ATYP 2018 Annual Report by ATYP Theatre

TWENTY EIGHT– EE– N

Annual Report

ATYP

Annual Report 2018

Our Vision Statement of Purpose

Reports Fraser Corfield Mark Warburton

Twenty Eighteen Intersection 2018: Chrysalis Patrice Balbina’s Chance Encounter with the End of the World Impending Everyone Charlie Pilgrim (or A Beginner’s Guide to Time Travel) The Climbing Tree A Town Named War Boy

ATYP Departments Writing Workshops Learning Development Marketing Archives

The ATYP Team Staff Board ATYPicals

Partners and Supporters

Annual Financial Report

OUR VISIO– N To forever raise expectations of what theatre with young people can achieve. 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.

ATYP continues to be guided by four long-term strategies. These provide the holistic thinking that sits across all company activities and discussions. They are: → National Impact Recognise the company’s role as the national youth theatre and ensure programs resonate and impact locally, regionally and nationally.

We do this through four aspirations: 1. Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. 2. Inspire a life-long love of theatre by connecting young people with the professional theatre industry. 3. Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. 4. Lead, strengthen and celebrate the Australian Youth Arts community.

→ 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.

ATYP

Annual Report 2018

ART– ISTIC DIRECTOR Fraser Corfield 2018 will be remembered as beginning one of the most significant periods of change in the 55-year history of ATYP. This was the year the company packed up the Theatre (Studio 1) and the two workshop spaces, along with the offices above Studio 1 and Studio 2, and moved. After 20 years of discussion and negotiation, work commenced on the Walsh Bay Arts and Cultural Precinct. The company has taken up temporary residence as we prepare for our new purpose-built home. This transition took place while ATYP continued to deliver one of the largest artistic programs in the company’s history. For the staff and Board, it was a little like changing the tyres on a car without stopping. The mainstage season included three touring productions. A Town Named War Boy, the critically acclaimed work by Ross Mueller developed in partnership with the State Library of NSW, toured the country thanks to Performing Lines. ATYP’s international collaboration Patrice Balbina’s Chance Encounter with the End of the World was showcased at the Commonwealth Games Cultural Festival on the Gold Coast before travelling to Sydney. And the three-year partnership with Bathurst Memorial Entertainment Centre (BMEC), culminated in a season of The Climbing Tree by Rachael Coopes, which opened to a standing ovation at the NSW Regional Arts Conference in Bathurst before travelling to Riverside Theatres in Parramatta.

Artistically, ATYP continues to grow in reputation and impact. The 2018 collection of short works by emerging playwrights, Intersection: Chrysalis sold out its initial print run by Currency Press and was reprinted. The annual national playwrights’ retreat, the National Studio, received more national applications than ever before and included artists from every state and territory. It was also the year ATYP launched ATYP On Demand, the new online platform for schools and universities. Thanks to support from the Thyne Reid Foundation and a partnership with Frog Education, ATYP On Demand offers students and teachers around the country free access to view productions recorded in high definition. All performances are supported with educational resources and behind-the-scenes content that give unique insights into the way the productions were made. This is a world-leading resource that could take ATYP into every classroom in the country – for free! It has the potential to change the way young people engage with theatre and their national youth theatre company. While the year included many achievements, it must be acknowledged that it was a year of significant challenges. Moving the entire company off The Wharf whilst delivering a full creative program was in itself, difficult. In addition, the company website was hacked in the middle of the year destroying not just the site but access to our Customer Relationship Management (CRM) and ticketing systems. While the datum wasn’t

compromised, the site and CRM were damaged beyond repair. This left the company operating without a website for four months as a new site was constructed.

productions and workshops while rebuilding a completely new website and communicating the largest change to activities in the company’s history to our diverse stakeholders.

Though there had been careful planning, the impact of the move was greater than expected across every area of earned income. There was an immediate drop in holiday workshop and audience attendances as the ATYP community struggled to make the transition to different spaces across the city. We also experienced an unexpected drop in fundraising as conversations with major donors around the Capital Campaign led to a reduction in annual giving to company activity. At the same time negotiations relating to ATYP’s agreement for lease of Pier 2/3 dragged on throughout the year which made it impossible to formally launch the Capital Campaign and secure the funds pledged.

The workshop and education team of Rob Jago, Rowan Bate and Claudene Shoesmith had to cope with the complete upheaval of all activities, negotiating venues and partnerships with organisations across Sydney. Within six months they had understood the challenges of operating remotely and implemented changes to programming and management that saw the company hitting enrolment and income targets and continuing to extend our reach. Indeed all ATYP staff demonstrated extraordinary resilience, patience and commitment throughout 2018. It is an honour to work with such an inspirational group of people.

In the sixteen years I have run performing arts companies I have to confess I would be pressed to identify a year more challenging or exhausting than 2018. The resilience of the ATYP staff was exemplified a few weeks before we moved when, due to an issue with drainage on Hickson Rd, Studio 2 was suddenly flooded with raw sewerage. The circumstance was so dire the room had to be closed for a week, workshops reallocated and staff moved to other spaces while we continued to deliver a show, a workshop program, prepare for end-of-semester performances and the imminent move. At a time when such an incident could have been a cause of high drama the ATYP staff simply took it in their stride. They adapted, adjusted accordingly and kept working. There were unsurprisingly changes to ATYP staff during the year. After three and a half years in the role of General Manager, Amy Maiden saw the company off The Wharf before resigning to take up a position with the Sydney Festival. Likewise, Development Manager, Andrew Deane saw out the year before bringing his five-year tenure to an end. Both worked tirelessly for ATYP and were instrumental in the company’s growth over recent years. We wish them well in their future adventures. I’d like to acknowledge the extraordinary work delivered by all staff throughout the year. The marketing team, lead by Kar Chalmers, was exceptional in continuing to promote the company,

I would also like to acknowledge the continued leadership of the ATYP Board. Chair, Mark Warburton, and the Board needed to be heavily involved in each stage of the negotiations around Pier 2/3 and future financial modelling for when we are in the new venue. I would like to offer particular thanks to Janine Lapworth, Chair of the Pier 2/3 sub-committee, who committed countless hours and expertise, without whose guidance the negotiations around the Agreement for Lease would not have been possible. Likewise Chair of the Finance sub-committee, Sean Denney, and member of both sub-committees, Nina Kilpinen, who were heavily involved in all discussions around financial planning and the development of Pier 2/3. Their generosity and guidance came at a crucial time in ATYP’s history and we are forever in their debt. In January 2019, Mark Warburton announced he would step down from the Board after three years as Chair due to new work commitments. It was a pleasure working with Mark and we are grateful for the hours he committed to ATYP. On behalf of all the staff I thank Mark and all the Board members for their leadership, commitment and support. A huge amount was achieved in 2018. While we anticipate the period of transition will continue for a few years yet, there is no doubt huge obstacles were overcome and the future now is considerably brighter. I look forward to seeing what that future brings.

ATYP

Annual Report 2018

BOARD CHAIR– MAN Mark Warburton It is with great pleasure that I present the Chair’s report for 2018.

Games production of Patrice Balbina’s Chance Encounter with the End of the World.

2018 has been a year of movement, change and challenges for ATYP. There has been a huge effort from all the staff as we moved off The Wharf while our new home on Pier 2/3 is being constructed. In addition to everyone’s “day job” there has been a lot of work involved in preparing for and executing this move all while attempting to hold together the core business of workshops and productions.

The workshops were ably held together by Rob Jago and his team while being moved to various venues around the city.

This disruption has had a direct impact in terms of additional expenses and also in terms of lower revenue from workshops and productions, which suffered as we relocated to various venues across Sydney. This has resulted in a loss for the year of $200,208. The company has worked to recover this situation, and workshops’ attendance have largely returned to their previous levels in 2019. Productions, workshops and operations Our productions in 2018 were held at the SBW Stables Theatre in Darlinghurst while our new theatre is being built, and we are delighted to be presenting our shows in that iconic theatre, home of Griffin Theatre Company, a company that shares our passion for new Australian stories. The artistic highlights of the year were our national tour for A Town Named War Boy, which was seen in thirteen venues over an eight week period, and the Gold Coast Commonwealth

During 2018, we also launched ATYP On Demand, an online learning platform that includes five full filmed recordings of productions from our Live Stream program, all with relevant learning resources. This platform is designed to remove the geographic and economic barriers faced by students and teachers when wanting to engage with the performing arts. We look forward to undertaking research to evaluate the impact of this platform: comparing digital engagement with attendance at the theatre. The company also went through a significant overhaul of our website, CRM and IT system. Finances and funding The company (including the ATYP Foundation) finished the year ending 31 December 2018 with a loss of $200,208 (2017: $71,655 profit). This reflects the challenges the company faced in the move off The Wharf to temporary premises. 2018 / 2017 Sponsorships and Foundations $324,335 / $410,000 Donations and Fundraising $191,939 / $323,880

We are very grateful for the support of a number of foundationâ&#x20AC;&#x2122;s including the James N Kirby Foundation and Graeme Wood Foundation. Total fundraising in 2018 declined as a number of major donors completed their programs in 2017, and we were unsuccessful in our application for matched funding from Creative Partnerships Australia. The company is working hard to replace these donors in a challenging fundraising environment where many smaller arts organisations have lost their government funding. ATYP 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. The ATYP Foundation The ATYP Foundation commissioned two new plays: April Aardvark by Nathaniel Moncrieff (for ages 10-13) The Last Long Walk in the Dark by Alex LeeRekers (for ages 14-17) Board of Directors We have continued our board renewal, with those directors stepping down since the last Annual Report including Deputy Chair Nancy Fox, Simon Webb and Simon Burke. We would like to thank them all for their service, particularly Nancy Fox, who was a Director from July 2011 to August 2018, and Deputy Chair for the last three years. I have also stepped down from the Board after three years as Chair, and Chris Puplick AM has become Acting Chair while a review of the composition of the board is carried out. Staff We would like to thank outgoing staff, General Manager, Amy Maiden, Development Manager, Andrew Deane and Marketing and Learning Co-ordinator, Ruby Conolan-Barrett. We would particularly like to thank Amy for her professional leadership from the beginning of 2015 through a challenging period for the company as we prepared for our new home. We wish her well in her future endeavours. We are thrilled to have been able to attract Amanda Wright as our new General Manager. Amanda is an accomplished leader having joined us from PYT Fairfield, the leading professional

youth theatre company in Western Sydney, where she was General Manager. We also welcome our new Development Manager, Stephen Attfield and Finance Manager, Steve Davidson. Finally, I would like to thank Fraser Corfield for his leadership and continued energy in taking ATYP forward as we navigate our venue upgrade and all the challenges that entails. Fraser has much to be proud of with many artistic successes including our first Helpmann Award, increased touring, increased government funding in an environment where the reverse is the norm and much planning and preparation completed for our new home on Pier 2/3. I would like to thank all the staff, directors, donors, supporters and students at ATYP for such a wonderful experience during my three years as Chair. All three of my daughters have benefited from being students in ATYP workshops and productions, and I will continue to be an advocate for the wonderful work of the organisation.

