atyp 2012 Annual Report by ATYP Theatre

annual report 2012

overview

In February 2012 Australian Theatre for Young People (atyp) launched a new company website, a new Fresh Ink playwriting website and a range of on-line initiatives. The company made a commitment to taking risks and finding opportunities to innovate in the realm of on-line engagement in theatre. By the end of the year over 250,000 people world-wide had either watched an atyp production or downloaded an atyp resource. Meanwhile the company continued to experience steady growth across programs. Over 10,000 people attended performances in our 90 - seat space at The Wharf. A collaboration on Belvoirâ&#x20AC;&#x2122;s extraordinary production of Medea along with the success of the Under the Wharf production Punk Rock saw atyp named in 8 of the 24 Sydney Theatre Awards for 2012. The company continued to broker partnerships to support all programs, from leading arts companies and venues to the smallest regional schools. From interactive digital classrooms accessing development showings at the Sydney Opera House to school residencies in Katherine in the Northern Territory, the company developed programs and processes in 2012 that will change the way youth theatre is delivered for years to come.

our message Our vision:

To raise the national expectation of what theatre with young people can achieve. We do this through four inter-linked aspirations: 1. Be a fearless theatre company with a national impact that all levels of the industry love to work with. 2. Build an active playwriting community that champions and supports young artists and their work. 3. Be the first place teachers turn to for inspiration and support in drama education. 4. Maintain a vibrant creative hub and company culture that young people around the country want to be a part of. Our work is determined by four overarching strategies: 1. National impact: Recognise the companyâ&#x20AC;&#x2122;s role as the national youth theatre and prioritise initiatives that have the potential to resonate nationally. 2. Artistic excellence: Connect young people with industry leaders, and work in partnership with companies, venues and producers synonymous with â&#x20AC;&#x2DC;artistic excellenceâ&#x20AC;&#x2122;.

2012 in numbers 10 000 people attended a performance in atyp studio 1. 20 000 young people attended atyp workshops. 250 000 people around the world either watched an atyp production on-line or downloaded an atyp resource.

3. Innovation: Embrace technology and the evolving nature of storytelling as it relates to young people and their place in the world.

8 out of 24 Sydney theatre awards for 2012 involved atyp.

4. Pathways: Maintain an environment that develops confidence and creativity in all young Australians by offering inclusive access to the company and supporting the career development of emerging professionals.

The company employed 118 professional artists.

Fraser Corfield

artistic director’s report It gives me great pleasure to present the Artistic Director’s report for 2012. 2012 was my fourth year as the Artistic Director of, Australian Theatre for Young People, and I would suggest, the year the changes from the previous three began to reap rewards. atyp attained some extraordinary successes, as you will see in the attached report. Perhaps the most significant achievement of the year, which will not be apparent from the program and audited figures, was a gentle shift in company culture. While there has been a warmth and passion that has driven the staff and board since I have been with atyp, there was clarity to the relationship between company programs and a unity of purpose in 2012 that had not existed previously. This, coupled with some tangible achievements, has been a catalyst for a sense of strength and ambition. In the annual staff survey conducted at the end of the year as part of the Westpac Organisational Mentoring Program (which I will refer to in a moment), the words used to describe company culture at the end of 2012 were: democratic, consultative, collegiate, structured, accommodating, respectful, hardworking, passionate, and ‘open to new ideas’. It is an exceptionally rewarding environment to be a part of. I’d like to acknowledge two key drivers of this change. The first has been the impact of the Westpac Organisational Mentoring Program. This extraordinary initiative, which commenced for atyp in 2011 and concludes in 2013, works with the CEO and management team to develop the overall capacity of selected not-for-profit 5

charities funded through the Westpac Foundation. In 2011/12 atyp had the benefit of working with Westpac employee Sam Peters, Senior Manager -Strategy, on the development of a new triennial Business Plan. The planning process facilitated by Sam actively engaged all staff and board in the development of a new vision and series of aspirations that united the disparate company programs and provided a clear, unified direction. Westpac continues to provide mentoring and guidance to improve processes in human resources, marketing, fundraising and ad hoc needs. I sincerely thank Susan Yazbek and all at Westpac for their exceptional support. The second is our General Manager, Aaron Beach. Aaron’s first full-time role in the professional industry after graduating from University was as Production Manager of atyp from 2000 to 2002. His appointment to the role of General Manager in November 2011 meant he returned with an existing understanding of the importance of the company, its relevance to the development of young artists, and the potential to create work that has a national impact. Aaron combines this passion with practical processes, setting targets that are understood by the whole team and sharing the responsibility for meeting them. Aaron’s leadership has been integral to the success of 2012. He is a great asset to atyp. So what are these successes? A major focus of 2012 was improving our profile on-line. Early in the year atyp launched a new company website as well as a new Fresh Ink website. We also embarked on a series of initiatives to explore new ways of using technology

to enhance a love of theatre. By the end of the year more than a quarter of a million people around the world had either watched an atyp production on-line or downloaded an atyp resource. One of our short films had been selected to open the Venice Film Festival, while the creative development of one of our productions was purchased by the Sydney Opera House and used to engage young people, through digital classrooms simultaneously with Iive performance and workshops. Two productions from the atyp season were listed in The Sydney Morning Herald’s “Top 10 theatre productions of 2012”. In number 1 Medea, produced by Belvoir in association with atyp, and number 4 Punk Rock, presented by pantsguys Productions as part of Under the Wharf. atyp was involved in 8 of the 24 Sydney Theatre Awards including the ‘Best Newcomer’ award presented jointly to atyp participants, Rory Potter (12yrs) and Joseph Kelly (13yrs) for their performances in Medea. Our production of The Tender Age, co-produced with version 1.0 and presented by Carriageworks, was featured on the ABC News, Radio National, Triple J, ABC Local Radio and in a host of print media.

The inaugural atyp Foundation Commission Award received 90 applications from playwrights representing every state and territory. The company also worked in partnership with Corrugated Iron Youth Arts from Darwin, Canberra Youth Theatre and Tantrum Theatre in Newcastle, developing and staging work with young people. There was much more … but you can see that in the attached report. Of course this success was only possible because of the vision, the passion and drive of our talented staff and the generous support offered by a thoroughly engaged and motivated Board. Their energy and enthusiasm was infectious and flowed on to the 118 professional artists that worked with us during the year, and to the 1,000’s of young people that bring all our programs to life. In particular I would like to thank the Chair of atyp, Michael Ihlein, whose leadership has been instrumental in cementing a culture of fearless, ambitious, and strategic big-picture thinking. I look forward to seeing what 2013 will bring.

The focus on national impact saw the publication of the first two years worth of monologues from The Voices Project, by Currency Press, to coincide with the production, The One Sure Thing in February. Within two weeks the scripts were in 90 schools across NSW, and by the end of the year the monologues have been performed throughout the state as well as in Queensland, Victoria and Western Australia.

FRASER CORFIELD artistic director

Michael Ihlein

chair’s report I have pleasure in presenting the Chair’s report for 2012. Once again, the last year has been a very active one for the Company and we have continued to focus our activities to deliver on our vision to raise the national expectation of what theatre with young people can achieve. The artistic program in 2012 has been highly successful and the Company’s workshop programs have gone from strength to strength. Were pleased to have Janine Lapworth and Natasa Zunic joining the Board during the year bringing with them considerable legal and marketing experience. The Company has also had a successful financial year in 2012 in a number of ways with the excellent news in October 2012 of a renewal of triennial funding for 2013-2015 from the Australia Council for the Arts. This follows the renewal of the triennial funding from Arts NSW which occurred in the latter part of the previous year. The Company (including the Foundation) finished the year ended 31 December 2012 with Total Comprehensive Income of a loss of $274,202 (2011: $83,728) and Total Equity of $1,512,571 (2011: $1,786,773). The financial result reflects mainly the higher drawdown by atyp from the atyp Foundation following a number of years of lesser support required by atyp from the atyp Foundation. In addition, we have seen reduced earnings from the investments in the atyp Foundation due to lower interest rates. At the atyp level, a small loss of $28,324 was recorded and this was at a similar level to the loss in 2011 of $19,761 and broadly in line with our objective to break even each year.

Our vision is to raise the national expectation of what theatre with young people can achieve. We do this through four inter-linked aspirations: 1. Be a fearless theatre company with a national impact that all levels of the industry love to work with. 2. Build an active playwriting community that champions and supports young artists and their work. 3. Be the first place teachers turn to for inspiration and support in drama education. 4. Maintain a vibrant creative hub and company culture that young people around the country want to be part of. Our work is determined by four overarching strategies: national impact; artistic excellence; innovation; and pathways. At the heart of atyp’s processes is the collaboration between professional artists and young people. Our work supports young people from their first theatre experience to their first professional production. We want those experiences to be inspiring, to be contemporary, to demonstrate that everyone has a story to tell and that stories well told can resonate with everyone. Let me comment on some of the atyp activities during the last year in terms of the aspirations we have. Be a fearless theatre company with a national impact that all levels of the industry love to work with: • In 2012 we collaborated with version 1.0 to present the world premiere season of The Tender Age at the Sydney Opera House and Carriageworks. • We partnered with Belvoir to present the awardwinning production Medea in the Downstairs Theatre at Belvoir.

