ANNU— AL REPo— RT 2o2O
01
Contents
02
Our Vision
03
Artistic Director
07
Board Chair Season 2020
09
CUSP
13
Intersection 2020: Beat
17
RoomWorks Departments
19
Writing
23
Workshops
27
Education
29
Development
31
Marketing
34
Archives
35
Financials ATYP
36
Staff and Board
37
Partners and Supporters
ATYP
Annual Report 2020
02
OUR VISI— ON ATYP’s vision is to enrich the lives of young Australians through transformative theatre experiences We do this through three aspirations:
National Impact — ensure programs resonate locally, regionally and nationally.
1.
Be indisputably recognised nationally and globally as a leading theatre company that
Artistic Excellence — deliver programs
fearlessly champions young artists.
with artists, companies, venues and events synonymous with artistic excellence.
2. Deliver inclusive opportunities that connect young people with the professional theatre
Innovation — embrace the evolving nature of
industry.
storytelling as it relates to young people and celebrate risk and experimentation.
3.
Be a leading advocate for youth arts and its social impact.
Pathways — be a meeting point between the professional theatre industry, youth arts sector,
ATYP is guided by four long-term strategies.
educational institutions and non-arts community
They provide holistic thinking that sits across all
for the benefit of young Australians.
company activities and discussions. They are:
ART— ISTIC DIREC— TOR The true test of an organisation is not how it fares in good times, it’s how it copes with adversity I appreciate it is an unusual way to introduce
Anne Butler. The show opened to critical acclaim
what has been a globally tumultuous, distressing
on a Friday… and closed on the Sunday. All
and difficult year, but it gives me enormous
plans for 2020 had to be cancelled - workshops,
pleasure and pride to present ATYP’s 2020
fundraising events, the entire production season,
Annual Report.
interstate and international travel and the scheduled tour of the USA and Canada.
ATYP has vast experience in coping with adversity. For many years the company has used
Once we’d come to terms with what we wouldn’t
innovation, collaboration, critical reflection and
be able to deliver, we switched focus to what
strategic thinking to maximise meagre resources
was possible. ATYP underwent at least three
and build its reputation as a flagship company.
years of research and development within two months:
So though the COVID-19 crisis forced the closure of all the company’s planned activities
•
We were able to record a performance of
for an extended period of time, in its place we
CUSP and screen it online for a three-week
invented, invested, inspired and evolved. Rather
‘season’ for an audience of just under 1,500.
than staggering out of 2020, ATYP has emerged with a greater profile, extended national reach and extraordinary opportunities.
•
Tutors that had been contracted to deliver the Autumn holiday workshops were redeployed to create a series of filmed
As the COVID-19 shutdown took hold in
tutorials for teachers that were released
March, we were in the process of opening our
on the ATYP On Demand platform over the
professional production for 2020, CUSP by Mary
early months of the shutdown.
ATYP
Annual Report 2020
•
•
Weekly programs for ages 8+ were revised
04
A partnership was established with Orana
and relaunched as online interactive
Arts in Dubbo, regional NSW, to engage
workshops that used conference software
young people across the state in online
and file sharing to connect young people
drama workshops and mentoring.
in NSW and nationally, streamed from the ATYP office.
•
ATYP partnered with Nightingale Content to stage RoomWorks, an online mentorship
•
The second production in the 2020 season,
program and showcase that connected 20
Intersection 2020: Beat, a partnership with
emerging artists with industry leaders to
The Arts Unit (the NSW public schools
develop and present a collection of ten new
arts excellence program), continued to be
works reflecting the experiences of this
rehearsed remotely, before the decision was
tumultuous year.
made to create four high-quality short films which were released for schools state-wide.
•
The company established an online Arts Webinar series and Playwriting Masterclass
•
ATYP commissioned a group of eleven
program connecting young people around
leading national playwrights to create
the country with leading artists and
five-minute scripts that young people and
innovators.
their families could rehearse and record at home during the lockdown, and enter into a
While all of these developments will have a
competition called ATYP Home Theatre.
lasting impact on the planning and programming of ATYP, the greatest achievement was
•
The ATYP Education team established an
the extraordinary success of ATYP’s digital
online interactive program for schools called
classroom, ATYP On Demand. Launched in 2018,
ATYP In the Classroom which enabled an
the national lockdown in 2020 saw ATYP On
ATYP tutor to work with a class either
Demand emerge as the leading national online
remotely from their homes, all together in
drama resource for schools. Within two weeks of
the classroom, or a combination of both.
lockdown, ATYP On Demand registrations had increased by 150%. By the end of 2020
•
The National Studio, Australia’s leading
it had seen an increase of over 400%, with
professional development initiative for
teachers registered from every state and
emerging playwrights, was delivered as
territory in the country.
an online week-long intensive with group workshops, individual mentoring and masterclasses, culminating in a reading of the resulting pieces.
Thanks to the success of ATYP On Demand, the
I need to acknowledge the exceptional work
company received funding from the Thyne Reid
of my colleagues and the ATYP Board during
Foundation to develop ATYP On Demand Plus,
2020. I’m particularly grateful to our Chair,
a learning portal for primary schools that uses
Chris Puplick, who had to face extraordinary
drama pedagogy and interactive learning to help
challenges throughout the year. He led the
teachers deliver the National Curriculum. These
company with exemplary grace, clarity,
two platforms have the potential to make ATYP’s
confidence and calm. His contribution cannot be
programs accessible to over 7,000 schools with
overstated. ATYP is deeply fortunate to have had
the capacity to reach over three million students.
Chris at the helm in this year of upheaval.
Of course, the year also brought with it a
The list of achievements is testament to the
devastating setback. In the midst of the
work of ATYP’s staff. Despite an intense and
shutdown as the industry was reeling from
relentless workload, they shouldered the
the impact of COVID-19, ATYP was among 49
challenges with warmth, humour and resilience.
companies informed that from 2022 we will lose
Everyone deserves special mention but if I
our Australia Council operational funding. The
was to identify one person that stepped up
most distressing element of this news was that
a whole new level during the year it was our
no reason was able to be given for the decision.
Finance and Administration Manager, Chrissy
In separate meetings with ATYP’s management
Riley. She was forced to recalculate financial
team, Chair, and analyst Justin Macdonnell, the
forecasts on a weekly basis, ensuring the
Australia Council was consistent: “There were no
Board and management maintained a detailed
faults with the application, there simply wasn’t
understanding of the company’s financial
enough money to go around.”
position and risk in a swirling sea of change. Chrissy bore the brunt of the financial anxieties
It is difficult to comprehend the state of
that blew relentlessly throughout the year and
Australia’s Federal Government funding if the
she managed it with a level of self-assurance and
national youth theatre company can have its
calm that was a wonder to behold.
funding cut, without explanation, in the year it will move into a new purpose-built home. Unless
I’d also like to acknowledge my two colleagues
this is rectified by 2023, it will have devastating
at the helm during the year, Amanda Wright
consequences for ATYP and young people.
and Johanna Mulholland. I was trying not to view Amanda’s maternity leave as a personal
Fortunately however, the company was given
betrayal in the midst of the year. Fortunately
a small reprieve. Thanks to the Ministry for the
having Johanna step so competently into the
Arts, ATYP received over $750,000 to revise and
breach enabled me to celebrate the birth of
promote our programs nationally during 2021 and
Amanda’s second child with the joy it deserved.
2022 as part of the Federal Government’s RISE
It is an honour to work with such considered,
initiative. There is much to be done to leverage
compassionate and strategic arts leaders.
this unique opportunity, but the company is well placed for the challenge.
ATYP
During the year we said goodbye to three longterm members of the ATYP team. Marketing Manager Kar Chalmers left us after seven years to take up a role at a new Arts centre on the South Coast, our Education Coordinator Rowan Bate left us after four years with the company to do further study, and Workshop Manager Rob Jago left us after five years to leap back into to the world of a freelance professional artist. We wish them all the very best in their future careers and thank them for the joy, passion and hard work they brought over years. After many years of having to acknowledge financial deficits, I am also pleased to report that ATYP recorded a very healthy surplus in 2020. While there is no doubt it was helped by some good fortune by way of COVID-19 recovery incentives, it was also well deserved. We hope to deliver another surplus in 2021 as we prepare to move into the company’s new premises in 2022. There is much to look forward to over the coming twelve months. Fraser Corfield Artistic Director
Annual Report 2020
06
BOARD CHAIR It’s true that you find your true strengths through adversity It seems to me that every year, the Chair’s
I am so proud in the first instance of how the
Forward to the ATYP Annual Report reflects that
Board rallied, resolute that we were not going to
the year past has been a difficult one, and the
let this setback defeat us, and how the senior
year ahead will be full of challenges.
managers and staff were ready to come with us on that journey. We were prepared to make some
Well, as the French say, plus ça change, plus
hard and unpleasant decisions, but fortunately
c’est la même chose ….
for us, and indeed for the whole arts sector, both the Federal and State Governments were
At the start of 2020, none of us had heard
determined that the arts sector would be helped
of SARS-CoV-2, now known to all of us as
through the Covid crisis.
COVID-19. We were just getting on with the delivery of our exciting 2020 season and had
Enter Jobkeeper, through which we have
opened a wonderful new production, CUSP,
managed to keep our staff together and our
written by Mary Anne Butler and directed by
team intact. Support packages from both
Fraser Corfield at the SBW Stables Theatre,
governments, the personal support of NSW
home of our Griffin friends, while we were
Arts Minister Don Harwin and the folk at Create
camping-out awaiting the refurbishment of our
NSW, combined with an enormous outpouring of
new Pier 2/3 home. The season was going well,
generosity from some of our traditional donors
tickets were selling fast and the gritty story
and supporters, has meant that we managed to
about life for young people in the Top End was
secure our financial position and can look with
engaging and resonating with audiences. Then –
confidence to 2021.
POW! The sudden closing of the show halfwaythrough and the cancellation of our 2020 season.
The State Government, sensing that infrastructure investment was critical to help
The whole Company rallied to meet the
support the sector, has made sure that there
challenges, none of which were anticipated, none
was no let-up on the redevelopment of Pier 2/3.
of which we’d ever faced before. Dealing with
I am very confident that we will be back in our
financial crises is easy – been there, done that,
new custom-designed permanent home within
we know the ropes. Dealing with a complete
the next twelve months.
lockdown is something else altogether.
ATYP
Annual Report 2020
08
This has also allowed us to develop and plan
with confidence. Our General Manager,
a 2021 Season, reprising some triumphs and
Amanda Wright, took maternity leave, and it was
putting together a season full of new and
our great fortune to steal Johanna Mullholland
exciting works aimed to directly address the
from Monkey Baa to step into the role in the
issues and interests of young Australians across
interim. We have big plans for both of them in
the nation.
the year ahead.
After experiencing some turnover on the Board,
The COVID-impetus has caused us to undertake
we now have a team which is well balanced,
some major rethinks, in particular, around how
experienced and keen. I am particularly grateful
we can make better use of online opportunities
to Janine Lapworth, my Deputy Chair, who
both for educational purposes and for the
has steered us through all the shoals of Pier
delivery of our shows, workshops, training
2/3 redevelopment and several other key legal
programmes and seminars. We have developed
issues this year. We have also been fortunate to
new strengths in these areas, and are ready
have support through the Board Observership
post-COVID to grow those opportunities
programme.
and expand our artistic reach further, both geographically and socially. The advice from
Following the Australia Council’s decision
our ATYPicals network has helped us in refining
not to extend our four-year funding beyond a
our approaches.
transitional year in 2021, the Board decided that we needed a full-scale review of the Company,
Just as 2020 was a year like no other, I am
involving not just its financing but also its
confident that 2021 will be as well; in our new
structures, operations and market positioning.
home, at the end of a new season, with a new
I asked Justin Macdonnell of the consultancy
focus and a renewed determination to keep
firm, OzArts Australia, to undertake this review.
ATYP where it must be - leading Australia’s
Justin’s report presented some very valuable
youth arts sector.
insights for the Company to address. The Board and senior management have been working
Chris Pulplick AM
through these – they are all good suggestions,
Board Chair
and we are determined to take them seriously and to act. Changes are underway and I hope that they will start to bear fruit during the next six months. I pay tribute to Fraser Corfield for his fortitude in leading the Company as our Artistic Director. His challenge has been enormous. Apart from having to abandon a season he had curated, it has been his task to keep the staff focused so that we have been able to plan ahead for 2021
ATYP
Annual Report 2020
ATYP@ GRIFFIN
11.03— 15.03.20
A Brown’s Mart Theatre Co—production
CUS— P Writer Mary Anne Butler Director Fraser Corfield
Image Justin & Luke Stambouliah Subject Jordan Dulieu
10
HOW DO YOU MOVE INTO THE FUTURE, WHEN YOUR PAST KEEPS DRAGGING YOU BACK— WARDS?
ATYP
Annual Report 2020
12
Elvis wants Rosie. Rosie wants to escape.