ATYP

Annual Report 2018

TWENTY EIGHT– EE– N Intersection 2018: Chrysalis Patrice Balbina’s Chance Encounter with the End of the World Impending Everyone Charlie Pilgrim (or A Beginner’s Guide to Time Travel) In Association The Climbing Tree National Tour A Town Named War Boy

ATYP

Annual Report 2018

“This collection of ten short plays by young Australians may be named Chrysalis, but not only does it feature talent brimming with awesome potential, it showcases some surprisingly mature work that is already soaring with splendour. To witness such youthful triumph is indeed breathtaking.”

Liz Hobart Steffan Lazar Alexander Lee-Rekers Samantha Nerida Imogen McCluskey Madelaine Nunn Rhiannon Petersen Julia Rorke David Stewart Phoebe Sullivan Jean Tong Gretel Vella

“Every actor in Chrysalis is compelling and persuasive, all of whom are sensational with the incredible depth and authenticity they put on display.” SUZY GOES SEE “Very funny, very frank” “Director Rachel Chant stitches the program together with an emphasis on vibrancy, pace and sharp transitions – the latter much helped by Tyler Ray Hawkins’ layered design.” AUDREY JOURNAL Intersection is a collection of short plays written by the most exciting young playwrights in the country. A meeting point of young lives travelling very different routes, the production offers a unique snapshot of modern Australia. Critically acclaimed in its first incarnation, it returns to explore the excitement, terror and electricity of being seventeen. 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 seventeen years old in Australia, here and now. Directed by rising star of Sydney theatre Rachel Chant, Intersection 2018: Chrysalis featured an exceptional cast of young actors creating a compelling, complex mosaic of modern life for young Australians. ATYP ontinues the relationship with Currency Press, to publish a book of all the pieces, so they can be performed by young people for years to come. 2017 National Studio Writers Genevieve Atkins Madison Behringer Joseph Brown Michael Andrew Collins Pippa Ellams Stuart Fong Harry Goodlet

Dramaturg Jane FitzGerald Set and Costume Designer Tyler Ray Hawkins Sound Designer Brett Smith Lighting Designer Emma Lockhart-Wilson Stage Manager Karina McKenzie Production Manager Ray Pittman Assistant Director Rebecca Blake Cast Brenton Bell Anika Bhatia Caitlin Burley Jeremi Campese Claire Crighton Benjamin Tarlinton Clare Taylor Margaret Thanos Opened 2 February Season 31 January – 17 February Performances 20 Attendance 1,199 Box office $22,417

ATYP

Annual Report 2018

“Patrice Balbina’s Chance Encounter with the End of the World is an intimate and moving work, gently fashioned yet dynamic and full of action… The performances are uniformly terrific and the stage is populated with a diverse range of characters...Every action in the tightly directed show (Fraser Corfield: Australia) has detail and purpose” SYDNEY ARTS GUIDE

Dramaturg Odette Bereska (Germany) Choreographer Jacqueline Gosselin (Canada) Production Design Ben Pugh (UK) Sound Designer Pru Montin (Australia) Education Mandy Smith (UK) Stage Manager Sven Laude (Germany) Producer Dirk Neldner

“The performances by all artists are nuanced, warm and sensitive, taking all due care to tell this story responsibly...This project has unified some impeccable artists from across the globe, which is such a treat for Sydney audiences.” UPSTAGED REVIEWS “The story never gets complicated, but it does not delve very deep into its potent themes either. Its scenes are beautifully choreographed and energetically performed, but it brings little fresh information to an admittedly tired topic.” SUZY GOES SEE 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. In 2016, artists from six leading international theatre companies, ATYP, Pilot Theatre (UK), Teatro O Bando (Portugal), Teatro Elsinor (Italy), Dynamo Theatre (Canada) and Presentation House Theatre (Canada), arrived in Sydney. Together they devised a captivating new work that premiered at ATYP in January, transferred to Vancouver, Canada, and was selected to showcase at The 19th ASSITEJ World Congress and International Theatre Festival for Children and Young People in South Africa in 2017. This multi-lingual show for older children and their families has charmed audiences worldwide. Funny, surprising and deeply moving, Patrice Balbina’s Chance Encounter with the End of the World takes you on an extraordinary journey, seen through the eyes of a ten year old girl.

Cast Raul Atalaia (Portugal) Holly Fraser (Australia) Emilie Leclerc (Canada) Guiditta Mingucci (Italy) Yves Simard (Canada) Commonwealth Games Cultural Festival Gold Coast, QLD Opened 9 April 2018 Performances 4 Attendance 476 Box office Free event Riverside Theatres Parramatta, NSW Opened 11 April 2018 Performances 4 Attendance 603 Box office $7,882

ATYP

Annual Report 2018

“A flawless production… The ten young actors are very impressive. They understand their characters and are fearless in their communication.” SYDNEY ARTS GUIDE

Dramaturg Jane FitzGerald Set and Costume Designer Aleisa Jelbart Lighting Designer Martin Kinnane Sound Designer Chrysoulla Markoulli Stage Manager Sorie Bangura Vision Designer Ray Pittman

“The young actors shine in their roles. Although it would’ve been easy to fall into stereotypical performances of ‘school bully’, ‘nerd’ or ‘athlete’, the cast brought depth and a sense of empathy to their characters.” AUDREY JOURNAL Someone at Elia’s high school has gained access to all the students’ browser histories, messages and metadata. They plan to release them. What do they want? Nothing more than everybody at the high school finding out who they, and everyone around them, really is. But the students can’t let this happen. They have secrets that can’t come out, and less than one day to stop their impending release. Set within a New South Wales high school, Impending Everyone explores what happens when we have to own up to the things we have said, when anonymity is stripped away and our desires are laid bare. Due to the overwhelming success of the existing ATYP Foundation Commission award, the Foundation expanded the program to include a new work for 14-17 year olds with Impending Everyone being the inaugural winner.

Cast Rebecca Burchett Alexandra Jensen Adam Stepfner Callum McManus Sean Cartwright Apsara Lindeman Amal Dib Sasha Rose Curtis Green Maryam Mulla Opened 22 June 2018 Season 22 June – 7 July 2018 Performances 20 Attendance 1,048 Box office $23,180

ATYP

Annual Report 2018

“Wonderfully imagined by director Jena Prince, the production cleverly utilises a large cast of young actors, to create a hive of activity that is irresistibly engaging.” SUZY GOES SEE

Dramaturg Jane FitzGerald Designer Isabel Hudson Lighting Designer Emma Lockhart-Wilson Composer and Sound Designer Maddie Hughes Sound Design Mentor Steve Francis Sound Design Mentor Chrysoulla Markoulli Assistant Director Abbie-Lee Lewis Production and Stage Manager Sorie Bangura Assistant Stage Manager Marvin Adler

“In the sweet spot for 9-13 year-olds, Charlie Pilgrim playfully leads its audience to think about issues of self-esteem, problem-solving and teamwork in an appealingly wacky sciencefocused setting.” AUDREY JOURNAL Have you ever wanted to change the past? Charlie Pilgrim has. And with the prototype of her time machine – The Mobius – ready for a test run, she is hoping to get her chance. Unfortunately, starting up the machine has accidentally created a closed time loop that adds a new Charlie every twenty-four hours. With the population rising and group dynamics coming into play, things go from Interstellar to Lord of the Flies pretty fast. To save her soul, and prevent the universe from collapsing under the weight of a mounting series of mind bending paradoxes, Charlie is forced to do battle… with herself. The ATYP Foundation Commissions invest in work for young people to perform. Developed by ATYP and published by Playlab, we are creating a canon of work for young actors aged between 10 and 13.

