Download our 2014 Annual Report

ANNUAL
REPORT
2014
01 ———————————— CORE VALUES & MISSION
02———————————— CHAIR’S REPORT
04———————————— EXECUTIVE REPORT
06———————————— 2014 SEASON
18 ———————————— ARTISTIC DEVELOPMENT
20———————————— PROMPT
22 ———————————— ADDITIONAL ACTIVITIES
26———————————— BOARD & STAFF
28 ———————————— KEY PERFORMANCE INDICATORS
32 ———————————— ANNUAL FINANCIAL STATEMENT
CONTENTS
MALTHOUSE THEATRE
CORE VALUES
& MISSION
Malthouse Theatre is at once
a treasured building, a theatre
company, a creative site and
an engine for change.
It is also the imaginative
expression of a committed team
of artmakers reaching out to
an even larger number of local,
national and international artists.
All are dedicated to an ongoing
conversation with audiences of
exciting diversity and character.
This conversation chooses
contemporary theatre as its
vehicle: a compelling annual
program of adventurous,
multi-disciplinary work inspired
by writers, directors, designers,
choreographers, audio artists
and performers. Here, the
combined possibilities of all
theatre arts are offered centre
stage – for entertainment, for
inspiration, and even for fun.
The quality, depth and longevity of the relationship
between artists and audiences are at the heart of
everything we do and our creative aspirations are
driven by three core values:
RISK
Works created at Malthouse aim to test and extend
the boundaries of our art form.
In order to be vital, cultural practice needs to
be challenged and renewed. By acknowledging
otherness and embracing experimentation as part
of our day-to-day work, our assumptions are tested,
our perspectives are expanded and our practice is
rejuvenated. A celebration of difference, a desire
to reach beyond our known limits and a willingness
to venture into the thrilling unknown are how we
define creative risk.
RIGOUR
Malthouse Theatre is committed to research,
creative development and the ongoing examination
of our practice.
A work of art is created in the time and space
between the first idea and its realisation. Its potential
for intelligence, passion and beauty is the measure
of how ideas are tested, developed and supported
over time. While we have permission to fail,
we have the right to create the best conditions
for achievement: our rigour builds the strongest
platform from which to leap towards greatness.
QUEST
Malthouse Theatre lives its values both onstage
and off-stage: diversity, access and social inclusion
are at the core of the world we want to represent
and shape.
Theatre allows us to imagine and interact with
the wondrous spectrum of human possibility:
it allows us to picture a different world and
know that it can be one of our own making.
Through theatre, we participate in an ongoing
quest to define who we are and what we value.
2014 ANNUAL REPORT //
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MALTHOUSE THEATRE
CHAIR’S
REPORT
A year of achievements both at home and away,
2014 saw Malthouse Theatre extend the footprint
of its creative endeavours.
The breadth and diversity of work done by this
company continues to impress: from mainstage
works of scale to independent productions; from
residencies for artists to programs for school
students; from regional Australia to mainland
China. At the heart of all this activity, there
remains an unwavering commitment to the
unknown possibilities, intellect, precision and
adventure of being at the theatre.
At The Coopers Malthouse in Melbourne’s Southbank,
the company presented 272 performances across three
performance spaces, reaching an audience of over
41,000. The 2014 season was daring, unpredictable
and enthralling. Malthouse Theatre’s artistic leadership
in making, developing and curating new Australian
work brought us some unforgettable moments in the
theatre: The Riders brought together Artistic Director
Marion Potts and Victorian Opera; Richard Frankland
garnered rousing ovations in the final moments of
Walking Into the Bigness; Matthew Lutton’s inspired
and ambitious interpretation of Patrick White’s
Night on Bald Mountain; Paul Capsis’ captivating diva
in Calpurnia Descending; Jane Montgomery Griffiths
as the monster of THE RABBLE’s Frankenstein;
and the honest voices captured in Roslyn Oades’
Hello Goodbye and Happy Birthday.
In its third and final year, the Helium initiative in the
Tower space brought us thrilling new works from five
independent companies. Given time and space, and
crucially, freedom, the Helium artists offered some of
the most intriguing and volatile theatre of the year,
including improvised comedy (Last Tuesday Society’s
The YouTube Comment Orchestra), a live rockumentary
(Applespiel Make a Band and Take on the Recording
Industry), devised dance theatre (Torque Show’s
Intimacy) and multisensory adaptation (Meta based
on Kafka’s Metamorphosis). As ever, Helium provided
glimpses of a future art, one that fearlessly pushes
ideas and talent to the very edge of possibility.
Looking beyond Melbourne, 2014 was an enormous
year for touring and serves as an indicator of the
reach of Malthouse Theatre’s influence. The national
tour of Michael Kantor and Tom E. Lewis’s The Shadow
King took this landmark production to international
arts festivals in Perth, Adelaide, Sydney, Darwin
and Brisbane, as well as some special performances
in Katherine, with a total audience of 7,688.
Blak Cabaret continued touring regional Victoria
and Stories I want to Tell You in Person also hit the
road with performances in Albury and Adelaide.
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2014 ANNUAL REPORT //
But it was the international activity that rose to
prominence this year as we saw a number of
long-term collaborations and strategic partnerships
come to fruition. Following its successful Melbourne
premiere, The Good Person of Szechuan toured to
prominent arts festivals in Shanghai and Beijing.
Marion Potts and Lally Katz attended Mexico’s
premier new writing festival Dramafest as part of
an extensive Australian program. Lally performed
Stories I Want to Tell You in Person and gave
playwriting workshops and Marion directed a new
play by an Indigenous Mexican writer. Marion also
travelled to India to collaborate with Jagriti Theatre
in Bangalore. The commitment of philanthropic funds
from Maureen and Tony Wheeler is what makes this
kind of sustained conversation and presence
overseas possible.
All our partners have made an invaluable contribution
to the life and success of this company and on
behalf of the Board I warmly thank our major
partners Coopers, Monash University and Victoria
University for their confidence in our mission. I also
acknowledge our 2014 partners: accommodation
partner Art Series Hotel; media partner Time Out
Melbourne; corporate partners Roy Morgan Research
and Allens Linklater; corporate associate Avant Card;
and supporters Gorman and Avenue Bookstore.
These thanks extend to all the philanthropic trusts,
foundations and individual donors who have
invested directly in the making of new work and
the employment of exceptional artists with
Malthouse Theatre in 2014: The Besen Family
Foundation; The Danielle and Daniel Besen
Foundation, Malcolm Robertson Foundation, Tom
Kantor Fund, Playking Foundation and the Sidney
Myer Fund as well as all our treasured Muses.
We also acknowledge the invaluable funding from
all levels of government, Creative Victoria, Australia
Council for the Arts and the City of Melbourne.
Finally, I thank my fellow board members and the
staff of Malthouse Theatre for their hard work and
dedication that made 2014 an exceptional year.
Michele Levine / Chair
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MALTHOUSE THEATRE
54,680
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196
2014 ANNUAL REPORT //
3
MALTHOUSE THEATRE
EXECUTIVE
REPORT
2014 was a phenomenally busy year. Some memorable
productions took place alongside other important
company initiatives: Simon Stone’s hilarious version of
The Government Inspector saw the company creatively
bouncing back from the nerve-wracking loss of
The Philadelphia Story, and its fabulous company of
actors set the tone and spirit for the year. 2014 was
in fact book-ended by our trademark irreverence with
Calpurnia Descending delighting audiences in the
lead-up to Christmas. Along the way, there was a lot
more – not only on site at The Coopers Malthouse,
but offsite and even offshore.
In addition to our busy mainstage program we
extended our reach with our own tours and coproductions playing in various cities around Australia.
The Government Inspector as a co-production with
Belvoir played further seasons in Canberra, Geelong
and Sydney. Ugly Mugs, our co-production with
Sydney’s Griffin Theatre Company played both cities,
as did Calpurnia Descending as a co-production with
Sydney Theatre Company. The most ambitious of our
touring projects was undoubtedly The Shadow King,
which after its 2013 début in Melbourne toured to
all of Australia’s major festivals: opening in Sydney,
followed by Perth, Adelaide, Brisbane, Darwin, and
finally, a memorable season in Katherine. This exposure
generated an invitation to the Barbican Centre in
London for 2016. Other co-productions included
Roslyn Oades’ Hello, Goodbye and Happy Birthday
with Melbourne International Arts Festival and my
last production for Malthouse Theatre, The Riders with
Victorian Opera.
Thanks to the support of Maureen and Tony Wheeler,
our international program literally took flight: as part
of this, Lally Katz’ Stories I Want to Tell You in Person
toured to Albury and Adelaide and was also presented
as part of Dramafest in Mexico, an international event
in which a number of Australian artists were invited
to participate. Our co-production with The National
Theatre Company (NTC) in China of The Good Person of
Szechuan, directed by Meng Jinghui was part of NTC’s
International Theatre Program as well as the Shanghai
International Arts Festival. These were memorable
experiences that permeated the cultural fabric of the
company and extended its horizon line.
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2014 ANNUAL REPORT //
The Wheeler’s support also allowed us to set up
collaborations for the future. As part of Malthouse
Theatre’s development arm ‘The Engine Room’, we
were able to initiate conversations with USA’s The
Debate Society, Belarus Free Theatre and Jagriti
Theatre in Bangalore, India.
Back at home we honoured the Australian repertoire
with Matthew Lutton’s mesmeric, haunting production
of Night on Bald Mountain and Richard Frankland’s
moving and big-hearted play Walking into the Bigness.
We supported THE RABBLE as Company in Residence
with their challenging adaptation of Frankenstein and
made young people shriek with delight at Roald Dahl’s
The Witches. We also went on Alirio’s Zavarce’s madcap
journey into the Book of Loco.
It has been my joy to have curated six seasons of
plays along with the brilliant Malthouse Theatre team.
My special thanks go to the wonderful Sarah Neal
who has been my constant companion in the last 18
months; to our intrepid associates past and present,
in particular Matthew Lutton who has been with me
from the beginning. And to Jo Porter whose expertise
helped us achieve such memorable productions as The
Shadow King. I am deeply indebted to our Malthouse
Theatre audiences who are imaginative, fearless and
who hunger for big ideas and theatre that matters.
Marion Potts / Artistic Director
MALTHOUSE THEATRE
‘THE MALTHOUSE
HAS NEVER SHIED
AWAY FROM TESTING
ITS AUDIENCE
AND PUSHING
THE ENVELOPE.’
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2014 ANNUAL REPORT //
MALTHOUSE THEATRE
2014
SEASON
THE
GOVERNMENT
INSPECTOR
FRANKENSTEIN
28 FEBRUARY 23 MARCH 2014
Venue 21 MARCH 5 APRIL 2014
Merlyn Theatre
Total Number of Performances
6
22
Venue Beckett Theatre
Total Number of Performances
17
Total Paid Attendances
4,685
Total Paid Attendances
1,572
All Attendances 5,535
All Attendances 1,930
A Malthouse Theatre and Belvoir co-production
Malthouse Theatre presents
By / Simon Stone with Emily Barclay devised with the cast
Featuring / a short musical by Stefan Gregory
Inspired by / Nikolai Gogol
Set Design / Ralph Myers
Lighting Design / Paul Jackson
Sound Design & Composition / Stefan Gregory
Choreography / Lucy Guerin
Costume Design / Mel Page
Cast / Fayssal Bazzi, Mitchell Butel, Gareth Davies, Robert
Menzies, Zahra Newman, Eryn-Jean Norvill and Greg Stone
Proudly supported by / Art Series Hotel Group
Created by / Kate Davis & Emma Valente
Directed by / Emma Valente
Set & Costume Design by / Kate Davis
Lighting & Sound Design by / Emma Valente
Cast / Jane Montgomery Griffiths, Emily Milledge,
Dana Miltins, David Paterson and Mary Helen Sassman
Stage Manager / Jenn Taylor
JUMP Mentees / Amelia Lever-Davidson and Lucy Thornett
ASM Secondment / Stephanie Dimitriou
Proudly supported by / The Danielle and
Daniel Besen Foundation
‘A scrupulously polished
backstage farce… deliriously
funny… Simon Stone has always
been a showman. And here he
has let his inner showman out to
play, sequined jacket and all.’
‘Reversing gender in
Mary Shelley’s classic tale of
monstrosity is an ingenious
conceit… nature is violated in
radically new ways when both
creator and creation
are women.’
ANNUAL REPORT // 2014 SEASON
MALTHOUSE THEATRE
NIGHT ON
BALD
MOUNTAIN
UGLY MUGS
5 MAY 25 MAY 2014
16 MAY 7 JUNE 2014
Venue Merlyn Theatre
Total Number of Performances
22
Venue Beckett Theatre
Total Number of Performances
21
Total Paid Attendances
3,503
Total Paid Attendances
1,755
All Attendances 4,203
All Attendances 2,188
A Malthouse Theatre production
By / Patrick White
Directed by / Matthew Lutton
Set & Costume Design / Dale Ferguson
Lighting Design / Paul Jackson
Sound Design / David Franzke
Composition & Double Bass / Ida Duelund Hansen
Stage Manager / Lisa Osborn
Assistant Stage Manager / Caitlin Byrne
Besen Placement / Amelia Lever-Davidson
Cast / Peter Carroll, Melita Jurisic, Sue Jones,
Julie Forsyth, Nikki Shiels, Luke Mullins,
Syd Brisbane and Ida Duelunda Hansen
‘Lutton has found the lifeblood
of the work; stripping it back
and building it into a theatrical
experience as vast and towering
as the mountain itself.’
