ATYP Annual Report 2023

Page 1


TWENTY THREE ANNUAL REPORT

Photo by Alice Boshell

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.

Left: The Resistance, 2023 Photo by Clare Hawley

Board

Chair Chris Puplick

Deputy Chair Gillian Larkins (stepped down 30th October)

Nicole Webb

Donna Worthington

Samara Hand

John Harding (appointed 31st July)

Youth Observer Lily Hayman

Youth Observer Jack Walton

ATYP Staff

Artistic Director & CEO Fraser Corfield

Executive Director Amanda Wright

Director of Strategic Initiatives Johanna Mulholland (until August)

Adrienne Vaughan (from October)

Business Manager Chrissy Riley

Education Manager Jacqui Cowell

Marketing Manager Jason Dickson (March–November)

Workshop Manager Alana Dunn

Resident Dramaturg Jane FitzGerald

Production Manager Taryn Zentrich (until October)

Associate Producer Hayden Tonazzi

Education Coordinator George Kemp

Development Coordinator Aden Abeleda

Marketing Coordinator Rebecca Herkess

Digital Engagement Designer Georgia McGuiness (until June)

Lillie Bailey (from June)

Venue Coordinator Catherine Thompson

Resident Technologist Daniel Andrews

Archivist Judith Seeff

Workshop Coordinator Emily Johnson

Right: Photo by Clare Hawley

Artistic Director’s Report

While 2022 started with the optimism and ambition of moving into the new venue and launching a professional season in The Rebel Theatre, by contrast 2023 began with the realisation that the financial cliff that had long been discussed by staff and Board was drawing inexorably closer. It was the year the loss of Australia Council funding came into full effect, no longer covered by the funds received under the Federal Government’s RISE funding. As a result, 2023 ushered in a new age of austerity for ATYP.

The strategy leading into 2022 was that the company would launch a professional theatre season targeting audiences aged 13+, an intergenerational family audience of theatre goers interested in professional theatre driven by young characters. It was hoped the success of this season and the Board’s capacity to engage politicians and cultural leaders in the company’s work would be used to leverage emergency funding to get the company through the following two years until it could once again apply for operational funding. Sadly, ATYP proved unable to bring politicians and change-makers to the new Rebel Theatre to see what was being achieved, and the fundamental shift in audience behaviour in 2022 brought subscription seasons into question more broadly across the professional theatre industry.

As a result, ATYP made some significant changes to programming in 2023 to minimise costs. The company only staged two major productions. The first was a critically acclaimed season of The Resistance by Kip

Chapman which was presented in partnership with Auckland Theatre Company. The work had to be postponed from 2022 because of the disruptions to the creative development process bought about by COVID lockdowns and border closures, but ATYP was obliged to ensure it was produced. The year was then bookended by a return season of CUSP by Mary Anne Butler, which received Playing Australia funding to open in Sydney and undertake a regional tour before performing in the Darwin Festival to standing ovations and finishing its last performance in Nhulunbuy, in the community referenced in the play.

The company moved the Junior Foundation commission into the workshop program under an initiative called the Young Industry Studio. Rather than offering an opportunity for all young people aged 10–13yrs to audition and be a part of the program, the show operated as a drama workshop masterclass where successful auditionees paid a significant participation fee that offset the costs of staging the work. This allowed the company to stage Reboot by Michael Costi. ATYP was also able to support independent theatre company Steps and Holes to stage Kate Walder’s Soul Trading. ATYP intended to present Soul Trading in 2020 and 2021 but it was cancelled due to COVID. As a result, Kate committed to producing the show under her own company with support from ATYP.

In order to continue delivering creative programs that engage young people the company established partnerships with the not for profit sector. This included a commission from The

Black Dog Institute to deliver a series of videos that communicate research into suicide prevention. The videos, which demonstrate how to have a conversation with someone you feel may be having suicidal thoughts, was developed in partnership with young people with lived experience and launched on the ATYP On Demand website. The company also established a partnership with The Smith Family to deliver workshops in underprivileged schools nationally through the SmArts program.

The major administrative undertaking of the year was the development of a new Strategic Plan which was completed for the four-year funding application to Creative Australia. I’d like to acknowledge the generous in-kind support of Sam Peters and the team at Ernst & Young for their assistance with this process. Sam has been involved with our strategic planning since 2011 and his guidance has been invaluable. ATYP was relieved to learn at the end of 2023 that we were successful in gaining operational funding for 2025–2028.

Employment issues befalling the larger performing arts sector in 2023 impacted ATYP. We were grateful for the assistance of Jason Dickson who stepped in as an interim Marketing Manager during the year, as well as the team at Paperjam Partners who gave us Taryn Zentrich as Operations Manager and assisted us to navigate a shortage of technical staff. We were very sad to say goodbye to our Executive Director of Strategy, Johanna Mulholland in August. Johanna joined the company as a maternity cover for Amanda

Wright in 2020 and proved too valuable to let go at the end of the year.

Chris Puplick stepped down as the Chair of ATYP after four years in the role navigating an exceptionally difficult period in the company’s history. I would like to acknowledge the exceptional role Chris played navigating the COVID years and the company’s defunding by the Australia Council. ATYP will be forever grateful for his contribution.

While there is a silver lining on the horizon with operational funding returning from the Federal Government in 2025, and the opportunity to apply for increased State funding in 2024, it is clear there is a further period of hardship ahead. ATYP moves into 2024 on the lowest level of operational funding in sixteen years which has significant implications for both the staff and the programs we deliver. It is a difficult time for the professional performing arts in Australia and ATYP is at the coalface of those concerns. Hopefully another year of austerity will see us through to greener pastures and new opportunities.

Left: Photo by Luke Stambouliah

2023 Major Projects

The Resistance

16 Feb—11 Mar

CUSP National Tour

24 May—17 Aug

Soul Trading

6—10 Sep

Reboot

9—12 Nov

Social Circus Lab

24 Oct (Launch)

THE RESISTANCE

“Kip Chapman’s script is masterful, with an important and long-past-urgent message, a lot of heart, and a fantastic sense of humour.”

– TheatreTravels.com

“If The Resistance is anything to go by, Australia’s climate future is in good hands.”

– Toasting Aussie Theatre

“THE RESISTANCE is exciting, challenging and interactive… the play was an embracing fun machine.”

– Sydney Arts Guide

Marlee’s on a mission, Bundilla is seeking justice, Miro has his head in the clouds and Pepper just wants to blow things up. With this group in charge, it’s no wonder the rally is going nowhere fast. But when Marlee is unexpectedly thrust into the limelight, it suddenly feels as if the whole country is watching. Could these young people save the world?

