20RTREPOALANNU––21
The work of ATYP ripples far over this vast country. Rachel Koster, #TakeTheStage petition signatory, Central QLD
ATYP Annual Report 2021 02 454443413931272319171513110907040302 Contents Our ArtisticVisionDirector's Report Chair's Report 2021 Productions I've Been Meaning to Ask You Lights in the Park Follow Me Home Departments ArchivesMarketingDevelopmentEducationWorkshopsWriting ATYPFinancials Staff and Board Partners and Supporters
1. Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.
ONVISIOUR–
To enrich the lives of young Australians through transformative theatre experiences We do this through three aspirations:
ATYP is guided by four long-term strategies. They provide holistic thinking that sits across all company activities and discussions. They are: National Impact — ensure programs resonate locally, regionally and nationally. Artistic Excellence — deliver programs with artists, companies, venues and events synonymous with artistic excellence. Innovation embrace the evolving nature of storytelling as it relates to young people, and celebrate risk and experimentation.
3. Be a leading advocate for youth arts and its social impact.
2. Deliver inclusive opportunities that connect young people with the professional theatre industry.
Pathways be a meeting point between the professional theatre industry, youth arts sector, educational institutions and non-arts community, for the benefit of young Australians.
The year began well. The co-production with Brisbane-based The Good Room and touring specialists Critical Stages, I’ve Been Meaning to Ask You, was presented in Riverside Theatres, Parramatta, to critical and popular acclaim.
REPORTDIRECTOR'SARTISTIC
In many respects, the tone of 2021 was captured perfectly by our Art Director, Justin Stambouliah, before it even began. For the annual season program he put a cheeky scribble over the ‘20’ in 2020 to change it to 2021, referencing that many aspects of the program had to be carried forward from the previous year’s cancellationsthe impact of COVID. Of course, as it transpired, the impacts of COVID were far from finished. Sydney suffered a much longer lockdown in 2021 than the previous year. Staff were confined to their homes in June and did not return to the office until October. As a national company, the delivery of programs was further complicated by the closure of State borders and the variations of social-distancing laws in different parts of the country. No aspect of the second half of 2021 and the beginning of 2022 was able to run as planned.
Once again the versatility and experience of the ATYP staff was clearly on show. By 3pm that afternoon tickets to the remaining performances had been cancelled and all patrons contacted. We had also cancelled the following week of school holiday workshops and refunded all parents. By the following Monday morning ATYP’s Workshop Coordinator Claudene Shoesmith had compiled and launched an online workshop program to be conducted over Zoom during the lockdown. There was an uncomfortable feeling of ‘business as usual’ about our lives being upended once again and programs being moved online.
ATYP Annual Report 2021 04
The senior Foundation Commission, Lights in the Park by Alexander Lee-Rekers, was successfully staged in Penrith in partnership with the Q Theatre. Likewise, Follow Me Home, Lewis Treston’s powerful examination of youth homelessness, opened to critical acclaim… but then on Friday the 25th of June at 11am, NSW officially went into lockdown.
• the transfer of the National Studio from an in-person to an online event;
• the cancellation of the 2021 Intersection Festival;
• the cancellation of the seasons of Shack by George Kemp and Soul Trading by Kate Walder;
• the postponement of The Chapel, the Fire and the Dead Cat (delivered in partnership with Newtown School of Performing Arts in 2022);
• the postponement of The Lies We Were Told, (delivered in partnership with Shopfront Youth Arts in 2022);
• the postponement of ATYP’s occupancy of Pier 2/3, from November 2021 to January Despite2022.these setbacks, the quality of ATYP’s productions was evident at the Sydney Theatre Awards where three of the four productions nominated for “Best Production for Young People” were by ATYP, up against Playing Beatie Bow by STC. The 2021 Sydney Theatre Award was won by I’ve Been Meaning to Ask You.
During the reporting period, COVID led to:
• the postponement of the launch of the 2022 subscription season (delayed by two months);
• the postponement of The Deb and the launch of The Rebel Theatre, ATYP’s new venue; and
A major achievement during the year was the completion of a rebrand thanks to the pro-bono services of The General Store. This saw ATYP embrace a new logo and style guide to celebrate the new look and feel of the company as it takes up occupancy of premises on Pier 2/3. The rebrand looked at the tension inherent in ATYP - from the traditional comedy and tragedy of drama, to the balance between participation and artistic excellence, the rebelliousness of youth within the discipline of performance; and celebrating unique individuality while bringing communities together. The resulting smile and frown, a reflection of the shape of the company’s new stage in The Rebel Theatre, has received extremely positive responses from the community and industry alike. With the return of Amanda Wright from maternity leave in 2021, the ATYP Board approved a significant change to the company structure. Breaking from the theatre tradition of a two-person executive team, ATYP offered Johanna Mulholland the role of Director of Strategic Initiatives where she works alongside Amanda as Executive Director and myself as Artistic Director. In these new roles the responsibilities of fundraising, marketing and venue coordination sit with Johanna, Amanda retains HR, finance, governance and producing, and I continue to be responsible for programming, artistic vision and responsibilities associated with the CEO.
• the cancellation of half the Sydney season of Follow Me Home and the subsequent 15 venue national tour;
06
Fraser ArtisticCorfieldDirector photo by Luke Stambouliah
Increased activity meant a growing team. Our first appointment was Monique Johnstone as Deputy Education Manager. Georgia McGinness was hired as the company’s Digital Engagement Designer in July. Amber Silk was brought on as Production and Technical Manager to oversee the move. At the end of 2021, the company was very sad to lose Marketing Manager Lucy McNabb who made the decision to move back to the UK after being offered a job as Marketing Manager of Tate Modern. We thank her for her exceptional talent and energy through an exceptionally difficult time and wish her the very best in her future endeavours.
The ATYP Board continued to be led with exceptional clarity and purpose by Chair Chris Puplick AM and Deputy Chair Janine Lapworth. The Finance and Risk Committee was expertly managed by Chairperson Gillian Larkins and major announcements received national coverage thanks to Nicole Webb and the probono support of The Impact Agency. Indeed all members of the ATYP Board were heavily involved in the transition into Pier 2/3. The success of ATYP is a result of the extraordinary support and leadership of the Board. I’d also like to acknowledge the dedication and work of the ATYP staff who have overcome extraordinary obstacles during the reporting period. While everyone deserves special mention, I’m extremely grateful to have been able to face this period in partnership with my executive colleagues Amanda Wright and Johanna Mulholland. Their patience, practical wisdom and extraordinary generosity have been an inspiration in difficult times. As we emerge from this time of upheaval ATYP faces a future filled with exciting possibilities. I look forward to seeing what 2022 brings.
While the company had to navigate significant operational difficulties, the year proved to be financially successful on a number of levels. The launch of the Capital Campaign secured just over $2 million raised towards the goal of $2.5 million for the occupancy of the new venue. Thanks to the Ian Potter Foundation, the company received funding to launch a national e-newsletter for the youth arts sector along with other sectorleadership programs over two years. Thanks to additional COVID recovery funding ATYP was able to record a surplus to safeguard the company against expected losses incurred in 2022.
ATYP Annual Report 2021 Page 4
2021 was the year that we were able to announce the wonderful donation of $1 million made by our fantastic alumna Rebel Wilson to the development of our new theatre, which will proudly be called the Rebel Theatre. This generous donation has helped underpin our larger capital campaign and the work which we have commissioned Tobhiyah Stone-Feller to undertake shaping the fit-out of the new premises. This exercise was also supported by successful fundraising through the Adèle Jeffreys Memorial Fund and our success in selling 167 of our 196 theatre seats to generous Althoughpatrons. many of our planned productions were COVID-smashed, we did have a terrific season with I’ve Been Meaning to Ask You which played to over 1100 people at Riverside Theatres, Parramatta, and our production of Lights in the Park which played at The Joan Sutherland Performing Arts Centre in Penrith.
In last year’s Annual Report I wrote that “Just as 2020 was a year like no other, I am confident that 2021 will be as well.” I had no idea how prophetic those words would turn out to be!
Some of our most fervent aspirations were moved closer to reality as we moved forward with the planning for our new home at Pier 2/3 and some faded as the COVID-19 pandemic continued to cut its swathe through the best planning and the best plans.
The Board has also had a preliminary discussion about a major rewrite of aspects of our Constitution in order to strengthen aspects of better governance by regularising arrangements for the nomination and election of Directors, as well as discussing how to get a greater involvement with the Board of our Youth
REPORTCHAIR'S
I personally was so disappointed that our great play focusing on youth homelessness, Follow Me Home which had a great season in Sydney, had to be cancelled part way through and its planned national tour had to be scrapped. This year the Board has responded to the challenges of COVID on a number of fronts. We welcomed a new member in Samara Hand who originally came to us as part of the Observer Programme, which links up keen young executives with Boards so that they can gain insight into how such organisations work. Samara was such a wonderful participant as an Observer that we invited her to become a full time member of the Board. She is an Awabakal woman of Worimi and Biripi descent who has been a foundation member of the National Indigenous Youth Education Coalition. My deputy, Janine Lapworth has been formidable in taking charge of all the details of providing supervision and oversight of the many complexities of bringing our Pier 2/3 plans to fruition. This has particularly involved making use of her legal expertise in the management of contracts, leases, and building codes.
In January 2021, we launched our ATYP On Demand Plus programme which connects us with what is now a national network of educators and students and is designed to allow access to be facilitated in a COVID-responsive fashion. Of course, the pandemic has meant that so much of our income and activity which was related to our face-to-face provision of classes and workshops has had to be replaced with online and remote contacts. There are pluses and minuses in this in that the loss of personal contact in a learning environment is unfortunate, but the technology allows more people in total to be involved. Once again, I must pay tribute to our senior management and all the members of our staff. They have had yet another year of frustration to cope with as plans have been altered or put on hold due to COVID, timetables have been disrupted, shows cancelled, contracts rewritten and relocation arrangements deferred. They have all coped magnificently and I am grateful to all of them and in particular to Fraser for his continued leadership and fortitude.
In 2022 we will move – we will open our first season – we will deliver on our major plans and commitments. I have no doubt there will be extraordinary challenges to overcome – but I am supremely confident of our ability to meet and match any of them.
Annual Report 2021 08
ATYP Advisory Body. I expect that we will see all of these changes come forward for ratification next year. I also mentioned last year that the Board had received a report prepared by Justin Macdonnell of Anzarts Institute which invited us to take an in-depth look at many of our operations. During this year we have continued to implement those recommendations and in doing so we have already seen the benefits in areas such as marketing and communications which are so important in getting out the message about the Company and its activities.
