Atyp annual report 2014

ANNUAL REPORT 2014

CONTENTS 4-5

ATYP

8-11

ARTISTIC DIRECTOR’S REPORT

12-15

CHAIR’S REPORT

16-25

2014 PRODUCTIONS

26-35 ATYP SELECTS 36-41 ATYP CAMEOS 42-47

WRITING

48-51

WORKSHOPS

52-57

LEARNING

58-61

DEVELOPMENT

62-87

FINANCIALS

88-92

PARTNERS AND SUPPORTERS

ANNUAL REPORT 2014

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Photo: Lisa Tomasetti Production: M.Rock

ATYP OUR VISION NEW BRANDING ARTISTIC DIRECTOR’S REPORT CHAIRS’ REPORT

ANNUAL REPORT 2014

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Photo: John Tsiavis

OUR VISION:

To raise the national expectation of what theatre with young people can achieve. We do this through four interlinked aspirations:

Our work is determined by our four overarching strategies:

1. To be a fearless theatre company with a national impact that all levels of the industry love to work with.

1. National impact: Recognise the companyâ&#x20AC;&#x2122;s role as the national youth theatre and prioritise initiatives that have the potential to resonate nationally.

2. To build an active playwriting community that champions and supports young artists and their work. 3. To be the first place teachers turn to for inspiration and support in drama education.

2. Artistic excellence: Connect young people with industry leaders, and work in partnership with companies, venues and producers synonymous with â&#x20AC;&#x153;artistic excellenceâ&#x20AC;?.

4. To maintain a vibrant creative hub and company culture that young people around the country want to be part of.

3. Innovation: Embrace technology and the evolving nature of storytelling as it relates to young people and their place in the world. 4. Pathways: Maintain an environment that develops confidence and creativity in all young Australians by offering inclusive access to the company and supporting the career development of emerging professionals.

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NEW BRANDING 2014 saw ATYP launch a new logo and brand thanks to the extraordinary in-kind support of Interbrand, a world leading agency that specialises in seeing business strategy brought to life. The new look and feel for the company sought to consolidate ATYP’s reputation and position as one of Australia’s leading theatre companies. Informing the brand was recognition that ATYP’s investment in young people’s stories is at the heart of the company. That as a company, in everything we do, we “dig deeper”:

We help young people discover their own truths. From personal development and realising individual goals to professional development and sling the heights of industry excellence.

In every story we see hidden depth. In every person we see potential. The rebrand positions ATYP alongside the nation’s major theatre companies, generating material with the look and feel of a major performing arts company. It reflects that ATYP’s core business is staging quality performances that reflect the interests and experiences of young people. The brand distances the company from the legacy misconceptions that we are a drama school or a workshop hub.

Photo: In House

ARTISTIC DIRECTORâ&#x20AC;&#x2122;S REPORT

ANNUAL REPORT 2014

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Looking over the past twelve months, the defining activity of 2014 is undoubtedly the investment in the Company’s production program. There has long been discussion in and around ATYP, and indeed the wider international performing arts community, as to whether it is possible for a youth theatre to be more than a place of ‘learning’ and be recognised as a theatre company in its own right. In 2014 ATYP took a leap toward ending that debate, staking its claim as one of Australia’s leading producers of new work. This was the year the Company demonstrated it consistently delivers theatre that sits comfortably on the national stage, recognised for artistic excellence, genuinely engaging audiences of all ages, celebrated by critics and industry alike. It is a testament to the talent and rigor of the artists and staff involved in 2014 that ATYP emerges from the year recognised as an international leader in ‘youth theatre’. In the long history of the Company 2014 is nestled between two years of huge strategic significance. In 2013 ATYP turned 50 with twelve months of celebration and reflection, reconnecting with the people and events that made it what it is. In 2015 it will re-imagine the future, generating a new Strategic Plan to be submitted for newly restructured State and Federal Arts funding programs – each offering an opportunity to address the inadequate operational funding that has plagued the Company for decades. It is an unprecedented opportunity. In light of this it was agreed by the Board and staff that 2014 was a year to take a risk. To use a gambling term, we chose to back ourselves. It was a year to demonstrate the quality of theatre ATYP is capable of delivering. In 2015 the Australian and NSW funded theatre landscape will be redefined for a decade or more. It was agreed that 2014 was a rare opportunity to invest in our reputation for commissioning and staging outstanding theatre in our own right. So we did. M.Rock by Lachlan Philpott was co-produced with Sydney Theatre Company and presented in their subscription season. Sugarland, written by Rachael Coopes with Wayne Blair, had failed to secure a co-producing partner and looked likely never to be presented as a professional work. Trusting the recommendation of Aaron Beach and myself, the ATYP Board took the unprecedented step of committing the funds required to professionally produce

Sugarland ourselves. These two productions were staged alongside the annual commissions, The Voices Project, this year titled Bite Me, and winner of the ATYP Foundation Commission Luke Lloyd: Alienoid. As you will see in the attached report the season surpassed all expectations. The first show for the year, Bite Me, set a new box office attendance record for Studio 1. This was followed by the completely sold-out season of M.Rock which won critical and popular acclaim. Sugarland was presented for the community of Katherine (where the play is set) to a full house, before performing to further sell-out seasons at the Darwin Festival and in Sydney at ATYP where it smashed the attendance record set earlier in the year. Both M.Rock and Sugarland were nominated for ‘Best Production for Young People’ in the Sydney Theatre Awards (won by the latter) and the cast of Sugarland received three of the four nominations in the category ‘Best Newcomer’. Both Sugarland and M.Rock have received significant interest in national tours in 2016 and 2017. Unfortunately this artistic gain has come at financial cost, reflected in the attached audited financial accounts. In 2014 the Company made a significant financial investment in building brand and artistic currency nationally. While it was in no way intended, it is interesting to note that the loss is almost exactly equal to the minimum operational funding ATYP fails to receive in comparison to similarly sized professional companies. In addition to the production season the attached report reflects a range of artistic outcomes that span education and learning, professional development and digital access, connecting young people with the theatre industry locally and nationally. The appointment of a ‘Geek-in-Residence’ in Daniel Andrews allowed for a complete audit of the Company’s digital platforms and revision and evolution of the way the Company engages with technology. ATYP developed and refined our process of livestreaming productions, engaging audiences from schools in every State and Territory. ATYP continued to set new benchmarks in the development of playwrights and new writing. In 2014 we established the position of Resident Playwright, offering one young adult an extraordinary opportunity to develop a full-length work, four short commissions, skills in workshop facilitation and the opportunity to be on staff and engaged

in artistic decision making. We also restructured the writing program to appoint a resident dramaturge, Jennifer Medway, to support the integration of writing across all programs in the role of Writing Co-ordinator. 2014 was also the year ATYP reconnected internationally. Young playwrights from Sydney were partnered with writers from Action Transport Theatre based in Manchester in the UK on a three-month writing development program. Three young artists from ATYP spent a week with the Scottish Youth Theatre as part of the Commonwealth Festival in Glasgow. Jenni Medway and I spent a week in Vancouver planning a three-year project involving companies from the UK, Portugal, Italy and Canada, and we received an invitation to devise a project with ASEAN artists for the International Childrenâ&#x20AC;&#x2122;s Festival of Okinawa in 2015. The year also brought some sad farewells. Our beloved Marketing Manager Annabel Tate departed for a year on maternity leave in August, replaced by the dynamic Amy Maiden. There was great sadness toward the end of the year when General Manager Aaron Beach tendered his resignation to take up a unique opportunity heading up a new professional dance company in Western Australia. This sadness continued as the Workshop Manager with the warmest heart and most unpredictable turn of phrase, Sarah Parsons, announced she would be leaving in early 2015 to take up the reins running Outback Theatre for Young People.

On a personal note I would like to acknowledge the extraordinary contribution of both Aaron and Sarah over the past three years. They brought a passion and joy to the office that matched the success of the programs they managed. They personified our ambition of being a much-loved company. ATYP is a stronger company because of them. Iâ&#x20AC;&#x2122;d also like to acknowledge the extraordinary ongoing contribution of our Chair Michael Ihlein whose guidance and influence continue to inspire the Board and staff alike. ATYP was a great thing to be a part of in 2014. It is a privilege to work with such an exceptional team of people, supported by a passionate and committed Board, and inspired on a daily basis by the young people that form the heart of the Company and the focus of all we do. I look forward to seeing what happens next.

Fraser Corfield Artistic Director 4 May 2015

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Photo: Amy Maiden Production: Luke Lloyd: Alienoid

CHAIRâ&#x20AC;&#x2122;S REPORT

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I have pleasure in presenting the Chair’s report for 2014. What an extraordinary year 2014 was for Australian Theatre for Young People (ATYP). Artistically ATYP is going from strength to strength and the quality of what is now being delivered is of great credit to Fraser Corfield, ATYP’s Artistic Director, and his team. ATYP’s vision is to raise the national expectation of what theatre with young people can achieve. And there is no doubt that in 2014 we certainly achieved this – whether it is the amazing success of the award winning Sugarland or M.Rock, the strength of our workshop programs or the continued growth of our writing programs. It is interesting to reflect that in our 50th year, I commented in my AGM address that 2013 was our best year ever, artistically. And 2014 has exceeded that yet again! It is indeed very encouraging to see that we are continuing to grow and develop in delivering on our vision. 2014 was however a challenging year financially as we invested heavily in Sugarland and M.Rock, far in excess of what we would normally target. However, we felt the strength of both these works warranted the investment and the challenge that we would have in securing additional trust and foundation support to cover the cost. Both productions had great success including a number of awards and we are hopeful of touring one or both productions in 2016. Regrettably, additional funding was not able to be achieved and consequently the Company posted a loss for the year. However, we need to look at this in the context of ATYP investing in its future. One of the most exciting developments at the end of 2014 came in the form of the announcement from the NSW State Government that after some 15-20 years of debate, discussion and numerous commitments from past governments, that finally the Pier 2/3 redevelopment at Walsh Bay will finally be happening. This was a part of the Baird Government infrastructure investment commitment and now that the government has been returned to office, the budgeting of the redevelopment is expected to be included in the 2015 NSW State Budget. This is truly very exciting news as we can now start formal planning for a new home over the next few years.