ANNUAL REPORT // 2014 SEASON
A Malthouse Theatre and Griffin Theatre Company
co-production
By / Peta Brady
Directed by / Marion Potts
Assistant Director / Margaret Harvey
Set & Costume Design / Michael Hankin
Lighting Design / Lucy Birkinshaw
Sound Design / Darrin Verhagen
Stage Manager / Tia Clark
Cast / Harry Borland, Peta Brady,
Steve Le Marquand and Sara West
Proudly supported by / Malcolm Robertson Foundation
The play’s great achievement
is humanising the victim …
powerful and memorable.
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MALTHOUSE THEATRE
2014
SEASON
THE WITCHES
THE GOOD
PERSON OF
SZECHUAN
16 JUNE 5 JULY 2014
27 JUNE 20 JULY 2014
Venue Beckett Theatre
Total Number of Performances 23
Merlyn Theatre
Total Number of Performances
24
Total Paid Attendances 2,691
Total Paid Attendances 3,615
All Attendances 3,098
All Attendances 4,405
Malthouse Theatre presents a Griffin Theatre
Company production
A Malthouse Theatre and National Theatre
Company of China co-production
By / Roald Dahl
Adapted from the stage play by / David Wood
Re-imagined by / Lucas Jervies
Designer / Hugh O’Connor
Dramaturg / Chris Summers
Lighting Design / Christopher Page
Sound Engineer / Nate Edmondson
Cast / Guy Edmonds
Proudly supported by / Betty Amsden OAM
By / Bertolt Brecht
Adaption by / Tom Wright
Translation by / Nina Wei
Direction / Meng Jung Hui
Set & Costume Design / Marg Horwell
Lighting Design / Richard Vabre
Assistant Director / Felix Ching Ching Ho
Composition and Sound Design / The Sweats
Stage Manager / Lisa Osborn
Assistant Stage Manager / Lindy Li Wan Po
Cast / Aljin Abella, Moira Fincuane, Daniel Frederiksen,
Genevieve Giuffre, Bert LaBonté, Emily Milledge,
Genevieve Morris, Josh Price and Richard Pyros
Supported by / Maureen and Tony Wheeler,
Playking Foundation and Sidney Myer Fund
The Witches was originally produced at NIDA in 2012 and
co-designed by Becky-Dee Trevenen and Hugh O’Connor.
‘The Witches is a stellar
example of simple theatrical
storytelling at its best.’
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Venue ANNUAL REPORT // 2014 SEASON
‘The cast is exceptional,
throwing itself into the demands
of the show with a sense of
almost reckless courage.’
MALTHOUSE THEATRE
THE BOOK
OF LOCO
WALKING INTO
THE BIGNESS
17 JULY 2 AUGUST 2014
1 AUGUST 23 AUGUST 2014
Venue Beckett Theatre
Total Number of Performances 19
Venue Merlyn Theatre
Total Number of Performances 24
Total Paid Attendances 1,032
Total Paid Attendances 3,367
All Attendances 1,331
All Attendances 4,287
A Malthouse Theatre production
A Malthouse Theatre production
By / Alirio Zavarce
Produced by / Janine Peacock, Loose Canon Art Services
Direction by / Sasha Zahra
Designer / Jonathan Oxlade
Video & Graphics / Chris More
Composer / Duncan Campbell
Lighting Realisation / Neil Jensen from
original design by David Gadsden
Artist’s Associate / Bradley Williams
Production Manager / Neil Jensen
Cast / Alirio Zavarce
Supported by / Avant Card
Story by / Richard Frankland and Wayne Blair
Written by / Richard Frankland
Co-Directed by / Wayne Blair and Chris Mead
Dramaturgy / Chris Mead
Choreography / Katrina Olsen
Set & Costume Design / The Sisters Hayes
Lighting Design / Rachel Burke
Co-Musical Directors / Richard Frankland and
Monica Weightman
Stage Manager / Tia Clark
Cast / Tammy Anderson, Paul Ashcroft,
Luisa Hastings Edge, Rarriwuy Hick and Tiriki Onus
‘Zavarce offers a vivid migrant
experience, entwined with
familiar tales of love and loss
and grappling for understanding.
It’s a small story with big ideas
and a bigger heart.’
‘The five actors are magnificent.
Directors Wayne Blair and
Chris Mead have drawn
an incredible and moving
collaborative portrait… you
have to see this show.
ANNUAL REPORT // 2014 SEASON
9
MALTHOUSE THEATRE
2014
SEASON
THE RIDERS
HELLO,
GOODBYE
AND HAPPY
BIRTHDAY
23 SEPTEMBER 4 OCTOBER 2014
9 OCTOBER 26 OCTOBER 2014
Venue Merlyn Theatre
Total Number of Performances
8
Merlyn Theatre
Total Number of Performances
17
Total Paid Attendances
2,312
Total Paid Attendances
2,200
All Attendances 2,815
All Attendances 2,556
A Malthouse Theatre and Victorian Opera
co-production
A Malthouse Theatre and Melbourne
Festival co-production
By / Iain Grandage and Alison Croggon
Based on the novel by / Tim Winton
Directed by / Marion Potts
Set & Costume Design / Dale Ferguson
Lighting Design / Matt Scott
Sound Design / Jim Atkins
Assistant Director / Cameron Menzies
Cast / Jessica Aszodi, Jerzy Kozlowski, David Rogers-Smith,
Barry Ryan and Dimity Shepherd
By / Roslyn Oades and collaborators
Directed by / Roslyn Oades
Composed by / Bob Scott
Lighting Design / Paul Jackson
Sound Design / Russell Goldsmith
Set Design / Christina Hayes
Movement Designer / Nat Cursio
Stage Manager / Tia Clark
Cast / Matthew Connell, Jim Daly, Diana Perini, Haiha Le,
Evelyn Krape and Roger Oakley
Supported by / Australia Council, City of Yarra, Arts Victoria
Brotherhood of St Lawrence, Campbelltown Arts Centre
Robert Salzer Foundation
Besen Family Artist (Set & Costume Design) / Eugyeen Teh
Besen Family Artist (Composition) / Evan Lawson
Besen Family Artist (Directing) / Samara Hersch
‘An opera of rare dramatic
power, utmost musicality
and first-rate performances.’
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Venue ANNUAL REPORT // 2014 SEASON
Besen Family Artist Program (Lighting Design) /
Amelia Lever-Davidson
‘Rich with character and
anecdotal originality… infused
with a terrific sense of life
rarely felt in a theatre.’
MALTHOUSE THEATRE
CALPURNIA
DESCENDING
12 NOVEMBER 30 NOVEMBER 2014
Venue Merlyn Theatre
Total Number of Performances 18
Total Paid Attendances 4,060
All Attendances 4,884
A Malthouse Theatre and Sydney Theatre Company
co-production
By / Sisters Grimm
Directed by / Declan Greene
Set & Costume Design / David Fleischer
Lighting Design / Katie Sfetkidis
Sound Design / Jed Palmer
AV Design / Matthew Gingold
Stage Manager / Lisa Osborn
Cast / Paul Capsis, Ashleigh Flanders,
Sandy Gore and Peter Paltos
‘The genius of this piece is the
extent to which it goes beyond
parody and beyond drag…
This production is clever and
fun, and a lot more serious than
it pretends to be.
ANNUAL REPORT // 2014 SEASON
11
MALTHOUSE THEATRE
HELIUM
2014
Helium reflects big
ideas, high risk and the
bleeding edge. In its third
year, Helium presented a
curated collection of the
most exciting Australian
independent performance
work spanning culture
divides, performance
genres, social issues and
even the abyss that is the
YouTube commentariat.
Given full access to our
beloved space, the Tower
Theatre, and all the
accoutrements, these
theatre practitioners
explore form and
content in original ways.
SEETHROUGH
30 APRIL 11 MAY 2014
Venue Tower Theatre
Total Number of Performances
12
Total Paid Attendances
110
All Attendances 365
A Malthouse Theatre and Sean Jorvn production,
in association with Ilbijerri and Next Wave
Directed, Devised and Performed by / Colin Kinchella
and Gavin Walters
Directed by / Isaac Drandic
Video Artist / Jacqui Mills
Original music by / Chris Yates and Corey Webster
Dramaturges / Andrea James and Björn Stewart
Lighting Design by / Tom Willis
12
ANNUAL REPORT // 2014 SEASON
MALTHOUSE THEATRE
INTIMACY
APPLESPIEL
MAKE A BAND
& TAKE ON THE
RECORDING
INDUSTRY
13 AUGUST 23 AUGUST 2014
Venue 3 SEPTEMBER 13 SEPTEMBER 2014
Tower Theatre
Total Number of Performances
8
Venue Tower Theatre
Total Number of Performances
7
Total Paid Attendances
357
Total Paid Attendances
210
All Attendances 471
All Attendances 356
A Malthouse Theatre and Torque Show production
A Malthouse Theatre and Applespeil production
Created and devised by / Torque Show in collaboration
with Michelle Ryan and Lavender Vs Rose
Torque Show are / Vincent Crowley, Ross Ganf
and Ingrid Weisfelt
Lavender Vs Rose are / Emma Bathgate and Simon Eszeky
Original music composed by / Lavender Vs Rose
Directed by / Ingrid Weisfelt and Ross Ganf
Performed by / Michelle Ryan, Vincent Crowley,
Emma Bathgate and Simon Eszeky
Lighting Design by / John Ford
Set and Costume Design by / Adrienne Chisholm
Production and Stage Manager / Halley Jean Buckham
Devised and performed by / Simon Binns, Nathan Harrison,
Nikki Kennedy, Emma McManus, Joseph Parro, Troy Reid,
Rachel Roberts and Mark Rogers
ANNUAL REPORT // 2014 SEASON
13
MALTHOUSE THEATRE
HELIUM
2014
THE YOUTUBE
COMMENT
ORCHESTRA
META
17 SEPTEMBER 27 SEPTEMBER 2014
22 OCTOBER 1 NOVEMBER 2014
Venue Total No of Performances
14
Tower Theatre
8
Venue Tower Theatre
Total No of Performances
9
Total Paid Attendances
313
Total Paid Attendances
366
All Attendances 416
All Attendances 573
A Malthouse Theatre and Last Tuesday Society production
A Malthouse Theatre and Second Cousins production
Hosted, Co-Curated and Performed by / Richard Higgins
Co-curated, Produced and Performed by / Bron Batten
Performed and Devised by / Zoey Dawson, Liz Dunn
Mish Grigor, Grit Theatre (Tom Browne, Laura Hughes
and Clare Phillips), The List Operators (Matt Kelly and
Richard Higgins), Anna McCarthy, Telia Nevile, Lara Thoms,
Madeleine Tucker, Glen Walton
Conceived by / Samara Hersch
Inspired by / Frnaz Kafka’s short story Metamorphosis
Directed by / Samara Hersch
Produced by / Bek Berger
Set and Costume by / Romanie Harper
Lighting Design by / Amelia Lever-Davidson
Sound Design and Composition / James Paul
Stage Manager / Ainsley Kerr
Assistant Stage Manager / Leticia Brennan-Steers
Set Assistant / Stephanie Dimitrou
Muscian / Anna Orzech
Dramaturg / David Woods
Performed and Devised by / Josh Ferenbach, John Flaus,
Liz Jones, Aaron Orzech and Mary Helen Sassman
ANNUAL REPORT // 2014 SEASON
MALTHOUSE THEATRE
TOURING
2014
BLAK
CABARET
In conjunction with Vic
Health and the Helen
Macpherson Smith Trust,
Malthouse Theatre has a
three year touring plan for
Blak Cabaret - a cocktail
of comedy, music, poetry
and dance featuring
the deadliest mob of
Aboriginal and Torres
Strait Islander performers.
