549)

Net increase/(decrease) in cash 576,977 (176,753)

Cash and cash equivalents opening 767,953 944,706

Cash and cash equivalents closing 12(a) 1,344,930 767,953

Representing :-

Grant income deferred 8 826,999 397,083

Unrestricted purposes 517,931 370,870

1,344,930 767,953

33 Notes to the financial statements For the year ended 31 December 2020

1. Statement of Significant Accounting Policies Patch Theatre Company Inc. (the “Association”) is an Association domiciled in Australia.

a) Statement of Compliance The financial report is a special purpose financial report prepared in order to satisfy the financial reporting requirements of the Australian Charities and Not-for-profits Commission Act 2012.

b) Basis of Preparation In the opinion of the Officers, the Association is a non-reporting entity, because there are unlikely to exist users who are unable to command the preparation of reports tailored so as to satisfy specifically all of their information needs. Accordingly, the financial report is a “Special Purpose Financial Report” that has been prepared solely to meet the requirements of the Board of Management, the Members of the Association, and the Associations Incorporations Act.

The financial report have been prepared under the historical cost convention whereby all assets have been recorded at the lower of their cost or estimated net realisable value.

The financial report is presented in Australian dollars.

Other non-current assets are stated at the lower of carrying value and fair value less estimated costs of disposal.

The preparation of financial statements requires management to make judgements, estimates and assumptions that affect the application of accounting policies and the reported amounts of assets, liabilities, income and expenses. Actual results may differ from these estimates. Estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in any future periods affected.

c) Income Tax The Association is exempt from income tax, pursuant to the Income Tax Assessment Act. Accordingly, Australian Accounting Standard AASB 112 “Income Tax” has not been applied and no provision for income tax has been included in the accounts.

d) Revenue recognition

(i) Grants The core principle of AASB 15 is that revenue is recognised on a basis that reflects the transfer of promised goods or services to customers at an amount that reflects the consideration the Association expects to receive in exchange for those goods or services. ‘Government Grants are recognised as revenue in the year to which the grants relate and are applied fully to recurrent expenditure. Where there are conditions attached to grant revenue relating to the use of those grants for specific purposes, it is recognised in the statement of financial position as a liability until such conditions are met or services provided.

(ii) Interest revenue Interest revenue is recognised as it accrues on a daily basis.

e) Depreciation and amortisation Depreciation, using the diminishing value method, has been provided for in the accounts on all non-current assets, so as to allocate their cost over their estimated remaining useful life.

In assessing recoverable amounts of non-current assets the relevant cash flows have been discounted to their present value.

Amortisation, using the straight line method, has been provided for all intangible assets, so as to allocate their cost over their remaining useful life.

34 Notes to the financial statements For the year ended 31 December 2020

1. Statement of Significant Accounting Policies (Continued)

f) Employee Benefits Provision is made for the Association’s liability for employee benefits arising from services rendered by employees to balance date. Employee entitlements expected to be settled within one year together with entitlements arising from wages, salaries and annual leave which will be settled after one year, have been measured at their nominal amount. Contributions made by the Association to employee superannuation funds are charged as expenses when incurred.

g) Impairment The carrying amounts of the Association’s assets are reviewed at each balance date to determine whether there is any indication of impairment. If any such indication exists, the asset’s recoverable amount is estimated (see below). An impairment loss is recognised whenever the carrying amount of an asset exceeds its recoverable amount. Impairment losses are recognised in the income statement, unless an asset has previously been revalued in which case the impairment loss is recognised as a reversal to the extent of that previous revaluation with any excess recognised through the statement of profit or loss and other comprehensive income. (i) Calculation of recoverable amount The recoverable amount of assets is the greater of their net selling price and value in use. Value in use is taken to be the depreciated replacement cost of the asset concerned. (ii) Reversals of impairment An impairment loss is reversed if there has been a change in the estimates used to determine the recoverable amount.

(h) Cash and cash equivalents Cash and cash equivalents comprise cash, bank accounts and short term deposits maturing within 90 days.

