vision, mission, values Vision Polyglot’s vision is of a future where children are empowered artistically, socially and culturally.
Mission
2012 Staff list Simon Abrahams Executive Producer / co-CEO (to March) Tamara Harrison Executive Producer / co-CEO (from July)
Placing kids at the heart of our art, Polyglot creates interactive experiences which ignite imaginations everywhere from tiny Australian country towns to the world’s leading centres for the arts.
Sue Giles Artistic Director / co-CEO
Values
Imbi Neeme Administrator
• ACCESSIBILITY to our audiences in price, 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. • BRAVERY in our work to enable new discoveries. • 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.
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Adi Diner Associate Producer / General Manager (from August)
Scott Dunsdon Marketing & Communications Coordinator (to August) Catherine French Marketing & Communications Coordinator (from September) Julie Wright Operations Coordinator Cathy Kirwan Philanthropy Manager (to December) Fleur Brett Bookkeeper (contract) TS Publicity Publicists (contract)
2012 Board of Directors Julia White Chair (from June) Angela O’Brien General Secretary Johanna Platt Treasurer Dr. Patricia Edgar AM Tom Gutteridge David Hanrahan Rhiannon Keen Richard Roberts Jamie Dawson
About Polyglot Polyglot Theatre is an internationally renowned creator of interactive experiences for children and families, inspiring kids to turn the simplest things into extraordinary creations. At Polyglot, theatre is child’s play. Polyglot’s artists are inspired by the artwork, play and ideas of children and our works feature active participation from audience members through touch, play and encounter. Our artistic works respond to the childhood need for experiences that encourage free artistic expression and an imaginative interpretation of the world. We seek to challenge, to foster curiosity and to inspire. For over 30 years, Polyglot has been recognised as one of Australia’s leading children’s arts companies. We make new theatre work, present performances, run workshops and community projects in Melbourne and around Australia. In recent years, the company has been in demand internationally, performing in five languages in ten countries on four continents. We have played at some of the world’s most prestigious arts centres – from the Sydney Opera House, to London’s Royal National Theatre, to Washington’s Kennedy Center, to the National Theatres of Korea and China.
Feed The Art Feed The Art is Polyglot’s model for appraising, critiquing and valuing our work, creating and fostering a holistic culture of outstanding theatre making. Feed The Art includes the following five steps: • CHILDREN’S INPUT engaged throughout the creative process • CONNECTION WITH PEERS through 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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CHAIR’S REPORT 2012 was a year of internal evolution and change for Polyglot. An increase in touring, the creation and world premiere of two new works, and the successful delivery of two community projects and a major school residency, resulted in one of the busiest years we’ve had. At the end of the year we had played to over 90,000 people in 6 different countries.
to receive the support of a number of trusts and foundations which had a huge impact on our ability to deliver two well received community projects Expecting Something? engaged new young and expecting mothers with their local communities in Gippsland; Tangle MOTION won a VicHealth Award for its activation of communities through creativity.
We were sad to say farewell to Simon Abrahams after four and a half years at the helm with Sue Giles. With their leadership, Polyglot traversed uncharted territory which helped reshape the direction of the company.
Both Australia Council and Arts Victoria were crucial in assisting the company’s international tours including a showcase performance of Tangle at the prestigious Lincoln Center in New York.
Tamara Harrison was appointed to the company as Executive Producer, bringing a wealth of experience and energy with her from her position at Malthouse Theatre. Tamara joined Sue Giles as co-CEO, continuing the successful management model implemented several years ago. We also welcomed Catherine French as our new Marketing & Communications Coordinator, Emma Dodd as Production Manager, and Adi Diner took on the newly created position of General Manager. New energy was brought to the Board with Dr. Patricia Edgar AM, Jamie Dawson and Rhiannon Keen joining our dedicated team. Their different areas of expertise have bought further support to the small Polyglot team, and we thank all the Board for their guidance and advocacy in this busy year. Moving into 2013 we bid farewell to two longstanding Board members, David Hanrahan and Richard Roberts. Both brought a wealth of skills and experience to the table and provided invaluable advice and leadership over their board terms. The steady investment from our long term partners of Arts Victoria, City of Melbourne and City of Stonnington has provided a consistent base to our core operations. In 2012 we were fortunate
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We also thank our donors and Ambassador program supporters who made a difference to our creation of new work. With How High The Sky Polyglot made its very first work for younger children – babies under 1 year old – and their carers. It premiered to great success at the Melbourne International Arts Festival. We thank especially the continued support of Miss Betty Amsden OAM, Patron of our Ambassadors’ Circle, as well as Daniel and Danielle Besen for their involvement in this project. The end of the year saw the company invest back into reserves with the added security of confirming Emerging Key Organisational support from the Australia Council for the next triennium. On behalf of the Polyglot Board, I thank all of our partners and the tirelessly devoted Polyglot Team for propelling the company forward and the unswerving, ever enthusiastic and artful direction of our Artistic Director Sue Giles.
Julia White Chair
CEO’S REPORT The creative force that is Polyglot, never ONCE flagged during 2012! Despite executive changeover and increased activity across the whole organisation, our staff and artists continued to deliver and create fun, inspiring, ambitious and unique performances and workshops to our every growing audience of kids and families around the world. Special mention in 2012 goes to the team of dedicated artists who have stepped up to operate independently, working to the company’s philosophy in Australia and overseas, bringing skill, professionalism and a joyful spirit of adventure to our many public events. Tangle started the year at Sydney Festival and then played Art Centre Melbourne, APAM in Adelaide, Morwell, Darwin, Lincoln Center in New York, Shepparton and Melbourne Museum – a glorious mix of local, national and international presentations that has become the hallmark of our Play Space projects. On top of that we developed a fascinating model of community process around the touring works, with the VicHealth supported Tangle MOTION project taking us to regional areas. We Built This City was discovered by new audiences in New Zealand, USA, Brisbane, Korea and Hobart, continuing the breadth of reach of this now 11 year old project. Paper Planet transformed the public spaces at Casula Powerhouse in Sydney and the Smorgon Family Plaza at Arts Centre Melbourne. Sticky Maze attracted over 20,000 people at the Out
Of The Box Festival in Brisbane. It then went to the desert in Newman WA before finishing a fabulous year in Taipei at the National Theatre of Taiwan. Our new play space project Ants wowed them at Federation Square in July and together with outer west school children we created 24 tent worlds en masse at Campbelltown Arts Centre with a new project My Tiny World. After a three year development process we presented the world premiere of How High The Sky, our unique performance for babies under 12 months old, in a triumphant season at Arts Centre Melbourne as part of the Melbourne International Arts Festival. It was also the year that Expecting Something? our artistic process with young pregnant women in Gippsland – found new ways to reach out and engage those who are isolated in the community. In 2012, a classic hit was revived as Muckheap was re-invented as an Auslan/English production and through philanthropic support, toured regional schools for free. We also created a beautiful walk-through installation with school children from our extended school residency at Mahogany Rise Primary School in Frankston North called Knock, Knock! Who’s There? We roved with our puppets, we ran workshops with schools and commissioned independent evaluation reports on elements of our program and we also won a VicHealth Building Health Through Arts Award for the Tangle MOTION project. How High The Sky received a special mention as one of two shortlisted
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CEO’S REPORT companies at the Age Critics’ Awards. Media coverage was excellent, industry word on the street even better. The company goes from strength to strength and with good humour, bundles of creativity and extraordinary passion and commitment at its centre. We thank all our government and philanthropic partners, our Ambassador Program donors led by the one and only Miss Betty Amsden OAM, and all the partnerships that enable us to have such impact with our work, and to dream as big as we do! To our extremely hard working staff and artists, our admiration and gratitude continues – you are also the heart of our art!
Tamara Harrison Executive Producer/ co-CEO
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Sue Giles Artistic Director/ co-CEO
Year in Review 2012 • Polyglot gave 362 performances of seven extant works and two new works, facilitated two community engagement residencies, undertook three creative developments and led 177 workshops, reaching over 90,000 people in six different countries • Our first work for babies How High the Sky premiered at Melbourne International Arts Festival to critical acclaim and a sold out season • We Built This City celebrated 11 years touring around the world including Melbourne’s Arts Centre, Federation Square, The Royal National Theatre, the Kennedy Centre Washington, and performances across England, Ireland, Scotland, Singapore, Korea, North America and Australia
• Tangle MOTION, a partnership between Polyglot, VicHealth, Kinship Care and Berry Street Playgroups received the VicHealth Motion Award for Building Health Through the Arts • Tangle premiered at the prestigious Lincoln Center in New York • Polyglot partnered with Lord Mayor’s Charitable Fund, Helen Macpherson Smith Trust, the Ian Potter Foundation and Australia Council for the Arts to deliver a long-term community engagement program for young mothers and their babies in Gippsland, Expecting Something?
• Muckheap has toured continuously for ten years in three languages (English, Auslan and Mandarin-Chinese), with an estimated 90,000 children having seen the work to date – in 2013 it embarks on a national Australian tour
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New work development and presentation
“ants is a play space with a difference.” – Herald Sun 2012
ants Ants brings human-sized ants into a public site for a mix of roving performance and large scale interaction with children and their adults. Giant crumbs are scattered all over the ground in public spaces. The Ants are there to collect their winter food and make order out of the random scattering of crumbs. Children gradually follow the Ants in their endeavor, bringing them crumbs and laying them in patterns that stretch across the landscape like mystical messages, interrupting the desire lines that adults construct around them of paths and points from A to B. Soon the entire area is a hive of industrious activity as the children learn to interact with these gentle creatures, following the ants’ lead as they in turn are inspired by the children’s ideas. Breadcrumbs are stacked and ordered, organised and re-ordered in a never ending cycle of playful work.
