Annual Report 2011
Productive. AccesSible. Creative. Supportive.
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s t n e t Con
The Blue Room is a trading name of The Performing Arts Centre Society Inc.
ABOVE & Cover: Photo by Jess Ferguson
Overview
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Purpose and Goals
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Chair’s Report
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Executive Director’s Report
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The Blue Room Theatre Seasons
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The Blue Room Theatre Random Acts
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Awards and Recognition
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Services
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Resource
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Goals and Key Performance Indicators
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Finance
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Board
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Staff
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Members
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Support
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // CONTENTS
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m o o R e view u l B The tre Over Thea
The Blue Room Theatre is the trading name of Performing Arts Centre Society (PACS), incorporated in 1989 by a group of WA artists whose aim was to provide greater development opportunities for professional performing arts practitioners by providing workshops, networking opportunities and a venue to showcase their work. The Blue Room Theatre Development Program was established in 1994 providing performance and production opportunities. Artists now apply to have a three week season in the Blue Room Theatre and take home 90% of the box office. These sixteen productions divided between two Seasons each year are our core activity and focus on new work, work that has not been seen in WA or an innovative interpretation of an existing work. In 2009 we also established the Summer Nights season, an eclectic program of performances that run for a few nights each. Shows chosen for Summer Nights can be comedy, storytelling, theatre or spoken word. Originally programmed to open our doors for affordable performance in the summer, this program has grown into a fantastic development opportunity for artists. Many of the shows or short solo performances from Summer Nights have gone on to become full length performances that have toured extensively.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // OVERVIEW
As well as providing performance opportunities, The Blue Room Theatre is committed to the professional development of artists by providing quality workshops. Through our e-news we give upto-date information to artists about jobs and opportunities in the industry and as a resource organisation we provide our members with cheap rehearsal spaces, internet access and many other facilities. Our home is the state government-owned heritage building Arts House, which we share with youth arts advocacy body Propel Youth Arts WA. The Blue Room Theatre facilities include: two intimate black box theatres; two rehearsal rooms; kitchen; main office and box office; bar; and backstage facilities. Recent refurbishments as part of a capital works program implemented by the state government have greatly improved facilities for both artists and audience members. 2011 saw the conclusion of our capital works grant through the Department of Culture and the Arts and further upgrades included curtains for the rehearsal rooms and the construction of a mezzanine storage facility. Outlined in this report are The Blue Room Theatre’s main activities throughout 2011 including The Blue Room Theatre Seasons, Summer Nights, professional development workshops and auspice service. We also facilitated venue hire, provided industry information and acted as an advocate for independent performing artists. The Blue Room Theatre aims to respond to the current needs of artists in WA by being actively engaged in the industry and having a continuous dialogue with artists that guides our planning for the future.
s l a o G & e s o p r Pu
OUR PURPOSE
OUR STRATEGIC GOALS, 2009-2011
To be a leading arts organisation that supports the development of outstanding performing arts practitioners by providing affordable and accessible resources, services and support.
• Contribute to the uniqueness and diversity of Australian theatre by supporting the development of bold, risk-taking, relevant new performance • Provide programs, services, resources and connections that are highly valued by artists • Participate as a leading organisation that is recognised locally, nationally and internationally for our uniqueness, integrity and professionalism • Cultivate whole-of-organisation commitment to operating with the highest standards of integrity and accountability • Sustain excellent financial health
“The Blue Room Theatre is a nurturing environment for established and emerging artists and is instrumental in its role in providing professional development opportunities” Lord Mayor, the Right Hon. Lisa Scaffidi
ABOVE: Photo by Jess Ferguson
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // PURPOSE AND GOALS
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t r o p e R s ’ r i a h C enkins lie J Nata
Once again, the Blue Room Theatre excelled itself in 2011 to present another jam packed year of diverse independent productions including a highly successful and expanded Summer Nights program during Fringe World’s pilot year.
other examples like this, of which we are very proud.
On top of our year-round offering of theatre, we continued to offer auspicing services for independent artists, as well as provide professional development and mentoring opportunities for artists and producers. As a result of this, we have seen some very exciting new initiatives come to fruition.
With Louise’s departure, our then Producer Kerry O’Sullivan stepped into the Acting Executive Director’s position and, during a very busy time, managed this role with aplomb. The Board is very grateful for Kerry for agreeing to take this on and doing a wonderful job of it. During this time, Kerry demonstrated to the Board that she was an ideal candidate to take on the Executive Director’s role permanently and as such, has been offered and accepted the role. We look forward to working with Kerry over the coming years and seeing her realise her potential in this position.
Our stats speak for themselves – in 2011 our total audience was 13,062 people, we presented 330 events and performances and supported 324 artists. To top off all of this activity, The Blue Room Theatre and its artists were nominated in and received a large number of local, national and international awards, including Humphrey Bower nominated for ‘Best Director’ and ‘Best Leading Actor’ for Wish at the Equity Guild Awards and Allan Girod’s When Harry Met Harry winning ‘Patrons’ Pick’ at the Toronto Fringe and ‘Best of the Fest’ at Ottawa Fringe. However, the real story behind these impressive figures and awards is our contribution to the theatre scene in Western Australia and nationally (and even internationally). The Blue Room Theatre is a feeder organisation for many of the main stage theatre companies and festivals both here in Perth and nationally – many artists that perform or work with them have kicked off their career here and a number of shows that were first produced here, go on to have a further life with festivals or theatre companies. A good example of this is The Adventures of Alvin Sputnik, which was first produced at The Blue Room Theatre, and went on to significant national and international touring and then a season at the State Theatre Centre of WA with Perth Theatre Company in 2011. And there are many
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // CHAIR’S REPORT
With such a flurry of activity often comes change and in September, we farewelled our Executive Director Louise Coles, who needed to re-locate back to the UK. While we were saddened to see Louise leave The Blue Room Theatre (and Perth!), we were very fortunate to have a host of exciting new initiatives come to fruition during her two year tenure, and beyond. The Board extends its sincere thanks to Louise for her excellent stewardship from 2009 to 2011.
All of this activity is underpinned by a dedicated staff team, who work tirelessly for the organisation and the artists it supports and on behalf of the Board, I thank each and every one of them – both core and casual staff members, for their work throughout the year. To my fellow board members – thank you also for your commitment and time in 2011 and your contribution towards reaching the organisation’s goals. Special thanks to outgoing board members Chris Isaacs, Caitlin Beresford-Ord and Zoe Pepper. As always, our thanks to all of the artists, members and audiences who make it all worthwhile. Here’s to another successful year!
t r o p e R s ’ r o t c e r i D e v i t u c Exe ullivan O’S y r r e K
From beginning to end 2011 was all about expansion of our programs and providing new and varied opportunities for artists. It was also an integral year of planning and preparation for the next triennial business plan with Louise Coles at the helm as Executive Director until the end of September.
After the Fringe World Summit I was invited to FringeNYC as Australian Coordinator which resulted in a partnership between The Blue Room Theatre and FringeNYC that will see an exchange of work in the coming years. I was also invited to be a judging panellist at Absolut Fringe in Dublin, where I saw some of the finest independent work in Ireland and participated in the Information Toolbox session meeting local artists.
I would like to extend our thanks from The Blue Room Theatre to Louise Coles for her two years of service. I know that she would like to have seen the implementation of her work over the next three years but unfortunately personal reasons called her back to the UK. We wish her all the best in her new position as Chief Executive at the Actors Centre in London. The staff and board of The Blue Room Theatre were incredibly active and involved throughout the year as you can see from the amount of strategic collaborations / dialogues and working parties we attended with other arts organisations – 46 last year as compared to 2010’s 16. As Producer my focus was inextricably linked with the incoming business plan. I spent a lot of time building relationships with strategic arts organisations to benefit The Blue Room Theatre’s artists and potentially help launch them beyond our four walls. The year started strongly with the Fringe World Summit presented by Artrage in association with The Blue Room Theatre. The summit was a four-day intensive on ‘how to Fringe’ with some of the finest national and international minds in Fringe prepping Perth artists for the upcoming Fringe World in 2012. This led to a number of WA artists directly gaining international opportunities in 2011 and beyond.