• Medea was awarded the 2012 Sydney Theatre Award for Best Mainstage Production. The Under the Wharf production Punk Rock (presented in partnership with pantsguys Productions) was awarded Best Independent production for 2012. atyp productions received a total of eight awards at the Sydney Theatre Awards and these awards are testimony to the artistic quality of what atyp is delivering in its artistic program. • Over 250,000 people engaged with the Company online either watching an atyp film or downloading atyp resources. • Over 30,000 people participated in atyp activities, including attending workshops and productions both in our space at The Wharf and nationally. Build an active playwriting community that champions and supports young artists and their work: • atyp commissioned ten young Australian playwrights to develop seven-minute monologues presented as part of The Voices Project: The One Sure Thing. • Bat Eyes by Jessica Bellamy was screened at the Venice Film Festival as part of YouTube’s inaugural Your Film Festival and has had over 120,000 online views. • With the support of the atyp Foundation Commission, Jo Turner adapted Deborah Abela’s Max Remy Super Spy for the stage. • With the support of the atyp Foundation Commission, Jessica Bellamy was commissioned to write a new work for 10-13 year olds to be presented in 2013. • The Company engaged Netta Yaschin to adapt George Orwell’s Animal Farm which was performed by a cast of 16-26 year olds.

Be the first place teachers turn to for inspiration and support in drama education: • We delivered education programs to 132 schools, reaching 7,264 students and conducted 132 education workshops for students. • We have substantially upgraded the education content on the atyp website and this has resulted in a significant increase in people accessing this online resource. Maintain a vibrant creative hub and company culture that young people around the country want to be a part of: • In 2012 atyp delivered 272 holiday workshops, 456 term ensemble classes, 147 school workshops, produced 11 productions with 11,187 audience members and had 11,373 holiday and semester participants. • We engaged with 388 indigenous participants in workshop programs in NSW and the Northern Territory. • atyp’s Atypical Advisors met monthly to provide feedback and evaluation of creative programs and marketing techniques and overall brand awareness. • In 2012 the Company had coverage in more than 160 print articles, 52 local listings, 43 major dailies nationwide, 69 articles in Sydney local papers and street press, 5 magazine stories, 17 radio stories and 47 on-line articles highlighting all aspects of our work. • atyp undertook surveys of both customers and employees, measuring quality of experience at atyp, receiving 96% percent positive feedback for holiday and term workshops and 98% percent positive feedback for education workshops.

chair’s report continued

Turning now to the 2012 financial results, funding ratios were: Earned Income of $1,357,665 (2011: $1,400,555) comprised 82% (2011: 78%) of total turnover of $1,652,986 (2011: $1,790,582). Earned income includes sponsorship & donations of $760,060 / 46% of turnover (2011: $781,413 / 44%) and fees & services of $437,769 / 26% (2011: $439,627 / 25%). Government subsidies and grants of $295,321 (2011: $390,027) represented 18% (2011: 22%) of turnover. The Board Finance Committee carried out monthly reviews of the annual budget to actuals and made recommendations to the atyp Board on financial matters. The Company has also continued with its organisational mentoring program with the Westpac Group and this has been very valuable especially in the area of strategic planning which supported atyp in the development of its current Business Plan. In relation to organisational changes, there were a number of staff changes during the year: • Peter Murray (Development and Philanthropy Manager) resigned to take up a role with the Sydney Children’s Cancer Institute. • Claire Harris (Marketing Manager) has recently advised that she is leaving to take up a role as Executive Producer with Outback Theatre for Young People. • Both Claire and Peter made excellent contributions to the Company and have put in place robust processes that will benefit the Company for the long term including a more structured approach to fundraising and atyp’s new website. • Kate Di Mattina joined atyp as Finance & Administration Manager, in a new role that allows much of what was previously outsourced to now be done in-house with a better quality of output. • Derek Minett commenced with atyp recently (on a part-time basis) as Private Giving Manager, and brings with him extensive experience in the not-for-profit sector. • Andrew Deane will shortly join atyp, as Fundraising Manager, from the University of Melbourne. In the area of funding, atyp continues to benefit from various subsidies and grants and totalling $295,321 in 2012 (2011: $390,027). These include Australia Council for the Arts, Arts NSW, the City of Sydney and ConnectEd.

It has been increasingly difficult to gain financial support from some areas of government, and the shortfalls have needed to be made up through private fundraising. In 2012, atyp raised $446,465 in sponsorships and donations (2011: $620,413) including the funding for the Katherine project from the Westpac Foundation and the Tim Fairfax Foundation. The major support of the Graeme Wood Foundation has allowed the Company to continue the success we have had in the Fresh Ink program. In addition, we are grateful for the support of the Vincent Fairfax Family Foundation, the Lord Mayor’s Charitable Foundation, the Matana Foundation for Young People, the James N Kirby Foundation and the St George Foundation. atyp has also benefited from corporate support from BBM Limited, Copyright Agency Limited Cultural Fund and UBS Australia. In addition, probono support has been provided, by a number of organisations including PricewaterhouseCoopers and Westpac, for which we are very appreciative. The atyp Foundation has continued to be a great supporter though its contributions from revenue and the five-year commitment to commissioning works. We are also fortunate to continue to attract financial support from individuals and a range of organisations which contribute to the success of our fundraising events. We gratefully acknowledge the support of government (especially Australia Council for the Arts, and Arts NSW) and the private sector in supporting atyp in its valuable work. There is a necessity however to continue to look for additional funding sources in order to continue to expand our quality programs.

The atyp Foundation Advisory Committee comprising Angela Bowne (Chair), Carolyn Fletcher, Antionette (Popsy) Albert, Olev Rahn and Rob Rich, has been a great support to the Company in 2012 especially in the areas of financial support and commissioning of new works. I would also like to thank all the Board directors that served during the year for their efforts. There were two new appointments to the Board during the year – Natasa Zunic and Janine Lapworth. With Natasa’s marketing skills and experience in social media and Janine’s extensive legal experience, these appointments have further strengthened the Board. In May 2012 Nicole Abadee retired from the Board and her contribution to the Company over a number of years is greatly appreciated. 2013 is atyp’s 50th Anniversary which is a great milestone, and provides us with the opportunity to reflect on our heritage and the contribution we have made not only to the artistic community but to the Australian community more broadly. It is an exciting time in our history and 2013 has started off with gusto with an excellent artistic program already underway. I would like to thank all of our stakeholders for their support and very much look forward to having them with us as part of our ongoing journey as we pursue our vision to raise the national expectation of what theatre with young people can achieve.

Further planning work has been undertaken with Arts NSW for the relocation to a new home in Pier 2/3. This will require significant funding by the NSW Government together with contributions from each of the arts organisations which will be housed in Pier 2/3. We are awaiting the outcome from the NSW Government as to the decision regarding funding of the development in the 2013 State Budget. atyp delivered a successful 2012 Artistic Program under Fraser Corfield’s leadership. Fraser addresses the Artistic Program in his 2012 Artistic Report. Fraser Corfield and Aaron Beach have done a wonderful job in leading the dedicated atyp team this past year. I would like to thank the whole team for their efforts, and the success this past year is a credit to them.

MICHAEL IHLEIN chairman

pr o ductions 14

the one sure thing The Voices Project 2012

A touching production that reminds us what is at stake for us all Sophie Tarr – Alt Media

Exciting things are happening at the Australian Theatre for Young People, and the season has only just begun. Cassie Tongue – AussieTheatre.com

The One Sure Thing was the second instalment of the annual program, The Voices Project. This collection of sharp, evocative monologues was written by some of Australia’s leading playwrights aged between 18 and 26, as part of the 2011 Fresh Ink National Studio. Born from the need for quality scripts specifically tailored for young actors, The One Sure Thing was a tender, surprising, cheeky and often uplifting exploration of the theme of death. The project was initiated in response to plees from young actors and teachers seeking material suitable for the HSC individual performances. In 2012 the project was supported by Currency Press which published the first two years’ worth of monologues from The Voices Project: Tell It Like It Isn’t and The One Sure Thing. And the response from schools was overwhelming. Within three weeks of publication 68 schools in NSW had purchased copies of the plays.

Director Designer Sound Design Lighting Design Assistant Director Production Manager Stage Manager Cast

Internship Season Venue Performances Ticket Price Audience # workshops

Tanya Goldberg David Fleischer Kingsley Reeve Verity Hampson Liz Arday Liam Kennedy Asha Watson Emma Campbell, Kate Campbell, Lucy Coleman, Shaun Foley, Charlotte Hazzard, Rhys Keir, Emma Khamis, Alistair Mcintosh, Patrick Richards, Julia Rorke Michael Twomey (Technical Production) 1–18 February, 2012 Studio 1 18 $15 (preview/group), $20 (concession), $25 (full price) 802 19 (371 students, 18 schools)

animal far m

Adapted by Netta Yashchin from the novel by George Orwell

The amount of feeling you can create on that stage is simply amazing Posted on the atyp Facebook

Anyone interested in the future of Australian theatre should be keeping an eye firmly trained on youth theatre; anyone interested in the future of Australian Theatre should be watching atyp. Cassie Tongue, Aussietheatre.com.au

George Orwell’s classic tale of a corrupted revolution was brought to life with startling imagination by director Netta Yashchin and an ensemble of 18 performers. The animals of Manor Farm have a vision for a better world. But there is a fragrance to power that can overwhelm the senses. It takes more than ideals to elevate ourselves from the muck heap. This powerful production was devised directly from the novel. The production received an overwhelming response from audiences with sellout performances in all three weeks of the season.