The Company (including the Foundation) finished the year ended 31 December 2014 with Total Comprehensive Income of a loss of $345,582 (2013: $46,140 loss) and Total Equity of $1,130,849 (2013: $1,466,431). The increased loss reflects the significant investment made in Sugarland and M.Rock with a continued challenging fundraising environment especially with respect to Trust and Foundations. Unfortunately, the low interest-rate environment continues to impact the earnings from investments in the ATYP Foundation and hence the level of funding available to ATYP. At the ATYP level, a loss of $303,157 was recorded – a significant increase over 2013 ($42,242 loss). We continue however to have an objective to break even each year and that is the target for 2015. Our vision is to raise the national expectation of what theatre with young people can achieve. We do this through four inter-linked aspirations: 1. Be a fearless theatre company with a national impact that all levels of the industry love to work with. • Our major production, Sugarland, had a preview season in Katherine, the community from which this play drew its inspiration. It then premiered at the Darwin Festival followed by a Sydney season at The Wharf, winning two 2014 Sydney Theatre Awards. Sugarland also broke ATYP’s own attendance records! • ATYP partnered with Sydney Theatre Company to produce the fully professional production M.Rock, commissioned by ATYP and resulted in a season that was completely sold out. • The ATYP Selects program facilitated four shows in 2014 providing performance opportunities for independent theatre makers and attracting audiences of more than 3,000. • The ATYP Cameo series welcomed artists from a broad range of regional areas with great success. 2. Build an active playwriting community that champions and supports young artists and their work. • Commissioned ten young Australian playwrights to develop seven-minute monologues presented as part of The Voices Project: Bite Me.

• Engaged 52 emerging writers and 93 artists throughout ATYP’s highly successful writing programs. • The National Mentoring Program was held in three states with three mentors leading 13 mentees in the year-long program. • Almost forty applications were received (with eighteen attendees) for the annual National Studio program. • John Armstrong wrote a new work for 10-14 year olds, Luke Lloyd: Alienoid, which was presented in October with the generous support of the ATYP Foundation Commission. 3. Be the first place teachers turn to for inspiration and support in drama education. • Conducted three live-stream events featuring productions Bite Me, Sugarland and Luke Lloyd: Alienoid with an audience of more than 1,750 across Australia. These events included interactive Q&A sessions following each performance connecting the live audience at The Wharf with our on-line audience. • Delivered education programs reaching nearly 4,000 students from over 200 schools. • On-line education resources, including videos and teacher’s resources, were accessed by more than 2,700 individuals. • Increased attendance of regional schools attending workshops at ATYP. • The ATYP Inspire program connected Sydney metropolitan schools with regional NSW schools in a program collaborating with writer, John Armstrong. 4. Maintain a vibrant creative hub and company culture that young people around the country want to be part of. • Delivered 341 holiday workshops, 612 term ensemble classes, 182 school workshops, presented 13 productions with more than 12,100 audience members and 15,000 holiday and semester participants. • Over 75,000 visits to the ATYP website from every state and territory in Australia. • Extensive coverage in print articles with local listings, major daily newspapers nationwide, Sydney local papers and street press. • The Company had 3,082 Facebook likes and 5,253 Twitter followers.

Build sustainable infrastructure and resources to support the Company’s work. Turning now to the 2014 financial results, funding ratios were: Earned Income ($1,233,177) comprised 76% of total turnover ($1,631,729). Earned income includes sponsorship & donations ($487,542 / 30% of turnover) and fees & services ($552,982 / 34% of turnover). Government subsidies and grants ($398,552) represented 24% of turnover. The Finance Committee carried out regular reviews of the financial results and made recommendations to the ATYP Board on financial matters. We are continuing to strengthen our team, and there were a number of changes to the organisation during the year. In particular, however, I would like to sincerely thank Aaron Beach who resigned at the end of the year as ATYP’s General Manager to take up a new challenge in Perth. Aaron made a wonderful contribution to ATYP during his tenure and we are most appreciative of that leadership. Amy Maiden has taken up the challenge of the General Manager role having spent some time with ATYP as our Marketing Manager and we very much look forward to working with her. In the area of funding, ATYP continues to benefit from various subsidies and grants totalling $398,552 in 2014 (2013: $310,924). These include Australia Council for the Arts, Arts NSW and the City of Sydney. The Company continues to generate significant amounts from private fundraising activities, albeit at a significantly lower level than 2013. In 2014, ATYP raised $487,542 in sponsorships and donations (2013: $811,972). The Graeme Wood Foundation continues to be a great supporter of the Company through the Fresh Ink program. In addition, we are grateful for the support of a number of foundations in 2014: ANZ Staff Foundation, Bird Holcomb Pty Ltd Foundation, Tim Fairfax Family Foundation, Vincent Fairfax Family Foundation, James N Kirby Foundation, Matana Foundation for Young People, Mercy Foundation, St George Foundation, The Greatorex Foundation, Westpac Foundation and the Yim Family Foundation. ATYP has also benefited from corporate support from a number of organisations including BBM Youth Support, Copyright Agency Limited Cultural Fund, High Pass Holdings Pty Ltd, Rebelstudio, Losane,

ANNUAL REPORT 2014

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SpotCo NYC, UBS Australia Limited and Westfield Group. In addition, we are very appreciative of pro-bono support which has been provided by a number of organisations including PricewaterhouseCoopers, Westpac Foundation and Mullinars Casting Consultants. Once again, ATYP has benefited significantly from the support of the ATYP Foundation for operational needs and the five-year commitment to commissioning works. Our reach to individuals and a range of organisations has expanded, from which additional valuable funding has been provided as part of our fundraising activities. We continue to be very grateful for the support of government (especially Australia Council for the Arts and Arts NSW) and the private sector in supporting ATYP in its valuable work. As I commented above, ATYP continues to excel in its Artistic Program in 2014 under the direction of Fraser Corfield (see comments from Fraser about the Artistic Program in his 2014 Artistic Report). My sincere appreciation goes to the whole ATYP team for all its efforts in the past year. In particular I wish to express my sincere thanks to Fraser Corfield (Artistic Director and CEO). In addition, as mentioned previously, thanks to Aaron Beach, who was General Manager for the whole of 2014. A special thanks also to Sarah Parsons, ATYPâ&#x20AC;&#x2122;s Workshops Manager, who left recently to run Outback Theatre for Young People. The ATYP Foundation Advisory Committee comprising Angela Bowne SC (Chair), Carolyn Fletcher, Antoinette Albert, Olev Rahn and Rob Rich continues to be a great support to the Company. All the Board directors made a significant contribution during the year (serving on Committees, guidance to Fraser and his management team, active participation in fund raising, lobbying for the redevelopment of Pier 2/3, etc.). In particular, we undertook a significant Board renewal process in 2014 that culminated in the appointment of five additional directors to the ATYP Board early in 2015. I am very pleased to formally welcome Monique Farmer, Fiona Hunt, Nick Jaffer, Sophie Lieberman and John Penton to our Board. All of the new appointments bring a wealth of experience to our Board. I very much appreciate the support that the whole Board has provided to me during the year.

2014 has been a wonderfully exciting year artistically for the Company and it really does demonstrate the capability that ATYP now has â&#x20AC;&#x201C; a capability that clearly puts us on the main stage. I would like to thank all of our supporters, the participants in all our programs, the parents and our staff. Without all of these nothing would be possible at ATYP. We will have a very exciting next couple of years as we plan our move to a new home and we welcome you all on that journey as we pursue our vision to raise the national expectation of what theatre with young people can achieve.

Michael Ihlein Chair, Australian Theatre for Young People 4 May 2015

2014 PRODUCTIONS THE VOICES PROJECT: BITE ME M.ROCK SUGARLAND LUKE LLOYD: ALIENOID

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Photo: Gez Xavier Mansfield Production: Bite Me

05.02.14â&#x20AC;&#x201C; 22.02.14

THE VOICES PROJECT: BITE ME By writers from the National Studio

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This is a production that fascinates and impresses. It is thoroughly original. Suzy Wrong – SuzyGoesSee.com

This was a fabulous evening ... Thoroughly recommended. Jodi McAlister – Australian Stage

It’s the best to date. Jason Blake – Sydney Morning Herald Bite Me is the latest installment of The Voices Project, the overwhelmingly successful annual program of monologues developed by ATYP, published by Currency Press, and written by young adults to be performed by 17 year old actors. Each year three pieces are then turned into short films and released on-line. The Voices Project has been seen by over a million people globally. In 2014 the collection of seven-minute stories serves a banquet of monologues titled Bite Me where the starting point is food. Directed by Anthony Skuse the production has received rave revues from critics, schools and audiences alike. Funny, warm, irreverent and cheeky, this is a celebration of the complexity and contradictions of young lives. Bite Me is a feast for the senses.

