Belvoir Annual Report 2011 65 66 Hamish Michael in As You Like It
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Government Partners Belvoir Annual Report 2011 65 66 Hamish Michael in As You Like It. Photo: Heidrun Löhr. Contents The Belvoir Story 02 Core Values, Principles and Mission 03 Chairs’ Reports 04 Artistic Director’s Report 08 General Manager’s Report 10 2011 Season and Tours 12 Awards 31 Artistic and Programming 32 Education 34 Board and Staff 37 Donors 38 Financial Statements 43 Key Performance Indicators 44 Directors’ Report 46 Meetings of Directors 50 Statement of Comprehensive Income 51 Statement of Financial Position 52 Statements of Cash Flows and Changes in Equity 53 Notes to the Financial Statements 54 Auditor’s Independence Declaration and Report 63 Partners, Sponsors and Supporters 64 The Belvoir Story Core Values and Principles One building. • Belief in the primacy of the Six hundred people. artistic process Thousands of stories. • Clarity and playfulness in When the Nimrod Theatre building in Belvoir Belvoir’s position as one of Australia’s most storytelling Street, Surry Hills, was threatened with innovative and acclaimed theatre companies • A sense of community within demolition in 1984, more than 600 people has been determined by such landmark the theatrical environment – ardent theatre lovers together with arts, productions as The Diary of a Madman, entertainment and media professionals – The Wild Duck, The Blind Giant is Dancing, • Responsiveness to current formed a syndicate to buy the building and Cloudstreet, Measure for Measure, Keating!, social and political issues save this unique performance space in inner- Parramatta Girls, Exit the King, The Alchemist, • Equality, ethical standards and city Sydney. Hamlet, Waiting for Godot, The Sapphires, shared ownership of artistic Who’s Afraid of Virginia Woolf? and Over 25 years later, this space, known as Stuff Happens. and company achievements Belvoir St Theatre, continues to be the home • Development of our of one of Australia’s most celebrated theatre Belvoir receives government support for companies – Belvoir. Under the artistic its activities from the Federal Government performers, artists and staff leadership of Ralph Myers and General through the Major Performing Arts Board Manager Brenna Hobson, Belvoir engages of the Australia Council and the State Australia’s most prominent and promising Government through Arts NSW. playwrights, directors, actors and designers to realise an annual season of work that is dynamic, challenging and visionary. As well as performing at home, Belvoir regularly takes to the road, touring to major arts centres and festivals both nationally and Mission internationally. Both the Upstairs and Downstairs stages at To produce theatrical works Belvoir St Theatre have nurtured the talents from a shared vision that of many renowned Australian artists: actors question and affirm our culture, including Geoffrey Rush, Cate Blanchett, extend and develop our artists Toby Schmitz, Robyn Nevin, Deb Mailman and Richard Roxburgh; writers such as and provide audiences with Tommy Murphy, Rita Kalnejais, Lally Katz experiences of imaginative and Kate Mulvany; directors including Simon daring and emotional depth. Stone, Benedict Andrews, Wesley Enoch, Rachael Maza and former Belvoir Artistic Director Neil Armfield. 02 Ian Meadows & Megan Holloway in Neighbourhood Watch. Photo: Brett Boardman. Outgoing Chair’s Report Chair’s Report Louise Herron Andrew Cameron What can I say but Kitney, Michael Coleman, Russell Dykstra, This is my first report The end of 2011 saw a number of milestones thank you? It was an Brian Thomson. Once that hurdle had been to you as Chair of passed: honour and a privilege crossed, we were delighted to welcome Gail Belvoir. As many of • 2011 was the first year of Ralph’s artistic to chair Belvoir for Hambly, Peter Carroll, Frank Macindoe and you may be aware, our direction, when he had full responsibility for almost 10 years. And it Rob Brookman. longstanding Chair, planning the season; changed my life. Louise Herron, was Belvoir’s home dealt with, Neil felt it was time appointed Chair of • This was the first year that Belvoir took full When my old university to move on. He gave us plenty of notice the Major Performing artistic control and financial responsibility friend, Anne Britton, and was, and remains, entirely supportive Arts Board of the for the Downstairs space. asked whether I would of Belvoir. That led to the appointment of Australia Council be interested in joining Ralph Myers – an appointment that enhances • Record subscription numbers and ticket in June 2011. This her on the Belvoir Board, my initial reaction the brilliance of Belvoir: edgy, bold and sales as audiences bought into Ralph’s new role recognises Louise’s extraordinary was that I was not sure what I could add, enormously appealing. vision and programming. achievements and contribution to Belvoir but that I would