ATYP 2016 Annual Report by ATYP Theatre

ATYP Annual Report 2016

ANNUAL REPORT 2016

ATYP Annual Report 2016

Contents

Our Vision

04-05

Artistic Director's Report

06-07

Chairâ&#x20AC;&#x2122;s Report

08-19

2016 Productions

ATYP On Tour

21-24

ATYP Cameos

Writing

26-27

Ambassador Scholarships

28-29

Workshops

30-31

Learning

Development

Marketing

Archives

35-65 66 67-69 70

Financials ATYP Staff and Atypical Advisors Donors Partners and Supporters

ATYP Annual Report 2016

OUR VISION To forever raise expectations of what theatre with young people can achieve. Statement of Purpose ATYP exists to help young people find their voice and together, inspire all Australians. We believe that an involvement in theatre builds better people. Theatre develops confidence, creativity and community. It challenges us to reflect on and better understand ourselves and our society. Young people are a vital part of that society. We do this through four aspirations: 01 To be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. 02 To inspire a life-long love of theatre by connecting young people with the professional theatre industry. 03 To pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. 04 To lead, strengthen and celebrate the Australian youth arts community.

ATYP continues to be guided by four long-term strategies. These provide the wholistic thinking that sits across all company activities and discussions. They are: → National Impact Recognise the company’s role as the national youth theatre and ensure programs resonate and impact locally, regionally and nationally. → Artistic Excellence Connect young people with industry leaders and foster partnerships with artists, companies, venues and events synonymous with artistic excellence. → Innovation Embrace the evolving nature of storytelling as it relates to young people and their place in the world, and celebrate risk and experimentation. → Pathways Maintain an environment that develops confidence and creativity in all young Australians by offering inclusive access to the company and supporting the career development of emerging professionals.

ATYP Annual Report 2016

FRASER CORFIELD ARTISTIC DIRECTOR It gives me great pleasure to present the 2016 Annual Report at the completion of my eighth year as the Artistic Director of ATYP. At the beginning of my tenure I set myself a private wishlist of aspirations to motivate me and influence the strategic planning over coming years. This list included: • work touring nationally, • work travelling internationally, • securing an additional $250k operational funding, required for potential sustainability, • generating an audience for youth theatre with productions selling out seasons, • securing a new home for the company with a purpose-built theatre, • more than 150 young people signing up to audition for each ATYP production, • recognition by the industry as a major Australian theatre company, • winning a Helpmann Award.

Without doubt the highlight of the production season was Mitchell Butel’s beautifully realised Spring Awakening - The Musical. Squeezed into Studio 1, this heartfelt singing and dancing extravaganza raised the roof at ATYP, receiving critical acclaim and collecting 11 Sydney Theatre Award nominations, the most of any company in the 2016 Awards. Thanks to an exceptional effort by ATYP’s marketing team, every available ticket in the season had been sold before opening night. The production will go down in company history as one of ATYP’s finest theatrical achievements.

One of the benefits of hindsight is that these goals all now seem eminently achievable. When they were set however, that wasn’t necessarily the case. We had a number of advisors and industry representatives over the years suggest some of these may not ever be realised. For that reason, at least from a personal perspective, 2016 was a landmark year.

The national tour of Sugarland, our first in many years, delivered in partnership with Performing Lines, received the Helpmann Award for ‘Best Regional Touring Production’. The Big Dry, ATYP’s co-production with Ensemble Theatre, was honoured with The Glug Award for ‘Most Outstanding Production for Teenagers Ages 12+’, and the company received ‘The Hayes Gordon Memorial Award for Outstanding Contribution to Theatre’. Spring Awakening - The Musical won Sydney Theatre Awards for ‘Best Production for Young People’ (the third consecutive year we have won that award) and ‘Best Musical Direction’ for Lucy Bermingham. And finally, the company had the great honour of receiving the $90,000 2016 Sidney Myer Performing Arts Group Award.

So much happened during the year, it is difficult to summarise highlights. Our Resident Writer program was joined by two new scholarships in 2016 thanks to our generous Ambassadors Rose Byrne and Rebel Wilson. The company established a second Foundation Commission, this time for young performers aged 14-17, thanks to the ongoing support of the ATYP Foundation. We entered into a three-year partnership with the Sydney Festival to deliver a regional residency week, connecting 40 teenagers with this iconic Australian event. The Workshop programs continued to grow in number, while the ATYP Learning team presented at drama conferences around the country.

I have always argued that awards in the Arts don’t necessarily tell us which productions or performances were the ‘best’, that choice is too subjective. But they do provide an indication as to which companies are seen to be doing well. By that measure, 2016 was a year when ATYP was perceived to be doing very well.

ATYP Annual Report 2016

Despite this artistic success, it needs to be noted that the year came at a significant financial cost. The enclosed financial report shows a substantial deficit for the year that has had to be drawn down from the ATYP Foundation. The bulk of the deficit comes from our failure to meet fundraising targets in an increasingly competitive philanthropic market. I also acknowledge that our national tour proved to be a learning experience, incurring greater than expected expenditure. These issues were brought to a head when the application process for the Australia Council for the Arts’ new operational funding was delayed a year due to unexpected cuts in 2015, resulting in ATYP being forced to remain on the same funding level it had received for the previous eight years. This placed significant pressure on the need for fundraising in 2016. Fortunately we are heading into 2017 having secured an increase of $175,000 from State and Federal Governments. The application process for the Australia Council’s reduced funding for the small-to-medium arts sector, placed the Australian Arts community under enormous pressure in 2016. All companies and staff needed to plan for future growth whilst contemplating contingency measures in the event of losing funding altogether. Once again I’d like to recognise the extraordinary efforts of the ATYP staff and Board in continuing to generate growth and success in a very difficult environment. The company’s success reflects the exceptional achievements across all areas of activity. In 2016, I would like to acknowledge the Marketing team in particular, under the leadership of Kar Chalmers, for its role in growing the brand, audience, and online community. ATYP’s marketing materials are second to none. The company projects an image of sophistication, sincerity and fun in all things. ATYP has always delivered the highest quality in our artistic programs, now we are consistently delivering the messaging to match.

On a personal note I’d like to thank Amy Maiden for her exceptional dedication and leadership. It is a rare joy to work so closely with someone whose company you enjoy so much. She is an inspiring leader and a great asset to the company. Likewise our Chair, Mark Warburton, who has navigated his first year in the role with exceptional heart, clarity and confidence. Thanks to Mark and the ATYP Board of Directors, the company looks to the future with great anticipation. In presenting this year’s Annual Report, I would conclude by saying that the company is as strong as it has ever been. As we transition to our new home on Pier 2/3 in 2019, our attention now turns to ensuring we have the resources and fundraising processes we need for continued growth and stability. It’s a challenge I look forward to reporting on in the years ahead.

Fraser Corfield Artistic Director and CEO Australian Theatre for Young People 26 April 2017

ATYP Annual Report 2016

MARK WARBURTON CHAIRMAN It is with great pleasure that I present the Chair’s report for 2016. My first year as Chairman has been a remarkable one for Australian Theatre for Young People (ATYP). The company has taken its artistic endeavours to new levels and won a swag of awards. Our financial security was strengthened with a new three-year funding arrangement with the Australian Council for the Arts. A great deal of work and planning went into preparing for the future move to our new home in Pier 2/3. → Productions Artistically, ATYP broke new ground on a number of fronts in 2016: • • •

• •

•

With Sugarland we undertook our first national tour in many years. Sugarland won our first ever Helpmann Award for Best Regional Touring Production. Following a record 12 nominations, ATYP won two Sydney Theatre Awards for Spring Awakening - The Musical for Best Musical Direction for Lucy Bermingham and Best Production for Young People. The Big Dry was a co-production with the Ensemble Theatre. Spring Awakening - The Musical, directed by ATYP alumnus, Mitchell Butel, won critical and audience acclaim. It was our first production that was completely sold out. We won Glug Awards for The Big Dry (Most Outstanding Production for Teenagers - Ages 12+ years) and the Hayes Gordon Memorial Award for Outstanding Contribution to Theatre Award.

→ Finances The company (including the ATYP Foundation) finished the year ended 31 December 2016 with a loss of $216,612 (2015: $23,669 loss). This reflects a recognition of post-timing issues around grants and donations. Rectification involved a transfer of $300,000 from the Foundation to put the company on a more stable financial footing. I would like to thank Angela Bowne and the Foundation for their support in this restructure. → Funding The new quadrennial funding arrangement [$275,000 per annum 2017 - 2020] with the Australia Council was a very important milestone for the company. It has been a very difficult time for the small-to-medium arts sector, and we are very fortunate to have had our funding not only renewed but increased in this environment. This is testament to the leadership of Fraser Corfield and Amy Maiden and a wonderful parting gift from my predecessor, Michael Ihlein. 2016

2015

Sponsorship and Foundations

$90,000

$267,369

Donations and Fundraising

$474,841

$408,072

The Graeme Wood Foundation has again been a wonderful supporter of the company, for which we are very grateful. In addition, we are thankful for the support of a number of foundations including BBM Youth Support, Limb Family Foundation and James N Kirby Foundation. ATYP has also received generous corporate support from a number of organisations including Optimiste Wines and Impact Communications Australia. This year two scholarships were funded by two of our alumni, ATYP Ambassadors, Rebel Wilson and Rose Byrne. Rose also gave her time to be interviewed by Margaret Pomeranz at a very successful fundraising lunch.

ATYP Annual Report 2016

→ The ATYP Foundation The ATYP Foundation Advisory Committee comprises Angela Bowne (Chair), Antoinette Albert, Rob Rich and Edward Simpson, and provides great support to the company. Edward Simpson agreed to join the committee in addition to his directorship of ATYP. This year the Foundation commissioned two new plays – Wonder Fly (for ages 10-13) and Impending Everyone (for ages 14-17). I am indebted to the full board for their support during my inaugural year as Chair. Nancy Fox was appointed Deputy Chair and provided invaluable support and advice. John Penton was made Chair of the Finance Committee and ably oversaw the required financial restructure later in the year. Janine Lapworth has been Head of the Pier 2/3 Committee and has devoted many hours to this along with meetings and reviewing drafts of various documents, including the Agreement for Lease. Natasa Zunic and Fiona Hunt stepped down from the Board during the year. We are very grateful for their efforts, Natasa over the past five and a half years, and Fiona since 2015. Sean Denney has agreed to join the Board (in Feb, 2017) after spending the last year as a Board observer under the Observership Program. Sean has made a significant contribution, particularly around the planning for Pier 2/3, reflecting his infrastructure background. Sean has been a senior executive at Westpac and previously worked for Macquarie Bank. He is now working for a private consulting firm.