National Studio Writers 2014 Jory Anast, Jake Brain, Sophie Hardcastle, Tasnim Hossain, Julian Larnach, Zac Linford, Felicity Pickering, Emily Sheehan, Kyle Walmsley, Keir Wilkins Director Anthony Skuse Set & Costume Designer Gez Xavier Mansfield Lighting Designer Sara Swersky Sound Designer / Composer Jeremy Silver Cast Angelica Madani, Kate Williams, Joel Jackson, Emily Sheehan, Julia Rorke, Paul Musumeci, Sam Marques, Airlie Dodds, Darcie Irwin-Simpson Opened 7 February 2014, 7pm Season 5 February – 22 February 2014 # Performances 20 Box Office $14,156 # Attendance 1,288 Live Streaming Engagement 721 viewers across 6 countries

Photo: Zan Wimberley Talent: Holly Fraser

12.06.14â&#x20AC;&#x201C; 28.06.14

M. ROCK By Lachlan Philpott Co-produced with

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Immediately inviting … a modern-day fairytale. Sydney Morning Herald

Full of joy. The Australian

If music be the food of love, then, here it is on stage. Go. Kevin Jackson Theatre Diary M.Rock is a magical new play, inspired by a true story, about the enduring joys of music, dancing and self-discovery. In his distinctive language, w charts the fortunes of 18-year-old Tracy and her grandmother Mabel. Tracy has just finished school, she’s bought a round-the-world ticket and is flying away to soak up experiences. By contrast, Mabel is stable. She plays piano for The Players, knits for the African appeal and looks after Hilda’s cat. But when they start dancing to a new beat nothing can stay the same.

Writer Lachlan Philpott

Commissioned by ATYP in 2011 and workshopped at the National Play Festival in 2013, this compelling and hilarious tale was a success with audiences of all ages. The critically acclaimed production performed to a sell-out season.

Cast Valerie Bader, Joshua Brennan, Madeleine Jones, Clementine Mills, Brandon McClelland

Director Fraser Corfield Assistant Director Sarah Parsons Design Adrienn Lord Lighting Design Benjamin Cisterne Sound Design Jonny Seymour

Venue STC Wharf 2 Opened 14 June 2014 Season 12 – 28 June 2014 # Performances 19 Box Office $81,965 # Attendance 3,552

Photo: Michele Aboud Talent: Valerie Bader

27.08.14â&#x20AC;&#x201C; 13.09.14

SUGARLAND By Rachael Coopes with Wayne Blair

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22-23

From time to time a new Australian production comes along that contains all the elements of great theatre … SUGARLAND is all this and more. Sydney Arts Guide

Sugarland is raw, tough, terribly painful, and some of the most moving theatre I have seen. Jo Litson - Scene and Heard

A harrowing yet beautiful new play. Arts Hub In 2011, the Australian Theatre for Young People (AYTP) began a series of residencies in the Northern Territory town of Katherine. Using experiences and observations gained over the next two years, writers Rachael Coopes and Wayne Blair created a play to communicate what growing up in a remote Australian community is like. That play is Sugarland. ATYP’s first fully professional production in over 30 years, the piece was rehearsed for three weeks in Sydney before traveling to Katherine for a final week and presentation back to the community. The show then opened to a sell-out season at the Darwin Festival before returning to Sydney for a sell-out season in Studio 1. The production was an overwhelming success and appears set to tour nationally in 2016.

Writers Rachael Coopes with Wayne Blair Directors Fraser Corfield and David Page Set Designer Jacob Nash Sound Designer Guy Webster Costume Designer Ruby Langton-Batty Lighting Designer Juz McGuire Stage Manager Caitlin Chatfield Cast Narek Arman, Rachael Coopes, Michael Cameron, Elena Foreman, Hunter Page-Lochard, Dubs Yunupingu Opened 29 August 2014 Season 27 August – 13 September # Performances 20 Box office $20,759 (Sydney), $5,000 fee (Darwin) # Attendance 2,074 Live Stream Engagement 375 viewers across Australia

Photo: Zan Wimberley Talent: Dubs Yunupingu

15.10.14â&#x20AC;&#x201C; 25.10.14

LUKE LLOYD: ALIENOID By John Armstrong ATYP Foundation Commission

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A brilliantly scripted, well put together play. Felicity Dayhew - Stage Noise

Luke Lloyd: Alienoid is a very funny and really rather odd play, which a lot of weirdly smart people out there will relate to. (4 Stars) Bill Blake (10 yrs) – TimeOut Sydney

Luke is smart, funny, shy and highly imaginative – but has no friends at school. In fact, he feels like he’s not even of the same species as the other kids in his class. But that isn’t surprising, because he’s not. Luke’s father (whom he has never met) came from a distant planet - which makes Luke half human, half alien. He’s an ‘alienoid’. Which explains a lot, thinks Luke. This delightful new play for actors aged between 10 and 13 is the winner of the 2013 ATYP Foundation Commission. Fresh from the imagination of AFI and Logie Award-winning writer John Armstrong, Luke Lloyd: Alienoid speaks to the little bit of alien in all of us.

Writer John Armstrong Director Sarah Parsons Costume/Set Designer Emma Reyes Lighting Designer Alexander Berlage Audio Visual Designer Laura Turner Assistant Director Jena Prince Stage Manager Peta Dyce Cast Asha Boswarva, Francesca Brown, Rebecca Burchett, Claudia Carroll, Aiden Clark, Taj Dell’Aquila, Finn Hoegh-Guldberg, Solomon Holder, Hannah Mavrakis, Charlotte Pitt, Will Thomas, Scarlett Waters Opened 17 October 2014 Season 15 – 25 October 2014 # Performances 11 Box Office $9,528 # Attendance 930 Live Stream Engagement 663 viewers across 4 countries

Photo: Zan Wimberley Talent: Easton Churchill

STOP KISS HIS MOTHER’S VOICE MR KOLPERT PLATONOV ATYP’s home at The Wharf is the space for emerging and established artists to interact, test new ideas, and collaborate to tell stories that reflect the experiences, ideas and views of young Australians. ATYP Selects, previously known as Under The Wharf, was a season of four bold, new productions selected by a panel of young Australian artists, pitched by some of Sydney’s leading independent theatre companies. The Selects season provided the opportunity to present independent theatre in one of the country’s most celebrated cultural precincts - The Wharf. These plays were chosen because they excite the next generation of industry leaders, offering a fresh body of independent theatre.

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Photo: In house

05.03.14â&#x20AC;&#x201C; 22.03.14

STOP KISS By Diana Son Presented by Unlikely Productions

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Stop Kiss is an absorbing theatrical as well as emotional experience. Jason Blake – Sydney Morning Herald

STOP KISS is hands-down the best play in this year’s Mardi Gras Festival. Diana Son’s beautiful love story under the inspired direction of Anthony Skuse charms, excites and provokes. Maryanne Wright – Stage Whispers When Callie, a twenty-something New York traffic reporter, promises to take on a cat owned by Sara, ‘some friend of an old friend of someone,’ she arranges to leave quickly after Sara drops off the cat to avoid being drawn into a dull evening with a stranger. Neither one could have predicted the connection that would form between these two, seemingly very different and ‘straight’ women as they circle each other warily, nursing an unspoken attraction.

Writer Diana Son

This powerful new American play was the premiere production of young theatre collective Unlikely Productions. Presented in partnership with the Mardi Gras the season received critical and popular acclaim.

Cast Olivia Stambouliah, Gabrielle Scawthorn, Robert Jago, Kate Fraser, Suzanne Pereira, Aaron Tsindos, Ben McIvor

Director Anthony Skuse Lighting Designer Sara Swersky Set & Costume Designer Gez Xavier Mansfield Sound Designer Jed Silver

Opened 7 March 2014, 7pm Season 5 March – 22 March 2014 # Performances 20 Box Office $12,513 # Attendance 813

Photo: Zan Wimberley

30.04.14– 17.05.14

HIS MOTHER’S VOICE By Justin Fleming Presented by bAKEHOUSE Theatre Company

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The pleasure of seeing a company of 12 actors on stage, almost continually, was a bonus, but that 10 of the 12 actors were of Asian descent was even more exciting. The Brag Magazine

The cast and crew … moved heaven and earth to make His Mother’s Voice happen and their commitment and belief in what they are doing shines in every scene. Stage Noise with Diana Simmonds Shanghai, 1966. When a young Chinese boy is secretly taught to play the piano by his mother, in defiance of Communist Party edicts, a train of events is set in place that leads them to the eye of the storm in a dangerous confrontation between Shanghai and Canberra. From the birth of China’s Cultural Revolution to the eve of the Tiananmen Square protests Justin Fleming’s dazzling new play weighs the price of defiance in the face of brutality.

Writer Justin Fleming Director Suzanne Millar Stage Manager Jackle Mison Cast Alice Keohavong, Angela Tran, Arisa Yura, Danielle Jackson, Felino Dolloso, Harry Tseng, Jonathan Lourdes, Michael Gooley, Monica Sayers, Renee Lim Opened 2 May 2014 Season 30 April – 17 May 2014 # Performances 16 Box Office $13,916.64 # Attendance 940

Photo: Zan Wimberley

30.07.14â&#x20AC;&#x201C; 16.08.14

MR KOLPERT By David Gieselmann Presented by pantsguys Productions

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A contagious sense of mischief … ideally cast. Sydney Morning Herald

Mr Kolpert is one of the best things I’ve seen this year. This darkly fantastical comedy is mesmerising and rib-achingly hilarious. Australian Stage Ralf and his girlfriend Sarah invite Edith and Bastian to their home for an evening of mind-games and manipulation. Things take a dark turn when Ralph jokingly mentions that he and Sarah have killed their co-worker, Mr Kolpert.

