ANNUAL REPORT 2010
BOARD OF DIRECTORS
STAFF
Kirsty Ellem, Chair Andrew Gun, General Secretary Tom Gutteridge David Hanrahan Johanna Platt, Treasurer Richard Roberts Julia White, Deputy Chair
Simon Abrahams Executive Producer/co-CEO Sue Giles Artistic Director/co-CEO Fleur Brett Finance Officer Adi Diner Program Manager (from July) Catrionadh Dobson Development Manager (until July) Scott Dunsdon Administration Assistant (casual) Mandy Field Program Manager (to July) Bindi Green Venue and Production Manager (to July) Debby Maziarz De Development Manager (from July) Shalini Nair Na Administration and a Marketing Manager Erena Norgard Program Assistant (from June) Polyglot Theatre’s Public Relations is provided by Tatia Slolely, TS Publicity Publici Website design and development sponsored by webprophets.net.au Polyglot Theatre is represented in North America by Laura Colby, Colby Elsie Management, New York
Polyglot ignites children’s imaginations, everywhere from tiny Australian country towns to the world’s leading centres for the arts.
OUR MISSION
FEED THE ART
Placing kids at the heart of our art, Polyglot creates interactive works which explore the relationship between children’s play and theatrical experience.
Feed The Art is Polyglot’s model for appraising, critiquing and valuing our work, creating and fostering a holistic culture of outstanding theatre making. In 2010, Feed The Art again included the following five steps:
POLYGLOT’S VALUES
• Accessibility to our audiences in price,
• Children’s input engaged throughout
•
• Connection with peers through
• • • • • • •
place and process Collaboration with children and peers in our creative processes, encouraging partnerships Diversity of audiences and participants, activity and income Excellence in process, production, performance and operations Innovation in our work to enable discovery of new theatrical forms Playfulness in artistic discovery and in operations, having as much fun as possible in the process Resourcefulness in order to make seemingly impossible things happen Respect for our artists, audiences, colleagues, and for the insights of children Sustainability of operations, of artistic work and of the planet
the creative process
• • •
conversation, seeing work, and artistic exchange. Catalyst artists who contribute new ideas to provide provocation and push the artform development throughout the creation process Criticism through invited external responses from experts who look at our work with a specialised lens Continual improvement is sought through ongoing skills development and a commitment to excellence, so we never stop learning. Feed The Art is a major component of Polyglot’s Artistic Vibrancy model, designed to assess the quality, relevance and success of our artistic program.
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The veteran children’s troupe are masters of interactive play. Paola Totaro, The Age, 7 July 2010
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ANNUAL REPORT 2010
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ABOUT POLYGLOT
Polyglot is an internationally renowned and award winning company which makes experiential, interactive and installation theatre where children take an active part in the creation of imagined worlds. This vision is a long way from Polyglot’s inception 33 years ago. Polyglot was founded in Victoria in 1978, with a puppetry performance touring to primary schools with the aim of promoting respect for other cultures. Now, our artists explore children’s play as the central tenet of theatrical and multidisciplinary artistic works. Inspired by the artistry of children, and viewing them as collaborators, we facilitate a professionally led artistic process to create interactive works for children aged under 12 and their families where audiences actively participate in performance through touch, play and encounter. At Polyglot, theatre is child’s play. Our program of works combines visual arts and performance experiences to create physical environments which invite the audience’s active involvement: a miniature town of houses open for inspection, an enormous interactive game, a compound of cardboard boxes where children can construct their ideal city. Moving beyond audience participation, our works are experiential, tangible and wholly immersive. We seek to challenge, to foster curiosity, to inspire, and to encourage children to take responsibility for themselves in the imagined worlds that are created through the theatrical experiences presented.
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ANNUAL REPORT 2010
From its fledging and formative years in the late 1970’s, Polyglot is now one of Australia’s leading children’s theatre companies. Our performances have toured the United States, England, Ireland, Scotland, Singapore, China, Hong Kong and Korea, all the while igniting children’s imaginations everywhere from tiny Australian country towns to the world’s leading arts centres. Under the artistic direction of Sue Giles and with the entrepreneurial leadership provided by co-CEO Simon Abrahams, 2010 saw Polyglot’s most ambitious and farreaching program to date. We created two new works and toured to seven countries with seven different works. With the retirement of our hardworking and inspirational chair Kirsty Ellem scheduled for early 2011, the next stage of the Polyglot journey begins.
POLYGLOT THEATRE INCOME 2010 BUSINESS RELATED INCOME PROJECT GRANTS
CORE GRANTS
5% 24%
20%
23%
21% 7%
SPONSORSHIP AND FUNDRAISING
EARNED INCOME (AUSTRALIA)
EARNED INCOME (INTERNATIONAL)
CHAIR’S REPORT
In this my final report as Polyglot Chair I would like to look not just at the year just passed but also at the significant transformation that the company has undertaken since I joined the Board.
the greatest of thanks to the partners who support Polyglot as individuals or organisations that share our view of the importance of children’s creativity and work with us to achieve it.
