ATYP Annual Report 2017 by ATYP Theatre

ATYP

TWENTY SEVENTEEN ANNUAL REPORT

TWENTY SEVEN TEEN ANNUAL REPORT

THE STAGE IS A CANVAS, PAINT IT YOUR WAY.

ATYP

TWENTY SEVENTEEN ANNUAL REPORT

CONTENT S 04 OUR VISION

34 WRITING

06 ARTISTIC DIRECTOR

36 ROSE BYRNE AND REBEL WILSON SCHOLARSHIP

08 BOARD CHAIRMAN 10 TWENTY SEVEN TEEN 20 HOME ROOM SERIES 24 INTER NATIONAL TOURING 26 CAMEO S

38 WORKSHOP S 40 LEARNING 44 DEVELOPMENT 46 MARKETING 48 ARCHIVE S

49 THE ATYP TEAM 50 PARTNERS AND SUPPORT ERS 53 FINANCIAL S

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OUR VISION TO FOREVER RAISE THE EXPECTATION OF WHAT THEATRE WITH YOUNG PEOPLE CAN ACHIEVE.

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STATEMENT OF PURPOSE ATYP exists to help young people find their voice and together, inspire all Australians. We believe that an involvement in theatre builds better people. Theatre develops confidence, creativity and community. It challenges us to reflect on and better understand ourselves and our society. Young people are a vital part of that society. We do this through four aspirations: 01 Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. 02 Inspire a life-long love of theatre by connecting young people with the professional theatre industry. 03 Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. 04 Lead, strengthen and celebrate the Australian youth arts community. ATYP continues to be guided by four longterm strategies. These provide the holistic thinking that sits across all company activities and discussions. They are:

NATIONAL IMPACT Recognise the companyâ&#x20AC;&#x2122;s role as the national youth theatre and ensure programs resonate and impact locally, regionally and nationally. ARTISTIC EXCELLENCE Connect young people with industry leaders and foster partnerships with artists, companies, venues and events synonymous with artistic excellence. INNOVATION Embrace the evolving nature of storytelling as it relates to young people and their place in the world and celebrate risk and experimentation. PATHWAYS Maintain an environment that develops confidence and creativity in all young Australians by offering inclusive access to the company and supporting the career development of emerging professionals.

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ARTISTIC DIRECTOR It is with great pleasure that I present the annual report for 2017. In comparison to the turmoil that befell the small-to-medium arts sector in the previous two years and the successes achieved by ATYP during that time, 2017 was by comparison, a quieter year. It was a year in which we began detailed preparation for the next great company transition, the move off The Wharf. Originally this move was planned for August 2017 and then delayed by Create NSW to November, then December, later to be postponed to July 2018. Of course a ‘quieter year’ still involved a huge amount of activity. One of the highlights of 2017 was the confirmation that ATYP’s reputation is building internationally. Our collaborative production created in 2016, Patrice Balbina’s Chance Encounter with the End of the World, was invited to Cape Town, South Africa, to be presented in the ASSITEJ World Congress and Performing Arts Festival. Held once every three years at different locations around the globe, the ASSITEJ World Congress is the major international showcase of leading artists and companies creating work with and for young people. ATYP’s Learning team of Adèle Jeffreys and Rowan Bate were invited to present at the Singapore Drama Education and Arts Conference. The Conference requested a demonstration of the way ATYP integrates professional performances featuring young people with workshop and education content and was attended by teachers and academics from across South East Asia.

I was invited back to the Okinawa International Children’s Festival to devise a performance for young audiences with international artists and to participate in a panel on youth arts practice. Members of ATYP’s staff presented workshops and keynote addresses for the Australian Theatre forum, the Drama NSW conference, the Drama Australia Conference and other National Industry events. A significant achievement of 2017 proved to be a research paper commissioned by ATYP to interrogate what impact, if any, participating in youth theatre has on the mental health and wellbeing of young people. The company was able to re-allocate unexpended funds from the Djurali Indigenous Mentorship program to engage Patternmakers, a research agency specialising in cultural organisations. Starting with participants of Djurali and expanding to include over 1,200 current and past participants across 30 years of ATYP activities, the research revealed startling findings on the positive impacts of drama as a vehicle for personal growth. ATYP’s General Manager Amy Maiden and Patternmakers’ Brooke Boyce presented the findings at the International Arts and Health Conference held at the Sydney Opera House. With mental health emerging as a leading issue in Australia this research is helping ATYP guide the way we articulate our significance and relevance nationally for the future. ATYP’s production season continued to win accolades in 2017. For the fourth consecutive year ATYP received

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TWENTY SEVENTEEN ANNUAL REPORT

FRASER CORFIELD the Sydney Theatre Award for ‘Best Production for Young People’, this time for Dignity of Risk, our co-production with Shopfront Youth Arts. For the second year in a row ATYP was awarded the Glug Award for ‘The Most Outstanding Production for Teenagers’, this time for Intersection. Indeed, of the five productions nominated for both awards, four of them were produced by ATYP. The company was also overjoyed to see the play Hot Tub, commissioned and developed with Lewis Treston in his role as Resident Writer with ATYP in 2016, win the prestigious 2017 Patrick White Playwrights’ Award. Unfortunately 2017 was not without great sadness. In November, after eight years with the company, our much loved Education Manager, Adèle Jeffreys, lost her long battle with cancer. Adèle worked with ATYP throughout her illness and only stopped coming into the office in the very last days. She loved her work and was an inspiration to people fortunate enough to spend time with her. Adèle’s belief in the transformative power of theatre and the importance of participatory learning is what has driven the company’s innovative work with schools, the online learning programs and the live-streamed productions. It is both fitting and tragic that Adèle was beginning to gain the national and international recognition she deserved in 2017. To commemorate her extraordinary contribution to the company the Adèle Jeffreys Memorial Fund has been established. The fund will be used to fitout participatory learning spaces in ATYP’s new home on Pier 2/3 along with a plaque commemorating her life and philosophy.

The ATYP Board began the significant process of supporting the management team in finalising the design plans for the new premises, negotiating the Agreement for Lease, detailing the decampment process and initiating the campaign to raise a minimum of $1.5 million for the capital contribution and fit-out of the new premises. Special acknowledgement needs to be made of the Pier 2/3 sub-Committee chaired by Janine Lapworth and including Sean Denney and Nina Kilpinen who did a considerable amount of work during the year, as did the finance and fundraising sub-Committees. It is a testament to the strength of the company that it has such a committed and passionate board, lead by Chairman Mark Warburton and Deputy Chair Nancy Fox. I’d also like to acknowledge the extraordinary pressure and responsibility shouldered by ATYP General Manager Amy Maiden in representing the company throughout these difficult negotiations. 2017 represents the end of an era for ATYP. It is the last year that our productions will be presented in the noisy, cold-inwinter, hot-in-summer, completely without dressing rooms, frequently impractical but very much loved, Studio 1. I suspect that in future years we will romanticise the curiosities of these old spaces that have seen half our team housed in one set of offices on one pier with the others a walk away in Studio 2. In what has often been a less than ideal work environment, the ATYP staff has built an extraordinary culture of collaboration, professionalism, dedication and enormous fun. It is an honour to work with such exceptional people. I look forward to seeing what we achieve in 2018.

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BOARD CHAIRMAN 2017 has been a year of preparation for ATYP. A lot of time, planning has gone into the impending move out of our current premises, the arrangements for the company while our new home at Pier 2/3 is built and the details and design for the new home itself. This has required a huge effort from the ATYP management team, particularly our General Manager, Amy Maiden, who has worked tirelessly while attending to her usual management functions. There has also been considerable time devoted by Board members, particularly Janine Lapworth, Chair of our Pier 2/3 Committee, as we have regularly drawn on her legal talents. Productions and Workshops For the next two years, our productions will be held at the SBW Stables Theatre in Darlinghurst while our new theatre at Pier 2/3 is being built. Our first production at this venue, Intersection 2018: Chrysalis was successfully presented in February, 2018 and we look forward to future productions under this collaboration. The Workshops program set new records in terms of attendance and classes offered in 2017. There has been much planning to prepare for our temporary relocation with workshops moving to various city venues over the next one to two years whilst the new facilities are constructed. ATYP commissioned an in-depth study from independent arts researchers Patternmakers highlighting the important contribution youth theatre can make to the mental health and wellbeing of young people. We will continue to promote the results of this study and leverage it with our supporters.

Finances and Funding The company (including ATYP Foundation) finished the year ended 31 December 2017 with a profit of $71,655 (2016: $216,612 loss). This reflects the more stable financial footing ATYP is now on post last yearâ&#x20AC;&#x2122;s timing rectification. Sponsorship and Foundations $410,000 (2017) $230,000 (2016). Donations and Fundraising $323,880 (2017) $334,814 (2016) We are very grateful for the support of a number of foundations including Andrew Thyne Reid Foundation, BBM Youth Support, James N. Kirby Foundation, Limb Family Foundation, Macquarie Group Foundation, Matana Foundation for Young People and Graeme Wood Foundation. The Annual Appeal raised a total of $130,977 which was supported by matching funding of $50,000 from Creative Partnerships Australia. ATYP has also received generous corporate support from a number of organisations including Optimiste Wines and The Impact Agency. Once again we had two scholarships generously funded by our alumni, ATYP Ambassadors, Rebel Wilson and Rose Byrne. Both artists Rose also kindly gave their time to support ATYP at the Gâ&#x20AC;&#x2122;Day USA event in Los Angeles in January, 20187, hosted by Foreign Minister Julie Bishop, which showcasinged ATYP and providing the opportunity for international collaborations. We will be launching the capital campaign for our new theatre in 2018 and have already received a number of pledges.

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MARK WARBURTON ATYP Foundation ATYP Foundation Advisory Committee comprises Angela Bowne SC (Chair), Antoinette Albert and myself, and has provided great support to the company. This year the Foundation commissioned two new plays, – Charlie Pilgrim (Or a Beginner’s Guide to Time Travel) by Sam O’Sullivan (for ages 10-13) and Bathory Begins by Emme Hoy and Gretel Vella (for ages 14-17). In 2017 we commenced planning to incorporate the Foundation into ATYP itself in order to streamline our fundraising activities as we near the launch of our Pier 2/3 capital campaign. More details on this will be available once finalised. Board of Directors I am indebted to the full board for their support during this busy year. In particular, Deputy Chair, Nancy Fox, has provided invaluable support and advice. We have gone through a busy period of board renewal. Since the last annual report, Edward Simpson, John Penton, Sophie Lieberman and Monique Farmer have stepped down. We would like to thank them all for their service. Edward has been associated with, and been a wonderful representative of, ATYP, for eight years, and will continue to make a contribution as we embark on the capital campaign. John has been a Director for three years and has ably chaired the Finance Committee over the last two years. Sophie and Monique joined the board at the same time in 2015. Since the 2017 AGM we have welcomed four new directors - Nina Kilpinen, Simon Burke, Chris Puplick and Tasnim Hossain which has resulted in a well-rounded and

diverse board, well equipped to handle the opportunities and challenges we face as an organisation. Nina, like Sean Denney, has come to us via the Board Observership Program and we have been thrilled with her contribution, particularly in relation to Pier 2/3, given her infrastructure and engineering background and experience in working with governments. As a working actor, Simon Burke provides a fresh perspective and we will also benefit from his many years chairing Actor’s Equity. Chris has had a stellar career in government, including arts portfolios, and his wealth of experience here will benefit us in dealing with our largest financial supporters. Tasnim is a former ATYP attendee and Resident Playwright and we are overdue to include a voice from one of our main constituents the young participants. Sean Denney has taken over from John Penton as Chair of the Finance Committee. Janine Lapworth continues her sterling work as Head of the Pier 2/3 Committee and Nick Jaffer is Head of the Fundraising and Philanthropy Committee, which will assume a more important role as we head towards the launch of the Pier 2/3 Capital Campaign. This year has also been a challenging one due to the tragic passing of Adèle Jeffreys, our Education Manager, which has had a profound impact on our staff. I am very proud of the dedication shown by the ATYP team throughout this time. We are well placed to handle this period of change as we transition towards our new home and the exciting opportunities that will present.