Writer David Gieselmann

A large chest rests in the middle of the room. What happens from here is not normal, as the couples travel further and further down an absurd path of violence, delusion and insanity itself. As the characters push the boundary of jokes and reality, they are forced to ask themselves the difficult question: “How far would you go to feel alive?”

Design Antoinette Barboutis

Translator David Tushingham Director James Dalton

Lighting Design Ben Brockman Sound Design Alistair Wallace and Marty Jamieson Composer Marty Jamieson Stage Manager Monica Kumar Fight Choreographer Scott Witt Dramaturg Stella Nikish Cast Paige Gardiner, Garth Holcombe, Claire Lovering, Edan Lacey, Tim Reuben, Tom Christopherson Opened 1 August 2014 Season 30 July - 16 August # Performances 14 Box Office $10,383.3 # Attendance 537

Photo: Zan Wimberley

05.11.14â&#x20AC;&#x201C; 22.11.14

PLATONOV By Anton Chekhov Presented by Mophead & Catnip Productions

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A production part hipster satire, part Chekhovian masterpiece. Polly Simons - TimeOut Chekhov’s original ‘unfinished play’ is often described as a long, rambling, 8 hour mess. Written when he was only 18, Chekhov himself seemed to have gotten frustrated with it and locked it in a bottom drawer, never to see the light of day. But the genius of the young artist is clear, as are the moments of magic in his storytelling. This new translation by David Hare captures the drive and beauty of the play while cutting away the unnecessary noise. The result is a compelling emotional journey that weaves eternal themes through cutting contemporary dialogue. In the hands of director Anthony Skuse and featuring a cast of 20 extraordinary actors, this is the type of work that can only be realised on the independent stage. It is a production presented for fun, for love, and for the epic adventure of grand storytelling.

Writer Anton Chekhov Translator David Hare Adapted by Anthony Skuse Director Anthony Skuse Produced by Stephen Multari and Cat Dibley Cast Charlie Garber, Geraldine Hakewill, Graeme McRae, Suzanne Pereira, Jason Perini, Sam O’Sullivan, Eloise Snape, Dorje Swallow, Sam Trottman, Samantha Young Opened 7 November 2014 Season 5 – 22 November 2014 # Performances 17 Box Office $15,186 # Attendance 828

Photo: Zan Wimberley

IS THIS FAIR-FIELD: ROMEO & JULIET IN THE WEST CYBERBILE THE MISSING PAGES THE CHOSEN THE HARBINGER Our Cameo series celebrates youth theatre companies and emerging artists from around the country by providing an exclusive number of opportunities for companies to come to Sydney to showcase their work at The Wharf.

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Photo: In house

23.04.1426.04.14

IN THIS FAIRFIELD: ROMEO & JULIET IN THE WEST By The PYT Youth Theatre Ensemble after William Shakespeare Presented by Powerhouse Youth Theatre

an example of the real power of theatre as a contemporary tool and craft that can create defining stories … a palpable observation of the empowerment that individuals can achieve in the opportunity to take part in the communal act of storytelling. Kevin Jackson Theatre Diary

Using Shakespeare’s classic tale as a starting point, In This Fairfield investigates love and family amongst the historic divisions in Fairfield, undoubtedly the most culturally diverse region in Australia. Part verbatim theatre, part urban Shakespearean tragedy, In This Fairfield is a new bi-lingual contemporary performance work from Western Sydney’s leading performance company for emerging artists. The season at ATYP was a huge success inspiring audience of all ages. Writers The PYT Youth Theatre Ensemble after William Shakespeare Directed David Williams and Kate Worsley Season 23 – 26 April 2014 # Performances 4 Box Office $2,633 (Target $1,520) # Attendance 320

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04.06.1407.06.14

CYBERBILE By Alana Valentine Presented by NSW Public Schools Drama Company

Thank you so much to you and your team @ ATYP for making our time during the production week of Cyberbile so wonderfully easy. We felt totally supported throughout the entire week – from bump in, the season of performances to bump out. It was a dream. What a great group of people you have working on that team. Paul Viles NSW Public Schools Drama

Cyberbile is a candid, moving and sometimes shocking glimpse into the online world of today’s teen generation. Based on interviews conducted by PLC Sydney students with teachers, parents and their fellow students, Cyberbile is a verbatim-based drama which speaks from and to the hearts of Australia’s young adults. This powerful production launched the 2014 ATYP CAMEO season with four sold-out performances. Writer Alana Valentine Director Paul Viles Cast the NSW Public Schools Drama Company Season 4 – 7 June 2014 # Performances 5 Box Office $4,178 # Attendance 463

02.07.1407.07.14

THE MISSING PAGES By Lainey Molloy and Bianca Zouppas Presented by Griffith University Applied Theatre and Ecila Productions

This is a world where chess pieces come to life. Where cards are painting the roses red and white rabbits in petticoats are running very late. This is the world of the man who believed ‘as many as six impossible things before breakfast’. However, Lewis Carroll may not be all that he seems. Pages have been torn from his diary and a section of his life remains forbidden to enter. The Missing Pages provocatively imagines what might have been contained in the destroyed section of Carroll’s diary. This beautiful Brisbane production introduced an exciting new group of artists to Sydney audiences. Writers Lainey Molloy and Bianca Zouppas Directors Lainey Molloy and Bianca Zouppas Dramaturg Kathryn Kelly Producers Matthew Higgins and Jake Shavikin Production and Stage Manager Bec Lawes Designer Joshua McCann-Thomson Cast Katy Cotter, Chris Farrell, Brea Robertson, Reuben Witsenhuysen Bianca Zouppas. Season 2-5 July 2014 # Performances 4 Box Office $833 # Attendance 126

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01.10.1404.10.14

07.10.14

THE CHOSEN

THE HARBINGER

By Lachlan Philpott

By David Morton and Mathew Ryan

Presented by Tantrum Youth Arts

Presented by Critical Stages and The Dead Puppet Society

“I watch Cecilia walk through the mall. Wonder why out of all the people scurrying about like ants her and me became friends. What would the occupants of interplanetary craft think if they landed here? Come face to face with the fat girl and kid in the pram, the sleazy security guard flirting in the food court, the masked women on their knees painting toenails.”

The Harbinger is an enchanting adult fairytale by Queensland’s inimitable Dead Puppet Society that melds live performance, puppetry, animation and stage trickery to create a richly magical world where the lines between reality and makebelieve fall away. The Harbinger is a gothic tale of solitude, heartbreak and of a time long forgotten.

The Chosen is a quirky, clever and other-worldly offering. Featuring classical rearrangements of space-themed songs alongside blistering dialogue, this production from Newcastle’s Tantrum Theatre promises to be a theatrical experience that is out-of-this world.

The Harbinger was given the opportunity to present the work to Sydney producers and audiences in a special one-night-only performance at ATYP on their national tour. The sell-out performance in Studio 1 attracted a mix of industry and ATYP audiences.

Writer Lachlan Philpott

Writers David Morton and Mathew Ryan

Director Amy Hardingham

Directors David Morton and Mathew Ryan

Conductor Capree Gaul

Date Tuesday 7 October

Opened 1 October 2014

# Performances 1

Season 1 – 4 October 2014

Box Office $1,560

# Performances 4

#Attendance 92

Box Office $1,475 # Attendance 235

WRITING DEVELOPMENT OF NEW WORK NATIONAL STUDIO FRESH INK NATIONAL MENTOR PROGRAM TWO UP RESIDENT PLAYWRIGHT ATYP FOUNDATION COMMISSION AWARD

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Photo: Jennifer Medway

WRITING ATYP Writing saw a shift of focus in 2014. With a new company structure in place, Jennifer Medway came on board as the Writing Co-ordinator to work alongside Education and Workshops to facilitate the Writing program and act as Resident Dramaturg. It was a year of transition, as we brought the Fresh Ink program into a more integrated offering, ATYP Writing, and highlighted ATYP’s focus on the commissioning and development of young Australian playwrights and writers for performance. Highlights of 2014 were: -branching out to run major programs in Perth and Adelaide, -becoming a resource and hub for young writers where they can access dramaturgical and script development services, -engaging with young writers aged 12-18 in an international digital workshop with Action Transport Theatre, UK, -engaging with young writers from every state and territory in Australia. Leading industry figures involved in ATYP Writing 2014: Nicki Bloom Lachlan Philpott Ross Mueller Jane Bodie Jane Fitzgerald Adam Mitchell Lee Lewis Kevin Dyer Nina Hajiyianni

Emerging Writers Supported 52 Commissioned young writers 12 Scripts assessed for young writers 21 Scripts assessed for established writers writing for young audiences 10 Workshops Held 32 States programs run in 3 States and Territories represented through ATYP programmes 7 People under 18 engaged in programmes 10 People 18-26 engaged in programmes 33 Professional artists employed 7 International artists engaged with ATYP Writing 9 Total artists engaged through ATYP Writing in 2014 93

As solitary as playwriting can feel, theatre is a highly collaborative art form. It’s an important lesson to learn; that community makes theatre what it is. The community found through ATYP’s Fresh Ink Mentorship was one of mutual support, generosity and fostering of bold ideas. We built our skills, we honed our technique but more importantly we allowed ourselves the chance to hear fresh new voices in Australia’s theatrical landscape. Having a mentor and fellow mentees is desirable; having colleagues is better. Lochlin Maybury, 2014 Adelaide Participant