Set in the arena of the climate justice movement and social media, The Resistance is a giant protest rally exploring the power of friendship, the pain of ambition and the deliciousness of potato chips. Interactive theatre-maker Kip Chapman (Destination Mars, APOLLO 13: Mission Control) takes over The Rebel Theatre and immediately destroys the fourth wall, welcoming the audience in on the action.

Performed at The Rebel Theatre

Season

16 February–11 March 2023

Writer & Director

Kip Chapman

Dramaturgs

Adriane Daff & Jane FitzGerald

Cultural Consultant

Abbie-lee Lewis

Set & Costume Designer

Tobhiyah Stone Feller

Sound Designer

Luke Di Somma

Lighting & AV Designers

Rachel Marlow & Bradley Gledhill

Production Manager

Taryn Brown

Stage Manager

Amellia Bruderlin

Assistant Director

Sophia Bryant

ASM

Angélique Riou

Stage Manager Intern

Michele Gould

Design Assistant

Hannah Tayler

Design Interns

Olivia Calverley-Haack

Savannah Melvin

Erin Lesnie

Cast

Diya Goswami

Lakesha Grant

Genevieve Lemon

Thea Sholl

Jo Turner

Jack Walton

Fraser Crane (Understudy)

Photo by Luke Stambouliah

CUSP

by

“An important new work about people and places that deserve a voice but are rarely heard.” – audience feedback form, 2023

Winner in the 53rd Annual AWGIE Awards for the category ‘Theatre for Young Audiences’.

Winner in the Northern Territory Literary Awards for the category ‘Brown’s Mart Theatre Award’.

Elvis wants Rosie. Rosie wants to escape. Maddie doesn’t know what the hell she wants, but it sure isn’t this.

While Rosie balances the needs of community with her own life dreams, Elvis juggles a life of crime with a tougher path into the straight-and-narrow, and Maddie faces life as a single parent. CUSP juxtaposes the Northern Territory’s vast Top End landscape with the turbulent lives of three emerging adults as they swim against the tide of irrevocable change; balancing choice versus fate in a world where, as Elvis observes, “Some people get better choices to choose from.”

Created by Mary Anne Butler, CUSP is a love letter to the young people and landscape of Australia’s Top End, and a reminder of the inherent privilege of being able to make your own choices. The 2023 season opened in Sydney before travelling to Cowra, the Gold Coast, Darwin and Gove.

Performed at The Rebel Theatre (Sydney) Civic Theatre (Cowra) Arts Centre (Goulburn) HOTA (Gold Coast) Browns Mart Theatre (Darwin) Nhulunbuy

Season 24 May–17 August 2023

Writer

Mary Anne Butler

Director

Fraser Corfield

Dramaturg

Jane FitzGerald

Designer

Cj Fraser-Bell

Lighting Designer

Jessie Davis

Sound Designer

Brad Fawcett

Lighting Realiser

Jasmine Rizk

Tour Manager

Kate Atkinson

Technician/Operator

Chris Kluge

Cultural Consultant

Rosealee Grimes [nee Pearson]

Associate Director

Hayden Tonazzi

Rehearsal Stage Manager

Bronte Schuftan

Cast Lakesha Grant

Joshua McElroy

Abbey Morgan

Isaac Harley (Understudy)

Mema Munro (Understudy)

Photo by Tracey Schramm

The year is 2079. Humans are created with gene selection technology; Artificial Intelligence is part of everyday life and children's best friends are their Learning Bots. Except for Jerry. Jerry is not like the others. Neither is Neutron Finch, an exceptionally clever Learning Bot who seems to appear out of nowhere. He is smarter than most Bots, funnier and also possibly illegal. It doesn't take long for the status quo to unravel and one night, Jerry and his classmates are summoned to the oval…

Soul Trading is a fast-paced, sophisticated and hilarious exploration of an impending future, performed by 18 young people.

Winner of the 2019 Jnr ATYP Foundation Commission, this season was presented by Steps and Holes Theatre, supported by ATYP.

Writer & Director

Kate Walder

Dramaturg

Jane FitzGerald

Producer

Emily Buxton

Video Design

Laura Turner

Designer

Meg Anderson

Lighting Designer

Benjamin Brockman

Sound Designer

Tegan Nicholls

Composer

Patrick Haesler

Production Manager

Heidi Aitkins

Stage Manager

Dylan Ford

Assistant Director

Jestika Chand

Cast

Trix Bowditch

Eloise Bracher

Ewan Buchanan-Constable

Aria Calabro

Performed at The Rebel Theatre

Season 6–10 September 2023

Performances 5

Archie Carfax-Foster

Jeffrey Dimi

Araminta Dusseldorp

Finn Dusseldorp

Charlie Griffin

Addie Houston

Saskia Munro

Annabelle Obermeder

Ava Palfreyman

Max Stores

Tahlia Sturzaker

Jordan Thompson

Jacob Townsend

Felicity Yang

with Aimee Horne as the voice of T5000 and Miss ABC

by Kate Walder
Produced by Steps & Holes Theatre Company
Photo by Justin Stambouliah & Fifty One Watts

Reboot

Co-presented with Artback NT and the Darwin

Parents of Australia! Are you sick of your kids being glued to their phones? Do you wish they could leave their devices behind forever? Well, you just may need to sign them up for Camp Reboot…

Reboot follows a group of young campers as they journey through Camp Reboot, a special new Summer Camp designed to detox kids from all forms of technology. However, things are not quite as they seem, as the campers discover a secret that could change their lives forever.

Reboot is a comedic thriller that tests the limits of a life without technology. It is a satire on our attachment to our screens but also a probing look into who really pulls the strings.

Winner of the 2022 Jnr ATYP Foundation Commission, this season was presented through the ATYP workshop program.

