ATYP 2022 Annual Report

Annual Report

Australian Theatre for Young People

“ATYP holds a great place in my heart. Being part of having young people be seen and heard, as who they are, is magical.”

– Annabel Mason, ATYP parent

ATYP acknowledges that we are a company that works and creates on the traditional lands and waters of First Nations people. From our base on Gadigal land, we run programs in Aboriginal and Torres Strait Island nations across the country. We pay our respect to Elders past and present.

Always was, always will be, Aboriginal land.

Photo by Jonathan Cohen

Our Vision

To enrich the lives of young Australians through transformative theatre experiences. We do this through three aspirations:

1 Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.

2 Deliver inclusive opportunities that connect young people with the professional theatre industry.

3 Be a leading advocate for youth arts and its social impact.

ATYP is guided by four long-term strategies. They provide holistic thinking that sits across all company activities and discussions. They are:

• National Impact – ensure programs resonate locally, regionally and nationally.

• Artistic Excellence – deliver programs with artists, companies, venues and events synonymous with artistic excellence.

• Innovation – embrace the evolving nature of storytelling as it relates to young people and celebrate risk and experimentation.

• Collaboration – be a meeting point between the professional theatre industry, youth arts sector, educational institutions and non-arts community for the benefit of young Australians.

Artistic Director’s Report

It’s difficult to articulate the collision of events that were navigated by ATYP in 2022. Throughout the year the words that rang in my head were not from theatre, but from Charles Dickens:

“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair, we had everything before us…”

The year was one of the most significant in the company’s 60-year history; a period of fundamental change that was foreshadowed at least two years earlier if not before. To understand ATYP in 2022, it's important to have a sense of its context.

ATYP’s application for 4-year operational funding from the Australia Council (2021–2024) was rejected without explanation in 2020, in the midst of the country’s first COVID lockdown. The news was a bombshell not just for ATYP, but the entire youth arts sector.

Shortly following the announcement, the Ministry for the Arts launched the RISE, COVID recovery initiative. Facing the prospect of losing operational funding in the year the company moved into a new, purpose-built $100 million venue provided by the State Government, ATYP applied for over $750,000 from the Federal Government through RISE to launch the company in the new venue with a fully professional youth theatre season. The application was successful.

The strategy was to use the move to ATYP’s new world-class facilities on Pier 2/3 in the Walsh Bay Arts and Cultural Precinct to launch the new Rebel Theatre with a

professional subscription season targeted at an intergenerational audience of 13+. Drawing on the company’s success developing and staging outstanding theatre with young people, we would package together a season that showcased the very best the company could deliver – five shows in a row. Each production could engage the audience from the previous show while drawing in new people.

The Board and Executive team planned to leverage the publicity and goodwill surrounding these events to spearhead an advocacy campaign to secure interim or long-term support for the company. Rather than pull back all operations heading into the new venue, the intention was to clearly demonstrate the exceptional impact of ATYP in such a way as to motivate the government to offer support for the company in the short to mid-term. The goal was to use the launch of the venue and success of the new season to engage the people that would need to be called upon in the second half of the year to assist in securing funding relief.

Of course, the careful planning in 2020 couldn’t take into account the ever-evolving impacts of COVID. The launch of the 2022 season, scheduled for September 2021, was delayed due to the 4-month NSW lockdown, as was the

completion of our venue on Pier 2/3. At the end of 2021, ATYP’s highly experienced Marketing Manager was lured back to the UK with a role as Marketing Manager at the Tate Modern, at a time when the industry started experiencing a national shortage of skilled marketing personnel … along with Production Managers, Stage Managers and technical crew.

So ATYP began 2022 in an unfinished venue, without a Marketing Manager, just as COVID restrictions were eased and the first of many ‘waves’ of infection tore through the community, impacting staff, tradies, delivery drivers, technical crew, creative teams and audiences. While the wider perception was that the world was returning to normal, in the theatre industry in Sydney, it was anything but.

When four members of the creative team tested positive for COVID days before the start of rehearsals, ATYP made the decision to delay the first production, The Deb by Hannah Reilly and Megan Washington, by three months. The decision cost the company $52,000 – the first of an ongoing series of unforeseen COVID expenses. Indeed, in the first three months of activity in 2022, ATYP had spent more than $15,000 on Rapid Antigen Tests alone.

So while the launch of the new venue and the opening of The Deb was a creative triumph, the experience was tempered by the extraordinary hardship and expense of getting the show on stage, coupled with disappointing audience attendance. This proved to be the recurring theme of 2022.

Because the border between Australia and New Zealand had been closed for six months we had been unable to conduct the last creative development workshop for The Resistance by Kip Chapman, so the decision was made to

postpone the show to 2023. Later in the year, with Box Office returns for productions falling far short of budget projections, it was also agreed to cancel the season of A Clockwork Orange: A Play with Music. The season of five professional productions was then condensed to three.

While the rolling COVID waves had a significant impact on audiences across the country, workshop participants and schools proved more resilient. By the end of 2022, weekly and holiday workshop programs had returned to enrolment numbers the company was experiencing prior to its move out of the precinct in 2018. Likewise, ATYP’s education numbers grew steadily throughout the year. The launch of new education programs such as the ATYP Theatre Flat-Pack and the Intersection Festival were hugely successful and school engagement both within NSW and nationally continued to grow throughout the year.

The company was also able to make a substantial impact by leading a national advocacy campaign for the youth arts sector. Thanks to funding secured from the Ian Potter Foundation, ATYP established a quarterly industry e-news detailing youth performing arts activity around the country, a quarterly online industry meeting, and hosted FUSE, a national youth arts summit. The company also united the industry to make pre-budget submissions to the Federal Government signed by over 30 of the youth arts sector’s leading companies and managed to unite the sector to speak with a united voice in the consultation for the development of the National Arts and Cultural Plan. Indeed, more was achieved in the first year of ATYP’s leadership of the youth arts advocacy than had been achieved in the decades prior.

It needs to be acknowledged that this advocacy would not have had the same impact had it not been for the guidance and extraordinary generosity of Board member Andrew Johnson, who invested considerable time and his own resources to attend meetings, lead discussions, follow up government departments and advise on the strategy and delivery of activities.

Indeed, one of the benefits of enduring extremely difficult times can be the way adversity builds community. This was clearly evident from the ATYP Board. The executive team was very grateful for the very generous support of Nicole Webb in all things marketing and publicity, Gill Larkins for the work with the Finance Committee, Donna Worthington for guidance with strategy and risk, Samara Hand for her hands-on development of the Reconciliation Action Plan and Chair Chris Puplick for leading the proceedings launching the venue.

Towards the end of 2022, the executive team implemented a company restructure, reducing staffing levels by 24% and cutting the production program to reduce expenses for 2023. This included Executive Directors Amanda Wright and Johanna Mulholland dropping to four days per week along with Education Manager Jacqui Cowell, and the termination of three coordinator roles. While there was a great deal of sadness associated with the loss of staff, I am confident the changes retained the capacity for the company to tier up again if (and when) additional funding for programs is secured.

While all staff worked extremely hard throughout the year, I would like to acknowledge the extraordinary contributions of my colleagues Amanda and Johanna. In the 25 years I have spent working in theatre companies, I have never endured such an extended and relentless period of adversity. It pushed all personnel beyond their limits. Were it not for their resilience, passion and

unending commitment to the company and its stakeholders, ATYP would not have emerged from the year with the strategic advantages that were generated despite the obstacles.

As we look to the future, the company has cause for cautious optimism. The artistic success of the productions in 2022 has seen growing interest from artists, festivals and professional theatre companies to work with ATYP on new projects. The company has forged strong relationships with State and Federal Government departments as well as the Australia Council for the Arts. Our Workshop and Education programs are breaking new ground, generating partnerships locally, regionally and nationally and the company is engaged with more Trusts and Foundations than ever before. There is also strong international interest in the company, with international artists securing funding to conduct internships with ATYP in 2023 and offers for project collaborations coming from Southeast Asia and Europe.

While these remain deeply uncertain times, ATYP has consolidated its reputation as one of the world’s leading theatre companies that specialises in working with children and young people. I look forward to seeing what 2023 brings.

Fraser Corfield ATYP Artistic Director & CEO

“Being part of this unique community was honestly, one of the best experiences I have ever had and something I am so grateful to have been part of. I can’t wait for the future children of ATYP to experience what I did.”

– Angelina Grigoriadis, ATYP Workshop Student

Shack, 2022. Photo by Clare Hawley

Chair’s Report

At last! At last, we achieved our great ambition – to open a brilliant new show in a brilliant new venue.

In April we premiered The Deb, a wonderful new Australian musical with book and lyrics by Hannah Reilly and music and lyrics by Megan Washington. Our Artistic Director Fraser Corfield assembled a remarkable cast of talented young Australians including Katelin Koprivec, Charlotte MacInnes and Monique Sallé with support from established artists Tara Morice and Jay Laga’aia. I would specifically like to acknowledge the support we received from ATYP Alumni Rebel Wilson for this show, which was the first production in our new venue. The Deb was a vibrant hit and a major artistic success, so much so that it was nominated as one of ‘The Fifteen Greatest Australian Musicals’ by The Guardian, as well as another ATYPcommissioned piece, Fangirls by Yve Blake.

Our artistic year was rounded out with a revival of a great favourite M.Rock and the premiere of an entirely new work; an adaptation of Favel Parrett’s Past the Shallows. This last play explored some very dark and challenging themes confronting young people in their lives today and was pitched at NSW High School students, as the book itself was part of the 2022 English syllabus. Working more closely with the State education sector provided some important opportunities for us in the future.

Despite a year of outstanding artistic success we continue to face uncertain financial times. I think everyone in the sector appreciates that it will take some time for audiences to return to

their pre-COVID levels. During that tremendously difficult period, many people changed the way they interacted with arts activities and the rise of online streaming services has impacted how and where young people spend their limited discretionary dollars. I know that young people identify cost-of-living issues as their top priority and consequently, persuading them to spend money on theatre tickets becomes increasingly problematic. In addition, it is clear that subscribers are no longer committed to buying ‘seasons’ which are still subject to COVID-19 disruptions, and people who do buy tickets often do so at the last minute.

All this makes financial planning exceptionally difficult for our staff and I want to recognise what a great job they have done in managing all of these challenges.

The financial issues have been at the forefront for the ATYP Board this year and the Finance Committee (led by Gill Larkins), together with the senior Executive team and the ATYP Foundation have spent many hours ensuring that our financial position remained stable throughout the year. During 2022 we continued to gather data that will be critical in supporting our 2023 submission to the Australia Council for a renewal of funding support in 2025.

In the meantime, I am pleased to report that our efforts to attract additional financial support from private donors, philanthropic trusts and other government agencies have been achieving great success, and have allowed us to expand some of our education, writing commissions and outreach activities, particularly into regional NSW.

We did not manage to complete all the constitutional amendments I mentioned in last year’s report but there is a clear timeline for those to be finalised in early 2023. The constitutional amendments also have some impact on aspects of the internal management reforms which took place this year. In other sections of the Annual Report, you will see details of those, but suffice to say that we had to undertake some painful ‘downsizing’ and lost the services of a number of valued and respected members of staff. I thank each of them for their contribution.

At Board level, we had no major changes in membership and I express my sincere appreciation for all the hard work carried out on both traditional Board matters and in support of members of the Executive Team. We continued our involvement with the Observership Program and were fortunate to have Mary Fifita with us last year bringing her enthusiasm and understanding of key financial issues that benefited all of our discussions. Of particular success was an initiative whereby two representatives of our Youth Advisory Body (lovingly nicknamed ‘YABbies’) sit as observers at Board meetings and are given the opportunity to participate in our discussions. I thank the 2022 observers Lily Hayman and Jack Walton for their service.

The NSW State Government and its Arts Ministers, Don Harwin and Ben Franklin, have been fantastic supporters of ATYP, as has their State Agency, Create NSW.