KEY ACTIVITIES Creative Development Development dates: 14 May & 15 May Number of workshops: 2 Total Participants: 84 Creative Collaborators: Stonnington Primary School, Windsor Currajong Primary School, Malvern East Key artists: Christian Bagin, Nick Barlow, Vanessa Ellis, Katrina Gaskell, Sue Giles, Dan Goronszy, Steph O’Hara, Emily Tomlins
Performances Performance dates: 2 July – 8 July Number of performances: 39 Total Audience: 5850 Venue: Federation Square, Melbourne Key artists: Christian Bagin, Nick Barlow, Dan Goronszy, Emily Tomlins
FUNDING SUPPORT Commissioned by Federation Square
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HOW HIGH THE SKY How High the Sky is an immersive theatrical experience for pre-walking babies and their parents and carers. The performance is a dual experience for adult and child that takes the audience into a sensesurround experience of lightness and dream-like images, gradually peeling away the logic of narrative to allow adults to absorb images with as open a mind as a baby. It explores the questions - is it possible for adults to perceive the world as babies do? How often do we get an opportunity to really value and even be influenced by a baby’s unadulterated wonder?
Key activities Showcase Development dates: 20 January Number of performances: 1 Total Audience: 50 Venue: State Rehearsal Room, Arts Centre, Melbourne Key artists: Nick Barlow, David Franzke, Sue Giles, Andrew Livingston, Emily O’Brien, Anna Tregloan, Emily Tomlins, Gerard Van Dyck, Jessica Wilson
Performances Performance dates: 19 October - 28 October Number of performances: 18
“it was the kind of wonder that you so rarely see in a theatre but it’s what you want from an experience of art. a beautiful, beautiful joyous experience”
Total Audience: 619 Venue: Arts Centre Melbourne as part of Melbourne International Arts Festival Key artists: Penny Baron, Marco Cher-Gibard, David Franzke, Michelle Heaven, Sue Giles, Rita Khayat, Andrew Livingston, Emily O’Brien, Anna Tregloan, Emily Tomlins, Gerard Van Dyck, David Wells, Jessica Wilson
- John Bailey
Funding Support Australia Council for the Arts (Theatre Board and Music Board) Helen Macpherson Smith Trust Arts Centre Melbourne Miss Betty Amsden OAM Daniel and Danielle Besen
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MY TINY WORLD My Tiny World saw Polyglot artists working with local school children from six schools in Sydney’s west at Campbelltown Arts Centre to create a process culminating in a festival installation of 24 small painted dome tents. Children were asked to dream up different interior worlds within each tent, under the artwork title My Tiny World. The tents explore the idea of a temporary home and a world where the boundary between what is permanent and what will disappear the next day are blurred. Working with 110 school children, four artists, a sculpture garden and 24 small dome tents in one week, we created a camping site of tiny individual worlds inside brilliantly painted skins. On the festival weekend for Fisher’s Ghost Kids Polyglot were also part of the street parade and took over the sculpture garden with My Tiny World tents.
Key activities Workshops Dates: 30 October – 1 November Number of workshops: 6 Number of participants: 110 Venue: Campbelltown Arts Centre Key artists: Sue Giles, Dan Goronszy, Steph O’Hara, Stefanie Robinson
Public outcomes Public outcome dates: 3 November – 4 November Number of performances: 2 Total audience: 7,200 Venue: Campbelltown Arts Centre Key artists: Sue Giles, Dan Goronszy, Steph O’Hara, Stefanie Robinson
Funding support Commissioned by Campbelltown Arts Centre
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SEPARATION STREET Separation Street is a large-scale experiential theatre work exploring the blurred line between dreaming/ reality and truth/fabrication. It works with perspective and information, acknowledging that our understanding of the world is affected by everything we hear and by the people whose authority we accept. Participants undertake one of two distinct journeys, with adults following one path and children another.
Key activities Creative Development: Development Dates: 18 July, 13 - 14 November Venue: Cromwell Road Theatre Key artists: Marg Horwell, Sue Giles, Joseph O’Farrell, Miles O’Neil, Glen Walton
This new experiential theatre work, a collaboration between Polyglot Theatre and The Suitcase Royale, is also in creative development throughout 2013-14 and will premiere in 2015.
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TOURING REPERTOIRE TANGLE
“i have never felt string that was so elasticy in my whole life. i have learnt that just some simple balls of string can be soooo cool.” – Eve, 10
Tangle is a large scale, interactive elastic weaving event created live by children and their families. It’s part live visual art installation, part performance, part playground and all fun. On giant peg board platforms, where slim golden poles tower above, children and families create a multi-coloured landscape together, threading elastic around the poles and each other until the space becomes dense and difficult to traverse, creating a stretchy bouncy playground, fuelled by live music. Tangle is a wonderful world where children take control and everyone creates a spectacular abstract artwork.
PERFORMANCE DETAILS Sydney Festival Performance dates: 7 January Number of performances: 1 Total Audience: 1,083 Venue: Hyde Park, Sydney Key artists: Christian Bagin, Nick Barlow, Sue Giles, Felicity Horsley, Justin Marshall, Julie Wright (PM)
Arts Centre Melbourne Performance dates: 18 – 22 January Number of performances: 15 Total Audience: 4,602 Venue: Forecourt, Arts Centre Melbourne Key artists: Christian Bagin, Nick Barlow, Sabrina D’Angelo, Felicity Horsley, Sarah Kriegler, Lachlan Macleod, Justin Marshall, Emily O’Brien, Jess Smithett, Glen Walton, Justine Warner
Australian Performing Arts Market (APAM) Performance dates: 28 February Number of performances: 4 Total Audience: 205 Venue: Adelaide Festival Centre, Adelaide Key artists: Christian Bagin, Emma Dodd, Lachlan Macleod, Justin Marshall, Astrid Pill, Tamara Rewse,
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Singapore International Arts Festival Performance dates: 18 May – 2 June Number of performances: 46 Total Audience: 5,270 Venue: Rainbow Canopy, Festival Village, Singapore Key artists: Sabrina D’Angelo, Sue Giles, Lachlan Macleod, Justin Marshall, Emily O’Brien, Justine
Lincoln Center for the performing arts Performance dates: 26 – 29 July Number of performances: 20 Total Audience: 3,556 Venue: Josie Robertson Plaza, Lincoln Center, New York Key artists: Christian Bagin, Emma Dodd, Lachlan Macleod, Bree-Anna Obst, Ania Reynolds, Laura Sheedy.
Darwin Festival Performance dates: 12 August – 17 August Number of performances: 7 Total Audience: 1,670 Venue: Festival Park, Darwin Key artists: Sabrina D’Angelo, Emma Dodd, Felicity Horsley, Lachlan Macleod, Benjamin Morrison, Kyle Warren
Funding Support Arts Victoria International Program (Export & Touring) Australia Council for the Arts (Going Global)
PAPER PLANET Paper Planet is a constantly evolving artistic work created live by Polyglot Theatre artists, children and their families using the simplest of materials: paper and cardboard. Moving beyond audience participation, Paper Planet is experiential, tangible and wholly immersive; a world filled with tall, strange cardboard trees, paper leaves, boulders, ponds and other mysterious shapes that inhabit this imaginary world. Visitors populate the space with their own creations and rustling paper selves, making fantastical costumes, flora and fauna out of paper, tape and their own nimble fingers.
Performance DetailS Way Out West Festival Performance dates: 11 July – 14 July Number of performances: 16 Total Audience: 1,206 Venue: Casula Powerhouse, Sydney Key artists: Nick Barlow, Anneli Dyall, Dan Goronszy, Madeleine Flynn, Tim Humphrey, Winter Humphrey, Mischa Long, Stefanie Robinson
Arts Centre Melbourne Performance dates: 26 September – 30 September Number of performances: 5 Total Audience: 1,536 Venue: Smorgon Family Plaza, Arts Centre Melbourne Key artists: Penelope Bartlau, Anneli Dyall, Madeleine Flynn, Tim Humphrey, Rita Khayat, Stef Robinson, Glen Walton
Funding Support Originally commissioned by Federation Square
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We Built This City We Built This City is an interactive play space for families which celebrates absolute simplicity and the power of children’s imaginations. A giant public construction site, We Built This City uses thousands and thousands of cardboard boxes and the energy and ingenuity of kids and families to build a magnificent imagined city in one day. Buildings go up, others are pulled down, redesigned, extended, walked through and reconstructed. The participants make tunnels, archways, towers and labyrinths. At the end of the event, we ritualistically build a final cityscape, using every box in the space, and then everyone joins in trampling the city down into a gloriously chaotic heap of cardboard rubble.
Performance Details The Edge Performance dates: 18 April – 21 April Number of performances: 11 Total Audience: 2,051 Venue: The Edge, Auckland Key artists: Danielle Goronszy, Felicity Horsley, Mischa Long, Lachlan Macleod, Tam Pay
USA Tour Performance dates: 1 October – 7 October Number of performances: 18 Total Audience: 3,298 Venues: Scottsdale Center, Arizona Walton Arts Center, Arkansas Discovery Green, Texas Key artists: Emma Dodd, Mischa Long, Glen Walton, Bree-Anna Obst, Stefanie Robinson
Busan Cinema Complex Performance dates: 26 May – 31 May Number of performances: 23 Total Audience: 1,640 Venue: Busan Cinema Complex, Busan Key artists: Christian Bagin, Emma Dodd, Dan Goronszy, Paul Matthews, David Pidd, Zoe Williams
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“i got to build a big tunnel.” - Ella, 6
Out of the Box Festival Performance dates: 13 June – 17 June Number of performances: 20 Total Audience: 2,107 Venue: Cultural Forecourt, Southbank, Brisbane Key artists: Christian Bagin, Penelope Bartlau, Emma Dodd, Danielle Goronszy, Rolando de Leon DJ, David Pidd
South Korea Tour Performance dates: 1 October – 7 October Number of performances: 10 Total Audience: 3,426 Venues: Garden 5 Festival, Garden 5 Square, Seoul Hi-Seoul Festival, Seoul Plaza, Seoul Key artists: Emma Dodd, Mischa Long, Lachlan Macleod, Bree-Anna Obst, Zoe Williams
Hobart Theatre Royal Birthday Celebrations Performance dates: 10 & 11 November Number of performances: 4 Total Audience: 2,748 Venues: Theatre Royal, Hobart Key artists: Penny Bartlau, Emma Dodd, Dan Goronszy, David Pidd, Glen Walton
Funding Support Arts Victoria International Program (Export & Touring) Australia Council for the Arts (Going Global)
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STICKY MAZE
“polyglot is the best. i went in a sticky maze!”