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NATIONAL STUDIO National Studio is a unique opportunity to bring together 20 of the most exciting young playwrights in the country. Each year, ATYP provides this opportunity to young playwrights to develop their skills and work to a brief. All 20 writers create a seven-minute monologue for a 17 year old character by the end of the week. 10 are then selected to be a part of the Voices Project publication by Currency Press and are put into The Voices Project production the year after (Between Us, 2015). In 2014 we had 38 applicants with 21 young playwrights attending from each state and territory, making it a truly national initiative. Dates: 1-6 September Location: Yvonne and Arthur Boyd Education Centre, Riversdale, Bundanon, NSW. Participants: Sharni McDermott (NSW) Disapol Savetsila (NSW) Joel Burrows (NSW) Stephanie King (NSW) Tahlee Fereday (NT) Marcel Blanch De Wilt (SA) Caitlin Richardson (TAS) Kirsty Budding (ACT) Mararo Wangai (WA) Nicholas Tan (WA) Lucy Coleman (NSW) Anna Lee Jacobson (QLD) Kirsten Lovett (QLD) Holly Brindley (VIC) Fiona Spitzkowsky (VIC) Emme Hoy (NSW) Kathleen Quere (NSW) Callan Purcell (NSW) Julia Patey (NSW) Amanda Yeo (NSW)

2014 OTYP Riverina Commission Winner Attendee: Julian Larnach Blogger: Amanda Yeo Special Guest: Lee Lewis (Griffin Theatre Company) Mentors: Ross Mueller (VIC) Jane Bodie (VIC) Jane Fitzgerald (NSW) ATYP Staff Attendees: Fraser Corfield Sarah Parsons Jennifer Medway Ten pieces selected for the Currency Press publication, The Voices Project: Between Us, were: Julia Patey (Sure) Callan Purcell (Leo and the Ant) Sharni McDermott (Two by Two) Caitlin Richardson (Night Shift) Joel Burrows (Baby Elephant Walk) Fiona Spitzkowsky (Accidents Happen) Amanda Yeo (Pink Hair) Kathleen Quere (Petrol Station) Tahlee Fereday (Mahla Land) Disapol Savetsila (Jun/John)

FRESH-INK NATIONAL MENTOR PROGRAM In its second year, 2014 saw the Fresh Ink National Mentoring eight-month program take place Adelaide, Perth and Sydney from May-December. In a series of monthly mentoring sessions, four participants in each city worked on a fifteen-minute play and a thirty-minute play which was performed for invited industry and guests. For a program of this size to run across these locations, we utilised many important partnerships. The actors worked with leading training institutions (NIDA, Flinders University) and both Urban Myth Theatre Company, SA, and the Australian Writersâ&#x20AC;&#x2122; Guild in Perth provided important partnerships in terms of venue and support in each state. Mentors: Nicki Bloom (Adelaide) Adam Mitchell (Perth) Lachlan Philpott (May-Sept, Sydney) Jane Fitzgerald (Sept-Dec, Sydney) Participants: NSW: Nick Atkins Jake Brain Ava Karuso Emily Sheehan SA: Peter Beaglehole Grace Chipperfield Lochlin Maybury Lucy Haas-Hennessy Sophia Simmons WA: Mararo Wangai Finn Oâ&#x20AC;&#x2122;Branagain Sarah Young Tyler Jacob-Jones

Institutions worked with: Urban Myth Theatre Company (SA) Flinders University (SA) State Theatre Company SA NIDA (NSW) Actors Centre (NSW) WAAPA (Perth) AWG (Perth) Griffin Theatre Company (NSW) Participants from 2014 have now gone on to collaborate together, work with their mentors on additional projects, undertake further tertiary education in playwriting and continue to work as professional playwrights and theatre makers in the industry throughout Australia.

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TWO UP

RESIDENT PLAYWRIGHT

In a new exciting international program, Two Up was piloted in 2014 in partnership with Action Transport Theatre in the UK. The goals were to engage a group of young writers in a collaborative digital writing experience. Using the Google Plus platform, the writers were paired with a counterpart in another country and worked together to write pieces of theatre. The aim was to give them an experience which would foster their creativity and ability to work with other people artistically. Nine pairs of young writers participated; four pairs worked with UK dramaturge Kevin Dyer and five with Jennifer Medway from Australia.

Our inaugural Resident Playwright in 2014 was Thomas Mesker. In an exciting initiative made possible by the Australia Council, Thomas was commissioned to write a play to be developed throughout the year, as well as four small commissions to be written with four different workshop ensembles for their final performances. This position also resulted in the duologue Say â&#x20AC;&#x2DC;Yesâ&#x20AC;&#x2122; which was included in the Currency Press publication and production of The Voices Project: Between Us showcase, 2015.

UK Participants: Charlie Hughes Amy Cross/Stephanie Linford Dan McElhinney Luka Philip Chloe Browse Ellie Cholmondely Theo Smith Rebecca Kinder AUS Participants: Ira Friedberg Jesse Magallanes/Maverick Newman Thulitha Senevirathne Elodie Jakes Charlotte Head Ruairi Rothsey Oliver Ardell-Young Maja Teresman Katie Sproule Belle Campbell

ATYP FOUNDATION COMMISSION AWARD In its third year, the Foundation Commission received a total of 72 applications from around Australia. After a rigorous selection process, Sara West and her pitch Light up Trolley Tower was selected as the 2014 winner. Sara received a full commission for a production that will presented by ATYP in 2015; several development opportunities with a dramaturge, with participation from young people around the country via video link; and the manuscript will be published by Playlab.

WORKSHOPS HOLIDAY WORKSHOPS SEMESTER ENSEMBLE WORKSHOPS THE ACTORâ&#x20AC;&#x2122;S TOOLKIT MASTER CLASSES

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Photo: Naomi Hamilton

HOLIDAY WORKSHOPS

SEMESTER ENSEMBLE WORKSHOPS

In what would prove to be Sarah Parsonsâ&#x20AC;&#x2122; final year at the helm of ATYPâ&#x20AC;&#x2122;s Workshop program, 2014 saw continued growth within the department and a big jump in the scholarship program, something the team is excited to build on in 2015.

Semester Ensembles proved incredibly popular in 2014 with many classes reaching capacity. 2015 will see a slight restructure of the program, opening the courses up to older age groups, while building on the success of the current format.

The holiday workshop program provides an entry point for children and young people interested in theatre and performance regardless of their level of experience. Each workshop builds skills and enables young people to put their own ideas on stage.

Semester Ensembles give young people the opportunity to participate in weekly workshop programs at The Wharf. The Ensembles build skills in performance, develop confidence and self-esteem and encourage creative thinking and problem solving. Each ensemble works toward a performance shown in Studio 1 to audiences of family and friends.

I definatly would recommend this course to my peers and tell my family friends about it because it was so enjoyable and interesting. I enjoyed two things about the course one was that I was able to meet nice new people and socialise with others. The other reason is that I loved the fact that I was able to enhance my skill in theatre.

The tutors were great and the content was great. Definitely keep the performances at the end of the term, they are great Workshop participant 2014

Workshop participant 2014

Paid enrollments 589 Workshop facilitators 138

Scholarships 33

Trainee facilitators 87

Individual workshops 37

Paid Participants 1094

Individual attendances 9,952

Scholarships 87

Performances 15

Workshops 138

Audience 1,744

Individual attendances 5,234

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THE ACTORâ&#x20AC;&#x2122;S TOOLKIT MASTER CLASSES 2014 saw a change in the delivery of the Toolkit classes which focus on the 18-26 year old age group. Instead of being a series of 16 x three-hour workshops, in 2014 the decision was made to do fewer courses over a series of weekends. This model unfortunately did not seem to resonate with our students and as a result the Toolkit series is being redesigned for 2015. Tutors 3 Attendances 32 Venue The Wharf Shakespeare Terry Karabelas 16 Aug, 23rd Aug, 30 Aug + 6 Sept Acting for Camera Jacob Allen 13 Sept, 20Sept, 27 Sept, 3 Oct Comedic Performance Darren Gilshenan 11 Oct, 18 Oct, 25 Oct + 1 Nov

LEARNING BE INSPIRED: INTERACT WITH ATYP REPORTING AGAINST ATYP OVERARCHING STRATEGIES ATYP ASPIRATIONS KEY PERFORMANCE INDICATORS FEEDBACK

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Photo: In house

BE INSPIRED: INTERACT WITH ATYP 2014 was an exciting year for the learning team at ATYP. We moved from pilot phase to full steam ahead with our online engagement. Over 1 million people viewed ATYP content online. Through our partnerships ATYP is very student-centric in the way we develop resources and communicate behind the scenes artistic processes. This helps to build our point of difference within the Theatre and Education Sector. STAFF CHANGES: Education Manager – Programs, Heather Clark, moved on for a change her career path. The learning team was re-structured into a two-person team with an Education Manager and an Education Co-ordinator role. We welcomed Lisa Mumford to the role of Education Co-ordinator. Adèle Jeffreys stepped back into the Education Manager role.

NEW INITIATIVES: ATYP Inspire This pilot program brought a metropolitan school, Marrickville West Primary School, and regional school Brewarrina Central School, together with Playwright John Armstrong and our learning team during the development of the ATYP Foundation Commission Luke Lloyd: Alienoid. This program connected the students with the creative process before, during and after the performance of the play via video conferencing, online and face to face. Live Streaming 2, 259 people watched a live-streamed production in 2014 New partnerships Powerhouse Museum The Songroom – Arts Live website Tilt Vision Home School Ensemble This workshop ran once a week at The Wharf. The program introduced a new group of learners to ATYP and is continuing in to 2015.