Next year will again feature great challenges as we work to get Box Office back to preCOVID levels, having already achieved this for workshops and online participation with our programs. The 2023 year will open with The Resistance, another piece that explores issues relevant to today’s young people. We are also anticipating the release of the Federal Government’s National Cultural Policy and I pay tribute to Fraser in particular for the role he has played in coordinating input to this process.

My Board members have been most generous in giving time, thought and commitment to their responsibilities. The members of the ATYP Foundation have continued to stand with us to provide support at critical times, and our staff – led by Fraser, Amanda and Johanna – have been absolutely stalwart in their efforts to get us through another year of unprecedented and unpredictable challenges in pretty robust shape.

In my 2020 report, I committed to keeping ATYP as the leading company in the national Youth Arts Sector; in 2021 I promised that we would make our first season in our new home a watershed moment in the company’s history. I am pleased to say that each of those commitments was met and continues to be part of our ongoing program as we look forward to our 60th anniversary in 2023, with great confidence and enthusiasm.

Chris Puplick AM ATYP Board Chair

Photo by Clare Hawley

2022 Productions & Events

We started 2022 with a vision to stage five professional productions in the Rebel Theatre. Regrettably, due to the ongoing and complex issues associated with COVID-19 ATYP had to postpone The Resistance and cancel A Clockwork Orange: A Play with Music.

The remaining three productions The Deb, M.Rock and Past the Shallows were met with critical acclaim, though audiences were impacted and proved cautious to return to the theatre.

THE DEB

A co-production with Camp Sugar Productions Principal Production Partner ATYP Foundation

by Hannah Reilly

A new Australian Musical

Photo by Luke Stambouliah

“Smart, satisfying Aussie musicals are rare. This one breaks the drought.”

– Sydney Morning Herald

High school outcast and whimsical megadork Taylah longs to be the princess in her own fairy tale. Which isn’t easy in Dunburn – a drought-stricken Aussie town struggling for survival, where cool girls and footy hunks lead the pack. But when her hyper-woke, inner-city cousin Maeve comes to stay, the pair join forces on a quest to make their mark on the best night of the year: the town’s annual Debutante Ball. In their search for social redemption and the spotlight, chaos ensues – along with a whole lot of fake tan, lace, and diamante tiaras for ya up-do.

Conceived and co-directed by the hilarious Hannah Reilly (Winner of the 2019 Rebel Wilson Comedy Commission) with original music by multi-ARIA Award-winning Megan Washington, The Deb is a heart-warming and uproarious coming-of-age story about friendship, courage and the beauty of coming out as yourself.

Cast

Georgia Anderson, Carlo Boumouglbay, Alexander Cheung, Jeffrey Dimi, Mariah Gonzalez, Catty Hamilton, Katelin Koprivec, Jay Laga’aia, Drew Livingston, Charlotte MacInnes, Tara Morice, Jackson Parker, Quinton Rich, Monique Sallé, Amin Taylor, Jordan Thompson, Jake Tyler, Jenna Woolley, Jack Wunsch

Performed at The Rebel Theatre

Opened

22 & 23 April 2022

Intended Season

16 February–27 March 2022

Actual Season

8 April–4 June 2022

Performances

32

Attendance 3,520 Box office $111,981.92

Writer

Hannah Reilly Music

Megan Washington

Story & Lyrics

Hannah Reilly & Megan Washington Director

Hannah Reilly

Associate Director

Fraser Corfield

Music Director/Vocal Arranger

Zara Stanton

Music Producer

Jethro Woodward

Arranger/Sound Designer

Pru Montin

Costume Designer

Mason Browne

Set & Props Designer

Emma White

Lighting Designer

Martin Kinnane

Choreographer

Sally Dashwood

Stage Manager

Adrienne Patterson

Production Manager

Amber Silk

Associate Music Director

Lucy O’Brien

Associate Costume Designer

Veronique Benett

Assistant to the Choreographer/Swing

Gelina Enriquez

Assistant Stage Manager

Krystelle Quartermain

Interim Assistant Stage Managers

Saint Clair, Caity Cowan, Eva Tilley, Paisley Williams

Workshop & Development Co-Director/ Choreographer

Amy Campbell

Workshop & Development Music Director

Victoria Falconer

Fight Director

Tim Dashwood

Assistant Set Designer

Moni Langford

Assistant Stage Manager, Costume

Jaime Peterson

Assistant Stage Manager, Mic Technician

Jessica Pizzinga

Assistant Stage Manager, Mic Technician

Kaitlyn Crocker

M.ROCK

by Lachlan Philpott

Photo by Luke Stambouliah

“This happy, intergenerational play is as inspirational today as it was in 2014.”

– Stage Whispers

“It is a humorous work, full of wonder and inspiration, that explores the meaning of life, in terms of its interminable thirst for something better.” – Suzy Goes See

“M.Rock is a beautifully crafted exploration of intergenerational relationships, friendship, adventure, and wonderfully challenges preconceptions of age and convention.” – WeekendNotes

Tracey is 18 and a little impulsive. She’s meant to start a nursing degree in March, but right now she just wants to dance all night. So she heads off on a European holiday, clutching the lucky rabbit’s foot her grandmother gave her.

Mabel is your typical grandmother. She plays piano for The Players and knits for the Africa appeal. But when Tracey skips her flight home and doesn’t get in touch, Mabel leaves her stable life to go find her. So what if she’s never left Bankstown? She ends up in Berlin, and before long she’s over her jetlag, clubbing until sunrise with people who seize life with both hands. As the nights go on, Tracey and Mabel keep missing each other, but they’re finding themselves.

After burning the house down in our original 2014 sell-out co-production with Sydney Theatre Company, Valerie Bader shines brighter than a mirrorball as Mabel in this life-affirming play by Lachlan Philpott. Whether you’re a grandparent or a grandkid, young or simply young at heart, Fraser Corfield’s delightful production makes you glad you put on your pearls.

Writer

Lachlan Philpott Director

Fraser Corfield Designer

Melanie Liertz

Dramaturg

Jane FitzGerald

Sound Producer

Jonny Seymour

Lighting Designer

Jasmine Rizk

Associate Production Manager

Taryn Brown

Stage Manager

Sorie Bangura

Dialect & Voice Coach

Benjamin Purser

Sound Operator

Kaitlyn Crocker

Assistant Director

Kira Leiva

Assistant Stage Manager

Aaron Smith

Intern Assistant Stage Manager

Alexis Worthing

Observing Director

Jacqui Cowell

Cast

Valerie Bader, Milena Barraclough Nesic, Bryn Chapman Parish, Masego Pitso,

Darius Williams

and featuring Venus Guy Trap

Performed at

The Rebel Theatre

Opened

24 June 2022

Intended Season

3–29 May 2022

Actual Season

21 June–19 July 2022

Performances

Box office

$22,804.5

Photo by Clare Hawley

National Youth Performing Arts Summit

From 18–20 July ATYP hosted FUSE at our new venue on Pier 2/3.

This gathering saw national youth performing arts leaders and stakeholders coming together for the most significant in-person event for the sector since the world was changed by COVID-19. The Summit was facilitated by arts advocate, philanthropist and experienced executive coach, Este Darin-Cooper, and featured conversations with artists, arts workers and managers, along with peak bodies, governance and research partners including Ros Abercrombie of Regional Arts Australia, Gillian Calvert AO of Life Without Barriers, Christina Chiam of Creative Partnerships Australia, Adrian Collette AM of the Australia Council, Katherine Conner of PAC, Dr Alexia Derbas of Diversity Arts Australia, The Hon Benjamin Franklin MLC – NSW Arts Minister, Andrew Johnson of Thrive International, Kathryn Mandla of yourtown, Luke Rycken of Australian Youth Affairs Coalition, Antonia Seymour of Arts on Tour, Kim Tran of Live Performing Arts Australia, Dr Bryoni Tresize of UNSW and Tandi Palmer Williams of Patternmakers.

Break-out sessions included discussions about participation, training, upskilling and leadership in youth arts. One of the key outcomes from the event was a submission to Minister Tony Burke cosigned by 35 companies calling for youth engagement with the arts to be made a priority of the new National Cultural Plan.

FUSE was made possible by support from the Ian Potter Foundation, Create NSW and the Australia Council for the Arts which enabled us to offset the cost of attendance for the 135 delegates and speakers in attendance.

THE RESISTANCE

by Kip Chapman

A co-production with Auckland Theatre Company

Photo by Luke Stambouliah

Intended Season 28 June–24 July

As an international collaboration between New Zealand and Australia, the impacts of COVID-19 made it impossible to undertake the necessary developments on The Resistance before it was due to be staged in June 2022. The production was postponed to early 2023. Development of this work was completed across 2022, including a weeklong workshop at ATYP in May.

A CLOCKWORK ORANGE:

by Anthony Burgess

Photo by Luke Stambouliah

Photo by Luke Stambouliah

The ongoing impacts of COVID-19 saw ATYP regretfully cancel the full production of A Clockwork Orange: A Play With Music

A two-week development was carried out with the creative team and cast, which culminated in a showcase for industry and invited guests.

Writer

Anthony Burgess Director

Fraser Corfield Designer

Dan Potra

Sound Designer & Composer

Pru Montin

Lighting Designer

Martin Kinnane

Stage Manager

Sorie Bangura

Cast

Jeremi Campese, Jordan Dulieu, Isaac

Harley, Kira Leiva, Tracey Mann, Jo Turner,

Darius Williams, Anthony Yangoyan

Development Showing

12 August

Attendance 95

Intended Season

16 August–11 September

A co-production with Archipelago Productions

PAST THE SHALLOWS

Written by Julian Larnach

Based on the novel by Favel Parrett

Photo by Luke Stambouliah

“Past the Shallows was an incredibly poignant play, filled to the brim with many emotions … The three actors were, in my opinion, outstanding.”

– Tasmanian Times

“Nothing short of epic.” – Stage Whispers

“A tour de force of fine performance.”

– Theatre Read

Harry and Miles live with their father, an abalone diver, on the wild and beautiful south coast of Tasmania. With their father largely absent, they look after each other as best they can. Over a school holiday, while Miles works on the boat, Harry begins an unlikely friendship that will upset the delicate balance holding this unpredictable world together.

Adapted by playwright Julian Larnach from Favel Parrett’s award-winning debut novel, Past the Shallows is an ode to brotherhood and a heart-wrenching, lyrical exploration of mortality, family secrets and the capacity for both brutality and tenderness within contemporary masculinity.

Acclaimed director Ben Winspear directs a powerhouse cast of three young actors playing multiple roles in the final production of the year. Let yourself be swept away on the tide of this compelling and deeply poignant story that will stay with you long after the lights come up.

Author

Favel Parrett Writer

Julian Lanarch

Director & Dramaturg

Ben Winspear

Set & Costume Designer

Keerthi Subramanyam

Sound Designer

Glenn Richards

Lighting Designer

Jason James

AV Designer

Nema Adel

Production Manager

Taryn Brown

Stage Manager

Hannah Crane Cast

Meg Clarke, Ryan Hodson, Griffin McLaughlin, Ben Jackson (Understudy)

Photo by Bec Herkess

Fresh Ink National Mentoring

In 2022, Fresh Ink welcomed Brisbane back to the program for the first time since 2016, as well as continuing groups in Darwin, Hobart and Sydney. 16 emerging playwrights aged 18–26 across the 4 states wrote two short plays, with mid-year and end-of-year readings for each of the cities. The program in Brisbane was co-presented with La Boite and mentored by Saffron Benner, in Darwin, it was co-presented with Brown’s Mart and mentored by Sarah Reuben, in Hobart it was co-presented with Archipelago Productions and mentored by Belinda Bradley and the Sydney group was mentored by ATYP’s Resident Dramaturg, Jane FitzGerald.