(i) Goods and services tax Revenues, expenses and assets are recognised net of the amount of goods and services tax (“GST”). Receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from, or payable to, the Australian Taxation Office (“ATO”) is included as a current asset of current liability in the statement of financial position.

(j) Trade and other payables Trade and other payables are stated at cost.

(k) Receivables Trade and other receivables are stated at cost less impairment losses.

(l) Plant & Equipment Items of plant and equipment are stated at cost less accumulated depreciation and impairment losses (see accounting policy (g)).

(m) Intangible assets Intangible assets include website development costs which are carried at cost less any accumulated amortisation and impairment losses (see accounting policy (g)).

(n) Leases Leases of fixed assets, where substantially all the risks and benefits incidental to the ownership of the asset, but not the legal ownership that are transferred to the Association are classified as finance leases. AASB 16: Leases At inception of a contract, the Association assesses if the contract contains or is a lease. If there is a lease present, a right-of-use asset and a corresponding lease liability is recognised by the Association where the Association is a lessee. However all contracts that are classified as short-term leases (ie. a lease with a remaining term of 12 months or less) and leases of low-value assets are recognised as an operating expense on a straight-line basis over the term of the lease.

35 Notes to the financial statements For the year ended 31 December 2020

2020 2019

Note $ $

2. Surplus / (Deficit) from Ordinary Activities

(a) Revenues from Operating Activities

Grant Revenues:

Australia Council General Grant 309,090 306,030

Education Department Grant 150,000 -

SAYAB Grant 140,000 280,000

Special Project Grant - 11,500

Australia Council Special Grant 55,413 3,000

Arts SA Special Project Grant 100,000 5,000

Carclew Set Storage Grant - 8,000

Playing Australia Grant - 158,005

Total grant revenue 754,503 771,535

(b) Personnel Expenses included in Expenses

Administration wages & salaries 401,909 399,129

Superannuation contributions 41,519 32,638

Increase in liability for annual leave 4 ,520 4,000

447,948 435,767

3. Auditor’s Remuneration

Audit Services

Auditors of the Association:

Audit and review of financial reports 2,300 2,200

4. Trade and other receivables

Trade Receivables 293 11,832

Other trade receivables and prepayments 3,023 29,715

3,316 41,547

Trade receivables are shown net of impairment losses of $nil (2019: $nil)

36 Notes to the financial statements For the year ended 31 December 2020

5. Property and equipment

Cost Office & Stage Equipment Leased Assets Motor Vehicles Total

Balance at 1 January 2019 243,002 - 15,389 258,391

Acquisitions 18,500 76,235 - 94,735

Disposals - - - -

Balance at 31 December 2019 261,502 76,235 15,389 353,126

Balance at 1 January 2020 261,502 76,235 15,389 353,126

Acquisitions 5,725 61,091 - 66,816

Disposals - - - -

Balance at 31 December 2020 267,227 137,326 15,389 419,942

Depreciation & impairment losses

Balance at 1 January 2019 214,534 - 15,389 229,923

Depreciation charge for the year 18,553 40,551 - 59,104

Balance at 31 December 2019 233,087 40,551 15,389 289,027

Balance at 1 January 2020 233,087 40,551 15,389 289,027

Depreciation charge for the year 15,937 37,180 - 53,117

Balance at 31 December 2020 249,024 77,731 15,389 342,144

Carrying Amounts

At 1 January 2019 28,468 - - 28,468

At 31 December 2019 28,415 35,684 - 64,099

At 1 January 2020 64,099 - - 64,099

At 31 December 2020 18,203 59,595 - 77,798

37 Notes to the financial statements For the year ended 31 December 2020

2020 2019

Note $ $

6. Intangible Assets

Website Development Costs as at 1 January 20,234 12,624

Additions - 11,818

Amortisation (6,572) (4,208)

