Download our 2015 Annual Report

————2015
01———————————— Company Profile
04———————————— Chairs Report
06———————————— Executive Report
08———————————— Season 2015
38 ———————————— Artistic Development
44———————————— Venue
48———————————— Philanthropy
52———————————— Governance
54———————————— Key Performance Indicators
56———————————— Audited Financial Statements
CONTENTS
Malthouse Theatre
2015 ANNUAL REPORT
malthouse Theatre
COMPANY
PROFILE
Malthouse Theatre
Mission &
Core Values
We collaborate with local and international
artists to create work that puts provocative
and entertaining human experiences on stage.
We champion artistic and cultural diversity;
we advocate for alternative points of view. We
believe theatre can be – and should be – an
agent of change.
The theatre we produce explores the world
personally, socially and politically. We cultivate
and curate irreverent, courageous theatrical
experiences from Australia and around the
globe to captivate audiences.
Welcome to Malthouse Theatre.
2015 ANNUAL REPORT
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malthouse Theatre
2015 in
N umb er s
10
152
56,566
$6m
2015 ANNUAL REPORT
Malthouse Theatre
9,899
175K
1,536
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malthouse Theatre
C ha ir s
R ep or t
A year of significant
change and outstanding
creative achievement.
It is with enormous pride that we present
Malthouse Theatre’s Annual Report for
2015, detailing the breadth of the company’s
accomplishments, both on-stage and off.
We approached the year with an ambitious
annual season and the challenge of bringing
the company’s finances back to an operating
surplus; and I am thrilled to note our successes
in both regards.
An unanticipated, but major milestone of 2015,
was a change in the artistic leadership of the
company, following the announcement of Marion
Potts’ appointment to the prominent role of
Director Theatre at the Australia Council for the
Arts in January. Since the commencement of
her tenure in 2010, Marion’s outstanding vision,
leadership and ethos came to define the essence
of the theatre’s practice and achieved national
and international success for the company.
The Board, team and I acknowledge her indelible
legacy. Our deepest thanks to Marion.
Following a rigorous recruitment process, the
Board was delighted to confirm the appointment
of Matthew Lutton in the role of Artistic
Director, joining Executive Producer Sarah
Neal as co-CEO at the helm of the company.
As our Associate Artist (Directing) since 2012,
Matthew was well-placed to step into the role
of Acting Artistic Director following Marion’s
departure, working with Sarah to program the
2016 season and prepare our new five-year
strategic plan. Ultimately, Matthew’s selection
from a competitive and international field of
applicants reflected the passion, skills and diverse
experience he brings to drive the company’s
artistic mission forward. With this change in
artistic leadership, the company faced an exciting
new era with confidence to build on our existing
strength and vitality.
The 2015 subscription season sought to
interrogate the world we live in through the work
of artists exploring critical issues and questions.
I am enormously proud of the startling new
works by inimitable artists created at Malthouse
Theatre this year. It was a big year of big shows
that captured our attention and sparked abundant
conversations amongst artists and audiences.
The company also continued forging national and
international connections in 2015. Blak Cabaret
played to audiences at Sydney Festival, Darwin
Festival and the Cairns Indigenous Arts Fair, and
our co-production with Sydney Theatre Company,
2015 ANNUAL REPORT
Love & Information, saw packed houses at Sydney’s
Wharf 1. International artist collaborations informed
current and future works, including Timeshare’s
New York director, Oliver Butler, and our on-going
collaboration with the Belarus Free Theatre.
Changes at Board level in 2015 saw a renewed
energy and strategic focus. We welcomed new
members to the Board: former Artistic Director
Michael Kantor brought his passion and unique
insight into the creative life of the company;
philanthropist and legal expert Colin Golvan
spearheads a new Foundation Board for fundraising;
and innovator and entrepreneur Jan Owen has
inspired leadership in engaging with young
professionals. Our heartfelt thanks to members
departing in 2015, Sarah Morgan and Thea Snow, for
their dedication and passion for Malthouse Theatre
throughout their tenures.
The enormous scope and impact of Malthouse
Theatre’s work, our significant creative output and
our local, national and international footprint, would
not exist without the support of many government,
corporate and philanthropic partners, and of
course our audience. We gratefully acknowledge
state and federal government support through
the Creative Victoria and the Australia Council for
the Arts as the base on which all our successes are
built. Our venue naming partnership with Coopers
goes from strength to strength, making our foyer
bar one of busiest spots in the venue. Our major
partner, Monash University, has been instrumental
in creating pathways from tertiary performance
studies to professional practice. My thanks also to
the many program partners acknowledged in detail
throughout this report.
At the very heart of the company is the staff, artists
and crew whose boldness, craft and determination
make everything at Malthouse Theatre happen.
On behalf of the board, I wish to thank and
congratulate Sarah, Matthew and the team for the
success of season 2015.
Michele Levine / Chair
Malthouse Theatre
Roy Morgan,
Survey Respondent
‘I love Malthouse.
I love that some of the
shows don’t prescribe
to the State Theatre
norm - please don’t
become mainstream’
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2015 ANNUAL REPORT
malthouse Theatre
E x ecutiv e
R ep or t
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
The 2015 Malthouse Theatre
season was a great success
from all perspectives.
It was Marion Potts’s final season as Artistic Director,
and the rigour, vision and scope of work across the
year were the hallmarks of Marion’s tenure.
Blak Cabaret opened the year with a fearless
performance in our courtyard, blending pointy
satire, dance and songs by a team of Indigenous
music legends. It was a joyous beginning.
The 2015 season was structured to interrogate the
world we live in through three chapters of enquiry:
the first chapter was Body // Language. In this
chapter we asked questions about the relationship
between our bodies and our identity: what is it
about how we look – our colour, shape, age – that
defines us? Artists including Kate Champion, Anouk
van Dijk and Victoria Chiu each brought very
different perspectives to this question in the fourth
iteration of Dance Massive, Australia’s premiere
Dance Festival.
The second chapter, Post // Love, opened with the
Australian premiere of Caryl Churchill’s Love and
Information. A co-production with Sydney Theatre
Company, the work went on to win two Sydney
Theatre Awards and featured a powerhouse cast,
exploring life and love in a post-digital era through
57 scenes. We continued the conversation about
love and loss in a post-culture society through the
world premiere of Lally Katz’s musical comedy
Timeshare which was helmed by New York director,
Oliver Butler. Post-gender in the YouTube age
was then tackled with hilarity and poignancy by
performer Ash Flanders in Meme Girls.
The season’s final cluster of works revolved around
concepts of Ritual // Extinction: we asked what
unites societies through examining ancient rites of
passage and modern-day rituals, including Adena
Jacob’s searing interpretation of Antigone, and the
award winning production I am a Miracle written by
Declan Greene and directed by Matthew Lutton.
I am a Miracle recently won five awards at the
Melbourne Green Room Awards, including Best
Production and Best New Play for the mainstage.
Local independent company Human Animal
Exchange reimagined their Fringe Festival hit They
Saw a Thylacine in the Beckett Theatre ahead of
an extensive Australian tour, and a collaboration
between Nicola Gunn and David Woods took no
prisoners in a satirical take on community arts
workers in A Social Service.
2015 ANNUAL REPORT
We closed the year with the raucous family gettogether of The Listies Ruin Xmas, which delighted
everyone with its silliness and imagination.
In addition to our busy mainstage program, we
collaborated with a trio of independent companies
who presented unique, experiential events in
response to the season’s chapters: St Martins Youth
Theatre’s Fitter.Faster.Better, Aphids’ A Singular
Phenomenon, and Reckless Sleepers’ The Last
Supper’ at the Great Hall at the National Gallery
of Victoria.
Provoking conversation throughout 2015 was one
of Malthouse Theatre’s ambitions, and our triptych
of panel discussions with Monash University and
The Wheeler Centre invited new audiences into
The Coopers Malthouse and sparked debate.
Malthouse Theatre also reached out across the
country and the globe, with Blak Cabaret touring to
festivals in Sydney, Darwin and Cairns, and through
the support of Maureen and Tony Wheeler we
developed new partnerships with Soho Rep Theatre
in New York, the Belarus Free Theatre in the UK,
and with Beijing director Wang Chong. We look
forward to seeing the outcomes from these new
collaborations and partnerships in future years.
We are thrilled to have stewarded a season that
exemplified Marion Potts’ vision for the company,
and thank Marion for the leadership, ambition and
imagination she offered not only the company, but
also the arts community and audiences during her
time as Artistic Director of Malthouse Theatre, and
we look forward to building on these achievements
and conversations in the future.
Matthew Lutton /
Artistic Director & Co-CEO
Sarah Neal /
Executive Producer and Co-CEO
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2015
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Malthouse Theatre
Blak
Cabaret
10 – 22 February
‘This is not a sugar-coated
cultural work to appease white
guilt. This is the kind of art
that Australia needs to fully
embrace and champion.’
—Stephanie Liew, The Music
Venue
Forecourt
10
Total Number of Performances
Total Paid Attendances
1,340
All Attendances
1,833
Concept and Creative Producer / Jason Tamiru
Text / Nakkiah Lui
Staging / Matthew Lutton
Performers / Kamahi Djordon King and Nikki Ashby
Musicians / Deline Briscoe, Emma Donovan,
Kutcha Edwards and Bart Willoughby
Directing Consultant / Michael Kantor
Set & Costume Design / Chloe Greaves
Sound Design / Jed Palmer
Lighting Design / Stephen Hawker
Dramaturgy / Mark Pritchard
Stage Manager / Lisa Osborn
Presented in association with SummerSalt Outdoor Arts Festival 2015
and proudly supported by VicHealth Arts About Us and Triple R.
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2015
Se as o n
Wot? No Fish!!
24 February - 8 March
Every family has its mythologies,
and Ab’s drawings — through
Danny’s generous storytelling
— turn the Solomons’ everyday
history into art.
— Byron Bache, Herald Sun
Venue
Beckett Theatre
Total Number of Performances
14
Total Paid Attendances
2,048
All Attendances
2,332
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By / bread&circuses
Written & Performed by / Danny Braverman
Direction / Nick Philippou
Stage Manager / Elise Stewart
Malthouse Theatre
Roy Morgan,
Survey Respondent
‘loveD every seConD.
thanK you for
the opportunity
to explore my
worlD’
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malthouse Theatre
2015
Se as o n
Nothing to Lose
11 - 21 March
Nothing to Lose
was commissioned
by Sydney Festival
and Carriageworks
A case for dance as the most
provocative and exhilarating
medium out there.