“I gained a realistic writing practice… as well as some beautiful relationships with three fantastic like-minded writers and the incomparable Jane FitzGerald. I also gained confidence in my style and writing, and having professional actors/directors work with my script was a wonderful learning experience.”

– Participant, Fresh Ink Sydney

National Studio

In 2022, ATYP’s National Studio was once again held in person at Bundanon. After two years online, the benefits of the in-person model were strongly felt in peer connection, mentor-peer connection, mentor-mentor connection, and a sense of a focussed and inspiring environment in which to write in a committed and supported way. 18 emerging writers aged 18–26 from 5 states came together and participated in masterclasses, group tutorials, one-on-one mentoring and industry sessions from award-winning playwrights Chris Isaacs (WA) and Anchuli Felicia King (VIC/UK), as well as Resident Dramaturg Jane FitzGerald. The participants created eight-minute pieces, ten of which went on to be selected to be part of Intersection: Undercurrent.

“It’s not often in a young person’s life you come across the most genuinely caring creatives who want to help you achieve everything you ever dreamed of. Thank you for giving me the space to dream and learn, what an amazing experience.”

– Dilroop Khangura, NSW participant, 2022 National Studio

“I was so moved and inspired by the impact that the National Studio had on this year’s group of emerging playwrights, all between the ages of 18–26 – and in turn, on myself and my colleagues as writing mentors. The National Studio workshops not only bolstered the creativity and nurtured the voices of these exciting young writers – giving them space to grapple with urgent themes and explore the stories that preoccupied and inspired them – but it also clearly had an enormous impact on them as young people.”

– Anchuli Felicia King, Mentor, 2022 National Studio

Cultivate: Emerging Dramaturgs Program

2022 saw the launch of ATYP’s inaugural Cultivate program for emerging dramaturgs who identify as First Nations or as a Person of Colour. Four emerging dramaturgs were selected – Varuna Naicker, Clement Rukundo, Ayah Tayeh and Adam Yoon, and the program started in September with monthly sessions. The program aims to provide participants with skills development and industry connections and is mentored by Jenevieve Chang and Jane FitzGerald. The participants are also involved in other aspects of the writing program such as Intersection.

ATYP Foundation Commissions

In 2022 we once again called for pitches for the ATYP Foundation Commissions after a hiatus in 2021. The Junior (10–13 years) commission was won by Michael Costi for his play The Reboot, and the Senior (14–17 years) commission was won by Danny Ball for his play Scab.

In terms of previous Foundation Commissions, Soul Trading by Kate Walder (10–13 years) was produced by Canberra Youth Theatre, Shack by George Kemp (10–13 years) was produced through ATYP’s workshop program, and Cry Havoc by Emme Hoy continued its development, supported by Resident Dramaturg Jane FitzGerald.

YUNGSTR

This project, designed to support satirical writing by young voices, was initiated and funded by Artology and the Graeme Wood Foundation. Eight emerging writers aged 18–26 were selected from 24 applications, and attended an in-person 2-day weekend workshop at ATYP in April, led by satirist and writer Vic Zerbst. Each participant delivered 2 satirical sketches and received a fee for their scripts.

12 of these sketches were selected to be filmed, with at least one filmed per writer. Two professional film shoots took place over 3 days, followed by editing. The 12 sketches were then uploaded to the YUNGSTR website (created by Anna Cerneaz and Graeme Wood) and distributed via YouTube, Facebook, Instagram and Twitter.

Scripts in development

In 2022 the Resident Dramaturg provided ongoing dramaturgical support to a number of playwrights for the following scripts:

• Converted! by Vic Zerbst, winner of the 2020

Rebel Wilson Comedy Commission

• Amber by Nikita Waldron, winner of the 2021

Rebel Wilson Comedy Commission

• The Resistance by Kip Chapman

• SAAM (previously Seeing Double) by Madelaine Nunn, winner of the 2020

Martin-Lysicrates Prize

• Ali in Zombieland by John Armstrong

• Uncanny Valley by Alex Vickery-Howe

• Intersection: Bloom – 10 short plays by the playwrights of the 2021 National Studio

Photo by Clare Hawley

Workshops

Overview

ATYP’s high-quality workshop programs provide an entry point to the arts for children and young people aged 5–26 who are interested in theatre and performance, whatever their level of experience. Participants come together to create their own work, express their own views and perform their own stories. Led by some of the industry’s most experienced tutors, all of whom are working professionals, the workshops enable young people to be challenged, to build self-confidence and discover valuable insights into the dramatic process.

The Workshops department enjoyed a year of growth in 2022 with increased numbers of enrolments across holiday and weekly programs, as well as an increase in scholarship placements.

Over the course of the year, there were both title and staffing changes and the Workshops department was once again separated into its own managed department. Claudene Shoesmith was appointed Workshops Manager and Emily Johnson joined the team as Workshops Trainee in March. Emily’s title changed to Workshops Assistant in December.

Most notably, 2022 was the first year since 2019 that the entire program was delivered in person, without interruptions from lockdowns and the need to move online. It was also our first year where the majority of our programs were delivered at ATYP’s new home venue in Dawes Point.

Holiday Drama Workshops

2022 was again a mixed year for the Holiday Workshops program. Our summer and autumn programs were a slower start to the year, with the winter and spring initiatives performing much better. Our autumn program was the first at our new venue in Dawes Point and was a welcome return to the area.

This year we were invited by the newly refurbished Bondi Pavilion to bring our programs into their spaces. We began running programs there as a satellite venue in spring 2022 and have continued to do so, due to the success of this venture. We also ran a program with the team at Orana Arts, where we sent an ATYP teaching artist to Trangie NSW in the winter holidays to run a series of workshops at the local school.

Weekly Drama Workshops

2022 was a very strong year for the Weekly Workshop program, with growth across the programs in semester 1 and semester 2.

Our weekly programs started with strong enrollment numbers throughout the course of semester 1. Several classes in the Yr 7–9 and Yr 10–12 age groups were expanded to meet the demand for places. Semester 2 classes also had very strong enrollment numbers and we continued the trend of expanding classes across the Yr 5–6 and Yr 7–9 age groups. All of our weekly programs were held at ATYP’s premises in Dawes Point, which has clearly had a very positive impact on the program.

This year we were invited by The McDonald College to be part of their extracurricular activities program, and we ran two classes per week in both semesters. These classes were initially small, but have grown each term with a loyal group of returning students. Despite the conclusion of the in-school Education program at the end of 2022, these classes will continue into 2023.

In 2022 we also launched the Young Industry Studio program, formerly known as the Theatre Makers program. These are a series of programs designed for experienced young creatives who want to take their skills to the next level. Learning from industry professionals, the ATYP Young Industry Studio brings the arts industry and young people together to grow and develop the creative leaders of the future. As a part of this, the Workshops department adapted a standard professional production model to stage the Junior Foundation Commissions. This culminated in a season of Shack by

George Kemp (2021 Junior Commission winner) in the Rebel Theatre in November. This program was an excellent addition to the suite of workshop programs and will be returning in 2023.

The figures below are inclusive of all The McDonald College and Young Industry Studio courses.

Industry Studio

2022 was a smaller year for the Industry Studio program with only a handful of offerings and smaller numbers of participants. The Workshops department will be dedicating more time in 2023 for planning and development to re-establish and grow our courses for the 18+ community.

Photo by Tracey Schramm

Education

Overview

The ATYP Education program includes a range of onstage, online and face-toface programs for teachers and students Australia-wide. ATYP offers a range of workshops and productions throughout the year for primary and secondary schools. Increasingly these programs are available online through our free ATYP On Demand platform, allowing students across Australia to access an ATYP production or workshop.

In April 2022 Monique Johnstone resigned as Deputy Education Manager. George Kemp started as Education Coordinator in May 2022. Lycia Gunnawan acted as Interim Education Coordinator before George was appointed.

With the move to Pier 2/3, we have been able to grow our student workshop program with live workshops for primary and secondary school groups at our venue. We also programmed school shows in The Rebel across all 2022 productions. We sold out 15 schools shows in Sydney for Past the Shallows and had strong numbers across other productions.

There were school shows for all three 2022 productions. These included a post-show Q&A with actors and creatives, facilitated by the Education team.

ATYP On Demand Plus

In 2022 we rolled out our first full year of On Demand Plus, a complete education package that utilises literacy and drama strategies to explore content in the primary curriculum. A subscription provides access to the platform for up to 20 teachers within a school, and we had 20 subscription schools across 5 states in Australia. The program was launched in 2021 with 6 trial schools which all signed on for an annual subscription in 2022.

ATYP On Demand

ATYP On Demand is our online learning platform, created to remove geographic and economic barriers for students and teachers across Australia who want to engage with the performing arts. By providing access to high-quality recordings of ATYP’s live productions, On Demand enables every school to have the best seat in the house. Membership is free of charge to students and teachers Australia-wide.

Teacher feedback was overwhelmingly positive, with many commenting on the impact the program had on students’ interest in books, writing, drama and poetry. They reported that On Demand Plus enhanced students' understanding of curriculum content. Benefits of On Demand Plus also include providing resource material to teachers delivering complete units of work, which enhances their teaching and learning strategies. We filmed Bringing Poetry Alive, the sixth unit in January 2022 in partnership with Poetry in Action.

School Workshops

School workshops are offered year-round across a range of dramatic pedagogies. They are closely aligned with areas of study in the school curriculum or with ATYP production content and are delivered at ATYP, in schools or online.

In 2022, we partnered for a second year with The McDonald College, a premier performing arts high school in Sydney. ATYP provided 5–6 Teaching Artists to teach weekly drama classes from K–12. Teaching Artists also directed junior and senior productions at the college throughout the year. The partnership was a wonderful opportunity to grow our education partners, provide further employment for our teaching artists, and showcase ATYP plays.

In-person workshops

participants

The McDonald College workshops

workshops

Theatre Flat-Pack

Theatre Flat-Pack is an Education program launched in 2021, in which the company co-produces an ATYP-commissioned play in a school. ATYP provides an industry director, production support, schedules and licensing.

The Chapel, the Fire and the Dead Cat

Writer: Maddie Nunn

Director: Warwick Doddrell

Newtown High School of the Performing Arts

Performances: 6–8 April 2022

Student cast: 11

The Chapel, the Fire and the Dead Cat

Writer: Maddie Nunn

Director: Nick Atkins

Performances: 20–21 July 2022

St John’s XXIII Catholic College, Stanhope Gardens

Student cast: 10

Intersection Festival: Bloom

Intersection Festival was a new and innovative Education program launched in 2022. The festival allows students and teachers the opportunity to work with ATYP to present brand-new Australian stories in The Rebel Theatre.

This program allows students to develop their acting and staging skills by working on new scripts by emerging Australian playwrights in our National Studio program. The program also provides professional learning opportunities for teachers to refine their directing and staging skills.

The Intersection Festival showcase was a huge success, with a sold-out season of families and friends of the students. It was an inspiring night of enthusiastic performances and conversation with the National Studio writers, who met the young actors who performed their work.

Teacher Professional Learning

There were 3 Professional Learning events in 2022, one online and two face-to-face workshops.

“Thank you for all your hard work putting this festival together and for your support and direction of them on the day. It is such a wonderful opportunity for students. Our girls got so much out of it and their parents were blown away. So, thank you for allowing them to have such a memorable and worthwhile experience. If only our rehearsal spaces at school had the same view.”

– Caroline Rowland, OLMC Parramatta

“[Intersection Festival: Bloom] was so positive and the kids are still buzzing from it. The whole team was professional, supportive and made our young people feel confident and important. Thank you!”

