Belvoir Annual Report 2012 Belvoir Annual Report 2012

18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au

Front cover: Colin Friels & Patrick Brammall in Death of a Salesman. Photo: Heidrun Löhr. Annual Report Production Coordination Belvoir Marketing Department Design Alphabet Studio Printing No Time To Lose

For any Annual Report enquiries please contact: Belvoir Marketing Department 18 Belvoir St, Surry Hills NSW 2010 tel +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 [email protected]

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Michael Mohammed Ahmad in I’m Your Man. Photo: Heidrun Löhr. Emma Jackson in Food. Photo: Heidrun Löhr. Contents

The Belvoir Story 02 Core Values, Principles and Mission 03 Chair’s Report 04 Artistic Director’s Report 06 General Manager’s Report 08 2012 Season and Tours 10 Awards 31 Artistic and Programming 32 Education 34 Board and Staff 37 Donors 38 Financial Statements 43 Key Performance Indicators 44 Directors’ Report 46 Directors’ Meetings 50 Auditor’s Independence Declaration 50 Statement of Comprehensive Income 51 Statement of Financial Position 52 Statements of Changes in Equity and Cash Flows 53 Notes to the Financial Statements 54 Directors’ Declaration 62 Auditor’s Report 63 Partners, Sponsors and Supporters 64 The Belvoir Story Core Values and Principles

One building. • Belief in the primacy of Six hundred people. the artistic process Thousands of stories. • Clarity and playfulness When the Nimrod Theatre building in Belvoir Belvoir’s position as one of Australia’s most in storytelling Street, Surry Hills, was threatened with innovative and acclaimed theatre companies • A sense of community within redevelopment in 1984, more than 600 has been determined by such landmark the theatrical environment people – ardent theatre lovers together with productions as The Wild Duck, The Diary of arts, entertainment and media professionals a Madman, The Blind Giant is Dancing, The • Responsiveness to current – formed a syndicate to buy the building and Book of Everything, Cloudstreet, Measure social and political issues save this unique performance space in inner- for Measure, Keating!, Parramatta Girls, Exit • Equality, ethical standards city Sydney. the King, The Alchemist, Hamlet, Waiting for and shared ownership Godot, The Sapphires, Who’s Afraid of Virginia More than 25 years later, under the artistic Woolf? and Stuff Happens. of artistic and company leadership of Ralph Myers and General achievements Manager Brenna Hobson, Belvoir engages Belvoir receives government support for Australia’s most prominent and promising its activities from the Federal Government • Development of our playwrights, directors, actors and designers through the Major Performing Arts Board performers, artists and staff to realise an annual season of work that is of the Australia Council and the state dynamic, challenging and visionary. As well government through Arts NSW. as performing at home, Belvoir regularly takes to the road, touring both nationally and internationally. Both the Upstairs and Downstairs stages at Belvoir St Theatre have nurtured the Mission talents of many renowned Australian artists: actors including Geoffrey Rush, Cate Blanchett, Jacqui McKenzie, Toby Schmitz, To produce theatrical works Robyn Nevin, Deb Mailman and Richard from a shared vision that Roxburgh; writers such as Tommy Murphy, question and affirm our culture, Rita Kalnejais, Lally Katz and Kate Mulvany; extend and develop our artists, directors including Simon Stone, Benedict Andrews, Wesley Enoch, Rachael Maza and and provide audiences with former Belvoir Artistic Director Neil Armfield. experiences of imaginative daring and emotional depth.

02 Leah Purcell in Don’t Take Your Love to Town. Photo: Brett Boardman. Chair’s Report Andrew Cameron

2012 was a milestone including Baker & McKenzie, Ernst & Young, year for Belvoir. Eye, The Sydney Morning Herald, Avant Card We presented 14 and Woolcott Research. We also warmly productions in total – thank our new media partner, SBS/Studio. eight in the Upstairs A couple of new initiatives were taken in Theatre, five in the 2012, including the formation of the Belvoir Downstairs Theatre and Foundation, and also The Hive, which one at Carriageworks. is a Belvoir/Playwriting Australia (PWA) In short, that meant collaboration. The Belvoir Foundation has work for 14 teams been incorporated as a separate entity to raise of directors, set and bequests and endowment funds to ensure lighting designers, costume designers and our activities are sustained into the future. production staff… as well as work for 14 Blazey Best & Ewen Leslie in The Wild Duck at the International Ibsen Festival, Oslo. Photo: Mari Ekkje. The Hive is a collective of like-minded, teams of actors. Well over 100,000 people committed philanthropists whose annual came through the doors of our little theatre donation helps actors, writers, directors and building in Belvoir Street in 2012 to see a other creatives strike out on new adventures Belvoir production. in content and form. This collaboration In 2012 Belvoir also undertook an ambitious will direct funds towards one Downstairs touring program, including taking The Book production of a new Australian play each of Everything to New York and The Wild Duck season, and one PWA Resident Playwright to Oslo. A number of Belvoir productions and seed commission each year. toured across Australia. More about this in Funding from our government partners has Brenna’s report. continued to support our endeavours. Both We were delighted to be able to present the NSW Government, through Arts NSW, productions using funds from the Creative and the Commonwealth Government, Development Fund and the Chair’s Group. through the Australia Council, provide These are two of our valued supporters’ significant funding to allow us to employ groups, which raise funds for Belvoir and pay our staff and creatives an industry- productions, and both ensure that we related wage. This ongoing funding assists can extend our reach and ambition. us to develop careers for a new generation We are grateful for this support. of arts professionals. We are extremely grateful to The Balnaves There were some changes to the Belvoir Nakkiah Lui, winner of the inaugural Balnaves Foundation Indigenous Playwright’s Award. Photo: Patrick Boland. Foundation for their ongoing commitment Board in 2012. During the year we made to Belvoir towards staging Indigenous two new appointments: None of what we have achieved in 2012 Finally, without the artistic leadership provided productions. In 2012, funds from The –– Richard Evans, previously CEO of the would have been possible without the by Ralph Myers, and all the talented creatives Balnaves Foundation supported the staging of Sydney Opera House and well known outstanding Belvoir team and the leadership who have worked at Belvoir during 2012, we the wonderful shows Don’t Take Your Love to to many in the performing arts, brings a of our General Manager, Brenna Hobson. would not have the many productions that Town and Beautiful One Day. As an extension wealth of skill and experience in the sector; Brenna has worked tirelessly and with great have sustained, intrigued and delighted us of their support for Belvoir, the first annual skill to strengthen the company internally this year. They have played to great acclaim Balnaves Foundation Indigenous Playwright’s –– Olivia Pascoe has been a long-standing and broaden Belvoir’s activities and profile in in the Belvoir theatres, around Australia and Award was awarded to Nakkiah Lui, whose Belvoir supporter and has worked in the community. She is highly regarded within overseas. On behalf of the Board and team work is part of Belvoir’s 2013 Season. strategic marketing. Olivia is assisting with The Hive project. the performing arts sector and we are very at Belvoir, I thank and congratulate them. The Two other philanthropic foundations fortunate to have her at the helm. We are ongoing inventiveness and vitality of their work supported Belvoir productions with substantial I would also like to thank all the hardworking pleased to present the audited 2012 accounts is the bedrock of Belvoir’s success. donations, and we sincerely thank them. members of the Belvoir Board for their and Financial Report, which show a modest advocacy, skills and financial support. Andrew We are ever grateful to our Corporate Partner, surplus and total reserves which are now Optus, and our other major sponsors for 2012 close to our goal of a capital reserve of 20% of turnover. 04 05 Artistic Director’s Report Ralph Myers

My desk is covered in I could fill this foreword with a neat and tidy, plays: it’s programming blow-by-blow (or should that be show-by- time again and my show) account of the year as it played out, days are filled with the saying nice things about everyone. But you happy task of reading don’t want to read that, do you? Instead I’m the classics as well as going to drink the whole bottle of gin that’s newly minted creations been sitting in my bottom drawer for oh, straight from the days now, and then write a potpourri of the brains of this country’s most memorable bits of the year that was best and brightest 2012. So here I go. playwrights. But now I must take a moment Ah, that tastes good. to make a clearing in this mountain of paper to cast my mind back to last year and write I should point out it’s 11:30am. this note. –– Barry O’Farrell. That’s where my mind Luke Mullins & Colin Friels with that Ford Falcon in Death of a Salesman. Photo: Brett Boardman. 2012 was my second season as Artistic goes straight away. The then-new Director here at Belvoir. Lots of people premier (who, it turns out is a diligent warned me about how hard this would be. theatre attendee – big cheers!) came About the difficult second album. That made to the opening night of Thyestes at –– Colin Friels. Gassing himself every night –– The seamless white void of Bob Cousin’s me nervous. In retrospect, I didn’t need to be. Carriageworks. I wondered what he’d in Death of a Salesman. Amazing. Never set for Strange Interlude. The impression Looking back I was enormously proud of the make of it. As the houselights went out a dry eye in the house. A lesson in acting of infinite space in a theatre with very solid season, and the brilliant work that the artists it occurred to me that it might not be to from start to finish. brick walls delineating the stage. and crew created across the whole year. his taste. It occurred to me that it might not be to his taste to such an extent that –– And that Ford Falcon. I loved it. –– Leah Purcell bursting into Kenny Rodgers’ The greatest lesson from the year – and the ‘Don’t Take Your Love to Town’ in Don’t we might never get a cent of funding –– Toby Truslove’s leg, and the slow most important one to remember as we Take Your Love to Town. Incredible. ever again. I sat beside him and his wife realisation by the audience that he wasn’t read plays and hear ideas from artists for desperately wanting to glance across and pretending it was broken. And Toby –– Leah Purcell in general. the 2014 Season – is that the greatest risks see how he was reacting to the sadistically Schmitz (his fellow actor in Private Lives) paid the greatest dividends. Take for example I could go on and on. You could have violent, dildo-wielding, homoerotica that mercilessly exploiting his fresh injury for Anne-Louise Sarks’ Medea. Everything about guessed that I don’t really have a bottle of was playing out on stage. Then I realised comic effect. her idea was crazy. Two young kids on stage gin in my bottom drawer. It’s not Mad Men. that the other half of the audience who alone for most of the night? Crazy. Throwing –– Vomit. The night that a slightly tired and I don’t even have a bottom drawer, if truth were sitting across from us were thinking away the texts of all the great playwrights emotional audience member spewed all be told. the same thing as me. They were mostly who have tackled that myth and letting over the two rows in front of her in Food looking straight past the actors and at the I should take this opportunity to thank all the the kids improvise? Crazy. The result was (Kate Champion and Stevie Rodgers’ premier. They were just as interested as I artists and staff of Belvoir for their great work, breathtakingly brilliant. And it was brilliant charming Downstairs show), just as they was. I was watching them watching him. particularly my partner-in-crime, co-CEO and precisely because of those crazy, crazy were serving the soup to the audience. We had inadvertently created a theatrical General Manager Brenna Hobson. They are choices. Risk-taking pays off. Not always, of And then tried to argue her way back into feedback loop. I need not have feared. It ALL wonderful, wonderful people who work course – otherwise it wouldn’t be risky – but the theatre after tidying herself up. Ah, turns out he loved it. way, way harder than we could possibly no pain, no gain. It’s easy to think that there theatre for the people, by the people. expect them to. Thank you, all. is a formula for making theatre or putting –– Roslyn Oades. I loved I’m Your Man – her –– Rory Potter playing dead in Medea. together a season. Of course, there is not. brilliant transformation of the Downstairs I suspect Brenna’s note, which accompanies Such a brilliant way to start the show. There are no rules. We’ve just got to keep Theatre into a boxing gym. I loved the this one, will be a more sober, and perhaps taking deep breaths and going for it. smell of sweat. I loved hearing the stories –– The great Peter Carroll face to face with informative, reflection of the year that was. and voices of a world of performance so Leon Ford playing the son he’d never I hope you find this Annual Report interesting. far removed from our own. I loved the known, at the climax of Matt Whittet’s All those stats and numbers are a pretty dry purity of her vision, and the clarity of her beautiful Old Man. telling of what was, I think, a pretty juicy year. storytelling. I loved the show. Best, Ralph