Chris Puplick AM Board Chair Photo supplied
2021PROD–UCTI–ONS
2021 Productions I've Been Meaning to Ask You Lights in the Park Follow Me Home Soul ShackTrading
We successfully staged two production seasons, I’ve Been Meaning to Ask You and Lights in the Park, with our professional production and return season of Follow Me Home playing for 19 performances before closing due to NSW Ourlockdowns.seasons of Foundation Commission plays, Shack and Soul Trading, which were due to play in rep at the SBW Stables Theatre, were both sadly cancelled due to the ongoing NSW restrictions and lockdowns throughout the latter half of 2021.
After a shaky 2020, ATYP was excited to return to a regular season of production programming. However, the 2021 season was once again derailed by the COVID-19 pandemic.
ATYP Annual Report 2021 10
RiversideTheCreatedYOUTONINGMEABEENI'VE–ASKbyGoodRoomTheatresandCriticalStages Touring Present An ATYP Production Image supplied
ATYP Annual Report 2021 12 Why do you have to go to work? How come adults drink to have fun? What was life like before the Internet? Is 50 too old to learn to surf? This is a work full of questions. Asked by young people. Answered by adults. Performed inside impactCombiningdropbackseatageandtheatre-turned-playground-turned-battlegroundadeliveredbyGenerationUpNext.Watchascollideswithexperienceandadultstakeaasapowerfulgangof9-13-year-oldssomehardtruths…andthemic.yourburningquestionswithhigh-videodesign, I’ve Been Meaning to Ask You is a revealing one-hour tell-all conversation built around three key starting points: what you’ve been told, what you know to be true, and what you want to believe. Cast Ian Baek, Aisata Bah, Eloise Bendall, Alice Campbell, Ginger Campbell, Louis Carroll, Alexander Cheung, Sophie Davis, Anton Galati, Riley Gatt, Gil Gracie, Chloe Harnisch-Rojas, Lucas Lawford, Gabriella Massoud, Scarlett Saunders, Adele Simon, Shujay Vijaygiri, Jack Waters Performed at Riverside Theatres, Parramatta Opened 18 March 2021 Season 17-20 March 2021 Performances 4 Attendance 1,177 Box office $20,640.80 Key Creative Amy Ingram Key Creative/Resident Director Nathan Sibthorpe Director Daniel Evans Dramaturg Saffron Benner Creative Producer Tara Hobbs Rehearsal Director Kate Walder Rehearsal Assistant Director Zoe Tomaras Key Facilitator Maddie Nixon Facilitator Cienda McNamara Facilitator Steve Pirie Lighting Design Jason Glenwright Composer & Sound Design Dane Alexander Video Design Craig Wilkinson (Optikal Bloc) Production Design Jonathan Hindmarsh Costumes Madeline Taylor Choreography Dr Nerida Matthaei Stage Manager Jeremy Gordon
AAlexanderWriterPARKTHEINSLIGHT–Lee-Rekersco-productionwithQTheatre Image supplied
ATYP Annual Report 2021 14
Cast Dean Alexander, Scott Barton, Alexander Billett, Denica Brillo, Ben Buenen, Laila Chesterman, Robin Golka, Josephine Hill, Amélie JamesPower, Eliza Marshall, Daisy Millpark, Brayden Sim, Cooper Soo
Writer Alexander Lee-Rekers Director Lucy Clements Dramaturg Jane FitzGerald Production & Stage Manager Sorie Bangura Designer Liv Hutley Lighting Designer Benjamin Turner Sound Designer Chrysoulla Markoulli Content Producer Adam Stepfner Assistant Director Sacha Slip Rehearsal Assistant Kate Wooden Performed at Q Theatre, Joan Sutherland Performing Arts Centre, Penrith Opened 22 April 2021 Season 21-24 April 2021 Performances 6 Attendance 410 Box office $8,333
The Senior ATYP Foundation Commission develops a new play each year that showcases the skills of actors aged 14-17. Lights in the Park is the 2018 winner of this award.
One quiet night, the street lights flicker out and plunge the world into darkness. A “lights out” party in Royal Park is announced, and every kid in town makes their way there to celebrate this strange occurrence. A trio of role-players leave their game and embark on a quest for revenge…, two enterprising youngsters sell torches at reasonable prices…, the disgraced star of a viral video looks to make her social comeback and the floor-mopper at the local chemist encounters the worst kind of shoplifter. All these stories unfold on the way to the park because everybody’s on their way to the same party. And it is not to be missed.
AnLewisWriterHOMEMELOWFOL–TrestonArtsOnTourco-production Image Luke Stambouliah
Annual Report 2021 16
we
Writer Lewis Treston Director Fraser Corfield Set and Costume Designer Aleisa Jelbart Lighting Designer Martin Kinnane Sound Designer Kailesh Reitmans Production and Stage Manager (Sydney Season), Production Manager (National Tour) Sorie Bangura Stage Manager (National Tour) Paisley Williams Videographer Hugh Clark Character Consultant Janine Lau Assistant Director Hayden Tonazzi Cast Laneikka Denne, Jordan Dulieu (National Tour), Jasper Lee-Lindsay, Sofia Nolan, Thomas Weatherall (Sydney Season) Performed at SBW Stables Theatre, Kings Cross Opened 18 June 2021 Intended Season 16 June - 3 July 2021 Actual Season 16-24 June 2021 Performances 19 Attendance 441 Box office $11,230
ATYP
Follow Me Home is an insightful theatre production by award-winning playwright Lewis Treston. Presented as a series of vignettes, the play reveals the real stories of a group of extraordinarily strong, resilient and courageous young Inspiredpeople.bythe lived experiences shared by homeless young people across NSW, this thought-provoking work from Australian Theatre for Young People (ATYP) is a must-see for audiences aged 14 and over. Four talented young actors take on multiple roles in a fast-paced show that will leave audiences with a shift in perspective, a little more compassion and a deeper understanding of the world around them. Due to the ongoing NSW COVID-19 lockdowns and difficulties with interstate travel, were unable to proceed with the national tour of the production. The tour, produced by Arts On Tour, was due to perform in fifteen venues nationally across four states.
2021DEPAR–TMEN–TS
2021 Departments ArchivesMarketingDevelopmentEducationWorkshopsWriting ATYP Annual Report 2021 18
INGWRIT–Photo 2021 Fresh Ink
ATYP Annual Report 2021 20 Overview Workshops 50 Workshop attendances 279 Playwrights under commission 13 Playwriting participants 79 Mentors and teachers 11 Professional actors, directors, dramaturgs 42 Other artists supported 84 Total artists part of programs 230 Audience 225 States and Territories operated in 4 Hours of (ResidentdramaturgyDramaturg) 249 Hours of (Residentmentoring/tutoringDramaturg) 145 Commissioned Writers Donna Abela John Armstrong Kip VictoriaNikitaKateAlexHannahMadelaineAlexanderGeorgeEmmeFelixChapmanCrossHoyKempLee-RekersNunnReillyVickery-HoweWalderWaldronZerbst
Fresh Ink National Mentoring Fresh Ink welcomed Hobart to its program for the first time in 2021, as well as the ongoing groups in Darwin, Perth and Sydney. COVID impacted the Sydney group, which adapted to Zoom meetings during lockdown, including for its mid-year reading. Across the 4 cities, 14 emerging playwrights aged 18-26 wrote two short plays (with one playwright in Perth completing one short play before withdrawing from the program for personal reasons), with mid-year and end-of-year readings for each of the cities. The program ran in: Darwin, copresented with Brown’s Mart and mentored by Ciella Williams; Hobart, co-presented with Archipelago Productions and mentored by Belinda Bradley; Perth, co-presented with Barking Gecko and mentored by Will O’Mahony; and Sydney, mentored by ATYP’s Resident Dramaturg, Jane FitzGerald. It was incredible! Belinda was a beautiful, patient, effective and inspiring mentor. The whole process has been a dream! Rosemary Cann, Hobart Fresh Ink It was awesome! I really enjoyed the process of working under a mentor, doing the writing exercises, getting feedback, bonding with my fellow Fresh Inkers and especially watching the actors and directors bring it to life in front of an audience. It was great, I highly recommend it to anyone wanting to get into writing or to improve their writing skills.
Jack McMillan, Darwin Fresh Ink National Studio
The participants of National Studio: From Our Place to Yours created eight-minute pieces which were read over Zoom at the conclusion of the week. A nurturing and stimulating atmosphere was created despite not being in person. Of those who attended (and provided feedback), 76% reported that the impact of COVID-19 had had a negative impact on their mental health and wellbeing - of these, 92% reported that National Studio had a positive impact on their mental health and wellbeing. I loved that we were all treated equally and professionally, never patronised or treated as though we were inexperienced (though that is the case). I always felt trusted enough by all the mentors to take the theme and produce meaningful writing.
In 2021, the National Studio was held online in response to the ongoing challenges of COVID. For the twelfth year, this successful program brought together 20 emerging writers aged 18-26 from 6 states who experienced masterclasses, group tutorials, one-on-one mentoring and industry sessions from awardwinning playwrights Donna Abela (NSW), Vanessa Bates (NSW) and Lewis Treston (QLD), as well as Resident Dramaturg Jane FitzGerald.
Lotte Beckett, VIC
For the second year, our online playwriting masterclasses offered 1.5-hour interactive sessions on a variety of topics by exceptional professional playwrights. Over three weeks, Jenevieve Chang, Kendall Feaver and Anchuli Felicia King each delivered a masterclass via Zoom, reaching 35 emerging playwrights in 5 states. Thespo Festival
• Intersection 2021: Unleashed - 15 short plays by the playwrights of the National Studio 2020 Ambassador Opportunities Rebel Wilson Comedy Commission Won by Nikita Waldron for her pitch for a play, Amber. In 2021, ATYP alumna and international ambassador Rebel Wilson continued her generous support of young Australian artists. Being awarded the Rebel Wilson Comedy Commission has truly been one of the highlights of my year. I am so excited to share what I’ve been cooking up and truly couldn’t have dreamt up a more supportive theatre company or a more enjoyable process.
Nikita Waldron
• Amber by Nikita Waldron, winner of the 2021 Rebel Wilson Comedy Commission
Playwriting Masterclasses
•
Uncanny Valley by Alex Vickery-Howe
• Ali in Zombieland by John Armstrong (including a script development with actors)
Scripts in development
By the end of 2021, Nikita had completed the first draft of her Commission, supported by the Resident Dramaturg. Three further drafts and a development workshop are planned for 2022.