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TWENTY SEVEN TEEN ART DIRECTOR JUSTIN STAMBOULIAH PHOTOGRAPHER LUKE STAMBOULIAH HAIR & MAKE-UP ARTIST SOPHIA LEE

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INTER SECTION OEDIPUS DOESNâ&#x20AC;&#x2122;T LIVE HERE ANYMORE DIGNITY OF RISK WONDER FLY

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WINNER Most Outstanding Production for Teens 2017 Glug Awards “Intersection reflects Australia back at us, explaining in young people’s own words what their concerns are, what their hopes are, and what we can expect from our artists in the future. ” TIME OUT SYDNEY “If Intersection is any indication of the professionalism, focus and commitment of the next generation of performing artists then the art is in a pretty good state. ” SYDNEY ARTS GUIDE

MOREBLESSING MATURURE

01.02.17_ 18.02.17

TWENTY SEVENTEEN ANNUAL REPORT

INTER SECTION Intricately drawn by Australia’s leading young writers, Intersection is a collection of short stories playing out across the same town, creating a map of the connections we form and the experiences we have when we’re 17. Each year ATYP brings together 20 young writers from across the country, and challenges them to create stories that speak to the experience of being a young person in Australia, here and now. Expanding on the popular Voices Project, Intersection features heartbreaking, funny and powerful interactions between characters coupled with complex and beautiful monologues to create a compelling snapshot of life at 17. Following the performances eight cast members were approached by agents for representation including two young actors picked up by industry leaders RGM.

by writers of the 2016 National Studio Peter Beaglehole Angela Collins Thomas de Angelis Isabelle McDonald Charles O’Grady Suzannah Kennett-Lister Zoe Ridgway Jordan Shea Lewis Treston Honor Webster-Mannison Director Katrina Douglas Designer Isabel Hudson Lighting Designer Emma Lockhart-Wilson Sound Designer Tom Hogan Dramaturgy Jennifer Medway Stage Manager Ruth Hollows Production Manager Lauren Makin Assistant Director Phoebe Adler-Ryan

Cast Tamara Bailey Asha Boswarva Alex Chalwell Alex Chorley Sonia Elliott Elliott Falzon Rebecca Gulia Monica Kumar Steffan Lazar Ingrid Leighton Hudson Musty Kurt Pimblet Esther Randles Iris Simpson Adam Stepfner Ilai Swindells May Tran Darius Williams Jackson Williams Opened 03 February 2017 Performances 19 Attendance 1,157 Live-stream audience 208 Box office $21,988

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“A light touch on a terrible tale… it seems to live and breathe right in front of us. ” CASSIE TONGUE TIME OUT “It’s the type of work which will inspire younger audiences to continue to engage with the theatre and hopefully help some to discover just how alive this live art form can be. ” BEN NEUTZE DAILY REVIEW

MARTIN HOGGART

07.06.17_ 24.06.17

TWENTY SEVENTEEN ANNUAL REPORT

OEDIPUS DOESN’T LIVE HERE ANYMORE The news vans have moved on, the graffiti’s been painted over and the olds don’t talk about it anymore. You wouldn’t know anything ever happened here, in this suburb, our place. But take it from us, things went down and sh!t got weird. We’ll tell you what happened and we won’t skimp on the details. Spoiler alert: kids get hurt and there isn’t a happy ending but you’ll probably laugh anyway, people are weird like that. Oedipus Doesn’t Live Here Anymore was the winner of the Queensland Premier’s Drama Award 2014-15. When the script was assessed by ATYP’s youth steering committee, the response was loud and clear: “Hell, yes!” Moving at breakneck speed with a sense of humor blacker than the screen of a dead phone, this wild new work smashes together Greek myth and suburban horror.

The collateral damage reveals a new mythology– one more terrifying than its ancient predecessor: our own. Writer Daniel Evans Director Fraser Corfield Designer Melanie Liertz Lighting Designer Emma Lockhart-Wilson Sound Designer Steve Francis Composer Chrysoulla Markoulli Stage Manager Joshua Broadbent Assistant Directors Rowan Bate Claudia Osborne Cast Caitlin Burley Jeremi Campese Mia Evans Rorris Josh McElroy

Opened 09 June 2017 Performances 15 Attendance 696 Box office $12,370

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WINNER Best Production for Young People 2017 Sydney Theatre Awards

“This stereotype-smashing show is made by and about young people – but is essential viewing for anyone who has ever felt like they don’t ‘fit the norm. ” TIME OUT SYDNEY “A revealing first encounter with a fascinating group of strangers. Under Natalie Rose’s direction they seized the stage with fluency and confidence… ” REALTIME

MATHEW COSLOVI

09.08.17_ 26.08.17

TWENTY SEVENTEEN ANNUAL REPORT

DIGNITY OF RISK We grow up with boundaries. They determine how we should behave, where we can go, what we can do on our own. You could say the process of ‘growing up’ up is testing those boundaries, pushing them, finding out when they break or when you will. But not everyone gets that chance. Some people are thought to be too fragile, too vulnerable or just not ready. Which is fine until you realise … actually, it isn’t. That’s the point of growing up! This explosive new work fuses movement and dance with the personal stories of young adults. Shopfront’s Harness Ensemble joins forces with actors from ATYP to interrogate the worlds we find ourselves in. Merging performers with and without disability, we hold a mirror to our preconceptions of what is appropriate, what is possible and what can be expected. There’s a dignity in the freedom to make mistakes. That’s where we learn the important stuff.

Devised by Shopfront’s Harness Ensemble and ATYP Director Natalie Rose Set and Costume Designer Melanie Liertz Lighting Designer Fausto Brusamolino Sound Designer James Brown Choreographer Margot Politis Dramaturgy Jennifer Medway Stage Manager Sorie Bangura Audio Describer Imogen Yang Cast Mathew Coslovi Holly Craig Teneile English Caspar Hardaker Riana Shakirra HeadToussaint Steve Konstantopoulos, Wendi Lanham Briana Lowe Sharleen Ndlovu Jake Pafumi Dinda Timperon

Opened 11 Aug 2017 Performances 12 Attendance 753 Box office $12,495

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“...entertains and opens up a conversation about problem-solving, confidence-gathering and the potential you can find in many voices speaking up together. ” CASSIE TONGUE TIME OUT “I enjoyed the play so much, I’d give it four out of five stars. It might even be the best play the Australian Theatre for Young People has ever put on! ” CRINKLING NEWS

KATE BARRY

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08.11.17_ 18.11.17

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WONDER FLY Bridie doesn’t tend to stand out. It’s halfway through her first year of high school and nothing seems to be changing. That is until, a box mysteriously appears on her bed. Attached to it is a card that reads, “It’s time to become who you were born to be Wonder Fly. The Red Wasp strikes midnight tomorrow.” Wonder Fly is a coming-ofage hero’s quest. The only problem is; no one’s sure who the hero is supposed to be. Set in Sydney-slashGotham City, the play leaps out of the world of a comic book. People are isolated, and evil preys on the spaces in between. There are bright lights and dark alleyways, just the way the Red Wasp intended. Armed with nothing more than a box, a costume, a mask, a torch, a few eclectic superpowers and a map with a big ‘X’ on it, Wonder Fly asks the question: if we are all heroes, who does that make the villain?

Writer Nick Atkins Director Sophie Kelly Designer Antoinette Barbouttis Lighting Designer Martin Kinnane Sound Designer Kailesh Reitmans Sound Design Mentor Steve Francis Dramaturgy Jennifer Medway Jane FitzGerald Stage Manager Sorie Bangura Cast Luca Cogin Louise Colin Alannah David Massimo Di Napoli Amélie James-Power Robin Kukk Ava Mason Daisy Millpark Rafael Partos Ewan Randall Jono Riesel Noah Sturzaker Zoe Trenbath Josiah Von Stolk

Opened 10 November 2017 Performances 12 Attendance 743 Live-stream audience 316 Box office $13,365

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HOME ROOM SERIES The inaugural Homeroom Series shone a spotlight on theatre created by ATYP in partnership with schools and provided a platform to showcase the quality work being made by schools. Working in collaboration with The Arts Unit to produce an ensemble piece for young women, and with Newington College, Sydney, to present an encore season of a work for young men, ATYPâ&#x20AC;&#x2122;s Homeroom Series 2017 sparked conversations about gender roles, social taboos and the balance between fitting in or standing out from the crowd.

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10.05.17_ 20.05.17

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MICHAEL SWORDFISH You read about those kids who know they don’t belong. That they’ve somehow been dumped… and they are in some kind of prison until they can turn 18, just stuck in the middle of the backseat of the car between two kids who do belong.

Writer Lachlan Philpott Director Tamara Smith Lighting Designer Richard Neville Sound Operator Nick Fitzsimmons Lighting Operator Ben Taylor

When so much of our busy lives revolve around the people we interact with on a day-to-day basis, what would happen if one of them disappeared? An assembly called, a footy game postponed, a class interrupted? Who is Michael Swordfish? And who knows where he has gone?

Cast Ashutosh Bidkar Eden Bradford Fergus Finlayson Jason Hartill Tim Kenzler Louis Nicholls Angus Powell Daniel Steel Gus Watts

Michael Swordfish was commissioned and developed by Newington College; a play that traverses the tumultuous landscape of the teenage experience with the sober truth and darkly comic voice of teenage boys.

Opened 10 May 2017 Performances 09 Attendance 541 Box office $9,830

10.05.17_ 20.05.17

TWENTY SEVENTEEN ANNUAL REPORT

GIRLS LIKE THAT When a naked photo of Scarlett goes viral without her consent, attention falls on her for all the wrong reasons. In today’s world of social media saturation, how do you recognise that you are complicit in destroying somebody’s reputation,… and how does it stop? Examining gender equality and feminism for this digital generation, Girls Like That investigates the hierarchy of the schoolyard. Featuring a large allfemale ensemble, this extraordinary new play was presented in collaboration with The Arts Unit (NSW). Directed by ATYP’s Rob Jago, Girls Like That showcased a cast featuring some of the best young performers from NSW State schools. Girls Like That opens up conversations about the moral and social challenges of managing relationships in a digital world.

Writer Evan Placey Director Robert Jago Designer Martelle Hunt Lighting Designer Chris Page Sound Designer Tom Hogan Stage Manager Michelle Wood Choreographer Sara Black Assistant Director Bonnie Leigh Dodds Cast Annika Bates Claire Giuffre Ella Hosty-Snelgrove, Rashie Kase Michelle Khurana Molly Kyriakakidis-Costello Miranda Longhurst Emily Longville Natasha Pontoh-Supit Cara Severino Emily Simmons Lucy Valencic Lara Wood

Opened 10 May 2017 Performances 09 Attendance 521 Box office $9,465

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INTER NATIONAL TOURING

22.05.17_ 23.05.17

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PATRICE BALBINA’S CHANCE ENCOUNTER WITH THE END OF THE WORLD

Something unsettling has crept into the neighbourhood. It’s a feeling, a suspicion that disappears when you look at it directly. Patrice Balbina has noticed that small things are starting to disappear. The butcher has lost his laugh, the man with the pigeon is losing his patience, and Dad says the government has lost its mind. But you wouldn’t expect the end of the world. Then he rang the doorbell. Our collaborative production created in 2016, Patrice Balbina’s Chance Encounter with the End of the World, was invited to perform at the ASSITEJ World Congress and Performing Arts Festival in Cape Town, South Africa. Held once every three years at different locations around the globe, the ASSITEJ World Congress is the major international showcase of leading

artists and companies creating work with and for young people. ATYP Artistic Director Fraser Corfield lead professional artists from from six leading international theatre companies including Pilot Theatre (UK), Teatro O Bando (Portugal), Teatro Stabile d’Innovazione (Italy), Dynamo Theatre (Canada) and Presentation House Theatre (Canada). The work represented the final chapter of the two-year international partnership Documents of Poverty of Hope, supported through the European Union’s Cultural Fund, looking at immigration and emigration from a global perspective. Venue Yves Simard Venue Artscape Arena, Capetown, South Africa

Director Fraser Corfield Producer Dirk Neldner Production Designer Ben Pugh Sound Designer Pru Montin Dramaturg Odette Bereska Choreographer Jacqueline Gosselin Education Mandy Smith Stage Manager Sven Laude Cast Raul Atalaia Holly Fraser Emilie Leclerc Guiditta Mingucci Opened 22 May 2017 Performances 04 Attendance 800

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CAMEO S

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POLITICAL CHILDREN THE AGE OF BONES THE VERBATIM PROJECT MOTH TAMMY AND KITE

01.03.17_ 03.03.17

TWENTY SEVENTEEN ANNUAL REPORT

POLITICAL CHILDREN Using Hansard transcripts, newspaper articles and online content, our creative team has examined the political activity that has surrounded “Safe Schools” over the past year, with hilarious and heartwrenching results. In 2014 the Abbott government committed a small amount of federal funding to an anti-bullying program known as “Safe Schools”. In 2016, the funding was scrapped, the program was investigated and a political storm brewed. Inner West Youth Theatre Company turned a magnifying glass on this storm, this policy and why there had been so much uproar.

Developed by the Artistic Director of Inner West Youth Theatre Company Felicity Nicol, this piece is dedicated to all those students who will be without a voice inside the education system in the years to come.

Presented by Inner West Youth Company Opened 01 March 2017 Performances 04 Attendance 254 Box office $2,470

15.03.17_ 18.03.17

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THE AGE OF BONES The Age of Bones traces the story of Ikan, an Indonesian boy who goes fishing one day and fails to return. Fearing the worst, his family hires a famed seafarer to track him down - he finds nothing. Combining Indonesian puppetry, music and digital projection, The Age of Bones follows Ikan’s fantastical story from Indonesia to his eventual imprisonment ‘down under’ and his fight to get home to his family. A heartfelt and darkly funny tale inspired by the real-life stories of 60 Indonesian boys allegedly imprisoned in Australia for working on refugee boats.

