Annual Report 2019 Contents

Vision Statement 3

History 4

Chair’s Report 5

Artistic Director’s Report 7

Producer’s Report 11

2019 Program 13

2019 Activities 23

Company Artists and Associates 27

Performance Statistics 2019 29

Financial Report 30

List of Performances 1972 – 2019 44

All School Bookings 2019 45

Acknowledgements 46

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

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

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

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

3 History

Adelaide-based Patch Theatre is Australia’s flagship theatre company making work primarily for 4–8 year olds. The company has performed 109 new works to more than 1.85 million children and their families since its inception. For many, seeing a Patch production is a family tradition, with parents bringing their children and now their grandchildren to see its work, providing the company with a long and loyal audience base.

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

Following Morna’s death in 1982, Artistic Director Christine Anketell developed a relationship with the Festival Centre Trust that saw the realisation of large-scale adaptions of children’s literature and the early genesis of Patch Theatre’s national profile. Throughout the 1990s and 2000s and under ZOOM the leadership of Artistic Director Dave Brown, the company evolved into a highly regarded national and international touring company with a newly crafted, world-class repertoire of diverse, vibrant and challenging theatre for young audiences.

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

In 2019, Patch began its very successful journey producing a reimagined style of design- rich theatrical experiences, expanding its family audiences with installation, promenade style works, while continuing to make its highly acclaimed in-theatre productions.

4 Chair’s Report

I write, and this will be read, at a time of incomprehensible uncertainty and so it is a happy task to look back at 2019. In my previous report I commented that I could not wait for 2019 to begin. And it has turned out that my enthusiasm was well placed. Having settled in with the company, defined their creative vision and assembled a tiny but highly effective team, Artistic Director Geoff Cobham and Producer Teena Munn delivered the program they had promised – new, design-focussed, immersive theatre works together with the retention of repertoire favourites. In its 2019 program and in its four-year planning, Patch is creating and presenting just what young audiences now demand and is well placed at the forefront of children’s theatre.

The facts and figures of our various undertakings appear elsewhere in this Annual Report, but what lies behind those facts and figures is an artistic program (which is after all our reason for being) Emily Loves to Bounce which in 2019 saw the entrancing Firefly Forest, an experience of wonder in the DreamBIG Festival; the creative development and presentation of light-magic and interactive ZOOM; the creative development of major new work The Lighthouse to the point of gaining the Major Festivals Initiative funding and a major commissioning grant from Arts SA; and the presentation and touring of two repertoire works Me & My Shadow and Emily Loves to Bounce – the latter touring to China, its success proving a very effective door opener for future Patch works, while Me & My Shadow was filmed and licensed to New York’s Juilliard School as a teaching tool.

The extraordinary quality and quantity of Patch’s creativity in 2019 was freshly promoted through Patch’s new branding and logo; supported through enhanced involvement with schools and teachers; and sustained by a revitalised fundraising strategy and rigorous financial management.

5 Chair’s Report (continued)

We value highly the interest, enthusiasm and wise counsel of our minister the Hon John Gardner MP, Minister for Education and together with the practical support of ‘our man in Education’ David Ensor.

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

And the ‘tiny team’ mentioned above continues to amaze: to The Lighthouse Geoff Cobham, Teena Munn, Penny Camens, Michelle Delaney, Mirella Innocente and Krystle Aunger, I give credit collectively and individually for Patch’s critical success and financial stability. Further, they completed the major task of delivering the company’s application for Australia Council funding for 2021–2024 together with the four-year creative and financial plan integral to the application. I thank them all for their belief in Patch, their hard work and their good humour. Such is their skill that we have been able to restructure Patch’s internal systems, including storage and rehearsal spaces, making savings that can be applied to new work.

And as I happily and regularly acknowledge, without the public and private support we so gratefully receive, we would not exist. We are proud that our State Government through Carclew and Department for Education and the Federal Government through the Australia Council acknowledged our worth with substantial grants in 2019; the James and Diana Ramsay Foundation continues to support our new work, regional touring and to build the capacity of our company; and Hither & Yon wines helped us to celebrate our successes. And of course, our amazing private donors, sharing our commitment to give young people and their families (in 2019 a total of 38,747 children) the very best of creative experiences.

Janet Worth Chair

6 Artistic Director’s Report

2019 has been an extraordinary year. I am pleased to report we have met or exceeded all of our ambitious goals.

We discovered at DreamBIG that our belief in presenting abstract art to children was well founded, with the response to Firefly Forest being overwhelmingly positive. In fact, throughout the year, my contact with children made me more confident in the ability of young people to absorb, process and add to an abstract art experience. I am still happily exploring what our new form of theatre for young people is. However, it can definitely be described as participatory, immersive, tactile. It certainly allows our audience to have agency in the experience, engage in many different ways and provide their own narrative. There are no passive audience members in our shows and few words in our work, which encourages audience dialogue. I love to sit amongst the audience and hear the constant chat, which is always about the show, as they provide theory after theory of what is happening onstage, how it is happening and what will happen next. There are as many stories here as there are audience members. We are definitely sparking their imaginations, creating wonder, connecting with their inner engineers and providing new jumping off points for further inquiry at home and in the classroom.

To prepare for our national tour of our repertory piece Me & My Shadow, we employed the original Directors Dave Brown and Roz Hervey to rehearse two young actors into the performing roles. We also redesigned the technical elements to enable the show to have a more efficient bump in. I went to Alice Springs for the first leg of the tour and as well as getting to experience their amazingly diverse audience, I also oversaw the installation of our pre-show foyer work, Glow. It was very rewarding to watch children play with light and shadow as well as experience the magic of the show onstage. Emily Loves to Bounce

7 Artistic Director’s Report (continued)

ZOOM

We also licensed one of Patch’s classic works, Mr McGee and the Biting Flea to Capital E National Theatre, Wellington for a 13 week New Zealand tour, employing Tim Overton to cast and direct the show as well as advising on production and set elements and overseeing the production of a new score by a local composer.

Our first new show, ZOOM was created collectively by a team of like-minded creatives, with a large range of experience, from old hands like Dave Brown to newcomers like Temeka Lawlor. They were carefully “curated” by me, but this was an example of true collaboration. I am very grateful for the generosity of all the artists involved, especially as I was a first-time director. The interactive elements of the show, stretching these as far as we did, were challenging with such a tricky concept of giving actual agency to a large group of people who are trapped in their seats – however, we succeeded. We will continue to finesse the experience to ensure that the audience continue to feel they are controlling parts of the show and that the other character in the show is light itself. This will include exploring new technology to improve and extend the remote-controlled light that the audience take into the theatre with them. The positive response was universal and it is heartening to see the child in all of us revealed by the work.

We are fortunate that we have a loyal following from our city and regional SA audiences, who packed out the venues for our tour and responded, sometimes riotously, to ZOOM. Our simple provocation to the children before they came to the show to “bring a piece of dark” elicited an overwhelmingly positive and imaginative response. My office is awash with pieces of “dark art”.

8 Artistic Director’s Report (continued)

Our next adventure was to take Emily Loves to Bounce to China. We put an amazing cast together including two recent graduates. Roz Hervey meticulously oversaw the rehearsals and we reworked much of the lighting and tricks to take advantage of advances in technology. Peers and the past creative team of Emily all agreed it was the best version yet of this fabulous show. Teena and I were fortunate enough to be able to attend the first week in China and it was such a treat to see how well this was received by both the producers and the capacity audiences. There is such a strong need and desire for high-quality Emily Loves to Bounce work for young people in China and we look forward to a long and productive relationship with the local team at Art Space for Kids, Shanghai.