MELBOURNE INDIGENOUS ARTS FESTIVAL
7-9 February 2014
460 attendees
Beckett Theatre, Melbourne
GEELONG
29 June 2014
104 attendees
The Potato Shed, Geelong
BALLARAT CABARET FESTIVAL
12 October 2014
54 attendees
Helen Macpherson Smith Theatre, Ballarat
FRANKSTON
15 November 2014
63 attendees
Frankston Arts Centre
A Malthouse Theatre production
Producer / Jason Tamiru
Performed by / Kylie Belling, Kutcha Edwards,
Bunna Lawrie, Illana Atkinson, Joey Geia, Bart Willoughby,
Selwyn Burns and Ce Cee, Uncle Herb Patten,
Tiriki Onus, Shiralee Hood, Black Elvis, Peter Rotumah,
Kevin Kropinyeri, Nikki Ashby, Den the Fish
ANNUAL REPORT // 2014 SEASON
15
MALTHOUSE THEATRE
TOURING
2014
THE SHADOW
KING
SYDNEY FESTIVAL
23 - 26 January 2014
1,460 attendees
Carriageworks, Sydney
PERTH INTERNATIONAL ARTS FESTIVAL
24 Febuary – 1 March 2014
2,963 attendees
State Theatre Centre of Western Australia
ADELAIDE FESTIVAL
5 - 8 March 2014
1,497 attendees
Adelaide Festival Centre
DARWIN FESTIVAL
20 - 22 August (Darwin),
26 - 27 August (Katherine)
1,451 attendees
George’s Green, Darwin
BRISBANE FESTIVAL
9-13 September 2014
Brisbane Powerhouse
567 attendees
A Malthouse Theatre production in association
with Melbourne Festival, Sydney Festival,
Perth International Arts Festival, Adelaide Festival
and Brisbane Festival
Co-created by / Michael Kantor and Tom E. Lewis
Producer / Jo Porter
Associate Producer / Jason Tamiru
Production Manager / David Miller
Director / Michael Kantor
Associate Director / Melodie Reynolds-Diarra
Set Design / Paul Jackson, Michael Kantor & David Miller
Costume & Props Design / Ruby Langton Batty
Lighting Design / Paul Jackson
Music Consultant / Iain Grandage
Musical Arrangements and Direction / John Rodgers
Dramaturgy / Marion Potts
Stage Manager / Lisa Osborn
Touring Mechanist / Andy Moore
Sound Engineer / Alistair Stobo
Cast / Jada Alberts, Jimi Bani, Frances Djulibing,
Rarriwuy Hick, Damion Hunter, Kamahi Djordon King,
Tom E Lewis, Natasha Wanganeen
Band / Selwyn Burns, Jason Tamiru, Bart Willoughby
This project has been assisted by the Australian
Government’s Major Festivals Initiative, managed by
the Australia Council its arts funding and advisory
body in association with the Confederation of Australian
International Arts Festivals
16
ANNUAL REPORT // 2014 SEASON
MALTHOUSE THEATRE
THE GOOD
PERSON OF
SZECHUAN
STORIES I WANT
TO TELL YOU
IN PERSON
BEIJING INTERNATIONAL THEATRE FESTIVAL
WODONGA
29 October - 1 November 2014
6 - 15 March 2014
2,560 attendees
National Theatre of China
Hothouse Theatre, Wodonga
SHANGHAI INTERNATIONAL ART FESTIVAL
MEXICO
4 - 5 November 2014
25 August (Mexico City) 5 September (Cuernavaca City)
1,470 attendees
Shanghai Yihai Art Theatre
A Malthouse Theatre production
Performed by / Aljin Abella, Moira Finucane,
Daniel Frederiksen, Sheridan Harbridge, Pete Goodwin,
Bert LaBonte, Emily Milledge, Genevieve Morris,
Nathan Lovejoy and Richard Pyros
Supported by / The Australian Government through the
Australia Council, its arts funding and advisory body.
Following the successful premier at The Coopers Malthouse
Theatre in June, the National Theatre of China invited the
Australian production of The Good Person of Szechuan to
tour to prestigious international arts festivals in Beijing
and Shanghai.
612 attendees
375 attendees
ADELAIDE
29 October - 8 November 2014
Bakehouse Theatre, Adelaide
A Malthouse Theatre and Belvoir co-production
Written and performed by / Lally Katz
Directed by / Anne-Louise Sarks
Set & Costume Design / Ralph Myers
Lighting Design / Damien Cooper
Composition & Sound Design / Max Lyandvert
Lighting Associate / Chris Page
Stage Manager / Lisa Osborn
In total, 15 Australian artists travelled to China, with the
production playing to a total audience of around 4,000.
ANNUAL REPORT // 2014 SEASON
17
MALTHOUSE THEATRE
ARTISTIC
Malthouse Theatre’s Engine Room is the home of
new works in development, giving writers, directors
and performers the freedom to build and break their
own frameworks, to find their wings, to fall and to fly.
It exalts cathexis, connection and experimentation,
unencumbered by temporal or commercial constraints.
Encompassing all of Malthouse Theatre’s research and
development activity, the Engine Room is where new
works are made, concepts are tested and artists propel
their work forward.
Creating a pipeline of ideas and talent, The Engine
Room acts as a catalyst for programming. Throughout
2014, we invested in 16 new works including four that
were destined for the 2015 subscription season:
— Antigone adapted by Jane Montgomery-Griffiths
— Meme Girls development by Ash Flanders,
Stephen Nicolazzo and Marion Potts
— Timeshare by playwright Lally Katz and
director Oliver Butler (US)
— Blak Cabaret in collaboration with Jason Tamiru
and playwright Nakkiah Lui.
— The Good Person of Szechuan, a new adaptation
by Tom Wright
— Belarus Free Theatre research phase led by
Natalia Kaliada and Nicolai Khalezin
— Development workshops for Paradise Lost
and January
— Five new play commissions by Australian
playwrights, including the commission and
dramaturgical support for Blaque Showgirls
by Nakkiah Lui
— Partnered with Ilbijerri Theatre Company to develop
two new Indigenous plays Which Way, Home playwright Katie Beckett, director Rachael Maza,
dramaturg Jane Bodie and actor Tony Briggs
Whyld - playwright Tammy Anderson, director
Rachael Maza,dramaturg Louise Gough and
movement consultant Rinske Ginsberg.
In addition, Artistic Director Marion Potts travelled to
Bangalore for a development of a new version of Blood
Wedding with Jagriti Theatre Company as part of our
international strategy.
We also hosted Playwriting Australia’s Lotus AsianAustralian Playwright workshop and Resident
Dramaturg Mark Pritchard was seconded to the
National Play Festival development and presentation
of Michele Lee’s Moths.
18
2014 ANNUAL REPORT //
FEMALE DIRECTOR
IN RESIDENCE
The only program of its kind in Australia, the Female
Director in Residence program offers an emerging
director a six-month paid, immersive period of
professional development.
Clare Watson was appointed Female Director in
Residence for 2014. Clare is a graduate of VCA
Directing and has directed for the stages of the Sydney
Opera House, the Victorian Arts Centre, Melbourne
Theatre Company, the Storeroom and La Mama. With
a keen eye for innovative theatre, history and humour,
Clare has created performance works in a hotel room,
the Old Melbourne Gaol, a disused swimming pool, a
car and a crumbling deco apartment.
Made possible through support from donor Craig
Reeves, the program provides a real career stepping
stone towards professional theatre practice.
Since completing her 2014 residency, Clare has been
engaged as Artistic Director of St Martins Youth Arts
Centre, and Fitter. Faster. Better., co-produced with
this company, formed part of Malthouse Theatre’s
Season 2015.
We were proud to have Hello, Goodbye & Happy
Birthday by our 2013 resident Roslyn Oades featured in
Malthouse Theatre’s 2014 season in conjunction with
Melbourne Festival.
Previous Female Directors in Residence continue to
succeed. 2012 resident Adena Jacobs (Persona, On
the Bodily Education of Young Girls) and 2011 resident
Anne-Louise Sarks (Stories I Want to Tell You in Person,
The Hayloft Project) are both are now employed as
Co-Resident Directors at Belvoir, Sydney.
MALTHOUSE THEATRE
BESEN FAMILY
ARTIST PROGRAM
With the generous support of the Besen Family,
Malthouse Theatre has provided paid workplace
learning for Australian theatre-makers since
2005. The Besen Family Artist Program is a unique
development opportunity for artists to gain insight
into the professional practice of senior artists
working in a mainstage theatre.
In 2014, the Besen Family Artist Program offered
five Production Placements on Malthouse Theatre’s
mainstage shows. We also invited four emerging
playwrights to join the Writer’s Program – a series of
workshops with Malthouse Theatre Associate Artist
Writing, Lally Katz and Resident Dramaturg Mark
Pritchard.
PRODUCTION PLACEMENTS
Dan Giovannoni, Dramaturgy
Samara Hersch, Direction
Evan Lawson, Composition
Amelia Lever-Davidson, Lighting Design
Eugyeene Teh, Set and Costume Design
WRITERS PROGRAM
Jessica Bellamy
Emilie Collyer
Michele Lee
Dan Lee
MENTORS
Iain Grandage, Composition
Marg Horwell & Dale Fergusson, Set & Costume Design
Paul Jackson, Lighting Design
Lally Katz, Writing
Marion Potts, Direction
Mark Pritchard, Dramaturgy and Writing
ARTISTIC EVALUATION
All Malthouse Theatre productions are evaluated
internally and externally against their programming
rationale and the extent to which they support and
further the artistic vision and values of the company.
For each project, we will ask:
— To what extent does it take formal risks
and be creatively fearless?
— Is the work underpinned by strong conceptual
thought and rigorous research and ideas?
— Does the work engage with subjects and themes that
help us define who we are and who we want to be?
In evaluating our work, we also consider:
— the quality and interest of the central
provocation or exploration
2014 ANNUAL REPORT //
— the calibre of artists involved and the professional
opportunities it may create
— potential cultural impact or capacity to bring about
positive change.
ARTISTIC COUNSEL
Productions are evaluated externally by Malthouse
Theatre’s Artistic Counsel. This comprises a
cross-section of colleagues from a range of cultural
institutions who are encouraged to see the full season
of work. The counsel are invited to report back in
writing on the productions they see and meet with
Malthouse Theatre artistic staff twice a year to
discuss their experiences, the challenges facing
the company and our successes.
In 2014, the Artistic Counsel members were:
David Nguyen
Jana Perkovic
Alice Pung
John Romeril
Jeff Sparrow
Nurin Veis
PEER EVALUATION
Our resident artists also approach respected peers
for regular informal one-on-one feedback about their
individual work. This acts not only as a self-evaluation
mechanism but as a collegial support network and in
some cases a mentorship relationship for the artists
we work with.
ABORIGINAL AND TORRES STRAIT
ISLANDER COMMITTEE
The ATSI committee brings together outstanding
Aboriginal and Torres Strait Islander artists to
meet with Malthouse Theatre throughout the year,
providing feedback on projects in development and
in production, guidance on protocols, artist needs
and community engagement.
Meeting regularly with Jason Tamiru,
Malthouse Theatre’s Indigenous Projects Producer,
the committee comprises:
Tammy Anderson
Uncle Jack Charles
Isaac Drandich
Leila Gurruwiwi
Lisa Maza
Melodie Reynolds-Diarra
The ATSI Committee act as a point of reference
for the company in supporting Indigenous artists,
growing audiences and developing best practice
models of engagement. In 2014, the company
invested in the commission, production and touring
of Indigenous works of scale, including Richard
Frankland’s Walking into the Bigness, the national
tour of The Shadow King and development of
Blak Cabaret for 2015 mainstage productions in
Melbourne and Sydney.
19
MALTHOUSE THEATRE
PROMPT: YOUTH AND
EDUCATION PROGRAM
THE SUITCASE SERIES
Malthouse Prompt incites the next wave of
creators, thinkers and performers. It challenges
students and teachers and equips them with tools
and experiences to realise their vision.
This youth and education program offers innovative,
participatory and award-winning opportunities for
6 to 26-year-olds and their educators. Artist-led
workshops and programs engage students and
teachers as audiences, creators and critical thinkers.
2014 saw growth in participation across the
program of workshops and engagement activities:
TYPE
TICKETS /
PARTICIPANTS
Productions
3,659
Seminars
1,093
Suitcase Series
693
Tours and Bespoke Workshops
268
Workshops
TOTAL
451
6,164
PROVOCATEURS
The Malthouse Theatre’s Provocateur initiative aims
at developing critical thinkers and eloquent, curious
communicators. A group of 29 young artists with an
infectious enthusiasm for theatre were selected for
the 2014 initiative.
Our goal is to enrich the experience at the theatre
by inviting our Provocateurs to attend Malthouse
performances and facilitate post performance
conversations with members of the audience.
Additional ‘In Conversation’ events are a chance for
Provocateurs to meet Malthouse artists and talk
about making, dreaming, planning, collaborating,
writing and more.
2014 PROVOCATEURS
Ariadne Sgouros, Aubrey Flood, Bek Berger,
Ben Meyer, Ben Sheen, Ben Stanford,
Brodie Rowlands, Chelsie Jones, Christopher Fieldus
Claire See, Ebony Beaton, Hannah Morrison,
Josiah Lulham, Kate Sinclair, Patricia Tobin,
Neil Coulson, Mary Harmer, Mark Salvestro,
Oliver Coleman, Rachel Adams, Rosie Cham,
Shannon Loughnane, Sean Scanlon, Stephanie Clark,
Stephanie Crowe, Tegan Larin, Trelawney Edgar,
Rachel Perks, Jospeh Noonen
normal.suburban.planetary.meltdown is the third
script commissioned by Malthouse Prompt for
The Suitcase Series, an award-winning education
program for year 9 and 10 students to collaborate
and devise short works around the theme of
sustainability and climate change.
normal.suburban.planetary.meltdown.
by Angus Cerini
23 – 24 October,
Cube 37, Frankston Arts Centre
28 October – 6 November,
Beckett Theatre, The Coopers Malthouse
Directed by / Susie Dee
Set & Costume Design / Zoe Rouse
Lighting Design / Lisa Mibus
Sound Design / Jethro Woodward
Performed by / Naomi Rukavina,
Jim Russell, Nicci Wilkes
Stage Manager / Caitlin Byrnes
Production Manager / Tom Webster
WINNER 2014 Drama Victoria Awards
Best Performance by a Theatre Company
for Secondary Students (Years 7 - 10)
Total No of Performances
Total Paid Attendances
All Attendances 11
860
1,062
“We all found it interesting to see other school’s
interpretations of the same text… Some of the
presentations were similar to ours but some
were almost unrecognisable, which was great
for us to see how our peers in drama classes can
envision different performances from the same
subject material…We recommend this class as an
opportunity to anyone who has any interest in
performing arts.”