– Clare Anstey, Katoomba High School

Photo by Georgia McGinness

Photo by Alice Boshell

Development

Overview

ATYP is a not-for-profit organisation that relies on philanthropic support to fund core programs and productions and to keep our activities accessible to and inclusive of all young people. The support of individual donors, trusts and foundations is critical to the company’s growth and success. ATYP gratefully acknowledges all donations received in 2022. In April, the Vincent Fairfax Foundation (VFFF) awarded a surprise, untied grant of $180,000 to ATYP in celebration of its 60th anniversary. The VFFF has supported ATYP for over 20 years and it was an honour to be recognised for ATYP’s work advancing the independence, social purpose and future security of young people.

Funding Activities

Producers’ Circle

Launched June 2022

Yearly membership is open to those 18+ and requires a contribution of $1,350. This includes a tax-deductible donation of $1,000 to our Production Fund. Yearly membership runs from 30 June 2022–30 June 2023, with the possibility to renew membership.

2022 Donor Circle members:

Pascal Adolphe, Michael Gow, Simonne Ingham, Michele Laidlaw, Chris Puplick, Paul Viles

Annual Appeal

May to June 2022

The 2022 Annual Appeal engaged the wider ATYP community to raise money to support the core funding of the company. The theme of the appeal was ‘They need smiles, we need you’, with the aim to inspire donations that would help directly support ATYP in delivering and developing engaging, creative and innovative programs and opportunities for us to show the world what young people are capable of. The response was smaller than in previous years which can be attributed to the launch of the Producers’ Circle, the timing of the appeal following a hugely successful capital campaign, together with the broader impact on giving seen across the sector and in Creative Partnerships Australia’s Giving Attitude report.

Donors

33

Amount Raised $20,800

Adèle Jeffreys Memorial Fund

In loving memory of ATYP’s late Learning Manager, Adèle Jeffreys, the Fund supports the development of interactive, participatory learning spaces that encourage creativity, inclusion and imagination. On 25 March, ATYP unveiled a plaque in our new space dedicated to Adèle's memory, honouring her passion, love, and contribution to ATYP. The first event held in the new venue, the ceremony was attended by Adele’s family and friends, and the ATYP community.

Through a successful Creative Partnerships

Australia Plus 1 campaign, donations were matched up to $50,000 with the total amount raised supporting ATYP to ensure our new home is a welcoming, inclusive space for young people engaging in person or digitally.

Donors

45

Amount Raised $118,537

Christmas Appeal

December 2022

The 2022 Christmas Appeal, titled ‘Help Keep Stars Shining’, encouraged our community to help improve access for all young Australians to participate in the world of theatre, regardless of economic, social or geographic barriers. We strive to offer opportunities for young Australians from diverse backgrounds to participate in our innovative, challenging, high-quality drama workshops, writing programs and production opportunities which are transforming young lives and careers.

Donors

5

Amount Raised $10,507

Individual Donors

ATYP warmly acknowledges the financial support and encouragement received from individual contributors in 2022. Without this philanthropic support, ATYP would not be able to deliver our bespoke programs and productions. As a not-for-profit, ATYP recognises this continued support is essential for the advancement of the company and enables us to continue to enrich the lives of young people through theatre each and every year.

Pascal Adolphe

Popsy Albert

Lucinda Armour

Ruth Armytage AM

Nicole Beyer

Jocelyn Brewer

Andrew Buchanan

Robert Cockburn

Schyler Cole

Catherine Cooney

Baly Douglass Foundation

Robyn Ewing

Carl Fairbairn

John & Libby Fairfax

Ben Franklin

Michael Gow

Simonne Ingham

Michael Ihlein & Gosia Dobrowolska

Michele Laidlaw

Janine Lapworth

Robert Love

Susan Maple-Brown

Aishlinn McCarthy

Derek Minett

Mini Muse co.

David Nguyen & Associates Dental Surgeons

John Penney

Chris Pubplick AM

Peter Rubinstein

Helen Slarke

Richard Stuart

Ervin Tankiang

Paul Viles

Jane Westbrook & Mark Ramsden

Graeme Wood AM & Anna Cerneaz

Yellow Creative Management Pty Ltd

Anonymous (44)

ATYP also acknowledges those who donated the cost of tickets for cancelled performances due to the COVID-19 pandemic.

Adèle Jeffreys Memorial Fund

Malcolm Anderson

Bill & Gay Antonopoulos

Lucinda Armour

Rowan Bate

Francesca Beddie

Angela Bowne SC

Emma Campbell

Zoe Castorina

Kar Chalmers

Rebecca Constantin

Yvonne Cowell

Jane FitzGerald

Nancy Fox & Bruce Arnold

Fran Hendricks

Ruth Horsfall

Glen Jeffreys

Beverley Johnson

Iley Jones

Michaela Kalowski

Susan Maple-Brown AM

John McCallum

Rebel Penfold-Russell OAM

Matthew Purcell

Sarah Reddie

Chris Stalley

Richard Stuart

Lisa Sullivan

Annabel Tate

Chris Tomkinson

Rachel van Eldik

Jane Westbrook & Mark Ramsden

Anonymous (14 )

ATYP Foundation

The ATYP Foundation’s purpose is to provide money, property and additional benefits to ATYP with the objective to advance, develop and promote the performing arts. ATYP gratefully acknowledges the ongoing support of the ATYP Foundation. The capital funds raised through the Foundation assist in maintaining a sustainable financial platform on which ATYP can thrive.

ATYP Foundation Advisory Committee

Antoinette Albert

Angela Bowne SC (Chair)

Chris Puplick AM

Schedule of voting donors

The following organisations and individuals have obtained the status of voting donor.

Popsy Albert

Robert O Albert AO RFD RD

Albert Investments

Ruth Armytage AM

Chum Darvall AM

Estate of the Late Nicholas Enright

Carolyn Fletcher AM

Henry Herron

Peter Hunt

Michael Ihlein & Gosia Dobrowolska

“I could not be more grateful for the scholarships I have been lucky enough to receive and all the time I have spent at the wharf. ATYP is such an incredible company and my time there transformed me from the shyest little kid to someone with the confidence to tackle anything.”

– Rosy Cardis, ATYP Workshop Student

Photo by Clare Hawley

Photo by Alice Boshell

Marketing

Following the departure of Lucy McNabb, the Marketing Manager position was vacant from December 2021 until March 2022, when Erica Penollar was promoted to the position after three years in the Marketing Coordinator role. Rebecca Herkess was appointed as Marketing Coordinator in March 2022, then in August 2022 a Marketing Coordinator for Special Projects, Erica Em, was engaged for a part-time, six-month contract. In October, our resident Art Director Justin Stambouliah ended his almost eightyear run with ATYP.

An unprecedented amount of marketing spend due to RISE funding meant ATYP was able to engage expert agencies including Anthem, Kabuku PR, Concrete Playground and Schwartz Media, in addition to the pro-bono support offered by IMPACT PR. Despite this, and in the face of changed audience-buying behaviours, the rolling impacts of COVID-19 and extreme weather events, ATYP did not reach box office targets for the production season. While The Deb enjoyed strong sales initially, the cancellation of twelve performances shortly after opening

night saw an immediate decline in sales which did not fully recover. Further, we were unable to carry audiences from one production to the next, M.Rock as well as Past the Shallows, falling short of box office targets. An external review by Tom O’Connor Consulting was conducted to identify how these issues could be rectified, including structural adjustments that were taken into consideration during the organisational restructure in late 2022. Infrastructure such as CRM and email communications, as well as SEO, require a longer-term investment.

Box office results were some of the highest ever achieved for ATYP however they fell short of the targets set out for ATYP’s inaugural season in the new venue. Meanwhile, ATYP enjoyed great success in growing both its online community (up a combined 3,285 followers across all channels from 2021) and in engaging more and more young people and schools in its programs.

Photo by Bec Herkess

Archives

In concert with the rest of the company, ATYP Archives has completed a year in the newly-built premises on Pier 2/3, sharing the Production Office.

While the site is unfortunately unable to house the entire collection (which by nature keeps growing), the conditions are fitting for preserving archival material: secure, clean and temperature-controlled; in stark contrast to the previous environment of old ATYP Studio 2 with its dust, insects, humidity and open access.

Archival material which is requested less frequently is stored in the ATYP Lilyfield lock-up and is able to be retrieved easily when required.

Since the creation of the company in 1963, conscientious staff have ensured the maintenance of the corporate memory, notwithstanding many relocations and management changes.

Thanks to the support of the Vincent Fairfax Family Foundation, the establishment of in-house archives, employing a qualified

archivist, in 2003, enabled the organisation and classification of the contents of hundreds of boxes, so that records could be made available to assist with company promotion, alumni engagement and accurate reporting.

ATYP demonstrates commitment to its heritage and legacy by investing in the preservation of evidence of all the activities of the company – governance, education and production – primary source material for the benefit of current and future researchers.

As well as ongoing records processing, data entry and executing requests for information and material from staff and the public during the year, ATYP Archives assisted Marketing with the selection of production and promotional photographs from the rich resources of the collection, which were enlarged and printed on fabric, and displayed outside the new Rebel Theatre, illustrating to patrons the range of productions mounted over the years.

Australian Theatre for Young People

ABN 24 000 816 704

31 December 2022 and its controlled entity (a compnay limited by guarantee)

Annual Financial Report

Corporate Information

Australian Theatre for Young People and its controlled entity

N Na m e S p e c ia l R e s p on s ib i lit ie s

D ire c t or s

C om p a n y S e c re ta ry

F ou n d a t ion Ad v is o ry C om m it te e

F Corfield Artistic Director, CEO

S Hand

T Hossain

A Johnson

J Lapworth Deputy Chair

G Larkins Chair, Finance Committee

M Morrissey

C Puplick Chair

D Selikowitz

N Webb

D Worthington

A Wright

A Albert

A Bowne Chair

S Hawker

C Puplick

R e g is te re d Off ic e a n d P rin c ip a l

P la c e o f B u s in e s s

Au d it or s

Pier 2/3, 13A Hickson Road, Dawes Point NSW 2000

Steven J Miller & Co Chartered Accountants

Directors’ Report

Australian Theatre for Young People and its controlled entity

The Directors present their report on the consolidated entity, consisting of Australian Theatre for Young People Limited (ATYP) and its controlled entity (the Group), for the year ended 31 December 2022 together with the financial statements and the Independent Audit Report thereon.

D ire c t or s ’ d e ta i ls a n d m e e tin g s

The following persons were Directors of the Australian Theatre for Young People during or since the end of the financial year.

The number of meetings of Directors (including Committee Meetings) held during the year and the number of meetings attended by each Director is as follows:

meetings the director was entitled to attended

B Number of meetings the director attended

Details of Directors’ qualifications, experience and special responsibilities can be found on pages 6 and 7 of this report.

C om p a n y s e c re ta ry

Amanda Wright has been company secretary since 12 November 2018. From 21 August 2020 – 16 August 2021, Johanna Mulholland acted as company secretary whilst Amanda Wright was on maternity leave.

S ta te m e n t of p u rp os e

Australian Theatre for Young People is the national youth theatre company. We exist to connect young people with the professional theatre industry – to share stories, build skills and create experiences that enhance our understanding of ourselves and the society to which we belong. It’s the principle that founded our company in 1963. It’s what drives us today.

O Op e ra t in g re s u lt

The consolidated comprehensive loss for the year amounted to $( ( 1, 10 0 , 49 2) (2021 consolidated comprehensive income: $828,463).

Directors’ Report

Australian Theatre for Young People and its controlled entity

R e vie w of op e ra ti on s

S TR A TEG I C G OAL S 20 20 - 20 2 4

1. Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.