Website Development Costs at 31 December 13,662 20,234

7. Trade and other payables

Creditors and Accruals 29,355 69,236

29,355 69,236

8. Grants in Advance

Funding Description

Australia Council and others 826,999 397,083

826,999 397,083

9. Provisions

Current

Liability for Annual Leave 15,895 11,375

15,895 11,375

10. Lease Liabilities

Current

Lease Liabilities 38,696 34,137

38,696 34,137

Non-Current

Lease Liabilities 19,646 4,549

97,038 72,823

38 Notes to the financial statements For the year ended 31 December 2020

2020 2019

Note $ $

11. Member’s Funds

Member’s Funds at beginning of year 377,453 361,905

Net surplus attributable to members 131,662 15,548

Member’s Funds at end of year 509,115 377,453

12. Notes to the Statement of Cash Flows

(a) Cash and cash equivalents

Cash on Hand 5,850 6,850

Cash at Bank 1,339,080 761,103

Cash and cash equivalents in the statement of cash flows 1,344,930 767,953

(b) Reconciliation of cash flows from operating activities

Cash flows from operating activities

Surplus for the period 131,662 15,548

Adjustments for:

Depreciation 5 53,117 59,104

Amortisation 6 6,572 4,208

Operating profit before changes in working capital and provisions 191,351 78,860

Decrease in receivables/other assets 38,231 343

(Decrease)/increase in creditors & accruals (39,881) 958

Increase/(decrease) in grants in advance 429,916 (193,046)

Increase in provisions 4,520 3,999

Net Cash from Operating Activities 624,137 (108,886)

39 Notes to the financial statements For the year ended 31 December 2020

13. Commitments and Contingent Liabilities The Association as at 31 December 2020 had no commitments and contingent liabilities (2019: Nil).

14. Related Party Disclosures The names of each person holding the position of Board member during the financial year are:

Janet Worth (Chairperson) Ben Opie (Treasurer) Amanda Wheeler Peter Campbell Jason Dunstone Karen Bryant Anne- Marie Shin Chris Drummond Boram Lee

The persons listed above held the position of Board member for the whole of the financial year unless otherwise stated.

Remuneration Nil amounts (2019: nil) were paid to Board members during the year.

Other transactions with the Association There were no other payments made to specified members, or to entities where a specified member holds a position that results in them having control or significant influence over the financial or operating policies of those entities.

15. Events After the Reporting Period The Association received $180,300 in Jobkeeper subsidies during the year, of which $66,150 was in respect of the Jobkeeper Extension 1 (September 28-January 3). Subsequent to balance date, the Association was notified by the Australian Taxation Office that it had formed the preliminary view, based on certain review procedures, that the Association may not be entitled to the Jobkeeper Extension 1 subsidy, and that it may seek repayment of $54,716 of the Jobkeeper Extension 1 subsidy from the Association. The Association had not received an invoice, or other formal advice of the suggested repayment obligation, at the date of finalising its accounts. The Association considers there are valid grounds for the Association retaining all of the Jobkeeper subsidy that it received during the financial year. The Board is not aware of any other significant events since the end of the reporting period.