Presented by Satu Bulan Theatre Company & Performing Lines Writer Sandra Thibodeaux Directors Iswadi Pratama Alex Galeazzi Performers Deri Efwanto Mohammad Gandi Maulana Kadek Hobman Budi Laksana Imam Setia Hagi Imas Sobariah Ella Watson-Russell

Opened 15 March 2017 Performances 04 Attendance 168 Box office $2,651

19.07.17_ 22.07.17

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THE VERBATIM PROJECT “This is the kind of crossgenerational collaboration that shows why groups like Canberra Youth Theatre and GOLD need to exist. Such engine rooms of creativity ought to be fired up more often. ” The Canberra Times I am expected to do well in school. I am expected to take prescription medications. I am expected to know everything about technology. I am expected to be dowdy. I am expected to not talk about death. I am expected to start becoming an adult. Do you actually want to know me?

Canberra Youth Theatre (CYT) presented an honest new work performed by 13–16 year olds and members of Canberra Dance Theatre’s over-65 years’ GOLD troupe. It was developed in 2016 using the cast’s collective stories, experiences and pressures at different stages in their lives, asking “Does age matter? In the end aren’t we all just having human experiences?” The work has been shaped using audio interviews, video footage, live commentary and headphone verbatim technique, and is presented using physical theatre.

Presented by Canberra Youth Theatre Director / Designer Katie Cawthorne Opened 19 July 2017 Performances 04 Attendance 90 Box office $1,985

06.09.17_ 16.09.17

TWENTY SEVENTEEN ANNUAL REPORT

MOTH “Moth’s heart beats with deep love for the sensitive and vulnerable kids on the fringes. As you watch it, so will yours. ” Time Out Sydney “O’Kelly and Campese are excellent. ” Jason Blake, 8 Nights a Week Audrey Journal “Director Rachel Chant does spectacularly... Actors Jeremi Campese and Ruby O’Kelly are flawless. ” Suzy Goes See

Sebastian is a terminally unpopular fifteen-yearold with an overactive imagination and an obsession with anime and death. His only friend, Claryssa, is an emo, Wiccan art-freak barely one rung higher on the social ladder. What starts as just another night drinking down at the cricket nets, soon gives way to an ecstatic vision that leaves Sebastian unconscious, Claryssa missing without explanation and their friendship in ruins. The next morning, Sebastian wakes up with a mysterious moth in a jar by his bed, a calling to save the souls of all humankind and a desperate need to reach Claryssa. And so begins the Passion of Sebastian… Moth piloted a new form of support by ATYP with a $5,000 advance on box office to assist in production costs and mentoring across marketing, publicity and production. The program gave the young production team the experience of working in partnership with an established theatre company.

Presented by Millstone Productions Writer Declan Greene Director Rachel Chant Designer Tyler Hawkins Cast Jeremi Campese Ruby O’Kelly Opened 08 September 2017 Performances 09 Attendance 351 Box office $8,260

23.10.17_ 28.10.17

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TAMMY AND KITE Kite is nine years old, and her life is full - of friends, of school, of handball and Healthy Harold. But every afternoon when she comes home from school, a darker side of her world threatens to creep in. In her bedroom, where the real and the imaginary collide, Kite uses the only tool she has - play - to learn how to articulate and navigate a world that is bigger and more unpredictable than she can understand.

How much do children perceive of the world around them? And how much to adults perceive of the world of children? As the line between the world of children and adults, real and imaginary begins to blur, Tammy and Kite explored the bounds of the imagination and knowledge of children in situations that are both beyond their understanding and heartbreakingly close to home.

Presented by Montague Productions Devised and performed by Hannah Cox Caitlin West Opened 25 October 2017 Performances 05 Attendance 90 Box office $1,985

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“ATYP IS A PLACE TO EXPLORE AND FIND YOUR VOICE. TO PLAY AND CREATE THINGS FROM YOUR IMAGINATION. ” MATTHEW WHITTET AWARD-WINNING PLAYWRIGHT / ACTOR / ATYP ALUMNUS

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WRITING FRESH INK NATIONAL MENTORING Fresh Ink National Mentoring expanded to Perth and continued to run in Darwin, Melbourne and Sydney. Partnerships were established with Barking Gecko Theatre Company (WA) and continued with Brown’s Mart (NT) and MTC (VIC). Fifteen writers aged 18-26 were involved in the program, culminating in readings of their 30-minute plays in each city. Mentors Mary Anne Butler (NT), Ross Mueller (VIC), Will O’Mahony (WA) and Jenni Medway/Jane FitzGerald (NSW) led the programs. NATIONAL STUDIO The National Studio ran for its ninth year at Bundanon in the NSW Southern Highlands. Nineteen writers aged 18-26 joined playwriting mentors Mary Rachel Brown, Stephen Carleton and Michele Lee for a week of masterclasses and workshops. At the end of the week each writer had created a 7-8-minute piece. Ten of these were selected to make up the production Intersection 2018: Chrysalis published by Currency Press. ATYP FOUNDATION COMMISSIONS Two commissions were awarded in 2016: Wonder Fly by Nick Atkins (for ages 1013) and Impending Everyone by Michael Andrew Collins (for ages 14-17). These plays received ongoing development and support over several drafts from the Resident Dramaturgs Jennifer Medway (until mid-Aug) and Jane FitzGerald (from mid-Aug).

RESIDENT WRITER Now in its fourth year, this position was awarded to Tasnim Hossain who worked with the company, writing two short plays for the Ensemble Workshops program. Her full-length play 44 Home received professional development over several workshops and a reading directed by Clemence Williams at the end of her residency. Tasnim received dramaturgical support over the year from the Resident Dramaturg. SHOWS IN DEVELOPMENT 2017 saw the Resident Dramaturg provide ongoing support to a number of other scripts: •

Cusp by Mary Anne Butler: a workshop in Darwin, NT (supported by PlayWriting Australia).

•

The 1’s, the 0’s and Everything In Between by Chris Isaacs: two script development workshops in Mandurah, WA (co-commissioned with Riptide Youth Theatre Company).

•

Intersection 2018: Chrysalis by the writers of The National Studio: individual dramaturgical sessions.

•

Fangirls by Yve Blake: two script development workshops (Dramaturg Jonathon Ware, Associate Dramaturg Jane FitzGerald).

In addition, Fraser Corfield led two script development workshops of The Climbing Tree by Rachael Coopes in Bathurst and Sydney (NSW).

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“Fresh Ink was a truly special experience for me. Totally unique in Perth’s landscape for emerging artists, incredibly generous, and with support from incredible industry directors, writers, and actors. I, honestly, had such a wonderful time and would do it all again if possible! ” Scott McArdle, 2017 Fresh Ink Writer, Perth

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THREE UP This tripartite writing program for young people aged 13-18 was developed with Action Transport Theatre, UK and Young People’s Theatre, Toronto and ran until June 2017, supporting four high-school age playwrights in Sydney and another eight internationally.

COMMISSIONED WRITERS IN 2017 Nick Atkins Yve Blake Mary Anne Butler Michael Andrew Collins Rachael Coopes Chris Isaacs Lachlan Philpott

PROPEL PLAYWRITING INITIATIVE This program ran jointly through ATYP, The Joan Sutherland Performing Arts Centre (Penrith) and WestWords to develop emerging playwrights living or working in Western Sydney. Five writers met fortnightly with facilitators, culminating in the creation of a 10-minute piece of writing.

LEADING INDUSTRY FIGURES ENGAGED BY ATYP WRITING IN 2017 Mary Rachel Brown Mary Anne Butler Stephen Carleton Matt Edgerton Michele Lee Ross Mueller Will O’Mahony Debra Oswald Clemence Williams

2016 NATIONAL STUDIO Peter Beaglehole Angela Collins Thomas De Angelis Isabella Jacob Suzannah Kennett-Lister Louis Klee Laura Lethlean Isabelle McDonald Kevin Ngo Charles O’Grady Eliza Oliver Farnoush Parsiavashi Zoe Ridgeway Anita Sanders Michelle Sewell Jordan Shea Brenden Snow Lewis Treston Mark Tripodi Jackson Used Honor Webster-Mannison Mentors Mary Anne Butler Angus Cerini Sue Smith

OVERVIEW Workshops 55 Playwrights Supported 60 Actors and Directors 45 Total artists part of programs 105 Unsolicited scripts assessed 24 Writers aged under 18 supported 12 Writers aged 18-26 supported 42 Total young artists supported 99 States and Territories operated in 04 Days of scripts development 25

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ROSE BYRNE AND In its second year ATYP was pleased to offer these two unique scholarship opportunities for young Australians aged 18–26. ATYP Ambassadors Rebel Wilson and Rose Byrne (both alumni of the theatre company) generously support the scholarships. Each have different selection criteria but both are centred around identifying, nurturing and promoting the next generation of theatre artists. Partnering with G’Day USA and the Australian Theatre Company (LA), recipients receive a year of mentoring with the ATYP team in Sydney, and then have the opportunity to travel to Los Angeles to work on a project with the Australian Theatre Company and were profiled at the G’Day USA Gala in January 2018. Following an even bigger response for the second year of applications, our international ambassadors were delighted to announce the winners of their respective scholarships in March 2017. Rebel Wilson has donated $15,000 per year for three years (2016-2018) to fund the Rebel Wilson Theatremaker Scholarship to be awarded to an emerging artist interested in generating their own content. The recipient can be any combination of the following: actor / writer / producer. Rebel Wilson had an exhaustive process to narrow down her applicants to the final five before awarding the ‘Rebel Wilson Theatremaker Scholarship’ to an emerging artist interested in generating their own content to Thomas De Angelis.

“His application was an absolute standout and I can’t wait to see what he achieves in the year ahead. Thomas has a number of extremely interesting projects to work on and I know his year with ATYP will give him the resources and space to do just that. Nicole Kidman gave me a similar opportunity when I was 24 where I got to travel to and learn in America and I really feel like this scholarship is my way of giving back for that wonderful experience that I could never have afforded myself when I was a young artist. Australia has so many talented, creative young people and they need to be encouraged and supported. ” Rebel Wilson “The ATYP Rebel Wilson Scholarship was an amazing experience, which had an immensely beneficial impact on my career. I pitched my passion project Come On: The Lleyton Hewitt Musical and asked for artistic support and professional guidance in developing the show. The scholarship gave me the keys to ATYP spaces, as well as access to their resources, support and advice. Throughout the year, I was also put in direct contact with Rebel Wilson, who was a source of artistic and professional support, and inspiration. The year culminated in a showcase of my work for an industry audience, and a tour to Los Angeles for G’Day USA celebrations, including a showcase in LA. The international component of the scholarship in partnership with the Australian Theatre Company, and the relationships fostered through the industry showcases at home and abroad were simply invaluable to an emerging theatre-maker like myself. ” Thomas De Angelis

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REBEL WILSON SCHOLAR SHIP With an abundance of talented young women pitching incredibly exciting projects, Rose Byrne also had a tough job narrowing down the list for the ‘Rose Byrne Scholarship for Emerging Female Leader in the Arts’. However, after careful consideration she selected NSW producer, director, writer and performer Julia Patey as her winner. “It’s with great pleasure I award the Rose Byrne Scholarship for an Emerging Female Leader in the Arts to Julia Patey. Her pitch featured a seriously ambitious and inspiring project, demonstrating her drive and passion as a young artist and her dedication to helping other artists achieve their potential. I wish her well for the year ahead and look forward to seeing what she achieves with the support of the ATYP team. Once again, making a decision on a recipient for the second year of the Scholarship was very difficult. The standard was incredibly high, providing a reassurance that there are plenty of talented, motivated and ambitious young women working in the arts sector. ” Rose Byrne

SCHOLARSHIP WINNERS JULIA PATEY AND THOMAS DE ANGELIS ON THE RED CARPET OF THE G’DAY USA GALA WITH ATC ARTISTIC DIRECTOR NICK HARDCASTLE

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WORK SHOPS HOLIDAY WORKSHOPS 2017 saw the workshop team continue to deliver an incredibly high standard of holiday workshops throughout the year. It remains the most common entry point to the company for young people. Participation numbers increased by over 10%, our loyalty numbers (return customers) went up nearly 20% and scholarship places were up 35%. Our standard of tutors continues to impress with the number of professional artists (many of whom are award winners) willing to share their experience and pass on their knowledge, continuing to be one of the programâ&#x20AC;&#x2122;s greatest drawcards.

SEMESTER ENSEMBLE WORKSHOPS Semester Ensembles are an incredibly vital part of ATYP. Having contact with their drama class, tutors and classmates on weekly basis gives these young people a sense of ownership of both the company and the performances they create. Our loyalty numbers (return customers) increased by 14.5% across the year. The success of the Theatre Makers program, which connects our writing and workshop program, continues to be an attractive option for young people. Our weekly 18+ courses (which barely existed 4 years ago) have found a regular audience and continue to grow in popularity.