However, after sitting amongst ZOOM and Emily audiences I did often wonder if children are designed to sit in rows and watch a stage… it seemed so counterintuitive to them. As it is the first time many of them have been into a theatre, it is interesting to observe what a strange space and concept it is to many of them. With this in mind, we embarked on The Lighthouse development and focussed on the experience from the children’s point of view. While trying to create wonder and grandeur we also kept the idea of intimacy of performance and agency for the viewer at the forefront of our thinking.

We spent the last few months of 2019 exploring The Lighthouse technology. There was endless research and purchasing of samples and manufacturing of prototypes and thankfully lots of happy accidents. The themes began to reveal themselves and I realised that the show was attempting to answer the question, “What does a conversation with the universe look like?”

Here are some of the questions we were asking children and our creative team: • Talking to the stars… what would you say? • How do you send your whispered thoughts along a light beam? • Laying on the floor looking up into the night sky, what do you see? • Calling out into the night… what does it say back? • Where does light go to sleep? • If I had the only light in the world…

9 Artistic Director’s Report (continued)

And an early description of the work: • A house full of light • A beam of light sweeps across the universe • Tracking a world that is full of people, in a universe that is empty • Light as a source of beauty and solace • Light to guide introspection and connection • Light to reveal the unexpected, the wonderfully unimaginable

Through testing with young audiences and our team we learnt what important elements were coming to the fore and stripped away the unnecessary so that the essence of each idea was clear and there was still room for multiple interpretations. Again, we found the removal of all text very empowering for the audience. By the end of the year we had tested and programmed three of the rooms, with two to be developed in January and February before our opening at the Adelaide Festival in March 2020. Our composer, Jason Sweeney, had provided a rich selection of potential music and we had been testing with the lighting and performances to best underscore the experience. Our Designer/Maker, Michelle ‘Maddog’ Delaney, had been endlessly shopping and prototyping and always saying yes! Our technical wizard, Chris Petridis, had been making all the complex elements seem easy and my creative consultants Zoë Barry and Daisy Brown poured positive and inspiring energy into all aspects of the work.

This like-minded, generous, can-do attitude is reflected by our core-team who are focussed on making the administration and marketing as streamlined and powerful as possible, so we can always stay focussed on our artistic elements. Teena Munn is a force of nature and none of this would be possible without her leadership and endless positive, solution-focussed attitude. We have delivered our goals with great efficiency. Our mantra of spending the limited arts dollar where the audience can see it has been our guiding force. We are a lean machine and we are all solutions focussed. Our full- time staff are very experienced managers which allows us to keep our short term and casual staff focussed on creating and doing rather than planning.

I also want to thank all the amazing local creative and technical teams (over 30 people) who have worked on our projects. We are very fortunate to have such depth of talent to draw on in Adelaide.

I have never been happier in my work than this year and every day I am excited by the capacity of our audience to willingly celebrate wonder and ignore the boundaries. I am looking forward to continuing this journey with them.

Geoff Cobham Artistic Director

10 Producer’s Report

Mr McGee and the Biting Flea

2019 was an incredibly successful year for Patch, delivered by a lean but exceptional team and incredible creative artists, supported by our new efficient management systems. This enabled us to deliver some exceptional work as part of the new vision of the company extremely efficiently.

The very full program of works we presented in 2019, as detailed in Geoff’s Artistic Director’s report, showcased the company’s growing diversity and innovation, all of which is already resulting in greater development of and engagement with our audiences.

Touring one of Patch’s refreshed classic works, augmented with a workshop installation and filmed by The Juilliard School; licensing another of our classics to undertake a major New Zealand tour; having our first installation work at the DreamBIG Festival; making, presenting and touring our first interactive, immersive in-theatre work to great acclaim and successfully pitching our first large-scale work to major festivals and venues, has resulted in a truly bumper year. Our new work, ZOOM, even won its first award – Independent Arts Foundation Award for Innovation from the Adelaide Critics Circle.

We have pitched our new work on three major platforms: • The Commissioning Site for Major Festivals – successfully securing funding and commissioning partners for The Lighthouse • Made in Adelaide during the 2019 Adelaide Festival – attended by leading national and international festivals and venues • The Performing Arts Exchange – resulting in enormous interest and plans for an extensive Australian tour of ZOOM in 2021, supported by the Australia Council’s National Touring Status funding

11 Producer’s Report (continued)

Importantly, we continue to perform to a broad and diverse audience, performing to over 38,000 children this year, many from disadvantaged schools. It is important to note that to continue to reach these audiences, especially in regional areas, we have maintained ticket prices at the same level for several years despite rising costs, with the support of the James and Diana Ramsay Foundation.

We continue to be a huge contributor to South Australia’s arts ecology, providing employment opportunities for our non-core artists and technical personnel, being the equivalent of 197 weeks of employment to the value of $318,592 in 2019.

Financially, we managed this year’s budget Emily Loves to Bounce, workshop extremely well, once again having achieved a surplus of $15,548 which brings the reserves to $377,453. Securing major grants this year from the Major Festivals Initiative and a major Commissioning Grant from Arts SA, as well as four co-commissioning partners to produce The Lighthouse in 2020 will enable the company to make this very new style and large-scale work without drawing on the company reserves.

In 2019, after our initial expression of interest, we were invited by the Australia Council to apply for Four Year Funding which involved a comprehensive 4 Year Strategic Plan including artistic programs and budgets with the outcome to be known around April 2020. Our State funding model also changed, with Patch being moved under the Department for Education, which has proved to be an easy transition and, in some areas, has provided a more advantageous working relationship.

In summary, we have exceeded our high expectations, with the new in-theatre work, ZOOM, being warmly embraced by critics, audiences and potential tour partners, and our large-scale work for 2020, The Lighthouse, already generating considerable interest and excitement. Our incredible team, the amazing artists that we work with, and Geoff’s creativity, intuitive empathy for our audience and unparalleled practical knowledge, has made for a wonderful ride of a year. I can’t wait for what comes next!

Teena Munn Producer

12 2019 Program

ME & MY SHADOW AUSTRALIAN NATIONAL TOUR

The fanciful escapades of a girl making friends with her shadow.

Children love to play with shadows but making friends with your shadow can be a tricky business. There are things to sort out, problems to solve, adventures to have and laughter to be shared.

Me & My Shadow is a gentle magical visual poem for children, using paper, light, shadow, colour, water, music, sound and words to create a world of play where the imagined becomes real. With fantastical imagery, quirky physical performances and an intriguing score, Me & My Shadow ignites the imagination in a poetical experience that explores the trials and joys of friendship.

Collaboratively created by Geoff Cobham, Zoë Barry, Dave Brown, Roz Hervey, Nathan O’Keefe, Astrid Pill, Bob Weatherly Cast Temeka Lawlor, Angus Leighton (April–May), Sarah Brokensha, Nathan O’Keefe (June–July) Stage Manager Jacinta Way Technician Tom Bayford

13 2019 Program

ME & MY SHADOW AUSTRALIAN NATIONAL TOUR

“I just wanted to pass on our sincere thanks for having our Prep-2 students visit today to experience Me & My Shadow. What a terrific show! We absolutely LOVED it, it was a perfect performance for our age level and our kids had such a positive, fun time. In the words of the kids “That was stupendous!!” If

possible, could you please pass National Tour

on our gratitude to the performers, Date May 1 – July 4 even our teachers thoroughly 10 weeks, 16 venues, 63% regional and remote enjoyed it!” Performances 27 – Teacher, Geelong Attendees 5,263