06 07 General Manager’s Report Brenna Hobson

2012 was a positive Australian theatrical culture, like other out of town for committing sacrilege? It turns The endorsement of audiences was further year for Belvoir. After aspects of our identity, operates at a slight out the answer was no; the Norwegians reinforced by a growing and vital band of the excitement of remove from that of the rest of the world. We know Ibsen’s work incredibly well and they donors who invest in what we do, often Ralph’s appointment can’t just catch a train across a border to see are excited about new ways of seeing before there is anything more than the most and first season another country’s work; we have to either it. Our production was not considered ephemeral idea for a project. Each of those in 2011, this year wait for international work to come to us particularly radical and many audience donors, whether they are giving significant was an opportunity imported by a major arts festival or venue, or members commented that they hadn’t felt gifts or just adding a small donation to to consolidate and we have to make a concerted effort to travel so much in the theatre for a long time. That their subscription form, is making our work cement some of the to it. This means that our theatrical voice is experience was a reaffirmation of our work possible. In 2012 this support helped us take gains we had made as distinctive. It might owe a lot to English and and has led to more offers to share our The Book of Everything to New York, develop an organisation. Summer of the Seventeenth European traditions but it has also developed voice with other cultures. The Wild Duck the award-winning Medea, spend four Doll and The Wild Duck, which had so independently of them due to geographical will perform at both the Holland Festival in weeks on Palm Island creating Beautiful One delighted Sydney audiences in Ralph’s first distance – and no amount of peering at Amsterdam and Wiener Festwochen (the Day, hold readings and script development season, took to the national stage with YouTube clips can change that in a medium Vienna Festival) in 2013, where we follow workshops in Sydney and Melbourne, run substantial runs in Melbourne, as well as that is defiantly transitory. on from our colleagues at Sydney Theatre two workshops of new play Forget Me Not trips to Brisbane, Canberra and Wollongong Company and Back to Back Theatre who (2013 Season) in Liverpool, England, fund There is a lot to be proud of in this for The Doll. Both productions picked up a performed in Vienna in 2012 with two very seven new commissions, as well as support distinctiveness but it can also make us number of Green Room Award nominations, different productions. And that’s the point our Education department and underpin nervous. Are we doing work the right way? proving that it’s not just Sydney audiences really: Australian work is receiving invitations the work of our company in general. Our Do we have any right to personalise canonical who enjoy our work. It’s important that to travel all over the world – it is rightly work for the education sector is one of the works from other cultures? Is there an we’re able to take our shows to as many considered world class. lesser-known aspects of what we do but it is omniscient artistic force behind our work that Australians as possible, so we were pleased incredibly important to us and to the students should be slavishly followed, even if said force While our touring success has been to share Ralph’s production of Private Lives and teachers we reach – more on that work is centuries dead and no longer available for enormously satisfying, our focus is always with audiences in Canberra and Wollongong, on pp34–36 of this Annual Report. clarification? As someone who sees a great on our little corner of Surry Hills and the and Simon Stone’s production of Death deal of Australian and international work, magic that can be created there when the Our forward-thinking supporters, most of a Salesman with audiences in Geelong. I have to say I believe our voice stacks connection between artists and audiences notably our Corporate Partner Optus, Salesman also marked the first time the up pretty well on the world stage. is just right. In 2012 the Downstairs Theatre continue to be stalwarts of our organisation. company was able to take a production really came into its own. Each production With only 16% of our income being derived directly from our first season to an extension For Belvoir it was wonderful to have this presented in that space in 2012 was a new from (very welcome) government investment, at a larger venue. Our two-week run at the borne out twice in 2012. Our production Australian work; most created by artists that a diverse revenue base including the private Theatre Royal meant that we were able to of The Book of Everything – an Australian were either new to our stages or new to sector is incredibly important. My thanks to reach an additional 11,000 people after the adaptation of a Dutch children’s novel – their particular roles, most enjoyed extended both the Belvoir and the Belvoir St Theatre Belvoir season sold out. This was particularly played to great acclaim at the prestigious seasons to accommodate audience demand, Limited Boards who are active in this area. pleasing because 75% of the Theatre New Victory Theater in New York. This and most will tour to meet new audiences in Royal audience had never seen a Belvoir was followed by an invitation to present All of what I have outlined above constitutes 2013 and beyond. production before. The Wild Duck at the International Ibsen a great deal of work, and the (often unseen) Festival in Oslo, Norway. The Norwegians This focus continued in the Upstairs Theatre team that makes up Belvoir rose to the Belvoir is performing well financially. Last year are understandably proud of their national (and Carriageworks for one production) challenge with enormous generosity and we increased our turnover from $10,805,923 playwright; his apartment has been where seven of our productions were new grace. Everyone who works at Belvoir makes in 2011 to $11,659,250 with a modest preserved and crowds still gather to visit Australian works and 65 artists were new an invaluable contribution to what we put on surplus of $80,000. We were pleased to be the café where he wrote every day. Every to the company. It was wonderful to see stage and I thank all of them for being the able to invest heavily in the R&D aspect of two years the National Theatre holds a audiences embrace this spirit with record best team in the country. our operations and the Downstairs Theatre, festival in Ibsen’s honour. So when our subscriber numbers, and we played to as well as being able to withstand the Thanks to one and all. production, with a substantially rewritten 122,801 people in our building alone. financial difficulties imposed by cast illness script set in the present and played with Brenna and a difficult funding climate prior to the broad Australian accents, was invited we announcement of the National Cultural Policy. were a little apprehensive. Would we be run

08 09 Hazem Shammas & Russell Kiefel. Photo: Heidrun Löhr.

2012 Season and Tours Buried City 6 January – 5 February Upstairs Theatre

Statistics Performances 35 Total Available Tickets 11,445 Total Audience 7,320 Box Office Income $221,411

Written by Singer-Songwriter Assistant Director Raimondo Cortese Perry Keyes & Stage Manager Original Concept & Movement Director Frank Mainoo Directed by Kathy Cogill Assistant Stage Manager Alicia Talbot UTP Executive Producer Gina Bianco Set & Costume Designer Michelle Kotevski Co-Devisors & Performers Mirabelle Wouters Production Consultant Valerie Berry Lighting Designers Neil Fisher Perry Keyes Russell Kiefel Neil Simpson with Production Manager Effie Nkrumah Sean Bacon Sharna Galvin Hazem Shammas Composer & Community Liaison Meyne Wyatt Sound Designer Annie Winter Paul Prestipino

A co-production with Urban Theatre Projects and Sydney Festival

…a powerful work about the importance Meyne Wyatt’s edgy performance of watching out for people who, in the is compelling. chaos of the contemporary world, seem The Daily Telegraph to have fallen by the wayside... 10 The Australian 11 Michael Mohammed Ahmad & Billy McPherson. Photo: Heidrun Löhr. Thomas Henning & Mark Winter. Photo: Heidrun Löhr.

I’m Your Man Thyestes 12 January – 5 February 15 January – 19 February Downstairs Theatre Carriageworks

Statistics Statistics Performances 26 Performances 38 Total Available Tickets 2,158 Total Available Tickets 12,312 Total Audience 2,061 Total Audience 9,683 Box Office Income $46,726 Box Office Income $335,319

Created & Directed by Project Manager Interview Assistants Written by Composer & Stage Manager Roslyn Oades Tim Carroll Michael Mohammed Ahmad Thomas Henning, Chris Ryan, Sound Designer Eva Tandy Sound Designer Script Consultant Tim Carroll Simon Stone & Mark Winter Stefan Gregory Assistant Stage Manager Bob Scott Raimondo Cortese Jaleesa Donovan after Seneca Dramaturg Rebecca Poulter Choreographer Design Consultant With Directed by Anne-Louise Sarks With (Branch Nebula) Ralph Myers Michael Mohammed Ahmad Simon Stone Technical Manager Thomas Henning Billy McPherson Lee Wilson Technical Supervisor Set & Costume Designer Neil Fisher Chris Ryan Katia Molino Lighting Designer & Holly Woollard Claude Marcos Head Mechanist Mark Winter Justin Rosniak Production Manager Lighting Designer Warren Sutton Production Assistant John Shrimpton Neil Simpson Anna-May Evans Govin Ruben

A co-presentation with Sydney Festival in association with Carriageworks. A co-production with Sydney Festival in association with BYDS Originally created by The Hayloft Project. A Malthouse Theatre commission.

You seldom see theatre (verbatim or ...gets into and under your skin, Each moment is perversely ordinary You won’t forget anything as intense otherwise) as vivid and warm as this. landing punches long after the or suddenly terrifying. and penetrating – and brilliant – as The Sydney Morning Herald players exit the ring. The Sun Herald Thyestes in a hurry. Time Out Time Out

12 13 Eamon Farren & Sara West. Photo: Heidrun Löhr. Angie Milliken & Shelly Lauman. Photo: Heidrun Löhr.

Babyteeth Every Breath 11 February – 18 March 24 March – 29 April Upstairs Theatre Upstairs Theatre

Statistics Statistics Performances 41 Performances 41 Total Available Tickets 13,407 Total Available Tickets 13,407 Total Audience 11,585 Total Audience 10,316 Box Office Income $365,778 Box Office Income $328,918

Written by Sound Designer With Written & Directed by Assistant Lighting Designer Assistant Stage Manager Rita Kalnejais Steve Francis Kathryn Beck Benedict Andrews Sian James-Holland Tia Clark Helen Buday Directed by Assistant Director Set & Costume Designer Melbourne Production With David Carreon Eamon Flack Kit Brookman Alice Babidge Manager John Howard Sean Chu Set Designer Fight Choreographer Allan Maguire (Megafun) Shelly Lauman Russell Dykstra Lighting Designer Robert Cousins Scott Witt Eloise Mignon Eamon Farren Nick Schlieper Wardrobe Supervisor Angie Milliken Costume Designer Stage Manager Greg Stone Lauren De Innocentis Composer Dylan Young Alice Babidge Luke McGettigan Sara West Oren Ambarchi Stage Manager Lighting Designer Assistant Stage Manager Mel Dyer Sound Designer Niklas Pajanti Liz Astey Luke Smiles Composer Alan John

The revelations and complexities Moving, confronting, hopeful and …Benedict Andrews is one of the most …the cast don’t hold of this powerful production linger above all, humane, Babyteeth will exciting theatrical talents to emerge from anything back… long after it has ended. leave many in tears. this country in the past twenty years… The Daily Telegraph The Australian The Sydney Morning Herald The Sydney Morning Herald 14 15 Kate Box & Emma Jackson. Photo: Heidrun Löhr. Toby Schmitz, Toby Truslove & Emily Barclay. Photo: Heidrun Löhr.

Food Strange Interlude 26 April – 3 June 5 May – 17 June Downstairs Theatre Upstairs Theatre

Statistics Statistics Performances 41 Performances 49 Total Available Tickets 3,403 Total Available Tickets 16,023 Total Audience 3,327 Total Audience 15,290 Box Office Income $81,758 Box Office Income $512,807

Written by Composer & With Written by Composer & With Steve Rodgers Sound Designer Fayssal Bazzi Simon Stone after Sound Designer Akos Armont Ekrem Mülayim Kate Box Eugene O’Neill Stefan Gregory Nicholas Bakopoulos-Cooke Directed by Emma Jackson Emily Barclay Kate Champion & Assistant to the Directors Directed by Composition & Sound Mitchell Butel Steve Rodgers Danielle Micich Simon Stone Design Secondment James Hoare Marty Jamieson Set & Costume Designer Producer (Force Majeure) Set Designer Callum McManus Anna Tregloan Karen Rodgers Robert Cousins Stage Manager Kris McQuade Eva Tandy Lighting & Audio Visual Stage Manager Costume Designer Eloise Mignon Designer Erin Daly Mel Page Assistant Stage Manager Anthony Phelan Martin Langthorne Rebecca Poulter Toby Schmitz Lighting Designer Toby Truslove Damien Cooper Stage Management Secondment A co-production with Force Majeure Khym Scott

Food is – the foodie analogies are irresistibly The performers slide from …this brilliant and thoughtful It’s heart-wrenching, agonising appropriate – a nourishing theatrical dish dramatic realism to sensual production is another sign that he and yet full of gut-bustingly with some unexpected flavours. movement and back in such a is a director to be taken seriously. funny, sharply written dialogue. Time Out way that you don’t question it. The Australian The Daily Telegraph 16 The Sydney Morning Herald 17 Tom Usher & Leon Ford. Photo: Heidrun Löhr. Hamish Michael, Colin Friels & Patrick Brammall. Photo: Heidrun Löhr.

Old Man Death of a Salesman 7 June – 15 July 23 June – 19 August 23 October – 3 November Downstairs Theatre Upstairs Theatre Theatre Royal

Statistics Statistics Statistics Performances 41 Performances 64 Performances 13 Total Available Tickets 3,403 Total Available Tickets 20,928 Total Available Tickets 15,379 Total Audience 3,248 Total Audience 19,744 Total Audience 11,005 Box Office Income $81,001 Box Office Income $690,331 Box Office Income $650,370

Written by Assistant Director Written by Assistant Director Head of Sound (Theatre Royal) Matthew Whittet Nescha Jelk Arthur Miller Jennifer Medway Caitlin Porter Directed by Stage Manager Directed by Fight Choreographer Head Electrician (Theatre Royal) Anthea Williams Drew Cipollone Simon Stone Scott Witt Len Samperi Set & Costume Designer With Set Designer Stage Managers With Mel Page Alison Bell Ralph Myers Mel Dyer Paula Arundell Madeleine Benson Costume Designer Luke McGettigan Blazey Best Lighting Designer Peter Carroll Alice Babidge Eva Tandy (Theatre Royal) Patrick Brammall Hartley T A Kemp Colin Friels Leon Ford Lighting Designer Assistant Stage Managers Composer & Steve Le Marquand Gillian Jones Nick Schlieper Mel Dyer Sound Designer Mitzi Ruhlmann Chantelle Foster Genevieve Lemon Stefan Gregory Lighting Realiser Hamish Michael Tom Usher Stage Management Matt Cox (Theatre Royal) Pip Miller Zac Ynfante Secondment Composer & Luke Mullins Grace Nye-Butler Sound Designer Christopher Stollery Stefan Gregory Touring Production Manager Whittet, also an actor, has a way with …Peter Carroll’s depth-charge of a Daniel Potter words...that takes us right inside the performance as the titular character hearts and minds of these people. takes this into another realm entirely. Stone and his team have created a world that encapsulates perfectly the Crikey The Daily Telegraph rage and grief that sits at the heart of all tragedy since the ancients. 18 Time Out 19 Rennie McDougall, Megan Holloway, Harriet Ritchie & Alisdair Macindoe. Photo: Brett Boardman. Toby Truslove, Zahra Newman & Toby Schmitz. Photo: Heidrun Löhr.