Director Designer Sound Design Lighting Design Choreographer Dramaturge Production Assistant Fight Co-ordinator Production Manager Stage Manager Cast

Internships Season Performances Ticket Price Audience

Netta Yashchin Dylan Tonkin Danielle O’Keefe Nicholas Rayment Dymphna Carew Peter Hayes Paolo Montoya Tom Ringberg Liam Kennedy Asha Watson Michael Brindley, Elena Burger, Airlie Dodds, Patrick Harrison, Ziad Hindi, Stephanie King, Leo King Hii, Brendan Layton, Vanessa Londono, Julia McNamara, Paul Musumeci, Dominica Nicholls, Patrick Richards, Julia Rorke, Charlotte Tilelli, Sebastian Wang, Grace Whitehead, Luke Willing Michael Twomey (Sound Technician/ Engineer) 25 April – 12 March, 2012 19 $15 (group/promotional), $20 concession, $25 full 1235

the tender age By atyp and version 1.0, presented by Carriageworks and Sydney Opera House

A vigorous, involving and non-judgmental work Sophie Tarr – Alt Media

The tender age straight away takes us into the world of today’s teenagers. … It was inspiring to see young writers and performers tackling such a contentious topic. David Kany- Sydney Arts Guide

On 29 July 2009, a 14-year-old girl was given an on-air lie detector test on a live Sydney radio program. Clearly agitated, the girl announced that she had been raped when she was 12. In a social media-saturated performance space, The Tender Age examined the contradictions in the way society educates young people about sexuality, and the ways in which young people themselves negotiate relationships framed by social technologies. The project was devised using version 1.0’s process of documentary drama, drawing on verbatim transcripts, improvised scenes and scripted material. A creative development of the work was presented at the Sydney Opera House in June before this final season presented by Carriageworks. The production received extraordinary publicity, with interviews conducted on Radio National, Triple J, ABC local radio, and the ABC nightly news.

Sydney Opera House Director Designer Sound Design Lighting Design Video Artist Production Managers Stage Manager Cast

Season Venue Performances Audience

Liam Kennedy and Emma Bedford Asha Watson Valerie Berry, Michael Brindley, Molly Haddon, Jane Phegan, Sean Marshall, Saskia Roberts, Ebony Vagulans 14-15 June, 2012 The Studio, Sydney Opera House 02 313 (includes 46 students across two schools in remote classrooms)

Carriageworks Season Creative Team Cast

Interns

Fraser Corfield and David Williams Gail Evans Gail Priest Chris Page Sean Bacon

Season Venue Performances Audience

As above Marguerite Assaf, Valerie Berry, Deng Akot Deng, Jane Phegan, Shaun Foley, Molly Haddon, Saskia Roberts, Angela Tran Matika Habazin and Hellie Turner (Western Australia Playwrights’ Initiative Resident) 21 August – 1 September 2012 Bay 19, Carriageworks 10 1,412

A Belvoir production produced in association with Australian Theatre for Young People

medea

By Kate Mulvany and Anne-Louise Sarks after Euripides

Cast aside all your preconceptions of what tragedy is in the theatre. This is something new.

Powerful and achingly moving … John McCallum – The Australian

Jason Blake – Sydney Morning Herald

Two young children on a stage play games to distract themselves. Off-stage and unheard their parents are having a very famous showdown. At some inevitable moment in the next hour the children will be drawn away from their games and into their parents’ bitter argument. From there they will enter mythology as the most tragic siblings of all time. Featuring two of atyp’s young members aged only 12 and 13, this extraordinary production has re-defined ‘youth theatre’ in Australia. Developed using a series of improvisations driven by the professional team, the work demonstrated how children can perform works for an adult audience. In addition to the two young actors, atyp Youth Theatre specialist, Laura Turner worked with the director and playwright to implement youth theatre processes in the professional rehearsal room.

Director Assistant Director Designer Sound Design Lighting Design Stage Manager Assistant Stage Manager Cast Season Performances Ticket Price Audience

Anne-Louise Sarks Laura Turner Mel Page Stefan Gregory Benjamin Cisterne Kelly Ukena Grace Nye-Butler Rory Potter, Joseph Kelly, Blazey Best 11 October – 25 November, 2012 47 $36 (group/preview), $32 concession, $42 full 2767

The result took Sydney by storm. Medea was listed as the number 1 production for 2012 by two leading Sydney reviewers and took out a host of Sydney Theatre Awards including Best Main Stage Production.

max remy super spy Adapted by Jo Turner from the novel by Deborah Abela

I recommend it to people who are into super spies. Also, nincompoops who don’t admit they are nincompoops. [4/5 stars] Bill Blake (8 yrs) - Time Out, Sydney

Max Remy Super Spy was funny, exciting and amazing...and it was acted out by children!

Felicity Dayhew (9yrs) – Stage Noise

Max Remy is an 11 year old school girl whose workaholic mother leaves her with her eccentric aunt and uncle in the holiday break. Determined to have a bad time in the bush, Max’s holiday takes a twist when she discovers that far from being country hicks, her new guardians are brilliant scientists on the verge of creating a time and space machine! Then it all gets a little crazy. This hilarious new work, commissioned by the atyp Foundation, was the surprise hit of 2012. The cast of 12 actors aged between 9 and 13 were responsible for creating the sound effects, scene changes and costume changes while they performed all the characters. The result was a riotous hour of theatre that had audiences of all ages laughing along with every twist and turn. More than 1,000 people attended the 2-week season in Studio 1.

Director Assistant Director Designer Sound Design Lighting Design Production Manager Stage Manager Cast

Season Performances Ticket Price Audience

Fraser Corfield Sarah Parsons Emma Reyes Michael Toisuta Christopher Page Liam Kennedy Asha Watson Lucy Avvenevole, Asha Boswarva, Joshua Chazan, Joel Franco, Natassija-Belle James, Ondine Karpinellison, Emmanuelle Mattana, Zai Nath, Mia Orszaczky, Charlotte Pitt, Iris Simpson, Kate Wagstaff 17–27 October, 2012 13 $10 (group/preview), $15 concession, $20 full 1008

the dwar f revue Devised by young actors aged between 13 and 22

It was rewarding to be performing in and receiving laughter for sketches I had helped to write. There was a diverse age range in the cast, and this helped us come up with a variety of ideas for characters and sketches. It was a lot of fun... Noami Hastings

atyp concluded the 2012 season with the delightful chaos of The Dwarf Revue. Yes, The Dwarf Revue, just like The Wharf Revue but smaller and slightly more underground. The production featured a cast of actors aged between 13 and 23 who generated a range of short sketches to accompany the End of the World. The project was programmed in response to a recommendation by the Atypical Advisory Committee. The committee requested one show in the season that would require a smaller time commitment from the cast.

Director Designer Production Manager Stage Manager Cast

Season Performances Ticket Price Audience

Neal Downward Michael Twomey Liam Kennedy Michael Twomey Deng Akot Deng, Rhiannon Bateman, Kate Buxton, Kellie Cogin, Matthew Friedman, Ashlee Harpur, Naomi Hastings, Tim Johns, Thom Jordan, Zai Nath, Sydney Nicholas, Benjamin Saffir, Cole Scott-Curwood, Emily Tresidder, Nadia Zwecker 11â&#x20AC;&#x201C;15 December, 2012 05 $15 (preview/group), $20 (concession), $25 (full price) 278

atyp presents a Canberra Youth Theatre production

cockroach By Sam Holcroft

Your generosity, support and enthusiasm for our company and our show makes us so proud to be part of this very special community. Karla Conway – Artistic Director, Canberra Youth Theatre.

In a secondary school biology lab a restless group of teens is surviving detention. For some it’s a sentence, for others a temporary salvation. For their teacher Beth, it’s a chance to push a little further, to try for a little hope, a little ambition. This production by Canberra Youth Theatre allowed atyp to showcase the work of another of the country’s leading youth theatre companies. The season provided a professional development opportunity for the young Canberra artists and gave atyp’s young members a chance to see the work being created by similar companies elsewhere in the country.

Director Designer Lighting Design Head Technician Production Manager Stage Manager Season Performances Ticket Price Audience

Karla Conway Nevena Mrdjenovic Samantha Pickening Michael Foley Alister Emerson Molly Caddey 29 February – 3 March, 2012 05 $15 (group/promotional), $20 concession, $25 full 109

atyp presents a Tantrum Theatre production, co-commissioned by Australian Theatre for Young People

grounded By Alana Valentine

Grounded was an excellent audience development opportunity for Tantrum and professional development opportunity for Newcastle’s young and emerging artists. Justine Potter – General Manager, Tantrum Theatre

Against the backdrop of one of the most intriguing events in Newcastle’s recent history we meet Farrah, a teenager obsessed with the industrial port. It’s a fascination none of the kids at school understand. It’s fine to be interested in something, but take it too far and you’re a total freak. This touching and unexpected coming-of-age tale by one of Australia’s most acclaimed playwrights, Alana Valentine, was co-commissioned by Australian Theatre for Young People and Tantrum Theatre. Capturing the contrasts of an industrial city re-inventing itself in a new century, Grounded looks at the way life can take us to places we don’t expect.

Director Assistant Director Designer Design Assistant Sound Design Lighting Design Stage Manager Cast

Season Performances Ticket Price Audience

Toni Main Rachel Jackett Marion Giles Fern York Allon Silove Lyndon Buckley Liza Wilson Mathew Baird-Steele, Dean Blackford, Siobhan Caulfield, Emily Daly, Naomi Dingle, Tamara Gazzard, Scott Gelzinnis, Paul Kelman, Jemima Webber, India Wilson 30 May – 2 June 2012 04 $15 (promotional/group), $20 (concession), $25 (full price) 157

atyp rehearsed reading

sugarland Story by Rachael Coopes and Wayne Blair, written by Rachael Coopes

On 1 June, atyp presented a rehearsed reading of the first draft of the commission, Sugarland, by Rachael Coopes and Wayne Blair, as part of The Seymour Centreâ&#x20AC;&#x2122;s Reconciliation Week program. The rehearsed readings gave atyp an opportunity to test the work in front of an audience, and for writer, Rachael Coopes, and collaborator, Wayne Blair, to hear the script performed by a strong, young cast.

