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OUR MISSION The Blue Room Theatre provides facilities, support and resources for performing artists to collaborate, exchange ideas, take risks and produce new work.
OUR VISION To be recognised as a unique resource fostering the continual professional development of performing artists and their work locally, nationally and internationally.
s t n e Cont
The Blue Room Theatre is a trading name of The Performing Arts Centre Society Inc.
ABOVE & Cover: Photo by Laura Mangen
Overview
2
Purpose and Goals
3
Chair’s Report
4
Executive Director’s Report
5
Summer Nights 2012
6
The Blue Room Theatre Seasons
10
Awards and Recognition
16
Services
18
Resource
20
Goals and Key Performance Indicators
22
Finance
24
Board
29
Staff
30
Members
31
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // CONTENTS
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m o o R e rview u l B The tre Ove Thea
The Blue Room Theatre is the home of independent new theatre in WA. 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 apply to a peer assessment panel for the opportunity of a three week season with all venue and rehearsal hire, lights and sound equipment subsidised and take home 90% of the box office. These 18 productions divided between two Seasons each year are our core activity. The selection criteria for a development season are as follows: it must be a new work; a work that has not been produced 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 have shorter runs and are an affordable performance option for audiences. Shows curated for Summer Nights can be of any performance genre and can include remounts or extant texts. This program has grown into a fantastic development opportunity for artists with many of the shows, Solo Spots and New Two works going on to become full length performances and shows that tour extensively. In 2012 The Blue Room Theatre expanded the Summer Nights performance program to the Perth Institute of Contemporary Art’s Performance Space in association with PICA and for the first time was a key part of Artrage’s Fringe World.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // 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. Outlined in this report are The Blue Room Theatre’s main activities throughout 2012 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 & s e u l a V
OUR VALUES
OUR STRATEGIC GOALS, 2012-2014
Productive
• Extend our reach on a local, regional, national and international level
We are committed to the effective use of resources that maximise our capacity to provide high quality service, programs and opportunities for theatre artists. Accessible
We are welcoming and open to a broad and diverse range of artists and audience.
• Continue to support work that is pushing the creative boundaries of Australian independent theatre practice • Increase existing opportunities for artists and develop new opportunities • Increase and/or diversify funding and financial resources
Creative
We embrace the new and thrive on dynamic, productive exchange between the Board, programming panels, staff, artists, industry peers and the wider community. Supportive
We value artists as creators and producers of their own work, we listen and respond to their needs and interests and support them in reaching their creative aspirations.
“None of this would have happened without The Blue Room Theatre’s bold endorsement, and their rare-as-hens’-teeth risk-taking vision.” James Berlyn, Proximity Festival
ABOVE: Photo by F#N Creative
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // PURPOSE AND GOALS
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t r o p e R s ’ r i a h C ie Jenkins l Nata
There is much to be excited about from the last 12 months at The Blue Room Theatre. In line with our strategic goals for 2012 – 2014, we have been growing our profile and reach nationally and internationally through our partnerships with international Fringe Festivals in New York and Dublin and our highly successful Summer Nights program, which continues to attract high quality and diverse work from WA, national and international artists. We have developed new partnerships with local organisations, such as Yirra Yaakin Theatre Company and the WA Deaf Society in an effort to diversify and attract new audiences, and our Blue Room Season continues to provide new opportunities for local artists and work that is pushing the creative boundaries of Australian independent theatre practice. And of course, our seasons provide a diverse and exciting array of new work for the enjoyment of our audiences. Through Summer Nights in particular, the organisation has significantly increased production opportunities for local independent artists, not just in number but also in the new and different types of opportunities available to participating artists during this intensive program, which takes place during Fringe World. In doing all of this, the organisation has remained very healthy financially, producing an operating surplus for the year and importantly, contributing to our reserves. Another of our strategic goals is to increase and diversify our financial resources. In 2012, we embarked upon a strategy to increase our private support from individual donors, philanthropic foundations and sponsors, in order to increase our resources and grow our organisation. 2012 was the beginning of that strategy and produced some wonderful results. We hope that many new donors, philanthropists and businesses will hop on board and come on the journey with us in 2013 and beyond. At this AGM, after six years on the Board and five of them as Chair, I will be stepping down from my position on the Board. Constitutionally, our organisation allows for a Chair to preside for five years in total and, as a firm believer in the benefits of new blood, I feel it is the right time for me to hand over the reins. As this time draws near, it has prompted me to reflect on the achievements and growth of the organisation over the past six years and marvel at just how much this much-loved organisation does.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // CHAIR’S REPORT
The Blue Room Theatre is an organisation that consistently punches above its weight. What we achieve with such a small amount of resources is quite remarkable and our achievements and activity levels each year never fail to impress me. We are a vital part of the Perth performing arts scene – a feeder of artists and work to the bigger companies and festivals and our ‘alumni’ can be seen on stages around the country and even internationally. Since its very early days, The Blue Room Theatre has always held a special place in the hearts and minds of WA performing artists and audiences. It has been an incubator of talent, a place where artists have been encouraged, supported and nurtured to present new work and take risks – to try new things in front of audiences who understand what the organisation is about and will come back time and time again. It’s a place where artists can meet, collaborate, mentor and support one another and a space that is quintessentially ‘theirs’. None of that has changed – our core values hold true and yet, The Blue Room Theatre has seen enormous growth and change over the last few years. Under the outstanding stewardship of our Executive Director Kerry O’Sullivan and aided by an enormously talented and dedicated staff team, The Blue Room Theatre continues to grow and thrive in an increasingly turbulent operating environment, where sadly, we have seen some casualties along the way both here in WA and nationally. I believe this is due to the uniqueness and strength of the organisation and the passion of its board, staff, members, artists and audiences. To all of those people, I say thank you for your support over the past 12 months and continued support in the future. My particular thanks to our Deputy Chair Louanne Munz, who after three and a half years on the Board, is also stepping down at our AGM. To our funding partners: The State Government through the WA Department of Culture and the Arts and Lotterywest; the Australian Government through the Australia Council for the Arts; our civic partner, the City of Perth; our business partners, Jane Brook Estate Wines, Coopers Brewery, Non-Drowsy and Scott Print; and to our many individual donors, we thank you for giving your much needed financial support to The Blue Room Theatre. I am very much looking forward to seeing what 2013 brings and to helping celebrate our 25th anniversary in 2014. I hope to see you in the audience!
t r o p e R s ’ r o t c e r i D e v i t u c e x E O’Sullivan Kerry
2012 was the start of our new triennial business plan with a determined focus throughout the organisation to continue to provide the support, facilities and resources to independent WA artists whilst expanding opportunities for those artists to move beyond The Blue Room Theatre. There were a number of ‘firsts’ for us as the year kicked off with our Summer Nights program being included in the first full-length Fringe World Festival and expanding our program in association with PICA to provide the premium Fringe experience in their performance space. The City of Perth extended our Civic Partnership and increased its Cultural Sponsorship capacity to include Summer Nights which saw 242% growth in audience from 2011. Summer Nights was highly successful with 75% capacity throughout the season and swept the Fringe World awards with 14 nominations, winning Best Theatre (Hope is the saddest), Best Dance (Tilted Fawn), Spirit of the Fringe (Proximity) and Best Independent Venue/Program. The exponential growth of the Summer Nights program was not something that we had predicted as Fringe World was in its very early pilot stages when our business planning was facilitated. It has been a huge success and largely contributes to the higher than anticipated outcomes on a number of key performance indicators.
