ANNUAL
REVIEW
2009
WELCOME 2008-09 has been an extraordinary year in the life of The New Wolsey Theatre. We have:
•
Increased participation in Creative Learning
•
activities by approximately 90% on previous years.
•
Had the most successful Pulse Fringe Festival in our history - with 78% of tickets sold.
•
Co-produced A Chorus of Disapproval with
Achieved remarkable attendance levels across
The Mercury Theatre, Colchester and toured
a broad range of events throughout the year
this production to The Watford Palace Theatre,
increasing attendance levels for every season
achieving 94% occupancy in Ipswich alone.
(autumn up from 80% to 86% on the previous year, spring up from 61% to 63%, Community Season up from 56% to 68% and the Pulse Fringe Festival up from 70% to 78%.
•
Positioned ourselves as a key player within the Westgate Centre development plan, to ensure greater physical resources will become available to meet our ambitious Creative Learning and
•
Had a record-breaking panto season with 98%
Artist Development plans.
of tickets sold over its two-month run.
Sarah Holmes, Chief Executive
The New Wolsey Theatre, Ipswich. Photo: Mike Kwasniak.
The New Wolsey also gratefully acknowledges the continuing support of the Wolsey Theatre Club.
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OWN PRODUCTIONS CO-PRODUCTIONS COLLABORATIONS Autumn/Winter 2008/09
In November, our associate company Gecko presented a work-in-progress showing of
Our autumn 2008 opening production was the
a new piece based on Gogol’s short story
sci-fi musical comedy Little Shop of Horrors
The Overcoat. This emotionally and physically
which achieved 73% occupancy and widespread
intense work, a co-production between the Lyric
critical acclaim.
Hammersmith and Plymouth Theatre Royal, was further developed in spring 2010 at the Lyric
“. . . a must see show. . .what a great start to the
Hammersmith and later at the 2010 Edinburgh
New Wolsey’s Autumn season.”
Festival Fringe where it earned glowing press
Ipswich 24
reviews. Plans for a world tour are now underway.
“Hauntingly and recklessly brilliant. . .piece of thrilling and sinister surrealist nightmare.” The Sunday Times
Audrey II and James Haggie as Seymour in Little Shop of Horrors. Photo: Mike Kwasniak. 3
The Overcoat performed by our associate company Gecko. Photo: Richard Haughton.
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OWN PRODUCTIONS CO-PRODUCTIONS COLLABORATIONS In its eighth consecutive year, our ever-popular rock ‘n’ roll panto continued its record-breaking trajectory, with 98% of tickets sold for Cinderella which ran over two months during December 2008 and January 2009.
“. . . great entertainment for the whole family.” Ipswich Evening Star
Spring 2009 The New Wolsey Theatre/Mercury Theatre
Sarah Scowen as Cinderella and Lauren Storer as The Fairy Godmother in Cinderella.
Company Colchester co-production of Alan Ayckbourn’s A Chorus of Disapproval achieved 94% occupancy during its two and-and-a-half week run in February. After playing in Ipswich, the show took up residence at the Mercury Theatre in March before ending with a tour to Watford’s Palace Theatre. The show was extremely well received by audiences and press in all three venues.
“Cuttingly observant, this comedy is stuffed full of laughs right from the opening bows . . . Slick and without a weak link, this first co-production between the New Wolsey and Colchester Mercury is a treat.”
Paul Leonard and Julian Harries in A Chorus of Disapproval. Photos: Mike Kwasniak.
Ipswich Evening Star
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Daniel Francis in the title role of The Hounding of David Oluwale, Eclipse Theatre. Photo: Keith Pattison.
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OWN PRODUCTIONS CO-PRODUCTIONS COLLABORATIONS In March, The Hounding of David Oluwale was
Director of Eclipse Theatre and after opening at
presented by The New Wolsey, West Yorkshire
West Yorkshire Playhouse, the production toured
Playhouse and Birmingham Repertory Theatre
to Birmingham Repertory Theatre, Liverpool
as partners in this Eclipse Theatre national tour.
Playhouse, The New Wolsey Theatre, Hackney
A highly charged and powerful dramatisation of
Empire, Northcott Theatre Exeter and
the real life story of the eponymous Nigerian man
Nottingham Playhouse.
who was systematically hounded and apparently murdered in Leeds in the 1960s after moving
“. . . a powerfully imagined, theatrically fluid
from his home country, it was based on Kester
reconstruction that enhances the official record
Aspden’s award-winning book and adapted
to impressive dramatic effect.”
for the stage by former New Wolsey writer-in-
The Guardian
residence Oladipo Agboluaje. This was the inaugural production by Dawn Walton as Artistic
In May, The New Wolsey’s Artistic Director Peter Rowe directed Chimps by the award-winning playwright Simon Block, a production which met with widespread critical praise.