Workshops 11 with attendance of 244 “So happy that your school is going to host a workshop with Auslan attendance 222 the wonderful people from Patch National Tour Dates Theatre. They are certainly May 2 & 3 Araluen Arts Centre, Alice Springs NT Australia’s pre-eminent theatre May 7 & 8 Darwin Entertainment Centre, Darwin NT company producing original May 13 & 14 Dance North, Townsville QLD and inspiring work for young May 16 & 7 Redland Performing Arts Centre, Cleveland QLD audiences! Your students will have May 21 The Events Centre, Caloundra QLD Performance cancellation a great experience, I feel sure.” May 23–24 – workshops only Toowoomba QLD – Rob Robson, May 27 & 28 Capitol Theatre, Tamworth NSW West Gippsland Arts Centre Bathurst Memorial Entertainment Centre, May 30 & 31 Bathurst NSW “It was like watching art” June 4 Wagga Wagga Civic Theatre, Wagga Wagga NSW – Parent, Bathurst June 7 Ulumbarra Theatre, Bendigo VIC June 12–14 Riverside Theatres, Parramatta NSW Performance cancellation “That’s real magic” June 18 – workshops only, Warragul VIC – Teacher, Mandurah June 22 Venue cancellation, Ballarat VIC

June 25 Bunjil Place, Narre Warren VIC

June 27 Geelong Performing Arts Centre, Geelong VIC

Mandurah Performing Arts Centre, July 3 Mandurah WA

14 2019 Program

GLOW INSTALLATION TOURED WITH ME & MY SHADOW To enhance the experience of Me & My Shadow while it was on tour, Glow was an interactive installation that allows playful exploration of light and shadow.

The children got to capture their own shadows and meet them. Glow sparked their imaginations National Tour and gave them an immersive Date May 1 – June 4 hands-on experience. Installations 11

Attendees 407

Locations Alice Springs, NT

Darwin, NT

Bathurst, NSW

Wagga Wagga, NSW

Paramatta, NSW

THE JUILLIARD SCHOOL FILMING OF ME & MY SHADOW FOR MAJOR TEACHING RESOURCE

Following an expression of interest from The Juilliard School, New York, we negotiated their use of Me & My Shadow as part of their Global K–12 Curriculum Resources, Teachers Education Program which provides an extensive suite of teaching tools for over 58 schools across the US. They have developed these for music and dance and were keen to work on a theatrical piece for young people. Having seen Me & My Shadow, they felt that this was the ideal work for them.

Patch worked with Juilliard to develop extensive workshop and teaching materials as part of their online teaching program and filmed interviews of the creative team during the re-rehearsal period, discussing the creative process and inspirations in December 2018. We then filmed the full production during its Sydney season in 2019 all of which formed part of these teaching materials.

15 2019 Program

FIREFLY FOREST PREMIERE SEASON

“An enchanting, whimsical childlike experience! Left me filled with wonder and awe :) I’m normally scared of the dark so it was challenging at first but quite beautiful and profound when I could let go and trust” – Amanda, Torrensville

“My daughter saw this yesterday on a school excursion, and said it was the best part of her day – DreamBIG Festival great job” Date 10am–3pm, May 22 – June 1 – Ev Bennett, parent Attendees 4,413 Venue Banquet Room, “This is amazing” – child

Firefly Forestis an immersive magical lighting installation created by Geoff Cobham and his long-time collaborator Chris Petridis. This timeless piece, sparked by an unexpected sublime moment in a paddy field under a full moon and next ot a volcano, is an inspiration for all ages.

Our fireflies leave trails of ever-changing ember coloured light. Sitting beneath them will transport you to another time and place.

Based on the highly successful work that Geoff produced for the Samstag Museum of Art, which then toured to the Singapore International Festival in 2018, Geoff adapted this work for a young audience, with additional lighting effects and a new soundscape by Jason Sweeney, which was especially designed for our young audiences and their families.

Firefly Forest ran for the whole DreamBIG Festival in the Banquet Room of the Adelaide Festival Centre and performed to 4,413 children.

Created by Geoff Cobham & Chris Petridis Crew Alex Hatchard

16 2019 Program

ZOOM PREMIERE SEASON

Combining old school whimsy with state-of-the-art technology, ZOOM is an enchanting story of a child alone in her bedroom, unable to sleep and curious to understand.

She begins a transformational journey with light and discovers that the dark is a magical place.

Adventures happen and with the assistance of the audience the girl discovers a community of people who can help her solve problems. Part music video, part dream, ZOOM is a show about all sorts of perspective.

Inspired by iconic children’s book Harold and The Purple Crayon, ZOOM channels the same philosophy; a child who makes sense of their world through art. The show is driven by the power of ‘child logic’, combined with the magic of science.

Using original music, lasers and projections, the performance takes the audience on an immersive journey. We unpack the science of animation from pixel to line to animation, as miniature worlds are blown up to be larger than life.

ZOOM begins at home or in the classroom, as we invite our audience to bring a piece of dark to the show. When they arrive their dark is exchanged for their own personal light – a little spark that will keep them safe and help guide them through the interactive sessions of the show.

Winner: Adelaide Critics Circle Independent Arts Foundation Award for Innovation

Created by Geoff Cobham, Roz Hervey, Dave Brown, Temeka Lawlor, Angus Leighton Composition Jason Sweeney Design Michelle Delaney Technical Design Chris Petridis, Alex Hatchard Animation Luku Kuku Performers Temeka Lawlor, Angus Leighton Intern Taylor Dawson Keeper of the Light and Touring Company Manager Sam McMahon Keepers of the Light Claire Glenn, Ashton Malcolm Touring Technician Alex Hatchard

17 2019 Program

ZOOM PREMIERE SEASON

Adelaide, Outer Metro and Regional SA Tour

Performances 53

Attendees 12,051

Teacher preview attendees: 63

Community Engagement/workshop participants: 25

Tour Dates

July 23 to Aug 9 Space Theatre, Adelaide Festival Centre

Aug 13 Northern Festival Centre, Port Pirie

Aug 15 Middleback Arts Centre, Whyalla

Aug 20 Chaffey Theatre, Renmark

Aug 22 Sir Robert Helpmann Theatre, Mt Gambier

Aug 27 Barossa Arts Centre, Tanunda

Aug 28 & 29 Golden Grove Arts Centre

Sep 3–6 Hopgood Theatre, Noarlunga

“The ensuing entertainment is a voyage of surprise and wonderment… applause all round” – The Barefoot Review

“Entrancing and always enchanting, appealing not only to kids but to grown-ups as well” – The Advertiser

“Accomplished and visionary achievement” – Stage Whispers

“It was seriously one of the best performance I have taken my students to. The connection to the audience was fabulous... the excitement they have, and still have, when talking about ZOOM is something special, that us as educators can take students to what would be their first performance.” – Teacher, Stirling North Primary School

“I was really, really, really happy. Thank you and I love your show” – Pippa, age 5

“The performance made me feel good because it had loads of colours. Good job making a show with my favourite colour in it.” – Tristan, age 7

“It was very engaging for the children. I took a group of children aged from 7–13 with intellectual disabilities and they all got something out of it.” – Teacher, Berri Primary School

18 2019 Program

MR MCGEE AND THE BITING FLEA NEW ZEALAND TOUR

Capital E Wellington New Zealand Tour

Date April 27 – June 14

Sept 28 – Nov 12

Performances 62

Attendees 12,078

Tour Dates

April 27 Expression Arts and Entertainment Centre

April 30 Carterton Events Centre, Carterton

May 2 Regent on Broadway, Palmerston North

May 6 & 7 Forum, North Whangarei

May 10 Turner Centre, Kerikeri

Six whimsical stories by award- May 14 Great Lake Centre, Taupo winning children’s writer Pamela Allen May 17 Baycourt Arts & Community Centre, Tauranga emerge from dozens of suitcases May 21 War Memorial Theatre, Gisborne and crates as three curious warehouse May 24 Māngere Arts Centre, Māngere workers transform a storeroom May 28 Whakatane Little Theatre, Whakatane into enchanting little miracles of May 31 Bruce Mason Centre, North Shore music and play. June 5 & 6 Clarence Street Theatre, Hamilton

June 10 TSB Showplace, New Plymouth

We licensed our production of Mr June 13 & 14 Napier Municipal Theatre, Napier

McGee and the Biting Flea to Capital E Sep 28 & 29 Southward Car Museum, Kāpiti

Wellington to mount a production of October 2 to 11 Hannah Playhouse, Wellington Public this show, under the direction of Tim October 21 Civic Theatre, Invercargill Overton (employed by Patch). Tim October 24 Regent Theatre, Dunedin previously worked with the company October 29 Queenstown Memorial Centre, Queenstown as part of our Associate Director November 1 Isaac Theatre Royal, Christchurch program. November 5 ASB Theatre, Marlborough Blenheim

Tim undertook casting and rehearsals November 8 Oamaru Opera House, Oamaru for the opening in Wellington on April November 12 Theatre Royal, Nelson 26. The production then toured to 24 cities around New Zealand in the months April, May and June and then October and November, 2019.