2. Deliver inclusive opportunities that connect young people with the professional theatre industry.

3. Be a leading advocate for youth arts and its social impact.

P R I NC I P AL AC TI V I TI ES F OR TH E Y EAR

The principal activities undertaken by ATYP to meet its 2022 goals included:

G OAL ON E: B e in d is p u t a b ly re c og n is e d n a ti on a lly a n d g l ob a l ly a s a le a d in g th e a tre c om p a n y th a t f e a rle s s ly c h a m p io n s y ou n g a rtis ts

• ATYP staged a season of three professional productions: TheDebby Hannah Reilly and Megan Washington, M Rock by Lachlan Philpott and Past the Shallows by Julian Larnach

• The Deb won Best Production for Young People at the Sydney Theatre Awards, with nominations for Best Newcomer (Charlotte MacInnes, The Deb) and another nomination for Best Production for Young People (M Rock) and was listed in The Guardian’s “15 greatest Australianmusicalsofstageandscreen – sorted.”

• Past the Shallows won multiple awards at the Tasmanian Theatre Awards: Best Production, Best Direction, Best Ensemble and Best New Writing

G OAL TW O: D D e li ve r i n c lu s ive op p o rtu n it ie s th a t c on n e c t y ou n g p e op le wi th th e p rofe s s i on a l th e a t re in d u s try

• ATYP On Demand , ATYP’s digital classroom for teachers and students, continues to steadily grow with over 6,100 registrations across Australia.

• The National Studio, the leading professional development residency for young adult Australian playwrights, returned to an in-person retreat at Bundanon, engaging 20 young participants from every State and Territory in masterclasses, mentoring and script development;

• ATYP delivered drama workshops, masterclasses and teacher professional development through our thriving Workshops and Education programs;

• ATYP worked in partnership with national and international companies, including Auckland Theatre Company in New Zealand, Archipelago Productions in Tasmania, Browns Mart in Darwin and La Boite in Brisbane.

• ATYP employed 274 professional artists to share their skills and expertise with young people.

G OAL TH R E E: B e a le a d in g a d vo c a te fo r y ou t h a rts a n d its s oc ia l im p a c t

• Thanks to funding secured from the Ian Potter Foundation, ATYP established a quarterly industry e-news detailing youth performing arts activity around the country, a quarterly online industry meeting, and hosted FUSE , a national youth arts summit;

• ATYP commissioned Patternmakers to conduct a literature review of the research that exists regarding the impact the youth arts in areas such as education, mental health, wellbeing and civic engagement;

• The company united the industry to make pre-budget submissions to the Federal Government signed by over 30 of the youth arts sector’s leading companies and provided a united voice in the consultation for the development of the National Arts and Cultural Plan.

Directors’ Report

Australian Theatre for Young People and its controlled entity

D ire c t or s ’ q u a li fic a ti on s a n d e xp e rie n c e continued

Na m e a n d q u a lif ic a t ion s Exp e r ie n c e a n d s p e c ia l re s p on s ib i l it ie s

F ra s e r C orf ie ld

BA (Communications)

S a m a ra H a n d

BA/BLaw (UNSW), MA (UoL)

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

A Art is t ic D i re c t or a n d C h ie f E xe c u t ive O ff ic e r

Samara is an Awabakal woman of Worimi and Biripi descent. Samara is the Learning and Programs Manager at the National Indigenous Youth Education Coalition, and has experience in policy and program design and evaluation, goverment regulation and curriculum development focused on Indigenous Peoples. Samara is also completing her PhD in Law at UNSW on Indigenous Peoples' right to education. Samara was a Board Observer at ATYP in 2021

N Non - e xe c u ti ve D ire c t or

Ta s n im H o s s a in BA (International Relations)

J a n in e L a p wor th

BA, LLB

An d re w J oh n s on

BA, LLB, MSW

G il lia n L a rk in s

BCom, Grad Dip, MBA, GAICD, FCA

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

N Non - e xe c u ti ve D ire c t or .

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

N Non - e xe c u ti ve D ire c t or .

Executive Director of Thrive International, Andrew was the first NSW Advocate for Children and Young people, Andrew has lead NGOs both at the national and international level including ACOSS, Australian Republican Movement, Save the Children, ChildFund Alliance and chaired the NGO Committee on UNICEF.

N Non - e xe c u ti ve D ire c t or

Gillian has over 25 years of experience in finance, leadership, strategy and governance roles across a number of industries. Gillian was most recently the Chief Financial Officer of the ASX and prior to that Perpetual as Chief Financial Officer where her role led finance, transformation, technology, legal, compliance and risk areas, Chief Financial Officer of Westpac's Institutional Bank, and Chief Financial Officer for Citigroup's operations in Australia and New Zealand.

N Non - e xe c u ti ve D ire c t or

Directors’ Report

Australian Theatre for Young People and its controlled entity

D ire c t or s ’ q u a li fic a ti on s a n d e xp e rie n c e continued

Na m e a n d q u a lif ic a t ion s Exp e r ie n c e a n d s p e c ia l re s p on s ib i l it ie s

M a rk M orr is s e y

C h ris P u p l ic k AM

BA Hons, MA (Syd)

D a n ie l S e l ik o wi tz MBA (Harvard), BA/BLaw (USyd)

Mark Morrissey is founder and Managing Director of Morrissey Management, one of Australia’s most successful and leading talent management companies. Mark launched a new international production company, First Option Pictures, and also works as Executive Producer across a range of International TV and Web projects.

N Non - e xe c u ti ve D ire c t or

Chair, Theatre and Music Theatre Board, Create NSW. Former President NSW Anti-Discrimination Board and Privacy Commissioner. Senior Member Commonwealth Administrative Appeals Tribunal (2019-2023). Former Chair, Griffin Theatre Company, NIDA and National Film and Sound Archive. Senator for NSW (1978-1981 and 1984-1990).

C h a ir a n d Non - e xe c u t iv e D ire c t or

Partner at Boston Consulting Group and a leader in the Public Sector and Corporate Finance & Strategy practices in Asia Pacific. Daniel has previously held roles in the US with The Harbus News Corporation and L Catterton. Daniel was a Board Observer at the Australian Chamber Orchestra.

N Non - e xe c u ti ve D ire c t or

Nic ole W e b b

BA Communications, PR & Media (UC)

D on n a W orth in g t on Executive Coaching Lv 1&2 (IECL), Six Sigma Green Belt for Leaders (SA Partners), Bachelor of Business (USC), Diploma of Export Management (USC)

An award-winning PR specialist, Nicole is the founder and CEO of The Impact Agency, with previously held PR and marketing roles at Universal Press, Profile Communications and the NSW State Government. Nicole is the current Chair of the PRIA Registered Consultancy Group.

N Non - e xe c u ti ve D ire c t or

Donna is a Partner in the Risk and Regulatory Consulting team at MinterEllison. Donna has a wealth of commercial experience in the financial services industry. She has spent over a decade working for large ASX50 Financial Services institutions in executive management roles in operational and risk management and previously worked for PwC, providing advisory and assurance services in relation to risk, regulation, business transformation and customer experience. Donna is also on the Board of PeopleStories, a Not-for-Profit, with a vision of advancing education with people, families and communities in need.

N Non - e xe c u ti ve D ire c t or

Directors’ Report

Australian Theatre for Young People and its controlled entity

C on tr ib u t ion in win d in g u p

The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the company is wound up, the Constitution states that each member is required to contribute a maximum of $10 each towards meeting any outstanding obligations of the company. At 31 December 2022 the collective liability was $110 (2021: $100).

A Au d it or’ s in d e p e n d e n c e d e c la ra t ion

A copy of the Auditor’s Independence Declaration as required under s.60-40 of the Australian Charities and Not-for-profits Commission Act 2012 is included in page 9 of this financial report and forms part of the Directors’ Report.

S ig n if ic a n t c h a n g e s in t h e s ta te of a f fa i rs

In 2022 ATYP moved into their new home on Pier 2/3 in the Walsh Bay Arts Precinct. This took place in the first year “post-Covid” as the company attempted to launch a fully professional production season, supported by federal funding through RISE. Unfortunately, due to the unforeseen impacts of the ongoing Covid pandemic, the productions failed to achieve projected box office targets. This resulted in a significant financial loss, and a change in strategic direction for ATYP.

The company faced considerable expenses related to the move to, and residency at, Pier 2/3. A major factor is the increased depreciation expense for both the lease and right of use assets, as per the relevant accounting standards. The impact of this can be seen in the final Profit and Loss result.

O Ou t l oo k

ATYP is facing two very lean financial years across 2023 and 2024, as the company is not in receipt of any Federal operational funding. ATYP is applying for 4-year funding through the Australia Council for 2025-2028. The outcome of this funding, to be announced early 2024, will shape the future of ATYP for years to come. Furthermore, the impact of the depreciation of the lease and the right of use assets in relation to our residency at Pier 2/3 will continue to impact the future results of the company.

E En v ir on m e n ta l re g u la t i on

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

I n d e m n ifi c a ti on a n d in s u ra n c e of d i re c t ors a n d offi c e rs

The company has paid insurance premiums in respect of directors’ and officers’ liability and legal expenses’ insurance contracts for current and former directors and officers, including senior executives of the company. The company has not otherwise indemnified or agreed to indemnify an officer or auditor of the company against a liability incurred by such an officer or auditor.

Signed in accordance with a resolution of the Directors

C H R I S P U P L I C K AM

Director

Sydney

Dated:

Auditor’s Independence Declaration

To th e D i re c t ors of th e Au s tra l ia n Th e a tre f or Y ou n g P e op le :

In accordance with the requirements of section 60-40 of the Australian Charities and Not-forprofits Commission Act 2012, as lead auditor for the audit of the Australian Theatre for Young People and the entity it controlled for the year ended 31 December 2022, I declare that, to the best of my knowledge and belief, there have been:

(a) No contraventions of the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and

(b) No contraventions of any applicable code of professional conduct in relation to the audit.

S TEV EN J M I L L ER & C O Chartered Accountants S

Registered Company

Auditor No 4286

Sydney Dated

Consolidated Statement of Surplus or Deficit and Other Comprehensive Income

For the year ended 31 December 2022

This statement should be read in conjunction with the notes to the financial statements.

Consolidated Statement of Financial Position

This statement should be read in conjunction with the notes to the financial statements.

Consolidated Statement of Changes in Equity

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

This statement should be read in conjunction with the notes to the financial statements.

Consolidated Statement of Cash Flows

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

This statement should be read in conjunction with the notes to the financial statements

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

1 G e n e r a l i nf o r ma t i on a n d s t at e me n t o f comp l i a n ce

The financial report includes the financial statements and notes of the Australian Theatre for Young People and its only subsidiary ATYP Foundation (the Group) ATYP is a company limited by guarantee, incorporated and domiciled in Australia.

These financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards – Simplified Disclosure Requirements and the Australian Charities and Not-for-profits Commission Act 2012.

The Australian Theatre for Young People is a not-for-profit entity for the purpose of preparing the financial statements.

Historical cost convention

The financial statements have been prepared under the historical cost convention.

Critical cost convention

The preparation of the financial statements requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the Group’s accounting policies. The areas involving a higher degree of judgement or complexity, or areas where assumptions and estimates are significant to the financial statements are disclosed at Note 3.15

The financial statements for the year ended 31 December 2022 were approved and authorised for issuance by the Board of Directors on 26 May 2023

2 N e w o r r e v i s e d St a nda r d s o r I nt e r p r e t a t i ons

The Group has adopted all of the new or amended Accounting Standards and Interpretations issued by the Australian Accounting Standards Board ('AASB') that are mandatory for the current reporting period.

Any new or amended Accounting Standards or Interpretations that are not yet mandatory have not been early adopted. The adoption of these Accounting Standards and Interpretations did not have any significant impact on the financial performance or position of the company.

The following Accounting Standards and Interpretations are most relevant to the company:

2.1

Conceptual Framework for Financial Reporting (Conceptual Framework)

The company has adopted the revised Conceptual Framework from 1 January 2022. The Conceptual Framework contains new definition and recognition criteria as well as new guidance on measurement that affects several Accounting Standards, but it has not had a material impact on the company's financial statements.