— Tim Byrne, Time Out Melbourne
Venue Merlyn Theatre
Total Number of Performances
13
Total Paid Attendances
2,684
All Attendances 3,332
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By / Force Majeure
Directed by / Kate Champion
Performers / Scarlett Burrows, Julian Crotti, Michael
Cutrupi, Lala Gabor, Ally Garrett, Latai Taumoepeau,
Anastasia Zaravinos
Ensemble / Dean Arcuri, Jessica Cherry, Eva Johansen,
Melanie Karthigesan, Kim McGuire, Zac Segbedzi, Narda
Shanley, Sara-Jane Smith, Sarahlouise Younger
Artistic Associate & Music Curator / Kelli Jean Drinkwater
Set & Lighting Design / Geoff Cobham
Costume Design / Matthew Stegh
Movement Vocabulary devised by / the company
Text Dramaturg / Steve Rodgers
Choreography / Ghenoa Gela
Composer / Stereogamous (Paul Mac and Jonny Seymour)
Force Majeure Executive Producer / Bec Allen
Lighting Associate / Dave Ferguson
Stage Manager / Charlotte Barrett
Assistant Stage Manager / Gabby Walters
Malthouse Theatre
Depth of Field
6 – 14 March
A new work by
Chunky Move.
Presented by
Malthouse Theatre
and Chunky Move
in association with
Dance Massive.
The sense of being caught
up in a grand choreographic
conspiracy is thrilling.
— Andrew Fuhrman, Daily Review
Venue ACCA Forecourt
Total Number of Performances
8
Total Paid Attendances
1,524
All Attendances 2,007
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Concept, Direction & Choreography / Anouk van Dijk
Performers / James Vu Anh Pham, Tara Jade Samaya,
Niharika Senapati
Costume Design / Mel Page
Sound & System Design / Marco Cher-Gibard
Music / Ben Frost, Daníel Bjarnason, The Bug
Dramaturgy / Anny Mokotow
Lighting Consultants / Michael Carr, Blair Hart
Production Manager / Michael Carr
Stage Manager / Blair Hart
Choreographic Secondment / Luigi Vescio
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malthouse Theatre
2015
Se as o n
Fitter, Faster, Better
12 - 21 March
A St Martins
Youth Arts Centre
production in
association with
Dance Massive
Venue Forecourt
Total Number of Performances
6
Total Paid Attendances
17
All Attendances 48
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Concept & Direction / Clare Watson
Malthouse Theatre
Do You Speak Chinese?
17 - 21 March
Presented in association
with Dance Massive.
Do You Speak Chinese?
was supported by the
Australian Government
through the Australia
Council of the Arts, the
Victorian Government
through Arts Victoria and
Playking Foundation
Asian Performing Arts
Travel Grant.
Venue
Tower Theatre
Total Number of Performances
7
Total Paid Attendances
450
All Attendances
584
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Choreographed & Performed by / Victoria Chiu in
collaboration with Kristina Chan
Music / Mindy Meng Wang
Lighting Designer / Bosco Shaw
Lighting Realisation / Adam Hardy
Paper Artist / Benja Harney
Understudy / Hsin-Ju Chiu
Writer / Lian Low
Dramaturgy / Jana Perkovic & Felix Ching Ching Ho
Costume Design / Harriet Oxley
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2015
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Malthouse Theatre
Meme
Girls
8 April - 2 May
There are a number of
gambles… and the risks
pay off. There’s so much
to admire here.
— Andrew Fuhrman, Daily Review
Venue
Beckett Theatre
Total Number of Performances
22
Total Paid Attendances
1,856
All Attendances
2,557
By / Ash Flanders, Stephen Nicolazzo & Marion Potts
based on an original idea by Ash Flanders
Performers / Ash Flanders, Art Simone
Direction Stephen Nicolazzo
Set & Costume Design / Eugyeene Teh
Lighting Design / Katie Sfetkidis
Sound Design & Composition / THE SWEATS
Stage Manager / Lisa Osborn
Ash Flanders is a 2015 Independant
Artist in Residence. Meme Girls won
the 2015 Green Room Award for
Lighting Design.
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2015
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Timeshare
23 April - 17 May
Timeshare really transports
you to another world – a place
where time is hard to track. The
hour-and-a-half in the theatre
goes by almost too quickly.
– Stephanie Liew, The Music
Venue
Merlyn Theatre
Total Number of Performances
23
Total Paid Attendances
3,407
All Attendances
4,398
By / Lally Katz
Direction / Oliver Butler
Performers / Marg Downey, Fayssal Bazzi,
Bert LaBonté, Brigid Gallacher
Set & Costume Design / Dale Ferguson
Lighting Design / Paul Jackson
Sound Design & Composition / Jethro Woodward
Choreography / Bec Reid
Dialect Coach / Suzanne Herywood
Stage Manager / Tia Clark
Assistant Stage Manager / Lyndie Li Wan Po
Besen Placement , Directing / Emma McManus
Besen Placement, Sound and Composition /
Lucy O’Brien
Monash Placement, Lighting Design / Debbie Yew
Monash Placement, Dramaturgy /
Natesha Somasunda
Supported by Arts Series Hotel Group,
Triple R and The S.C.U.B.A Doctor
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malthouse Theatre
2015
Se as o n
A Singular Phenomenon
21 — 23 May
A Singular Phenomenon was
undoubtedly a fabulous concept
making for a novel and original
theatre experience.
– Melbourne Observer
Venue
Beckett Theatre
Total Number of Performances
3
Total Paid Attendances
483
All Attendances
660
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By / Aphids
Created by / Lara Thoms with
Aaron Orzech & Liz Dunn
Original Project Development / Tristan Meecham
Sound Design / Robert Jordan
Lighting Design / Katie Sfetkidis
Production Manager / Bianca Eden
Stage Manager / Tia Clark
Assistant Stage Manager / Caitlyn Livingston
Production Assistant / Kate Brennan
2015 Green Room Award nomination for
Contemporary and Experimental Performance
Malthouse Theatre
The Last Supper
1 - 12 July
Presented in
association with
National Gallery of
Victoria. Reckless
Sleepers were artists
in residence at
Monash University’s
Centre for Theatre
and Performance.
What seemed most powerful
about The Last Supper was
not ethical or political…. The
magic lay in its staging of these
transubstantiations.
By / Reckless Sleepers
Written by / Mole Wetherell
Performers / Leen Dewilde,
Tim Ingram, Mole Wetherell
Sound Design / Gerrit Valckenaers
Stage Manager / Jenn Taylor
— Owen Richardson, Daily Review
Venue Great Hall, NGV International
Total Number of Performances
12
Total Paid Attendances
361
All Attendances 418
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malthouse Theatre
2015
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Malthouse Theatre
Love and
Information
12 June – 4 July
It is what theatre ought to be.
Everything in Love and Information
has energy, imagination and
theatrical muscle. And everything
else seems lumbering and
longwinded beside it.
— Andrew Furhman, Daily Review
Venue Merlyn Theatre
Total Number of Performances
22
Total Paid Attendances
4,519
All Attendances 5,280
By / Caryl Churchill
Direction / Kip Williams
Performers / Marco Chiappi, Harry Greenwood,
Glenn Hazeldine, Anita Hegh, Zahra Newman,
Anthony Taufa, Alison Whyte, Ursula Yovich
Set & Costume Design / David Fleischer
Lighting Design / Paul Jackson
Sound Design & Composition / THE SWEATS
Dramaturgy / Mark Pritchard
Stage Manager / Lisa Osborn
Assistant Stage Manager (STC) / Roxzan Bowes
Besen Placement, Dramaturgy / Amelia Evans
A co-production with Sydney Theatre Company.
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2015
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Malthouse Theatre
I Am a
Miracle
18 July - 9 August
…the piece is indeed an operatic
experience; it’s rooted in reality
but looks to the spiritual world,
the miraculous.
— Stephanie Liew, The Music
Venue
Merlyn Theatre
18
Total Number of Performances
Total Paid Attendances
2,318
All Attendances
3,268
By / Declan Greene
Direction / Matthew Lutton
Performers / Melita Jurisic, Hana Lee Crisp, Bert
LaBonté
Composition / David Chisholm
Costume & Co-Set Design / Marg Horwell
Lighting & Co-Set Design / Paul Jackson
Sound Design & Engineer / Marco Cher-Gibard
Stage Manager / Tia Clark
Assistant Stage Manager / Lyndie Li Wan Po Besen
Placement - Directing / Mark Wilson Monash
Placement - Lighting Design / Adrian Black Stage
Management Secondment / Nicole Neil
Winner of five 2015 Green Room Awards
(Theatre Companies) for Best Production;
Female Actor (Melita Jurisic); Set & Costume
Design (Marg Horwell and Paul Jackson);
Sound Design & Composition (David Chisholm
and Marco Cher-Gibard), and co-winner
Writing/Adaptation for the Australian Stage
(Declan Greene).
Presented with thanks to Opera Australia, Triple R and The Robert
Salzer Foundation. This project was supported by the Australian Writers’
Foundation as a result of a generous donation from Kim Williams AM.
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2015
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Malthouse Theatre
A Social
Service
11 - 29 August
A Social Service is an
extremely funny and
ultimately edifying satire.
— Cameron Woodhead, The Age
Venue Beckett Theatre
Total Number of Performances
16
Total Paid Attendances
2,227
All Attendances 2,583
Original Concept by / Nicola Gunn
Created & Performed by / Nicola Gunn
& David Woods
Sound Design / Nick Roux
Lighting Design / Gwen Holmberg-Gilchrist
Production Design / SANS HOTEL (Nicola Gunn
and Gwen Holmberg-Gilchrist) and Eugyeene Teh
Bust Construction / Katrina Gaskell
Stage Manager / Tia Clark
Guest Performances / Abira De Oliveria,
Angelo Duot, Shaan Juma, Isabel Mure,
Tayla Nichols, Elisabeth Wot
Nicola Gunn was a 2015 Independent Artist in Residence. This project
was supported by the City of Yarra and Uprising Theatre, a youth
theatre collective based and funded in the City of Yarra.
