BTC Annual Report (2019) by Bendigo Theatre Company

Season ANNUAL REPORT

ACKNOWLEDGEMENT OF COUNTRY

BENDIGO THEATRE COMPANY The Committee of Management acknowledge that the Bendigo Theatre Company is on Dja Dja Wurrung Country. We would like to acknowledge and extend our appreciation for the Dja Dja Wurrung People, the Traditional Owners of the land. Today, we pay our respects to leaders and Elders past, present and emerging for they hold the memories, the traditions, the culture and the hopes of all Dja Dja Wurrung Peoples. We express our gratitude in the sharing of this land, our sorrow for the personal, spiritual and cultural costs of that sharing and our hope that we may walk forward together in harmony and in the spirit of healing.

2019 ANNUAL REPORT

SUPPORTERS

Mister Bobs

Bendigo South East College Start Studio

Kangaroo Flat Enterprises City of Greater Bendigo Ulumbarra Foundation

Friendly Savage

Bendigo Creative

David Field

In the Vines Creative

WIN Network

Alek Stokes Photography

ISLX

Ryall Foundation

J&A Logistics

VENUE PARTNERS Girton Grammar School Crusoe College

THE COMMITTEE

BENDIGO THEATRE COMPANY

EXECUTIVE COMMITTEE President: Abe Watson Vice President: Ken Wells Secretary: Jenni Clohesy Treasurer: Maureen Fleiner GENERAL COMMITTEE Manager of Marketing and Business Development – Seamus Allan Manager of Visitor Experience – Barb Billings Manager of Compliance and Risk – Emma Fletcher Manager of Facilities – Keva Lloyd Manager of Systems – Bevan Madden Manager of Governance and Human Resources – Rebecca O’Sullivan Manager of Member Engagement – Stania Tresize

PATRON Cr. Rod Fyffe OAM

LIFE MEMBERS Anne Ball Mrs A Ball (dec.) Colin Brown Grace Cox Gael Emond Greg Harris Patricia Lyon (dec.) Jack Paynting (dec.) Annie Smith Stania Tresize Vern Wall Ken Wells Madge Welch (dec.)

2019 ANNUAL REPORT

BENDIGO THEATRE COMPANY PRESIDENT

Abe Watson

TREASURER

SECRETARY

Maureen Fleiner

Jennifer Clohesy

Procedure Management Season Programming Grants & Fundraising

Programming Subcommittee

Assistant Secretary

Assistant Treasurer Emma Fletcher

Seamus Allan

General Committee Member

Abe Watson (C) Vanessa Bate Bevan Madden

Procedure Management Responsible for development and implementation of best practice operational procedures (not policy). Will work with relevant departmental managers to document clear procedures in the interest of business continuity and succession planning, working towards a BTC Procedure Handbook. Key Relationships: President; Manager, Systems; Manager, Legal - Compliance & Risk.

COMMITTEE OF MANAGEMENT 2019/20

GOVERNANCE STRUCTURE

Manager, Marketing & Business Development

Grants & Fundraising Responsible for procurement of grants and development of alternative revenue streams to ensure continious upgrade and improvement of both Facilities and Operations. Will work with departmental managers to break down priorities into smaller projects, document, and source appropriate funding for execution Key Relationships: President; Programming; Marketing & Business Development; Member Engagement.

Manager, Visitor Experience

Ken Wells Maureen Fleiner

Manager, Facilities & Maintenance

Manager, Legal - Compliance & Risk

Seamus Allan

Barbara Billings

Emma Fletcher

Keva Lloyd

General Committee Member

Marketing & Business Development Responsible for general company marketing, subscriptions, as well as liaisng with production managers and event coordinators regarding communication/marketing strategies. Will coordinate management of the companyâ&#x20AC;&#x2122;s various social media platforms and other marketing tools, liaise with local media, as well as organise for production of graphic content and copy (potentially in liaison with marketing/ graphic partner). Will handle any PR issues in liaison with the Company President and Secretary, and coordinate various company communications and event invites, will work closely with the Grants and Fundraising Team. Will assist in the development and maintenance of business sponsorships and partnerships in liaison with the Company President, and will manage VIP functions as required. Key Relationships: President; Secretary; Visitor Experience; Member Engagement.

Visitor Experience Responsible for the professional image presented to visitors by the company. This includes coordination of welcome and reception tables for auditions, information days, and workshops in liaison with relevant production teams; management of bar, box office and front of house operations in liaison with the Company Treasurer and relevant Production Managers and Event Coordinators. Planning improvement for Front of House areas in liaison with the Facilities and Maintenance Team, and dealing with any customer service issues which may arise. Will organise for all visitor touchpoints to be appropriately presented, and ensure facilities in Front of House areas are clean and serviceable this may include creation of production-specific cleaning rosters. Will ensure workshops are setup as required in liaison with facilitators. Key Relationships: Marketing & Business Development; Member Engagement.

Legal Compliance & Risk Responsible for the companyâ&#x20AC;&#x2122;s statutory compliance, including child safety, RSA requirements, privacy policies, consumer affairs, etc. Will work with the Company Secretary to organise AGMs and SGMs as required. Key responsibilities include development of high-level company policy, and maintenance and amendment of key company documents as required, including: BTC Constitution, Code of Conduct, etc. Will work on Company mission statements and statements of purpose as required. Will liaise with production managers regarding statutory requirements, and with legal representation as required. Will draft and create risk assessements,, to assist with the creation of Operational Procedures, as well as for business and financial risks, etc. Key Relationships: President; Treasurer; Procedure Managment Team; Facilities & Maintentance.

2019 ANNUAL REPORT

Coordinator, Sets

Coordinator, Wardrobe

[VACANT]

Stania Tresize

Wardrobe Organiser Lauren Mitchell

Wardrobe Subcommittee Liz Young Louise Wellard Maureen Fleiner

VICE PRESIDENT

Ken Wells

Tribe Youth Theatre

BSharp Chorus

Production & Operations

Tribe Subcommittee

Convenor, BSharp Chorus

Production Managers & Event Coordinators

Vern Wall

Maureen Fleiner

Abe Watson (C)

Maree Kennedy

Vanessa Bate

Jenni Clohesy

Kristen Beever Liz Young Kerry Turpie

Vocal Leader, BSharp Chorus

Accompanist, BSharp Chorus

Sally Lansdowne

Judith Chalmers

Bevan Madden Kristen Beever [VACANT]

Natalie Hercus

Production & Operations Responsible for supervision of all Production Managers and Event Coordinators for BTC’s programmed season. Will lend expertise and support to production teams as required in the areas of production managment, technical theatre, and producing. Will act as Production Manager and/ or Technical Director for large scale productions as required. Responsible for upgrades to the Black Box in liaison with Manager, Facilities & Maintenance. Key Relationships: President; Programming; Facilities & Maintenance.

Kimmie Godfrey

Manager, Systems

Coordinator, Properties

Facilities & Maintenance Subcommittee

[VACANT]

Colin Brown Vern Wall Bob Caldwell Ray Smith Kyle Waddington [VACANT] [VACANT] [VACANT]

Facilities & Maintenance Responsible for management of the Shed, repair of any maintenace problems which may arise, and coordination of department coordinators in the areas of sets; properties; and costumes. Coordination of Facilities & Maintenance Subcommittee, meeting weekly to improve facilities, as well as coordination of regular working bees. Will liaise with the Company President regarding creation of a long-term plan for facilties improvement. Will lend expertise and support to production teams as required and manage hires in liaison with appointed coordinators. Will maintain grounds, and ensure the premises is presentable. Will purchase and replace tools and equipment as required as well as maintaining a register of non-current assets with the Company Treasurer. Will supervise tradespeople working onsite, and is responsible for OH&S matters both in the Shed, and external venues. Key Relationships: President (Development) Vice President (Operations); Production & Operations.

Manager, Governance & Human Resources

Manager, Member Engagement

Bevan Madden

Rebecca O’Sullivan

Stania Tresize

General Committee Member

Systems Management Responsible for oversight, development and integration of business systems to optimise efficiency and support company purposes and function. Working across departments and liaising with other Managers and the Company President to develop best practice and end-to-end improvement. Responsible for optimisation through integration of operational critical systems including but not limited to TeamUp, Trybooking, Google Drive, GoTix, Cast98, Reckon, as well as Wordpress and MailChimp (in liaison with Manager, Marketing & Business Development). A key focus of the incoming term is research into, and implementation of, a membership/ subscription software in liaison with the Company Secretary. Responsible for training of relevant personnel on software systems and integration. Key Relationships: President; Secretary; Procedure Management Team; Visitor Experience; Marketing & Business Development.

Governance & Human Resources Responsible for implementation of the Company’s Governance Structure in liaison with the Company President. Responsible for creation of personnel documentation including Departmental Terms of Reference documents (with department managers) and Role Descriptions (with Production Managers and Event Coordinators). Will ensure transparent Expression of Interest and Interview Processes are adhered to by the company. Will respond to any perceived Conflict of Intersest or Human Resources issues arising, including mediation of disputes as necessary. Ensuring duty of care is maintained for all BTC members, with a paricular focus on helping to find methods to combat committee burnout, as well as helping to keep committee on track with their communication values throughout their term. Key Relationships: President; Procedure Management Team; Member Engagement.

Member Engagement The Manager, Member Engagement is ‘the face of the company’. Responsible for finding strategies to attract, engage and retain members. Responsible for development and delivery of social events and activities to keep members engaged in between events and productions, including: movie nights, dinners, cast parties, reunions, fundraising activities, etc. Will work closely with Manager, Visitor Experience to create a warm, welcoming environment for productions and events. Responsible for keeping in touch with members. Development of an internal company newsletter (not used to market shows), but rather to keep up to date with things happening in members’ lifes (e.g. engagements, awards, special achievements, etc.). Key Relationships: Visitor Experience; Marketing & Business Development; Grants & Fundraising Team; Governance & Human Resources.