16. Association Details The registered office and principal place of business of the association is:

Patch Theatre Company Inc. Level 1/154 Angas Street Adelaide SA 5000

40 Patch History of Productions 1972 to 2020

1. The Tingalary Bird 39. 1983 77. Puppy Love 2. Thumbelina 40. Cinderella Says No 78. Tjitjiku Inma 3. Everything Under the Sun 41. Kasperle And His Friends 79. Respectable Shoes 4. The Silken Scroll 42. If Only We Had A Cat 80. Freckle; An Australian 5. Shadrack’s Journey 43. The Happy Prince Fairy Story 6. Benjamin and Brindletum 44. Bound For South Australia 81. The Boy and the Bamboo Flute 7. Melt the Wax Slowly 45. My Place 82. Radio Brainstorm 8. Hands Off The Clock 46. A.B.C 83. Each Beach 9. The Three Billy Goats Gruff 47. Wilfrid Gordon McDonald 84. Granny and the Sea Monster 10. Who Murdered The Partridge 85. A Giant Sleeps... English Language 48. Set Your Mind On Wishing 86. Hyperactive 11. And What Did Yer Get For 49. The Ugly Duckling 87. Visible Darkness Your Birthday 50. You And The Law 88. The Sea of Space 12. Power Play 51. The Man Whose Mother 89. Postcards from Nanna 13. Australian Born, Australian Bred Was A Pirate 90. Who Sank the Boat 14. Everything Under the Sun 52. Middleton Market 91. We Are Home Here – Centenary 15. Mr Rumble’s Jumble 53. Tiny Prod And The Silver Wings of Federation Song Cycle 16. Jeremy Jingle 54. Space Demons 92. No Joke! 17. A Splash of Yellow 55. Illusions 93. Pigs, Bears and Billy Goats Gruff 18. A Secret Hiding Place 56. Monkey See, Monkey Do 94. Sharon, Keep Ya Hair On! 19. The Great Australian What? 57. Melanie And The Night Animal 95. Wormhole! 20. Mr Cook-a-book’s Sound Recipe 58. Aesop’s Fables 96. Mr McGee and the Biting Flea 21. Patches 59. The Secret Garden 97. Emily Loves To Bounce 22. Pig Tales 60. When I Was Young 98. Special Delivery 23. Come Fly With Me 61. Clucky & The Vegetable Matter 99. The Fastest Boy in the World 24. Wake The Night 62. Evensong For Antarctica 100. The Happiest Show on Earth 25. The Billabong Circus 63. Beyond The Labyrinth 101. Me & My Shadow 26. Bizzy, Dizzy, Daffy and Arthur 64. The Hobbit 102. Little Green Tractor 27. The Ballot’s The Things 65. Paula 103. Theo and the Lion 28. Bowser Bill from Barren’ill 66. Birds Of The Moon 104. The Moon’s a Balloon 29. Son of Romeo 67. Once Upon A Ruby Red 105. Cranky Bear 30. Getoutovit 68. The Search For Biffy’s Head 106. Yo Diddle Diddle 31. Nothing’s Sacred 69. Pigs Might Fly 107. Can You Hear Colour? 32. Peacemaker 70. The Red King 108. Firefly Forest 33. Bush Invaders 71. Rak Awin 109. ZOOOM 34. Treasure Island 72. On the Lake 110. The Lighthouse 35. Lost In Time 73. Big Hand: Little Hand 36. Gladys O’Conk And 74. The Littlest History Of Theatre The Silly Robber In The World 37. Dad Is Yuk 75. Galax-Arena 38. The Soft Harry Show 76. Kookookachoo

41 South Australian Schools Attending Patch in 2020

1. Aberfoyle Park Campus Preschool 2. Adelaide Botanic High School 3. Adelaide High School 4. Adelaide North Special School 5. Akuna Kindergarten 6. Alberton Primary School 7. Aldinga Beach Children’s Centre 8. All Saints Catholic Primary School 9. Andrews Farm Community Preschool 10. 11. Baden Pattinson Kindergarten 12. Balharry Memorial Kindergarten 13. Barbara Kiker Memorial Kindergarten 14. Barker Kindergarten 15. Beachport Primary School 16. Berri Primary School 17. Blackfriars Priory School 18. Blackwood Primary School 19. Booleroo Centre District School 20. Brentwood Drive Kindergarten 37. Fairview Park Kindergarten 54. Huntfield Heights School P-7 21. CaFE Enfield Children’s Centre 38. Flaxmill Preschool 55. Il Nido Children’s Centre 22. Campbelltown Preschool 39. Freeling Primary School 56. Ingle Farm Children’s Centre 23. Cedar College 40. Frieda Corpe Community 57. J B Cleland Kindergarten Inc 24. Christian Brothers’ College: Kindergarten 58. Jamestown Community School Junior School 41. Glencoe & District Kindergarten 59. Jean Horan Kindergarten 25. Clare Primary School 42. Glencoe Central Primary School 60. Kalangadoo Kindergarten 26. Cobdogla Primary School 43. Glenunga International High 61. Karoonda Area School 27. Colonel Light Gardens Primary School 62. Kensington Gardens Preschool School 44. Glossop Primary Community 28. Cowell Area School School K-7 63. Kimba Area School 29. Darlington Children’s Centre 45. Grove Kindergarten 64. Kingston-on-Murray Primary School 30. Darwin Middle School 46. Gumeracha Primary School 65. Liberman Kindergarten 31. Disability Unit Roma Mitchell 47. Hackham Community Centre Secondary College 66. Lobethal Community 48. Hackham East Kindergarten Kindergarten 32. Dover Kindergarten 49. Hackham West Children’s Centre 67. Loxton North School 33. Eden Hills Kindergarten 50. Hackney Kindergarten 68. Lucy Morice Kindergarten 34. Edwardstown Primary School 51. Hallett Cove Karrara 69. Manor Farm Kindergarten 35. Eudunda Community Preschool Kindergarten 70. Margaret Lohmeyer 36. Eynesbury Senior College 52. Hawthorndene Kindergarten Kindergarten 53. Hendon Primary School