Polyglot has honed its entrepreneurial nous, has become a company that takes risks and is growing; it has built partners, advocates and has taken a new and fresh look at what art it makes, how it makes it, who it’s for and why it’s engaged in creativity. Polyglot has firmly staked its leading place in making interactive work for and with children that fosters creativity.
I hope to see you tangled in a web, building a city, puzzling something out or pondering the sky as you engage in the new projects that Polyglot will bring to you in coming years.
I continue to be inspired by all the people who make up Polyglot, from the leadership of Sue Giles and Simon Abrahams, the creative and operational teams and the Board whom have all been part of a transformation of the company. The artists of Polyglot are the centre of the company and make the extraordinary and wonderful experiences which transform, without you there is no Polyglot – thank-you!
Kirsty Ellem Chair, Polyglot
Polyglot influences the lives of thousands of children and their families every year. From relationships that over a long period foster individual children’s and communities’ creativity to participative experiences that invite children into a new world or experience. Polyglot now reaches children close to home and all over the world. The company continues to be recognised for its innovation, most recently by the Australian Business Arts Foundation in winning the National AbaF Giving Award. Congratulations to the Polyglot team,
ANNUAL REPORT 2010
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CEOS’ REPORT
The year 2010 saw Polyglot really take flight – both figuratively and literally – with the most ambitious and far-reaching program to date. We created two new professional works, undertook a major community residency, and toured to seven countries with seven different repertoire works. Our new works, City of Riddles, Wild Things: Outback and Our Place each took the company’s motto that theatre is child’s play to their very core. Our artistic vision was played out with considerable success with our artists and audiences embracing the company’s move to interactive and experiential performance across our tours to regional and metropolitan Victoria, throughout Australia and in China, Korea, Taiwan, England, Ireland, Scotland and America. Continuing our rigorous commitment to developing new work, we continued to explore new territory with creative developments of two ambitious new works, Tangled Web (to premiere in 2011) and How High The Sky (to premiere in 2012). Our commitment to sharing our work with children everywhere from tiny Victorian country towns to the world’s leading arts centres was certainly played out to dramatic effect in 2010. We developed a beautiful installation in collaboration with the bushfire-affected Healesville community. Our new work City of Riddles premiered at Wycheproof Primary School in Victoria’s North West, while our worldwide smash hit We Built This City toured to the Royal National Theatre as part of London’s International Festival of Theatre in what was the most significant tour in the company’s
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ANNUAL REPORT 2010
33 year history. In recognition of the overwhelming demand for Polyglot’s work in North Asia – where Check Out! toured to the most prestigious theatres and festivals in Korea and Hong Kong – we developed a new roving act especially for this market, which premiered at the World Expo in Shanghai. Polyglot is well and truly on the map. We continue to grow in size and reputation and we are proud to be recognised for our recent achievements, particularly through our wins at the Australian Business Arts Foundation Awards at both state-level and nationally. We recognise Web Prophets with whom we shared the Victorian Award for our arts-business partnerships, as well as Miss Betty Amsden OAM, Patron of our Ambassadors’ Circle which was recognised nationally, for their extraordinary commitment to Polyglot. Another highlight of the year was the announcement of Polyglot being listed amongst Arts Hub’s Top Ten Australian Arts Leaders of 2010. This was even a significant achievement as we were the only inclusions from the theatre industry.
Our thanks as always are due to our tireless staff and Board for their hard work, dedication and passion. We want to pay particular tribute to Kirsty Ellem who leaves the Polyglot Board after four years, threeand-a-half as Chair. Kirsty has seen the company through some of the most challenging and exciting years in its history with humour, care and strong vision – we will miss her greatly, but know that she will stay close to the company. This year Mandy Field and Bindi Green moved on from Polyglot after several years of dedicated work – we know that they, too, will not stray too far. In conclusion, we would like to take this opportunity to express our sincere thanks to all our patrons, donors, supporters, funders, artists, crew, volunteers, presenters, audiences, partners and friends. Mostly, we would like to thank the children all over the world who we worked with throughout 2010, for continuing to inspire us with the simplicity of their play and the complexity of their ideas and for reminding us – despite the rigours of artistic process and struggles of fundraising – that theatre is indeed child’s play.
Simon Abrahams, Executive Producer/ co-CEO
Sue Giles, Artistic Director/ co-CEO
ANNUAL REPORT 2010
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YEAR IN REVIEW
In 2010, Polyglot performed 157 performances of seven works, created two new works, facilitated one community engagement project, undertook three creative developments and led 133 workshops, reaching a total of 105,872 people in seven countries. Polyglot went from strength to strength SOME OTHER 2010 in 2010, highlighted by the naming of HIGHLIGHTS INCLUDED Simon Abrahams and Sue Giles amongst • We Built This City performed at Royal Arts Hub’s Top Ten Arts Leaders of 2010. National Theatre as part of London’s We were the only inclusion nationally from International Festival of Theatre, UK a theatre company. We also celebrated our and at Macrobert Centre, Scotland, UK great success at the AbaF Awards, where we were recognised as both the Victorian • We Built This City selected for International State Winner and then the National Winner Performing Arts for Youth Showcase, Pittsburgh, USA of the Australian Business Arts Foundation (AbaF) Giving Award for the success • Check Out! performed at Hong Kong of the Polyglot Ambassadors’ Circle. International Arts Carnival, China • Tooth & Claw and Check Out performed Polyglot also took out the AbaF SME at National Theatre of Korea Award for our partnership with Web Prophets as Victorian State Winner • New work Wild Things: Outback and National Finalist. commissioned for the World Expo, Shanghai, China We are also proud to have delivered • New work City of Riddles premieres such an ambitious artistic national in Regional Victoria and international program in 2010. • Executive Producer Simon Abrahams invited as a special guest panellist as part of the LIFT Festival at the Institute for Contemporary Art, London.