Writer

Michael Costi

Director

Madeleine Diggins

Dramaturg

Jane FitzGerald

Designer

Hannah Tayler

Lighting Designer

Tom Doyle

Sound Designer

Ashley Walker

Producer

Alana Dunn

Production Manager

Taryn Zentrich

Stage Manager

Natalie Baghoumian

Assistant Director

Julie Bettens

Assistant Director [Rehearsals]

Jake Fryer-Hornsby

Cast

Felix Fox

Sofia Harling

Chloe Harnisch-Rojas

Sophie May

Oliver Milner

Billy Nicolaou

Laila Pasqualini

Performed at The Rebel Theatre

Season

9–12 November 2023

Performances 4

Heath Rosen

Alexandra Szewcow

Sienna Spence

Willow Seager

Mila-Kate Smith

Isabel de Sousa

Scarlet Stewart

Olive Talib

Alyssa Wallwork

Photo by Luke Stambouliah
Festival
Clare Hawley

SOCIAL CIRCUS LAB

SUICIDE PREVENTION RESOURCES

Co-presented with Artback NT and the Darwin Festival

On Tuesday 24 October ATYP launched a series of three short films for a Suicide Prevention project commissioned and developed with the Blackdog Institute. The Institute engaged ATYP to find a creative solution to communicating the research findings generated by the Centre of Research Excellence in Suicide Prevention (CRESP) that can be accessed by schools. ATYP engaged script writer George Kemp who worked with a lived experience team and Blackdog stakeholders to create three scripts demonstrating how to navigate discussions about suicidal thoughts with and for teenagers.

The videos are available to schools through the ATYP On Demand Platform.

Writer

George Kemp

Knowledge Translation

Dr Aurora (Roar) Murphy

Producer/Director

Georgia McGinness

Film Maker

Tony Whittaker

Project Coordinator

Fraser Corfield

Cast

Fraser Crane

Masego Pitso

Joe Cumpston

Sophie Kelly

2023 Programs

Short Play Commissions

Fresh Ink National Mentoring National Studio

Cultivate: Emerging Dramaturgs Program

ATYP Foundation Commissions

Drama Workshops

Industry Studio

School Productions

ATYP On Demand

School Workshops

Intersection Festival 2023

Partnerships

Generator – Regional Engagement

Writing

Short Play Commissions 2023

Taylor Fernandez

Blake Hohenhaus

Aliyah Knight

Bronte Locke

Callum Mackay

Caitlin Monk

Jake Parker

Megan Rundle

Pip Thoroughgood

El Waddingham

Left: National Studio
Photo by George Kemp

Fresh Ink National Mentoring

In 2023, Fresh Ink welcomed Cairns to the program for the first time, partnering with JUTE Theatre, as well as partnering for the first time with Black Swan State Theatre Company of WA to present the program in Perth. The groups in Hobart (co-presented with Archipelago Productions) and Sydney continued successfully. 16 emerging playwrights aged 18–26 across the four states wrote two short plays, with mid-year and end-of-year readings for each of the cities. The Mentors in 2023 were Kathryn Ash (Cairns), Belinda Bradley (Hobart), Chris Isaacs (Perth) and ATYP’s Resident Dramaturg, Jane FitzGerald (Sydney).

“Fresh Ink is an outstanding opportunity for young writers and storytellers to be empowered to use their voice; to experiment with craft and form, and connect with likeminded emerging artists and industry professionals, working towards common goal of creativity. [It] gave me a place to experiment and develop my craft, away from the pressure of consistently producing work for 'immediate' production. As a result of this nurture and care, I feel I have significantly developed my voice as a writer, and found personal success in these new genres and techniques that I was empowered to experiment with.”

– Amber Grossman

Fresh Ink Cairns participant 2023

National Studio

In 2023, ATYP’s annual National Studio was once again held at Bundanon. As always, this highly successful residential program created a nurturing and safe environment in which 20 emerging writers could immerse themselves in skills development and creative practice. The writers from seven states and territories, all aged 18–26, participated in masterclasses, group tutorials, one-on-one mentoring and industry sessions from awardwinning playwrights Anchuli Felicia King (VIC/ UK), George Kemp (NSW) and Lewis Treston (QLD), as well as ATYP Resident Dramaturg Jane FitzGerald. The participants wrote eightminute plays, ten of which went on to be selected to form Intersection: Dawn, receiving further dramaturgical support by Jane FitzGerald before being presented as 2024’s Intersection Festival and being published by Currency Press.

“On top of being the most enjoyable, heart-warming, loving week in my recent memory, in which I made life-long friends, played games and laughed harder than I have all year – I am already seeing the actual, real-world impact of the Studio on my mental and physical health and my approach to my creative practice. I have elevated as an artist through this experience, which to be honest I could never have expected. I will recommend the Studio and ATYP to every writer I ever encounter from here-on."

– Blake Hohenhaus National Studio QLD participant 2023

Cultivate: Emerging Dramaturgs Program

The inaugural Cultivate program for emerging dramaturgs who identify as First Nations or as a Person of Colour continued throughout 2023 (having started in September 2022), concluding in November. The program exceeded expectations in all goals, with highly positive feedback received from all participants, who praised the uniqueness of the program and the opportunity it provided for a pathway into the industry. The four emerging dramaturgs received mentorship from writer, performance-maker, and story developer Jenevieve Chang and Resident Dramaturg Jane FitzGerald during monthly sessions, providing participants with skills development and industry connections. Across the program four industry professionals were also welcomed as guest speakers.

“[Cultivate] has had a profound impact on me as a dramaturg and theatre practitioner. I’m particularly grateful for this program because it offered an educational experience that I think wouldn’t be found at a traditional institution. Specifically, I found the emphasis on relationship building, how to give and receive feedback, and the mental frame of mind when going into dramaturgy useful… This program has taught me ways to have a much more measured approach, and I think I can use what I learnt in other areas of my life as well, even outside theatre.”

– Varuna Naicker Cultivate participant 2023

ATYP Foundation Commissions

In 2023 the Junior (10–13 years) commission was won by Michael Louis Kennedy for his play The Racket, and the Senior (14–17 years) commission was won by Amy May Nunn for her play Flicker Flicker Glow. All Foundation Commissions receive a structured and nurturing dramaturgical development process, including a workshop reading with young people aged 10–13 or 14–17 years.

Previous Foundation Commission winner, Reboot by Michael Costi (10–13 years in 2022) was produced as part of the Young Industry Studio. Scab by Danny Ball (14–17 years winner 2022) and Cry Havoc by Emme Hoy (14–17 years winner 2020) continued their development, supported by the Resident Dramaturg.

“Winning the ATYP Foundation Commission and developing a new work was an incredible experience. As a writer, I was overwhelmingly supported by ATYP through numerous workshops; developments, and dramaturgical sessions. The company ethos of creating dynamic and relevant theatre for young people clearly impacted my process as I felt I had the space to craft and receive invaluable feedback from young performers. As the work made its way from page to stage, this driving sense of enthusiasm culminated in a final production that I believe reflected the professionalism of the team and vision I had for the play. It was truly a joy to work with ATYP!”