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2015
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Malthouse Theatre
Antigone
21 August - 13 September
The actors’ exaggerated, perfect
enunciation – their mics ever
so slightly reverbed – ensures
we can’t escape the cruelty or
defiance of the words spoken
— Stephanie Liew, The Music
Venue Total Number of Performances
Merlyn Theatre
25
Total Paid Attendances
5,462
All Attendances 6,405
By / Sophocles
Adapted by / Jane Montgomery Griffiths
Direction / Adena Jacobs
Assistant Director / Samara Hersch
Performers / Jane Montgomery Griffiths, Emily
Milledge, Elizabeth Nabben, Aaron Orzech, Josh Price
Lighting Design / Paul Jackson
Set & Costume Design / The Sisters Hayes
Sound Design / Jethro Woodward
Stage Manager / Jenn Taylor
Assistant Stage Manager / Harriet Gregory
Besen Placement, Set &
Costume Design / Sophie Woodward
Monash Placement, Directing / Stephanie Dimitrou
Monash Placement, Dramaturgy / Jason Cheetham
Monash Placement, Stage Management / Janel Gibson
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Malthouse Theatre
They Saw a
Thylacine
15 September — 4 October
This gut-punch reminder of
extinction is a captivating story
about hoping that the little
we do isn’t too late.
— Anne-Marie Peard, The Age
Venue Beckett Theatre
Total Number of Performances
20
Total Paid Attendances
1,635
All Attendances 2,132
By / HUMAN ANIMAL EXCHANGE
Created & Performed by / Justine Campbell
& Sarah Hamilton
Artistic Collaborator / Matthew Lutton
Set & Lighting Design /
Matthew Adey – House of Vnholy
Sound Design / Jethro Woodward
Costume Design / Chloe Greaves
Stage Manager / Lisa Osborn
A co-production with Performing Lines and
HUMAN ANIMAL EXCHANGE.
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2015
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Malthouse Theatre
The Listies
Ruin Xmas
25 November - 13 Decem-
In this perfect end-of-year family
amusement, there isn’t much
in the laughter department The
Listies don’t have wrapped up.
— Cameron Woodhead, The Age
Venue Beckett Theatre
Total Number of Performances
Total Paid Attendances
All Attendances 21
2,428
2,871
By / The Listies
Devised & Performed by / Richard Higgins
& Matthew Kelly
Set & Costume Design Consultant / Marg Horwell
Lighting Designer / Amelia Lever-Davidson
Tour Manager / Gemma Fletcher
Stage Manager / Tia Clark
A co-production with The Listies
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Touring
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
Blak Cabaret
Concept & Creative Producer / Jason Tamiru
Performed by / Kamahi Djordon King, Nikki Ashby,
Bart Willoughby, Deline Briscoe, Emma Donovan,
Kutcha Edwards, Troy Brady
Stage Manager / Lyndi Li Wan Po
Sydney Festival, NSW
20-25 January, The Famous Spiegeltent
Total Number of Performances, 6
Total Attendances, 1,794
Sale, Vic
21 May, Esso BHP Billiton Wellington Entertainment
Centre
Total Number of Performances 1
Total Attendances 135
Cairns Indigenous Art Fair, QLD
28-29 July, Tank Arts Centre
Total Number of Performances 3
Total Attendances 308
Darwin Festival, NT
11-14 August, The Lighthouse
Total Number of Performances 4
Total Attendances 1,446
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malthouse Theatre
Artistic
The Engine Room:
New Work in
Development
Encompassing all of Malthouse Theatre’s research
and development activity, the Engine Room is where
we start working on a project from its conception.
A writer has an idea, a designer sees an image, a
director has a hunch – from seeds like these, an
incalculable number of possibilities can grow.
Throughout 2015 new works were commissioned
with the support of the Malcolm Robertson
Foundation and workshopped in collaboration with
high calibre creatives and international artists.
Some projects were destined for our 2016 season
while other were concepts, experiments or new
collaborations to see if they have a future life on
our stage or beyond.
A total of 8 new plays were commissioned:
— Blaque Showgirls by Nakkiah Lui
— Edward II by Anthony Weigh
— Picnic at Hanging Rock by Tom Wright
— Turbine by Dan Giovannoni
— Going Down by Michele Lee
— plus new works by Zoe Coombs Marr, Emilie
Collyer and Tom Wright
We held creative development workshops of a total
of 12 new works:
— I am a Miracle by Declan Greene
— Going Down by Michele Lee
— Blaque Showgirls by Nakkiah Lui
— Edward II by Anthony Weigh
— Meow Meow’s Little Mermaid
— Dan Choi by Michele Lee and Daniel Han
— Merciless Gods by Little Ones Theatre
— Workshops for Besen writers group Jessica
Bellamy, Michele Lee and Dan Lee
— Two international collaborations:
Belarus Free Theatre (UK) and avant-garde
director Wang Chong (China)
We also hosted Playwriting Australia’s Lotus
Asian-Australian Playwright Project on 5 June in
the Tower. A high calibre training and mentoring
program for Asian-Australian artists, the Melbourne
Lotus project culminating in a unique showcase of
fresh, raw and diverse works-in-progress by four
exciting new voices.
Lotus Writers / Hiroki Kobayashi, Lian Low,
Jeremy Nguyen, Hoa Pham
Director / Felix Ching Ching Ho
Dramaturg / Mark Pritchard
Performers / Ezekiel Day, Daniel Han,
Sharon Karina, Ai Diem Le
2015 ANNUAL REPORT
Writer/ Director
Initiative
In a new pilot project in 2015, Malthouse Theatre
provided a space for independent writer and director
teams to seed new collaborations and new ideas.
Following a national call-out for expressions of
interest from independent writer/director teams
who were interested in working collaboratively, the
following pairs participated in the project:
—writer Marcel Dorney and director Tanya Dickson
—writer Duncan Graham and director Emma Valente
—writer Jada Alberts and director Adena Jacobs
—writer David Williams and director Janice Muller
The pairs were invited to come together to hatch a
new idea and begin the exploration of a new work
to be considered by Malthouse Theatre for future
development and programming.
Female Director in
Residence Program
Responding to the glaring gender inequities within
the industry, the Female Director in Residence
program provides a paid position for a female
director to become part of company life and develop
projects. The program was in its fifth year in 2015 and
remains the only position of its kind in Australia.
In 2015, Samara Hersch was Malthouse Theatre’s
Director in Residence. A Melbourne-based director,
dramaturg and teaching artist, Samara previously
received a Besen Family Artist Program placement
at Malthouse Theatre and in 2014 her evocative
reimagining of Kafka’s Metamorphosis formed part of
the company’s Helium season.
Samara was Assistant Director on the Season 2015
production of Antigone and spent time developing
her new show Dybbuk.
The Female Director in Residence Program is made
possible by donor Craig Reeves. The positive impact
of this investment grows each year as previous
appointees return to work on the Malthouse
Theatre mainstage:
— 2014 resident Clare Watson is currently Artistic
Director of St Martins Youth Arts Centre and
recently appointed Artsitic Director of Black Swan
State Theatre Company. Her family show Fitter.
Faster. Better. was presented in season 2015 in
partnership with St Martins and Dance Massive.
— 2013 resident Roslyn Oades show Hello, Goodbye
& Happy Birthday featured in our 2014 season
in conjunction with Melbourne Festival and will
tour nationally in 2016.
— 2012 resident Adena Jacobs stepped in to direct
Antigone in the 2015 Season following Marion
Potts’ appointment to the Australia Council.
Malthouse Theatre
Besen Family
Artist Program
Monash University
Placements
The Besen Family Artist Program is a unique
development opportunity for local emerging
artists to gain insight into the professional practice
of senior artists working in a mainstage theatre.
Through the generous support of the Besen Family
Foundation, Malthouse Theatre has provided paid
learning experiences for 80 Australian theatremakers since 2005.
As part of our major partnership with Monash
University, we opened the rehearsal room to nine
performance studies students to observe the
creative process:
In 2015, the Besen Family Artist Program offered
five Production Placements on Malthouse Theatre’s
mainstage shows:
Lucy O’Brien, Sound Design and
Composition – Timeshare
Mentor Jethro Woodward
Emma McManus, Directing – Timeshare
Mentor Oliver Butler
Amelia Evans, Dramaturgy – Love and Information
Mentor Mark Pritchard
Mark Wilson, Directing – I am a Miracle
Mentor – Matthew Lutton
Sophie Woodward, Set and Costume
Design – Antigone
Mentors The Sisters Hayes
Natesha Somasunda, Dramaturgy - Timeshare
Mentor Mark Pritchard
Marty Skansky, Stage Management - Timeshare
Mentor David Miller
Debbie Yew, Lighting - Timeshare
Mentor Paul Jackson
Sarah McCormick, Directing - They Saw a Thylacine
Mentor Matthew Lutton
Adrian Black, Lighting - I Am a Miracle
Mentor Paul Jackson
Stephanie Dimitrou, Directing - Antigone
Mentor Adena Jacobs
Jason Cheetham, Dramaturgy - Antigone
Mentor Jane Montgomery Griffiths
Janel Gibson, Stage Management - Antigone
Mentor David Miller
Emma Legg, Stage Management - Meme Girls
Mentor David Miller
In addition, five emerging playwrights were invited
to join the Besen Writer’s Program, a series of
workshops led by Malthouse Theatre Resident
Dramaturg Mark Pritchard. Each writer had an
opportunity to participate in a workshop of their
play, collaborating with an experienced creative
team and cast to further develop their work and
playwriting skills.
Writers Program
Hiroki Kobayashi
Kamara Bell Wykes
Morgan Rose Aldrich
Rachel Perks
Tania Canas
2015 ANNUAL REPORT
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malthouse Theatre
Artistic
Independent
Artists & Small-toMedium Theatre
Companies
Nat Cursio
Venue support for the development and showcase of
Tiny Slopes and A String Section
Malthouse Theatre plays a crucial role in the
theatre ecology, providing opportunities to a
range of independent artists through residencies,
development and presentation as well as
partnerships with theatre companies from the
small-to-medium sector.