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Polyglot demonstrates that even small organisations in a niche market can, with strong leadership and a strategic approach, achieve great success Jane Haley, CEO, Australian Business Arts Foundation from the Weekend Australian Review, 23–24 October 2010
ANNUAL REPORT 2010
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ANNUAL REPORT 2010
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CITY OF RIDDLES DLES
City of Riddles is a 360-degree interactive theatre experience requiring hands-on participation from its audience, who are surrounded by puzzles to be solved and instructions to follow. City of Riddles is above, below and all around you! Upon entry, the audience explores a mysterious and atmospheric landscape of little buildings, peering inside each one like giants in a miniature world. From there, the landscape changes and changes again, until everyone is drawn into the story of a girl whose voice is stolen and buried deep under the City of Riddles. Deeply involving and heaps of fun, City of Riddles explores the preoccupation with our own space, the concepts of freedom and control and the joyous power of children. Throughout 2010, we worked with children from Dinjerra Primary School in Braybrook on character and story structures and their artwork features in the final project, including an animation piece made from their drawings. Our artists worked continually to develop the project through a series of creative developments, which have included consulting with children from Dinjerra, Whittingon Primary School, Healesville Primary School and Badger Creek Primary School alongside local partners Stonnington Primary School, Malvern Central Primary School, our own Kids Creative Committee and four local Frankston schools. Regional Arts Victoria was our touring partner for the schools tour and Frankston Arts Centre hosted the theatre rehearsal at the Cube, where we invited local schools to test run the show and help us solve the final moment.
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ANNUAL REPORT 2010
KEY ARTISTS Creative Collaborators: Children from Whittington, Dinjerra, Healesville and Badger Creek Primary Schools Director: Sue Giles Designer: Daniele Poidomani Sound Designer: James Wilkinson Lighting Designer: Richard Vabre Performers/Co-Devisors: Tamara Rewse, Jacob Williams, Hung Le, Christian Bagin Production Manager: Amy Bagshaw Dramaturgy: Kate Denborough, Julianne O’Brien This project was independently evaluated by Dr Ricci Jane Adams from the University of Melbourne, who noted a number of very positive outcomes on the children involved in the project. Workshops: 9 Performances: 17 Total Participants: 440 Total Audiences: 2,141
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Collaboration with (Polyglot’s) professional artists gave the students a sense of esteem and individual worth. Dr Ricci Jane Adams
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If there was 10 out of 10, I would give it 10 Student
As teachers, we enjoyed the unique interactive quality of the play and found it fascinating to watch the students’ reactions to the lack of instruction and the different way of communicating. Teacher
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ANNUAL REPORT 2010
WILD THINGS: OUTBACK
Polyglot was commissioned by the Australian Pavilion at the World Expo in Shanghai, China, to develop a new roving act based on Polyglot’s successful Wild Things series. Three new characters were created: Precious, an inquisitive Emu; Rocky, a sleepy Koala; and Ned a friendly Pelican. The work was created especially for the Asian market and following their premiere at the World Expo, the new Wild Things toured to Taiwan for a successful appearance.
PERFORMANCE DETAILS China – Shanghai World Expo 27 Sep – 9 Oct Performances: 36 Total Audience: approx. 76,200 Taiwan – Khaosiung International Puppet Festival 11 – 15 Nov Performances: 8 Total Audience: approx. 2,750
KEY ARTISTS Director: Sue Giles W Puppet Makers: Graeme Davis, Tim Wells an Goronzsy, Mischa Long Performers: Dan (Shanghai only), Keira Lyons (Taiwan only), Lachlan MacLeod
ANNUAL REPO REPORT 2010
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OUR PLACE – THROUGH THE EYES OF A CHILD In 2010, Polyglot and the Shire of Yarra Ranges teamed up again after 2009’s successful Wish Street installation to create Our Place – Through the Eyes of a Child, a bushfire recovery project in Healesville. The Shire of Yarra Ranges had identified this community bushfire program as one that would build connection and focus on the idea of families and belonging in their region for people affected by the February 2009 fires.
KEY ARTISTS
Our Place was a 10-week workshop process from 17 July to 18 September 2010, where parent/child couples met every Saturday morning for a session together with the Polyglot artists to generate visual ideas of people in different environments, ideas of identity and connection. True to the Polyglot artistic rationale, the work followed the child’s view of things, allowing space for the children to lead the parent in this exploration and for both to be valued as equal members of the creative team.