Director Cast

Season Venue Performances Audience

Fraser Corfield Travis Cardona, Lucy Coleman, Matthew Friedman, Rarriwuy Hick, Hunter Page-Lochard, Dan Tauber and Rachael Coopes 1 June, 2012 York Theatre, Seymour Centre 02 117

Prior to that, a reading was held at the end of the Katherine Residency, on 14 April, 2012, providing a platform to test the themes and language of the work with local residents. The reading took place in the Knotts Crossing Resort, Katherine, with the participation of Wayne Blair, Rachael Coopes, Alana Parrott Jolly and Miranda Tapsell.

under the wharf

atyp Under the Wharf and pantsguys Productions present

punk rock By Simon Stephens

The brilliance of Punk Rock lies in its vibrant, funny, confessional conversations that ring true without calling on a single ‘like’ or ‘OMG’

Anthony Skuse[‘s] … gripping production keeps you on the edge of your seat.

Jason Blake – The Sydney Morning Herald

Rina Sabina Aouf – Concrete Playground

The Sixth Form library - sanctuary, playroom, execution chamber. Seven sixth-formers are preparing for their mock-A Levels and the end of their school lives. All this will soon be a thing of the past… when the whole world opens up before you, there’s a danger it’ll swallow you up. Directed by Anthony Skuse and produced by pantsguys Productions, this dangerous and tautlydrawn Australian premiere of Simon Stephens’ urgent and shattering new play took Sydney by storm. The Sydney Morning Herald rated it number 4 in their top 10 productions of 2012 and it won the Sydney Theatre Award for ‘Best Independent Production’.

Director Assitant Director Production Manager Designer Sound Design Lighting Design Producer Dialect Coach Stage Manager Cast

Season Performances Ticket Price Audience

Anthony Skuse Paul Hooper Cat Dibley Gez Xavier Mansfield Alistair Wallace Sara Swersky Cat Dibley Linda Nicholls Gidley Ruth Horsfall Gabriel Fancourt, Paul Hooper, Darcie Irwin-Simpson, Madeleine Jones, Owen Little, Rebecca Martin, Graeme Mcrae, Sam O’Sullivan 25 July – 18 August, 2012 (extended due to popular demand) 20 $15 (promotional), $25 (concession/ group), $32.50 (full price) 964

atyp Under the Wharf and The Night Whisperer present

the hiding place

By Kendall Feaver

It is, best of all, full of a love for language and its usage, to serve an astounding appetite for complex searching. Kevin Jacksonâ&#x20AC;&#x2122;s Theatre Diary

Emily has been hidden away from the outside world for most of her life. A fearful old woman keeps her locked in an attic in an attempt to preserve her innocence forever. But when a young man discovers her, Emily is forced to reconsider everything sheâ&#x20AC;&#x2122;s been told about the world beyond her walls. Beautifully wrought from the pages of fairy-tales and modern day newspaper reports, The Hiding Place is a haunting play from exciting young writer, Kendall Feaver. Delightful, intelligent and mysterious, this is an evocative work that explores the unsteady line between accepted creed and childhood fable.

Director Designer Sound Design Lighting Design Producer Stage Manager Cast Season Performances Ticket Price Audience

Kai Raisbeck Gez Xavier Mansfield Nate Edmondson Sara Swersky Mackenzie Steele and Shauntelle Benjamin Jeremy Page Michele Durman, Paul Hooper, Phillipe Klause, Abi Rayment 30 August - 15 September, 2012 17 $20 (preview), $25 (concession/ group), $32.50 (full price) 521

atyp Under the Wharf and bAKEHOUSE Theatre Company presents

great expectations By Charles Dickens, adapted by Nick Ormerod and Declan Donnellan

Harrison and his cast have brought a fine production to the atyp stage – one which does Dickens and his characters proud! Carol Wimmer – Stage Whispers

young, lively, and imbued with a feeling of magic

The name says it all. Charles Dickens’ unforgettable masterpiece casts a spell of unrequited love and longing, of revenge, betrayal and redemption; of the elusive nature of dreams and the corrosive power of ambition. This dynamic production concluded atyp’s 2012 Under the Wharf season with a touch of grandeur and spectacle. Warmly received by critics and audiences alike, bAKEHOUSE Theatre’s production was a celebration of the imaginative potential of theatre.

Director Set Designer Designer Sound Design Lighting Design Costume Designer Producer Stage Manager Cast

Rina Sabina Aouf – Concrete Playground

Season Performances Ticket Price Audience

John Harrison John Harrison Sean Minahan Marty Jamieson Christopher Page Suzanne Millar Suzanne Millar Michael Dean Shannon Ashlyn, Jarrod Crellin, Alan Dearth, Cheyne Fynn, Kieran Foster, Sophie Haylen, Richard Hilliar, Daniel Hunter, Stephen Lloyd-Coombs, Jim McCrudden, Callum McManis, Jacki Mison, Jessica Paterson, Rebecca Saffir, Patrick Sherwood 31 October - 17 November, 2012 15 $20 (preview), $25 (concession/ group), $32.50 (full price) 766

fresh ink

the national studio

atyp foundation commission award

Short films: boot bat eyes

fresh ink online

The National Studio brings together the best young playwrights from around the country for a week of professional development. 20 young writers spend the week involved in master classes, small group workshops and one-to-one mentoring sessions. This year’s call focused on young writers from culturally diverse backgrounds.

In 2012 atyp launched a new open commission to professionally develop plays for actors aged 10-13. The atyp Foundation Commission offers Australian writers of any age the opportunity to:

In order to convey the quality of atyp’s work online, the company invested in the development of two 10-minute films, Boot and Bat Eyes, released on-line through the Fresh Ink and atyp websites. Two monologues from the 2011 main stage production Tell It Like It Isn’t, were selected by director, Damien Power, and then adapted for film. Supporting the adaptation and development is a range of interviews and articles by the writers, and interviews with the cast and creative team, that also sit with the films on the Fresh Ink website.

Visits to Fresh Ink website (Jul – Dec) 2012: Unique visitors to Fresh Ink website (Jul – Dec) 2012:

The studio included Ola Animashawun, associate director of The Royal Court Theatre in the UK and one of the pioneers of their young playwrights’ program. Tutors Participants

Co-ordinator Bloggers Dates Workshops

Ola Animashawun, Vanessa Bates, Lachlan Philpott, Ross Mueller Randa Sayed, Nitin Vengurlekar, Amanda Yeo, Arda Barut, Christopher Harley, Kerith Manderson-Galvin, Pollyanna Nowicki , Tania Canas, Grace De Morgan, Bianca KosticLondon, Julia-Rose Lewis, Emily Meller, Tom Mesker, Joel Perlgut, Charles Purcell, Isabel Roberts-Orr, Krystal Sweedman, Sara Jane West, Ava Karuso, Josh Forward Dan Prichard Nakkiah Lui, Rebecca Clarke 3–8 September, 2012 6 (full days)

• develop a 45-minute play, with the opportunity for two script development workshops with young actors; • have the resulting play produced in atyp’s main stage season; and •have the script published by Playlab Press so that it can be performed by schools and youth groups around the country for years to come. The winner of the inaugural 2012 Award was Jessica Bellamy with her proposal, Compass.

Both short films were selected in the top 50 out of 15,000 entries for Youtube’s inaugural Your Film Festival. Bat Eyes was selected for the final top 10 and opened the Venice Film Festival. By the end of the year the films had been seen by over 200,000 people world-wide.

7,312 4,762

As 31 December 2012 Fresh Ink Facebook page fans: The Voices Project Facebook page: Fresh Ink Twitter followers: The Voices Project vimeo channel followers: YouTube The Voices Project Channel subscribers: Tumblr followers: Views of Love Byte’s shortlisted entries:

414 848 958 179 181 127 68,020

Views (vimeo and YouTube combined) bat eyes:

165,755

boot:

65,579

little love:

2,236

boot: the original monolgue

2,020

workshops

holiday workshops I can’t begin to tell you how amazing the experience was for my granddaughter. In her words: “This is the best thing I have ever done”. It boosted her selfconfidence.

Grandparent of Isabella, 6, who participated in Under the Big Top

atyp delivers a comprehensive school holiday workshop program for young people aged 4-26. The holiday workshop program provides an entry point for children and teenagers interested in theatre and performance regardless of their level of experience. Each workshop builds skills and enables young people to put their own ideas on stage. Workshop facilitators Trainee facilitators Paid Participants Scholarships Workshops Individual attendances

43 26 1,000 68 287 4,817

I think atyp is a great opportunity for children to showcase their individuality and ideas... it is very beneficial to their self esteem.

semester ensemble workshops Semester Ensembles give young people the opportunity to participate in weekly workshop programs at our spaces at The Wharf. The Ensembles build skills in performance, develop confidence and self-esteem and encourage creative thinking and problem solving.