ATYP Foundation Commissions
In 2021 the Resident Dramaturg provided ongoing dramaturgical support to a number of other scripts:
In 2021 there was no call-out for new Foundation Commissions due to the backlog in production caused by COVID. However, Lights in the Park by Alexander Lee-Rekers was produced and published in April 2021; The Chapel, the Fire and the Dead Cat by Madelaine Nunn was completed and published; Soul Trading by Kate Walder was completed and prepared for publication; Shack by George Kemp was completed and prepared for publication, and Cry Havoc by Emme Hoy continued its development, supported by Resident Dramaturg Jane FitzGerald.
• Seeing Double by Madelaine Nunn, winner of the 2020 Martin-Lysicrates Prize
ATYP Annual Report 2021 22
• The Resistance by Kip Chapman
• Converted! by Victoria Zerbst, winner of the 2020 Rebel Wilson Comedy Commission
A cross-cultural collaboration with Thespo (India) concluded in digital readings of 10 short plays at Thespo’s Digital Festival. 18 emerging Australian playwrights, dramaturgs and performers aged 18-25, alongside 18 emerging Indian artists, attended masterclasses by Australian and Indian writing and acting professionals. The teams were supported and mentored, creating 5-minute plays which were then showcased at the Festival.
Photo by Tracey Schramm SHOPSWORK–
ATYP
Overview
ATYP’s high-quality Workshop programs give young people aged 5-26 the opportunity to work together to create their own work, express their own views and perform their stories. Led by some of the industry’s most experienced tutors, all of whom are working professionals, young people build self-confidence, are challenged, and discover valuable insights into the dramatic Inprocess.2021,there were title changes across the department.
Jacqui Cowell became Head of Learning and Claudene Shoesmith became the Deputy Workshops Manager. The entire second half of the year's programs were impacted by COVID-19 lockdowns, but overall, and due to our learnings from 2020, we were able to quickly and successfully ensure that we continued to offer workshops to students and provide a place for them to gather, create and learn through some very difficult times.
Annual Report 2021 24
Workshop facilitators 35 Assistant facilitators 26 Paid participants 560 Scholarships 50 Programs 48 Individual workshops 225 Individual attendances 2638 Weekly
2021 was again a mixed year for the Holiday workshops program. Even with COVID hesitation and some cancellations, our January holiday program was a strong start to the year. We were also able to run a strong Autumn Holiday program, but unfortunately due to the extended lockdowns we ran our Winter and Spring Holiday programs online. Out of caution, we did not invite live audiences into the majority of our performances. As in 2020, all final performances were filmed, added to ATYP’s YouTube channel and sent to families. As this is an important part of the program it was good to be able to continue to deliver a performance outcome for all participants. Drama Workshops
2021 was also a mixed year for our Weekly Workshops as the extended lockdowns kept us online for the whole of Semester 2. Our Weekly program started with strong enrollment numbers across Semester 1. The majority of the weekly workshops were held in the Eighteen80 Hall in Surry Hills, with our Sunday Theatre Maker classes held at the Abraham Mott Hall in Millers Point. We were unable to hold an end of Semester Performance weekend due to COVID restrictions, but we were able to invite an in-person audience to the last workshop for each individual class so that participants could still share their work.
Semester 2 classes started with strong enrollment numbers, but as the program returned online our enrolment declined. We were still able to run a reduced program with a recorded performance outcome for all Not in addition to limited due to COVID
Workshopparticipants.facilitators 29 Assistant facilitators 5 Paid enrolments 368 Scholarships 19 Programs 26 Individual workshops 416 Individual attendances 3096 Performances 26 Audiences N/A.
audiences
restrictions.
ticketed, numbers are not tracked
Holiday Workshops
Industry Studio Our 18-26-year-old Industry Studio programs were also impacted by the COVID lockdowns. We were able to deliver one Industry Studio program in person before creating and delivering a series of online offerings that fostered connections with young artists across Australia, which is not something that we usually get from our in-person program. Workshop Facilitators Natasha McNamara (in person) Yve PaidTasnimJanineBernadetteChrisKatrinaJaneMatthewCarissaFraserBlakeCorfieldLicciardelloWhittetFitzGeraldDouglasBendallFamLauHossainenrolments 103 Scholarships 1 Individual workshops 17 Individual attendances 174 Specialist Workshops In 2021, we continued our relationship with Orana Arts to deliver online workshops to facilitate connections with ATYP teaching artists. Classes ran across Terms 1, 2, and 3, with Junior and Senior sessions. Each class had a performance outcome and we hosted an online watch party for all participants of the program. Workshop facilitators 5 Assistant facilitators 2 Paid enrolments 50 Scholarships N/A Programs 7 Individual workshops 56 Individual attendances 2,800 Audiences unknown ATYP Annual Report 2021 26
Photo by Tracey Schramm
TIONAEDUC––
ATYP Report 2021
Overview
28
Annual
The ATYP Education program includes a range of onstage, online and face-to-face programs for teachers and students Australia wide. ATYP offers a range of workshops and productions throughout the year for primary and secondary schools. Increasingly, these programs are available online through our free ATYP On Demand platform, allowing students across Australia to access an ATYP production or Inworkshop.December 2020, Rowan Bate (Education Coordinator) left the company, and Jacqui Cowell became the Head of Learning, managing the Education and Workshops department.
Monique Johnstone started at ATYP as Deputy Education Manager in February 2021. All education programs were heavily impacted by COVID-19 in 2021. We were only able to conduct a small number of in-person schools’ workshops, school performances of productions, work experience and streamed productions. We were able to pivot some in-person student and teacher workshops to be delivered online.
Sitecountry.visits (year-end) 7,107 Resource views (year-end) 6,000 Teachers registered (year-end) 611 Students registered (year-end) 912 Total registrations (year-end) 1714
ATYP On Demand is our online learning platform, created to remove geographic and economic barriers that students and teachers across Australia face when wanting to engage with performing arts. The principal aim of the platform is to give schools access to theatre, no matter where they are located across Australia.
ATYP On Demand Plus
Productions
ATYP also participated in the Lysicrates prize performance at Riverside Theatres, with schools attending in person as well as having the option to watch it as a live stream or a pre-recorded Resourceperformance.views 6,000 ATYP On Demand
In hosting high-quality recordings of ATYP’s live productions, On Demand enables every school to have the best seats in the house. New content is being added to ATYP On Demand regularly, and membership is available free of charge to students and teachers across the
In 2021, we launched ATYP On Demand Plus, a complete education package for teachers, that uses literacy and drama strategies to explore the primary curriculum. ATYP On Demand Plus was trialled in 6 primary schools; 5 in NSW and 1 in the Northern Territory. The program was launched with three units focussing on the primary History curriculum: Past and Present (F-2), First Nations Connections (Year 3-4) and Waves of Migration (Year 5-6). Trial school teacher feedback was overwhelmingly positive, with many commenting on the impact the program had on students’ interest in and understanding of curriculum content, in addition to their own gratitude for new strategies and practices and complete units of work with lesson plans.
The program was formally launched in June at an event with arts and education industry colleagues at the Eighteen80 Hall. Due to secured funding, an additional three units across the English, Science, and Physical Health and Education curricula were locked in, with two filmed in 2021 and one to be filmed in early 2022, all to be released in 2022. Site visits (year-end) 4,080
Trial schools in 2021 6 Teachers registered for trials in 2021 56 States with subscriptions in 2021 7 Schools subscribed in 2021 17 Teachers with subscriptions in 2021 60
ATYP productions were impacted by COVID-19. ATYP opened Follow Me Home, but it closed soon after. The school's show of Shack at The Stables Theatre didn’t go ahead. There was one school’s performance for I’ve Been Meaning to Ask You at Riverside Theatres. This was a co-production with Critical Stages Touring and Riverside Theatres.
School Workshops School workshops are available all year round and enable students to experience a drama workshop on a chosen topic or area of study in Drama and Theatre. The workshops are closely linked to curricula and/or ATYP performances and are delivered either in schools, online via Zoom or at an ATYP venue.
Workshops
In-person workshops Student participants 323 Teachers
McDonald College workshops Workshops
ATYP also participated in the Martin-Lysicrates Prize performance at Riverside Theatres. A total of 315 students from 8 schools attended in person, with a further 680 students from 16 schools watched the event as a live stream or recording. 100 students participated in the shortlisting of the submissions, facilitated in school with their teachers. 16 16 564 134 Theatre Flat-Pack Theatre Flat-Pack is a new Education program launched in 2021. The program involves ATYP co-producing an ATYP play in a school. ATYP provides an industry director, production support, scheduling and licensing. The first Theatre Flat-Pack program, a production of Impending Everyone took place on 5th and 6th June 2021. The production was directed by Sophie Kelly, and involved 13 Year 11 Thestudents.performance was attended by the writer Michael Andrew Collins. When students were asked “What are you most looking forward to about Theatre Flat-Pack?”, the students responded with: “Engaging with the audience and showing people my work”, and “exploring the process of creating a piece of theatre from beginning to end."
Scots College workshops Workshops
Teacher DevelopmentProfessional Devising a Group Performance (online and in-person) Teachers 27 Digital Storytelling (online) Teachers 18 Verbatim Theatre (online) Teachers
20 ATYP Annual Report 2021 30
MENTLOPDEVE––
Photo by Tracey Schramm
ATYP is a not-for-profit organisation that relies on philanthropic support to fund core programs and productions, and to keep our activities accessible and inclusive to all young people. The support of individual donors, trusts and foundations are critical to the company’s growth and success.
ATYP Annual Report 2021 32 Overview
ATYP gratefully acknowledges all donations received in 2021.
The 2021 Annual Appeal engaged the wider ATYP community to raise money to support the core funding of the company. The theme of the appeal was “At ATYP, young people get the job done!” with the aim to inspire donations which would help directly support ATYP in delivering and developing engaging, creative and innovative programs and opportunities for us to show the world what young people are capable of. $52,694
Sue
In loving memory of ATYP’s late Learning Manager, Adèle Jeffreys, the Fund supports the development of interactive, participatory learning spaces that encourage creativity, inclusion and imagination. In 2021, we raised funds for the fit-out of Pier 2/3, encouraging donations to ensure our new home is extraordinary while recognising Adèle's legacy and vision to ensure young Australians have access to transformative theatre experiences. The theme of this unique campaign was "Build a Brighter Place to Play". Donations to the fund in 2021 were matched through Creative Partnerships Australia with a $50,000 Plus1 grant towards our capital campaign.
Christmas Appeal December 2021
8 Amount
ATYP warmly acknowledges the financial support and encouragement received from individual contributors in 2021. Without this philanthropic support, ATYP would not be able to deliver our bespoke programs and productions. As a not-for-profit, ATYP recognises this continued support is essential for the advancement of the company and enables us to continue to enrich the lives of young people through theatre each and every year.