Conversation Piece Private Lives 25 August – 16 September 22 September – 11 November Upstairs Theatre Upstairs Theatre

Statistics Statistics Performances 25 Performances 56 Total Available Tickets 8,175 Total Available Tickets 18,334 Total Audience 6,319 Total Audience 18,334 Box Office Income $180,358 Box Office Income $619,740

Choreographed & Stage Manager Written by Composer & Assistant Stage Manager Directed by Melanie Stanton Noël Coward Sound Designer (rehearsal) Lucy Guerin Stefan Gregory Stephen Moylan Assistant Stage Manager Directed by Set & Costume Designer Edwina Guinness Ralph Myers Assistant Director Fight Director Robert Cousins Kit Brookman Scott Witt With Set Designer Lighting Designer Alison Bell Ralph Myers Stage Manager With Damien Cooper Megan Holloway Luke McGettigan Mish Grigor Costume Designer Alisdair Macindoe Eloise Mignon Composer & Alice Babidge Assistant Stage Manager Rennie McDougall Zahra Newman Sound Designer Mel Dyer Harriet Ritchie Lighting Designer Toby Schmitz Robin Fox Matthew Whittet Damien Cooper Toby Truslove

A co-production with Lucy Guerin Inc

They pull it off with grace, …alternates between nonsensical, This startlingly fresh production Myers has really pulled a very funny, wit and flair. intriguing, moving and hilarious. is, as Coward intended, very successful, likeable, unpretentious rabbit Time Out Stage Noise sexy and very funny. out of his terry-towelling hat, adding a The Australian few light touches of his own. 20 Crikey 21 Rachael Maza, Harry Reuben, Kylie Doomadgee & Magdalena Blackley with Palm Island elders on screen. Joseph Kelly, Blazey Best & Rory Potter. Photo: Heidrun Löhr. Photo: Heidrun Löhr.

Medea Beautiful One Day 11 October – 25 November 17 November – 23 December Downstairs Theatre Upstairs Theatre

Statistics Statistics Performances 34 Performances 41 Total Available Tickets 2,822 Total Available Tickets 13,407 Total Audience 2,774 Total Audience 9,864 Box Office Income $65,518 Box Office Income $288,785

Written by Composer & Assistant Stage Manager Devisor/Audio Visual Devisor/Performer Composer & Kate Mulvany & Sound Designer Grace Nye-Butler Designer Rachael Maza Sound Designer Anne-Louise Sarks Stefan Gregory Sean Bacon Paul Prestipino Fight Director Devisor/Performer after Euripides Assistant Director Scott Witt Devisor/Performer/ Jane Phegan Fight Director Original Concept & Laura Turner Cultural Consultant Scott Witt With Devisor/Performer Directed by Magdalena Blackley Stage Managers Blazey Best Harry Reuben Stage Managers Anne-Louise Sarks Eva Tandy (rehearsal) Joseph Kelly Devisor/Performer Edwina Guinness Devisor Set & Costume Designer Kelly Ukena Rory Potter Kylie Doomadgee Eva Tandy David Williams Mel Page Courtney Wilson Devisor/Performer Stage Management (rehearsal) Set & Costume Designer Lighting Designer Paul Dwyer Secondment Ruby Langton-Batty Benjamin Cisterne Kate Hankin Devisor Lighting Designer Eamon Flack Produced in association with Australian Theatre for Young People (atyp) Frank Mainoo A co-production with ILBIJERRI Theatre Company & version 1.0 One of the best Deeply affecting and profoundly productions of 2012. disquieting… Medea will linger Of the many and varied stage Regardless of your view on Stage Noise after the final blow. experiences seen this year, this documentary theatre, this is one The Daily Telegraph stands out as one of the essential. of the most unique and important The Sydney Morning Herald performances of the year. 22 Arts Hub 23 Leah Purcell with portrait of Ruby Langford Ginibi. Photo: Brett Boardman. Travis McMahon, Blazey Best & Steve Le Marquand. Photo: Stephen Henry.

Don’t Take Your Love to Town Touring Summer of the Seventeenth Doll 29 November – 6 January 2013 Downstairs Theatre Statistics Performances 77 Statistics Total Audience 44,432 Performances 39

Total Available Tickets 3,237 Written by Fight Choreographer Touring venues Total Audience 2,936 Ray Lawler Scott Witt Melbourne Theatre Company, Playhouse, Directed by Stage Manager Box Office Income $77,284 Arts Centre, Melbourne Neil Armfield Peter Sutherland 12 January – 18 February Adapted by Composer & Set Designer Assistant Stage Manager Queensland Theatre Eamon Flack & Leah Sound Designer Ralph Myers Sarah Smith Purcell from the book by Steve Francis Company, Queensland Ruby Langford Ginibi Costume Designer Production Manager Performing Arts Centre, Stage Manager Dale Ferguson Damion Holling Brisbane Directed by Roxzan Bowes 22 February – 11 March Leah Purcell Lighting Designer Head of Lighting With Damien Cooper Suzy Brooks Canberra Theatre Centre, Artist Leah Purcell Canberra (musician) Composer Head of Sound Lorna Munro Nardi Simpson 14–17 March David Trumpmanis (musician) Alan John Sarah Davies Lighting Designer Merrigong Theatre Luiz Pampolha Sound Designer With Paul Charlier Blazey Best Company, Illawarra James Hoare Performing Arts Centre, Assistant Director Steve Le Marquand Wollongong Susanna Dowling Travis McMahon 21–24 March Robin Nevin TJ Power Vivid, robust, exciting, candid A standout production of 2012. It packs a powerful Helen Thomson punch and Lawler’s and absolutely riveting… an Alternative Media Group Alison Whyte extraordinary theatrical landmark. words have a lot of Eloise Winestock Stage Noise swing left in them. 24 The Age 25 Robert Menzies & Eloise Mignon. Photo: Mari Ekkje. Matthew Whittet, John Leary, Julie Forsyth & Yael Stone. Photo: Alexis Buatti-Ramos.

Touring The Wild Duck Touring The Book of Everything

Statistics Statistics Performances 37 Performances 13 Total Audience 11,252 Total Audience 4,965

Written by Dramaturg With Written by Assistant Director Company Manager Simon Stone with Chris Eamon Flack Blazey Best Richard Tulloch Eamon Flack Annelies Crowe Ryan after Henrik Ibsen John Gaden Adapted from the novel by Stage Managers Production Manager With Anita Hegh Guus Kuijer Directed by Luke McGettigan Chris Mercer Alison Bell Ewen Leslie Simon Stone Lisa Osborn Directed by Peter Carroll Robert Menzies Head Mechanist Neil Armfield Julie Forsyth Set Designer Assistant Stage Manager Eloise Mignon Damion Holling Claire Jones Ralph Myers Amy Morcom Anthony Phelan Set & Costume Designer Lighting Supervisor Deborah Kennedy Toby Schmitz Kim Carpenter Costume Designer Production Manager Suzy Brooks John Leary Tess Schofield Glenn Dulihanty Lighting Designer Steve Meyer Touring venues Sound Supervisor & Nigel Levings Yael Stone Lighting Designer Head Electrician Malthouse Theatre, Operator Matthew Whittet Niklas Pajanti Teegan Lee Melbourne Composer Michael Toisuta 17 February – 17 March Iain Grandage Composer & Head of Sound Stage Manager Touring venues Sound Designer Caitlin Porter The International Ibsen Sound Designer Rebecca Anderson The New Victory Theater, Stefan Gregory Steve Francis Company Manager (Oslo) Festival, Oslo, Norway Assistant Stage Manager New York Assistant Director Brenna Hobson 27–29 August Choreographer Courtney Wilson 19–29 April Anne-Louise Sarks Julia Cotton A co-production with Kim Carpenter’s Theatre of Image

This is an excellent piece of See this show, see it, but don’t It’s not quite right to say The Book The Book of Everything should be theatre, a new play placed solidly forget the Kleenex. It will pierce of Everything is the best children’s required viewing for every kid who wants on Ibsen’s shoulders. you to the core. show in town. It’s one of the best to grow up happy and every adult who Dagbladet, Norway The Age shows, period. wants to rid the world of injustice. 26 New York Post backstage.com 27 Patrick Brammall & Genevieve Lemon. Photo: Brett Boardman. Toby Schmitz & Zahra Newman. Photo: Heidrun Löhr.

Touring Death of a Salesman Touring Private Lives

Statistics Statistics Performances 6 Performances 10 Total Audience 2,744 Total Audience 5,047

Written by Assistant Director With Written by Fight Director With Arthur Miller Jennifer Medway Paula Arundell Noël Coward Scott Witt Zoë Coombs Marr Patrick Brammall Eloise Mignon Directed by Fight Choreographer Directed by Stage Manager Colin Friels Zahra Newman Simon Stone Scott Witt Ralph Myers Eva Tandy Genevieve Lemon Toby Schmitz Set Designer Stage Manager Hamish Michael Set Designer Assistant Stage Manager Toby Truslove Ralph Myers Eva Tandy Pip Miller Ralph Myers Mel Dyer Touring venues Costume Designer Assistant Stage Manager Luke Mullins Costume Designer Touring Production Manager Merrigong Theatre Alice Babidge Chantelle Foster Christopher Stollery Alice Babidge Damion Holling Company, Illawarra Lighting Designer Touring Production Manager Touring venue Lighting Designer Lighting Realiser Performing Arts Centre, Nick Schlieper Daniel Potter Geelong Performing Arts Damien Cooper Christopher Page Wollongong Lighting Realiser Head of Sound Centre, Geelong Composer & Head Mechanist 14–17 November 8–11 November Sian James-Holland Caitlin Porter Sound Designer Tim Adam Canberra Theatre Centre, Stefan Gregory Composer & Head Electrician Canberra Sound Designer Len Samperi Assistant Director 21–24 November Stefan Gregory Kit Brookman

It’s a bravura performance… [Friels] pushes Willy …a furiously funny, fast and fitting tribute to against the limits of his character with a sheer the Master’s scintillating wit, biting satire and blinkered intensity that generates genuine pathos. stinging observance of the nature of love. The Age Canberra Times 28 29 Awards

2012 Sydney Theatre Awards BEST MAINSTAGE PRODUCTION Medea

BEST DIRECTION OF A MAINSTAGE PRODUCTION Anne-Louise Sarks (Medea)

BEST ACTRESS IN A LEADING ROLE IN A MAINSTAGE PRODUCTION Blazey Best (Medea)

BEST ACTOR IN A SUPPORTING ROLE IN A MAINSTAGE PRODUCTION Patrick Brammall (Death of a Salesman)

BEST NEW AUSTRALIAN WORK Medea (Kate Mulvany & Anne-Louise Sarks after Euripides)

BEST NEWCOMER Joseph Kelly & Rory Potter (Medea)

BEST STAGE DESIGN FOR A MAINSTAGE PRODUCTION Claude Marcos (Thyestes)

BEST SCORE OR SOUND DESIGN FOR A MAINSTAGE PRODUCTION Stefan Gregory (Thyestes)