Number of Workshops: 10 Number of Exhibitions: 1 Total Participants: 159 Total Audience: 62
This cross-generational project resulted in the creation of a beautiful installation in the Memorial Hall in Healesville, transforming this utilitarian space into something that the community could explore and walk through. The installation fe featured the creations of 10 pairs of child and parent p participants.
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ANNUAL REPORT T 2010
Concept Director: Jessica Wilson Visual Artist: Lisa Frankland Sound Designers: Madeleine Flynn and Tim Humphreys Project Manager: Dan Goronszy
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…a unique creative process resulting in the beautiful exhibition of installations.
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Kath Gannaway, Mountain Views Mail, 14 Sept 2010
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The workshop was successful in providing a childled creative process that impacted positively on the creative confidence of the child (and adult) participants. This was achieved by allowing the child to feel empowered in both structured and free engagement with their individual creative expression. Dr Ricci-Jane Adams – Independent Evaluation Report
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ANNUAL REPORT 2010
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HOW HIGH THE SKY – CREATIVE DEVELOPMENT How High The Sky is an immersive interactive theatrical experience which aims to re-frame the unique relationship between a parent and their new child. This creative development between the artists was intense and productive, with the concepts of separation and respect being explored in a playful environment. Theatre for the Very Young is a fascinating area which not only challenges theatre itself but the very idea of being human. This is a delightful and fascinating project that has benefitted from a creative team who could conceptually and intellectually delve deep to create something new for this age group (0 –12 months). Funding support for this project was gratefully received from The Arts Centre and a private donation from Daniel and Danielle Besen through Polyglot’s Ambassadors’ Circle How High The Sky moves into the next stages of creative development in 2011.
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ANNUAL REPORT 2010
KEY ARTISTS Co-Directors: Sue Giles and Jessica Wilson Designer: Anna Tregloan Sound Designers: David Franzke and Russell Goldsmith Lighting Designer: Andrew Livingstone Performers /Tutors: Emily Tomlins, Nick Barlow, Sarah Kriegler Number of Workshops: 5 Total Participants: 184
ANNUAL REPORT 2010
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TANGLED WEB
We undertook further design and testing behind our Tangled Web concept, settling on a design featuring 24 golden poles set into six bases. Tangled Web is a huge, messy, fun, interactive elastic weaving event created live by children and their families. It’s part mass visual arts installation, part performance, part play ground, part dance party and all chaos. The children of Stonnington Primary School tested the concepts when we set up a version of the work in their playground, brainstormed ideas and possibilities with the creative team, and designed sculptures out of twisted wire, for Polyglot’s artists to build as part of the final presentation. The art and visual design of the piece has come from the simple sculptures the children created, made large by our professional team; a satisfying result of the process we undertook. Tangled Web premieres at Artplay in Federation Square as part of the 2011 Moomba Festival.
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ANNUAL REPORT 2010
KEY ARTISTS Concept and Director: Sue Giles Sound Design: Ania Reynolds Construction Design: Michael Baxter Number of workshops: 2 Number of participants: 51
2010 REPERTOIRE TOURS
ANNUAL REPORT 2010
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CHECK OUT!
Check Out! performed two significant international tours, at the National Theatre of Korea and Nowon Theatre in Seoul, and at the Hong Kong International Arts Carnival. Check Out! is a wickedly funny work of theatre about the consumer culture bonanza. Set in a supermarket, Check Out! is fast paced and physical, with a very funny and ever-so-scathing take on parent / child relationships and the market power invested in children. A return Melbourne season at Monash University celebrated our international success.