Dramaturg
Maddie doesn’t know what she wants; but it
Jane FitzGerald
sure isn’t this. While Rosie balances the needs
Set Designer
of community with her own life dreams, Elvis
Cj Fraser-Bell
juggles a life of crime with a tougher path into
Lighting Designer
the straight-and-narrow, and Maddie faces life
Jessie Davis
as a single parent unless she aborts her
Sound Designer
unborn child.
Brad Fawcett (Darwin season) Sound Design Mentor
CUSP juxtaposes the Northern Territory’s vast
Matt Cunliffe
Top End landscape with the turbulent inner lives
Stage Manager
of three emerging adults as they swim against
Scott Gooding (Darwin season)
the tides of irrevocable change. Balancing choice
LX/AX Operator
versus fate in a world where, as Elvis observes,
Brenton Ryan (Darwin season)
“Some people just get better choices than
Production Manager/Stage Manager
others”, CUSP asks the central question: How
Sorie Bangura
do you move into the future, when your past
Cultural Consultant
keeps dragging you backwards?
Rosealee Grimes (nee Pearson) Assistant Director
Due to unavoidable derailment due to COVID-19,
Claudene Shoesmith
CUSP opened on 13 March 2020 at the SBW
Assistant Director
Stables, Kings Cross, before the run was forced
Adam Stepfner
to come to an end on 19 March 2020. A filmed performance was placed on ATYP's YouTube
Cast
channel and On Demand platform, where it
Stevie Kyriacou
received nearly 1.5k views.
Joshua McElroy Nyasha Ogden Performed at SBW Stables Theatre, Kings Cross Opened 13 March 2020 Season 11-19 March 2020 Performances
6
Attendance
178
Box office
$4,990
ATYP
An Arts Unit Co—production
INTER— SECTI— ON: BEAT Writers Daisy Coyle Bernadette Fam Shevaun Rutherford Bradley Ward Director Fraser Corfield
Image Justin & Luke Stambouliah Subject Keshini De Mel
Annual Report 2020
14
IT’S LIKE... THAT FAIRY TALE YOU READ US... THE ONE WHERE SHE DANCES HERSELF TO DEATH.
ATYP
Annual Report 2020
Offbeat. Upbeat. Move to your own beat.
Cast
These are stories that explore the pulsating
Jack Andrew
experience of young lives.
Diya Goswami Jamie Gray
Following the cancellation of Intersection
Jeremy Jenkins
2020: Beat due to COVID restrictions,
Milla Kime
partner organisation The Arts Unit, the NSW
Holly Matthews
Public Schools Excellence Program, sought opportunities to have some form of performance
The Arts Unit Ensemble
outcome that could involve participating
Jack Andrew
students. Funding was secured to enable the
Kevin Fernando
filming of four of the ten short works that were
Diya Goswami
to make up the original production. Two of the
Jamie Gray
works were filmed in full and two were filmed
Jean Hinchliffe
in part to demonstrate how theatre can be
Jenaya Jacka
converted to film.
Jeremy Jenkins Emily Johnson
The filming took place during the July school
Milla Kime
holidays from the 6th – 14th July. The
Holly Matthews
performances will be made available to schools
Samuel Noll
through ATYP On Demand.
Reuben Odlum Olivia Staniforth
Film Director
Will Thomas
Leigh Richards
Hayley Winch
Dramaturg Jane FitzGerald Producer Jane Simmons Director of Photography Peter Copeland Documentation David Todd
ATYP will continue our relationship with Currency Press, which publishes the pieces in one book so they can be performed by young people for years to come.
16
18.07.20
ROOM— WORK— S Producers Alexandra Punch Emily Buxton
Writers Flick Anderson Linda Chen Bernadette Fam Jasper Lee-Lindsay Callum Mackay Olivia McLeod Olivia Richards Shahrin Shamin Egan Sun-Bin Susan TakTak Hosts Chika Ikogwe VIctoria Zerbst Editor Alexander Lee-Rekers
ATYP
Annual Report 2020
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After a successful scratch night program in 2019,
Edited by Alexander Lee-Rekers and hosted
ATYP endeavoured to continue the opportunity
by Chika Ikogwe and Victoria Zerbst, the final
for young artists aged 18-26 to present their new
screening was distributed through ATYP’s
work in 2020. Plans were underway for a year-
Facebook and YouTube channels as a live
long Sparkly Sh*t program, with a showcase-
screening that reached 4,898 people from all
style event every two months. Unfortunately,
over the world. Optional “tickets” were available
this plan was not executed due to COVID-19,
for purchase to the screening, as self-nominated
however, independent company, Nightingale
donation amounts that were equally distributed
Content produced a digital scratch night and
between AIME and Headspace as selected
approached ATYP to partner on the project.
by Alexandra and Emily, culminating in a final
And thus, RoomWorks was born. The change in
donation total of $601.12.
program delivery gave the participants a more production-style outcome to work towards.
Mentors Kate Champion
Produced primarily by Alexandra Punch of
Jane FitzGerald
Nightingale Content and Emily Buxton on
Moreblessing Maturure
behalf of ATYP, RoomWorks was a creatively
Dom Mercer
ambitious, three-week long project that sought
Sam O'Sullivan
to engage and pay 20 young artists (10 writers
Paige Rattray
and 10 actors) from around Australia, pairing
Darren Yap
them and providing mentoring opportunities as they created and performed 10 original,
Actors
short monologues premiered during an online
Lotte Beckett
screening on Saturday 18 July.
Toby Blome An Dang
Alexandra and Emily were considered in making
Peter Irankunda
this an equal opportunity event for young
Mabel Li
people, encouraging applicants from every state
Teresa Li
and territory of every skill level to apply. Assisted
Susanna Pang
by ATYP Marketing Coordinator, Erica Penollar,
Sophie Strykowski
they succeeded in gaining national reach,
Renae Valastro
ultimately selecting the final 20 participants from
Georgia Willson
Queensland, New South Wales, Victoria, and the Australian Capital Territory. The mentorship component spanned three sessions and involved industry professionals Jane FitzGerald, Sam O’Sullivan, Moreblessing Maturure, Darren Yap, Paige Rattray, Dom Mercer, and Kate Champion.
Premiered
18 July 2020
Online premiere views
4,898
Total donations
$601.12
WRIT— ING Overview
Commissioned Writers
Workshops
44
Donna Abela
Workshop attendances
298
John Armstrong
Playwrights under commission
22
Vanessa Bates
Playwriting participants
78
Kip Chapman
Mentors and teachers
10
Rachael Coopes
Professional actors, directors,
Felix Cross
dramaturgs
24
Tasnim Hossain
Other artists supported
17
Emme Hoy
Total artists part of programs
151
Chika Ikogwe
Audience
237
George Kemp
States and Territories operated in
3
Finegan Kruckemeyer
Hours of dramaturgy (Resident Dramaturg)
Jasper Lee-Lindsay 177
Hours of mentoring/tutoring (Resident Dramaturg)
Alexander Lee-Rekers The Listies (Richard Higgins and Matt Kelly)
111
Ross Mueller Madelaine Nunn Lachlan Philpott Leah Purcell Hannah Reilly Gretel Vella Kate Walder Victoria Zerbst
ATYP
Annual Report 2020
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Fresh Ink Mentoring
National Studio
Despite the challenges of COVID-19, Fresh
In response to border restrictions, the eleventh
Ink continued to thrive in 2020. The groups in
iteration of this successful program was held
Darwin, Perth and Sydney met successfully via
online as National Studio 2020: COVID Edition.
Zoom for the first half of the program, before
It maintained almost all the key elements of
moving to a mixture of in-person and Zoom
National Studio: 20 emerging writers aged 18-26
meetings. All 12 emerging playwrights aged
from six states experienced masterclasses, group
18-26 wrote two short plays, and the readings
tutorials, one-on-one mentoring and industry
for each of the programs were able to be held in
sessions from award-winning playwrights
person. The program run in Darwin co-presented
Vanessa Bates (NSW), Mary Anne Butler (NT)
with Brown’s Mart and was mentored by Ciella
and Chris Isaacs (WA), as well as Resident
Williams; in Perth co-presented with Barking
Dramaturg Jane FitzGerald. The participants
Gecko and mentored by Will O’Mahony; and in
created eight-minute pieces which were read
Sydney mentored by ATYP Resident Dramaturg
over Zoom at the conclusion of the week.
Jane FitzGerald.
Despite not being able to gather in person, a special atmosphere was created and strong peer
Amazing. I got to know some brilliant and
connections made.
inspiring artists, pursue bigger creative goals than I’ve ever set for myself and write a play I’m
Though in an ‘unprecedented’ year [in which]
looking forward to developing in the future.
things had to change on a dime, the quality
—Betty Sweetlove, Darwin Fresh Ink
and standard did not falter one bit. I thoroughly enjoyed the positive, open and innovative
Fresh Ink gave me an opportunity to explore
approach every single person brought to the
my voice. The programme felt like a supportive
lessons, and I would recommend it again and
environment to find my unique way of saying
again. Big thanks to ATYP for adapting in this
things… It gave me a chance to work with
digital environment. It was amazing.
people I would not have otherwise.
—Vivian Nguyen. VIC
—Anonymous, Perth Fresh Ink I had an absolutely incredible time at National Studio! In fact, it was one of the most inspiring and motivational experiences I’ve ever had! —Sevgi Murphy, NSW
Foundation Commissions
Playwriting Masterclass
Two new commissions were awarded in 2020:
For the first time, ATYP ran a series of online
Shack by George Kemp (for ages 10-13 years)
playwriting masterclasses. Over five weeks,
and Cry Havoc by Emme Hoy (for ages 14-17
exceptional professional playwrights delivered
years). Lights in the Park by Alexander Lee-
1.5 hour masterclasses on a variety of topics
Rekers (to be produced April 2021), Soul Trading
to emerging playwrights across six states.
by Kate Walder (to be produced October 2021)
Playwrights who led the masterclasses were
and The Chapel, the Fire and the Dead Cat by
Mary Anne Butler, Anchuli Felicia King, Michele
Madelaine Nunn received ongoing development
Lee, Tommy Murphy and Lachlan Philpott.
supported by Resident Dramaturg Jane FitzGerald.
These masterclasses provided an incredible opportunity to connect with many different
ATYP Home Theatre
playwrights that I otherwise would not have
As a rapid-response to COVID-19 lockdowns,
had the opportunity to interact with. I gained
and thanks to generous support from the
so much knowledge from each and every
Foundation, ATYP commissioned 12 established
masterclass and it was so helpful and amazing.
and emerging playwrights to write five-minute
—Sarah Frencham, VIC
plays that could be downloaded and performed with family and friends at home or via Zoom.
Shows in Development
We invited young people and families to film
2020 saw the Resident Dramaturg provide
their performances and upload them to our
ongoing dramaturgical support to a number of
YouTube channel.
other scripts:
In an era when Australian playwriting and
•
theatre are being devastated from so many sides, it is incredible and utterly brilliant to
The Deb by Hannah Reilly, winner of the 2019 Rebel Wilson Comedy Commission
•
have ATYP take on such a role. I feel like
Converted! by Victoria Zerbst, winner of the 2020 Rebel Wilson Comedy Commission
ATYP is acknowledging the current dilemma
•
The Resistance by Kip Chapman
of Australian playwrights as well as its valued
•
Ali in Zombieland by John Armstrong
members and young people AND their families.
•
Play Number 4 by Brendan Hogan, winner of
Talk about leadership. —Vanessa Bates, playwright
the 2019 Martin-Lysicrates Prize •
Intersection 2020: Beat by the playwrights of the National Studio 2019
ATYP
Annual Report 2020
22
Ambassador Opportunities
While the impact of the COVID shutdown had
Rose Byrne Scholarship for
a devastating impact on many performing
Emerging Female Leader in the Arts
artists, the same can’t be said for Chika. During
Won by Chika Ikogwe
the year, she was kept extremely busy as a
Rebel Wilson Comedy Commission
playwright and actor, having been commissioned
Converted! by Victoria Zerbst
to develop her own work and employed to assist in the development and presentation of others.
In 2020, Rose Byrne and Rebel Wilson continued
Chika has worked with ATYP’s management
their generous support of young Australian
team on the development of workshops for the
artists by providing mentoring opportunities
African-Australian community and people of
through ATYP. Rose continued her Scholarship
colour and attended ATYP Board meetings as an
for an Emerging Female Leader in the Arts for
observer.
the fifth year, and the Rebel Wilson Comedy Commission (adjusted in 2019 from its former
ATYP ambassador Rebel Wilson awarded the
iteration as the Rebel Wilson Theatremaker
commission to comedy actor, writer, and political
Scholarship) enjoyed its second year. To date,
satirist Victoria Zerbst.
this program has provided opportunities for eight artists aged 18-26.