BENDIGO THEATRE COMPANY

Reading this message, in late 2020, due to the impact of COVID-19 and necessary delay of our AGM, 2019 feels almost like a lifetime ago. While next year’s Annual Report will be quite different, this is an opportunity to reflect and celebrate BTC Season 2019 and all that we accomplished together in that year. And there was a lot.

PRESIDENT’S MESSAGE

In 2019, BTC produced over twelve events. Our production year was kicked off by our Summer Pantomime, Sleeping Beauty. In March, we saw the return of our ever successful TenX10. Tribe’s first play, Blood Brothers, was next. Blood Brothers confronted the age-old philosophical dilemma of nature versus nurture, and was performed at The Engine Room in April. Followed by recitals from our BSharp Chorus, who delighted audiences (no surprises), in June and November. A major highlight of Season 2019 was our production of Wicked, which we know, will be remembered for years to come. A landmark in our company’s history, Wicked was the most ambitious production programmed to date. Twelve months of dedication, and thousands of volunteer hours resulted in a technically spectacular production, which caused a wave in the theatre community. Winning a record-breaking thirteen awards from the Music Theatre Guild of Victoria, it has certainly put us centre stage in the Victorian theatre community. We are rightly proud of our production achievements in 2019, however, we are equally proud of what we have achieved with in our Workshop Series. 2019 saw four incredible workshops, led by industry greats. Rob Sowinski’s Production Management workshop helped to provide participants with the tools required to be a successful theatre

2019 ANNUAL REPORT

Production Manager; a role so essential, and so often misunderstood. Lyndall Grant and Skylar Delphinus led workshops in Stage Combat and Dance, respectively. These were participant favourites and gave attendees insights into the life of a professional working artist. The inimitable Hannie Rayson (arguably Australia’s most prolific playwright) led a workshop on Script Writing for theatre, and this really was something to behold. Participants left Hannie’s workshop changed, and with a renewed passion for writing and for the theatre. Hannie sincerely enjoyed her time here at BTC, and we hope to work with her again in the future. At the end of the 2018 financial year, I was proud to report a surplus of $17,847 and a 26% increase in production revenue from 2017. This year, I am extremely proud to report of surplus of $28,763. This is in no small part due to the success of Wicked, but also to the hard work and dedication of all of our members throughout 2019. A particular acknowledgement needs to be made to Treasurer Maureen Fleiner, whose skills, expertise, and dedication over many years has helped us to reach this level of financial stability. We wouldn’t be where we are today without her. Our operation has grown exponentially in the past few years, and it makes for complex accounting; we are so extremely grateful to our auditor, Lisa Gervasoni, for her support. Successful operations for any theatre company relies heavily on solid and significant financial reserves. We expend large sums on projects, long before we see any revenue. This is why the difficulty for most theatre companies is often not profit and loss, but rather problems in cash flow. It would be easy to see why theatre companies, particularly community theatre companies, would feel the need to hold onto all profit, and expend as little as possible on any area which isn’t production. As usual, throughout 2019, Maureen and the Committee have done an exceptional job in reducing unnecessary expenditure, yet, apportioning considerable sums of money to long-term development projects, evident as soon as one sets foot in our home, The Arts Shed. Too many to name, but obvious upgrades include levelling of the concrete floor in the black box and costume corridor, and installation of carpet. We

have also managed to upgrade technical infrastructure in the black box, and install new racks in the costume corridor. Addition of a double gate in the backyard has facilitated simple drive through access, allowing for simpler bump ins and outs. We are grateful to the City of Greater Bendigo for their management of the restumping project, which saw a complete upgrade of the office, Green Room and kitchen. In 2019, we built upon the newly established Committee of Management structure. When we first implemented a governance structure for Committee, we knew there would be some work required to get it right, and as such, some 2018 subcommittees were combined, and some split. The following subcommittees operated throughout 2019, with Committee members acting as department managers:

• Programming • Production and Operations • Marketing and Business Development • Visitor Experience • Member Engagement • Facilities and Maintenance • Legal – Compliance and Risk • Governance and Human Resources • Systems Management • Procedure Management • Grants and Fundraising

We know that this structure will continue to flex slightly based on the needs of the company at any given time. However, the Committee of Management feel strongly about the benefits of our new structure, allowing for clearer delineation of tasks, sharing of responsibilities, and provision of opportunities for engaged members to join any number of subcommittees.

make a difference and support the work of BTC. Come to a working bee, join a subcommittee, help us plan a fundraiser, reach out and see if you can lend a hand. If there is an area of the Committee’s business that you are interested in, please let us know. We would very much appreciate your support. Succession planning is a key priority of the Committee moving forward, and we will do everything we can to ensure the company’s success long after we have vacated our chairs. I would like to take a moment to pass on my gratitude to the current Committee of Management. It has been a pleasure to work with you over the last year and a half. BTC is better for all of your hard work, and I am in awe of your tireless dedication and commitment. To the entire membership, thank you for your support. You truly are an incredible family, and I feel privileged to be part of it. Thank you for your trust in me as President, and your support for the Committee. Without you, nothing we do would be possible. Thank you.

Abe Watson President, Bendigo Theatre Company Inc.

Season

As our operation continues to grow, we need the support of our members. Being a member of the Committee of Management takes hard work, dedication, and a considerable amount of time; it is a massive responsibility for eleven individuals to shoulder. We do it, because we are passionate about BTC, and about you. Being on the Committee is not the only way to

BENDIGO THEATRE COMPANY

With the support of Bryley Savage from Friendly Savage, Bendigo Theatre Company was able to strengthen many community ties with local businesses participating in the ‘Bendigo Gets Wicked’ campaign in which these businesses sold Wicked themed products in support of our major musical. This also extended to local media partnerships with continued support from the WIN Network, Bendigo Advertiser, ABC Radio and Triple M amongst others. We greatly appreciate the support from these businesses and hope to maintain these relationships into the future. Each of our productions maintained a professional and cohesive marketing plan which was made possible through the support of David Field from Shooter Photos and his stunning photography of our productions, Aaron Boyd from Bendigo Creative and his endless support in the creation of graphic assets for the Company to make use of and his work on the Wicked programme, Alek Stokes from Alek Stokes Photography for his creative TenX10 photography and Rebecca O’Sullivan, Ella Fletcher and Susan Malthouse-Law who maintained our social media platforms for much of 2019.

Marketing and Business Development Report

Over the past year, Marketing has worked closely with Systems to engage a variety of new platforms and systems to streamline the content creation and production to develop a more professional and cohesive brand across social media. These include systems such as Canva, Planoly and Linktree which each play a part in developing this cohesive brand. Other platforms such as MailChimp were also streamlined with the incorporation of opt-in marketing into our ticket sales and the integration of those individuals into our existing audiences which makes MailChimp an extremely valuable marketing tool.

Potentially the crowning glory of this marketing term was the development and creation of our new Bendigo Theatre Company website and the new Bendigo Theatre Company logo with the support of Aaron Boyd from Bendigo Creative. In the development of this new website, some of the Bendigo Theatre Company archives were able to be digitised, engaging platforms such as Issuu to bump our digitally available programmes from four to twenty-five, exploring and uploading old images which are now accessible from our gallery, updating our production history and noting the achievements of Bendigo Theatre Company in our ‘Awards and Nominations’ section. This new website really is a culmination of the hard work of past committees and marketing managers and will be an amazing tool for future committees to make use of. Finally, a major goal of this term as Manager of Marketing and Business Development was to future-proof this portfolio to make it more accessible to new committee members and to maintain a cohesion of external platforms even if the personnel may change. In doing this, the terms of reference for the ‘Marketing and Business Development’ was solidified with the support of Rebecca O’Sullivan as the Manager of Marketing and Business Development and a ‘Marketing Procedural Document’ was developed to detail the ins and outs of our various platforms and how to utilise them efficiently.

2019 ANNUAL REPORT

Seamus Allan Manager of Marketing and Business Development

BENDIGO THEATRE COMPANY

Visitor Experience Report

Over the course of the Visitor Experience term, this portfolio has been responsible for: Ensuring the tea, coffee, milk and (most importantly) toilet paper are always available to members. - Ensuring a good level of cleanliness is maintained. - Dealing with queries about the company as referred by the Secretary or as they arise. - Supporting different users / user groups with hospitality as required. (This could be providing nibbles and drinks to directors and production team on the TenX10 casting night or supporting tutors in our Workshop series). - Ensuring that events where alcohol is sold have the appropriate license. - Ensuring there is a suitable set-up for interviewing production teams and casting for a production. - Where necessary flagging the need for incidental maintenance or a Working Bee to the Committee.

Through promoting and maintaining these tasks, this portfolio has allowed the continual smooth running of day to day operations around Bendigo Theatre Company and has provided an avenue for new members to have their questions answered and to have an insight into what life at Bendigo Theatre Company is like.

Barb Billings Manager of Visitor Experience

2019 ANNUAL REPORT

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I am responsible for finding strategies to attract, engage and retain all the members, to help them enjoy their time with us and to encourage them to come along to social events such as movie nights, dinners, cast parties, reunions and fundraising activities. I facilitate the transition of our new members, to allow them to meet new people in a warm and welcoming environment. A Newsletter will be distributed keeping us up to date with things happening in members’ lives, such as engagements, babies, and any special achievements.

Stania Tresize Manager of Member Engagement

Member Engagement Report

The title ‘Member Engagement’ is very dear to my heart, to meet and greet all people whether for an information night, audition, rehearsal or a get together I am the ‘face of the company’. I am responsible for keeping in touch with Members, even if they are not involved in a particular production or event.

BENDIGO THEATRE COMPANY

Facilities Report

The Wednesday Boys have again been extraordinarily active over the past sixteen months. The retirement of Ray Smith after a long and illustrious career with Bendigo Theatre Company has to some degree been offset by the return of John Freeman and the recruitment of Mark McLoughlan and Mick Cullin. Cam also departed after obtaining work with a cleaning company, but Kyle has taken his spot.