Students from Boort High School
“The Suitcase Series provided our students with
a unique opportunity to explore a great theatrical
text, create their own unique interpretation of
this text, explore their own stories, explore the
world and their place within it, develop greater
self-confidence, independence in thought and
action, responsibility for decision making,
self-reliance, creativity, initiative, empathy,
strength and determination.”
Mark Lauber, Trinity College
The Suitcase Series is supported by the
Department of Education and Early Childhood
Development through its Special Partnerships
Program and VISY.
20
2014 ANNUAL REPORT //
MALTHOUSE THEATRE
‘FOR THE PAST COUPLE
OF YEARS OUR
YOUNGEST DAUGHTER
HAS ATTENDED WITH
US AND WE’VE LOVED
SHARING IT WITH HER.’
21
2013 ANNUAL REPORT //
MALTHOUSE THEATRE
ADDITIONAL
LIMITED EDITIONS
Limited Editions are the special events that celebrate,
magnify and extend the ideas from our works.
In 2014, the Limited Edition series presented four
unrepeatable events to provide an opening for
the fearless to step in and explore the world of
Malthouse Theatre.
582 attendees
Summer: The Australiana Top 14
23 March, Merlyn
We introduced our new cohort of Malthouse Theatre
artists with a celebration of the Australian classics:
the kitsch, the highbrow and the forgotten: Dame
Edna … Playing Beatie Bow … Porpoise Spit … Bush
Mechanics … ‘MIRANDA!?’
To introduce our new cohort of Malthouse Theatre
artists, we tasked Lally Katz, David Chisholm, Clare
Watson and Mark Pritchard to give us their favourite
iconic Australiana as a kind of like Buzzfeed for
theatre nerds.
Autumn: The Suitcase Series reading of
normal.suburban.planetary.meltdown by Angus Cerini
18 May, Beckett Theatre
This new work by Angus Cerini has been
commissioned for Malthouse Prompt’s The Suitcase
Series, an innovative program in which Malthouse
Theatre (along with about 700 year 9 and 10
students) devise theatre using this script as a stimulus.
Winter: Shock and Awe: extremity, provocation and art
17 August, Merlyn Theatre
The third Limited Edition for 2014 featured a panel
discussion hosted by Emily Sexton in conversation
with Casey Jenkins, Maxine Clarke and THE RABBLE’s
Emma Valente and Kate Davis.
Their topic was artistic extremes of shock or
notoriety: more blood, more violence, more sex,
more blasphemy, more taboo, more swearing, more
shock, more awe. Can extreme content affect
political, personal or social change? Or is it all just
for kicks?
Spring: The Sweats DJ Set
23 November, Malthouse Courtyard
Melbourne-based sound designer, composer and
electronic music producer THE SWEATS played
an open air DJ set in The Coopers Malthouse
courtyard ahead of the Sunday performance
of Calpurnia Descending.
22
2014 ANNUAL REPORT //
Melbourne Writers Festival
Deathly/Death/Dead: performing the poetic
by THE RABBLE and guests
27 August, Merlyn Theatre
Visionary dramatists THE RABBLE curate a special
evening of theatre. In Deathly/Death/Dead:
performing the poetic, THE RABBLE have asked
some of Australia’s best known female performers
and theatre makers to reinvent poems that have been
typically ghettoised as ‘angsty’. The result: a visceral,
sublime and orphic showcase ignited by a passion for
the poetic.
Featuring performances by Zoey Dawson & Lara
Thoms, Nicola Gunn (Sans Hotel), Willoh S. Weiland
& Hallie Shalam (Aphids), Mish Grigor (post) and
THE RABBLE, our contemporary artists serenade
the ghosts of poets past including, Sylvia Plath,
Emily Dickinson, Kathy Acker, Anne Sexton and
Chistina Rosetti.
VENUE
In addition to our subscription season, the theatres,
rehearsal rooms, conference facilities and event
spaces within The Coopers Malthouse were used by
over 100 external hirers in 2014.
This included a total of 30 presentations of theatre,
dance and music, bringing 15,847 audiences members
into the building.
As part of our passion for supporting independent
artists and community groups, we offered discounted
or free venue hire to 36 artists and organisations,
valued at over $225,000.
MALTHOUSE THEATRE
MALTHOUSE
GREENLIGHT
Malthouse Greenlight is our commitment to
sustainability and encompasses programming,
creation, purchasing and building management as well
as behavioural considerations. The Greenlight policy
ensures that our environmental, social and economic
impacts are identified, managed and monitored
across all facets of our business.
2014 saw implementation of daily real-time electricity
usage tracking implemented through Eniscope and he
ongoing upgrade of lighting stock to energy efficient
LEDs and dimmers as required.
In planning the renovations of the public bathrooms
in the foyer, we have incorporated upgraded water
systems with a high water conservation rating and
new sensor lighting. We also continued scoping the
potential for moving to solar energy.
Recycling
2014
2013
2012
4.2 tonnes
3 tonnes
3 tonnes
nil
45kg
30kg (approx.)
33kg
nil
8 kg
WHITE PAPER & CARDBOARD
20.4 tonnes
18 tonnes
7.9 tonnes
CO-MINGLED RECYCLING
23.8 tonnes
14.9 tonnes
30.3 tonnes
62 tonnes
57 tonnes
53 tonnes
STEEL
BATTERIES
LIGHT BULBS
OTHER WASTE
Energetics reporting from 2014 reported 44 tonnes (41%) of waste was diverted from landfill, representing:
Saved from
Landfill
Trees
Saved
Oil
Saved
Electricity
Saved
Landfill
Saved
44 Tonnes
752 trees
111 barrels
181,277 KWH
177 M3
2014 ANNUAL REPORT //
Water
Saved
Green
House Gas
36.00 K/Litres 175.97 CO2 Tonnes
23
MALTHOUSE THEATRE
ADDITIONAL
ACTIVITIES
ACCESS AND
ENGAGEMENT
At Malthouse Theatre we welcome all members of the
community to connect with our performances and
programs and we work hard to remove barriers, to
engage and increase access to our works and our venue.
In 2014, Malthouse Theatre curated four sessions
for Audio Description and four Auslan Interpreted
works in consultation with Auslan Stage Left. For the
first time, Malthouse Theatre offered Access ticket
packages and concession price tickets for these
services via online promotional videos seeing an
increase in attendance for these shows for patrons
requesting these services.
VOLUNTEERS
Malthouse Theatre has been supported by a loyal
and hardworking group of Volunteers who run
our foyer Bookshop and Play Club discussion
group. The time, passion and generosity provided
by our Volunteers is enormously appreciated and
gratefully acknowledged.
TIME TO TALK
Time to Talk engages the cast and creative team
of Malthouse Theatre productions in a free,
post-performance discussion with the audience.
Often as enlightening for the audience’s responses
as they are for revelations about the artistic
process and experience, these performances
are among the most popular in each season.
COMMUNITY
PARTNERSHIPS
Our Community Partners program identifies
organisations with established programs to empower
young people from a range of backgrounds and
geographic locations across Victoria. We extend our
existing activities by not only offering experiences in
attending theatre, but also professional development
opportunities for young people considering a career
in the arts and theatre making.
In 2014, Malthouse Theatre proudly partnered with:
— TRY Mentoring: a division within TRY Australia that
seeks to deliver youth mentoring to communities
across Melbourne through programs such as
Mentoring in the Hood, Young Achiever, First
Friends, and One-to-One Mentoring.
24
2014 ANNUAL REPORT //
— St Martins Youth Arts Centre: the annual Catapult
program offers young theatre-makers from diverse
backgrounds and abilities opportunities to attend
and make theatre.
— Worawa Aboriginal College: a holistic education
and boarding experience for young Aboriginal
women from suburban and regional Victoria and
regional and remote communities interstate.
— Quin House: established in 1975, Quin House
provides residential service supporting men with
substance abuse issues.
FUNDRAISING
Malthouse Theatre believes that fearless artistic
expression is crucial to any forward-looking
community.
We are enormously grateful for the financial support
we received from our loyal donors, as well as trusts
and foundations in 2014. Their generosity and passion
is vital for Malthouse Theatre to realise our artistic
vision and bring bold new works to our stages.
This year, the extraordinary level of international
activity was only made possible by a three-year
commitment from Maureen and Tony Wheeler.
These collaborations and tours have seen Malthouse
Theatre extend our reach to Mexico, India and China,
and seeded ongoing relationships and creative
collaborations for our artists.
Our donors have also fuelled the Engine Room, our
program for new work commissions, developments
and artist placements. This work is invaluable,
creating opportunities for professional artists at all
levels of their career and investing in ideas for future
productions.
Other special projects could not have happened
without the support of trusts and foundations,
including Malthouse Theatre’s award-winning
education program, The Suitcase Series, and the
tour of Blak Cabaret to regional Victoria.
}
34%
}
MALTHOUSE THEATRE
445%
}
2013 ANNUAL REPORT //
37%
25
MALTHOUSE THEATRE
BOARD, STAFF &
PARTNERS
Board of Directors
Michele Levine (Chair)
Frankie Airey (to September 2014)
John Daley
Ian McRae
Sarah Morgan
Thea Snow
Sigrid Thornton
Kerri Turner
Leonard Vary
Nick Schlieper (from March 2014)
Artistic Director & CEO
Marion Potts
Executive Producer
Sarah Neal
Associate Artist – Direction
Matthew Lutton
Associate Artist – Composition
David Chisholm
Associate Artist – Writing
Lally Katz
Resident Dramaturg
Mark Pritchard
Female Director in Residence
Clare Watson
Marketing & Communications Manager
Lisa Scicluna
Company Manager
Lucy Birkinshaw (to April)
Alice Muhling (from May)
Associate Producer
Josh Wright
Youth and Education Program Manager
Clare Watson (to March)
Vanessa O’Neill (from July)
Company Administrator
Narda Shanley (to September)
Amanda Macri (from December)
Finance Manager
Mario Agostinoni
Finance Administrator
Liz White
Finance Assistant
Connie Stella
Philanthropy Manager
Nicole Punte (to May)
Rachel Petchesky (from May)
Digital Strategy & Marketing Coordinator
Alice Gage
Development Coordinator
Hiroki Kobayashi (to May)
Kim Brockett (from May)
Graphic Designer
Jane Roberts
Ticketing Manager
Emma Quinn
Assistant Ticketing Manager
Lauren White
26
2014 ANNUAL REPORT //
Marketing & Communications Coordinator
Emily Fiori (to October)
Media Manager
Maria O’Dwyer (to July)
Rohan Astley (from December)
Executive Assistant
Sarah Wong (to February)
Nicole Benson (from May)
Audience Development Consultant
Jason Tamiru
Building Manager
Peter Mandersloot
Production Manager
David Miller
Technical Manager
Baird McKenna
Operations Manager
Dexter Varley
Head Electrician
Stewart Birkinshaw Campbell (to May),
Stephen Hawker (from July)
Head Mechanist
Andy Moore (to October)
Theatre Technician
Nathanael Bristow
Head of Wardrobe
Amanda Carr (to March)
Delia Spicer (from March)
Wardrobe Assistant
Rebecca Dunn
Workshop Manager
David Craig
Steel Fabricator
Goffredo Mameli
Props Master
Ross Murray (lifetime recognition)
Bar Manager
Cherry Rivers
Front of House Managers
Tristan Watson (to March)
Anita Posterino (from March) and Sean Ladhams
Front of House/Bar Staff
Matt Adair, Leeor Adar, Thomas Banks, Jacqui Brown,
Ben Carollo, Ray Chong Nee, Emma Corbett,
Kathryn Delaney, Nadine Dimitrivietch, Alice Dixon,
Graham Downey, Tanja George, Kate Gregory,
Mark Hoffman, Evona Lee, Ian Michael,
Anna Nalpantidis, Daniel Newell, Ruby Nolan,
Syrie Payne, Claire Richardson, Sanne Rodenstein,
Dominic Simonelli, Kathryn Stuckey, Phoebe Taylor,
Jade Thomson, Lee Threadgold, Noel Turner and
Matilda Woodroofe.
Box Office Staff
Abbey Barnes, Paul Buckley, Kathryn Delaney,
Kate Gregory, Suzie Hardgrave, Michelle Hines,
Ian Michael, Jade Thomson, Fiona Wiseman,
Liz White and Ben Woolley.
MALTHOUSE THEATRE
GOVERNMENT PARTNERS INDUSTRY PARTNER
Malthouse Theatre is proud to
be a member of the Australian
Major Performing Arts Group
CORPORATE PARTNERS
VENUE PARTNER
EDUCATION
ACCOMMODATION
PARTNERPARTNER
MEDIA PARTNER
CORPORATE PARTNER
CORPORATE PARTNER
CORPORATE ASSOCIATE
CORPORATE ASSOCIATE COMPANY SUPPORTERS
CORPORATE PARTNER
TRUSTS AND FOUNDATIONS Australian Communities Foundation
Creative Partnerships Australia
The Dara Foundation
The Ian Potter Foundation
Kerry Gardner & The Andyinc Foundation
The Pierce Armstrong Foundation
The R E Ross Trust
The Robert Salzer Foundation
Vera Moore Foundation
PROGRAM PARTNERS The Danielle and Daniel
Besen Foundation
THE SUITCASE SERIES REGIONAL EDUCATION PROGRAM COMPANY IN RESIDENCE
ARTIST PROGRAM
NEW AUSTRALIAN
COMMISSION
DIRECTORS
EXCHANGE PROJECT
DIRECTORS
EXCHANGE PROJECT
REGIONAL PERFORMANCE
PROJECT
Maureen and Tony Wheeler
Craigmel
Investment Pty Ltd
REGIONAL PERFORMANCE PROJECT INTERNATIONAL
PROGRAM
FEMALE DIRECTOR
IN RESIDENCE
MUSE DONORS
Thank you to all the Malthouse Muses, for supporting our artistic vision and helping us to create
a unique and dynamic environment for artists and audiences.