Rebel’s dedication to ATYP and the next-gen of Australian artists is beyond inspiring, and
Rose Byrne had a difficult job narrowing
being awarded a comedy commission is a
down the list. There were many exceptional
serious honour I don’t take lightly. Over the
submissions, however, after careful consideration
next 12 months I’ll be developing an idea for
Rose chose award-winning Nigerian-Australian
a show that has been rattling around my little
actor, writer and recent acting graduate of NIDA,
skull for the longest time and I am so excited I
Chika Ikogwe as the 2020 recipient.
get to pay it some attention and take it to the library. I’m collecting and re-working the songs
I very much look forward to being part of the
I wrote throughout my high school years and
ATYP team, and cannot wait to work with them
I’ll be turning them into a very camp comedy
to diversify the landscape of the entertainment
musical! I can’t wait to harness all the skills I’ve
industry here in Australia. I want to create
developed from the ATYP National Studio and
workshops that give BIPOC (Black, Indigenous,
Fresh Ink Program, and work with Rebel and the
People of Colour) the opportunity to come and
ATYP team to deliver a work that centres on the
learn acting, singing, dancing, and performance
complex experiences of young people and also
making from some of the country’s finest
makes people laugh heaps!
teachers and arts practitioners. My aim is for this to be a heavily subsidised, if not free
By the end of 2020, Victoria had completed two
program because I believe accessibility should
drafts of her Commission, supported by the
not only be reserved for those who are privileged
Resident Dramaturg. Two further drafts and a
enough to be able to afford it.
development workshop are planned for 2021.
WORK— SHOPS Overview
Holiday Workshops
ATYP believes the best way to learn is by
2020 was a mixed year for the Holiday
creating and by doing. Our high-quality courses
workshops program. Our January program
give young people the opportunity to work
was a strong start to the year, but then due
together to create their own show, express their
to COVID-19 we were unable to offer an April
own views and perform it to an audience.
or July holiday program. We returned with our
Led by some of the industry’s most experienced
October holiday session to finish off the year.
tutors, all of whom are working professionals,
The October program was also our first chance
young people build self-confidence, are
to run Holiday workshops from the Eighteen80
challenged and discover valuable insights into
Hall space in Surry Hills, which went very
the dramatic process.
smoothly.
In 2020, Workshops Manager and Associate
We were also able to invite parents in for a
Director, Robert Jago left the company after
showing at the end of the workshop at most
nearly five years, and we were joined by
of the venues, which is always a highlight.
Education and Workshop Manager, Jacqui
Where live audiences were not able to attend,
Cowell in mid-February.
performances were filmed, added to ATYP’s YouTube channel and sent to families. As this is
Many of the Workshop programs were impacted
an important part of the program it was good to
by COVID-19 during 2020, but overall we were
be able to deliver a performance outcome for all
able to successfully ensure that we continued to
participants.
offer workshops to students and provide a place for them to gather, create and learn through
Workshop facilitators
40
some very difficult times.
Assistant facilitators
25
Paid participants
440
Scholarships
44
Programs
41
Individual Workshops
1084
Individual attendances
2230
ATYP
Annual Report 2020
24
Weekly Drama Workshops
Workshop facilitators
34
In 2020 we relocated the majority of our Weekly
Assistant facilitators
10
Program to the Eighteen80 Hall in Surry Hills.
Paid enrolments
478
The exception being our Sunday classes, which
Scholarships
25
were held at the Abraham Mott Community
Programs
34
Centre in Millers Point for Term 1 classes. When
Individual workshops
404
we resumed in-person classes at the beginning
Individual attendances
6141
of Semester 2, the Abraham Mott space was not
Performances
15
yet available for hire so the classes were held at
Audiences not tracked. Limited audiences
The Seymour Centre for Term 3 and then at the
allowed due to COVID restrictions.
National Art School’s Cell Block Theatre space in Term 4.
ATYP Online During Term 2 of our weekly classes, ATYP
Our weekly program started with strong
offered a reduced number of our programs
enrolment and program numbers. There was also
online. These classes were run via the Zoom
a very smooth transition to our new space in
platform, and also made use of Google
Surry Hills. Due to COVID-19 all weekly ensemble
Classrooms as an additional online resource.
classes were suspended one week before the
Courses were taught from the ATYP office
end of Term 1. We created a reduced online
space and were attended by not only previously-
program and continued to run weekly classes
enrolled ATYP students, but also students
throughout the entire year. Please note that due
who joined us for the first time from all across
to the different programs offered in 2020, the
Australia (and two students from Nepal).
below figures account for Term 1 and Semester 2. Term 2 figures are accounted for in the online
During Term 3 and Term 4, ATYP continued to
information.
run one online drama class per week. These classes were also run via the Zoom platform and
We were also unable to host our Performance
were attended by students nationwide. Each
weekend, however all Semester 2 programs still
of our online classes had a final performance
had a performance outcome. Limited audiences
outcome, and we hosted online watch parties
were invited to watch the performance in person
via Zoom, where students could log in with their
and all performances were filmed and made
family and friends to share their work.
available via the ATYP YouTube channel. Workshop facilitators
10
Assistant facilitators
2
Paid enrolments
150
Scholarships
5
Programs
15
Individual workshops
120
Individual attendances
1200
Audiences
Unknown
The Professional Series
Orana Arts
As with much of our 2020 program, COVID-19
In 2020, ATYP was engaged by Orana Arts to
restrictions meant our offerings were less than
deliver a series of online workshops as part of
they would normally be. We were, however,
their Not a Dress Rehearsal Program. ATYP was
still able to engage Darren Gilshenan and John
committed to delivering 12 months of weekly
Bashford, two of our popular facilitators, to run
online drama workshops, delivered via the Zoom
weekend Pro Series Masterclass sessions.
platform, in addition to sending artists to various regions in NSW to deliver workshops and provide
We were also engaged by Easy Peasy to deliver
mentoring (these additional programs will be
Corporate Workshops over the January Holiday
delivered in 2021).
period. These engagements were intended to be ongoing, but COVID-19 put a halt to
During Term 4, we ran three online workshops
these sessions. We were engaged to run a
a week with students across regional NSW.
series of one-off, online workshops during the
Each class had a performance outcome, and we
September/October Holidays.
hosted an online watch party for all participants of the program.
Tutors Darren Gilshenan
Workshop facilitators
4
John Bashford
Assistant facilitators
2
Paid enrolments
35
Paid enrolments
17
Scholarships
N/A
Scholarships
1
Programs
3
Individual workshops
2
Individual workshops
24
Individual attendances
34
Individual attendances
280
Audiences
Unknown
ATYP
Annual Report 2020
Image Tracey Schramm
26
EDUC— A— TION Overview
All education programs were heavily impacted
The ATYP Education program includes a range
by COVID-19 during 2020. We were not able to
of onstage, online and face-to-face programs
conduct in-person schools workshops, school
for teachers and students Australia-wide. ATYP
performances of productions, work-experience
offers a range of workshops and productions
or streamed productions. We were able to
throughout the year for primary and secondary
offer a few online workshops. We also created
schools. Increasingly these programs are
a Workshop Series for teachers hosted on our
available online through our free ATYP On
ATYP On Demand platform focusing on Voice,
Demand platform, allowing students across
Devising, Primary Drama and Playbuilding. We
Australia to access an ATYP production or
resumed face-to-face Education workshops in
workshop.
November 2020.
In 2020, Workshops Manager and Associate Director, Robert Jago left the company after nearly five years, and Jacqui Cowell joined as Education and Workshop Manager in midFebruary. Jacqui’s most recent role was as Education Programs Manager at Sydney Theatre Company. She has also worked with many arts organisations and schools as a drama educator and arts manager. Jacqui was promoted to Head of Learning in November 2020.
ATYP
Annual Report 2020
28
Productions
School Workshops
ATYP productions were impacted by COVID-19.
Schools workshops are available all year round,
We weren’t able to run any school performances,
and enable students to experience a drama
which meant there were no live-streamed
workshop in a chosen topic of study. The
performances. Prior to its immediate cancellation
workshops are closely linked to curricula and/or
due to COVID-19, CUSP was filmed and placed
ATYP performances and are delivered either in
on ATYP On Demand for Secondary teachers
schools or at an ATYP venue.
and students around the country to watch, along with a variety of streamed performances suitable
In-person workshops
for primary and secondary audiences.
Student participants
393
Teachers
24
Workshops
17
ATYP On Demand ATYP On Demand is our online learning platform, created to remove geographic and
Digital workshops
economic barriers that students and teachers
Student participants
213
across Australia face when wanting to engage
Teachers
11
with performing arts. The principal aim of the
Workshops
6
platform is to give schools access to theatre, no In hosting high-quality recordings of ATYP’s live
ATYP Foundation Commission Schools' Partnerships
productions, On Demand enables every school to
ATYP Foundation Commission Schools’
have the best seats in the house.
Partnerships provide a unique opportunity for
matter where they are located across Australia.
students to step inside the creative development New content is being added to ATYP On
of a play. The program connects schools to a
Demand regularly, and membership is available
playwright, a team of creative professionals and
free of charge to students and teachers across
a brand new Australian play at every stage of
the country.
the writing and production process. The ATYP Foundation Commission productions, Lights in
Site Visits (year-end)
9,420
the Park and Soul Trading were not able to be
Resource Views (year-end)
9,170
produced in 2020 because of COVID-19. Both of
Teachers registered (year-end)
1100
these plays were moved to the 2021 season.
Students registered (year-end)
2036
Total registrations (year end)
3660
DEVE— LOP— MENT Overview ATYP is a not-for-profit organisation that relies
Adèle Jeffreys Memorial Fund
on philanthropic support to fund core programs
In loving memory of ATYP’s late Education
and productions, and to keep our activities
Manager Adèle Jeffreys, the Fund will support
accessible and inclusive to all young people.
the development of interactive, participatory
The support of individual donors, trusts and
learning spaces that recognise Adèle’s vision
foundations is critical to the company’s growth
to ensure young Australians have access to
and success. ATYP gratefully acknowledges all
transformative theatre experiences.
donations received in 2020. Donors
3
Annual Appeal May to June 2020
Amount Raised
$630
The 2020 Annual Appeal engaged the wider
Christmas Appeal
ATYP community to raise money to support the
Launched in December 2020, the Christmas
core funding of the company. The theme of the
Appeal encouraged our community to add a
appeal was to inspire donations, no matter what
present to the tree and put a smile on the face of
the amount, to help ensure ATYP programs are
a young person at Christmas, by raising funds for
available to young people across the country -
drama workshops and scholarship places.
helping their worlds stay big, open, creative and inspiring. Donors
53
Amount Raised
$37,134
Donors
13
Amount Raised
$1,365
ATYP
Annual Report 2020
Image Tracey Schramm
30
MARK— ET— ING Overview
With the company’s networks finally settling into
The ATYP community is a diverse network
new production and workshop venues, the pivot
made up of young people who attend weekly
to digital communication and delivery was an
and holiday workshops, are cast members
unexpected change, but persistent and engaging
in productions, work in creative teams, are
communications kept our community informed
emerging writers, and attend shows. ATYP also
and connected.
counts parents, artists, alumni, sponsors, donors, tutors, audience members, Board, and staff as
The ATYP Brand
valuable and important members of its network.
ATYP’s visual brand remained strong in 2020, continuing the signature branding of recent
The ATYP communication strategy is
years, ahead of a rebrand planned for 2021. The
multifaceted, and uses multiple channels that
2020 design featured six vibrant key colours,
best target audiences and community members
one for each production, and chevron lines. With
based on what theatre connection is most
art design by Justin Stambouliah, the design
important and relevant to them.
for 2020 was aspirational and visionary as we entered a new decade.
In 2020, ATYP was challenged to maintain constant and consistent communications with
ATYP’s 2020 season featured a line-up of bold,
each of these key audiences when we weren’t
fresh, and modern productions, and the striking
necessarily able to engage with them through
cut-out design reflected this. Imagery was set
in-person workshops and productions - things
against a neutral backdrop, allowing the image
that ATYP is renowned for. Despite the hurdles
subjects, brand and production colours to “pop”
faced throughout this difficult year, in embracing
in a striking, eye-catching way.
the full potential of digital communication across the website, direct email and our social media
The 2020 design was extremely well received
platforms, ATYP was able to remain committed
by ATYP’s audiences of participants, peers,
to growing audiences through strategic,
and industry alike, and centred a future-
targeted, ongoing messaging. This resulted in a
forward design that celebrates young people as
large increase in digital followings across email
Australia’s future leaders and arts leaders.
subscribers and social media platforms.
ATYP
Annual Report 2020
32
2020 Productions
A particular achievement in 2020 was the
The 2020 production season was a welcome
efficient implementation of the ATYP Online
return to a full line-up of shows, with six
program - an online iteration of ATYP workshops.
productions programmed to take place across
The program was conceived and branded in a
venues in Sydney, five of them being world
few short weeks to positive acclaim from the
premieres. The majority of productions in the
ATYP workshops' audience, resulting in sold-
season were co-productions, with partnering
out online workshop classes that expanded the
organisations eager to collaborate with us on
workshops’ reach past Sydney and to the rest of
these exciting projects.