That said, our time is often limited due to the demands of the company for sets, props, etc. and our relatively small and to some degree, aging numbers! At times we have welcomed with open arms volunteers who have assisted in various ways but it’s an ongoing problem. With more workers, more can be achieved. The major achievement of the whole company in 2019 was of course the magnificent staging of “Wicked” and the Wednesday Boys were certainly at the forefront of set construction for that production. Along the way, we also assisted Tribe with their shows plus made our facilities available to Girton and “The Drowsy Chaperone” while maintaining the black box for TenX10s, concerts and other presentations. In early 2020, new sets were being built for “Beyond Reasonable Doubt” and included set pieces that will also be useful going forward. A major upgrade to the kitchen, green room and office was undertaken by the City of Greater Bendigo and many hours spent in preparation and tidying up after the works were concluded to lessen the inconvenience as much as possible. Other upgrades/improvements throughout the year were:

- New seats in the black box from Beckett Theatre in Melbourne via Echuca Moama Theatre Company. - The appointment of a new gardener to maintain the outside of the property. - Seamus’ survey to members of their vision for the future of Bendigo Theatre Company, regarding both property and functionality. - The Tech-Box upgrade and extensions. - Shutters installed over the vents in the black box. - New brass plaques honouring Joel Frost and Ray Smith. - New exhaust fans in the bathrooms. - Carpeting of the costume corridor and the addition of extra racks. - Installation of a double back gate to facilitate drive-through access to the backyard. - Utilisation of the donated kitchen cupboards to extend the storage in the paint area and installation of a work bench in the cage area for benchmounted power tools. - The continual rationalisation of sets, furniture and props – the storage, maintenance, dismantling and rearrangement to make things easier to find and get at.

Keva Lloyd Manager of Facilities

2019 ANNUAL REPORT

BENDIGO THEATRE COMPANY

Here is a brief rundown on what’s different: SCHEDULING

Systems Report

2019 was a year of change for Bendigo Theatre Company. But not just in the way you might expect. We took a big leap forward into the 21st century, moving our backend scheduling completely online, moving our audition booking process completely online and moving our membership completely online.

If you are a member of Bendigo Theatre Company who hasn’t yet had the opportunity to head backstage much, you may be forgiven for thinking that organising rehearsals are an easy job. But, when you have three, four, or sometimes even five productions running at the same time, our beloved shed can get very full, very quickly. Using TeamUp, an online, cloud calendar solution, we can ensure that the shed is always available for the people who need it, at the times they need it. AUDITION/REHEARSAL ORGANISATION

Creating a show is a tough challenge, both for actors and production teams. However, by working closely with Cast98, we are able to reduce stress for at least one of those groups (sorry actors…). Cast98 is a beginning-to-end production planning tool. It allows production teams to keep all key show information in one place, from audition booking to audition scores/notes, cast list and unavailabilities, rehearsal schedules and more. It makes dealing with the every-day work of a production easy, meaning more time can be given to concentrating on solving the big challenges that arise with a production (such as how do we fly a 500kg, 25mx25m train tunnel?). Cast98 and Bendigo Theatre Company have been in constant communication regarding new features that we think would help, not only us but the 40+ other amateur theatre groups using the system in Australia. MEMBERSHIP Your information is valuable and private. When you join Bendigo Theatre Company you are trusting us to look after your information. That’s why making a massive switch to an online, cloud-based membership management solution made sense. Unveiled at the 2020 Season Launch, Hello Club is a way for you to take control of your information. By signing up online using an encrypted connection, your information is never in jeopardy. Hello Club also allows you to pay for your membership, and most other fees, online and using your credit or debit card, something which hasn’t been possible until now due to the nature of our connectivity environment at the shed. In short, BTC is becoming more efficient behind the scenes, meaning more time and brainpower can be dedicated to what we all love doing most, creating incredible theatre experiences for the Greater Bendigo Region.

Bevan Madden Manager of Systems

2019 ANNUAL REPORT

BENDIGO THEATRE COMPANY

2019 ANNUAL REPORT

We have spent a great deal of time working on terms of reference, position descriptions, and other key pieces of documentation that relate to our committee structure. This is to ensure continuity between committees and office bearers, by creating a roadmap of responsibilities and objectives for each operational area. We have also been undertaking proactive work in wellbeing, ensuring casts, production teams, and other members are supported through their time at BTC, and that avenues are available should people need additional help or support. We work hard to foster the warm community spirit created by our members. We look forward to continuing to evolve and develop in years to come.

Governance & Human Resources Report

Throughout 2019, we made great strides in areas of Governance and HR. BTC has been through a period of rapid evolvement over the past few committee terms, and as such, a great deal of work has been required to ensure that the governance structure supports the work we do. We have landed on a structure which sees specific areas of responsibility assigned to specific roles on the Committee of Management. We feel that we have a duty to ensure that key areas are covered, and the Committee of Management has the skillset required to ensure the company continues to flourish.

Abe Watson President

BENDIGO THEATRE COMPANY

2019 ANNUAL REPORT

Grants Report

The major grant acquitted during this financial period was from the City of Greater Bendigo for the seeding of the BSharp Community Chorus. From an initial grant of $4,800 the project included in-kind volunteer hours to the value of $14,750 and was reported with a final outcome value of $24,565. In addition to the financial aspects, BSharp has been attracting and retaining a new community demographic to the Bendigo Theatre Company; those who love to just sing, and they’re doing it so well!

Throughout the year, BTC had up to 8 grant applications in progress but successful funding can be difficult to obtain and why we must consider our rare successes as ‘icing on the cake’. Kangaroo Flat Community Enterprises has generously committed to donating $3000 to BTC to assist in the installation of data cabling and we excitedly await the upgrade of enabling feed from the stage area into the small rehearsal room. From a personal point of view, I’d like to thank our wonderful people who record their hours in the Volunteers Register, this provides me with the facts to pull accurate statistics and substantiate grant applications and acquittals.

Jenni Clohesy Secretary Grants Officer

BENDIGO THEATRE COMPANY

We are proud of what we have achieved to date, the notion of a ‘Programming Subcommittee’ at BTC only goes back to 2017, with our first fully-fledged season launched in December that year. Season 2018 was a landmark for Bendigo Theatre Company, and things have continued to develop and grow.

Programming Report

Over the last few years, Bendigo Theatre Company has worked hard to deliver what our members and audiences want; this has involved consultation periods, surveys, information gathering, and introduction of a new, more accessible and informative launch format.

The composition of our programming subcommittee has taken some time to solidify, it now includes two permanent seats, and three rolling seats on a year-by-year basis. The permanent seats are occupied by the BTC President and the Artistic Director of Tribe. The remaining seats are filled by members of the BTC Committee, with a view to sharing the experience of packaging a Season Proposal for approval by the Committee.

The Programming Subcommittee worked hard to piece together Season 2019, and we were extremely proud of all our productions – Wicked, in particular, was exceptional and raised the bar for community theatre, not just in Bendigo, but in Central Victoria. Our Workshops saw professionals Rob Sowinski, Skylar Delphinus, Lyndall Grant and Hannie Rayson sharing their skills and expertise with our members. The work never stops for the Programming Subcommittee, and while members were enjoying the fruits of our labour in Season 2019, we were focussed on planning Season 2020. Members of the Season 2020 Programming Subcommittee: Abe Watson (Chair) Vanessa Bate Seamus Allan Barbara Billings Keva Lloyd We were pleased to see the Pantomime, and the first weekend of TenX10 able to proceed as planned. We had a really strong season planned to include a one act play work by Tribe and Jeffrey Archer’s gripping courtroom drama, Beyond Reasonable Doubt. Our major musical was set to be We Will Rock You, showcasing legendary and iconic tunes, and Tribe’s musical was Cats by Andrew Lloyd Webber. In 2020, we should have been able to share with you our 200th production: Richard Harris and Leslie Darbon’s hilarious farce Two and Two Make Sex. Alas, it was not meant to be. The disruption of COVID-19 has forced the Committee to make difficult decisions. We were heartbroken as government restrictions necessitated the postponement of the bulk of Season 2020, however, we knew that we had an obligation to protect the more vulnerable members of our community by restricting mass gatherings. The subcommittee had done some cursory work on Season 2021; as government restrictions lift, we will have a clearer picture of the ongoing impact. The Committee are optimistic, and we look forward to sharing our planned productions with you, albeit later than expected, and we would expect Season 2021 to look very similar to Season 2020, with a few additions.

Abe Watson Bendigo Theatre Company President Season Director

2019 ANNUAL REPORT

Story of a Life Member

In 2005 I was honoured to be awarded a life membership with Bendigo Theatre Company and very much find it a source of great pride. However my story starts quite some time before that and initially involved a brief stint as a backstage hand for the musical “The King and I” Somehow the word had got out that I had some experience in theatre and that I might be able to assist as they were desperate for helpers. And so in 1993 it began. Although I had been involved in amateur theatre in country Victoria for many years, I thought it would be a huge step up to get involved in a large regional company like Bendigo Theatre Company. What a contrast it was to musical theatre in a small country town where anyone who showed the slightest interest was cast, to being in a ‘proper’ theatre with large sets, costumes, lighting etc. I auditioned for a small role later that year and was Roman soldier #2 and that was it. I was hooked.

Over the years I played some small supporting roles in musicals, assisted with set construction and then became involved in the committee. The company at the time was very mobile and we had numerous places where we constructed our sets and stored our belongings. We moved many times and each time a band of volunteers would load up trucks and cars and head to the new location. Rehearsals were held in church halls with St Andrews being the mainstay. We had to rehearse without any set until bump in and did that make production week interesting.