– Michael Costi playwright of Reboot

Workshops

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, regardless of their 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 selfconfidence and discover valuable insights into the dramatic process.

The Workshops department enjoyed a year of growth in 2023 with increased numbers of enrolments across holiday and weekly programs, as well as an increase in scholarship placements.

Left: Photo by Clare Hawley

Holiday Drama Workshops

2023 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. 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. Finally, we partnered with MyKindCo to activate holiday workshops in the Balmain area.

Workshop

Weekly Drama Workshops

2023 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 enrolment numbers throughout the course of semester

Several classes in the Year 7–9 and Year 10–12 age groups were expanded to meet the demand for places. Semester 2 classes also had very strong enrolment numbers and we continued the trend of expanding classes across the Year 5–6 and Year 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 continued to run workshops at the McDonald College as part of their extracurricular activities program. We ran two classes per week in semester 1. The program did not continue in semester 2.

In 2023 we ran the Young Industry Studio program for the second year running. The program is 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. The program uses a standard professional production model to stage the Junior Foundation Commissions. This culminated in a season of Reboot by Michael Costi (2022 Junior Commission winner) in the Rebel Theatre in November. Workshop facilitators

Industry Studio

2023 was a smaller year for the Industry Studio program with only a handful of offerings and smaller numbers of participants for the 18+ community.

Education

Student workshops are delivered at our home at Pier 2/3, online and in schools. Online programs and productions are available through our On Demand and On Demand Plus platform, allowing access to teachers and students across Australia.

In 2023, the Education department was composed of Jacqui Cowell (Education Manager) and George Kemp (Education

Left: Photo by Clare Hawley

Productions

There were school shows for The Resistance and CUSP. These included a post-show Q&A with actors and creatives, facilitated by the Education team.

Total attendance, inclusive of teachers and students:

The Resistance 277 CUSP 138

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.

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. The program was launched in 2021 with six trial schools which all signed on for an annual subscription in 2022.

Teacher feedback has been 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 a new unit in 2023 for the Children’s Book Council of Australia book week project. This unit called August and Jones was based on one of the CBCA nominated books in the Younger Readers category.

States reached with subscriptions 3 Schools

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 2023, we coordinated the following student workshops:

Student workshops

Workshops 63 Student participants 1,360

ATYP also provided workshops for the Department of Education and Butucarbin Aboriginal Corporation as after school Drama programs. The two DET schools were Matraville Public School and Ruse Public School.

Ruse Public School

Workshops 17

Student participants 425

Matraville Public School

Workshops 26

Student participants 650

Theatre Flat-Pack

Theatre Flat-Pack is an in-school program launched in 2021, where we co-produce an ATYP-commissioned play. ATYP provides an industry director, production support, schedules and licensing. ATYP Education produced four Theatre Flat-Pack programs in 2023. Jacqui and George produced two programs each:

Bathory Begins

Writer Emme Hoy & Gretel Vella

Director Warwick Doddrell

School Newtown High School of the Performing Arts

Performances 18, 19 & 20 Oct 2023

Student cast 14

SAAM

Writer Maddie Nunn

Director

Sophie Kelly

Performances 27, 28 & 29 Jul 2023

Schools De La Salle College, Caringbah Our Lady of Mercy College, Burraneer Bay Student cast 10

The Chapel, the Fire and the Dead Cat

Writer Maddie Nunn

Director Claudia Osborne

School St Ives High School

Performances 30 Nov, 1 & 2 Dec 2023

Student cast 11

Shack

Writer George Kemp

Director

Sophie Kelly

School St Aloysius College

Performances 2, 3 & 4 Nov 2023

Student cast 18

Intersection Festival 2023

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.

Intersection Festival 2023 showcase was, yet again, 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. Many of the writers also conducted a Zoom Q&A; A session with the students during their rehearsal processes.

Intersection has doubled in size since its inception, with schools participating from North Queensland, Byron Bay, The Blue Mountains and The Western Suburbs amongst others. It involved a broad range of schools – public, private, catholic, independent and Steiner.

Participating schools 18 Students participating 360 Intersection Festival 2023 participants 68

Partnerships

ATYP Education developed partnerships with The Smith Family and Children’s Book Council of Australia (CBCA) in 2023.

We facilitated, programmed and managed 10 SmArts programs nationally in schools in NSW, ACT and SA. SmArts programs are Theatre and Musical Theatre artist in residence programs, with a 3 day workshop program and 1 day arts experience day. The artist in residence program culminated in a short performance at the school. The arts experience day can involve the students seeing a professional production at a theatre company or coming to Australian Theatre for Young People to do workshops, an industry talk and tour of our theatre and venue.

We developed a strong partnership with the Children’s Book Council of Australia. This involved scripting, filming and helping CBCA to launch the CBCA awards including the judging of 6 categories of children’s books by young people and adults. We had two young people present the awards; Jasper Reucassal and Catherine Laga’aia.

Right: The Resistance, 2023
Photo by Clare Hawley

Generator –Regional Engagement

Generator is a comprehensive professional development and mentoring initiative that connects regional teaching artists that have experience and skills in facilitating drama with young people so they may share ideas, experiences, resources and inspiration.

12 teaching artists from 7 locations across Regional NSW were invited to participate in a week-long professional development week in Sydney, before being supported to develop and deliver brand-new drama holiday programs for young people in their regional communities. With the support of the Department of Regional NSW, ATYP offers complete financial support to these programs, with the aim of developing effective and sustainable programs that can exist beyond the 18-month program.

“I feel ready to hit the ground running with creating workshops. I also feel I have made new friends and a happy drama circle and all the good vibes with the group! I also feel so grateful for the experience and equipped with new skills and extended old skills.”

– Sara Sinclair Generator participant 2023/24

Generator Participants 2023/24

1 Danielle Brame-Whiting Jopuka Productions (Central Coast)

2 Ben Mettam

O’Grady Drama Tamworth & New England (Tamworth)

3 Sara Sinclair

O’Grady Drama Tamworth & New England (Tamworth)

4 Ajita Canning

Understorey Youth Theatre (Evans Head)

5 Noa Rotem

Understorey Youth Theatre (Evans Head)

6 Sarah Martin Three Brothers Theatre Group (Camden Haven)

7 Matthew Fitz Three Brothers Theatre Group (Camden Haven)

8 Sally Jackson Freeroam Theatre (Wagga Wagga)

9 Jhi Reynor Freeroam Theatre (Wagga Wagga)

10 Clancy Hauser HotHouse Theatre (Albury)

11 Zajkel Zaia Freeroam Theatre (Wagga Wagga)

12 Mel Toscan Whoop Theatre (Griffith)

The program will run across 2023 and 2024.