Cast Rose Baird Maliyan Blair Stephanie Calia Aria Ferris Adelaide Kennedy Sophie Lewis Astra Milne Daisy Millpark Tobias Purcell Carmen Rolfe Lucinda Slattery Noah Sturzaker Eva Sutherland Annabelle Szewcow Mia Williams Stanley Wills. Opened 23 November 2018 Season 21 November - 1 December 2018 Performances 12 Attendance 828 Box office $16,048

Writer Rachael Coopes

ATYP

Annual Report 2018

“The Climbing Tree is a very sensory, touching and poignant drama about Bathurst as both a material and imaginative sphere. It is a complex and profound play that is not to be missed.” ARTSHUB

Bathurst Memorial Entertainment Centre Bathurst, NSW

It’s Rayleen’s birthday, but she’s not getting excited. She and three other teenagers are caught in an interrogation room. Their lives overlap but their challenges are very different. In this town, the past is with you everywhere you go, looking over your shoulder, whispering songs of survival. It’s hard to live for the moment when you can’t see a future. Particularly when the past keeps closing doors. Developed over three years in partnership with the Bathurst Memorial Entertainment Centre, this powerful new play looks at the experiences of generations of teenagers in this regional NSW town. Part drama, part music, part ghost story, it’s a personal tale that reflects experiences from towns across Australia. Rachael Coopes and Guy Webster, part of the creative force behind the multi-award winning Sugarland, bring to life another unique Australian story. Dramaturg Fraser Corfield Set and Costume Designer Karl Shead Lighting Designer Bannon Rees Musician Tim Hansen Stage Manager Heidi Annand Intern (CSU) ASM and Design Assistant Greygryn Holgate-Gorton Cast Jayla-Shae Davey Janda Nichols Madelaine Osborn Jack Walton

Opened 2 November 2019 Season 2-6 November Performances 4 Attendance 400 Riverside Theatres Parramatta, NSW Opened 22 November 2019 Season 22-24 November Performances 4 Attendance 339

ATYP

Annual Report 2018

“The portrayal of the experiences of the 4 men is done very tastefully, the production is not overly distressing, there are no weapons and gut-wrenching death scenes, rather it focuses on the thoughts of these young men as told through their diaries. There is a sense that you know them; they’re our sons, brothers and neighbours; ordinary people sent to war where they experienced things none of us could ever comprehend.” WEST RIVERINA ARTS

Designer Adrienn Lord Lighting Designer Emma Lockhart-Wilson Composer Steve Francis Sound Designer Alistair Wallace

Based on the State Library of NSW’s jaw-dropping collection of First World War diaries, photographs and letters, A Town Named War Boy brings to life the personal accounts of the young men that set sail for the far side of the world. Some of these diaries and letters are finished, others just stop. When you read them you meet the person, see the changes in their handwriting, feel the indentation of the pen, the smudges of changed thoughts. Award-winning playwright Ross Mueller shows his extraordinary talent in this funny and moving play that sold out in its premiere Sydney season. Touring through New South Wales, Australian Capital Territory, Victoria and Western Australia, A Town Named War Boy made an impact on audiences across the nation.

Cast Simon Croker Eddie McKenna Josh McElroy Ryan Morgan Venues 13 (NSW, VIC, WA) Opened 21 March 2018 Performances 27 Attendance 2,774

WRIâ&#x20AC;&#x201C; TINâ&#x20AC;&#x201C; G Overview Workshops Workshop visitations Playwrights supported Actors and directors Audience Total artists part of programs

41 254 43 30 532 82

Writers aged 18-26 supported Young artists supported total States and Territories operated in Hours of dramaturgy Hours of mentoring/tutoring

39 69 4 169 68

ATYP

Annual Report 2018

Fresh Ink National Mentoring Program Fresh Ink continued to run in Darwin, Melbourne, Perth and Sydney with ongoing Partnerships with Barking Gecko Theatre Company (WA), Brown’s Mart (NT) and Melbourne Theatre Company (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 and Ciella Williams (NT), Ross Mueller (VIC), Will O’Mahony (WA) and Jane FitzGerald (NSW) led the programs.

Shows In Development 2018 saw the Resident Dramaturg provide ongoing dramaturgical support to a number of other scripts:

“I feel like I have grown hugely as a writer, formed a community of other writers I can continue supporting and being supported by, and also have two pieces to take into the big outside world. I’m just sad it’s over!” Lucy Clements, NSW

→ Cactus by Madelaine Nunn, winner of the 2018 Rebel Wilson Theatre Maker Scholarship

National Studio The National Studio ran for its tenth year at Bundanon in the New South Wales Southern Highlands. Nineteen writers aged 18-26 joined award-winning playwrights Donna Abela, Vanessa Bates and Ross Mueller for a week of masterclasses, workshops and mentoring. At the end of the week each writer had created a 7-8 minute piece. Ten of these were then selected for the production Intersection 2019: Arrival and published by Currency Press.

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

“Before the National Studio I never thought I’d be able to write plays... Very glad I rolled the dice, very grateful ATYP let me play, beyond ecstatic that because of you guys I get to share my first little solo play with lots of young people — must be Christmas.” Flynn Hall, QLD ATYP Foundation Commissions Two commissions were awarded in 2018: April Aardvark by Nathaniel Moncrieff (for ages 10-13) and The Last Long Walk in the Dark by Alexander Lee-Rekers (for ages 14-17). Impending Everyone by Michael Andrew Collins (produced in June 2018), Charlie Pilgrim (or a Beginner’s Guide to Time Travel) by Sam O’Sullivan (produced in November 2018) and Bathory Begins by Emme Hoy and Gretel Vella (to be produced September 2019) continued to receive ongoing development and support over several drafts from Resident Dramaturg, Jane FitzGerald.

→ Cusp by Mary Anne Butler: workshop and reading at PlayWriting Australia’s National Play Festival → Intersection 2019: Arrival by the writers of the National Studio 2018

→ Budgerigar by Lachlan Philpott → Fangirls by Yve Blake

Commissioned Writers Yve Blake Mary Anne Butler Michael Andrew Collins Rachael Coopes Emme Hoy Madelaine Nunn Sam O’Sullivan Lachlan Philpott Gretel Vella Leading industry figures engaged by ATYP Donna Abela Vanessa Bates Mary Anne Butler Matt Edgerton Kim Hardwick Tasnim Hossain Ross Mueller Janice Muller Will O’Mahony Ciella Williams

Rose Byrne and Rebel Wilson Scholarships 2018 marked the third year of scholarships provided by ATYP Ambassadors, Rebel Wilson and Rose Byrne. The generous support of these two ATYP alumnae provides unique opportunities for young artists and arts leaders aged 18-26.

Rebel Wilson also had an exhausting process to narrow down her applicants to the final five. After considering the merits of each, she awarded the ‘Rebel Wilson Theatre-maker Scholarship’ to Melbourne-based emerging artist Madelaine Nunn.

ATYP continued our partnership with G’Day USA and the Australian Theatre Company (LA). The recipients received a year of mentoring with the ATYP team in Sydney, and then travelled to Los Angeles to showcase their work at the G’Day USA Gala in January 2019. This was followed by a presentation to members of the Australian performing arts industry at Belvoir St Theatre in February 2019.

Madelaine used the scholarship for the creative development of her play Cactus: “Cactus is a darkly comedic drama following seventeen-year-old Abbie and her best friend PB in their last year of high school, as they shift from girlhood to whatever the hell is meant to come after that. The Rebel Wilson Theatre-maker Scholarship gave me the invaluable opportunity to dive deep into writing this play; the characters, the themes and the form, working closely with dramaturg, Jane FitzGerald.

Following a huge response to the third year of applications, our international ambassadors were delighted to announce the winners of their respective scholarships in March 2018. With an abundance of talented young women pitching incredibly exciting projects, Rose Byrne had a tough job narrowing down the list for the ‘Rose Byrne Scholarship for Emerging Female Leader in the Arts’. However, after careful consideration Rose selected NSW producer, director, writer and performer Imogen Gardam as her winner. Imogen spoke about the opportunities the scholarship provided: “Thanks to the generosity of Rose Byrne, I’ve had the incredible opportunity of spending the last twelve months investigating producing. I’ve been producing theatre in an independent context for the last five years, but this is the first chance I’ve had to formally explore and expand on what I do. I’ve met with producers in Sydney, Melbourne, London, Paris, Berlin, Los Angeles and New York – independent producers, subsidised producers, commercial producers, theatre producers, musical producers, film producers, television producers. I’ve been exploring what changes about producing in these different worlds, and what stays the same. I’ve been able to apply what I’ve learned to my own practice as a producer to make it more sustainable, and me better equipped to support the independent artists I work with. This scholarship has opened a lot of doors for me, and I believe I’ve only scratched the surface of what will be a career-long journey.”

Cactus is a story about young women and their struggle with identity, femininity and purpose, as well as an ode to female friendship. In 2018, Cactus was shortlisted for the Rodney Seaborn Playwrights Award and I am looking to produce it in 2020. Since the Los Angeles presentation I’ve been connected with several film producers interested in the work as well as industry professionals who have offered to mentor me. I have a number of projects in the works and am interested in writing for film and television as well as for the stage.”

ATYP

Annual Report 2018

WORK– SHOP– S Overview At ATYP we believe the best way to learn is by creating and by doing. Our high-quality courses give young people the opportunity to work together to create their own show, express their own views and perform it to an audience. Led by some of the industry’s most experienced tutors, all of whom are working professionals, young people build self-confidence, are challenged and discover valuable insights into the dramatic process. At ATYP you don’t just join an acting class, you join a community. 2018 was a successful year for the workshop program, despite the challenges faced in the move off the Wharf. Our weekly classes had one of the most successful years to date, finishing with the end-of-year performances being held in our new home at Abraham Mott Hall. Our Holiday Workshops and Professional Series continued to be delivered at an incredibly high standard. This all culminated in the department not only bringing in its intended target for the year but finishing slightly above. A remarkable achievement given the move and changes the company experienced throughout the year. There has also been a restructure in the department. At the end of the year, Robert Jago was appointed Associate Director, and Claudene Shoesmith has been promoted to the role of Workshop Coordinator. The Learning Department, led by Rowan Bate, will now be annexed in the Workshops department.