“. . . fast paced, emotionally charged, complex and challenging.” One Suffolk In May, the New Wolsey’s Artistic Director Peter Rowe and practitioner Nigel Jamieson took part in a highly successful week long laboratory New
Narrative Journeys, working with performers to explore new ways of storytelling using circus/ aerial theatre skills. The skills developed during this laboratory will feed into a dynamic new Ben Lambert and Jenny Platt in Chimps. Photo: Mike Kwasniak.
production of Orpheus and Eurydice currently being planned for Autumn 2010. 7
VISITING PRODUCTIONS Autumn/Winter 2008/09 After achieving capacity houses the previous spring, Potted Potter - the unauthorised Harry
experience returned to the New Wolsey Studio for six performances in September. The London Classic Theatre presented Charlotte Jones’ intelligent comedy Humble Boy and Big Creative Ideas in co-production with Birmingham Repertory Theatre presented At the Gates of
Daniel Clarkson & Jefferson Turner in Potted Potter - the unauthorised Harry experience. Photo: courtesy of James Seabright and Potted Productions.
Gaza, a highly charged new play by Ipswich playwright Juliet Gilkes-Romero, which went on to win Best Play at the Writers’ Guild Awards 2009. Celebrated choreographer Jasmin Vardimon’s dance company captivated audiences with
Yesterday and English Touring Theatre, in coproduction with Exeter Northcott Theatre, achieved an extraordinary 92% capacity run with their adaptation of Thomas Hardy’s Far from the
Madding Crowd.
Filter Theatre, in association
Ben Bennett (Patterson) and Matthew Moxon (Miller) in At the Gates of Gaza. Photo: Jo Wheeler.
with the Royal Shakespeare Company, presented a radical retelling of Shakespeare’s Twelfth Night. October half term saw an eclectic mix of shows, which included Gilbert and Sullivan’s patter songs in Opera della Luna’s Nightmare Songs, the raucous comedy Elizabeth and Raleigh with Simon Munnery as Queen Elizabeth I, the impressive aerial feats of Ockham’s Razor’s triple bill Arc, Every Action, Memento Mori, another
Elizabeth and Raleigh: Late but Live. Photo: courtesy of James Seabright. 8
VISITING PRODUCTIONS successful night of Under 18 Comedy and
comedy with Up for a Laugh. Throughout the
An Audience with Peter Sallis, achieving
season, we successfully presented a variety of
82% occupancy.
children’s shows at the Studio Theatre, The
The season continued with comedy duo LipService’s Tony and Twizzle - the Glory Years
Musicians of Bremen, Little Red Hen and eight performances of Little Angel Theatre’s Handa’s Surprise which we programmed in as part of
and, in our ‘Pick of the Fringe’ slot, Red Cape
African History Month. Our children’s Christmas
Theatre Company presented their imaginative
show at the Studio was Long Nose Puppet’s
and emotionally powerful The Colony of Idiots.
Flyaway Katie which achieved 94% occupancy
Segue productions presented jazz specialists
during its three-week run.
Empirical and 2FaCeD Dance performed their award-winning street and contemporary dance
Spring 2009
show State of Matter which sold 100% of its tickets. Peppery Productions brought the Grand
Our spring season opened with a celebration of
Union Orchestra Allstars and Tongue in Cheek
Chinese New Year which achieved a culturally
Comedy presented another evening of stand-up
diverse audience and an overall occupancy of 87%.
Handa’s Surprise. Photo: courtesy of Little Angel Theatre.
Colony of Idiots. Photo: courtesy of Red Cape Theatre Company. 9
VISITING PRODUCTIONS European Arts Company’s The Pickwick Papers played to an appreciative 99% occupancy audience and The Reduced Shakespeare Company’s The Bible: The Complete Word
of God (abridged) fared even better at 100% with a waiting list in place for several weeks before the performance. Tongue in Cheek Comedy presented another of their popular
Up for a Laugh stand-up comedy evenings. Graeae, the UK’s foremost disabled-led theatre company, in association with Birmingham
Spyski. Photo: courtesy of Peepolykus.
Repertory Theatre Company, presented Whiter
Than Snow, a new play exploring attitudes
Theatre Royal brought their high-octane
towards physical disability through the story of
adaptation of William Golding’s Lord of the Flies
a war-time travelling troupe of actors and their
for a week to The New Wolsey, achieving 70%
difficulties in mounting a production of Snow White.
occupancy and Foursight Theatre brought Can
Any Mother Help Me, a new play inspired by the “An invigorating mix of the courageous and the
book by Jenna Bailey which told the true story of
chaotic . . . this is work that never patronises its
the Co-operative Correspondence Club, started
young audience with comfortable cant - or happy
by women during the early days of World War II.
ever after.”