Paid enrolments Scholarships Individual workshops Individual attendances Performances Audience Venue

354 56 216 6,966 6 958 The Wharf

atyp specialist workshops 2012 No’s

No. workshops

Attendances

02 03 03 02

25 25 25 25

02 03 04 02

50 75 100 75

Regional

Cockatoo Island Film Festival

Regional

ABCN Goals ABCN Interact ABCN Arts Access ABCN Interview Workshops

Sydney Sydney Sydney Sydney

05 02 05 01

40 20 30 30

12 04 10 03

480 80 300 90

Bronte Activity Centre

Sydney

240

Imagination PTY Ltd Sydney

Byte Sized Theatre (YAWTCO)

Regional

Intercoiffure

Sydney

Magnum PR

Sydney

415

1775

Client

Regional/ Interstate/Sydney

The Arts Unit The Arts Unit The Arts Unit The Arts Unit

Sydney Outer Sydney Sydney Sydney

TAFE NSW Riverina Institute

Totals

Tutor Total

Parent – scholarship participant

education

atyp Education aims to be the first place teachers turn to for inspiration and support in drama education. This aspiration formed the basis of programming in 2012. Highlights: 1. Forge partnerships with like-minded organisations to resource and support the delivery of unique educational experiences: • Katherine project “Kicking up Dust” was completed. The workshop series culminated in a performance and the projection of the film clips at the Katherine Cinema. • A program was run with Gifted and Talented students from NSW schools. • A year 6 ‘Transitions Program’ was developed for Mowbray Public School supporting year 6 students’ preparation for high school. • Drama on the Harbour was developed for the Sydney Opera House. This innovative program incorporated smart phones as part of the drama experience. • Education Managers’ get-togethers were initiated by atyp, to bring together companies delivering drama education programs to schools. Participating companies are atyp, Sydney Opera House, Sydney Dance Company, Sydney Theatre Company, Bell Shakespeare, Opera Australia, Riverside Theatres, Australian Film Television & Radio School, Milkcrate Theatre, The Project (supported by Seymour Centre), Belvoir Theatre. • The Aboriginal Middle Years’ Transition camp and mentoring program supported indigenous students from inner city Sydney schools making the transition from primary school to high school.

2. Create a national on-line educational resource that builds an understanding and love of theatre: • Online Education Resource page developed on atyp website. Education Resources are uploaded to ISSUU on the atyp Education publishing site. Teachers and students can download appropriate material. • atyp Education pages on the atyp website also include films made through the Fresh Ink program, that are applicable to Education (e.g. Fresh Perspective interviews with Alana Valentine and Lachlan Philpott discussing play-writing practice). • October, 2012, Adèle Jeffreys returned as Education Manager – Digital; Heather Clark now Education Manager – Programs. 3. Build atyp’s reputation and brand awareness with teachers to increase engagement with schools: • Cockatoo Island Schools’ Day • Growth in number of schools and teachers attending atyp Education workshops

Student Numbers

No. Workshops

Total Student Participants

Teachers

Total Participants

In school workshops

769

1094

1124

At the wharf workshops

673

974

1068

Artists in residence

331

2979

194

3173

Partner programs

363

385

423

Funded programs

388

413

Onstage

371

409

Other production workshops

One Sure Thing

266

277

Animal Farm

351

378

Grounded

The Tender Age

176

192

Max Remy Super Spy

177

194

Totals

7264

497

7764

2601

132

financials

Corporate infor mation ABN 24 000 816 704 DIRECTORS OF THE PARENT ENTITY Fraser Corfield Claire Duffy Nancy Fox Alexandra Holcomb Michael Ihlein (Chair) Janine Lapworth Nick Marchand Catherine Robinson Edward Simpson Simon Webb Natasa Zunic FOUNDATION ADVISORY COMMITTEE Antoinette Albert Angela Bowne SC (Foundation Advisory Committee Chair) Carolyn Fletcher Robert Rich Olev Rahn Michael Ihlein COMPANY SECRETARY Aaron Beach REGISTERED OFFICE AND PRINCIPAL PLACE OF BUSINESS The Wharf, Pier 4/5 Hickson Road Walsh Bay NSW 2000 AUDITORS PricewaterhouseCoopers, Chartered Accountants

Directorsâ&#x20AC;&#x2122; report The directors of Australian Theatre for Young People (atyp) submit the annual financial report on the consolidated group for the financial year ended 31 December 2012. The directorsâ&#x20AC;&#x2122; report as follows:

information about the directors The names and particulars of the directors of the company during and since the end of the financial year are:

Nicole Abadee Fraser Corfield Claire Duffy Nancy Fox Alexandra Holcomb Michael Ihlein Janine Lapworth Nick Marchand Catherine Robinson Edward Simpson Simon Webb Natasa Zunic

Date of Appointment

Date of Cessation

28 Jun 2005 26 May 2009 1 Jul 2011 1 Jul 2011 26 May 2009 27 Apr 2010 21 May 2012 28 Nov 2011 25 Nov 2008 16 Mar 2010 11 Nov 2011 23 Aug 2012

May 2012

1 6 6 6 6 6 4 6 6 6 6 2

1 6 4 5 6 5 4 4 5 5 6 2

Finance Committee A B 6

Foundation Advisory A B 3

A Number of meetings held during the time the director held office during the year B Number of meetings attended

statement of purpose atyp is a Sydney-headquartered theatre company exclusively devoted to young people. Our vision is driven by the knowledge that the arts can inspire creative, courageous and confident young people wherever they are and whatever they want to be. We believe that the arts have the power to transform lives, enrich communities and ultimately impact upon the future of our nation. Our work is motivated by the need to improve access for all young Australians to participate in the arts and to encourage them to share their stories, regardless of economic or geographical barriers.

Board Meetings A B

At the heart of atyp lies collaboration between professional artists and young people, placing a priority on access, community engagement and creative excellence. For 50 years atyp has invited young people to get involved in inspirational theatre experiences that promote engagement with contemporary social issues, grow young audiences and provide a space for young people to celebrate their creativity and speak out.

strategic goals 2012-2014 1. Present outstanding theatre that engages young people as artists, collaborators and audiences. 2. Be the national leader in the commissioning and development of new work by and for young people under 26 years. 3. Deliver an accessible program of performance experiences and skills’ development for young people that integrates learning with best practice youth theatre processes. 4. Extend atyp’s brand profile, reach and advocacy among young people under 26 years old as Australia’s flagship youth theatre company. 5. Build sustainable infrastructure and resources to support the company’s work.

principal activites for the year The principal activities undertaken by atyp to meet its 2012 goals included: GOAL ONE: Present outstanding theatre that engages young people as artists, collaborators and audiences: • Collaborated with version 1.0 Productions to present the world premiere season of The Tender Age at the Sydney Opera House and Carriageworks. • Partnered with Belvoir to present the awardwinning production Medea in the Downstairs Belvoir Theatre. • Medea was awarded the Sydney Theatre Award for Best Mainstage Production and the Under the Wharf production Punk Rock presented in partnership with pantsguys Productions was awarded Best Independent Production for 2012. • atyp productions received a total of eight awards at the 2012 Sydney Theatre Awards. GOAL TWO: Be the national leader in the commissioning and development of new work by and for young people under 26 years: • Commissioned ten young Australian playwrights to develop seven-minute monologues presented as part of The Voices Project: The One Sure Thing. • Bat Eyes by Jessica Bellamy was screened at the Venice Film Festival as part of YouTube’s inaugural Your Film Festival and has been viewed over 120,000 online. • With the support of the atyp Foundation Commission Jo Turner adapted Deborah Abela’s Max Remy Super Spy for the stage. • With the support of the atyp Foundation Commission, Jessica Bellamy was commissioned to write a new work for 10-13 year olds to be presented in 2013.

• Engaged Netta Yashchin to adapt George Orwell’s Animal Farm for a cast of 16-26 year olds to perform. GOAL THREE: Deliver an accessible program of performance experiences and skills development for young people that integrates learning with best practice youth theatre processes: • Delivered 272 holiday workshops, 456 term ensemble classes, 147 school workshops, produced 11 productions with 11,187 audience members and had a total number of holiday and semester participants of 11,373. • Delivered education programs to 132 schools, reaching 7,264 students, and conducted 132 education workshops for students. • Engaged with 388 indigenous participants in workshop programs in NSW and the Northern Territory. • atyp’s Atypical Advisors met monthly to provide feedback and evaluation of creative programs and marketing techniques and overall brand awareness. GOAL FOUR: Extend atyp’s brand profile, reach and advocacy among young people under 26 years old as Australia’s flagship youth theatre company: • In 2012 the company had coverage in more than 160 print articles; 52 local listings; 43 major dailies nationwide; 69 articles in Sydney local papers and street press; 5 magazine stories, 17 radio stories and 47 on-line articles highlighting all aspects of our work. • Over 250,000 people engaged with the company on-line either watching an atyp film or downloading atyp resources. • Over 30,000 people participated in atyp activities, including attending workshops and productions both in our space at The Wharf and nationally. • Undertook surveys measuring quality of experience at atyp of both customers and employees, receiving 96% positive feedback for holiday and term workshops and 98% positive feedback for education workshops.

• There were two new appointments to the atyp Board during the year: Janine Lapworth and Natasa Zunic. This further strengthened the Board and filled the vacancy that arose from the retirement during the year of Nicole Abadee, whom we thank for her dedicated contribution during her time with atyp. • During 2012, atyp continued a two-year organisational mentoring program with the Westpac Group, supporting atyp with strategy, human resources and cultural development teams to progress the development of a working culture of creativity and innovation. • The Board Finance Committee carried out monthly reviews of the annual budget to actuals, and made recommendations to the atyp Board on financial matters.

members’ guarantee atyp is incorporated in New South Wales as a company limited by guarantee. In the event of the company being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the company’s liabilities. As at 31 December 2012 there were 11 members of atyp and the amount of capital that could be called up in the event of atyp being wound up is $220. AUDITOR’s independence The auditor’s declaration of independence appears on page 10 of the audited financial report and forms part of the Director’s report for the year ended 31 December 2012. Signed in accordance with a resolution of the directors made pursuant to s.298(2) of the Corporations Act. On behalf of the directors:

GOAL FIVE: Build sustainable infrastructure and resources to support the company’s work: • In 2012 atyp funding ratios were: Earned Income ($1,296,432) comprised 82% of total turnover ($1,591,753). Earned income includes sponsorship & donations ($626,060 / 39% of turnover) and fees & services ($437,769 / 28%). Government subsidies and grants ($295,321) represented 19% of turnover.