We continued to develop significant partnerships with strategic organisations that offered wonderful professional development opportunities for artists including a partnership with Perth International Arts Festival delivering international workshops from Frantic Assembly and Gob Squad and a partnership with Fringe NYC that saw Hope is the saddest programmed in New York. Additionally, Yirra Yaakin Theatre Company produced Black as Michael Jackson and Yirra Yarns within our season to encourage indigenous independent producers to access some of The Blue Room Theatre’s opportunities. This was a huge success and led to the first two independent indigenous performances being programmed as part of Summer Nights in Fringe World 2013. We partnered with the WA Deaf Society to provide Auslaninterpreted performances throughout the year, bringing greater access for deaf and hard-of-hearing audiences, as well as raising awareness and inclusion for artists and audience alike. We also successfully applied to the City of Perth Environment Grants and Sponsorship Program to employ Simply Carbon to analyse all of our data from 2012 and use it to provide us with a carbon audit report and staff workshops to reduce our carbon footprint in 2013 and beyond. 2012 was an incredibly busy year and I want to take this opportunity to thank all of the staff for working tirelessly, the Board for volunteering their time and the members for supporting us. Last but not least I would like to thank all of the artists of 2012 for sharing their work with us.
2012 continued to develop from strength to strength as our core development seasons kicked off in March and continued through to December sustaining an impressive 75% capacity. We greatly exceeded our target of income generated through box office by a margin of over a hundred thousand dollars and smashed the predicted 10,000 audience when we welcomed over 14,000 ticket purchasers throughout the year.
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // EXECUTIVE DIRECTOR’S REPORT
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2 1 0 2 s t h g i N r e m m Su In its fourth year and officially part of the first full-length Fringe World festival, the Summer Nights program was dramatically expanded to host 18 productions across a range of live performance genres including theatre, performance, dance and storytelling.
Barefaced Stories
Including international and interstate productions as well as premieres and remounts from local producers, the festival was a massive success, welcoming over 5000 people through the doors and garnering four Fringe World Awards: Best Theatre, Best Dance, the Spirit of the Fringe and Best Independent Venue/ Program.
The next incarnation of our highly successful Solo Spot series, New Two gave playwrights, theatre-makers and performers the opportunity to try out new duo works. Each group chosen worked with Jeffrey Jay Fowler to hone their spot.
More than a performance series, Summer Nights also offered professional development workshops with acclaimed Perth International Arts Festival artists Frantic Assembly and Gob Squad as well as Upright Citizens Brigade (NYC, LA) and Moth host Brian Finkelstein, presented in association with Barefaced. Participants of New Two were also mentored by local theatre director Jeffrey Jay Fowler. Summer Nights was also proudly supported by the City of Perth for the first time, expanding their civic partnership with The Blue Room Theatre to include support for our entire annual program of performance.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SUMMER NIGHTS
Perth’s premier storytelling night returned to Summer Nights in 2012 following workshops with the Upright Citizens Brigade’s Brian Finkelstein. Past favourites and fresh faces lined up to tell their true tales. Nominated Best Independent Program 2012 Fringe World Awards
New Two
Proximity Australia’s first micro-festival of one-on-one art, Proximity transformed 12 spaces around our building with 12 world premiere performances tailor-made for just one audience member. Winner Spirit of the Fringe 2012 Fringe World Awards Nominated Best Independent Program 2012 Fringe World Awards Nominated Martin Sims Award 2012 Fringe World Awards
ABOVE: Photo by Tim Goodacre
Missing
Sleepyhead
Emerging Irish playwright Sandi Buckley brought this gritty tale of Jack, a young man living rough on the streets of London, based on a true story.
Award-winning writer Nathaniel Moncrieff brought this creepy rural thriller from a season at Melbourne’s MKA. Two sisters live on an isolated property with a tragic past, where strange phone calls, murdered farm animals and unexpected visitors haunt their lives.
Nominated Michael McCall - Best Director 2012 Equity Guild Awards
Occupied This no-holds-barred dance performance threw open the bathroom door to show what goes on in the ladies’ room at nightclubs. The work looked at just how harmless a night out really is, and featured live accompaniment from Perth DJ Travis Collins.
Virgie Renee Newman-Storen’s work, which reimagined the life of little known theatrical trailblazer Virgie Vivienne, who travelled far and wide performing in the harsh Australian Outback, had its Australian premiere at Summer Nights following its debut at the New York International Fringe Festival.
All’s Well That Ends Well This devised work drawn from The Bard’s classic featured animation, puppetry and verse to tell the love story of a spoilt brat and a hopeless romantic.
The Same Paige / Janey Does Stand-up – a double bill Award-winning Perth writer Anna Bennetts created this sellout comedy double. Paige joins a female writers group with a few particularly colourful members, while Janey, a posh but unemployed actress, turns to stand-up comedy to survive the GFC in London.
Nominated Martin Sims Award 2012 Fringe World Awards
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SUMMER NIGHTS
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For the first time in 2012, The Blue Room Theatre Summer Nights dramatically expanded, programming the PICA Performance Space for the duration of Fringe World.
The Day the Sky Turned Black This multi award-winning production by Sydney-based writerperformer Ali Kennedy-Scott was inspired by true survivor accounts from Victoria’s devastating Black Saturday bushfires. The show won awards in the New York and Sydney Fringe festivals before heading to Perth for its WA premiere at Summer Nights. Nominated Best Theatre 2012 Fringe World Awards
Three Strikes Emmy-nominated writer and New York native Brian Finkelstein (currently of LA) brought this storytelling show about his time on the Writers’ Guild strike that effectively shut down the US television industry.
Laryngectomy: Homilies and Parables on the Freedom of Speech Remounted and reworked after its award-winning 2011 run, this scathing attack on those wanting to limit free speech introduced Renegade Productions to a new Fringe audience. Nominated Best Performance 2012 Fringe World Awards
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SUMMER NIGHTS
ABOVE: Photo by Michael Corridore
Hope is the saddest
Persians
Four years after its award-winning debut, Jeffrey Jay Fowler remounted this bright black comedy about life, death and Dolly Parton classics. It went on to runs at the National Arts Festival in Grahamstown, South Africa, and the New York International Fringe Festival.
This new interpretation of the oldest play in recorded history was created through a collaboration between Happy Dagger Theatre and Little y Theatre Company. Presenting this classic Greek tragedy for a modern audience, over 4000 toy soldiers were painstakingly arranged on stage before each performance.
Winner Best Theatre 2012 Fringe World Awards Nominated Martin Sims Award 2012 Fringe World Awards
Tilted Fawn Berlin-based WA contemporary dancer Melanie Lane collaborated with Warp Record’s CLARK on this solo exploration of sound and movement. Winner Best Dance 2012 Fringe World Awards
Standing Bird Sally Richardson premiered this new dance/theatre/film work exploring a shipwrecked European woman’s encounter with the harsh Australian landscape, featuring contemporary dancer Jacqui Claus. Nominated Best Dance 2012 Fringe World Awards
…miskien Hailing from South Africa, this emotionally-charged portrayal of two mates, stuck in dead-end jobs and loveless relationships, received rave reviews and was a highlight of the Fringe World Festival. Nominated Best Theatre 2012 Fringe World Awards
Walk In Dirt A performance poem about the seedy underbelly of inner city life, Melbourne-based Stephen House shifted from character to character in this one-man show looking at what really goes on after dark.
Summer Nights was assisted by the support of our presentation partner, the Perth Institute of Contemporary Arts.