Kompany Malakhi performed Boxin’ for one night,
The Times on Whiter Than Snow
a dynamic and extreme dance theatre influenced by contemporary dance, parkour and hip-hop.
Mike Marran Productions presented A Funny
Valentine, the true story and music of Chet Baker
New Wolsey audiences were treated to a radical
to a 70% occupancy audience and Swansea City
and anarchic re-telling of The Importance of Being
Opera made a welcome return with Donizetti’s
Earnest when Peepolykus and Lyric Hammersmith
The Elixir of Love which was similarly popular.
presented their spoof spy comedy Spyski to 66%
Pilot Theatre Company in association with York
capacity audiences for a week in early May. 10
Ockham’s Razor triple bill Arc, Every Action, Memento Mori . Photo: courtesy of Turtle Key Arts.
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VISITING PRODUCTIONS “It’s impossible to describe the delirious pleasure
also sold out, even with an increased capacity
you feel as the genteel English façade of Wilde’s
to meet public demand.
chamber play breaks down into a rip-roaring espionage farce.”
Middle Ground Theatre Company presented
Maddog Magazine
Keith Waterhouse and Willis Hall’s celebrated kitchen sink drama Billy Liar starring Helen
Immediately after Spyski, Segue Productions
Fraser for a week in April to 77% average
presented the award-winning British jazz band
occupancy during its week run. In a first for The
Dennis Rollins’ Badbone & Co and this was followed by Tilted Productions’ Trapped. Almost
New Wolsey, ROH2 The Royal Opera House On
200 Under 18s enjoyed another evening of
DanceEast presented the world premiere of an
Under 18 Comedy and the very next evening
original dance piece based on Albert Lamorisse’s
a more mature audience filled 98% of the
film and children’s story The Red Balloon which
auditorium when Terry Dash Music presented
delighted audiences with its sheer spectacle and
The Charleston Chasers. Louder than Words presented Noise Ensemble to a full house and
inventiveness.
the accompanying drumming workshop was
The Theatre Royal Bury St Edmunds ended
The Road Covent Garden in partnership with
our spring season with their community touring production of Three Men in a Boat. Throughout the season, we also presented a series of extremely popular children’s shows at our Studio Theatre; Under the Bed (97% occupancy), Terry
Jones’ Fairy Tales (97% occupancy), Animal Olympics (95% occupancy), Jumping Mouse (95% occupancy) and The Princess and the Pea (98% occupancy).
Billy Liar. Photo: courtesy of Middle Ground Theatre Company. 12
CREATIVE LEARNING The New Wolsey set out to establish a new
events. Through this we deliver a wide range
programme of Creative Learning activity for
of work in primary, secondary, and specialist
2008/2009 to build on the achievements of
schools and have successfully focused on
previous years and to respond better to changes
working with referral agencies to support the
in the profile of formal and informal learning within
pre-NEET (Not in Education, Employment or
our sector. A new Creative Learning Team was
Training) agenda.
appointed, led by the new Associate Director Rob Salmon. We have worked closely with our
Creative Projects
principal stakeholders to develop a strategic 3
is an extensive programme of enrichment
year Creative Learning Action Plan which details
activities and events designed for and with
the activities, timelines, objectives and risks
children, young people, and the communities in
within three inter-connected initiatives; Creative
our district and region that extends our cultural
Education, Creative Projects, and Creative
agenda beyond the boundaries of the theatre
Development. These form the Creative Learning
building. Through this we deliver a broad and
Framework, which deliberately spreads the
expanding offer with a specific focus on the
objectives across the whole organisation rather
personal, social and artistic development of
than isolating them within one department.
young artists as positive and vital contributors
Creative Learning uses theatre as a catalyst to
to our society.
develop creativity - with the aim of celebrating identity, contributing to positive change and
Creative Development
increasing capacity/expertise. Three inter-
is a platform for students, arts educators,
connected initiatives are designed to provide a
practitioners and life long learners to gain new
specific entry point for all skill levels and ages:
skills and share good practice. By supporting and challenging students, artists and
Creative Education
professionals in the creative and cultural industry
is a service for schools and colleges in our district
we are significantly enhancing the development
and region, working with children and young
of our sector locally, regionally and nationally.