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REPORTING AGAINST ATYP OVERARCHING STRATEGIES NATIONAL IMPACT:

Young people at the heart of what we do

2014 saw the growth of ATYP in its national reach with Live Streaming becoming embedded into our programs. We engaged audience members from every state and territory. For some students it was their first experience of live theatre.

The Learning Team has maintained our emphasis on developing resources with young people as our target audience. This was highlighted as our point of difference in collaborations with companies such as The Songroom, and conversations with future partners such as The State Library of NSW. We will continue to ensure our resources are accessible, practical and focussed on the learner.

The production of Sugarland helped to bridge the gap between Regional NT and our metropolitan audiences. After three years of development it was fantastic to present the work and the accompanying resources to the community from which they came. ARTISTIC EXCELLENCE: ATYP Inspire was 2014â&#x20AC;&#x2122;s pilot program involving schools in the creative development of the ATYP Foundation Commission. This program is linking our regional and metropolitan schools to artistic excellence via video-conferencing, live-streaming and where possible, face to face. INNOVATION: Technology We expanded the breadth of technology use in the learning programs, continuing our online video and e-published resources, as well as live-streamed performances with interactive Q&A sessions via social media. In addition to this we incorporated video-conferencing into the Creative Development process allowing for three-way communication to occur online. This was delivered in partnership with The Powerhouse Museum, and brought integrity to the ATYP Inspire program. We also piloted the use of Google+ in the international writing program, Two Up. This platform is allowing us to have meaningful creative interaction in the digital space, thus allowing our programs to become truly national and international.

IN 2014 ATYP LEARNING ENGAGED 7021 PEOPLE: Young People 4021 Schools 162 Teachers 251 Online Audiences 1758 Face to face audience numbers 991

ATYP ASPIRATIONS Be the first place teachers turn to for inspiration and support in drama education.

3. Build ATYP’s reputation and brand awareness with teachers to increase engagement with schools.

In the 2013-2015 Business Plan, ATYP Education aims to be the first place teachers turn to for inspiration and support in drama education.

The new company branding has helped to consolidate our reputation with schools. ATYP Learning had a significant involvement in the development and delivery of the Arts Conference for Educators 30-31 May, 2014. Introductions were made to the delegates by Lisa Mumford on behalf of the company and Sessions were lead in our space by Adèle Jeffreys putting ATYP in the spotlight throughout the forum.

In order to achieve this, the three goals developed in 2012 for Education are to: 1. Forge partnerships with like-minded organisations to resource and support the delivery of unique educational experiences. Our new partnerships included those with: •The Songroom Company and Arts Live website •Tilt Vision •The Powerhouse Museum. We continued our partnerships with our neighbouring arts companies on The Wharf, in The Rocks and in the Sydney region through: •Arts Conference for Educators •The Rocks Education Network •Arts Education Network Breakfast Meetings. 2. Create a national on-line educational resource that builds an understanding and love of theatre. ATYP Resources continued to be developed for each of our schools’ relevant productions. This included: 9 new videos 42531 loads 2384 plays 7 new ISSUU documents 340 reads 2707 impressions

We also had a presence at Drama NSW Conference March 7-8 with collateral and face to face networking. ATYP collateral was also included in delegate bags at the Association of Independent Schools Conference on Friday 30th May. Our partnership with The Songroom Company was clearly branded with the new ATYP collateral. This will also promote a new pathway for teachers to engage with ATYP. For the first time ever, ATYP Learning has developed, designed and delivered a booklet for 2015 in time for the start of the school year. This new marketing tool will continue to enhance brand awareness and increase engagement with teachers and schools.

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FEEDBACK The best bit about the workshop was being able to show my true self. Student, Blaxland High School (Group Devising Workshop)

The workshop and show were very valuable to us and the students found the show thought provoking, relevant and they were in admiration of the cast. To keep our students interested, focused and on task for an hour long workshop is ambitious but you guys did extremely well. Thanks again for your generosity. Michael Muranty, Teacher at the John Berne School (after Luke Lloyd: Alienoid workshop and performance)

Absolutely amazing! What a beautiful, authentic, moving story. Captured the complexity and the place so fantastically. A brilliant educational piece and very accessible. Beautiful performances writing and production, Thank you for a moving and joyous production + story. Maree Freeman, Milk Crate Theatre (Sugarland Teacherâ&#x20AC;&#x2122;s Preview)

The actors were so articulate during the Q & A, a big congratulations to all of them on their performance. Looking forward to the next one! Emma J Powell, Education Co-ordinator at Sydney Dance Company

DEVELOPMENT YEAR IN REVIEW FUNDRAISING ACTIVITIES

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Photo: Naomi Hamilton

YEAR IN REVIEW

FUNDRAISING ACTIVITIES

As a not-for-profit organisation, ATYP is reliant on philanthropic support to fund its core programs and make ATYP accessible and affordable for all young people. Each year the Development team plans a series of fundraising activities to raise funding to ensure we cover the costs of our core business. In addition to the fundraising activities listed below, ATYP also runs a major gift program and seeks grant funding from trusts and foundations.

2014 ANNUAL APPEAL:

The support of our individual donors is critical to the survival of ATYP and we are most grateful for donations we received through our Annual Appeal and other fundraising activities.

Date: June 2014 Number of Donors: 44 Amount Raised: $57,691 The Annual Appeal is a great way for ATYP to reach out to people, let them know what we are doing, and how together we can help young people thrive. The main focus of the 2014 Appeal was to raise support for the ATYP Scholarship Fund. However, the appeal raised just over $15,000 towards scholarships with the majority of donors choosing to support ATYPâ&#x20AC;&#x2122;s core activities. This outcome turned out to be a positive for ATYP. We were able to leverage funds raised for scholarships to secure support from trusts and foundations throughout 2014. ATYP was thereby successful in raising close to $54,000 to provide 150 scholarship places in ATYP drama workshops, worth $360 per person.

Since my daughter has been attending her performance class she is slowly regaining her confidence and self-esteem. ATYP has given her the confidence to believe in herself and her dreams, she loves being with like-minded people who always support and encourage her to be the best she can be. As she says every time she leaves ATYP â&#x20AC;&#x2DC;Mum, I wish every day was Wednesday. Quote from ATYP Drama Workshops parent, Kelly Vincent, 2014

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2014 ANNUAL DINNER:

GRASS ROOTS FUNDRAISING:

Date: 18 September 2014 Number of Guests: 90 Venue: ATYP Studio 1 Amount Raised: $28,000

In June and December 2014 ATYP ran small fundraising activities around the end of Semester Ensemble final performances. Through sausage sizzles and cake stalls held around those performances, funds raised have enabled ATYP to purchase much needed equipment for use in drama workshops:

The dinner was held in ATYP’s own theatre space creating a very warm and personal experience for all guests. The event was a fantastic opportunity to celebrate ATYP’s achievements and the successes of its alumni and current participants. Guests were entertained by ATYP performers who sang and performed magic tricks, and were treated to two monologues from The Voices Project catalogue, by Airlie Dodds and 2014 resident playwright, Tom Mesker.

June 2014 Amount Raised: $1,480 Equipment purchased: 55 new black chairs for ATYP Studios 1 and 2, replacing the previous thirty-year old chairs.

ATYP was grateful to the many organisations and individuals who generously donated items for the dinner’s silent and live auctions. ATYP was particularly grateful for the support of bespoke jewelers Fairfax & Roberts and Optimiste Wines for the event.

December 2014 Amount Raised: $1,355 Equipment purchased: 10 new portable speakers and three new tripods for use in workshops.

PRODUCERS’ CIRCLE:

STEWARDSHIPS EVENTS:

Number of Donors: 16 Amount Raised: $55,000

ATYP is increasingly organising more events in order to engage with as many of our community if supporters as possible. In 2014 we acknowledged our supporters at a Thank You event held on 20 February 2014 around The Voices Project: Bite Me production. We also celebrated the amazing contributions of ATYP’s writing community at an event held on 6 September around our award-winning production of Sugarland.

The Producers’ Circle was created in October 2014 and launched on 2nd February 2015. The Circle is a very special group of donors investing in the development of some of our most talented young artists. Funds raised by the Circle are used to invest in ATYP’s season of major productions. These are productions that launch the careers of young actors, showcase new plays that are published and go on to be performed by schools around the country for years to come, and inspire audiences of all ages. Producers’ Circle donors enable ATYP to create the work that has made us an international leader in theatre inspired by and for young people. Donors will be provided with the opportunity of close connection with ATYP’s artists, actors, directors and designers.

Similar events will be held throughout 2015 to celebrate our supporters, tutors, parents and alumni.