Sticky Maze is an interactive play space for kids of all ages where simple and everyday materials are used to transform public spaces into a labyrinth of fun. Kids and adults enter a see-through maze made out of straight upright poles and walls of clear sticky tape which mark out the twists and turns of a maze structure. From this see-through, shimmery beginning, the participants are invited to ‘colour in’ the walls by sticking newspaper onto the tape. Gradually the walls become filled in, creating the ultimate bewildering maze. There are drawing stations outside the maze, providing materials to draw pictures, write messages and directions that are also stuck to the maze walls. The task is huge and gradually the children explore further and further the potential of the maze, creating games and tasks for themselves and their friends: hiding, chasing and tricking others.
- Liza, 9
PERFORMANCE DETAILS Out of the Box Festival Performance dates: 12 June – 17 June Number of performances: 38 Total Audience: 23,088 Venue: Cultural Forecourt, Southbank, Brisbane Key artists: Tirese Ballard, Bronwyn Batten, Sam Bennellick-Jones, Mischa Long, Justin Marshall, Lachlan Macleod, Amie Moffat, Robbie O’Brien
Outback Fusion Festival Performance dates: 8 September Number of performances: 1 Total Audience: 790 Venue: Newman Senior High School Oval, Newman Key artists: Tirese Ballard, Bronwyn Batten, Emma Dodd, Lachlan Macleod, Stefanie Robinson, Glen Walton
National Chiang Kai-Shek Cultural Center Performance dates: 27 October Number of performances: 4 Total Audience: 600 Venue: Main Plaza, National Chiang Kai-Shek Cultural Center, Taipei Key artists: Tirese Ballard, Bronwyn Batten, Emma Dodd, Mischa Long, Justin Marshall, David Pidd
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MUCKHEAP AUSLAN Muckheap Auslan is a re-invention of an enduring Polyglot classic, Muckheap, first created in 2001. This production took the original touring script and with the help and consultation of children from Furlong Park School for Deaf Children, changed it into a Deaf/hearing compatible work that toured for free to Victorian schools. Muckheap is a fun and fantastically messy tale of two people who have to move out of their house and must throw away the accumulated junk of years to do so. As a way of coping they find stories embedded in their clean out, including a re-telling of Jack and the Beanstalk, with a twist that mirrors their own situation. The play uses physical action, comedy, puppetry, signing and vocal delivery, all beautifully combined to make a third, new language.
PERFORMANCE DETAILS Victorian Metropolitan & Regional Schools Tour Performance dates: 10 March – 24 March Number of performances: 11 Total Audience: 1,565 Venues: Bendigo Deaf Facility at Kennington Primary School, Kennington Currajong Primary School, Malvern East Cromwell Road Theatre, South Yarra Furlong Park School for Deaf Children, Sunshine Gaslight Festival, Maldon Horsham Primary School, Horsham Victorian College for the Deaf, Melbourne Wilmot Primary School, Craigieburn
Funding Support Australian Communities Foundation Besen Family Foundation Ivor Ronald Evans Foundation Jack Brockhoff Foundation
“perfectly bilingual, gorgeously visual, funny and engaging” – Anna Vost, participant
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ROVING ACTS Polyglot’s Roving Acts continue to be popular activities for audiences and our artists. These beautifully realised puppets activate large public spaces and provide interactive engagement with audiences.
Performance details National Chiang Kai-Shek Cultural Center International Venue: Main Plaza, National Chiang Kai-Shek Cultural Center, Taipei Number of performances: 5 Total Audience: 1,000 Key artists: Christian Bagin, Emma Dodd, Bruce Paterson, Justine Warner
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National Performances Australian Venues: Arts Centre Melbourne, Melbourne Piers Festival, Port Melbourne University of Melbourne, Parkville Lord Mayor’s Charitable Foundation ‘Youth in Philanthropy Day’, Melbourne Town Hall, Melbourne Picnic in the Gardens Festival, Albury Manningham Multicultural Festival, Doncaster Number of performances: 29 Total Audience: 7,606 Key artists: Nick Barlow, Penelope Bartlau, Danielle Goronszy, Mischa Long, Lachlan MacLeod, Stefanie Robinson
WORKSHOPS Polyglot’s workshops continue to foster important relationships with schools and other artists. Our junk workshops remained very popular and we had the opportunity to tailor some of our processes to particular requests from schools and organisations. In 2012 our workshops included: Junk Puppetry, Rod Puppetry, Shadow Puppetry, Classroom Blitz.
National and International Workshops Venues: Arts Centre Melbourne, Melbourne Buxton Primary School, Buxton Camp Blitz, Angelsea Carnegie Library and Community Centre, Carnegie Catholic Regional College, Keilor North Croydon Leisure & Aquatic Centre, Croydon Drama Victoria Workshop, James Forbes Academy, Hawthorn Greensborough Library, Greensborough Haileybury College at Cromwell Rd Theatre, South Yarra Ivanhoe Library, Ivanhoe Manchester Primary School, Mooroolbark Mill Park Library, Mill Park Methodist Ladies College Junior Campus, Kew Penbank School, Moorooduc Berry Street Offices, Morwell Regional Arts Expo, Melbourne Exhibition Centre, Southbank Roola Boola Festival, Chapel-off-Chapel, Prahran St Augustine’s Catholic Primary School, Keilor St Christopher’s Primary School, Airport West A Children’s Christmas & Carols in the Park, Ardrie Park, Malvern East Studio, National Theatre, Taipei Wantirna Primary School, Wantirna
Number of workshops: 70 Total Participants: 4,136 Workshop Artists: Nick Barlow, Penelope Bartlau, Dan Goronszy, Mischa Long, Jodee Mundy, David Pidd, Stefanie Robinson, Emily Tomlins, Justine Warner
Muckheap Auslan workshops While touring Muckheap Auslan, the performers ran creative workshops wherever this offer was taken up by the schools.
Muckheap Auslan Workshops Venues: Furlong Park School for Deaf Children, Sunshine Gaslight Festival, Maldon Horsham Primary School, Horsham Victorian College for the Deaf, Melbourne Wilmot Primary School, Craigieburn Number of workshops: 5 Total Participants: 204 Workshop artists: Jodee Mundy, David Pidd
Funding support Australian Communities Foundation Besen Family Foundation Ivor Ronald Evans Foundation Jack Brockhoff Foundation
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kids in control EXPECTING SOMETHING?
“i think from being in the project it’s made me more confident in myself and proud of myself as a young mum,”
Expecting Something? is a project mobilising young mothers to strengthen vital relationships with their babies, family and community through creative play and performance. Polyglot Theatre, in partnership with Latrobe City Council, facilitated the project in regional townships of the Latrobe Valley. The project aimed to engage isolated or disengaged young pregnant women and mothers who accessed support programs through Berry Street, Latrobe Community Health Service, Good Beginnings, Anglicare, Central Gippsland Aboriginal Health Services, Queen Elizabeth Centre, Quantum Support Services, Head Space and Latrobe City Council Enhanced Maternal Child Health Service. These programs target children and families who had significant support needs due to a range of factors including mental illness, poverty and isolation from family supports. Expecting Something? included weekly workshops involving the participants in art and creativity, that produced a space where young mothers could explore, make new connections, and develop their parenting skills. This culminated in a Christmas party and tactile interactive baby space created by the participants and Polyglot. This program is formally known as the Play Box Project.
– Deanna Fear, participant
KEY ACTIVITIES Workshops Workshop dates: 21 June – 29 November Number of workshops: 31 Average participants per workshop: 7 Venues: St Luke’s Church Hall, Morwell Traralgon East Community Centre, Traralgon Key artists: Lis Blake, Madeleine Flynn, Shaun Gardiner, Tim Humphrey, Meg Viney, Claire van der Velden, Jessica Wilson.
Public Outcome Event date: 6 December Total Participants: 42 Venue: Traralgon East Community Centre, Traralgon Key artists: Lis Blake, Madeleine Flynn, Shaun Gardiner, Tim Humphrey, Bree-Anna Obst, Claire van der Velden, Jessica Wilson.
Funding Support Australia Council for the Arts (Projects with Public Outcomes) Helen Macpherson Smith Trust Ian Potter Foundation Lord Mayor’s Charitable Foundation
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Tangle motion Winner 2012 Victorian Health Promotion Foundation Awards – Building Health Through the Arts
Tangle MOTION was a collaborative partnership project between Polyglot Theatre, Berry Street, the La Trobe Regional Gallery, Melbourne Museum, and Shepparton Art Museum (SPP Kidstown). The project included three multi arts based workshop programs with early learning service providers, and preschool aged children and their families who are part of Berry Street’s supported playgroups. Three large-scale public events were also presented based on the Polyglot Tangle installation. This project was a fascinating new direction for the company, creating and producing tailored explorative play sessions with playgroups across a wide demographic and geographical area, working with at risk families and non-arts goers, involving these groups in specialised activities and then hosting them for private sessions within the Tangle event. It was a discovery that connected our touring work to a deeper process, up-skilled our artists and made the touring relationship more attuned to cultural exchange than to simply rolling out a show. Using the materials of the work, the stretchy elastic and the physical play, our artists explored the relationship between parent and child, and sometimes between grandparent and child, and how they played together. The project took our team to at risk families in Morwell, to the Sudanese community in Carlton and to kinship care in Shepparton.
key Activities Morwell Professional Development Workshop Workshop date: 16 February Number of workshops: 1 Number of Participants: 20 Venues: Berry Street Offices, Morwell Key artists: Tamara Rewse, Justine Warner
Community Workshops Workshop dates: 6 March – 10 April Number of workshops: 5 Average Participants per workshop: 22 Venue: Noah’s Ark Children Research Centre, Morwell Key artists: Tamara Rewse, Justine Warner
Public Outcome Performance dates: 14 April & 15 April Number of performances: 5 Total audience: 538 Venue: Latrobe Regional Gallery, Morwell Key artists: Nick Barlow, Sabrina D’Angelo, Tamara Rewse, Justine Warner, Julie Wright
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“this is an opportunity you rarely get to do since you can’t do it at home or anywhere else.”