people aged 4 -19 and education professionals to provide a consistently accessible programme
The social agenda takes a clear and deliberate
of comprehensive supporting activities and
role in the work that the Creative Learning 13
CREATIVE LEARNING engenders, however we are dedicated first and foremost to the delivery of high quality theatrical experiences that not only reflect the values of the New Wolsey Theatre but that also exploit what it has to offer. This structured programme has generated a significant increase in participation of approximately 90% on 2007/08 and almost 100% on the average of previous years, and has been delivered over a wide variety of settings; Primary Schools, Middle Schools, Secondary Schools, Special Schools, Pupil Referral Units, Colleges, Universities, Libraries, Community Venues, Prisons, and with other Arts Organisations. Further to that we have also secured in excess of £20,000 in funding to deliver projects for Babergh District Council, The National Osteoporosis Society, YPPT and Suffolk Artlink, and an additional £10,000
Beth William-James in Yellow Moon. Photo: Mike Kwasniak.
from University Campus Suffolk on behalf of Gecko. transformative cultural offer for children and In the first twelve months of its operation, the
young people.
New Wolsey’s Creative Learning initiatives have included:
Young Company A new working group for 16 - 25 year olds led by
Youth Theatre
Rob Salmon, Associate Director. The Young
Five new working groups for 7-16 year olds led
Company’s first project was the youth premiere
by Laura Norman, Creative Learning Practitioner
of the award winning play Yellow moon by David
and Helen Baggett, Associate Director of Gecko.
Grieg, presented as a double bill with a new piece
These groups are artist led and participant-
devised by the Senior Youth Theatre with
centred with the dedicated aim of providing a
guidance from Helen Baggett, called 70% Myself. 14
CREATIVE LEARNING
70% Myself. Photo: Mike Kwasniak.
Young Board
Young Team
Through our existing links to young people, through
The Young Team is an opportunity for emerging
partnerships with the Connexions Service and
graphic designers, visual artists and theatre
V for Volunteering, and through a series of
designers to be employed to work with the New
marketing initiatives we have established the
Wolsey Theatre on Creative Learning projects.
Young Board, a non governing advisory group
Designed to give a supervised professional
of 13-26 years olds that meets prior to the
challenge to an individual artist, including
full constituted Board of Directors Meeting to
contracting, consultation, delivery and managing
discuss their expectations of the New Wolsey
expectations. Through our successful YPPT
Theatre, and to answer questions posed to them
application we appointed 2 young designers to
by the Board and the executive staff team.
work with the Young Board to develop a new graphic identity for Creative Learning at the New Wolsey Theatre. 15
CREATIVE LEARNING Scene Change In association with Mountview Academy of Theatre Arts and Graeae Theatre we presented a two-day intensive course for disabled and non-disabled 14-18 year olds with the support of University Campus Suffolk. We intend to launch an 18 month continuation of this project - subject to a successful ‘Grants for the Arts’ submission.
Write Now In partnership with Synergy Prison Theatre Project we appointed regional playwright Danusia Iwaszko (Menagerie Writer, and attached Writer to the National Theatre) to lead a 10-week play
Matt Harrison in No Ball Games. Photo: Mike Kwasniak.
writing course in Hollesley Bay Open Prison. The course culminated in a performance by
devise an original piece based on the evidence
professional actors of the work submitted by
gathered. The resulting play
the participants, held in the Prison. Some of
was then performed across the district, engaging
these plays also received professional rehearsed
over 3,000 young people and members of the
readings within the 2009 Pulse Fringe Festival.
community. This project was a considerable
Three of the writers are now being supported
success and we intend to repeat this model of
and developed by Synergy.
interaction.
No Ball Games We were commissioned by Babergh District
Westbridge Pupil Referral Unit, Montgomery Road, 4RCE Training
Council’s Community Safety Partnership to
These three projects supported by Suffolk County
deliver a series of workshops in target secondary
Council all successfully engaged with the Pre-NEET
schools to investigate the perspective of young
agenda. The Westbridge Project used theatre set
people on their perception as ‘Anti-Social’ - this
design model making as a mechanism to develop
was then followed up with a period of time to
and accredit key/life skills. Montgomery Road 16
CREATIVE LEARNING worked with a number of girls at risk to create a
Creative Apprenticeships, and with the support of
short performance exploring the issues affecting
Arts Council England, East we are also guiding
their perception and by association their
target staff towards the Train 2 Gain scheme.
aspirations. 4RCE Training provided some initial engagement for a group of BME young people,
We are in a strong position to contribute to the
using stage combat as a device to tell their own
artistic development of a range of individuals and
story and to increase their self esteem.
groups, to professionalising our sector through benchmarking, providing training opportunities
NSA/Creative Apprenticeships
and by offering our support as a resource and as
We are a founding member in the National Skills
a critical friend. It’s been a prolific and challenging
Academy Eastern Region Spoke. We also
year - an exciting time to be involved in Creative
committed to the national pilot scheme for
Learning at the New Wolsey Theatre.