My first year as Chair of ATYP has been a very exciting and eventful one. I have been inspired by the passion and energy in the company, which is in evidence across all the employees at the company. We are truly lucky to have such talents as Fraser Corfield and Amy Maiden lead the company. The company’s success is due to their hard work and vision. I have also been moved by the impact on the lives of young people that the company has been able to achieve, through productions, workshops, writing, live streaming and learning. I look forward to coming exciting years for the company as we venture to our new home. There will be some challenges but we are well equipped to handle them.

Mark Warburton Chair, Australian Theatre for Young People 26 April 2017

2016 PRODUCTIONS

Photo: Clare Hawley Talent: Rory Potter and Noah Sturzaker

ATYP Annual Report 2016

Season Patrice Balbina’s Chance Encounter with the End of the World The Voices Project: All Good Things Spring Awakening The Musical The Big Dry Fight with All Your Might the Zombies of Tonight On Tour Sugarland Cameo Trailer Basset Drift Moonchild Journey’s End Suburbist Pick Me Up Festival

Photographer: Amelia J Dowd Designer: Justin Stambouliah Talent: Grace Campbell

19.01.16 _ 23.01.16

ATYP Annual Report 2016

PATRICE BALBINA’S CHANCE ENCOUNTER WITH THE END OF THE WORLD Patrice Balbina’s Chance Encounter with the End of the World was a unique collaboration between artists from six leading international theatre companies. ATYP Artistic Director Fraser Corfield lead professional artists from Pilot Theatre (UK), Teatro O Bando (Portugal), Teatro Stabile d’Innovazione (Italy), Dynamo Theatre (Canada) and Presentation House Theatre (Canada) to devise this new work that premiered at ATYP before transferring to Vancouver. The final chapter of the two-year international partnership Documents of Poverty of Hope, supported through the European Union’s Cultural Fund, this extraordinary work looked at immigration and emigration from a global perspective. The production was then selected to perform in May 2017 at the 19th ASSITEJ World Congress and Performing Arts Festival for Children and Young People in Cape Town, South Africa.

…an intimate and moving work,gently fashioned yet dynamic and full of action. SYDNEY ARTS GUIDE

Producer Dirk Neldner and Odette Bereska (Ger) Director Fraser Corfield Sound Design Pru Montin (Au) Dramaturg Mandy Smith (UK) Contributors Kim Selody (Can) Jacqueline Gosselin (Can) Isabel Atalaia (Por) Stage Manager Sven Laude (Ger) Photographer Ben Pugh (UK) Performers Holly Fraser Emily LeClerc Yves Simard Raul Atalaia Guiditta Mingucci Opened 19 January 2016 Performances 4 Attendance 222 Box office $1,565

National Studio 2015 Yarrie Bangura Elias Jamieson Brown Michael Cornford Alberto di Troia Piri Eddy Georgia Goode Tremayne Gordon Yuki Iwama Carissa Licciardello CJ McLean Kirby Medway Felicity Miles Gemma Neall Sam Nixen Jules Orcullo Rachel Oâ&#x20AC;&#x2122;Regan Allee Richards Sophie Somerville Morgan St Clair Ciella Williams

Photographer: Amelia J Dowd Designer: Justin Stambouliah Talent: Jemwel Danao

03.02.16 _ 20.02.16

ATYP Annual Report 2016

THE VOICES PROJECT:

ALL GOOD THINGS

Written by the writers from the National Studio 2015

Director Iain Sinclair

A young man waits for his missing friend as the dead, dry country creaks around him. A young woman in an exam hall is driven to desperation by the smell of Red Bull. A grandmother’s culinary secrets are revealed and a chance encounter between two men on a stormy beach turns out to be something otherworldly.

Designer Emma Vine

No matter who you are or where you’re from, everyone, sooner or later has to say goodbye. Sometimes it’s just for a moment and sometimes it’s forever. We farewell people, places, times and ideas. We leave. We change. We move. ATYP’s incredibly popular Voices Project took the stage at our home in Walsh Bay for the very last time in 2016. Directed by Iain Sinclair (Of Mice and Men, All My Sons), All Good Things explored a timely theme of departures, and offered audiences and performers the chance to say goodbye, ten different ways.

…engaging and entertaining… ARTS HUB

Lighting Design Emma Lockhart-Wilson Sound Design Michael Toisuta Assistant Director Lucy Clements Dramaturg Jenni Medway Stage Manager Michael J Cornford Performers Martin Hoggart Simon Croker May Tran Moreblessing Maturure Alex Packard Darius Williams Simone Cheuanghane Poppy Lynch Sarah Meacham Jonas Thompson Opened 3 February 2016 Performances 19 Attendance 962 Box office $15,690

27.04.16 _ 14.05.16

ATYP Annual Report 2016

SPRING AWAKENING BOOK AND LYRICS BY STEVEN SATER MUSIC BY DUNCAN SHEIK. BASED ON THE ORIGINAL PLAY BY FRANK WEDEKIND In April/May, ATYP delivered a sensational slice of rock ‘n’ roll musical magic to Sydney that wowed audiences lucky enough to get a ticket in the strictly limited and totally sold-out season. Award winning director and ATYP alumnus, Mitchell Butel (Violet) returned to direct the Broadway smash hit which featured an energetic and extremely talented young cast. Together with a hand-picked band under the musical direction of award winner Lucy Bermingham, the company delivered a highly acclaimed and award-winning season. ATYP is no stranger to this controversial, sexually provocative and oft-banned work written over 100 years ago. Spring Awakening (the play) was first produced by ATYP in 1984 and then again in 1989, and featured actors across the two productions including Academy Award winner Nicole Kidman, Felix Williamson (The Great Gatsby, Avalon Now), Morgan (Morganics) Lewis, Rob Carlton (Paper Giants) and many others.

…the theatre practically explodes with youthful energy. It’s more than a little infectious. DAILY REVIEW

...intimate, passionate and youthful... Butel’s production is taut, energised...an energy that rocks the ATYP Studio to its wooden piles. Recommended. SYDNEY MORNING HERALD

Director Mitchell Butel Musical Director Lucy Bermingham Choreographer Amy Campbell Designer Simon Greer Sound Designer David Bergman Co-Lighting Designer Damien Cooper Co-Lighting Designer Ross Graham Assistant Director Kate Walder Assistant Designer Kelsey Lee Stage Manager Lauren Tulloh Asst. Stage Manager Courtney Randell Sound Operator Lauren Peters

Performers James Raggatt Jessica Rookeward Josh McElroy Alex Malone Patrick Diggins Kate Cheel Joe Howe Bardiya McKinnon Henry Moss Caitlin Rose Harris Taylor Howard Anthony Alexandra Fricot Julia Dray Lochie Kent Julian Kuo Thomasin Litchfield Richard Sydenham Opened 29, 30 April 2016 Performances 17 Attendance 1,684 Box office $38,210

Photographer: Amelia J Dowd Designer: Justin Stambouliah Talent: Matthew Forbes and Chrissy Riley

04.06.16 _ 02.07.16

ATYP Annual Report 2016

THE BIG DRY BY MARK KILMURRY ADAPTED FROM THE NOVEL BY TONY DAVIS CO-PRODUCED WITH ENSEMBLE THEATRE Imagine a world of dust. A future where water drips brown from the taps. Where dust storms reduce houses to rubble. Where a young boy, George, and his younger brother, Beeper, fight to survive as they wait for their father to return home. Then a girl breaks in. Two’s company but three is a problem. The Big Dry saw ATYP team up with Sydney’s iconic Ensemble Theatre in a creative collaboration driven by Artistic Directors Fraser Corfield and Mark Kilmurry. A cast of exceptional young actors dominated the stage to tell this frightening tale of children abandoned in a hostile world.

...a tense, gripping production that will have you on the edge of your seat. ARTS HUB

The Big Dry is a work of enormous heart … If you see only one play this year see this. SYDNEY SCOOP

The Big Dry has the feel of a classic in the making. DAVID SPICER, STAGE WHISPERS

Director Fraser Corfield Designer Rita Carmody Lighting Designer Benjamin Brockman Sound Design Daryl Wallis Dramaturg Jane FitzGerald Assistant Director Justin Stambouliah Stage Manager Ruth Horsfall Performers Richard Sydenham Sofia Nolan Rory Potter Jack Andrew Noah Sturzaker Performances 30 Attendance 4,053 (Paid 3,422, Comps 631) Box office $175 803 (incl. $13 712 booking fees)

Photographer: Amelia J Dowd Designer: Justin Stambouliah Talent: Easton Churchill

09.11.16 _ 19.11.16

ATYP Annual Report 2016

FIGHT WITH ALL YOUR MIGHT THE ZOMBIES OF TONIGHT Alex is a twelve year old with an eagle eye and a wit to match. She’s been watching everyone at school for the last few days like an eagle… or maybe even a hawk, and something’s not right. Everyone is acting weird. They’re all starting to say the same things, wear the same clothes, do bad dance routines in the corridors for no reason at all and meet up after school to drink decafmocha-latte-soy-frappucinos. The writing’s on the wall. She knows what’s happening. They’re all turning into zombies.

Writer Matthew Whittet

Performers Timothy Anderson Rosy Cardis Maeve Cox Alannah David Isabelle Dobbin Zac Fuller Alek Giotopoulos Moore Peppa Graham Michael Hawkins Kiri Jenssen Maxi Lipic-McFadyen Daphne Mason Hannah Mavrakis Ella May Raphael Meaney Max Mulvenney Sylvie Ralph Jasper Reucassel Amelia Warburton Tom Waters

Director Rob Jago

Performances 13

Designer Georgia Hopkins

Attendance 964 (387 schools, 577 general admission)

Lighting Designer Emma Lockhart-Wilson

Livestream audience 1,035

Sound Mentors Stephen Francis Katelyn Shaw

Box office $ 17,225 ($5,595 schools, $11,630 general)

In fact, it’s the Night of the Zombies – that fateful occurrence that happens once every 200 years. Alex and her buddies know what to do, they’ll have to fight with all their might the zombies of tonight.