The holiday workshop program provides an entry point for children and young people interested in theatre and performance regardless of their level of experience. Each workshop builds skills and enables young people to put their own ideas on stage. It also gives young people access to working with and connecting with professional artists.

Semester Ensembles give young people the opportunity to participate in weekly workshop programs. The Ensembles build skills in performance, develop confidence and self-esteem and encourage creative thinking and problem solving. Each ensemble works towards a performance at the end of the semester, shown in ATYPâ&#x20AC;&#x2122;s Studio 1 to an audience.

Workshop facilitators 82 Trainee facilitators 52 Paid participants 1025 Scholarships 90 Programs 82 Individual Workshops 366 Individual attendances 4843

Workshop facilitators 44 Paid enrolments 501 Scholarships 18 Programs 34 Individual workshops 528 Individual attendances 8192 Performances 72 Audiences 1622

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THE PROFESSIONAL SERIES The Professional Series continues to be our best point of access between ATYP and the industry for our 18+ participants. The quality of our tutors continues to be of the highest standard in the country with Artistic Directors, award-winning actors and Directors giving their time, sharing their experience and being associated with the company. Character Creation 29-30 April Josh McConville (Award-winning actor) The Devising Process 27-28 May Kate Champion (Award-winning director and founder of Force Majeure Dance Theatre) Monologue Technique 9-10 September Robert Jago (Workshop Manager ATYP) Creative Development 25 September Robert Jago (Workshop Manager ATYP) Tutors 03 Paid enrolments 40 Scholarships 04

SPECIALIST WORKSHOPS One of the great relationships formed last year was between ATYP and Savills Australia in our corporate training sphere. ATYP tutor and respected industry actor Emma Palmer developed and designed two courses on Leadership and Fierce Conversations. Four conversations were rolled out in 2017 and the program will continue with Savills in 2018, this time at a national level. Number of Workshops 04 Number of Participants 36

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LEARN ING In 2017 ATYP learning programs directly engaged 3,583 students and young people and 223 teachers, had 106 unique engagements with schools, provided 160 workshops and 04 public performances, created 120 jobs for artists, and partnered with 09 government, community and arts organisations. PRODUCTIONS Schools audiences in 2017 were as follows: Students 853 Teachers 58 Schools 21 Total audience 911 Each schools matinee performance is followed by a special Q&A with the cast and creative team, led by ATYP Learning staff. This department also creates bespoke resources to accompany each production, providing tools to assist teachers in unpacking the themes and issues of the play in their classroom. Q&Aâ&#x20AC;&#x2122;s 14 Online resources 08 Resource views 1,926

LIVE STREAMS In 2017 ATYP Learning Programs: In 2017 ATYP, in partnership with Tilt Vision, live streamed two performances: Intersection and Wonder Fly. Live Streams 02 Students 394 Teachers 14 Total Online Audience 911 The Homeroom Series double bill was live streamed by The Arts Unit as part of the partnership agreement between the two companies. Owing to there being no formal registration in their streaming process, the viewing figures for this are not known. The stream was made available for free to all government schools in NSW. WORKSHOPS Learning workshops are available ondemand and enable students to take a deep dive into a chosen topic of study. They are closely linked to curricula and/ or ATYP performances and are delivered either in schools or at an ATYP venue. Student participants 2002 Teachers 140 Workshops 103

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WORK EXPERIENCE ATYP offers an immersive work experience program for enthusiastic drama and entertainment students. We also offer voluntary internships for tertiary students. Each placement is specially created for each student and corresponds with ATYP productions or times of high-activity to ensure the experience is highly practical and stimulating. Work experience 10 Work placement 07 Interns 05 FOUNDATION COMMISSION JUNIOR SCHOOLS PARTNERSHIP The ATYP Foundation Commission Schools Partnership provides a unique opportunity for students to step inside the creative development of a play. It connects schools to a playwright, a team of creative professionals and a brand new Australian play at every stage of the writing and production processes. The 2017 Foundation Commission play was Wonder Fly by Nick Atkins. Schools 03 Students 98 Teachers 08 Workshops 04 Video conferences 02 Online activities 03

FOUNDATION COMMISSION SENIOR SCHOOLS PARTNERSHIP Accompanying the inaugural Foundation Commission play for teenage actors, ATYP Learning created a creative development program that involved high school students in a similar way as with the 1013 commission. We partnered with the ASPIRE Catholic schools arts extension program to provide a series of practical workshops and online activities that enabled students to contribute their ideas to the evolution of the show. Schools 20 Students 04 Teachers 04 HOMESCHOOL ENSEMBLES ATYP Learning provides a weekly drama workshop program for homeschooled students. These workshops help students build confidence and self-expression while learning new skills linked to primary Creative Arts and secondary Drama curriculum outcomes. Students enrolled 86 Workshops 32

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“Just wanted to send you a massive THANK YOU for a truly excellent morning of engaging, informative, and (above all) fun theatremaking. Yve’s workshop exceeded our expectations, and was a real highpoint for many of our students. We did numerous workshops around Sydney throughout the week, but I can say with confidence that ATYP blew the rest out of the proverbial water. ATYP is an incredibly valuable resource for young performers, and I hope its new home (wherever that may be!) allows you to continue providing superlative experiences for students and young adults alike. ” Jack Richardson, Teacher

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DJURALI (GROW) MIDDLE YEARS TRANSITIONS PROGRAM 2017 was the final year of the Djurali program. Running continuously for eight years, it had changed greatly over time to accommodate the demands of a changing education sector. A final evaluation of the program was carried out by arts research company, Patternmakers. This evaluation forms part of the case-study in their report ‘ATYP Impact Evaluation: Exploring the impact of Youth Theatre on the Mental Health and Wellbeing of Young People.’ Students 10 Teachers 01 Workshops 04 Performances 01

KIDSXPRESS THEATRE ACCESS PROGRAM Continuing the successful partnership that began in 2015, ATYP and KidsXpress partnered to provide a performance and workshop program for students in Western Sydney experiencing intergenerational trauma and serious disadvantage. This year the program was provided to Miller Public School around our production of Wonder Fly. ATYP provided a series of workshops unpacking the themes of the show, as well as complimentary tickets and a post-show Q&A. This life-changing program, including costs associated with transporting and feeding students, was made possible thanks to philanthropic support from the Matana Foundation. Students 46 Teachers 02 Workshops 06

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FOLLOW ME HOME PARTNERSHIP WITH ACYP ATYP Learning contributed to the development of the Follow Me Home project by co-convening - with Advocate for Children and Young People NSW, (ACYP) - a series of songwriting workshops with homeless young people in regional NSW. Led by musician Kerry Digby and playwright Lewis Treston, the sessions were designed to help participants share their experiences of homelessness through music and song. Young people 23 Workshops 03 ATYP & SYDNEY FESTIVAL SUMMER RESIDENCY WEEK From 16-20 January, in partnership with Sydney Festival, ATYP welcomed 39 young performers aged 16-18 from across NSW to Sydney for a week-long residency. These young artists spent their days in workshops led by ATYP tutors, including Artistic Director Fraser Corfield, and their nights attending festival performances. On the final day the students performed an original work for an audience of family and friends at ATYP. Sydney students 15 Regional NSW students 24 Workshops 05 Performances 01 Events attended 04

BEAR COTTAGE SENIOR SIBLING CAMP For the first time ATYP joined forces with Bear Cottage to provide a unique theatrical experience for young people who have or have had a sibling at the cottage. Bear Cottage is a childrenâ&#x20AC;&#x2122;s hospice in Manly that provides paediatric palliative care in a warm, comforting environment. Across two days participants learned about theatre devising and performing, and presented their own Bear Cottage story for an audience of family and friends at the end of the final day. Young people 10 Workshops 02 Performances 01 CONFERENCES In 2017 ATYP Learning successfully expanded into the international space when we were invited to present at the SDEA conference in Singapore. We presented a Pecha Kucha about our Foundation Commission Schools Partnerships. Delegates from around the Asia-Pacific region included educators, students and theatre practitioners. Feedback demonstrated that 100% of delegates found our sessions informative and enjoyable. Conference presentations 02 Attendances 02 Collateral sent 02

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DEVELOP MENT ATYP is a not-for-profit organisation that is reliant on philanthropic support for the advancement of the company, and funding core programs that keep ATYP accessible and affordable for all young people. The support of our community of individual donors is critical to success, viability and evolution, and we are most grateful for donations we received through our Annual Appeal and fundraising events throughout the year. Australian Theatre for Young People warmly acknowledges the support of the Fundraising & Philanthropy Committee and Parents’ Committee who generously provide their time, advice and assistance to the company’s advancement activities. ATYP FUNDRAISING AND PHILANTHROPY COMMITTEE Chairman Nick Jaffer Board Members Fraser Corfield Sophie Lieberman Mark Warburton Committee Members Sharlene Dadd Andrew Deane Bonnie Leigh-Dodds Amy Maiden ATYP PARENTS COMMITTEE Trish Barry Kylie Brennan Richard Rasker Nicole Webb

STEWARDSHIP In 2017, we acknowledged our supporters at ‘Thank You’ events held on 15 February at Intersection, and on 24 August for the Dignity of Risk co-production with Shopfront Arts. FUNDRAISING ACTIVITIES Annual Appeal March-June 2017 The 2017 Annual Appeal raised money to support the purchase of new computer equipment for ATYP staff, increased electronic data storage and security, and the cost of installation, equipment configuration and other IT support. Donors 165 Amount Raised $130,977 ATYP acknowledges the matching funds of $50,000 received from Creative Partnerships Australia through their Plus 1 Matching Fund initiative. Program Fundraising • Celebrity Play Reading of Wonder Fly by Nick Atkins. 94 guests at ATYP on 12 September, 2017. • • The Final Countdown fundraiser 90 guests at Simmer on the Bay on 12 October 2017. Together these fundraising events raised $54,317.50 to support ATYP’s Scholarship Fund, and included $26,932.50 in matching funding from the Macquarie Group Foundation.

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Adèle Jeffreys Memorial Fund It was with great sadness that we said goodbye to our beloved colleague, Learning Manager Adèle Jeffreys, who passed away in November after a courageous battle with cancer.

GRASSROOTS FUNDRAISING In June and December, 2017, ATYP ran sausage sizzles and cake stalls held around the end-of-semester workshop showings. Funds raised from both weekends was supported 5 ATYP scholarships.

In her memory and with her family’s blessing, ATYP created the Adèle Jeffreys Memorial Fund in November 2017 to ensure young Australians have access to transformational theatre experiences that entertain, inspire, and help them learn. Adèle’s legacy will continue through this fund, which is supported and managed by ATYP. In 2017 this fund raised $ 16,065.00 from 49 donors, and continues to grow.

June 2017 Amount Raised $1,010

The Fund will be used to establish a permanent creative space in ATYP’s new home being built on Pier 2/3, where young people and professional artists can apply the processes and philosophies that Adèle developed for interactive and participatory learning experiences. Production Support The ATYP Producers’ Circle The Producers’ Circle was created in October, 2014, and launched on 2 February, 2015. The Circle is a special group of donors investing in the Company’s mainstage productions. Donors 11 Amount Raised $35,000

December 2017 Amount Raised $1,120.50

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MARKET ING ATYP is committed to reaching out to and growing our audiences, participants and broader community each year. This effort is rewarded by building a group of supporters which became advocates of our productions, workshops, writing and education programs. With a targeted and strategic marketing and communication plan, the Marketing team at ATYP endeavours to grow this audience every year through engagement via our website, multiple social media platforms and written communication that lead to the most important connection we offer, faceto-face experiences in the theatre, in workshops and in schools. In 2017, ATYP partnered with PR organisation The Impact Agency to find out more about our audiences. After months of data analysis and in-depth interviews, the team at Impact delivered a comprehensive report identifying our six main customer personas, information around their ticket and workshop buying habits and other key identifiers. This report and ongoing guidance and advice has allowed the marketing team to better target messages to both our existing and potential audiences. PRODUCTIONS AND WORKSHOPS In what would be our last season of productions in our Studio 1 theatre over 4,780 people attended performances of ATYP productions in Sydney, including our Cameo performances at the venue. Throughout the year we hosted over 6,860 people in our 90-seat theatre, including both paid and complimentary audiences.

To showcase the 2017 season, ATYP created an eye catching, dramatic and boldly visual art style for the annual brochure and season collateral capturing the excitement and originality of each work programmed. These images were used successfully across the year for all promotional materials. The main performance season was an exciting mix of new initiatives and audience favourites. In January, the artistic team introduced Intersection, the new incarnation of the popular Voices Project featuring a cast of over 14 actors aged 16-22. The Homeroom Series in May was also a new program with a double bill of works presented by ATYP, The Arts Unit and Newington College. Both seasons were well attended, introducing the company to new audiences. The campaign for Oedipus Doesnâ&#x20AC;&#x2122;t Live Here Anymore commenced a with photo shoot of the four young actors to create a fun, street-styled campaign that was used extensively online to great effect. Across three months leading to a performance season in August, ATYP was proud to collaborate with Shopfront Arts to create the new work, Dignity of Risk. The campaign featured interviews with that cast throughout the rehearsal process as they devised the show, giving audiences an exclusive inside view of the creative process.