(from left): Matt Harrison, Ricky Norwood and Laura Norman in No Ball Games. Photo: Mike Kwasniak. 17
COMMUNITY SEASON Our 2009 Community Season opened with The New Wolsey Young Company’s production of The Dice House, Paul Lucas’ irreverent black comedy inspired by Luke Rhinehart’s cult book The Dice Man. It played to an average occupancy of 77% and was warmly received by audiences. Suffolk Youth Theatre presented without a doubt their most accomplished and successful show to date, A Midsummer Night’s Dream, which achieved 75% occupancy and glowing reviews.
Members of the New Wolsey Young Company in The Dice House.
Suffolk Youth Theatre’s production of A Midsummer Night’s Dream. Photo: Mike Kwasniak. 18
COMMUNITY SEASON Four seasons presented Summertime Variety,
In early July, Appeal Theatre Group entertained
in support of Victim Support and with the
audiences with a week-long run of Thoroughly
sponsorship of Ipswich Rotary Club. This was
Modern Millie which achieved 79% occupancy.
closely followed by the Bangladeshi Annual
This was followed by The Gallery Players
Community Day which attracted a diverse
presenting Follies which was also popular,
audience to this important date in Ipswich’s
achieving average houses of 72%.
cultural calendar. The Revd Charles Mugleston presented a staged reading of The Ruba ‘lyat
of Omar Khayyam in aid of St Elizabeth’s Hospice and Black & White Productions presented Mr Dickens - Public Lives, Private
Passions, a new play by local writer Suzanne Hawkes. DanceEast presented two evenings of
High Voltage 9, a celebration of dance in the east of England, which achieved 69% occupancy. In June, The New Wolsey Theatre in association with the National Osteoporosis Society presented
The Professor and the Soft Machine as part of Youth Perform! Students from across Suffolk took part in this production over four evenings and the production was warmly received not only by the general public, the peers and families of the performers, but also by the many audience
The Professor and the Soft Machine. Photo: Mike Kwasniak .
members from the wider community who have been directly affected by the issues surrounding osteoporosis.
A Midsummer Night’s Dream . Photo: Name here.
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Publicity image for Lost Spectacles’ Lost in the Wind (Pulse Fringe Festival ’09). Photo: Rory Foster.
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PULSE FRINGE FESTIVAL The Pulse Fringe Festival 2009 was our most
“Recently, I travelled to Ipswich to attend the
successful ever, achieving average occupancy of
Pulse Festival; the contrasts between it and
78% and gaining recognition by the national as
Edinburgh were stark. For one, there was a
well as the regional press. A significant two-year
clear and manageable programme of events
investment in Pulse from an Arts Council England
so it was possible to see everything. The shows
East ‘Grants for the Arts’ award enabled the
themselves were a mix of former Edinburgh
festival to build on recent successes and in
Fringe hits (Paperweight, Lost in the Wind),
particular to raise the profile of regional artists as
early showings of work going to this year's
part of the Arts Council’s talent strategy strands
festival, local pieces, touring performances,
Escalator Performing Arts and Escalator East 2
works in progress, rehearsed readings, scratch
Edinburgh. Containing a vibrant mix of music,
performances and international work.
drama, rehearsed readings, comedy, visual arts, dance, poetry, a circus skills workshop, and site-
What was wonderful, though, was the sense
specific work, Pulse was selected as one of the
that the performances had been gathered
UK’s Top 50 Festivals by The Independent and
together by people who cared about them.
was favourably contrasted with the Edinburgh
There was none of the pile-'em-high, charge-
Festival Fringe by The Guardian’s Theatre blogger
'em-a-fortune mentality that seems to prevail
Andrew Haydon on the eve of Edinburgh 2009:
at some Fringe venues. As such, one attended each event with enthusiasm and interest rather than scepticism. Most valuably, by feeling able to put your trust in the organisers, you could see work that you might otherwise have never considered. Of the five shows I saw, it almost certainly wouldn't have occurred to me to see at least two of them. As it was, I probably had a richer, more varied and more satisfying programme than I remember any Fringe venue having given me, culminating with a performance
Publicity image for Top of the World’s Paperweight. Photo: courtesy of the company.