2012 Helpmann Awards BEST FEMALE ACTOR IN A SUPPORTING ROLE IN A PLAY Robyn Nevin (Summer of the Seventeenth Doll)

30Rory Potter in Medea. Photo: Heidrun Löhr. 31 Artistic and Programming

2012 was a year of consolidation of the The Balnaves Foundation Indigenous All five Downstairs productions enjoyed Artistic and Programming department. Playwright’s Award, a $12,500 commission sell-out seasons, with Food, Old Man and Our job is to have a constant stream of from Belvoir for a new play, plus a $7,500 Don’t Take Your Love to Town all extending new projects in the pipeline for potential cash prize, was awarded for the first time by two weeks each. We received a total production in future years. It takes some this year. We extended a nation-wide call of 23 nominations in the 2012 Sydney time for a theatre company to adapt to a to Indigenous writers to send in examples Theatre Awards, with 10 of them being for change in artistic leadership and we learnt of their past work along with a proposal Downstairs Theatre productions. a great deal about the future direction of the for a new play. The inaugural award was Indigenous work company during the 2011 Season (our first presented to emerging playwright Nakkiah Belvoir has a long history of supporting the under Artistic Director Ralph Myers). We Lui at a function in our rehearsal room creation of new Indigenous work and of were able to use this knowledge to put in in December. Nakkiah was an associate Indigenous artists. In 2012 we welcomed train a whole suite of new projects in 2012. playwright at Belvoir this year, and her new an Emerging Indigenous Producer to play now under commission is provisionally Playwriting awards our Artistic and Programming team for a titled Koorioke. Nakkiah’s play This Heaven Over the last 13 years, Belvoir has joined nine-month residency; Louana Sainsbury was also scheduled for our 2013 Season. with Arts NSW and Currency House to worked side-by-side with Associate present the annual Philip Parsons Young Downstairs Theatre Producer Tahni Froudist on a number of Playwright’s Award and Memorial Lecture. Building on the success of our 2011 Season Indigenous and non-Indigenous projects. Arts NSW conducted a review of their in the Downstairs Theatre, 2012 was a In the Upstairs Theatre, Beautiful One fellowship and scholarship funding during very strong year of entirely new Australian Day moved and shocked audiences by 2012. Despite this uncertainty, we were work. We began the year with I’m Your Man retelling the events, from an Indigenous still able to go ahead with the award this by Roslyn Oades, a co-production with perspective, around a death in custody on year during the review. The outcome was, Sydney Festival in association with BYDS Palm Island. This show played at the same in the end, positive: the agency committed (Bankstown Youth Development Service). time as the aforementioned Don’t Take Your to continuing its support of the award. The This show opened to rave reviews and Love to Town in the Downstairs Theatre. Parsons, as it is known, is awarded to a is embarking on a national tour in 2013 It was a powerful, thought-provoking and NSW-based writer, under 35 years of age, through the Mobile States program. Our distinctive few weeks, finalising our 2012 whose work demonstrates an original and co-production with dance theatre company Season. compelling theatrical voice. It consists of a Force Majeure, Food, was received very commission by Belvoir on the strength of enthusiastically by audiences and will also For the first time ever in our history, all four both their existing work and a proposal for tour in 2013 and 2014 to regional venues hoardings on the front of Belvoir St Theatre a new play. This year the shortlisted writers across Australia. Matthew Whittet’s play simultaneously featured Indigenous artists. were Kit Brookman, Joanna Erskine, Philip Old Man (written in 2010 when he won the Rachael Maza (Beautiful One Day), Leah Spencer, Tim Spencer and Rick Viede. Kit Philip Parsons Young Playwright’s Award) Purcell (Don’t Take Your Love to Town), Brookman was announced as the winner on played to sell-out audiences in the middle of Meyne Wyatt (Peter Pan) and Travis 2 December, and he has subsequently been the year. Then Anne-Louise Sarks’ Medea Cardona (This Heaven) graced the front of commissioned by Belvoir to write a new play shocked audiences with its contemporary our building side-by-side for a few weeks at entitled Dying Planet. retelling of this classic story, performed by the end of the year. It was a great sight. two boys under the age of 12. We were Andrew Upton, Artistic Director of Sydney Tours and transfers thrilled when Rory Potter and Joseph Kelly Theatre Company, gave the Philip Parsons Belvoir was invited on two international shared the 2012 Sydney Theatre Award Memorial Lecture, ‘The Resonating Space’. tours in 2012. Neil Armfield’s charming The for Best Newcomer, and the production He spoke to an enthralled audience about Book of Everything played to thousands won five Sydney Theatre Awards in all. We the essential ephemerality of theatre, and our of children and adults at the New Victory rounded out a stellar year Downstairs with an obligation as theatre-makers and theatre- Theater in New York. And Simon Stone’s adaptation of Aunty Ruby Langford Ginibi’s watchers to protect and defend what he beautiful The Wild Duck received standing book Don’t Take Your Love to Town which called this ‘mercurial amalgam of the eternal ovations at the Ibsen Festival in Oslo, was co-adapted, directed and performed by now, the unknowable self and the ever- Norway. In addition to this, our production the incredible Leah Purcell. receding past.’ of Death of a Salesman, starring Colin Friels, transferred to Sydney’s Theatre Royal.

32 Kit Brookman, winner of the 2012 Philip Parsons Young Playwright’s Award. Photo: Brett Boardman. 33 Education

‘I also want to say that it was life changing,’ and their teachers attended an evening wrote a student from Randwick Girls’ High performance at Belvoir. School on her evaluation form after attending I can’t wait to see another Belvoir a schools performance of Food in May 2012. production as it was a truly moving This comment beautifully captures the impact experience. our work can have on our schools audiences. Student, Smith’s Hill High School In 2012, we offered 21 schools matinee performances of Upstairs and Downstairs Theatre workshop program Theatre productions, representing an Belvoir’s workshop program brings students, increase on last year of Downstairs shows. teachers and industry professionals together. In 2012 we again delivered a huge program Students attending our schools performances of practical workshops in performance, came from the full range of high schools Actor/devisor Kylie Doomadgee with students from Keira High School after they saw Beautiful One Day. production and design at Belvoir, at schools – government and non-government, local Photo: Cathy Hunt. through regional NSW. We also created one schools and schools in regional NSW and video conference workshop, delivered from even, on occasion, from interstate. Our facilities at the Arts Unit in Sydney to students most heavily booked performances were for at the Dubbo School of Distance Education. learned of Belvoir’s ticket and travel access Theatre Enrichment Death of Salesman, a text on the HSC Drama programs and consequently brought students The experience of attending a performance syllabus. Schools audiences were particularly In 2012, we ran 84 workshops for 1,567 to Sydney to attend a production or take a at Belvoir is extended for some students moved by Babyteeth; the emotional impact students in metropolitan and regional tour of the theatre. And both teachers and through our unique Theatre Enrichment of this production on students was strong. schools, at Belvoir’s theatre and rehearsal students have been introduced, through our Program – a fully subsidised program ‘Miss, why can’t every day at school be as rooms. Forty-eight of these workshops were workshop program, to the depth of resources offered to students at government high good as this?’ a student from Canterbury held at regional schools in NSW as part of our available on our website and in our archives. schools in western and south-western Girls’ High School asked her teacher on the Regional Workshop Program. A huge 844 Sydney and regional NSW. In 2012, 310 Professional development workshops way back to school. students took part in this program in 2012. students and their teachers participated for teachers The quality, reach and impact of our Regional in this program. Students attended a In our schools audiences we also see a mix Four professional development workshops Workshop Program goes part way to closing school matinee performance of Babyteeth of theatre-going experience – from those who were held at Belvoir and three at schools the cultural gap between students at regional or Strange Interlude. Beforehand, they have been attending our productions for a in regional NSW this year, with 69 teachers high schools and their metropolitan peers. participated in a 90-minute session at number of years, to others coming for the first participating. These full-day workshops, their school, designed to introduce them, time. Each schools matinee is followed by a Our students do not have access to the held on a Saturday, are a great way for through practical activities, to the elements Question & Answer session with the cast. expertise of experienced tutors. They Belvoir to meet teachers face-to-face and are not likely to be able to travel to cities of theatre used by a director to bring a text In 2012, 4,828 students and their teachers to learn about how we can better support to experience the calibre that Belvoir to life on the stage. After seeing the show, attended a schools matinee at Belvoir. Of their teaching. Professional development offers. It helps with their confidence, students were treated to a member of the these, 1,078 attended through ticket and workshops were held around teaching literacy and higher order thinking skills. cast or creative team visiting their school for travel subsidy programs offered to schools Group Devising, Monologue Performance, Teacher, Nyngan High School a Question & Answer session. identified by the NSW Department of and Set and Costume Design. Our tutors Education & Training as disadvantaged or A workshop like this helps with studying share their professional experience and This has been one of the best theatre geographically remote. Participating schools Drama because there is nowhere here processes with teachers, and explore programs I have experienced…it came from Kempsey and Lismore, Dungog to do workshops. approaches to working with students allows the students to not just watch and Braidwood, the Hunter region and the Student, Nambucca High School through practical activities. Teachers love but have a ‘hands on’ experience and the chance to participate in an artist’s feel connected to the performance south coast, and from Sydney’s western and Our Regional Workshop Program can act as south-western suburbs including Bankstown, process for a day. and theatre. the hook to introduce students and teachers Teacher, Chester Hill High School Blacktown, Cabramatta, Fairfield, Liverpool, to the work of Belvoir, and can extend It not only gave me a greater Miller, Mount Druitt and Wiley Park. and strengthen their relationship with the understanding of the process, but also Schools also brought their students to Belvoir company after attending a production. In made me much more confident with my evening performances, either by purchasing 2012, students who participated in Belvoir’s practical skills. subscription packages or by booking specific regional workshops have gone on to do work Teacher, John Edmondson High School productions. This year, 2,741 students experience with the company. Teachers have

34 35 Board and Staff

Belvoir Board of Administration Technical Manager Len Samperi until 19.10.12 Youth Express Certificate. These Year 11 and 12 students Directors Artistic Administrator Warren Sutton from 05.11.12 In June 2012, a teenage boy who struggles spent one week with Belvoir’s Production Anne Britton John Woodland Resident Stage Manager Rob Brookman AM until 30.07.12 Administration Coordinator with literacy and who had never done any department, participating in the bump-in of a Luke McGettigan Andrew Cameron Maeve O’Donnell sort of drama appeared on stage in our Belvoir production. The hands-on experience Head Mechanist Peter Carroll Downstairs Theatre in front of an invited convinced one student in particular to Damion Holling until 25.11.12 Michael Coleman until 27.05.12 audience. Script in hand, he played the part seriously consider further study in the Finance & Operations Downstairs Production and Tracey Driver Head of Finance & Operations Venue Manager of a football player overlooked by his coach production field. She wrote, ‘… this week Richard Evans from 30.07.12 Richard Drysdale Daniel Potter from 03.05.12 in favour of the showy, less-committed star really opened my eyes to the wonderful world Gail Hambly Financial Administrator Costume Coordinator player. It was a huge step for this student to of production, in particular prop making, Brenna Hobson Ann Brown Judy Tanner take. ‘I was surprised that I could actually which I am considering studying at university. Ian Learmonth Payroll Officer do it,’ he said afterwards. ‘That I actually I would love to spend more time with Belvoir.’ Frank Macindoe until 27.05.12 Susan Jack saw it through.’ Ralph Myers Front of House More resources we provide IT & Operations Olivia Pascoe from 17.09.12 Front of House Manager Jan S Goldfeder Belvoir’s outreach program, Youth Express, Students continue to access Belvoir’s history Ohmeed Ahi ran for an eighth year in 2012. Fifty-six and past productions. In 2012, 128 students Artistic & Assistant Front of House young people participated, with 20 of them went on a backstage tour and 307 students Programming Marketing Manager performing on stage. We worked with four watched an archival recording of one of Marketing Manager Brooke Louttit Artistic Director youth-support organisations – Youth Off Belvoir’s past productions. Tina Walsberger until 29.11.12 Bar Staff Ralph Myers the Streets’ Key College, Marist Youth Care, Acting Marketing Manager Alexander Bryant-Smith, Andrew With Belvoir’s brand new website launched General Manager Caroline Pearce from 03.12.12 Dillon, Tess Haubrich, Amanda Exodus Youth and Twenty10, delivering a Brenna Hobson in September 2012, our online resources Marketing Coordinator Hood, Emma Johnston, Bridget Le 16-week program of drama workshops to Associate Director – for students and teachers were developed Marty Jamieson May, Dale March, Luke Martin, Lisa young people at risk. During the program, the New Projects and improved significantly. As well as Publications Coordinator Mumford, Aime Neeme, James young people worked with director James Eamon Flack providing information about upcoming Gabrielle Bonney Parker-Brown, Geordie Robinson, Winter and actor Kate Beckett to devise Associate Producer schools performances, workshops and our Publicist Rita Rogers, Alice Sainsbury, their own short performance, based on their Tahni Froudist work experience and access programs, Elly Michelle Clough Alistair Watts own experiences and view of the world. Literary Manager our Education webpages host resources Anthea Williams The performances were strong and honest, including set model box images, costume Resident Director Development Box Office tackling issues such as mental health, the design renderings, PDFs of programs Simon Stone Development Manager Box Office Manager gender divide, our capacity to misjudge and other archival material from Belvoir Associate Artists Katy Wood until 27.01.12 Katinka Van Ingen Schenau others and overlook their potential, and were productions of plays on the Drama syllabus, Stefan Gregory Retha Howard from 19.03.12 Assistant Box Office Managers performed in our Downstairs Theatre. The links to past teachers’ notes, interviews with Jennifer Medway Partnerships Coordinator Tanya Ginori-Cairns program challenges the young people to step PlayWriting Australia Alana Hicks actors, directors, designers and playwrights, Zoë Hart until 22.11.2012 outside their comfort zone by committing to Resident Playwright Development Operations Box Office Staff and plans of both our theatre spaces. We the process and having the courage to stand Tommy Murphy Associate Matt Bartlett, Emilia Batchelor, notified around 900 teachers about these up in the public forum and tell their story. PlayWriting Australia Paul Hooper from 13.08.12 until Annabel Blake, Craig Bonney, improved resources through our quarterly Associate Playwrights 27.12.12 Jessica Cassar, Clare Work experience e-bulletin. Anecdotal feedback suggests Kit Brookman Corporate and Sponsorship Chihambakwe, Sarah L Davies, High school students have the opportunity to these redeveloped webpages have been Nakkiah Lui Officer Andrew Dillon, Willo Drummond, learn more about Belvoir and our productions very well received. Mei Tsering Paul Hooper from 28.12.12 Emma Furno, Laura Henderson, first hand through our work experience Emerging Indigenous Philanthropy Coordinator Matthew Hyde, Susan Jack, This year Belvoir reached a new audience program. In 2012, 18 students completed Producer Pearl Kermani until 19.07.12 Joanna Jouin, Naomi Lane, through our partnership with City of Sydney Louana Sainsbury Jason Lee, Jenna Martin, Janelle one week of work experience at Belvoir Philanthropy Officer libraries. Director Ben Winspear worked with Liz Tomkinson from 28.12.12 Merry, Chloe Perrett, Tristan – they came from schools in the Riverina, actors Zindzi Okenyo and Mark Lee to bring Schumacher, Tahlia Trijbetz, northern NSW, the Southern Highlands and Education some of Edward Lear’s poetry alive for young Wayne Williams, Brian Wilson Wollongong. Sixteen students took part in Education Manager Production children at two free public performances at work placement as part of their Vocational Jane May Production Manager City of Sydney libraries. Education Resources Education and Training Entertainment Chris Mercer & Regional Access Production Coordinator Cathy Hunt Eliza Maunsell Education Assistant Construction Manager Lisa Mumford from 16.04.12 until Govinda Webster 19.11.12 36 37 Donors

We give our heartfelt thanks to all our donors for their loyal and generous support.