URANIA—MUSE OF THE STARS—$25,000+
Annamila Fund, Michele Levine, Mary-Ruth & Peter McLennan,
Craig Reeves, Maureen & Tony Wheeler
CLIO—MUSE OF HISTORY—$10,000+
Betty Amsden OAM, John & Lorraine Bates, Carol & Alan Schwartz AM
THALIA—MUSE OF COMEDY—$5,000+
Marc Besen AO & Eva Besen AO, Debbie Dadon, Neilma Gantner,
Richard Leonard and Gerlinde Scholz, Berry Liberman & Daniel
Almagor, Val Johnstone, Anonymous (1)
MELPOMENE—MUSE OF TRAGEDY—$2,500+
Frankie Airey & Stephen Solly, Chryssa Anagnostou & Jim Tsaltas,
Roger Donazzan & Margaret Jackson, Rosemary Forbes & Ian
Hocking, DL & GS Gjergja, Colin Golvan SC, Val Johnstone, Sue
Kirkham, Naomi Milgrom AO, Janine Tai, Jon Webster, Anonymous (1)
EUTERPE—MUSE OF MUSIC—$1,000+
John & Sally Bourne, Sally Browne, Diana Burleigh, Beth Brown & Tom
Bruce AM, Ingrid & Per Carlsen, Dominic & Natalie Dirupo,
Rev Fr Michael Elligate, William J. Forrest AM, John and Helen Gibbins,
Marco Gjergja, Alan Kenworthy, Michael Kingston, Virginia Lovett,
Jenny Schwarz, Maria Solà, Gina & Paul Stuart, Rotru Investments Pty
Ltd, Leonard Vary & Matt Collins, Jenny Werbeloff, Anonymous (2)
2014 ANNUAL REPORT //
TERPSICHORE—MUSE OF DANCE—$500+
Graham & Anita Anderson, Ingrid Ashford, Rowland Ball, Sandra
Beanham, Min Li Chong, Mark & Jo Davey, Carolyn Floyd, Taleen
Gaidzkar, Paul & Genevieve Gardner, Brian Goddard, Scott Herron,
Leonie Hollingworth, Brad Hooper, Irene Irvine, Ann Kemeny &
Graham Johnson, Gael & Ian McRae, Robert Peters, Right Lane
Consulting, Katherine Sampson, Morry & Anna Schwartz, Barbara &
Neil Smart, Thea & Hayden Snow, Fiona Sweet & Paul Newcombe,
John Thomas, Kerri Turner & Andrew White, Jan Williams, Phil &
Heather Wilson, Dr Roger Woock & Fiona Clyne, Anonymous (1)
ERATO—MUSE OF LOVE—$250+
Simon Abrahams, Stephen & Diane Alley, John & Alexandra
Busselmaier, Douglas Butler, Ros Casey, Tim & Rachel Cecil,
Ros & Bill Chandler, Diane Clark, Chris Clough, Patricia Coutts,
Tania de Jong AM, Joanne Griffiths, Peggy Hayton, Roberta Holmes,
Chree Kearney, Irene Kearsey, Patricia Keith, Ruth Krawat, Liquorice
Studio, Kim Lowndes, William Lye, John Millard, Dr Kersti Nogeste,
Linda Notley, Tony Oliver, Orla & Rachel, James Ostroburski, Gerard
Powell, Wendy Poulton, Anita Roberts, Ernie Schwartz, Jill Sewell, Lisl
Singer, Janice Taylor, Rosemary Walls, Jan Watson, Henry Winters,
Barbara Yuncken, Joanne Whyte, Anonymous (7)
27
MALTHOUSE THEATRE
KEY PERFORMANCE
INDICATORS
OUTCOME
2014
TARGET
2014
ACTUALS
MECHANISM
MEASURE
NOTES
Artistic Counsel
At least
one written
summary per
member every
six months plus
one minuted
verbal feedback
session with the
Artistic Counsel
as a group
All reports
received
Show-specific
selected key artists
who respond to the
primary artistic driver
of the project e.g.
director of the work
nominates a key
artist to respond to
their work
Peer - 1:1
confidential
feedback
(individually
per show)
100%
undertaken
100%
Audience
engagement
and stimulation
Surveys
Audience
satisfaction
60%
88%
Roy Morgan survey respondents
satisfied or very satisfied
Examination
and extension
of artforms
New productions
and/or creative
development projects
Number of new
productions as
% of total
70%
88%
15 new productions out of 17
Development
of artists
(see sector
development
below)
See sector
development
Capital city
performances
home market
Attendances
Paid
Attendance:
50,000
33,037
Paid attendance KPI reflects all
paid attendances at The Coopers
Malthouse (actual 44,877)
Capital performances
other than home
market
Ticket sales
Paid
Attendance:
7,000
7,619
National
4,147
International (estimate)
ARTFORM
Artistic quality
and excellence
of craft
- Reports received
- Minuted meetings held
1 April, 28 August
ACCESS
Maximise access
and diversity of
audiences
Deliver Broad
community
engagement
Access
through digital
platforms
28
Mini Artform Festival/
Limited Editions
Paid/unpaid
attendances
Paid/unpaid
attendance
1,356 /
2,763
Helium: 1,356 / 2,181
Limited Editions: 582 unpaid
Data Capture Activity
Growth of
contacts
database
Database to
40,500
N/A
Transition to Tessitura for 2015
subscription season, over 300,000
names migrated from previous
systems. Regional and Metro
Program Pilot
Number of
participants and
contact hours
1000
contact
hours
2,896
Blak Cabaret: 6 x 2 hrs Suitcase
Series: 693 x 4 hrs Shadow King NT:
45 x 2.5 hrs contact hours total:
2,896.5
Education program
‘ning’ participation &
engagement
Growth in
visitation
metrics
10% increase
on 2013
0
Not used in 2014
Social media presence
Growth in
visitation
metrics
10% increase
on 2013
41%
Facebook 33.6% increase Twitter
37.4% increase Instagram 445%
increase
2014 ANNUAL REPORT //
MALTHOUSE THEATRE
OUTCOME
MECHANISM
MEASURE
2014
TARGET
2014
ACTUALS
NOTES
SECTOR DEVELOPMENT
Fully activate
MT’s role as the
company of
‘first breaks’
Pathways for
emerging artists
via residencies,
mentorships, readings,
pitch sessions
Number of
residencies &
mentorships
7
13
Besen Artists Program - 5
Besen Writers Program - 4
JUMP Mentorships - 2
Indigenous Creative - 1
Company in Residence - 1
New opportunities
for artists
Number of
artists
10
10
Amelia Lever-Davidson, Dan
Giovannoni, Eugyeene Teh, Evan
Lawson, Samara Hersch, Felix Ching
Ching Ho, Margaret Harvey, Angus
Cerini, Tiriki Onus, Katie Beckett
Co-productions &
presentations
Number
1 x co-pro
4
The Government Inspector (Belvoir)
The Riders (Victorian Opera)
Ugly Mugs (Griffin Theatre)
Calpurnia Descending (Sydney
Theatre Company)
1x
presentation
2
The Book of Loco
The Witches
5
SEETHrough, Intimacy, Applespiel,
The Youtube, Meta
$218,512
39 projects by S2M and
independent artists
‘Helium’ independent
works season
Number
Resources
for small-tomedium &
independent
sector
Venue access
(rehearsal &
performances),
co-producing &
presenting work
generated in small-tomedium sector
$ Value
Develop
new work
‘The Engine Room’
development program
Number
of works
workshopped
5
12
Belarus Free Theatre, Antigone,
Blak Cabaret, Good Person of
Szechuan, Meme Girls, Whyld, Which
Way, Home, Blaque Showgirls,
Timeshare, Blood Wedding
(Bangalore), Paradise Lost, January
Number of
new works
performed or
staged
5-6
11
The Government Inspector,
Ugly Mugs, The Book of Loco,
Walking into the Bigness,
Hello, Goodbye & Happy Birthday,
Calpunia Descending, SEETHrough,
Intimacy, Applespiel, The Youtube,
Meta
2014 ANNUAL REPORT //
$30,000
Venue hire discounts
totalling $218,512
29
MALTHOUSE THEATRE
KEY PERFORMANCE
INDICATORS
30
OUTCOME
2014
TARGET
2014
ACTUALS
Benchmark 20%
reserves
25%
27%
Financial analysis
Current assets
divided by
current liabilities
1:1
0.53:1
Transition from a few
key donations to a
broader cross-section
of potential individual
donors, trusts and
foundations and
potential sponsors
via data mining and
leveraging company
contacts
Expansion
of individual
donors and
partners from
2013 levels
Muse $160,000
(130 Muses)
$157,609
148 Muses
Small
donations
(< $200,
ticketing
upsell)
$6,437
298 individuals
Syndicates
- $16,000
(1 synd of 9
donors)
$-
Major Gifts
- $290,000
(6 donors)
$325,000
7 gifts > $20K)
T&Fs $306,000
(12 orgs)
$336,000
12 trusts/foundations
MECHANISM
MEASURE
Reserves ratio
Financial analysis
Working
capital ratio
Diversification
of income base
NOTES
FINANCIAL
2014 ANNUAL REPORT //
MALTHOUSE THEATRE
‘LOVE THE MALTHOUSE,
MAY IT REIGN FOREVER
AS PART OF MELBOURNE’S
IDENTITY OF THE ARTS.’
31
2014 ANNUAL REPORT //
MALTHOUSE THEATRE
3 3—————————————— DIRECTORS’ REPORT
35 —————————————— AUDITOR INDEPENDENCE DECLARATION
36 —————————————— STATEMENT OF COMPREHENSIVE INCOME
36 —————————————— STATEMENT OF CHANGES IN EQUITY
37 —————————————— STATEMENT OF FINANCIAL POSITION
38 —————————————— STATEMENT OF CASH FLOWS
39 —————————————— NOTES TO THE FINANCIAL STATEMENTS
52 —————————————— DIRECTORS’ DECLARATION
53—————————————— INDEPENDENT AUDITOR’S REPORT
FINANCIAL
STATEMENTS
ANNUAL REPORT // FINANCIAL STATEMENTS
32
MALTHOUSE THEATRE
DIRECTORS’
REPORT
The directors present this report on the Company
for the financial year ended 31 December 2014.
The names of the directors in office at any time
during, or since the end of the year are:
— Frankie Airey (resigned 29/09/2014)
— Sigrid Thornton
— Ian McRae
— Thea Snow
— Michele Levine, Chair
— John Daley
— Leonard Vary
— Kerri Turner
— Sarah Morgan
— Nick Schlieper (appointed 3/02/2014)
Directors have been in office since the start of
the financial year to the date of this report unless
otherwise stated.
COMPANY
SECRETARY
The position of company secretary was vacant at the
end of the financial year ending 31 December 2014.
PRINCIPAL
ACTIVITIES
The principal activity of the Company
(Malthouse Theatre) during the financial year was
to create, facilitate and present contemporary
performances in a program of adventurous creative
work inspired by artists who practice a range of
disciplines.
The Company’s objectives are:
ARTISTIC
— Creation of exceptional work that appeals
to demanding artistic collaborators, devotee
audiences and third party presenters
ACCESS
— Diversification of the cultural backgrounds of
its staff, collaborators and audiences
— Providing opportunities for tertiary students
via placements
— Providing pathways for emerging artists via
programs and in-kind venue access
SECTOR DEVELOPMENT
— Engagement with the small-to-medium and
independent performing arts sector
— Providing opportunities for emerging artists via
paid placements on professional productions
— Gender equity initiatives
FINANCIAL AND
GOVERNANCE
— Expansion of earned income base and
maintenance of levels of existing funding
STRATEGIES
ARTISTIC
MALTHOUSE MAKES
Characterised by rigorous creative development
process, investigation of public subjects and
collaboration between artists from diverse practises,
backgrounds and interests. Makes will be developed
and presented as follows:
— The Engine Room-creative
development and research
— Annual Main Stage program
ACCESS
— Education program: PROMPT
— Access activities, including
community partnerships
— Placement opportunities for students through
Victoria University partnership
— Besen Family Artists program and bursaries for
emerging artists
— Public program
SECTOR DEVELOPMENT
— Facilitation of independent works via programs
including Helium
— Presentation and collaboration of/with
independent artists e.g. via Company in Residence
— Female Director in Residence program
FINANCIAL AND
GOVERNANCE
— Continuation of existing fundraising and
government support strategies
— Increased focus on philanthropic, trust and
foundation support
— Exploration of buy-in shows that reflect
Malthouse Theatre values
— Increased focus on touring opportunities
domestically and internationally
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
33
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
INFORMATION
ON DIRECTORS
MEETINGS OF
DIRECTORS
Frankie Airey (resigned 29/09/2014)
Director, Philanthropy Squared
Responsibilities: Development Committee
During the financial year, six meetings were held.