The 2021 Christmas Appeal, titled “Last Lockdown, I Gave You My Art”, encouraged our community to give-back to artists, who were some of the hardest hit during the COVID-19 pandemic. Funds were raised for the ATYP Production Fund to support our first ever fully-professional Season in 2022, and help us showcase new stories, with fresh faces (and some well-known ones too!), and get artists back to work.
JocelynJoannaKeithSueEliseBanfieldBartonBateBradleyBradleyBrewer
Adèle Jeffreys Memorial Fund
May to June 2021
Donors 34 Amount Raised
Donors Raised $2,630 Individual Donors
Albert Apple Pty Limited Lucinda Armour Ruth Armytage AM Etty Ayalon
Pascal AntoinetteAdolphe‘Popsy’
Funding Activities Annual Appeal
Donors 45 Amount Raised $118,537
ATYP Annual Report 2021 34 Andrew Buchanan MLC AnonymousGraemeMadeleineYvetteStephenSallyJulieErvinRichardWhitneyTimJonathanChrisGreebaRachelDavidMarkMaurissaRuthMatthewRossKaterinaHannahTinaDavidDavidGregoryRonAgathaAliFutureAnnyJohnRussellSarahCatherineXantheBurwoodChapmanCooneyCorbettCrowe&LibbyFairfaxFriisGenerationsAustraliaGordonGothe-SnapeGrahamHamiltonJacksonJonasKazmerKimKingLapworthMayMcCollMontgomeryNathanNguyen'sDentalSurgeonsOwensPritchardPuplickAMRandallReganRichardsStuartTankiangThomsTreebyVargaWallWinslowWoodAM&AnnaCerneaz(26) ATYP also acknowledges those who donated the cost of tickets for cancelled performances due to the COVID-19 pandemic. The Adèle Jeffreys Memorial Fund Malcolm Anderson Bill & Gay Antonopoulos Lucinda Armour Rowan AnonymousJaneRachelChrisAnnabelLisaRichardChrisSarahMatthewRebelJohnSusanMichaelaIleyBeverleyGlenRuthFranNancyJaneYvonneRebeccaKarZoeEmmaAngelaFrancescaBateBeddieBowneSCCampbellCastorinaChalmersConstantinCowellFitzGeraldFox&BruceArnoldHendricksHorsfallJeffreysJohnsonJonesKalowskiMaple-BrownAMMcCallumPenfold-RussellOAMPurcellReddieStalleyStuartSullivanTateTomkinsonvanEldikWestbrook&MarkRamsden(14)
ATYP acknowledges the financial support of all donors who made generous contributions to our capital campaign, including our Buy-A-Seat donors thus far. We are honoured to have them as part of ATYP’s legacy.
Target $2,600,000 Current Amount Raised $2,044,482 of
Schedule
ATYP would also like to acknowledge the generosity of our Pier Group whose contributions exceeding $100,000 will play a major part in shaping Australia's leading national youth theatre company.
We would like to acknowledge the significant contribution of ATYP alumna Rebel Wilson, the Theatre’s namesake, who pledged $1M towards our capital campaign. The Rebel Theatre will place young people centre stage and Australia’s future leading actors, playwrights, and theatremakers will walk its boards.
voting donors The following organisations and individuals have obtained the status of voting donor: Antoinette ‘Popsy’ Albert Robert O Albert AO RFD RD Albert Investments Ruth Armytage AM Chum Darvall AM Estate of the Late Nicholas Enright Carolyn Fletcher AM Henry Herron Peter MichaelHuntIhlein & Gosia Dobrowolska Millennium Pty Ltd King & Wood Mallesons Robert EzekielGrahamRichO'NeillSolomon AM Robert Salteri Jill ThyneWranReid Trust Turnbull Foundation ATYP Pier Group Rebel Wilson Popsy Albert Susie & Martin Dickson AM Neilson Foundation Edward Simpson Individual Donors Robert O Albert AO RFD RD Keith SundayBirchEmerson Gullifer Ruth JamesSimonEmmaJessicaHollowsLaffanCampbellCrokerHandsaker
The ATYP Foundation’s purpose is to provide money, property and additional benefits to ATYP with the objective to advance, develop and promote the performing arts.
ATYP gratefully acknowledges the ongoing support of the ATYP Foundation. The capital funds raised through the Foundation assist in maintaining a sustainable financial platform on which ATYP can thrive.
ATYP Foundation
Popsy AngelaAlbertBowne SC (Chair) Chris Puplick AM Capital Campaign
ATYP Foundation Advisory Committee
ATYP Annual Report 2021 36 Georgia Wilson Amanda AnonymousWright(3) Buy-A-Seat Plaques Inscriptions Row AlexanderA Cheung Kirsten Castorina Zoe Sarina Castorina Charlee Kwintner Andrew Deane & James Buck Jr Antonia EglantineMurphy&Marius Samway Zachary JackTheTheLyneTennysonRussellCharlieMilesPierreMichaelTommyLachlanMaxForMitchellLucie,AdelaideHarperAnnabelleBoydSzewcowLynch-Alumni&FletcherKennedyNed&LucindaArmourButelallyoungBlackfullas-CPOswaldPhilpottMurphyforDaneCrawfordGowBourelPikeCroweCroweCroweOwen-forAva&Hunterx1&OnlyMargideFerrantiHuntSistersAndrew Row AndrewB Dunn Rob CNeilAlexJaneLucindaCassandraAntoinetteRosieAnne-MarieRobertsCarltonFamilyHeathFisherBlaxlandDarvallArmour&RobinByrneVaughanGoodingDunphy,JLouis,J Turner The Stambouliah Family Rachael Coopes Alyssa McClelland For artists of colour to dream Darcie Irwin-Simpson Adam Player & Jonathan Alley Luca JessicaAshaKaitlynKristinPeterZoeAvaSuzySamJasperScarlettOdetteCavanagh-DownsCavanagh-DownsHinesHinesKennedyHowarthWillowdeJongdeJongMurrayWilliamsonM.BrushBoswarvaBalzer
Row CharlieC Lau Charles Fielke Hunter Drama Paul TheAaronSimonSallyStanleySundayEvanVilesStanhopeWebbWebbAndersonWebbBeachWorthington Family The Worthington Family Anderson – Larkins Family Lizzi Dayney Morrissey Mark Morrissey (Morrissey Mgt) Ciara Brendan,MichaelGosiaAngelaPopsyChrisDanielleFraserCaitlinHartiganHartiganCorfieldO'KeefePuplickAMAlbertBowneSCDobrowolskaIhleinJacqui,Yvonne Cowell Claudene & Will Shoesmith Kaiya, Kar & Keano Hugo SydneyEvaToddIsabellaBowne-AndersonTownsendAbbottSpataCatholicSchools CaSPA Tim YasminaAlexandraMartinGlazenburgGlazenburg Row GracieD & Gus Gilchrist Richard Carroll Jessica Marshall Jane RossEllenTheEmmanuelleNeglineMattanaPurcellFamilyBordaSteeleAM&Alan Toohey Elizabeth Butcher Andrew Buchanan Baly Douglass Foundation The Sturzaker/Manion Family Mark & Jacqueline Warburton Nancy Fox AM & Bruce Arnold Robert Love Mark Ramsden Jane BrickhillCraigAmyRachaelBarbaraDrDrYimIanTomHelenMargaretBenJoshuaJacquelineNeilsonMaple-BrownMaple-BrownWestbrookFamilyFamilyFoundation&HarryPlaterBauchetBauchetKirbyKirbyWaterworthPhippsFamilyFoundationDavidNguyenDavidNguyen&PaulRyanBradyMaidenMcMasterFamily
Row MikaelaE MalcolmWhiteheadPlace&Cherine Peck David CarlyJarrodBertholdCarland&Nicholas Pickard The Champion Family Gus WilliamMurray&Simonne Ingham Joshua Maxwell Sam Davey Gil Stanton Gracie Johannes Martien Mulholland Johanna Mulholland Leonard & Annelise Russo Bronwyn Morgan Alumni 1977-87 Antoinette Sampson AD 1992-1996 Tim Jones AD 2003 - 2008 Mark Gaal AD 1988-1991 Adèle LouiseJeffreysJoanne Menicou Emily’s Wish Foundation GlenArup JessicaChloeHogstromDallimoreMachin & Déwi Wiasa Simone Parrott William & Simonne Ingham Charlie Mason Bec Allen & Kathryn McCabe Andrew Benson Thomas De Angelis Andrew Davidson Craig Limkin Row F Jan & Maree Sieders Peter TanyaHenriettaHaywardStathopoulosGoldberg&Trent Bartfeld Fraser Orford & Luke Taylor ATYP Annual Report 2021 38
Photo by Tracey Schramm TINGMARKE–
ATYP
Annual Report 2021 40
In October 2021, ahead of the move to Pier 2/3 and the launch of our fully-professional 2022 season, ATYP unveiled a new brand identity.
Developed with pro-bono support from The General Store, the new identity is built around the concept of duality and captures antonymous attributes of a professional youth theatre company: professional vs. punk; disciplined vs. rebellious. Central to the new brand is the icon of the semi-circle which, when animated, playfully represents this duality and hints at the traditional comedy and tragedy masks. Coincidentally, the semi-circle is also emblematic of the seating bank in our new theatre, The Rebel, which is in direct sight of the Sydney Harbour Bridge - another iconic semi-circle. From the vibrant yellow of our previous incarnation, our new colour palette is unique to each application with a selection of colours drawn together to create a gradient. Finally, FH OscarTM is herod as both the primary (SemiBold) and secondary (Regular) typeface. The curved features of the new typeface, especially in the glyphs, function symbiotically with the curve of the smile icon. We are very grateful to The General Store for their expert guidance throughout this process and look forward to realising its full potential in our new home and marketing platforms.
The Marketing team delivered the 2022 Season photoshoot in October, at the tail-end of the restrictions of the Sydney lockdown which, with the exception of The Deb, included limiting cast to one per production image, considerably limited staff and crew presence, and a lot of time in the fresh air when not shooting in the studio. The inability for interstate travel also limited our options with casting, with key creatives and cast in our 2022 season hailing from Queensland and, in the case of our production partner Archipelago Productions, Tasmania. Despite the challenges, ATYP delivered a polished and professional suite of season collateral which features the beautiful photography of the very talented Luke Stambouliah.
The 2022 season was launched on Wednesday, 24 November via Zoom with guest presenters Diya Goswami, Kip Chapman, and George Buchanan, and was attended by 72 members of the ATYP community from around the country.