Tangle motion
- Bethany, 13
Carlton
Shepparton
Community Workshops
Professional Development Workshop
Workshop dates: 11 September – 23 October Number of workshops: 5 Average Participants per workshop: 25 Venue: Sacred Heart, Carlton Key artists: Tamara Rewse, Justine Warner
Workshop date: 30 October Number of workshops: 1 Number of Participants: 12 Venues: Sound Shell Queens Gardens, Shepparton Key artist: Jodee Mundy
Public Outcome
Community Workshops
Public outcome date: 24 October Number of performances: 3 Total audience: 900 Venue: Romp & Stomp Festival, Melbourne Museum Key artists: Sabrina D’Angelo, Dan Goronszy, Lachlan Macleod, Jodee Mundy, Steph O’Hara, Julie Wright
Workshop dates: 31 October – 21 November Number of workshops: 4 Average Participants per workshop: 8 Venue: Church Hall, Pine Road, Shepparton Key artists: Jodee Mundy, Justine Warner
Public Outcome Public outcome date: 24 & 25 November Number of performances: 5 Total audience: 399 Venue: SPC Ardmona Kidstown, Shepparton Key artists: Emma Dodd, Lachlan Macleod, Justin Marshall, Jodee Mundy, Bree-Anna Obst, Justine Warner
Funding Support Arts Victoria (Community Partnerships) Berry Street Lord Mayor’s Charitable Foundation R.E. Ross Trust VicHealth
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KNOCK, KNOCK! WHO’S THERE? “i’ve learnt many new things and learnt to never give up my dreams.”
Knock, Knock! Who’s There? saw Polyglot Theatre working closely with students from Mahogany Rise Primary School to develop an interactive multi-artform installation focusing on the theme of transition.
– Billie, 11 The idea of transition – moving from place to place, whether in geography or in your mind – is a powerful one. It involves change and invokes fear, excitement, anticipation and trepidation. This project fostered a connection between two distinct age groups the youngest and the oldest in the school – finding similarities in their feelings when exploring their dreams, fears, challenges and hopes through photography, animation and three dimensional installation art. Polyglot artists spent May to September 2012 at the school. The first half of the project was spent eliciting ideas and responses to materials, talking and listening in groups and one-on-one, setting up exercises that start each day across the whole school, collecting information, drawings and art works, exploring physical play and performative styles. The creative process followed the impulses of the children. The second half of the process was spent drafting the final plan, creating the elements of the work, finessing the images and animation and setting up the aesthetic framework for two installation outcomes. Knock, Knock! Who’s There? followed the child-led practice through to the creation of a walk through installation maze for the whole school community to enjoy. A pared down version of the installation was produced for the general public at Frankston Arts Centre, complementing the presentation at Mahogany Rise Primary School.
Key Activities Workshops Workshop dates: 28 March – 16 August Number of workshops: 46 Average participants per workshop: 25 Venue: Mahogany Rise Primary School, Frankston Key artists: Nick Barlow, Lis Blake, Kate Kantor, Carla Ori, Zak Pidd, Jacob Williams
Opening Night Performance Performance date: 31 August Number of performances: 1 Total Audience: 250 Venue: Mahogany Rise Primary School, Frankston Key artists: Nick Barlow, Lis Blake, Kate Kantor, Carla Ori, Zak Pidd, Jacob Williams
Exhibition Exhibition dates: 3 September – 7 September Mahogany Rise Primary School 10 September – 23 September The Cube, Frankston Arts Centre Number of exhibition days: 19 Total Audience: 1,700
Funding Support Arts Victoria (Extended School Residencies) Department of Education and Early Childhood Development (Strategic Partnerships Program)
ANNUAL REPORT 2012 22
evaluation project In 2012 Polyglot commissioned Dr. Ricci-Jane Adams, research fellow at the Graduate School of Education, University of Melbourne, to write an independent evaluation of the social and cultural impact of company’s 2012 extended school
Key findings The direct findings of the evaluation based on the project aims are summarised below, grouped in terms of the process, impact and outcome for the stakeholders:
residency project Knock, Knock! Who’s There?
Process This residency was curated with a Mahogany Rise Primary School centring on themes of transition for children in years prep/one and five/six. The project’s aims were used to conduct the 2012 evaluation, these being: 1. Learning exchange between teachers and artists. 2. Fostering a respectful relationship between children, teachers and artists in the short and long term. 3. Showcasing the school to the community. 4. Strengthening child participants’ literacy and oral language skills through an art based activity. 5. Providing children with coping mechanisms for change. 6. Increasing children’s self-esteem, ability to contribute, ability to work as a team and ability to work productively on their own. 7. Increasing children’s confidence in their own creativity, defined by: i. An ownership and pride in their own work and an appreciation of others creative work ii. Willingness to take risks, share ideas and offer suggestions
23 ANNUAL REPORT 2012
• The partnership successfully engaged all key stakeholders in the delivery of the residency. • Clear and regular communication, a mutual respect, a willingness to learn from one another, a diversity of skills and a supportive learning/ creative environment facilitated a relatively stress-free and smooth partnership. • In both year groups the majority of the students demonstrated a genuine engagement with the workshops and an enthusiasm to participate. • Children were treated with respect and encouraged to take the lead creatively in the workshops. • The twice weekly workshops functioned to provide students with both breadth and depth in the creative arts, as well as opportunities for increasing social and emotional intelligence in the young people in offering them ways of learning and interacting outside of the usual teaching environment.
“this partnership, in my assessment, stands as a model of best practice in not only collaboration between professional artists and the education sector, but in regards to the use of the arts in achieving the core demands of the curriculum” – Dr. Ricci-Jane Adams
“imagine if i became one of the polyglot people.” – Rosanna, 10.
Impact • The residency offered students - especially in the senior class - coping mechanisms for change, an increased confidence in themselves and their fellow class mates, and a more coherent group dynamic. • Building trust steadily between students, teaching staff and artists created a space where bold student-led artistic exploration could take place. • The younger students demonstrated increased imaginative capabilities and a greater vocabulary of ‘play’. • Language and literacy skills for both the junior and senior students were improved upon in ‘authentic’ and stimulating ways. • The majority of teachers directly involved in the residency reported that they were equipped with new skills in regards to engaging their students, and felt that they were able to see their students with renewed enthusiasm as a result of the workshops.
Outcome • Several children in the year five/six group now self-identify as creative people with a desire to continue to pursue the creative arts in their adult lives. • All of the children reported gaining new skills and discovering latent artistic talent.
• Strengthening young people’s sense of self facilitates a smoother transition for the young person as they work to find a place for themselves in this new landscape. • The art based skills taken on by the teachers, will ensure that those students who operate best in imaginative (rather than cognitive) learning environments will have the opportunity to excel. • Strengthening individual teacher’s capacities to teach through the use of the arts improves the class room environment for everyone. • Concluding the workshop process with the final event in the school hall was vital to the success of the residency, as it allowed students the opportunity to experience a sense of achievement, display their new artistic skills, imaginative capacities and increasing selfconfidence. • All students reported a sense of pride in displaying the work to their family and friends. • The broader community connection to the school has been built upon allowing them to experience the school in a unique and dynamic way. • The bonds between the school and the arts organisation have been strengthened as a result of this effective partnership, paving the way for further collaboration in the future, something that would immensely benefit the students.
• It is likely that these young people will continue to feel confident to partake in creative activity in high school, and with that feel a sense of familiarity in an unfamiliar environment.
ANNUAL REPORT 2012 24
POLYGLOT AROUND AUSTRALIA AND THE WORLD Polyglot continued to travel far and wide in our adventures in 2012. Our national development strategy prioritises face to face meetings, which can often occur at the same time as seasons of work. In 2012 this activity included: • Artistic Director Sue Giles and Executive Producer Tamara Harrison visited Sydney for key meetings with government funding bodies and some presenters.
• Tamara attended the Performing Arts Market Seoul (PAMS) which is the major performing arts market event for the region. • Sue & General Manager Adi Diner travelled to New York when Polyglot presented a showcase season of Tangle at the Lincoln Center, and met with presenters who had flown in especially to see the work, in addition to other New York based presenters.
Funding Support
• Tamara attended the Association of Performing Arts Centre’s Australia (APACA) conference and Long Paddock in Darwin in August.
Department of Foreign Affairs and Trade Australia Council for the Arts Arts Victoria
• Tamara accompanied the We Built This City tour to Hobart to meet with Tasmanian presenters.
We thank you!
• Tamara attended the 2012 International Association of Theatre for Children and Young People (ASSITEJ) meeting in Okinawa Japan, which coincided with the Kijimuna Children’s Festival. Meetings were also held in Tokyo and Taipei.
25 ANNUAL REPORT 2012
ARTS INDUSTRY LEADERSHIP Arts Industry development, networking, employment and leadership within our sector, remains a strength of our activity within the arts community. There is a growing recognition of our artistic practices and our national and international reach. Polyglot continues to organise the Artistic Director/ General Manager (AD/GM) network which meets regularly to discuss issues relevant to small-to-medium arts organisations and invites speakers from the industry and beyond to meet the group and answer questions. This network group forges valuable connections between companies and is aimed at sharing information and knowledge and providing opportunities for conversation and potential collaboration. Young People and the Arts Australia (YPAA) invited Sue Giles to be Keynote Speaker for the national symposium held at Casula Powerhouse. Sue delivered a paper on the subject of Speaking in Tongues. Sue was also a guest speaker at The Boite Annual General Meeting.