Attendances by each director were as follows:
Sigrid Thornton
Actor
Responsibilities: Development Committee
DIRECTORS’
MEETINGS
NO. ELIGIBLE
TO ATTEND
NUMBER
ATTENDED
Nick Schlieper
5
3
Frankie Airey
5
4
Ian McRae
Arts Consultant
Responsibilities: People and Nominations Committee
Sigrid Thornton
6
2
Ian McRae
6
5
Thea Snow
Manager
Strategic Projects Branch, Department of
Education & Training
Responsibilities: Audit, Finance & Risk Committee
Sarah Morgan
6
5
Thea Snow*
4
4
Michele Levine
CEO, Roy Morgan Research
Responsibilities: Chair, Development Committee,
People and Nominations Committee
Leonard Vary
CEO, The Myer Foundation and
The Sidney Myer Fund
Responsibilities: Chair of the People and
Nominations Committee
Michele Levine
6
6
John Daley
6
6
Leonard Vary
6
4
Kerri Turner
6
5
* Thea Snow was granted leave of absence
from 1st April, 2014 to 31st August, 2014.
MEMBERS’ GUARANTEE
John Daley
CEO, Grattan Institute
Responsibilities: Deputy Chair, Audit,
Finance & Risk Committee, People and
Nominations Committee
The Company is incorporated under the Corporations
Act 2001 and is a Company limited by guarantee. If the
Company is wound up, the Memorandum and Articles
of Association states that each member is required to
contribute a maximum of $10 each towards meeting
any outstanding obligations of the Company. As at 31
December 2014, the total amount that members of
the Company are liable to contribute if the Company
is wound up is $140 (2013 $140).
Kerri Turner
Director, Tinitrader
Responsibilities: Audit, Finance & Risk Committee
AUDITOR’S INDEPENDENCE
DECLARATION
Sarah Morgan
Professional Investor and Non-Executive Director
Responsibilities: Development Committee
Nick Schlieper (appointed 03/02/2014)
Theatre Designer
Responsibilities: People and Nominations Committee
The lead auditor’s independence declaration for the
year ended 31 December 2014 has been received and
can be found on page 35.
The directors’ report is signed in accordance with
a resolution of the Board of Directors:
Michele Levine, Director
John Daley, Director
Dated 23 March 2015
34
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
AUDITOR
INDEPENDENCE
DECLARATION
UNDER S307C OF THE
CORPORATIONS ACT
2001 TO THE DIRECTORS
OF PLAYBOX THEATRE
COMPANY LIMITED
I declare that, to the best of my knowledge and belief,
during the year ended 31 December 2014 there have
been no contraventions of:
1/ The auditor independence requirements as set
out in the Corporations Act 2001 in relation to
the audit; and
2/Any applicable code of professional conduct in
relation to the audit.
Crowe Horwath, Melbourne
David Munday, Melbourne
Dated 23 March 2015 2014 ANNUAL REPORT // FINANCIAL STATEMENTS
35
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
STATEMENT OF
COMPREHENSIVE
INCOME FOR THE
YEAR ENDED
31 DECEMBER 2014
NOTES
Revenues from continuing operations
2014
2013
$
$
2(a)
7,223,347
6,665,318
Production and touring expenses
3
(3,131,524)
(2,585,572)
Marketing and sponsorship expenses
3
(548,188)
(623,343)
Other expenses from continuing operations
3
(3,729,754)
(3,744,263)
(186,119)
(287,860)
-
-
(186,119)
(287,860)
Profit/(loss) before income tax
Income tax expense
1(n)
Profit/(loss) before earning from investments
127,609
430,625
Total comprehensive income/(loss) for the year, net of tax
Earnings from investments
2(b)
(58,510)
142,765
Total comprehensive income/(loss) for the year
(58,510)
142,765
Total comprehensive income attributable to members of the Company
(58,510)
142,765
STATEMENT OF
CHANGES IN EQUITY
FOR THE YEAR ENDED
31ST DECEMBER 2014
ACCUMULATED
Balance at 1 January 2014
SURPLUS
RESERVES
TOTAL
(129,778)
1,966,313
1,836,535
-
-
-
Transfer to Incentive Scheme Reserve
Transfer to Future Fund Reserve
-
-
-
(58,510)
-
(58,510)
Balance at 31 December 2014
(188,288)
1,966,313
1,778,025
Balance at 1 January 2013
(272,543)
1,966,313
1,693,770
Transfer to Incentive Scheme Reserve
-
-
-
Transfer to Future Fund Reserve
-
-
-
Profit attributable to the Company
Profit attributable to the Company
Balance at 31 December 2013
142,765
-
142,765
(129,778)
1,966,313
1,836,535
The accompanying notes form part of these financial statements. See page 39.
36
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
STATEMENT OF
FINANCIAL
POSITION AS AT
31 DECEMBER 2014
NOTE
CURRENT ASSETS
2014
2013
$
$
Cash and cash equivalents
4
283,348
435,112
Trade and other receivables
5
88,134
205,171
Inventories
6
59,527
61,483
Other current assets
7
232,093
299,536
663,102
1,001,302
Total current assets
NON-CURRENT ASSETS
Property plant & equipment
8
383,168
429,070
Investments
9
2,218,509
2,176,969
Total non-current assets
2,601,677
2,606,039
Total assets
3,264,779
3,607,341
10
286,991
266,586
Short-term provisions
11
137,600
132,408
Borrowings
12
19,708
215,000
Other current liabilities
13
CURRENT LIABILITIES
Trade and other payables
Total current liabilities
816,185
1,122,846
1,260,484
1,736,840
32,770
33,966
NON-CURRENT LIABILITIES
Long-term provisions
11
Borrowings
12
193,500
-
226,270
33,966
Total liabilities
1,486,754
1,770,806
Net assets
1,778,025
1,836,535
Total non-current liabilities
EQUITY
Retained earnings
14
(188,288)
(129,778)
Reserves
15
1,966,313
1,966,313
1,778,025
1,836,535
Total equity
The accompanying notes form part of these financial statements. See page 39.
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
37
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
STATEMENT OF
CASH FLOWS FOR
THE YEAR ENDED
31 DECEMBER 2014
NOTES
2014
2013
$
$
Receipts from government grants
2,950,257
2,691,338
Receipts from patrons, sponsors
4,805,801
3,931,671
(7,936,404)
(6,885,697)
Interest received
127,609
37,366
Interest paid
(12,767)
-
(65,504)
(225,322)
Payment for plant and equipment
(42,928)
(29,019)
Payment for investments
(41,540)
(29,470)
Net cash used in investing activities
(84,468)
(58,489)
Repayment of loan principal
(1,792)
-
Net cash used in financing activities
(1,792)
-
(151,764)
(283,811)
435,112
718,923
283,348
435,112
CASH FLOWS FROM OPERATING ACTIVITIES
Payments to creditors and employees
Net cash provided by operating activities
19
CASH FLOWS FROM INVESTING ACTIVITIES
CASH FLOWS FROM FINANCING ACTIVITIES
Net increase/(decrease) in cash held
Cash and cash equivalent held at the beginning of the year
Cash and cash equivalent held at the end of the year
The accompanying notes form part of these financial statements. See page 39.
38
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
NOTES
NOTES TO THE
FINANCIAL
STATEMENTS FOR
THE YEAR ENDED
31 DECEMBER 2014
The financial statements are for Playbox Theatre
Company Limited as an individual Company,
incorporated and domiciled in Australia.
Playbox Theatre Company Limited is a Company
Limited by Guarantee.
1— SUMMARY OF SIGNIFICANT
ACCOUNTING POLICIES
Playbox Theatre Company Limited has adopted
the Australian Accounting Standards –
Reduced Disclosure Requirements as set out
in AASB 1053: Application of Tiers of Australian
Accounting Standards and AASB 2010–2:
Amendments to Australian Accounting Standards
arising from Reduced Disclosure Requirements.
Accordingly, the entity has also early adopted
AASB 2011–2: Amendments to Australian
Accounting Standards arising from the TransTasman Convergence Project – Reduced Disclosure
Requirements and AASB 2012–7: Amendments
to Australian Accounting Standards arising from
Reduced Disclosure Requirements in respect
of AASB 2010–6: Amendments to Australian
Accounting Standards – Disclosures on Transfers of
Financial Assets and AASB 2011–9: Amendments
to Australian Accounting Standards – Presentation
of Items of Other Comprehensive Income.
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
The financial statements are general purpose
financial statements that have been prepared
in accordance with Australian Accounting
Standards - Reduced Disclosure Requirements
of the Australian Accounting Standards Board
(AASB) and the Corporations Act 2001.
The Company is a not-for-profit entity for
financial reporting purposes under Australian
Accounting Standards.
Australian Accounting Standards set out
accounting policies that the AASB has
concluded would result in financial statements
containing relevant and reliable information
about transactions, events and conditions.
Material accounting policies adopted in the
preparation of these financial statements are
presented below and have been consistently
applied unless stated otherwise.
The financial statements, except for the cash
flow information, have been prepared on
an accruals basis and are based on historical
costs, modified, where applicable, by the
measurement of fair value of selected noncurrent assets, financial assets and financial
liabilities. The amounts presented in the
financial statements have been rounded to
the nearest dollar.
The financial statements were authorised
for issue on 23 March 2015 by the directors
of the Company.
39
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
NOTES
ACCOUNTING
POLICIES
A—REVENUE
Grant revenue is recognised in the statement
of comprehensive income when the Company
obtains control of the grant and it is probable
the economic benefit gained from the grant will
flow to the entity and the amount of the grant
can be measured reliably.
If conditions are attached to the grant which
must be satisfied before it is eligible to receive
the contribution, the recognition of the grant as
revenue will be deferred until those conditions
are satisfied.
When grant revenue is received whereby
the Company incurs an obligation to deliver
economic value directly back to the contributor,
this is considered a reciprocal transaction and
the grant revenue is recognised in the statement
of financial position as a liability until the service
has been delivered to the contributor, otherwise
the grant is recognised as income on receipt.
Revenue from sponsorships and donations is
identified with specific projects to which it
relates. Where revenue received from the above
sources relate to projects in future periods such
revenue is written back as revenue received
in advance and included in the statement of
financial position as a liability.
D—PLANT AND EQUIPMENT
Each class of property, plant and equipment is
carried at cost less, where applicable, accumulated
depreciation and any impairment losses.
Plant and equipment are measured on the cost
basis less depreciation and impairment losses.
The carrying amount of plant and equipment is
reviewed annually by directors to ensure it is not
in excess of the recoverable amount from these
assets. The recoverable amount is assessed on
the basis of the expected net cash flows that will
be received from the assets employment and
subsequent disposal. The expected net cash flows
have been discounted to their present value in
determining recoverable amounts.
The cost of fixed assets constructed within the
company includes the cost of materials, direct
labour, borrowing costs and an appropriate
proportion of fixed and variable overheads.
Subsequent costs are included in the asset’s
carrying amount or recognised as a separate
asset, as appropriate, only when it is probable that
future economic benefits associated with the
item will flow to the company and the cost of the
item can be measured reliably. All other repairs
and maintenance are charged to the statement of
comprehensive income during the financial period
in which they are incurred.
E—DEPRECIATION
Revenue from the rendering of a service is
recognised upon the delivery of the service to
the customer.
The depreciable amount of all fixed assets is
depreciated on a straight line basis over their
useful lives to the Company commencing from
the time the asset is held ready for use.
All revenue is stated net of the amount of goods
and services tax (GST).
Depreciation rates used for each of depreciable
assets are:
B— EARNINGS FROM INVESTMENTS
Amounts in respect of the Future Fund and
interest earned by investing funds held in the
Future Fund Reserve and Incentive Scheme
Reserve are recorded as income.
C—INVENTORIES
Inventories of bar and set construction supplies
have been measured at the lower of cost and
current replacement cost.
Furniture & equipment
10% - 20%
Theatre fixtures & fittings
5% - 20%
Workshop improvements
5% - 10%
The assets’ residual value and useful lives are
reviewed, and adjusted if appropriate, at the end
of each reporting period.
Asset classes’ carrying amount is written down
immediately to its recoverable amount if the
asset’s carrying amount is greater than its
estimated recoverable amount.
Gains and losses on disposals are determined
by comparing proceeds with the carrying
amount. These gains or losses are included in
the statement of comprehensive income.
40
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
NOTES
F—FINANCIAL INSTRUMENTS
Initial recognition and measurement
Financial assets and financial liabilities are
recognised when the Company becomes a party
to the contractual provisions to the instrument.
For financial assets, this is equivalent to the
date that the Company commits itself to
either purchase or sell the asset (i.e. trade date
accounting is adopted). Financial instruments are
initially measured at fair value plus transaction
costs except where the instrument is classified
‘at fair value through profit or loss’ in which case
transaction cost are expensed to the statement
of comprehensive income immediately.
Classification and subsequent measurement
Financial instruments are subsequently measured
at fair value, amortised cost using the effective
interest rate method or cost. Where available,
quoted prices in an active market are used to
determine fair value. In other circumstances,
valuation techniques are adopted.
Amortised cost is calculated as:
(a) The amount at which the financial asset
or financial liability is measured at initial
recognition;
(b) Less principal repayments;
(c) Plus or minus the cumulative amortisation of the
difference, if any, between the amount initially
recognised and the maturity amount calculated
using the effective interest method; and
(d) Less any reduction for impairment.