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Their message on the perils of overconsumption couldn’t be more relevant than in present-day Hong Kong. Leeza Mangaldas, Time Out HK, 4 Aug 2010
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KEY PERFORMERS Korea performers: Mischa Long, Bruce Paterson, Beth McMahon Hong Kong & Melbourne performers: Christian Bagin, Bruce Paterson, Justine Warner Stage Managers: Bindi Green (Korea, Hong Kong), Michael Carr (Melbourne) Production Managers: Michael Carr (Hong Kong), Michael Jankie (Korea)
KOREA Performances: 9 Audience numbers: 2,812
HONG KONG Performances: 7 Audience numbers: 1,735
MELBOURNE Performances: 6 Audience numbers: 1,103
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ANNUAL REPORT 2010
WE BUILT THIS CITY
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Happiness can be found in the simple things. Bruna Tapper, UK
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We Built This City is an interactive play KEY ARTISTS space for families made entirely out of 2010 Performers: Simon Abrahams, Megan cardboard boxes which celebrates absolute Cameron, Dan Goronszy, Mischa Long, Lachlan simplicity and the power of children’s MacLeod, Keira Lyons, Heath McIyvor, Jodee imaginations. As extraordinary as ever, Mundy, David Pidd, Glen Walton, Justine Warner We Built This City continued to be Production Managers: Paul Lim, Bindi Green Polyglot’s showcase piece in Australia and around the world. In January, we took We UK TOUR Built This City to the Pittsburgh Children’s • Stirling – Macrobert Arts Centre Theatre as part of the International Performing Arts For Youth Showcase, USA. • Carlisle Cumbria – Lakes Alive! Festival As part of our season in Pittsburgh, we ran • London – National Theatre (Part of LIFT, London Festival of Architecture a series of workshops with children from and Watch This Space festivals) the CAPA Performing Arts School. • Dublin, Ireland – Draiocht Theatre A highlight of the year came with the Performances: 28 announcement of our inclusion in a UK and Audience numbers: 4,053 Ireland tour, including the most prestigious tour in Polyglot’s 32 year history: inclusion in the program at the Royal National CITY OF KNOX Theatre as part of the London International Ferntree Gully Reserve Festival of Theatre, Watch This Space Performances: 4 Festival and the London Festival of Audience numbers: 1,440 Architecture. The tour also included performances at the Macrobert Centre in BENDIGO EASTER FESTIVAL Stirling, Scotland (a specialised children’s Performances: 4 performance centre), at the Lakes Alive Audience numbers: 1,221 festival in Carlisle Cumbria (northern England) as part of the Cultural Olympiad, and a season at the Draiocht Theatre in Dublin, Ireland. Seasons in Victoria were also held at the rntree Gully and at the Knox Festival in Ferntree stival. Bendigo Easter Festival.
ANNUAL REPORT 2010
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MUCKHEAP
THE BIG GAME
Funny, fast and fantastically messy, Muckheap is a tale of two people trying to clean out their shed. In the process, they find everything they thought was junk is too interesting, useful or too full of memories to throw away. Now in its tenth year of continuous touring, this tour featured cast members who have toured the show many times before. Preparations began for the 2011 plan to celebrate the tenth anniversary of Muckheap with new productions in Chinese and in Auslan.
G i a gigantic, gigantic fun interactive The Big Game is performance and play space for families. A live excerpt was presented at the Australian Performing Arts Market in Adelaide for national and international delegates.
KEY ARTISTS 2010 Performers: Keira Lyons, Justine Warner Production Manager: Bindi Green Chapel off Chapel Theatre Federation Square – BMW Edge Theatre Performances: 15 Audience numbers: 4,682
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Very good, exactly what the kids can relate to without turning on the TV and games. Joseph Dinh
ANNUAL REPORT 2010
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KEY ARTISTS Director: Sue Giles Performers: Jacob Williams, Sarah Kriegler, Mandy Field Performances: 1 Audience numbers: 150
ROVING RO ACTS
PUPPETRY WORKSHOPS
Polyg Polyglot’s roving performances brings iinteractive t ra puppetry up close to huge audiences, displaying the engaging nature of the artform and the power of intriguing images in public spaces. The roving shows feature dinosaurs and animals from Australia and the world that engage with the general public through a combination of actor and puppetry performance.
Polyglot runs puppetry workshops in schools and at community events and festivals, encouraging creativity through hands-on experiences. In 2010, we developed two new workshops: a teacher professional development workshop called Unleash The Beast: Uncovering Building Blocks to the Imagination, and an installation-based workshop called Classroom Blitz.
KEY ARTISTS
KEY ARTISTS
Puppet Designers: Graeme Davis, Katrina Gaskell, Philip Millar
2010 Tutors: Christian Bagin, Nick Barlow, Penelope Bartlau, Michael Bevitt, Megan Cameron, Merophie Carr, Conor Fox, Roland Fraval, Sue Giles, Dan Goronszy, Sarah Kriegler, Mischa Long, Keira Lyons, Lachlan MacLeod, Jodee Mundy, Tamara Rewse, Kirsty Russell, Emily Tomlins, Glen Walton, Justine Warner, Jacob Williams.
2010 Performers: Nick Barlow, Penelope Bartlau, Megan Cameron, Dan Goronszy, Sarah Kriegler, Keira Lyons, Mischa Long, Lachlan MacLeod, Bruce Paterson, Justine Warner, Jacob Williams. Performance Outcomes: Albury Botanical Gardens, Kingswood College, Shepparton Maude Street Mall, Waverley Gardens Secondary College, Williamstown Botanic Gardens.
Puppetry Workshops: 133 Participation numbers: 4,022
Performances: 17 Audience numbers: approx 2,010
ANNUAL REPORT 2010
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AMBASSADORS
Polyglot’s Ambassadors’ Circle is an annual giving program supporting Polyglot’s artistic works. The program was launched on 12 December 2009. Donations support Polyglot’s artistic projects and are fully tax deductible. Miss Betty Amsden OAM is Patron of Polyglot’s Ambassadors’ Circle.