Nominated Jacqui Claus –WA Emerging Artist 2012 Fringe World Awards
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SUMMER NIGHTS
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Season one March-July
m 012 o o R e sons 2 u l B The tre Sea Thea
Luminaire
Red Silk
John Gavin
Luminaire marked Chris Donnelly’s return to Perth theatre after touring nationally and internationally as a lighting designer. His first piece as a writer and director after rejoining Renegade Productions, and featuring innovative lighting techniques and effects including chemiluminescence, Luminaire followed the conversation of two nameless characters (Alexa Taylor and Jeremy Mitchell) as they reflected on philosophy, love, war, ambition, and the history of the world from the Big Bang through to nuclear apocalypse.
Based on the life of Pulitzer Prize winning poet Anne Sexton, Red Silk was a new work written by Lois Achimovich and directed by Aarne Neeme. The play focused on the ethics of psychiatry, fusing fact and supposition in an exploration of what goes on behind closed doors. The production also brought Perth-born stage and screen actor Roz Hammond back to The Blue Room Theatre after twenty years away, and garnered two Equity Award nominations.
Perth actor Nick Candy collaborated with aerialists Dawn Pascoe (She Dances in the Dark, The Blue Room Theatre, 2011) and Steven Finnegan to create and present this world premiere. John Gavin was the story of the first European settler to be hanged in Western Australia, a fifteen -year-old boy now buried in the hills behind Fremantle. Blurring the line between theatre and circus, the show went on to a further season at the Fremantle Heritage Festival in 2012.
“remarkably achieved effects with fibre optics, fluorescent paints, smoke and lights – it was quite magical” – The West Australian “The cast were wonderful, delivering this dazzling text to perfection.” – Theatre Australia
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“an intense, fascinating exploration of selfidentity, betrayal, love, lies and sensuality, delivered in spellbinding manner” - ArtsHub “Roz Hammond plays her large: flirtatious, magnetic and lugubrious. Luke Hewitt and Dan Luxton, as the conflicted psychiatrists who treat and exploit her, give strong supporting performances.” –The West Australian
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // THE BLUE ROOM THEATRE SEASONS – SEASON ONE
“Whether it’s the throat-in-the-mouth stunts, the frequent role changes or the historical comment, the play intrigues, astounds and leaves you dizzy” – Aussie Theatre.com.au “this clever and sometimes exhilarating telling is well worth your attention” – The West Australian
TOP: Photo by Ashley de Prazer
Skin
I (Honestly) Love You
Les Affreux
Originally performed at La Mama in Melbourne and re-developed for its Perth season, Skin brought multi-award-winning actor, writer and director Humphrey Bower back to The Blue Room Theatre following the success of Wish. This new work was an exploration of identity and difference, following two tales of transformation; an actor in search of inspiration at a remote salt-lake in Western Australia, and a hairdresser on holiday in Vietnam. It went on to win the WA Equity Guild Award for Best New Play and The Blue Room Theatre Best Production award.
Featuring an all-star cast including comedy circuit favourite Jimmy James Eaton, I (Honestly) Love You was a comedic examination of the foibles of dating from writer/director/performer Damon Lockwood. Following a couple who both have a genetic condition where they cannot ever lie, the play was picked up by the City of Stirling to launch the new Churchlands auditorium to the community in late 2012.
Writer/director Wade K. Savage made the move from film to theatre with The Spectre Theatre Company’s Les Affreux, a dark tale of subterfuge and revenge. Returning from covering the Arab Spring, journalist Alex (Ethan Tomas) becomes the target of a shadowy organisation that will stop at nothing to destroy him.
“the two beautifully told tales were filled with excitement, laughs, sadness and suspense, being delivered with outstanding skill.” – Theatre Australia “There are more shocking, or more deliberately grandiose shows than Skin, but few of these will engage and connect with an audience more. Skin is storytelling at its best.” – Cool Perth Nights
“I (Honestly) Love You is a delight to watch; chock-full of dark comedy, exceptional performances, and just enough modern commentary to make you think.” – ArtsHub “The four actors in the show Jimmy James Eaton, George Gayler, Talei HowellPrice and Lockwood work seamlessly together in comedic harmony.” – Australian Stage
“The cast totally captured the depth of the creepy, frightening situation and the delivery was menacing and eerie.” – Theatre Australia “I think Ethan was fantastic and would definitely be back to watch him. Excellent.” – Audience Member
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // THE BLUE ROOM THEATRE SEASONS – SEASON ONE
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Hello my name is Melbourne-based performance artist and theatre-maker Nicola Gunn brought this highly-original production for a development season before a run at Theatre Works later in 2012. Transforming the Kaos Room into a ‘community centre’, Gunn invited the audience to get to know one another in this immersive production. The show won a Blue Room Theatre Judges’ Award for Most Original Theatrical Experience, and went on to win a Melbourne Fringe Award for Best Experimental Performance. “When you wake up in the morning singing the first tune from the performance you saw the night before, you know it was a memorable experience. To say the least, this is exactly the impression Nicola Gunn’s shockingly unique and bravely quirky Hello my name is leaves on its audience.” – AussieTheatre.com.au “Gunn’s one-woman performance is bold, powerful and often hilarious …The skill she shows in adapting to her audience, while still maintaining control over the workshop is astounding.” – ArtsHub
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Black as Michael Jackson… And Other Identity Monologues Yirra Yaakin Theatre Company presented an episodic comedy-drama looking at language, culture, and identity in this irreverent production. Drawing on the experiences of writer Michelle White and performer Karla Hart, the show, also featuring performer Della Rae Morrison, found the humour in what it means to identify as Aboriginal in modern Australia. Black as… was the pilot production of a partnership between The Blue Room Theatre and Yirra Yaakin Theatre Company to professionally develop independent indigenous theatre-makers and its final week coincided with NAIDOC week. “Karla Hart has a natural comic talent, and a strong physical presence that she uses well.” – ABC 720 Perth “The focus on the essential humanity linking all Australians was the strength of this performance, achieving more through humour and recognition of overlap between cultures than seems possible with high flown rhetoric and policy documents.” – ArtsHub
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // THE BLUE ROOM THEATRE SEASONS – SEASON ONE
Yirra Yarns Celebrating NAIDOC Week, Yirra Yaakin Theatre Company also premiered this variety production of comedy, storytelling, improvisation and poetry. Featuring a changing line-up each night, the production was a chance for performers to try out new work and new ideas in The Blue Room Studio space.