Left: Photo by Clare Hawley

Australian Theatre for Young People and its Controlled Entity

Directors’ Report

For the Financial Year Ended 31 December 2023

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 2023 together with the financial statements and the Independent Audit Report thereon.

Directors’ details and meetings

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

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

F Corfield 26 May 2009 3 April 2023

S Hand 29 November 2021

J Harding 13 October 2023

T Hossain 16 April 2018 1 January 2023

J Lapworth 20 May 2012 27 February 2023

A Johnson 16 August 2021

G Larkins 12 August 2019 31 October 2023

M Morrissey 25 November 2019 1 January 2023

C Puplick 12 February 2018

D Selikowitz 12 August 2019 25

N Webb 12 August 2019

D Worthington 12 August 2019 30 October 2023

J Trifunovic 30 October 2023

A Number of meetings the director was entitled to attended.

B Number of meetings the director attended

Details of directors’ qualifications, experience and special responsibilities can be found on page 4 to 5 of this report.

Company secretary

Amanda Wright

Statement of purpose

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

Operating result

The consolidated comprehensive loss for the year amounted to $519,358 (2022 consolidated comprehensive loss: $1,100,492).

Australian Theatre for Young People and its Controlled Entity Directors’ Report

For the Financial Year Ended 31 December 2023

Review of operations

STRATEGIC GOALS 2020-2024

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

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

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

Principal activities for the year

The principal activities undertaken by ATYP to meet its 2023 goals included:

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

 ATYP staged two fully professional productions involving young people in 2023. The Resistance, written and directed by Kip Chapman and presented n partnership with Auckland Theatre Company, and Cusp by Mary Anne Butler which opened in Sydney before conducting a small national tour culminating in a season at the Darwin Festival.

 ATYP’s season of The Resistance was short-listed for a Sydney Theatre Award and commissions The Chapel, The Fire and The Dead Cat and Past the Shallows were both short-listed for Australian Writers Guild Industry Awards.

 ATYP was invited to present Saplings, a new work by Hannah Belanszky developed with young people in conflict with the justice system, as part of the 2024 Sydney Festival.

GOAL TWO: Deliver inclusive opportunities that connect young people with the professional theatre industry.

 ATYP delivered programs in partnership with leading national companies including Auckland Theatre Company, Black Swan State Theatre, Archipelago Productions, JUTE Theatre and the Darwin Festival.

 ATYP delivered drama workshops, masterclasses and t eacher professional development through our thriving Workshops and Education programs;

 ATYP successfully piloted the Cultivate program, a professional development initiative supporting dramaturgs from culturally and linguistically diverse backgrounds.

 Following her completion of the 2023 Cultivate dramaturgy program, Ayah Tayeh was appointed by Belvoir as Producer, New Work. Ayah credits the Cultivate program with giving her the skills required to apply for and secure the job.

GOAL THREE: Be a leading advocate for youth arts and its’ social impact.

 ATYP was approached by the Black Dog Institute to develop a performance outcome that could communicate suicide prevention strategies for teenagers and young adults. The resulting videos and resources were developed throughout 2023 under the title Social Circus Lab.

 ATYP was approached by Youth Action, the peak body for young people in NSW, to develop a performance that could communicate the lived experience of young people in conflict with the Justice system. Development of the new work, Saplings by Hannah Belanszky, was attended by the Minister for Youth Justice, Jihad Dibb, with the production outcome supported by the Office for Regional Youth.

 ATYP plays as a flagship Australian Youth Theatre company championing the youth arts sector was confirmed by Creative Australia through the awarding of four-year operational funding announced in December 2023.

Australian Theatre for Young People and its Controlled Entity

Directors’ Report

For the Financial Year Ended 31 December 2023

Directors’ qualifications and experience

Name and qualifications Experience and special responsibilities

Samara Hand BA/BLaw (UNSW), MA (UoL)

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

Non-executive Director.

John Harding (VIC)

Currently completing his Doctorate of Philosophy (UoM) (Creative Arts)

John Harding (Kuku Yulangi/Erub; TSI) is the founder of Ilbijerri Aboriginal/TSI Theatre Company. An experienced playwright, director and actor, John has been awarded the Indigenous Fellowship by the Australia Council for the Arts (1997), the Australian Human Right Medal for Arts (1997), the ANU Nugget Coombes Fellowship (2002) and the Deadly Award for Literature (2009). John’s work has toured nationally and internationally to critical acclaim. Andrew Johnson BA, LLB, MSW

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

Non-executive Director.

Chris Puplick AM BA Hons, MA (Syd)

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).

Chair and Non-executive Director

Julijana Trifunovic Director of Philanthropy at the Australian College of Nursing. Julijana is an Australian charity fundraiser with over 25 years of experience. An active Fundraising Institute of Australia (FIA) member for over 21 years, she has previously held various portfolios including Vice President of the NSW Chapter, Awards and Membership, National Conference Committee member and Professional Events Coordinator

Australian Theatre for Young People and its Controlled Entity Directors’ Report

For the Financial Year Ended 31 December 2023

Name and qualifications Experience and special responsibilities

Nicole Webb

BA Communications, PR & Media (UC)

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.

Non-executive Director.

Contribution in winding up

The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the company is wound up, the constitution states that each member is required to contribute a maximum of $10 each towards meeting any outstanding obligations of the company. At 31 December 2023 the collective liability was $60 (2022: $110).

Significant changes in the state of affairs

In 2023 ATYP did not receive operational funding from the Federal Government through the Australia Council for the Arts, following a decision announced in 2020. This has left the company with very low levels of operational funding for 2023 and 2024. In response the company has cut investment in productions and will only stage works that have received appropriate levels of project funding.

Significant events after year end

There has not been any circumstance occurring subsequent to the end of the financial year that has significantly affected, or may significantly affect, the operations of the company, the results of those operations, or the state of affairs of the company in future financial years.

Likely developments and future results

Creative Australia (previously the Australia Council for the Arts) announced in December that ATYP will receive $250k per annum in operational funding from 2025 - 2028. While this offers stability to the company, it falls short of money required to maintain current company output. Strategies are being developed and implemented in 2023 to make up for the projected shortfall.