Tamara Harrison spent the first few months of her tenure overseas at industry events ASSITEJ in Japan, Korean PAMS and at the APACA gathering in Darwin, making connections and getting to know the industry. She also continued to work on the board of Balletlab. Sue undertook grant assessments for Arts Victoria which gave a fantastic insight into the breadth of artistic work in Victoria and the directions artists are going in across artforms in terms of development of new work. We also continued our one-on-one artist support program, offering advice to independent artists on funding, touring, budgeting, and providing artistic feedback on their work, as well as lending them props, puppets, lights and giving them free and discounted use of our venue. We wrote many letters of support for artists across a year.
Simon Abrahams was part of the Australia Council’s Emerging Leaders’ Development Program. Polyglot also showcased Tangle and presented How High The Sky at Australian Performing Arts Market (APAM).
ANNUAL REPORT 2012 26
POLYGLOT’S AMBASSADOR CIRCLE Polyglot’s Ambassador Circle continued to be an important group of supporters for the company, led by our great advocate and patron Miss Betty Amsden OAM. In July Betty hosted a morning tea at Federation Square for donors to coincide with Polyglot’s premiere of Ants. A group of supporters also joined us for an end of year celebration at the home of board member Dr. Patricia Edgar AM. We thank all of our donors for their continued and crucial support and the positive impact they have on building our capacity.
27 ANNUAL REPORT 2012
CITY BENEFACTOR ($10 000+) Miss Betty Amsden OAM Daniel and Danielle Besen
HOUSE AMBASSADORS ($1,000 - $2 499) Greg Shalit and Miriam Faine
BOX AMBASSADORS ($200 - $999) Simon Abrahams Dr. Patricia Edgar AM Ruth Giles Damien Hodgkinson Tom Gutteridge Angela O’Brien Rosalind Price Naomi Tippett Tim & Lynne Sherwood Fiona Sweet Fiona Wahr and Julian Pocock Julia White
Thank you We give huge thanks to all the children and parents who were part of our creative processes this year All of our core artists and creatives – thank you for your inspiration! Dr. Ricci-Jane Adams
Brisbane Powerhouse
Gavin D Andrew
Campbellfield Arts Centre
Joseph Alessi, Katherine Tsai and Juliet Woo at Austrade Miss Betty Amsden OAM Polyglot’s Artistic Catalyst Group: Madeleine Flynn, Tim Humphreys, Julianne O’Brien, Anna Tregloan Michelle Armstrong, Greg Andrews, Amanda Browne, Fay Chomley, Julie Cotter, Penny Hutchinson, Lisa Jennings, Anna Kelly, Erica Sanders and all at Arts Victoria
Megan Cameron, Cosmo Cosmolino, Graeme Davis, Jim Fulton, Sarah Kriegler, Paul Newcombe, Bronwyn Pringle, Kathryn Sproul, and the 16 Muckheap casts over its 10 years of touring Sheryl Cardozo and Dizzy Claudia Chidiac at Casula Powerhouse Laura Colby, Sabine Dabady, Anna Amadei and all at Elsie Management in New York
Asphyxia and Jesse
Colorific Storage Solutions
Robin Batt and Merryn Tinkler at the Frankston Arts Centre
Kate Denborough
Simon Abrahams, Hannes Berger, Emer Harrington, Sally McPhee and Robin Penty at Arts Centre Melbourne Daniel and Danielle Besen Nicole Beyer and Anna KelseySugg at Theatre Network Victoria Collette Brennan, Ellen Dwyer, David Everest, Rose Hiscock, Tori Louden, and Lyn Wallis at the Australia Council for the Arts
Federation Square especially Matt Jones and Renee Dudfield Furlong Park School for Deaf Children and the wonderful Robyn Lawrence
Bill Bragin at Lincoln Center for the Performing Arts Michiyo Horita at the Australian Embassy in Tokyo Junction Festival, CU@Home and Uniting Care Jim Lawson and the YPAA team Bo-Young Lim and the staff at the Australian Embassy, Korea James O Lucas Edwina Lunn at Darwin Festival Maryanne Lynch Debby Maziarz Candy Mitchell and the City of Melbourne The brilliant folks at Melbourne Museum Monique McNamara and Jenna Read at Up and Up Creative
Andrew Gun
The people of Minami Sanriku, Japan
Hi-Seoul Festival, thank you!
Jodee Mundy
Hal, Nina, Leo, Evie, Orla, Coco, Allegra, Jarvis and Hugo
Tim Munro
Damien Hodgkinson Anita Hopkins
Alice Nash
Ian, Rosie and Zak Pidd The staff of Pink Ginger for delicious sushi Peter Redden, Rhylla Mitchell and the City of Stonnington Lee Hyun Sil (Zoe Jones) Emma Costello, Amaya Courtis, Bree Mansell, Tatia Sloley, Mary Thompson at TS Publicity Kirsten Slifirski and all at Berry Street Julia Topliss, Jim Koutsouris and Amber Henry at Web Prophets Sarah Walker for capturing us beautifully! Julia White and the rest of our amazing Board: Jamie Dawson, Dr. Patricia Edgar AM, Tom Gutteridge, David Hanrahan, Rhiannon Keen, Angela O’Brien, Richard Roberts and Johanna Platt White Room Design Jessica Wilson Michelle Wild David Young
Ray Park Jan Panettieri
Thanks to all of our non-Polyglot 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 and kids from Mahogany Rise, Carrum Downs, Karingal, Dinjerra, Currajong and Stonnington Schools.
ANNUAL REPORT 2012 28
Partners and Supporters Triennial Funding Partners
Government Funders
Philanthropic Partners
Corporate Partners
29 ANNUAL REPORT 2012
Partners and Supporters Project Partners
Market Development Funding Partners
ANNUAL REPORT 2012 30
financial snapshot 2012 income
34%
Government
14%
Trust & Foundations
8%
Other
1%
4%
Donors
Workshops
16%
23%
International
National
2012 EXPENSES
46% Core
15%
Residencies
2%
Workshops
11%
New Work
15% 11%
National
31 ANNUAL REPORT 2012
International
DIRECTOR’S REPORT The Directors present their report together with the financial report of Polyglot Theatre Limited for the year ended 31 December 2012 and the auditor’s report thereon.
Directors List The Directors of the Company at any time during or since the end of the calendar year are:
Johanna Platt (Treasurer) Board Member since April 2008 ___________________________________________________ Member of Finance Sub-Committee Johanna works as General Manager Financial Planning & Analysis for Kraft Foods. Prior to this Johanna held corporate executive positions as Financial Controller Sales at Cadbury and Commercial Manager at Mayne Nickless. Johanna has an MBA from Melbourne Business School.
Julia White (Chair) Board Member since March 2009 ___________________________________________________ Member of Finance Sub-Committee Currently Philanthropy Manager with Zoos Victoria, Julia has a wealth of experience working in the not for profit sector in both marketing and development. Most recently employed as Development Director at Melbourne Theatre Company, Julia has also worked with Frankston Arts Centre, The Australian Ballet School, Melbourne Symphony Orchestra and Melbourne Festival, acquiring skills in venue management, touring and event management as well as marketing and fundraising.
David Hanrahan Board Member since April 2008 ___________________________________________________ David is General Manager of Microsoft Infrastructure Solutions for Dimension Data. Previously, David was a freelance lighting designer, working at Her Majesty’s, Comedy and Princess Theatres, and for Australian Opera and Australian Ballet. David has an MBA from Southern Cross University and completed the Graduate Company Director Course from Australian Institute of Company Directors
Richard Roberts Board Member since December 2007
___________________________________________________ Angela O’Brien (General Secretary) Board Member since April 2011 ___________________________________________________ Dr Angela O’Brien is a Barrister-at-law and independent consultant with specialist expertise in the areas of dispute resolution, education and the arts. In 2009 she retired from the University of Melbourne where she was an Associate Professor, Deputy Dean of the School of Graduate Studies and Discipline Chair of Creative Arts in the School of Culture and Communication, Faculty of Arts.
Richard Roberts is a freelance theatre designer and teacher based in Melbourne. His design experience has included designs for drama, dance, film, television and opera. Alongside his design practice, he has considerable experience in design training. He was head of Design at WAAPA in Perth from 199196, head of Production at the VCA from 2000-2007 and senior lecturer in Design at the VCA 2007-10. He is the recipient of four Greenroom Awards. He won
ANNUAL REPORT 2012 32
best design for Drama in 1998 for Stolen, and in 2000 for the original production of Life After George and best design in Dance in 2001 for Requiem and in 2004 for Molto Vivace.
Tom Gutteridge Board Member since October 2009 ___________________________________________________ Tom Gutteridge is the Artistic Director of Union House Theatre. He was the former Artistic Director, Black Swan Theatre Company Perth. Performance and multi-media creator, with credits including mainstage opera and theatre direction, sound design and composition, and dramaturgy and writing across all live and digital media. Tom has worked with Melbourne and Queensland Theatre Companies; Australian, Queensland and West Australian Opera Companies.
Dr. Patricia Edgar AM Board Member since February 2012 ___________________________________________________ Founder and inaugural head of the Australian Children’s Television Foundation (ACTF), Patricia Edgar was also the architect of the Australian Children’s Television Standards and founder of the World Summit Movement, hosting the first World Summit on Media for Children in Melbourne in 1995. She is a teacher, researcher, producer, writer and experienced policy maker. Her programs have garnered more than 100 national and international awards. She is the author of 10 books, numerous articles and reports and widely recognized as an authority in the media field.
33 ANNUAL REPORT 2012
Jamie Dawson Board Member since February 2012 ___________________________________________________ Jamie is a Producer/Director with over 20 years experience engaging communities across a wide variety of artistic and creative programs. He has held senior management positions with Queensland Theatre Company, The Pleasance Theatre (Edinburgh), Circus Monoxide and Merrigong Theatre Company (NSW). He was Artistic Director of Sydney Children’s Festival, a creative and performing arts children’s festival, Executive Producer at Carriageworks, Sydney’s newest contemporary arts and culture centre, and Executive Director of Platform Hip Hop Festival, Australia’s largest allencompassing hip hop and street art festival. Jamie is currently Coordinator of Arts & Cultural Development for the City of Greater Dandenong, encompassing cultural development and planning, festivals and events, public art and heritage programming.