Sound Designer Chrysoulla Markoulli Assistant Director Jena Prince Stage Manager Sorie Bangura

Don’t think this play will be too scary for you. It definitely isn’t. This is an excellent show and you should really see it. THOM BLAKE (9YRS), TIME OUT

Photographer: Amelia J Dowd Designer: Justin Stambouliah Talent: Rosy Cardis and Luke Hawthorn

22.04.16 _ 23.06.16

ATYP Annual Report 2016

ATYP ON TOUR SUGARLAND by Rachael Coopes with Wayne Blair National tour co-produced with Performing Lines In 2016 ATYP made its long-awaited return to national touring with the critically acclaimed Sugarland. First produced in 2014, the return season of Sugarland featured the two youngest cast members, Dubs Yunupingu and Narek Arman, reprising their roles. Marred by the tragic death of co-Director David Page a week after opening in Rockhampton, the production went on to receive rave reviews and audience acclaim everywhere it performed. This extraordinary season was capped by receiving the 2016 Helpmann Award for Best Regional Touring Production. Directors Fraser Corfield David Page Designer Jacob Nash Sound Designer Guy Webster Lighting Designer Karen Norris Stage Manager Ruth Maloney Production Manager John (Scooter) Byrne Cast Dubs Yunupingu Calen Tassone Eliza Logan Narek Arman Xanthe Paige Jonas Thompson

Performances 42 Attendance 6,157 Box office $80,457 Venues Katherine Rockhampton Townsville Mackay Gold Coast Lismore Canberra Geelong Melbourne Mandurah Perth Bathurst Orange Griffith Wagga Wagga Casula Taree Plenty Ranges Alice Springs Tennant Creek Darwin Nowra

Photo: John Tsaivis Talent: Dubs Yunupingu

01.06.16 _ 04.06.16

15.06.16 _ 19.06.16

ATYP CAMEOS TANTRUM YOUTH THEATRE (NSW)

BITTERSWEET PRODUCTIONS (NSW)

TRAILER

BASSETT

A darkly comic play set along the train tracks, about love, family and clocking on at the dream factory. Jed still lives with his mothers, between the beach and the bush, on a train line with a city at either end. Waiting. People say he’s waiting for his father to come back. Jed doesn’t know his father but he’s trailed the Hollywood myth and he knows who his father could be.

Time: 2011. Place: Wootton Bassett School (Wiltshire, England). At Wootton Bassett School the casual teacher has done a runner and locked the pupils in their classroom. Dean needs the toilet, Aimee needs a coffee, Amid needs to pray, and Leo…, well Leo, really, really wants to escape. Outside, only yards from their confinement, a repatriation of fallen British soldiers is happening along the high street, as it has over a hundred times before through this quiet Wiltshire town. But this one is more personal than most. As factions form and secrets are revealed, maybe Leo is not the only one who’ll want to get away.

Trailer is a brand new play by NSW Premier’s Award-Winning Playwright Vanessa Bates, and supported by the NSW Government through ArtsNSW, as well as Wyong Shire Council and The Art House, Wyong. Trailer was developed with the support of Playwriting Australia at the National Script Workshops 2015. Writer Vanessa Bates Director Anna Kerrigan Designer Joshua Maxwell Performances 04 Attendance 164 Box office $1,175

Bittersweet Productions is a new Sydney-based company dedicated to staging work with young actors and artists. Writer James Graham Director Paul Viles Set Designer Simon Greer Performances 06 Attendance 467 Box office $10,375

20.07.16 _ 30.07.16

10.08.16 _ 20.08.16

TWO PEAS (NSW)

WE MAKE THEATRE (NSW)

DRIFT

MOONCHILD

Funny, tender and deeply felt, Drift is an homage to young adulthood in all its guts as well as its glory. It is the follow up to Clark’s critically acclaimed Jennifer Forever, described by one critic as “such a brave and bold accomplishment”, and is the play writing debut for Foster.

Somewhere, on the edge of a universe, an astronaut hesitates for a moment too long. Half a world away, a familiar patch of earth begins to shrink, a whispered argument begins, and a best friend is discovered missing. Moonchild’s mission is clear. And lift off? Imminent. But as Moonchild reaches for her destiny, her world begins to unravel…

The fourth production by Two Peas, the indie theatre company which “rescued David Mamet’s Edmond” and whose inaugural production We’re Bastards was described as “a great example of how the smaller theatre companies in Sydney are really knocking it out of the ball park, Drift is the Company’s third piece of new Australian work. Writers Tara Clark Kieran Foster Director Tara Clark Set Designer Ester Karuso-Thurn Performances 09 Attendance 395 Box office $8,930

A striking new work from playwright Julia Patey (The Voices Project, 2015, ATYP), Moonchild is a tender celebration of friendship, courage and finding your landing gear when you’ve been pushed beyond your stratosphere. Writer Julia Patey Cast and Creators Julia Patey with Scarlett Waters Set Designer Georgia Hopkins Performances 09 Attendance 275 Box office $6,255

12.10.16 _ 22.10.16

27.10.16 _ 30.10.16

CROSS POLLINATE PRODUCTIONS

POWERHOUSE YOUTH THEATRE

JOURNEY’S END

SUBURBIST

Cross Pollinate Productions in association with Norton Crumlin and Associates presented Journey’s End by R.C. Sheriff, directed by Samantha Young. Featuring a fantastic young cast and coinciding with the ANZAC Centenary, Journey’s End delves deep into the trenches of World War One, where a group of conscripted soldiers finds itself at the mercy of unseen colonels and senseless orders, surrounded by a quiet that could erupt at any moment.

Suburbist is a new contemporary theatre work exploring and challenging the prejudices that divide Sydney and its suburbs. Co-created by Julian Larnach and Kate Worsley and devised with the PYT ensemble, Suburbist weaves a sound-scape of verbatim interviews and original music with personal stories and physical theatre, all in the quest to create the GREAT WESTERN SYDNEY PLAY.

Writer R.C. Sherriff

The PYT Ensemble is a select group of young performers aged 17–26yrs from Western and South-Western Sydney.

Associate Producer Alex Chalwell Jack Crumlin

Co-created by Julian Larnach and Kate Worsley, devised with the Powerhouse Youth Theatre Ensemble.

Designer Isabel Hudson

Director Kate Worsley

Performances 12

Writer Julian Larnach

Attendance 314

Performances 04

Box office $7,810

Attendance 96 Box office $2,220

30.11.16 _ 03.12.16

BIG ONE LITTLE ONE (NSW)

PICK ME UP FESTIVAL To finish the year with a pick-me-up, awardwinning live art collective Big One Little One took over The Wharf with a micro-festival showcasing highlights from their recent back catalogue and premiering a brand new work. Lose yourself in some wild and unique fun: go on a blind date, play Scrabble handcuffed, party hard while confetti falls, and receive some homespun (and handmade) life advice. Created and performed by Big One Little One (Brendan Oâ&#x20AC;&#x2122;Connell, Penelope Kentish, Rachel Jackett, Sarah Coffee) and featuring special guest artists. Blind Date 06 Talk Is Small: A Play With Scrabble 13 We Always Wanted to be Professional Dancers 65 Box office $1,380

ATYP Annual Report 2016

WRITING In 2016 ATYP Writing built on national and international partnerships and ran a successful masterclass series. The Resident Playwright position continued for the third year, appointing playwright, Lewis Treston. The program was led by Resident Dramaturg, Jenni Medway.

→ Lewis Treston had a professional development of his play Hot Tub, written as part of his Resident position, which was directed by STC’s Richard Wherrett Fellow, Paige Rattray, and with actors, Laurence Coy, Shari Sebbens, Skylar Ellis, Heather Mitchell, Contessa Treffone and Jennifer Hagan.

Highlights for 2016 were: → Fresh Ink National Mentoring expanded to Darwin while continuing to run in Brisbane, Melbourne, Sydney and Adelaide, making it the most comprehensive playwright mentoring program in the country. Partnerships were developed across the country with: QTC, Brown’s Mart, MTC, VCA and Carclew. → A successful series of four masterclasses was held with the support of STC, with leading playwrights: Hilary Bell, Caleb Lewis, Van Badham and Michael Gow. → A tripartite writing program for young people aged 13-18 was developed with Action Transport Theatre UK and Young People’s Theatre Toronto, and supported the development of 12 high schoolage playwrights from around the world. → Resident Dramaturg Jennifer Medway was selected as the Dramaturgy participant in the Melbourne Theatre Company’s ‘Women In Theatre’ program which gives a year of mentorship to an emerging to mid-career artist. → ATYP partnered on the Propel playwrights program with The Joan, Penrith, and WestWords, which supports six writers aged 15-24 in the creation of a 10-minute piece as part of a larger work. → ATYP supported Bankstown Youth Development Services on a writing program for Bankstown area artists which included workshops and a showing.

Leading industry figures engaged by ATYP Writing in 2016: Mary Anne Butler Van Badham Hilary Bell Saffron Benner Angus Cerini Travis Dowling Kevin Dyer Stephen Collela Michael Gow Jon Halpin Kim Hardwick Caleb Lewis Katy Maudlin Ross Mueller Paige Rattray Sue Smith

Workshops Playwrights supported Actors Audience Total artists part of programs Unsolicited scripts assessed Writers aged under 18 supported Writers aged 18-26 supported Young artists supported total States and Territories operated in