I travelled nationally to Melbourne, Sydney and Adelaide to talk to like-minded organisations in the small-to-medium sector about the needs of artists in different states and the potential to exchange work. Opening this dialogue is incredibly important to an organisation like The Blue Room Theatre where our focus is to see our artists thrive and move beyond our little corner of the world. The continuing professional development opportunities that were offered to our artists (56 workshops and seven Early Stages developments) are a significant part of building a sustainable future for our artists. We are committed to providing The Blue Room Theatre members and artists with opportunities for development and growth. I have to thank our incredibly hard working and dedicated staff who provide quality support to artists, members and audience alike. Thank you to the board who volunteer their time (and really logged a lot of hours in 2011) and to the members and artists who constantly take over, reinvent and create work in this venue and beyond. I would like to thank our financial supporters Department of Culture and the Arts, Australia Council for the Arts; our civic partner the City of Perth; our corporate partners for 2011, Jane Brook Estate and Swan Breweries; and our design and printing partners Media Panic and Scott Print. Finally I would like to thank all the audience members and volunteers who come and support the shows at The Blue Room Theatre. Without them this would not be possible.
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // EXECUTIVE DIRECTOR’S REPORT
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m o o R e ons u l B The tre Seas Thea Season One UP CLOSE MARCH – JULY APPALLING BEHAVIOUR
WISH
Written and performed by Adelaide-based Stephen House, Appalling Behaviour follows the life of a homeless man on the streets of Paris. This solo performance was written on the streets of Paris, from the banks of the Seine to the tuckedaway all-night sleazy clubs. The already acclaimed poetic solo performance went on from its Blue Room Theatre season to the Melbourne Fringe Festival and The Arts Centre on the Gold Coast.
Wish was adapted from Peter Goldsworthy’s novel and performed by Helpmann and Green Room Award-winning actor/ theatre-maker Humphrey Bower. With dancer-choreographer Danielle Micich and musician-actor Leon Ewing, this new work by Night Train centred around the hearing son of deaf parents, JJ (Bower), and his encounter with the mysterious Eliza (Micich). This performance took the audience on a voyage through language, science, nature, ethics and love. At the WA Dance Awards, Micich won Outstanding Dance Performance for her role in Wish. The show had a 20 minute ‘spotlight session’ as part of the Australian Performing Arts Market and is preparing for a national tour with support from Performing Lines WA.
“I loved the slow reveal of the characters in the story, how the landscape of this corner of Paris comes to life.” Sarah Knight, ABC 720 Perth
“This is a masterful production which speaks loudly of the invisible people who are homeless in our society.” Joanna Gentilli, The West Australian “I can guarantee that you will never have seen a show like this, and you will be truly upset if you miss it.” Theatre Australia
“Wish deserves to be taken seriously because its author, adaptor and performers handle its repugnant subject matter with sensitivity and compassion.” David Zampatti, The West Australian “This profound story is beautifully told, and I encourage everyone to see it. Wish is essential viewing.” Gillian Clarke, ArtsHub 8
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // THE BLUE ROOM THEATRE SEASONS – SEASON ONE
“Artists younger and older (experienced and less experienced) are treated with respect - as though what they do really matters. This is SO important to artists. Thank You.” Hellie Turner, Anytown
A DISAPPEARING ACT
ANYTOWN
LARYNGECTOMY
A Disappearing Act, the latest self-devised Written by experienced playwright Hellie Renegade Productions used The Blue new work from The Duck House, was a Turner, the poignant black comedy Anytown Room Theatre’s studio space to its full violently romantic look at 20th century love brought together a range of popular Perth potential in Laryngectomy. Known for and regret, in which even the most pure acting talent. Exploring delusion, craving, creating unique spaces, the post-dramatic, and perfect love cannot survive. Exploring suppressed desire and addiction, the polemic and poetic Renegades flexed unrealistic expectations and clichés of love, large cast featured Kingsley Judd, Cathy their devised political theatre muscle with this playful tragi-comedy featured Gita Lally, Gaynor O’Hare, Matt Penny, Whitney this searing look at free speech in modern Bezard, Alissa Claessens, Fran Middleton Richards, and Craig Williams. Set in the society. Headed by director/designer Joe and Kathryn Osborne, showcasing their Willises’ “Town of Yawns” Anytown took Lui, this work went on to a successful quirky, surreal and image-based style of a closer look at what can happen when remount at PICA as part of the Summer work. A work-in-progress showing of this secrets are revealed in small town Australia. Nights 2012 program at Fringe World. piece was first seen as a part of the 2010 auspice of the Magdalena Perth Workshop “Writer, Hellie Turner, skillfully explores that “Presented with such skill, ferocity and small town feel - where only locals are courage ... that you had to sit up and Festival. welcome and everyone is related. A stranger take notice.” David Zampatti, The West “The hard-working cast of three give their stands out. It’s exaggerated but it feels very Australian roles commitment and focus.” Robin honest.” Sarah Knight, ABC 720 Perth “This is not ‘preaching to the converted’ or Pascoe, The West Australian “It is unlikely to boost tourism to this an undergraduate attempt to shock, so “The performances, so assured and particular town but it does hold a cracked much as a call to action for our times.” committed, keep the audience engaged” mirror to the human stories behind the Nerida Dickinson, ArtsHub Gillian Clark, ArtsHub endless cups of tea.” Robin Pascoe, The West Australian “Over the past four years this company has come up with some wonderful ideas and scripts, always developed with an abundance of lateral thinking, and then delivered in a special way.” Theatre Australia
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // THE BLUE ROOM THEATRE SEASONS – SEASON ONE
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“A supportive environment to put on our first production where we were able to get support at every stage of the production.” Georgia King, Little y Theatre
A GERM OF AN IDEA
SCENT TALES
DRAG
Coming off a 2010 season at the Sydney Fringe Festival, A Germ Of An Idea: a dirty comedy by Monica Main premiered in WA at The Blue Room Theatre. This non-linear, highly informative and deeply silly performance explored our relationship with germs. From the historical, hysterical, medical and incredible, Monica Main made audiences giggle with her humorous and unique take on the world around us. From the micro to the macro, it used comedy, improvisation, multimedia, man-made fibres, and the odd bit of drag.
Scent Tales was the debut performance from newcomers Little y Theatre Company. Under the experienced direction of Joanne Foley, this work incorporated puppetry and poetry and delighted audiences with the aroma of freshly baked Love Bread. Based on a Nasruddin Hodja story, this delicious play was about sense, scents and cents. Creating a hyper-reality where the playful and surreal stimulated our senses in magical ways, performers Mischa Ipp, Georgia King and Rhoda Lopez dedicated their performance to founding Little y member Alexis Davis.
In the final show of the Up Close season, Drag Queens Are Us brought us the untold story of a drag queen – a world of high emotion, high energy, high hair and hit songs. The production took us into the realm of drag to show the men behind the sequins and fake eyelashes. With a record audience attendance at its initial Blue Room Theatre season, Drag went on to perform another season at the Metcalfe Theatre in 2011, and is preparing for a season in Darwin later this year.
“Drag was perhaps the campest history “Each (character) is over the top in their own lesson I’ve ever had.” Benn Dorrington, Out way, but never outstays their initial welcome, “Scent Tales ... is a little miracle and the best In Perth keeping A Germ of an Idea well-paced and show to emerge from the Perth theatre so “All of the costumes were to die for, these entertaining.” Nerida Dickinson, ArtsHub far this year.” David Zampatti, The West weren’t simply blokes in St Vinnies frocks, Australian “There are so many laughs, that even the and they were top professional performers most neurotic mysophobe will find this “The cast were magnificent, delightful in this genre.” Theatre Australia hilarious.” Theatre Australia and totally engrossing. This feel-good production must be a strong contender for the Blue Room’s most popular show of the year.” Theatre Australia “A total delight, freshly delivered at a pace that never stales, with a side order of baking puns sprinkled liberally throughout” Nerida Dickinson, Artshub
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // THE BLUE ROOM THEATRE SEASONS – SEASON ONE
Season Two PERSONAL AUGUST – NOVEMBER SUD STORIES
THE YELLOW WALLPAPER
In her first Blue Room Theatre appearance, Janette McGinty brought us her wacky work about bathing rituals, Sud Stories. Janette and Nate “Sponge Monster” Doherty performed this work inspired by personal stories, friends’ tales of heartbreak, and the candid confessions of Perth showerers. This laugh-out-loud comedy incorporated elements of storytelling, physical theatre, dance and multimedia imagery, and featured a listening station in the bar where audiences could hear the confessions the piece was based on.