Holiday Workshops Holiday Workshops are the departmentâ&#x20AC;&#x2122;s biggest challenge during this time of transition as we wait to return to The Wharf. Not having as many venues as we do at The Wharf means that we have had to cut the amount of programs that we can deliver. This saw our numbers significantly drop for our Winter Holiday Season but thankfully we saw a recovery in our Spring season which was then carried over to our Summer season in 2019. Workshop facilitators Assistant facilitators Paid participants Scholarships Programs Individual Workshops Individual attendances

71 44 779 92 79 321 4,286

Semester Ensembles Workshops 2018 saw our final Semester workshops to be held at The Wharf. With some of the highest numbers of enrolments and the strongest Semester showings we have had we made sure we left our home at The Wharf on a high. This led to us maintaining most of our numbers for Semester Two in our journey to our temporary home at Abraham Mott Hall. Semester Ensembles remain extremely popular and are an incredibly vital part of the ATYP community. Not only does it create a weekly communication between the company and young people but with programs like the Theatre Going Club, they are vital in expanding young peopleâ&#x20AC;&#x2122;s appreciation and awareness of theatre. 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. Workshop facilitators 36 Paid enrolments 473 Scholarships 31 Programs 35 Individual workshops 560 Individual attendances 8,064 Performances 36 Audiences 1,158 (numbers approx. due to Semester 2 being unticketed)

The Professional Series / Specialist Workshops 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. 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 2018 and the program will continue with Savills in 2019, this time at a national level. Tutors Ivan Donato (Sydney Theatre Award-winning Actor) Damien Ryan (Artistic Director, Sport for Jove Theatre Co.) John Bashford (Head of Acting, NIDA) Robert Jago (Associate Director, ATYP) Emma Palmer (Corporate Facilitator) Paid enrolments Scholarships Savills Corporate Training Participants

33 7 56

ATYP

Annual Report 2018

LEARNâ&#x20AC;&#x201C; INâ&#x20AC;&#x201C; G Overview In 2018, ATYP Learning Programs: directly engaged 2,963 students and 533 teachers had 250 unique engagements with schools provided 187 workshops and 18 public performances provided 187 jobs for artists partnered with 5 government, community and arts organisations Productions Schools audiences in 2018 were made up of: students 693 teachers 62 schools 27 total audience 755 Each school matinee performance is followed by a special Q&A with the cast and creative team, led by ATYP Learning staff. The department also creates bespoke resources to accompany each production, providing tools to assist teachers in unpacking the themes and issues of each play in their classroom. Q&As Online resources Resource views

18 13 1,889

ATYP On Demand ATYP On Demand is our online learning platform, created to remove geographic and economic barriers that students and teachers across Australia face when wanting to engage with the performing arts. The principal aim of the platform is to give schools that are too far from a theatre, access to a recording of a live production with the best seats in the house. ATYP On Demand houses a growing library of recordings of our past productions plus exclusive classroom resources. Membership is available free of charge to students and teachers across the country. ATYP On Demand launched in October 2018. Productions on ATYP On Demand Production views Resources created Resource views Teachers registered (year-end) Students registered (year-end) Total registrations (year end)

5 469 28 1,693 297 64 361

Live streams In 2018 ATYP, in partnership with Big Spin Productions, live streamed two performances: Intersection 2018: Chrysalis and Charlie Pilgrim (or A Beginner’s Guide to Time Travel). Live streams Students Teachers Total online audience

2 936 70 1,155

Workshops Learning workshops are available on request 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 Teachers Workshops

969 72 187

“I appreciated the ‘above and beyond’ care we received (ice packs, coffee, Band-Aids!) in addition to the excellent manner in which the workshop was run. Curly created a comfortable and ‘safe’ environment. My students came away feeling excited and empowered to use their bodies to begin the process of playbuilding. Thanks!” Sarah Kelly, Dubbo High School

Work Experience ATYP offers an immersive work experience program for enthusiastic Drama and Entertainment students. We also have voluntary internships for tertiary students. Each placement is specially created for individual students, and corresponds with ATYP productions or times of high-activity to ensure the experience is highly practical and stimulating. Work experience Interns

9 3

“Thank you so much for having me at ATYP this week for my work experience. I loved every minute of it and I am so lucky to have had the opportunity to see how each sector of the ATYP works. Everyone in the office was so lovely and accommodating throughout the week, even though it was a busy time for you all. I enjoyed working with you and will definitely get more involved with the ATYP in the future. Thanks so much and all the best for your upcoming events.” Elektra Politis, Rosebank College ATYP Foundation Commission 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 process. The 2018 ATYP Foundation Commission plays were Impending Everyone by Michael Andrew Collins and Charlie Pilgrim (or A Beginner’s Guide to Time Travel) by Sam O’Sullivan. Schools Students Teachers Workshops Video conferences Online activities

2 41 3 4 1 2

“Just wanted to say a massive thank you for the whole process the ASPIRE group has been able to participate in over the past months. The group have absolutely loved being involved in development of the script and were buzzing coming away yesterday” Anna Kerrigan, Artistic Director, Aspire Catholic Diocese Performing Arts

ATYP

Annual Report 2018

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.

“Tim just asked one of our more silent disengaged students what he felt about the show and he said “it made me realise theatre is fun and not boring”. Mission accomplished.” Lucinda Armour, Teacher

Number of participants Workshops

71 99

KidsXpress Theatre Access Program Continuing our successful partnership, ATYP and KidsXpress partnered to provide a performance and workshop program for students in Western Sydney experiencing intergenerational trauma and serious disadvantage. In 2018, Willmot Public School was the beneficiary of this program for our production of Charlie Pilgrim (or A Beginner’s Guide to Time Travel). ATYP delivered 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 Teachers Workshops

42 5 7

“[It was] very fun, creative and it would be an honour to do that” “It felt really weird but really cool - people my age can do awesome stuff!” Students reactions after seeing the production Westpac Theatre Access Program Thanks to generous support from the Westpac Foundation, we were able to offer students from Our Lady of the Rosary Primary School, St Marys, with the chance to travel to Sydney to attend Charlie Pilgrim (or A Beginner’s Guide to Time Travel) and have a special post-show Q&A with the writer and director. Students Teachers

95 9

“It fills our hearts with joy watching this live show. You guys have inspired us. Thank you.” “I would also like to thank ATYP for making my first ever play the best one.” “Thank you for entertaining me, I appreciate that you made me smile. Thank you.” Students reactions after seeing the production Bear Cottage Siblings Camp Bear Cottage is a children’s hospice in Manly providing paediatric palliative care in a warm, comforting environment. In 2018, ATYP once again partnered with this wonderful organisation to provide a unique theatrical experiences for young people who have or have had a sibling at the cottage. We created three two-day camps wherein 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 second day. Young people Workshops Performances

28 6 3

Conferences Learning Coordinator Rowan Bate and Marketing & Learning Coordinator Ruby Conolan-Barrett presented a session at the 2018 Drama NSW State Conference entitled Live Streaming Theatre: Authentic experiences and meaningful collaborations in the digital space. Rowan also attended the Drama Queensland state conference as a delegate. Conference presentations Attendances

1 2

DEVE– LOP– MENT ATYP is a not-for-profit organisation that relies on philanthropic support to fund core programs, productions and to keep our activities accessible for all young people. The support of individual donors, trusts and foundations is critical to the company’s growth and success. We are grateful for all donations we received in 2018.

Funding Activities Annual Appeal (March to June) The 2018 Annual Appeal raised money to support the core funding of the company. The Appeal highlighted the results of the 2017 Impact Evaluation Report and the positive impacts that our programs have on mental health.

ATYP warmly acknowledges the support of the Fundraising & Philanthropy Committee and Parents’ Committee who generously provide their time, advice and assistance to the company.

Donors Amount Raised

ATYP Fundraising & Philanthropy Committee Chair Nick Jaffer Board Members Fraser Corfield Sophie Lieberman (until March 2018) Mark Warburton Committee Members Simon Burke Sharlene Dadd Andrew Deane (until December 2018) Tasnim Hossain Amy Maiden (until August 2018) Georgia Wilson ATYP Parents Committee Chair Nicole Webb Committee Members Andrew Deane (until December 2018) Alexandra Smart Damien Sturzaker Georgia Wilson

120 $62,750

Adèle Jeffreys Memorial Fund The Fund will be used to enhance the processes and philosophies that Adèle developed for interactive, participatory learning. Donors Amount Raised

33 $5,300

Christmas Appeal The Christmas Appeal was launched in December 2018 to raise funds for scholarship places with our partner charities; the Asylum Seeker Centre, the Boys & Girls Brigade and Barnardos Australia. Donors Amount Raised

21 $4,885

ATYP

MARâ&#x20AC;&#x201C; KETâ&#x20AC;&#x201C; ING The ATYP community is a diverse network made up of young people, parents, artists, sponsors, donors, tutors, board and staff. This community is passionate about the benefits of the performing arts for young people and engage with the organisation across our various productions, workshops, writing and education programs. Each year the ATYP Marketing team works to grow this audience though strategic, targeted, ongoing campaigns, encouraging engagement through our website, multiple social media platforms and written communication that lead to the most important connection we offer, face to face experiences in the theatre, through workshops and in schools. During the move out of our Walsh Bay home of over 20 years, the marketing team ensured the community was kept informed and aware of changes to programs and productions. This was achieved with a targeted print and digital campaign that started in December 2017 and continued through to October 2018.