Foundation Donors Michael Rose & Jo D’Antonio Professor Elizabeth More AM General Donations Catherine McDonnell Ann Sherry AO & Michael Hogan Jane Munro Patricia McEniery Make a significant financial over $250 Penny Ward Dr David Nguyen Irene Miller investment in the Belvoir Provide valuable support to David & Jennifer Watson D & L Parsonage David & Barbara Millons Creative Development Fund. the projects most in need Kim Williams AM Timothy & Eva Pascoe Carol Mills throughout the year. Neil Armfield AO Cathy Yuncken Greeba Pritchard Cynthia Mitchell Anne Britton Richard & Heather Rasker Anonymous (8) John Morgan Andrew & Cathy Cameron B Keepers Colleen Roche David Antaw Annabelle Andrews & Peter Murray Foundation Greg Roger Ross & Barb Armfield Dr Peter & June Musgrove Income received from B Janet & Trefor Clayton Lesley & Andrew Rosenberg Barrett Casting Kevin O’Connor AM Anne & Michael Coleman Keepers underpins all of Andrew & Jane Bennett our activities. Andrew & Louise Sharpe Anne O’Driscoll Sharon & Hartley Cook Vivienne Sharpe Baiba Berzins & Peter Loveday Judy & Geoff Patterson Gail Hambly Anonymous (5) Peter & Jan Shuttleworth Angela Bowne Susan Pearson Anne & Hugh Harley Robert & Libby Albert Chris & Bea Sochan Jillian Broadbent AO Natalie Pelham Hal & Linda Herron Claire Armstrong & John Sharpe Victoria Taylor Anne Bromley Alex Oonagh Redmond Louise Herron & Clark Butler Berg Family Foundation Judy Thomson Rob Brookman & Verity Laughton Catherine Rothery Victoria Holthouse Bev & Phil Birnbaum Sue Thomson Ian & Siena Dune Buchanan Julia Selby Peter & Rosemary Ingle Max Bonnell Lynne Watkins & Nicholas Darleen Bungey Sherman Foundation Ian Learmonth & Julia Pincus Ellen Borda Harding Jan Burnswoods Agnes Sinclair Helen Lynch Anne Britton Alison Wearn Michael & Colleen Chesterman Eileen Slarke & family Frank Macindoe & Bronwyn Dr Catherine Brown-Watt Paul & Jennifer Winch Dayn Cooper Barry Smorgon OAM Macindoe Mary Jo & Lloyd Capps Ian & Judy Wyatt Timothy & Bryony Cox Tim Smyth David Marr Anne Duggan Brian T Carey Corporate B Keepers Andrew Smyth-Kirk Rhonda McIver Elaine Chia Diane Dunlop Judy Stone Ann Sherry AO & Michael Hogan Jane Christensen Constructability Recruitment Anton Enus & Roger Henning Catherine Sullivan Victoria Taylor Louise Christie Macquarie Group Foundation Elizabeth Evatt Anthony Tarleton Mary Vallentine AO Suzanne & Michael Daniel Sterling Mail Order Michael & Kerrie Eyers Victoria Taylor Kim Williams AM & Tracey Driver & Simon Robinson Frances Garrick Axel & Diane Tennie Catherine Dovey Chris & Bob Ernst Education Donations D T Gilbert Mike Thompson Jeanne Eve over $250 Priscilla Guest John Tuckey Sophie Guest Chair’s Group Peter Fay Provide opportunities for Ross Tzannes Dr Juliet Harper Supports the creative R Godlee & A Maxwell young people throughout NSW Louise & Steve Verrier development of Indigenous Peter Graves to access our work. Marion Heathcote & Brian Burfitt Sarah Walters work at Belvoir. David & Kathryn Groves Libby Higgin Lynne Watkins & Nicholas Harding Anonymous (2) Harrison & Kate Higgs Anonymous (1) Sophie Guest Elizabeth Webby AM Ian Barnett Dorothy Hoddinott AO Antoinette Albert David Haertsch Kim Williams AM & Catherine Mary G Burchell The Honourable Justice Johnson Jillian Broadbent AO Wendy & Andrew Hamlin Dovey Jane Diamond John Kaldor AM & Naomi Dr Candice Bruce & Michael John Head Peter Wilson & James Emmett Matthew Hall Milgrom AO Whitworth Marion Heathcote & Brian Burfitt Brian & Patricia Wright Julie Hannaford Josephine Key Jan Chapman & Stephen Libby Higgin Siobhan Hannan & James Talbot Jann Kohlman O’Rourke Michael Hobbs Paul & Melissa Hobbs Ray Lawler Special Thanks Louise Christie Peter & Jessie Ingle Susan Hyde Sarah Lawrence We would like to acknowledge Kathleen & Danny Gilbert Rosemary & Adam Ingle Peter & Rosemary Ingle Ruth Layton long-time supporters Cajetan Mula Sophie Guest Anita Jacoby Stewart & Jillian Kellie Margaret Lederman and Len Armfield. They will always Marion Heathcote & Brian Burfitt The Jarzabek Family Olivia Pascoe Hilary Linstead be remembered for their generosity HLA Management Pty Ltd Avril Jeans Kate Pasterfield Joseph Lipski to Belvoir. The Jarzabek Family Margaret Johnston Chris & Bea Sochan Ross Littlewood & Alexandra Hilary Linstead Corinne & Rob Johnston The Spence Family Curtin List correct at 31 December 2012. Cajetan Mula (Honorary Member) Colleen Kane Christopher Matthies Ross McLean & Fiona Beith Antoinette le Marchant Olivia Pascoe Jennifer Ledgar & Bob Lim Belinda & Steven Rankine Stephanie Lee Alex Oonagh Redmond Atul Lele Hilary Linstead

Belvoir is very grateful to accept all donations. Donations over $2 are tax deductible. If you would like to make a donation or would like further information about any of our donor programs please call our Development team on 02 9698 3344.

38 39 In the Rehearsal Room All photos by Heidrun Löhr except Conversation Piece (Jeff Busby)

Simon Stone & Mark Winter – Thyestes Michael Mohammed Ahmad, Lee Wilson & Roslyn Oades – I’m Your Man

Colin Friels – Death of a Salesman Roxzan Bowes & Leah Purcell – Don’t Take Your Love to Town Meyne Wyatt & Alicia Talbot – Buried City Eamon Flack & Jane Phegan – Beautiful One Day

40Kate Box & Fayssal Bazzi – Food Rennie McDougall & Harriet Ritchie – Conversation Piece Peter Carroll & Leon Ford – Old Man 41 Financial Statements

42 43 Key Performance Indicators

ARTISTIC VIBRANCY Subscription Season B Sharp Readings FINANCIAL VIABILITY 2012 2011 2010 Up Down STRENGTH OF RESERVES 2012 2011 2010 2012 2011 2010 2012 2011 2010 Net Assets / $1,869,613 / $1,787,636 / $1,485,005 / PROFILE OF WORKS Annual Turnover $11,659,250 (16.04%) $10,805,923 (16.54%) $9,034,867 (16.44%) New 6 3 5 5 4 8 4 15 8 Existing 3 5 4 0 1 5 2 1 0 Net Assets / $1,869,916 / $1,787,636 / $1,485,005 / Total Assets $6,118,575 (30.56%) $6,118,575 (29.22%) $6,289,235 (23.61%) ORIGIN OF WORKS Australian – New 6 3 3 5 4 6 4 15 8 PROFITABILITY Australian – Existing 1 3 1 0 1 2 1 0 0 Total Income Minus Expenditure $81,977 $302,630 $64,197 Overseas – New 0 0 2 0 0 2 0 0 0 EARNED INCOME GENERATING ABILITY Overseas – Existing 2 2 3 0 0 3 1 1 0 TOTAL PROFILE OF PRODUCTIONS Total Earned Income / $9,753,901 / $8,135,256 / $7,255,058 / Total Income $11,659,250 (83.66%) $10,805,923 (75.29%) $9,034,867 (80.3%) New 8 6 8 5 5 11 n/a n/a n/a Existing 1 2 1 0 0 2 n/a n/a n/a BOX OFFICE NB – ‘Overseas – New’ = Australian premiere of existing international plays Total Box Office / $6,482,160 / $4,947,416 / $4,310,179 / Total Income $11,659,250 (55.6%) $10,805,923 (45.78%) $9,034,867 (47.71%) Number of PRIVATE SECTOR Access Attendances Performances Total Private Sector / $1,818,631 / $1,624,460 / $1,529,434 / 2012 2011 2010 2012 2011 2010 Total Income $11,659,250 (15.6%) $10,805,923 (15.03%) $9,034,867 (16.93%) SELF-PRESENTED Belvoir Upstairs 108,455 97,031 73,611 390 308 353 OTHER INCOME Belvoir Downstairs 14,346 11,178 - 181 165 - Total Other Income / $1,453,110 / $1,563,380 / $1,415,445 / Other Sydney Venues 11,005 5,567 12,268 13 15 30 Total Income $11,659,250 (12.46%) $10,805,923 (14.47%) $9,034,867 (15.67%)

SOLD TO EXTERNAL PRESENTERS GOVERNMENT FUNDING CONTRIBUTION Regional 7,116 3,148 4,301 18 12 14 Govt. Funding / $1,905,349 / $2,670,667 / $1,779,809 / Interstate 55,644 12,887 14,492 108 40 37 Total Income $11,659,250 (16.34%) $10,805,923 (24.71%) $9,034,867 (19.7%) International 5,680 30,658 3,645 17 42 6

OTHER Belvoir Downstairs – B Sharp - - 11,669 - - 258 Free Concert Attendances 2,220 1,959 1,601 8 9 7 Educational Performances 4,814 8,210 4,914 24 30 21 Educational Workshops 5,423 2,033 1,644 172 106 112 Education – Other 742 811 431 90 88 47

44 45 Directors’ Report

The directors of Company B Limited (trading as, and International Festival of Arts (Artistic Director), Arts Limited (IML) and a member of the Audit Committee and Communications and Privacy Law Committees hereafter referred to as, “Belvoir” or “the Company”) Projects Australia (Founding Co-Director) and Sydney of the Reserve Bank of Australia. He is Chairman of of the Law Council of Australia and a director of the submit herewith the annual financial report for the Theatre Company (General Manager). In 1992 he the Reporting Committee of the Australian Institute Sydney Story Factory – a not-for-profit organisation financial year ended 31 December 2012. founded Australia’s leading world music festival of Company Directors and a member of the AICD’s which provides education services with a special WOMADelaide and remained as Artistic Director Not-for-profit Steering Group. Michael is Chairman focus on disadvantaged children in Sydney. Directors and/or Artistic Advisor until 2007. Rob has served of Planet Ark Environmental Foundation, a Director The names and details of the Company’s directors on numerous arts boards and committees including and Treasurer of Osteoporosis Australia, a member Brenna Hobson – General Manager in office during the financial year and until the date of Playing Australia, Sidney Myer Performing Arts of the Finance, Audit and Risk Committee of the Executive Director & Company Secretary this report are as follows. Directors were in office for Awards, Adelaide Symphony Orchestra, Australian Middle Harbour Yacht Club and Chair of the Advisory Member: Finance, HR, Development, Artistic this entire period unless otherwise stated. Dance Theatre and the WOMADelaide Foundation. Board of the Centre for Accounting and Assurance & Planning sub-committees Anne Britton Services Research at the University of New South Brenna joined Belvoir as General Manager in Rob Brookman (Resigned: 30 July 2012) Andrew Cameron Wales. Michael is also Deputy Chairman of the February 2008. She is currently undertaking a Andrew Cameron Chair, Member: Finance, HR, Development & Commonwealth Government’s Financial Reporting Masters of Management (Arts) at the University of Peter Carroll Planning sub-committees Council and a member of the Government’s Not-for- Technology and sits on the Seymour Centre Artistic Michael Coleman (Resigned: 27 May 2012) A director of Belvoir St Theatre Board since 9 profit Reform Council. Advisory Committee and on the Arts on Tour Board. Tracey Driver August 2001, Andrew joined the Belvoir Board in Previous to this she was the General Manager of Richard Evans (Appointed: 30 July 2012) October 2007. He was elected Chair of Belvoir in Tracey Driver Jigsaw Theatre Company in Canberra where she Gail Hambly June 2011. Andrew has had experience in business Member: Finance sub-committee was also a Board member of the ACT Council of Brenna Hobson management, property development and finance. Tracey Driver joined the Board at Belvoir in Cultural and Community Organisations, part of the Ian Learmonth He is currently the Chair of the Art Gallery of NSW December 2011 and Chairs the finance sub- steering committee of Canberra Living Artists Week Frank Macindoe (Resigned: 27 May 2012) Foundation, Deputy Chair of the Biennale of Sydney, committee. Tracey has over 17 years’ experience as and the ACT representative of Critical Stages. Her Ralph Myers and a board member of the Sherman Foundation. a chartered accountant. She is an audit partner with credits as an independent producer include Now Olivia Pascoe (Appointed: 17 September 2012) He is also the Founder of the Andrew Cameron KPMG. Tracey has spent time working in the UK and that Communism is Dead My Life Feels Empty Family Foundation. He is the Executive Chairman of US and has experience dealing with a wide range (Melbourne International Arts Festival/B Sharp), Information on Directors a group of privately owned engineering, wholesaling, of global businesses predominantly in the media, The Suitors (Old Fitzroy Theatre) and Vital Organs Anne Britton and investment companies. advertising, entertainment, leisure, and IT industries. (B Sharp). She has also been Production Manager Member: HR sub-committee of Bangarra Dance Theatre and spent 11 years in