The Yellow Wallpaper was co-presented by Movementworks and Act Belong Commit, received funding from Healthways and supported by Curtin University and Denmark Arts. Under the direction of Teresa Izzard, Silvia Lehmann’s adaptation of Charlotte Perkins Gilman’s gothic tale was a twisted and richly layered production. Devised in collaboration with a cast of Western Australian actors, this adaptation followed the isolated Charlotte, a writer who cannot write, a mother who cannot bear a child and a wife who cannot talk to her husband.
“McGinty totally dominated the room throughout, taking us gladly with her wherever she went.” Nerida Dickinson, ArtsHub “This is a clever show that has a unique madcap presentation, you will be grinning all of the way home.” Theatre Australia
“Characterisation is complete and intimate, and every other dramatic element functions with the perfect synchronisation of a well-oiled machine from start to finish.” Courtney Pascoe, AussieTheatre “The Yellow Wallpaper is a truly stunning production... it holds the audience’s tense attention from start to finish.” Kaitlin Plyley, Theatre People
“The best place I know of to produce my work! Keep it up guys” Humphrey Bower, Wish
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // THE BLUE ROOM THEATRE SEASONS – SEASON TWO
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“It made me happy to perform every night. The Blue Room felt like home and I missed it when it all finished.” Dawn Pascoe, She Dances in the Dark
SHE DANCES IN THE DARK Natural Wings presented She Dances In the Dark – a show for both circus and theatre lovers. Featuring trapeze/aerial artist Dawn Pascoe and accordionist/pianist Nikki Dagostino, this was a story about insecurity that women could relate to and men could laugh with. Large-scale met intimacy and grace met grotesque in a show that explored the many facets of being a woman – love, trust, sex, suspicion, mania and monster. This show had a second season as part of Fringe World 2012. “In the tiny confines of The Blue Room studio, you’re so close to her intense physical effort that you hear every shift of rope and buckle, flex of sinew and exhalation of breath.” David Zampatti, The West Australian
WHEN WE WAKE
FLIRT FICTION
The newly-formed Clap Your Hands Collective, largely consisting of Curtin University graduates, had their first show at the Blue Room Theatre, When We Wake. Exploring the question “how will it end?”, this piece was made up of a series of stories and vignettes written by various members of the ensemble and featured projected animation. Five different private worlds and stories intersected and threaded together in this strangely grand tale.
Fresh from a debut season at the Edinburgh Fringe Festival, Flirt Fiction was the second show developed by Red Rabbit Collective to appear at The Blue Room Theatre. Written and directed by Jessica Craig-Piper, this new play was initially developed and shown over five nights as part of the 2011 Summer Nights Upstairs program. Exploring erotic fiction, Flirt Fiction followed writers Ana (Kathryn Delany) and Henry (Lawrence Ashford) as they compelled each other to examine their own hidden desires.
“I enjoyed the contrast between all the stories – how different each writer’s idea of the end of the world was.” Vanessa Manivannen, Out In Perth “The actors are all very strong, focused and perform well” Theatre Australia
“A stunning display of strength, grace, joy, grotesquerie, physical comedy and breathtaking daring; Pascoe’s amazing physical feats are solid entertainment.” Nerida Dickinson, ArtsHub
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // THE BLUE ROOM THEATRE SEASONS – SEASON TWO
“This production will entertain, educate and leave you thinking. What else could you ask from a production?” Craig Dalglish, Aussie Theatre “Jessica’s writing is not only very sexy but beautifully written.” Theatre Australia “This show is enjoyable and intensely interesting... although not, perhaps, for the faint-hearted.” Kaitlyn Plyley, Theatre People
ADAM AND EVE
SLUT
HEARTWORM
Developed as part of the 2011 Summer Nights Early Stages program, Adam and Eve was presented by The Wet Weather Ensemble. This new work, a highly creative re-imagining of the Genesis story, explored desire, shame, innocence, religion and sex. In a world of dance floors and apple cores, the ensemble (St John Cowcher, Moanna Lutton Alicia Osyka, Ian Sinclair and Moya Thomas) brought us a modern mirror-balled take on the very first hook-up.
Little y Theatre Company followed up on their successful season of Scent Tales with a production of AWGIE Award-winning Patricia Cornelius’s play Slut. Acclaimed director Emily McLean worked with seven young female performers in a piece that explored the darker side of female relationships and burgeoning sexuality. The chorus took turns retelling the shocking story of Lolita, a girl who grew up too fast with tragic results.
Heartworm, presented by Blue Moose, originally appeared at The Blue Room Theatre as a Summer Nights Solo Spot. Writer/performer Shirley Van Sanden developed the show into a fulllength production. This soul-searching, confronting and amusing solo show follows Anne, a veterinary surgeon whose hopes and dreams lie tarnished on the scrap heap of life.
“A modern retelling of The Fall could easily descend into mere undergraduate parody but in the hands of director Moya Thomas and a cracking quartet of young actors, there’s no risk of that happening.” David Zampatti, The West Australian
“There is rage, humour and insight in equal measure.” David Zampatti, The West Australian
“A potentially difficult technical approach to a strongly moving story, this production is emotionally moving, thought provoking “There are too many brilliant moments that and nostalgically entertaining.” Nerida you wish you could see again to remember.” Dickinson, ArtsHub Sarah Motherwell, Theatre People
“The performance was energy-packed as she (Van Sanden) ran around the stage filling the air with her magnetism.” Theatre Australia “Heartworm is a delicious combination of thoughtful scriptwriting and professional, empowering performance, leaving your spirit risen.” Adrienne Gross, Australian Stage
“Adam and Eve is like having an out-ofbody experience in a nightclub.” Benn Dorrington, Out In Perth
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // THE BLUE ROOM THEATRE SEASONS – SEASON TWO
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ts c A m o d n Ra This fluid and flexible programming model provides space and resources for artists to participate in development and performance opportunities outside of The Blue Room Theatre Seasons. Responding to new ideas and initiatives throughout the year, Random Acts allows artists, working across a diverse theatrical landscape, to take risks at the very earliest stage of developing new work.
SUMMER NIGHTS Summer Nights had two distinct programs for artists to engage in; in this 2011 edition of Summer Nights we extended the brief from an eclectic program of nightly entertainment to include a dedicated program of professional development opportunities. We called this the Upstairs Downstairs program where Upstairs you could enjoy performance-ready work and Downstairs the focus was on the professional development of artists and work designed to encourage risk taking, collegiality, critiquing and dialogue. The Upstairs Program Summer Nights Upstairs included evenings dedicated to improvised acts, new theatre works, the spoken word, solo performance and storytelling. In the Main Space we hosted the sell-out Poetry Slam returning for the third year as well as the debut of Barefaced Stories (see Auspice page 18). Solo Spot also returned for its third year and saw 36 artists participate over eight nights with five professional development workshops offered by Jeffrey Jay Fowler. Some solo spots went on to further productions with Shirley Van Sanden’s Heartworm being developed into a full length production as part of the Personal Season; The Good German (Sarah Furtner) continued to 2011’s Adelaide Fringe; and Birth, Death and Somewhere In-between (Kerry Bowden) featured in 2012’s Fringe World Perth. In the Studio Space on Monday nights there was the improvising team Playback Theatre and a different production from Tuesday to Saturday each week. These included Breathe In which was an extended development from 21 Summer Nights in 2010; Flirt Fiction which developed into a full-length production (featured in The Blue Room Theatre’s Personal Season) and was included in the 2011 Edinburgh Fringe; Dragon Punch by John Robertson that continued to the Glasgow, Sydney and Wild West Comedy Festivals; and De Profundis that ventured to the Adelaide Fringe in 2011.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // RANDOM ACTS
The Downstairs program The Early Stages program presented five new works in development including The Forever Youth written and directed by Wade K Savage; Adam & Eve which later developed into a full-length show (Personal Season); and No Worries (Bonnie Davis) which went on to showcase at the Melbourne International Comedy Festival. Metalhead written by Tiffany Barton and directed by James Winter, was developed with the assistance of a closed development session for industry to provide feedback and went on to have a rehearsed reading in December supported by Stages WA Playwrights Consortium. Zoe Cooper received in-kind mentorship and dramaturgy by Hellie Turner for her work Clovelly; she then received JUMP mentorship by Propel Youth Arts WA to further develop Clovelly in 2012.