Australia. Part of this success can be attributed to the strong focus on social media advertising
Unfortunately, only the season of CUSP was
to communicate the messaging that ATYP was
able to be promoted, with the run being cut
still present and offering new, online workshops,
short after one week due to the COVID-19 shut
executed with eye-catching text in the season
down. CUSP by Mary Anne Butler completed
colours, maintaining a consistent brand, in lieu of
a premiere season in Darwin at Brown’s Mart
no productions.
Theatre, which provided existing visual collateral and production images that aided ATYP’s
The decision was made to have regular ATYP
promotion of the Sydney season. In addition to
photographer, Tracey Schramm, take in-situ
the use of the Darwin production photos in the
photos of workshops in action once they
promotional campaign, the cast and creatives
returned to in-person delivery. This provided
conducted various radio and print interviews
the Workshops and Marketing teams with
to supplement publicity. An opening night
fresh, vibrant imagery that reflected the current
audience-response vox-pop video was created
workshop's program and ensured consistent,
and received well upon its release ahead of
instantly recognisable ATYP branding across all
CUSP premiering on ATYP On Demand.
forms of collateral.
CUSP was seen by 1,602 audience members
Marketing worked with the Education
across the in-person season and online premiere.
department to focus on pushing the ATYP On Demand platform, seeing a significant increase
Workshops and Education
in sign ups during the COVID-19 shut down,
In 2020, Marketing worked particularly closely
particularly from schools interstate. Engaging
with Workshops and Education, with these
key imagery from the productions hosted on
programs being the primary online offerings
the platform imagery was used to promote the
during the COVID-19 shut down. This resulted
unique digital offering to new audiences. 2019
in a heavy reliance on digital and social media
productions Follow Me Home and April Aardvark
advertising for the Workshops and Education
were added to the platform, in addition to the
programs, as circumstances negated a need for
filmed version of the 2020 production of CUSP
the traditional print collateral such as postcards.
and a series of Workshop videos, meaning there was no shortage of new, inspiring, quality content provided to drama educators.
Image Tracey Schramm
ATYP
Annual Report 2020
34
ARCH— IVES ATYP established its in-house corporate
Working from home is not a realistic or practical
archives in early 2003, with support from the
option for an archivist, charged with arranging,
Vincent Fairfax Family Foundation, the second
describing and boxing hard-copy documents,
performing arts company in Australia to do so.
including scanning and backing up analogue photos, entering data from documents into
A qualified archivist is employed to identify, sort
databases, and researching requests for
and organise archival material so that staff and
information.
board members can easily source information and evidence of ATYP operations.
As soon as it became clear that other members of staff would not be working in the office, the
The collection comprises records of governance,
part-time service the Archives provides could
administration, promotion, production and
continue to function in situ, while distancing.
participation, in varied media, some dating from the 1960s.
As it turned out, the company took the initiative to make connections online and create new
Archival material is stored securely; and
projects, with productions and workshops
research conducted by the archivist, to ensure
reconfigured to be streamed, or accessed
appropriate access to personal and confidential
remotely, nationally and internationally.
information. In-person operations may have been paused for Everything changed for the world and for ATYP,
a few months, but all the novel online activity
in March, 2020.
undertaken ensured there was as much information to be captured and
In fulfilment of official guidelines for safeguarding the ATYP community in a pandemic, the company began a response that initially closed productions, workshops and the office, and organised for staff and tutors to work remotely.
preserved as usual.
FINA— NC— IALS
Contents Australian Theatre for Young People and its controlled entity Table of Contents Corporate Information
3
Directors’ Report
4
Auditor’s Independence Declaration
10
Consolidated Statement of Surplus or Deficit and Other Comprehensive Income
11
Consolidated Statement of Financial Position
12
Consolidated Statement of Changes in Equity
13
Consolidated Statement of Cash Flows
14
Notes to the Financial Statements 1
General information and statement of compliance
15
2
New and revised Standards or Interpretations
15
3
Summary of accounting policies
15
4
Revenue
23
5
Cash and cash equivalents
26
6
Trade and other receivables
26
7
Financial risk management
26
8
Other assets
27
9
Financial assets
27
10
Property, plant and equipment
27
11
Intangible assets
28
12
Trade and other payables
29
13
Other liabilities
29
14
Grants liabilities
29
15
Employee remuneration
30
16
Parent entity note
30
17
Designated funds
31
18
Related party transactions
32
19
Contingent liabilities
32
20
Post-reporting date events
32
21
Member’s guarantee
32
22
Charitable Fundraising
33
Directors’ Declaration
34
Independent Auditor’s Report
35
Additional Financial lnformation Disclaimer
38
Detailed Statement of Surplus or Deficit
39
Corporate Information Australian Theatre for Young People and its controlled entity
Directors
Name
Special Responsibilities
F Corfield
Artistic Director, CEO
T Hossain J Lapworth G Larkins M Morrissey C Puplick
Chair
D Selikowitz N Webb D Worthington Company Secretary
A Wright/J Mulholland
Foundation Advisory Committee
A Albert A Bowne
Chair
C Puplick Registered Office and Principal Place of Business
Suite 302, 52-58 William St WOOLLOOMOOLOO NSW 2011
Auditors
Steven J Miller & Co Chartered Accountants
Page | 3
Directors’ Report Australian Theatre for Young People and its controlled entity The 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 2020 together with the financial statements and the Independent Audit Report thereon. Directors’ details and meetings The following persons were Directors of the Australian Theatre for Young People during or since the end of the financial year. The number of meetings of Directors (including meetings of Committees of Directors) held during the year and the number of meetings attended by each Director is as follows: Name
F Corfield
Date of Appointment
Date of cessation
26 May 2009
Board meetings
Finance Committee meetings
A
B
A
B
6
6
5
4
S Denney
15 Jan 2017
31 Mar 2020
1
1
1
1
N Guivarra
12 Aug 2019
6 Apr 2020
2
1
-
-
6
6
-
-
2
2
1
1
-
-
5
5
T Hossain
16 Apr 2018
N Kilpinen
30 Oct 2017
6 Apr 2020
J Lapworth
21 May 2012
6
6
G Larkins
12 Aug 2019
6
6
M Morrissey
25 Nov 2019
6
4
-
-
5
3
C Puplick
12 Feb 2018
6
6
D Selikowitz
12 Aug 2019
6
6
5
2
N Webb
12 Aug 2019
6
4
-
-
6
5
-
-
D Worthington
12 Aug 2019
A Number of meetings the director was entitled to attended B Number of meetings the director attended
Details of Directors’ qualifications, experience and special responsibilities can be found on pages 6 to 8 of this report. Company secretary Amanda Wright has been company secretary since 12 November 2019. From 21 August 2020, Johanna Mulholland will act as company secretary whilst Amanda Wright is on maternity leave. 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 – to share stories, build skills and create experiences that enhance our understanding of ourselves and the society to which we belong. It’s the principle that founded our company in 1963. It’s what drives us today. Operating result The consolidated comprehensive income for the year amounted to $792,884 (2019 consolidated comprehensive loss: $239,341).
Page | 4
Directors’ Report Australian Theatre for Young People and its controlled entity Review of operations STRATEGIC GOALS 2020-2024 1.
Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists. 2. Deliver inclusive opportunities that connect young people with the professional theatre industry. 3. Be a leading advocate for youth arts and its’ social impact. PRINCIPAL ACTIVITIES FOR THE YEAR The principal activities undertaken by ATYP to meet its 2020 goals included: GOAL ONE: Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.
CUSP by Mary Anne Butler, commissioned by ATYP and co-produced with Brown’s Mart
Theatre in Darwin opened to overwhelmingly positive reviews in Sydney before going on to be awarded the 2020 AWGIE Award for Theatre for Young Audiences. Due to the COVID-19 theatre closures the production was filmed and broadcast in a season ‘online’ where it was seen by over 1,500 people. Fangirls by Yve Blake, commissioned and developed by ATYP, was awarded the 2020 AWGIE Award for Music Theatre. In response to the national lockdown due to COVID-19 ATYP commissioned 11 leading playwrights to create short works for young people. Under the title Home Theatre, the program created scripts that young people could rehearse and film with their families and friends at home or online. GOAL TWO: Deliver inclusive opportunities that connect young people with the professional theatre industry.
ATYP On Demand, ATYP’s digital classroom for teachers, was listed in three national
publications amongst Australia’s ‘10 best online education sites’ with registrations increasing from 850 to over 3,500; The National Studio, the leading professional development residency for young adult Australian playwrights, was conducted entirely online over the week, engaging 20 young participants from every State and Territory in masterclasses, mentoring and script development; Within four weeks of the COVID-19 shutdown ATYP had re-imagined the weekly workshop programs and launched them online, engaging over 130 young people each week in group programs that combined online conferencing and file sharing to perform collaboratively digitally. These innovations were then rolled out across programs to include online workshops for schools, masterclasses for emerging artists and teachers and webinars. ATYP partnered with new company Nightingale Content to stage Roomworks, an online professional development, networking and showcase event for young adult artists aged between 18 and 26. The event connected 10 emerging playwrights and 10 young actors with industry leaders to generate and present performances online. The event reached over 3,400 people. GOAL THREE: Be a leading advocate for youth arts and its’ social impact. Thanks to funding from the Thyne Reid Foundation, ATYP was able to invest in the development of ATYP On Demand Plus, a new platform specifically for primary schools. Developed in partnership with leading academics from the University of Sydney led by Professor Robyn Ewing, this ground-breaking program uses drama pedagogy and interactive learning to teach the national curriculum. The first three units of work for years k-2, 3-4 and 45 were developed during 2020 to be trialled across the country in 2021.
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Directors’ Report Australian Theatre for Young People and its controlled entity Review of operations continued During 2020 ATYP coordinated five online youth arts sector gatherings to discuss the impact of the COVID-19 shutdown and the Australia Council's defunding of five leading youth arts companies. As a result of the meetings ATYP facilitated an online webinar with Arts Law and the E-Safety Commissioner for the sector to discuss the legal considerations of interacting with young people online in their homes through conferencing software, and initiated the development of the "Youth Arts COVID-19 Impact Statement" which was distributed to industry and government representatives. ATYP established a series of webinars connecting the ATYP community with leading industry professionals. The series began with a special event for parents on Digital Nutrition and Screen Health by psychologist Dr Jocelyn Brewer before moving into industry discussions about: How do I get in the arts?; How Do I stay in the Arts?; and Navigating the world of Musical theatre. Directors’ qualifications and experience Name and qualifications
Experience and special responsibilities
Fraser Corfield
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.
BA (Communications)
Artistic Director and Chief Executive Officer. Sean Denney B.Comm/Law, MBA
General Manager of Strategic Transformation for Westpac’s Consumer division. 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. Non-executive Director until 31 March 2020.
Nancia Guivarra Advanced Diploma of Producing (AFTRS), Graduate Diploma of Journalism (UTS), Bachelor of Human Movement Studies (UQ)
Manager of Communications at NSW Aboriginal Affairs Agency. Nancia is an experienced Meriam, Wuthathi and Bindal Juru journalist with more than 20+ years reporting on the arts and working within the media sector including ABC, SBS, NITV in all facets of radio, TV and online. Board member of Marrugeku Theatre Company. Non-executive Director until 6 April 2020.
Tasnim Hossain 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. Non-executive Director.
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Directors’ Report Australian Theatre for Young People and its controlled entity Directors’ qualifications and experience continued Name and qualifications
Experience and special responsibilities
Nina Kilpinen
Managing Director of Seed Engineering, specialising in the development and delivery of complex civil engineering infrastructure, and is a casual academic at the University of Technology, Sydney.
BE, MEM, MConstrLaw, FIEAust GAICD
Non-executive Director until 6 April 2020. 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. Non-executive Director.
Gillian Larkins BCom, Grad Dip, MBA, GAICD, FCA
Gillian Larkins is currently the Chief Financial Officer of the ASX. Gillian has over 25 years of experience in finance strategy and management roles across a number of industries. Previously, she was at Perpetual as Chief Financial Officer where her role encompassed finance technology, legal, compliance and risk responsibilities, Chief Financial Officer of Westpac's Institutional Bank, and Chief Financial Officer for Citigroup's operations in Australia and New Zealand. Non-executive Director.
Mark Morrissey
Mark Morrissey is founder and Managing Director of Morrissey Management, one of Australia’s most successful and leading talent management companies. Mark launched a new international production company, First Option Pictures, and also works as Executive Producer across a range of International TV and Web projects. Non-executive Director.
Chris Puplick AM 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, member Theatre Panel of Create NSW and member Theatre Board of Australia Council for the Arts. Chair and Non-executive Director.
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Directors’ Report Australian Theatre for Young People and its controlled entity Directors’ qualifications and experience continued Name and qualifications
Experience and special responsibilities
Daniel Selikowitz
Partner at Boston Consulting Group and a leader in the Public Sector and Corporate Finance & Strategy practices in Asia Pacific. Daniel has previously held roles in the US with The Harbus News Corporation and L Catterton. Daniel was a Board Observer at the Australian Chamber Orchestra.