71 98 58 170 173 28 18 80 148 5

ATYP Annual Report 2016

ROSE BYRNE & REBEL WILSON AMBASSADOR SCHOLARSHIPS In 2016, ATYP’s ambassadors, Rose Byrne and Rebel Wilson, each donated $15,000 to fund two unique scholarship opportunities for young Australians aged 18–26. Each scholarship has different selection criteria but both are centred around identifying, nurturing and promoting the next generation of theatre artists. Partnering with G’Day USA and the Australian Theatre Company (LA), recipients receive a year of mentoring with ATYP in Sydney, culminating in the opportunity to travel to Los Angeles, work on a project with the Australian Theatre Company and be profiled at the G’Day USA Gala. Rebel Wilson donated $15,000 per year for three years (2016-2018) to fund the Rebel Wilson Theatremaker Scholarship that is awarded to an emerging artist interested in generating their own content. The recipient can be any combination of actor/writer/producer. I received a similar scholarship from ATYP, Nicole Kidman and Lend Lease in 2004 which allowed me to travel to New York and develop my writing and performing skills. The opportunity was invaluable. Australia has so much young creative talent and I am so proud to now be in a position to help and give back. It’s important young people are encouraged and supported, just like I was when I was a student at ATYP. Rebel Wilson If I’m going to speak honestly about the scholarship I have to say it’s changed my life. What the Scholarship claims to offer on paper (the space, the mentorship, the cash money) has really only been fraction of what it’s given me as an artist. The support, encouragement and accountability that have come with this opportunity have deeply inspired me to be more fearless as an artist. It’s meant having an artistic home. I applied to the scholarship with an inmy-dreams project, a bloodthirsty musical about teenage girls who kill for love (and for Harry Styles) and I can’t count all the ways that ATYP

and Rebel have supported me in this, matched my excitement, and made it all seem less terrifying. Yve Blake - 2016 Recipient, Rebel Wilson TheatreMaker Scholarship Rose Byrne donated $15,000 per year for three years (2016-2018) to support an emerging female leader in the arts. This could be a director, writer, actor or producer. Her commitment to the support of women in film is widely known but this scholarship marks her commitment to women in theatre. I’m delighted to be able to offer this opportunity to young women passionate about a career in theatre. I know that ATYP will provide a nurturing and professional environment for an artist to learn and grow their art form. I look forward to following their progress and am delighted that ATYP continues to be at the forefront of mentoring the arts leaders of tomorrow. Rose Byrne Being awarded the Rose Byrne Scholarship has been a once-in-a-lifetime experience that has genuinely opened doors for me, enabled me to form new connections in Australia and the United States, built upon my skills, and raised my profile as an artist and emerging leader. The mentorship and guidance that ATYP and Australian Theatre Company have provided, and Rose’s incredible generosity with her time and financial investment, have encouraged me to continue to pursue my career in an industry where unfortunately women are rarely appointed in artistic leadership positions. I move forward from this experience even stronger in my belief that the future of the performing arts in Australia is one of inclusivity. For me this also means advocating tirelessly for the rights of artists who are deaf or experience disability. Belinda Locke - 2016 Recipient, Rose Byrne Scholarship

ATYP Annual Report 2016

Belinda Locke, Amy Maiden and Yve Blake attending the Gâ&#x20AC;&#x2122;DAY USA Partners & Supporters Reception, Los Angeles, 2017. Photos supplied.

ATYP Annual Report 2016

WORKSHOPS HOLIDAY WORKSHOPS 2016 saw the workshop program continue to deliver its incredibly high standard of holiday workshops throughout the year. Our tutor quality was as high as ever and the program continues to be the best way to introduce young people to the company and expose them to working with professional artists. The holiday workshop program provides an entry point for children and young people interested in theatre and performance regardless of their level of experience. Each workshop builds skills and enables young people to put their own ideas on stage. It also gives young people access to working with and connecting with professional artists. Workshop facilitators 121 Trainee facilitators 71 Paid participants 938 Scholarships 70 Workshops 393 Individual attendances 4,536 I loved the play we came up with, I loved how everyone collaborated together to make a play, how we joined our ideas together, how supportive everyone was, I loved our ideas, the people, the teacher, the games, but most of all the acting! 2016 holiday workshop participant My tutor Ivan Donato was amazing he has taught me so much and helped me a lot in acting. He has taught me so many things that will help me in further drama courses and performances. 2016 Ensemble workshop participant

SEMESTER ENSEMBLE WORKSHOPS Semester Ensembles continue to be a popular way for young people to access the company. One particular highlight has been the popularity and performances of the Lend Me Your Ears Program which connects our Resident Playwright to a Director and group of young people, and provides them with resources to create a piece of theatre. Our 18+ courses have found a regular audience in a highly competitive market. Semester Ensembles give young people the opportunity to participate in weekly workshop programs with ATYP. The Ensembles build skills in performance, develop confidence and selfesteem and encourage creative thinking and problem solving. Each ensemble works towards a performance shown in Studio 1 to audiences of family and friends. Paid enrolments 504 Scholarships 10 Individual workshops 288 Individual attendances 8,064 Performances 34 Audience 1,219 My husband and myself were so impressed with both the ‘Lend Me your Ears’ performance and the and the Year 10-12 group’s performance this afternoon. The young people did so so well. The productions were original, funny and brave and the students performed them with ease. Audience member

ATYP Annual Report 2016

THE PROFESSIONAL SERIES The Professional Series continues to be the best point of access for our 18+ participants. The quality of tutors is amongst the highest in the country with Artistic Directors, award-winning actors and directors giving their time to the company. Added to the series this year was a Drama School Audition Intensive which proved incredibly popular and will return in 2017.

ATYP CORPORATE KIDS Corporate Kids was introduced in 2015 offering tailored workshop programs in-house for the children of employees of large businesses. Corporate Kids takes the stress out of the school holidays for professional parents, providing an opportunity for employees to enrol their children in a high-quality workshop, on site at work, during school holiday periods.

Tutors 7 Attendances 78 Venue The Wharf

2016 saw us reconnecting with Macquarie Bank, delivering two workshops as well as picking up an extra client in Charter Hall. This continues to be an area where we see the potential for a lot of growth.

Chekhov Scene Work March 12–13 Anthony Skuse Approaching Churchill April 16–17 Kate Gaul (Artistic Director, Siren Theatre Co.) Comedy Scene Work May 28–29 Darren Gilshenan Shakespeare Scene Work Sept 17–18 Damien Ryan (Artistic Director, Sport for Jove) Drama School Audition Intensive October 15–16 Robert Jago and Chris Edmund (ex-Head of Acting at WAAPA) The Director’s Vision October 17–18 Sarah Goodes (Associate Director, MTC) ATYP has done the younger acting community a fantastic service. Pro-Series participant, Sam Glissan

Workshops 3 Participants 52 ATYP THEATRE GOING CLUB Initiated by the Workshop Manager, Rob Jago, the Theatre Going Club introduces young participants to professional theatre productions at a special discounted rate. This offer is not for parents. The program is about young people going to the theatre with ATYP representatives, watching theatre and discussing theatre with people of their own age, and creating a future generation of theatre goers. The Theatre Going Club is open to people in Year 7 and above. In 2016, 21 students saw two productions: Matilda the Musical, Lyric Theatre Away, Sport for Jove Theatre Company, The Seymour Centre.

ATYP Annual Report 2016

LEARNING PRODUCTIONS Schools audiences for learning were as follows for 2016: Students 1,312 Schools 45 Teachers 98 Total Audience 1,410 Each production is supported by online resources for students and teachers. These help students prepare for the production and unpack the themes and issues in the productions post performance. Video Resources Joomag Resources

14 videos 5,583 views 14 documents 1,453 views

I love the resources provided for The Big Dry. The resources fit perfectly into our Survival unit of work and currently English students are encouraged to select The Big Dry as a related text. It is a shame that the play only tours for one season because ideally it would be great to always have the play to accompany the unit of work. It is just a fantastic show that can be linked to so many of our KLAâ&#x20AC;&#x2122;s I wish my colleagues teaching in rural/remote NSW had the opportunity to see it because it would be so impacting to students living in drought stricken communities. It would be awesome if The Big Dry could somehow tour out there. Erin Thompson, Teacher Tuggerah Lakes Secondary College

LIVE STREAM In 2016 we live streamed two of our productions, The Voices Project: All Good Things on 17th February 2016 and Fight with All Your Might the Zombies of Tonight on 16th November 2016. We had record audience attendance for the second stream. The program is delivered in partnership with Tilt Vision. 3,000 students saw an ATYP production, either live or online, through our learning programs in 2016. Online Audience Schools Teachers

1,550 35 40

FOUNDATION COMMISSION SCHOOL PARTNERSHIPS The ATYP Foundation Commission School Partnerships provide an exclusive opportunity for schools to step inside the creative development of a play. It connects schools to a playwright, a team of creative designers and a brand new play as it is being written. In 2016 this was Fight with All Your Might the Zombies of Tonight by Matthew Whittet. Schools become linked to ATYPâ&#x20AC;&#x2122;s canon of work for 9-13 year olds and get credited in the publication of the play. Schools 04 Students 80 Teachers 05 ATYP Staff 05 Online activities 06 Video conferences 02 Dates 14.06.16 - 16.11.16 In 2016 the FCSP was supported by the Kirby Foundation. The program is delivered in partnership with the Museum of Applied Arts and Sciences (MAAS) and Tilt Vision.

ATYP Annual Report 2016

LEARNING WORKSHOPS Learning workshops occur throughout the school year both at ATYP and in schools around the country. They either link closely to our productions or with relevant curriculum content. Workshops Schools Teachers Students CITY OF SYDNEY THEATRE ACCESS PROGRAM The ATYP City of Sydney Theatre Access Program ran in Term 4, 2016, and was connected to the world premiere production of Fight with All Your Might the Zombies of Tonight. Three schools from the CoS precinct, Bourke Street Public School, Fort Street Public School and Glebe Public School took part in pre-show workshops at their schools, were audience members at ATYP for the production, for which travel and lunch was provided, and evaluated the experience in a postshow workshop. Schools Students Teachers Tutors ATYP Staff Dates

03 90 03 06 03 02.11.16 - 05.12.16

CONNECTION BETWEEN LEARNING PROGRAMS In 2016, the City of Sydney ATYP Theatre Access program coincided with our live stream and Foundation Commission School Partnership. ATYP brought together learning programs that represent the breadth of our access as well as our excellence initiatives. The City of Sydney school students made up part of the 1,300 strong national audience that saw the show on 16 November. In our online audience, we also had students who contributed to the development of the play over two terms though our Foundation Commission School Partnership. This program integrated well with our other flagship programs here at ATYP. We will endeavour to continue these programs and the link between them in the future. Our workshop was fantastic. It was so good to be able to delve into ComplicitĂŠ with Kate. She was so knowledgeable, enthusiastic and generous with her time. The students were inspired. Sharyn Hill, Xavier College Albury

248 120 164 1,875

CONFERENCE PRESENTATIONS One of the focus areas for the Learning team in 2016 was to attend and present at state and national conferences. Presentations Attendances Collateral sent

04 01 01

WORK EXPERIENCE ATYP offers an immersive Work Experience and Work Placement program for enthusiastic drama and entertainment students. Our program dates correspond with ATYP productions and active shows in the theatre to ensure a practical and authentic theatrical experience. Work experience Work placement Interns

10 08 06

DJURALI During Term 4, 2016, ATYP Teaching Artists, Curtis Fernandez and Christopher Tomkinson, along with indigenous artist, Ghenoa Gela, delivered drama workshops in two schools as part of ATYPâ&#x20AC;&#x2122;s Djurali {Grow} Middle Years Transitions Program. The Djurali program uses drama techniques and activities to help Indigenous students preparing to move into high school develop their confidence, creativity and collaborative skills. The program culminated in a combined workshop and performance day at ATYP which was attended by family and friends as well as ATYP staff and delegates from Westpac and Arts NSW. Workshops Schools Teachers Students

07 02 03 24

ATYP Annual Report 2016

While there were no matching funds for the 2016 Annual Appeal, the overall Appeal results were very positive when compared to 2014 (the previous year’s appeal that was also held without matching funds).