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Our popular school holiday workshop program promotions continued with fresh, seasonal themes, this year cheekily adding the figure of workshop manager Rob Jago into each campaign. 90% of the workshop campaigns are promoted via digital content across various channels including our website, social media platforms and direct mail with excellent engagement from target audiences. Run-of-site advertising on the Essential Kids website, Time Out Sydney and with AdRoll campaigns continue to elicit strong responses and are supported by an integrated direct mail campaign run in collaboration with the Workshops department. ATYP continues to work hard analyzing audience response and adjusting our messaging to make sure our fantastic workshops are accessible to young people across the country. MEDIA Campaigns in the latter half of 2017 leveraged the information gained from The Impact Agency research. Targeted use of digital campaigns for both the Production and Workshop programs continued to reach new and broader audiences. Refined targeting in paid advertising across social media platforms Facebook, Twitter and Instagram reached engaged audiences and assisted in ticket sales across all departments. Our Facebook following increased 11% from 9,836 to 10,967 adding an average 94 likes per month. Twitter also continued to grow ending the year with 7,973 followers. The biggest increase for the third year running was Instagram, increasing followers by nearly 37% in the twelve months to December, ending with 3,591 followers.

Our website continues to be the most important channel for our community to find out about productions, events, classes and programs, book tickets and workshops and access information about the company. ATYP received excellent media coverage throughout the year highlighted with two feature stories on ABCâ&#x20AC;&#x2122;s Lateline program for Girls Like That and Dignity of Risk. All productions, including the Cameo season, received feature articles and reviews.

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ARCHIVE S ATYP established its in-house corporate archives in early 2003, remarkably only the second performing arts company in Australia to do so. Even though the company had worked out of numerous premises prior to settling at The Wharf in 1996, an unlikely amount of archival material had survived all the moves - had been collected, boxed and stored - and Management at the time wanted to use it to showcase the history of the company, to support the 40th Anniversary celebrations planned for later that year. A decision was made to employ an archivist to survey, sort and arrange the material so that staff and Board members could easily source information and evidence of ATYP operations. The collection comprises records of governance, administration, promotion, production and participation, accross varied media.

Primary-source material supports the operations of all departments and their activities, including providing documentary evidence for website and social media accountsâ&#x20AC;&#x2122; content, input of company history to decision-making and for connecting with past participants. Databases of all productions and personnel, dating from inception of the company, containing information about events and plays mounted, and lists of casts, creative artists, tutors, staff and Board members are maintained. An oral history project was commenced in 2013, with interviews of significant people connected with the company conducted by Oral Historian, Dr Margaret Leask; and the vital process of digitising the collectionâ&#x20AC;&#x2122;s analogue photographs continues. As the company counts the days to moving to yet another premises in 2018, the decision in 2003 to safeguard ATYPâ&#x20AC;&#x2122;s corporate memory has proved to be a sound investment.

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THE ATYP TEAM Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Emma Murphy Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshops Manager Robert Jago Education Manager AdĂ¨le Jeffreys (until November) Production Manager Lauren Makin (until October) Ray Pittman (from December) Resident Dramaturg Jennifer Medway (until August) Jane FitzGerald (from September) Education Co-ordinator Rowan Bate Finance & Operations Co-ordinator Chrissy Riley (until January) Francesca Hendricks (from February) Marketing & Development Co-ordinator Bonnie Leigh-Dodds (until December) Marketing Co-ordinator & Graphic Designer Justin Stambouliah Administration Assistant Claudene Shoesmith Resident Technologist Daniel Andrews Archivist Judith Seeff

Writer-in-Residence Tasnim Hossain Rebel Wilson Scholarship Recipient Thomas De Angelis Rose Byrne Scholarship Recipient Julia Patey ATYPicals Katy Avery Lucy Bailey Asha Boswarva Georgia Brindley Andrew Brophy Cait Burley Nathalie Fenwick Holly Fraser Kylie Harris Elodie Jakes Laura McInnes Will Thomas

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PARTNERS AND SUPPORT ERS Government Australia Council for the Arts ANZAC Centenary Arts & Culture Fund Create NSW City of Sydney Australian Theatre for Young People is assisted by the NSW Government through Create NSW; and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. Addition project funding was received from the Federal Ministry for the Arts and the City of Sister. Australian Theatre for Young People wishes to gratefully acknowledge the continuing support of the atyp Foundation. The capital funds raised through the Foundation help build a sustainable financial platform on which the Australian Theatre for Young People can thrive.

Foundations Andrew Thyne Reid Foundation ATYP Foundation The Greatorex Foundation Baly Douglass Foundation BBM Youth Support Bird Holcomb Pty Ltd Foundation James N. Kirby Foundation Copyright Agency Creative Partnerships Australia Limb Family Foundation Macquarie Group Foundation EFS Foundation Matana Foundation for Young People Graeme Wood Foundation Seaborn, Broughton & Walford Foundation Yim Family Foundation

Patternmakers Fit Sponsorship Good Egg Creative Pty Ltd PwC Tilt Vision Haymes Paint Walsh Bay Arts and Commerce Corporation

Companies Camp Sugar Productions King & Wood Mallesons Carnivore Films Losane Pty Ltd Rebelstudio Mullinars Casting Consultants IMPACT Agency Optimiste Wines Fishy Productions

Producersâ&#x20AC;&#x2122; Circle Donors Antoinette Albert Alexandra Holcomb & Andrew Bird Libby & Robert Albert AO RFD RD Tim Kennedy Martin Dickson AM & Susie Dickson Rebel Penfold-Russell OAM Nancy Fox & Bruce Arnold

Individual Donors ATYP is very proud to acknowledge the financial support and encouragement received from individual donors. Our generous donors have contributed to the company and its programs throughout 2017. Their continued support is essential for the advancement of the company.

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Guardians ($50,000+) Susan Maple-Brown AM Graeme Wood AM

Allies ($500-$999) Nicole Abadee & Robert Macfarlan Sally Collier Colin Cornish Indrajit & Madhulika Ghosh Mark & Sandra Johnson Janine Lapworth & Toby Roberts Derek Minett & George Dodd Danielle Manion & Damian Sturzaker Cheri Stevenson Rene Thomas Tom & Denise Yim

Guardians ($10,000+) Rose Byrne Martin Dickson AM & Susie Dickson Michael Ihlein & Gosia Dobrowolska Karen Loblay AM Robert Rich Rebel Wilson Superstars ($5,000-$9,999) Robert Albert AO RD RFD & Libby Albert Antoinette Albert Ruth Armytage AM Nancy Fox & Bruce Arnold Graham & Glynn O’Neill Rebel Penfold-Russell OAM Mark & Jacqueline Warburton Champions ($1,000-$4,999) Alison Baly & Stephen Hawkins Dr Ron Baumann Angela Bowne SC Andrew & Kate Buchanan Andrew Deane & James Buck Jr Sean Denney John Fairfax AO Monique Farmer Nick Jaffer Dr Sophie Liberman Carina Martin Dr David Nguyen John & Susannah Penton Greeba Pritchard Olev Rahn & Jillian Broadbent AO Edward & Anne Simpson Jane Westbrook & Mark Ramsden Simon Webb & Sally Anderson

Buddies ($200 to $499) Alan Blinder Ali Brosnan Penelope Carl-Nelson Bruce Cutler Barry & Sheila Deane Melissa Fleming David Greatorex Victoria Hope Beverley Johnson David Jonas Andrea Kent Eleanore Mattana Juztin McGuire Meg Meldrum Kerry O’Kane & Keith Bradley AM Timothy Regan Michiko Shibaki Ingrid Selene Diana Ware Kristin Williamson & David Williamson AO Andrea Wilson Mitzi Zaphir

Adèle Jeffreys Memorial Fund Helen Addison Malcolm Anderson William & Gay Antonopoulos Nadine Bekavak Rosalind Branson Andrea Browne Monica Brian Julie Carrière Janet Chappell Heather Clark Andrew Deane & James Buck Jr. Andrew Dyson William Elliott Nancy Fox Patricia Freund Peter Giles Rebecca Gregg Vanessa Howie Amy Hardingham Erica Jago Glen Jeffreys James Jeffreys Kate Kennedy Assoc. Prof. Nicole Kessissoglou Michael Kian Amy Matthews Kim McIndoe Peter Millet Hannah Newman Alex Norman Nalan Ozacardi Katerina Papathanasopoulos Simone Parrott Janine Pickering Lucas Pickering Lynne Pickering John Saunders Rebecca Shoesmith Catherine Swallow Paul Sullivan Lisa Sullivan Kellie Southan David Spurgeon Hanna Torsh Juannola Troy Lauren Troy Ashlea Wallington Sarah-Jane White

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ATYP Foundation Supporters The sole purpose of the ATYP Foundation is to provide money, property or other benefits to ATYP for the purpose of advancing, developing and promoting the performing arts.

Andrew Thyne Reid Trust Ruth Armytage AM Miles Armstrong Angela Bowne SC Felicity Atanaskovic Ian Brown Jillian Broadbent AO Michael Carapiet Hilary Caldwell Dixie Coulton & Donald Grieve Phil Costa Chum and Belinda Darvall Richard Cropley Achim & Anthea Drescher Francis Douglas QC & Dr Lisa Cantamessa Carolyn Fletcher AM Estate of the Late Nicholas Enright Mark Hopkinson & Michelle Opie Hal Herron Christopher Johnson Michael Ihlein & Gosia Dobrowolska John King Judith Joye Macquarie Bank Foundation The Late Ann Lewis AO Millenium Pty Limited King & Wood Mallesons Dr Helen Nugent Raymond Nelson Glynn O’Neill James O’Loghlin Frances Roberts Robert & The Late Helen Rich Josephine Walton Ezekiel Solomon AM Jane & Pat Wilde Sarah Whyte Yengarie Pty Ltd Jill Wran David Zobel & Emma Lee Ross Youngman & Veronica Espaliat

ATYP Foundation Advisory Committee Angela Bowne SC Chair Antoinette Albert Michael Ihlein Robert Rich (until February 2017) Mark Warburton Schedule of voting donors At 31 December 2017 the following organisations and individuals have obtained the status of voting donor. Antoinette Albert Robert O. Albert AO RFD RD Albert Investments Andrew Thyne Reid Trust Ruth Armytage AM Chum Darvall AM Estate of the Late Nicholas Enright Carolyn Fletcher AM Henry Herron Peter Hunt Michael Ihlein & Gosia Dobrowolska Millennium Pty Ltd King & Wood Mallesons Robert Rich Graham O’Neill Ezekiel Solomon AM Robert Salteri Jill Wran Turnbull Foundation Schedule of founding donors Robert O. Albert AO, RFD, RD Antoinette Albert Albert Investments

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FINANCIAL S

Australian Theatre for Young People ABN: 24 000 816 704 Annual Report for the year ended 31 December 2017

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Corporate information ABN 24 000 816 704 DIRECTORS OF THE PARENT ENTITY Simon Burke AO (from 27/11/2017) Fraser Corfield Sean Denney (from 15/01/2017) Monique Farmer Nancy Fox Fiona Hunt (until 06/02/2017) Nina Kilpinen (from 30/10/2017) Nick Jaffer Janine Lapworth Sophie Lieberman (until 26/02/2018) John Penton (until 26/02/2018) Chris Puplick AM (from 16/02/2018) Edward Simpson (until 07/08/2017) Mark Warburton (Chair) Simon Webb Natasa Zunic (until 29/01/2017) FOUNDATION ADVISORY COMMITTEE Antoinette Albert Angela Bowne SC (Foundation Advisory Committee Chair) Robert Rich Mark Warburton COMPANY SECETARY Amy Maiden REGISTERED OFFICE AND PRINCIPAL PLACE OF BUSINESS The Wharf, Pier 4/5 Hickson Road Walsh Bay NSW 2000 AUDITORS PricewaterhouseCoopers Chartered Accountants

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors' report Your directors present their report on the consolidated entity consisting of Australian Theatre for Young People Limited (ATYP) and the entities it controlled at the end of, or during, the year ended 31 December 2017. Throughout the report, the consolidated entity is referred to as the Group. INFORMATION ABOUT THE DIRECTORS The names and particulars of the directors of the company during and since the end of the financial year are: Date of Appointment Simon Burke AO Fraser Corfield Sean Denney Monique Farmer Nancy Fox Fiona Hunt Nick Jaffer Nina Kilpinen Janine Lapworth Sophie Lieberman John Penton Chris Puplick AM Edward Simpson Mark Warburton Simon Webb Natasa Zunic