Season TWO July – December
The Cat in the Box The first show of Season Two saw four characters trapped in a locked room, not knowing how they got there or how to get out. Taking aim at the power structures in society, writer Vivienne Glance questioned reality, big business and quantum mechanics in an absurdist comedy directed by Mark Barford and featuring James Helm, Summer Williams, Kingsley Judd and Anna Brockway. “Glance knows how to mine humour from the mechanics of power and bureaucracy” – The West Australian “Vivienne has succinctly encapsulated some provocative and clever ideas into the sharply witty and intelligent play.” – The Post
The Book of Death (A Story of Life) Directed, written, and with sound and lighting design by Joe Lui, The Book of Death (A Story of Life) used the tale of a couple who had lost their spark to look at modern life and our fear of mortality. Featuring Ella Hetherington and Paul Grabovac, this performative song cycle included live music from singer Moana Lutton. “There’s little pleasure to be had in The Book of Death but, like Joe Lui himself, there’s much to admire and respect.” – The West Australian “Moving away from Renegade’s more didactic leanings, Lui has invested in the emotional stakes of the characters, providing a more balanced and multifaceted drama than some of the company’s previous productions.” – ArtsHub
Home Debut company The Broken Image Ensemble drew on Maurice Maeterlinck’s one-act play Intérieur as inspiration for this devised work about a family dealing with the tragic and unexplained loss of a sibling. Set in a rural fruit growing community, this piece was devised by Caris Eves, Holly Garvey and Josh Magee, and directed by Sarah McKellar, with text by Michael Collins. “The relationship between the girls, Beth (Caris Eves), Ellen (Holly Garvey) and their missing sister Sally is punctiliously drawn, and both actors give accurate and touching performances.” – The West Australian “An hour of beautifully observed family life, sibling ties and emotions. A quality piece of theatre.” – Theatre Australia
“undeniably thought provoking and fulfills the Renegades’ aim of turning theatre into a catalyst for wider discussion.” – TheatrePeople.com.au
TOP: Photo by Sophia Muoio
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // THE BLUE ROOM THEATRE SEASONS – SEASON TWO
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The Polite Gentleman
Tinkertown
The Warrior and the Princess
theMOXYcollective brought their second work to The Blue Room Theatre for 2012 with The Polite Gentleman, a deep-Southern fable about a man at the crossroads. This one-man show, written and performed by Mark Storen and directed by Adam Mitchell, featured the Devil in a most unusual guise, and went on to five Blue Room Theatre Award nominations, winning Best Production Team.
Tinkertown, written by Nathaniel Moncrieff was originally produced in Melbourne at MKA under the direction of Tobias Manderson-Galvin. Keen to bring his own voice to the piece, Moncrieff teamed up with long-term film collaborator Sam Farringdon to co-direct the debut production of The Comedians. With a live music score from talented local songstress Felicity Groom, this rural thriller featured Philip Miolin as the murderous Chester and newcomer Tessa Carmody as his kidnapped daughter. A black comedy about murder, mayhem and questionable parenting, Tinkertown went on to win The Blue Room Theatre Best Publicity Award.
This tale of World War Two survival was imaginatively recreated by Blue Moose using puppetry, shadow play and live piano accompaniment. Following the true story of a Japanese diplomat who used his position and influence to help Jewish refugees flee Nazi-held Lithuania, The Warrior and the Princess featured Rhoda Lopez, Monica Main, Brian Liau, Ian Toyne and Shirley van Sanden.
“Storen is a captivating figure on stage; rough-hewn but quietly spoken, with a mix of gentleness and threat that’s both scary and engaging.” – The West Australian “It’s heady stuff. Storen spins a quality yarn with plenty of laughs to defuse the dark material and has a tremendous, sonorous voice ideally suited for this type of intimate theatre.” – 100% Rock Magazine
“If there is one thing this performance knows how to do well, it is generate an atmosphere to reach every corner of the room and spill over the edge.” – AussieTheatre.com.au “A delicately-crafted, deeply moving piece, Tinkertown is the understated story of small people in small places, but packed full of everyday epiphanies.” – ArtsHub
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // THE BLUE ROOM THEATRE SEASONS – SEASON TWO
“A fascinating story, presented in spellbinding fashion, The Warrior and the Princess brings a message from the past for those with ears to hear.” – Artshub “an inventively told and moving tale of universal human sympathy and courage.” – The West Australian
“I was never left wanting for support or advice, and the friendly and supportive atmosphere is really conducive to creating risk-taking, experimental and exciting theatre.” Sam Farringdon, Tinkertown
Eve
Picasso’s Goldfinch
Glengarry Glen Ross
Direct from a critically acclaimed season at Brisbane’s Metro Arts, the nest ensemble’s Eve was a devised piece looking at the turbulent and tragic life of little-known Australian writer Eve Langley. Margi Brown Ash won The Blue Stone Award for Best Performance for her portrayal of the troubled writer, with support from Philip Miolin as The Storyteller and live violin from Roland Adeney.
This new work from writer/producer Tom Jeffcote was a contemplative musing on the origin of artistic creativity. The play looked at fictional painter Wilson Stryker (Andrew Hale), a once-famous artist who lost his inspiration to paint, and his explosive meeting with journalist Therese Wilson (Tiffany Barton). As part of the MoMA exhibition at the Art Gallery of WA, Picasso’s Goldfinch had a special preview performance on the concourse of the AGWA to celebrate Picasso’s birthday.
Little y Theatre Company used their Scent Tales Best Production prize of 2011 to bring David Mamet’s scorching classic Glengarry Glen Ross to The Blue Room Theatre, presented with an all-female cast in the traditionally male roles. This fastpaced drama, directed by Mark Storen, also featured music from local electronic act The Bosuns and went on to win The Blue Room Theatre Audience Development Award and Best Host Awards.
“It’s thrilling, gorgeously imaginative and physically potent. She gives a performance to match.” – The West Australian “Eve is a deeply considered, richly constructed celebration of a determinedly extravagant life” – ArtsHub
“the performance was powerfully captivating and showed the bigger picture about creativity and where inspiration comes from.” – AussieTheatre.com.au
“It’s a fine and prescient way to end the year in Perth theatre.” – The West Australian “Stop reading and book your tickets now.” – ArtsHub
“The team work in this show is terrific, a quality production highly recommended.” – Theatre Australia
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // THE BLUE ROOM THEATRE SEASONS – SEASON TWO
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s d r a w A e r t a e h T m o o R e u ees l B e Th omin and N The 12th annual Blue Room Theatre Awards was hosted by George Gayler and Kerry O’Sullivan on 17 December 2012, and presented a number of awards for outstanding season productions.
Best Publicity I (Honestly) Love You – Lockwood Productions Glengarry Glen Ross – Little y Theatre Co Tinkertown – The Comedians (WINNER) Eve – the nest ensemble
Best Host The Book of Death – Renegade Productions Glengarry Glen Ross – Little y Theatre Co (WINNER) Tinkertown – The Comedians
Best Production Team Sans Hotel - Hello my name is theMOXYcollective - The Polite Gentleman (WINNER) the nest ensemble - Eve
Audience Development Award Black as Michael Jackson and other identity monologues - Yirra Yaakin Theatre Company Glengarry Glen Ross - Little y Theatre Company (WINNER) I (Honestly) Love You - Lockwood ProductionsThe Cat In The Box Follow That Cat Productions
Best Performance Nicola Gunn – Hello my name is Mark Storen – The Polite Gentleman Phil Miolin - Tinkertown Margi Brown Ash – Eve (WINNER)
Members Choice Eve – the nest ensemble (WINNER) The Polite Gentleman – theMoxyCollective I (honestly) Love You – Damon Lockwood
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // AWARDS AND RECOGNITION
Judges Award
THE PERTH THEATRE TRUST EQUITY GUILD AWARDS
Most original theatrical experience – Hello my name is (WINNER) Best Direction – Adam Mitchell, The Polite Gentleman Best Lighting – Andrew Lake, Skin Best Overall Design – Glengarry Glen Ross Best Ensemble – I (Honestly) Love You
These awards bring together professional performing artists, the state’s major theatre companies, 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.