of Chris Goode's heart-wrenchingly beautiful
Wound Man and Shirley. 21
PULSE FRINGE FESTIVAL But I already knew I liked Goode's works, such as
Longwave and Hippo World Guest Book, so the real discovery of the weekend was the comic solo contemporary dance piece The Great
Escape, by Isobel Cohen. In 20 minutes, it managed to explain contemporary dance better than anything I've seen before, while at the same time being incredibly funny and beautifully performed. Happily, it's going on to Edinburgh as part of a quartet of pieces by Cohen's company, Helix Dance. Pulse serves its local constituency perfectly. It doesn't get, but nor does it need, much coverage from the national press. Of course, it could aim to expand, run each show for longer, seek to gradually turn every living room in Ipswich into a venue for student theatre and so on. By the same token, the Edinburgh Fringe Society could impose some sort of selection criteria, crack
Chris Goode in Wound Man and Shirley (Pulse Fringe Festival ’09). Photo: courtesy of Ric Watts & Queer Up North.
down on wily venue merchants turning every tea room into a performance space, and generally try to limit numbers. But, ultimately, Edinburgh wouldn't be the same glorious struggle and scene of spectacular, unexpected hits if it were better policed, and Pulse would lose the intimacy that makes it valuable if it tried to grow. In the end, the two festivals support one another, if at a distance, and both are invaluable to our theatre ecology.�
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AUDIENCE DEVELOPMENT Developing a Culturally Diverse Audience As hosts of Ipswich’s Chinese New Year Celebrations for several consecutive years,
to this popular event were from Black or Minority
The New Wolsey has developed strong links with
Wolsey is a co-founding member) presented a
the area’s Chinese communities. Our Cultural
hard-hitting drama documentary The Hounding
Facilitator has also played a key part in the
of David Oluwale which attracted a diverse
organisation and event management. The 2009
audience, 15% of whom were Black or Minority
Chinese New Year Celebrations attracted an
Ethnic in origin.
Ethnic backgrounds. Later in the month, The Eclipse Theatre consortium (of which The New
87% capacity audience, of whom over 17% were people from Black or Minority Ethnic groups. The New Wolsey has also been instrumental in facilitating the annual Bangladeshi Day, holding regular meetings throughout the year to ensure the smooth running of this important event in the area’s cultural calendar. At this year’s event, 92% of the 370-strong audience were Asian. In autumn 2008, The New Wolsey programmed
At the Gates of Gaza, a play by local writer Juliet Gilkes-Romero which examined life on the battlefront of World War II for a battalion of West
Daniel Francis in the title role of The Hounding of David Oluwale, Eclipse Theatre. Photo: Keith Pattison.
Indian volunteers fighting for the Empire. Over 20% of the audience for this production was Black or Minority Ethnic in origin. In March 2009, the Mayor of Ipswich and local faith communities invited members of the public to a Civic Celebration of the Community hosted by The New Wolsey. 53% of the audience 23
AUDIENCE DEVELOPMENT Increasing Access Provision
from the districts of Mid Suffolk, Babergh and
Throughout the year, The New Wolsey continued
Suffolk Coastal. This growing team of
to make significant progress in improving its
Ambassadors strengthens our links with people in
Access provision and in raising awareness of
these three districts and enables The New Wolsey
the increasing number of facilities available to
to deliver relevant and targeted messages to
enhance the experience of customers with
existing and emerging interest groups such as
particular Access requirements. These facilities
theatre-going groups, reading groups, sports
include increasing numbers of British Sign
clubs, mother and toddler groups et al.
Interpreted performances; Audio Described performances; ‘touch tours’; and Captioned
For several years now, since the inception of
performances. This work has been supported by
the scheme, The New Wolsey has been offering
‘See a Voice’, an initiative which aims to develop
free tickets to selected shows to Looked After
and broaden the programme of arts and cultural
Children and their families as part of Suffolk
events made available to deaf, deafened, hard
County Council’s ‘Freetime’ Scheme. During the
of hearing, blind and partially sighted audiences
year ending 31 March 2009, a total of 127
across England. During the year ending
‘Freetime’ tickets were given to people on the
31 March 2009, we had sold a total of 1,217
scheme, a clear indication of the success of the
tickets to disabled customers, almost 2% of
theatre’s ability in engaging with this group.
the entire sales for that year. As part of our commitment to integrate
Developing Suffolk Audiences
vulnerable adults and people with learning
Throughout the year we dispatched Audience
difficulties into the community, we have a number
Development Assistants to a number of ‘target
of mailing volunteers who are a key part of our
towns’ throughout Suffolk to raise the theatre’s
‘Friday Club’, a dedicated and growing team of
profile and to engage more closely with
volunteers who help us achieve a regular series
communities in these districts by talking to local
of mailings to assist the marketing department
people about the range of events and activities
throughout the year. During 2009, new members
offered by The New Wolsey. During 2009 we
have been recruited from Suffolk Coastal district
developed a new Ambassador Scheme in order
as well as Ipswich.
further to develop audiences and participants 24
ECONOMIC IMPACT STUDY For the year ending 31 March 2009, The New Wolsey Theatre’s total economic impact on
1 For 2008/09 The New Wolsey’s turnover was
£2,353,808.
the local economy was £6,174,792.