A large aspect of setting up ATYP for success in 2022 is communicating the move back to Pier 2/3 ahead of the 2022 Production season. The 2022 Season Brochure was created with strong written emphasis on the new venue. Additionally, digital and print collateral featured the new Pier 2/3 Manyaddress.thanks to The Impact Agency for their continued support as we prepare for the move and launch of our new venue with the premiere of The Deb.
The event also launched ATYP’s subscription program which includes five-, four-, three- and two-play Continuedpackages.COVID-19 challenges and lockdowns saw an impact on the rest of ATYP’s programs, much like in 2020. However, we were a welloiled machine and once again swiftly pivoted our Workshop program to an online format and saw great interest in our digital classroom, ATYP On Demand Plus. Writing programs also saw another online twist with a successful running of Playwriting Masterclasses and an online National Studio Mentoring program.
Photo by Tracey Schramm IVESARCH–
ATYP
ATYP has been a peripatetic organisation in its 58 years, moving premises at least 15 times.
ATYP established its in-house archives in early 2003, with support from the Vincent Fairfax Family Foundation, the second performing arts company in Australia to do so. The collection comprises records of governance, administration, promotion, production and participation, in varied media, some dating from the 1960s.
Annual Report 2021 42
ATYP Archives continued to spend 2021 in the temporary premises in Woolloomooloo, before being packed up and ready to move to the newly-built office (to be shared with the Production team) on Pier 2/3, in January 2022.
In a testament to the pride of the staff in the achievements of the company, records have been collected, stored and moved each time, so that the corporate memory would be preserved.
A qualified archivist is employed to identify and organise archival material so that staff and board members can easily source information and evidence of ATYP operations. Deposits of hard-copy documents are sorted, listed and boxed, analogue photos are scanned and backed up to ‘cloud’ storage, databases are created and populated, and research undertaken, on behalf of staff and the public. Some examples of records’ use are: content for the ATYP website, information and visual material for social media promotion, assistance with furtherance of past participants’ careers, illustrations in publications and documentaries, maintenance or initiation of relationships with alumni, and fact-checking.
CIALSNFINA––
Australian Theatre for Young People and its controlled entity (a company limited by guarantee) ABN 24 000 816 704 Annual Financial Report 31 December 2021
AustralianContentsTheatrefor Young People and its controlled entity Table of CorporateContentsInformation 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 or 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 26 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 29 16 Parent entity note 29 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
Page | 3 Corporate Information Australian Theatre for Young People and its controlled entity Name Special Responsibilities Directors F Corfield Artistic Director, CEO S Hand T Hossain A Johnson J Lapworth Deputy Chair G Larkins Chair, Finance Committee M Morrissey C Puplick Chair D Selikowitz N Webb D Worthington Company Secretary J Mulholland/A Wright Foundation Advisory Committee A Albert A Bowne Chair C Puplick Registered Office and Principal Place of Business Pier 2/3, 13A Hickson Road, Dawes Point NSW 2000 Auditors Steven J Miller & Co Chartered Accountants
Page | 4 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 2021 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 Date Appointmentof Date cessationof Board meetings FinancemeetingsCommittee A B A B F Corfield 26 May 2009 6 6 6 5 S Hand 29 Nov 2021 1 1 T Hossain 16 Apr 2018 6 6 A Johnson 16 Aug 2021 3 3 J Lapworth 21 May 2012 6 6 G Larkins 12 Aug 2019 6 6 6 6 M Morrissey 25 Nov 2019 6 4 C Puplick 12 Feb 2018 6 6 6 5 D Selikowitz 12 Aug 2019 6 4 6 1 N Webb 12 Aug 2019 6 5 D Worthington 12 Aug 2019 6 5 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 and 8 of this report. Company secretary Amanda Wright has been company secretary since 12 November 2018. From 21 August 2020 16 August 2021, Johanna Mulholland acted as company secretary whilst Amanda Wright was on maternity AustralianStatementleave.ofpurposeTheatreforYoung 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 $828 , 463 ( 2020 consolidated comprehensive income: $792,884).
STRATEGICoperationsGOALS2020 2024
1. Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.
PRINCIPAL ACTIVITIES FOR THE YEAR
• ATYP On Demand, ATYP’s digital classroom for teachers, has steadily grown with over 5,500 registrations around the country over the reporting period;
• ATYP maintained a relationship with Orana Arts in Dubbo, regional NSW, connection young people from regional communities in the Central West with drama workshops and masterclasses through the Not a Dress Rehearsal initiative;
Australian Theatre for Young People and its controlled entity Review of
o Establishing a quarterly e news mapping activity across the sector: https://atyp.com.au/yarts quarterly q2/ o Establishing a youth arts sector database co hosted by ATYP and the Theatre Network Australia; o Hiring a Youth Advocacy Officer and a Digital Engagement Designer to steer the company’s advocacy activities; and o Creating opportunities to live stream the work of leading youth theatre companies and host them on On Demand.
The principal activities undertaken by ATYP to meet its 2021 goals included:
GOAL TWO: Deliver inclusive opportunities that connect young people with the professional theatre industry.
Page | 5
Directors’
• Once again ATYP delivered drama workshops, masterclasses, teacher professional development programs and the National Playwriting Studio online due to the four month Sydney lockdown. Indeed, when the closure was called on a Friday morning at 11am, the company had cancelled and refunded the planned holiday program (commencing three days later) that afternoon and launched an online program by close of business the following Monday.
• Three of the Four nominations for the Sydney Theatre Awards in the Category ‘Best Production for Young People’ for 2021 were by ATYP - Cusp, Follow Me Home and I’ve Been Meaning to Ask You with the latter winning the Award.
• The Deb, a new Australian musical was commissioned and developed by ATYP by artists Hannah Reilly and Megan Washington
• ATYP continued to work in partnership with national companies including Browns Mart in Darwin, Barking Gecko Theatre Company in Perth and Archipelago Productions in Tasmania.
2. Deliver inclusive opportunities that connect young people with the professional theatre industry.
• In July 2021 ATYP launched a new digital classroom from primary schools, On Demand Plus. This national program offers every school in Australia access to comprehensive lesson plans and materials that teach educators how to use drama to teach areas of the national curriculum.
GOAL THREE: Be a leading advocate for youth arts and its’ social impact.
Report
• Thanks to the Ian Potter Foundation ATYP has secured funds to deliver programs that service the wider youth arts sector including:
3. Be a leading advocate for youth arts and its social impact.
GOAL ONE: Be indisputably recognised nationally and g lobally as a leading theatre company that fearlessly champions young artists.
NonCompany.executive Director.
Artistic Director, Australian Theatre for Young People and previously Artistic Director of Backbone Youth Arts, Riverland Youth Theatre and Associate Director of La Boite Theatre and acts in numerous arts advisory roles across Government and industry. Artistic Director and Chief Executive Officer. Samara Hand BA/BLaw (UNSW), MA (UoL) Samara is an Awabakal woman of Worimi and Biripi descent. Samara is the Learning and Programs Manager at the National Indigenous Youth Education Coalition, and has experience in policy and program design and evaluation, goverment regulation and curriculum development focused on Indigenous Peoples. Samara is also completing her PhD in Law at UNSW on Indigenous Peoples' right to education. Samara was a Board Observer at ATYP in 2021. Non executive Director from 29 November 2021.
Page | 6
Directors’ Report
Directors’ qualifications and experience continued Name and qualifications Experience and special responsibilities
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
Andrew Johnson BA, LLB, MSW
Australian Theatre for Young People and its controlled entity
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 NonSingapore.executive Director.
Fraser Corfield BA (Communications)
Executive Director of Thrive International, Andrew was the first NSW Advocate for Children and Young people, Andrew has lead NGOs both at the national and international level including ACOSS, Australian Republican Movement, Save the Children, ChildFund Alliance and chaired the NGO Committee on UNICEF. Non executive Director .
Australian Theatre for Young People and its controlled entity
Chris Puplick AM BA Hons, MA (Syd)
Directors’ Report
Chair and Non executive Director
Mark launched a new international production company, First Option Pictures, and also works as Executive Producer across a range of International TV and Web Nonprojects.executive Direct or.
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. Non executive Director.
Name and qualifications Experience and special responsibilities
Nicole Webb BA Communications, PR & Media (UC)
Author of two Platform Papers for Currency Press on aspects of public policy in the arts.
Gillian Larkins BCom, Grad Dip, MBA, GAICD, FCA
Gillian Larkins is currently the Chief Financial Officer of the GillianASX.has over 25 years of experience in finance strategy and management roles across a number of industries.
Page | 7
Senior Member, Commonwealth Administrative Appeals Tribunal. Chair, Create NSW Theatre and Music Theatre Board. Formerly Senator for NSW (1978 81; 1984 90) and Shadow Minister for the Arts. Formerly Chair Griffin Theatre Company, National Film and Sound Archives and Board of NIDA. Chair William Fletcher Foundation.
An award winning PR specialist, Nicole is the founder 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 NonGroup.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.
Directors’ qualifications and experience continued
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.
Daniel Selikowitz MBA (Harvard), BA/BLaw (USyd)
The consolidated entity is not subject to any particular or significant environmental regulation.
ATYP currently has no federal operational funding from the Australia Council for the Arts for 2023. However, the company will be eligible to apply for funding in 2025 fund round. Environmental regulation
Significant changes in the state of affairs
Significant events after year end
Contribution in winding up
Donna ExecutiveWorthingtonCoachingLv 1&2 (IECL), Six Sigma Green Belt for Leaders (SA Partners), Bachelor of Business (USC), Diploma of Export Management (USC) Partner at MinterEllison Consulting. A leader of Risk & Regulation Transformation and Strategy with experience managing complex portfolios within large organisations.
Page | 8
Directors’
Directors’ qualifications and experience continued
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.
Donna has a blended background of working in Financial 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. Non executive Director.
Report
Name and qualifications Experience and special responsibilities
Australian Theatre for Young People and its controlled entity
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 2021 the collective liability was $100 (2020: $90).
Auditor’s independence declaration
ATYP received the keys to the long awaited new venue at Pier 2/3, 13A Hickson Road Dawes Point, on 17 January 2022. The Company had been planning to move into the venue in December 2021, however delays in construction meant this timeline was pushed back. ATYP has identified defects within the new venue, and is working with Create NSW and Create Infrastructure to address these. Due to the effects of the Covid 19 Omicron outbreak, ATYP had to reschedule two productions in its first subscription season. “The Deb” was due to commence rehearsals in January and open in February. The Company assessed the risk to the cast and creative team was too great to begin the rehearsal process, and this was postponed until the end of February. “The Resistance” was postponed to 2023. Writer and director, Kip Chapman, is based in New Zealand, and travel restrictions prevented necessary creative developments taking place in time to stage the production.Likelydevelopments and future results
ATYP continued to encounter significant business interruption due to Covid 19. The Company had planned for the delivery of in person engagements across all programs, including a national tour. The lockdown in July saw the Company cancel productions, including the tour which had opened in Sydney, as well as returning to online workshops for a period of time.