Annual Report 2018

Productions and Workshops 2018 saw ATYP present the production season away from our traditional home at Pier 4/5 in Walsh Bay. Partnering with Griffin Theatre Company, three shows - Intersection 2018: Chrysalis, Impending Everyone and Charlie Pilgrim (or A Beginners’ Guide to Time Travel) - were housed in the iconic SBW Stables Theatre in Kings Cross. Other productions in the season included a national tour of 2015 production A Town Named War Boy and a remount of 2016 international collaboration Patrice Balbina’s Chance Encounter with the End of the World, touring to the Commonwealth Games Cultural Festival on the Gold Coast and to Riverside Theatres, Parramatta. Rounding out the season was The Climbing Tree, a co-production with Bathurst Memorial Entertainment Centre (BMEC) that performed in Bathurst and toured to Riverside Theatres, Parramatta. Across the year ATYP productions were seen by audiences of over 6,930 plus an additional 1,155 for the Live Stream broadcasts. The design for ATYP’s 2018 season was a blast of bold, bright rainbow colours. Playful and fresh, the imagery was successful in reflecting the energy and joy of the company. The production images were used across all digital and print collateral for the season of performances. Campaigns for each production focussed on the themes of each work. Most successful was the ATYP Foundation Commission production, Charlie Pilgrim (or A Beginners Guide to Time Travel), which saw extensive interviews with the young cast used across social media to great effect. A comprehensive campaign for the national tour of A Town Named War Boy included interviews with the cast and creatives, promotional videos highlighting excellent reviews from the original season and updated promotional and production images created for the tour. The production was filmed at the end of the tour and is now part of the ATYP On Demand offering. Our popular workshop programs continued to be promoted with bright and engaging digital campaigns that were supported with a small amount of print collateral. Our Workshops are promoted with digital content across channels including our website, social media platforms and direct mail with excellent engagement from

target audiences. Digital advertising with targeted publications elicit good responses when run in conjunction with the workshop departments direct mail campaign. Audience data is regularly analysed to ensure program information is reaching young people across the country. In 2018 marketing for the Learning department was consolidated with all other marketing efforts as ATYP streamlined messaging across the company. With the successful launch of ATYP On Demand and a dedicated Facebook group (ATYP for Teachers), ATYP Learning continues to build and engage with students and teachers across the country. Media and Website Campaigns throughout 2018 continued to leverage the information gained from The Impact Agency and Patternmakers 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 reached engaged audiences and assisted in tickets sales across all departments. ATYP’s Facebook following increased 6% from 10,972 to 11,627. Twitter maintained its followers ending the year with 7,960 followers. The biggest increase for the fourth year running was Instagram, increasing followers by nearly 16% in the twelve months to December, ending with 4,202 followers. In June our website and CRM was badly compromised, and after several attempts to protect the site it became clear that it had to be shut down. This was a huge blow to the company as it occured at the same time as the move off The Wharf. ATYP immediately engaged a web developers, Studio Jack, to build a new website and associated CRM. We took the opportunity to improve access for all stakeholders and focussed on making the user experience more streamlines and enjoyable. 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

Annual Report 2018

ARCH– IVE– S ATYP established its in-house corporate archives in early 2003, the second performing arts company in Australia to do so. The company had worked out of numerous premises prior to settling at The Wharf in 1996, and an unlikely amount of archival material had survived all the moves - these had been collected, boxed and stored, but not arranged and listed. Management at the time wanted to use it to showcase the history of the company and support the 40th Anniversary celebrations planned for later that year. A decision was made to employ an archivist to survey, sort and organise 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, in varied media.

Primary-source material supports the operations of all departments and their activities, including providing documentary evidence for website and social media accounts’ content, input of company history to decision-making and promotion, and for connecting with past participants. Databases of all productions and personnel, dating from inception of the company, are maintained, containing information about events and plays mounted, and lists of alumni - casts, creative artists, tutors, staff and board members. 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 collection’s analogue photographs continues. In July, 2018, ATYP Archives was moved, along with all departments of the company, into the temporary office premises in Woolloomooloo, which will be ATYP’s home away from Pier 2/3 for the next period.

THE ATYP TEAM Artistic Director Fraser Corfield General Manager Amy Maiden (until August) Amanda Wright (from November) Finance Manager Emma Murphy (until August) Steve Davidson (from August) Development Manager Andrew Deane (until December) Marketing Manager Kar Chalmers Workshops Manager Robert Jago Production Manager Ray Pittman (until July) Sorie Bangura (from September) Resident Dramaturg Jane FitzGerald Education Co-ordinator Rowan Bate Finance & Operations Co-ordinator Francesca Hendricks (until April) Chrissy Riley (from May) Development Co-ordinator Georgia Wilson (from February) Marketing & Learning Co-ordinator Ruby Conolan Barrett Graphic Designer & Art Director Justin Stambouliah Workshops & Administration Co-ordinator Claudene Shoesmith Resident Technologist Daniel Andrews Archivist Judith Seeff

Board Simon Burke Fraser Corfield Sean Denney Monique Farmer (until April) Nancy Fox (until August) Tasnim Hossain (from April) Nick Jaffer Nina Kilpinen Janine Lapworth Sophie Lieberman (until February) John Penton (until April) Chris Puplick AM (from February) Mark Warburton (Chair) Simon Webb ATYPicals Rosie Licence Zachary Fuller James Raggatt Tristan Brown Margaret Thanos Will Thomas Honara Monagle Iris Simpson Max Cox-Mulvenney Annika Bhatia Daisy Millpark Inez CurrĂ˛ Cait Burley 2018 Rebel Wilson Scholarship Recipient Madelaine Nunn 2018 Rose Byrne Scholarship Recipient Imogen Gardam

ATYP

Annual Report 2018

Partners and Supporters

Current Producers’ Circle Donors Antoinette Albert Alexandra Holcomb & Andrew Bird Robert Albert AO RFD RD & Libby Albert Tim Kennedy Martin Dickson AM & Susie Dickson Rebel Penfold-Russell OAM Nancy Fox & Bruce Arnold

Government Australia Council for the Arts ANZAC Centenary Arts & Culture Fund Create NSW City of Sydney Foundations Andrew Thyne Reid Foundation ATYP Foundation Baly Douglass Foundation BBM Youth Support Bird Holcomb Pty Ltd Foundation Copyright Agency Creative Partnerships Australia Graeme Wood Foundation The Greatorex Foundation James N. Kirby Foundation Limb Family Foundation Macquarie Group Foundation Matana Foundation for Young People Seaborn, Broughton & Walford Foundation Yim Family Foundation Companies Camp Sugar Productions Fishy Productions Haymes Paint IMPACT Agency King & Wood Mallesons Optimiste Wines PwC Rebelstudio Tilt Vision Walsh Bay Arts and Commerce Corporation 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. Australian Theatre for Young People wishes to gratefully acknowledge the continuing support of the ATYP Foundation. The capital funds raised through the Foundation assist in maintaining a sustainable financial platform on which ATYP can thrive.

Individual Donors Australian Theatre for Young People 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 2018. Their continued support is essential for the advancement of the company. Guardians ($50,000+) Susan Maple-Brown AM Graeme Wood AM Guardians ($10,000 - $19,999) Rose Byrne Robert Rich Rebel Wilson Superstars ($5,000 - $9,999) Antoinette ‘Popsy’ Albert Robert Albert AO RFD RD & Libby Albert Ruth Armytage AM Rebel Penfold-Russell Kendra Reid Jane Westbrook & Mark Ramsden Anonymous Champions ($1,000 - $4,999) Dr Ron Baumann Angela Bowne SC Andrew Buchanan John & Libby Fairfax Nancy Fox & Bruce Arnold Stephen Hawkins Nick Jaffer Carina Martin David Nguyen Graham O’Neill Greeba Pritchard Chris Puplick AM Mark & Jacqueline Warburton

Allies ($500 - $999) Todd Abbott Jo Bradley Carolyn Burns Andrew Deane & James Buck Jr. Sandra Johnson Nina Kilpinen Meg Meldrum Derek Minett Olev Rahn Damian Sturzaker & Danielle Manion Nicole Webb Yim Family Foundation Buddies ($100 - $499) Marvin Adler Alison Baly Peter Best Ali Brosnan Robert Brookman & Verity Laughton Simon Burchett Angus Burns Fernandez Family Melissa Fleming Andrew Hooton Victoria Hope Beverley Johnson David Jonas Peter Kirby Ken Lee Therese McCarthy Hockey Millie Millar Susan Millet Karen Morpeth Lynda Purchase Rupert Reid Annie Ross Ingrid Selene Michiko Shibagaki Claudene Shoesmith Helen Slarke William Vo Aleksandr Voninski Georgia Wilson Andrea Wilson

AdĂ¨le Jeffreys Memorial Fund Elise Barton Peter Best Ross Bowman Michelle Boyle Ian Brown Donnie & Karene Buchanan Andrew Deane & Jimmy Buck Jr. Heather Campbell Emma Campbell Melissa Fleming Peter Giles Francesca Hendricks Lena Holohan Emily Hunt Glen Jeffreys Michaela Kalowski Anna Kerrigan Karen Lear Bonnie Leigh-Dodds Vanda Lima Steve Martin Juz McGuire Susan & Peter Millet Gill Pearce Benjamin Porteous Linda Scott Judith Seeff Phil Spiteri Lisa Sullivan Richard Sullivan John Walsh ATYP Foundation Supporters The sole purpose of the ATYP Foundation is to provide money, property or other benefits to Australian Theatre for Young People for the purpose of advancing, developing and promoting the performing arts. ATYP Foundation Advisory Committee Antoinette Albert Angela Bowne SC (Chair) Mark Warburton

ATYP

Annual Report 2018

Schedule of voting donors At 31 December 2018 the following organisations and individuals have obtained the status of voting donors.

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

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 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

ANNUAL FINANCIAL REPORT

Australian Theatre for Young People and controlled entity (A Company Limited by Guarantee) ABN: 24 000 816 704

Annual Financial Report for the year ended 31 December 2018

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 (until 13 Feb 2019) Fraser Corfield Sean Denney Monique Farmer (until 16 Apr 2018) Nancy Fox (until 21 Aug 2018) Tasnim Hossain (from 16 Apr 2018) Nick Jaffer Nina Kilpinen Janine Lapworth Sophie Lieberman (until 26 Feb 2018) John Penton (until 16 Apr 2018) Chris Puplick AM (from 12 Feb 2018) (Acting Chair from 18 Feb 2019) Mark Warburton (Chair) (until 18 Feb 2019) Simon Webb (until 18 Feb 2019) FOUNDATION ADVISORY COMMITTEE Antoinette Albert Angela Bowne SC (Foundation Advisory Committee Chair) Mark Warburton COMPANY SECRETARY Amy Maiden (until 29 Aug 2018) Amanda Wright (from 12 Nov 2018) REGISTERED OFFICE AND PRINCIPAL PLACE OF BUSINESS The Wharf, Pier 4/5 Hickson Road Walsh Bay NSW 2000 (until 30 Jun 2018) Suite 302 52-58 William St Woolloomooloo NSW 2000 (from 1 Jul 2018) AUDITORS PricewaterhouseCoopers Chartered Accountants

Page 2

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 its controlled entity (the Group), for the year ended 31 December 2018 together with the financial statements and the Independent Audit Report thereon. INFORMATION ABOUT THE DIRECTORS The names of the Directors of ATYP during and since the end of the financial year and particulars of their qualifications, experience and special responsibilities are:

Name of Director

Simon Burke AO (Resigned 13 Feb 19)

Fraser Corfield

Sean Denney

Monique Farmer (Resigned 16 April 18)

Nancy Fox (Resigned 21 Aug 18)

Tasnim Hossain

Qualifications

Experience

Special duties

Date of Appointment

AFI (Best Actor) AACTA & Logie (Most Outstanding Telefeature or Mini-series)

Acclaimed actor and performer with four decades of experience in theatre, film, stage and cabaret, current Board member Griffin Theatre Company, formerly Federal President of Actors Equity 2004-2014 and Vice President of FIA (International Federation of Actors) 2002-2016.