2 There were no overseas earnings in the year. This was calculated by using a formula which has been adopted by Arts Council England to show
3 Additional visitor spend is the money spent
how arts organisations contribute to the value of
by people attending the theatre to see a
the local economy, both directly and indirectly.
performance, over and above any money
Direct impact includes items such as purchases
spent on tickets or in the theatre itself, and
from local suppliers (catering suppliers, printers,
covers travel, accommodation (if visiting the
graphic designers etc.) while indirect impact
area specifically to go to the theatre), domestic
includes the additional spending that takes place
costs (e.g. babysitter) and any food or drink
by these local suppliers (e.g. spending more on
purchased outside the home. For 2008/09,
staff wages, other supplies that they in turn
the Additional Visitor Spend (AVS) per audience
purchase). All this expenditure builds up in the
member is approximately £4.30. During the
local economy and many other businesses (e.g.
year ending 31 March 2009, there were
coach companies, dry cleaners, florists) benefit
87,221 attendances so the overall additional visitor spend is 87,221 x £4.30 = £375,051.
economically too. The formula used to calculate the economic impact is: Economic impact = (1 Turnover + 2 Overseas
4 £901,673 was spent locally on resident staff wages during the year.
earnings + 3 Additional visitor spend + 4 Salaries + 5 Subsistence allowances + 6 Supplies purchased locally) x 1.5 (to take into account the
5 Subsistence payments to actors counted within item (4).
knock-on effect in the local economy).
6 Supplies purchased locally totalled £485,996.
25
53,504
86
OCC UPA NCY
TOTALS
103
%
196
TOTALS
Chinese New Year 1 The Pickwick Papers 1 The Bible (Abridged) 1 A Chorus of Disapproval 19 Under the Bed 2 Terry Jones’ Fairy Tales 2 Up for a Laugh 1 Whiter than Snow 6 Civic Celebration 1 The Hounding of David Oluwale 5 Animal Olympics 2 A Funny Valentine 1 Lord of the Flies 8 The Elixir of Love 1 The Titanic Show 1 Can Any Mother Help Me? 3 Boxin’ 1 Spyski 6 Jumping Mouse 2 Dennis Rollins 1 Trapped 1 Under 18 Comedy 1 The Charleston Chasers 1 Noise Ensemble 1 Billy Liar 7 The Red Balloon 4 Chimps 17 The Princess and the Pea 2 Three Men in a Boat 4
OCC UPA NCY
74 79 99 65 36 46 92 96 65 73 68 60 102 64 82 53 46 55 58 101 38 54 98 94
PRODUCTION
ATT END ANC E
7,950 474 184 519 284 183 2,576 179 1,811 292 268 483 407 257 326 630 182 220 230 402 152 217 32,417 2,959
SPRING 2009
PER FOR MAN CES
27 6 2 2 2 1 7 2 7 1 1 2 8 1 1 3 1 1 1 1 1 1 83 34
%
Little Shop of Horrors Potted Potter The Musicians of Bremen Humble Boy At the Gates of Gaza Yesterday Far from the Madding Crowd Little Red Hen Twelfth Night Nightmare Songs Elizabeth and Raleigh Ockham’s Razor Triple Bill Handa’s Surprise Under 18 Comedy Peter Sallis The Glory Years The Colony of Idiots Empirical The Overcoat State of Matter Grand Union Orchestra Up for a Laugh Cinderella Flyaway Katie
AUTUMN 2008
ATT END ANC E
PRODUCTION
PER FOR MAN CES
ATTENDANCE
346 395 398 7,113 180 181 159 989 170 757 176 280 2,242 248 398 633 277 1,575 176 222 93 194 392 400 2,169 737 2,411 183 856
87 99 100 94 97 97 40 41 43 38 95 70 70 62 100 53 69 66 95 56 23 49 98 100 77 46 35 98 54
24,351
63
Little Shop of Horrors Autumn ’08. Photo: Mike Kwasniak. 26
The Dice House A Midsummer Night’s Dream Summertime Variety Annual Bangladeshi Day The Ruba ‘iyat of Omar Khayyam Mr Dickens High Voltage 9 The Professor and the Soft Machine Thoroughly Modern Millie Follies
TOTALS
3 4 2 1
241 1,202 331 390
77 75 41 98
1
142
36
2 2
116 552
56 69
4
854
53
6 5
1,894 1,444
79 72
30
7,166
68
Jude Simpson, whose evening of performance poetry Making Happy was one of the sell-out events of Pulse ’09. Photo: courtesy of Jude Simpson.
