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————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 ——> p g 1 malthouse Theatre 2015 in N umb er s 10 152 56,566 $6m 2015 ANNUAL REPORT Malthouse Theatre 9,899 175K 1,536 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 3 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’ ——> p g 5 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 ——> p g 7 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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. 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 9 malthouse Theatre 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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’ ——> p g 1 1 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 ——> p g 1 3 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 ——> p g 1 5 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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. 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 1 7 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on Malthouse Theatre 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 1 9 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 2 1 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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. 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 2 3 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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. 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 2 5 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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. 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 2 7 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 2 9 malthouse Theatre 2015 S e a so n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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. 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 3 1 malthouse Theatre 2015 Se as o n 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on 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 2 0 1 5 A N N U A L R E P O R T / 2 0 1 5 s ea s on ——> p g 3 3 malthouse Theatre 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 ——> p g 3 5 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 ——> p g 3 7 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 ——> p g 3 9 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 s on ——> p g 4 1 malthouse Theatre 2015 ANNUAL REPORT / FINANCIAL STATEMENTS Malthouse Theatre 2015 ANNUAL REPORT / FINANCIAL STATEMENTS ——> p g 4 3 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 ——> p g 4 5 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 ——> p g 4 7 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 ——> p g 4 9 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