OTHER WORK DEVELOPED AND/OR PRESENTED THROUGH RANDOM ACTS IN 2011 DIY Showing DIY Disaster Movie returned to The Blue Room Theatre for a oneoff special kids edition in March 2011. Created and performed by Longwood Productions (Damon Lockwood and Sam Longley) with director of photography Aaron McCann, this interactive “cinetheatre” experience asked the audience to make choices and be extras in an improvised disaster movie short, shot and edited during the show, then screened on YouTube.
The Monday Playreadings as part of Summer Nights included Baggage by Milo Bell, Picasso’s Goldfinch by Tom Jeffcote and Choosing Paradise by Vivienne Glance. Picasso’s Goldfinch and Baggage were supported by Stages WA and Picasso’s Goldfinch had a further development and reading later in 2011, also with the support of Stages WA. The Summer Nights program also featured Fringe World Summit, presented by Artrage in association with The Blue Room Theatre. Fringe World Summit was a unique consultation process for Fringe World to decide upon the model for Perth Fringe in 2012 from some of the finest minds in Fringe. Prague, Dublin and New York International Fringe Festivals, Next Wave and Splendid Festival, as well as Melbourne, Adelaide and Sydney Fringe Festival directors visited Perth for inspiration and insight into the world of Fringe. Eleven sessions were open to the Perth arts sector to attend, providing a unique platform for local artists to gain a fast-tracked perspective on work to present in Fringe World Perth 2012 as well as other fringe festivals. There were also one-on-one sessions between Perth theatre practitioners and Fringe directors and a number of artists from Perth then went on to visit and participate in international fringes as a result. The Adventures of Alvin Sputnik: Deep Sea Explorer went to Absolut Fringe Dublin where Tim Watts won Best Male Performer; and Kerry O’Sullivan visited Fringe NYC as Australian Co-ordinator and was a judging panellist at Absolut Fringe Dublin. THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // RANDOM ACTS
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n o i t i n 1 g 1 o 0 c 2 e R s d d r n a a m Aw s d r Awa lue Roo B e h T In 2011, The Blue Room Theatre Awards moved from being part of the Annual General Meeting to being an event in its own right, acknowledging the hard work of all involved and recognising the quality of the shows.
Nominees and Winners: Best Publicity Appalling Behaviour - Professional Collective SA DRAG - Drag Queens Are Us Flirt Fiction - Red Rabbit Collective (WINNER) Best Host Red Rabbit Collective - Flirt Fiction Renegade Productions - Laryngectomy The Wet Weather Ensemble - Adam & Eve (WINNER) Best Production Team Night Train - Wish Renegade Productions - Laryngectomy Natural Wings - She Dances in the Dark (WINNER) Blue Stone (Best Performance) Georgia King - Scent Tales Zoe Cooper - Flirt Fiction Humphrey Bower and Danielle Micich - Wish (WINNER) Members’ Choice Adam and Eve - The Wet Weather Ensemble Slut - Little y Theatre Co. Wish - Night Train (WINNER) Audience Development Little y Theatre Co. - Slut Main Events - A Germ of An Idea: a dirty comedy by Monica Main Drag Queens Are Us - Drag (WINNER) Judges’ Choice Scent Tales - Little y Theatre Co. Adam and Eve - The Wet Weather Ensemble Laryngectomy - Renegade Productions (WINNER) Best Production Wish - Night Train Laryngectomy - Renegade Productions Scent Tales - Little y Theatre Co. (WINNER)
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // AWARDS AND RECOGNITION
THE PERTH THEATRE TRUST EQUITY GUILD AWARDS
Artshub Peoples’ Choice Award
These awards bring together professional performing artists, the state’s major theatre companies including The Blue Room Theatre, the media, government agencies and their representatives and associated industry practitioners and organisations to honour outstanding achievement and excellence by Western Australian professional theatre artists.
The Blue Room Theatre received nominations in three categories for these national awards. Prizes were awarded for both Critics’ Choice and People’s Choice, which were peer-voted online.
Scent Tales and Wish were both recognised by the Equity Guild Awards with nominations in a number of categories. Best Director Humphrey Bower (Wish) Night Train Best Leading Actor Humphrey Bower (Wish) Night Train Best Supporting Actress Rhoda Lopez (Scent Tales) Little y Theatre Co. Georgia King (Scent Tales) Little y Theatre Co. Best Newcomer Georgia King (Scent Tales) Little y Theatre Co.
Those nominated were: For Contribution to the Australian arts scene by an individual, organisation or business: The Blue Room Theatre Seasons Program For Achievement in the arts by an individual or group: Appalling Behaviour (Professional Collective SA) Drag (Drag Queens Are Us) Scent Tales (Little y Theatre Co) For Innovation in the Arts by an Individual or Group: The Last Man To Die Sud Stories (Janette McGinty)
OTHER BLUE ROOM THEATRE SHOWS WINNING AWARDS IN 2011: When Harry Met Harry by flaming locomotive productions (Best of Venue, Hamilton; Patron’s Pick, Toronto Fringe; Best of the Fest, Ottawa Fringe) The Adventures of Alvin Sputnik by Weeping Spoon (Best Theatre, Auckland Fringe; Best Male Performer, Dublin Fringe) Dragon Punch! by John Robertson (Best of the Fest, Wild West Comedy Festival)
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // AWARDS AND RECOGNITION
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es c i v r Se In 2011 we offered auspice, information, advocacy and hire services to 324 artists associated with 47 productions over our Program Seasons, Summer Nights and Auspices. The Blue Room Theatre also offered 56 professional development workshops and forums to interested industry participants. Of the producers surveyed 100% were satisfied with the level of support provided by the organisation. AUSPICE In 2011 PACS continued to offer an auspice service to professional theatre artists who did not have the support of a funded company structure. This service offers producers in receipt of funding quality administrative and financial services as well as access to production and marketing advice. As an incorporated body, PACS ensures all auspice productions maintain public liability insurance, workers’ compensation for all artists involved and complete financial acquittal to the funding body. Producers maintain complete artistic control of the project and are also responsible for marketing and promotion of the production.
PROJECTS AUSPICED BY PACS IN 2011 BAREFACED STORIES Created by Andrea Gibbs and Kerry O’Sullivan, Barefaced Stories saw 38 storytellers mentored by NYC’s Margot Leitman (The Moth podcast and Upright Citizens Brigade) through a series of workshops at The Blue Room Theatre, culminating in four sold out shows during Summer Nights in February 2011. Barefaced Stories went on to become a popular monthly show at the nearby live music venue The Bird, and launched a podcast available through iTunes. FLIRT FICTION Flirt Fiction (Red Rabbit Collective) began with a workshop relating to participants’ responses to erotic literature and culminated in the first staging of the play Flirt Fiction, presented in Summer Nights 2011. Flirt Fiction had its world premiere at the Edinburgh Fringe Festival, and was part of the Personal Season upon their return to Perth. Flirt Fiction was the recipient of a Y Culture Metro Drug Aware grant through Propel Youth Arts WA. COCKATOOS Cockatoos (Happy Dagger Theatre), written by Patrick White and adapted for the stage by Andrew Hale, was developed in October 2011 with a cast including Caitlin Beresford-Ord, Phil Miolin, Kingsley Judd, Anna Brockway, Nicola Bartlett, Nick Candy and Luke Hewitt. This development, supported by the Department of Culture and Arts, also had a reading in April 2011 that was supported through Stages WA Playwrights’ Consortium. GUESS WHO Guess Who (Side Pony Productions) was a Western Australian Theatre Development Initiative (WATDI) grant recipient which explored the notion of the audience as performer. The development employed aural devices, masks and characters inspired by the popular board game Guess Who, and involved 21 artists including Adriane Daff, Zoe Pepper, Nathan Nisbet and Rebecca Baumann.