Best Production
Winner Best New Play, Humphrey Bower, Skin
Skin – Night Train Productions (WINNER) The Polite Gentleman – theMOXYcollective Eve – the nest ensemble
FRINGE WORLD AWARDS All shows that were part of Summer Nights 2012 were also in consideration for Fringe World Awards, which were judged by an Artrage appointed industry panel. Winner Best Independent Venue/Program Best Theatre, Mythophobic Productions, Hope is the saddest Best Dance, Melanie Lane, Tilted Fawn Spirit of the Fringe Award, Proximity Festival, Proximity Nominated Best Independent Venue/Program - Barefaced, Barefaced Stories; Proximity Festival, Proximity Best Theatre - Ali Kennedy Scott, The Day The Sky Turned Black; The Pink Couch, ...miskien Best Dance - Steamworks, Standing Bird WA Emerging Artist Award - Jacqui Claus, Standing Bird Best Performance - Renegade Productions, Laryngectomy Martin Sims Award - Proximity Festival, Proximity; Mythophobic Productions, Hope is the saddest; theMOXYcollective, Virgie
Nominations Best Supporting Actress, Talei Howell-Price, I (honestly) Love You Best Leading Actor, Luke Hewitt, Red Silk Best New Play – Lois Achimovich, Red Silk; Damon Lockwood, I (Honestly) Love You; Teresa Izzard & Silvia Lehmann, The Yellow Wallpaper.
OTHER BLUE ROOM THEATRE SHOWS WINNING AWARDS IN 2012: Helpmann Awards Nominated - Best Visual or Physical Theatre Production, Weeping Spoon, The Adventures of Alvin Sputnik Edinburgh Fringe Festival Nominated - Total Theatre Award for Innovation, Experimentation & Playing with Form, Side Pony Productions, The Pride Rome Fringe Festival Winner - Best Production, Damon Lockwood, Horse Head Melbourne Fringe Festival Winner - Best Experimental Performance, Sans Hotel, Hello my name is Artshub Awards Winner - Peoples’ Choice Youth Arts Award, Side Pony Productions, The Pride Nominated - Innovation Award, Proximity Festival, Proximity
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // AWARDS AND RECOGNITION
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s e c i v Ser In 2012 we offered auspice, information, advocacy and hire services to 428 artists (308 within our annual program) associated with 48 productions (37 within our annual program) over our Development Seasons, Summer Nights, hire, creative developments and auspiced productions. The Blue Room Theatre also offered 79 professional development opportunities including workshops, forums and industry training. Of the producers surveyed 97% were satisfied with the level of support provided by the organisation.
AUSPICE In 2012 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 2012: PROXIMITY Proximity was the first one-on-one festival presented in Australia. Twelve separate performances occurred simultaneously in twelve spaces throughout the venue (and outside) with one artist and one audience member each performance. Crossing genres of live art, dance, aerial work, tutorials, tour guides and strip poker players, Proximity was a truly unique audience experience. Producers James Berlyn and Sarah Rowbottam have received state and federal funding to redevelop the work for a presentation at PICA in 2013. BAREFACED STORIES Following on from the success of the Summer Nights season in 2011, Barefaced returned to The Blue Room Theatre to host another successful workshop series that culminated in storytelling performances during Summer Nights. In 2012 co-creators Andrea Gibbs and Kerry O’Sullivan brought over Brian Finkelstein, the Emmy-nominated writer, performer, Moth host and teacher, at Upright Citizen’s Brigade in NYC and LA. Barefaced also produced Three Strikes, Brian Finkelstein’s solo show about the American writer’s strike for Summer Nights at PICA.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SERVICES
ABOVE: Photo by Vivienne Glance
HOPE IS THE SADDEST Hope is the saddest, which was originally developed at The Blue Room Theatre in 2007 and remounted in 2012 for Summer Nights at PICA, is the story of a young woman called Hope, who has set out on a mission to bring happiness to the world (including the homosexual love of her life) by sharing her love of Dolly Parton. Following on from winning Best Theatre at Fringe World, Hope is the saddest was invited to tour to the Grahamstown and New York Fringes. Artflight funding for the tour was administered by The Blue Room Theatre.
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.
CURED A one-woman show by Marisa Garreffa, produced by Mondo di Corpo and directed by Katya Shevtsov, Cured received funding from the City of Perth Cultural Sponsorship Fund to occupy a vacant shop front on Hay St with a visual installation of meat and bones as well as presenting the theatre production. Cured told the story of a village called Night where people are sent to die. When a hospital moves into town and people stop dying, the village economy suffers. WIVES OF HEMINGWAY Side Pony Productions received Arch funding from PICA to develop a show about Ernest Hemingway and his many wives, looking at the transition between lover and ex-lover and the demonisation of the ex. Zoe Pepper directed performer/devisors Adriane Daff, Tim Watts and Eden Falk. Wives of Hemingway went on to be redeveloped for Fringe World in 2013 with Josh Price stepping in for Eden Falk. THE BIG HOO-HAA! COUNTRY ARTS WA TOUR The Big Hoo-Haa! celebrated its tenth birthday in 2012, making it the longest running comedy improvisation show in Perth. Supported by Country Arts WA, The Big Hoo-Haa! embarked upon a five-week regional tour that went from Port Hedland, to Kalgoorlie, to Esperance, to Bunbury and many more places along the way.
ADVOCACY THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SERVICES
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e c r u Reso auslan-interpreted performanceS
ACTIVITIES SUPPORTED AND PROGRESSED IN 2012
The Blue Room Theatre partnered with the WA Deaf Society and Sign Language Communications WA to present Auslan-interpreted performances as part of our development seasons.
• The development and continuation of strategic partnerships and collaborations including Yirra Yaakin Theatre Company, Perth Festival workshops, City of Stirling, WA Deaf Society and Country Arts WA.
Acknowledging the access issues many deaf and hard-of-hearing audience members can have, The Blue Room Theatre launched a pilot program in 2011 to provide affordable and regular theatre entertainment options for the deaf community. Community and industry feedback canvassed in 2012 was overwhelmingly positive, with many survey respondents indicating they came to the venue specifically for an Auslan performance. Following the success of the pilot, we have committed to continue this project.
environmental sustainability Program The Blue Room Theatre took big steps to reduce our environmental impact during 2012. We submitted a successful application to the City of Perth’s Environment Grants and Sponsorship Program, which allowed us to commission environmental consultants Simply Carbon to complete a full audit of our energy use. The outcome of this audit will be used to inform a whole-of-staff workshop that will identify work practices that can be changed immediately to reduce our use of resources, and look at other changes that could be made in the medium to long term in line with our sustainability policy adopted in 2011.
• Inclusion of content in Pride Fest 2012. • Actively participating in the Northbridge neighbourhood including frequent consultation with Metropolitan Redevelopment Authority about local events including ‘O Day’and participation on all OnWilliam community events. • 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. • Venue support for Dynamic Stages - a series of workshops developing new works with and developing the program of Ground Floor in association with Stages WA for the professional development of emerging playwrights to roll out in 2013. • Executive Director Kerry O’Sullivan was part of the working project group for CircuitWest’s pilot touring program. • Producer Susannah Day advocated for West Australian artists and promoted The Blue Room Theatre at the Under the Radar Festival in Brisbane. • 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 advocating and networking for The Blue Room Theatre at the following events: • Australian Performing Arts Market and Adelaide Fringe including participation in the Honey Pot program. • The Melbourne Fringe • The National Young Writers’ Festival
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // RESOURCE
ABOVE: Photo by Laura Mangen
HIRE
SUPPORTED DEVELOPMENTS
CLASS CLOWNS Propel Youth Arts WA produced Class Clowns in conjunction with the Melbourne International Comedy Festival. High school students try their hand at stand-up comedy after workshops with industry professionals.
WISH Night Train Productions were invited to the Australian Performing Arts Market in Adelaide to perform in a twenty minute ‘Spotlight Session’ to national and international buyers of theatre. The Blue Room Theatre provided venue support for the development of the twenty-minute version of Wish, adapted by Humphrey Bower from the Peter Goldsworthy novel of the same name.