Playwriting Australia
Support for the Lotus Asian Australian Playwright
Project showcase
In 2015, artists and companies supported were:
Aaron Orzech
Venue support for development of The Family
Aphids
Co-production of A Singular Phenomenon
Ash Flanders
Independent Artist Residency for the development
and presentation of Meme Girls
Chunky Move
Co-production of Depth of Field as part of Dance
Massive
Daniel Tobias
Independent Artist Residency for the development
and presentation of The Orchid and the Crow
Nicola Gunn and David Woods
Independent Arts Residency for the development
and presentation of A Social Service
St Martins Youth Arts Centre
Resident company presentations of Fitter. Faster.
Better. as part of Dance Massive and I Saw the
Second One Hit
The Listies
Resident company and co-presentation of The Listies
Ruin Xmas
The Rabble
Venue support for the development of Joan of Arc
Theatre Network Victoria
Venue support for the 2015 Victorian Theatre Forum
Victoria Chui
Independent Artist Residency for the development
and co-production of Do You Speak Chinese? as part
of Dance Massive
Force Majeure
Presentation of Nothing To Lose as part
of Dance Massive
Human Animal Exchange
Co-production of They Saw a Thylacine
James Brennan
Venue support for the development of The Chat
James Saunders
Venue support for the development of Fugue
Little Ones Theatre
Development support for Merciless Gods
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
Artistic
Evaluation
At Malthouse Theatre, our work is shaped by a
desire for theatre to be provocative, inventive and
entertaining. This framework establishes a process
for us to assess artistic vibrancy and our impact.
The scope of evaluation includes:
Artistic excellence: does our work realise
its aims and ambitions?
Audience and community engagement: is our work
connecting with the public?
Contribution to artist and artform development:
what is our impact on the sector?
The company has formal and informal response
mechanisms for independent artists, visiting
experts and collaborating companies. Our artists
also approach respected peers for regular one-onone feedback about their individual work. This acts
not only as a self-evaluation tool, but as a collegial
support network and in some cases a mentorship
relationship for the artists we work with.
On-going audience feedback gathered across the
season in partnership with Roy Morgan Research
provides annual data and qualitative responses from
a wide cross-section of attendees.
Aboriginal and
Torres Strait
Islander Committee
The ATSI Committee act as a point of reference
for the company in supporting Aboriginal artists,
growing audiences and developing best practice
models of engagement.
Bringing together outstanding Aboriginal and Torres
Strait Islander artists to see productions and meet
with Malthouse Theatre throughout the year, the
committee provides invaluable feedback on projects
in development and in production, guidance on
protocols, artist needs and community engagement.
Meeting regularly with Jason Tamiru,
Malthouse Theatre’s Associate Producer,
the committee comprises:
Uncle Jack Charles
Tammy Anderson
Isaac Drandich
Leila Gurruwiwi
Lisa Maza
Melodie Reynolds-Diarra
Discussions with community members and
partners is a further mechanism for on-going
advice, feedback and refinement of the company’s
engagement activities. Our Aboriginal and Torres
Strait Islander Committee comprises Indigenous
colleagues who attend the season and meet
regularly to discuss projects and protocols related
to Indigenous projects. We also regularly seek
feedback from youth and education networks and
our community partners.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
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malthouse Theatre
Artistic
Prompt: Youth and Provocateurs
Education Program Now in its second year, the Provocateur initiative
develops critical thinkers and eloquent, curious
communicators. Following an unprecedented 124
applications, a group of
38 artists aged 18 to 26 were selected for the 2015
program.
Supported by our partnership with Victoria
University, Malthouse Prompt is our youth
and education program, offering a range of
performances, programs and workshops to
excite students, teachers and young artists.
This combination of inspiration, education and
provocation teaches radical theatre.
With the goal of empowering students as young
artists, Malthouse Prompt provides a range of
flexible and bespoke workshops and engagement
opportunities, including creative skills in adaptation,
non-theatrical devices, physical character
exploration and backstage tours of the theatre.
Prompt also offers curriculum-aligned VCE Theatre
Studies and Drama courses in monologues, solo
performance and stagecraft intensives run by
experienced educators, actors and designers.
In 2015, our playlisted production of Antigone saw
a record 1,755 students from 86 schools attending,
with access to outstanding teacher resources and
post-show discussions with the cast and creatives.
Program Participation
2015
Productions3,070
Post-Show Seminars
Tours + Bespoke Workshops
695
1,030
VCE Workshops
695
The Suitcase Series
779
TOTAL6,269
The Suitcase
Series
Malthouse Theatre’s award winning education
program, The Suitcase Series empowers young
people to tackle the greatest challenge of their
generation: climate change.
Angus Cerini’s normal.suburban.planetary.meltdown
is the third script commissioned by Malthouse
Prompt for The Suitcase Series. Year 9 and 10
students around Victoria are invited to devise and
perform their own work in response to the script.
This innovative program is a chance for students to
develop and expand their theatre-making skills and
to share a performance day with their peers,
as well as viewing Malthouse Theatre’s full
production of the play.
The Suitcase Series is supported by the Department
of Education and Early Childhood Development
through its Special Partnerships Program and the
Trawalla Foundation.
4 0 P G <——
The 2015 Provocateurs access a year of theatrical
activity: provided with tickets to see shows
throughout the subscription season, opportunities
to meet the artists who created them, formal
conversation events and networking with other
artists, theatre-goers and thinkers. A key component
of Provocateurs is the ‘In Conversation’ series – a
curated program of meetings with professional
artists, including Matthew Lutton, Mark Pritchard,
Nicola Gunn, Sarah Hamilton and Justine Campbell.
2015 Provocateurs
Chelsie Jones and Josiah Lulham (Co-convenors)
Alice Chipkin
Angus Cameron
Anna Revesz
Ayu Astrid
Bradley Storer
Briony Farrell
Cait Spiker
Camilla Best
Catherine Holder
Christopher Bryant
Christopher Hosking
Clancy Moore
Didem Caia
Elliot Gee
Fiona Spitzkowsky
Georgia Symons
Honor Wolff
Jess Gonsalvez
Jessica Heath
John Back
Justin Nott
Kim Ho
Lana Nguyen
Liam Bellman-Sharpe
Lisa Tali
Louise Miller
Madeleine Nunn
Matilda Houlihan
Maud Leger
Melanie Clark
Nithya Nagarajan
Tom Middleditch
Yasmin Mole
Dylan Styles
Zoe Simbolon
Chloe Watson 2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
normal.suburban.
planetary.meltdown
29 October – 7 November
‘Students were […]excited by
the prospect of performing on
a professional stage in front
of a live audience.’
Evan Watts, Eltham College
Venue By / Angus Cerini
Direction / Susie Dee
Cast / Peter Houghton, Naomi Rukavina, Nicci Wilks
Set & Costume Design / Zoe Rouse
Lighting Design / Lisa Mibus
Sound Design / Jethro Woodward
Beckett Theatre
Total Number of Performances
8
Total Paid Attendances
574
All Attendances 776
2015 ANNUAL REPORT / 2
F0
IN
CIA
L STATEMENTS
1 5A N
s ea
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malthouse Theatre
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
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malthouse Theatre
VENUE
Venue Hire
In addition to our subscription season, the theatres,
rehearsal rooms, conference facilities and event spaces
within The Coopers Malthouse are made available to
creative, commercial and corporate hirers.
Our strategies to activate the building and to partner
with value-aligned organisations enhances the
diverse offering to audiences, including high profile
performances seasons from Melbourne Festival,
Victorian Opera, Melbourne Jazz Festival and The
Guardian Live events and masterclasses.
As part of our sector support for independent artists
and community groups, we offered discounted or free
venue hire to 53 artists and industry organisations,
including Theatre Network Victoria, Auslan Stage Left,
NIDA and the Next Wave Festival. The dollar value
of discounted and in-kind venue hire provided to the
sector in 2015 is $225,212.
Venue Hire in 2015
Total Number of External Hirers
94
Total Number of Ticketed Performances
55
Total Attendances to Ticketed Performances 10,782
Total Hirer Events and Workshops 151
Venue Occupancy Rate
73.2%
Malthouse
Greenlight
Malthouse Greenlight is our commitment to
sustainability and encompasses programming,
creation, purchasing and building management as well
as behavioural considerations. The Greenlight project
ensures that our environmental, social and economic
impacts are identified, managed and monitored across
all facets of our business.
Recycling
Co-mingled recycling
2015
2014
2013
2012
39.3 tonnes
44.2 tonnes
32.9 tonnes
38.2 tonnes
61 tonnes
62 tonnes
57 tonnes
53 tonnes
Other waste
Energetics reporting from 2015 reported 39.3 tonnes (39%) of waste was diverted from landfill, representing:
Saved from
Landfill
Trees
Saved
Oil
Saved
Electricity
Saved
Landfill
Saved
Water
Saved
Green
House Gas
39.3 Tonnes
668 trees
98 barrels
161,089 KWH
157 M3
36.00 KL
156.37 CO2 Tonnes
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
Public Programs
To keep the conversation about our productions
flowing we delivered a range of unique public
programs to engage audiences with the broader
questions, themes and undercurrents of the 2015
season.
Time to Talk – Post-Show
Discussions
Throughout the season we invite audiences to a free
post-show discussion with members of the show’s
creative team and cast, led by Malthouse Theatre’s
senior artistic staff.
In 2015, we delivered 10 post-show discussions for
over 1,000 audience members. Special guests for
Time to Talk throughout the year included urban
geographer Dr Kate Shaw for A Social Service, CEO of
Zoos Victoria Jenny Gray for They Saw a Thylacine and
Timeshare playwright Lally Katz.
Subtexts: An ideas series
co-presented with
The Wheeler Centre
A new partnership with The Wheeler Centre invited
audiences to delve deeper into the Chapters of
Season 2015 with a series of forums featuring
thinkers, activists and artists.
Total Attendance: 592
Subtexts #1 Body // Language
2 March, Merlyn Theatre
Featuring Clementine Ford (moderator), Alice Pung,
Kelli Jean Drinkwater and Karina Quinn
Subtexts #2 Post// Love
18 May, Merlyn Theatre
Monash University: Panel
Discussions 2015
Malthouse Theatre’s Major Partner, Monash University,
hosted a conversation series to expand the discussion
around key works.
Total Attendance: 155
Nothing to Lose
15 March, Beckett Theatre
Featuring professors from Monash University in
the disciplines of Gender Studies, Theatre and
Performance, Dr Yana Taylor (moderator), Dr
JaneMaree Maher, Dr Claire Tanner and Dr Jodie
McNeilly, and Artistic Associate of Nothing to Lose,
Kelli Jean Drinkwater.