18
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // SERVICES
“The Blue Room Theatre and their auspice help has made Barefaced Stories possible. Without their help we would never have been able to create such a quality program each year.” Andrea Gibbs, Barefaced producer
THE BEARSKINNER Re-imagined from the Brothers Grimm fairytale by Ian Sinclair and directed by Kathryn Osborne, this co-production by The Duck House and Wet Weather Ensemble originally premiered at The Blue Room Theatre in 2009 and enjoyed a successful four-night return season in March 2011. The Bearskinner was then produced at Theatre Works in Melbourne later that year. THE YELLOW WALLPAPER The Yellow Wallpaper (Movementworks and Act Belong Commit) was a devised collaboration based on Charlotte Perkins Gilman’s gothic tale. The production which premiered in the Personal Season, received funding from Healthway and was supported by Curtin University and Denmark Arts. INFORMATION Throughout 2011 The Blue Room Theatre continued its commitment to providing information based services relating to marketing, business and professional advice to our membership base and additionally informed the members of industry news, offers and opportunities via the BLUE News e-newsletter (approx 420 members). The e-bulletin What’s BLUE was sent to over 4000 subscribers, providing members, stakeholders, patrons and the general public information specific to The Blue Room Theatre program. ADVOCACY The Blue Room Theatre continues to advocate on behalf of our members for increased opportunities to develop and present innovative and timely performance; increased training and creative development opportunities for performing arts practitioners; and the provision of high quality, accessible and affordable resources for artists and audiences. In addition The Blue Room Theatre is committed to supporting independent producers in their endeavours to increase their profile in the local, interstate and international arts communities. This has also meant extending the reach of The Blue Room Theatre and increasing our own visibility beyond Western Australia.
ACTIVITIES SUPPORTED AND PROGRESSED IN 2011 • The conclusion of the administration of the WA Theatre Development Initiative (WATDI) – a development funding program of the Australia Council for the Arts – in partnership with PICA and Artrage and the continued administration of the development of Side Pony Production Guess Who, recipient of WATDI funds; • The development of strategic partnerships including Yirra Yaakin Theatre Company, Pride WA, the City of Perth and workshops supported through PIAF; • The Blue Room Theatre’s membership of and contribution to the Chamber of Arts and Culture WA Inc which is the state’s public sector representative arts body; • Participation, as well as venue and resource support for the 2011 Fringe World Summit produced in association with The Blue Room Theatre; • Venue support for Dynamic Stages - a series of workshops developing new works with Stages WA Playwrights Consortium; • Advocacy for opportunities for Western Australian artists to distribute work beyond The Blue Room Theatre with national and international arts organisations and venues. This included Executive Director Kerry O’Sullivan in her former role as Producer of The Blue Room Theatre conducting the following advocacy roles: • A professional development engagement in Victoria with Theatre Works and The Dog Theatre as well as La Mama; in New South Wales with Carriage Works and Critical Stages, and; in South Australia with The Bakehouse and Holden St Theatre. • A ustralian Coordinator of the New York International Fringe Festival for the five Australian acts. This led to a partnership between Fringe NYC and The Blue Room Theatre pledging to exchange work in the future. • J udging panellist for Absolut Fringe in Dublin and also an international delegate for the ‘Information Toolbox’ session presented by the Irish Theatre Institute which links Irish artists with international producers, organisations and venues.
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // SERVICES
19
e c r u o Res The Blue Room Theatre continued to be an active performing arts resource centre and information network providing members with access to industry news, affordable rehearsal spaces, administration resources and business, marketing and professional advice. Additionally The Blue Room Theatre provides the general public with information about and promotes contemporary performance in Perth.
SUPPORT During 2011 The Blue Room Theatre supported 56 professional development workshops and industry forums including: • Fringe World Summit which saw delegates from Prague Fringe Festival, Absolut Fringe Dublin, the New York International Fringe Festival, Next Wave Festival, Splendid Festival, Melbourne Fringe Festival, Adelaide Fringe Festival and Sydney Fringe Festival engage with 167 Western Australian artists and producers attending eleven sessions held over four days in February 2011. • Eighteen workshops with Margot Leitman (NYC) for Barefaced Stories as part of Summer Nights for 38 storytellers. • Thirty-five artists participated in Solo Spot over eight nights as a culmination of their work conducted over five workshop sessions. • Perth International Arts Festival in association with The Blue Room Theatre held a workshop with Leila Buck, cast member of Aftermath for twelve participants. • One ArtsEdge presentation which provided a networking and information event for teachers, artists and arts organisations. • Twenty-six professional development workshops presented through Little y Theatre Company to professional performers in Perth. These workshops focused on the development of skills and received venue support through The Blue Room Theatre. Workshop facilitators included Emily McLean, Jeffrey Jay Fowler, Renee and Andrew Hale, Mark Storen, Ashley Wain and Kitsiri DeSilva and each weekly session involved on average ten performers. • A Media Entertainment and Arts Alliance Policy forum for industry participants
20
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // RESOURCE
ABOVE: By Matt Cipov
• Conversolutions by Mythophobic was provided with rehearsal space in December 2011 and then went on to have a further development in January 2012. Conversolutions received development funding from DCA in 2011; with the script currently in progress, Mythophobic hopes to present the final work in Melbourne Fringe 2012. • TheMOXYcollective continued to work on developing Virgie, written and performed by Renee Newman-Storen, which was then performed at the New York International Fringe Festival in August 2011 and then during Summer Nights for Fringe World 2012.
HIRE The Blue Room Theatre also facilitated eight venue hires and supported several developments of productions in 2011: • DIY Disaster Movie created and performed by Longwood Productions (Damon Lockwood and Sam Longley) originally developed and produced through Random Acts in 2010 enjoyed a kid friendly, one-off showing which directly led to a season at the 2011 Awesome Festival; • Blood and Charm by JRO Productions went on to the Edinburgh Fringe Festival 2011 and 2012; • Wild West Comedy Festival – Live by James De Leo and Deaf Defying Acts by Brad Hearne; • Western Australian Youth Theatre Company presented Earth directed by Jeffrey Jay Fowler. The youth-devised work included a cast and crew of twelve aged up to 25 years old. • Dotdotdash, a Perth based tri-annual publication of poetry, short fiction and creative non-fiction enjoyed their Christmas party at The Blue Room Theatre Bar.