Rhiannon Keen Board Member since March 2012 ___________________________________________________ Rhiannon is an Associate Director in KPMG’s Economics and Government Advisory Services practice. She has a strong interest in politics, public policy and advising government on the efficient allocation of resources. Rhiannon previously worked as a ministerial adviser at both a State and Federal level, working for the Victorian Leader of the Opposition, the Office of the Prime Minister, and Minister for the Environment. Rhiannon has worked in Hong Kong, as well as in London, working for the now British Prime Minister, David Cameron. Rhiannon also has a Master or Public Policy and Management (Economics) from the University of Melbourne and a Bachelor of Arts (Media and Communications).
2012 Polyglot Board Meeting Attendance
Feb
Angela O’Brien
Mar
Apr*
ü
ü
Jun ü
Sept
Nov
Dec
ü
ü
Totals 5
David Hanrahan
ü
ü
ü
Jamie Dawson
ü
ü
ü
ü
ü
ü
ü
ü
ü
ü
ü
5
ü
ü
ü
6
Johanna Platt Julia White
ü
Dr. Patricia Edgar AM
ü
Rhiannon Keen
ü ü
4 ü
ü ü
ü
4
4
ü
Richard Roberts
ü
ü
Tom Gutteridge
ü
ü
ü
ü
ü
Total Present
6
5
7
6
5
6
6
5
3
ü
5
Principal Activities
Changes in State of Affairs
The principal activities of the entity during the course of the financial year are the creation and production of theatre for children and young people.
In the opinion of the Directors there were no significant changes in the state of affairs of the entity that occurred during the financial year under review.
Placing kids at the heart of our art, Polyglot creates interactive works which explore the relationship between children’s play and theatrical experience.
Events Subsequent to Balance Date
There were no significant changes in the nature of the activities of the entity during the year.
There has not arisen in the interval between the end of the financial year and the date of the report any item, transaction or event of a material or unusual nature likely, in the opinion of the directors of the Company, to affect significantly the operations of the entity, the results of those operations, or the state of affairs of the consolidated entity, in the future financial years.
ANNUAL REPORT 2012 34
Environmental Regulations
Insurance Premium
The entity’s operations are not subject to any significant environmental regulations under either Commonwealth or State legislation. However, the Board believes that the entity has adequate systems in place for the management of its environmental requirements and is not aware of any breach of those environmental requirements as they apply to the entity.
During the financial year the company has paid premiums on behalf of the company in respect of directors’ and officers’ liability and legal expenses insurance contracts for the year ended 31 December 2012 and since the financial year, the company has paid or agreed to pay premiums on respect of such insurance contracts for the year ended 31 December 2012. Such insurance contracts insure against certain liability (subject to specific exclusions) persons who are or have been directors or executive officers of the company
Indemnification and Insurance of Officers and Auditors Indemnification Since the end of the previous financial year, the company has not indemnified or made a relevant agreement of indemnifying against a liability any person who is or has been an officer or auditor of the company.
35 ANNUAL REPORT 2012
AUDITOR'S INDEPENDENCE DECLARATION Under section 307C of the corporations act 2001 to the directors of polyglot theatre Ltd I declare, that to the best of my knowledge and belief, during the year ended 31 December 2012 there have been: (i)
no contraventions of the auditor independence requirements as set out in the Corporations Act 2001 in relation to the audit; and
(ii)
no contraventions of any applicable code of professional conduct in relation to the audit.
Name of Firm:
Alan Dredge & Co Pty Ltd Chartered Accountants Alan Dredge FCA
Address:
16 Hill Street, Richmond VIC 3121
Dated this 15 day of April 2013
ANNUAL REPORT 2012 36
statement of financial position as at 31 december 2012 Polyglot Theatre Ltd. ABN 86 099 894 147 INCOME
2012 $
2011 $
Arts Victoria
193,686.00
173,247.00
Australia Council
137,600.00
75,500.00
Local Government Funding
37,800.00
65,005.45
DFAT Grants
25,000.00
98,068.18
Other Government Funding
86,250.45
60,000.00
Philanthropic Organisations
203,203.00
40,000.00
Total Grants Income
683,539.45
511,820.63
Performance & Audience Sales
639,872.63
393,374.26
Resources Income
64,440.11
36,565.70
Sponsorship & Fundraising
19,885.00
42,095.45
Business Related Income
18,198.73
23,462.95
Total Earned Income
742,396.47
495,498.36
TOTAL INCOME
1,425,935.92
1,007,318.99
Administration
628,110.26
519,578.18
Marketing & Promotion
61,501.63
45,850.76
Production Costs
705,981.36
491,286.05
TOTAL EXPENSES
1,395,593.25
1,056,714.99
SURPLUS (DEFICIT) FOR THE YEAR
30,342.67
(49,396.00)
Net gain on revaluation of financial assets
-
-
Other comprehensive income for the year
-
-
Total comprehensive income for the year
30,342.67
(49,396.00)
Total comprehensive income attributable to the members of the entity
30,342.67
(49,396.00)
GRANTS
Note 2
EARNED INCOME
EXPENSES
Other comprehensive income:
37 ANNUAL REPORT 2012
statement of financial position as at 31 december 2012 Polyglot Theatre Ltd. ABN 86 099 894 147 ASSETS
Note
2012 $
2011 $
Cash and cash equivalents
3
615,613.67
323,791.05
Other current assets
4
112,039.34
273,776.89
727,653.01
597,567.94
7,816.85
9,987.17
CURRENT ASSETS
TOTAL CURRENT ASSETS
NON-CURRENT ASSETS Property, plant and equipment
5
TOTAL NON-CURRENT ASSETS
7,816.85
9,987.17
TOTAL ASSETS
735,469.86
607,555.11
LIABILITIES CURRENT LIABILITIES Trade and other payables
6
48,421.89
30,642.74
Provisions
7
18,988.80
15,401.36
Other current liabilities
8
446,700.00
373,712.45
Provision for Bad Debts
-
1,900.00
TOTAL CURRENT LIABILITIES
514,110.69
421,656.55
16,525.85
11,407.91
TOTAL NON-CURRENT LIABILITIES
16,525.85
11,407.91
TOTAL LIABILITIES
530,636.54
433,064.46
NET ASSETS
204,833.32
174,490.65
204,833.32
174,490.65
204,833.32
174,490.65
NON-CURRENT LIABILITIES Provisions
7
EQUITY Retained earnings TOTAL EQUITY
9
ANNUAL REPORT 2012 38
statement of changes in equity as at 31 december 2012 Polyglot Theatre Ltd. ABN 86 099 894 147 Note
Retained earnings
Total
$
$
Balance at 1 January 2010
223,158
223,158
Surplus (deficit) attributable to members
729
729
Balance at 31 December 2010
223,887
223,887
(49,397)
(49,397)
Balance at 31 December 2011
174,490
174,490
Surplus (deficit) attributable to members
30,343
30,343
Balance at 31 December 2012
204,833
204,833
Surplus (deficit) attributable to members
39 ANNUAL REPORT 2012
9
statement of cash flows
for the year ended 31 december 2012 Polyglot Theatre Ltd. ABN 86 099 894 147 CASH FLOWS FROM OPERATING ACTIVITIES
2012 $
2011 $
Receipts from customers
1,663,212.23
1,068,304.16
Payment to suppliers and employees
(1,384,517.68)
(1,127,698.42)
Interest received
16,928.07
15,732.65
Net cash provided for operating activities
295,622.62
(43,661.61)
Payment for plant and equipment
(3,800.00)
(4,223.64)
Net cash provided for investing activities
(3,800.00)
(4,223.64)
Net increase (decrease) in cash held
291,822.62
(47,885.25)
Cash at beginning of financial year
323,791.05
371,676.30
Cash at end of financial year
615,613.67
323,791.05
CASH FLOWS FROM INVESTING ACTIVITIES
ANNUAL REPORT 2012 40
Notes to and forming part of the financial statements for the year ended 31 december 2012 Polyglot Theatre Ltd. ABN 86 099 894 147
1 Statement of Significant Accounting Policies The financial statement is for Polyglot Theatre Ltd as an individual entity, incorporated and domiciled in Australia. Polyglot Theatre Ltd is a company limited by guarantee.
Basis of Preparation Polyglot Theatre Ltd has elected to early adopt the Australian Accounting Standards – Reduced Disclosure Requirements as set out in AASB 1053: Application of Tiers of Australian Accounting Standards and AASB 2010–2: Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements. As a consequence, the entity has also adopted AASB 2011–2: Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project – Reduced Disclosure Requirements and AASB 2011–6: Amendments to Australian Accounting Standards – Extending Relief from Consolidation, the Equity Method and Proportionate Consolidation – Reduced Disclosure Requirements. This is because the reduced disclosure requirements in AASB 2011–2 and AASB 2011–6 relate to Australian Accounting Standards that mandatorily apply to annual reporting periods beginning on or after 1 July 2011. The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements of the Australian Accounting Standards Board and the Corporations Act 2001. The company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards. Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless stated otherwise. The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs, modified, where applicable, by the measurement at fair value of selected noncurrent assets, financial assets and financial liabilities.
Accounting Policies Revenue Grant revenue is recognised in the statement of comprehensive income when the entity obtains control of the grant and it is probable that the economic benefits gained from the grant will flow to the entity and the amount of the grant can be measured reliably. If conditions are attached to the grant which must be satisfied before it is eligible to receive the contribution, the recognition of the grant as revenue will be deferred until those conditions are satisfied.
41 ANNUAL REPORT 2012
When grant revenue is received whereby the entity incurs an obligation to deliver economic value directly back to the contributor, this is considered a reciprocal transaction and the grant revenue is recognised in the state of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt. If Polyglot Theatre Ltd receives non-reciprocal contributions of assets from the government and other parties for zero or a nominal value, these assets are recognised at fair value on the date of acquisition in the statement of financial position, with a corresponding amount of income recognised in the statement of comprehensive income. Donations and bequests are recognised as revenue when received. Interest revenue is recognised using the effective interest rate method, which for floating rate financial assets is the rate inherent in the instrument. Revenue from the rendering of a service is recognised upon the delivery of the service to the customers. All revenue is stated net of the amount of goods and services tax (GST).