certainly love to give it a go. Finally, we were able to complete the move and the performing arts in Australia over a More of this will be covered in Brenna’s After about a year the previous Chair, Richard away from parity pay under which all staff and 10-year period. During that time, she led a report. Harper, stepped down and Neil Armfield artists were paid the same amount (‘Australia’s remarkable renewal process at the company asked me over a glass of champagne at We were delighted to be able to present last commune,’ said Paul Keating) to a system that included undertaking a major building the Opera House whether I would consider the first year of productions where several that enables Belvoir to attract and retain more project, leading a substantial fundraising taking Richard’s place as Chair. Though I felt new plays were supported by funds from experienced staff. drive, the appointment of our current somewhat daunted, the challenge excited the Creative Development Fund. The General Manager, Brenna Hobson, and the me and, with the support of the Board and The beauty of the Board’s relationship with CDF specifically directs money to creative transition of Belvoir’s artistic direction from management, I accepted with pleasure. the company was that we all appreciated that development of one or two new projects our role was to enable great art, but to leave Neil Armfield to Ralph Myers. In addition, each year. Belvoir can provide funds to allow As Neil said in my farewell speech, I am much the artistry to the artists. And what great art it Louise was Chair during the restructuring of scripts to be workshopped with a cast and better with a project so it was a good thing was; I remember most vividly Toy Symphony, Belvoir’s longstanding parity pay structure director, and developed to a point where that there were many things to be done. The The End and My Zinc Bed to mention a few. to a new industry-based salary regime. they are suitable to be programmed into the first project that presented itself was the much- It was marvellous watching the development Under her leadership, Belvoir’s finances, Upstairs or Downstairs space. In 2011, Lally needed theatre renovation, and helping find of upcoming directors and writers, including governance, Board structure and staffing Katz’s delightful play Neighbourhood Watch the money to do that. When the City of Sydney Wayne Blair, Wesley Enoch, Kate Mulvany, were transformed. A whole new platform was the first project to benefit from the rejected our initial comprehensive renovation Lally Katz, Sam Strong, Simon Stone and for the future stability of Belvoir has been Creative Development Fund. plans, we had another challenge of finding a built. It is a tremendous achievement and Eamon Flack. This year we were excited to present two building nearby to house administration and we are extremely grateful to Louise for her Indigenous productions using funding rehearsal rooms. Finding, with Russell Crowe’s Then there were the staff, so ably led by leadership, commitment of time and her skill from The Balnaves Foundation: Jack help, and then buying the warehouse on the General Managers Rachel Healy, Sue Donnelly, to lead us through all of this. There were Charles v The Crown and Windmill Baby. corner of Elizabeth and Belvoir Streets, was Vicki Middleton and finally Brenna Hobson, with plenty of tough moments, but Louise was We are extremely grateful to The Balnaves a stroke of luck. Neil couldn’t have timed whom I have had a very special relationship. able to find a way through the maze, often Foundation for this commitment to Belvoir, his sell-out shows, particularly Keating! the I was very pleased to be appointed to chair aided by her sense of humour. We will miss and we look forward to working with them musical, any better. They provided not only the Major Performing Arts Board, the arm of her generous grin and that ringing laugh. in 2012. As an extension of their support of much-needed funds, but broader support for the Australia Council that oversees federal Without doubt, 2011 was a year of transition Belvoir, we are delighted that The Balnaves the company and its work. and state funding for our major performing and consolidation for Belvoir. As Louise Foundation has agreed to fund the annual arts companies, including Belvoir. It meant I Andrew Cameron and Peter Watts were noted in her report last year, five years ago Indigenous Playwright’s Award, which was had to leave Belvoir and, although I will miss extraordinary Board members (Andrew from it would have been hard to imagine a post- launched in April 2012. Belvoir St Theatre Limited, which owns the it, it seemed the right time. This time, I am Neil Belvoir. Here we are at the end of 2011 building, and Peter from the Belvoir Board). better prepared for the task, but the question having survived, in fact prospered, under a They oversaw the renovations with enormous is whether it (or anything) can ever be as new artistic regime.