“The Blue Room Theatre is unique, probably in international and certainly in national terms. It is a vital cauldron where on any time of the day or night young theatre artists may be seen coming and going as they create vital new cutting-edge work.” John Aitken, Playwright, Director of Dynamic Stages
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // RESOURCE
21
y e K d n a s l Goa
s r o t a ic d n I e c n a m r o f r Pe
Measure & Key Performance Indicator
2009
2010 2010 2011 2011
Actual
Target
Actual
Target
Actual
Goal 1: Contribute to the uniqueness and diversity of Australian culture by supporting the development of bold, risk-taking, relevant new theatre
Quantity of work supported: Number of productions supported through Seasons, Random Acts & Auspices 31 21 37 21 47 Total number of performances and events 340 240 339 240 330 Quality & diversity of work supported: Percentage of Seasons supporting cultural diversity 25% 10% 13% 10% 31% Percentage of Seasons new Australian work 81.25% 80% 66% 80% 93.70% Number of works supported that go on to further development or production 4 6 8 6 18 Number of audience attending 11713 9750 9985 10000 13062 Percentage of audience under 35 yrs 52.93 40% 55% 40% 43% Percentage of audience satisfied/extremely satisfied with productions 93.35% 90% 98% 90% 93.88% Goal 2: Provide high quality resources, programs and services that are highly valued by artists
Level of Activity: Number of artists supported through performances 280 200 283 200 324 Number of professional development workshops supported 10 4 42 4 91 Number of e-communication sent to members 30 24 24 24 23 Number of enquiries 5000 5500 5500 6000 6000 Number of days room usage (rehearsal and meeting) 533 600 503 600 619 Value of Activity: Percentage of artists in performance programs identified as young or emerging 75% 60% 61% 60% 50% Percentage of producers satisfied/extremely satisfied with support provided 87.50% 90% 98% 90% 100% Percentage of members satisfied/extremely satisfied with information provided 85% 90% 85% 90% 85% Percentage of members satisfied/extremely satisfied with resource and support 95% 90% 95% 90% 95%
22
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // GOALS AND KEY PERFORMANCE INDICATORS
Measure & Key Performance Indicator
2009
2010 2010 2011 2011
Actual
Target
Actual
Target
Actual
Goal 3: Participate as a leading organisation that is recognised locally and nationally for uniqueness, integrity and professionalism
Active Participation: Number of strategic collaborations/dialogue, work parties and research activities participated by Board/staff: Local 8 10 11 10 27 National 5 4 6 4 10 International 1 1 2 1 8 Level of Recognition: Membership growth per annum 14% 10% 0% 10% 19% Awards and nominations for shows and artists supported 16 20 19 20 34 Number of hits to website/facebook/youtube 73044 70000 101214 75000 101317 Percentage of members satisfied/extremely satisfied with industry presence 80% 90% 85% 90% 85% Goal 4: Cultivate whole of organisation commitment to operating at all levels with the highest standards of integrity and accountability
Operational: No substantative damage to reputation, people or property 100% 100% 100% 100% 100% Board & Staff Development: Board understand value and purpose of organisation 100% 100% 100% 100% 100% Number of Board meetings 10 12 11 12 7 Staff satisfaction level and belief organisation is achieving its purpose 80% 80% 80% 80% 92% Number of training opportunities for Board/staff 16 20 19 20 10 Goal 5: Maintain excellent financial health*
Financial Health: Cash reserves in weeks Reserves ratio Working Capital ratio Financial Growth: Income generated through business activities and fundraising Income generated through box office Annual Expenditure
>15wks >10wks >12.7wks >10 wks >13wks 31% 20% 25% 20% 26% 1.9 2.1 1.5 2.1 1.6 158K 136K 155K 157K 198K 101K 110K 117K 120K 168K 532,379 579,885 587,707
*The figures for 2009 and 2010 in Goal Five have been revised following the 2011 audit. For more information, please contact PACS.
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // GOALS AND KEY PERFORMANCE INDICATORS
23
e c n a Fin AUDITOR’S REPORT TO THE MEMBERS OF PERFORMING ARTS CENTRE SOCIETY INC Report on the Financial Statements
We have audited the financial statements of the Performing Arts Centre Society Inc for the year beginning 1 January 2011 and ending 31 December 2011. Committee of Management’s Responsibility for the Financial Statements
The Committee of Management of the Performing Arts Centre Society Inc are responsible for the preparation and presentation of the financial statements and the information contained therein. This responsibility includes designing, implementing and maintaining internal controls relevant to the preparation and fair presentation of the financial statements, whether due to fraud or error, selecting and applying appropriate accounting policies and making accounting estimates that are reasonable in the circumstances Auditor’s Responsibility
The audit opinion expressed in this report has been formed on the above basis. Independence
In conducting our audit we have complied with independence requirements of Australian professional ethical pronouncements. Qualification
1. A substantial proportion of the Association’s income is cash, derived from operations which cannot be fully controlled prior to entry into the accounting records. Accordingly, it is not practicable for us to determine if all income has been recorded and our verification of the Association’s income has been restricted to the amounts recorded in the accounting records. Qualified Audit Opinion
In our opinion, except for the financial effects, if any, on the financial statements of the matters referred to in the qualification paragraph, the financial statements present fairly the financial position of the Performing Arts Centre Society Inc as at 31 December 2011, and its results for the period then ended in accordance with applicable accounting standards and the accounting policies set out in Note 1.
We have conducted an independent audit of the financial statements in order to express an opinion on them to the members of the Association. Our audit has been conducted in accordance with Australian Auditing Standards to provide reasonable assurance as to whether the financial statements are free of material misstatement. Our procedures included examination, on a test basis, of evidence supporting the amounts and other disclosures in the financial statements, and the evaluation of accounting policies and significant accounting estimates. These procedures have been undertaken to form an opinion as to whether, in all material respects, the financial statements are presented fairly in accordance with applicable accounting standards and the accounting policies adopted by the Society so as to present a view of the Performing Arts Centre Society Inc which is consistent with our understanding of its financial position and the results of its operations.
24
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // FINANCE
Dated this 2nd day of April 2012 in Perth, WA
THE PERFORMING ARTS CENTRE SOCIETY INC STATEMENT BY MANAGEMENT COMMITTEE In the opinion of the management committee of the The Performing Arts Centre Society Inc: 1. (a) The accompanying profit and loss statement of the The Performing Arts Centre Society Inc is drawn up so as to give a true and fair view of the results of the Association for the 12 month period beginning 1 January 2011 and ending 31 December 2011.
(b) The accompanying Balance Sheet of The Performing Arts Centre Society Inc is drawn up so as to give a true and fair view of the state of affairs of the Association as at 31 December 2011.
2. The accompanying accounts have been made out in accordance with applicable Accounting Standards and the accounting policies set out in Note 1. This statement is made out in accordance with a resolution of the Committee and is signed for and on behalf of the Committee by:
____________________ CHAIR
___________________ TREASURER
Dated this 2nd day of April 2012 in Perth, WA
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // FINANCE
25
STATEMENT OF FINANCIAL POSITION 31st December 2011
2011
2010
2010 (restated) 2009
2009 (restated) 2008
$
$
$
$
$
$
Current Assets Cash & Cash Equivalents 361,268 479,716 479,716 362,520 362,520 295,204 Stock On Hand 4,273 3,875 3,875 4,171 4,171 3,947 Prepaid Expenses 1,300 3,632 3,632 1,500 1,500 13,429 Receivables 2,845 73,795 73,795 91,404 91,404 40,567 Total Current Assets 369,686 561,018 561,018 459,595 459,595 353,148 Non Current Assets Property, Plant & Equipment 88,209 54,025 54,025 51,234 51,234 26,155 Total Non Current Assets 88,209 54,025 54,025 51,234 51,234 26,155 Total Assets
457,895
615,043
615,043
510,829
510,829
379,303