POLYGLOT’S AMBASSADORS’ CIRCLE City Benefactor $10,000+ Betty Amsden OAM Daniel and Danielle Besen Town Ambassador $5,000 – $9,999 David Hanrahan, Anonymous (1) House Ambassador $1,000 – $2,499 Kirsty Ellem, Greg Shalit and Miriam Faine Box Ambassador $200 – $999 Anonymous (1), Robina Burton, Tom Gutteridge, Damien Hodgkinson, Joan Morgan and Richard Roberts, Fairlie Nassau, Johanna Platt, Naomi Tippett, Fiona Wahr and Julian Pocock, Julia White
SUPPORTING DONORS Simon Abrahams, Jane Haley, Miss Betty Amsden OAM and Sue Giles
Special thanks to our supporting donors in 2010 for their kind and valued gifts:
Polyglot’s Ambassadors’ Cricle won the AbaF Giving Award 2010
Barbara Allen, Celine Bowler, Claire Issacs, Rod Oaten, Naomi Nicholson, Ann Tonks
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My role as Patron of Polyglot’s Ambassador Circle is very important to me. I passionately believe all children deserve an opportunity to develop their creative sides and Polyglot fulfils that need through the integrity of their artistic programs. I am personally pleased to support Polyglot Theatre and I urge you to join me. Miss Betty Amsden, OAM
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ANNUAL REPORT 2010
THANK YOU
Fenn Gordon, Ellen Dwyer and Lyn Wallis at the Australia Council
Julia Topliss, Ivan Grynenko, Jim Koutsouris and Amber Henry at Web Prophets
Vivien Allimonos and Rita Fitzpatrick at Australia House, London
Damien Hodgkinson
Tim van Nooten
Bo-Young Lim and the staff at the Australian Embassy, Korea
Jessica Wilson
Ricci-Jane Adams
Gavin D Andrew Joseph Alessi, Katherine Tsai and Juliet Woo at Austrade
James O Lucas
Michelle Armstrong, Amanda Browne, Fay Chomley, Julie Cotter and all at Arts Victoria
Amy McCallum and all at the Macrobert Centre, Scotland
Betty Amsden OAM
Emer McGowan and all at Draiocht, Dublin
Emily Atkins and Lindy Allen at Regional Arts Victoria
Halcyon Macleod
Paul McGill and Jane McGill
Carol Gafen
Mark Ball, Erica Campayne, Emilie Gale, Pete Staves and all at LIFT Festival, London
Vicky Guglielmo
Robin Batt and Merryn Tinkler at the Frankston Arts Centre
Tony Ovadia
Hannes Berger, Emer Harrington, Robin Penty at the Arts Centre Daniel and Danielle Besen Nicole Beyer at Theatre Network Victoria Merophie Carr Michael Carr Laura Colby, Sabine Dabady and all at Elsie Management in New York
Jodee Mundy Julieanne O’Brien Jonothon Oxlade Jan Panettieri
Peter Redden Tony Reekie and Rhona Matheson at Imaginate, Scotland
Kate Denborough
Anna Schoo
Mania Diner
Jeremy Shine, Jenny Graham and Jan Shorrock in Manchester, Kendall and Carlisle, UK
Jane Gronow Karl Hatton at the Portland Arts Centre Ann Henshall at the Capital, Bendigo Michael Jankie at Trafficlight
Thank you everyone!
The staff of Pink Ginger for delicious sushi, except for the weird tandoori chicken ones
Jason Cross
Samantha Fredericks at Blaze Solutions Group
Thanks to all of our nonPolyglot family and friends for supporting us, forgiving our absences and helping us find the playfulness in the rest of our lives. We would also like to sincerely thank and acknowledge the support our many volunteers who generously give their time to support the company and Teachers from Whittington, Dinjerra, Healesville and Badger Creek, Currajong and Stonnington Schools.
Ian, Rosie and Zak Pidd
Adam Seaman and Jim Hosfield at As Described, London
Alex Desebrock
Trevor Wight and Michelle Wild at Strange Fruit
Tatia Sloley, Mary Thompson, Lucy WaldronBrown at TS Publicity Simon Spain Boomer Stacey and all at International Performing Arts For Youth Ann Tonks ANNUAL REPORT 2010
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DIRECTORS’ DECLARATION AND AUDITOR’S REPORT Polyglot Puppet Theatre Ltd. ACN: 005 118 052
Directors’ declaration The directors have determined that the company is not a reporting entity. The directors have determined that this special purpose financial report should be prepared in accordance with the accounting policies outlined in Note 1 to the financial statements. The directors of the company declare that: 1. the financial statements and notes, presents fairly the company’s financial position as at 31st December 2010 and its performance for the year ended on that date in accordance with the accounting policies described in Note 1 to the financial statements. 2. in the directors’ opinion there are reasonable grounds to believe that the company will be able to pay it’s debts as and when they become due and payable. This declaration is made in accordance with a resolution of the Board of Directors.