Adapted from six children’s picture books by Pamela Allen

Director Dave Brown Designer Dean Hills Lighting Designer David Green Original Cast Paul Blackwell, David Pidd, Astrid Pill Remount Director Tim Overton Composer Liam Reid Cast: Kate Hanning, Ariadne Baltazar, Jamie Swarbick

19 2019 Program

EMILY LOVES TO BOUNCE INTERNATIONAL TOUR

China Tour - 6 weeks

Performances 32 (to December 31)

Attendees 4,942

Workshops 7

Participants 280

Tour Dates

6 – 22 December Art Space for Kids, Shanghai

26 Dec – 12 January Tianqiao Performing Arts Centre, Beijing

Audience responses in Beijing:

“Emily loves to Bounce is a great show! It makes children laugh and lets adults think.”

“Every show is like a wonderful seed planted in your life. And thanks for giving me the opportunity to experience childhood again.”

“I’ve asked myself many times if it is worthy traveling across Beijing for almost 3 hours to see a 40-minute show. The answer is definitely YES. When looked back to each show we have watched, I am so glad to experience happy and unforgettable scenes with you together, and see you grow up in the theatre.”

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

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

By Stephen Michael King

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

20 2019 Program

THE LIGHTHOUSE IN CREATIVE DEVELOPMENT

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

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

Taking light out of traditional theatre spaces and moving it into a new terrain, The Lighthouse puts children and their families at the centre of an exploration of light. The Lighthouse is a conversation with the universe. It exists at the intersection of science and art, sparking curiosity at the world around us. Through its innovative use of light, sound, perspective and reflection, the performance encourages you to engage and experiment.

We were supported by the Adelaide Festival with seed funding to undertake our first creative development of this large-scale work in order to apply to the Major Festivals Initiative (MFI) Commissioning Site. In this major round, we secured a pitch to leading national and international festivals and venues while they were attending the Adelaide Festival in March 2019.

21 2019 Program

THE LIGHTHOUSE IN CREATIVE DEVELOPMENT

Our pitch was successful in a highly competitive market and we secured MFI funding and four co-commissioning partners ― Adelaide Festival, where the work will premiere in 2020, Out of the Box Festival, Arts Centre Melbourne and Perth Festival.

We were also successful in securing an Arts SA Major Commissioning grant for the project, which will enable us to produce a new style, large-scale interactive piece on a scale not undertaken by Patch to date.

Creative team: Group Creative Development (1 week ― Jan) Geoff Cobham, Maddog, Chris Petridis, Clara Grant, Kidaan Zelleke, Nicki Bloom, Alex Hatchard, Matt Byrne, Noah Byrne, Gilles Street School

Individual Creative Developments Sept 23 – Govin Ruben Oct/Nov – Chris Petridis Oct 18 – Zoë Barry Nov 6 – Graeme Denton (Marty McBubble)

Group Creative Development (2 weeks ― Dec) Zoë Barry, Chris Petridis, Daisy Brown, Meg Wilson, Jason Sweeney, Wendy Todd, Alex Hatchard, Steph Bone, Ellen Steele, Temeka Lawlor, Clara Grant, Alberton Primary School

22 2019 Activities

Summary of Activity

Weeks in creative development 4 weeks The Lighthouse 4.5 weeks ZOOM

Rehearsals 2 weeks Me & My Shadow 5 weeks ZOOM (including 1 workshop with Alberton School) 2 weeks Emily Loves to Bounce

Touring Seasons – 112 Performances 10 weeks Me & My Shadow – Australian tour 7 weeks ZOOM – Adelaide season & South Australian tour 4 weeks Emily Loves to Bounce – China tour

Licensed tour – 62 performances 13 weeks Mr McGee & the Biting Flea – New Zealand

Installation – 10 installation days 2 weeks Firefly Forest– DreamBIG Festival

ZOOM Teacher Preview attendees: 63

23 2019 Activities

Total Workshops

Me & My Shadow tour Emily Loves to Bounce tour 11 workshops in schools 7 workshops 244 participants 280 participants

ZOOM creative development Glow Installation 1 workshop in school 11 presentations 25 participants 357 participants

The Lighthouse creative development 2 workshops with schools 37 participants

24 2019 Activities

Access A relaxed performance and Auslan interpreted performances of Me & My Shadow were presented at Riverside Theatres.

Emily Loves to Bounce script was translated into Mandarin – performances accompanied by display of subtitles for the presentation of the Chinese tour.

National Presenter Consortium Meeting Eight members of our national presenter consortium along with the Patch team and five industry guest speakers attended a performance of ZOOM during the Adelaide season at the Space Theatre in August and engaged in two days of discussion hosted at Patch Theatre. This contributes to the triennial strategy around deeply engaging regional schools in new and devised theatre.

Industry Engagement Participation by staff on the Helpmann Awards panel, Drovers Award panel, Live Performance Australia Workplace Committee, and contribution to numerous industry groups was also undertaken.

Patch Theatre presented pitches at the Major Festivals Initiative Commissioning Site and Made in Adelaide marketplace and pitched at Performing Arts Exchange in Caloundra in August, resulting in exceptional interest in ZOOM for its 2021 national tour.

Training • Alex Hatchard – 12 month Carclew Fellowship, to develop lighting and technical skills • Alex Hatchard – Tag and Testing course & Laser Training • Taylor Dawson, Charles Sturt University Bathurst – Secondment on ZOOM creative development • Alexandria Vidler, Charles Sturt University Bathurst – Secondment on ZOOM tour

Staff training: • Company Manager and Marketing & Development Co-ordinator attended Creative Partnerships – Fundamentals of Fundraising • The above also attended a two-day conference, Culture Business in Sydney, in November, supported by James and Diana Ramsay Foundation

25 2019 Activities

Marketing and Communications

Facebook • 10% increase in followers • 59 posts by Patch Theatre • 4,840 post clicks • 2,970 reactions, comments and shares • 89,486 total post impressions (the number of times Patch’s posts entered a person’s screen) • 65,336 total post reach (the number of people who had Patch’s post enter their screen) • 6,832 organic video views • 526 link clicks • 2,512 organic video views to 95% (the number of times Patch’s videos were viewed to 95% of their length without any paid promotion)

Instagram • 28% increase in followers • 50 posts by Patch Theatre • 2,199 post likes

Rebrand The 2019 logo redesign gave the company a fresh, colourful style. The logo and new brand colours have since been integrated into print and online marketing.

Patch Theatre’s website was updated in 2019, showcasing our stunning photography and video content of our new work and creative developments, offering improved access to educational resources and providing a smooth online school booking system.