Meme Girls
19 April, Beckett Theatre
Featuring Chair Dr Fiona Gregory (Centre for Theatre
and Performance, Monash University); Dr Anna Poletti
(Centre for the Book, Monash University); Professor
Julie Rak (University of Alberta); Laura Vitis (School
of Social Sciences, Monash); and Stephen Nicolazzo
(Director of Meme Girls and Artistic Director of Little
Ones Theatre company)
Antigone
23 August, Tower Theatre
Featuring Professor Andrew Benjamin, Professor of
Comparative Literature in the School of Philosophical,
Historical and International Studies at Monash
University; Adena Jacobs, director of Antigone; and
Jane Montgomery Griffiths, Antigone adaptor and
performer, and Director of the Centre for Theatre and
Performance at Monash University
Featuring novelist and poet Ben Okri in conversation
with Jeff Sparrow
Subtexts #3 Ritual // Extinction
14 September, Merlyn Theatre
Featuring Paul Komesaroff, Kimba Griffith, Matthew
Lutton and facilitator Angus Hervey
2015 ANNUAL REPORT
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malthouse Theatre
Access and
Accessible
Performances
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.
We offer a range of services to make our
theatre accessible to all:
Wheelchair Access: Wheelchair bookings can be
made for performances and events in any of the
venues within The Coopers Malthouse.
AUSLAN Interpreted and Audio Described
Performances: Selected performances throughout
the season are offered as accessible performances.
In 2015, 4 performances were Auslan interpreted
in collaboration with Auslan Stage Left; and 4
performances offered an Audio Description and
Tactile Tour for vision impaired audience members.
Companion Card: developed by the Victorian
Network on Recreation and Disability (VICNORD),
the Companion Card admits carers to shows
as complimentary guests for any performance
presented by Malthouse Theatre.
Hearing Assistance: Malthouse Theatre offers a
Hearing Assistance System in all three venues which
allows patrons to tune into the frequency of that
venue through their hearing aid or headphones.
Community
Partnerships
Malthouse Theatre’s Community Partners are
identified as a select group of organisations that
have established programs that empower people
from a range of backgrounds and geographic
locations across Victoria. In 2015, Malthouse Theatre
proudly partnered with:
TRY Mentoring: a division within TRY Australia that
seeks to deliver youth mentoring to communities
across Melbourne. Adults involved in the mentoring
programming were provided with tickets to Malthouse
Theatre performances throughout the year.
Western Edge Youth Arts: For more than 20 years,
Western Edge has worked alongside thousands of
young people to make awesome contemporary
performance in Melbourne’s west. Malthouse Theatre
provided venue access for Western Edge’s rehearsal
and presentation of Iago, a contemporary, fast paced
exploration of gender identity and sexual politics
in a rapidly changing world.
Volunteers
Malthouse Theatre is supported by a loyal and
hardworking group of Volunteers who run our
foyer Bookshop and the Play Club discussion group.
The time, passion and generosity provided by
our Volunteers is enormously appreciated and
gratefully acknowledged.
Joyce Anson (Coordinator)
Alex Parfait
Andrea Devine
Angela Farrugia
Bernard Smith
Charles Wilkins
Dr Margaret Elder
Elisabeth & John Schiller
Fay Batiste
Frances Beebe
Glenyce Dean
Glyn Wilson
Jan & Patrick Doran
Jane Kearney
Jean Ross
Jenny Jeffries
Jill Brooks
Joan March
John Gibson
John Thomas
Liam Smith
Patricia Ryan
Peter Saint
Phyl McLean
Rod & Yvonne Albury
Rosemary Forbes
Yvonne Laird
Worawa Aboriginal College: a holistic education and
boarding experience for young Aboriginal women
from suburban and regional Victoria and regional
and remote communities interstate. The college
participated in The Suitcase Series, performing
scenes from Angus Cerini’s play reimagined in a
community in Alice Springs.
Quin House Vincent Care: established in 1975,
Quin House provides residential service supporting
men with substance abuse issues. Residents were
provided with tickets to shows throughout the
2015 Season.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
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malthouse Theatre
Philanthropy
Philanthropy
As Malthouse Theatre entered a new era of
artistic leadership in 2015, we evolved our
philanthropic strategies to build even stronger
relationships with our private donors and the
wider philanthropic sector.
Philanthropic support for Malthouse Theatre enables
us to create theatre that is inventive, provocative
and entertaining. We thank our generous donors and
philanthropic partners for their vital contribution to
the work that we do.
Malthouse Theatre Foundation
Board
Central to our new philanthropic strategies was the
launch of the Malthouse Theatre Foundation Board
in August 2015, a body created to proactively direct
company fundraising activities and initiatives for
high-level donations. With the goal to develop new
private giving models and long-term cultivation of
donor relationships, the Foundation Board linked with
the work of our Development team in connecting
individuals with specific areas of interest with
Malthouse Theatre programs to facilitate private gifts
with significant personal impact for donors.
Latitude Campaign:
International Strategy
Support from Creative Partnerships Australia saw the
launch of Malthouse Theatre’s LATITUDE program,
raising funds for our international strategy and
touring. From September 2015, all support for the
International Strategy was leveraged against matched
funds, ultimately resulting in increased international
opportunities for Australian artists and the growth of
diverse audiences.
Private Giving
In 2015, private giving continued to be a vital
source of support at Malthouse Theatre, with the
expansion of the Malthouse Muse program, a series
of events and special behind the scenes access for
our $250+ donors.
Our Muses directly support our artistic vision
and help us to create theatre that is inventive,
provocative and entertaining. We thank all of
our inspiring Malthouse Muses for their generous
contribution to Malthouse Theatre in 2015.
Building on our current donor base, 2015 also saw a
dramatic increase in donations associated with ticket
sales. Suggested donation amounts at point of sale
encouraged thousands of our annual ticket-buyers to
contribute a tax deductable donation in support of
Malthouse Theatre.
MUSES (AS AT 31 DECEMBER 2015)
URANIA ($25,000+)
Michele Levine, Mary-Ruth & Peter McLennan, Craig
Reeves, Maureen Wheeler AO & Tony Wheeler AO
CLIO ($10,000+)
Annamila Fund, John & Lorraine Bates, Debbie Dadon,
The Vera Moore Foundation
THALIA ($5,000+)
Marc Besen AC & Eva Besen AO, the late Neilma
Ganter, Colin Golvan SC, Richard Leonard & Gerlinde
Scholz, Janine Tai, Anonymous (2)
MELPOMENE ($2,500)
David Bardas, Sian Fairbank, D.L. & G.S. Gjergja,
Rosemary Forbes & Ian Hocking, Val Johnstone, Sue
Kirkham, James Penlidis & Fiona McGauchie, Elisabeth
& John Schiller, Jenny Schwarz, Leonard Vary & Matt
Collins QC, Jon Webster, Anonymous (1)
EUTERPE ($1,000+)
Frankie Airey & Stephen Solly, Chryssa Anagnostou
& Jim Tsaltas, Daniel and Danielle Besen, John &
Sally Bourne, Sally Browne, Beth Brown & Tom Bruce
AM, Ingrid & Per Carlsen, Mi Li Chong, Robin & Neil
Collier, Roger Donazzan & Margaret Jackson AC,
Rev Fr Michael Elligate, Michael Kingston, James
Ostroburski, Rachel Petchesky, Rosemary & Roger
Redston, Thea & Hayden Snow, Maria Solà, Gina &
Paul Stuart, Rosemary Walls, Jenny Werbeloff,
Jan Williams, Anonymous (1)
TERPISCHORE ($500+)
Michael Arnold, Rowland Ball, Sandra Beanham,
David & Rhonda Black, Jennifer Bourke, Right Lane
Consulting, Ros Casey, Marisa Cesario, Mark &
Jo Davey, Taleen Gaidzkar, Brian Goddard, Leonie
Hollingworth, Brad Hooper, Irene Irvine, Irene
Kearsey, Ian McRae, Kersti Nogeste, Linda Notley,
Robert Peters, Katherine Sampson, Lisl Singer, John
Thomas, Pinky Watson, Phil & Heather Wilson, Henry
Winters, Anonymous (4)
ERATO ($250+)
Simon Abrahams, Graham & Anita Anderson, Ingrid
Ashford, John & Alexandra Busselmaier, Siu Chan,
Chris Clough, Jason Craig, Tania de Jong AM, Carolyn
Floyd, Orla & Rachel, Joanne Griffiths, Peggy Hayton,
Ann Kemeny & Graham Johnson, Robyn Lansdowne,
Kim Lowndes, Ian Manning & Alice De Jonge, John
Millard, Paul Natoli, Tony Oliver, Wendy Poulton,
Gerard Powell, Gavin Roach, Michael & Jenny Rozen,
Robert Sessions & Christina Fitzgerald, Jill Sewell, Jan
Watson, Joanne Whyte, Barbara Yuncken
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
Trusts &
Foundations
Malthouse Theatre received significant support
from philanthropic Trusts and Foundations in
2015. The Robert Salzer Foundation supported our
collaboration with composer David Chisholm for
I Am a Miracle, The Malcolm Robertson Foundation
supported new work from emerging playwrights
Michelle Lee and Zoe Coombs Marr and The
Trawalla Foundation championed our award winning
education program, The Suitcase Series.
Our Besen Family Artists Program celebrated
10 years of generosity from the Besen Family
Foundation, having contributed significantly to
the work of over 80 emerging artists at Malthouse
Theatre since 2005.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
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malthouse Theatre
Governance
Board
Staff
Led by Chair Michele Levine, Malthouse Theatre’s
Board of Directors oversees the strategic leadership
and financial management of the company. In
addition to championing the company and its work,
the Board is responsible for the appointment of the
executive roles, advising on strategic direction and
risk management, and advocating to government,
philanthropic and private sector stakeholders.