MBA (Harvard), BA/BLaw (USyd)
Non-executive Director. An award-winning PR specialist, Nicole is the founder BA Communications, PR & Media (UC) and CEO of The Impact Agency, with previously held PR and marketing roles at Universal Press, Profile Communications and the NSW State Government. Nicole is the current Chair of the PRIA Registered Consultancy Group. Nicole Webb
Non-executive Director. Partner at MinterEllison Consulting. A leader of Risk & Executive Coaching Lv 1&2 (IECL), Six Regulation Transformation and Strategy with experience managing complex portfolios within large organisations. Sigma Green Belt for Leaders (SA Partners), Bachelor of Business (USC), Donna has a blended background of working in Financial Diploma of Export Management (USC) Services and consulting, having worked in Big 4 consulting and for large ASX50 Financial Services institutions in executive management roles. Donna is a Board Advisor to PeopleStories Foundation. Donna Worthington
Non-executive Director. Contribution in winding up The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the company is wound up, the constitution states that each member is required to contribute a maximum of $10 each towards meeting any outstanding obligations of the company. At 31 December 2020 the collective liability was $90 (2019: $120). Auditor’s independence declaration A copy of the Auditor’s Independence Declaration as required under s.60-40 of the Australian Charities and Not-for-profits Commission Act 2012 is included in page 10 of this financial report and forms part of the Directors’ Report. Significant changes in the state of affairs ATYP encountered unprecedented changes to business brought on by quarantine measures to manage the impact of the COVID-19 virus. The Company adapted to the online space, and offered many of its programs with great success, whilst seeing a decrease in attendance. All performances from March onwards were cancelled and the Education and Workshop programs saw significant decline in the amount of enrolments for online programs. Due to the relatively small effect of the pandemic in NSW, the Company was able to move forward with in person offerings from July onwards, adjusting to venue capacity caps and restrictions accordingly.
Page | 8
Directors’ Report Australian Theatre for Young People and its controlled entity Significant events after year end ATYP is currently awaiting the completion of a new, purpose-built home on Pier 2/3, Hickson Road, The Rocks, in Sydney which will provide the company with workshop spaces, a 200-seat theatre, office and meeting spaces. In the interim, the company is delivering programs across multiple venues and theatres around Sydney as well as expanding our national reach. Operating without a permanent venue has resulted in a significant downturn in the number of people attending workshops and productions and has impacted revenue. Fortunately, the pandemic has not impacted the building industry and the development of Pier 2/3 is continuing unabated. The works are scheduled to be completed in late 2021. Likely developments and future results 2020 saw ATYP defunded by The Australia Council for the Arts, and from 2022 the Company will no longer receive Operational Funding. This will cause a significant decrease in government funding towards the company’s core activities, and the loss will be mitigated by an increase in revenue streams across the public and private sector. Environmental regulation The consolidated entity is not subject to any particular or significant environmental regulation. Indemnification and insurance of directors and officers The company has paid insurance premiums in respect of directors’ and officers’ liability and legal expenses’ insurance contracts for current and former directors and officers, including senior executives of the company. The company has not otherwise indemnified or agreed to indemnify an officer or auditor of the company against a liability incurred by such an officer or auditor. Signed in accordance with a resolution of the Directors.
CHRIS PUPLICK AM Director Sydney Dated
Page | 9
Auditor’s Independence Declaration To the Directors of the Australian Theatre for Young People: In accordance with the requirements of section 60-40 of the Australian Charities and Not-forprofits Commission Act 2012, as lead auditor for the audit of the Australian Theatre for Young People and the entity it controlled for the year ended 31 December 2020, I declare that, to the best of my knowledge and belief, there have been: (a)
No contraventions of the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and
(b)
No contraventions of any applicable code of professional conduct in relation to the audit.
STEVEN J MILLER & CO Chartered Accountants
S J MILLER Registered Company Auditor No 4286 Sydney Dated
Consolidated Statement of Surplus or Deficit and Other Comprehensive Income For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity Note
2020 $
2019 $
Revenue Other income Depreciation and amortisation expense
10/11
(54,947)
1,698,511 41,592 (54,184)
Employee benefits expense
15.2
(1,630,745)
(1,412,868)
Infrastructure expenses
(125,095)
(107,352)
Marketing expenses
(106,589)
(139,508)
Production expenses
(271,059)
(272,393)
Surplus/(deficit) before income tax Income tax expense
795,675 -
(246,202) -
795,675
(246,202)
4 4
3.8
Surplus/(deficit) for the year Other comprehensive income for the year, net of income tax Total comprehensive income/(loss) for the year
9
2,107,754 876,356
(2,791) 792,884
6,861 (239,341)
This statement should be read in conjunction with the notes to the financial statements.
Page | 11
Consolidated Statement of Financial Position As at 31 December 2020 Australian Theatre for Young People and its controlled entity Note
Assets Current Cash and cash equivalents Trade and other receivables Other assets Financial assets
5 6 8 9
Current assets Non-current Property, plant and equipment Intangible assets Financial assets
10 11 9
Non-current assets Total assets Liabilities Current Trade and other payables Other liabilities Grants liabilities Employee provisions
12 13 14 15.1
Current liabilities Non-current Trade and other payables
12
Non-current liabilities Total liabilities Net assets Equity General funds Capital fund Revenue fund Capital campaign reserve FVOCI reserve Settlement sum Total equity
17.2 17.1 17.3 17.4
2020 $
2019 $
917,101 106,868 25,457 475,000
575,039 33,875 41,220 475,000
1,524,426
1,125,134
37,693 53,048 206,319
75,690 34,109 209,110
297,060
318,909
1,821,486
1,444,043
143,384 139,670 152,437 70,440
164,340 155,947 505,796 64,814
505,931
890,897
-
30,475
-
30,475
505,931
921,372
1,315,555
522,671
(81,442) 864,370 20,752 505,545 6,319 11
(611,719) 1,009,370 (4,102) 120,001 9,110 11
1,315,555
522,671
This statement should be read in conjunction with the notes to the financial statements.
Page | 12
Consolidated Statement of Changes in Equity For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity Parent Company General Funds
Capital Fund
Revenue Fund
$
$
$
Balance at 1 January 2019
(331,494)
1,009,370
Surplus/(deficit) for the year
(280,225)
-
Note
Other comprehensive income
9
-
Capital Campaign Reserve
FVOCI Reserve
$
Settlement Sum
Total equity
$
$
$
120,001
2,249
11
762,012
34,023
-
-
-
(246,202)
-
-
-
6,861
-
34,023
(38,125)
6,861
Total comprehensive income/ (loss) for the year
(280,225)
-
-
6,861
-
(239,341)
Balance at 31 December 2019
(611,719)
1,009,370
(4,102)
120,001
9,110
11
522,671
Balance at 1 January 2020
(611,719)
1,009,370
(4,102)
120,001
9,110
11
522,671
Surplus for the year Other comprehensive income
370,821 -
-
424,854 -
-
(2,791)
-
795,675 (2,791)
Total comprehensive income for the year
370,821
-
424,854
-
(2,791)
-
792,884
Transfer to/(from) reserves
159,456
(145,000)
Balance at 31 December 2020
(81,442)
864,370
9
(400,000) 20,752
385,544
-
-
-
505,545
6,319
11
1,315,555
This statement should be read in conjunction with the notes to the financial statements.
Page | 13
Consolidated Statement of Cash Flows For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity Note
2020 $
2019 $
1,273,176
1,050,498
Government grants
565,717
970,873
COVID-19 Government support
732,100
-
14,197
17,721
Operating activities Receipts from: Normal course of operations
Interest income Payments to clients, suppliers and employees
(2,198,085)
Net cash provided by/(used in) operating activities Investing activities Purchases of plant and equipment Purchase of intangible assets Dividends and distributions Divestment in short-term deposits
387,105 10 11 9
Net cash provided by/(used in) investing activities
(2,213,080) (173,988)
(8,326) (27,563) 8,365 -
(2,226) (6,875) 10,559 268,867
(27,524)
270,325
Financing activities Repayment of principal portion of lease liability
(17,519)
(33,277)
Net cash used in financing activities
(17,519)
(33,277)
Net change in cash and cash equivalents Cash and cash equivalents, beginning of year Cash and cash equivalents, end of year
5
342,062 575,039
63,060 511,979
917,101
575,039
This statement should be read in conjunction with the notes to the financial statements.
Page | 14
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 1
General information and statement of compliance
The financial report includes the financial statements and notes of the Australian Theatre for Young People and its only subsidiary ATYP Foundation (the Group). ATYP is a company limited by guarantee, incorporated and domiciled in Australia. These financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-profits Commission Act 2012. The Australian Theatre for Young People is a not-for-profit entity for the purpose of preparing the financial statements. The financial statements for the year ended 31 December 2020 were approved and authorised for issuance by the Board of Directors.
2
New and revised Standards or Interpretations
The group has adopted all of the new or amended Accounting Standards and Interpretations issued by the Australian Accounting Standards Board ('AASB') that are mandatory for the current reporting period. Any new or amended Accounting Standards or Interpretations that are not yet mandatory have not been early adopted.
3 3.1
Summary of accounting policies Overall considerations
The significant accounting policies that have been used in the preparation of these financial statements are summarised below. 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. 3.2
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 has controlling power to affect all the decisions of the subsidiary through its voting rights. 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. 3.3
Revenue
The Group recognises revenue under AASB 1058 or AASB 15 when appropriate. In cases where there is an ‘enforceable’ contract with a customer with ‘sufficiently specific’ performance obligations, the transaction is accounted for under AASB 15 where income is recognised when (or as) the performance obligations are satisfied (i.e. when it transfers control of a product or service to a customer). Revenue is measured based on the consideration to which the Group expects to be entitled in a contract with a customer and excludes amounts collected on behalf of third parties. In other cases, AASB 1058 applies when a not-for-profit (NFP) entity enters into transactions where the consideration to acquire an asset is significantly less than the fair value of the asset principally to enable the entity to further its objectives and the excess of the asset recognised (at fair value) over any ‘related amounts’ is recognised as income immediately. Page | 15
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3 3.3
Summary of accounting policies continued Revenue continued
The Group recognises revenue from the following major sources: 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 Consolidated Statement of Financial Position as income received in advance. Revenue from fees and services Revenue from fees and services income is recognised when the service is provided to the customer. Sponsorship Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed. Government grants A number of the Group’s programs are supported by grants received from the Federal, State and Local governments. Grant Income is recognised in accordance with AASB 15 if the contract has sufficiently specific performance obligations. Grant income from contracts that do not contain sufficiently specific performance obligations is recognised under AASB 1058 as income when the Group obtains control over the funds. Donations and bequests Donations collected, including cash and goods for resale, are recognised as revenue when the Group gains control, economic benefits are probable and the amount of the donation can be measured reliably. Bequests are recognised when the legacy is received. Revenue from legacies comprising bequests of shares or other property are recognised at fair value, being the market value of the shares or property at the date the group becomes legally entitled to the shares or property. Interest income Interest income is recognised on an accruals basis using the effective interest method. 3.4
Operating expenses
Operating expenses are recognised in surplus or deficit upon utilisation of the service or at the date of their origin. 3.5
Intangible assets
Recognition of other intangible assets: Acquired intangible assets Acquired computer software licences and website construction costs are capitalised on the basis of the costs incurred to acquire and install the specific software. Subsequent measurement All intangible assets are accounted for using the cost model whereby capitalised costs are amortised on a straight-line basis over their estimated useful lives, as these assets are considered finite. Residual values and useful lives are reviewed at each reporting date. In addition, they are subject to impairment testing as described in Note 3.15.