26 2019 Company, Artists and Associates

Artistic Director Roz Hervey Stage/Tour Managers Geoff Cobham Creator, Remount Director Jacinta Way, Sam McMahon, Sally Hardy Mark Heuer, Steph Bone Producer / General Manager Dramaturg/Writer Teena Munn Tim Overton FOH Remount Director (New Zealand) Ashton Malcolm, Claire Glenn Company Manager Penny Camens Advisors Technicians Professor Martin Westwell Tom Bayford, Alex Hatchard, Maker in Residence Scientist-in-Residence Bob Weatherly Michelle “Maddog” Delaney Anne-Marie Shin Wardrobe, Set, & Costume Marketing Manager (Consultant) Education Consultant Construction Kate Rowan (December–August) Bob Weatherly, Michelle Maddog International Agent Delaney, Seana O’Brien, Emma Marketing & Development Boat Rocker Entertainment, Brockliss, Meg Wilson Coordinator New York Leanne Cotter (April–July) Education Resource Consultant Krystle Aunger (July onwards) Designers Robyn Brookes Geoff Cobham Publicist Michelle ”Maddog” Delaney Photography and Video Anthea Hagar Meg Wilson Matt Byrne Wendy Todd Principal Filmmaker and Finance Officer Photographer Theresa Williams (to February) Technical Designers Tristan Baker Mirella Innocente (from February) Chris Petridis BAM Productions (Me & My Shadow, Alex Hatchard Juilliard – Sydney Filming) Technical Intern (Carclew Stu Nankivell Fellowship) Composers Blue Goanna Digital (Me & My Shadow, Alex Hatchard Belinda Gehlert Juilliard – Adelaide Filming) Liam Reid Andy Rasheed Board Jason Sweeney Eyefood (Additional headshots) Janet Worth, Chair Zoë Barry Karen Bryant, Deputy Chair Graphic Design Ben Opie, Treasurer Animation Robin Mather Amanda Wheeler Luku Kukuku Graphic Designer Anne-Marie Shin Carlo Jensen Chris Drummond Performers Peculiar Familia, Branding Jason Dunstone Sarah Brokensha, Nathan O’Keefe, Dave Stace Peter Campbell Temeka Lawlor, Angus Leighton, Naomi Murrell Studio, Website Belinda Gehlert, Jonathan Darby, Honorary Life Members Maiah Stewardson, Kidaan Zelleke, Secondments Helen Rose Morris Clara Grant, Ellen Steele Taylor Dawson (ZOOM development) Jill Gael Alexandria Vidler (ZOOM tour) Rainer Jozeps Community Engagement Joan Clemow Nathan O’Keefe, Sarah Brokensha, Critical Appraisal Panel (ZOOM) Patrea Channon Temeka Lawlor, Angus Leighton, Chris Drummond Elspeth Harley Belinda Gehlert, Jonathan Darby, Facilitator Bob Weatherly Maiah Stewardson Astrid Pill Dave Brown Daisy Brown Creative Development Devisers Tuula Ruppola Artistic Associates Chris Petridis, Nicki Bloom, Clara Felixstow Community School Chris Petridis Grant, Nathan O’Keefe, Astrid Pill, Technical Wizard Steve Sheehan, Emma Beech, Audience test pilots Claire Glenn Claire Glenn, Roz Hervey, Temeka Esther, Betty and Miles Sheehan Creative Associate Lawlor, Dave Brown, Angus Leighton, Goldie Palmer Dave Brown Jason Sweeney, Luku, Zoë Barry, Gilles Street Primary School students Creator, Remount Director Daisy Brown, Meg Wilson, Wendy Maddy Bourke, Annabelle Bourke, Emma Beech Todd, Alexander Hatchard (Carclew Miranda Byrne, Noah Byrne, Mollie Creative Associate Fellowship), Graeme Denton (Marty Conroy, Mackenzie Conroy, Jason Sweeney McBubble), Govin Ruben Aoife Flood, Kitty Harrison, Sound Artist Jasper Harrison, Darcy Segaran

27 2019 Company, Artists and Supporters

Alberton Primary School Very Special Thanks Rehearsal space provided for The Nest students, Amber Hall, Department of Education Tim Overton, filming trailer – Marilyn Hayward Minister John Gardner In The Dark Bec Lynas Matthew Wilder & Paperboats – Funding Bodies David Ensor development of new production Australian Government’s Major Mark Giorgio Restless Dance – Festivals Initiative Zoe Harrison Intimate Space rehearsals Australia Council – Adelaide Festival Centre Temeka Lawlor and Angus Leighton – 4 Year Core Funding Douglas Gautier development of new production Australia Council – Liz Hawkins National Touring Status via Playing Susannah Sweeney Patch Theatre’s equipment loaned Australia Ruth Weldon to our colleagues at Carclew (via Department for Adelaide Festival Slingsby Theatre Education) Rachel Healy Windmill Theatre Neil Armfield Restless Dance Rachel Azzopardi Gravity and Other Myths Co-Commissioning Partners Lesley Newton The Mill (The Lighthouse) Kate Hillgrove Erin Fowler Adelaide Festival Carclew Independent Theatre Out of the Box Festival Tricia Walton Paperboats Arts Centre Melbourne Sidsel Fawkes Rumpus Theatre Perth Festival Hana Fittes Sam Wright Capital E National Theatre for Robyn Archer, Adelaide Festival Foundation Support Children, Wellington Adelaide Botanic High School James and Diana Ramsay Foundation Creative Partnerships Australia Ben FX James Boyd Vitalstatistix Generous Support The PaperBoats Country Arts South Australia Dave Brown Artists in Residence – shared working Hither & Yon Wines Stage and Screen space William Buck Rebecca Apostola Alex Hatchard Boat Rocker Entertainment Chris Petridis Patch 2019 Donors Jim Weiner Dave Brown Chris Drummond Juilliard School Jason Sweeney Di Laidlaw AM Grace Gaylord Meg Wilson Janeen Brian Betsie Becker Nicki Bloom Janet Worth Stephanie Cunningham Wendy Todd Jill Forster Nic Mahmat Johanna Somfleth Mitcham Girls High School Penny Wright Meredith Kockinar Petrea Smith Chris Stone Robert Warden Susan King Russell Duncan Slingsby S. Fong Andy Packer San Remo (Maurice Crotti) Stacey Baldwin BenFX Ben Phillips Bizzi Beez Wayne Macro State Theatre Company Vitalstatistix Emma Webb Toby Neville Art Space for Kids, China Monica Wu Gypsy Entertainment Transport Michael Godbee Slingshot Promotions BASS Peter Maddock Ciro Cantone Country Arts SA Anthony Peluso Sussan Baldwin

28 Performance Statistics 2019

Year Show Venue Activity Country Performances Attendance Workshop Participation Towns

AFC, Outer Metro Adelaide Season, 2019 ZOOM & SA Regional SA Regional tour Australia 53 12,051 2 88 8

Various 2019 Me & My Shadow (National tour) National tour Australia 27 5,263 11 244 16

A.S.K: National Emily Loves to Center Performing 2019 Bounce Arts, Beijing; International China 32 4,942 7 280 2

Various, under Mr McGee and the license to New 2019 Biting Flea Zealand Producer International New Zealand 62 12,078 23

2019 Firefly Forest DreamBIG Festival Adelaide season Australia 10 4,413 1

Various (National 2019 Glow Wall tour) Engagement Australia 11 407 5

2019 The Lighthouse Creative Engagement Australia 2 37 1

Total 184 38747 33 1056 50

Role Equivalent No of Full Weeks of Employment Financial Value

Performers 81.84 $125,468

Production, Technical & Stage Management 71.69 $109,907

Creative Personnel – Fees and Royalties 43.5 $83,217

Total 197.05 $318,592

29 Independent Audit Report

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

I declare that, to the best of my knowledge and belief during the year ended 31 December 2019 there have been:

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

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

William Buck Grant Martinella ABN 38 280 203 274 Partner

30 Independent Audit Report

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

Opinion We have audited the financial report of Patch Theatre Company Incorporated (the Association), which comprises the statement of financial position as at 31 December 2019, the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, and notes to the financial statements, including a summary of significant accounting policies, and a report by the Board of Management. In our opinion the financial report of Patch Theatre Company Incorporated has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012, including:

a) giving a true and fair view of the Association’s financial position as at 31 December 2019 and of its financial performance for the year then ended; and b) complying with Australian Accounting Standards to the extent described in Note 1, and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.