MICHAEL IHLEIN Chair Australian Theatre for Young People Sydney 29 April 2013

Financial Statements

Statements of financial position Consolidated Entity

ASSETS Current assets Cash and cash equivalents Trade and other receivables Inventories Prepayments & deferred expenditure

Statements of comprehensive income Consolidated Entity

Income Performance income Fees & services Resource income Sponsorships & donations Other income Subsidies & grants

Note 3 4 5 6 7

Total income

2012 $

2011 $

2012 $

2011 $

89,896 437,769 47,859 446,465 94,848 295,321

101,415 439,627 55,666 620,413 126,007 390,027

89,896 437,769 47,859 760,060 22,081 295,321

101,415 439,627 55,666 781,413 22,434 390,027

1,412,158

1,733,155

1,652,986

1,790,582

Expenditure Wages, fees & allowances Production costs Marketing costs Infrastructure costs

1,178,389 153,115 152,448 198,358

1,153,389 283,701 144,578 232,676

1,178,389 153,115 152,448 197,358

1,153,389 283,701 144,578 228,676

Total expenditure

1,682,310

1,814,343

1,681,310

1,810,343

Operating result Other comprehensive income Net changes in fair value of available-for-sale financial assets

Total other comprehensive income

Total comprehensive income

(270,152)

(81,188)

(28,324)

(19,761)

Non-current assets Available-for-sale financial assets Intangibles Property, plant and equipment Total non-current assets

(4,050)

(2,540)

(4,050)

(2,540)

(274,202)

(83,728)

(28,324)

2012

2011

1,284,783

1,650,226

240,290

328,616

121,484

40,092

129,783

81,173

Note

4,266

7,854

4,266

7,854

23,245

30,871

23,245

30,871

1,433,778

1,729,043

397,584

448,514

296,550

300,600

48,855

68,155

48,855

68,155

69,201

62,543

69,201

62,543

414,606

431,298

118,056

130,698

1,848,384

2,160,341

515,640

579,212

64,900

168,114

64,707

165,414

LIABILITIES Current liabilities Trade and other payables Employee benefits Grants in advance Income in advance

(19,761)

15 16

49,333

28,781

49,333

28,781

111,451

103,011

111,451

103,011

110,129

71,440

110,129

71,440

335,813

371,346

335,620

368,646

2,222

335,813

373,568

335,620

370,868

1,512,571

1,786,773

180,020

208,344

180,020

208,344

180,020

208,344

1,349,370

(13,380)

228,448

(3,450)

600

1,512,571

1,786,773

180,020

208,344

Total current liabilities Non-current liabilities Employee benefits Total non-current liabilities

NET ASSETS FUNDS General funds Capital fund Revenue funds Asset revaluation reserve Settlement sum

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

2011

TOTAL ASSETS

TOTAL LIABILITIES 8

2012

Total current assets

Parent Entity

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

Statements of changes in funds

Statements of cash flows

Parent general funds

Capital fund

Asset revaluation reserve

Revenue Settlement fund sum

$ 228,105 (19,761)

$ 1,353,370 (4,000)

$ 3,140 -

$ 285,876 (57,428)

$ 11 -

$ 1,870,502 (81,189)

(2,540)

Balance as at 31 December 2011

208,344

1,349,370

600

228,448

1,786,773

(Deficit for the year)

(28,324)

(241,828)

(270,152)

(4,050)

180,020

1,349,370

(3,450)

(13,380)

1,512,571

Balance as at 1 January 2011 Surplus / (deficit) for the year Other comprehensive income

Other comprehensive income Balance as at 31 December 2012

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

Consolidated Entity

Total funds Note

Parent Entity

2012 $

2011 $

2012 $

2011 $

580,895 770,060 303,761 61,262

589,069 791,413 508,065 94,969

580,895 760,060 303,761 6,789

589,069 781,413 508,065 13,711

(2,051,183)

(1,957,472)

(1,691,299)

(1,829,694)

(335,205)

26,044

(39,794)

62,563

18,294 (15,300) (28,200) (5,032)

22,315 (58,881) -

(15,300) (28,200) (5,032)

(58,881) -

(30,238)

(36,566)

(48,532)

(58,881)

(365,443)

(10,522)

(88,326)

3,682

1,650,226

1,660,748

328,616

324,934

1,284,783

1,650,226

240,290

328,616

Cash flows from operating activities Receipts from customers Receipts from sponsorship & donations Receipts from government grants Interest received Payments to employees and suppliers Net cash inflows / (outflows) from operating activities Cash flows from investing activities Dividends & distributions from managed funds Payments for intangibles Payments for plant & equipment Payment for leasehold improvements

13 14 14

Net cash (outflows) / inflows from investing activities Net (decrease) / increase in cash and cash equivalents held Cash and cash equivalents at the beginning of the financial year Cash and cash equivalents at the end of the financial year

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

Notes to and forming part of the financial statements 1 CORPORATE INFORMATION The financial statements and notes represent those of the not for profit parent entity Australian Theatre for Young People as an individual parent entity and Australian Theatre for Young People and the controlled entity as a consolidated group (the “Group”). The financial report was authorised for issue in accordance with a resolution of the directors of the economic entity dated 29 April 2013. atyp is a company limited by guarantee, incorporated and domiciled in Australia. The nature of the operations and principal activities of the group are described in the Directors’ Report. 2 SUMMARY OF ACCOUNTING POLICIES

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

a) Basis of preparation These general purpose financial statements have been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards – Reduced Disclosure Requirements, other authoritative pronouncements of the Australian Accounting Standards Board and Urgent Issues Group interpretations.

Significant accounting estimates and judgments

The directors of the parent entity have elected under Section 334(5) of the Corporations Act 2001 to apply the following Accounting Standards in advance of their effective dates:

Provisions for employee benefits payable after 12 months from the reporting date are based on future wage and salary levels, experience of employee departures, and periods of service, as discussed in Note 2(n). The amount of these provisions would change should any of the employees change in the next 12 months.

• AASB 1053 Application of Tiers of Australian Accounting Standards; and • AASB 2010-2 Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements

The key estimates and assumptions that have a significant risk of causing material adjustment to the carrying amount of certain assets and liabilities within the next annual reporting period are: Provision for employee benefits

e) Revenue recognition

These Accounting Standards are not required to be applied until the annual reporting periods beginning on or after 1 July 2013.

Revenue is recognised when the group is legally entitled to the income and the amount can be quantified with reasonable accuracy. Revenues are recognised net of the amounts of goods and services tax (GST) payable to the Australian Taxation Office.

AASB 1053 establishes a differential financial reporting framework consisting of two tiers of reporting requirements for general purpose financial statements:

Revenue from fundraising

• Tier 2 – Australian Accounting Standards – Reduced Disclosure Requirements

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

AASB 2010-2 makes amendments to each Standard and Interpretations indicating the disclosures not required to be made by Tier 2 entitles or inserting RDR paragraphs requiring simplified disclosures for Tier 2 entities.

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

The group complies with Australian Accounting Standards – Reduced Disclosure Requirements as issued by the Australian Accounting Standards Board.

Interest income

The adoption of these Standards has resulted in significantly reduced disclosures in respect of related parties and financial instruments. There was no other impact on the current or prior year financial statements.

Government funding

• Tier 1 – Australian Accounting Standards

b) Basis of consolidation The consolidated financial statements incorporate the assets, liabilities and results of entities controlled by atyp at the end of the reporting period. A controlled entity is any entity over which atyp has the power to govern the financial and operating policies so as to obtain benefits from its activities. Control will generally exist when the parent owns, directly or indirectly through subsidiaries, more than half of the voting power of an entity. In assessing the power to govern, the existence and effect of holdings of actual and potential voting rights are also considered. In preparing the consolidated financial statements, all inter-group balances and transactions between entities in the consolidated group have been eliminated in full on consolidation. Accounting policies of subsidiaries have been changed where necessary to ensure consistency with those adopted by the parent entity. c) Basis of measurement The financial report has been prepared on an accruals basis and is based on historical cost convention. It does not take into account changing money value, or except where stated, current valuations of non-current assets. Cost is based on the fair value of the consideration given in exchange for assets. The financial report is presented in Australian dollars. 61

d) Significant accounting judgements, estimates and assumptions

Interest income is recognised as it accrues, using the effective interest rate method. Grant revenue is recognised in the statements of comprehensive income when the group obtains control of the grant and it is probable that the economic benefits gained from the grant will flow to the group and the amount of the grant can be measured reliably. If conditions are attached to the grant which must be satisfied before it is eligible to receive the contribution, the recognition of the grant as revenue will be deferred until those conditions are met. When grant revenue is received whereby the group incurs an obligation to deliver economic value directly back to the contributor, this is considered a reciprocal transaction, and the grant revenue is recognised in the statements of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt. Asset sales The gain or loss on disposal of all non-current assets is determined as the difference between the carrying amount of the asset at the time of the disposal and the net proceeds on disposal. f) Expenditure All expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all costs related to the category. Wages, fees and allowances include all employment related costs such as wages, superannuation, provision for annual leave, provision for long service leave and

workers compensation. This category also includes all contracts for labour costs. Production costs include all direct costs associated with the delivery of the artistic program. Marketing costs include all direct costs associated with marketing both the artistic program and the group. Infrastructure costs include all other indirect costs including office rental and running costs, insurance and depreciation. g) Cash and cash equivalents Cash and cash equivalents in the statements of financial position comprise cash at bank and on hand and short-term deposits with an original maturity of three months or less. For the purposes of the statements of cash flow, cash and cash equivalents consist of cash and cash equivalents as defined above, net of any outstanding bank overdrafts. h) Trade and other receivables Trade receivables are recognised and carried at original invoice amount less an allowance for any uncollectable amounts. Normal terms of settlement vary from 7 to 90 days. The carrying amount of the receivable is deemed to reflect fair value. An allowance for doubtful receivables is made when there is objective evidence that the group will not be able to collect the receivables. Bad receivables are written off when identified. i) Inventories