Artistic Director & Co-CEO
Matthew Lutton (from July)
The Board functions comply with the Australia
Council’s Essential Governance Practices for Arts
Organisations and are guided by established policies
for governance, confidentiality, conflict of interest
and code of conduct. In 2015, key governance
milestones included:
Executive Producer & Co-CEO
Sarah Neal
Artistic Director
Marion Potts (to March)
Associate Artist (Directing)
Matthew Lutton (to July)
Resident Dramaturg
Mark Pritchard
Director in Residence
Samara Hersch
— recruitment and induction of three new Board
members and the Artistic Director and Co-CEO ;
Associate Producer
Joshua Wright (to July)
— input and review of the 2016-2020 Strategic Plan;
Producer
Toby Sullivan (from September)
— creation of the new Foundation Board
sub-committee; and
— audit oversight and approval
of financial reporting.
The Board has adopted a self-evaluation process
and the appointment and performance of individual
board members is managed through the People
and Nominations Committee. Board membership
represents a crucial skills matrix, including financial,
entrepreneurial and fundraising as well as high level
artistic representation and gender balance.
Board of Directors (at 31
deCemBeR 2015)
Michele Levine, Chair
Chief Executive, Roy Morgan Research
John Daley, Deputy Chair
Chief Executive Officer, Grattan Institute
Leonard Vary
Chief Executive Officer, Sidney Myer Fund and The
Myer Foundation
Associate Producer
Jason Tamiru
Company Manager
Alice Muhling
Youth & Education Manager
Vanessa O’Neill
Finance Manager
Mario Agostinoni
Finance Administrator
Liz White
Finance Assistant
Connie Stella
Company Administrator
Amanda Macri
Executive Assistant
Nicole Benson (to May)
Marketing & Communications Manager
Lisa Scicluna (to November)
Colin Golvan QC
Queen’s Counsel at the Victorian Bar
Marketing & Communications Manager
Caraline Douglas (from December)
Sigrid Thornton
Renowned actor of film, stage and television
Digital Marketing Coordinator
Alice Gage (to May)
Ian McRae AO
Experienced arts executive
Digital Marketing Coordinator
Davey Simmons (from May)
Kerri Turner
Co-founder and Director, tinitrader.com.au
Media Manager
Rohan Astley (to August)
Nick Schlieper
Award-winning theatre designer
Communications Assistant
Natasha Theoharous (from June)
Michael Kantor
Theatre and opera director
Graphic Design
Jane Roberts, Hours After
Jan Owen AO
Chief Executive Officer,
Foundation for Young Australians
CRM & Ticketing Manager
Emma Quinn
2015 ANNUAL REPORT
Assistant Ticketing Manager
Lauren White (to May)
Malthouse Theatre
Assistant Ticketing Manager
Gemma Cotterell (from June)
Box Office Supervisor
Sam Yeo (from August)
Development Manager
Rachel Petchesky (to May)
Development Manager
Jayne Lovelock (from July)
Development Coordinator
Kim Brockett (to March)
Development Coordinator
Caraline Douglas (from June to December)
Production Manager
David Miller
Workshop Manager
David Craig
Technical Manager
Baird McKenna
Operations Manager
Dexter Varley
Steel Fabricator
Goffredo Mameli
Head Electrician
Stephen Hawker
Venue Head Mechanist
Ivan Smith
Head of Wardrobe
Delia Spicer
Wardrobe Assistant
Rebecca Dunn
Front of House Ushers & Bar Staff
Matt Adair, Leeor Adar, Thomas Banks, Jo Bassilios,
Todd Beatson, Nicole Benson, Jacqui Brown, Mitchell
Brotz, Michaela Buson, Ray Chong Nee, Emma
Corbett, Nadine Dimitrievitch, Alice Dixon, Graham
Downey, Tanja George, Kate Gregory, Mark Hoffman,
Dirk Hoult, Kathryn Joy, Lara Kerestes, Fiona Moody,
Daniel Moulds, Abi Murray, Anna Nalpantidis,
Daniel Newell, Amelia O’Brien, Syrie Payne, Sanne
Rodenstein, Pip Shea, Dominic Simonelli, Lee
Threadgold, Noel Turner, Matilda Woodroofe
Box Office Staff
Abbey Barnes, Jo Bassilios, Paul Buckley,
Kate Gregory, Michelle Hines, Ian Michael,
Jade Thomson, Fiona Wiseman
Technical Staff
Adrian Aderhold, Matt Adey, Rob Ballingall,
Sam Berkley, Amber Bock, Brenton Brooker,
Mike Burnell, Lachlan Cameron, John Carberry,
Amanda Carr, Bryn Colley, Nathalie Devilliers,
Tanya Dickson, Tas Dimitrakakis, James Dobson,
David Dudek, Rebecca Dunn, Aaron Edwards,
Lindsay Fletcher, Jo Foley, Jude Fry, Jason Glass,
Duncan Graham, Jim Henry, Felicity Hoare,
Janet Huang, Julia Knibbs, Alan Logan, Freya Low,
Ivan Macarambon, Lewis Maclean, Rose McCormick,
Oren McCoy, Josh McElhatton, Kurt Moores,
Chay Moran, Lachlan O’Connor, Theresa O’Connor,
Declan O’Neill, Mitch O’Sullivan, William Patterson,
James Paul, Alice Pollard, Trent Ramsay,
Lindsay Smart, Perry Smith, Blake Stickland,
Nathaniel Sy, Jenn Thorman, Joshua Veitch,
Tyrone White, Elizabeth Whitton, David Williams,
Ashleigh Wohling, Nicholas Wollan, Sam Woodcock,
Cail Young, Joel Zirnsak
Theatre Technician
Nathanael Bristow
Building Manager
Peter Mandersloot (to September)
Venue Manager
Aaron Rowlands (from November)
Front of House Managers
Anita Posterino
Sean Ladhams
2015 ANNUAL REPORT
——> p g 5 1
malthouse Theatre
Governance
Partners
GOVERNMENT PARTNERS
Dance Massive
The Suitcase Series
Industry Partner
Malthouse Theatre is proud to be a member of the Australian Major Performing Arts Group
Corporate Partners
Venue Partner
Major Partner
Prompt Education Partner
Accommodation Partner
Media Partner
Corporate Partner
Corporate Partner
Corporate Associate
Company Supporter
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 5 3
malthouse Theatre
Key Performance
Indicators
Goal
Measurement
2013
2014
2015
- Malthouse Makes
8
5
6
- Co-Productions
8
9
7
- Presentations
2
2
3
18
16
16
Artistic
Season 2015
14
11
10
- Extant Australian
- New Australian
1
1
2
- New Australian Adaptation
3
4
1
- Extant International
3
18
16
16
91%
88%
81%
14
17
21
114
136
152
94%
88%
89%
Emerging Artist Opportunities
7
13
22
Industry Collaborations
11
11
17
$143,000
$218,512
$224,999
230
215
241
61
55
8
3
62
14
134
104
87
428
436
350
30,861
30,792
32,759
2,379
2,245
704
597
11,391
3,173
10,082
11,840
8,052
43,919
56,268
44,688
4,607
6,164
6,269
New Productions (% of season)
New Commissions, Developments
Artists Employed
Audience Satisfaction
Sector Development
Venue Hire Subsidy
Audience & Access
Number of
Performances
- Subscription Season
- Additional Programming
- Touring
- External Hires
Paid Attendances
- Subscription Season
- Additional Programming
- Touring
- External Hires
Education Participation
Total Subscribers
1,496
1,434
1,536
146,919
154,619
175,329
-
17,002
17,339
Annual Turnover
$6,665,318
$7,223,347
$6,168,604
Operating Result
-$249,009
-$221,182
$89,782
Sponsorship & Philanthropy Ratio
15.4%
14.0%
14.5%
Reserves Ratio
24.0%
27.5%
32.3%
Website Visitors
E News Subscribers
Financial
2015 ANNUAL REPORT
Malthouse Theatre
Partners
38% Earned Income
44% Government Grants
3% Other
15% Philanthropic &
Sponsorship
2015 ANNUAL REPORT
——> p g 5 5
malthouse Theatre
FINANCIAL
STATEMENTS
56
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
DIRECTORS’
REPORT
The directors present this report on the Company for
the financial year ended 31st December, 2015.
The names of each person who has been a director
during the year and to the date of this report are:
— Sigrid Thornton
— Ian McRae
— Thea Snow
(resigned 18/05/2015)
— Michele Levine (Chair)
— John Daley (Deputy Chair)
— Leonard Vary
— Kerri Turner — Sarah Morgan (resigned 18/05/2015)
— Nick Schlieper
— Michael Kantor (appointed 02/02/2015)
— Colin Golvan (appointed 18/05/2015)
— Jan Owen
(appointed 20/07/2015)
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 held by Sarah
Neal, appointed 23 March 2015.
Principal Activities
The principal activity of the Company (Playbox
Theatre Company trading as Malthouse Theatre)
during the financial year was to make, present and
curate a program of adventurous contemporary
performances by artists from diverse artistic and
cultural backgrounds.
The Company’s objectives are:
Artistic
— Develop, produce and present theatre that sits at
the forefront of artistic practice
— Deliver a distinct annual program of performances
Access
— Ensure our theatre reflects the diversity
of our community through the 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
— Industry-wide engagement with the small-tomedium 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
Subscription Season:
An annual program of performance works
by local and international artists
Curated mix of Malthouse Makes, co-productions
and presentation of existing works
Venue Activation:
Partnerships with major festivals, industry
conferences and curated external hirers to
diversity income, reach new audiences
and fully utilise the space.
Access
A suite of programs to engage youth and community,
including: education program, PROMPT; the
Provocateurs group of young theatre-lovers;
community partnerships with local organisations;
and tertiary placements through partnerships with
Victoria University and Monash University.
Accessible public performances for audiences
with disability, including Auslan interpretation and
audio description.
Sector Development
Programs to maximise our interconnection with
the small to medium sector and independent
artists: facilitation of independent works;
presentation and collaboration of/with
independent artists e.g. via Tower Residencies;
in-kind venue hire and artist Female Director in
Residence program.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 5 7
malthouse Theatre
FINANCIAL
STATEMENTS
Financial and
Governance
Meetings of
Directors
Continuation of existing fundraising and
government support strategies
During the financial year, six meetings were held.
Attendances by each director were as follows:
An increased focus on philanthropic,
trust and foundation support.