Finally, the opportunity to obtain Allingham Street came up and the committee of the time jumped at the chance. It has made such a difference and I hope the members appreciate what an asset it is to have such a facility. We now had our permanent home, but it was just a shell of a building. Now came the task of fitting it out to make it suitable for rehearsals, a place to construct and store all our items and later as a performance space. Around 1998 I first tried my hand at directing for BTC and took on the musical “Leader of the Pack”, a seriously underrated musical and then every two years or so I returned to the director’s chair. I remember the first musical we rehearsed in the new shed was Godspell. The year was 2000 and it was still a bare shed. Rehearsals were held on many frosty nights and one night in particular the temperature dropped to about -5. We had two gas patio heaters but in that space they were useless. I could not get the actors to spread out to rehearse some songs. They were wrapped in any warm costume they could find and huddled around the heaters. We have come a long way since then. I have been fortunate to be a committee member for quite a number of the twenty-seven years I have associated with BTC and that includes filling the roles of Treasurer, Vice President, President and general committee. The committees over the years have seen many changes in personnel but all have contributed greatly to this company and have given freely of their time to continue its development. I have many highlights of my time with Bendigo Theatre Company but some that remain firmly in my mind are the first use of the shed as a small theatre. This was a great achievement and enabled us to be independent and self-sufficient. It is an asset that many theatre companies would love to have. Secondly, to have been part of the small organising group who initiated the small play series TenX10. What a success this has proved to be and lastly to see the culmination of years of work through BTC ‘s accomplishments at the 2019 Theatre Guild Awards. I would like to finish by encouraging all members to look at their involvement and see if there are ways you can assist this great company. Many of us are at a stage where our commitment is still strong but succession planning dictates that we must have people ready to take our places in the near future if the company is to continue to grow and succeed. Finally, it has been an exciting twenty-seven years, but I believe the best is still to come. ‘Break a Leg’

Vern Wall Life Member

BENDIGO THEATRE COMPANY

MEMBERSHIP LIST - 2019 Lewis ADAMS Seamus ALLAN Jacob AMARANT Kerryn ANDERSON Jakoby APPLEBY Sam ARCHER Denton ARTHUR Jecinta ARULSUTHAN Richard ATKINS Kody AUSTIN Josephine Rose BAILEY Jacob BAIRD Anne BALL Carolyn BARTLETT

Alfonse BASHA Vanessa BATE Ally BEDSON Kristen BEEVER

Millie BENNETT Emily BIBBY Barbara BILLINGS Julia BRASZELL

Estella BREEN Colin BROWN Kerry BROWN Liam BROWN

Wendy BROWN Juliana CAFARELLA Bob CALDWELL Georgia CAMPBELL Connor CANTWELL Lachlan CAREEDY Chloe CASON Judy CHALMERS

Daniel CHISHOLM Gemma CHISHOLM

Jenni CLOHESY

Laura FREEMAN

Rebecca COLES

Duane FREESTONE

Erin COLLINS Ethan COLLINS Grace COX Mitch CRAIG Remy CUGARA Aoife CUNNINGHAM Conor CUNNINGHAM Finn CUNNINGHAM Jade CUSKELLY Miriam DARLOW Peter DARLOW Thomas de VRIES Michelle Di CAMMILLO Isla DEVERS Manfred DOBROW Katherine Wall DOBSON Julie DRAKE Matthew DUDFIELD Andrew DYER Noelene EAD Elizabeth EDWARDS Gael EMOND Leonie FERGUSON Elisha FIELD Christina FINCH Ingrid FISHER Zachary FITZPATRICK Bronte FLANAGHAN Maureen FLEINER Dan FLETCHER Ella FLETCHER Emma FLETCHER Milly FLETCHER Carel FOURIE

Taylah CHISHOLM

Sian FOWLER

Madi CHURCHILL

Alex FRANK

Jasmine CLANCY

Claudia FRANK

2019 ANNUAL REPORT

Jordan FRENCH Aimee FRISWELL Abraham GEYER Evelyn GIBBONS Jordan GLEESON Kristen GLEESON Bridget GLOZIER Tara GLOZIER Kimberley GODFREY Lucy GRIMES Alicia GUNSTON Tayla HAM Innes HARRINGTON Melissa HARRINGTON Charlee HARRIS Max HARRIS Ethan HARRISON Ian HART Marg HAYES Gwen HERBERT Natalie HERCUS Annabelle HESLOP Jess HILL Mason HINGSTON Jordan HOBBS Chris HOBSON Jaclyn HOLLAND Mary HOLLAND Willow HOLLAND Jacob HOOKE Kyie HOWE Damien HURRELL Roger HUTCHNANCE Maddeline JACKSON Elliot JACOBS Jennifer JENKINS CJ JOHNS-HAYDEN Lily JOHNS-HAYDEN 24

MEMBERSHIP LIST - 2019 cont. Shantara JOHNSTONE Georgia JONES Caydyn KEARIN Kaddison KEARIN Maree KENNEDY Monique KERR Isobel KINGDON Loretta KINGSTON-BROWN Meleesa KIRBY Lucy KITCHING Vashti LAMARO Sally LANSDOWNE Laura-Jane LEACH Samantha LEMPIO-FRANKLIN

Chris LIGHTFOOT Kade LIGHTFOOT Keva LLOYD Sheryn LONG Morgan McDERMOTT Jan MacDONALD Bevan MADDEN Brad MADDEN Susan MALTHOUSE-LAW Erin MANNIX Thomas MARCHANT Lisa MARTIN Pam MARTIN Bailey MATHESON Julie McDONALD Margaret McDOWELL Katie McGREGOR Georgia McMILLAN Spencer McWILLIAM Sophie MILLAR Lucy MILLS Lauren MITCHELL Cathy MOORE Thomas MOORE Graeme MURRAY Bridget NALLY Colin NANKERVIS

Kerryn NANKERVIS

Alexander SHORT

Laura NAYLOR

Ross SIMMONS

Lyndall NELSON

Georgia SKINNER

Sharon NEWTH

Stephanie SLATYER

Alysha NICOSIA

Annie SMITH

Kelsey OBERIN

Ray SMITH

Rebecca O'SULLIVAN

David SOMERTON

Haydn OXENHAM

Daniel SONCIN

Lucia PAINTER

Carolyn STASZKIEWICZ

Margaret PARKER

Jeremiah STEEN

Robert PARSONS

Sasha STUCHBREE

Charli PATULLO

Erin TAYLOR

Jemma PATULLO

Melanie THOREN

Abby PERDON

Erin TINKER

Ryan PETERSON

Kate TINKER

Cheryle Joy PHILLIS

Caitlin TRAINOR

Jorja POLGLASE

John TRAINOR

Stephanie QUIN

Selina TRAINOR

Julian REGAN

Stania TRESIZE

Inika REINHARDT

Kerry TURPIE

Jett ROBINS

Madilyn TYZZER

Aymee ROBNSON

Karin VAN POPPEL

Jozie ROBINSON

Zeljko VANIS

Cedar-Rose RUSSELL

Keren WALL

Ella RUSSELL

Vern WALL

Jake RUSSELL

Zoe WALLACE

Olivia RYAN

Jacob WARE

Pearl SALMON-WATSON

Abe WATSON

Claire SAMPSON

Ebony WATTS

Bryley SAVAGE

Julia WELLARD

Lenka SCHIRMER

Louise WELLARD

Ian SCOTT

Anne WELLS

Oliver SCOTT

Ken WELLS

Tim SCOTT

Eliza WILKINSON

Claire SEXTON

Hayden WILKINSON

Dan SEXTON

Dan WILLIAMS

Oliver SEXTON

Jenny WILLIAMS

Heidi SHELTON

Stephanie WILLIS

Craig SHEPPARD

Joy WILSON

Liam SHEPPARD

Liz YOUNG

Ralph SHIPARD

Alexander ZEGELIN

BENDIGO THEATRE COMPANY

Sleeping Beauty The Pantomime

S U M M E R PA N TO 2019 ANNUAL REPORT

Season

NCE UPON A TIME there lived a king and queen who were very unhappy because they had no children… Thus, sets the stage for Bendigo Theatre Company’s 2019 production of Sleeping Beauty – the Pantomime. ‘Pantomime’ has its roots firmly set in the 16th century French art form ‘Commedia dell’arte’ – with the beloved version of ‘The Panto’ as we know it developed by English entertainers reworking scripts of favourite fairy tales adding song, dance, physical comedy and a generous sprinkling of relevant and irreverent, local and pop culture innuendos. Audience interaction is greatly encouraged! It is thought that Sleeping Beauty’s earliest influence derives from Perceforest, a French romance first printed in 1528, followed in 1634 by Italian author Giambattista Basile’s version. The story penned in 1697 by Charles Perrault was the first to use Sleeping Beauty as a title. The best known and most oft copied version comes from The Brothers Grimm – first found in their 1812 collection. This classic tale has been retold and refashioned in

various mediums including ballet, film, television, animation, music and literature. Bendigo Theatre Company has a history of making their yearly Pantomimes their own by creating a twist in the tale and gearing the production firmly toward kids, while acknowledging the adults in the audience with some not-so-subtle well-placed double-entendres. Sleeping Beauty will be proven to be no exception!

VENUE - GIRTON BLACK BOX THEATRE JAN | M

14 M

16 T

W 23

18 19 20 T

25 26 27

CREATIVE TEAM Production Manager Stania Tresize Director Bevan Madden Assistant Director Seamus Allan Choreographer Kelsey Oberin Musical Director Charlee Harris

TOTAL PERFORMANCES 9 | ATTENDANCE FIGURES 886 27

BENDIGO THEATRE COMPANY

Community theatre has the responsibility of ensuring that everyone has the opportunity to be involved, whether that be on stage or off, as a hobby, for a social network or to learn skills with a view to pursuing a career in the arts. To meet this responsibility TenX10 was launched in 2016. TenX10 is a programme of ten plays, each around 10 minutes long. The plays are submitted by non-professional writers and we aim to appoint directors with little or no experience. The casts for each play do not audition but are cast based on their preferences. The TenX10 mission statement is â&#x20AC;&#x153;to encourage everyone to get involved in local theatre, to give opportunities to, and permission for, people to explore and create.â&#x20AC;? In 2019 we received the record number of 62 plays. They were submitted from local, national and international writers, all hoping to realise their dream of seeing their play made real. To undertake the enormous task of reading and assessing the plays, we engaged a volunteer Selection Committee which comprised Dawn Colbourne (Chair), Annie Young, Ben Crowley and Anne Henshall. Dawn, Annie and Anne are well known in the Bendigo artistic community and Ben is a director, producer and performer from Geelong. As always, the play selection process was blind in that the Selection Committee had no visibility of the playwrights. Due to the outstanding number of highquality submissions, the Selection Committee appealed to the BTC Committee of Management to hold a second TenX10 season in November and the BTC committee agreed. Due to a number of factors each of the March and November seasons actually presented 11 plays and was therefore colloquially named TenX10 (plus GST). Both seasons attracted both new and experienced TenX10 writers, directors, performers and backstage crews. Over 150 people were involved in the productions which attracted outstanding audience numbers with both seasons selling out before opening night. This year as part of our continuing improvement process, we included a Senior Director to support the creative development of emerging directors and tested new and innovative sound and lighting designs. BTC is proud of its TenX10 programme which continues to attract new members and see old friends returning for more. We remain committed to the constant improvement and evolution of the programme in response to participant feedback, while maintaining the basic premise that is must be accessible to all who want to be involved.