Page | 16
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3
Summary of accounting policies continued
3.5
Intangible Assets continued
The following useful lives are applied: Website and software:
3-5 years
Subsequent expenditures on the maintenance of computer software, brand names and website are expensed as incurred. When an intangible asset is disposed of, the gain or loss on disposal is determined as the difference between the proceeds and the carrying amount of the asset and is recognised in surplus or deficit within other income or other expenses. 3.6
Property, plant and equipment
Property, plant and equipment are initially recognised at acquisition cost or manufacturing cost, including any costs directly attributable to bringing the assets to the location and condition necessary for it to be capable of operating in the manner intended by the group’s management. Property, plant and other equipment are subsequently measured using the cost model, cost less subsequent depreciation and impairment losses. Depreciation is recognised on a straight-line basis to write down the cost less estimated residual value of buildings, plant and other equipment. The following useful lives are applied: Equipment and furniture Right-of-use assets and Leasehold improvements
2-10 years Over the life of the lease Over the life of the lease
Material residual value estimates and estimates of useful life are updated as required, but at least annually. Gains or losses arising on the disposal of plant and equipment are determined as the difference between the disposal proceeds and the carrying amount of the assets and are recognised in surplus or deficit within other income or other expenses. 3.7
Leases
Operating leases At lease commencement date, the Group recognises a right-of-use asset and a lease liability on the balance sheet. The right-of-use asset is measured at cost, which is made up of the initial measurement of the lease liability, any initial direct costs incurred by the Group, an estimate of any costs to dismantle and remove the asset at the end of the lease and any lease payments made in advance of the lease commencement date (net of any incentives received). The Group depreciates the right-of-use assets on a straight-line basis from the lease commencement date to the earlier of the end of the useful life of the right-of-use asset or the end of the lease term. The Group also assesses the right-of-use asset for impairment when such indicators exist. At the commencement date, the Group measures the lease liability at the present value of the lease payments unpaid at that date, discounted using the interest rate implicit in the lease if that rate is readily available or the Group’s incremental borrowing rate. Subsequent to initial measurement, the liability will be reduced for payments made and increased for interest. The Group has elected to account for short-term leases and leases of low-value assets using the practical expedients. Instead of recognising a right-of-use asset and lease liability, the payments in relation to these are recognised as an expense in profit or loss on a straight-line basis over the lease term. On the statement of financial position, right-of-use assets have been included in property, plant and equipment and lease liabilities have been included in trade and other payables.
Page | 17
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3 3.8
Summary of accounting policies continued Income taxes
No provision for income tax has been raised as the group is exempt from income tax under Div 50 of the Income Tax Assessment Act 1997. 3.9
Cash and cash equivalents
Cash and cash equivalents comprise cash on hand and demand deposits, together with other short-term, highly liquid investments that are readily convertible into known amounts of cash and which are subject to an insignificant risk of changes in value. 3.10
Employee benefits
Short-term employee benefits Short-term employee benefits are benefits, other than termination benefits, that are expected to be settled wholly within twelve (12) months after the end of the period in which the employees render the related service. Examples of such benefits include wages and salaries, provisions for annual leave, long service leave and maternity leave and non-monetary benefits. Short-term employee benefits are measured at the undiscounted amounts expected to be paid when the liabilities are settled. Other long-term employee benefits The group’s liabilities for annual leave and long service leave are included in other long-term benefits if they are not expected to be settled wholly within twelve (12) months after the end of the period in which the employees render the related service. They are measured at the present value of the expected future payments to be made to employees. The expected future payments incorporate anticipated future wage and salary levels, experience of employee departures and periods of service, and are discounted at rates determined by reference to market yields at the end of the reporting period on high quality corporate bonds that have maturity dates that approximate the timing of the estimated future cash outflows. Any re-measurements arising from experience adjustments and changes in assumptions are recognised in surplus or deficit in the periods in which the changes occur. The group presents employee benefit obligations as current liabilities in the consolidated statement of financial position if the group does not have an unconditional right to defer settlement for at least twelve (12) months after the reporting period, irrespective of when the actual settlement is expected to take place. Post-employment benefits plans The group provides post-employment benefits through defined contribution plans. Defined contribution plans The group pays fixed contributions into independent entities in relation to several superannuation plans for individual employees. The group has no legal or constructive obligations to pay contributions in addition to its fixed contributions, which are recognised as an expense in the period that relevant employee services are received. 3.11
Provisions, contingent liabilities and contingent assets
Provisions are measured at the estimated expenditure required to settle the present obligation, based on the most reliable evidence available at the reporting date, including the risks and uncertainties associated with the present obligation. Where there are a number of similar obligations, the likelihood that an outflow will be required in settlement is determined by considering the class of obligations as a whole. Provisions are discounted to their present values, where the time value of money is material. Page | 18
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3
Summary of accounting policies continued
3.11
Provisions, contingent liabilities and contingent assets continued
Any reimbursement that the group can be virtually certain to collect from a third party with respect to the obligation is recognised as a separate asset. However, this asset may not exceed the amount of the related provision. No liability is recognised if an outflow of economic resources as a result of present obligation is not probable. Such situations are disclosed as contingent liabilities, unless the outflow of resources is remote in which case no liability is recognised. 3.12
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 these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense. Receivables and payables in the consolidated statement of financial position are shown inclusive of GST. Cash flows are presented in the consolidated statement of cash flows on a gross basis, except for the GST components of investing and financing activities, which are disclosed as operating cash flows. 3.13
Economic dependence
The group is dependent upon the ongoing receipt of Federal and State Government grants, sponsorship income, workshops fees and attendances, and donations, to ensure the ongoing continuance of its programs. At the date of this report Management has no reason to believe that this financial support will not continue to the extent required to continue operating as a going concern (Refer Note 20). 3.14
Financial instruments
Recognition, initial measurement and derecognition Financial assets and financial liabilities are recognised when the group becomes a party to the contractual provisions of the financial instrument and are measured initially at fair value adjusted by transactions costs, except for those carried at fair value through surplus or deficit, which are measured initially at fair value. Subsequent measurement of financial assets and financial liabilities are described below. Financial assets are derecognised when the contractual rights to the cash flows from the financial asset expire, or when the financial asset and all substantial risks and rewards are transferred. A financial liability is derecognised when it is extinguished, discharged, cancelled or expires. Classification and subsequent measurement of financial assets Except for those trade receivables that do not contain a significant financing component and are measured at the transaction price, all financial assets are initially measured at fair value adjusted for transaction costs (where applicable). For the purpose of subsequent measurement, financial assets other than those designated and effective as hedging instruments are classified into the following categories upon initial recognition: Amortised cost. Fair value through profit or loss (FVPL). Equity instruments at fair value through other comprehensive income (FVOCI).
Page | 19
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3
Summary of accounting policies continued
3.14
Financial instruments continued
All income and expenses relating to financial assets that are recognised in the consolidated statement of surplus or deficit are presented within finance costs, finance income or other financial items, except for impairment of trade receivables which is presented within other expenses. Classifications are determined by both: The entity’s business model for managing the financial asset. The contractual cash flow characteristics of the financial assets. All income and expenses relating to financial assets that are recognised in surplus or deficit are presented within finance costs, finance income or other financial items, except for impairment of trade receivables, which is presented within other expenses. Subsequent measurement of financial assets Financial assets at amortised cost Financial assets are measured at amortised cost if the assets meet the following conditions (and are not designated as FVPL): They are held within a business model whose objective is to hold the financial assets and collect its contractual cash flows. The contractual terms of the financial assets give rise to cash flows that are solely payments of principal and interest on the principal amount outstanding. After initial recognition, these are measured at amortised cost using the effective interest method. Discounting is omitted where the effect of discounting is immaterial. The group’s cash and cash equivalents, trade and most other receivables fall into this category of financial instruments as well as long-term deposit that were previously classified as held-to-maturity under AASB 139. Financial assets at fair value through profit or loss (FVPL) Financial assets that are held within a different business model other than ‘hold to collect’ or ‘hold to collect and sell’ are categorised at fair value through profit and loss. Further, irrespective of business model financial assets whose contractual cash flows are not solely payments of principal and interest are accounted for at FVPL. All derivative financial instruments fall into this category, except for those designated and effective as hedging instruments, for which the hedge accounting requirements apply (see below). Equity instruments at fair value through other comprehensive income (Equity FVOCI) Investments in equity instruments that are not held for trading are eligible for an irrevocable election at inception to be measured at FVOCI. Under Equity FVOCI, subsequent movements in fair value are recognised in other comprehensive income and are never reclassified to surplus or deficit. Dividend from these investments continue to be recorded as other income within the surplus or deficit unless the dividend clearly represents return of capital. Impairment of Financial assets AASB 9’s impairment requirements use more forward-looking information to recognise expected credit losses – the ‘expected credit losses (ECL) model’. Instruments within the scope of the new requirements included loans and other debt-type financial assets measured at amortised cost and FVOCI, trade receivables and loan commitments and some financial guarantee contracts (for the issuer) that are not measured at fair value through profit or loss. The group considers a broader range of information when assessing credit risk and measuring expected credit losses, including past events, current conditions, reasonable and supportable forecasts that affect the expected collectability of the future cash flows of the instrument. Page | 20
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3
Summary of accounting policies continued
3.14
Financial instruments continued
In applying this forward-looking approach, a distinction is made between: Financial instruments that have not deteriorated significantly in credit quality since initial recognition or that have low credit risk (‘Stage 1’) and Financial instruments that have deteriorated significantly in credit quality since initial recognition and whose credit risk is not low (‘Stage 2’). ‘Stage 3’ would cover financial assets that have objective evidence of impairment at the reporting date. ’12-month expected credit losses’ are recognised for the first category while ‘lifetime expected credit losses’ are recognised for the second category. Measurement of the expected credit losses is determined by a probability-weighted estimate of credit losses over the expected life of the financial instrument. Trade and other receivables The group makes use of a simplified approach in accounting for trade and other receivables and records the loss allowance at the amount equal to the expected lifetime credit losses. In using this practical expedient, the group uses its historical experience, external indicators and forwardlooking information to calculate the expected credit losses using a provision matrix. The group assesses impairment of trade receivables on a collective basis as they possess credit risk characteristics based on the days past due. Classification and measurement of financial liabilities As the accounting for financial liabilities remains largely unchanged from AASB 139, the group’s financial liabilities were not impacted by the adoption of AASB 9. However, for completeness, the accounting policy is disclosed below. The group’s financial liabilities include borrowings and trade and other payables. Financial liabilities are initially measured at fair value, and, where applicable, adjusted for transaction costs unless the group designated a financial liability at fair value through surplus or deficit. Subsequently, financial liabilities are measured at amortised cost using the effective interest method except for derivatives and financial liabilities designated at FVPL, which are carried subsequently at fair value with gains or losses recognised in surplus or deficit (other than derivative financial instruments that are designated and effective as hedging instruments). All interest-related charges and, if applicable, changes in an instrument’s fair value that are reported in surplus or deficit are included within finance costs or finance income. 3.15
Significant management judgement in applying accounting policies
When preparing the financial statements, Management undertakes a number of judgements, estimates and assumptions about the recognition and measurement of assets, liabilities, income and expenses. Revenue Recognition To determine if a grant contract should be accounted for under AASB 1058 or AASB 15, the Group has to determine if the contract is ‘enforceable’ and contains ‘sufficiently specific’ performance obligations. When assessing if the performance obligations are ‘sufficiently specific’, the Group has applied significant judgement in this regard by performing a detailed analysis of the terms and conditions contained in the grant contracts, review of accompanying documentation (e.g. grant application forms and accompanying documentation) and holding discussions with relevant parties.
Page | 21
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3 3.15
Summary of accounting policies continued Significant management judgement in applying accounting policies continued
Estimation uncertainty Information about estimates and assumptions that have the most significant effect on recognition and measurement of assets, liabilities, income and expenses is provided below. Actual results may be substantially different. Impairment In assessing impairment, management estimates the recoverable amount of each asset or cashgenerating unit based on expected future cash flows and uses an interest rate to discount them. Estimation uncertainty relates to assumptions about future operating results and the determination of a suitable discount rate. Useful lives of depreciable assets Management reviews its estimate of the useful lives of depreciable assets at each reporting date, based on the expected utility of the assets. Uncertainties in these estimates relate to technical obsolescence that may change the utility of certain software and IT equipment. Long service leave The liability for long service leave is recognised and measured at the present value of the estimated cash flows to be made in respect of all employees at the reporting date. In determining the present value of the liability, estimates of attrition rates and pay increases through promotion and inflation have been taken into account. Coronavirus (COVID-19) pandemic Judgement has been exercised in considering the impacts that the Coronavirus (COVID-19) pandemic has had, or may have, on the Group based on known information. This consideration extends to the nature of the products and services offered, customers, supply chain, staffing and geographic regions in which the group operates. There does not currently appear to be either any significant impact upon the financial statements or any significant uncertainties with respect to events or conditions which may impact the group unfavourably as at the reporting date or subsequently as a result of the Coronavirus (COVID-19) pandemic.