2.2

AASB 1060 General Purpose Financial Statements - Simplified Disclosures for For-Profit and Not-for-Profit Tier 2 Entities

The company has adopted AASB 1060 from 1 January 2022. The standard provides a new Tier 2 reporting framework with simplified disclosures that are based on the requirements of IFRS for SMEs. As a result, there is increased disclosure in these financial statements for key management personnel, related parties, tax and financial instruments.

3 S u mma r y o f a cco un t in g p o l i ci e s

3 1 O Ove ra l l c on s id e ra t i on s

The significant accounting policies that have been used in the preparation of these financial statements are summarised below.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un ti n g p o l i ci e s continued

3 1 O Ove ra l l c on s id e ra t i on s continued

The financial statements have been prepared using the measurement bases specified by Australian Accounting Standards for each type of asset, liability, income and expense. The measurement bases are more fully described in the accounting policies below.

3 2 B a s is of c on s o lid a ti on

The consolidated financial statements incorporate the assets, liabilities and results of the subsidiary controlled by ATYP at the end of the reporting period. The parent controls a subsidiary if it has controlling power to affect all the decisions of the subsidiary through its voting rights. In preparing the consolidated financial statements, all Inter-Group balances and transactions between entities in the consolidated Group have been eliminated in full on consolidation. Accounting policies of the subsidiary have been changed where necessary to ensure consistency with those adopted by the parent entity.

3 3 R e ve n u e

The Group recognises revenue under AASB 1058 or AASB 15 when appropriate. In cases where there is an ‘enforceable’ contract with a customer with ‘sufficiently specific’ performance obligations, the transaction is accounted for under AASB 15 where income is recognised when (or as) the performance obligations are satisfied (i.e. when it transfers control of a product or service to a customer).

Revenue is measured based on the consideration to which the Group expects to be entitled in a contract with a customer and excludes amounts collected on behalf of third parties. In other cases, AASB 1058 applies when a not-for-profit (NFP) entity enters into transactions where the consideration to acquire an asset is significantly less than the fair value of the asset principally to enable the entity to further its objectives and the excess of the asset recognised (at fair value) over any ‘related amounts’ is recognised as income immediately.

The Group recognises revenue from the following major sources:

R e ve n u e f rom p e r fo rm a n c e in c om e

Revenue from performance income is recognised upon delivery of the associated performance. Revenue in respect of performances not yet performed is included in Consolidated Statement of Financial Position as income received in advance

R e ve n u e f rom f e e s a n d s e rv ic e s

Revenue from fees and services income is recognised when the service is provided to the customer.

S p on s o rs h ip

Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed.

G ove rn m e n t g ra n ts

A number of the Group’s programs are supported by grants received from the Federal, State and Local governments. Grant Income is recognised in accordance with AASB 15 if the contract has sufficiently specific performance obligations.

Grant income from contracts that do not contain sufficiently specific performance obligations is recognised under AASB 1058 as income when the Group obtains control over the funds.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un ti n g p o l i ci e s continued

3 3 R e ve n u e continued

D on a ti on s a n d b e q u e s t s

Donations collected, including cash and goods for resale, are recognised as revenue when the Group gains control, economic benefits are probable and the amount of the donation can be measured reliably.

Bequests are recognised when the legacy is received. Revenue from legacies comprising bequests of shares or other property are recognised at fair value, being the market value of the shares or property at the date The Group becomes legally entitled to the shares or property.

I n te re s t in c om e

Interest income is recognised on an accruals basis using the effective interest method.

3 . 4 O Op e ra t in g e xp e n s e s

Operating expenses are recognised in surplus or deficit upon utilisation of the service or at the date of their origin.

3 5 I n ta n g ib le As s e ts

Recognition of other intangible assets:

A Ac q u i re d in ta n g ib le a s s e ts

Acquired computer software licences and website construction costs are capitalised on the basis of the costs incurred to acquire and install the specific software.

S u b s e q u e n t m e a s u re m e n t

All intangible assets are accounted for using the cost model whereby capitalised costs are amortised on a straight-line basis over their estimated useful lives, as these assets are considered finite. Residual values and useful lives are reviewed at each reporting date. In addition, they are subject to impairment testing as described in Note 3.15.

The following useful lives are applied:

• Website and software: 3-5 years

Subsequent expenditures on the maintenance of computer software, brand names and website are expensed as incurred.

When an intangible asset is disposed of, the gain or loss on disposal is determined as the difference between the proceeds and the carrying amount of the asset and is recognised in surplus or deficit within other income or other expenses.

3 3 6 P rop e rty , p la n t a n d e q u ip m e n t

Property, plant and equipment are initially recognised at acquisition cost or manufacturing cost, including any costs directly attributable to bringing the assets to the location and condition necessary for it to be capable of operating in the manner intended by the Group’s management.

Property, plant and other equipment are subsequently measured using the cost model, cost less subsequent depreciation and impairment losses.

Depreciation is recognised on a straight-line basis to write down the cost less estimated residual value of buildings, plant and other equipment. The following useful lives are applied:

• Equipment and furniture

• Right-of-use assets (office premises)

• Leasehold improvements*

2-10 years

Over the life of the lease

Over their useful lives

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un t in g p o l i ci e s continued

3 6 P rop e rty , p la n t a n d e q u ip m e n t continued

* Including right-of-use leasehold improvements

Material residual value estimates and estimates of useful life are updated as required, but at least annually.

Gains or losses arising on the disposal of plant and equipment are determined as the difference between the disposal proceeds and the carrying amount of the assets and are recognised in surplus or deficit within other income or other expenses.

3 7 L e a s e s

Op e ra t in g le a s e s

At lease commencement date, the Group recognises a right-of-use asset and a lease liability on the balance sheet. The right-of-use asset is measured at cost, which is made up of the initial measurement of the lease liability, any initial direct costs incurred by the Group, an estimate of any costs to dismantle and remove the asset at the end of the lease and any lease payments made in advance of the lease commencement date (net of any incentives received).

The Group depreciates the right-of-use assets on a straight-line basis from the lease commencement date to the earlier of the end of the useful life of the right-of-use asset or the end of the lease term.

The Group also assesses the right-of-use asset for impairment when such indicators exist. At the commencement date, the Group measures the lease liability at the present value of the lease payments unpaid at that date, discounted using the interest rate implicit in the lease if that rate is readily available or the Group’s incremental borrowing rate.

Subsequent to initial measurement, the liability will be reduced for payments made and increased for interest.

The Group has elected to account for short-term leases and leases of low-value assets using the practical expedients. Instead of recognising a right-of-use asset and lease liability, the payments in relation to these are recognised as an expense in profit or loss on a straight-line basis over the lease term. On the statement of financial position, right-of-use assets have been included in property, plant and equipment and lease liabilities have been included in trade and other payables.

3 8 I n c om e ta xe s

No provision for income tax has been raised as the Group is exempt from income tax under Div 50 of the Income Tax Assessment Act 1997.

3 . 9 C a s h a n d c a s h e q u iva le n t s

Cash and cash equivalents comprise cash on hand and demand deposits, together with other short-term, highly liquid investments that are readily convertible into known amounts of cash and which are subject to an insignificant risk of changes in value.

3 . 10 E Em p l oy e e b e n e fits

S h ort- te rm e m p loy e e b e n e f its

Short-term employee benefits are benefits, other than termination benefits, that are expected to be settled wholly within twelve (12) months after the end of the period in which the employees render the related service.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un ti n g p o l i ci e s continued

3 10 E Em p l oy e e b e n e f its continued

Examples of such benefits include wages and salaries, provisions for annual leave, long service leave and maternity leave and non-monetary benefits. Short-term employee benefits are measured at the undiscounted amounts expected to be paid when the liabilities are settled.

O Oth e r lon g - te rm e m p lo y e e b e n e f its

The Group’s liabilities for annual leave and long service leave are included in other long-term benefits if they are not expected to be settled wholly within twelve (12) months after the end of the period in which the employees render the related service. They are measured at the present value of the expected future payments to be made to employees. The expected future payments incorporate anticipated future wage and salary levels, experience of employee departures and periods of service, and are discounted at rates determined by reference to market yields at the end of the reporting period on high quality corporate bonds that have maturity dates that approximate the timing of the estimated future cash outflows.

Any re-measurements arising from experience adjustments and changes in assumptions are recognised in surplus or deficit in the periods in which the changes occur.

The Group presents employee benefit obligations as current liabilities in the consolidated statement of financial position if the Group does not have an unconditional right to defer settlement for at least twelve (12) months after the reporting period, irrespective of when the actual settlement is expected to take place.

P os t- e m p loy m e n t b e n e f its p la n s

The Group provides post-employment benefits through defined contribution plans.

D e fin e d c on t rib u ti on p l a n s

The Group pays fixed contributions into independent entities in relation to several superannuation plans for individual employees. The Group has no legal or constructive obligations to pay contributions in addition to its fixed contributions, which are recognised as an expense in the period that relevant employee services are received.

3 . 11 P ro vi s i on s , c on tin g e n t l ia b i li tie s a n d c on tin g e n t a s s e ts

Provisions are measured at the estimated expenditure required to settle the present obligation, based on the most reliable evidence available at the reporting date, including the risks and uncertainties associated with the present obligation. Where there are a number of similar obligations, the likelihood that an outflow will be required in settlement is determined by considering the class of obligations as a whole. Provisions are discounted to their present values, where the time value of money is material.

Any reimbursement that the Group can be virtually certain to collect from a third party with respect to the obligation is recognised as a separate asset. However, this asset may not exceed the amount of the related provision.

No liability is recognised if an outflow of economic resources as a result of present obligation is not probable. Such situations are disclosed as contingent liabilities, unless the outflow of resources is remote in which case no liability is recognised.

3 12 G ood s a n d S e rv ic e s Ta x ( G S T)

Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Taxation Office. In these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense. Receivables and payables in the consolidated statement of financial position are shown inclusive of GST.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un t in g p o l i ci e s continued

3 12 G S T continued

Cash flows are presented in the consolidated statement of cash flows on a gross basis, except for the GST components of investing and financing activities, which are disclosed as operating cash flows.

3 13 E Ec on om i c d e p e n d e n c e

The Group is dependent upon the ongoing receipt of Federal and State Government grants, sponsorship income, workshops fees and attendances, and donations, to ensure the ongoing continuance of its programs. At the date of this report Management has no reason to believe that this financial support will not continue to the extent required to continue operating as a going concern (Refer Note 20).

3 14 F in a n c ia l in s t ru m e n ts

R e c og n i ti on , in it ia l m e a s u re m e n t a n d d e re c og n it ion

Financial assets and financial liabilities are recognised when the Group becomes a party to the contractual provisions of the financial instrument and are measured initially at fair value adjusted by transactions costs, except for those carried at fair value through surplus or deficit, which are measured initially at fair value. Subsequent measurement of financial assets and financial liabilities are described below.

Financial assets are derecognised when the contractual rights to the cash flows from the financial asset expire, or when the financial asset and all substantial risks and rewards are transferred. A financial liability is derecognised when it is extinguished, discharged, cancelled or expires.

C la s s ifi c a t ion a n d s u b s e q u e n t m e a s u re m e n t o f fin a n c ia l a s s e ts

Except for those trade receivables that do not contain a significant financing component and are measured at the transaction price, all financial assets are initially measured at fair value adjusted for transaction costs (where applicable). For the purpose of subsequent measurement, financial assets other than those designated and effective as hedging instruments are classified into the following categories upon initial recognition:

• Amortised cost

• Fair value through profit or loss (FVPL).

• Equity instruments at fair value through other comprehensive income (FVOCI).

All income and expenses relating to financial assets that are recognised in the consolidated statement of surplus or deficit are presented within finance costs, finance income or other financial items, except for impairment of trade receivables which is presented within other expenses.

Classifications are determined by both:

• The entity’s business model for managing the financial asset

• The contractual cash flow characteristics of the financial assets.