Environmental regulation

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

Indemnification and insurance of directors and officers

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

Australian Theatre for Young People and its Controlled Entity

Directors’ Report

For the Financial Year Ended 31 December 2023

Auditor’s independence declaration

A copy of the Auditor’s Independence Declaration as required under section 60-40 of the Australian Charities and Not-for-profits Commission Act 2012 is included in page 7 of this financial report.

Signed in accordance with a resolution of the directors.

Australian Theatre for Young People and its Controlled Entity Auditor’s Independence Declaration to the Directors of Australian Theatre for Young People and its Controlled Entity For the Financial Year Ended 31 December 2023

In accordance with the requirements of section 60-40 of the Australian Charities and Not-for-profits Commission Act 2012, as lead auditor for the audit of Australian Theatre for Young People and its Controlled Entity for the year ended 31 December 2023, 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.

Australian Theatre for Young People and its Controlled Entity

Consolidated Statement of Changes in Equity For the Financial Year Ended 31 December 2023

Loss on revaluation of financial assets at FVOCI

Loss on revaluation of

Capital funds and

its long-term financial security.

Capitalcampaignreserve isareservewheredonationsreceivedtowardsATYP’snewhomeaspartofthePier2/3redevelopmentareearmarkeduntil required to meet the costs of the redevelopment.

Equitythrough fairvaluethroughothercomprehensiveincome(FVOCI)reserve comprisesgainsandlossesrelatingtoequityinvestmentsheldinATYP Foundation.

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements

For the Financial Year Ended 31 December 2023

1. General information

The financial statements cover Australian Theatre for Young People (ATYP) and its only subsidiary, ATYP Foundation (collectively referred to as “the group”). ATYP is an entity limited by guarantee, incorporated and domiciled in Australia. The entity is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards and a registered charity under the Australian Charities and Not-for-profits Commission Act 2012.

The group’s principal activity during the year is indicated on the directors’ report.

Principal place of business is Pier 2/3, Suite 2, 1 3A Hickson Road, Dawes Point, NSW 2000.

The financial report was authorised for issue by the directors on June 2024.

2. Changes in accounting policies

New and revised standards that are effective for these financial statements

A number of revised standards became effective for the first time to annual periods beginning on or after 1 July 2022. The adoption of these revised accounting standards has not had a material impact on the group’s financial statements.

Accounting Standards issued but not yet effective and not been adopted early by the group

A number of new and revised standards have been issued but are not yet effective and have not been adopted early by the group. The directors are currently assessing the impact such standard will have on the group.

3. Summary of material accounting policies

Financial reporting framework

The general purpose financial statements of the group have been prepared in accordance with the requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the NSW Charitable Fundraising Act 1991.

Statement of compliance

The general purpose financial statements of the gro up have been prepared in accordance with Australian Accounting Standards – Simplified Disclosures and other authoritative pronouncements of the Australian Accounting Standards Board.

Basis of preparation

The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs unless otherwise stated in the notes. The material accounting policies that have been adopted in the preparation of this report are as follows:

Basis of consolidation

Subsidiaries are all entities over which the group has control. The group controls an entity where the group is exposed to, or has rights to, variable returns from its involvement with the entity and has the ability to affect those returns through its power to direct the activities of the entity. Subsidiaries are fully consolidated from the date on which control s transferred to the group. They are deconsolidated from the date that control ceases.

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements

For the Financial Year Ended 31 December 2023

The acquisition method of accounting is used to account for business combinations by the group.

Inter-company transactions, balances and unrealised gains on transactions between group companies are eliminated.

Revenue from contracts with customers

Revenue is recognised on a basis that reflects the transfer of promised goods or services to customers at an amount that reflects the consideration the group expects to receive in exchange for those goods or services.

Revenue is recognised by applying a five-step model as follows:

1. Identify the contract with the customer

2. Identify the performance obligations

3. Determine the transaction price

4. Allocate the transaction price to the performance obligations

5. Recognise revenue as and when control of the performance obligations is transferred

Other revenue

For any revenue streams that are not defined as contracts with customers, revenue is recognised when the group gains control, economic benefits are probable and the amount of the revenue can be measured reliably.

All revenue is stated net of the amount of goods and services tax (GST).

Operating expenses

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

Income tax

No provision for income tax has been raised as the group is exempt from income tax as a registered charity under the Australian Charities and Not-for-profits Commission Act 2012.

Cash and cash equivalents

Cash and cash equivalents include cash on hand, deposits held at-call with banks, other short-term highly liquid investments that are readily convertible to known amounts of cash and which are subject to an insignificant risk of changes in value.

Trade and other receivables

Trade receivables are initially recognised at fair value and subsequently measured at amortised cost using the effective interest method, less any allowance for expected losses. Trade receivables are generally due for settlement within 30 days.

Financial assets

Financial assets are initially recognised at fair value.

Financial assets at amortised cost

Financial assets at amortised cost are subsequently measured using the effective interest (EIR) method and are subject to impairment. Gains and losses are recognised in profit or loss when the asset is derecognised, modified or impaired.

Investments in equity instruments designated at fair value through other comprehensive income Upon initial recognition, the group can elect to classify irrevocably its equity investments as equity instruments designated at fair value through OCI when they meet the definition of equity under AASB132 Financial Instruments: Presentation and are not held for trading. The classification is determined on an instrument-by-instrument basis.

Gains and losses on these financial assets are neve r recycled to profit or loss. Dividends are recognised as other income in profit or loss when the right of payment has been established, except when the group benefits from such proceeds as a recovery of part of the cost of the financial asset, in which case, such gains are recorded in OCI. Equity instruments designated at fair value through OCI are not subject to impairment assessment.

Property, plant and equipment

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

Depreciation

Property, plant and equipment, is depreciated on a straight-line basis over the asset’s useful life to the group, commencing when the asset is ready for use.

The useful lives used for each class of depreciable asset are shown below:

Fixed asset class Useful lives

Equipment and furniture 2 – 10 years

Leasehold improvements Over their useful lives

The assets’ residual values and useful lives are reviewed, and adjusted if appropriate, at the end of each reporting period.

Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are included in the statement of profit or loss and other comprehensive income.

Intangible assets

Intangible assets acquired as part of a business combination, other than goodwill, are initially measured at their fair value at the date of the acquisition. Intangible assets acquired separately are initially recognised at cost.

Finite life intangibles assets

Finite life intangible assets are subsequently measured at cost less amortisation and any impairment. The method and useful lives of finite life intangible assets are reviewed annually.