Page | 22
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 4
Revenue
The group’s revenue may be analysed as follows for each major product and service category: Note
Revenue Donations received Donations – Capital Campaign Foundation revenue received Net grant revenue Performance income Workshop income Sponsorship income Resource income Investment income:
4.1
2019
$
$
249,076 400,000 125,000 892,858 16,896 384,544 18,800 1,190
117,140 122,500 746,804 156,554 514,897 12,000 4,272
Interest
11,025
13,785
Dividends
8,365
10,559
2,107,754
1,698,511
711,300 100,000 18,441 46,615
100 41,492
876,356
41,592
2,984,110
1,740,103
2020
2019
$
$
60,000 445,796
140,000 340,264
505,796
480,264
514,288
882,612
514,288
882,612
(82,226) (45,000) -
(60,000) (445,796) (110,276)
(127,226)
(616,072)
892,858
746,804
Other income Memberships Job Keeper subsidy Cash Flow Boost Rent relief from government Other income Total revenue and other income 4.1
2020
Net grant revenue Note
Unexpended grants – January Grants received in advance – 1 January Add: Grants received during the year Less: Unexpended grants – 31 December Grants received in advance – 31 December Grants receivable – 1 January
4.2 4.2
4.2
4.2 4.2
4.2
Page | 23
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2
Grant reconciliation Unexpended Grants 1 Jan $
Grants in Advance 1 Jan $
Received in 2020
Unexpended Grants 31 Dec
Grants in Advance 31 Dec
Net Grant Income 2020
$
$
$
$
Australia Council: Operational Create NSW:
-
144,666
141,666
-
-
286,332
Operational
-
200,000
-
-
-
200,000
60,000
-
-
-
-
60,000
-
-
5,000
-
-
Arts and Cultural Funding Program
-
-
3,000
-
-
3,000
Decant – Venue Hire and Fit-Out
-
-
140,802
-
-
140,802
-
-
39,680
(33,680)
-
6,000
Walking Tour
-
6,180
-
-
-
6,180
Young Showcase Series
-
-
6,140
-
-
6,140
-
-
20,000
-
-
20,000
-
49,950
-
-
-
49,950
60,000
400,796
356,288
(33,680)
-
783,404
Special Initiatives Funding Regional and Remote Digital Marketing Strategy
Project Funding – Ali in Zombieland City of Sydney:
Digital Workshops St George Foundation: Workshop Scholarship Program Sub-totals carried forward
5,000
Page | 24
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2
Grant reconciliation continued Unexpended Grants 1 Jan
Grants in Advance 1 Jan
Received in 2020
Unexpended Grants 31 Dec
Grants in Advance 31 Dec
Net Grant Income 2020
$
$
$
$
$
$
60,000
400,796
356,288
(33,680)
-
783,404
Western Sydney Arts Education Initiative Packer Family Foundation
-
22,500
22,500
(7,500)
(22,500)
15,000
Western Sydney Arts Education Initiative Service NSW
-
22,500
22,500
(7,500)
(22,500)
15,000
Small Business Grant Thyne Reid Foundation
-
-
13,000
-
-
13,000
On Demand Plus
-
-
100,000
(33,546)
-
66,454
60,000
445,796
514,288
(82,226)
(45,000)
Sub-totals brought forward Crown Resorts Foundation:
892,858
Page | 25
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 5
Cash and cash equivalents
Cash and cash equivalents consist of the following: Note
Current Cash at bank
2020
2019
$
$
917,101
575,039
917,101
575,039
2020
2019
$
$
3,868 79,200 23,800
4,628 29,247
106,868
33,875
6 Trade and other receivables Trade and other receivables consist of the following: Note
Current Imputation credits and interest receivable Job Keeper subsidy receivable Trade receivables, net of allowance
7 7.1
Financial risk management Categories of financial assets and liabilities
The carrying amounts presented in the consolidated statement of financial position relate to the following categories of assets and liabilities: Note
2020
2019
$
$
5
917,101
575,039
Trade and other receivables
6
106,868
33,875
Investment in ASX Listed securities
9
206,319
209,110
Investment in term deposits
9
475,000
475,000
1,705,288
1,293,024
Financial assets
Financial assets measured at amortised cost Cash and cash equivalents
Financial liabilities
Financial liabilities measured at amortised cost Trade and other payables
12
143,384
194,816
143,384
194,816
Page | 26
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 8
Other assets
Other assets consist of the following: Note
2020
2019
$
$
Deposits paid
200
200
Prepayments
25,257
41,020
25,457
41,220
Current
9 Financial assets Financial assets consist of the following:
2020 Shares – ASX listed Term deposits Total 2019 Shares – ASX listed Term deposits Total
Opening Balance
Additions/ (disposals)
Surplus/ (deficit) on revaluation
Closing Balance
$
$
$
$
209,110 475,000
-
(2,791) -
206,319 475,000
684,110
-
(2,791)
681,319
202,249 743,867
(268,867)
6,861 -
209,110 475,000
946,116
(268,867)
6,861
684,110
10 Property, plant and equipment Details of the group’s property, plant and equipment and their carrying amounts are as follows: Right-of-use Asset
Plant & Equipment
Leasehold Improvements
Total 2020
$
$
$
$
Gross carrying amount Balance 1 Jan 2020 Additions Disposals
95,797 -
Balance 31 Dec 2020
95,797
120,958
87,825
304,580
Depreciation and impairment Balance 1 Jan 2020 Written back on disposal Depreciation
(31,932) (34,835)
(103,468) 2,661 (11,488)
(87,825) -
(223,225) 2,661 (46,323)
Balance 31 Dec 2020
(66,767)
(112,295)
(87,825)
(266,887)
Carrying amount 31 Dec 2020
29,030
8,663
115,293 8,326 (2,661)
87,825 -
-
298,915 8,326 (2,661)
37,693
Page | 27
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 10 Property, plant and equipment continued Right-of-use Asset
Plant & Equipment
Leasehold Improvements
Total 2020
$
$
$
$
Gross carrying amount Balance 1 Jan 2019 On application of AASB 16 Additions Disposals
95,797 -
113,330 2,226 (263)
87,825 -
201,155 95,797 2,226 (263)
Balance 31 Dec 2019
95,797
115,293
87,825
298,915
Depreciation and impairment Balance 1 Jan 2019 Written back on disposal Depreciation
(31,932)
(89,107) 128 (14,489)
(87,825) -
(176,932) 128 (46,421)
Balance 31 Dec 2019
(31,932)
(103,468)
(87,825)
(223,225)
Carrying amount 31 Dec 2019
63,865
11,825
-
75,690
11 Intangible assets Details of the group’s intangible assets and their carrying amounts are as follows: Website
Total
$
$
Gross carrying amount Balance at 1 January 2020
43,000
43,000
Additions
27,563
27,563
Balance at 31 December 2020
70,563
70,563
Amortisation and impairment Balance at 1 January 2020
(8,891)
(8,891)
Amortisation
(8,624)
(8,624)
Balance at 31 December 2020
(17,515)
(17,515)
Carrying amount 31 December 2020
53,048
53,048
36,125
36,125
6,875
6,875
43,000
43,000
Gross carrying amount Balance at 1 January 2019 Additions Balance at 31 December 2019 Amortisation and impairment Balance at 1 January 2019
(1,128)
(1,128)
Amortisation
(7,763)
(7,763)
Balance at 31 December 2019
(8,891)
(8,891)
Carrying amount 31 December 2019
34,109
34,109
Page | 28
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 12 Trade and other payables Trade and other payables recognised consist of the following: Note
Current: Sundry payables and accruals Trade payables Lease liability Non-current: Lease liability
2020
2019
$
$
76,252 39,646 27,486
95,814 36,481 32,045
143,384
164,340
-
30,475
-
30,475
13 Other liabilities Other liabilities recognised consist of the following: Note
Current Income received in advance Workshop fees in advance
2020
2019
$
$
22,000 117,670
44,397 111,550
139,670
155,947
14 Grants liabilities Grants liabilities can be summarised as follows: Note
2020
2019
$
$
Current Unexpended grants
4.2
82,226
60,000
Grants received in advance
4.2
45,000
445,796
25,211
-
152,437
505,796
Auspiced grants payable
Page | 29
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 15 Employee remuneration 15.1
Employee provisions
The liabilities recognised for employee benefits consist of the following amounts: Note
Current Annual leave Long service leave
15.2
2020
2019
$
$
47,000 23,440
43,304 21,510
70,440
64,814
2020
2019
$
$
Employee benefits expense
Expenses recognised for employee benefits are analysed below: Note
Employee benefits provided/(written back) Salaries, wages and fees Superannuation Workers compensation and other expenses
5,626 1,508,587 104,329 12,203
(1,977) 1,286,213 112,635 15,997
1,630,745
1,412,868
2020
2019
$
$
Current assets
565,957
587,857
Total assets
656,697
697,655
Current liabilities
562,594
978,897
Total liabilities
562,594
1,009,372
94,103
(311,717)
405,820
(100,225)
16 Parent entity note Information relating to ATYP Limited (the parent entity) Note
Statement of financial position
Net assets/(liabilities) and retained earnings/(losses) Statement of surplus or deficit and other comprehensive income Surplus/(deficit) for the year Other comprehensive income Total comprehensive income/(loss)
405,820
(100,225)
Page | 30
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 16 Designated funds 17.1
Revenue funds
The Revenue funds are reserves of the ATYP Foundation established to raise funds and accumulate capital to support the aims of ATYP and its long-term financial security. Note
Opening balance
2020
2019
$
$
(4,102)
Foundation surplus/(deficit)
(38,125)
424,854
(215,977)
-
250,000
Transfer from/(to): General Funds – In support of ATYP commissions/productions
(400,000)
Capital Campaign Reserve
20,752 17.2
(4,102)
Capital funds
Capital funds are reserves of the ATYP Foundation established to raise funds and accumulate capital to support the aims of ATYP and its long-term financial security. Note
Opening balance
2020
2019
$
$
1,009,370
Transfer from/(to) Capital Campaign Reserve
(145,000) 864,370
17.3
1,009,370 1,009,370
Capital campaign reserve
The Capital campaign reserve is a reserve where donations received towards ATYP’s new home as part of the Pier 2/3 redevelopment are earmarked until required to meet the costs of the redevelopment. Note
Opening balance Transfer from/(to) In support of Pier 2/3 Capital Campaign
2020
2019
$
$
120,001
120,001
385,544
-
505,545
120,001
Page | 31
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 17 Designated funds continued 17.4
Fair value through other comprehensive income reserve (FVTOCI reserve)
The Equity through FVOCI reserve comprises gains and losses relating to equity investments held in ATYP Foundation. Note
2020
2019
$
$
9,110
2,249
(2,791)
6,861
6,319
9,110
Equity through FVOCI reserve Opening balance Transfer from/(to) general funds: Other comprehensive income/(loss)
9
18 Related party transactions The group’s related parties include its key management personnel and related entities as described below. Unless otherwise stated, none of the transactions incorporate special terms and conditions and no guarantees were given or received. Outstanding balances are usually settled in cash. 18.1
Transactions with related entities
The directors act in an honorary capacity and receive no compensation for their services, other than Fraser Corfield who is the Artistic Director of ATYP. 18.2
Transactions with key management personnel
Key management personnel are those persons having authority and responsibility for planning, directing and controlling the activities of the entity, directly or indirectly, including any director (whether executive or otherwise) of that entity. Key management personnel remuneration includes the following expenses:
Total key management personnel remuneration 18.3
2020 $
2019 $
239,523
218,871
Director donations
The total amount of donations received from directors during the year ended 31 December 2020 amounts to $10,010 (2019: $5,000).
19 Contingent liabilities There are no contingent liabilities that have been incurred by the group in relation to 2019 or 2020.
20 Post-reporting date events The impact of the Coronavirus (COVID-19) pandemic is ongoing and while it has been financially positive for the group up to 31 December 2020, it is not practicable to estimate the potential impact, positive or negative, after the reporting date. The situation is rapidly developing and is dependent on measures imposed by the Australian Government and other countries, such as maintaining social distancing requirements, quarantine, travel restrictions and any economic stimulus that may be provided.
Page | 32
Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 20 Post-reporting date events continued No other matter or circumstance has arisen since 31 December 2020 that has significantly affected, or may significantly affect the group’s operations, the results of those operations, or the group’s state of affairs in future financial years.
21 Member’s guarantee The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the Company is wound up, the Constitution states that each member is required to contribute a maximum $10 each towards meeting any outstanding obligations of the entity. At 31 December 2020, the total amount that members of the Company are liable to contribute if the Company is wound up is $90 (2019: $120).
22 Charitable Fundraising 22.1
Details of gross income and expenditure from fundraising activities: 2020
2019
$
$
Revenue from fundraising
774,076
239,640
Total income
774,076
239,640
Note
Fundraising expenses Functions
(7,329) (883)
(8,260) (1,483)
Total expenses
(8,212)
(9,743)
Surplus from fundraising activities 22.2
765,864
229,897
Statement showing how funds were applied for charitable purposes
All funds raised from fundraising activities, net of direct costs were applied to the group's normal operations. The group did not conduct any appeals in which traders were engaged. 22.3
Assets and liabilities resulting from fundraising 2020
2019
$
$
Cash generated from fundraising
765,864
229,897
Total assets resulting from fundraising
765,864
229,897
Note
Assets
Page | 33
Directors’ Declaration Australian Theatre for Young People and its controlled entity In the opinion of the Directors of the Australian Theatre for Young People: (a)
(b)
The consolidated financial statements and notes of the Australian Theatre for Young People are in accordance with the Australian Charities and Not-for-profits Commission Act 2012, including; (i)
Giving a true and fair view of its consolidated financial position as at 31 December 2020 and of its consolidated performance for the financial year ended on that date; and
(ii)
Complying with Australian Accounting Standards and the Australian Charities and Not-for-profits Commission Regulation 2013; and
There are reasonable grounds to believe that the Australian Theatre for Young People and its controlled entity will be able to pay its debts as and when they become due and payable (Refer Notes 3.13 and 20).