All income and expenses relating to financial assets that are recognised in surplus or deficit are presented within finance costs, finance income or other financial items, except for impairment of trade receivables, which is presented within other expenses

S u b s e q u e n t m e a s u re m e n t of f in a n c ia l a s s e ts

F in a n c ia l a s s e t s a t a m o rti s e d c os t

Financial assets are measured at amortised cost if the assets meet the following conditions (and are not designated as FVPL):

• They are held within a business model whose objective is to hold the financial assets and collect its contractual cash flows

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un t in g p o l i ci e s continued

3 14 F in a n c ia l in s t ru m e n ts continued

• The contractual terms of the financial assets give rise to cash flows that are solely payments of principal and interest on the principal amount outstanding.

After initial recognition, these are measured at amortised cost using the effective interest method.

Discounting is omitted where the effect of discounting is immaterial. The Group’s cash and cash equivalents, trade and most other receivables fall into this category of financial instruments as well as long-term deposit that were previously classified as held-to-maturity under AASB 139.

F in a n c ia l a s s e t s a t f a ir va lu e th rou g h p r of i t or los s ( F V P L )

Financial assets that are held within a different business model other than ‘hold to collect’ or ‘hold to collect and sell’ are categorised at fair value through profit and loss.

Further, irrespective of business model financial assets whose contractual cash flows are not solely payments of principal and interest are accounted for at FVPL. All derivative financial instruments fall into this category, except for those designated and effective as hedging instruments, for which the hedge accounting requirements apply (see below).

Eq u ity in s t ru m e n ts a t f a ir va lu e th r ou g h oth e r c om p re h e n s ive in c om e ( Eq u ity F V OC I )

Investments in equity instruments that are not held for trading are eligible for an irrevocable election at inception to be measured at FVOCI. Under Equity FVOCI, subsequent movements in fair value are recognised in other comprehensive income and are never reclassified to surplus or deficit. Dividend from these investments continue to be recorded as other income within the surplus or deficit unless the dividend clearly represents return of capital.

I m p a irm e n t of F in a n c ia l a s s e ts

AASB 9’s impairment requirements use more forward-looking information to recognise expected credit losses – the ‘expected credit losses (ECL) model’. Instruments within the scope of the new requirements included loans and other debt-type financial assets measured at amortised cost and FVOCI, trade receivables and loan commitments and some financial guarantee contracts (for the issuer) that are not measured at fair value through profit or loss.

The Group considers a broader range of information when assessing credit risk and measuring expected credit losses, including past events, current conditions, reasonable and supportable forecasts that affect the expected collectability of the future cash flows of the instrument.

In applying this forward-looking approach, a distinction is made between:

• Financial instruments that have not deteriorated significantly in credit quality since initial recognition or that have low credit risk (‘Stage 1’) and

• Financial instruments that have deteriorated significantly in credit quality since initial recognition and whose credit risk is not low (‘Stage 2’).

‘Stage 3’ would cover financial assets that have objective evidence of impairment at the reporting date. ’12-month expected credit losses’ are recognised for the first category while ‘lifetime expected credit losses’ are recognised for the second category. Measurement of the expected credit losses is determined by a probability-weighted estimate of credit losses over the expected life of the financial instrument.

T Tra d e a n d oth e r re c e i v a b le s

The Group makes use of a simplified approach in accounting for trade and other receivables and records the loss allowance at the amount equal to the expected lifetime credit losses. In using this practical expedient, the Group uses its historical experience, external indicators and forwardlooking information to calculate the expected credit losses using a provision matrix.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un t in g p o l i ci e s continued

3 14 F in a n c ia l in s t ru m e n ts continued

The Group assesses impairment of trade receivables on a collective basis as they possess credit risk characteristics based on the days past due.

C la s s ifi c a t ion a n d m e a s u re m e n t of f in a n c ia l l ia b il it ie s

As the accounting for financial liabilities remains largely unchanged from AASB 139, the Group’s financial liabilities were not impacted by the adoption of AASB 9. However, for completeness, the accounting policy is disclosed below.

The Group’s financial liabilities include borrowings and trade and other payables. Financial liabilities are initially measured at fair value, and, where applicable, adjusted for transaction costs unless the Group designated a financial liability at fair value through surplus or deficit.

Subsequently, financial liabilities are measured at amortised cost using the effective interest method except for derivatives and financial liabilities designated at FVPL, which are carried subsequently at fair value with gains or losses recognised in surplus or deficit (other than derivative financial instruments that are designated and effective as hedging instruments). All interest-related charges and, if applicable, changes in an instrument’s fair value that are reported in surplus or deficit are included within finance costs or finance income.

3 15 S ig n if ic a n t m a n a g e m e n t ju d g e m e n t in a p p ly in g a c c ou n t in g p ol ic ie s

Management undertakes a number of judgements, estimates and assumptions about the recognition and measurement of assets, liabilities, income and expenses.

C or on a v iru s ( C O V I D - 19 ) p a n d e m ic

Judgement has been exercised in considering the impacts that the Coronavirus (COVID-19) pandemic has had, or may have, on the Group based on known information. This consideration extends to the nature of the products and services offered, customers, supply chain, staffing and geographic regions in which the Group operates (refer Note 21)

R e ve n u e R e c og n i ti on

To determine if a grant contract should be accounted for under AASB 1058 or AASB 15, the Group has to determine if the contract is ‘enforceable’ and contains ‘sufficiently specific’ performance obligations. When assessing if the performance obligations are ‘sufficiently specific’, the Group has applied significant judgement in this regard by performing a detailed analysis of the terms and conditions contained in the grant contracts, review of accompanying documentation (e.g. grant application forms and accompanying documentation) and holding discussions with relevant parties.

E Es t im a ti on u n c e r ta in ty

Information about estimates and assumptions that have the most significant effect on recognition and measurement of assets, liabilities, income and expenses is provided below. Actual results may be substantially different.

I m p a irm e n t

In assessing impairment, management estimates the recoverable amount of each asset or cashgenerating unit based on expected future cash flows and uses an interest rate to discount them. Estimation uncertainty relates to assumptions about future operating results and the determination of a suitable discount rate.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

3 S u mma r y o f a cco un t in g p o l i ci e s continued

3 15 S ig n if i c a n t m a n a g e m e n t ju d g e m e n t in a p p ly in g a c c ou n t in g p ol i c ie s continued

U s e fu l l ive s of d e p re c ia b le a s s e ts

Management reviews its estimate of the useful lives of depreciable assets at each reporting date, based on the expected utility of the assets. Uncertainties in these estimates relate to technical obsolescence that may change the utility of certain software and IT equipment.

L e a s e s : op t ion t o re n e w , in te re s t ra te a n d c o m b in in g c on tra c ts

Management has applied judgement in determining whether it is reasonably certain that the Group will exercise its option to renew the lease in 2032 for a further ten years. Uncertainties in this determination exist as factors may change over the initial lease term.

Management has further applied judgement in ascertaining the incremental borrowing rate that is applicable to the lease, as the rate of interest is not implicit in the lease agreement.

Management has applied judgement in determining that the lease contracts need to be combined.

L on g s e r vic e le a ve

The liability for long service leave is recognised and measured at the present value of the estimated cash flows to be made in respect of all employees at the reporting date. In determining the present value of the liability, estimates of attrition rates and pay increases through promotion and inflation have been taken into account.

3 . 16 C u rre n t a n d n on - c u r re n t c la s s if ic a t ion

Assets and liabilities are presented in the statement of financial position based on current and non-current classification.

An asset is classified as current when: it is either expected to be realised or intended to be sold or consumed in the company's normal operating cycle; it is held primarily for the purpose of trading; it is expected to be realised within 12 months after the reporting period; or the asset is cash or cash equivalent unless restricted from being exchanged or used to settle a liability for at least 12 months after the reporting period. All other assets are classified as non-current.

A liability is classified as current when: it is either expected to be settled in the company's normal operating cycle; it is held primarily for the purpose of trading; it is due to be settled within 12 months after the reporting period; or there is no unconditional right to defer the settlement of the liability for at least 12 months after the reporting period. All other liabilities are classified as noncurrent.

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

4 R Re v e n u e

The Group’s revenue may be analysed as follows for each major product and service category:

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

4 R Re v e n u e continued 4. 2 G ra n t re c on c i l ia ti on

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

4 R Re v e n u e continued

4. 2 G ra n t re c on c i l ia ti on continued Gr a n t s R e pa y a ble 1 Ja n

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

a nd ca s h e qu i v al e n t s

Cash

cash equivalents consist of the following:

The carrying amounts presented in the consolidated statement of financial position relate to the following categories of assets and liabilities:

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

8 O t h e r a ss e t s

Other assets consist of the following:

Financial assets consist of the following:

n t a nd e q u i p men t

Details of the Group’s property, plant and equipment and their carrying amounts are as follows:

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

Details of the Group’s intangible assets and their carrying amounts are as follows:

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

1 6 E Em p l o y e e r e mu n e r a t io n

16 1 Em p loy e e p ro vis i on s

The liabilities recognised for employee benefits consist of the following amounts:

16. 2 Em p loy e e b e n e f its e xp e n s e

Expenses recognised for employee benefits are analysed below:

1 7 P a r e n t e n t i t y n o t e

Information relating to ATYP Limited (the parent entity)

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

1 8 D es i gn a t ed f un ds

18 1 C a p ita l f u n d s

Capital funds are reserves of the ATYP Foundation established to raise funds and accumulate capital to support the aims of ATYP and its long-term financial security.

18 . 2 R e ve n u e f u n d s

The Revenue funds are reserves of the ATYP Foundation established to raise funds and accumulate capital to support the aims of ATYP and its long-term financial security.

1 18 . 3 C a p ita l c a m p a ig n re s e rve

The Capital campaign reserve is a reserve where donations received towards ATYP’s new home as part of the Pier 2/3 redevelopment are earmarked until required to meet the costs of the redevelopment.

18 4 F a ir va

h oth

h e n

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

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity

1 9 R Re l a t e d p a r t y t r a ns a ct i o n s

The Group’s related parties include its key management personnel and related entities as described below. Unless otherwise stated, none of the transactions incorporate special terms and conditions and no guarantees were given or received. Outstanding balances are usually settled in cash.

1 19 1 Tra n s a c t ion s w ith re la te d e n ti tie s

The directors act in an honorary capacity and receive no compensation for their services, other than Fraser Corfield who is the Artistic Director of ATYP.

19. 2 Tra n s a c t ion s w ith k e y m a n a g e m e n t p e rs on n e l

Key management personnel are those persons having authority and responsibility for planning, directing and controlling the activities of the entity, directly or indirectly, including any director (whether executive or otherwise) of that entity. Key management personnel remuneration includes the following expenses:

19. 3 D ire c to r d on a t ion s

The total amount of donations received from directors during the year ended 31 December 2022 amounted to $6,020 (2021: $13,000).

2 0 C o n t in g en t l i a b i l it i e s

There are no contingent liabilities incurred by the Group in relation to 2021 or 2022

2 1 P o s t -r e p o r t i ng d a t e e v e n ts

The impact of the Coronavirus (COVID-19) pandemic is ongoing, and it is not practicable to estimate the potential impact, positive or negative, after the reporting date. The situation is dependent on measures imposed by the Australian Government and other countries, such as maintaining social distancing requirements, quarantine, travel restrictions and any economic stimulus that may be provided and other socio-economic factors

No other matter or circumstance has arisen since 31 December 2022 that has significantly affected, or may significantly affect the Group’s operations, the results of those operations, or the Group’s state of affairs in future financial years.

2 2 M e mb e r ’s gu a r an t e e

The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the Company is wound up, the Constitution states that each member is required to contribute a maximum $10 each towards meeting any outstanding obligations of the entity. At 31 December 2022, the total amount that members of the Company are liable to contribute if the Company is wound up is $110 (2021: $100).