27-Nov-17 26-May-09 15-Jan-17 30-Mar-15 1-Jul-11 16-Feb-15 16-Feb-15 30-Oct-17 21-May-12 30-Mar-15 16-Feb-15 12-Feb-18 16-Mar-10 02-May-16 11-Nov-11 23-Aug-12

Date of Cessation

6-Feb-17

26-Feb-18 26-Feb-18 7-Aug-17

29-Jan-17

Board Meeting A 1 6 6 6 6 6 1 6 6 6 3 6 6 -

B 6 6 4 4 5 1 6 4 4 1 5 2 -

Finance Committee A 6 6 6 -

B 5 5 6 -

A Number of meetings held during the time the director held office during the year B Number of meetings attended Details of director’s qualifications, experience and special responsibilities can be found on page 6 of this report. STATEMENT OF PURPOSE Australian Theatre for Young People is the national youth theatre company. We exist to connect young people with the professional theatre industry, locally, regionally and nationally. It’s the principle on which the company was founded in 1963. It’s what drives us today. ATYP exists to help young people find their voice and together, inspire all Australians. We believe that an involvement in theatre builds better people. Theatre develops confidence, creativity and community. It challenges us to reflect on and better understand ourselves and our society. Young people are a vital part of that society.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors’ Report continued STRATEGIC GOALS 2016-2020 1. Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. 2. Deliver accessible opportunities for young people to work with and better understand professional artists and their practice. 3. Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. 4. Strengthen and celebrate the Australian Youth Arts community. PRINCIPAL ACTIVITIES FOR THE YEAR The principal activities undertaken by ATYP to meet its 2017 goals included: GOAL ONE: Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. ATYP presented a production featuring 6 international youth theatre companies to devise Patrice Balbina’s Chance Encounter With The End Of The World and in Johannesburg, South Africa at the ASSITEJ World Congress Won a Sydney Theatre Award for the production Dignity of Risk, a coproduction with Shopfront Arts Won a glug award for Intersection that champions both young artists and playwrights.

GOAL TWO: Deliver accessible opportunities for young people to work with and better understand professional artists and their practice. Conducted drama workshops in 25 different locations around the country, delivering school holiday, after school production and writing workshops to over 30,000 young people Employed 130 professional artists to connect with young people through our workshop, education and writing programs Provided 23 work experience and internship positions to teenagers and young adults looking to learn more about a professional theatre company.

GOAL THREE: Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. Live streamed three productions to schools and children’s hospitals in regional and remote areas of Australia, providing cultural experiences to audiences who would otherwise be unable to access. Created interactive online educational resources that were accessed 7,036 times by the end of 2016 Connecting with our community through the ATYP website that received 272,493 hits over twelve months.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors’ report continued GOAL FOUR: Strengthen and celebrate the Australian Youth Arts community. Showcased and celebrated the work of three different companies in our theatre space through ATYP’s CAMEO season Attended and lead sessions at the National Youth Theatre Summit hosted by the Australia Council Facilitated three national teleconference meetings to bring the sector together and discuss issues associated with advocacy and lobbying as well as facilitated the publishing of a national email to the industry to share updated from the sector. MEMBERS’ GUARANTEE ATYP is incorporated in New South Wales as a company limited by guarantee. In the event of the company being wound up, each member undertakes to contribute a maximum of $10 respectively for payment of the company’s liabilities. As at 31 December 2017 there were 13 members of ATYP and the amount of capital that could be called up in the event of ATYP being wound up is $130 (2016: $120). SIGNIFICANT CHANGES IN THE STATE OF AFFAIRS ATYP is a key tenant of the proposed Pier 2/3 redevelopment. Once completed the redevelopment will provide ATYP with a new 200 seat performance venue, workshop spaces and offices. During the redevelopment ATYP will relocate its operations from the Wharf for two years. SIGNIFICANT EVENTS AFTER YEAR END There have been no matters or circumstances since the end of the financial year, other than those mentioned elsewhere, that have significantly affected or may significantly affect the operations of the Group, the results of those operations or the state of affairs of the Group in subsequent financial years except those noted in Likely Developments and future results below.

LIKELY DEVELOPMENTS AND FUTURE RESULTS The relocation of ATYP activities from Pier 4/5 will result in significant additional costs to the organisation as a result of the dispersal of activities to multiple venues. These costs are being partially defrayed by funding from the Cultural Infrastructure Program Management Office, however it is likely the organisation will record operating deficits throughout the period of transition. The new theatre space, while providing new opportunities for the company to expand the scope and reach of its activities, comes with significant additional operating costs which will provide a challenging operating environment for the group.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors’ Report continued ENVIRONMENTAL REGULATION The consolidated entity is not subject to any particular or significant environmental regulation. INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS Since the end of the previous financial year the company has paid insurance premiums in respect of directors’ and officers’ liability and legal expenses’ insurance contracts for current and former directors and officers, including senior executives of the company. The company has not otherwise indemnified or agreed to indemnify an officer or auditor of the company against a liability incurred by such an officer or auditor.

AUDITOR’S INDEPENDENCE A copy of the auditor’s independence declaration as required under section 60-40 of the Australian Charities and Not-for-Profit Commission (ACNC) Act 2012 is set out on page 9.

Signed in accordance with a resolution of the directors made pursuant to the Australian Charities and Not-for-Profit Commission (ACNC) Act 2012.

On behalf of the directors:

MARK WARBURTON Chair Australian Theatre for Young People Sydney 4 May 2018

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors' qualifications, experience and special responsibilities Name of Director

Simon Burke AO (Appointed 27 Nov 17)

Fraser Corfield

Sean Denney (Appointed 15 Jan 17)

Monique Farmer

Nancy Fox

Qualifications

Experience

Acclaimed actor and performer with four decades of experience in AFI (Best Actor) theatre, film , stage and cabaret, AACTA & Logie current Board member Griffin (Most Theatre Company, formerly Outstanding Federal President of Actors Equity Telefeature or 2004-2014 and Vice President of Mini-series) FIA (International Federation of Actors) 2002-2016. Artistic Director, Australian Theatre for Young People and previously Artistic Director of Backbone Youth BA Arts, Riverland Youth Theatre and (Communications) Associate Director of La Boite Theatre and has acted in numerous arts advisory roles. Head of Customer Experience for Westpac Consumer Bank. Previously worked in the finance B.Comm/Law, and property industries in the UK MBA and Australia with leading organisations such as the Macquarie Group and the Virgin Group. Life Editor at Fairfax Media, leading the print and digital editorial teams across entertainment, arts, food, travel, BA parenting, lifestyle and more. (Communications) Formerly Managing Editor, Sections, at The Sydney Morning Herald. Journalist, section editor and editorial manager at Fairfax Media since 1991. Currently board member of Perpetual Limited, HCF Life, and the Taronga Conservation Society Australia and Chairman of BA, Juris Perpetual Equity investment Doctorate in Law, Company. Previously held FAICD numerous senior roles in financial institutions including Managing Director of Ambac Assurance Corporation and Managing Director ABN Amro Australia Limited.

Special duties

Nonexecutive director

Date of Appointment

27-Nov-17

Artistic Director and Chief 26-May-09 Executive Officer

Nonexecutive director

15-Jan-17

Nonexecutive director

30-Mar-15

Nonexecutive director

1-Jul-11

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors' qualifications, experience and special responsibilities Name of Director

Qualifications

Fiona Hunt (Resigned 6Feb-17)

MA, MMgmt, BEd, GAICD

Nick Jaffer

B.Comm (Marketing and Finance), F.Edplus

Nina Kilpinen (Appointed 30 Oct 17)

BE, MEM, MConstrLaw, FIEAust GAICD

Janine Lapworth

BA, LLB

Sophie Lieberman (Resigned 26 Feb 18)

BA Hons 1, PhD (History), UNSW

John Penton (Resigned 26 Feb 18)

B. Commerce (Melb.), GAICD, F Fin

Experience Company Director, Head of Strategy at Mahlab Media. Previously Managing Director - Contiki , Industry Head, Government & Tourism Google, Manager Tourism - Sydney Opera House, Lecturer, School of Business- UTS. President and CEO (Asia Pacific) Global Philanthropic, international fundraising and strategic advisory firm for non-profit sector, arts clients include Sydney Symphony Orchestra, National Library of Australia, Art Gallery of Calgary (Canada) and Royal Birmingham Ballet (UK). Prior roles include Director of Development at University of Sydney. Managing Director Seed Engineering, specialising in the development and delivery of complex civil engineering infrastructure and is a casual academic at the University of Technology, Sydney. Intellectual property and entertainment lawyer. Previously held senior legal positions at the Australian Broadcasting Corporation and at ESPN STAR Sports in Singapore. Head of Programs, Sydney Living Museums; Manager Science Communication, Australian Museum; Lecturer, School of History UNSW; Chair, Sydney Arts Management Advisory Group, Sydney Architecture Festival, Organising Committee, Sydney Leadership Program (2014 alum). Company director, formerly Managing Director ABN AMRO Australia, and Director ABN AMRO Morgans, Craigs.

Special duties

Date of Appointment

Nonexecutive director

16-Feb-15

Nonexecutive director

16-Feb-15

NonExecutive director

30 Oct 17

Nonexecutive director

21 May 12

Nonexecutive director

30-Mar-15

Nonexecutive director

16-Feb-15

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors' qualifications, experience and special responsibilities Name of Director

Qualifications

Edward Simpson (Resigned 7 Aug 17)

BA, LLB

Chris Puplick OAM (Appointed 16 Feb 18)

BA Hons, MA (Syd)

Mark Warburton

B.Economics, CA

Simon Webb

BA (Hons) â&#x20AC;&#x201C; Politics, Philosophy, Economics

Natasa Zunic (Resigned 29 Jan 17)

B.Commerce (Marketing and Finance)

Experience A reformed lawyer and actor, currently an occasional executive producer of feature films, pianist, investor, and Chair of the SLM Foundation. Senior Member, Commonwealth Administrative Appeals Tribunal, Chair NSW Justice Health and Forensic Mental Health Network, Formerly Australia Government Senator (1978-81, 1984-90), formerly President NSW Anti-Discrimination Board and Chair, Australian National Council on AIDS, Hepatitis C and Related Diseases and NSW Privacy Commissioner. 25 years experience in investment banking and corporate finance across Australia, Asia and Europe. Formerly Head of Equity Capital Markets for Asia and Australia for Macquarie Bank. He has also been a member of Belvoir St Theatreâ&#x20AC;&#x2122;s Development Committee since 2013 and was formerly Chairman of the Macquarie Group Foundation in Singapore.. Senior Vice President, Ogilvy, a public affairs, strategic communications and research specialist having worked across the government, private and not-for-profit sectors. General Manager Brand and Marketing Vodafone Hutchison Australia. Demonstrated leadership and management of a number of other Consumer and Retail brands including; KFC, Cadbury, Colgate and Palmolive in Australia, US and the UK. Specialties in 'big brand' development, communications and product innovation in local and global marketing teams.

Special duties Nonexecutive director

Date of Appointment

16-Mar-10

16 Feb 18

Chair and Nonexecutive director from 2 May 2016

2 May 16

Nonexecutive director

11-Nov-11

Nonexecutive director

23-Aug-12

*r pwe Auditor's Independence Declaration As lead auditor for the audit of Australian Theatre for Young People Limited for the year ended 3r December zot7,l declare that to the best of my knowledge and belief, there have been no contraventions of any applicable code of professional conduct in relation to the audit.

This declaration is in respect of Australian Theatre for Young People Limited and the entities controlled during the period.