Peter Carroll Richard Evans Belvoir’s production department. Anne joined the Belvoir Board again in mid-2010 Member: Artistic sub-committee Member: Development sub-committee after serving on the Board for close to ten years. Peter’s distinguished career spans over 90 Richard joined the Belvoir Board in July 2012. He Ian Learmonth She is a senior member of the Administrative productions since he was a member of the original has spent a lifetime working in and around the Member: Development sub-committee Appeals Tribunal based in Sydney. Anne has been Nimrod Theatre. A graduate of the University of performing arts. His posts include General Manager Ian joined the Belvoir Board in late 2011 and is also a the Deputy President and Head of the Community Sydney and the Central School of Speech and of The Bell Shakespeare Company, Executive member of the Development sub-committee. Ian was Services Division of the NSW Administrative Drama in London, he has appeared with all the state Director of The Australian Ballet, and CEO of Sydney formerly an Executive Director of Macquarie Bank Decisions Tribunal (ADT) since 2006, having been theatre companies and commercial managements Opera House. Most recently Richard held the role of for 12 years and has worked in London, Sydney and appointed to the ADT as a judicial member in 1999. over the last 50 years. Peter has received Helpmann, Managing Director of BridgeClimb Sydney. Richard Hong Kong in various fields of investment banking. Prior to that Anne was the national secretary of Mo, Green Room, Glug, Variety Club and Penguin has served on a number of boards of national and Ian’s current role is as Director of Social Finance at Actors Equity of Australia and, on its merger in the awards; and a Sydney Theatre Critics’ Circle Award international arts and cultural organisations over the Social Ventures Australia, a not-for-profit organisation 1990s, the joint national secretary of the Media for Significant Contribution to Sydney Theatre, years and in 2012 was made a Life Member of Live established in 2002. Ian has degrees in Law and Entertainment and Arts Alliance. Peter was head of the speech department at NIDA Performance Australia. Commerce from the University of Queensland and is Rob Brookman AM from 1970-1973. He was also a Board Member of a director of a number of private companies including Gail Hambly Member: Finance sub-committee SBS for 11 years and has an Honorary Doctorate e-waste recycler PGM Refiners. of Creative Arts from the University of Wollongong. Deputy Chair, Member: Finance sub-committee Rob joined the Belvoir Board in October 2010. He is a proud member of the MEAA and has been Gail is currently Group General Counsel and Frank Macindoe He is a leading Australian theatre producer, festival for over 40 years and in 2009 was awarded the Company Secretary of Fairfax Media and is Member: Development sub-committee director, cultural programmer and administrator. Inaugural MEAA Lifetime Achievement Award. responsible for the provision of legal, government Frank joined the Belvoir Board mid-2010 and is a He has held key positions with a number of the relations, governance and internal audit services to member of the Development sub-committee. He is Australasia’s foremost festivals and performing Michael Coleman the Fairfax Group. She also plays a key role in the an employee elected Trustee of the Goldman Sachs arts organisations including the Adelaide Festival Member: Finance sub-committee core management team. Gail is also a non-executive & JB Were staff superannuation fund and chairs its (Administrator, Associate Director, Artistic Director), Michael Coleman joined the Board at Belvoir as director of Trade Me Group Limited, Chairman of investment committee. Frank was a lawyer for 20 Adelaide Festival Centre (Programming Director, Treasurer in May 2006 and chairs the Finance Copyco Pty Limited, a member of the Advisory years at Blake Dawson Waldron in Melbourne and Producer, Artistic Director), National Festival of sub-committee. He retired from KPMG in July Board of the Centre of Media and Communications Sydney and Allen & Overy in London. He specialised Australian Theatre (Artistic Director), New Zealand 2011, following a career that included 30 years as Law at Melbourne University, a member of the Media in domestic and international debt and equity a partner. Michael is Chairman of ING Management

46 47 raisings, corporate reconstructions and infrastructure Mission Statement Principal Activities Management finance. He was a partner of Blake Dawson Waldron To produce theatrical works from a shared vision that The principal activity of the Company during the • Build to and subsequently maintain reserves at for 12 years and headed the national Banking & question and affirm our culture, extend and develop financial year was the operation of a live theatre and 20% of annual turnover Finance group and the Project & Structured Finance our artists and provide audiences with experiences the production of live theatrical performances within group. Frank has an Honours Degree in Arts and of imaginative daring and emotional depth. the home venue, Belvoir St Theatre, and on tour • Maintain a professional management culture a Bachelor of Laws, both from the University of both nationally and internationally. These activities supported by efficient management procedures Core values and principles Melbourne. Frank is a Responsible Manager of Third have assisted the company to achieve its objectives and infrastructure Link Growth Fund. • Belief in the primacy of the artistic process which are measured against the specific key • Maintain a strong board governance policy performance indicators as below: • Clarity and playfulness in storytelling Ralph Myers – Artistic Director • Work proactively to anticipate and respond to Artistic work Executive Director • A sense of community within the theatrical external change Member: Artistic sub-committee environment • Produce and present six to eight critically • Establish Belvoir as a world renowned theatre Graduating from NIDA in 2000, Ralph is a set acclaimed new productions per year in the • A responsiveness to current social and political company designer and director whose work has toured Upstairs Theatre and a suite of work in the issues internationally and won many awards. He was Downstairs Theatre based on four strands of There was no significant change in the nature Resident Designer at the STC for three years, and • Equality, ethical standards and shared ownership work: of these activities during or since the end of the has worked with most of the country’s leading of artistic process and company achievements financial year. a) New Australian work in a variety of forms companies including Belvoir, STC, MTC, Bell • Development of our performers, artists and staff. (text based, musical and physical theatre) Operating and Financial Review Shakespeare, Griffin and Opera Australia. His credits The operations of the Company during the financial Short-term and Long-term Objectives b) Indigenous work include Summer of the Seventeenth Doll, Death year were the operations of a live theatre, production of a Salesman, The Wild Duck, Toy Symphony, Belvoir’s overarching goal for the coming three year c) innovative interpretations of the classics of live theatrical performances and hire of the theatre period is to build on the success achieved in the Parramatta Girls, Ray’s Tempest, The Spook, to external hirers. The Fever, Conversations with the Dead (Belvoir), first two years of the tenure of Ralph Myers, the d) support for new artists and an expansion of A Streetcar Named Desire, The City, Blackbird, company’s Artistic Director. This includes capitalising our notion of what constitutes theatrical form. The net profit after tax of the Company for the year on opportunities to showcase Belvoir’s work ended 31 December 2012 was $81,977 (2011: A Midsummer Night’s Dream, A Kind of Alaska/ Artists Reunion, The Lost Echo, Blackbird, Mother internationally and engaging with commercial transfer $302,630). opportunities where possible. • Provide opportunities for artists to develop their Courage and her Children, Boy Gets Girl, Far Away, The Company has a target of achieving and skills, enjoy increased employment opportunities Endgame (Sydney Theatre Company), Frozen, Specific goals for the company to reach these maintaining reserves of 20% of annual turnover. with Belvoir and enjoy improved career prospects Dinner, Cruel and Tender, Enlightenment (Melbourne objectives are: Significant Changes in the State of Affairs Theatre Company), Othello, The Soldier’s Tale (Bell • Continue to seek new ways to increase creative Artistic work: To produce thought provoking, There have been no significant changes in the state Shakespeare), Eora Crossing (Legs on the Wall/ development opportunities Sydney Festival), Wonderlands, Borderlines (Griffin inspiring, outstanding theatrical works from a shared of affairs of the Company during the year. vision that question and affirm our culture, and • Fully produce work in the Downstairs Theatre Theatre Company), Peter Grimes, Cosi Fan Tutti, Significant Events After the Balance Date provide audiences with experiences of imaginative The Marriage of Figaro (Opera Australia), La Boheme • Pay artists a fair and living wage. There has not been any matter or circumstance, daring and emotional depth. (NZ Opera) and Caligula (English National Opera). He other than that referred to in the financial statements Audience has directed Private Lives, Peter Pan (Belvoir) and Artists: Support and extend our current and future or notes thereto, that has arisen since the end of the Frankenstein (STC). artists and play a leading role in supporting the wider • Retain Belvoir’s annual season and single ticket financial year, that has significantly affected, or may audiences levels Olivia Pascoe theatrical community. significantly affect, the operations of the Company, the results of those operations, or the state of affairs Member: Development sub-committee Audience: Consolidate and expand our audiences, • Maintain a high quality education program with a of the Company in future financial years. Olivia joined the Board in September 2012 and is target markets and brand. commitment to access Likely Developments and Expected Results also a member of the Development sub-committee. Development: Increase commercial and • Maintain increased level of touring activity In the opinion of the directors there were no This has included the recent launch of Belvoir’s next philanthropic income while retaining the character • Seek ways to engage with new audiences significant changes in the state of affairs of the frontier of patronage The Hive, targeted at 30-45 and values of Belvoir. year old theatre lovers nurturing new Australian • Emphasise quality and innovation in all areas of Company that occurred during the financial year Management: Consolidate Belvoir’s position as a talent. Olivia is an independent strategy consultant customer service and patron amenity. under review not otherwise disclosed in this report who works with executive teams and boards on world renowned, financially stable arts organisation or the financial statements. via the establishment of sound management and Development integrated business, organisational and leadership Indemnification and Insurance of Directors governance practices that maximise the return on strategy, across industries. For the 15 years prior to • Build a strong and diverse philanthropic base led and Officers available resources. this, she worked for multinational corporates and by the Creative Development Fund donors and During the financial year, the Company paid a consulting firms in Asia, Europe and the Americas. Dividends Chair Andrew Cameron premium in respect of a contract insuring the She was previously a Member of the Contempo The provisions of the Memorandum and Articles of • Develop new revenue streams and take directors of the Company against a liability incurred Committee of the Art Gallery of New South Wales Association of the Company prohibit the payment of advantage of commercial opportunities as such a director, secretary or executive officer to and also contributes to the health, education and a dividend. Accordingly, no dividend has been paid the extent permitted by the Corporations Act 2001. international development of not-for-profit sectors. or declared during or since the end of the financial • Develop strong and mutually beneficial The contract of insurance prohibits disclosure of the year or since the Company’s incorporation. relationships between Belvoir with its corporate nature of the liability and the amount of the premium. partners and individual supporters. Members The Company has not otherwise, during or since the There were 44 members of the Company as at 31 financial year, indemnified or agreed to indemnify an December 2012 (2011: 59). officer or auditor of the Company against a liability incurred as such an officer or auditor. 48 49 Directors’ Meetings Statement of Comprehensive Income