DEVELOPMENT ATYP is a not-for-profit organisation that is reliant on philanthropic support to fund core programs and keep the Company accessible and affordable for all young people. The support of our community of individual donors is critical to survival, and we are most grateful for donations we received through our Annual Appeal and fundraising events throughout the year. In 2016, ATYP created a sub-committee of the ATYP Board called the Fundraising & Philanthropy Committee. The committee’s purpose is to directly assist ATYP’s Development Team with fundraising activities, providing advice and connecting ATYP with individuals and organisations to help the company to achieve its goals as Australia’s leading youth theatre. STEWARDSHIP In 2016, we acknowledged our supporters at ‘thank you’ events held on 18 February at The Voices Project: All Good Things, and on 16 November for the ATYP Foundation commissioned play Fight with All Your Might the Zombies of Tonight by Matt Whittet. FUNDING ACTIVITIES Annual Appeal Campaign period May to June 2016 Donors 114 Amount Raised $65,261 Christmas Appeal Campaign period November / December 2016 Donors 28 Amount Raised $6,523 (enough for 17 scholarships) Total Donors through Appeals 142

The Christmas Appeal raised money towards ATYP’s Drama Workshop Access Scholarships, providing 17 young people with scholarships during the 2017 Summer Holidays. Donors who made gifts of $30 or more were acknowledged with a Christmas angel on ATYP’s Giving Tree placed in the main foyer. The Annual Appeal included two events: → Gala Night for The Big Dry by Mark Kilmurry. 70 guests at the The Ensemble Theatre on 5 June, 2016 → Celebrity Play Reading of Fight with All Your Might the Zombies of Tonight by Matt Whittet. 69 guests at ATYP on 30 October, 2016. PROGRAM FUNDRAISING Rose Byrne and Margaret Pomeranz in Conversation On 18 November, 2016, ATYP held a fundraising lunch at Pier One Sydney Harbour, made possible thanks to our Ambassador and ATYP alumna, Rose Byrne, and to Margaret Pomeranz. The event was supported by Macquarie Group Foundation which provided matching funding, helping to raise raise $46,666 towards ATYP’s core company activities. The Producers’ Circle The Producers’ Circle was created in October, 2014, and launched on 2 February, 2015. The Circle is a special group of donors investing in the Company’s main stage program. Donors 16 Amount Raised $55,000 GRASSROOTS FUNDRAISING In June and December, 2016, ATYP ran sausage sizzles and cake stalls held around the end-ofsemester workshop showings. June 2016 Amount Raised $1,466 Purchased 10 new drama workshop kits December 2016 Amount Raised $1,100 Towards Drama Scholarships

ATYP Annual Report 2016

MARKETING ATYP has an ever-growing audience and community who are passionate supporters of our productions, workshops and education programs. With a targeted and strategic communication plan, the marketing department at ATYP endeavours to grow this audience every year through engagement via our website, social media, and written communication, that leads to the most important connection, face-to-face experiences. PRODUCTIONS AND WORKSHOPS Records were broken and attendance increased across the board for productions in 2016. Over 7,880 people attended performances of ATYP productions in Sydney and a further 1,777 attended a Cameo performance at the venue. Throughout the year we hosted 5,604 people in our 90-seat theatre, including both paid and complimentary audiences. Our co-production with Ensemble Theatre saw 4,053 attend the four-week season and over 6,150 people saw our Helpmann Award-winning tour of Sugarland in 22 venues across Australia. The company was delighted to collaborate with five international partners to create the marketing materials for Patrice Balbinaâ&#x20AC;&#x2122;s Chance Encounter with the End of the World, and with the Ensemble Theatre in Sydney for The Big Dry, creating effective video and online promotions for both productions. The campaign for Spring Awakening - The Musical involved an additional photo shoot of the five lead characters to create an evocative campaign that was used extensively online, and combined with a more traditional approach, saw the season sell out before opening night. Promotion of the workshop programs took on a new, fresh, animated look highlighting each season. For the first time ATYP didnâ&#x20AC;&#x2122;t produce a printed holiday workshop brochure, and the programs were promoted with 90% digital campaigns across the year. Run-of-site advertising on the Essential Kids website and

AdRoll campaigns were trialled to great response, and are supported by an integrated direct mail campaign run in collaboration with the Workshops department. ATYP continues to work hard marketing our popular workshops program across various channels. MEDIA The strategic use of social media increased considerably in 2016. Paid advertising on the Facebook and Twitter platforms across campaigns for productions and workshops helped ATYP reach new and broader audiences. Our Facebook following increased 33% from 7,400 to 9,836 adding an average 203 likes per month. Twitter also continued to grow with an average of 87 newcomers per month ending the year with 7,489 followers. The biggest increase for the second year running was Instagram, doubling followers in the twelve months to December, ending with 2,624 followers. The ATYP website remains the most important gateway for our audiences. It enables our community to book tickets, enroll in workshops and masterclasses, access information and contact the company. ATYP received excellent media coverage across all productions in the form of feature articles and reviews. The national tour of Sugarland in particular, captured the attention of the national and state media outlets.

ATYP Annual Report 2016

ARCHIVES ATYP Archives, one of only two performing arts’ company in-house corporate archives in Australia, was established in 2003. The archives, staffed by a qualified archivist, is dedicated to preserving evidence of ATYP activities across all departments, and making it available for a variety of new uses by staff. The collection comprises records of governance, administration, promotion, production and participation, and, in spite of several changes in premises over the years, contains material from inception of the company in 1963 through its 53 years. Primary source material supports operation of all departments and their activities, including providing documentary evidence for website and social media accounts’ content, input of company history to decision-making and for connecting with past participants. ATYP Marketing Department and ATYP Archives co-ordinated an alumni event on 4 May, to which casts and creative artists of two previous ATYP productions of Spring Awakening, 1984 and 1989, were invited to a get-together, before attending a performance of Spring Awakening - The Musical, 2016. Archival material from the earlier productions was identified and printed for perusal by guests, and unidentified actors featured in production photographs were able to be named.

Mark Gaal, Director of ATYP’s Spring Awakening, 1989, and Mitchell Butel, Director of ATYP’s Spring Awakening – The musical, 2016, identify actors in archival photos, at the alumni event. Photo: Elise Barton ©

An additional outcome of this re-connection with the alumni was the undertaking of an interview with Warwick Clarke (Spring Awakening, 1989 cast member), for the ATYP Oral History Project, by ATYP Oral Historian, Dr Margaret Leask, on 13 September. Initiated in 2013, the oral history project aims to flesh out the official documentary record of productions and events in the archival collection, with recollections of past participants in all capacities, for historical research and promotional purposes.

ATYP

Annual Report 2016

Corporate information ABN 24 000 816 704 DIRECTORS OF THE PARENT ENTITY Fraser Corfield Monique Farmer Nancy Fox Fiona Hunt Michael Ihlein (Chair) (until 02/05/16) Nick Jaffer Janine Lapworth Sophie Lieberman John Penton Catherine Robinson (until 02/05/16) Edward Simpson Mark Warburton (Chair) (from 02/05/16) Simon Webb Natasa Zunic FOUNDATION ADVISORY COMMITTEE Antoinette Albert Angela Bowne SC (Foundation Advisory Committee Chair) Michael Ihlein (until 02/05/16) Robert Rich Mark Warburton COMPANY SECRETARY Amy Maiden REGISTERED OFFICE AND PRINCIPAL PLACE OF BUSINESS The Wharf, Pier 4/5 Hickson Road Walsh Bay NSW 2000 AUDITORS PricewaterhouseCoopers Chartered Accountants

ATYP

Annual Report 2016

Directors' report Your directors present their report on the consolidated entity consisting of Australian Theatre for Young People Limited (ATYP) and the entities it controlled at the end of, or during, the year ended 31 December 2016. Throughout the report, the consolidated entity is referred to as the group. INFORMATION ABOUT THE DIRECTORS The names and particulars of the directors of the company during and since the end of the financial year are: Date of Appointment Fraser Corfield Monique Farmer Nancy Fox Fiona Hunt Michael Ihlein Nick Jaffer Janine Lapworth Sophie Lieberman John Penton Catherine Robinson Edward Simpson Mark Warburton Simon Webb Natasa Zunic

26-May-09 30-Mar-15 1-Jul-11 16-Feb-15 27-Apr-10 16-Feb-15 21-May-12 30-Mar-15 16-Feb-15 25-Nov-08 16-Mar-10 02-May-16 11-Nov-11 23-Aug-12

Date of Cessation

Board Meeting A 6 6

02-May-16

6 6 2 6 6 6 6 2 6 5 6 6

B 6 5 3 3 2 4 5 4 5 2 4 5 3 3

Finance Committee A 6

B 4

A Number of meetings held during the time the director held office during the year B Number of meetings attended Details of director’s qualifications, experience and special responsibilities can be found on page 32 of this report. STATEMENT OF PURPOSE Australian Theatre for Young People is the national youth theatre company. We exist to connect young people with the professional theatre industry, locally, regionally and nationally. It’s the principle on which the company was founded in 1963. It’s what drives us today. ATYP exists to help young people find their voice and together, inspire all Australians. We believe that an involvement in theatre builds better people. Theatre develops confidence, creativity and community. It challenges us to reflect on and better understand ourselves and our society. Young people are a vital part of that society.