The effective interest method is used to allocate
interest income or interest expense over the
relevant period and is equivalent to the rate that
exactly discounts estimated future cash payments
or receipts (including fees, transaction costs
and other premiums or discounts) through the
expected life (or when this cannot be reliably
predicted, the contractual term) of the financial
instrument to the net carrying amount of the
financial asset or financial liability. Revisions to
expected future net cash flows will necessitate
an adjustment to the carrying value with a
consequential recognition of an income or
expense in profit or loss.
Loans and receivables
Loans and receivables are non-derivative
financial assets with fixed or determinable
payments that are not quoted in an active
market and are subsequently measured at
amortised cost.
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
Financial assets at fair value through profit or loss
Financial assets are classified at ‘fair value
through profit or loss’ when they are held
for trading for the purpose of short-term
profit taking, derivatives not held for hedging
purposes, or when they are designed as
such to avoid an accounting mismatch or
to enable performance evaluation where
a group of financial assets is managed by
key management personnel on a fair value
basis in accordance with a documented risk
management or investment strategy. Such
assets are subsequently measured at fair value
with changes in carrying amount being included
in profit or loss.
Financial liabilities
Non-derivative financial liabilities are
subsequently recognised at amortised cost.
Impairment
At the end of each reporting period, the
Company assesses whether there is objective
evidence that a financial instrument has been
impaired. Impairment losses are recognised in
the statement of comprehensive income
Fair Value
Fair value is determined based on current bid
price for all quoted investments. Valuation
techniques are applied to determine the fair
value of all unlisted securities, including recent
arm’s length transactions, reference to similar
instruments and option pricing models.
G—IMPAIRMENT OF ASSETS
At the end of each reporting period, the
Company reviews the carrying values of its
tangible and intangible assets to determine
whether there is any indication that those assets
have been impaired. If such indication exists,
the recoverable amount of the asset, being
the higher of the asset’s fair value less costs to
sell and value in use, is compared to the asset’s
carrying value. Any excess of the asset’s carrying
value over its recoverable amount is expensed to
the statement of comprehensive income.
Where an impairment loss on a revalued asset is
identified, this is debited against the revaluation
reserve in respect of the same class of asset to
the extent that the impairment loss does not
exceed the amount in the revaluation reserve
for the same class of asset.
41
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
NOTES
H—EMPLOYEE BENEFITS
Provision is made for the Company’s liability for
employee benefits arising from services rendered
by employees to the end of the reporting period.
Employee benefits that are expected to be settled
within one year have been measured at the
amounts expected to be paid when the liability is
settled. Employee benefits payable later than one
year have been measured at the present value of
the estimated future cash outflows to be made
for those benefits. In determining the liability,
consideration is given to employee wage increases
and the probability that the employee may not
satisfy vesting requirements. Those cash flows
are discounted using market yields on national
government bonds with terms to maturity that
match the expected timing of cash flows.
Contributions are made by the Company to
employee superannuation funds and are charged
as expenses when incurred.
I—PROVISIONS
Provisions are recognised when the Company
has a legal or constructive obligation, as a result
of past events, for which it is probable that an
outflow of economic benefits will result and that
outflow can be reliably measured. Provisions are
measured using the best estimate of the amount
required to settle the obligation at the end of
the reporting period.
J— CASH AND CASH EQUIVALENTS
Cash and cash equivalents include cash on
hand, deposits held at call with banks and
other short-term highly liquid investments.
K— DEFERRED INCOME
The liability for deferred income is the unutilised
amounts of grants received on the condition
that specified services are delivered or
conditions are fulfilled. The services are usually
provided or the conditions usually fulfilled within
12 months of receipt of the grant. Where the
amount received is in respect of services to be
provided over a period that exceeds 12 months
after the reporting date, or the conditions will
only be satisfied more than 12 months after the
reporting date, the liability is discounted.
L— BORROWING COSTS
Borrowing costs are recognised as expenses in
the period in which they are incurred.
42
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
M—GOODS AND SERVICES TAX (GST)
Revenues, expenses and assets are recognised
net of the amount of GST, except where the
amount of GST incurred is not recoverable
from the Australian Tax Office (ATO). In these
circumstances the GST is recognised as part of
the cost of acquisition of the asset or as part
of an item of the expense. Receivables and
payables are stated inclusive of the amount of
GST receivable or payable. The net amount of
GST recoverable from, or payable to, the ATO is
included with other receivables or payables in the
statement of financial position.
Cash flows are presented on a gross basis.
The GST components of cash flows arising
from investing or financing activities which are
recoverable from, or payable to, the ATO are
presented as operating cash flows included in
receipts from customers or payments to suppliers.
N—INCOME TAX
No provision for income tax has been raised as
the Company is exempt under Division 50 of the
Income Tax Assessment Act, 1997.
O—CRITICAL ACCOUNTING
ESTIMATES AND JUDGEMENTS
The directors evaluate estimates and
judgements incorporated into the financial
statements based on historical knowledge and
best available current information. Estimates
assume a reasonable expectation of future
events and are based on current trends and
economic data, obtained both externally and
within the Company.
Key Estimates – Impairment
The Company assesses impairment at the end
of each reporting date by evaluating conditions
specific to the Company that may be indicative
of impairment triggers.
Impairment on non-financial assets other than
goodwill and other indefinite life intangible assets
The Company assesses impairment of
non-financial assets other than goodwill and
other indefinite life intangible assets at each
reporting date by evaluating conditions specific
to the Company and to the particular asset that
may lead to impairment. If an impairment trigger
exists, the recoverable amount of the asset is
determined. This involves fair value less costs
of disposal or value-in-use calculations, which
incorporate a number of key estimates
and assumptions.
MALTHOUSE THEATRE
NOTES
Employee benefits provision
Short-term employee benefits
Liabilities for wages and salaries, including
non-monetary benefits, annual leave and long
service leave expected to be settled within 12
months of the reporting date are recognised
in current liabilities in respect of employees’
services up to the reporting date and are
measured at the amounts expected to be paid
when the liabilities are settled.
Other long-term employee benefits
The liability for annual leave and long service
leave not expected to be settled within 12
months of the reporting date are recognised
in non-current liabilities, provided there is an
unconditional right to defer settlement of the
liability. The liability is measured as the present
value of expected future payments to be made
in respect of services provided by employees
up to the reporting date using the projected
unit credit method. Consideration is given
to expected future wage and salary levels,
experience of employee departures and periods
of service. Expected future payments are
discounted using market yields at the reporting
date on national government bonds with terms
to maturity and currency that match, as closely
as possible, the estimated future cash outflows.
Key judgements
Estimation of useful lives of assets
The Company determines the estimated
useful lives and related depreciation and
amortisation charges for its property, plant
and equipment and finite life intangible assets.
The useful lives could change significantly as a
result of technical innovations or some other
event. The depreciation and amortisation
charge will increase where the useful lives
are less than previously estimated lives, or
technically obsolete or non-strategic assets
that have been abandoned or sold will be
written off or written down.
P— CURRENT AND NON-CURRENT
CLASSIFICATION
Assets and liabilities are presented in the
statement of financial position based on current
and non-current classification.
An asset is current when: it is expected to be
realised or intended to be sold or consumed
in normal operating cycle; it is held primarily
for the purpose of trading; it is expected to be
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
realised within 12 months after the reporting
period; or the asset is cash or cash equivalent
unless restricted from being exchanged or
used to settle a liability for at least 12 months
after the reporting period. All other assets are
classified as non-current.
A liability is current when: it is expected to be
settled in normal operating cycle; it is held
primarily for the purpose of trading; it is due to
be settled within 12 months after the reporting
period; or there is no unconditional right to
defer the settlement of the liability for at least
12 months after the reporting period. All other
liabilities are classified as non-current.
Q—NEW, REVISED OR AMENDED
ACCOUNTING STANDARDS AND
INTERPRETATIONS ADOPTED
The company has adopted all of the new,
revised or amending Accounting Standards
and Interpretations issued by the Australian
Accounting Standards Board (AASB) that are
mandatory for the current reporting period.
Any new, revised or amending Accounting
Standards or Interpretations that are not yet
mandatory have not been early adopted.
Any significant impact on the accounting
policies of the company from the adoption of
these Accounting Standards and Interpretations
are disclosed below. The adoption of these
Accounting Standards and Interpretations did
not have any significant impact on the financial
performance or position of the company.
The following Accounting Standards
and Interpretations are most relevant
to the company:
AASB 2010-2 Amendments to Australian
Accounting Standards arising from Reduced
Disclosure Requirements
The company has applied AASB 2010-2 from
1 January 2014. These amendments make
numerous modifications to a range of Australian
Accounting Standards and Interpretations, to
introduce reduced disclosure requirements to
the pronouncements for application by certain
types of entities in preparing general purpose
financial statements. The adoption of these
amendments has significantly reduced the
company’s disclosure requirements.
43
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
NOTES
AASB 2011-2 Amendments to Australian
Accounting Standards arising from the
Trans-Tasman Convergence Project –
Reduced Disclosure Requirements, AASB
2012-7 Amendments to the Australian
Accounting Standards arising from Reduced
Disclosure Requirements and AASB 2012-11
Amendments to Australian Accounting
Standards – Reduced Disclosure
Requirements and Other Amendments
The Company has applied AASB 2011-2,
AASB 2012-7, and 2012-11 amendments
from 1 January 2014, to the extent that they
related to other standards already adopted
by the Company. These amendments make
numerous modifications to a range of Australian
Accounting Standards and Interpretations
to significantly reduce the Company’s
disclosure requirements.
AASB 2012-3 Amendments to Australian
Accounting Standards – Offsetting Financial
Assets and Financial Liabilities
The company has applied AASB 2012-13 from
1 January 2014. The amendments add
application guidance to address inconsistencies
in the application of the offsetting criteria in
AASB 132 ‘Financial Instruments: Presentation’,
by clarifying the meaning of ‘currently has a
legally enforceable right of set-off’; and clarifies
that some gross settlement systems may be
considered to be equivalent to net settlement.
AASB 2013-3 Amendments to AASB 136 –
Recoverable Amount Disclosures for
Non-Financial Assets
The Company has applied AASB 2013-3 from
1 January 2014. The disclosure requirements
of AASB 136 ‘Impairment of Assets’ has been
enhanced to require additional information
about the fair value measurement when the
recoverable amount of impaired assets is based
on fair value less costs of disposal. Additionally,
if measured using a present value technique, the
discount rate is required to be disclosed.
R— TRADE AND OTHER PAYABLES
Trade and other payables represent the
liabilities for goods and services received by
the Company during the reporting period that
remain unpaid the end of the reporting period.
The balance is recognised as a current liability
with the amounts normally paid within 30 days
of recognition of the liability.
44
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
S— ECONOMIC DEPENDENCE
Playbox Theatre Company is dependent upon
Australia Council and Creative Victoria for the
funding of its core activity. At the date of this
report, the Board of Directors has no reason to
believe that this support will not continue.
T— NEW ACCOUNTING
STANDARDS FOR APPLICATION
IN FUTURE PERIODS
The AASB has issued a number of new
and amended Accounting Standards and
Interpretations that have mandatory application
dates for future reporting periods, some
of which are relevant to the company.
The directors have decided not to early adopt
any of the new and amended pronouncements.
The directors’ assessment of the new and
amended pronouncements that are relevant to
the company but applicable in future reporting
periods is set out below:
Amendments to AASB 136 – Recoverable Amount
Disclosures for Non-Financial Assets
AASB 2013-3 amends the disclosure
requirements in AASB 136 Impairment
of Assets. The amendments include the
requirement to disclose additional information
about the fair value measurement when the
recoverable amount of impaired assets is based
on fair value less costs of disposal.
Application date of standard: 1 January 2014
Materiality
AASB 1031: The revised AASB 1031 is an
interim standard that cross-references to
other Standards and the Framework (issued
December 2013) that contain guidance on
materiality. AASB 1031 will be withdrawn when
references to AASB 1031 in all Standards and
Interpretations have been removed.
Application date of standard: 1 January 2015
The financial report was authorised for issue on
23 March 2015 by the Board of Directors.
MALTHOUSE THEATRE
NOTES
NOTE
2014
2013
$
$
2.A—REVENUE
INCLUDED IN THE REVENUES FROM CONTINUING OPERATIONS ARE THE FOLLOWING ITEMS:
Theatre and performance
Venue hire
1,924,563
1,420,903
664,061
705,555
1,291,188
1,265,788
20,000
-
34,521
-
GOVERNMENT GRANTS
AUSTRALIA COUNCIL
General Purpose
International Touring
Creative Development
Arts Professional Pathways
20,000
-
Creative Development New Duet
-
22,793
CEO Mentoring
-
5,000
Young Emerging Artists
-
20,000
Rigging Training (3 creatives)
-
5,000
Interconnection (Partial)
CRM Strategic Support
26,410
3,590
-
23,250
LOCAL GOVERNMENT
Department of Education & Early Childhood
19,685
19,301
City of Melbourne
52,482
48,024
1,199,714
1,199,714
111,082
83,821
Sponsorship
212,700
95,000
Fundraising and Donations
801,500
928,574
ARTS VICTORIA
General Purpose
NGO maintenance
SPONSORSHIPS AND DONATIONS
OTHER REVENUE
Interest Earned
23,962
37,366
Ticketing Services
193,225
186,077
Bar Taking
252,122
300,593
Workshop External Commissions
193,511
138,566
Other Revenue from Continuing Operations
182,621
156,403
7,223,347
6,665,318
TOTAL REVENUE
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
45
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
NOTES
NOTE
2014
2013
$
$
29,038
192,546
77,751
125,589
1,981
76,802
2.B—TOTAL EARNINGS FROM INVESTMENTS
FUTURE FUND
- Change in Fair Value of Financial Assets
- Income Earned
INCENTIVE SCHEME RESERVE
- Change in Fair Value of financial assets
- Income Earned
TOTAL EARNING FROM INVESTMENTS
18,839
35,688
127,609
430,625
3—OTHER EXPENSES FROM CONTINUING ACTIVITIES
Profit from continuing operations has been determined after:
EXPENSES
Production & Touring
Marketing & Sponsorship
3,131,524
2,585,572
548,188
623,343
88,830
96,670
20,325
25,070
12,767
21,952
2,371,633
2,392,763
OTHER EXPENSES
- Depreciation
- Auditor’s Remuneration
- Audit Fees
- Finance Costs – External
- Wages & On Costs
3(a)
- Venue
545,287
522,140
- Administration
264,105
242,444
- Ticketing Services
182,131
173,160
244,676
270,064
TOTAL OTHER EXPENSES
3,729,754
3,744,263
TOTAL EXPENSES
7,409,466
6,953,178
Other
3(a) Wages and on costs for permanent staff have been allocated to other expenses rather than to individual departments.