Sydney 4 May zor8

PricewaterhouseCoopers

PricewsterhouseCoopersrABN gz 7ao 4Sg 757 OneInternationalToLuersSydney,WatermansQuay,Barangqroo,GPOBOXz65o,SYDNEY NSW zoot T : +6t z 8266 oooo, F : +6t z 8266 9999, www.pwc.com.qu Leuel tt, rPSQ, t6g Macquarie Street, Parramatta NSW zt5o, PO Box tt55 Parramatta NSW ztz4 T: +6t z 9659 2476, F: +6t z 8266 9999, wDtD.pwc.com.au Liability limited by a scheme approved under Professional Standards Legislation.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Consolidated Financial Statements for the year ended 31 December 2017

Consolidated statements of comprehensive income

Consolidated statements of financial position

Consolidated statements of changes in funds

Consolidated statements of cash flows

Notes to and forming part of the consolidated financial statements Note 1 – Corporate information

Note 2 – Summary of accounting policies

Note 3 – Performance income

Note 4 – Fees & services

Note 5 – Sponsorship & donations

Note 6 – Other income

Note 7 – Subsidies & grants

Note 8 – Available-for-sale financial assets

Note 9 – Cash and cash equivalents and term deposits

Note 10 – Trade and other receivables

Note 11– Other assets

Note 12 – Property, plant & equipment

Note 13 – Trade and other payables

Note 14 – Employee benefits

Note 15 – Deferred Income

Note 16 – Parent entity note

Note 17 – Designated funds

Note 18 – Related parties and related party transactions

Note 19 – Commitments and contingencies

Note 20 – Charitable fundraising

Directors’ declaration

Independent auditor’s report

These financial statements are consolidated financial statements for the group consisting of Australian Theatre for Young People Limited and its subsidiary the atyp Foundation. The financial statements are presented in Australian dollar ($). Australian Theatre for Young People Limited is a company limited by guarantee, incorporated and domiciled in Australia. Its registered office and principal place of business is: Australian Theatre for Young People Limited, The Wharf, Pier 4/5, Hickson Road, Walsh Bay NSW 2000. The financial statements were authorised for issue by the directors on 4 May 2018. The directors have the power to amend and reissue the financial statements.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Consolidated statements of comprehensive income for the year ended 31 December 2017

Note

2017

2016

Income Performance income

161,606

240,114

Fees & services

606,865

615,495

42,456

59,907

733,880

564,814

Resource income Sponsorship & donations

Other income

36,239

52,816

Subsidies & grants

553,314

380,892

2,134,360

1,914,038

Total Income Expenditure Employee benefits expense

1,472,140

1,639,851

Production costs

265,882

143,596

Marketing costs

123,207

125,376

Infrastructure costs

202,933

208,695

8,113

20,517

2,072,275

2,138,035

62,085

(223,997)

9,570

7,385

71,655

(216,612)

Depreciation expense Total expenditure Net surplus / (deficit) for the year Other comprehensive income Total comprehensive income / (loss) for the year

These consolidated statements of comprehensive income should be read in conjunction with the attached notes

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Consolidated statements of financial position as at 31 December 2017 2017

2016

822,828

370,016

Term deposits

738,595

Trade and other receivables

21,953

22,108

Other assets

74,179

42,041

1,657,555

434,165

ASSETS

Note

Current assets Cash and cash equivalents

Total current assets Non-current assets Term deposits

731,166

Available-for-sale financial assets

205,870

196,300

Property, Plant and equipment

38,342

6,093

244,212

933,559

1,901,767

1,367,724

185,283

94,014

Total non-current assets TOTAL ASSETS LIABILITIES Current liabilities Trade and other payables

Employee provisions

39,930

46,633

Deferred income

698,190

322,165

923,403

462,812

16,144

14,347

16,144

14,347

TOTAL LIABILITIES

939,547

477,159

NET ASSETS

962,220

890,565

(75,357)

(63,275)

Total current liabilities Non-current liabilities Employee provisions

Total non-current liabilities

FUNDS Retained earnings Capital fund

1,009,370

atyp Foundation revenue fund

(42,375)

(51,841)

Capital campaign reserve

64,701

5,870

(3,700)

962,220

890,565

Asset revaluation reserve Settlement

These consolidated statements of financial position should be read in conjunction with the attached notes

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Consolidated statements of changes in funds

These consolidated statements of changes in funds should be read in conjunction with the attached notes

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Consolidated statements of cash flows for the year ended 31 December 2017

2017

2016

1,850,424

1,740,385

876,358

502,504

20,641

30,415

(2,257,825)

(2,319,882)

489,598

(46,577)

11,005

13,074

100,000

Payments for property, plant & equipment

(40,362)

(4,655)

Net cash used in from investing activities

(29,357)

108,419

Proceeds from financing activities

166,856

Payments from financing activities

(7,429)

Net cash provided/(used) by financing activities

(7,429)

166,856

Net change in cash and cash equivalents

452,812

61,842

Cash and cash equivalents, beginning of year

370,016

228,697

822,828

370,016

Note Cash flows from operating activities Cash received in the course of operations Receipts from subsidies and grants Interest received Payments made to suppliers and employees Net cash provided by operating activities Cash flows from investing activities Dividends and distibutions Proceeds from sale of financial assets

Cash flows from financing activities

Cash and cash equivalents, end of year

The cashflows are inclusive of goods and services tax where applicable These consolidated statements of cash flows should be read in conjunction with the attached notes

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the financial consolidated financial statements 1

CORPORATE INFORMATION

These financial statements are consolidated financial statements for the group consisting of Australian Theatre for Young People Limited (ATYP) and its only subsidiary atyp Foundation (the “group”). ATYP is a company limited by guarantee, incorporated and domiciled in Australia. 2

SUMMARY OF ACCOUNTING POLICIES

Basis of preparation

These general purpose financial statements have been prepared in accordance with the requirements of the Australian Charities and Not-for-Profit Commission (ACNC) Act 2012, Australian Accounting Standards – Reduced Disclosure Requirements (RDR), and interpretations issued by the Australian Accounting Standards Board. ATYP is a not-for-profit entity for the purpose of preparing the financial statements. The consolidated financial statements of the ATYP group comply with Australian Accounting Standards – Reduced Disclosure Requirements as issued by the Australian Accounting Standards Board (AASB). b)

Basis of consolidation

The consolidated financial statements incorporate the assets, liabilities and results of entities controlled by ATYP at the end of the reporting period. A controlled entity is any entity over which ATYP has the power to govern the financial and operating policies so as to obtain benefits from its activities. Control will generally exist when the parent owns, directly or indirectly through subsidiaries, more than half of the voting power of an entity. In assessing the power to govern, the existence and effect of holdings of actual and potential voting rights are also considered. In preparing the consolidated financial statements, all inter-group balances and transactions between entities in the consolidated group have been eliminated in full on consolidation. Accounting policies of subsidiaries have been changed where necessary to ensure consistency with those adopted by the parent entity. c) Basis of measurement The financial statements have been prepared on a historical cost basis, except for available-for-sale financial assets which are measured at fair value. d)

Significant accounting judgements, estimates and assumptions

The preparation of financial statements requires management to make judgments, estimates and assumptions that affect the application of policies and reported amounts of assets, liabilities, income and expenses. The estimates and associated assumptions are based on historical experience and other various factors that are believed to be reasonable under the circumstances, the results of which form the basis of making the judgments. Actual results may differ from these estimates. The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period or in the period of the revision and future periods if the revision affects both current and future periods.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements Significant accounting estimates and judgments The key estimates and assumptions that have a significant risk of causing material adjustment to the carrying amount of certain assets and liabilities within the next annual reporting period are: Provision for employee benefits Provisions for employee benefits payable after 12 months from the reporting date are based on future wage and salary levels, experience of employee departures, and periods of service, as discussed in Note 2(e). The amount of these provisions would vary should any of the assumptions made in calculating the provision had to be changed. e)

Revenue recognition

Revenue is recognised when the group is legally entitled to the income and the amount can be quantified with reasonable accuracy. Revenues are recognised net of the amounts of goods and services tax (GST) payable to the Australian Taxation Office. Revenue from performance income Revenue from performance income is recognised upon delivery of the associated performance. Revenue in respect of performances not yet performed is included in Statement of Financial Position as deferred income under current liabilities. Revenue from fees & services income Revenue from fees and services income is recognised when the service is provided to the customer. Revenue from fundraising Donations Donations collected, including cash and goods for resale, are recognised as revenue when the group gains control, economic benefits are probable and the amount of the donation can be measured reliably. Sponsorship Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed. Interest income Interest income is recognised as it accrues, using the effective interest rate method.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements Government subsidies and grants Grant revenue is recognised in the statements of comprehensive income when the group obtains control of the grant and it is probable that the economic benefits gained from the grant will flow to the group and the amount of the grant can be measured reliably. If conditions are attached to the grant which must be satisfied before the group is eligible to receive the contribution, the recognition of the grant as revenue will be deferred until those conditions are met. When grant revenue is received whereby the group 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 statements of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt. Asset sales The gain or loss on disposal of all non-current assets is determined as the difference between the carrying amount of the asset at the time of the disposal and the net proceeds on disposal. f)

Expenditure

All expenditures are accounted for on an accruals basis and have been classified under headings that aggregate all costs related to the relevant category. Employee benefits expense include all employment related costs such as wages, superannuation, provision for annual leave, provision for long service leave and workers compensation. This category also includes all contracts for labour costs. Production costs include all direct costs associated with the delivery of an artistic program. Marketing costs include all direct costs associated with marketing both the artistic program and the group. Infrastructure costs include all other indirect costs including rental and running costs, and insurance costs. g)

Cash and cash equivalents

Cash and cash equivalents in the statements of financial position comprise cash at bank and on hand and short-term deposits with an original maturity of three months or less. For the purposes of the statements of cash flow, cash and cash equivalents consist of cash and cash equivalents as defined above, net of any outstanding bank overdrafts. h)

Trade and other receivables

Trade receivables are recognised and carried at original invoice amount less an allowance for any uncollectable amounts. Normal terms of settlement vary from 7 to 90 days. The carrying amount of the receivable is deemed to reflect fair value.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements h)

Trade and other receivables

An allowance for doubtful receivables is made when there is objective evidence that the group will not be able to collect the receivables. Bad receivables are written off when identified.

Property, plant and equipment

Property, plant and equipment is stated at cost less accumulated depreciation and any accumulated impairment losses. Any property, plant and equipment donated to the group or acquired for nominal cost is recognised at fair value at the date the group obtains control of the assets. Depreciation Items of property, plant and equipment are depreciated over their useful lives to the group commencing from the time the asset is held ready for use. Depreciation is calculated on a straight line basis over the expected useful economic lives of the assets as follows: 2017 %pa

2016 %pa

Equipment & furniture

10-33

Leasehold improvements

10-20

Impairment The carrying values of property, plant and equipment are reviewed for impairment at each reporting date, with the recoverable amount being estimated when events or changes in circumstances indicate that the carrying value may be impaired. The recoverable amount of property, plant and equipment is the higher of fair value less costs to sell and value in use. Depreciated replacement cost is used to determine value in use. Depreciated replacement cost is the current replacement cost of an item of property, plant and equipment less, where applicable, accumulated depreciation to date, calculated on the basis of such cost. Impairment exists when the carrying value of an asset exceeds its estimated recoverable amount. The asset is then written down to its recoverable amount. For property, plant and equipment, impairment losses are recognised in the statements of comprehensive income. Any part of the asset revaluation reserve attributable to the asset disposed of or derecognised is transferred to general funds at the date of disposal.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements Derecognition and disposal An item of property, plant and equipment is derecognised upon disposal, when the item is no longer used in the operations of the group or when it has no sale value. Any gain or loss arising on derecognition of the asset (calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in surplus or deficit in the year the asset is derecognised. j)

Trade and other payables

These amounts represent liabilities for goods and services provided to the group prior to the end of the financial year which are unpaid. The amounts are unsecured and are usually paid within 30 days of recognition. The notional amount of the payables is deemed to reflect fair value. k)

Deferred income (including Grants in advance and Income in advance)

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 presented as non-current. l)

Employee benefits

Employee benefits comprise wages and salaries, annual, non-accumulating sick and long service leave. Liabilities for wages and salaries expected to be settled within 12 months of balance date are recognised in other payables in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date. Liabilities for annual leave in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date which are expected to be settled within 12 months of balance date are recognised in the provision for annual leave. Both liabilities are measured at the amounts expected to be paid when the liabilities are settled. The liability for long service leave is recognised in the provision for employee benefits and 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 anticipated 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 government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows. m)

Taxation

Income tax ATYP and atyp Foundation are charitable institutions for the purposes of Australian taxation legislation and are therefore exempt from income tax. This exemption has been confirmed by the Australian Taxation Office. Both entities hold deductible gift recipient status.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements n)

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 Taxation Office, in which case it is recognised as part of the cost of acquisition of an asset or as part of an item of expense. Receivables and payables are recognised inclusive of GST. The net amount of GST recoverable from or payable to the Australian Taxation Office is included as part of receivables or payables. Cash flows are included in the statement of cash flows on a gross basis. The GST component of cash flows arising from investing and financing activities which is recoverable from or payable to the Australian Taxation Office is classified as operating cash flows. o)

Going concern

The financial report has been prepared on a going concern basis, which contemplates continuity of normal trading activities and the realisation of assets and settlement of liabilities in the normal course of business. The groupâ&#x20AC;&#x2122;s continued existence is ultimately dependent upon the success of future productions, development income, workshop income as well as government support. If the group is unable to continue as a going concern it may be required to realise its assets and extinguish its liabilities other than in the normal course of business and in amounts different from those stated in the financial report. The parent entity was successful in obtaining continued recurrent funding for the quadrennium 20172020 with funding increased to $275,000 per year. This follows the increased funding from Arts NSW for the 2016 â&#x20AC;&#x201C; 2018 triennium. This increased level of grant income provides greater certainty for the companyâ&#x20AC;&#x2122;s planning and to achieve its artistic and strategic goals..