Directors’ Meetings Number
Number
eligible attended
Attended
Nick Schlieper
6
4
Sigrid Thornton
6
3
Ian McRae
6
5
Sarah Morgan
3
3
(resigned 18/05/15)
Thea Snow
3
3
(resigned 18/05/15)
Michele Levine
6
6
John Daley
6
5
Leonard Vary
6
6
Kerri Turner
6
4
Michael Kantor
6
3
(appointed 02/02/15)
Colin Golvan
4
3
(appointed 18/05/15)
Jan Owen
3
3
(appointed 20/07/15)
Development of innovative new partnerships
and strengthening existing ones
Succession planning for key personnel and artists
Increased focus on touring opportunities
domestically and internationally.
Information on
Directors
Sigrid Thornton
Actor
Responsibilities: Malthouse Foundation Committee
Ian McRae
Arts Consultant
Responsibilities: People and Nominations Committee
Michael Kantor
Theatre Director
Responsibilities: Malthouse Foundation Committee
Colin Golvan
Barrister
Responsibilities: Malthouse Foundation
Committee (Chair)
Jan Owen
CEO, Foundation for Young Australians
Responsibilities: Malthouse Foundation Committee
Michele Levine
CEO, Roy Morgan Research
Responsibilities:
Chair, Malthouse Foundation Committee,
People and Nominations Committee
Leonard Vary
CEO, The Myer Foundation and The Sidney Myer Fund
Responsibilities: People and
Nominations Committee (Chair)
John Daley
CEO, Grattan Institute
Responsibilities: Deputy Chair, Audit,
Finance & Risk Committee (Chair), People and
Nominations Committee
Kerri Turner
Director, Tinitrader
Responsibilities:
Audit, Finance & Risk Committee
Nick Schlieper
Theatre Designer
Responsibilities:
People and Nominations Committee
Members’ Guarantee
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 31st
December, 2015, the total amount that members of
the Company are liable to contribute if the Company is
wound up is $120 (2014 $140).
Auditor’s Independence
Declaration
The lead auditor’s independence declaration for the
year ended 31st December, 2015 has been received
and can be found on page 59 of the financial report.
The directors’ report is signed in accordance with a
resolution of the Board of Directors:
Michele Levine, Director
John Daley, Director
Dated this 21st day of March 2016
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
Auditor
Independence
Declaration 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 2015 there have
been no contraventions of:
1/ The auditor independence requirements as set out
in Section 60-40 of the Australian Charities and
Not-for-profits Commission Act 2012 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 this 21st day of March 2016
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 5 9
malthouse Theatre
FINANCIAL
STATEMENTS
STATEMENT OF COMPREHENSIVE INCOME
FOR THE YEAR ENDED 31 DECEMBER 2015
Notes
2015
2014
$
Revenues from continuing operations
$
2(a)
6,168,604
7,223,347
Production and touring expenses
3
(1,956,010)
(3,131,524)
Marketing and sponsorship expenses
3
(484,734)
(583,251)
Other expenses from continuing operations
3
(3,638,078)
(3,729,754)
89,782
(221,182)
1(n)
-
-
89,782
(221,182)
2(b)
182,927
127,609
Profit/(loss) before income tax
Income tax expense
Profit/(loss) before earning from investments
Earnings from investments
Total comprehensive income/(loss) for the year, net of tax
272,709
(93,573)
Total comprehensive income/(loss) for the year
272,709
(93,573)
Total comprehensive income attributable
to members of the Company
272,709
(93,573)
STATEMENT OF CHANGES IN EQUITY
FOR THE YEAR ENDED 31 DECEMBER 2015
Accumulated
Balance at 1 January 2015
Transfer to Incentive Scheme Reserve
Transfer to Future Fund Reserve
Surplus
Reserves
Total
(312,181)
1,966,313
1,654,132
-
-
-
-
-
-
Profit attributable to the Company
272,709
-
272,709
Balance at 31 December 2015
(39,472)
1,966,313
1,926,841
(218,608)
1,966,313
1,747,705
Balance at 1 January 2014
Transfer to Incentive Scheme Reserve
-
-
-
Transfer to Future Fund Reserve
-
-
-
Profit attributable to the Company
(93,573)
-
(93,573)
Balance at 31 December 2014
(312,181)
1,966,313
1,654,132
The accompanying notes form part of these financial statements.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
STATEMENT OF FINANCIAL POSITION
AS AT 31 DECEMBER 2015
Notes
CURRENT ASSETS
2015
2014
$
$
Cash and cash equivalents
4
563,982
283,348
Trade and other receivables
5
680,496
88,134
Inventories
6
59,857
59,527
Other current assets
7
233,524
108,200
1,537,859
539,209
TOTAL CURRENT ASSETS
NON-CURRENT ASSETS
Property plant & equipment
8
360,726
383,168
Investments
9
2,365,902
2,218,509
TOTAL NON-CURRENT ASSETS
2,726,628
2,601,677
TOTAL ASSETS
4,264,487
3,140,886
10
351,573
286,991
CURRENT LIABILITIES
Trade and other payables
Short-term provisions
11
148,166
137,600
Borrowings
12
19,708
19,708
Other current liabilities
13
1,634,660
816,185
2,154,107
1,260,484
32,770
TOTAL CURRENT LIABILITIES
NON-CURRENT LIABILITIES
Long-term provisions
11
11,539
Borrowings
12
172,000
193,500
183,539
226,270
TOTAL LIABILITIES
2,337,646
1,486,754
NET ASSETS
1,926,841
1,654,132
TOTAL NON-CURRENT LIABILITIES
EQUITY
Retained earnings
14
(39,472)
(312,181)
Reserves
15
1,966,313
1,966,313
1,926,841
1,654,132
TOTAL EQUITY
The accompanying notes form part of these financial statements.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 6 1
malthouse Theatre
FINANCIAL
STATEMENTS
STATEMENT OF CASH FLOWS
FOR THE YEAR ENDED 31 DECEMBER 2015
Notes
2015
2014
$
$
Cash flows from operating activities
Receipts from government grants
3,126,944
2,682,052
Receipts from patrons, sponsors
3,247,743
4,327,714
Payments to creditors and employees
(6,069,126)
(7,226,836)
Interest received
20,031
23,962
Dividends received
63,542
96,592
389,134
(96,518)
Payment for plant and equipment
(58,992)
(42,928)
Net payment for investments
(28,008)
(10,526)
Net cash used in investing activities
(87,000)
(53,454)
Repayment of loan principal
(21,500)
(1,792)
Net cash used in financing activities
(21,500)
(1,792)
Net increase/(decrease) in cash held
280,634
(151,764)
Cash and cash equivalent held at the beginning of the year
283,348
435,112
Cash and cash equivalent held at the end of the year
563,982
283,348
Net cash provided by operating activities
19
Cash flows from investing activities
Cash flows from financing activities
The accompanying notes form part of these financial statements.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Malthouse Theatre
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 6 3
malthouse Theatre
FINANCIAL
STATEMENTS
Notes
NOTES TO THE
FINANCIAL
STATEMENTS FOR
THE YEAR ENDED
31 DECEMBER 2015
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.
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.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
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 21/03/2016 by the directors of
the Company.
Malthouse Theatre
Notes
ACCOUNTING
POLICIES
d —Plant and Equipment
Each class of property, plant and equipment
is carried at cost less, where applicable,
accumulated depreciation and any
impairment losses.
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.
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.
If conditions are attached to the grant which
must be satisfied before it is eligible to obtain
control of 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 it is
recorded as revenue when the company gains
control of the sponsorship funds or donation
and any associated conditions are fulfilled.
Revenue from the rendering of a service is
recognised upon the delivery of the service to
the customer.
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
All revenue is stated net of the amount of goods
and services tax (GST).
b —Earnings from Investments
Distributions received 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 net
realisable value.
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.
Depreciation rates used for each of depreciable
assets are:
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.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 6 5
malthouse Theatre
FINANCIAL
STATEMENTS
Notes
f —Financial Instruments
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.
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.
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
Amortised cost is calculated as:
a) The amount at which the financial asset
or financial liability is measured at initial
recognition;
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.
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.
g —Impairment of Assets
At the end of each reporting period, the
Company reviews the carrying values of
its tangible 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.
h—Employee Benefits
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Provision is made for the Company’s liability
Malthouse Theatre
Notes
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 corporate bonds with terms to maturity that
match the expected timing of cash flows.
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
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.
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
j —Cash and Cash Equivalents
Cash and cash equivalents include cash on hand,
deposits held at call with banks and other shortterm 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.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
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
The Company assesses impairment of nonfinancial 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.
——> p g 6 7
malthouse Theatre
FINANCIAL
STATEMENTS
Notes
Employee benefits provision
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.
Short-term employee benefits
Liabilities for wages and salaries, including nonmonetary 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 corporate bonds with terms to maturity
and currency that match, as closely as possible,
the estimated future cash outflows.
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.
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.
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
The following Accounting Standards and
Interpretations are most relevant to the
company:
• AASB 2014-1 Amendments to Australian
Accounting Standards (Part A, B, C and E)
• AASB 2013-9 Amendments to Australian
Accounting Standards – Conceptual Framework,
Materiality and Financial Instruments (Part C)
r— Trade and Other Payables
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
realised within 12 months after the reporting
period; or the asset is cash or cash equivalent
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
Trade and other payables represent the liabilities
for goods and services received by the Company
during the reporting period that remain
unpaid at 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.
malthouse Theatre
Notes
s—Economic dependence
t—Comparatives
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.
Where required by accounting standards
comparative figures have been adjusted
to conform with changes in presentation
for the current financial year and make
the disclosures meaningful to users of the
financial statements.
AASB 1031 will be withdrawn when references
to AASB 1031 in all Standards and
Interpretations have been removed.