Nonexecutive director

27 Nov 17

BA (Communications)

Artistic Director, Australian Theatre for Young People and previously Artistic Director of Backbone Youth Arts, Riverland Youth Theatre and Associate Director of La Boite Theatre and acts in numerous arts advisory roles across Government and industry.

Artistic Director and Chief Executive Officer

26 May 09

B.Comm/Law, MBA

Head of Customer Experience for Westpac Consumer Bank. Previously worked in the finance and property industries in the UK and Australia with leading organisations such as the Macquarie Group and the Virgin Group.

Nonexecutive director

15 Jan 17

BA (Communications)

Life Editor for The Sydney Morning Herald and The Age, part of Nine Publishing, leading the print and digital editorial teams across entertainment, arts, food, travel, parenting, lifestyle and more. Formerly Managing Editor, Sections, at The Sydney Morning Herald. Journalist, section editor and editorial manager at Fairfax Media since 1991.

Nonexecutive director

30 Mar 15

BA, Juris Doctorate in Law, FAICD

Currently board member of Perpetual Limited and ING Life. Deputy Chairman of the Taronga Conservation Society Australia and Chairman of Perpetual Equity investment Company. Previously held numerous senior roles in financial institutions including Managing Director of Ambac Assurance Corporation and Managing Director ABN Amro Australia Limited.

Nonexecutive director

1 Jul 11

BA (International Relations)

Tasnim Hossain is a playwright, dramaturg and screenwriter who has written work for companies that create theatre with, and for, young people, such as ATYP, Canberra Youth Theatre and Shopfront, as well as engaged in training and mentoring programs with Sydney Theatre Company and Melbourne Theatre Company.

Nonexecutive director

16 Apr 18

Page 3

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

Qualifications

Experience

Special duties

Date of Appointment

Nick Jaffer

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

President and CEO (Asia Pacific) Global Philanthropic, international fundraising and strategic advisory firm for nonprofit sector, arts clients include Theatre Royal Hobart, Australian Chamber Orchestra, National Gallery Singapore, Australian Brandenburg Orchestra, and Wigmore Hall (UK). Prior roles include Director of Development at University of Sydney.

Nina Kilpinen

BE, MEM, MConstrLaw, FIEAust GAICD

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.

NonExecutive director

30 Oct 17

Janine Lapworth

BA, LLB

Intellectual property and entertainment lawyer. Previously held senior legal positions at the Australian Broadcasting Corporation and at ESPN STAR Sports in Singapore.

Nonexecutive director

21 May 12

Sophie Lieberman (Resigned 26 Feb 18)

BA Hons 1, PhD (History), UNSW

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).

Nonexecutive director

30 Mar 15

John Penton (Resigned 16 Apr 18)

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

Company director, formerly Managing Director ABN AMRO Australia, and Director ABN AMRO Morgans, Craigs.

Nonexecutive director

16 Feb 15

BA Hons, MA (Syd)

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 AntiDiscrimination Board and NSW Privacy Commissioner. Previous Chair, Griffin Theatre Company, Board of NIDA and member Theatre Board of Australia Council.

Nonexecutive director

12 Feb 18

B. Economics, CA

25 years in investment banking across Australia, Asia and Europe. Head of Equity Capital Markets at Bank of America Merrill Lynch Australia and formerly Head of Equity Capital Markets for Asia and Australia for Macquarie Bank. A member of Belvoir St Theatreâ&#x20AC;&#x2122;s Development Committee since 2013.

Chair and Nonexecutive director

2 May 16

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

Senior Vice President, Ogilvy, a public affairs, strategic communications and research specialist having worked across the government, private and not-for-profit sectors.

Nonexecutive director

11-Nov-11

Chris Puplick OAM

Mark Warburton (Resigned 18 Feb 19)

Simon Webb (Resigned 18 Feb 19)

Nonexecutive director

16 Feb 15

Page 4

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

The number of meetings of Directors and the Finance Committee held during the year and the number of meetings attended by each Director is as follows:

Simon Burke AO Fraser Corfield Sean Denney Monique Farmer Nancy Fox Tasnim Hossain Nick Jaffer Nina Kilpinen Janine Lapworth Sophie Lieberman John Penton Chris Puplick AM Mark Warburton Simon Webb

Board Meeting A B 6 3 6 6 6 5 2 0 4 4 5 4 6 4 6 6 6 6 1 0 2 2 6 5 6 5 6 4

Finance Committee A B 6 5 6 6 4 4 2 1 2 0 6 4 -

A: Number of meetings held during the time the director held office during the year B: Number of meetings attended 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. Itâ&#x20AC;&#x2122;s the principle on which the company was founded in 1963. Itâ&#x20AC;&#x2122;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. 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.

Page 5

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

PRINCIPAL ACTIVITIES FOR THE YEAR The principal activities undertaken by ATYP to meet its 2018 goals included:

GOAL ONE: Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. • ATYP partnered with Performing Lines to conduct a national tour of the critically acclaimed A Town Named Warboy. • The ATYP production, featuring actors aged between 10 and 13yrs, Charlie Pilgrim (or A Beginner's Guide to Time Travel) by Sam O'Sullivan, was nominated for a Sydney Theatre Award for 'Best Production for Children or Young People' alongside three professional productions. • The ATYP production Patrice Balbina's Chance Encounter with the End of the World was presented as part of the Commonwealth Games Cultural Festival on the Gold Coast and then toured to a sold-out season at Riverside Theatres in Parramatta. The Climbing Tree by Rachael Coopes opened at the NSW Regional Arts Conference in Bathurst before also touring to Parramatta.

GOAL TWO: Deliver accessible opportunities for young people to work with and better understand professional artists and their practice. • ATYP Playwriting programs engaged emerging artists from every State and Territory with mentoring programs run in Sydney, Melbourne, Perth and Darwin and participants from around the country joining the National Studio and applying for the Commission and Scholarship programs. • ATYP Workshop and Learning programs had over 28,000 individual attendances across term based, school holiday and education workshops over the year. • ATYP partnered with community organisations including Bear Cottage, The Girls and Boys Brigade, Barnardos, Captivate (Catholic Schools Sydney West), The Asylum Seekers Centre and KidsXpress to provide access for disadvantaged young people.

GOAL THREE: Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. • In October the company launched ATYP On Demand, a revolutionary digital platform that enables schools and students around the country to access past ATYP productions and their associated learning resources for free. • In 2018 ATYP launched a new website and invested in the development of a purpose-built ticketing and Customer Relationship Management (CRM) system to streamline the sale of workshop enrolments, events and the management of data related to stakeholders and participants. • ATYP live-streamed two productions, Intersection 2018: Chrysalis and Charlie Pilgrim (or A Beginner's Guide to Time Travel) to school audiences around Australia.

Page 6

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

GOAL FOUR: Strengthen and celebrate the Australian Youth Arts community. • ATYP liaised with the national youth theatre sector to collate and distribute two newsletters outlining activity around the country. • ATYP brokered a partnership with Griffith University academics Dr Linda Hassall and Dr Sarah Woodland and initiated the research required to formulate an ARC Linkage Grant application to investigate the connection between the live nature of theatre and its impact on the wellbeing and resilience of young people. In 2018 project partners were secured and a proposal was drafted for submission in 2019. • ATYP worked in collaboration with companies including Riptide (WA), Carclew Youth Arts (SA), Theatre Network Australia (Vic), Inspire (Catholic Schools Central Coast), St Martins Youth Arts (Vic), Barking Gecko Theatre Company (WA), Blue Cow Theatre (Tas), Performing Lines (NSW), and Browns Mart (NT) to develop and deliver programs supporting youth arts practice.

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 2018 there were 10 members of ATYP and the amount of capital that could be called up in the event of ATYP being wound up is $100 (2017: $130). SIGNIFICANT CHANGES IN THE STATE OF AFFAIRS ATYP is a key tenant of the proposed Walsh Bay Arts Precinct development. Once completed the development will provide ATYP with a new 200 seat performance venue, workshop spaces and offices. During the development ATYP has relocated its operations from The Wharf for approximately two years, starting July 2018. SIGNIFICANT EVENTS AFTER YEAR END Since year end ATYP has signed an Agreement for Lease with the NSW Department of Planning and Environment regarding the Parent Entity’s future tenancy in the Walsh Bay Arts Precinct development. This agreement is current in the additional stages of approval with the NSW Department of Planning and Environment, including clarity on timing of the capital contribution and rental scaling arrangements. LIKELY DEVELOPMENTS AND FUTURE RESULTS The relocation of ATYP activities from The Wharf will result in significant additional costs to the organisation as a result of the dispersal of activities to multiple venues. These costs will be partially defrayed by funding from the Cultural Infrastructure Program Management Office. 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 in the future.

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Auditorâ&#x20AC;&#x2122;s Independence Declaration As lead auditor for the audit of Australian Theatre for Young People Limited for the year ended 31 December 2018, I 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 it controlled during the period.