Signed in accordance with a resolution of the Directors CHRIS PUPLICK AM Director DatedSydney / /
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.
Page | 9 Directors’ Report Australian Theatre for Young People and its controlled entity
Indemnification and insurance of directors and officers
STEVEN J MILLER & CO
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 for profits 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 2021, 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.
Chartered Accountants S J DatedSydnAuditorRegisteredMILLERCompanyNo4286ey
IndependenceAuditor’sDeclaration
Page | 11 Consolidated Statement of Surplus or Deficit and Other Comprehensive ForIncometheyearended 31 December 2021 Australian Theatre for Young People and its controlled entity Note 2021 2020 $ $ Revenue 4 3,075,303 2,107,754 Other income 4 297,519 876,356 Depreciation and amortisation expense 10/11 (51,772) (54,947) Employee benefits expense 15.2 (1,892,554) (1,630,745) Infrastructure expenses (109,999) (125,095) Marketing expenses (152,156) (106,589) Production expenses (340,259) (271,059) Surplus before income tax 826,082 795,675 Income tax expense 3.8 Surplus for the year 826,082 795,675 Other comprehensive income for the year, net of income tax 9 2,381 (2,791) Total comprehensive income for the year 828,463 792,884 This statement should be read in conjunction with the notes to the financial statements.
Page | 12 Consolidated Statement of Financial AsPositionat31December 2021 Australian Theatre for Young People and its controlled entity Note 2021 2020 $ $ CashCurrentAssetsand cash equivalents 5 1,991,157 917,101 Trade and other receivables 6 166,734 106,868 Other assets 8 15,329 25,457 Financial assets 9 475,000 475,000 Current assets 2,648,220 1,524,426 Non Property,currentplant and equipment 10 181,312 37,693 Intangible assets 11 56,393 53,048 Financial assets 9 208,700 206,319 Non current assets 446,405 297,060 Total assets 3,094,625 1,821,486 TradeCurrentLiabilitiesand other payables 12 109,117 143,384 Other liabilities 13 103,842 139,670 Grants liabilities 14 634,268 152,437 Employee provisions 15.1 103,380 70,440 Current liabilities 950,607 505,931 Total liabilities 950,60 7 505,931 Net assets 2,144,018 1,315,555 GeneralEquity funds 241,289 (81,442) Capital fund 17. 1 864,370 864,370 Revenue fund 17. 2 524,103 20,752 Capital campaign reserve 17.3 505,545 505,545 FVOCI reserve 17.4 8,700 6,319 Settlement sum 11 11 Total equity 2, 144,018 1,315,555 This statement should be read in conjunction with the notes to the financial statements.
Page | 13 Consolidated Statement of Changes in Equity For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity Note CompanyParentGeneralFunds CapitalFund RevenueFund CampaignCapitalReserve ReserveFVOCI SettlementSum equityTotal $ $ $ $ $ $ $ Balance at 1 January 2020 (611,719) 1,009,370 (4,102) 120,001 9,110 11 522,671 Surplus for the year 370,821 - 424,854 - - - 795,675 Other comprehensive income 9 (2,791) (2,791) Total comprehensive income for the year 370,821 424,854 (2,791) 792,884 Transfer to/(from) reserves 159,456 (145,000) (400,000) 385,544 Balance at 31 December 2020 (81,442) 864,370 20,752 505,54 5 6,319 11 1,315,555 Balance at 1 January 2021 (81,442) 864,370 20,752 505,545 6,319 11 1,315,555 Surplus for the year 412,168 413,914 826,082 Other comprehensive income 9 2,381 2,381 Total comprehensive income for the year 412,168 - 413,914 - 2,381 - 828,463 Transfer to/(from) reserves (89,437) - 89,437 - - -Balance at 31 December 202 1 241,289 864,370 524,103 505,545 8,700 11 2,144,018 This statement should be read in conjunction with the notes to the financial statements.
Page | 14 Consolidated Statement of Cash ForFlowstheyear ended 31 December 2021 Australian Theatre for Young People and its controlled entity Note 2021 2020 $ $ Operating activities Receipts from: • Normal course of operations 1,689,636 1,273,176 • Government grants 2,062,137 565,717 • COVID 19 Government support 265,893 732,100 • Interest income 2,132 14,197 Payments to clients, suppliers and employees (2,724,062) (2,198,085) Net cash provided by operating activities 1, 295,736 387,105 Investing Purchasesactivitiesofplantand equipment 10 (179,859) (8,326) Purchase of intangible assets 11 (18,877) (27,563) Dividends and distributions 7,531 8,365 Net cash used in investing activities (191,205) (27,524) Financing Repaymentactivitiesofprincipal portion of lease liability (30,475) (17,519) Net cash used in financing activities (30,475) (17,519) Net change in cash and cash equivalents 1,074,056 342,062 Cash and cash equivalents, beginning of year 917,101 575,039 Cash and cash equivalents, end of year 5 1,991,157 917,101 This statement should be read in conjunction with the notes to the financial statements
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.
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 significant accounting policies that have been used in the preparation of these financial statements are summarised below.
The preparation of the financial statements requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the Group’s accounting policies. The areas involving a higher degree of judgement or complexity, or areas where assumptions and estimates are significant to the financial statements are disclosed at Note 3.15
1 General information and statement of compliance
Historicalstatements.costconventionThefinancialstatementshave been prepared under the historical cost convention.
3.2 Basis of consolidation
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.
For the year ended 31 December 2021
The Australian Theatre for Young People is a not for profit entity for the purpose of preparing the financial
Australian Theatre for Young People and its controlled entity
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.
Notes to the Financial Statements
3 Summary of accounting policies
3.1 Overall considerations
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.
Any new or amended Accounting Standards or Interpretations that are not yet mandatory have not been early adopted.
Critical cost convention
2 New or revised Standards or Interpretations
Page | 15
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.
The financial statements for the year ended 31 December 2021 were approved and authorised for issuance by the Board of Directors on 26 May 2022.
3 Summary of accounting policies continued 3.3 Revenue
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.
Notes to the Financial Statements for Young People and its controlled entity
Revenue from performance income is recognised upon delivery of the associated performance.
For the year ended 31 December 2021 Australian Theatre
commitments are brought to account as income in the year in which sponsorship benefits are AGovernmentbestowed.grantsnumberoftheGroup’s
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.
Operating expenses are recognised in surplus or deficit upon utilisation of the service or at the date of their origin.
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.
Donations and bequests
The Group recognises revenue from the following major sources:
Revenue from performance income
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 Revenuecustomer).ismeasured
Revenue in respect of performances not yet performed is included in Consolidated Statement of Financial Position as income received in advance.
Page | 16
Revenue from fees and services income is recognised when the service is provided to the SponsorshipSponsorshipcustomer.
Interest income Interest income is recognised on an accruals basis using the effective interest method.
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.
3.4 Operating expenses
Revenue from fees and services
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.
• Equipment and furniture 2 10 years
• Right of use assets and Over the life of the lease
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.
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.
3.7 AtOperatingLeasesleasesleasecommencement 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).
Subsequent measurement
Acquired computer software licences and website construction costs are capitalised on the basis of the costs incurred to acquire and install the specific software.
3.5 Intangible Assets
• Leasehold improvements Over the life of the lease
3 Summary of accounting policies continued
Notes to the Financial Statements Theatre for Young People and its controlled entity
Property, plant and equipment
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:
Recognition of other intangible assets:
3.6
The following useful lives are applied:
Property, plant and other equipment are subsequently measured using the cost model, cost less subsequent depreciation and impairment losses.
Material residual value estimates and estimates of useful life are updated as required, but at least Gainsannually.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.
Subsequent expenditures on the maintenance of computer software, brand names and website are expensed as incurred.
For the year ended 31 December 2021 Australian
Page | 17
Acquired intangible assets
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
• Website and software: 3 5 years
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.
For the year ended 31 December 2021 Australian Theatre for Young People and
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.
Page | 18
Notes to the Financial Statements its entity Leases continued
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.
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.
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.
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.
controlled
3.10 Emp loyee benefits
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.
3.9 Cash and cash equivalents
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.
Other long term employee benefits
3 Summary of accounting policies continued 3.7
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.
3.8 Income taxes
Subsequent to initial measurement, the liability will be reduced for payments made and increased for Theinterest.Grouphas
Page | 19
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).
Notes to the Financial Statements its benefits
The Group provides post employment benefits through defined contribution plans. Defined contribution plans
controlled entity 3 Summary of accounting policies continued 3.10 Employee
3.11 Provisions, contingent liabilities and contingent assets
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 3.13flows.
For the year ended 31 December 2021 Australian Theatre for Young People and
Post employment benefits plans
3.12 Goods and Services Tax (GST)
continued
Economic dependence
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.
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. 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.
The entity’s business model for managing the financial asset
Financial assets at fair value through profit or loss (FVPL)
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.
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.
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Notes to the Financial Statements
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.
After initial recognition, these are measured at amortised cost using the effective interest method.
Subsequent measurement of financial assets
•
For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 Summary of accounting policies continued 3. 14 Financial instruments
Recognition, initial measurement and derecognition
Financial assets at amortised cost
• They are held within a business model whose objective is to hold the financial assets and collect its contractual cash flows
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:
• The contractual cash flow characteristics of the financial assets.
Classification and sub sequent measurement of financial assets
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.
• Equity instruments at fair value through other comprehensive income (FVOCI).
• Amortised cost • Fair value through profit or loss (FVPL)
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.
Financial assets are measured at amortised cost if the assets meet the following conditions (and are not designated as FVPL):
• 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
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.
Classifications are determined by both:
Equity instruments at fair value through other comprehensive income (Equity FVOCI)
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.
The Group assesses impairment of trade receivables on a collective basis as they possess credit risk characteristics based on the days past due.
Financial assets at fair value through profit or loss (FVPL) continued
Page | 21 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 Summary of accounting policies continued 3. 14 Financial instruments continued
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.
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).
Classification and measurement of financial liabilities
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
In applying this forward looking approach, a distinction is made between:
• Financial instruments that have deteriorated significantly in credit quality since initial recognition and whose credit risk is not low (‘Stage 2’).