Property, Plant and Equipment Each class of property, plant and equipment is carried at cost or fair value as indicated, less, where applicable, accumulated depreciation and any impairment losses. Plant and Equipment Plant and equipment are measured on the cost basis and are therefore carried at cost less accumulated depreciation and any accumulated impairment. In the event the carrying amount of plant and equipment is greater than the estimated recoverable amount, the carrying amount is written down immediately to the estimated recoverable amount. A formal assessment of recoverable amount is made when impairment indicators are present. Plant and equipment that have been contributed at no cost or for nominal cost are valued and recognised at the fair value of the asset at the date it is acquired. Depreciation The depreciable amount of all fixed assets, including buildings and capitalised lease assets, but excluding freehold land, is depreciated on a straight line basis over the asset’s useful life to the entity commencing from the time the asset is available for use. Leasehold improvements are depreciated over the shorter of either the unexpired period of the lease or the estimated useful lives of the improvements. The depreciation rates used for each class of depreciable assets are: Class of Fixed Asset Plant and equipment
Depreciation Rate 33%
The assets’ residual values and useful lives are reviewed and adjusted, if appropriate, at the end of each reporting period. Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are included in the statement of comprehensive income. When revalued assets are sold, amounts included in the revaluation reserve relating to that asset are transferred to retained earnings.
Financial Instruments Initial Recognition and Measurement Financial assets and financial liabilities are recognised when the entity becomes a party to the contractual provisions to the instrument. For financial assets, this is equivalent to the date that the company commits itself to either purchase or sell the asset (ie trade date accounting is adopted). Financial instruments are initially measured at fair value plus transactions costs except where the instrument is classified “at fair value through profit or loss”, in which case transaction costs are recognised in profit or loss immediately.
assets due to their nature, or they are designated by such by management. They comprise investments in the equity of other entities where there is neither a fixed maturity nor fixed or determinable payments. They are subsequently measured at fair value with changes in such fair value (ie gains or losses) recognised in other comprehensive income (except for impairment losses and foreign exchange gains and losses). When the financial asset is derecognised, the cumulative gain or loss pertaining to that asset previously recognised in other comprehensive income is reclassified into profit or loss. Available-for-sale financial assets are classified as non-current assets when they are expected to be sold within 12 months after the end of the reporting period. All other available -for-sale financial assets are classified as current assets. (v) Financial liabilities Non-derivative financial liabilities other than financial guarantees are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial liability is derecognised.
Classification and subsequent measurement
Impairment
Finance instruments are subsequently measured at either fair value, amortised cost using the effective interest rate method or cost. Fair value represents the amount for which an asset could be exchanged or a liability settled, between knowledgeable, willing parties. Where available, quoted prices in an active market are used to determine fair value. In other circumstances, valuation techniques are adopted.
At each reporting date, the company assesses whether there is objective evidence that a financial instrument has been impaired. In the case of available-for-sale financial instruments, a prolonged decline in the value of the instrument is considered to determine whether impairment has arisen. Impairment losses are recognised in profit or loss. Also, any cumulative decline in fair value previously recognised in other comprehensive income is reclassified to profit or loss at this point.
Amortised cost is the amount at which the financial asset or financial liability is measured at initial recognition less principal repayments and any reduction for impairment, and adjusted for any cumulative amortisation of the difference between that initial amount and the maturity amount calculated using the effective interest method.
In the case of available-for-sale financial assets, a significant or prolonged decline in the market value of the instrument is considered to constitute a loss event. Impairment losses are recognised in profit or loss immediately. Also, any cumulative decline in fair value previously recognised in other comprehensive income is reclassified to profit or loss at this point.
(i) Financial assets at fair value through profit or loss Financial assets are classified at ‘fair value through profit or loss’ when they are held for trading for the purpose of short-term profit taking, or where they are derivatives not held for hedging purposes, or when they are designated as such to avoid an accounting mismatch or to enable performance evaluation where a group of financial assets is managed by key management personnel on a fair value basis in accordance with a documented risk management or investment strategy. Such assets are subsequently measured at fair value with changes in carrying value being included in profit or loss. (iI) Loans and receivables Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market and are subsequently measured at amortised cost. (iii) Held-to-maturity investments Held-to-maturity investments are non-derivative financial assets that have fixed maturities and fixed or determinable payments, and it is the entity’s intention to hold these investments to maturity. They are subsequently measured at amortised cost. (iv) Available-for-sale financial assets Available-for-sale financial assets are non-derivative financial assets that are either not capable of being classified into other categories of financial
In the case of financial assets carried at amortised cost, loss events may include: indications that the debtors or a group of debtors are experiencing significant financial difficulty, default or delinquency in interest or principal payments; indications that they will enter bankruptcy or other financial reorganisation; and changes in arrears or economic conditions that correlate with defaults. For financial assets carried at amortised cost (including loans and receivables), a separate allowance account is used to reduce the carrying amount of financial assets impaired by credit losses. After having taken all possible measures of recovery, if management establishes that the carrying amount cannot be recovered by any means, at that point the written-off amounts are charged to the allowance account or the carrying amount of impaired financial assets is reduced directly if no impairment amount was previously recognised in the allowance accounts. When the terms of financial assets that would otherwise have been past due or impaired have been renegotiated, the company recognises the impairment for such financial assets by taking into account the original terms as if the terms have not been renegotiated so that the loss events that have occurred are duly considered. Derecognition Financial assets are derecognised when the contractual rights to receipt of cash flows expire or the asset is transferred to another party whereby the entity no longer has any significant continuing involvement in the risks and benefits associated with the asset. Financial liabilities are derecognised
ANNUAL REPORT 2012 42
when the related obligations are discharged or cancelled, or have expired. The difference between the carrying amount of the financial liability, which is extinguished or transferred to another party, and the fair value of consideration paid, including the transfer of non-cash assets or liabilities assumed, is recognised in profit or loss.
Impairment of Assets At the end of each reporting period, the entity assesses whether there is any indication that an asset may be impaired. If such an indication exists, an impairment test is carried out on the asset by comparing the recoverable amount of the asset, being the higher of the asset’s fair value less costs to sell and value in use, to the asset’s carrying amount. Any excess of the asset’s carrying amount over its recoverable amount is recognised immediately in profit or loss, unless the asset is carried at a revalued amount in accordance with another Standard (eg in accordance with the revaluation model in AASB 116). Any impairment loss of a revalued asset is treated as a revaluation decrease in accordance with that other Standard. Where it is not possible to estimate the recoverable amount of an individual asset, the entity estimates the recoverable amount of the cash-generating unit to which the asset belongs.
Employee Benefits Provision is made for the entity’s liability for employee benefits arising from services rendered by employees to end of the reporting period. Employee benefits that are expected to be settled within one year have been measured at the amounts expected to be paid when the liability is settled. Employee benefits payable later than one year have been measured at the present value of the estimated future cash outflows to be made for those benefits. In determining the liability, consideration is given to employee wage increases and the probability that the employee may not satisfy vesting requirements. Those cash outflows are discounted using market yields on national government bonds with terms to maturity that match the expected timing of cash flows. Contributions are made by the entity to an employee superannuation fund and are charged as expenses when incurred.
Cash and Cash Equivalents Cash and cash equivalents include cash on hand, deposits held at-call with banks, other short-term highly liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within short-term borrowings in current liabilities on the statement of financial position.
Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Tax Office (ATO). Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included with other receivables or payables in the statement of financial position. Cash flows are presented on a gross basis. The GST components of cash flows arising from investing or financing activities, which are recoverable from or payable to the ATO, are presented as operating cash flows included in receipts from customers or payments to suppliers.
Income Tax No provision for income tax has been raised as the entity is exempt from income tax under Division 50 of the Income Tax Assessment Act 1997.
Provisions Provisions are recognised when the entity has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured. Provisions recognised represent the best estimate of the amounts required to settle the obligation at reporting date.
Comparative Figures Where required by Accounting Standards comparative figures have been adjusted to conform with changes in presentation for the current financial year. When an entity applies an accounting policy retrospectively, makes a retrospective restatement or reclassifies items in its financial statements, a statement of financial position as at the beginning of the earliest comparative period must be disclosed.
Trade and Other Payables Trade and other payables represent the liability outstanding at the end of the reporting period for goods and services received by the company during the reporting period which remain unpaid. The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.
Critical Accounting Estimates and Judgements The directors evaluate estimates and judgments incorporated into the financial report based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the company.
Economic Dependence Polyglot Theatre Ltd is dependent on grant income from Australia Council and Arts Victoria for the majority of its revenue used to operate the business. At the date of this report the Board of Directors has no reason to believe Australia Council and Arts Victoria will not continue to support Polyglot Theatre Ltd.