Notes to the Financial Statements

For the year ended 31 December 2022

Australian Theatre for Young People and its controlled entity 2

All funds raised from fundraising activities, net of direct costs were applied to The Group's normal operations. The Group did not conduct any appeals in which traders were engaged. 2

Directors’ Declaration

Australian Theatre for Young People and its controlled entity

In the opinion of the Directors of the Australian Theatre for Young People:

(a)The consolidated financial statements and notes of the Australian Theatre for Young People are in accordance with the Australian Charities and Not-for-profits Commission Act 2012, including;

(i) Giving a true and fair view of its consolidated financial position as at 31 December 2022 and of its consolidated performance for the financial year ended on that date; and

(ii) Complying with Australian Accounting Standards and the Australian Charities and Not-for-profits Commission Regulations 2022; and

(b) There are reasonable grounds to believe that the Australian Theatre for Young People and its controlled entity will be able to pay its debts as and when they become due and payable (Refer Notes 3.13 and 20).

Declaration by Director as required by the Charitable Fundraising Act 1991 (NSW)

a) the accounts for the year ended 31 December 2022, give a true and fair view of all income and expenditure of the Australian Theatre for Young People with respect to fundraising appeals; and

b) the consolidated statement of financial position as at 31 December 2022 gives a true and fair view of the state of affairs with respect to fundraising appeals; and

c) the provisions of the Charitable Fundraising Act 1991 (NSW) and the regulations under that Act and the conditions attached to the authority have been complied with; and

d) the internal controls exercised by Australian Theatre for Young People are appropriate and effective in accounting for all income received and applied from any of its fundraising appeals.

Signed in accordance with subsection 60.15(2) of the Australian Charities and Not-for-profit Commission Regulations 2022.

C H R I S P U P L I C K AM Director

Sydney

Dated:

Independent Auditor’s Report

To the members of The Australian Theatre for Young People and its controlled entity

R e p ort on th e Au d it of th e F in a n c ia l R e p o rt

Op in ion

I have audited the consolidated financial report of the Australian Theatre for Young People and its controlled entity, which comprises the consolidated statement of financial position as at 31 December 2022, the consolidated statement of surplus or deficit and other comprehensive income, the consolidated statement of changes in equity and the consolidated statement of cash flows for the year ended, and notes to the financial statements, including a summary of significant accounting policies, and the Directors’ declaration.

In my opinion, the financial report of the Australian Theatre for Young People and its controlled entity has been prepared in accordance with Division 60 of the Australian Charities and Not-forprofitsCommissionAct 2012 , including:

(a) Giving a true and fair view of the Group’s consolidated financial position as at 31 December 2022 and of its consolidated financial performance and consolidated cash flows for the year then ended; and

(b) Complying with Australian Accounting Standards and Division 60 of the AustralianCharities and Not-for-profitsCommissionRegulations 2022 .

B a s is fo r Op in ion

I conducted my audit in accordance with Australian Auditing Standards. My responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of my report. I am independent of the Group in accordance with the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to my audit of the consolidated financial report in Australia. I have also fulfilled my other ethical responsibilities in accordance with the Code.

I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion.

O Oth e r I n f orm a t ion

Those charged with governance are responsible for the other information. The other information comprises the information included in the Group’s annual report for the year ended 31 December 2022 but does not include the consolidated financial report and my auditor’s report

My opinion on the consolidated financial report does not cover the other information and accordingly I do not express any form of assurance conclusion

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

To the members of The Australian Theatre for Young People and its controlled entity

Oth e r I n f orm a t ion continued

If, based on the work I have performed, I conclude that there is a material misstatement of this other information; I am required to report that fact. I have nothing to report in this regard.

D ire c t or s ’ R e s p on s ib i li t y f or th e C on s ol id a te d F in a n c ia l R e p o rt

The Directors of the Group are responsible for the preparation and fair presentation of the financial report in accordance with Australian Accounting Standards and the ACNC Act, and for such internal control as the Directors determine is necessary to enable the preparation of the consolidated financial report that is free from material misstatement, whether due to fraud or error.

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

Those charged with governance are responsible for overseeing the Group’s financial reporting process.

A Au d it or’ s R e s p on s ib i li ty f or Au d it of th e C on s o l id a te d F in a n c ia l R e p or t

My objectives are to obtain reasonable assurance about whether the consolidated financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes my opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of the consolidated financial report.

As part of an audit in accordance with the Australian Auditing Standards, I exercise professional judgement and maintain professional scepticism throughout the audit. I also:

• Identify and assess the risks of material misstatement of the consolidated financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for my opinion. The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.

• Obtain an understanding of internal control relevant to the audit in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the Group’s internal control.

• Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by Directors

• Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the Group’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the consolidated financial report or, if such disclosures are inadequate, to modify our opinion. My conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the Group to cease to continue as a going concern.

To the members of The Australian Theatre for Young People and its controlled entity

Au d it or’ s R e s p on s ib i li ty for Au d it of th e C on s o l id a te d F in a n c ia l R e p or t continued

• Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the Group’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the consolidated financial report or, if such disclosures are inadequate, to modify our opinion. My conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the Group to cease to continue as a going concern

• Evaluate the overall presentation, structure and content of the consolidated financial report, including the disclosures, and whether the consolidated financial report represents the underlying transactions and events in a manner that achieves fair presentation

I communicate with those charged with governance regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that I identify during my audit.

O Op in ion p u rs u a n t to th e C h a rita b le F u n d ra is in g Ac t 1 99 1

In my opinion:

(a) The financial report of the Group gives a true and fair view of the financial result of fundraising appeal activities for the year ended 31 December 2022; and

(b)The financial report has been properly drawn up, and the associated records have been properly kept for the year ended 31 December 2022, in accordance with the Charitable Fundraising Act 1991 and its Regulations.

S TEVEN J MI LLER & CO Chartered Accountants

S J MI LLER Registered Company

Auditor No 4286 Sydney

Dated: 25 May 2023

Additional Financial Information Disclaimer

Australian Theatre for Young People and its controlled entity

The additional financial data presented on page 39 and 40 is in accordance with the books and records of the Group which have been subjected to the auditing procedures applied in my statutory audit of the Group for the year ended 31 December 2022 . It will be appreciated that my statutory audit did not cover all details of the additional financial information. Accordingly, I do not express an opinion on such financial information and no warranty of accuracy or reliability is given.

In accordance with my firm's policy, I advise that neither the firm nor any member or employee of the firm undertakes responsibility arising in any way whatsoever to any person (other than the consolidated entity) in respect of such information, including any errors or omissions therein, arising through negligence or otherwise however caused.

S TEVEN J MI LLER & CO Chartered Accountants

S J MI LLER

Registered Company Auditor No 4286

Sydney

Dated: 25 May 2023

Detailed Statement of Surplus or Deficit

The above UNAUDITED detailed statement of surplus or deficit should be read in conjunction with the disclaimer.

Detailed Statement of Surplus or Deficit

The above UNAUDITED detailed statements of surplus or deficit should be read in conjunction with the disclaimer.

ATYP Staff

Artistic Director & CEO

Fraser Corfield

Executive Director

Amanda Wright

Director of Strategic Initiatives

Johanna Mulholland

Business Manager

Chrissy Riley (from November)

Finance and Operations Coordinator

Yoko Miki-Feeney

Head of Learning

Jacqui Cowell

Marketing & Communications Manager

Erica Penollar

Workshop Manager

Claudene Shoesmith

Resident Dramaturg

Jane FitzGerald

Production Manager

Amber Silk (until July)

Taryn Brown (from July)

Art Director

Justin Stambouliah (until October)

Associate Producer

Janine Lau (until April)

Associate Producer

Lauren Bennett (May–October)

Deputy Education Manager

Monique Johnstone (until April)

Company Accountant

Steve Davidson

Development Officer

Meg Goodfellow

Advocacy Officer

Rebecca Clarke

Education Coordinator

George Kemp (from May)

Marketing Coordinator

Rebecca Herkess

Marketing Coordinator for Special Projects

Erica Em (from August)

Production Coordinator

Sorie Bangura

Events & Venue Coordinator

Jake Zuccolotto (July–November)

Digital Engagement Designer

Georgia McGinness

Resident Technologist

Daniel Andrews

Archivist

Judith Seeff

Workshop Assistant

Emily Johnson

Administration Assistant

Martha Russell

Intern

Ellie Park

FOH Managers

Clare Hawley (March–July)

Jake Zuccolotto (March–November)

Front of House Attendants

Ella Gilberg

Lycia Gunawan

Isabelle Nader

Ellie Park

Ines Francesca

Jasper Reucassel

Millsya Theda

Board

Chris Puplick AM (Chair)

Fraser Corfield

Samara Hand

Tasnim Hossain

Andrew Johnson

Janine Lapworth

Gillian Larkins

Mark Morrissey

Daniel Selikowitz

Nicole Webb

Donna Worthington

Mary Fifita (Board Observer)

Lily Hayman (YABbies Board Observer)

Jack Walton (YABbies Board Observer)

Youth Advisory Body

Amelia Margaret McCann

Anjelica Murdaca

Anushka Banerjee

Apsara Lindeman

Ari Rai Munton

Astra Milne

Blake Hohenhaus

Bridget Gielissen

Caitlin Moore

Clair Seoud

Eadie Milne

Ebony Dodds

Elodie Tipton-Akers

Eloise McNally

Ewan Robertson

Georgia Cohen

Grace Wilson

Griffin McLaughlin

Jack Walton

Jason Liu

Jasper Reucassel

Jo Bradley

Jordon Riley

Josephine Hill

Josephine Lee

Julia Tidball

Kate Wooden

Lachlan Driscoll

Lana Kuti

Lily Everest

Lily Hayman

Lizzy Stanfield Flores

Lotte Beckett

Mackenzie-Jade Devai Inskip

Maddison Calcott

Mannon Davies

Nicholas Cradock

Nick Annas

Olivia Atley

Olivia Everingham

Olivia Tsigaropoulos

Olivia Xegas

Sarah Carroll

Sarah Maguire

Tahlia Merlino

Thomasina Lawrence

Tiah Bullock

Tiffany Wong

Tobias Paull

Zoe Castorina

Partners

& Supporters

ATYP recognises the assistance received by the NSW Government through Create NSW and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Government

Create NSW

Australian Government Department of Infrastructure, Transport, Regional Development and Communications: Office for the Arts

Australia Council for the Arts

Create Infrastructure NSW

City of Sydney

Foundations

ATYP Foundation

Baly Douglass Foundation

Copyright Agency

Creative Partnerships Australia

Crown Resorts Foundation

Future Generation Australia

Graeme Wood Foundation

The Ian Potter Foundation

James N. Kirby Foundation

Jibb Foundation

Packer Family Foundation

The Lansdowne Foundation

Sidney Myer Fund & The Myer Foundation

Neilson Foundation

Thyne Reid Foundation

Vincent Fairfax Family Foundation

Yim Family Foundation

Business Partners

Archie Rose Distillery

BBM Youth Support

Fresh Collective

The General Store

Givar

King & Wood Mallesons

Minter Ellison

Robert Oatley Wines

Stagekings

Studio Jack

Media Partners

IMPACT Agency

Carnivore Films

Kabuku PR

Learning Partners

The Smith Family

Drama NSW

The McDonald College

The Department of Education and Training

Orana Arts

Poetry in Action

The Catholic Diocese of Parramatta – CAPTIVATE

CREATE Centre

Production Partners

Archipelago Productions

Artology

Auckland Theatre Company

Australian Plays Transform

Barking Gecko Theatre

Browns Mart

Camp Sugar Productions

Currency Press

Haymes Paint

Paperjam Partners

Playlab

Salamanca Arts Centre

Tasmanian Government

26Ten

Australian Theatre for Young People

Eora Country, Pier 2/3, Suite 2/13A Hickson Road, Dawes Point NSW 2000 (02) 9270 2400

hello@atyp.com.au atyp.com.au