FINANCIALS CORPORATE INFORMATION DIRECTORS’ REPORT FINANCIAL STATEMENTS DIRECTOR’S DECLARATION INDEPENDENT AUDITOR’S REPORT BUSINESS & GOVERNMENT PARTNERS FINANCIAL SUPPORTERS ATYP FOUNDATION SUPPORTERS STAFF

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Photo: Naomi Hamilton

CORPORATE INFORMATION

DIRECTORSâ&#x20AC;&#x2122; REPORT

ABN 24 000 816 704

INFORMATION ABOUT THE DIRECTORS

DIRECTORS OF THE PARENT ENTITY Fraser Corfield Claire Duffy (until 28/08/2014) Monique Farmer (from 30/03/2015) Nancy Fox Alexandra Holcomb Fiona Hunt (from 16/02/2015) Michael lhlein (Chair) Nick Jaffer (from 16/02/2015) Janine Lapworth Sophie Lieberman (from 30/03/2015) Nick Marchand (until 28/08/2014) John Penton (from 16/02/2015) Catherine Robinson Edward Simpson Simon Webb Natasa Zunic ATYP FOUNDATION COMMITTEE Antoinette Albert Angela Bowne SC (Chair) Carolyn Fletcher AM Michael lhlein Robert Rich Olev Rahn COMPANY SECRETARY Amy Maiden REGISTERED OFFICE AND PRINCIPAL PLACE OF BUISNESS The Wharf, Pier 4/5 Hickson Rd Walsh Bay, NSW 2000 AUDITORS PricewaterhoueCoopers Chartered Accountants

The directors of the Australian Theatre for Young People (ATYP) submit the annual financial report on the consolidated group for the financial year ended 31 December 2014. The names and particulars of the directors of the company during and since the end of the financial year are: Fraser Corfield Date of Appointment: 26 May 2009 Board Meetings: A - 6, B - 6 Finance Meetings: A - 6, B - 6 Claire Duffy Date of Appointment: 11 June 2011 Date of Cessation: 28 August 2014 Board Meetings: A - 4, B - 2 Monique Farmer Date of Appointment: 30 March 2015 Board Meetings: A - 0, B - 0 Nancy Fox Date of Appointment: 1 July 2011 Board Meetings: A - 6, B - 3 Finance Meetings: A - 6, B - 5 Alexandra Holcomb Date of Appointment: 26 May 2009 Board Meetings: A - 6, B - 1 Fiona Hunt Date of Appointment: 16 February 2015 Board Meetings: A - 0, B - 0 Michael lhlein Date of Appointment: 27 April 2010 Board Meetings: A - 6, B - 6 Finance Meetings: A - 6, B - 5 Nick Jaffer Date of Appointment: 16 February 2015 Board Meetings: A - 0, B - 0 Janine Lapworth Date of Appointment: 21 May 2012 Board Meetings: A - 0, B - 0 Sophie Lieberman Date of Appointment: 30 March 2015 Board Meetings: A - 0, B - 0 Nick Marchand Date of Appointment: 28 November 2011 Date of Cessation: 28 August 2014 Board Meetings: A - 4, B - 1

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John Penton Date of Appointment: 16 February 2015 Board Meetings: A - 0, B - 0 Catherine Robinson Date of Appointment: 25 November 2008 Board Meetings: A - 6, B - 4 Edward Simpson Date of Appointment: 16 March 2010 Board Meetings: A - 6, B - 4

STRATEGIC GOALS 2013-2015 • Be a fearless theatre company with a national impact that all levels of the industry love to work with. • Build an active playwriting community that champions and supports young artists and their work. • Be the first place teachers turn to for inspiration and support in drama education.

Simon Webb Date of Appointment: 11 November 2011 Board Meetings: A - 6, B - 3

• Maintain a vibrant creative hub and company culture that young people around the country want to be part of.

Natasa Zunic Date of Appointment: 23 August 2012 Board Meetings: A - 6, B - 4

• Build sustainable infrastructure and resources to support the company’s work.

A = Number of meetings held during the time the director held office during the year B = Number of meetings attended Details of director’s qualifications, experience and special responsibilities can be found on pages 70-72 of this report. STATEMENT OF PURPOSE ATYP is a Sydney-headquartered theatre company exclusively devoted to young people. Our vision is driven by the knowledge that the arts can inspire creative, courageous and confident young people wherever they are and whatever they want to be. We believe that the arts have the power to transform lives, enrich communities and ultimately impact upon the future of our nation. Our work is motivated by the need to improve access for all young Australians to participate in the arts and to encourage them to share their stories, regardless of economic or geographical barriers. At the heart of ATYP lies collaboration between professional artists and young people, placing a priority on access, community engagement and creative excellence. For more than 50 years ATYP has invited young people to get involved in inspirational theatre experiences that promote engagement with contemporary social issues, grow young audiences and provide a space for young people to celebrate their creativity and speak out.

PRINCIPAL ACTIVITIES FOR THE YEAR The principal activities undertaken by ATYP to meet its 2014 goals included: GOAL ONE: Be a fearless theatre company with a national impact that all levels of the industry love to work with. •Our major production of 2014, Sugarland, had a preview season in the town of Katherine, NT, the community from which this play draws its inspiration. It then premiered at The Darwin Festival, before coming to Sydney for its season at ATYP. •ATYP partnered with the Sydney Theatre Company to produce a fully professional production of M.Rock. This was a sell-out season, with over 3,500 people attending. M.Rock was written by Lachlan Philpott, commissioned by ATYP. •Sugarland won two awards at the 2014 Sydney Theatre Awards, receiving Best Production for Young People, and performer Hunter Page-Lochard winning Best Newcomer. •The ATYP Selects program facilitated four shows in 2014, providing performance opportunities for independent theatre makers that might not otherwise exist, and attracting over 3,000 audience members.

•Through the ATYP Cameo series we welcomed artists from Brisbane, Geelong, Newcastle and Western Sydney, as well as the NSW public schools’ excellence program, The Arts Unit, to present their shows on The Wharf. GOAL TWO: Build an active playwriting community that champions and supports young artists and their work. •Commissioned ten young Australian playwrights to develop seven-minute monologues presented as part of The Voices Project: Bite Me.

•Achieved a significant increase in regional outreach both through the Live Stream program and schools workshops. This was helped by an increase of regional schools coming to attend workshops at ATYP. •The ATYP Inspire program connected Sydney metropolitan schools with regional NSW schools in a program collaborating with writer, John Armstrong. John worked with the schools before, during and after the development of his script Luke Lloyd: Alienoid, supported by the ATYP Foundation Commission.

•Engaged over 52 emerging writers and 93 artists throughout the various writing programs offered by ATYP.

GOAL FOUR: Maintain a vibrant creative hub and company culture that young people around the country want to be part of.

•The National Mentoring program was held in three states (NSW, VIC, WA). There were a total of 3 mentors, one from each state, and 13 mentees who took part in the year-long program.

•Delivered 341 holiday workshops, 612 term ensemble classes, 182 school workshops, presented 13 productions with more than 12,100 audience members and had a total number of holiday and 15,000 semester participants.

•The annual National Studio program was a success with attendees from each state and territory. Almost 40 applications were received and 18 emerging writers attended. •With the support of the ATYP Foundation Commission, John Armstrong wrote a new work for 10-14 year olds, Luke Lloyd: Alienoid, which was presented in October, 2014. GOAL THREE: Be the first place teachers turn to for inspiration and support in drama education. •ATYP conducted three live-stream events in 2014, featuring our productions Bite Me, Sugarland and Luke Lloyd: Alienoid. This drew an audience of more than 1,750 from various locations across each state and territory in the country. An interactive Q&A session followed each performance where our live audience at The Wharf connected with our virtual audience around the nation. •Delivered education programs reaching nearly 4,000 students from over 200 schools, both in schools and at ATYP. •Online education resources, including videos and teachers’ resources, were accessed by more than 2, 700 individuals throughout the year.

•In 2014 the Company had over 75,000 visits to the ATYP website from every state and territory in Australia. •The Company had coverage in print articles with local listings, major dailies nationwide, Sydney local papers and street press, highlighting all aspects of our work. GOAL FIVE: Build sustainable infrastructure and resources to support the company’s work. •In 2014 ATYP funding ratios were (figures relate to the parent entity): Earned Income ($1,233,177) comprised 76% of total turnover ($1,631,729). Earned income includes sponsorship and donations ($487,542 I 30% of turnover), fees and services ($552,982 I 34%) and performance income ($110,934 I 7% of turnover). Government subsidies and grants ($398,552) represented 24% of turnover. Other income was $81,719 comprising 5% of turnover. •The Board Finance Committee carried out regular reviews of the annual budget to actuals and made recommendations to the ATYP Board on financial matters. •In 2014 the Company had 3,082 Facebook likes and a total of 5,253 Twitter followers.

ANNUAL REPORT 2014

66-67

MEMBERS’ GUARANTEE ATYP is incorporated in New South Wales as a company limited by guarantee. In the event of the Company being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the Company’s liabilities. As at 31 December 2014 there were 9 members of ATYP and the amount of capital that could be called up in the event of ATYP being wound up is $180. INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS Since the end of the previous financial year the Company has paid insurance premiums in respect of directors’ and officers’ liability and legal expenses’ insurance contracts for current and former directors and officers, including senior executives of the Company. The Company has not otherwise indemnified or agreed to indemnify an officer or auditor of the Company against a liability incurred by such an officer or auditor. AUDITOR’S INDEPENDENCE The auditor’s declaration of independence appears on page 87 and forms part of the Directors’ report for the year ended 31 December 2014. Signed in accordance with a resolution of the directors made pursuant to s.298(2) of the Corporations Act. On behalf of the directors:

MICHAEL IHLEIN Chair Australian Theatre for Young People Sydney 28 April 2015

DIRECTORSâ&#x20AC;&#x2122; QUALIFICATIONS, EXPERIENCE AND SPECIAL RESPONSIBILITIES Fraser Corfield Qualifications: BA (Communications) Experience: Artistic Director, Australian Theatre for Young People and previously Artistic Director of Backbone Youth Arts, Riverland Youth Theatre and Associate Director of La Boite Theatre and has acted in numerous arts advisory roles. Special Duties: Artisitc Director and Chief Executive Officer Date of Appointment: 26 May 2009 Monique Farmer Qualifications: BA (Communications) Experience: National Entertainment Editor, Fairfax Media. Formerly Managing Editor, Sections, at The Sydney Morning Herald; Associate Editor, Sunday Star-Times, Fairfax Media New Zealand. Special Duties: Non-executive director Date of Appointment: 30 March 2015 Nancy Fox Qualifications: BA, Juris Doctorate in law, FAICD Experience: Chairman of Adelaide Managed Funds Limited, Company Director HCF Life, APA Ethane Limited and the Taronga Conservation Society Australia. Board member on Kinetic Superannuation Ltd. Previously held numerous senior roles in financial institutions including Managing Director of Ambac Assurance Corporation and Managing Director ABN Amro Australia Limited. Special Duties: Non-executive director Date of Appointment: 1 July 2011