2019 ANNUAL REPORT

Maree Kennedy TenX10 Production Manager

28 28

Season

2019 PLAYS Date with Death: Written by Steven Hayet and Directed by Stephanie Slatyer Anna by Lamplight: Written by Alison Knight and Directed by Ralph Shipard The Locked Door: Written by Chris Pedler and Directed by Ebony Watts Swing Thought: Written by Ethan Bortman and Directed by Stania Tresize The Interview: Written by Ian Hart and Directed by Seamus Allan Cross Purposes: Written by Lois Angus and Directed by Christina Finch A Nice, Gentle Invasion: Written by Christopher Milne and Directed by Kody Austin I’ve Got Something to Say: Written by Vern Wall and Directed by Catherine Moore Ragout: Written by Audrey Farthing and Directed by Cedar-Rosie Russell Mirror Image: Written by Seamus Allan and Directed by Tayla Ham The Rich History and Ample Cultural Attractions of Bendigo, Victoria: Written by Tommy Russell and Directed by Mason Hingston

DATE March 28-31, 2019 | VENUE BTC Arts Shed TOTAL PERFORMANCES 4 | ATTENDANCE 303 2019+ PLAYS A Great Day for a Funeral: Written by Julie Cunningham and Directed by Stania Tresize The Math: Written by Michael J Leach and Directed by Lenka Schirmer The Architect’s Last Evening: Written by J W Clark and Directed by Stephen Fleiner Digital Life: Written by Kerry Turpie and Directed by Carolyn Staszkiewicz Chewing the Fat: Written by Sheryn Long and Directed by Kristen Beever Tigerland: Written by Mark Bolton and Directed by Madi Churchill The Problem with Philosophy: Written by Wendy Dunn and Directed by Mary Pomfret Vote for Me: Written by Kel Vance and Directed by Sam Archer Close Enough: Written by Louise Woodward and Directed by Rachel Le Rossignol It’s Not Me, It’s You: Written by Katie Lee and Directed by Thomas Moore Sludge: Written by Mary White and Directed by Sally Lansdowne

DATE November 14-17, 2019 | VENUE BTC Arts Shed TOTAL PERFORMANCES 4 | ATTENDANCE 235 29

BENDIGO THEATRE COMPANY

Season

MAJOR MUSICAL It is difficult to put into words precisely what the 2019 production of Wicked means to BTC and our community. The term ‘landmark’ comes to mind, and it is certainly an apt descriptor for the monolith that was Wicked. The time and resources it takes to mount a production such as Wicked should not be underestimated. Hundreds of people and thousands of volunteer hours are required in all areas of production, construction, and administration. It is essential to acknowledge this work because so often, it is unseen. For many of us, Wicked became the focal point of our lives for over 12 months; looking up from the bottom of the mountain (of the largest production we had ever produced), we knew it was going to be a challenge. It took grit, determination, and passionate teamwork – and we made it. A massive success, Wicked was awarded a record-breaking 13 Music Theatre Guild of Victoria Awards (including an Award of Excellence) – a testament to every single person involved in making the production a success. This production will be remembered for its scale, its quality and its impact for many years to come. And, rightly so. However, it is equally important to remember Wicked for the community it built, the relationships it fostered, and the teamwork that brought it to fruition. Our production of Wicked challenged notions of possibility and quality with regards to what community theatre can accomplish. It demonstrated that a strong, united team of passionate people working together is always able to make the ‘impossible’ possible.

OCT | M NOV

25 26 27 29

CREATIVE TEAM Production Manager Abe Watson Technical Director Ken Wells Director Paul Watson Choreographer Lisa Kearin Co-Choreographer Kaddison Kearin Musical Director Matthew Dudfield Vocal Director Kristie Woodward

Abe Watson Wicked Production Manager

TOTAL PERFORMANCES 10 | ATTENDANCE FIGURES 4949 2019 ANNUAL REPORT

AWARDS Production of the Year (Bruce McBrien Award) Direction (Vin Foster Award) - Paul Watson Musical Direction (Geoff Tomkins Award) - Matthew Dudfield Settings (Grahame Murphy Award) - Ken Wells and Team Wardrobe (Hazel Rodgers Award) - Elizabeth Young and Team Lighting - Ian Scott Sound - Greg Ginger Female Performer in a Leading Role (Doreen Burrows Award) - Melissa Harrington Junior Performer in an Open Production - Kody Austin First Performance in a Featured Role (Gladys Moncrieff Award) - Kody Austin Ensemble Performance - Entire Cast Design Award - Projection Design Award of Excellence - Set Construction Team (40 Members Strong)

Bendigo Theatre Companyâ&#x20AC;&#x2122;s Production Of

Music and Lyrics by

Book by

Stephen Schwartz Winnie Holzman Based on the novel by

Gregory Maguire

Orchestrations by

William David Brohn Music Arrangements

Alex Lacamoire & Stephen Oremus Licensed exclusively by Music Theatre International (Australasia).

All performance materials supplied by Hal Leonard Australia. 31

BENDIGO THEATRE COMPANY

BSHARP CHORUS 2019 ANNUAL REPORT

Season

The BTC BSharp Community Chorus has continued throughout 2019 and we have continued with a small but dedicated group of people who love to sing together. We meet on Monday nights from 6:30 to 7:30 to practice a range of songs and styles. Every interested person is able to participate in BSharp, no-one is auditioned, and anyone can be as involved as they’d like; coming weekly, monthly or whenever they can! Our vocal facilitator and pianist prepared the group for two performances during the year, the first in June and the second in November. The range of music was quite extensive and we were pleased to have some additional performances from guest artists to add to the evening’s performances. On both occasions we had sell-out performances and the audiences were very enthusiastic with their applause. The music ranged from modern musical through to older gospel and some of the songs included were ‘The Rose’, ‘Worlds Apart’, ‘Blue Suede Shoes’, ‘Sit Down You’re Rockin’ the Boat’, ‘Hallelujah’ and many more. The group also had the opportunity to visit a number of community residential homes during the year including Strath-Haven Residential care and Mirridong Residential Care. We continue to see such growth in this group! Their voices have developed and we have seen a small increase in numbers, particularly with males and some younger singers. BSharp was founded on the idea of having a community choir that is open to all and allows people to experience the joy of singing weekly and performing for an audience. We believe that this has been achieved and we are very proud of the B Sharp Community Chorus. Now in the year 2020 we had a change in leadership in the group. Sally Lansdowne is still the vocal facilitator of the group. Judy Chalmers resigned from her position as pianist. All the BSharp community choir would like to thank Judy for all her hard work and support of all members thank you again Judy. BSharp community choir are thrilled to have Vern Wall as part of the leadership group with Sally. The BSharp community choir have many songs in process and are looking forward to gettting back to rehearsing when safe to do so.

Sally Lansdowne, Vern Wall and Judith Chalmers BSharp Leadership Team

DATE June 7 & November 22 | VENUE BTC Arts Shed TOTAL PERFORMANCES 2

BENDIGO THEATRE COMPANY

ER C N CO

CHRISTMAS CONCERT 2019 ANNUAL REPORT

Season

Embracing the idea that ‘Christmas is for everyone’, the Bendigo Christmas Concert has become a much-loved family tradition for the whole Bendigo community. This festive, all singing and dancing, brightly coloured and interactive spectacular will get the whole family on their feet, reminiscing of Christmasses gone by, and the joy of celebrating together. It is an opportunity to forget the shopping list and feel the magic, all while helping raise much needed and appreciated funds for the local Bendigo Health Foundation’s Christmas Appeal. Over the past five years, the Bendigo Theatre Company have been the entertainment partner of the Bendigo Christmas Concert. Joining forces with Win Network, Bendigo Stadium, Bendigo Health Foundation, and 2019’s newest partners Jenny’s Early Learning Centre and Bendigo Bank, this team donate their time, resources, community connections, skills and sleigh loads of passion to deliver an accessible concert to give back to the families of Bendigo, all to share one common value, community spirit. On the 8th December 2019 1,700 people filled the Bendigo Stadium, and in true community spirit, raised $15,000 for the Bendigo Health Foundation. This money contributed to purchasing essential paediatric audiology equipment that will improve the lives of families and children suffering from hearing impairments. Each year the concert has been running the seating capacity has increased, and a donation total has almost doubled, with a five year total of near $45,000. Along with the money raised, 200 seats were donated to disadvantaged families from all over the region. This is an incredible achievement, and a testament to the hard and relentless work each person has put in to making this concert the success it is today. 2019 Bendigo Christmas Concert aimed higher and wider, by striving to provide the most accessible concert yet. This meant appealing to the generosity of local businesses to support the gifting of seats to disadvantaged families, running colouring competitions to open up the chance for whole families to see the show for free, and enlisting more volunteers to assist with audience management on the day. With the recruitment of Jenny’s Early Learning Centre, we had the capability of offering a ‘Safe Zone’ for advice on child safety, and for children to seek help on the day. The show itself incorporated elements of diversity and inclusion by showcasing diversity in characters, adding Auslan and interactive material for the audience to be a part of the sign performance. An Acknowledgement to Country opened the show to pay respect to the Aboriginal and Torres Strait Islander community and Dja Dja Wurrung land. All of these elements are small changes which will be a part of a larger shift in making this concert truly inclusive and diverse for as many people of Bendigo to enjoy as possible. The Bendigo Theatre Company have proudly used their skills and love of the arts to make unimaginable differences in the lives of the whole Bendigo community. Performers and arts professionals of all ages have selflessly given their hearts to this project over the past five years, bringing together incredibly talented production teams and casts, working together, building everlasting friendships and expanding on personal skills that will last a lifetime. The power of the arts is real and will continue to bring people together for the greater good for many more years to come.