For the year ended 31 December 2012 Note 2012 ($) 2011 ($) Board of Directors’ Meetings Richard Drysdale Revenue from operations During 2012, six meetings of directors were held. Member: Finance sub-committee – ex officio Production income 6,482,160 5,259,273 Attendance was as follows: Richard joined Belvoir in July 2007 as Head of Grants income 4(a) 1,905,349 2,670,667 Number Eligible Number Finance & Operations. He has over 15 years’ Director to Attend attended experience as a senior manager in the performing Bar income 346,578 416,547 Anne Britton 6 5 arts, holding positions with the Biennale of Sydney, Box office income 542,893 536,850 Rob Brookman 3 3 Australian National Playwrights’ Centre and the 9,276,980 8,883,337 Andrew Cameron 6 6 Newtown & Edge theatres. He has run his own other Revenue Peter Carroll 6 6 consultancy practice specialising in financial management of arts organisations. Richard is Sponsorship income 924,402 898,524 Michael Coleman 3 3 currently President of version 1.0 and has served on Fundraising and donations 894,229 725,936 Tracey Driver 6 6 the Boards of the Newtown Entertainment Precinct Interest income 238,751 310,385 Richard Evans 3 3 Association and Lucent Theatre. Richard holds Other income 4(b) 324,888 299,598 Gail Hambly 6 6 an MBA in Arts Management from the University 2,382,270 2,234,443 Brenna Hobson 6 6 of Technology Sydney and has directed the major Ian Learmonth 6 6 theatre productions for SCEGGS Darlinghurst for the Total Revenue 11,659,250 11,117,780 last nine years. Frank Macindoe 3 3 Expenses Ralph Myers 6 3 Auditor Independence Production (7,490,523) (6,680,687) Olivia Pascoe 2 2 The directors received an independence declaration from the auditor, Ernst & Young. A copy has been Marketing and promotions (860,164) (780,537) Occupancy (330,168) (339,909) Finance Committee Meetings included below. Fundraising (223,248) (283,705) The Finance Committee is a sub-committee of the Signed in accordance with a resolution of the directors. Board. During the financial year, five meetings of Administration (2,673,170) (2,730,312) directors were held. Attendance was as follows: (11,577,273) (10,815,150) Number Eligible Number Members to attend attended Rob Brookman 3 3 Andrew Cameron Profit before income tax 81,977 302,630 Chair Income tax expense - - Andrew Cameron 6 5 Sydney, 25 March 2013 Michael Coleman 3 3 Profit for the year 81,977 302,630 Tracey Driver 6 5 Other comprehensive income - - Auditor’s Independence Declaration to the Gail Hambly 6 5 Total comprehensive income 81,977 302,630 Directors of Company B Limited Brenna Hobson 6 6 Richard Drysdale 6 6 In relation to our audit of the financial report of The above statement of comprehensive income should be read in conjunction with the accompanying notes. Company B Limited for the financial year ended 31 December 2012, to the best of my knowledge Other Information and belief, there have been no contraventions of Elly Clough the auditor independence requirements of the Employee-elected representative – ex officio Corporations Act 2001 or any applicable code of Elly has been the publicist at Belvoir for two years. professional conduct. Prior to this appointment Elly worked in various marketing and communications positions with NORPA (Northern Rivers Performing Arts), Insight Communications, Friends of The Australian Ballet, Ernst & Young ACMN Advertising and Marketing and as a freelance publicist. Throughout a varied career Elly has also worked in hospitality, politics and as an independent producer. Elly holds and Bachelor of Theatre Arts from the University of Southern Queensland and David Simmonds is completing a Master of Arts and Entertainment Partner Management at Deakin University. 25 March 2013 50 51 Statement of Financial Position Statement of Changes in Equity

As at 31 December 2012 Note 2012 ($) 2011 ($) Retained Total For the year ended 31 December 2012 earnings ($) equity ($) assets Current Assets At 1 January 2012 1,787,636 1,787,636 Cash and cash equivalents 5 3,206,137 3,518,732 Profit for the year 81,977 81,977 Trade and other receivables 6 119,723 175,116 Other comprehensive income - - Inventories 17,176 12,977 Total comprehensive income for the year 81,977 81,977 Prepayments 278,431 280,040 At 31 December 2012 1,869,613 1,869,613 Total current assets 3,621,467 3,986,865 At 1 January 2011 1,485,006 1,485,006 Profit for the year 302,630 302,630 Non-current assets Other comprehensive income - - Security deposits 55,326 47,490 Total comprehensive income for the year 302,630 302,630 Held to maturity investments 7 1,982,233 1,994,081 At 31 December 2011 1,787,636 1,787,636 Property, plant and equipment 8 99,236 64,661 Intangible assets 9 56,536 25,478 The above statement of changes in equity should be read in conjunction with the accompanying notes. Total non-current assets 2,193,331 2,131,710

Total assets 5,814,798 6,118,575 liabilities Statement of Cash Flows Current Liabilities Trade and other payables 10 1,022,825 990,289 Provisions 11 303,222 339,019 Deferred revenue 12 2,587,279 2,966,557 For the year ended 31 December 2012 Note 2012 ($) 2011 ($) Total current liabilities 3,913,326 4,295,865 Operating Activities Receipts from patrons, customers and grant providers 12,124,108 10,234,604 Non-current liabilities Payments to suppliers and employees (12,591,122) (10,629,946) Provisions 11 31,859 35,074 Net cash flows used in operating activities (467,014) (395,342) Total non-current liabilities 31,859 35,074

Investing Activities Total liabilities 3,945,185 4,330,939 Proceeds from sale of property, plant and equipment 36,544 - Net assets 1,869,613 1,787,636 Purchase of property, plant and equipment (68,356) (81,445) Purchase of intangible assets (44,684) - Equity Interest received 238,751 329,962 Retained earnings 1,869,613 1,787,636 (Increase)/decrease in security deposits (7,836) 11,392 Total Equity 1,869,613 1,787,636 Net cash flows (used in)/from investing activities 154,419 259,909 The above statement of financial position should be read in conjunction with the accompanying notes. Financing Activities Net cash flows from financing activities - - Net decrease in cash and cash equivalents (312,595) (135,433) Cash and cash equivalents at 1 January 3,518,732 3,654,165 Cash and cash equivalents at 31 December 5 3,206,137 3,518,732

The above statement of cash flows should be read in conjunction with the accompanying notes.

52 53 Notes to the Financial Statements For the year ended 31 December 2012

1. CORPORATE INFORMATION (d) Trade and other receivables Plant and equipment 3–7 years employees’ services up to the reporting date. Trade receivables, which generally have 30-90 Motor vehicles 6–7 years They are measured at the amounts expected to The financial report of Belvoir for the year ended day terms, are recognised initially at fair value and Furniture and fittings 5–10 years be paid when the liabilities are settled. Expenses 31 December 2012 was authorised for issue in subsequently measured at cost using the effective for non-accumulating sick leave are recognised accordance with a resolution of the directors on The assets’ residual values, useful lives and interest method, less an allowance for impairment. when the leave is taken and are measured at the 25 March 2013. Belvoir is an unlisted non-profit amortisation methods are reviewed, and adjusted if Collectability of trade receivables is reviewed on an rates paid or payable. Company limited by guarantee incorporated and appropriate, at each financial year end. ongoing basis. Individual debts that are known to operating in Australia. The registered office and Long service leave be uncollectible are written off when identified. An (i) Acquisition of assets principal place of business of the Company is 18 The liability for long service leave is recognised impairment provision is recognised when there is Assets acquired are recorded at the cost of Belvoir Street, Surry Hills, NSW 2010, Australia. The and measured as the present value of expected objective evidence that the Company will not be able acquisition, being the purchase consideration nature of the operations and principal activities of the future payments to be made in respect of services to collect the receivable. determined as at the date of acquisition plus costs Company are described in the directors’ report. provided by employees up to the reporting date incidental to the acquisition. (e) Inventories using the projected unit credit method. Consideration 2. SUMMARY OF SIGNIFICANT ACCOUNTING Inventories consist of finished goods and are valued (j) Leases is given to expected future wage and salary levels, POLICIES at the lower of cost and net realisable value. Net The determination of whether an arrangement is or experience of employee departures, and periods of (a) Basis of preparation realisable value is the estimated selling price in the contains a lease is based on the substance of the service. Expected future payments are discounted The financial report is a general purpose financial ordinary course of business, less estimated costs of arrangement and requires an assessment of whether using market yields at the reporting date on national report which has been prepared in accordance with completion and the estimated costs necessary to the fulfilment of the arrangement is dependent on the government bonds with terms to maturity and the Corporations Act 2001, Australian Accounting make the sale. use of a specific asset or assets and the arrangement currencies that match, as closely as possible, the Standards – Reduced Disclosure Requirements and conveys a right to use the asset. estimated future cash outflows. (f) Recoverable amount of non-current assets other authoritative pronouncements of the Australian At each reporting date, the Company assesses Company as a lessee Refer to Note 3 for the policy and assumptions Accounting Standards Board. The financial report whether there is any indication that an asset may Operating lease payments are recognised as an relating to the provision for loss making productions. has been prepared on the basis of the historical be impaired. Where an indicator of impairment expense in the profit or loss on a straight-line basis cost convention. Cost is based on the fair value of (m) Revenue recognition exists, the Company makes a formal estimate of over the lease term. the consideration given in exchange for assets. The Revenue is recognised and measured at the fair recoverable amount. Where the carrying amount of financial report is presented in Australian dollars (k) Trade and other payables value of the consideration received or receivable an asset exceeds its recoverable amount the asset unless otherwise stated. Trade and other payables are carried at amortised to the extent that it is probable that the economic is considered impaired and is written down to its cost and due to their short term nature they are not benefits will flow to the Company and the revenue (b) New accounting standards and recoverable amount. discounted. They represent liabilities for goods and can be reliably measured. The following specific interpretations Recoverable amount is the greater of fair value less services provided to the Company prior to the end recognition criteria must also be met before revenue The accounting policies adopted are consistent with costs to sell and value in use. It is determined for of the financial year that are unpaid and arise when is recognised: those of the previous financial year. an individual asset, unless the asset’s value in use the Company becomes obliged to make future Productions Accounting Standards and Interpretations issued cannot be estimated to be close to its fair value payments in respect to the purchase of these goods Revenue is recognised upon the performance of but not yet effective less costs to sell and it does not generate cash and services. productions to which the ticket revenue relates. Certain Australian Accounting Standards and inflows that are largely independent of those from (l) Provisions Interpretations have recently been issued or amended other assets or groups of assets, in which case, the Interest but are not yet effective and have not been adopted recoverable amount is determined for the cash- General Revenue is recognised when control of the right to by the Company for the year ended 31 December generating unit to which the asset belongs. Provisions are recognised when the Company has receive the interest payment has been obtained. 2012. The directors have not early adopted any of a present obligation (legal or constructive) as a In assessing value in use, the estimated future cash Sponsorship and Donations revenue these new or amended standards or interpretations. result of a past event, it is probable that an outflow flows are discounted to their present value using a Sponsorship The directors have not yet fully assessed the impact of resources embodying economic benefits will be pre-tax discount rate that reflects current market Sponsorship commitments are brought to account of these new or amended standards (to the extent required to settle the obligation and a reliable estimate assessments of the time value of money and the risks as revenue in the year in which sponsorship benefits relevant to the Company) and interpretations. can be made of the amount of the obligation. When specific to the asset. are bestowed. the Company expects some or all of a provision to (c) Cash and cash equivalents (g) Held to maturity investments be reimbursed, for example, under an insurance Donations Cash and cash equivalents in the Statement of Held to maturity investments are non-derivative contract, the reimbursement is recognised as a Income arising from the donation of an asset to the Financial Position comprise cash at bank and in hand financial assets with fixed or determinable payments separate asset, but only when the reimbursement is Company is recognised when, and only when, all the and short-term deposits with an original maturity of and fixed maturities that management have the virtually certain. The expense relating to a provision following conditions have been satisfied: three months or less that are readily convertible to positive intention to hold to maturity. These assets is presented in the income statement net of any known amounts of cash and which are subject to an a. the Company has obtained control of the donation are measured at amortised cost using the effective reimbursement. insignificant risk of changes in value. or the right to receive the donation: interest method. Wages, salaries, annual leave and other short term b. it is probable that economic benefits compromising For the purposes of the Statement of Cash Flows, (h) Property, plant and equipment employee entitlements the donation will flow to the Company; and cash and cash equivalents consist of cash and cash Plant and equipment is stated at historical cost less Liabilities for wages and salaries, including non- c. the amount of the donation can be measured reliably. equivalents as defined above, net of outstanding accumulated depreciation and any accumulated monetary benefits, annual leave and other employee bank overdrafts. impairment losses. Depreciation is calculated on a entitlements expected to be settled within 12 months 54 straight-line basis over the estimated useful life of the of the reporting date are recognised in respect of 55 asset as follows: (n) Income tax (r) Advance box office The Company is exempt from income tax under Monies received from both subscribers and non- Subdivision 50-B of the Income Tax Assessment Act subscribers for advanced bookings are included 1997, as granted by the Commissioner of Taxation in income progressively during each production to 4. REVENUE AND OTHER INCOME on 8 June 2000. Consequently the Company has which they relate, and not before. All monies received not provided for any liability for income tax in these in advance for 2012 box office income is recorded as a) Government Grants Received Unexpended Grants Unexpended financial statements. deferred revenue and transferred to income when the Grants Grants Expenditure Grants respective show concludes. Brought Income 2012 Carried (o) Other taxes Forward Received (Net Grants Forward Revenues, expenses and assets are recognised (s) Prior year comparatives from 2011 2012 Income) to 2013 net of the amount of Goods and Services Tax (GST) Where necessary, comparatives have been ($) ($) ($) ($) except: reclassified and repositioned for consistency with Australia Council current period disclosures. • When the GST incurred on a purchase of goods MPAB Annual Grant - 623,803 623,803 - and services is not recoverable from the taxation 3. SIGNIFICANT ACCOUNTING JUDGEMENTS, Remuneration Restructuring Grant - 160,000 160,000 - authority, in which case the GST is recognised as ESTIMATES AND ASSUMPTIONS part of the cost of acquisition of the asset or as Fostering Artistic Vibrancy – International Grant - 40,000 40,000 - The preparation of the Company’s financial part of the expense item as applicable. Fostering Artistic Vibrancy – International Grant - 30,000 30,000 - statements requires management to make • Receivables and payables, which are stated with judgements, estimates and assumptions that affect MPAB International program - 4,000 4,000 - the amount of GST included. the reported amounts of revenues, expenses, assets Australia Council Total - 857,803 857,803 - and liabilities, and the accompanying disclosures, The net amount of GST recoverable from, or payable and the disclosure of contingent liabilities. Uncertainty Communities NSW to, the taxation authority is included as part of about these assumptions and estimates could result receivables or payables in the Statement of Financial Annual Grant - 952,985 952,985 - in outcomes that require a material adjustment to Position. ConnectEd: Ticket & Travel Subsidy 2012 - 5,000 5,000 - the carrying amount of assets or liabilities affected in ConnectEd: Ticket & Travel Subsidy 2013 - 10,000 - 10,000 Cash flows are included in the Statement of Cash future periods. Flows on a gross basis and the GST component Philip Parsons Program Grant - 5,000 5,000 - Estimates and assumptions of cash flows arising from investing and financing Australian Performing Arts Market Grant 4,215 - 4,215 - The key assumptions concerning the future and other activities, which is recoverable from, or payable to, key sources of estimation uncertainty at the reporting Emerging Indigenous Technical Position - 31,151 - 31,151 the taxation authority is classified as part of operating date, that have a significant risk of causing a material Communities NSW Total 4,215 1,004,136 967,200 41,151 cash flows. adjustment to the carrying amounts of assets and Commitments and contingencies are disclosed net of liabilities within the next financial year, are described Commonwealth Government the amount of GST recoverable from, or payable to, below. The Company based its assumptions Australian Trade Commission Export the taxation authority. and estimates on parameters available when the Market Development Grant - 53,346 53,346 - consolidated financial statements were prepared. (p) Government grants Commonwealth Government Total - 53,346 53,346 - Government grants are recognised at their fair value Existing circumstances and assumptions about future where there is reasonable assurance that the grant developments, however, may change due to market Local Government – City of Sydney changes or circumstances arising beyond the control will be received and all attaching conditions will be Indigenous Audience Development 5,000 10,000 15,000 - of the Company. Such changes are reflected in the complied with. Funding revenue is received from B Street Serial Program 8,000 4,000 12,000 - the government for specific activities. The funding is assumptions when they occur. Local Government – City of Sydney Total 13,000 14,000 27,000 - received based on payment schedules contained in Provision for loss making productions the funding agreement between the funding bodies The Company makes an annual assessment as to and the Company. The funding is recognised in the whether prepaid production costs have any future TOTAL GRANTS 17,215 1,929,285 1,905,349 41,151 calendar year for which it is intended under the terms economic value, based on whether the relevant of the agreement due to the conditional nature of the production is expected to generate sufficient All Government funding has been spent in accordance with funding agreements. funding. proceeds to cover such costs. b) Other Income 2012 ($) 2011 ($) (q) Productions The Company provides for its best estimate of The total cost of staging productions, including the any losses which will arise under contractual Other Income manufacturing cost of costumes, scenery sets and commitments at balance date which are unavoidable Rental revenue – Theatre and Venue 170,965 173,385 properties, is charged to income and expenditure due to either legal or constructive obligations. In in the period each production is performed. order to assess both the recoverability of prepaid Other 153,923 126,213 This procedure conforms to standard theatrical production costs and any onerous contract 324,888 299,598 accounting practice as adopted in Australia and other obligations, the Company makes an assessment parts of the world. Costs of production and other of all future planned productions and identifies associated expenditure in respect of performances those productions which are expected to generate not yet performed but will be in the next 12 months losses. Such losses are first applied to any prepaid are included in the statement of financial position as production costs prior to making a further provision part of prepaid expenditure. for any additional estimated losses as an onerous contract provision.