MK Graham Partner PricewaterhouseCoopers

Sydney 29 April 2019

PricewaterhouseCoopers, ABN 52 780 433 757 One International Towers Sydney, Watermans Quay, Barangaroo, GPO BOX 2650, SYDNEY NSW 2001 T: +61 2 8266 0000, F: +61 2 8266 9999, www.pwc.com.au Level 11, 1PSQ, 169 Macquarie Street, Parramatta NSW 2150, PO Box 1155 Parramatta NSW 2124 T: +61 2 9659 2476, F: +61 2 8266 9999, www.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 2018 Consolidated statements of profit or loss and other comprehensive income

Consolidated statements of financial position

Consolidated statements of changes in equity

Consolidated statements of cash flows

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

Note 2 – Changes in accounting policies

Note 3 – Summary of accounting policies

Note 4 – Performance income

Note 5 – Fees & services income

Note 6 – Sponsorship & donation income

Note 7 – Other income

Note 8 – Government grants

Note 9 – Cash & cash equivalents & term deposits

Note 10 – Trade & other receivables

Note 11 – Other assets

Note 12 – Financial assets

Note 13 – Intangible assets

Note 14 – Property, plant & equipment

Note 15 – Trade & other payables

Note 16 – Employee provisions

Note 17 – Deferred Income

Note 18 – Parent entity note

Note 19 – Designated funds

Note 20 – Related parties & related party transactions

Note 21 – Commitments & contingencies

Note 22 – Events occurring after reporting date

Note 23 – 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 and its subsidiary, atyp Foundation. The financial statements are presented in Australian dollars ($). Australian Theatre for Young People 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, Suite 302, 52-58 William St, Woolloomooloo, NSW, 2011. The financial statements were authorised for issue by the directors on 29 April 2019. The directors have the power to amend and reissue the financial statements.

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Consolidated Statement of Profit or Loss and Other Comprehensive Income for the year ended 31 December 2018

2018 $

2017 $

109,784 559,157 10,659 516,274 65,936 650,791 1,912,601

161,606 606,865 42,456 733,880 36,239 553,314 2,134,360

Expenditure Employee benefits expense Production costs Marketing costs Infrastructure costs Depreciation and amortisation expense Total expenditure

1,343,100 336,625 227,594 185,561 16,308 2,109,188

1,472,140 265,882 123,207 202,933 8,113 2,072,275

Net surplus/(deficit) for the year

(196,587)

62,085

(3,621)

9,570

(200,208)

71,655

Note Income Performance income Fees & services Resource income Sponsorship & donations Other income Government grants Total Income

Other comprehensive income Total comprehensive income/(loss) for the year

4 5 6 7 8

The above Consolidated Statement of Profit or Loss and Other Comprehensive Income should be read in conjunction with the accompanying notes.

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Consolidated Statement of Financial Position for the year ended 31 December 2018

Assets Current assets Cash and cash equivalents Term deposits Trade and other receivables Other assets Total current assets Non-current assets Financial assets Intangible assets Property, plant and equipment Total non-current assets Total assets Liabilities Current liabilities Trade and other payables Employee provisions Deferred income Total current liabilities Non-current liabilities Employee provisions Total non-current liabilities Total liabilities Net assets Equity General funds Capital fund Revenue funds Capital Campaign reserve Reserves Settlement Total equity

2018 $

2017 $

9 9 10 11

511,979 743,867 177,030 41,903 1,474,779

822,828 738,595 21,953 74,179 1,657,555

12 13 14

202,249 34,997 24,223 261,469 1,736,248

205,870 38,342 244,212 1,901,767

15 16 17

184,968 66,791 722,477 974,236

185,283 39,930 698,190 923,403

974,236 762,012

16,144 16,144 939,547 962,220

(331,494) 1,009,370 (38,125) 120,001 2,249 11 762,012

(75,357) 1,009,370 (42,375) 64,701 5,870 11 962,220

Note

19 19 19

The above Consolidated Statement of Financial Position should be read in conjunction with the accompanying notes.

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Consolidated Statement of Changes in Equity for the year ended 31 December 2018 Capital Parent general funds

campaign Capital fund

Revenue fund

reserve

Settlement Reserve

sum

Total equity

(63,275)

1,009,370

(51,841)

(3,700)

890,565

Surplus / (deficit) for the year

52,619

9,466

62,085

Other comprehensive income

9,570

Transfer to / (from) reserves

(64,701)

64,701

Balance as at 31 December 2017

(75,357)

1,009,370

(42,375)

64,701

5,870

962,220

Surplus / (deficit) for the year

(200,837)

4,250

(196,587)

(55,300)

55,300

(3,621)

(331,494)

1,009,370

(38,125)

120,001

2,249

762,012

Balance as at 1 January 2017

Transfer to / (from) reserves Other comprehensive income Balance as at 31 December 2018

The above Consolidated Statement of Changes in Equity should be read in conjunction with the accompanying notes.

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Consolidated Statements of Cash Flows for the year ended 31 December 2018

2018

2017

1,079,363 797,407

1,850,425 876,358

20,740

20,641

(2,177,273)

(2,257,826)

(279,763)

489,598

11,372

11,005

Payments for property, plant, equipment & intangibles

(37,186)

(40,362)

Net cash (used in) / from investing activities

(25,814)

(29,357)

Cash flows from financing activities Payments from financing activities

(5,272)

(7,429)

Net cash (used in) / from financing activities

(5,272)

(7,429)

Net change in cash and cash equivalents Cash and cash equivalents, beginning of year

(310,849) 822,828

452,812 370,016

511,979

822,828

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 / (used) by operating activities Cash flows from investing activities Dividends and distributions

Cash and cash equivalents, end of year

The cash flows are inclusive of goods and services tax where applicable. The above Consolidated Statements of Cash Flows should be read in conjunction with the accompanying notes.

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Notes to and forming part of the 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

Changes in accounting policies

AASB 9 Financial Instruments AASB 9 Financial Instruments replaces AASB 139 Financial Instruments: Recognition and Measurement. It makes major changes to the previous guidance on the classification and measurement of financial assets and introduces an ‘expected credit loss’ model for impairment of financial assets. For equity investments previously classified as available-for-sale, the group has made an irrevocable election at inception to present in OCI changes in the fair value of all its equity investments previously classified as available-forsale, because these investments are held as long-term strategic investments that are not expected to be sold in the short to medium term. As a result, assets with a fair value of $205,870 were reclassified from available-for-sale financial assets to financial assets at FVOCI and fair value gains of $5,870 were reclassified from the available-forsale financial assets reserve to the FVOCI reserve on 1 January 2018. Under Equity FVOCI, subsequent movements in fair value are recognised in other comprehensive income and are never reclassified to profit or loss. Dividend from these investments continue to be recorded as other income within the profit or loss unless the dividend clearly represents return of capital. When adopting AASB 9, the Group has elected to continue to measure its long-term investments through FVOCI. As a result of Implementing the new standard, these investments now appear in the Statement of Financial Position under the heading Financial Assets, the fair value changes in the investments continue to appear as Other Comprehensive Income in the Statement of Profit and Loss and Other Comprehensive Income and the previous Asset Revaluation Reserve is now renamed as Equity FVOCI Reserve. The impact of these changes on the group's equity is as follows: Opening balance - AASB 139 Reclassify listed securities from Available-for-sale to FVOCI Opening balance - AASB 9 3

Summary of accounting policies

Basis of preparation

Effect on AFS reserves 5,870 (5,870)

Effect on FVOCI reserves 5,870 5,870

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).

Page 15

Basis of consolidation

The consolidated financial statements incorporate the assets, liabilities and results of the subsidiary controlled by ATYP at the end of the reporting period. The parent controls a subsidiary if it is exposed, or has rights, to variable returns from its involvement with the subsidiary and has the ability to affect those returns through its power over the subsidiary. 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 the subsidiary 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 using the measurement bases specified by Australian Accounting Standards for each type of asset, liability, income and expense. The measurement bases are more fully described in the accounting policies below. 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. Significant accounting estimates and judgments Management is not aware of any key estimates and assumptions that have a significant risk of causing material adjustment to the carrying amount of assets and liabilities within the next annual reporting period. 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, 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. Foundations Foundation revenue comprises grants from charitable foundations and are brought to account as for government grants described below.

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Interest income Interest income is recognised as it accrues, using the effective interest rate method. Government grants Government grant revenue is recognised 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 amounts due from services and grant income in the ordinary course of business. They are generally due for settlement between 7 to 90 days and therefore are all classified as current. Trade receivables are recognised initially at the amount of consideration that is unconditional unless they contain significant financing components, when they are recognised at fair value. The group holds the trade receivables with the objective to collect the contractual cash flows and therefore measures them subsequently at amortised cost using the effective interest method. Details about the groupâ&#x20AC;&#x2122;s impairment policies and the calculation of the loss allowance are provided in note 2 (i). i)

Trade and other receivables impairment

The group applies the AASB 9 simplified approach to measuring expected credit losses which uses a lifetime expected loss allowance for all trade receivables and contract assets. The impact of the adoption of this standard was deemed to be immaterial. j)

Intangible Assets, Property, plant and equipment

Intangible assets and property, plant and equipment ("assets") are stated at cost less accumulated depreciation or amortisation and any accumulated impairment losses.

Page 17

Any assets donated to the group or acquired for nominal cost are recognised at fair value at the date the group obtains control of the assets. Depreciation and amortisation Assets 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: • • •

Equipment and furniture: Leasehold improvements: Website and software:

2-10 years 5-10 years 3-5 years

Impairment The carrying values of assets 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 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 asset 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. Impairment losses are recognised in the profit or loss within depreciation. Any part of the asset revaluation reserve attributable to an asset disposed of or derecognised is transferred to general funds at the date of disposal. 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. k)

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. l)

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. m)

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 employees’ services up to the reporting date. Liabilities for annual leave in respect of employees’ 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

Page 18

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. n)

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. 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 Group’s continued existence is ultimately dependent upon the success of future productions, development income, workshop income as well as government support. The parent entity was successful in obtaining continued recurrent funding for the quadrennium 2017-2020 with an initial funding base of $275,000 to be increased every year by CPI. This follows the increased funding from Create NSW for the 2016 – 2018 triennium to $200,000, which has since been extended throughout 2019. This increased level of grant income, plus additional Special Initiatives funding provides greater certainty for the group’s planning and to achieve its artistic and strategic goals. As disclosed in Note 22, subsequent to year end, ATYP signed an Agreement for Lease with the NSW Department of Planning and Environment regarding the future tenancy in the Walsh Bay Art Precinct development. This agreement includes terms in relation to the future rental costs as well as terms relating to a capital contribution amounting to $1m that the group will have to make in the future as a result of that agreement. The Group is also forecasting circa $0.5m spend for the fit-out of the rented area. The agreement is currently in the additional stages of approval with the Department of Planning and Environment, including clarity on timing of the capital contribution and rental scaling arrangements. Additional campaign activities are planned to support the additional funds required to support payment of the capital contributions, in addition to existing funding received to achieve the group's strategic goals. The Directors have considered the appropriateness of the going concern assumption for the basis of preparation of these financial statements and, with regard to cash flow forecasts for the next twelve months, continue to believe it is appropriate. 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. p)

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.