DECKCHAIR THEATRE The Fremantle Candidate moved into the PICA Performance Space after damage to Victoria Hall unfortunately meant that the performance was unable to go ahead at Deckchair’s home venue. The Blue Room Theatre assisted with subsidised rent of bar and balcony areas for VIP and opening night functions, COCKATOOS Stages WA further supported Andrew Hale’s adaptation of Patrick White’s Cockatoos which had a public reading at The Blue Room Theatre at the conclusion of the development.
EARLY STAGES Early Stages is a development program that artists can apply for throughout the year to receive up to four weeks of full time rehearsal space for promising new works in their earliest stages of development with no public outcome. In 2012 Allan Girod received support for The Candlestick Man and Jeffrey Jay Fowler, Oda Aunan and Natalie Holmwood received support for Conversolutions.
LANEWAY FESTIVAL Laneway Festival returned to the Perth Cultural Centre for a day-long music festival. The Blue Room Theatre was the venue for the artist bar where bands could come and relax after their performance. CRASH COURSE Independent artist James Berlyn received funding from the Department of Culture and the Arts to develop his interactive performance piece Crash Course which had a series of development showings in the Kaos Room. Audience members were invited to sit in wheelchairs and perform a series of tasks with their non-dominant hands, learning to speak and write a new language created by Berlyn called Winfein.
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // RESOURCE
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d n a Goalsators Indic
e c n a m r o f r e P Key
Measure & Key Performance Indicator
2012
2012
Target
Actual
Goal 1: To extend The Blue Room Theatre’s reach on a local, national and international level
1 Number of artists participating in the annual program local 250 national 10 international 3 TOTAL 263 2 Percentage of artists/producers who are emerging (first 5 yrs of practice of Total 1) 60% 3 Percentage of CALD artists participating in annual program (of Total 1) 5% 4 Percentage of Indigenous artists participating in the annual program 2% 5 Percentage of artists who regard themselves as having a disability (physical and mental) (of Total 1) 2% 6 Number of works supported that go on to further development or production1 locally 2 national 2 international 2 TOTAL 6 7 Growth in audiences engaging with all annual programs Local 9600 national 200 international 200 TOTAL 10000 8 Percentage of audiences who regard themselves as having a disability (physical or mental) (of Total 6) 2% 9 Percentage of audiences who are from a CALD background (of Total 6) 5% 10 Percentage of audiences who identify themselves as coming from an indigenous background 2% 11 Percentage of audiences under 35 (inc schools) (of Total 6) 30% 12 Individual membership growth local 410 national 10 international 3 TOTAL 423 13 Number of key industry partnerships/collaborations/dialogues on TBRT’s activities local 5 national 1 international 2 14 Hits to website and social media (Facebook)2 80000 1
286 16 6 308 46% 10% 5% 1% 9 5 8 21 13970 208 74 14252 3.5% 11.5% 2% 44% 476 16 6 498 13 9 7 123997
The number of works originally supported by The Blue Room Theatre’s Development Seasons and/or Summer Nights that went on to further development and production.
This figure refers to the more conservative metric of website sessions, and Facebook page impressions. If ‘hits’ were used, the website achieved 2,345,469 hits and our Facebook posts reached an audience of 1,059,693, giving a combined total of 3,405,162. 2
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // GOALS AND KEY PERFORMANCE INDICATORS
ABOVE: Photo by Ashley de Prazer
Measure & Key Performance Indicator
2012
2012
Target
Actual
Goal 2: To continue to support new work which is pushing the creative boundaries of Australian independent theatre practice
1 Number of productions supported through all programs (presentation at TBRT) 25 37 2 Percentage of Australian new original work supported (of Total 1) 80% 81% 3 Percentage of productions/developments supporting CALD work (of Total 1) 15% 19% 5 Percentage of producers who are satisfied TBRT is fulfilling Goal Two 90% 97% 6 Percentage of audiences who are satisfied TBRT is fulfilling Goal Two 90% 96% 7 Percentage of members who are satisfied TBRT is fulfilling Goal Two 90% 93% 8 Percentage of industry peers who are satisfied TBRT is fulfilling Goal Two 90% 91% 9 Number of industry awards and nominations for TBRT productions/supported artists 20 26
Goal 3: To increase existing opportunities for artists and develop new opportunities
1 Number of early development opportunities (play readings, early stages non audience) 6 2 Number of individual CPD opportunities (workshops, talks, discussions, industry training) 6 2 3 Number of opportunities for artists to develop work further (remounts, redevelopments)3 3
9 79 4
The number of development opportunities that The Blue Room Theatre significantly facilitated including second stage redevelopments, remounts and production - including those presented at The Blue Room Theatre
Goal 3: To increase and/or diversify funding and financial resource
1 Income derived from individual donations 2 Income generated through fundraising/sponsorship 3 Income generated through box office
$
$
1,000 20K 125K
17,792 10,416 233,842
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // GOALS AND KEY PERFORMANCE INDICATORS
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e c n Fina AUDITOR’S REPORT TO THE MEMBERS OF THE PERFORMING ARTS CENTRE SOCIETY Report on the Financial Statements
We have audited the financial statements of the Performing Arts Centre Society Inc for the year beginning 1 January 2012 and ending 31 December 2012. 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
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.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // FINANCE
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 2012, and its results for the period then ended in accordance with applicable accounting standards and the accounting policies set out in Note 1.
Dated this 2nd day of April 2013 in Perth, WA
ABOVE: Photo by Laura Mangen
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 2012 and ending 31 December 2012.
(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 2012.
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 25th day of March 2013 in Perth, WA
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // FINANCE
25
STATEMENT OF FINANCIAL POSITION 31st December 2012
31-Dec-12
31-Dec-11
337,086
361,268
Current Assets Cash & Cash Equivalents Accounts Receivable
235,143
2,845
Prepaid Expenses
11,504
1,300
Stock on Hand
3,563
4,273
Total Current Assets
587,296
369,686
Non-Current Assets Plant & Equipment
72,858
88,209
Total Non-Current Assets
72,858
88,209
Total Assets
660,154
457,895
Current Liabilities Accounts Payable
9,101
4,680
Taxes Payable
26,593
14,732
Provision
34,668
35,613
Grants Received In Advance
236,917
113,884
Donations In Advance
21,482
1,374
Auspice Income Rec in Advance
92,711
43,407
Other Liabilities
571
12,580
Total Current Liabilities
422,043
226,270
Non-Current Liabilities Capital Grants In Advance
67,423
81,273
Total Non-Current Liabilities
67,423
81,273
Total Liabilities
489,466
307,543
Net Assets
170,688
150,352
Member Funds
26
Opening Balance
150,352
142,319
Retained Surplus Current Year
20,336
8,033
Member Funds
170,688
150,352
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // FINANCE
STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31st December 2012
2012 $
2011 $
Income Fees & Services
28,546
19,878
Merchandising & Retail
72,926
68,659
Performance Fees
43,153
23,868
Resources Income
41,492
46,423
Sponsorship & Fundraising
22,169
23,258
Other Earned Income
13,318
16,781
Grants
414,271
389,658
Auspice Grants
60,266
182,772
Auspice Income
100,281
42,142
Grants for Capital Subsidies
13,850
12,821
Total Income
810,272
826,260
Expenses Administration
69,286
72,017
Bar Expenses
36,426
37,541
Blue Room Program
5,995
71,130
Marketing
56,992
35,011
Program & Production
76,750
3,918
Wages
383,941
368,091
Auspice Expenses
160,547
230,519
Total Expenses
789,936
818,227
Operating Surplus
20,336
8,033
Total Surplus & Comprehensive Income
20,336
8,033
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // FINANCE
27
NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 December 2012 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. (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. 28
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // FINANCE
(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.