Kirsty Ellem Dated 16th March 2011
Johanna Platt
Independent audit report to the members of Polyglot Puppet Theatre Ltd. Scope We have audited the attached financial statements and the Statement by Directors for the financial year ended. The company’s directors are responsible for the preparation and presentation of the financial statements and the information they contain. We have conducted an independent audit of these financial statements in order to express an opinion on them to the members of the company. 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 Australian accounting concepts and standards and statutory requirements, so as to present a view which is consistent with our understanding of the company’s financial position and the results of their operations. The audit opinion expressed in this report has been formed on the above basis. Audit opinion In our opinion, the financial statements of Polyglot Puppet Theatre Ltd. are properly drawn up: (a) so as to give a true and fair view of: (i) the state of affairs and the profit of the company for the financial year ended 31st December 2010 (ii) the other matters required by Divisions 4,4A, and 4B of Part 3.6 of the Corporations Law to be dealt with in the financial accounts (b) in accordance with the provisions of the Corporations Law; and (c) in accordance with the Statements of Accounting Concepts and applicable Accounting Standards.
Ivan Clyne BCom(Hons), GDip(Sec), MTax, FCa, ACis. Chartered Accountant 99 Canterbury Road, Blackburn
Dated 16th March 2011
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ANNUAL REPORT 2010
INCOME STATEMENT FOR THE YEAR ENDED Polyglot Puppet Theatre Ltd. ACN: 005 118 052 31st December 2010 2010
2009
Income Earned Income Box Office Contract Fees Theatre Hire Income International Contract Fees Reimbursements Sundry Income Workshop Fees Royalties Grants Australia Council Arts Victoria Local Government Grants Philanthropic Trusts Other Grants Other Income Donations Interest Earned Corporate Sponsorship Auspice
0 147,916 15,282 192,566 12,358 2,145 54,937 471 36,650 163,975 46,820 75,000 30,867 44,495 13,861 10,000 0
425,675
1,481 256,120 60,273 53,874 22,027 5,420 68,450 3,400
471,045
353,312
32,437 165,816 52,800 0 9,120
260,173
68,356
80,226 4,032 9,091 4,337
847,343
Total Income
97,686 828,904
Less expenses Administration Administrative Overheads Salaries, Fees and On costs Auspice Marketing & Promotion Marketing Costs Production Costs Production Costs Salaries, Fees and On costs Total expenses Operating surplus for the year
63,938 352,371 0
416,309
80,987 248,289 4,508
33,509 169,550 227,246
396,796 846,614 $729
333,784 39,672
137,556 234,041
371,597 745,053 $83,851
The accompanying notes form part of these financial statements
ANNUAL REPORT 2010
25
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS Polyglot Puppet Theatre Ltd. ACN: 005 118 052
1. Statement of accounting policies
2. Principal activities
Special purpose financial report The financial statements being a special purpose financial report, have been prepared to meet the information need of the directors and other closely associated interested parties.
The company provides a children’s educational theatre.
The company has applied Accounting Standard AASB 1025 “Application of the Reporting Entity Concept and Other Amendments”. Since the directors consider the company is not a reporting entity as defined in AASB 1025, the company is not required to comply with other Accounting Standards. The financial statements have been prepared in accordance with the accrual basis of accounting as defined in AASB 1001, applicable Accounting Standards and Urgent Issues Group Consensus View, except for: AASB 1005 “Financial Reporting by Segments”. AASB 1010 “Accounting for the revaluation of Non-Current Assets”. AASB 1017 “Related Party Disclosures”. AASB 1026 “Statement of Cash Flows”. AASB 1028 “Accounting for Employee Entitlements”. The above Accounting Standards have not been complied with since the directors consider the cost of compliance would outweigh the benefits to members of the resulting information and that non-compliance with those standards does not affect the truth and fairness of the financial statements. The financial statements have been prepared on the basis of historical costs and do not take into account changing money values or, except where state, current valuations of non-current assets. The accounting policies have been consistently applied, unless stated otherwise. Summarised below are the significant accounting policies and methods adopted which have been consistently applied by the company, unless otherwise stated.