The useful lives used for each class of amortised asset are shown below:

Intangible asset class Useful lives

Website and software 3 – 5 years

Impairment of assets

At the end of each reporting period the group determines whether there is evidence of an impairment indicator for non-financial assets.

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements

For the Financial Year Ended 31 December 2023

Trade and other payables

These amounts represent liabilities for goods and services provided to the group prior to the end of the financial year and which are unpaid. Due to the short-term nature, they are measured at amortised cost and are not discounted. The amounts are unsecured and are usually paid within 30 days of recognition.

Goods and services tax (GST)

Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO).

Receivables and payables are stated inclusive of GST.

The net amount of GST recoverable from, or payable to, the ATO is included as part of receivables or payables in the statement of financial position.

Cash flows in the statement of cash flows are included on a gross basis and the GST component of cash flows arising from investing and financing activities which is recoverable from, or payable to, the taxation authority is classified as operating cash flows.

Provision for employee benefits

Provision is made for the group's liability for employee benefits arising from services rendered by employees to the end of the reporting period. Employee benefits that are expected to be wholly settled within one year have been measured at the amounts expected to be paid when the liability is settled.

In determining the liability, consideration is given to employee wage increases and the probability that the employee may satisfy vesting requirements. Cashflows are discounted using market yields on high quality corporate bond rates incorporating bonds rated AAA or AA by credit agencies, with terms to maturity that match the expected timing of cashflows. Changes in the measurement of the liability are recognised in profit or loss.

Leases

The group assesses at contract inception whether a contract is, or contains, a lease.

As a lessee

The group applies a single recognition and measurement approach for all leases, except for short-term leases and leases of low-value assets. The group recognises lease liabilities to make lease payments and right-of-use assets representing the right to use the underlying assets.

Right-of-use assets

The group recognises right-of-use assets at the commencement date of the lease (i.e., the date the underlying asset is available for use). Right-of-use assets are measured at cost, less any accumulated depreciation and impairment losses, and adjusted for any remeasurement of lease liabilities. The cost of right-of-use assets includes the amount of lease liabilities recognised, initial direct costs incurred, and lease payments made at or before the commencement date less any lease incentives received.

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements

For the Financial Year Ended 31 December 2023

Right-of-use assets are depreciated on a straight-line basis over the shorter of the lease term and the estimated useful lives of the assets, as follows:

The right-of-use assets are also subject to impairment.

Lease liabilities

At the commencement date of the lease, the group recognises lease liabilities measured at the present value of lease payments to be made over the lease term.

Liabilities relating to contracts with customers

Contract liabilities

A contract liability is recognised if a payment is received or a payment is due (whichever is earlier) from a customer before the group transfers the related goods or services/grant conditions are fulfilled. Contract liabilities include deferred income. Contract liabilities are recognised as revenue when the group performs under the contract (i.e., transfers control of the related goods or services to the customer/fulfils conditions of the grant).

The services are usually provided/conditions usually fulfilled within twelve (12) months of receipt of the payment/grant. Where the amount received is in respect of services to be provided over a period that exceeds twelve (12) months after the reporting date/the conditions will only be satisfied more than twelve (12) months after the reporting date, t he liability is discounted and presented as noncurrent.

Comparative figures

Where required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current financial year. With the exception of minor reclassifications between certain financial statement line items, comparatives are consistent with prior years, unless otherwise stated.

Significant management judgement in applying accounting policies

When preparing the financial statements, Board of Directors undertakes a number of judgements, estimates and assumptions about the recognition and measurement of assets, liabilities, income and expenses.

Estimation uncertainty

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

Receivables

The receivables at reporting date have been reviewed to determine whether there is any objective evidence that any of the receivables are impaired. An allowance for expected losses is included, where applicable, based on historical credit loss experience, adjusted for forward-looking factors specific to the debtors and the economic environment. The allowance for expected losses is based on the best information at the reporting date.

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements

For the Financial Year Ended 31 December 2023

Useful lives of depreciable assets

The Board of Directors review 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 technica obsolescence that may change the utility of certain depreciable assets.

Long service leave

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

If conditions are attached to a grant, revenue is recognised when the entity satisfies those conditions.

Revenuerelatingtoworkshop,performanceandresourceisrecognisedovertheperiodinwhichtheserviceis provided.

Saleofgoodsarerecognisedatthepointofsale,whichiswherethecustomerhastakendeliveryofthegoods, the risks and rewards are transferred to the customer.

12. Right-of-use assets

Right-of-use assets (continued)

TheentityleasespremisesatPier2/3,13AHicksonRoad,DawesPoint,NSW.Leasetermisforperiodof10 yearsending16January2032,withanoptiontorenewforfurther10years.Paymentsaremademonthlyand are subject to annual review based on a fixed percentage of 5%.

TheleaseissubjecttoaTenantWorksContributionof$1,000,000overthe10-yearleaseterm.Duringtheyear, theentitywasnotliabletopaythe$100,000andismeetingwithNSWStateGovernmenttodiscusstheongoing treatment of payments in relation to this.

17. Other liabilities

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements For the

20. NSW Charitable Fundraising Act 1991 (continued)

a) Details of aggregated gross income and total expenses from fundraising appeals (continued)

b) Nature of fundraising appeals and application of net surplus

Fundraisingappealsprimarilyconsistedofdonations.Thenetsurplusgeneratedfromfundraisingactivitieswas applied to the charitable purposes of the organisation.

21. Related parties

Thegroup’srelatedpartiesincludeitskeymanagementpersonnelandrelatedentities.Transactionsbetween relatedpartiesareonnormalcommercialtermsandconditionsnomorefavourablethanthoseavailableto other parties.

Thedirectorsactinanhonorarycapacityandreceivenocompensationfortheirservices,otherthanFraser Corfield who is the Artistic Director of ATYP.

Thetotalamountofdonationsreceivedfromdirectorsduringtheyearended31December2023amountedto $747 (2022: $6,020).

Remuneration of auditors

J Miller & Co

Australian Theatre for Young People and its Controlled Entity

Notes to the Consolidated Financial Statements

For the Financial Year Ended 31 December 2023

Theparentcompanyisincorporatedunderthe CorporationsAct2001 andisanentitylimitedbyguarantee.If theentityiswoundup,theConstitutionstatesthateachmemberisrequiredtocontributeamaximum$10each towardsmeetinganyoutstandingobligationsoftheentity.At31December2023,thetotalamountthat members of the entity are liable to contribute if the entity is wound up is $60 (2022: $110).