Comparative figures

Comparative figures have been adjusted to conform with the presentation of the financial statements and notes for the current financial year, where required.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 3 Performance income Box office Performance fee

2017

2016

111,128

95,697

50,478

144,417

161,606

240,114

4 Fees & services income Education workshops

31,037

63,468

Ensemble workshops

185,637

187,257

Holiday workshops

303,093

288,385

Production workshops

13,950

19,860

Other workshops & fees

73,148

56,525

606,865

615,495

256,961

422,843

5 Sponsorship & donation income Donations Fundraising

66,919

51,971

Sponsorship

30,000

Foundations

410,000

60,000

733,880

564,814

Dividends

11,005

13,074

Interest received

20,641

30,415

6 Other income

Membership Other income

110

4,593

9,217

36,239

52,816

275,000

156,642

6,950

7 Subsidies & grants Australia Council - Operating grant Australia Council - Project grant Create NSW - Operating grant

200,000

175,000

Create NSW - Aboriginal Middle Years

35,000

21,250

NSW Family & Community Services

36,364

City of Sydney

28,000

553,314

380,892

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 8 Available-for-sale financial assets Opening Balance

Additions/ (disposals)

Revaluation (deficit)/ surplus

Closing Balance

196,300 196,300

9,570 9,570

205,870 205,870

288,915 288,915

(100,000) (100,000)

7,385 7,385

196,300 196,300

2017 Shares - Australian listedcompanies at fair value TOTAL 2016 Shares - Australian listedcompanies at fair value TOTAL

Available-for-sale financial assets consist entirely of assets in Australian listed securities. The fair value of listed available-for-sale financial assets has been determined directly by reference to published daily rates listed on the Australian Securities Exchange at balance date. The atyp Foundation as part of the consolidated entity will be subject to market risk as its assets in Australian listed securities will fluctuate with daily market prices.

2017

2016

Cash at bank

822,828

370,016

Short-term deposits

738,595

731,166

1,561,423

1,101,182

9 Cash and cash equivalents and term deposits Current

Non-Current Short-term deposits Total cash and cash equivalents and term deposits

In 2016, $731,166 in short term deposits has been reclassified from current to non-current short term deposits to conform with the presentation in the current financial year.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 2017

2016

Trade receivables

17,666

11,949

Less: Allowance for doubtful debts

(4,612)

(446)

Net trade receivable

13,054

11,503

Imputation credits refundable

1,645

1,585

Interest receivable

7,254

9,020

21,953

22,108

Prepayments

73,629

41,841

Deposits Paid

550

200

74,179

42,041

10 Trade and other receivables

11 Other assets

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 2017

2016

87,825

(87,825)

(85,125)

2,700

279,776

239,414

(241,434)

(236,021)

Total website

38,342

3,393

Total property, plant & equipment

38,342

6,093

12 Property, plant & equipment Leasehold improvements - at cost Accumulated depreciation Total software

Plant & equipment - at cost Accumulated depreciation

Reconciliation of the carrying amounts of each asset at the beginning and end of the current financial year for the economic entity

Carrying amount 1 January Additions Depreciation expense Carrying amount 31 December

13 Trade and other payables Trade creditors Sundry creditors & accruals

Leasehold improvements

Plant & equipment

Total

2,700

3,393

6,093

40,362

(2,700)

(5,413)

(8,113)

38,342

2017

2016

61,340

1,445

123,944

92,569

185,284

94,014

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 2017

2016

34,678

41,835

5,252

4,798

39,930

46,633

16,144

14,347

16,144

14,347

56,074

60,980

200,000

35,000

700

1,565

138,875

137,500

3,000

Total grants in advance

421,140

177,765

Workshop fees in advance

138,414

136,475

Other income in advance

138,636

7,925

698,190

322,165

Current assets

887,148

403,847

Total assets

925,490

409,940

Current liabilities

930,895

458,868

Total liabilities

936,146

473,215

Net liabilities

(10,656)

(63,275)

Retained losses

(10,656)

(63,275)

14 Employee provisions Current Provision for annual leave Provision for long service leave Non-Current Provision for long service leave Total employee provisions

15 Deferred income Create NSW - Operational grant - Djurali - Writers Commissions - Creative Developments Australia Council - Operational grant - Travel grant

16 Parent entity note Information relating to ATYP Limted (the Parent entity): Statement of Financial Position

Statement of profit or loss and other comprehensive income Surplus/(deficit) for the year

52,619

101,630

Other comprehensive income

Total comprehensive income

52,619

101,630

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 2017

2016

(51,841)

(36,214)

44,466

49,373

In support of ATYP productions

(35,000)

(65,000)

Closing balance

(42,375)

(51,841)

Opening balance Transfer from / (to) general funds

1,009,370

1,319,370

In support of ATYP Commissions

(10,000)

In support of ATYP productions

(300,000)

1,009,370

17 Designated funds atyp Foundation revenue funds Opening balance Transfer from / (to) general funds Foundation surplus

Capital fund

Closing balance

The Revenue funds and Capital Fund are reserves of the atyp Foundation established to raise fund and accumulate capital to support the aims of ATYP and its long term financial security. Capital campaign reserve Transfer from / (to) general funds In support of Pier 2/3 Capital campaign

64,701

Closing balance

64,701

The Capital campaign reserve is a reserve where donations received towards ATYPâ&#x20AC;&#x2122;s new home as part of the Pier 2/3 redevelopment are earmarked until required to meet the costs of the redevelopment.

Asset revaluation reserve Opening balance

(3,700)

(11,085)

Change in fair value of AFS financial assets

9,570

7,385

Closing balance

5,870

(3,700)

The Asset revaluation reserve comprises gains and losses relating to available for sale financial assets held in the atyp Foundation.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 18 a)

Related parties and related party transactions Director compensation

The directors act in an honorary capacity and receive no remuneration other than Fraser Corfield who is the Artistic Director of ATYP. b)

Key management personnel compensation

Key management personnel compensation for the year ended 31 December 2017 amounts to $210,047. (2016: $217,065).

Director donations

The total amount of donations received from directors during the year ended 31 December 2017 was $13,500. (2016: $95,467).

Commitments and contingencies

2017 $

2016 $

58,312 58,312

4,416 3,312 7,728

a) Operating lease commitments Non-cancellable operating leases contracted for but not capitalised in the financial statements Payable - minimum lease payments - not later than 12 months - between 12 months and 5 years

(b) Capital expenditure commitments At reporting date the company has entered into contracts for capital expenditure of $0 which have not been provided for in the financial statements. The amounts are payable: - not later than 12 months

The lease commitments relate to the lease of premises, storage space and copier machine

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Notes to and forming part of the consolidated financial statements 20 Charitable fundraising The parent company and its controlled entity hold an authority to fundraise under the Charitable Fundraising Act, 1991 (NSW) and conduct fundraising appeals throughout the year. Additional information and declarations required to be furnished under the Act are as follows: All funds raised from fundraising activities, net of direct costs were applied to the groupâ&#x20AC;&#x2122;s normal operations. The group did not conduct any appeals in which traders were engaged.

Australian Theatre for Young People and its controlled entities ABN 24 000 816 704

Directors' declaration In the opinion of the directors of Australian Theatre for Young People :

1. the consolidated financial statements and notes, as set out on pages 36-53 are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 (the Act), including: i) complying with Accounting Standards and other mandatory professional reporting requirements, and ii) giving a true and fair view of the consolidated entityâ&#x20AC;&#x2122;s financial position as at 31 December 2017 and of its performance for the financial year ended on that date. 2. in the directorsâ&#x20AC;&#x2122; opinion there are reasonable grounds to believe that the consolidated entity will be able to pay its debts as and when they become due and payable; 3. the accounts give a true and fair view of all income and expenditure including with respect to fundraising appeals; 4. the consolidated Statement of Financial Position gives a true and fair view of the state of affairs of the consolidated entity including with respect to fundraising appeals; 5. the provisions of the Charitable Fundraising Act 1991, the regulations under the Act and the conditions attached to the fundraising authority have been complied with by the group; and 6. the internal controls exercised by the consolidated entity are appropriate and effective in accounting for all income received and applied by the consolidated entity including from any of its fundraising appeals.

This statement is made in accordance with a resolution of the board of directors of the parent entity.

MARK WARBURTON Chair Australian Theatre for Young People Sydney 4 May 2018

}

pwc Independent quditor's report To the members of Australian Theatre for Young People Limited

Report on the audit of the financial report Our opinion In our opinion: The accompanying financial report of Australian Theatre for Young People Limited (the Company) and its controlled entities (together the Group) is in accordance with Division 6o of the Au stralian Charities andNot-for-profits Commission (ACNC) Act zorz, including:

(a)

giving a true and fair view of the Group's financial position financial performance for the year then ended

(b)

complying with Australian Accounting Standards - Reduced Disclosure Requirements and Division 6o of the Au stralian Charities and Not-for-profits Commission Regulation zotg.

as at 31 December

zorT and of its

I'Vhatwe haue sudited. The Group financial report comprises:

o r . r . o

the consolidated statements of financial position as at 31 December zorT the consolidated statements of comprehensive income for the year then ended the consolidated statements of changes in funds for the year then ended the consolidated statements of cash flows for the year then ended the notes to the consolidated financial statements, which include a summary of significant accounting policies

thedirectors'declaration.

Basisfor opinion We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described inthe Auditor's responsibilities for the audit of the financial report section ofour report. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for

our opinion.

Independ.ence We are independent of the Group in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board's APES rro Code of Ethics for Professional Accountcnts (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.

PricetoaterhouseCoopers, ABN gz 78o 4SS 757

OneInternationalTowersSydney,WatermansQuay,Barangaroo,GPOBOXz6So,SYDNEY NSW zoot T: +6t z 8266 oooo, F: +6t z 8266 gggg,www.ptDc.com.au Leuel tt, tPSQ, t69 Macquarie Street, Parramqtta NSW zt5o, PO Box tt55 Parramatta NSW ztz4 T: +6t z 9659 2476, F: +6t z 8266 9999,tDwwpwocom.au Liability limited by a scheme approved under Professional Standards Legislation.

I wc Other information The directors are responsible for the other information. The other information comprises the information included in the Group's Annual Financial Report for the year ended 3r December 2oL7, including the Corporate Information, the Directors' report and the Director's qualifications, experience and special responsabilities, but does not include the financial report and our auditor's report thereon.

Our opinion on the financial report does not cover the other information and accordingly we do not express any form of assurance conclusion thereon.

In connection with our audit of the financial report, our responsibility is to read the other information identified above and, in doing so, consider whether the other information is materially inconsistent with the financial report or our knowledge obtained in the audit, or otherwise appears to be materially misstated.

If, based on the work we have performed on the other information obtained prior to the date of this auditor's report, we conclude that there is a material misstatement of this other information, we are required to report that fact. We have nothing to report in this regard.

Responsibilities of the directors

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 andAustralian Charities andNot-for-profits Commission (ACNC) Act zotz andfor such internal control as the directors determine is necessary to enable the preparation ofthe financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or

error.

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

Auditor's responsibilities for the audit of the financial report Our objectives are to obtain reasonable assurance about whether the financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor's report that includes our opinion. Reasonable assurance is a high level ofassurance, but is not a guarantee that an audit conducted in accordance with the Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions ofusers taken on the basis ofthe financial report. A further description of our responsibilities for the audit of the financial report is located at the Auditing and Assurance Standards Board website at: http://www.auasb.gov.au/auditors_responsibilities/ar3.pdf. This description forms part of our

auditor's report.

}

pwe Report on the Requirements of the Charitable Fundraising Act 1991 and the Charitable Fundraising Regulation 2o1S We have audited the financial report of Australia Theatre for Young People Limited as required by Section zq.(z) of the Charitable Fundraising Act r99r. The directors of the company are responsible for the preparation and presentation of the financial report in accordance with the Charitable Fundraising Act 1991 and the Charitable Fundraising Regulation zor5. Our responsibility is to express an opinion on the financial report based on our audit.

In our opinion the financial report and associated records have been properly kept, during the financial year ended 3r Decembet 2or7, in accordance with:

a) b) c)

Sections zo (r), zz (t-z) andz4 (r and g) of the Charitable Fundraising Act 1991; and Sections ro (6) and rr of the Charitable Fundraising Regulation zor5. Money received as a result of fundraising appeals conducted during the financial year ended 3r December zotThas been properly accounted for and applied in accordance with the above mentioned Act and Regulation.

Matters relating to the electronic presentation of the auditedfrnancial report This auditor's report relates to the financial report of Australian Theatre for Young People Limited for the year ended 3r December 2or7 included on Australian Theatre for Young People Limited's web site. The directors of the Company are responsible for the integrity of Australian Theatre for Young People Limited's web site. We have not been engaged to report on the integrity of this web site. The auditor's report refers only to the financial report named above. It does not provide an opinion on any other information which may have been hyperlinked to/from the financial report. If users of this report are concerned with the inherent risks arising from electronic data communications they are advised to refer to the hard copy of the audited financial report to confirm the information included in the audited financial report presented on this web site.

PricewaterhouseCoopers

Sydney 4 May zor8