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 forward looking information to calculate the expected credit losses using a provision matrix.
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.
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.
Subsequent measurement of financial
Impairment of Financial assets
• Financial instruments that have not deteriorated significantly in credit quality since initial recognition or that have low credit risk (‘Stage 1’) and
Trade and other receivables
assets continued
‘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.
Coronavirus (COVID 19) pandemic
Long service leave
Notes
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. Other than as addressed in specific notes, 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.RevenueRecognitionTodetermineifagrant
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.
3.15 Significant management judgement in applying accounting policies
Management undertakes a number of judgements, estimates and assumptions about the recognition and measurement of assets, liabilities, income and expenses.
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.
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 Estimationparties.
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.
Classification and measurement of financial liabilities
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.
continued
Useful lives of depreciable assets
Page | 22
Estimation uncertainty relates to assumptions about future operating results and the determination of a suitable discount rate.
to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 Summary of accounting policies continued 3. 14 Financial instruments continued
InImpairmentassessing impairment, management estimates the recoverable amount of each asset or cash generating unit based on expected future cash flows and uses an interest rate to discount them.
Page | 23 Notes to the Financial Statements For the year ended 31 December 2021 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 2021 2020 $ $ DonationsRevenue received 86,234 249,076 Donations Capital Campaign 563,930 400,000 Foundation revenue received 390,829 125,000 Net grant revenue 4.1 1,384,322 892,858 Performance income 83,815 16,896 Workshop income 553,007 384,544 Sponsorship income 1,320 18,800 Resource income 2,395 1,190 Investment income: • Interest 1,920 11,025 • Dividends 7,531 8,365 3,075,303 2,107,754 Other income Job Keeper subsidy 186,693 711,300 Parental Leave Funds 13,671 Cash Flow Boost 100,000 Rent relief from government 18,441 Other income 97,155 46,615 297,519 876,356 Total revenue and other income 3,372,82 2 2,984,110 4.1 Net grant revenue Note 2021 2020 $ $ Unexpended grants 1 January 4.2 82,226 60,000 Grants received in advance 1 January 4.2 45,000 445,796 127,226 505,796 GrantsAdd: received during the year 4.2 1,874,670 514,288 1,874,670 514,288 UnexpendedLess: grants 31 December 4.2 (38,022) (82,226) Grants received in advance 31 December 4.2 (574,114) (45,000) Grants repayable 31 December 4.2 (617,574)(5,438) (127,226) 4.2 1,384,322 892,858
Page | 24 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2 Grant reconciliation UnexpendedGrants1Jan Grants in Advance 1 Jan Received2021in GrantsUnexpended31Dec Grants in AdvanceDec31 Net IncomeGrant2021 Net Grant Income 2020 $ $ $ $ $ $ $ Australia Council: • Operational - 195,407 - 195,407 286,332 • Follow Me Home - 165,040 (5,438)* 159,602 • The Resistance - 39,290 (39,290) -Create NSW: • Operational - - 220,000 - - 220,000 200,000 • Special Initiatives Funding - - - - - - 60,000 • Regional and Remote Digital Marketing Strategy 5,000 • Arts and Cultural Funding Program 3,000 • Decant Venue Hire and Fit Out - - 179,501 - - 179,501 140,802 • Project Funding – Ali in Zombieland 33,680 (25,024) 8,656 6,000 • Rescue and Restart Funding 220,000 220,000 • Youth Arts Sector National Connections - - 59,000 - (59,000) -Sub totals carried forward 33,680 1,078,238 ( 25,024) ( 98,290 ) 983,166 701,134 * Relates to grants repayable, disclosed under Note 12, as a part of sundry payables and accruals, and has been excluded from the total above.
Page | 25 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2 Grant reconciliation continued UnexpendedGrants1Jan Grants in Advance 1 Jan Received2021in GrantsUnexpended31Dec Grants in AdvanceDec31 Net IncomeGrant2021 Net Grant Income 2020 $ $ $ $ $ $ $ Sub totals brought forward 33,680 1,078,238 (25,024) (98,290) 983,166 701,134 City of Sydney: • Walking Tour - - - 6,180 • Young Showcase Series - - 6,140 • Digital Workshops 20,000 St George Foundation: • Workshop Scholarship Program - - - 49,950 Crown Resorts Foundation: • Western Sydney Arts Education Initiative 7,500 22,500 22,500 (22,500) 30,000 15,000 Packer Family Foundation: • Western Sydney Arts Education Initiative 7,500 22,500 22,500 - (22,500) 30,000 15,000 Service NSW: • Small Business Grant 13,000 Thyne Reid Foundation: • On Demand Plus 33,546 - 33,546 66,454 Office for the Arts: • RISE Funding 751,432 (12,998) (430,824) 307,610 82,226 45,000 1,874,670 (38,022) (574,114) 1,384,322 892,858
Page | 26 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 5 Cash and cash equivalents Cash and cash equivalents consist of the following: Note 2021 2020 $ $ CashCurrentat bank 1,991,157 917,101 1,991,157 917,101 6 Trade and other receivables Trade and other receivables consist of the following:Note 2021 2020 $ $ ImputationCurrent credits and interest receivable 3,656 3,868 Job Keeper subsidy receivable 79,200 Trade receivables, net of allowance 163,078 23,800 166,73 4 106,868 7 Financial risk management 7.1 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 2021 2020 $ $ Financial assets Financial assets measured at amortised cost • Cash and cash equivalents 5 1,991,157 917,101 • Trade and other receivables 6 166,734 106,868 • Investment in ASX Listed securities 9 208,700 206,319 • Investment in term deposits 9 475,000 475,000 2,841,59 1 1,705,288 Financial liabilities Financial liabilities measured at amortised cost Trade and other payables 12 109,117 143,384 109,117 143,384
Page | 27 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 8 Other assets Other assets consist of the following: Note 2021 2020 $ $ DepositsCurrent paid 200 200 Prepayments 15,129 25,257 15,329 25,457 9 F inancial assets Financial assets consist of the following: OpeningBalance (disposals)Additions/ S (deficit)urplus/onrevaluation BalanceClosing $ $ $ $ 202 Shares1 ASX listed 206,319 2,381 208,700 Term deposits 475,000 475,000 Total 681,319 2,381 683,700 Shares2020 ASX listed 209,110 (2,791) 206,319 Term deposits 475,000 475,000 Total 684,110 (2,791) 681,319 10 Property, p lant and equipment Details of the Group’s property, plant and equipment and their carrying amounts are as follows: Right ofAssetuse Plant Equipment& ImprovementsLeasehold Total2021 $ $ $ $ Gross carrying amount Balance 1 Jan 2021 95,797 120,958 216,755 Additions 166,522 13,337 179,859 Disposals (95,797) (95,797) Balance 31 Dec 2021 287,480 13,337 300,817 Depreciation and impairment Balance 1 Jan 2021 (66,767) (112,295) (179,062) Written back on disposal 95,797 95,797 Depreciation (29,030) (7,210) (36,240) Balance 31 Dec 2021 (119,505) (119,505) Carrying amount 31 Dec 202 1 167,975 13,337 181,312
Page | 28 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 10 Property, plant and equipmentRightcontinuedofuseAsset Plant Equipment& ImprovementsLeasehold Total2021 $ $ $ $ Gross carrying amount Balance 1 Jan 2020 95,797 115,293 87,825 298,915 Additions 8,326 8,326 Disposals (2,661) (2,661) Balance 31 Dec 2020 95,797 120,958 87,825 304,580 Depreciation and impairment Balance 1 Jan 2020 (31,932) (103,468) (87,825) (223,225) Written back on disposal 2,661 2,661 Depreciation (34,835) (11,488) (46,323) Balance 31 Dec 2020 (66,767) (112,295) (87,825) (266,887) Carrying amount 31 Dec 2020 29,030 8,663 37,693 11 Intangible assets Details of the Group’s intangible assets and their carrying amounts are asWebsitefollows: Total2021 $ $ Gross carrying amount Balance at 1 January 2021 70,563 70,563 Additions 18,877 18,877 Balance at 31 December 2021 89,440 89,440 Amortisation and impairment Balance at 1 January 2021 (17,515) (17,515) Amortisation (15,532) (15,532) Balance at 31 December 2021 (33,047) (33,047) Carrying amount 31 December 2021 56,393 56,393 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
Page | 29 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 12 Trade and other payables Trade and other payables recognised consist of the Notefollowing: 2021 2020 $ $ SundryCurrent:payables and accruals 100,454 76,252 Trade payables 8,663 39,646 Lease liability 27,486 109,117 143,384 13 Other liabilities Other liabilities recognised consist of the following: Note 2021 2020 $ $ IncomeCurrent received in advance 22,000 Workshop fees in advance 94,079 117,670 Box office in advance 103,849,7632 139,670 14 Grants liabilities Grants liabilities can be summarised as follows: Note 2021 2020 $ $ UnexpendedCurrent grants 4.2 38,022 82,226 Grants received in advance 4.2 574,114 45,000 Auspiced grants payable 22,132 25,211 634,268 152,437
Page | 30 Notes to the Financial Statements For the year ended 31 December 2021 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 2021 2020 $ $ AnnualCurrentleave 78,000 47,000 Long service leave 25,380 23,440 103,380 70,440 15 2 Employee benefits expense Expenses recognised for employee benefits are analysed below: Note 2021 2020 $ $ Employee benefits provided 32,940 5,626 Salaries, wages and fees 1,693,112 1,508,587 Superannuation 145,599 104,329 Workers compensation and other expenses 20,903 12,203 1,892,554 1,630,745 16 Parent entity note Information relating to ATYP Limited (the parent entity)Note 2021 2020 $ $ Statement of financial position Current assets 1,256,620 565,957 Total assets 1,494,325 656,697 Current liabilities 953,062 562,594 Total liabilities 953,062 562,594 Net assets/retained earnings 54 1, 263 94,103 Statement of surplus or deficit and other comprehensive income Surplus for the year 447,159 405,820 Other comprehensive income Total comprehensive income 44 7, 159 405,820
Page | 31 Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 17 Designated funds 17. 1 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 2021 2020 $ $ Opening balance 864,370 1,009,370 Transfer to Capital Campaign Reserve (145,000) 864,370 864,370 17. 2 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 2021 2020 $ $ Opening balance 20,752 (4,102) Foundation surplus 413,914 424,854 Transfer from/(to): • Capital Campaign Reserve 89,437 (400,000) 524,103 20,752 17. 3 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 2021 2020 $ $ Opening balance 505,545 120,001 Transfer to reserve, In support of Pier 2/3 Capital Campaign 385,544 505,545 505,545
There are no contingent liabilities incurred by the Group in relation to 2020 or 2021. 20 Post reporting date events
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
ATYP obtained control of its new leased premises at Pier 2/3, 13A Hickson Road Dawes Point, on 17 January 2022. The company had been planning to move into the venue in December 2021, however, operational delays meant that this timeline was not met. ATYP has identified defects within the new venue, and is working with Create NSW and Create Infrastructure to address these. The terms of the lease are bound by a confidentiality agreement, and hence no further comment can be made regarding the terms of the lease agreement. In accordance with AASB16 the company will report a Right of Use Asset and the corresponding discounted lease liability in its Financial Report for 2022 and throughout the term of the lease
reserve Opening balance 6,319 9,110 Transfer from/(to) general funds: • Other comprehensive income/(loss) 9 2,381 (2,791) 8,700 6,319 18 Related party transactions
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For the year ended 31 December 2021 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 2021 2020 $ $ Equity through
19 Contingent liabilities
2021
to the Financial
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: 2020 $ $ Total key management personnel remuneration 283,825 239,523 donations
Notes Statements FVOCI
Transactions with related entities
18.3 Director
The total amount of donations received from directors during the year ended 31 December 2021 amounted to $13,000 (2020: $10,010).