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

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

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

31 Independent Audit Report

Responsibilities of Management and Those Charged with Governance for the Financial Report The management of the Association are responsible for the preparation of the financial report that gives a true and fair view and have determined that the basis of preparation described in Note 1 to the financial report is appropriate to meet the requirements of the ACNC Act and the needs of the members. Management’s responsibility also includes such internal control as management determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error.

In preparing the financial report, management are responsible for assessing the Association’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless management either intend to liquidate the Association or to cease operations, or has no realistic alternative but to do so.

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

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

A further description of our responsibilities for the audit of these financial statements is located at the Auditing and Assurance Standards Board website at:

https://www.auasb.gov.au/auditors_responsibilities/ar4.pdf

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

William Buck Grant Martinella ABN 38 280 203 274 Partner

32 Report by the Board of Management

During the financial year, no officer of the Association, or any firm of which an officer is a member, or any corporate in which an officer has a substantial interest, has received or become entitled to receive a benefit as a result of a contract between an officer, firm or corporation and the Association.

During the financial year, no officer of the Association has received directly or indirectly from the Association any payment or other benefit of a pecuniary value, other than:

• In the case of officers employed by the Association, approved remuneration which have been determined in accordance with general market conditions;

• In the case of directors, payments as disclosed separately in note 14 to the financial statements.

Dated at Adelaide this 2nd day of April, 2020.

Signed in accordance with a resolution of the Board.

Janet Worth Ben Opie Chair Treasurer

Statement by the Board of Management

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

In the opinion of the Board, the financial report as set out on pages 3 to 12 (a) presents fairly the results and cash flows of the Association as at 31 December, 2019 and the state of the affairs of the Association as at that date; and (b) as at the date of this statement, there are reasonable grounds to believe that the Association will be able to pay its debts as and when they fall due.

Signed in accordance with a resolution of the Board

Janet Worth Ben Opie Chair Treasurer 33 Statement of Profit or Loss and Other Comprehensive Income For the year ended 31 December 2019

2019 2018 Note $ $ Performance Fees 522,541 560,652 Grant Revenue 2(a) 771,535 956,278 Theatre Income - - Royalties Received 12,378 19,111 Transport Cost Recouped - 64,393 Donations Received 52,780 4,146 Interest 2,132 4,009 Membership Subscriptions 210 210 Sundry Income 1,359 500 Trusts & Foundations 52,000 - Other Production Income 2,000 - Total revenue 1,416,935 1,609,299 Administration 2(b) 474,828 579,786 Depreciation 18,553 11,869 Amortisation 4,208 4,208 Theatre Costs 40,551 - 2019 New Work - Zoom - 17,234 Can You Hear Colour - Adelaide Festival - 110,471 Cranky Bear - Arts Centre - 90,301 Cranky Bear - Dunstan Playhouse - 76,086 Cranky Bear - Outer Metro - 62,687 Cranky Bear - Regional - 38,534 ELTB - China 86,145 - FireFL6 - DreamBig ADL 13,609 - International Market Development - 5,075 Lighthouse - PreProud 156,617 - Me & My Shadow - China Tour 2019 - 61,445 Me & My Shadow - Juilliard 9,460 - Me & My Shadow - National Tour 327,530 - Mr McGee - New Zealand 14,315 - Yo Diddle Diddle - National Tour - 527,670 Zoom - Adelaide Season 94,605 - Zoom - Outer Metro 36,210 - Zoom - Pre-Production 95,156 - Zoom - Regional 29,599 - Miscellaneous Projects - 2,217 Total expenditure 1,401,387 1,587,583 Net surplus for the year 15,548 21,716 Other comprehensive income - - Total comprehensive income for the year 15,548 21,716

34 Statement of Financial Position As at 31 December 2019

2019 2018

Note $ $

Current Assets

Cash and cash equivalents 12 767,953 944,706

Trade and other receivables 4 41,547 41,890

Total Current Assets 809,500 986,596

Non-Current Assets

Property and equipment 5 64,099 28,468

Intangible Assets 6 20,234 12,624

Total Non-Current Assets 84,333 41,092

Total Assets 893,833 1,027,688

Current Liabilities

Trade and other payables 7 69,236 68,278

Grant income deferred 8 397,083 590,129

Provisions 9 11,375 6,487

Lease Liability 10 34,137

Total Current Liabilities 511,831 664,894

Non-Current Liabilities

Provisions 9 - 889

Lease Liability 10 4,549 -

Total Non-Current Liabilities 4,549 889

Total Liabilities 516,380 665,783

Net Assets 377,453 361,905

Members’ Funds

Opening Balance 11 361,905 340,189

Surplus for the year 11 15,548 21,716

Total Members’ Funds 377,453 361,905

35 Statement of Cash Flows For the year ended 31 December 2019

2019 2018

Note $ $

Cash flows from operating activities

Receipts from Grants & Sponsorships 849,280 1,051,744

Receipts from Activities & Other Income 707,594 713,913

Interest Received 2,132 4,009

Payments for Administration (411,516) (563,709)

Payments for Projects & Activities (1,256,377) (1,406,925)

Net cash (used in) operating activities 12(b) (108,886) (200,968)

Cash flows from investing activities

Acquisition of equipment (56,049) (6,617) Payments for website development (11,818) - Net cash (used in) investing activities (67,867) (6,617)

Net decrease in cash (176,753) (207,585)

Cash and cash equivalents opening 944,706 1,152,291

Cash and cash equivalents closing 12(a) 767,953 944,706

Representing:

Grant income deferred 8 397,083 590,129

Unrestricted purposes 370,870 354,577

767,953 944,706

36 Notes to the financial statements For the year ended 31 December 2019

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

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

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

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

The financial report is presented in Australian dollars.

Other non-current assets are stated at the lower of carrying value and fair value less estimated costs of disposal. The preparation of financial statements requires management to make judgements, estimates and assumptions that affect the application of accounting policies and the reported amounts of assets, liabilities, income and expenses. Actual results may differ from these estimates. Estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in any future periods affected.

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

d) Revenue recognition

(i) Grants Government Grants and other grants received are recognised as income only to the extent of work completed. In those circumstances the funds attributable to work still to be completed are carried forward as grants income deferred. (ii) Interest revenue Interest revenue is recognised as it accrues on a daily basis.

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

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

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

37 Notes to the financial statements For the year ended 31 December 2019

1. Statement of Significant Accounting Policies (Continued)

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

g) Impairment The carrying amounts of the Association’s assets are reviewed at each balance date to determine whether there is any indication of impairment. If any such indication exists, the asset’s recoverable amount is estimated (see below). An impairment loss is recognised whenever the carrying amount of an asset exceeds its recoverable amount. Impairment losses are recognised in the income statement, unless an asset has previously been revalued in which case the impairment loss is recognised as a reversal to the extent of that previous revaluation with any excess recognised through the statement of profit or loss and other comprehensive income.

(i) Calculation of recoverable amount The recoverable amount of assets is the greater of their net selling price and value in use. Value in use is taken to be the depreciated replacement cost of the asset concerned.

(ii) Reversals of impairment An impairment loss is reversed if there has been a change in the estimates used to determine the recoverable amount.