Derecognition and disposal An item of property, plant and equipment is derecognised upon disposal, when the item is no longer used in the operations of the group or when it has no sale value. Any gain or loss arising on derecognition of the asset (calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in surplus or deficit in the year the asset is derecognised. Any part of the asset revaluation reserve attributable to the asset disposed of or derecognised is transferred to general funds at the date of disposal. k) Intangibles Software and website are recorded at cost. Software and website have a finite life and are carried at cost less any accumulated amortisation and impairment losses. This is calculated on a straight line basis over the estimated useful life of three years. They are assessed annually for impairment. l) Trade and other payables These amounts represent liabilities for goods and services provided to the group prior to the end of the financial year which are unpaid. The amounts are unsecured and are usually paid within 30 days of recognition. The notional amount of the payables is deemed to reflect fair value. m) Deferred income (including Grants in advance and Income in advance)

Inventories of goods purchased for resale are valued at the lower of cost and net realisable value. The cost of bringing each item to its present location and condition is determined on a first-in, first-out basis. Net realisable value is the estimated selling price in the ordinary course of business, less estimated costs necessary to make the sale. j) Property, plant and equipment Property, plant and equipment is stated at cost less accumulated depreciation and any accumulated impairment losses. Any property, plant and equipment donated to the group or acquired for nominal cost is recognised at fair value at the date the group obtains control of the assets. Depreciation Items of property, plant and equipment (other than land) are depreciated over their useful lives to the group commencing from the time the asset is held ready for use. Depreciation is calculated on a straight line basis over the expected useful economic lives of the assets as follows:

2012 %pa

2011 %pa

Equipment & furniture

10-33

Leasehold improvements

10-20

The liability for deferred income is the unutilised amounts of grants received on the condition that specified services are delivered or conditions are fulfilled. The services are usually provided or the conditions usually fulfilled within 12 months of receipt of the grant. Where the amount received is in respect of services to be provided over a period that exceeds 12 months after the reporting date, or the conditions will only be satisfied more than 12 months after the reporting date, the liability is discounted and presented as non-current. n) Employee benefits Employee benefits comprise wages and salaries, annual, non-accumulating sick and long service leave. Liabilities for wages and salaries expected to be settled within 12 months of balance date are recognised in other payables in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date. Liabilities for annual leave in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date which are expected to be settled within 12 months of balance date are recognised in the provision for annual leave. Both liabilities are measured at the amounts expected to be paid when the liabilities are settled. The liability for long service leave is recognised in the provision for employee benefits and is measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to anticipated future wage and salary levels, experience of employee departures, and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows. o) Taxation Income tax

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

The economic entity and its controlled entity are charitable institutions for the purposes of Australian taxation legislation and are therefore exempt from income tax. This exemption has been confirmed by the Australian Taxation Office. Both entities hold deductible gift recipient status. Goods and services tax (GST) Revenues, expenses and assets are recognised net of the amount of GST except where the amount of GST incurred is not recoverable from the Australian Taxation Office, in which case it is recognised as part of the cost of acquisition of an asset or as part of an item of expense. Receivables and payables are recognised inclusive of GST. The net amount of GST recoverable from or payable to the Australian Taxation Office is included as part of receivables or payables. Cash flows are included in the statement of cash flows on a gross basis. The GST component of cash flows arising from investing and financing activities which is recoverable from or payable to the Australian Taxation Office is classified as operating cash flows.

p) Going concern

Notes to and forming part of the financial statements

The financial report has been prepared on a going concern basis, which contemplates continuity of normal trading activities and the realisation of assets and settlement of liabilities in the normal course of business. The groupâ&#x20AC;&#x2122;s continued existence is ultimately dependent upon the success of future productions, development income, workshop income as well as government support. If the group is unable to continue as a going concern it may be required to realise its assets and extinguish its liabilities other than in the normal course of business and in amounts different from those stated in the financial report. At the date of the report, the parent entity has received notification that 2013 grant funding has been approved and it is expected the company will be able to continue in its normal capacity for 2013. The parent entity was successful in its renewal of Australia Council for the Arts triennial funding for the period 2013-2015 in June 2012.

Consolidated Entity

Parent Entity

2012 $

2011 $

2012 $

2011 $

54,650 35,246

43,081 58,334

54,650 35,246

43,081 58,334

89,896

101,415

89,896

101,415

41,840 103,757 241,605 7,500 43,067

44,014 106,628 254,050 22,353 12,582

41,840 103,757 241,605 7,500 43,067

44,014 106,628 254,050 22,353 12,582

437,769

439,627

437,769

439,627

3 Performance income Box office Performance fee

4 Fees & services Education workshops Ensemble workshops Holiday workshops Production workshops Other workshops & fees

Notes to and forming part of the financial statements continued

Consolidated Entity

5 Sponsorship & donations Donations Fundraising

Parent Entity

2012 $

2011 $

2012 $

2011 $

392,200 54,265

541,943 78,470

705,795 54,265

702,943 78,470

446,465

620,413

760,060

781,413

18,294 61,262 182 15,110

22,315 94,969 45 8,678

6,789 182 15,110

13,711 45 8,678

94,848

126,007

22,081

22,434

153,321

152,255

153,321

152,255

98,000 42,500 1,500

87,550 34,900 3,000 18,750 -

98,000 42,500 1,500

87,550 34,900 3,000 18,750 -

93,572

295,321

390,027

295,321

390,027

6 Other Income Distributions from managed funds Interest Membership Other income

7 Subsidies & grants received Australia Council - Operational funding Arts NSW Operational grant - Aboriginal Middle Years - ASSITEJ World Congress - Writers Commissions DEET grant Attorney General's Dept. - Tennant Creek 10/11

Consolidated Entity

Notes to and forming part of the financial statements

Parent Entity

2012 $

2011 $

2012 $

2011 $

Trade receivables Allowance for doubtful debts Net trade receivables

105,945 (1,181)

17,802 (1,256)

105,945 (1,181)

16,789 (1,256)

104,764

16,546

104,764

15,533

Related party receivables Sundry debtors & receivables Imputation credits refundable Interest and dividends receivable

2,466 14,254

7,060 3,354 13,132

25,019 -

58,580 7,060 -

121,484

40,092

129,783

81,173

4,266

7,854

4,266

7,854

4,266

7,854

4,266

7,854

23,045 200

30,671 200

23,045 200

30,671 200

23,245

30,871

23,245

30,871

Formation Costs Accumulated amortisation Total formation costs

8,650 (8,650) -

Software - at cost Accumulated amortisation Total software

1,829 (1,145)

11,368 (9,767)

1,829 (1,145)

11,368 (9,767)

684

1,601

684

1,601

Website - at cost Accumulated amortisation

72,833 (24,662)

99,655 (33,101)

72,833 (24,662)

99,655 (33,101)

Total website

48,171

66,554

48,171

66,554

Total intangibles

48,855

68,155

48,855

68,155

10 Trade and other receivables 8 Available-for-sale financial assest Opening Balance

Additions / (disposals)

Revaluation (deficit)/ Surplus

Closing Balance

at fair value

300,600

(4,050)

296,550

TOTAL

300,600

(4,050)

296,550

2012 Shares - Australian listed companies -

11 Inventories Merchandise inventory

2011 Shares - Australian listed companies at fair value

313,140

(2,540)

300,600

TOTAL

313,140

(2,540)

300,600

12 Prepayments & deferred expenditure Prepayments Deposits paid

Available-for-sale financial assets consist entirely of assets in Australian listed securities. The fair value of listed available-for-sale financial assets has been determined directly by reference to published daily rates listed on the Australian Securities Exchange at balance date.

13 Intangibles

The atyp Foundation as part of the consolidated entity will be subject to market risk as its assets in Australian listed securities will fluctuate with daily market prices.

Consolidated Entity 2012 $

2011 $

Parent Entity 2012 $

2011 $

9 Cash and cash equivalents Cash at bank Cash on deposit - fixed term

278,068

371,693

240,290

328,616

1,006,715 1,278,533

1,284,783 1,650,226

240,290

328,616

Reconciliation of the carrying amounts or each asset at the beginning and end of the current financial year for the economic entity Carrying amount 1 January Additions Disposals Amortisation Carrying amount 31 December

Software at cost

Website at cost

Total

1,601 (917)

66,554 15,300 (1,189) (32,494)

68,155 15,300 (1,189) (33,411)

684

48,171

48,855 70

Consolidated Entity 2012 $ 14

Consolidated Entity

Parent Entity 2011 $

2012 $

2011 $

Property, plant & equipment Leasehold improvements at cost Accumulated amortisation Total leasehold improvements

87,782

82,750

87,782

82,750

(52,654)

(45,026)

(52,654)

(45,026)

35,128

37,724

35,128

37,724

Plant & equipment - at cost Accumulated depreciation

286,214 (252,141)

258,282 (233,463)

286,214 (252,141)

258,282 (233,463)

34,073

24,819

34,073

24,819

Total plant & equipment Total property, plant & equipment

69,201

62,543

69,201

62,543

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

Leasehold improvements

Plant & equipment

Total

37,724 5,032 (7,628)

24,819 28,200 (18,946)

62,543 33,232 (26,574)

35,128

34,073

69,201

Trade and other payables Trade creditors Sundry creditors & accruals

Provision for annual leave Provision for long service leave

Analysis of total provisions Current Non-current

17 Grants in advance Arts NSW - Aboriginal Middle Years - Writers' Commissions Australia Council - Operational grant Katherine Project Evaluation Copyright Agency Limited

18 Income in advance Workshop fees in advance Other income in advance

Carrying amount 1 January Additions Depreciation / amortisation Carrying amount 31 December 15

16 Employee benefits

19,414 45,486

76,543 91,571

19,221 45,486

73,843 91,571

64,900

168,114

64,707

165,414

Parent Entity

2012 $

2011 $

2012 $

2011 $

46,784 2,549

28,781 2,222

46,784 2,549

28,781 2,222

49,333

31,003

49,333

31,003

49,333 -

28,781 2,222

49,333 -

28,781 2,222

49,333

31,003

49,333

31,003

5,000 9,100 77,351 10,000 10,000

5,100 11,250 76,661 10,000

5,000 9,100 77,351 10,000 10,000

5,100 11,250 76,661 10,000

111,451

103,011

111,451

103,011

104,549 5,580

68,045 3,395

104,549 5,580

68,045 3,395

110,129

71,440

110,129

71,440

Related parties and related party transactions

a) Director compensation The directors act in an honorary capacity and receive no remuneration other than Fraser Corfield who is the Artistic Director of atyp. b) Key management personnel compensation Key management personnel compensation for the year ended 31 December 2012 amounts to $167,729 (2011: $ 176,908). c) Director donations The total amount of donations received from directors during the year ended 31 December 2012 was $79,500 (2011: $28,650).