42 Schools Attending Patch 2020 continued

71. Marryatville High School 107. Renmark Children’s Centre 138. Trinity College South School 72. Marryatville Primary School 108. Renmark North Primary School 139. University of Adelaide 73. McArthur Park Kindergarten 109. Reynella South Preschool 140. University Senior College 74. Mid North Education Centre 110. Riverland Special School at Adelaide University 75. Millicent North Kindergarten 111. Robe Soldiers Memorial 141. Uraidla and Hills Community Kindergarten 76. Mitcham Primary School Kindergarten 142. Vineyard Lutheran School 77. Mitcham Village Kindergarten 112. Saint Ignatius’ College: Junior School 143. Walkerville Primary School 78. Moorook Primary School 113. Saint Michael’s College 144. Wandana Primary School 79. Mount Burr Primary School 114. Saint Michael’s College Junior 145. Westminster School OSHC 80. Mount Gambier Children’s School Centre 146. Williamstown Primary School 115. Scotch College Junior School 81. Mount Pleasant & District 147. Wilmington Primary School Kindergarten 116. Seacliff Primary School 148. Woodcroft College Inc 82. Napperby Primary School 117. Seaford K-7 A Birth to Year 7 149. Woodend Primary School Campus Preschool 83. Naracoorte Primary School 150. Woodville High School 118. Seaview Downs Kindergarten 84. Nazareth Catholic College 119. Specialised Assistance School 85. Neta Kranz Children’s Centre for Youth 86. Nicolson Avenue Primary School 120. St Agnes Preschool 87. NIDA - Technical 121. St Brigid’s Catholic Primary 88. NIDA -Acting School 89. Norrie Stuart Childhood 122. St Dominic’s Priory College Services Centre 123. St Joseph’s Parish School - 90. O’Halloran Hill Kindergarten Gladstone 91. O’Sullivan Beach Primary School 124. St Joseph’s School - Peterborough 92. Orroroo Kindergarten 125. St Michael’s Grammar School 93. Padthaway Primary School 126. St Peter’s College Early 94. Paradise Kindergarten Learning Centre 95. Parafield Gardens Children’s 127. St Peter’s Collegiate Centre Girls’ School 96. Parkside Primary School 128. St Peters Woodlands Grammar 97. Peterborough Primary School School ELC 98. Plympton International College 129. St Therese Primary School 99. Port Augusta Children’s Centre 130. Stirling District Kindergarten 100. Port Pirie West Children’s 131. Stirling North Childhood Centre Services Centre 101. 132. Stirling North Primary School 102. Raukkan Aboriginal School 133. Sturt Street Community School 103. Redeemer Lutheran ELC 134. Suneden Special School 104. Redeemer Lutheran School 135. Surrey Downs Kindergarten 105. Rendelsham Preschool 136. Tenison Woods College 106. Rendelsham Primary School 137. The Hills Montessori School

43 Patch is proudly supported by

Patch Theatre Company Inc. Level 1/154, Angas Street Adelaide SA 5000

www.patchtheatre.org.au [email protected]