Laura Naylor Event Coordinator

2019 ATTENDANCE 1700 | FUNDS RAISED $15,000 TOTAL ATTENDANCE 5513 | TOTAL FUNDS RAISED $43,665.78 35

BENDIGO THEATRE COMPANY

YOUTH THEATRE

YO U T H T H E AT R E 2019 ANNUAL REPORT

Season

OUR MISSION To foster an environment of opportunity, collaboration and growth; providing mentorship and a training ground where members can develop their performance, technical and backstage skills in a community theatre environment. OUR VISION To stage compelling theatre of a high standard, which audiences will connect with and respond to. TRIBE YOUTH THEATRE In the last quarter of 2018, the Tribe committee took the decision to use 2019 as a planning year. This involved planning for only one production, a drama at Easter, and using the rest of the year to plan ahead for Tribe’s future. To that end Blood Brothers was staged in the 2019 Easter school holidays. During Grease (2018) Thomas Moore had expressed interest in directing a Tribe show and the committee felt that he was a strong candidate for a Tribe director. In order to ensure that he had a successful experience, we sought an experienced director/mentor to work with him. Christopher Emond was recruited to that role and when Chris needed to step away for personal reasons, Vanessa Bate stepped in. In post-production surveys, all of the cast provided excellent feedback about all three directors and the structure of having more than one sounding board. Other production team members working with mentors included the Stage manager, Ebony Watts, supported by Selina Trainor, and Assistant Production Manager, Bevan Madden, supported by Kristen Beever. Eight performances were scheduled, 2 of which would be put on sale if demand indicated. Thirty potential cast members auditioned for 7 named roles and a flexible sized ensemble. The director cast 8 in the ensemble with 6 of those aged 15 years or below. This meant splitting the ensemble into a cast A/B scenario and the under 15s were scheduled into 4 performances each. While this undoubtedly added a layer of complexity to the rehearsal process, it opened up participation to an additional 3 junior cast members. Some issues that the production faced included planning time (multiple mentions), Shed access for the set building team and rehearsals. Cast and crew felt that the Engine Room posed some difficulties for this production due to the lack of wings. In terms of profitability, Blood Brothers cost $9,200 to produce. This was an over budget figure which can be directly attributed to the cost of venue staff which was planned at 51 hours and came in at 90.5 hours, If man hours had been on target we would have made a 4200 profit. Despite running over Blood Brothers returned a profit of $2,974.

A final word on Blood Brothers from the parent of a cast member: How do you believe your child benefitted from being involved in Blood Brothers? “She literally found her tribe, a group of like-minded people who share her passion and interest without any pretence. She has grown as an individual but especially socially. She has learnt a lot as a performer and has enjoyed seeing a different perspective outside of school productions. She cannot wait to audition for the next BTC production.”

BENDIGO THEATRE COMPANY

YOUTH THEATRE

TRIBE FORUM As part of the 2019 planning year a Tribe Forum was held on July 20th. Sixteen members attended the forum which was an open discussion that considered: - The importance of maintaining Tribe’s reputation for quality work. - Cast and audience expectations of Tribe productions as a fun experience with great outcomes. - Being aware of how Tribe productions overlap with other productions so as not to overwhelm the demand placed on community theatre musicians. Ways of ensuring cast and musicians interact. Ways of welcoming musos into the Tribe family. - Ways to make the audition experience less daunting. - Tribe development - recommendation for a musical and a lower stakes options on offer each year. - The value of plays in the Tribe repertoire. Reflection of English curriculum is encouraged but not essential. Plays are a point of difference for Tribe. they fit within the low risk parameters. - Discussing the roles that ‘Tribal Elders’ can play going forward; such as mentoring and understudying, leading production specific projects, warmups, rehearsal coordinator roles, running a Tribe theatre sports. Elders to facilitate all ages integration within casts. - Workshop ideas. TRIBE COMMITTEE August 2019 saw a draft of the Tribe Terms of Reference reviewed and submitted to the BTC Committee for ratification. MEMBERSHIP The committee membership changed throughout 2019. Vanessa Bate no change Artistic Director Kristen Beever acting Chair Feb to Jul Julie McDonald departed Feb Jordan French departed Apr Abe Watson joined Jul Chair Elizabeth Young joined Aug Mentorship Program Manager Kerry Turpie joined Aug Education Program Manager Cedar-Rosie Russell joined Aug Youth Representative

2019 ANNUAL REPORT

MENTORSHIP PROGRAM Tribe Youth Theatre exists to provide young people with an opportunity to learn about theatre and being part of a production. The mentor program was created to extend the opportunity to people wishing to learn about the roles in the production team. There are opportunities offered for people to be mentored in all production team roles. The mentorship program has been designed to be flexible, so that no matter how much experience the mentee has, they will have support to suit their needs. Mentors work with mentees to develop the essential skills and knowledge required for success, while having the practical hands-on experience of working in the role. The coordinator works with both mentor and mentee to ensure that both are confident in their roles and that the program is a positive and valuable experience for everyone. The Tribe Committee has decided to trial the mentorship program in 2020 and, depending on feedback, hopes to expand the program for more participants in 2021. 2020 PROGRAMMING Due to dates being mixed up in the rights application for the Easter play, the Committee took the decision to discontinue plans for an April 2020 production. Cats was selected as the Tribe September musical production. The drama offering identified for Season 2020 was the Victorian Drama League’s series of One Act Play Festivals. Kerry has past experience with this framework and will oversee Tribe’s involvement with the festival in 2020. The Committee liked the ensemble and touring elements that this festival offered to Tribe participants.

Kristen Beever (Marketing Officer, Tribe Youth Theatre)

BENDIGO THEATRE COMPANY

YOUTH THEATRE

Bl o od Brothers

SYNOPSIS Confronting the age-old philosophical dilemma of nature versus nurture - Willy Russellâ&#x20AC;&#x2122;s stunningly crafted, smash hit musical Blood Brothers tells the waggish, thought provoking and desolate story of Mickey and Eddie, fraternal twins separated at birth and brought up in diametrically opposed circumstances - one a wealthy, educated family - the other a poverty-stricken, unskilled environment. A prophecy made at the time of their birth sets the tone of the narrative and drives the story to its shattering, but inevitable, conclusion. Originally written and developed for the Liverpool school curriculum, Blood Brothers first appeared on Londonâ&#x20AC;&#x2122;s West End in 1983 and has since enjoyed success that has spanned over four decades reaching from Broadway all the way to Europe, Mexico, Japan and Korea.

2019 ANNUAL REPORT

The Engine Room APR | M

11 12 13 14 M

16 17

TOTAL PERFORMANCES 6 | ATTENDANCE FIGURES 428 2018 ANNUAL REPORT

BENDIGO THEATRE COMPANY

1. Excellence in Process We will continue to develop policies, procedures, and processes to ensure clarity and transparency within company operations. This will work to improve the health and safety of our members, as well as providing an environment for learning skills consistent with industry practice. 2. Development of our Members We will work to provide learning opportunities for our members, both inside, and outside of a production setting. With a keen focus on mentoring, development, and succession. We will encourage engaged members to become more involved in company operations.

Strategic Planning Report

At heart, we are a community theatre organisation. However, we strive for professionalism in our presentation, processes, policies, and operations. We have achieved a great deal in the last few years with regards to facility, operational, and policy improvements. Our revised statements of purpose, mission, vision, and values speak to the heart of our company. Moving forward, we will build upon the positive work of previous committees with three key priorities.

3. Improvement of Facilities We are working on a formalised roadmap for development of The Shed. This document will guide Committees of Management for years to come providing feasible, and costed projects, to continue to improve our home.

Logo Changes

We know that the last few years have seen a period of significant change and improvement in company operations and processes. We felt it appropriate to mark this period with a physical change; a new look. For decades, the BTC logo has been so recognisable in our local community. We wanted to pay homage to that history, and simultaneously represent our evolution as a company. Our new logo is a refreshment of the much-loved theatre curtain design, and speaks to a new era of clarity, transparency, and stability for BTC. Abe Watson Bendigo Theatre Company President

Old Logo

2019 ANNUAL REPORT

New Logo

Past 2020 Productions

BENDIGO THEATRE COMPANY

2019 ANNUAL REPORT

Little Red Riding Hood: The Pantomiome DATES January 13 - 26, 2020 VENUE Girton Black Box

SYNOPSIS Mary grabbed her basket of food, donned her beautiful red cape and set off to see her grandmother with the advice to not talk to strangers… we’ll see how long that lasts! Taking inspiration from the Commedia dell’arte theatre style, Pantomimes are known for their reworking of traditional fairy tales, adding a slew of hilarious characters, double entendres and tongue-in-cheek music performed by a cast of stock characters who are loosely based on set archetypes like ‘The Protagonist’, ‘The Antagonist’, ‘The Sidekicks’ and ‘The Dame’ who are thrown into a variety of stories and hilarity ensues! Audiences are also strongly encouraged to interact with these characters, responding to questions, singing along or even getting up for a dance. The story of Little Red Riding Hood that our Pantomime is based upon has had many adaptations throughout the years but was originally penned in 10th Century Italy with one adaptation being titled ‘The False Grandmother’. However, the best-known versions were written by Charles Perrault and the Brothers Grimm. They always follow the same basic journey with Little Red making her way to grandma’s meeting some unfortunate characters along the way which teaches her to listen to her mother and to avoid strangers you meet in the forest! Once again, Bendigo Theatre Company, is proud to bring a summer Pantomime to Bendigo audiences, this time taking it back to the ‘Panto’ roots with original songs, larger-than-life characters and high energy dances. Join us on our trip to grandma’s! CREATIVE TEAM Production Manager: Bevan Madden Director: Loretta Kingston-Brown Choreographer: Nick O’Meara Musical Director: Jodie Field 45