Page 19

4 Performance income Box office Performance fee Total performance income

2018 $

2017 $

72,323 37,461 109,784

111,128 50,478 161,606

39,371 220,177 261,876 6,750 30,983 559,157

31,037 185,637 303,093 13,950 73,148 606,865

187,459 4,480 60,000 264,335 516,274

256,961 66,919 410,000 733,880

11,372 20,681 15,000 18,883 65,936

11,005 20,641 4,593 36,239

277,750 200,000 77,765 95,276 650,791

275,000 6,950 200,000 35,000 36,364 553,314

5 Fees & services income Education workshops Ensemble workshops Holiday workshops Production workshops Other workshops & fees Total fees & services income 6 Sponsorship & donation income Donations Fundraising Sponsorship Foundations Total sponsorship & donation income 7 Other income Dividends Interest received Other commissions Other income Total other income 8 Government grants Australia Council - Operating grant Australia Council - Project grant Create NSW - Operating grant Create NSW - Project grant NSW Family & Community Services Total government grants

Page 20

2018 $

2017 $

511,979 743,867 1,255,846

822,828 738,595 1,561,423

165,829 (1,050) 164,779 5,056 7,195 177,030

17,666 (4,612) 13,054 1,645 7,254 21,953

41,703 200 41,903

73,629 550 74,179

9 Cash & cash equivalents & term deposits Cash at bank Short-term deposits Total cash & cash equivalents & term deposits

10 Trade & other receivables Trade receivables Less: Loss allowance Net trade receivable Imputation credits refundable Interest receivable Total trade & other receivables 11 Other assets Prepayments Deposits Paid Total other assets

12 Financial assets

Opening Balance

Additions/ (disposals)

Revaluation (deficit)/ surplus

Closing Balance

2018 Shares - Australian listed-companies at fair value Total

205,870 205,870

(3,621) (3,621)

202,249 202,249

2017 Shares - Australian listed-companies at fair value Total

196,300 196,300

9,570 9,570

205,870 205,870

Other financial assets consist entirely of assets in Australian listed securities. The fair value of listed equity investments 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.

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13 Intangible assets

2018 $

2017 $

Software Software â&#x20AC;&#x201C; at cost Accumulated amortisation Total software

1,829 (1,829) -

Website Website - at cost Accumulated amortisation Total website

36,125 (1,128) 34,997

72,833 (72,833) -

Total intangible assets

34,997

Reconciliation of the carrying amounts of intangibles at the beginning and end of the current financial year for the economic entity: Total $ 36,125 (1,128) 34,997

Carrying amount 1 January Additions Amortisation expense Carrying amount 31 December

2018 $

2017 $

Leasehold improvements Leasehold improvements - at cost Accumulated depreciation

87,825 (87,825)

Total leasehold improvements

113,330 (89,107)

279,776 (241,434)

Total plant & equipment

24,223

38,342

Total property, plant & equipment

24,223

38,342

14 Property, plant & equipment

Plant & equipment Plant & equipment - at cost Accumulated depreciation

Page 22

14 Property, plant & equipment continued Reconciliation of the carrying amounts of each asset class at the beginning and end of the current financial year for the economic entity: Plant & Equipment Total $ $ Carrying amount 1 January 38,342 38,342 Additions 1,061 1,061 Depreciation expense (15,180) (15,180) Carrying amount 31 December

24,223

2018 $

2017 $

Trade creditors Sundry creditors & accruals

24,061 160,907

61,340 123,943

Total trade & other payables

184,968

185,283

15 Trade & other payables

16 Employee provisions Current Provision for annual leave Provision for long service leave Total Current

47,221 19,570 66,791

34,678 5,252 39,930

Non-Current Provision for long service leave

16,144

Total Non-Current

16,144

66,791

56,074

200,000 140,000 -

200,000 700 1,565

140,264 15,000 495,264 154,415 72,798

138,875 20,000 60,000 421,140 138,414 138,636

722,477

698,190

Total employee provisions

17 Deferred income Create NSW Operational grant Special Initiatives funding Writers Commissions Creative Developments Australia Council Operational grant Copyright Agency State Library of NSW ANZAC Centenary Trust Total grants in advance Workshop fees in advance Other income in advance Total deferred income

Page 23

2018 $

2017 $

703,524 762,744 974,237 974,237

887,148 925,490 930,895 936,147

Net liabilities

(211,493)

(10,657)

Retained losses

(211,493)

(10,657)

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

(200,837)

52,619

Total comprehensive income

(200,837)

52,619

(42,375)

(51,841)

39,250 (35,000) (38,125)

44,466 (35,000) (42,375)

1,009,370 1,009,370

18 Parent entity note Information relating to ATYP Limited (the Parent entity): Statement of Financial Position Current assets Total assets Current liabilities Total liabilities

19 Designated funds Revenue funds Opening balance Transfer from / (to) general funds Foundation surplus In support of ATYP commissions/productions Closing balance Capital fund Opening balance 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 Opening balance Transfer from / (to) general funds In support of Pier 2/3 Capital campaign Closing balance

64,701

55,300 120,001

64,701 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.

Page 24

Equity through FVOCI reserve Opening balance Transfer from / (to) general funds Parent other comprehensive income Closing balance

2018 $

2017 $

5,870

(3,700)

(3,621) 2,249

9,570 5,870

The Equity through FVOCI reserve comprises gains and losses relating to equity investments held in the atyp Foundation. 20

Related parties & related party transactions

a) 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 2018 amounts to $193,996 (2017: $210,047). c) Director donations The total amount of donations received from directors during the year ended 31 December 2018 amounts to $4,490 (2017: $13,500).

2018 $

2017 $

86,696 48,152

58,312 -

134,848

58,312

- not later than 12 months

13,750

Total

13,750

Commitments & contingencies 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 Total (b) Capital expenditure commitments At reporting date, the company has entered into contracts for capital expenditure of $13,750 which have not been provided for in the financial statements. The amounts are payable:

The lease commitments relate to the lease of premises, storage space, venue hire and telephones.

Page 25

22 Events occurring after reporting date Since year end ATYP has signed an Agreement for Lease with the NSW Department of Planning and Environment regarding the Parent Entityâ&#x20AC;&#x2122;s future tenancy in the Walsh Bay Arts Precinct development. This agreement is current in the additional stages of approval with the NSW Department of Planning and Environment, including clarity on timing of the capital contribution and rental scaling arrangements. Refer to Note 3(o) for details on terms and commitments associated with the agreement. 23 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.

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

2. 3. 4. 5. 6.

the consolidated financial statements and notes, as set out on pages 11-26 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 2018 and of its performance for the financial year ended on that date. 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; the accounts give a true and fair view of all income and expenditure including with respect to fundraising appeals; 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; 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 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.

Chris Puplick Acting Chair Australian Theatre for Young People Sydney 29 April 2019

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Independent auditor’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 60 of the Australian Charities and Not-for-profits Commission (ACNC) Act 2012, including: (a)

giving a true and fair view of the Group's financial position as at 31 December 2018 and of its financial performance for the year then ended

(b)

complying with Australian Accounting Standards - Reduced Disclosure Requirements and Division 60 of the Australian Charities and Not-for-profits Commission Regulation 2013.

What we have audited The Group financial report comprises: the consolidated statement of financial position as at 31 December 2018 the consolidated statement of changes in equity for the year then ended the consolidated statement of cash flows for the year then ended the consolidated statement of profit or loss and other comprehensive income for the year then ended the notes to the consolidated financial statements, which include a summary of significant accounting policies the directors’ declaration.

Basis for opinion We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial report section of our report. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. Independence We are independent of the Group in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.

Other information The directors are responsible for the other information. The other information comprises the information included in the annual financial report for the year ended 31 December 2018, 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 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 that we 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 and the Australian Charities and Not-for-profits Commission (ACNC) Act 2012 and for such internal control as the directors determine is necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error. In preparing the financial report, the directors are responsible for assessing the ability of the 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 of assurance, but is not a guarantee that an audit conducted in accordance with the Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of the 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.

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Report on the Requirements of the Charitable Fundraising Act 1991 and the Charitable Fundraising Regulation 2015 We have audited the financial report of Australia Theatre for Young People Limited as required by Section 24 of the Charitable Fundraising Act 1991. 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 2015. 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 31 December 2018, in accordance with: a)

Sections 20 (1) and 22 (1-2) of the Charitable Fundraising Act 1991; and sections 10 (6) and 11 of the Charitable Fundraising Regulation 2015.

Money received as a result of fundraising appeals conducted during the financial year ended 31 December 2018 has been properly accounted for and applied in accordance with the above mentioned Act and Regulation.

Matters relating to the electronic presentation of the audited financial report This auditorâ&#x20AC;&#x2122;s report relates to the financial report of Australian Theatre for Young People Limited for the year ended 31 December 2018 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 auditorâ&#x20AC;&#x2122;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

MK Graham Partner

Sydney 29 April 2019

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Government

Trusts and Foundations

Associate and Producing Partners