3. A) Capital grants The treatment of capital grants is to reflect the capital grant and the related assets that were acquired by the grant. The receipt of the grant has been treated as a capital receipt and has been brought to account as part of the Members Funds. The purchase of the related assets has been provided separate treatment in the balance sheet so that the total grants and the total assets will equate with each other. As the grant was of a capital nature, and did not form part of the general income, the amortisation write off of the capital grant assets will be offset against the grant rather than be accounted for in the profit and loss account. B) Plant & equipment Fixed assets are included at cost. All fixed assets are depreciated over their estimated useful lives commencing from the time the assets were held ready for use. C) Plant & equipment: capital grants Leasehold Improvements These assets relate to general assets that were acquired by the means of capital grants provided for the purpose of improving the premises which are currently leased. The Leasehold Assets are to be written off over the term of the lease plus the option of renewal of the lease. These assets have been included at cost. Plant & equipment Theses assets relate to general assets that were aquired by the means of capital grants provided for the purpose of purchasing plant and equipment. These assets have been included at cost. As the assets are considered to be of a long wearing nature they are to be written off over the period of the lease of the premises. Vehicles These assets relate to general assets that were acquired by the means of capital grants provided for the purpose of purchasing motor vehicles. Vehicles have been included at cost and are to be written off over the useful life of the motor vehicles. The accompanying notes form part of these financial statements
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ANNUAL REPORT 2010
BALANCE SHEET Polyglot Puppet Theatre Ltd. ACN: 005 118 052 31st December 2010 2010 $223,887
Equity funds as at the 31st December 2010
2009 $223,158
Assets Current assets Cash Cash at Bank Cash Management Fund Advance: Petty Cash Prepayments and Short Term Loans Receivables Prepayments
98,356 272,037 1,283
371,676
18,183 320,000 178
58,825 19,736
78,561
40,052 29,506
450,237
Total current assets Non current assets Plant & Equipment – Note 3b Plant & Equipment: Cost Accumulated Depreciation Plant & Equipment: Capital Grants – Note 3c Leasehold Improvements Accumulated Depreciation: Leasehold Improvements Plant & Equipment: Cost Accumulated Depreciation: Cost Plant & Equipment: Motor Vehicles Accumulated Amortisation: Motor Vehicles
54,338 (45,647) 108,690 (108,690) 0 33,830 (33,830) 0 63,732 (63,732) 0
69,558 407,919
8,691
47,874 (45,647)
0
108,690 (108,690) 0 33,830 (33,830) 0 63,732 (56,264) 7,468
8,691 458,928
Total non current assets Total assets
338,361
2,227
7,468 9,695 417,614
Liabilities Current liabilities Short Term Creditors and Borrowings Accounts Payable Sundry Creditors & Accruals Security Bond Income in Advance Grants in Advance Goods and Service Tax Payable Pay as You Go Withholding Tax Payable Provisions Audit Fees Provision for Bad Debts Superannuation Long Service Leave Holiday Pay Total current liabilities Net assets
4,376 2,467 500 42,030 138,100 6,601 4,798 975 9,430 2,320 11,158 12,286
198,872
38,455 263 0 12,000 100,350 4,802 5,982
36,169
975 10,930 2,742 10,196 7,761
235,041 $223,887
161,852
32,604 194,456 $223,158
ANNUAL REPORT 2010
27
STATEMENTS OF CHANGES TO EQUITY AND CASH FLOWS Polyglot Puppet Theatre Ltd. ACN: 005 118 052 31st December 2010 2010
2009
223,158 729
129,671 83,851
223,887
213,522
As at the 31st December 2010
Statement of changes to equity Operating surplus carried forward Operating surplus for the year Carried forward operating surplus as at the 31st December
Plus Capital Grants less Amortisation of Relating to Capital Grants (Note 3a) Grants received Capital Grant: Community Support Fund 1997 144,000 Capital Grant: Arts Victoria Housing the Arts 30,000 Arts Victoria: Van Grant 26,582 Capital Grant: Computer Equipment 8,180 208,762 Amortisation Current Year Leasehold Improvements Plant & Equipment: Cost Plant & Equipment: Motor Vehicles Equity funds as at the 31st December 2010
108,690 36,340 63,732 208,762
144,000 30,000 26,582 8,180 208,762
0
108,690 36,340 54,096 199,126
9,636
$223,887
$223,158
2010
2009
391,062 75,000 377,144 44,495 10,000 (579,617) (305,094)
364,861 0 433,744 80,226 9,091 (482,330) (240,397)
12,990
165,195
13,861 6,464
6,563 0
20,325 33,315 338,361
6,563 171,758 166,603
$371,676
$338,361
As at the 31st December 2010
Statement of cash flows for the year ended Cash Flows from Operating Activities Cash receipts from Grants Cash receipts from Philanthropic Trusts Cash receipts from User Charges Cash from Donations Cash from Corporate Sponsorship Cash payments: Salaries and Salary On Costs Cash payments: Administration and other overhead costs Net cash provided by operating activities Cash flows from Investing Activities Interest received Purchase of plant and equipment Net cash used in investing activities Net increase / (decrease) in cash held Cash at beginning of the financial year Cash at the end of the financial year – 31st December 2010
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ANNUAL REPORT 2010
PARTNERS AND SUPPORTERS Polyglot Theatre is proudly supported by the Polyglot Ambassadors’ Circle and is assisted by the Victorian Government through Arts Victoria, the City of Melbourne and the City of Stonnington. Miss Betty Amsden, OAM is Patron of the Ambassadors’ Circle
Triennial Funders Polyglot is assisted by the Victorian Government through Arts Victoria.
Project Partners The Big Game
City of Riddles
Check out!
Touring Partner:
Presenting Partners: Hong Kong International Arts Carnival, National Theatre of Korea, Nowon Theatre, Monash University
How High The Sky
Muckheap
Daniel and Danielle Besen
We Built This City IPAY Draiocht Theatre, Manchester Arts International, Lakes Alive, Kendall Arts
Wild Things Outback Presenting Partner: World Expo
International Market Development Strategy
Corporate Partners
Corporate Sponsors
Our Place
MORE INFORMATION INFORMATI Polyglot Theatre 27a Cromwell Rd, South Yarra, Victoria 3141 Australia T+61 (03) 9827 9667 info@polyglottheatre.com polyglottheatre.com
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ANNUAL REPORT 2010