Declaration by Director as required by the Charitable Fundraising Act 1991 (NSW) a)
the accounts for the year ended 31 December 2020, give a true and fair view of all income and expenditure of the Australian Theatre for Young People with respect to fundraising appeals; and
b)
the consolidated statement of financial position as at 31 December 2020 gives a true and fair view of the state of affairs with respect to fundraising appeals; and
c)
the provisions of the Charitable Fundraising Act 1991 (NSW) and the regulations under that Act and the conditions attached to the authority have been complied with; and
d)
the internal controls exercised by Australian Theatre for Young People are appropriate and effective in accounting for all income received and applied from any of its fundraising appeals.
Signed in accordance with a resolution of the Directors.
CHRIS PUPLICK AM Director Sydney Dated
Page | 34
Independent Auditor’s Report To the members of The Australian Theatre for Young People and its controlled entity Report on the Audit of the Financial Report Opinion I have audited the consolidated financial report of the Australian Theatre for Young People and its controlled entity, which comprises the consolidated statement of financial position as at 31 December 2020, the consolidated statement of surplus or deficit and other comprehensive income, the consolidated statement of changes in equity and the consolidated statement of cash flows for the year ended, and notes to the financial statements, including a summary of significant accounting policies, and the Directors’ declaration. In my opinion, the financial report of the Australian Theatre for Young People and its controlled entity has been prepared in accordance with Division 60 of the Australian Charities and Not-forprofits Commission Act 2012, including: (a)
(b)
Giving a true and fair view of the group’s consolidated financial position as at 31 December 2020 and of its consolidated financial performance and consolidated cash flows for the year then ended; and Complying with Australian Accounting Standards and Division 60 of the Australian Charities
and Not-for-profits Commission Regulation 2013.
Basis for Opinion I conducted my audit in accordance with Australian Auditing Standards. My responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of my report. I am independent of the group in accordance with the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and 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 my audit of the consolidated financial report in Australia. I have also fulfilled my other ethical responsibilities in accordance with the Code. I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion. Other Information Those charged with governance are responsible for the other information. The other information comprises the information included in the group’s annual report for the year ended 31 December 2020 but does not include the consolidated financial report and my auditor’s report. My opinion on the consolidated financial report does not cover the other information and accordingly I do not express any form of assurance conclusion. In connection with my audit of the consolidated financial report, my responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial report or my knowledge obtained in the audit or otherwise appears to be materially misstated.
Page | 35
Independent Auditor’s Report To the members of The Australian Theatre for Young People and its controlled entity Other Information continued If, based on the work I have performed, I conclude that there is a material misstatement of this other information; I am required to report that fact. I have nothing to report in this regard. Directors’ Responsibility for the Consolidated Financial Report The Directors of the group are responsible for the preparation and fair presentation of the financial report in accordance with Australian Accounting Standards and the ACNC Act, and for such internal control as the Directors determine is necessary to enable the preparation of the consolidated financial report that is free from material misstatement, whether due to fraud or error. In preparing the consolidated financial report, Directors are responsible for assessing the group’s ability 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 has no realistic alternative but to do so. Those charged with governance are responsible for overseeing the group’s financial reporting process. Auditor’s Responsibility for Audit of the Consolidated Financial Report My objectives are to obtain reasonable assurance about whether the consolidated 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 my opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with 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 consolidated financial report. As part of an audit in accordance with the Australian Auditing Standards, I exercise professional judgement and maintain professional scepticism throughout the audit. I also: Identify and assess the risks of material misstatement of the consolidated financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for my opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control. Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the group’s internal control. Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by Directors. Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the group’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the consolidated financial report or, if such disclosures are inadequate, to modify our opinion. My conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the group to cease to continue as a going concern.
Page | 36
Independent Auditor’s Report To the members of The Australian Theatre for Young People and its controlled entity Auditor’s Responsibility for Audit of the Consolidated Financial Report continued Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the group’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the consolidated financial report or, if such disclosures are inadequate, to modify our opinion. My conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the group to cease to continue as a going concern. Evaluate the overall presentation, structure and content of the consolidated financial report, including the disclosures, and whether the consolidated financial report represents the underlying transactions and events in a manner that achieves fair presentation. I communicate with those charged with governance regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that I identify during my audit. Opinion pursuant to the Charitable Fundraising Act 1991 In my opinion: (a) The financial report of the Group gives a true and fair view of the financial result of fundraising appeal activities for the year ended 31 December 2020; and (b) The financial report has been properly drawn up, and the associated records have been properly kept for the year ended 31 December 2020, in accordance with the Charitable Fundraising Act 1991 and its Regulations.
STEVEN J MILLER & CO Chartered Accountants
S J MILLER Registered Company Auditor No 4286
Sydney Dated
Page | 37
Additional Financial Information Disclaimer Australian Theatre for Young People and its controlled entity The additional financial data presented on page 39 and 40 is in accordance with the books and records of the Group which have been subjected to the auditing procedures applied in my statutory audit of the Group for the year ended 31 December 2020. It will be appreciated that my statutory audit did not cover all details of the additional financial information. Accordingly, I do not express an opinion on such financial information and no warranty of accuracy or reliability is given. In accordance with my firm's policy, I advise that neither the firm nor any member or employee of the firm undertakes responsibility arising in any way whatsoever to any person (other than the consolidated entity) in respect of such information, including any errors or omissions therein, arising through negligence or otherwise however caused.
STEVEN J MILLER & CO Chartered Accountants
S J MILLER Registered Company Auditor No 4286 Sydney Dated
Page | 38
ATYP
Annual Report 2020
ATYP Staff
ATYP Board
Artistic Director
Fraser Corfield
Fraser Corfield
Sean Denney (until February)
General Manager
Nancia Guivarra (until April)
Amanda Wright (until Aug - mat. leave)
Tasnim Hossain
Johanna Mulholland (from Aug - mat. cover)
Janine Lapworth
Finance and Operations Manager
Gillian Larkins
Chrissy Riley
Mark Morrissey
Development Manager
Chris Puplick AM (Chair)
Stephen Attfield
Daniel Selikowitz
Marketing Manager
Nicole Webb
Kar Chalmers (until December)
Donna Worthington
Workshops Manager and Associate Director Robert Jago (until February)
ATYPicals
Workshops and Education Manager
Hannah Barr
Jacqui Cowell (from February)
Anika Bhatia
Production Manager
Tristan Brown
Sorie Bangura
Victoria Bullard
Resident Dramaturg
Helena Burke
Jane FitzGerald
Rose Callaghan
Education Coordinator
Zoe Castorina
Rowan Bate
Daisy Coyle
Development Coordinator
Claudia Elbourne
Meg Goodfellow
Olivia Everingham
Marketing Coordinator
Bernadette Fam
Erica Penollar
Lily Hayman
Graphic Designer
Elodie Jakes
Justin Stambouliah
Brianna Lowe
Workshops Coordinator
Sarah Maguire
Claudene Shoesmith
Jamila Main
Resident Technologist
Tanvi Maroo
Daniel Andrews
Piper McCowan
Company Accountant
Julia McNamara
Steve Davidson
Miranda Michalowski
Archivist
Isabella Milkovitsch
Judith Seeff
Astra Milne
Administration Assistant
Aria Rai Munton
Janine Lau
Tara Neilsen Isabella Nolan Charlotte Pitt
36
Esther Randles
Thyne Reid Foundation
Jasper Reucassel
Yim Family Foundation
Lily Sammut Lily Sauran
Companies and Partner Organisations
Noah Sturzaker
ARA Group
Eleanor Swan
Artology
Jack Walton
Barking Gecko Theatre Brown’s Mart Productions
Rebel Wilson Comedy Commission Recipient
Camp Sugar Productions
Victoria Zerbst
Currency Press
Carnivore Films Drama NSW
Rose Byrne Scholarship Recipient
Griffin Theatre Company
Chika Ikogwe
IMPACT Agency
Haymes Paint Interbrand
Partners and Supporters
KidsXpress
ATYP recognises the assistance received by
King & Wood Mallesons
the NSW Government through Create NSW
Mandurah Performing Arts Centre
and the Australian Government through the
Museum of Applied Arts & Sciences
Australia Council for the Arts, its arts funding
Optimiste Wines
and advisory body.
Playlab Playwriting Australia
Government
Q Theatre
Australia Council for the Arts
Rebelstudio
City of Sydney
Redline Productions
Create NSW
Riptide
Create Infrastructure NSW
Riverside Theatres, Parramatta Shopfront Arts Co-Op
Foundations
SM&c
ATYP Foundation
Sydney Living Museums
Copyright Agency
The Joan
Crown Resorts Foundation
Think Space
Graeme Wood Foundation Jibb Foundation
Adèle Jeffreys Memorial Fund Donors
Matana Foundation for Young People
Emma Campbell
Packer Family Foundation
Susan Millet
St George Foundation
Judith Seeff
James N. Kirby Foundation
The Lysicrates Foundation
ATYP
Annual Report 2020
Individual Donors
Sam Meers AO
ATYP warmly acknowledges the financial
David Nguyen
support and encouragement received from
Bernard Ryan & Michael Rowe
individual contributors in 2020. Without this
Robert Thomas AO
philanthropic support, ATYP would not be able to
Donna Worthington
deliver our bespoke programs and productions.
Yim Family Foundation
As a not-for-profit, ATYP recognises this continued support is essential for the
Allies ($500 - $999)
advancement of the company, and enables us
Francesca Beddie
to continue to enrich the lives of young people
Sophie Collins
through theatre each and every year.
David Jonas Jean Prouvaire
Guardians ($50,000+)
Damian Sturzaker & Danielle Manion
Susan Maple-Brown AM
Kerrie Walters
Paris Neilson
Andrea Wilson
Graeme Wood AM & Anna Cerneaz Buddies ($100 - $499) Guardians ($10,000+)
Anonymous
Antoinette "Popsy" Albert
Lucinda Armour
Rose Byrne
John Armstrong
Chris Puplick AM
Anna Barker
Robert Rich
Elise Barton
Rebel Wilson
Ian Batterham
The Estate of the Late Eleanor Witcombe AM
Nicole Beyer Ronda Booth
Superstars ($5,000 - $9,999)
Anne Brophy
Robert Albert AO RFD RD & Libby Albert
Ron Christianson
Ruth Armytage AM
Nerida Cole
Michael Ihlein & Gosia Dobrowolska
Katharine Cooke
Justin Punch & Patty Akopiantz
Catherine Cooney
Jane Westbrook & Mark Ramsden
Erin Daly Eveline Dowling
Champions ($1,000 - $4,999)
Tracy Everingham
Todd Abbott
Delia Falconer
Alison Baly & Stephen Hawkins
Brian Fitzgerald
Sue Bate
Melissa Fleming
Andrew Buchanan
Cate Friedlander
George Dodd & Derek Minett
Stephen Gillies
Nancy Fox & Bruce Arnold
Kerri Glasscock
Eleanore Mattana
Rebecca Gregg
38
Steven Hankey
ATYP Foundation Supporters
Raymond Harding
The ATYP Foundation’s purpose is to provide
Brendan Hogan
money, property and additional benefits to ATYP
Kylie Hunt
with the objective to advance, develop and
Warwick Hunt
promote the performing arts. ATYP gratefully
Susan Jones
acknowledges the ongoing support of the ATYP
Trina Jorre de St Jorre
Foundation. The capital funds raised through the
James Kelly
Foundation assist in maintaining a sustainable
Ross Lapworth
financial platform on which ATYP can thrive.
Jemima Littlemore Gregory Madhavan
ATYP Foundation Advisory Committee
Amy Maiden
Antoinette Albert
Maria Marshall
Angela Bowne SC (Chair)
Ruth McColl
Chris Puplick AM
Alison Lyssa
Emma McCue Chris McInnes
Schedule of Voting Donors
Lisa McKay
At 31 December 2020, the following
Kate Mulvany
organisations and individuals have obtained the
Emma Murphy
status of voting donor:
Amy Neville Jennie Noakes
Antoinette "Popsy" Albert
Debra Oswald
Robert O. Albert AO RFD RD
Josh Palmer
Albert Investments
Mouche Phillips
Ruth Armytage AM
Matthew Purcell
Chum Darvall AM
Leigh Sales
Estate of the Late Nicholas Enright
Miri Seeff
Carolyn Fletcher AM
Helen Slarke
Henry Herron
Richard Stuart
Peter Hunt
Sally Sussman
Michael Ihlein & Gosia Dobrowolska
Robyn Tantau
Millennium Pty Ltd
Liam Taylor
King & Wood Mallesons
Jo Thomas
Robert Rich
Stephen Varga
Graham O'Neill
Susan Walder
Ezekiel Solomon AM Robert Salteri Jill Wran Thyne Reid Trust Turnbull Foundation
COME AND SEE THE WORLD THRO— UGH OUR EYE— S