BENDIGO THEATRE COMPANY

2019 ANNUAL REPORT

TENX10 2020: PRIDE DATES March 12 - 15, 2020 VENUE BTC Arts Shed SYNOPSIS As time has gone by and attention spans have grown shorter, there has been a desire in theatre for something a bit more bite sized for both the performers and the audiences. So, running times dwindled from three acts to two acts, two acts to one and then in comes the tenminute play. Bendigo Theatre Company’s annual TenX10 Season casts a huge net out to writers, directors and performers who want to try their hand at something new. With no barrier to age, gender or experience – TENx10 offers participants the ability to experience the many aspects of theatre within a smaller time commitment - and it’s a great way to meet a whole group of folks who are enjoying being involved in the theatre experience. Audiences leave the TenX10 Season laughing, crying and thinking, with such a broad season drawing from such a wide range of stimulus paired with performers and directors who get the chance to flex their creative muscles. What’s not to love? 2020 PLAYS Vote for Me: Written by Kel Vance and Directed by Sam Archer 38.4%: Written by Lenka Schirmer and Directed by Barb Billings A Moment of Clarity: Written by Philip Middleton Williams and Directed by Sam Archer Dolls: Written by Robert Weibezahl and Directed by Thomas Moore Family Business: Written by Louise Hopewell and Directed by Stania Tresize Flith: Written by Shannon Murdoch and Directed by Rachel Le Rossignol Gay Expectations: Written by Garrett F Dulton and Directed by Kimmie Godfrey Pronouns: Written by Rachel Nightingale and Directed by Max Harris Rainbow’s End: Written by Alison Knight and Directed by Julie Maree McDonald The Bendigo Committee for Manhole Covers: Written by Christopher Milne and Directed by Evelyn Gibbons The Last Song: Written by Benjamin S MacEllen and Directed by Melanie Thoren 47

BENDIGO THEATRE COMPANY

Upcoming Productions

2019 ANNUAL REPORT

SYNOPSIS Jellicle cats come out tonight. Jellicle cats come one, come all. The Jellicle moon is shining bright. Jellicles come to the Jellicle ball. Andrew Lloyd Webber’s acclaimed classic Cats has remained in the public eye since opening initially on the West End in 1981 and further flourishing into an 18-year Broadway run, countless touring productions, and most recently an all-star cinematic adaptation set to open in cinemas this December. The unconventional musical is inspired by T. S. Elliot’s 1939 poetry collection Old Possum’s Book of Practical Cats and follows a tribe of colourful characters on a journey of personal anecdotes, spiritual identity and ultimately rebirth. Cats is a sung-through show, forgoing conservative scenic structure and relying chiefly on choreography and orchestration to convey the emotional intensity of the story. Due to its conceptual and eclectic style, Cats is a somewhat polarising piece of theatre, garnering a strong cult following yet often referenced in jest or parody form in pop culture. TV shows such as The Simpsons, Family Guy and Glee have all paid homage, among many others. Over its long lifespan on stages around the world, Cats has undergone a multitude of changes involving entire songs, characters and lyrics. A fluidity of composition allows Cats to be continually updated in accordance with an evolving societal audience, securing its legacy as a prevailing theatrical experience with the atmosphere grandeur of a classic. CREATIVE TEAM Director/Choreographer: Vanessa Bate Musical Director: Cally Bartlett Vocal Director: Kristie Woodward

SYNOPSIS

There’s nothing more gripping than a courtroom drama and when written by Jeffrey Archer, you just won’t be able to tear your eyes away. Jeffrey Archer’s own story is one that would make a best-seller but instead of telling his own story he created countless worlds for his readers to get lost in with his books selling close to 330 million copies worldwide. Each of his novels and plays took considerable amounts of Archer’s times to finally complete as he would go abroad to write the first draft and then writing up to another seventeen drafts thereafter. As Archer’s first expedition into the world of playwriting, Beyond Reasonable Doubt was unknown territory but with a residence at the Queen’s Theatre on the West End that lasted over 600 performances, audiences knew that he’d struck gold. As somewhat of an immersive experience, the audience is continually referred to as the jury, drawing them into the story of Sir David Metcalf who finds himself accused of the wilful murder of his terminally ill wife. In a struggle to fight for his innocence against the prosecution, Anthony-Blair Booth QC, Sir David has to stand his ground against what seems like insurmountable evidence. With twists and turns throughout the entire performance and characters that the audience can cling to through this gripping drama, what’s not to love? CREATIVE TEAM Director: Vern Wall

2019 ANNUAL REPORT

SYNOPSIS

With a career that spanned two decades, countless hits and a set list that is relevant even today, what better backdrop for a musical than the works of Queen. Queen are a world-renowned rock band formed in 1970 consisting of members Freddie Mercury, Brian May, Roger Taylor and John Deacon. Over their huge career, they managed to sell close to 200 million records, making them one of the world’s best-selling music artists and in 2001, they were inducted into the Rock and Roll Hall of Fame. We Will Rock You is a jukebox musical based on the songs of Queen with a book that was written by Ben Elton that first took the West End in 2002. Since its opening on the West End, it has been performed in over 17 countries with over 15 million theatregoers singing along to the hits of Queen. Some even say that it rocks as fiercely as the best of Queen’s concerts. In a wholly dystopian society, Earth has been renamed the iPlanet and is being controlled by GlobalSoft who rule that conformity is the norm with the Ga Ga Kids falling under the control of Killer Queen, the leader of GlobalSoft. However, The Bohemians align with a different form of thinking, valuing freedom, individuality and rock and roll in the fight against GlobalSoft and Killer Queen. Following Scaramouche and Galileo, the audience will join the Bohemians in a fight for freedom, individuality and the rebirth of rock. With legendary hits like ‘We Are the Champions’, ‘Bohemian Rhapsody’, ‘Another One Bites the Dust’ and ‘We Will Rock You’, this is one not to miss. CREATIVE TEAM Director: Paul Watson Choreographer: Claire Sexton Musical Director: Bevan Madden Vocal Director: Adam Lyon

SYNOPSIS

Flared jeans, mini skirts and kipper ties. The 1970s. A time when things were a little more relaxed, politically, socially and maybe even romantically! Two and Two Make Sex is a British farce written by Leslie Darbon and Richard Harris that explores infidelity, secrecy and a whole lot of hilarity. Richard Harris is known primarily for his television writing with episodes of The Avengers, The Saint and The Sweeney under his belt, generally focusing on the genres of crime and detective work. Similar to Richard, Leslie Darbon had quite the stint writing for television with episodes of Crossroads, Jason King and Department S behind her before moving on to the stage. Once Richard and Leslie began writing, it just ran away from them. Writing both ‘Two and Two Make Sex’ and ‘Who Goes Bare?’ which saw British audiences in stitches before it took off around the world. Set in 1973, we follow two couples who couldn’t be more different but who are having similar issues. Nick and Jane share a rickety bedsitter and are unsure about how their relationship is defined whereas George and Clare are not-so-happily married with George looking to ‘spice up his life’ a little. To inject that little bit of excitement, he finds the young and attractive Jane whilst Clare is treated by a new and handsome psychiatrist Nick. With perfect timing, hilarious confusion and a good bit of British humour, audiences will be transported back to 1973 to cringe, laugh and cry along with Two and Two Make Sex. CREATIVE TEAM Director: Keva Lloyd

2019 ANNUAL REPORT

Season

Financial Report

BENDIGO THEATRE COMPANY INC.

BENDIGO THEATRE COMPANY INC. Registration No. A0009998P ABN: 75 957 966 766

FINANCIAL REPORT

for the year ended 31 December 2019

2019 ANNUAL REPORT

BENDIGO THEATRE COMPANY

BENDIGO THEATRE COMPANY ABN: 75 957 966 766

Notes to the Financial Statements for the year ended 31 December 2019 Bendigo Theatre Company Inc. is an association incorporated in Victoria under the Victorian Associations Incorporation Reform Act 2012. Note 1:

Summary of Significant Accounting Policies

Statement of Compliance The committee has determined that the incorporated association is not a reporting entity because there are no users dependent on general purpose financial statements. The financial report is a special purpose financial report which has been prepared in order to satisfy the financial reporting requirements of the Victorian Associations Incorporation Reform Act 2012. These financial statements have been prepared in accordance with the following Australian Accounting Standards: AASB 101

Presentation of Financial Statements

AASB 107

Statement of Cash Flows

AASB 108

Accounting Policies, Changes in Accounting Estimates and Errors

AASB 1048

Interpretation and Application of Standards

Basis of Preparation The significant accounting policies set out below have been adopted in the presentation of these financial statements. a) Basis of accounting The financial statements have been prepared on a cash basis. However, an entry to reflect GST payable to the Australian Taxation Office (ATO) at 31 December 2019 has been included. b) Recognition of revenue and expenditure Revenue is recognised when received. Expenses are recognised when paid. c) Goods and services tax (GST) Income and expenses are recognised inclusive of the amount of associated GST. The net amount of GST recoverable from, or payable to, the ATO is included in the balance sheet. d) Income tax The association is a not-for-profit organisation and is exempt from income tax under section 50-45 of the Income Tax Assessment Act 1997. e) Cash and cash equivalents Cash and cash equivalents include cash on hand and deposits held at call with banks. There are no other short-term, highly liquid investments. f) Non-current assets (costumes, props, sets, tools & equipment) Expenditure on non-current assets is not capitalised. Bendigo Theatre Company has no register of noncurrent assets at 31 December 2019.