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

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

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

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

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

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

38 Notes to the financial statements For the year ended 31 December 2019

2019 2018

Note $ $

2. Surplus / (Deficit) from Ordinary Activities

(a) Revenues from Operating Activities

Grant Revenues:

Australia Council General Grant 306,030 306,000

Australia Council Project Grant - 18,964

SAYAB Grant 280,000 278,500

SAYAB Special Grant - -

Special Project Grant 11,500 -

Australia Council Special Grant 3,000 -

Arts SA Special Project Grant 5,000 5,000

Carclew Special Grant - 25,000

Carclew Set Storage Grant 8,000 8,000

Playing Australia Grant 158,005 285,664

Other Special Grants - 29,150

Total grant revenue 771,535 956,278

(b) Personnel Expenses included in Expenses

Administration wages & salaries 449,791 400,913

Superannuation contributions 32,638 41,261

Increase in liability for annual leave 4,000 29,734

Increase in liability for long service leave - (17,670)

486,429 454,238

3. Auditor’s Remuneration

Audit Services

Auditors of the Association:

Audit and review of financial reports 2,200 2,160

4. Trade and other receivables

Trade Receivables 11,832 25,850

Other trade receivables and prepayments 29,715 16,040

41,547 41,890

Trade receivables are shown net of impairment losses of $nil (2018: $nil)

39 Notes to the financial statements For the year ended 31 December 2019

5. Property and equipment

Cost Office & Stage Equipment Leased Assets Motor Vehicles Total

Balance at 1 January 2018 236,385 - 15,389 251,774

Acquisitions 6,617 - - 6,617

Disposals - - - - Balance at 31 December 2018 243,002 - 15,389 258,391

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

Acquisitions 18,500 76,235 - 94,735

Disposals - - - -

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

Depreciation & impairment losses

Balance at 1 January 2018 202,665 - 15,389 218,054

Depreciation charge for the year 11,869 - - 11,869

Balance at 31 December 2018 214,534 - 15,389 229,923

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

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

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

Carrying Amounts

At 1 January 2018 33,720 - - 33,720

At 31 December 2018 28,468 - - 28,468

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

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

40 Notes to the financial statements For the year ended 31 December 2019

2019 2018

Note $ $

6. Intangible Assets

Website Development Costs as at 1 January 2018 12,624 16,832

Additions 11,818 -

Amortisation (4,208) (4,208)

Website Development Costs at 31 December 2018 20,234 12,624

7. Trade and other payables

Creditors and Accruals 69,236 68,278

69,236 68,278

8. Grants in Advance

Funding Description

Australia Council and others 397,083 590,129

397,083 590,129

9. Provisions

Current

Liability for Annual Leave 11,375 6,487

Liability for Long Service Leave - -

11,375 6,487

Non-Current

Liability for Long Service Leave - 889

41 Notes to the financial statements For the year ended 31 December 2019

2019 2018

Note $ $

10. Finance Lease Commitments

Current

Lease Payments 34,137 -

Non-Current

Lease Payments 4,549

38,686 -

New accounting standard AASB16 Leases became effective for financial year commencing 1 January 2019.All lease contracts, unless an exemption applies, are required to be presented on the balance sheet as a finance lease. As a result of transitioning to AASB16 there are no finance leases as at 31 December 2018.

11. Member’s Funds

Member’s Funds at beginning of year 361,905 340,189

Net surplus attributable to members 15,548 21,716

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

11. Notes to the Statement of Cash Flows

(a) Cash and cash equivalents

Cash on Hand 6,850 3,432

Cash at Bank 761,103 941,274

Cash and cash equivalents in the statement of 767,953 944,706

(b) Reconciliation of cash flows from operating

Cash flows from operating activities

Surplus for the period 15,548 21,716

Adjustments for:

Depreciation 5 59,104 11,869

Amortisation 6 4,208 4,208

Operating profit before changes in working capital and provisions 78,860 37,793

(Increase)/decrease in receivables/other assets 343 (512)

(Decrease)/increase in creditors & accruals 958 (237,282)

Increase/(decrease) in grants in advance 193,046) 48,093

(Decrease) in provisions 3,999 (49,060)

Net Cash from Operating Activities (108,886) (200,968)

42 Notes to the financial statements For the year ended 31 December 2019

12. Commitments and Contingent Liabilities The Association as at 31 December 2018 had no commitments and contingent liabilities (2017: Nil).

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

Janet Worth (Chairperson) Ben Opie (Treasurer) Amanda Wheeler Peter Campbell Jason Dunstone Karen Bryant Ann-Marie Shinn Chris Drummond

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

Remuneration Nil amounts (2017: nil) were paid to Board members during the year.

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

14. Events After the Reporting Period The Board is not aware of any significant events since the end of the reporting period.

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

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

43 Patch History of Productions – 1972 to 2019

1. The Tingalary Bird 56. Monkey See, Monkey Do 2. Thumbelina 57. Melanie And The Night Animal 3. Everything Under the Sun 58. Aesop’s Fables 4. The Silken Scroll 59. The Secret Garden 5. Shadrack’s Journey 60. When I Was Young 6. Benjamin and Brindletum 61. Clucky & The Vegetable Matter 7. Melt the Was Slowly 62. Evensong For Antarctica 8. Hands Off The Clock 63. Beyond The Labyrinth 9. The Three Billy Goats Gruff 64. The Hobbit 10. Who Murdered The English Language 65. Paula 11. And What Did Yer Get For Your Birthday 66. Birds Of The Moon 12. Power Play 67. Once Upon A Ruby Red 13. Australian Born, Australian Bred 68. The Search For Biffy’s Head 14. Everything Under the Sun 69. Pigs Might Fly 15. Mr Rumble’s Jumble 70.The Red King 16. Jeremy Jingle 71. Rak Awin 17. A Splash of Yellow 72. On the Lake 18. A Secret Hiding Place 73. Big Hand: Little Hand 19. The Great Australian What? 74. The Littlest History Of Theatre In The World 20. Mr Cook-a-book’s Sound Recipe 75. Galax-Arena 21. Patches 76. Kookookachoo 22. Pig Tales 77. Puppy Love 23. Come Fly With Me 78. Tjitjiku Inma 24. Wake The Night 79. Respectable Shoes 25. The Billabong Circus 80. Freckle; An Australian Fairy Story 26. Bizzy, Dizzy, Daffy and Arthur 81. The Boy and the Bamboo Flute 27. The Ballot’s The Things 82. Radio Brainstorm 28. Bowser Bill from Barren’ill 83. Each Beach 29. Son of Romeo 84. Granny and the Sea Monster 30. Getoutovit 85. A Giant Sleeps… 31. Nothing’s Sacred 86. Hyperactive 32. Peacemaker 87. Visible Darkness 33. Bush Invaders 88. The Sea of Space 34. Treasure Island 89. Postcards from Nanna 35. Lost In Time 90. Who Sank the Boat 36. Gladys O’Conk And The Silly Robber 91. We Are Home Here – 37. Dad Is Yuk Centenary of Federation Song Cycle 38. The Soft Harry Show 92. No Joke! 39. 1983 93. Pigs, Bears and Billy Goats Gruff 40. Cinderella Says No 94. Sharon, Keep Ya Hair On! 41. Kasperle And His Friends 95. Wormhole! 42. If Only We Had A Cat 96. Mr McGee and the Biting Flea 43. The Happy Prince 97. Emily Loves To Bounce 44. Bound For South Australia 98. Special Delivery 45. My Place 99. The Fastest Boy in the World 46. A.B.C 100. The Happiest Show on Earth 47. Wilfrid Gordon McDonald Partridge 101. Me and My Shadow 48. Set Your Mind On Wishing 102. Little Green Tractor 49. The Ugly Duckling 103. Theo and the Lion 50. You And The Law 104. The Moon’s a Balloon 51. The Man Whose Mother Was A Pirate 105. Cranky Bear 52. Middleton Market 106. Yo Diddle Diddle 53. Tiny Prod And The Silver Wings 107. Can You Hear Colour? 54. Space Demons 108. Firefly Forest 55. Illusions 109. ZOOM 44 South Australian Schools Audience in 2019