Current Liabilities Payables 17,259 4,195 4,195 11,240 11,240 88,937 Taxes Payable 14,732 11,794 11,794 20,530 20,530 16,037 Grants In Advance 113,884 210,512 210,512 186,985 186,985 92,500 Auspice Grants In Advance 43,407 109,282 128,407 19,125 Capital Grants In Advance 81,273 51,393 94,094 68,598 102,138 Donations In Advance 1,374 5,866 5,866 2,724 2,724 1,229 Provisions 35,613 17,856 17,856 5,553 5,553 28,475 Total Current Liabilities 307,542 410,897 472,724 295,630 348,296
227,178
Non Current Liabilities Payables Provisions Total Non Current Liabilities
-
0
0
0
0
0
Total Liabilities
307,542
410,897
472,724
295,630
348,296
227,178
Net Assets
150,352
204,146
142,320
215,199
162,534
152,125
Association Equity Retained Surplus Current Year 8,033 (11,053) (20,214) 63,074 10,409 20,745 Reserves 142,319 215,198 162,533 152,125 152,125 131,380 150,352 204,146 142,319 215,198 162,533 152,125
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // FINANCE
STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31st December 2011
2011
2010
2010 (restated) 2009
2009 (restated) 2008
$
$
$
$
Income Fees & Services Merchandising & Retail Performance Fees Resources Income Sponsorship & Fundraising Other Earned Income Grants Auspice Grants Auspice Income Grants for Capital Subsidies
19,878 26,070 68,659 51,481 23,868 17,060 46,423 35,586 23,258 6,194 16,781 18,751 441,051 413,689 169,084 150,778 42,142 68,559 12,821
Total Revenue
826,259
788,169
$
26,070 44,801 51,481 58,880 17,060 14,239 35,586 22,115 6,194 5,783 18,751 13,003 396,484 412,067 150,778 347,334 68,559 186,536 8,044 779,007
$
44,801 53,893 58,880 68,772 14,239 13,032 22,115 52,023 5,783 11,863 13,003 7,922 377,665 369,084 333,647 59,022 186,536 74,570 862
1,104,758 1,057,531 710,180
Expenses Administration 72,017 70,321 70,321 61,015 61,015 91,606 Bar Expenses 37,541 34,280 34,280 36,563 36,563 37,980 Blue Room Program 71,130 71,787 71,787 43,367 43,367 46,989 Marketing 35,011 23,663 23,663 22,284 22,284 23,196 Program & Production 3,918 8,913 8,913 18,398 23,836 13,745 Client Materials Wages 368,090 370,920 370,920 345,314 345,314 339,328 Auspice Expenses 230,519 219,337 219,337 514,744 514,744 136,592 Employee Entitlements provision 69,730 73,572 31,288 Total Expenses
818,227
799,221
799,221
1,041,685 1,047,123 689,435
Less: Transfer to Unexpired Income
0
0
Operating Surplus 8,033 -11,053 -20,214 63,074 10,409 20,745 Transfer to Reserves Total Surplus & Comprhensive Income 8,033
(11,053)
(20,214)
63,074
10,409
20,745
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // FINANCE
27
NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31st December 2011 Note 1: Summary of Significant Accounting Policies The financial statements cover Performing Arts Centre Society Inc as an individual entity. Performing Arts Centre Society Inc is an association incorporated in Western Australia under the Associations Incorporations Act 1987 and is an Endorsed Deductible Gift Recipient. (a) Purpose This is not a general purpose financial report. It is a special purpose report prepared for the members of the association to enable compliance with the requirements of the providers of grants. The association is of a type identified in the Statement of Accounting Concepts 1 as a non reporting entity. The Statements are not drawn up in accordance with all accounting standards. (b) Accounting Concepts The accounts have been prepared from historical cost records, and the accrual and going concern basis of accounting have been adopted. (c) Revenue Recognition Income is accounted for on an accrual basis and is net of Goods & Services Tax (GST). Memberships are recognised when received. Donations are recognised once they are spent on the purpose identified. Capital Grant Subsidies are recognised as per AASB120 Accounting for Government Grants which has adopted from the year ended 31st December 2011. Adjsutments have been made in relation to previous years for which capital grants have been received. (d) Expense Recognition All Expenditure is accounted for on an accrual basis and is net of Goods & Services Tax (GST). (e) Cash & Cash Equivalents Cash & Equivalents comprises of cash at bank and in hand.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // FINANCE
(f) Property, Plant & Equipment All assets are measured at cost less accumulated depreciation less any impairment. Performing Arts Centre Society Inc does not have a revaluation to fair value policy. Depreciation is provided on the cost of fixed assets over $300 in value. Assets are derecognised on disposal to a third party or when the item is no longer in use. (g) Grants In Advance Performing Arts Centre Society Inc are provided with grants annually to assist with operating costs relating to that period. All funds received prior to the period they are allocated for are in the Current Liabilities section of the balance sheet as Grants In Advance. (h) Auspice Grants In Advance Performing Arts Centre Society Inc are provided with grants to assist members with productions known as Auspicing. Funds relating to this activity are only recognised once they are expended. All unspent funds are in the Current Liabilities section of the balance sheet as Auspice Grants In Advance (i) Capital Grants In Advance Performing Arts Centre Society Inc are provided with grants for specific purposes. These grants are required to be expended on specific items, and are not available to pay operating expenses. The grants received and spent have been recognised as income. Unspent grants are disclosed as grants in advance in the liabilities section of the balance sheet as per AASB120. Where grants relate to the purchase of capital items the grant income is recognised and aligned with the depreciation charge of the asset or the term of the grant agreement. (j)  Employee Entitlements - Annual Leave & Long Service Leave Provision is made in the accounts for the association’s liability for annual and long service leave. Long service leave is payable after seven years service and is provided for employees from this date. (k) Income Tax Performing Arts Centre Society Inc is a charitable institution for the purposes of Australian taxation legislation and is therefore exempt from income tax and has been confirmed by the Australian Taxation Office.
t n e m e g a n a M f o d r a o B
Name Position
Member Status (term end date or resignation date)
Skills/Expertise
Natalie Jenkins Board / Chair Person Secretary until April 08; Chair Industry / Strategic planning from April 08 to present Louanne Munz Board / Deputy Chair
From Nov 09 Business / Sponsorship
Tanya Payne Board Treasurer Treasurer from April 10
Finance / Accounting
David Hall Board Secretary Secretary from March 11 Industry / Marketing / Youth Libby Klysz Board
From April 10 Industry / Artist
Helen Munt Board
From April 10 Industry / Heritage
Chris Isaacs Board
Artistic Sub-Committee for Industry / Youth 10 to present
Zoe Pepper Board
From April 10 to Jan 12 Industry / Artist
Caitlin Beresford-Ord Board
From April 11 to Jan 12 Industry / Artist / MEAA Equity
The Blue Room Theatre extends heartfelt thanks to outgoing Board members Caitlin Beresford-Ord and Zoe Pepper for their generous contributions.
ABOVE: Photo by Stevie Cruz-Martin
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // BOARD OF MANAGEMENT
29
f f a t S e r t ea h T m o o R e u l B The The Blue Room Theatre underwent some significant staff changes in 2011, including the departure of the Executive Director and the appointment of an Acting Executive Director (formerly Producer). The Blue Room Theatre comprises four full-time positions (Executive Director, Venue & Operations Manager, Office & Front of House Manager, Marketing Manager), three part-time positions (one Producer until end of September and then two Associate Producers, Finance Officer), one short term contract (Summer Nights Publicist) and 16 casual Front of House, Bar, Usher and Technical staff.
Executive Director Louise Coles (January – September 2011) Acting Executive Director Kerry O’Sullivan (October – December 2011) Venue & Operations Manager Roger Miller Office & Front of House Manager Sally Martin Marketing Manager Dianah Star Producer Kerry O’Sullivan (January – September 2011) Associate Producers Robyn Fergusson Renee Newman-Storen Finance Officer Karen Connolly Summer Nights Publicist Thom Smyth
30
Casual Staff Jack Baker Milo Bell Jamie Breen Helen Doig Chris Donnelly Holly Garvey Arielle Gray Alice Hatton Sarah Hossen Lisa McCready Kathryn Osborne Alexa Taylor Seasons: Up Close Graphics & Layout by Media Panic Selection Panel: Adriane Daff, Kate Rice, Graeme Watson Personal Graphics & Layout by Media Panic Selection Panel: Michelle McDonald, Kathryn Osborne, Steve Turner A Big Thank You to All Our Volunteers including:
Housekeeping Lynda Butler and Holly Garvey
The Blue Room Theatre 2011 Awards judges James Helm, Sarah Knight and Jenny Vila;
Digital Archive Recording Matt Penny
Our Season ushers; and the Arts Angels, who generously donate their time to collating our hard copy mail-outs.