NOTE 2 GOING CONCERN AND ECONOMIC DEPENDENCY The organisation is dependant upon the continued financial support of its members and sponsors in order to remain a going concern and it is the committee’s belief that such financial support will continue to be made available.
NOTE 3 AUSPICED INCOME Income includes Auspiced Grants of $60,266 and Auspiced Income of $100,281, and Expenses include Auspice payments of $160,547. After excluding the Auspiced net income, net profit attributable to the Blue Room Theatre for 2012 is $20,336.
t n e m e g a n a M f o d r Boa
Name
Position
Member Status
Meetings Attended
Natalie Jenkins
Chair
Secretary until April 08; Chair from April 08
10
Arts Administration / Business Development / Strategic Planning
Louanne Munz
Deputy Chair
From Nov 09
6
Business / Sponsorship
Tanya Payne
Treasurer
Treasurer from April 10
9
Finance / Accounting
Libby Klysz
Secretary from April
Board from April 10; Secretary from April 12
8
Arts Education / Artist
David Hall
Secretary until April
Secretary until April 12
0
Marketing/ Industry/ Youth
Helen Munt
Board
From April 10
7
Artist / Heritage
Chris Isaacs
Board
From April 10 until April 12
1
Artist / Youth
Damon Lockwood
Board
From April 12
6
Artist
Lisa McCready
Board
From April 12
4
Technical / Project Coordination
Mark Storen
Board
From April 12
3
Artist / Arts Education
Philippa Maughan
Board
From April 12
6
Arts Administration / Regional Touring
(inc AGM and Planning day)
Skills/Expertise
The Blue Room Theatre extends heartfelt thanks to outgoing Board members David Geoffrey Hall and Chris Isaacs for their generous contributions. In 2012 The Blue Room Theatre Board underwent a Board audit conducted by Anne Overall of Queensland University of Technology’s Business School. This was a pro bono audit as part of the ‘Developing Your Board’ project that over 180 not for profit boards have already undertaken. The audit provided a comprehensive report on how the board evaluated its own governance as well as comparing this to the other not-for-profit boards that had taken part in the program. This audit was requested of all Key Arts Organisations of Australia Council for the Arts and was in keeping with best governance practice.
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // BOARD OF MANAGEMENT
29
f f a t S e r t ea h T m o o R e u l B The In February 2012 The Blue Room Theatre Board of Management officially appointed Kerry O’Sullivan as Executive Director who had been acting in the role since October 2011. Long-term Marketing and Communications Manager Dianah Star left the organisation in April to pursue exciting opportunities at the City of Perth. A new Marketing Manager and Producer were brought on as full-time core staff in May 2012. The Blue Room Theatre would like to extend thanks to outgoing contracted Associate Producers Robyn Fergusson and Renee Newman-Storen (who filled the Producer vacancy left by Kerry O’Sullivan when she was promoted to ED). The Blue Room Theatre is ably supported by 18 casual Front of House, Bar, Usher and Technical Staff. Executive Director Kerry O’Sullivan (Acting ED since October 2011, officially appointed Feb 2012) Venue & Operations Manager Roger Miller Producer Susannah Day (from May 2012) Marketing Manager Di Star (Until March) Thom Smyth (Acting April; from May 2012) Office & Front of House Manager Sally Martin Associate Producers Robyn Fergusson (until May 2012) Renee Newman-Storen (until May 2012) Finance Officer Karen Connolly Housekeeping Lynda Butler (until June) Holly Garvey (until June) John White (from July) Digital Archive Recording Tom Norman (until June 2012) Chris Kenworthy (from July 2012)
Casual Staff Alexa Taylor Alice Hatton Arielle Gray Chris Donnelly Helen Doig Holly Garvey Jack Baker Jamie Breen Kathryn Osborne Marjorie de Caux Michelle Trainer Milo Bell Renee Newman-Storen Simone Ruggiero Seasons: Season One Graphics and Layout: non-drowsy designs Selection Panel: Thomas Papathanassiou, Whitney Richards, Phillip Miolin Season Two Designed by non-drowsy designs Selection Panel: Renae Coles, Sean Walsh & Michelle Trainer A Big Thank You to All Our Volunteers including: The Blue Room Theatre 2012 Awards Judges Michael Barlow, Hellie Turner & Ingrid Longley; Our season ushers; and the Arts Angels, who generously donate their time collating our hard copy mailouts.
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THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // STAFF
e r t a e h T m o o R e u l B The bers Mem FINANCIAL MEMBERS Aimee Smith Aarne Neeme Adam Booth Adam Mitchell Adam Perkins Adam Shuttleworth Adrian Barnes Adriane Daff Aedan Sykes Aine O’Shea Alana Starcevich Alberta Baladova Alessandro Scarcella Alethea Bevilacqua Aletia K. Artemis Alex Jones Alex Manfrin Alexa Taylor Alexandra Nell Ali Kennedy Scott Ali Roberts Alice Hatton Alicia Osyka Amanda Benn Amanda Crewes Amir Mohammad Amy Murray Amy Wiseman Analisa Bell Andre Franck Bauer Andrea Gibbs Andrew Bennison Andrew Hale Andrew Lake Andrew Weir Angela Perry Angelique Malcolm Angus Howell Anna Bennetts Anna Brockway Annabel Maclean Anne Hairsine ABOVE: Photo by Nicola Gunn
Annie Steiner Anthony Watts Arielle Gray Ashleigh Berry Austin Castiglione Barbara Lockyer Barbara Powell Barnaby Pollock Belinda Jane BaileyWong Ben Collins Ben Sutton Bernard Mearns Beverley Milne Bonnie Davies Brenda Downing Brian Dennison Brian Klopper Brian Liau Brianna Stanway Bronwyn Batten Bryan Martin Bryan Woltjen Bryce Youngman Caitlin Beresford Ord Cameron Hendry Cara Phillips Caris Eves Carly Armstrong Catherine Bonny Charley Caruso Cherie Hewson Cherish Armstrong Chris Clark Chris Donnelly Chris Isaacs Chris Kenworthy Chris O’Leary Chris Thomas Christiane Demesa Christie Sistrunk Claire Calderwood Clare Lawson Claudia Alessi
Clem Paull Cliff Gillam Collin Wiyoto Conrad Le Bron Courtney Pitman Craig Griffen Craig Williams Crystal Della Posta Cyril Toman Dale Irving Dallas Robertson Dalton Paull Damien Richardson Damon Lockwood Dan Luxton Danen Engelenberg Danielle Micich Daphne Farsalas David Buegge David Hanly David Hough David Meadows David Richardson David Valent Dawn Pascoe Dean Hall Della Rae Morrison Demelza Rogers Desiree Crossing Dianah Star Don Smith Donelle Gardiner Dosh Luckwell Douglas Haughey Dr Philip Raymont Eileen Whitehead Eleanor Drake Eliot McCann Elizabeth Brennan Elizabeth Gamage Elizabeth Hoffman Ella Hetherington Ellen O’Connor Ellis Pearson