56 Further details may be found in Note 11. 57 5. CASH AND CASH EQUIVALENTS Reconciliation of carrying amounts at the beginning and end of the year

Cash held in Escrow – Reserves Incentives Funding Scheme Plant and equipment The funds received under the Reserves Incentives Funding Scheme of the Australia Council and Arts NSW, Net carrying amount 37,868 together with any interest earned on those funds, are held in escrow and cannot be accessed without the express agreement of the Funding bodies under prescribed circumstances. These funds have not been used to Additions 50,076 secure any liabilities of the Company. As at 31 December 2012, the Company is holding $172,668 Depreciation charge for the year (28,182) (2011: $171,136) under this scheme. Balance at the end of the year – Net carrying amount 59,762

6. TRADE AND OTHER RECEIVABLES (CURRENT) 2012 ($) 2011 ($) Motor vehicles Net carrying amount - Trade receivables 97,065 84,567 Additions 18,280 Goods and services tax (GST) receivable - 61,274 Disposals (36,544) Other receivables 22,658 29,275 Depreciation charge for the year 36,003 119,723 175,116 Balance at the end of the year – Net carrying amount 17,739 7. HELD TO MATURITY INVESTMENTS 2012 ($) 2011 ($) Furniture and fittings At Amortised Cost Net carrying amount 26,793 Convertible preference shares 1,982,233 1,994,081 Additions - The convertible preference shares, which were acquired December 2009 and are intended to be held to Depreciation charge for the year (5,058) maturity in September 2014, have a face value of $1,961,500. Balance at the end of the year – Net carrying amount 21,735 8. PROPERTY, PLANT AND EQUIPMENT 2012 ($) 2011 ($) Total Property, plant and equipment Plant and equipment Balance at the beginning of the year - At cost 252,055 201,979 Net carrying amount 64,661 Accumulated depreciation (192,293) (164,111) Additions 68,356 Net carrying amount 59,762 37,868 Disposals (36,544) Depreciation charge for the year 2,763 Motor vehicles Balance at the end of the year – Net carrying amount 99,236 At cost 18,280 36,544 Accumulated depreciation (541) (36,544) 9. INTANGIBLE ASSETS 2012 ($) 2011 ($) Net carrying amount 17,739 - Ticketing system Furniture and fittings At cost 77,684 33,000 At cost 63,806 63,806 Accumulated amortisation (21,148) (7,522) Accumulated depreciation (42,071) (37,013) Net carrying amount 56,536 25,478 Net carrying amount 21,735 26,793 a) Reconciliation of carrying amount at beginning and end of the period 2012 ($) 2011 ($)

Total property, plant and equipment Ticketing system At cost 334,141 302,329 Balance at the beginning of the year Accumulated depreciation (234,905) (237,668) Net carrying amount 25,478 Net carrying amount 99,236 64,661 Additions 44,684 Depreciation charge for the year (13,626) Balance at the end of the year – Net carrying amount 56,536

58 59 10. TRADE AND OTHER PAYABLES (CURRENT) 2012 ($) 2011 ($) 12. DEFERRED REVENUE 2012 ($) 2011 ($)

Trade payables 737,888 595,097 Advance ticket sales 2,454,712 2,723,060 Sundry payables 185,103 296,109 Government grants in advance 41,151 17,215 Accrued expenses 98,588 99,083 Sponsorship income in advance 26,917 63,415 Goods and services tax 1,246 - Fundraising and donations income in advance 57,500 153,868 1,022,825 990,289 Other deferred revenue 6,999 8,999 2,587,279 2,966,557 11. PROVISIONS (CURRENT AND NON-CURRENT) 2012 ($) 2011 ($) 13. Commitments and contingencies 2012 ($) 2011 ($) Long service leave 80,306 54,431 Annual leave 91,111 96,256 (a) Leasing commitments Other employee provisions 102,772 135,786 Non-cancellable operating leases: Total employee provisions 274,189 286,473 Within one year - 45,887 After one year but not more than five years - - Provision for loss making productions 60,892 87,620 - 45,887 Total Provisions 335,081 374,093 A non-cancellable operating lease for renting a workshop and storage space in Marrickville was in place until October (a) Movement in provisions Loss 2012. The rental amount is continuing on a monthly rolling basis, therefore is not included in the table above. Employee Making An operating lease for rent of the warehouse and theatre is currently in place with Belvoir St Theatre Limited (BSTL). Provisions Productions Total The rental amount is a varying figure, being the equivalent of the annual outgoings incurred by BSTL, and therefore is ($) ($) ($) not included in the table above. At 1 January 2012 286,473 87,620 374,093 (b) Sinking fund commitments Arising during year 307,227 60,892 368,119 During the year Company B became obliged to pay Belvoir St Theatre Limited the first instalment of a ten year Utilised during year (319,511) (87,620) 407,131 commitment of the sinking fund as required under the lease rental agreement between BSTL and Company B for At 31 December 2012 274,189 60,892 335,081 the Belvoir St Theatre and warehouse premises. The sinking fund is to enable Belvoir St Theatre Limited to carry out works on the premises on a scheduled basis over 10 years in order to maintain and repair the building in Current 2012 242,330 60,892 303,222 which the theatre is housed in and the property plant and equipment used on the premises. Non-Current 2012 31,859 - 31,859 As at 31 December 2012 the value of the commitment payable to Belvoir St Theatre Limited was as follows: 274,189 60,892 335,081 2012 ($) 2011 ($) Current 2011 251,399 87,620 339,019 Not longer than 1 year 58,794 - Non-Current 2011 35,074 - 35,074 Longer than 1 year and not longer than 5 years 212,304 - 286,473 87,620 374,093 Greater than 5 years 329,655 - (b) Nature and timing of provisions 600,753 - (i) Annual Leave and other short term employee benefits Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and 14. RELATED PARTY DISCLOSURES assumptions applied in the measurement of this provision. There were no transactions with related parties during the year other than those with Directors. Payments made (ii) Long service leave to directors are not for their services as directors of the Company for which no fee is received. Payments were Refer to Note 2 for the relevant accounting policy and a discussion of the significant estimations and made by the Company to some directors for their contributions as employees of, or contractors to the Company. assumptions applied in the measurement of this provision. Total short-term employment benefits paid to directors amounted to $168,542 (2011: $163,087). (iii) Provision for Loss Making Productions 15. MEMBERS’ GUARANTEE Provisions for productions in subsequent calendar year(s) which management determine as deficit-making, for which the Company has a firm commitment to produce. Refer to Note 2 for the relevant accounting policy in Belvoir is incorporated in New South Wales as a company limited by guarantee. In the event of the Company relation to recognition and measurement principles. being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the Company’s liabilities. As at 31 December 2012 there were 44 members of Belvoir and the amount of capital that could be called up in the event of Belvoir being wound up is $880.

60 61 Directors’ Declaration

In accordance with a resolution of the directors of Belvoir, I state that: In the opinion of the directors: (a) the financial statements and notes of the Company are in accordance with the Corporations Act 2001, including: (i) giving a true and fair view of the Company’s financial position as at 31 December 2012 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards – Reduced Disclosure Requirements (including the Australian Accounting Interpretations) and the Corporations Regulations 2001 (b) there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable. On behalf of the Board

Andrew Cameron Chair Sydney, 25 March 2013

62 63 Partners, Sponsors and Supporters

Corporate Partner

IT Partner Media Partners Supporters

Major Sponsors Indigenous Theatre at Belvoir supported by The Balnaves Foundation

The Andrew Cameron Family Foundation Besen Family Foundation Coca-Cola Australia Foundation Copyright Agency Cultural Fund Gandevia Foundation Associate Sponsors The Greatorex Foundation Johns N H Trust managed by Perpetual Linnell / Hughes Trust managed by Perpetual Media Tree Stays in the Vines Teen Spirit Charitable BOUTIQUE ACCOMMODATION Foundation Thomas Creative Event Sponsors

Government Partners

Silver Spoon Caterers

For more information on partnership opportunities please contact our Development team on (02) 9698 3344

64 Annual Report Production Coordination Belvoir Marketing Department Design Alphabet Studio Printing No Time To Lose

For any Annual Report enquiries please contact: Belvoir Marketing Department 18 Belvoir St, Surry Hills NSW 2010 tel +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 [email protected]

Belvoir is proud to be a member of the Australian Major Performing Arts Group (AMPAG)

This Annual Report is printed on an environmentally responsible paper produced from FSC Mixed Sources Chain of Custody (CoC) certified pulp from well-managed forests, is Elemental Chlorine Free (ECF) and made carbon neutral.

Michael Mohammed Ahmad in I’m Your Man. Photo: Heidrun Löhr. Emma Jackson in Food. Photo: Heidrun Löhr. Belvoir Annual Report 2012 Belvoir Annual Report 2012

18 & 25 Belvoir St, Surry Hills NSW 2010 admin +61 (0)2 9698 3344 fax +61 (0)2 9319 3165 box office +61 (0)2 9699 3444 [email protected] belvoir.com.au

Front cover: Colin Friels & Patrick Brammall in Death of a Salesman. Photo: Heidrun Löhr.