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // STAFF
ABOVE: The Blue Room Theatre Staff (L-R) Kerry O’Sullivan, Sally Martin, Louise Coles, Di Star, Karen Connolly, Roger Miller
The Blue Room Theatre Members
ASSOCIATE Cherish Armstrong Stefania Basile Fiona Bohan Sandy Boulter Rebecca Bradley Nigel Broadfoot Fran Brown Simon Doyle Bush Raquel Casas Huelin Karen Connolly Peter Conquest Elizabeth Conquest Angela Corbett Paul Desmond Paul Doherty Meta Doherty Sarah Ellis Robyn Fergusson Martine Folkertsma Wendy Froude Maria Garbagnati Nella Glover Paul Goerke James Hargrave Jon ten Have Gordon Honeycombe Jonathan Joyce Francis Kelly Teresa Klimczyk Martin Laing Simon Lawson Clare Lawson Barbara Lockyer Nikki Man Gareth Massy Vahri Mc Kenzie Gibson Nolte Asten Nunn Dean Offenburg Jacinta Oh Dayle Rasmussen Peter Ray Megan Roberts Adam Rouse Eugene Sampson Donna Schulz Jenii Scott William Shields Helen Shurven Jeremy Sinclair Gosia Slawomirski Greg Swensen Sarah Vagliviello Leonie Vianna Janice Walters Linda Watson Julie Watts Eileen Whitehead Charles Wu Mohammad Zanjani
CONCESSION Violette Ayad Jack Baker Lindzay Baldsing Nicola Bartlett Tiffany Barton Anna Bennetts Gita Bezard Andy Blaikie Alexander Brittan Raelene Bruinsma Mar Bucknell Michaela Channing Louise Cocks Michael Collins Paula Coops John Cowdell Emma D’ Orazio Tim Daly Eleanor Davies Jenny Davis Andrew Dawson Sean De Ville Helen Doig Chris Donnelly Michelle Downie Caris Eves Lucy Eyre Cody Fern Tony Flanagan Elizabeth Frodsham Holly Garvey Vivienne Glance William Goddard Craig Griffen Renee Hale Andrew Hale Alice Hatton Laura Heffernan Jessica Hegarty Louise Helfgott James Heneghan Warren Antoine Herbu Christopher Hill David Hough Suzanne Ingelbrecht Teresa Izzard Anne Jeavons Tom Jeffcote Brian Klopper John Henry Lewington Izaak Lim Dean Lovatt Joe Shang Yu Lui Nick Mac Laine Brodie Maguire Bill Mc Cluskey Lisa Mc Cready Jenny Mc Nae David Meadows
Jessica Messenger Edgar Metcalfe Ben Morris Peter Munday Alexandra Nell Sarah Nelson Renee Newman Storen Jordan Nix Quindell Orton Michelle Outram Rita Pasqualini Matt Penny Shane Pike Dean Powell Jessica Rawnsley Natalie Ryan Brand Karen Elizabeth Sekararum Christie Sistrunk Will Slade Bradley Stevens Emily Sky Stokoe Libby Stone Alexa Taylor Andrew Thom Michelle Thompson John Trewin Alexis Vassiley Sophie Wakefield Stephen Warren Mikala Westall Keir Wilkins Jesse Williamson Irma Woods FULL Lois Achimovich Hugo Aguilar lopez Patrick Aguirre Jill Aldrovandi Claudia Alessi Jessica Allen Paola Anselmi Alistair Arkwright Lawrence Ashford Kristy Auld Justin Beal Milo Bell Analisa Bell Narelle Belle Amanda Benn Andrew Bennison Caitlin Beresford - Ord James Berlyn Laura Bernay Ashleigh Berry Lucy Birkinshaw John Bishop Matthew Blampey Ivan Borgnino
Humphrey Bower Garreth Bradshaw Jamie Breen Helen Brett Anna Brockway Sally Bruce Fiona Bruce Sandi Buckley Susy Bungsu Sarah Bunting Lynda Butler Nick Candy Adriano Cappelletta Alissa Claessens Susie Conte Karen Cook Elliott Cook Zoe Cooper St John Cowcher Andrew Cox Jessica Craig- Piper Levanah Croon Lawrie Cullen- Tait Benj D’ Addario Nikki Dagostino Martin Danger Corinne Davies Cameron Davis Ashley de Prazer Kathryn Delaney Harry Deluxe Nigel Dickinson Nate Doherty Brenda Downing Jess Dowson Leighanne Doyle Kalika Duck Cathryn Durack Geoffrey Edwards Sarah- Jane Erickson Mark Evans Roger Evans Leon Ewing Brendan Ewing David Ferrier Brian Finkelstein Chloe Flockart Joanne Foley Jeffrey Jay Fowler Jennifer Friend Sarah Furtner George Gayler Cliff Gillam Allan Girod Patrick Glynn Meredith Godley Tim Goodacre Stacy Gougoulis David Graves Arielle Gray Kate Hall
Rod Hall David Hall Brendan Hanson Braydon Harriss Doug Haughey Brad Hearne James Helm Robert Hensley Jeff Hewitt Jarrett John Hope Laura Hopwood Stephen House Talei Howell Price Isabel InksterHughes Sandra Innis Mischa Ipp Dale Irving Chris Isaacs Irene Jarzabek Natalie Jenkins Gordon Johnston Katrina Johnston Zalia Joi Nancy Jones Phil Jeng Kane Christopher Kenworthy Andy King Chloe King Georgia King Libby Klysz Sarah Knight Heemi Kutia Andrew Lake Cathryn Lally Stephen Lee Russell Leonard Pippa Lester Claire Litton Damon Lockwood Sam Longley Matt Longman Rhoda Lopez Moana Lutton Naomi Lynch Connor Madden Josh Magee Trushna Mahisuri Angelique Malcolm Gayle Malloy Niamh Malone Alex Manfrin Matthew Marino Jo Marsh Sally Martin Pilar Mata Dupont Philippa Maughan Steve Mc Call Michael Mc Call Janette Mc Ginty Sarah Mc Kellar
Rosemary Mc Kenna Janelle Mc Kenzie Emily Mc Lean Bernard Mearns Dr Leah Mercer Gabrielle Metcalf Danielle Micich Fran Middleton Roger Miller Megan Moir Jo Morris Daniel Morrison Laura Motherway Helen Munt Louanne Munz Hilaire Natt Alice Newport Holden Corinne Newport Holden Steven Nicholas Guido Nigro Gaynor O’ Hare John O’ Neill Jane O’ Sullivan Kerry O’ Sullivan Daniel Oliver Kathryn Osborne Alicia Osyka Nick Pages-Oliver Elyane Palmer Daniel Parry Dawn Pascoe Brett Pascoe Tanya Payne Zoe Pepper Janet Pettigrew Mario Piccoli Kaitlyn Plyley Fairlea Polmear Brooklee Puls Fiona Reid Sarah Reuben Whitney Richards Sally Richardson Rachel Riggs Sarah Rowbottam Jeremy Saunders Wade K. Savage Ryan Schulz Megan Scott Rupert Sewell Duncan Sharp David Simmons Ian Sinclair Norma Sinclair Don Smith Thom Smyth Dianah Star Ron Steele Stephen Stone Greg Street
Heather Taylor Paul Teraci Julie Teraci Moya Thomas Debbie Thoy Cyril Toman Robert Townsend Michelle Trainer Bret Treasure Lynsey Trench Hellie Turner Steve Turner Alison Van Reeken Shirley Van Sanden Marcela Villaseca Thomas Vowles Monique Wajon Jonathan Walker Yvette Wall Sean Walsh Nicole Warren Tim Watts Anthony Watts Rachael West Krysia Wiechecki Craig Williams Summer Williams Lauren Lloyd Williams Alison Wright Ben Yeates HONORARY Tony Bonney Elwyn Edwards Glen Hayden Jill Johnston Geoff Kelso Jude Leon Ian Lilburne Monica Main Helen Mc Donald Julia Moody Mark Newman Mick O’ Connor Jansis O’ Hanlon Alix Rhodes Jacquie Stepanoff Jay Walsh RECIPROCAL Michael Mc Call Agnes Michelet
THE BLUE ROOM THEATRE ANNUAL REPORT 2011 // MEMBERS
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The Blue Room Theatre acknowledges and thanks the following bodies and organisations that supported our work in 2011:
The State Government of Western Australia through: The Department of Culture and the Arts and LotteryWest
The Australian Government through: Australia Council for the Arts
Our Civic Partner: City of Perth, Cultural Sponsors of The Blue Room Theatre Seasons and Summer Nights
The Blue Room Theatre 53 James Street Northbridge WA 6003 PO Box 8369 PBC WA 6849 T: +61 8 9227 7005 F: +61 8 9227 1835 E: info@blueroom.org.au W: www.blueroom.org.au The Blue Room is the trading name of the Performing Arts Centre Society ABN 26 252 073 745
Business Partners: Swan Breweries, Jane Brook Estate Wines, Luna Palace Cinemas, RTRFM, Scott Print and The Big Picture Factory Design by Non-Drowsy Design. Printed by Scott Printing