During the year, management has adjusted its
methodology for accounting for marketing
expenses. In accordance with Australian
Accounting Standards marketing expenses are
now expenses in the year they are incurred
rather than being deferred as prepayments
where the related production had not
yet occurred. The impact on comparative
disclosure are as follow:
Statement of comprehensive income
2014
Adjustment
2014 Restated
(548,188)
(35,063)
(583,251)
Profit/(loss) before income tax
(186,119)
(35,063)
(221,182)
Total comprehensive income/(loss) for
the year net of tax
(58,510)
(35,063)
(93,573)
2014
Adjustment
2014 Restated
232,093
(123,893)
108,200
Total Assets
3,264,779
(123,893)
3,140,886
Net Assets
1,778,025
(123,893)
1,654,132
Total Equity
1,778,025
(123,893)
1,654,132
2013
Adjustment
2013 Restated
Acc. Surplus(Deficit)
(129,778)
(88,830)
(218,608)
Reserves
1,966,313
-
1,966,313
Total Equity
1,836,535
(88,830)
1,747,705
2014
Adjustment
2014 Restated
Acc. Surplus(Deficit)
(129,778)
(88,830)
(218,608)
(58,510)
(35,063)
(93,573)
Marketing and sponsorship expenses
Statement of financial position
Other current assets
Statement of change in equity
Current year Surplus(Deficit)
Reserves
1,966,313
-
1,966,313
Total Equity
1,778,025
(123,893)
1,654,132
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 6 9
Malthouse Theatre
FINANCIAL
STATEMENTS
Notes
Notes
2015
2014
$
$
2.a—REVENUE
Included in the revenues from continuing operations are the following items:
Theatre and performance
Venue hire
1,377,593
1,924,563
425,735
664,061
1,319,594
1,291,188
-
20,000
Government Grants
Australia Council
General Purpose
International Touring
Creative Development
40,000
34,521
Arts Professional Pathways
-
20,000
Interconnection (Partial)
-
26,410
Department of Education & Early Childhood
23,800
19,685
City of Melbourne
15,000
52,482
1,199,714
1,199,714
106,129
111,082
7,569
-
Local Government
Arts Victoria
General Purpose
NGO maintenance
Asia
Sponsorship
345,000
212,700
548,031
801,500
Interest earned
20,031
23,962
Ticketing Services
191,174
193,225
265,234
252,122
101,628
193,511
Fundraising and donations
Other Revenue
Bar Taking
Workshop External Commissions
Other revenue from continuing operations
Total Revenue
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
182,372
182,621
6,168,604
7,223,347
malthouse Theatre
Notes
Notes
2015
$
2014
$
2.b—TOTAL EARNINGS FROM INVESTMENTS
Future fund
- Change in fair value of financial assets
26,548
29,038
- Income earned
47,579
77,751
71,120
-
- Gain (loss) on sales of assets
Incentive scheme reserve
- Change in fair value of financial assets
- Income earned
(32,645)
1,981
15,963
18,839
- Gain (loss) on sales of assets
54,363
-
Total earning from investments
182,927
127,609
1,956,010
3,131,524
484,734
583,251
-Depreciation
81,434
88,830
-Audit fees
18,788
20,325
11,183
12,767
3—OTHER EXPENSES FROM CONTINUING ACTIVITIES
Profit from continuing operations has been determined after:
Expenses:
Production & Touring
Marketing & Sponsorship
Other Expenses
-Finance Costs – external
-Wages & On costs
2,390,381
2,371,633
-Venue
3(a)
480,644
545,287
-Administration
225,490
264,105
-Ticketing Services
179,985
182,131
Other
250,173
244,676
Total Other Expenses
3,638,078
3,729,754
Total Expenses:
6,078,822
7,444,529
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
Cash at Bank
Deposits at call
Short Term Bank Deposits
4,505
2,569
144,851
124,583
364,349
156,196
50,277
-
563,982
283,348
516,009
72,562
61,981
14,072
102,506
1,500
680,496
88,134
5—TRADE AND OTHER RECEIVABLES
Sundry debtors
Accrued income
Deposits paid
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 7 1
Malthouse Theatre
FINANCIAL
STATEMENTS
Notes
Notes
2015
2014
$
$
6—INVENTORIES
At cost:
Raw materials
39,174
41,634
20,683
17,893
59,857
59,527
233,524
108,200
Furniture and equipment
1,207,990
1,171,146
Less accumulated depreciation
(993,103)
(934,237)
214,887
236,909
Theatre fixtures and fittings
1,260,757
1,238,609
(1,200,050)
(1,188,391)
60,707
50,218
Bar & Sponsorship Stock
7—OTHER CURRENT ASSETS
Prepayments
8.a—PROPERTY PLANT & EQUIPMENT
Less accumulated depreciation
Workshop Improvements
263,087
263,086
Less accumulated depreciation
(177,955)
(167,045)
85,132
96,041
360,726
383,168
TOTAL PROPERTY, PLANT & EQUIPMENT
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.
2015
Furniture &
Equipment
Theatre
Fixtures &
Fittings
Workshop
Improvements
Total
236,909
50,218
96,041
383,168
Balance at the beginning
of the year
Additions
36,844
22,148
-
58,992
Depreciation Expenses
(58,866)
(11,659)
(10,909)
(81,434)
Carrying amount at the end of the year
214,887
60,707
85,132
360,726
2014
Balance at the beginning of the year
Furniture &
Equipment
Theatre
Fixtures &
Workshop
Fittings Improvements
Total
257,788
64,255
107,027
429,070
41,374
1,554
-
42,928
Depreciation Expenses
(62,253)
(15,591)
(10,986)
(88,830)
Carrying amount at the end of the year
236,909
50,218
96,041
383,168
Additions
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
malthouse Theatre
Notes
Notes
2015
2014
$
$
9—INVESTMENTS
Future Fund
1,778,796
1,665,137
587,106
553,372
2,365,902
2,218,509
Incentive Scheme Reserve Deposit
Investments in the Future Fund and the Incentive Scheme Reserve Deposit comprise Domestic Corporate
Bonds, Domestic Equities, and International Equities. Refer to note 20 for further detail.
10—TRADE & OTHER PAYABLES
Sundry creditors & accruals
307,075
GST Payable
265,925
44,498
21,066
351,573
286,991
48,244
58,044
11—PROVISIONS
Current
Employee entitlements - Annual leave
Employee entitlements - Long service leave
99,922
79,556
148,166
137,600
11,539
32,770
19,708
19,708
172,000
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 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
Unearned Australia Council grants
452,212
-
Unearned Creative Victoria grants
92,431
-
Unearned New work creative development grant
Income received in advance
-
40,000
1,090,017
776,185
1,634,660
816,185
14—RETAINED EARNINGS
Retained earnings at the beginning of year
(312,181)
(218,608)
Net profit (loss) for the financial year
272,709
(93,573)
Transfer to Future Fund Reserve
-
-
Transfer to Incentive Scheme Reserve
-
Retained earnings at the end of financial year
(39,472)
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
(312,181)
——> p g 7 3
Malthouse Theatre
FINANCIAL
STATEMENTS
Notes
Notes
2015
2014
$
$
15—RESERVES
Capital Assets Reserve
127,459
127,459
Future Fund Reserve
1,394,381
1,394,381
Incentive Scheme Reserve
444,473
444,473
1,966,313
1,966,313
15.a—Capital Asset Reserve
Opening balance
127,459
127,459
Closing balance
127,459
127,459
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
1,394,381
1,394,381
-
-
1,394,381
1,394,381
The 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, 2015 the number of members
were 12 (2014: 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 31st December, 2015.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
malthouse Theatre
Notes
Notes
2015
2014
$
$
18—RELATED PARTY TRANSACTIONS
Transaction between related parties are on normal commercial terms and conditions no more favourable than
those available to other persons unless otherwise stated.
During the year a company controlled by Michael Kantor, a director, provided services for $ 9,125.
19—CASH FLOW INFORMATION
Reconciliation of Net Cash Used in Operating Activities to Profit from Continuing Operations
Net profit (loss)
Unrealised gain on investments
Depreciation
(Profit)/loss on sale of investments
272,709
(93,573)
6,097
(31,014)
81,434
88,830
(125,481)
-
Change in net assets and liabilities
(Increase)/Decrease in receivables
(592,362)
117,037
(Increase)/Decrease in other current assets
(125,324)
102,506
64,581
26,391
(330)
1,956
(Decrease)/Increase in other current liabilities
818,475
(306,661)
(Decrease)/Increase in provisions
(10,665)
(1,990)
Net cash provided by (used in) Operating Activities
389,134
(96,518)
(Decrease)/Increase in payables
(Increase)/Decrease in inventories
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
563,982
283,348
Trade and other receivables
5
680,496
88,134
Domestic Corporate Bonds
9
432,927
439,431
Equities Domestic
9
1,299,184
1,272,056
Equities International
9
633,791
507,022
3,610,380
2,589,991
Total Financial Assets
Financial Liabilities
Trade and other payables
10
351,572
286,991
Borrowing
12
191,708
213,208
543,280
500,199
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 Deposit in this financial report.
Net Fair Value
For listed 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.
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 7 5
Malthouse Theatre
FINANCIAL
STATEMENTS
Notes
Notes
2015
2014
$
$
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.
22—KEY MANAGEMENT PERSONNEL REMUNERATION
The total remuneration paid to key management personnel of the Company during the period is as follows:
Key management personnel compensation:
258,023
259,879
23—SUBSEQUENT EVENTS
The value of the Company’s investments as outlined in Note 9 have declined by approximately 5% in the first
two months of 2016 due to the decline in the market prices of the underlying assets. No other matter or
circumstance has arisen since 31 December 2105 that has significantly affected, or may significantly affect the
Company’s financial position.
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
2015 ANNUAL REPORT / FINANCIAL STATEMENTS
malthouse Theatre
DIRECTORS’
DECLARATION
The directors of the Company declare that:
1. The financial statements and notes, as set out on pages 57 – 76, are in accordance with
Division 60 of the Australian Charities and Not-for-profits Commission Act 2012 and:
(a) comply with Accounting Standards – Reduced Disclosure Requirements, Division
60 of the Australian Charities and Not-for-profits Commission Regulation 2013 and
other mandatory reporting requirements in Australia; and
(b) give a true and fair view of the financial position as at 31 December, 2015, 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 21 March 2016 2015 ANNUAL REPORT / FINANCIAL STATEMENTS
——> p g 7 7
Malthouse Theatre
FINANCIAL
STATEMENTS
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 2015, 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
Australian Charities and Not-for-profits Commission Act 2012 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 Australian Charities and
Not-for-profits Commission Act 2012.
Auditor’s opinion
In our opinion the financial report of the Playbox Theatre Company Limited is in accordance with the Australian
Charities and Not-for-profits Commission Act 2012, including
a) giving a true and fair view of the Company’s financial position as at 31 December 2015 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 Division 60 of the Australian Charities and Not-for-profits Commission
Regulation 2013.
Crowe Horwath, Melbourne
David Munday, Melbourne
Dated 21 March 2016 2015 ANNUAL REPORT / FINANCIAL STATEMENTS