ATYP

Annual Report 2016

STRATEGIC GOALS 2016-2020 1. Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. 2. Deliver accessible opportunities for young people to work with and better understand professional artists and their practice. 3. Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. 4. Strengthen and celebrate the Australian Youth Arts community. PRINCIPAL ACTIVITIES FOR THE YEAR The principal activities undertaken by ATYP to meet its 2016 goals included: GOAL ONE: Be indisputably recognised nationally and internationally as a leading theatre company that fearlessly champions young artists. • ATYP partnered with six international youth theatre companies to devise Patrice Balbina’s Chance Encounter With The End Of The World and produce it both in Sydney and in Vancouver, Canada. • Spring Awakening - The Musical was nominated for 11 Sydney Theatre Awards and won Best Production for Young People. • The production Sugarland toured to 17 different locations in both regional and metro Australia and won the Helpmann Award for Best Regional Touring Production. GOAL TWO: Deliver accessible opportunities for young people to work with and better understand professional artists and their practice. • Conducted drama workshops in 25 different locations around the country, delivering school holiday, after school production and writing workshops to over 20,000 young people • Employed 120 professional artists to connect with young people through our workshop, education and writing programs • Provided 35 work experience and internship positions to teenagers and young adults looking to learn more about a professional theatre company GOAL THREE: Pioneer and be ever-responsive to the use of technology to enrich the experience of, and expand access to, ATYP. • Live streamed two productions to 1,550 school students in 126 different regional locations around Australia • Created interactive online educational resources that were accessed 7,036 times by the end of 2016 • Generate a national conversation with our active and engaged online community growing our online social community to 19,993 people • Connecting with our community through the ATYP website that received 130,679 hits over twelve months. • Grew our online database to 17,573 individuals who received monthly EDM’s, audition notices and sector updates.

ATYP

Annual Report 2016

GOAL FOUR: Strengthen and celebrate the Australian Youth Arts community. • Showcased and celebrated the work of seven different companies in our theatre space through ATYP’s CAMEO season • Attended and lead sessions at the National Youth Theatre Summit hosted by the Australia Council • Facilitated three national teleconference meetings to bring the sector together and discuss issues associated with advocacy and lobbying. MEMBERS’ GUARANTEE ATYP is incorporated in New South Wales as a company limited by guarantee. In the event of the company being wound up, each member undertakes to contribute a maximum of $10 respectively for payment of the company’s liabilities. As at 31 December 2016 there were 12 members of ATYP and the amount of capital that could be called up in the event of ATYP being wound up is $120 (2015: 130). SIGNIFICANT CHANGES IN THE STATE OF AFFAIRS ATYP is a key tenant of the proposed Pier2/3 redevelopment. Once completed the redevelopment will provide ATYP with a new 200 seat performance venue, workshop spaces and offices. During the redevelopment ATYP will relocate our operations from the Wharf for up to two years

SIGNIFICANT EVENTS AFTER YEAR END There have been no matters or circumstances since the end of the financial year, other than those mentioned elsewhere, that have significantly affected or may significantly affect the operations of the Group, the results of those operations or the state of affairs of the Group in subsequent financial years except those noted in Likely Developments and future results below.

LIKELY DEVELOPMENTS AND FUTURE RESULTS The redevelopmentof Pier 2/3 and relocation of ATYP’s operations for up to two years is not anticpated to significantly affect the nature of the operations of ATYP or its principal activities.

ENVIRONMENTAL REGULATION The consolidated entity is not subject to any particular or significant environmental regulation.

INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS Since the end of the previous financial year the company has paid insurance premiums in respect of directors’ and officers’ liability and legal expenses’ insurance contracts for current and former directors and officers, including senior executives of the company. The company has not otherwise indemnified or agreed to indemnify an officer or auditor of the company against a liability incurred by such an officer or auditor.

ATYP

Annual Report 2016

AUDITOR’S INDEPENDENCE A copy of the auditor’s independence declaration as required under section 60-40 of the Australian Charities and Not-for-Profit Commission (ACNC) Act 2012 is set out on page 34 and forms part of the Directors’ Report. Signed in accordance with a resolution of the directors made pursuant to the Australian Charities and Not-for-Profit Commission (ACNC) Act 2012.

On behalf of the directors:

MARK WARBURTON Chair Australian Theatre for Young People 26 April 2017

ATYP

Annual Report 2016

Directors' qualifications, experience and special responsibilities Name of Director

Fraser Corfield

Monique Farmer

Nancy Fox

Fiona Hunt

Michael Ihlein (Resigned 2 May 2016)

Nick Jaffer

Janine Lapworth

Special duties

Date of Appointment

Qualifications

Experience

BA (Communications)

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

Artistic Director and Chief Executive Officer

26-May-09

BA (Communications)

Head of Entertainment and Lifestyle content for Fairfax Media. Formerly Managing Editor, Sections, at The Sydney Morning Herald. Journalist, section editor and editorial manager at Fairfax Media since 1991.

Non-executive director

30-Mar-15

BA, Juris Doctorate in Law, FAICD

Currently board member of Perpetual Limited, HCF Life, APA Ethane Limited, Kinetic Super and the Taronga Conservation Society Australia. Previously held numerous senior roles in financial institutions including Managing Director of Ambac Assurance Corporation and Managing Director ABN Amro Australia Limited.

Non-executive director

1-Jul-11

MA, MMgmt, BEd, GAICD

Company Director, Head of Strategy at Mahlab Media. Previously Managing Director - Contiki , Industry Head, Government & Tourism - Google, Manager Tourism - Sydney Opera House, Lecturer, School of BusinessUTS.

Non-executive director

16-Feb-15

BBus (Accounting), FCPA, FAICD, F Fin

Company director, Scentre Group, CSR Limited, Snowy Hydro Limited, Murray Goulburn Co-operative Co Limited and Spark Software Sp. z o.o. and formerly Chief Executive Officer of Brambles Limited and Chief Financial Officer of Brambles Limited and Coca-Cola Amatil Limited.

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

President and CEO (Asia Pacific) Global Philanthropic, international fundraising and strategic advisory firm for non-profit sector, arts clients include Sydney Symphony Orchestra, National Library of Australia, Art Gallery of Calgary (Canada) and Royal Birmingham Ballet (UK). Prior roles include Director of Development at University of Sydney.

Non-executive director

16-Feb-15

BA, LLB

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

Non-executive director

21-May-12

Chair and Non-executive director until 2 May 2016

27-Apr-10

ATYP

Sophie Lieberman

John Penton

Catherine Robinson (Resigned 2 May 2016)

Edward Simpson

Annual Report 2016

Head of Programs, Sydney Living Museums; Manager Science Communication, Australian Museum; Lecturer, School of History UNSW; Chair, Sydney Arts Management Advisory Group, Sydney Architecture Festival, Organising Committee, Sydney Leadership Program (2014 alum).

Non-executive director

30-Mar-15

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

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

Non-executive director

16-Feb-15

Journalism and Communications at University of SA; BA

CEO, The Observership Program. Formerly Director, LikeMinds Consulting, Chief Executive of Australian Film Commission and other senior soles with City of Sydney, Sydney Film Festival and board roles with several not-for-profit and government organisations.

Non-executive director

25-Nov-08

BA, LLB

A reformed lawyer and actor, currently an occasional executive producer of feature films, pianist, investor, and Chair of the SLM Foundation.

Non-executive director

16-Mar-10

Chair and Nonexecutive director from 2 May 2016

2 May 2016

BA Hons 1, PhD (History), UNSW

Head of Equity Capital Markets Origination Australia and New Zealand, Macquarie Bank with 25 year experience in investment banking and corporate finance across Australia, Asia and Europe. He is also a member of Belvoir St Theatre’s Development Committee (“The Co-Conspirators”) and was formerly Chairman of the Macquarie Group Foundation in Singapore.

Mark Warburton (Appointed 2 May 2016)

B.Economics, CA

Simon Webb

BA (Hons) – Politics, Philosophy, Economics

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

Non-executive director

11-Nov-11

B.Commerce (Marketing and Finance)

Marketing executive with over 15 years of strategic and operational global experience. Currently at Vodafone Hutchison Australia as General Manger Brand. Demonstrated leadership and management of a number of other Consumer and Retail brands including; KFC, Cadbury, Colgate and Palmolive in Australia, US and the UK. Specialties in 'big brand' development, communications and product innovation in local and global marketing teams.

Non-executive director

23-Aug-12

Natasa Zunic

ATYP

Annual Report 2016

Auditorâ&#x20AC;&#x2122;s independence declaration

ATYP

Annual Report 2016

Consolidated Financial Statements for the year ended 31 December 2016

Consolidated statements of comprehensive income

Consolidated statements of financial position

Consolidated statements of changes in funds

Consolidated statements of cash flows

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

Note 2 – Summary of accounting policies

Note 3 – Performance income

Note 4 – Fees & services

Note 5 – Sponsorship & donations

Note 6 – Other income

Note 7 – Subsidies & grants

Note 8 – Available-for-sale financial assets

Note 9 – Cash and cash equivalents

Note 10 – Trade and other receivables

Note 11 – Inventories

Note 12– Other assets

Note 13 – Intangible assets

Note 14 – Property, plant & equipment

Note 15 – Trade and other payables

Note 16 – Employee provisions

Note 17 – Deferred Income

Note 18 – Parent entity note

Note 19 – Designated funds

Note 20 – Related parties and related party transactions

Note 21 – Commitments and contingencies

Note 22 – Rent subsidy

Note 23 – Charitable fundraising

Directors’ declaration

Independent auditor’s report

These financial statements are consolidated financial statements for the group consisting of Australian Theatre for Young People Limited and its subsidiary the ATYP Foundation. The financial statements are presented in Australian dollar ($). Australian Theatre for Young People Limited is a company limited by guarantee, incorporated and domiciled in Australia. Its registered office and principal place of business is: Australian Theatre for Young People Limited, The Wharf, Pier 4/5, Hickson Road, Walsh Bay NSW 2000.

ATYP

Annual Report 2016

The financial statements were authorised for issue by the directors on 26 April 2017. The directors have the power to amend and reissue the financial statements.