4—CASH AND CASH EQUIVALENTS
Cash on Hand
2,569
2,902
Cash at Bank
124,583
93,711
Deposits at Call
156,196
307,297
-
31,202
283,348
435,112
Sundry Debtors
72,562
155,329
Accrued Income
14,072
39,823
1,500
1,500
-
8,519
88,134
205,171
Short Term Bank Deposits
5—TRADE AND OTHER RECEIVABLES
Deposits Paid
GST Recoverable
46
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
NOTES
NOTE
2014
2013
$
$
41,634
38,055
6—INVENTORIES
AT COST
Raw materials
Bar & Sponsorship Stock
17,893
23,428
59,527
61,483
232,093
299,536
7—OTHER CURRENT ASSETS
PREPAYMENTS
8.A—PROPERTY PLANT & EQUIPMENT
Furniture and Equipment
1,171,146
1,129,772
(934,237)
(871,984)
236,909
257,788
Theatre Fixtures and Fittings
1,238,609
1,237,055
Less Accumulated Depreciation
(1,188,391)
(1,172,800)
50,218
64,255
Less Accumulated Depreciation
Workshop Improvements
Less Accumulated Depreciation
TOTAL PROPERTY, PLANT & EQUIPMENT
263,086
263,086
(167,045)
(156,059)
96,041
107,027
383,168
429,070
8.B—MOVEMENTS IN CARRYING AMOUNTS
Movement in the carrying amounts of property, plant and equipment between the beginning
and the end of the current financial year.
2014
FURNITURE &
EQUIPMENT
THEATRE
FIXTURES &
FITTINGS
WORKSHOP
IMPROVEMENTS
TOTAL
257,788
64,255
107,027
429,070
Balance at the Beginning of the Year
41,374
1,554
-
42,928
Depreciation Expenses
Additions
(62,253)
(15,591)
(10,986)
(88,830)
Carrying Amount at the End of the Year
236,909
50,218
96,041
383,168
FURNITURE &
EQUIPMENT
THEATRE
FIXTURES &
FITTINGS
WORKSHOP
IMPROVEMENTS
TOTAL
290,691
82,945
123,085
496,721
2013
Balance at the Beginning of the Year
Additions
28,637
382
-
29,019
Depreciation Expenses
(61,540)
(19,072)
(16,058)
(96,670)
Carrying Amount at the End of the Year
257,788
64,255
107,027
429,070
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
47
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
NOTES
NOTE
2014
2013
$
$
1,665,137
1,627,796
553,372
549,173
2,218,509
2,176,969
9—INVESTMENTS
Future Fund
Incentive Scheme Reserve Deposit
Investments in the Future Fund and the Incentive Scheme Reserve comprise Domestic Corporate Bonds,
Domestic Equities, and International Equities. Refer to note 20 for further detail.
10—TRADE & OTHER PAYABLES
Sundry Creditors & Accruals
GST Payable
265,925
266,586
21,066
-
286,991
266,586
58,044
54,198
11—PROVISIONS
CURRENT
Employee Entitlements - Annual Leave
Employee Entitlements - Long Service Leave
79,556
78,210
137,600
132,408
32,770
33,966
19,708
215,000
193,500
-
NON-CURRENT
Employee Entitlements - Long Service Leave
12—BORROWINGS
CURRENT
Bank Loan – Secured
NON-CURRENT
Bank Loan – Secured
Bank loan and overdraft facilities with National Australia Bank Ltd are secured by Registered Mortgage
Debenture over the whole of the company’s assets including goodwill and uncalled and called but unpaid
capital together with relative insurance policy assigned to the National Australia Bank Limited but excluding
funds held in the Incentive Scheme Reserve.
13—OTHER CURRENT LIABILITIES
Interconnection (Partial)
-
26,410
New Work Creative Development
40,000
34,521
Income Received in Advance
776,185
1,061,915
816,185
1,122,846
(129,778)
(272,543)
(58,510)
142,765
Transfer to Future Fund Reserve
-
-
Transfer to Incentive Scheme Reserve
-
-
(188,288)
(129,778)
14—RETAINED EARNINGS
Retained Earnings at the Beginning of Year
Net Profit (Loss) for the Financial year
Retained Earnings at the end of Financial Year
48
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
NOTES
NOTE
2014
2013
$
$
15—RESERVES
Capital Assets Reserve
Future Fund Reserve
Incentive Scheme Reserve
127,459
127,459
1,394,382
1,394,382
444,472
444,472
1,966,313
1,966,313
Opening Balance
127,459
127,459
Closing Balance
127,459
127,459
15.A—CAPITAL ASSET RESERVE
The Capital Assets Reserve records the value of plant and equipment assets transferred to the Company at the
conclusion of the Company’s relationship with Monash University.
15.B—INCENTIVE SCHEME RESERVE
MOVEMENTS DURING THE YEAR
Opening Balance
Transfer from Accumulated Surplus/(Deficit)
Closing Balance
444,472
444,472
-
-
444,472
444,472
Funds held in the Incentive Scheme Reserve are subject to the terms of the Incentive Scheme Reserves
Funding Agreement dated 21 June, 2004 between the Australia Council, Creative Victoria and the Company.
In particular, these funds are held in escrow for fifteen years (to 18/10/2023) and cannot be accessed without
the express agreement of the funding bodies under prescribed circumstances.
Funds held in the Incentive Scheme Reserve are expressly excluded from the security charge held over the
assets of the Company by the National Australia Bank Ltd. The Incentive Scheme Reserve records the amount
set aside to fund the long term future operations of the Company.
15.C—FUTURE FUND RESERVE MOVEMENTS DURING THE YEAR
Opening Balance
Transfer from Accumulated Surplus/(Deficit)
Closing Balance
1,394,382
1,394,382
-
-
1,394,382
1,394,382
The Future Fund is established for the purpose of accruing and accumulating a sustainable capital base for the
Company to support the long term financial viability of the Cultural Objects of the Company. The Fund
is managed by the Audit, Finance & Risk committee of the Board.
16—MEMBERS’ GUARANTEE
The Company is limited by guarantee. If the Company is wound up, the Memorandum and Articles of
Association of the Company states that each member is required to contribute a maximum of $10 cash
towards meeting any outstanding obligations of the Company. At 31 December 2014 the number of
members were 14 (2013: 14).
17—COMMITMENTS AND CONTINGENT LIABILITIES
There are no capital expenditure commitments or contingent liabilities not otherwise disclosed or provided
for in the accounts at 31 December 2014.
18—RELATED PARTY TRANSACTIONS
There were no related party transactions that occurred in 2014.
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
49
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
NOTES
19—CASH FLOW INFORMATION
Reconciliation of Net Cash Used in Operating Activities to Profit from Continuing Operations
NOTE
Net Profit (Loss)
Unrealised Gain on Investments
Depreciation
2014
2013
$
$
(58,510)
142,765
-
(430,625)
88,830
96,670
CHANGE IN NET ASSETS AND LIABILITIES
(Increase)/Decrease in Receivables
117,037
(17,805)
(Increase)/Decrease in other Current Assets
67,443
(32,632)
(Decrease)/Increase in Payables
26,391
24,439
1,956
(12,642)
(Increase)/Decrease in Inventories
(Decrease)/Increase in Other Current Liabilities
(Decrease)/Increase in Provisions
Net Cash Provided by (used in) Operating Activities
(306,661)
12,862
(1,990)
(8,354)
(65,504)
(225,322)
20—FINANCIAL RISK MANAGEMENT
The Company’s financial instruments consist mainly of deposits with banks, local money market instruments,
short-term investments, accounts receivable and payable.
The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed in
the accounting policies to these financial statements, are as follow:
FINANCIAL ASSETS
Cash and Cash Equivalent
4
283,348
435,112
Trade and Other Receivables
5
88,134
205,171
Domestic Corporate Bonds
9
439,431
391,596
Equities Domestic
9
1,272,056
1,325,427
Equities International
9
507,022
459,946
2,589,991
2,817,252
Total Financial Assets
FINANCIAL LIABILITIES
Trade and Other Payables
10
286,991
266,586
Borrowing
12
213,208
215,000
500,199
481,586
Total Financial Liabilities
Investments in Domestic Corporate Bonds, Domestic Equities, and International Equities are represented
as investments in the Future Fund and Incentive Scheme Reserve in this financial report.
Net Fair Value
For listed available-for-sale financial assets and financial assets at fair value through profit & loss, the fair values
have been based on closing quoted bid prices at the end of the reporting period.
21—DIRECTORS’ REMUNERATION
Directors do not receive remuneration for services provided in their role as directors although they are eligible
to be reimbursed for out of pocket expenses.
50
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
NOTES
22—KEY MANAGEMENT PERSONNEL REMUNERATION
The total remuneration paid to key management personnel of the Company during the period is as follows:
NOTE
Key management personnel compensation:
2014
2013
259,879
280,937
23—SUBSEQUENT EVENTS
The directors are not aware of any significant events since the end of the reporting period.
24—COMPANY DETAILS
The registered office of the Company is:
113 Sturt Street, Southbank Vic 3006
The principal place of business is:
The Coopers Malthouse
113 Sturt Street, Southbank Vic 3006
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
51
MALTHOUSE THEATRE
FINANCIAL
STATEMENTS
DIRECTORS’
DECLARATION
The directors of the Company declare that:
1— The financial statements and notes, as set out on pages 39 to 51 are in accordance with the
Corporations Act 2001 and:
(a) comply with Accounting Standards and;
(b) give a true and fair view of the financial position as at 31 December, 2014,
and of the performance for the year ended on that date of the Company.
2—In the directors’ opinion, there are reasonable grounds to believe that the Company
will be able to pay its debts as and when they become due and payable.
This declaration is made in accordance with a resolution of
the Board of Directors of Playbox Theatre Company Limited.
Michele Levine, Director
John Daley, Director
Dated 23 March 2015 52
2014 ANNUAL REPORT // FINANCIAL STATEMENTS
MALTHOUSE THEATRE
INDEPENDENT
AUDITOR’S REPORT
TO THE MEMBERS OF PLAYBOX THEATRE COMPANY LIMITED
REPORT ON THE FINANCIAL REPORT
We have audited the accompanying financial report of Playbox Theatre Company Limited (the Company),
which comprises the statement of financial position as at 31 December 2014, the statement of comprehensive
income, the statement of changes in equity and statement of cash flows for the year then ended, notes
comprising a summary of significant accounting policies and other explanatory information, and the
directors’ declaration.
DIRECTORS’ RESPONSIBILITY FOR THE FINANCIAL REPORT
The directors of the Company are responsible for the preparation of the financial report that gives a true
and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the
Corporations Act 2001 and for such internal control as the directors determine is necessary to enable the
preparation of a financial report that is free from material misstatement, whether due to fraud or error.
AUDITOR’S RESPONSIBILITY
Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit
in accordance with Australian Auditing Standards. These standards require that we comply with relevant ethical
requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance
about whether the financial report is free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the
financial report. The procedures selected depend on the auditor’s judgment, including the assessment of the
risks of material misstatement of the financial report, whether due to fraud or error. In making those risk
assessments, the auditor considers internal control relevant to the company’s preparation and fair presentation
of the financial report in order to design audit procedures that are appropriate in the circumstances, but not
for the purpose of expressing an opinion on the effectiveness of the entity’s internal control. An audit also
includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting
estimates made by the directors, as well as evaluating the overall presentation of the financial report.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our
audit opinion.
INDEPENDENCE
In conducting our audit, we have complied with the independence requirements of the Corporations Act
2001. We confirm that the independence declaration required by the Corporations Act 2001, has been given
to the directors of Playbox Theatre Company Limited, and a copy of that declaration is attached to the annual
financial report.
AUDITOR’S OPINION
In our opinion the financial report of the Playbox Theatre Company Limited is in accordance with the
Corporations Act 2001, including
a) giving a true and fair view of the company’s financial position as at 31 December 2014
and of its performance for the year ended on that date; and
b) complying with Australian Accounting Standards – Reduced Disclosure Requirements
(including Australian Accounting Interpretations) and the Corporations Regulations 2001.
Crowe Horwath, Melbourne
David Munday, Melbourne
Dated 23 March 2015 2014 ANNUAL REPORT // FINANCIAL STATEMENTS
53