1. Aberfoyle Hub Preschool 74. Happy Valley Primary School 141. Padthaway Primary School 2. Aberfoyle Park Campus Pre-School 75. Harvest Christian College 142. Palmer Primary School 3. Acacia Kindergarten 76. Harvest Christian College 143. Paradise Kindergarten 4. Adelaide East Education Centre 77. Hincks Avenue Primary School 144. Paralowie Kindergarten 5. Alberton Primary 78. Il Nido Children’s Centre 145. Pasadena Kindergarten 6. Aldinga Beach B-7 School 79. Ingle Farm Children’s Centre 146. Pembroke School Inc. - ELC 7. All Saints Catholic Primary School 80. J B Cleland Kindergarten 147. Pennington Primary 8. Andrews Farm Community Preschool 81. Jean Horan Flinders Park 148. Pimpala Kindergarten 9. Angaston Kindergarten Kindergarten 149. Pimpala Primary School 10. Avenues College Children’s Centre 82. Kalangadoo Kindergarten 150. Pinnaroo Primary School 11. Bains Road Preschool 83. Kangaroo Inn Area School 151. Plympton South Kindergarten 12. Barbara Kiker Memorial Kindergarten 84. Kangaroo Island Community School 152. Port Augusta Childrens Centre 13. Barmera Kindergarten 85. Karoonda Area School 153. Port Broughton Area School 14. Beachport Primary School 86. Kathleen Mellor Kindergarten 154. Port Broughton Kindergarten 15. Berri Primary School 87. Kensington Gardens Preschool 155. Port Broughton Kindergarten 16. Bertram Hawker Kindergarten 88. Kimba Area School 156. Port Elliot Primary 17. Blackwood Kindergarten 89. Kings Baptist School 157. Port Noarlunga Primary School 18. Blackwood Primary 90. Kingston On Murray Primary 158. Port Pirie Community Kindy 19. Booleroo Centre District School 91. Kirinari Kindergarten 159. Port Pirie West Children’s Centre 20. Braeview School R-7 92. Lameroo Regional Community School 160. Redeemer Lutheran ELC 21. Brahma Lodge Primary School 93. Lameroo Regional Community School 161. Redeemer Lutheran School 22. Brentwood Drive Kindergarten 94. Laura Primary School 162. Rendelsham Kindergarten 23. Bridgewater Kindergarten 95. Le Fevre Peninsula Primary School 163. Renmark North Primary School 24. Brinkworth Primary School 96. Liberman Kindergarten 164. Reynella East College Preschool 25. Burra Early Learning Centre 97. Lockleys North Primary 165. Risdon Park Primary School 26. Calvary Kindergarten 98. Long Street Primary School 166. Rivergum Christian College 27. Cambrai Primary School 99. Loreto College 167. Riverland Special School 28. Campbelltown Preschool 100. Loxton Lutheran School 168. Robe Solider’s Memorial Kindergarten 29. Cedar College 101. Lucy Morice Kindergarten 169. Rose Park Preschool 30. Challa Gardens Primary School 102. Mackinnon Parade Children Centre 170. Rostrevor Kindergarten 31. Christian Brothers College - Junior 103. Magill Kindergarten 171. Salisbury Downs Preschool 32. Christies Beach Primary School 104. Manor Farm Kindergarten 172. Scotch College - Junior 33. Christies North Kindergarten 105. Mark Oliphant College 173. Seaview Downs Kindergarton 34. Clovelly Park Primary School 106. Mary Bywaters Memorial 174. Snowtown Primary School 35. Cobdogla Primary School Kindergarten 175. Solomontown Kindergarten 36. Colonel Light Gardens Primary 107. McArthur Park Kindergarten 176. Southern Montessori School 37. Cowell Area School 108. McKellar Stewart Kindergarten 177. St Agnes School 38. Cowell Early Childhood Centre 109. Melaleuca Park Primary School 178. St Brigid’s School 39. Daws Road Early Learning Centre 110. Mid North Christian College 179. St Dominic’s Priory College 40. Dover Kindergarton 111. Mid North Education Centre 180. St Dominics Priory College 41. Eden Hills Kindergarten 112. Millicent North Kindergarten 181. St Gabriels Catholic School 42. Eden Hills Primary School 113. Mitcham Village Kindergarten 182. St Ignatius’ College-Early Years 43. Edwardstown Primary 114. Modbury West School 183. St John Baptist Catholic School 44. Elizabeth Downs Kindy/Primary 115. Montessori Children’s Centre - 184. St Joseph’s Parish School 45. Elizabeth East Kindy McLaren Vale 185. St Joseph’s Parish School 46. Elizabeth Grove Primary School 116. Montessori Children’s Centre ` 186. St Joseph’s School, Clare 47. Elizabeth O’Grady Kindergarten Seacliff 187. St Margaret’s Kindergarten 48. Elizabeth South Primary School 117. Moorak Primary School 188. St Martens de Porres Catholic School 49. Enfield Primary 118. Moorook Primary School 189. St Martin de Porres 50. Eudunda Community Pre-School 119. Morphett Vale Primary School 190. St Martins Kindergarten 51. Fairview Park Primary 120. Mount Barker Kindergarten 191. St Morris Disability Unit 52. Faith Lutheran College ELC 121. Mount Barker Primary School 192. St Peter’s Girls School 53. Felixstow Community School 122. Mount Gambier Child Care Centre 193. St Philip’s Preschool Kindergarten 54. Flagstaff Oval Kindergarten Inc 194. St Therese 55. Flaxmill Preschool 123. Mount Gambier Children’s Centre 195. Stirling District Kindergarten 56. Fleurieu Occasional Community 124. Mt Burr Primary School 196. Stirling North Primary School Childrens Centre 125. Mt Pleasant & District Kindergarten 197. Surrey Downs Kindy 57. Free Rangers (Home School Group) 126. Murray Bridge High School 198. Tenison Woods College 58. Frieda Corpe Kindergarten 127. Napperby Primary School 199. Torrensville Preschool Centre 59. Gabmiddi Manoo Children and Family 128. Neta Kranz Kindergarten 200. Trinity College - South Centre 129. Netley Kindergarten 201. Tyndale Christian School Strathalbyn 60. Gladigau Park Kindergarten 130. Norrie Stuart Childhood Services 202. Uraidla Primary School 61. Gladstone Primary School Centre 203. Valley View Kindergarten 62. Glen Osmond Primary 131. North Ingle School 204. Waikerie Lutheran Primary School 63. Glenburnie Primary School 132. Nuriootpa Community Childrens’ 205. West Lakes Shore Kindergarten 64. Glencoe Central Primary School Centre 206. Whyalla Special Education Centre 65. Glossop Primary School 133. OHalloran Hill Early Learning Centre 207. Wilmington Primary School 66. Good Sheperd Lutheran 134. OHalloran Hill Kindergarten 208. Wilmington Primary School 67. Greenock Primary School 135. Old Noarlunga Primary 209. Woodcroft College Junior School 68. Grove Kindergarten 136. One Tree Hill Preschool 210. Woodcroft Heights Children’s Centre 69. Gumeracha Primary 137. One Tree HIll Primary & Preschool 211. Woodend Primary School 70. Hackham East Kindergarten 138. Orroroo Area School 212. Yankalilla Community Childrens 71. Hackham West Childrens Centre 139. Our Lady Of The River Catholic Centre 72. Hackney Kindergarten School 213. Yorketown Area School 45 73. Hallett Cove Karrara Kindergarton 140. Our Saviour Lutheran School Patch is proudly supported by

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

www.patchtheatre.org.au [email protected]