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
20 Post reporting date events continued
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 2021, the total amount that members of the Company are liable to contribute if the Company is wound up is $100 (2020: $90). of gross income and expenditure from fundraising activities: Statement showing how funds were applied for charitable purposes 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.
22.2
22. 3 Assets and liabilities resulting from fundraisingNote 2021 2020 $ $ Revenue from fundraising 1,040,993 774,076 Total income 1,040,993 774,076 Fundraising expenses (1,440) (7,329) Functions (842) (883) Total expenses (2,282) (8,212) Surplus from fundraising activities 1,038,711 765,864 Note 2021 2020 $ $ CashAssetsgenerated from fundraising 1,038,711 765,864 Total assets resulting from fundraising 1,038,711 765,864
Notes to the Financial Statements
For the year ended December 2021
31
The impact of the Coronavirus (COVID 19) pandemic is ongoing and while it has been financially positive for the company up to 31 December 2021, 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. Due to the effects of the Covid 19 Omicron outbreak, ATYP had to reschedule two productions in its first subscription season. “The Deb” was due to commence rehearsals in January and open in February. The Company assessed the risk to the cast and creative team was too great to begin the rehearsal process, and this was postponed until the end of February. “The Resistance” was postponed to 2023. Writer and director, Kip Chapman, is based in New Zealand, and travel restrictions prevented necessary creative developments taking place in time to stage the production. No other matter or circumstance has arisen since 31 December 2021 that has significantly affected, or may significantly affect the company's operations, the results of those operations, or the company's state of affairs in future financial years.
Page | 33
22 Charitable Fundraising 22.1 Details
Australian Theatre for Young People and its controlled entity
21 Member’s guarantee
All
Directors’ Declaration
Australian Theatre for Young People and its controlled entity
Declaration by Director as required by the Charitable Fundraising Act 1991 (NSW)
Signedappeals.inaccordance with a resolution of the Directors.
/ /
a) the accounts for the year ended 31 December 2021, 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 2021 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
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In the opinion of the Directors of the Australian Theatre for Young People:
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
CHRIS PUPLICK AM DatedSydneyDirector
(a) 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, (i)including;Giving a true and fair view of its consolidated financial position as at 31 December 2021 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 (b) 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).
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 2021, 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.
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.
IOpinionhaveaudited
I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion.
Report on the Audit of the Financial Report
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 2021 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.
Auditor’IndependentsReportTothemembersof
Other Information
The Australian Theatre for Young People and its controlled entity
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 for profitsCommissionAct 2012, including: (a) Giving a true and fair view of the Group’s consolidated financial position as at 31 December 2021 and of its consolidated financial performance and consolidated cash flows for the year then ended; and (b) Complying with Australian Accounting Standards and Division 60 of the AustralianCharities and Not for profitsCommissionRegulation2013
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.
• 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.
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.
Auditor’sprocess.
• 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.
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Directors’ Responsibility for the Consolidated Financial Report
Responsibility for Audit of the Consolidated Financial Report
Inerror.preparing
• Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by Directors.
The Australian Theatre for Young People and its controlled entity
Those charged with governance are responsible for overseeing the Group’s financial reporting
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
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 Asreport.part of an audit in accordance with the Australian Auditing Standards, I exercise professional judgement and maintain professional scepticism throughout the audit. I also:
• 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.
Auditor’sIndependent36ReportTothemembersof
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.
(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 2021; and (b) The financial report has been properly drawn up, and the associated records have been properly kept for the year ended 31 December 2021, in accordance with the Charitable Fundraising Act 1991 and its Regulations. J MILLER & CO
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
STEVEN
Chartered Accountants S J SydnAuditorRegisteredMILLERCompanyNo4286ey Dated: 25 May 2022
In my opinion:
Opinion pursuant to the Charitable Fundraising Act 1991
Page | Auditor’sIndependent37ReportTothemembersof
•
The Australian Theatre for Young People and its controlled entity
• 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.
firm
Financial Information Disclaimer Australian
consolidated 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 2021. It will be appreciated that my statutory audit did not cover all details of the additional financial information. Accordingly, I do not on such financial information and no warranty of accuracy or reliability is with my that neither the firm nor any member or employee of the undertakes responsibility arising in any way whatsoever to any person (other than the in respect of such information, including any errors or omissions therein, through otherwise however
caused. STEVEN J MILLER & CO Chartered Accountants S J DatedSydnAuditRegisteredMILLERCompanyorNo4286ey 25 May 2022
Igiven.naccordance
arising
negligence or
Additional Theatre for Young People and its controlled entity
express an opinion
firm's policy, I advise
ATYP Annual Report 2021 44 ATYP Staff Artistic Director Fraser Corfield General Manager (returning from mat leave, August) New title Executive Director Amanda Wright Acting General Manager till August, then Director of Strategic Initatives Johanna Mulholland Finance & Operations Manager Chrissy Riley (maternity leave from May) Finance & Operations Coordinator Yoko Miki-Feeney (from May) Development Manager Stephen Attfield (until February) Marketing & Communications Manager Lucy McNabb (from February) Head of Learning Jacqui Cowell Production & Technical Manager Amber Silk (from November) Production Coordinator Sorie Bangura Resident Dramaturg Jane FitzGerald Deputy Workshops Manager Claudene Shoesmith Deputy Education Manager Monique Johnstone Development Officer Meg Goodfellow Marketing Coordinator Erica Penollar Art Director Justin Stambouliah Advocacy Officer Rebecca Clarke (from June) Digital Engagement Designer Georgia McGinness (from July) Resident Technologist Daniel Andrews Company Accountant Steve Davidson Archivist Judith Seeff Administration Coordinator Janine Lau ATYP Board Fraser SamaraCorfieldHand(Board Observer) Tasnim ChrisMarkGillianJanineAndrewHossainJohnsonLapworthLarkinsMorrisseyPuplickAM (Chair) Daniel Selikowitz Nicole Webb Donna Worthington ATYPicals Adam Stepfner Alan ConnieCocoClaireChiaraBridgetBraydenBlakeAstraAriaAriaApsaraAnjelicaAmeliaAlexisAlaskaFangTurnerNguyenMcCannMurdacaLindemanFerrisRaiMuntonMilneHohenhausSimGielissenLoPilatoHollandGracieAnnabel
Danial JosephineJordonJoJessicaJasperJasperJaiJacobJackIsabellaIsabelIsabelIndianaHelenaHannahGriffinGiaGabriellaFlickFletcherEwanDemitraDeclanYazdaniDowlingSealyPeddleyScullyAndersonMayCohenWalshKimBurkeJamieKnightZakharovaNolanWaltonParkerCameronReucasselWhittetMarshallBradleyRileyElisabeth Hill Josephine Lee Julia Chuah McNamara Justin Lou Kalani Guillien Kate Bobis Kate MiaMargaretMannonMaddisonLouiseLouisLilyLilyLauraKatherineWoodenSortiniCampbellHaymanSauranBeaumontColinCalcottDaviesThanosGraceWilliams Miranda Michalowski Nick ZoeVictoriaTristanTobiasThomasTaraTahliaTahliaSuzannaSoniaSashaSarahSarahSamuelRosyRobbieRhayneRebekahPierreParkerOliviaOliviaOliviaNoemieAnnasHuttner-KorosCalverley-HaackEveringhamXegasCraigBourelParsonsFountainWardhaughCardisHattonCarrollMaguireGraceHallitDoddSteeleMerlinoRansleyNeilsenHamiltonPurcellBrownBullardCastorina 2021 Rebel Wilson Comedy Commission Recipient Nikita Waldron Partners & Supporters ATYP recognises the assistance received by the NSW Government through Create NSW and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.
ATYP Annual Report 2021 46 Government Restart Investment to Sustain and Expand (RISE) Fund – an Australian Government Australiainitiative Council for the Arts Create NSW Create Infrastructure NSW City of Sydney Foundations ATYP Foundation Baly Douglass Foundation Copyright Agency Creative Partnerships Australia Crown Resorts Foundation Future Generation Australia Graeme Wood Foundation The Ian Potter Foundation James N. Kirby Foundation Jibb SidneyThePackerFoundationFamilyFoundationLansdowneFoundationMyerFund&TheMyer Foundation The Neilson Foundation The Lysicrates Foundation Thyne Reid Foundation Yim Family Foundation Business Partners BBM Youth Support The General Store KingGivar& Wood Mallesons Minter StudioStagekingsEllisonJack Hospitality Partner Optimiste Wines Media Partners IMPACT VisionKabukuBigCarnivoreAgencyFilmsSpinPRAustralia Learning Partners Drama NSW State Library of New South Wales The McDonald College Orana ThePoetryArtsinActionGirlsandBoys Brigade The Catholic Diocese of ParramattaTheTheCAPTIVATESmithFamilyFactTreeYouth Service CREATE Centre Production Partners Archipelago Productions AucklandArtology Theatre Company Australian Plays Transform Barking Gecko Theatre Brown's Mart Camp Sugar Productions Currency Press Griffin Theatre Company Haymes Paint RiversideQPlaylabTheatreTheatres, Parramatta Playwriting Australia Salamanca Arts Centre Shopfront Arts Co-Op Tasmanian Government 26Ten
Australian Theatre for Young People Eora Country, Pier 2/3, Suite 2/13A Hickson Rd, Dawes Point NSW 2000 (02) 9270 atyp.com.auhello@atyp.com.au2400