BENDIGO THEATRE COMPANY

2019 $

2018 $

Note 2: Donations & Sponsorships Donations Sponsorships Total

200 200

1,272 1,272

909 909

1,091 1,091

12,000 2,500 14,500

241 18 3,904 200 4,363

322 1,136 773 2,231

596 4,671 5,267

1,447 3,341 4,788

Note 3: Fundraising Proceeds from Garage Sale The Foundry Hotel

Note 4: Grants City of Greater Bendigo Ryall Foundation Ulumbarra Foundation Total

Note 5: Hire Fees Costumes Props Sets Venue Total

Note 6: Membership Junior Senior Associate Member Total

BENDIGO THEATRE COMPANY

Note 7: Profit and Loss by Production

2019 Productions Income Advertising Box Office Canteen Sales DVD Sales Freight Grant Players Fees Program Sales Total Income

2019 Productions Expenses Administration Audio Booking Fees Canteen Costumes DVD Entertainment Hair Honorariums Instructor Lighting Liquor Licences Makeup Programs Props Publicity Rights Sets Venue Hire Total Expenses Net Income / (Deficit)

10x10 5,804 873 464 307 7,447

10x10 316 1,081 770 130 56 718 14 3,085 4,362

Blood Brothers 11,647 341 376 12,365

Blood Brothers 50 996 139 49 1,000 139 840 1,096 531 4,123 8,964 3,401

Bsharp 1,592 22 1,614

Bsharp 45 457 216 3,838 4 25 4,585 (2,971)

Drowsey Little Red Chaperone Riding Showcase 6,960 2,455 9,415

409 409

475 475

Drowsey Little Red Chaperone Riding Showcase 766 987 693 790 38 55 583 352 100 2,232 1,698 8,294 1,122

25 24 139 188 221

475

BENDIGO THEATRE COMPANY

2019 Productions Income Advertising Box Office Canteen Sales DVD Sales Freight Grant Players Fees Program Sales Total Income

Singer Songwriter Sleeping We Will Showcase Beauty Rock You 78 78

15,621 763 5 479 16,868

Singer Songwriter Sleeping We Will Showcase Beauty Rock You 78

57 265 2,129 463 170 560 282 150 190 4,267 12,601

6,290 6,290 (6,290)

Wicked 491 230,995 300 1,791 233,576

Wicked 724 15,000 12,958 8,241 750 119 1,639 16,300 23,757 202 313 10,458 40,731 14,112 43,290 188,594 44,982

Total 491 273,171 1,105 873 300 2,455 3,044 808 282,247

Total 1,933 16,759 18,073 603 8,485 2,310 156 1,639 16,300 3,838 25,447 111 202 1,587 817 11,574 50,349 16,669 47,413 224,266 57,981

BENDIGO THEATRE COMPANY

2018 Productions Income Box Office Players Fees Program Sales Total Income

2018 Productions Expenses Administration Audio Booking Fees Costumes Hair Honorariums Instructor Lighting Makeup Programs Props Publicity Rights Sets Venue Hire Total Expenses Net Income / (Deficit)

10x10 3,524 255 266 4,044

10x10 373 481 43 434 45 72 1,449 2,596

Beauty and The Beast

10,259 123 386 10,767

Beauty and The Beast

12 313 80 231 20 303 165 312 1,436 9,331

Bsharp 676 676

Bsharp 1,288 117 131 2,740 1,774 6,050 (5,374)

Fidler on the Roof

Grease

79,532 1,545 3,327 84,404

18,537 982 1,118 20,637

Fidler on the Roof

Grease

30 11,403 1,433 1,660 201 8,300 3,300 91 1,923 256 6,527 15,280 1,401 24,557 76,362 8,043

28 2,881 2,145 1,211 1,248 1,619 188 1,089 4,610 146 169 15,334 5,303

BENDIGO THEATRE COMPANY 2018 Productions Income Box Office Players Fees Program Sales Total Income Expenses Administration Audio Booking Fees Costumes Hair Honorariums Instructor Lighting Makeup Programs Props Publicity Rights Sets Venue Hire Total Expenses Net Income / (Deficit)

Legally Blonde

Prods. In Prods. In The Mouse Planning Planning trap -

1,776 136 474 2,386 (2,386)

300 300 (300)

2019 $

300 300 (300)

14,509 218 258 14,985

34 25 1,325 28 500 20 544 1,211 568 4,255 10,731

Wicked -

100 100 (100)

Wyrd Sisters

Total

5,422 773 267 6,462

142,718 4,018 6,008 152,744

210 667 44 157 58 722 111 204 119 372 2,663 3,799

1,778 16,412 6,808 3,282 201 8,300 2,740 5,205 149 5,160 615 10,744 22,249 3,631 24,798 112,071 40,673

2018 $

Note 8: Sales Canteen Sales CD & DVD Sales Costumes Hoodies and T-Shirts Postcard Sales Total

1,590 3,580 5,170

3,860 726 336 389 137 5,448

564 564

518 268 786

Note 9: Social Events Annual Launch Cabaret Christmas Concert Total

BENDIGO THEATRE COMPANY 2019 $

2018 $

Note 10: Workshop Income Audition Director Lighting Stage Management Combat Dance Production Management Writers Total

1,017 362 494 1,225 3,098

1,007 1,182 689 520

3,398

Note 11: Administration Bank Fees Booking Fees Fees and Subscriptions Gifts GST Insurance Legal Expenses Liquor Licences Membership Fees Stripe Postage Printing and Stationery Publicity Telephone and Internet Trailer Registration Total

87 242 522 670 4,888 3,367 58 56 9 22 485 2,728 958 55 14,147

144 468 213 3,221 428 120 99 739 6,144 214 59 11,851

640 3,412 4,052

1,727 700 2,427

12,579

2,780 15,359

Note 12: Cost of Items Sold Canteen CD & DVD Purchases Hoodies and T-Shirts Total

Note 13: Grant Expenditure Ryall: - Purchase of Tools Ullumbarra: - Purchase of Tools Total

BENDIGO THEATRE COMPANY 2019 $

2018 $

Note 14: Miscellaneous Expenses Music Guild Victoria Reimbursement of Prior Year Expense Sundry Total

(29) 1,018 989

Note 15: Repairs and Maintenance Photocopier Hot Water System

279 279

465 219 684

Note 16: Shed Wardrobe / Costumes Improvements: - Carpet - Dishwasher - Lighting Box Extension - Miscellaneous - Vent Installation Maintenance Mowing Tip Fees Total

132 5,700 445 3,273 3,138 1,500 6461 530 272 21,451

3,836 160 237 4,233

Note 17: Social Events Expenditure Annual Launch Cabaret Christmas Concert Easter Parade Total

872 93 965

494 563 259 417 1,733

3,793 1,003 4,796

4,638 708 985 6,330

Note 18: Utilities Electricity Rates Water Total

BENDIGO THEATRE COMPANY 2019 $

2018 $

Note 19: Workshop Expenses Audition Director Lighting Stage Management Combat Dance Writers Total

1,019 718 1,325 3,062

1,055 1,560 1,084 530 4,229

124,065 2,990 385 115 127,555

89,567 3,040 111 148 92,867

Note 20: Cash at Bank Operating Account #1 Operating Account #2 Load & Go Account (visa card) Petty Cash Total

Note 21: Non-Current Assets As the financial report has been prepared on a cash basis, expenditure on property, plant and equipment is not capitalised. Therefore, the balance sheet does not include a value for non-current assets. The following is an estimate of the value of non-cash assets ownd by the association: Costumes & Fabric Props Sets Tools and Equipment

41,100 5,312 31,400 47,359 125,171

20,000 6,000 35,000 115,110 176,110

BENDIGO THEATRE COMPANY BENDIGO THEATRE COMPANY ABN: 75 957 966 766

Statement of Receipts and Payments for the financial year ending 31 December 2019

Note

2019 $

2018 $

Income Bank Interest

331

460

Donations & Sponsorships

200

1,272

Fundraising

909

1,091

Grants

14,500

Hire Fees

4,363

2,231

Membership

5,267

4,788

Productions Income

282,247

143,002

Sales

5,170

5,448

Social Events

564

786

Workshop Income

3,098

3,398

302,149

176,977

Total Income Expenses Administration

14,147

11,851

Cost of Items Sold

4,052

2,427

Grants Expenditure

15,359

368

131

Housekeeping Miscellaneous

989

Productions Expenses

224,266

111,164

Repairs and Maintenance

279

684

Shed

21,451

4,233

Social Events

965

1,733

Utilities

4,796

6,330

Workshop Expenses

3,062

4,229

273,386

159,130

28,763

17,847

Total Expenses Net Profit / (Loss)

BENDIGO THEATRE COMPANY

BENDIGO THEATRE COMPANY ABN: 75 957 966 766

Balance Sheet as at 31 December 2019

Note

2019 $

2018 $

ASSETS Current Assets Cash at Bank

Memberships Receivable

127,555 (50)

Total Current Assets

92,867 50

127,505

92,917

127,505

92,917

7,699

1,844

7,699

1,874

7,699

1,874

NET ASSETS

119,806

91,043

MEMBERS' FUNDS

119,806

91,043

Non-Current Assets TOTAL ASSETS

LIABILITIES Current Liabilities GST Payable Unearned Membership Income Total Current Liabilities Non-Current Liabilities TOTAL LIABILITIES

BENDIGO THEATRE COMPANY BENDIGO THEATRE COMPANY ABN: 75 957 966 766

Statement of Changes in Members' Funds for the financial year ending 31 December 2019

Members' Funds $

Retained Earnings at 1 January 2018

73,196

Net Profit / (Loss)

17,847

Balance at 31 December 2018

91,043

Net Profit / (Loss)

28,763

Balance at 31 December 2019

119,806

SUPPORTERS Mister Bobs

Bendigo South East College Start Studio

Kangaroo Flat Enterprises City of Greater Bendigo Ulumbarra Foundation Friendly Savage

Bendigo Creative David Field

In the Vines CreativeRyall Foundation WIN Network

Alek Stokes Photography ISLX

Ryall Foundation J&A Logistics

VENUE PARTNERS Girton Grammar School Crusoe College

BENDIGO THEATRE COMPANY INC. 15-17 Allingham Street Golden Square VIC 3555 ph. 0401 678 102

www www.bendigotheatrecompany.org.au facebook.com/bendigotheatrecompany @bendigotheatrec @bendigotheatrecompany