Songs from a Hotel Bedroom 1 Lost in the Wind 2 Last One Standing & Les 1 Angles Morts No 5 1 Paperweight 5 The World’s Wife 1 Wolf 1 Springboard readings 2 The Snow Goose Diaries 1 Bully 1 The Caravan 25 Circus Theatre Workshop 1 Mississippi 1 The October Revolutions 1 Britain’s Best Mates 1 Tracker, Driven & I.D. 1 The Truth Is, I Can’t Stop 1 Telling Lies Write Now 1 Out Westgate 1 Two Bye Two & Cope 1 Bedroom Stories 1 Jude Simpson: Making Happy 1 The History of the 1 Pomegranate Horse 1 King of the Gypsies 1 Is Everyone OK? 1 Lovedrunk 1 Epiphany 1 The Great Escape & This is our Universe/Basic Dressing 1 You Are Here 1 Oh! What a Shitty War 1 Sound Journey 1 Dreamdance 1 The Adventures of Wound 1 Man and Shirley
TOTALS
64
% OCC UPA NCY
PRODUCTION
ATT END ANC E
PULSE FRINGE FESTIVAL 2009
PER FOR MAN CES
% OCC UPA NCY
PRODUCTION
ATT END ANC E
COMMUNITY SEASON 2009
PER FOR MAN CES
ATTENDANCE
77 140
73 66
71
36
80 95 103 96 92 98 78 161 7 90 98 102 73
100 100 97 91 77 92 74 81 35 113 92 96 37
92
87
39 85 65 70 103
37 80 61 83 97
45
54
54 78 97 70 38
51 93 115 66 95
67
63
79 101 84 86
94 95 100 102
151
76
2,910
78 27
MONEY Where it came from and how it was spent Income y/e 31/03/09
Expenditure y/e 31/03/09
(£2,353,808) Bar & Catering £131,621 5.6%
(£2,363,982) Core Grants £991,567 42.1%
Support Costs £630,795 26.7% Bar & Catering £131,621 5.6%
Other Grants £148,917 6.3% Donations £1,511 0.1%
Earned Income £1,080,604 45.9%
Operation of theatre £1,601,566 67.7%
Summary Financial Statements (Source: audited accounts)
Consolidated Statement of Financial Activities Income
y/e 31/03/05
y/e 31/03/06
y/e 31/03/07
y/e 31/03/08
y/e 31/03/09
General Core Grants Arts Council England, East Suffolk County Council Ipswich Borough Council Suffolk County Council Children and Young People Sub-total Core Grants
£538,568 £138,330 £88,160 £31,300 £796,358
£552,033 £138,330 £88,160 £32,100 £810,623
£587,763 £138,330 £90,100 £32,900 £849,093
£603,927 £138,330 £92,000 £33,700 £867,957
£723,927 £141,100 £92,000 £34,540 £991,567
Earned Income (ticket sales, touring income, rentals, interest & auxillary income) Donations, Gifts, Legacies Grants for Specific Purposes Bar and Catering
£974,598 £335 £347,278 £118,334
£991,403 £9,575 £668,628 £127,862
£903,258 £40,287 £803,251 £110,774
£1,015,612 £15,040 £372,214 £125,068
£1,080,604 £1,511 £148,917 £131,209
£2,236,903
£2,608,091
£2,706,663
£2,395,891
£2,353,808
Operation of Theatre Support costs (governance, management, administration, fundraising & publicity) Bar and Catering
£1,548,105 £480,668
£1,851,610 £505,548
£1,974,728 £515,272
£1,635,972 £1,601,566 £610,014 £630,795
£116,376
£121,555
£111,607
£126,118
£131,622
TOTAL
£2,145,149
£2,478,713
£2,601,607
£2,372,104
£2,363,982
at 31/03/05
at 31/03/06
at 31/03/07
at 31/03/08
at 31/03/09
£385,888 £590,495 (£218,541) £371,954 £757,842
£655,339 £586,283 (£378,724 ) £207,559 £862,898
£647,995 £550,562 (£311,872 ) £238,690 £886,685
£654,694 £581,422 (£359,605) £221,817 £876,511
TOTAL Expenditure
Consolidated Balance Sheet Fixed Assets Current Assets Current Liabilities Net Current Assets Total assets less current liabilities
£139,498 £722,291 (£233,325 ) £488,966 £628,464
Directors Statement These summarised financial statements have been extracted from the full audited accounts. The accounts for y/e 31/03/09 were approved on 3rd November 2009 and will be submitted to Companies House and the Charity Commission. For further information, the full annual report, financial statements and auditors' report for y/e 31/03/09 can be obtained from Companies House or the Charity Commission.
David Edwards, Director, 18th November 2009. 28