Emily Chancellor Emily McLean Emma Craig Emma Fishwick Emma Flavell Emma Jayakumar Eric Khulmann Erica Freeman Esmeralda Hope Ethan Tomas Ewelina Lewis Fangying Huang Felicity Groom Fleur Kilpatrick Frank di Giovanni Frauke Chambers Gabrielle Metcalf Gavin Roach Gaynor O’Hare Gemma Jones Gemma Sidney Geoff Glencross Geoffrey DrakeBrockman Geoffrey Edwards Georgia King Gillian Clark Gita Bezard Glen Colledge Gordon Johnston Gosia Slawomirski Grace Benn Graeme Napier Greg Street Guido Nigri Hannah Day Harriet Hay Harry Holland Hayley Anderson Helen Brett Helen Doig Helen Godecke Helen Munt Hellen Sheila A. Russo
Holly Garvey Humphrey Bower Ian Bolgia Ian Sinclair Ian Stewart Ian Toyne Ingrid Longley Iona McAuley Irene Jarzabek Irma Woods Isabella Moore Isobel Pearson Jacinta Oh Jack Baker Jackson Wimhurst Jacob Lehrer Jacqui Claus Jacqui Otago James Berlyn James Forte James Helm James Mumme Jamie McGleave Jan Walters Janet Carter Janette McGinty Jasmita Jeshani Jasmyn Woodford Jay Masih Jeffrey Jay Fowler Jennifer Friend Jennifer Houser Jennifer Jamieson Jenny McNae Jenny Poh Jenny Vila Jeremy Levi Jeremy Mitchell Jeremy Rice Jessica Lewis Jessica Messenger Jessie Hoeschle Jill Aldrovandi Jo Marsh
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // MEMBERS
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The Blue Room Theatre Members (continued) Jo Morris Jo Pickup Joe Lui Joe Vernau Joel Small John Aitken John Barker John Bishop John Cowdell John Lewington John Robertson John Senczuk John Trewin Jonathan Joyce Jordan Nix Jordine Cornish Josh Magee Jules Sangster Julie Teraci Julie Watts Karen Connolly Karen Elizabeth Sekararum Karla Hart Kate Hall Katherine Shaw Kathleen Hoffmann Kathryn Osborne Kathy Shields Katrina Johnston Katya Shevtsov Kennah Parker Keri Speechley Kerry Bowden Kerry O’Sullivan Kevin Croon Kingsley Judd Kirsten Lambert Kirsty Marillier Kit Sparrow Kristen Coogan Kym Bidstrup Kynan Hughes Laura Grigson Laura Hopwood Lauren Holmwood Laurie Mulgrew Lawrie Cullen-Tait Layla Angove Lea Klein Leah Mercer Leanne Curran Lee Hartz Leila Rodgers Leon Ewing Leon Osborn Levanah Croon Levon J Polinelli Libby Klysz Libby Stone
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Linda Watson Lis Hoffmann Lisa McCready Louanne Munz Louisa Long Louise Cocks Louise Helfgott Louise Honeybul Louise Wardle Lucy Eyre Luke Heath Luke Hewitt Lunabella Gawler Lynda Butler Madelaine Page Maitland Schnaars Mar Bucknell Margery Holmwood Margi Brown Ash Maria Garbaanati Marie-Louise Ryan Mario Piccoli Marisa Garreffa Mark Barford Mark Gidvani Mark Storen Martin Laing Martyn Churcher Mary Wolfla Matt Penny Matthew Blampey Matthew Marino Megan Hollier Megan Moir Megan Roberts Melanie Bennett Melanie Lane Melissa Klimisch Mia Houlton Michael Barlow Michael Collins Michael Loney Michael McCall Michael Page Michael Whaites Michelle Anderson Michelle Faye Jonstone Michelle Hall michelle Trainer Mikaila Roe Mikala Westall Mike Nanning Mohammad Zanjani Moya Thomas Nadine Browne Naomi Hanbury Naomi Klemens Natalie Cursio Natalie Di Risio Natalie Holmwood
Natalie Jenkins Nate Doherty Nathaniel Moncrieff Nerida Dickinson Nicholas Stevenson Nick Maclaine Nicola Gunn Nicole Ward Nicole Warren Nikki Jones Nikki Man Nina Deasley Nina Pearce Noel O’Neill Nola Burns Norma Sinclair Pamela Wynn Patrice Smith Patrick Downes Paul Desmond Paul Goerke Paul Grabovac Paul Teraci Paula Coops Performing Lines WA Peter Carr Peter Chikritzhs Peter Munday Phil Miolin Phil Thompson Philip Mitchell Phoebe Jackson Phoebe Sullivan Pier Carthew Pierre Achour Quindell Orton Rachel Arianne Ogle Rebecca Taylor Renae Coles Renee Hale Renee Newman-Storen Renee Stansall Rhiannon Newton Rhoda Lopez Riccardo Aldrovandi Rina Freiberg Robert Grayson Robert Hensley Robert Marshall Robert Townsend Robert William Tait Robyn Fisher Rodney Greaves Roger Miller Roland Adeney Ronald Nelson Rosemary McKenna Rosemary Spark Ross Lonnie Ross Thompson
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // MEMBERS
Roz Hammond Ruari Jack Hughes Rupert Sewell Russya Connor Ryan Schulz Sally Martin Sally Richardson Sam Farringdon Sam Fox Sandi Buckley Sara Kuliliya Isherwood Sarah Affleck Sarah Davies Sarah Furtner Sarah Knight Sarah McKellar Sarah Nelson Sarah Pantlin Sarah Reuben Sarah Vagliviello Sasha Dion Scott Adams Scott Corbett Scott Jackson Scott McArdle Sete Leilua Tele Shakara Walley Shane McMullan Shirley Van Sanden Shona Erskine Simon Bush Simon Culliver Simon Lawson Simone Ruggiero Siobhan Crabb Sophie Joske St John Cowcher Stacey Summers Stefan Karlsson Stefania Basile Stephen East Stephen Garrett Stephen Gerard Stephen Stone Steve Warren Steven Finnegan Stewart Bank Stuart Mackenzie Sue Byrne Sue Tischler Summer Williams Susannah Day Susannah Thompson Susie Conte Suzanne Inglebrecht Talei Howell-Price Tanaya Harper Tanya Payne Tanya Wilson Tarryn Runkel
Teresa Izzard Tess Feldman Tessa Carmody Tessa Darcey Thom Smyth Thomas Vowles Tiffany Barton Tiffany Boyce Tim Goodacre Tim Watts Tineke Van der Eecken Tom Cramond Tom Jeffcote Tom Long Tony Flanagan Travis Collins Tyson Cherrie Verity Softly Vicki Foster Victoria Billinghmam Vincenzo Perrella Vivienne Glance Wendy Froude Whitney Richards Will O’Mahony Yugo Hoshi Yvonne Colledge Zach Dresler Zalia Joi Zane Alexander Zhenlin Zhang Zipporah Maynard Zoe Karst Zoe Pepper Zoe Street Zoe Tuffin RECIPROCAL STRUT Dance Company Stages WA HONORARY Tony Bonney Elwyn Edwards Glen Hayden Jill Johnston Geoff Kelso Jude Leon Ian Lilburne Monica Main Helen McDonald Julia Moody Mark Newman Mick O’Connor Jansis O’Hanlon Alix Rhodes Jacquie Stepanoff Jay Walsh
The Blue Room Theatre acknowledges and thanks the following bodies and organisations that supported our work in 2012:
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
Business Partners: Coopers Brewery, Jane Brook Estate Wines, Luna Palace Cinemas, RTR FM and Scott Print Design by Non-Drowsy Design. Printed by Scott Printing
THE BLUE ROOM THEATRE ANNUAL REPORT 2012 // SUPPORT
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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 Theatre is the trading name of the Performing Arts Centre Society ABN 26 252 073 745