43 ANNUAL REPORT 2012
2 Revenue and Other Income 2012 $
2011 $
Grants Arts Victoria
193,686.00
173,247.00
Australia Council
137,600.00
75,500.00
Local Government Funding
37,800.00
65,005.45
DFAT Grants
25,000.00
98,068.18
Other Government Funding
86,250.45
60,000.00
Philanthropic Organisations
203,203.00
40,000.00
Total Grants Income
683,539.45
511,820.63
Performance & Audience Sales
639,872.63
393,374.26
Resources Income
64,440.11
36,565.70
Sponsorship & Fundraising
19,885.00
42,095.45
Business Related Income
18,198.73
23,462.95
Total Earned Income
742,396.47
495,498.36
TOTAL INCOME
1,425,935.92
1,007,318.99
Permanent Staff
386,048.46
321,367.91
On-Costs
80,240.91
50,272.65
Allowances
46,072.79
28,338.04
Other Staff Costs
13,186.13
8,993.50
Admin Costs
102,561.97
110,606.08
628,110.26
519,578.18
61,501.63
45,850.76
Artist & Creative Fees
319,980.84
200,371.51
Production & Technical Fees
62,556.10
47,067.66
Feed The Art
6,400.00
1,256.45
Venue
17,472.01
20,643.57
Scenic & Staging Costs
153,852.09
76,287.04
Travel & Touring Costs
145,720.32
145,659.82
705,981.36
491,286.05
1,395,593.25
1,056,714.99
Earned Income
EXPENSES Administration Costs
Marketing, Promotion & Documentation Production Costs
Total EXPENSES
ANNUAL REPORT 2012 44
3 Cash and Cash Equivalents 2012 $
2011 $
Cash on Hand
4,010.27
1,573.44
Cash at Bank
110,359.10
25,932.39
Cash at Bank - Theatre Fund
29,878.87
16,827.12
Cash at Bank - Business Online Saver
471,122.73
224,458.10
Cash at Bank – Other
242.70
55,000.00
Total cash and cash equivalents as stated in the statement of financial position
615,613.67
323,791.05
615,613.67
323,791.05
615,613.67
323,791.05
Reconciliation of cash Total cash and cash equivalents as stated in the cash flow statement
4 Other Current Assets 2012 $
2011 $
Accounts Receivables
29,130.15
200,000.90
Interest Receivables
1,247.93
-
Prepaid Material Stock
51,088.41
52,156.43
Sundry Prepayments
19,450.09
13,037.32
Prepaid Insurance
7,332.55
5,400.47
Prepaid WorkCover
3,790.21
3,181.77
112,039.34
273,776.89
Provision for Impairment of Receivables Current trade receivables are generally on 30-day terms. These receivables are assessed for recoverability and a provision for impairment is recognised when there is objective evidence that an individual trade receivable is impaired.
45 ANNUAL REPORT 2012
5 Propery, Plant and Equipment Plant and Equipment: At cost
40,728.23
258,705.25
Accumulated depreciation
(32,911.38)
(248,718.08)
Total Plant and Equipment
7,816.85
9,987.17
Movements in Carrying Amounts Movement in the carrying amounts for each class of property, plant and equipment between the beginning and the end of the current financial year.
$
Plant & Equipment
Motor Vehicles
Leasehold Improvements
Equipment
Computer Equipment
Total
$
$
$
$
$
$
-
9,987.17
Balance at 1 January 2012
-
6,311.19
-
Additions
-
-
-
Adjustments*
(6,311.19)
3,675.98 -
3,800.00
3,800.00
-
1,805.41
Depreciation expense
-
-
-
(1,360.04)
(104.50)
-
(4,505.78) (1,464.54)
Carrying amount at 31 December 2012
-
-
-
4,121.35
3,695.50
7,816.85
ANNUAL REPORT 2012 46
6 Trade and Other Payables 2012 $
2011 $
Current Accounts Payable
23,038.61
7,431.57
Sundry Creditors & Accruals
4,145.74
975.00
Superannuation Payable
3,115.83
2,786.65
PAYG Payable
6,527.70
6,037.70
GST Liabilities
11,594.01
13,411.82
48,421.89
30,642.74
- Total current
48,421.89
30,642.74
Financial liabilities as trade and other payables
48,421.89
30,642.74
Financial liabilities at amortised cost classified as trade and other payables Trade and other payables:
7 Provisions Provision for Annual Leave
Provision for Long Service Leave
Total
Opening balance at 1 January 2012
15,401.36
11,407.91
26,809.27
Additional provisions raised during year
4,915.66
5,117.94
10,033.60
Amounts used
(1,328.22)
-
(1,328.22)
Balance at 31 December 2012
18,988.80
16,525.85
35,514.65
Current
2012 $
2011 $
18,988.80
15,401.36
16,525.85
11,407.91
35,514.65
26,809.27
Provision for Annual Leave Non-Current Provision for Long Service Leave
A provision has been recognised for employee entitlements relating to long service leave. In calculating the present value of future cash flows in respect of long service leave, the probability of long service leave being taken is based on historical data. The measurement and recognition criteria relating to employee benefits have been included in Note 1 to this report.
8 Other Liabilities 2012 $
2011 $
100,000.00
88,759.00
Current Core Grants in Advance Project Income in Advance
83,450.00
32,500.00
Project Grants in Advance
263,250.00
252,453.45
446,700.00
373,712.45
47 ANNUAL REPORT 2012
9 Retained Earnings 2012 $
2011 $
Retained earnings at the beginning of the financial year
174,490.65
223,886.65
(Net deficit) Net surplus attributable to members of the company
30,342.67
(49,396.00)
Retained earnings at the end of the financial year
204,833.32
174,490.65
2012 $
2011 $
10 Key Management Personnel Short-term employee benefits Total Compensation
214,408.86
205,380.88
Total Compensation
214,408.86
205,380.88
11 Related Party Transactions There were no related party transactions that occurred during the year.
12 Cash Flow Information 2012 $
2011 $
Reconciliation of Cash Flow from Operations with Net Surplus Net surplus (net deficit)
30,342.67
(49,396.00)
Depreciation
5,970.32
2,966.00
Doubtful Debt Expense
-
300.00
Loss on disposal of equipment
-
(338.99)
(Increase) Decrease in current receivables
169,622.82
(141,175.90)
(Increase) Decrease in prepayments
(7,885.27)
(54,039.26)
Increase (Decrease) in trade creditors
15,607.04
3,055.35
Increase (Decrease) in sundry creditors
3,170.74
(2,967.05)
Increase (Decrease) in superannuation
329.18
466.26
Increase (Decrease) in PAYG
490.00
1,240.00
Increase (Decrease) in GST
(1,817.81)
6,810.56
Increase (Decrease) in Core Income in advance
11,241.00
88,759.00
Increase (Decrease) in Project Income in advance
61,746.55
104,823.45
Increase (Decrease) in provisions
6,805.38
(4,165.03)
Net cash provided from (used in) operations
295,622.62
43,661.61
Non-cash flows in surplus
Changes in assets and liabilities, net of the effects of purchase and disposals of subsidiaries
ANNUAL REPORT 2012 48
13 Financial Risk Management The company’s financial instruments consists mainly of deposits with banks, accounts receivable and payable. The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed in the accounting policies to these financial statements are as follows:
2012 $
2011 $
Cash and cash equivalents
615,613.67
323,791.05
Loans and receivables
112,039.34
273,776.89
Total Financial Assets
727,653.01
597,567.94
Trade and other payables
48,421.89
30,642.74
Total Financial Liabilities
48,421.89
30,642.74
Financial Assets
Financial Liabilities
Financial Risk Management Policies The finance committee consist of senior board members, and the committee’s overall risk management strategy seeks to assist the company in meeting its financial targets, whilst minimising potential adverse effects on financial performance. Risk management policies are approved and reviewed by the finance committee on a regular basis. These include credit risk policies and future cash flow requirements.
Net Fair Values (i)
For listed available-for-sale financial assets and financial assets at fair value through profit or loss the fair values have been based on closing quoted bid prices at the end of the reporting period. In determining the fair values of the unlisted available-for-sale financial assets, the directors have used inputs that are observable either directly (as prices) or indirectly (derived from prices).
(ii)
Fair values of held-to-maturity investments are based on quoted market prices at the ending of the reporting period.
14 Company Details The principle place of business is: Polyglot Theatre Ltd 27a Cromwell Road South Yarra VIC 3141
15 Income Tax The company is exempt from income tax under Section 50-45 of the Income Tax Assessment Act 1997 as its objective is the encouragement of art and culture and its business is not carried on for the profit of its individual members.
49 ANNUAL REPORT 2012
DIRECTORS’ DECLARATION The directors of the company declare that: 1. The financial statements and notes, as set out on pages 36 to 49, are in accordance with the Corporations Act 2001 and: (a) comply with Accounting Standards – Reduced Disclosure Requirements; and (b) give a true and fair view of the financial position as at 31 December 2012 and of the performance for the year ended on that date of the company.
2. In the directors’ opinion there are reasonable grounds to believe that the company will be able to pay its debts as and when they become due and payable. This declaration is made in accordance with a resolution of the Board of Directors. Director:
Julia White Johanna Platt Chair Treasurer Dated this 14 day of April 2013
ANNUAL REPORT 2012 50
independent auditor’s report to the members of polyglot theatre ltd abn 86 099 894 147 Report on the Financial Report
Opinion
I have audited the accompanying financial report of Polyglot Theatre Ltd which comprises the statement of financial position as at 31 December 2012, and the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, notes comprising a summary of significant accounting policies and other explanatory information, and the directors’ declaration.
In my opinion, the financial report of Polyglot Theatre Ltd is in accordance with the Corporations Act 2001, including:
Directors’ Responsibility for the Financial Report The directors of the company are responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Corporations Act 2001 and for such internal control as the directors determine is necessary to enable the preparation of the financial report that is free from material misstatement, whether due to fraud or error.
i. giving a true and fair view of the company’s financial position as at 31st December 2012 and of its performance for the year ended on that date; and ii. complying with Australian Accounting Standards – Reduced Disclosure Requirements and the Corporations Regulations 2001.
Name of Firm: Alan Dredge & Co Pty Ltd Chartered Accountants Alan Dredge FCA
Auditor’s Responsibility My responsibility is to express an opinion on the financial report based on my audit. I conducted my audit in accordance with Australian Auditing Standards. Those Standards require that I comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance whether the financial report is free from material misstatement. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. The procedures selected depend on the auditor’s judgment, including the assessment of the risks of material misstatement of the financial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity’s preparation and fair presentation of the financial report in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the directors, as well as evaluating the overall presentation of the financial report. I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my audit opinion.
Independence In conducting my audit, I have complied with the independence requirements of the Corporations Act 2001. I confirm that the independence declaration required by the Corporations Act 2001, which has been given to the directors of Polyglot Theatre Ltd, would be in the same terms if given to the directors as at the date of this auditor’s report.
51 ANNUAL REPORT 2012
Address: 16 Hill Street, Richmond VIC 3121 Dated this 15 day of April 2013
More Information Polyglot Theatre 27a Cromwell Road, South Yarra Victoria 3141 Australia T +61 3 8060 4680 info@polyglot.org.au www.polyglot.org.au