ATYP

Annual Report 2016

Consolidated statements of comprehensive income for the year ended 31 December 2016

Note

2016

2015

Income Performance income

240,114

171,331

Fees & services

615,495

625,764

59,907

39,485

Sponsorship & donations

564,814

675,396

Other income

52,816

59,258

Subsidies & grants

380,892

359,640

1,914,038

1,930,874

1,639,851

1,407,987

Production costs

143,596

186,917

Marketing costs

125,376

161,564

Infrastructure costs

208,695

182,772

20,517

6,767

2,138,035

1,946,008

(223,997)

(15,134)

7,385

(8,535)

(216,612)

(23,669)

Resource income

Total Income Expenditure Employee benefits expense

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

Sch 1

Total comprehensive (loss) for the year

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

ATYP

Annual Report 2016

Consolidated statements of financial position as at 31 December 2016 ASSETS

Note

2016

2015

Current assets Cash and cash equivalents

1,101,182

1,039,340

Trade and other receivables

22,108

102,039

Inventories

3,516

Other assets

42,041

13,127

1,165,331

1,158,022

Total current assets Non-current assets Available-for-sale financial assets

196,300

288,915

Intangible assets

Property, Plant and equipment

6,093

21,955

202,393

310,870

1,367,724

1,468,892

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

94,014

77,768

Employee provisions

46,633

50,292

Deferred income

322,165

233,655

462,812

361,715

14,347

TOTAL LIABILITIES

477,159

361,715

NET ASSETS

890,565

1,107,177

(63,275)

(164,905)

1,009,370

1,319,370

(51,841)

(36,214)

(3,700)

(11,085)

890,565

1,107,177

Total current liabilities Non-current liabilities Employee provisions

Total non-current liabilities

FUNDS General funds Capital fund Revenue funds Asset revaluation reserve Settlement

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

ATYP

Annual Report 2016

Consolidated statements of changes in funds for the year ended 31 December 2016

Parent general funds

Capital fund

AFS Financial Assets Revaluation Reserve

Revenue fund

Settlement sum

Total funds

Balance as at 1 January 2015

(165,379)

1,329,370

(2,550)

(30,603)

1,130,849

Surplus / (deficit) for the year

474

(10,000)

(5,611)

(15,137)

(8,535)

(164,905)

1,319,370

(11,085)

(36,214)

1,107,177

101,630

(310,000)

Other comprehensive income Balance as at 31 December 2015 Surplus / (deficit) for the year Other comprehensive income Balance as at 31 December 2016

(63,275)

1,009,370

(15,627)

(223,997)

7,385

(3,700)

(51,841)

890,565

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

ATYP

Annual Report 2016

Consolidated statements of cash flows for the year ended 31 December 2016

2016

2015

1,740,385

1,425,602

502,504

456,810

30,415

30,699

(2,319,882)

(1,918,786)

(46,577)

(5,675)

13,074

14,075

100,000

Payments for property, plant & equipment

(4,655)

Net cash used in from investing activities

108,419

14,075

Net change in cash and cash equivalents

61,842

8,400

1,039,340

1,030,940

1,101,182

1,039,340

Not e Cash flows from operating activities Cash received in the course of operations Receipts from subsidies and grants Interest received Payments made to suppliers and employees Net cash provided by operating activities Cash flows from investing activities Dividends and distibutions Proceeds from sale of financial assets

Cash and cash equivalents, beginning of year Cash and cash equivalents, end of year 9

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

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 1

CORPORATE INFORMATION

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

SUMMARY OF ACCOUNTING POLICIES Basis of preparation

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

Basis of consolidation

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

Significant accounting judgements, estimates and assumptions

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

ATYP

Annual Report 2016

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

Revenue recognition

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

ATYP

Annual Report 2016

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

Expenditure

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

Cash and cash equivalents

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

Trade and other receivables

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

ATYP

Annual Report 2016

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

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

Inventories

Inventories of goods purchased for resale are valued at the lower of cost and net realisable value. The cost of bringing each item to its present location and condition is determined on a first-in, first-out basis. Net realisable value is the estimated selling price in the ordinary course of business, less estimated costs necessary to make the sale.

Property, plant and equipment

Property, plant and equipment is stated at cost less accumulated depreciation and any accumulated impairment losses. Any property, plant and equipment donated to the group or acquired for nominal cost is recognised at fair value at the date the group obtains control of the assets. Depreciation Items of property, plant and equipment are depreciated over their useful lives to the group commencing from the time the asset is held ready for use. Depreciation is calculated on a straight line basis over the expected useful economic lives of the assets as follows: 2016 %pa

2015 %pa

Equipment & furniture

10-33

Leasehold improvements

10-20

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

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements Any part of the asset revaluation reserve attributable to the asset disposed of or derecognised is transferred to general funds at the date of disposal.

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

Intangibles

Software and website are recorded at cost. Software and website have a finite life and are carried at cost less any accumulated amortisation and impairment losses. This is calculated on a straight line basis over the estimated useful life of three years. They are assessed annually for impairment. l)

Trade and other payables

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

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

The liability for deferred income is the unutilised amounts of grants received on the condition that specified services are delivered or conditions are fulfilled. The services are usually provided or the conditions usually fulfilled within 12 months of receipt of the grant. Where the amount received is in respect of services to be provided over a period that exceeds 12 months after the reporting date, or the conditions will only be satisfied more than 12 months after the reporting date, the liability is presented as non-current. n)

Employee benefits

Employee benefits comprise wages and salaries, annual, non-accumulating sick and long service leave. Liabilities for wages and salaries expected to be settled within 12 months of balance date are recognised in other payables in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date. Liabilities for annual leave in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date which are expected to be settled within 12 months of balance date are recognised in the provision for annual leave. Both liabilities are measured at the amounts expected to be paid when the liabilities are settled. The liability for long service leave is recognised in the provision for employee benefits and is measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to anticipated future wage and salary levels, experience of employee departures, and periods of service. Expected

ATYP

Annual Report 2016

future payments are discounted using market yields at the reporting date on high quality corporate bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows.

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

Taxation

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

Goods and services tax (GST)

Revenues, expenses and assets are recognised net of the amount of GST except where the amount of GST incurred is not recoverable from the Australian Taxation Office, in which case it is recognised as part of the cost of acquisition of an asset or as part of an item of expense. Receivables and payables are recognised inclusive of GST. The net amount of GST recoverable from or payable to the Australian Taxation Office is included as part of receivables or payables. Cash flows are included in the statement of cash flows on a gross basis. The GST component of cash flows arising from investing and financing activities which is recoverable from or payable to the Australian Taxation Office is classified as operating cash flows. q)

Going concern

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

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 2016

2015

95,697

101,679

144,417

69,651

240,114

171,331

Education workshops

63,468

61,555

Ensemble workshops

187,257

194,984

Holiday workshops

288,385

318,237

Production workshops

19,860

18,583

Other workshops & fees

56,525

32,405

615,495

625,764

422,843

389,659

Fundraising

51,971

18,368

Sponsorship

30,000

20,000

Foundations

60,000

247,369

564,814

675,396

Dividends

13,074

14,075

Interest received

30,415

30,699

110

130

Performance income

Box office Performance fee

Fees & services income

Sponsorship & donation income

Donations

Other income

Membership Other commissions Other income

1,150

9,217

13,204

52,816

59,258

156,642

156,640

40,000

Subsidies & grants

Australia Council - Operating grant Australia Council - Project grant Arts NSW - Operating grant

175,000

148,000

Arts NSW - Aboriginal Middle Years

21,250

15,000

City of Sydney

28,000

380,892

359,640

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 8

A v ailable-f or-s ale f inanc ial as s et s Opening

A ddit ions /

Rev aluat ion

Clos ing

B alanc e (dis pos als )

(def ic it )/

B alanc e

s urplus 2016 Shares - Australian listedcompanies at fair value TOTA L

288,915

(100,000)

7,385

196,300

288, 915

(100, 000)

7, 385

196, 300

297,450

(8,535)

288,915

297, 450

(8, 535)

288, 915

2015 Shares - Australian listedcompanies at fair value TOTA L

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

2016

2015

Cash at bank

370,016

141,317

Short-term deposits

731,166

898,022

1,101,182

1,039,340

Cash and cash equivalents

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 2016

2015

11,949

94,111

(446)

11,503

93,665

Imputation credits refundable

1,585

1,193

Interest receivable

9,020

7,181

22,108

102,039

3,516

Prepayments

41,841

12,927

Deposits Paid

200

42,041

13,127

1,829

(1,829)

Trade and other receivables

Trade receivables Less: Allowance for doubtful debts Net trade receivable

Inventories

Merchandise inventory

Other assets

Intangible assets

Software - at cost Accumulated amortisation Total software

Website - at cost

72,833

(72,833)

Total website

Total intangibles

Accumulated amortisation

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 14

Property, plant & equipment

Leasehold improvements - at cost Accumulated depreciation Total software

Plant & equipment - at cost Accumulated depreciation Total website Total property, plant & equipment

2016

2015

87,825

(85,125)

(66,754)

2,700

21,071

239,414

287,782

(236,021)

(286,898)

3,393

884

6,093

21,955

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

Carrying amount 1 January Additions Depreciation expense Carrying amount 31 December

Trade and other payables

Trade creditors Sundry creditors & accruals

Leasehold improvements

Plant & equipment

Total

21,071

884

21,955

4,655

(18,371)

(2,146)

(20,517)

2,700

3,393

6,093

2016

2015

1,445

15,911

92,569

61,857

94,014

77,768

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 2016

2015

41,835

46,646

4,798

3,646

Non-Current Provision for long service leave

14,347

Total employee provisions

60,980

50,292

35,000

20,000

700

1,950

1,565

137,500

78,320

3,000

Total grants in advance

177,765

101,835

Workshop fees in advance

136,475

131,820

7,925

322,165

233,655

Current assets

403,847

175,465

Total assets

409,940

197,421

Current liabilities

458,868

362,326

Total liabilities

473,215

362,326

Net liabilities

(63,275)

(164,905)

Retained losses

(63,275)

(164,905)

Employee provisions

Current Provision for annual leave Provision for long service leave

Deferred income

Arts NSW - Djurali - Writers Commissions - Creative Developments Australia Council - Operational grant - Travel grant

Other income in advance

Parent entity note Information relating to ATYP Limted (the Parent entity):

Statement of Financial Position

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

101,630

478

Other comprehensive income

Total comprehensive income

101,630

478

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 19

Designated funds

Revenue funds Opening balance Transfer from / (to) general funds Foundation surplus In support of ATYP productions Closing balance

Capital fund Opening balance Transfer from / (to) general funds In support of ATYP Commissions In support of ATYP productions Closing balance

2016

2015

(36,214)

(30,603)

49,373

59,389

(65,000)

(51,841)

(36,214)

1,319,370

1,329,370

(10,000)

(300,000)

1,009,370

1,319,370

The Revenue funds and Capital Fund are reserves of the atyp Foundation established to raise fund and accumulate capital to support the aims of ATYP and its long term financial security

20 a)

Related parties and related party transactions Director compensation

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

Key management personnel compensation

Key management personnel compensation for the year ended 31 December 2016 amounts to $217,065. (2015: $187,937). c)

Director donations

The total amount of donations received from directors during the year ended 31 December 2016 was $95,467 (2015: $96,270).