ThegroupisdependentupontheongoingreceiptofFederalandStateGovernmentgrantssponsorshipincome, workshopsfeesandattendances,anddonations,toensuretheongoingcontinuanceofitsprograms.Atthe dateofthisreport,directorshavenoreasontobelievethatthisfinancialsupportwillnotcontinuetotheextent required to continue operating as a going concern.

The group had no material unrecognised contractual commitments as at 31 December 2023.

26. Contingent liabilities

There are no contingent liabilities as at 31 December 2023.

27. Subsequent events

Noadjustingorsignificantnon-adjustingeventshaveoccurredbetweenthereportingdateandthedateof authorisation of these accounts.

23. Members' guarantee
24. Economic dependence
25. Commitments

Australian Theatre for Young People and its Controlled Entity

Responsible Persons’ Declaration

For the Financial Year Ended 31 December 2023

The Responsible Persons declare that in the Responsible Persons’ opinion:

a) the consolidated financial statements and notes are in accordance with the Australian Charities and Not-for-profits Commission Act 2012, including:

i) giving a true and fair view of the group’s financia position as at 31 December 2023 and of its performance for the year ended on that date; and

ii) complying with Australian Accounting Standards – Simplified Disclosures and the Australian Charities and Not-for-profits Commission Regulations 2022; and

b) there are reasonable grounds to believe that the group is able to pay all of its debts, as and when they become due and payable.

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

June 2024

Australian Theatre for Young People and its Controlled Entity

Responsible Persons’ Declaration under the NSW Charitable Fundraising Act 1991 For the Financial Year Ended 31 December 2023

The Responsible Persons declare that in the Responsible Persons’ opinion:

a) the consolidated statement of profit or loss and other comprehensive income and associated notes gives a true and fair view of all income and expenditure of the organisation with respect to fundraising appeals for the financial year ended 31 December 2023;

b) the consolidated statement of financial position and associated notes gives a true and fair view of the state of affairs of the organisation with respect to fundraising appeals conducted by the organisation as at 31 December 2023;

c) the provisions of the NSW Charitable Fundraising Act 1991 and Regulations and the conditions attached to the authority have been complied with during the financial year ended 31 December 2023; and

d) the internal controls exercised by the organisation are appropriate and effective in accounting for all income received and applied by the organisation from any of its fundraising appeals during the financial year ended 31 December 2023.

Andrew Johnson Director
Andrew Johnson Director June 2024

ABN: 11 624 245 334

P: PO Box 324

West Pennant Hills NSW 2125

M: 0428 074 081

E: info@sdja.com.au

W: www.sdja.com.au

Australian Theatre for Young People and its Controlled Entity Independent Auditor’s Report to the Members of Australian Theatre for Young People and its Controlled Entity For the Financial Year Ended 31 December 2023

Opinion

We have audited the financial report of Australian Theatre for Young People and its Controlled Entity (the group), which comprises the consolidated statement of financial position as at 31 December 2023, the consolidated statement of profit or loss and other comprehensive income, consolidated statement of changes in equity and consolidated statement of cash flows for the year then ended, notes to the consolidated financial statements, including a summary of material accounting policies, and the responsible persons’ declaration.

In our opinion, the financial report of Australian Theatre for Young People and its Controlled Entity has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act), including:

(a) giving a true and fair view of the group’s financial position as at 31 December 2023 and of its financial performance for the year then ended; and

(b) complying with Australian Accounting Standards – Simplified Disclosures and Division 60 of the Australian Charities and Not-for-profits Commission Regulations 2022

Basis for Opinion

We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of our report. We are independent of the group in accordance with the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to our audit of the consolidated financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Information Other than the Financial Report and Auditor’s Report Thereon

The directors are responsible for the other information. The other information is the directors’ report accompanying the consolidated financial report.

Our opinion on the consolidated financial report does not cover the other information and accordingly we do not express any form of assurance conclusion thereon.

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

Liability limited by a scheme approved under Professional Standards Legislation

Australian Theatre for Young People and its Controlled Entity

Independent Auditor’s Report to the Members of Australian Theatre for Young People and its Controlled Entity

For the Financial Year Ended 31 December 2023

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

Responsibilities

of Responsible Persons for the Financial Report

The responsible persons of the group are responsible for the preparation and fair presentation of the consolidated financial report in accordance with Australian Accounting Standards and the ACNC Act, and for such internal control as the responsible pe rsons 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, responsible persons 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 responsible persons either intend to liquidate the group or to cease operations or have no realistic alternative but to do so.

The responsible persons are responsible for overseeing the group’s financial reporting process.

Auditor’s Responsibilities for the Audit of the Financial Report

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

A further description of our responsibilities for audit of the financial report is located at the Auditing and Assurance Standards Board website at: http://www.auasb.gov.au/. This description forms part of our auditor’s report.

Report of the requirements of the NSW Charitable Fundraising Act 1991

We have audited the consolidated financial report as required by Section 24(2) of the NSW Charitable Fundraising Act 1991. Our procedures included obtaining an understanding of the internal control structure for fundraising appeal activities and examination, on a test basis, of evidence supporting compliance with the accounting and associated record keeping requirements for fundraising appeal activities pursuant to the NSW Charitable Fundraising Act 1991 and the NSW Charitable Fundraising Regulation 2021.

Because of the inherent limitations of any assurance engagement, it is possible that fraud, error or non-compliance may occur and not be detected. An audit is not designed to detect all instance of noncompliance with the requirements described in the above-mentioned Acts and Regulations as an audit is not performed continuously throughout the period and the audit procedures performed in respect of compliance with these requirements are undertaken on a test basis. The audit report expressed in this report has been formed on the above basis.

Australian Theatre for Young People and its Controlled Entity

Independent Auditor’s Report to the Members of Australian Theatre for Young People and its Controlled Entity

For the Financial Year Ended 31 December 2023

Opinion

In our opinion:

a) the consolidated financial report of Australian Theatre for Young People and its Controlled Entity has been properly drawn up and associated records have been properly kept during the financial year ended 31 December 2023, in all material respects, in accordance with:

i) sections 20(1), 22(1-2), 24(1-3) of the NSW Charitable Fundraising Act 1991; and

ii) sections 10(6) and 11 of the NSW Charitable Fundraising Regulation 2021

b) the money received as a result of fundraising appeals conducted by the group during the financial year ended 31 December 2023 has been properly accounted for and applied, in all material respects, in accordance with the above-mentioned Act and Regulations.

SDJA

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