Consolidated Entity

Parent Entity

2012 $

2011 $

2012 $

2011 $

33,324 75,153

38,641 88,784

33,324 75,153

38,641 88,784

108,477

127,425

108,477

127,425

30,832

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

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

The lease commitments relate to the lease of premises, storage space and copier machine

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

Directors’ Declaration

Business and Gover nment Partners – 2012

In the opinion of the directors’ of Australian Theatre for Young People :

government

1. the financial statements and notes, as set out on pages 11 to 28 are in accordance with the Corporations Act 2001 (the Act), including: i) complying with Accounting Standards, the Corporations Regulations 2001 and other mandatory professional reporting requirements, and ii) giving a true and fair view of the consolidated entity’s financial position as at 31 December 2012 and of its performance for the financial year ended on that date.

Australia Council for the Arts Arts NSW City of Sydney ConnectEd

2. in the directors’ opinion there are reasonable grounds to believe that the consolidated entity will be able to pay its debts as and when they become due and payable;

atyp Foundation Graeme Wood Westpac Foundation Lord Mayor’s Charitable Foundation Tim Fairfax Foundation Vincent Fairfax Family Foundation Matana Foundation for Young People James N. Kirby Foundation St George Foundation

3. the accounts give a true and fair view of all income and expenditure including with respect to fundraising appeals; 4. the Statement of Financial Position gives a true and fair view of the state of affairs of the consolidated entity including with respect to fundraising appeals; 5. the provisions of the Charitable Fundraising Act 1991, the regulations under the Act and the conditions attached to the fundraising authority have been complied with by the group; and 6. the internal controls exercised by the consolidated entity are appropriate and effective in accounting for all income received and applied by the consolidated entity including from any of its fundraising appeals. This statement is made in accordance with a resolution of the board of directors of the parent entity.

foundations

companies BBM Ltd Copyright Agency Limited Cultural Fund UBS Australia Limited Australian Theatre for Young People is assisted by the NSW Government through Arts NSW; and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body. Australian Theatre for Young People wishes to gratefully acknowledge the continuing support of the atyp Foundation. The capital funds raised through the Foundation help build a sustainable financial platform on which the Australian Theatre for Young People can thrive.

MICHAEL IHLEIN Chair Australian Theatre for Young People Sydney 29 April 2013

Financial Supporters – 2012 Australian Theatre for Young People is proud to acknowledge the support and encouragement received through individual donations. These generous donors have contributed to the company in 2012. Their continued support is essential for the on-going viability of the company.

The sole purpose of the atyp Foundation is to provide money, property or other benefits to Australian Theatre for Young People for the purpose of advancing, developing and promoting the performing arts.

Saints ($10,000 and up) Archangels ($5,000 and up) Angels ($1,000 and up)

atyp Foundation Advisory Committee

Schedule of founding donors

Angela Bowne SC Chair Antoinette Albert Carolyn Fletcher Michael Ihlein Olev Rahn Robert Rich

Robert O. Albert AO, RFD, RD Antoinette Albert Albert Investments Andrew Thyne Reid Trust Ruth Armytage AM Miles Armstrong Angela Bowne SC Felicity Atanaskovic Ian Brown Jillian Broadbent AO Michael Carapiet Hilary Caldwell Dixie Coulton & Donald Grieve Phil Costa Chum and Belinda Darvall Richard Cropley Achim & Anthea Drescher Francis Douglas QC & Dr Lisa Cantamessa Carolyn Fletcher Estate of the Late Nicholas Enright Mark Hopkinson & Michelle Opie Hal Herron Christopher Johnson Michael Ihlein & Gosia Dobrowolska John King Judith Joye Macquarie Bank Foundation Ann Lewis AO Millenium Pty Limited King & Wood Mallesons Dr Helen Nugent Raymond Nelson Glynn O’Neill James O’Loghlin Frances Roberts Robert & Helen Rich Josephine Walton Ezekiel Solomon AM Jane & Pat Wilde Sarah Whyte Yengarie Pty Ltd Jill Wran David Zobel & Emma Lee Ross Youngman & Veronica Espaliat

Antoinette Albert Martin Dickson AM Susie Dickson Michael Ihlein Gosia Dobrowolska Robert & Helen Rich Alexandra Holcomb Andrew Bird

atyp Foundation supporters

Robert Albert AO RFD RD Libby Albert Rebel Penfold-Russell Graham & Glynn O’Neill Edward & Anne Simpson John Symond

Cherubs ($500 and up)

Cupids (up to $499)

John Curran Keith Doree Janine Lapworth Brian Long Greeba Pritchard Amanda Foley Quin Dr Lee MacCormick Edwards Tracey Mair Kevin Stephenson Maria & Ralph Evans Skye Leckie Marnie & Kenneth Goth Peter & Gai Martin Warren Hogan

Nicole Abadee The Hon Justice Macfarlane Simon Ellis Christine Earnshaw Leigh Pickford Libby Plaskitt Charles & Hannah Alexander Ron Haddrick MBE Fiona & Matthew Playfair Merilyn Alt Neroli Hobbins Tim Regan Miles & Annie Armstrong Phillip Bowman Cathy Robinson Jill Karhan Andrea Larkin Roslyn Renwick Ingrid Selene Robert Brookman AM

Gillian Appleton Ruth Armytage AM Eve & Charles Curran AC Dr Linda English Mark Bayliss Nancy Fox Bruce Arnold Aaron Beach Angela Bowne SC Mark & Kathy Johnson Judith Joye Jillian Broadbent AO & Olev Rahn Andrew & Kate Buchanan Annalise Thomas Cameron Williams Curt Zuber

Verity Laughton Tristan Miall Peter Murray Margaret Sneddon Jane Westbrook Ian Brown Erin Ostadal Tom & Denise Yim Richard & Heather Chadwick Anabel Parbury John Cunningham Simone Parrott

Schedule of voting donors At 31 December 2012 the following organisations and individuals have obtained the status of voting donor Antoinette Albert Robert O. Albert AO RFD RD Albert Investments Andrew Thyne Reid Trust Ruth Armytage Chum Darvall Estate of the Late Nicholas Enright Carolyn Fletcher Henry Herron Peter Hunt Michael Ihlein Gosia Dobrowolska Ann Lewis AO King & Wood Mallesons Millennium Pty Ltd Graham O’Neill Robert & Helen Rich Robert Salteri Ezekiel Solomon AM Turnbull Foundation Jill Wran

atyp partners and supporters

atyp staf f and tutors Staff Artistic Director Fraser Corfield, General Manager Aaron Beach, Development Manager and Philanthropy Manager Peter Murray, Finance and Administration Manager Kate Di Mattina, Administrator Jenna Keeves (until June, 2012) Marketing Manager Claire Harris, Education Managers Heather Clark and AdĂŠle Jeffreys, Workshop Manager Sarah Parsons, Fresh Ink Manager Dan Prichard, Production Manager Liam Kennedy, Administration Assistant Chrissy Norford, Archivist Judith Seeff, Book Keeper Natalie Newton, Publicist Kar Chalmers

Tutors Marika Aubrey, Josh Barnes ,Guillaume Barriere, Vanessa Bates, Sarah Berrell, Anya Beyersdorf, Kylie Bonaccorso, Justin Buchta, Kathy Burns, Mitchell Butel, Laura Buxton, Heather Campbell, Travis Cardona, Rachel Coopes, Melinda Dransfield, Curtis Fernandez, Martha Goddard, Tanya Goldberg, Lyndelle Green, Sam Haft, Suzie Hardgrave, Honora Jenkins, Shane Jones, Sophie Kelly, Luke Kerridge, Amy Kersey, Natalia Ladyko, Caleb Lewis, Katie McKee, Natasha McNamara, Jennifer Monk, Danielle Oâ&#x20AC;&#x2122;Keefe, Conrad Page, Kirk Page, Lachlan Philpott, Paige Rattray, Natalie Richards, Sara Ritchie, Aaron Scully, Georgie Symes, Chris Tomkinson, Laura Turner, Jo Turner, Queenie Van De Zandt, Kate Walder, Janine Watson, Scott Witt, Marni Wood

Graeme Wood Foundation

Photographs By Heather Clark, Sylvia Della Vedova, Claire Harris, Heidrun Lohr, Naomi Hamilton, Olivia Martin McGuire, Lucy Parakhina