ATYP

Annual Report 2016

Notes to and forming part of the consolidated financial statements 21

Commitments and contingencies

2016 $

2015 $

4,416 3,312 7,728

46,803 7,728 54,351

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

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

The lease commitments relate to the lease of premises, storage space and copier machine 22 Rent subsidy ATYP is supported by Arts NSW with subsidised rent through the Infrastructure Support Program; this provides ATYP with affordable space at Pier 4/5.

Occupancy expense Rent in cash Rent in kind

2016 $

2015 $

41,364 276,822 318,186

40,128 268,547 308,674

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

ATYP

Annual Report 2016

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

2. 3. 4. 5. 6.

the consolidated financial statements and notes, as set out on pages 36-53 are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 (the Act), including: i) complying with Accounting Standards and other mandatory professional reporting requirements, and ii) giving a true and fair view of the consolidated entityâ&#x20AC;&#x2122;s financial position as at 31 December 2016 and of its performance for the financial year ended on that date. in the directorsâ&#x20AC;&#x2122; opinion there are reasonable grounds to believe that the consolidated entity will be able to pay its debts as and when they become due and payable; the accounts give a true and fair view of all income and expenditure including with respect to fundraising appeals; the consolidated Statement of Financial Position gives a true and fair view of the state of affairs of the consolidated entity including with respect to fundraising appeals; the provisions of the Charitable Fundraising Act 1991, the regulations under the Act and the conditions attached to the fundraising authority have been complied with by the group; and the internal controls exercised by the consolidated entity are appropriate and effective in accounting for all income received and applied by the consolidated entity including from any of its fundraising appeals.

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

MARK WARBURTON Chair Australian Theatre for Young People 26 April 2017

ATYP

Annual Report 2016

Independent auditorâ&#x20AC;&#x2122;s report

ATYP

Annual Report 2016

ATYP

Annual Report 2016

ATYP Annual Report 2016

ATYP STAFF Artistic Director Fraser Corfield General Manager Amy Maiden Finance Manager Kate Di Mattina (until August) Emma Murphy (from September) Development Manager Andrew Deane Marketing Manager Kar Chalmers Workshops Manager Robert Jago Education Manager AdĂ¨le Jeffreys Production Manager Juztin McGuire (until April) Lauren Makin (from June) Resident Dramaturg Jennifer Medway Education Co-ordinator Lisa Mumford (until March) Rowan Bate (from March) Finance & Operations Co-ordinator Chrissy Riley Marketing & Development Co-ordinator Elise Barton (until December) Marketing Co-ordinator & Graphic Designer Justin Stambouliah Administration Assistant Odetta Quinn (until October) Bonnie Leigh-Dodds (from October) Resident Technologist Daniel Andrews Archivist Judith Seeff Writer-in-Residence 2016 Lewis Treston Rebel Wilson Scholarship Recipient Yve Blake Rose Byrne Scholarship Recipient Belinda Locke

Board of Directors Fraser Corfield Nancy Fox Monique Farmer Fiona Hunt Michael Ihlein (Chair) (until 02/05/16) Nick Jaffer Janine Lapworth Sophie Lieberman John Penton Cathy Robinson (until 02/05/16) Edward Simpson Mark Warburton (Chair) (from 02/05/16) Simon Webb Natasa Zunic

ATYPICALS 2016 Deng Akot Katy Avery Emily Bailey Hughes Asha Boswarva Georgia Brindley Andrew Brophy Cait Burley Emma Campbell Airlie Dodds Nathalie Fenwick Holly Fraser Matt Friedman Kylie Harris Naomi Hastings Ava Karuso Stephanie King Micayla Laurence Sean Marshall Julia McNamara Paul Musumeci Kathleen Quere Patrick Richards Dominica Roebuck Julia Rorke Emily Sheehan Charlotte Tilelli Will Tomas David Wiernik

ATYP Annual Report 2016

DONORS Australian Theatre for Young People is proud to acknowledge the support and encouragement received through individual donations. These generous donors have contributed to the Company in 2016. Their continued support is essential for the on-going viability of the Company. Producers’ Circle Donors Antoinette Albert Robert O Albert AO RFD RD & Libby Albert Martin Dickson AM & Susie Dickson Nancy Fox & Bruce Arnold Alexandra Holcomb & Andrew Bird Michael Ihlein & Gosia Dobrowolska Tim Kennedy Rebel Penfold-Russell OAM Edward & Anne Simpson Guardians ($10,000+) Rose Byrne Martin Dickson AM & Susie Dickson Alexandra Holcomb & Andrew Bird Michael Ihlein & Gosia Dobrowolska Ian & Wendy Macoun Susan Maple-Brown AM Robert Rich Mark & Jacqueline Warburton Rebel Wilson Superstars ($5,000 - $9,999) Antoinette Albert Robert O Albert AO RFD RD & Libby Albert Ruth Armytage AM Nancy Fox & Bruce Arnold Tim Kennedy Glynn & Graham O’Neill Rebel Penfold-Russell OAM Edward & Anne Simpson Champions ($1,000 - $4,999) Alison Baly & Michael Hawkins Keith Bradley AM & Kerry O’Kane Andrew & Kate Buchanan Richard Cobden SC & Gary Leeson

Rebecca Davies Kylie De Havilland-Sweeny Andrew Deane & James Buck Jr J.B. Fairfax AO Michael Falzon Monique Farmer Sietel Gill Nick Jaffer Dr Sophie Lieberman Carina Martin John & Susannah Penton Greeba Pritchard Olev Rahn & Jillian Broadbent AO Richard Rasker Kate Sexton Janine Sidhom Nicole Webb Simon Webb & Sally Anderson Jane Westbrook The Willink Family Allies ($500-$999) Peter Curry Fiona Dewar Mark & Sandra Johnson Amy Maiden Danielle Manion & Damien Sturzaker Natasha Marshall Teoh & Dr Bobby Teoh Juztin McGuire Derek Minett & George Dodd Dr David Nguyen & Shawn Stevenson Lesley Sweeney Buddies ($200 - $499) Nicole Abadee & Robert McFarlan Ali Brosnan Dr Caroline Butler-Bowdon Sophie Carter Rachel Da Costa Peter Eichmann Daniel Ekins Melissa Fleming & Gavin Boswarva Victoria Hope Charlotte Howley Beverley Johnson

ATYP Annual Report 2016

Janine Lapworth & Toby Roberts Jane & Richard Malcolmson Eleanore Mattana Steven Miller Barbara Mobbs Penelope Nelson David Parker Zoe Pollock Catherine Reid Catherine Robinson & Philip Bowman Dr Penelope Stannard Ingrid Selene Michiko Shibagaki Kristin Williamson & David Williamson AO Andrea Wilson Tom & Denise Yim Mitzi Zaphir Diane Zhang & David McRae Natasa Zunic Business and Government Australia Council for the Arts Arts NSW City of Sydney Foundations ATYP Foundation Baly Douglass Foundation BBM Youth Support Bird-Holcomb Foundation Pty Ltd Creative Partnerships Australia Copyright Agency EFS Foundation Greatorex Foundation Graeme Wood Foundation James N Kirby Foundation Limb Family Foundation Macquarie Group Foundation St George Foundation Tim Fairfax Family Foundation Vincent Fairfax Family Foundation Westpac Foundation Yim Family Foundation

In-Kind Donors Commonwealth Bank of Australia - Costumes Annie Ross - Costumes Leonie Cambage - Furniture Companies Camp Sugar Productions Carnivore Films Egon Zehnder Fishy Productions Interbrand King & Wood Mallesons Mullinars Casting Consultants PwC Rebelstudio UBS Australia Limited Walsh Bay Arts & Commerce Corporation Sponsors Haymes Paint Impact Communications Australia Optimiste Wines of Mudgee ATYP is assisted by the NSW Government through Arts NSW; and the Australian Government through the Australia Council for the Arts. ATYP wishes to gratefully acknowledge the continuing support of the ATYP Foundation. The capital funds raised through the Foundation help build a sustainable financial platform on which the Australian Theatre for Young People can thrive. ATYP Foundation Supporters The sole purpose of the ATYP Foundation is to provide money, property or other benefits to Australian Theatre for Young People for the purpose of advancing, developing and promoting the performing arts. ATYP Foundation Advisory Committee Angela Bowne SC Chair Antoinette Albert Michael Ihlein (until 02/05/16) Robert Rich Mark Warburton

ATYP Annual Report 2016

Schedule of Voting Donors At 31 December 2016 the following organisations and individuals have obtained the status of voting donor. Antoinette Albert Robert O Albert AO RFD RD & Libby Albert Albert Investments Andrew Thyne Reid Trust Ruth Armytage AM Chum Darvall Estate of the Late Nicholas Enright Carolyn Fletcher AM Henry Herron Peter Hunt Michael Ihlein & Gosia Dobrowolska Millennium Pty Ltd King & Wood Mallesons Robert Rich Graham O’Neill Ezekiel Solomon AM Robert Salteri Jill Wran Turnbull Foundation Schedule of founding donors Antoinette Albert Robert O Albert AO RFD RD & Libby Albert Albert Investments Andrew Thyne Reid Trust Ruth Armytage AM Miles Armstrong Angela Bowne SC Felicity Atanaskovic Ian Brown Jillian Broadbent AO Michael Carapiet Hilary Caldwell Dixie Coulton & Donald Grieve Phil Costa Chum Darvall AM and Belinda Darvall Richard Cropley Achim & Anthea Drescher Francis Douglas QC & Dr Lisa Cantamessa Carolyn Fletcher AM

Estate of the Late Nicholas Enright Mark Hopkinson & Michelle Opie Hal Herron Christopher Johnson Michael Ihlein & Gosia Dobrowolska John King Judith Joye Macquarie Bank Foundation The Late Ann Lewis AO Millenium Pty Limited King & Wood Mallesons Dr Helen Nugent Raymond Nelson Glynn O’Neill James O’Loghlin Frances Roberts Robert & The Late Helen Rich Josephine Walton Ezekiel Solomon AM Jane & Pat Wilde Sarah Whyte Yengarie Pty Ltd Jill Wran David Zobel & Emma Lee Ross Youngman & Veronica Espaliat

ATYP Annual Report 2016

PARTNERS & SUPPORTERS Government Partners

Trusts and Foundations

Macquarie Group Foundation

Associate Partners

Scholarship Partners