Alexandra Holcomb Qualifications: MBA, MA, BA, FAICD Experience: Chief Risk Officer, Westpac Institutional Bank. Co-Chair of the Asia Council for the Bankersâ&#x20AC;&#x2122; Association for Finance and Trade (BAFT) and the International Financial Services Association (IFSA). Formerly a strategy consultant with Boaz Allen and other roles with financial institutions. Special Duties: Non-executive director Date of Appointment: 26 May 2009 Fiona Hunt Qualifications: MA (Art History) Master Management Bachelor of Ed Diploma of Teaching Experience: Company Director, Managing Director - Travel Corporation - Adventure World, Publisher National Geographic Traveller Previously Managing Director Contiki Holidays, Industry Head, Government & Tourism - Google, Manager Tourism - Sydney Opera House, Lecturer, School of BusinessUTS. Special Duties: Non-executive director Date of Appointment: 16 February 2015 Michael lhlein Qualifications: BBus (Accounting), FCPA, FAICD, F Fin Experience: Company Director, Scentre Group, CSR limited, Snowy Hydro Limited, Murray Goulburn Co-operative Co Limited and Spark Software sp. z.o.o and formerly Chief Executive Officer of Brambles Limited and Chief Financial Officer of Brambles Limited and Coca-Cola Amatil Limited. Special Duties: Chair and Non-executive director Date of Appointment: 27 April 2010

ANNUAL REPORT 2014

68-69

Nick Jaffer Qualifications: B.Comm (Marketing and Finance), F.Edplus Experience: Senior Consultant and Director Global Philanthropic, international fundraising and strategic advisory firm for non-profit sector, arts clients include Sydney Symphony Orchestra, National Library of Australia, Art Gallery of Calgary (Canada) and Royal Birmingham Ballet (UK). Prior roles include Director of Development at University of Sydney. Special Duties: Non-executive director Date of Appointment: 16 February 15 Janine Lapworth Qualifications: BA,LLB Experience: Intellectual property and entertainment lawyer and regulatory consultant. Previously held senior legal positions at the Australian Broadcasting Corporation and at ESPN STAR Sports in Singapore. Special Duties: Non-executive director Date of Appointment: 21 May 2012 Sophie Lieberman Qualifications: BA Hons 1, PhD (History), UNSW Experience: Head of Programs, Sydney Living Museums; Manager Science Communication, Australian Museum; Lecturer, School of History UNSW Sydney Arts Management Advisory Group, Executive Committee, Sydney Architecture Festival, Organising Committee, Sydney Leadership Program (2014 alum). Special Duties: Chair and Non-executive director Date of Appointment: 30 March 2015

John Penton Qualifications: B. Commerce (Melb.), MAICD, F Fin Experience: Company director, formerly Managing Director ABN AMRO Australia, and Director ABN AMRO Morgans, Craigs. Special Duties: Non-executive director Date of Appointment: 16 February 15 Catherine Robinson Qualifications: Journalism and Communications at University of SA; BA Experience: Director, LikeMinds Consulting and previously Chief Executive of Australian Film Commission and other senior soles with City of Sydney, Sydney Film Festival and board roles with several not-for-profit and government organisations. Special Duties: Non-executive director Date of Appointment: 25 November 2008 Edward Simpson Qualifications: BA,LLB Experience: Film Producer and previously worked extensively in music and acting having completed professional theatre training at London Academy of Music and Dramatic Arts. Special Duties: Chair and Non-executive director Date of Appointment: 16 March 2010

AUDITOR’S INDEPENDENCE DECLARATION Simon Webb Qualifications: BA (Hons) - Politics, Philosophy, Economics Experience: Senior Vice President, Ogilvy Public Relations, and is a public affairs, strategic communications and research specialist having worked across the government (including indigenous affairs), private and not-for-profit sectors. Special Duties: Non-executive director Date of Appointment: 11 November 2011 Natasa Zunic Qualifications: B.Commerce (Marketing and Finance) Experience: Marketing executive with over 15 years of strategic and operational global experience. Demonstrated leadership and management of a number of Consumer and Retail brands including; KFC, Cadbury, Colgate and Palmolive in Australia, US and the UK. Specialities in ‘big brand’ development and product innovation in local and global marketing teams. Special Duties: Non-executive director Date of Appointment: 23 August 2012

As lead auditor for the audit of Australian Theatre for Young People for the year ended 31 December 2014, I declare that to the best of my knowledge and belief, there have been: a) no contraventions of any applicable code of professional conduct in relation to the audit. This declaration is in respect of Australian Theatre for Young People and the entities it controlled during the period. Sydney, 28 April 2015.

M K Graham Partner PricewaterhouseCoopers PricewaterhouseCoopers, ABN 52 780 433 757 Darling Park Tower- 2, 201 Sussex Street, GPO BOX 2650, SYDNEY NSW 1171 T: +61 2 8266 0000 F: +61 2 8266 9999 wwiv.pwc.co

ANNUAL REPORT 2014

70-71

FINANCIAL STATEMENTS For the year ended 31 December 2014

STATEMENTS OF COMPREHENSIVE INCOME: Consolidated Entity

Note

Parent Entity

2014

2013

2014

2013

Income Performance income

110,934

76,455

110,934

76,455

Fees & services

552,982

589,947

552,982

589,947

48,897

42,275

48,897

42,275

Resource income Sponsorship & donations

392,542

736,972

487,542

811,972

Other incomes

87,367

88,608

32,822

20,376

Subsidies & grants

398,552

310,924

398,552

310,924

1,591,274

1,845,181

1,631,729

1,851,949

1,407,321

1,269,773

1,407,321

1,269,773

Production costs

161,633

201,226

161,633

201,226

Marketing costs

167,147

234,111

167,147

234,111

198,785

189,081

198,785

189,08

Total expenditure

1,934,886

1,894,191

1,934,886

1,894,191

Operating result

(343,612)

(49,010)

(303,157)

(42,242)

(1,970)

2,870

(1,970)

2,870

(345,582)

(46,140)

Total income

Expenditure Wages, fees & allowances

Infrastructure costs

Other comprehensive income items that may be reclassified to profit or loss Net changes in fair value of available-for-sale financial assets

Total other comprehensive income Total comprehensive income

(303,157)

(42,242)

These statements of comprehensive income should be read in conjunction with the attached notes

STATEMENTS OF FINANCIAL POSITION: Consolidated Entity

ASSETS

Note

Parent Entity

2014

2013

2014

2013

Current assets Cash and cash equivalents

1,030,940

1,422,528

45,047

332,567

Trade and other receivables

28,368

123,749

15,263

184,286

Inventories

3,686

3,806

3,686

3,806

Prepayments & deferred expenditure

19,754

22,787

19,754

22,787

1,082,748

1,572,870

83,750

543,446

Total current assets

Non-current assets Available-for-sale financial assets

297,450

299,420

Intangibles

24,042

Property, plant and equipment

27,836

46,691

27,836

46,691

325,311

370,153

27,861

70,733

1,408,059 1,943,023

111,611

614,179

86,713

88,031

86,522

Total non-current assets TOTAL ASSETS

LIABILITIES Current liabilities Trade and other payables

88,251

Employee benefits

46,778

44,564

46,778

44,564

Grants in advance

4,665

215,446

4,665

215,446

Income in advance

137,516

129,869

137,516

129,869

Total current liabilities

277,210

476,592

276,990

476,401

TOTAL LIABILITIES

277,210

476,592

276,990

476,401

1,130,849

1,466,431

(165,379)

137,778

General funds

(165,379)

137,778

(165,379)

137,778

Capital fund

1,329,370

1,339,370

(30,603)

(10,148)

(2,550)

(580)

1,130,849

1,466,431

NET ASSETS FUNDS

Revenue funds Asset revaluation reserve Settlement sum TOTAL FUNDS

(165,379)

137,778

These statements of comprehensive income should be read in conjunction with the attached notes

ANNUAL REPORT 2014

72-73

STATEMENTS OF CHANGES IN FUNDS: Parent general funds

Balance as at 1 January 2013 Surplus Surplus // (deficit) (deficit) for forthe theyear year Other Other comprehencomprehensive sive income income Balance as at 31 December 2013

Capital fund

Asset revaluation reserve

180,020

1,349,370

(3,450)

(42,242)

137,778

(deficit for the year)

(303,157)

Other comprehencomprehensive sive income income

Balance as at 31 December 2014

(165,379)

Revenue fund

Settlement sum

Total funds

1,512,571

(13,380) 3,232

(39,010)

(7,130)

(10,000)

2,870

1,339,370

(580)

(10,148)

(20,455)

(323,612)

(11,970)

(10,000)

(1,970)

1,329,370

(2,550)

(30,603)

1,466,431

1,130,849

These statements of comprehensive income should be read in conjunction with the attached notes

STATEMENTS OF CASH FLOWS: Consolidated Entity

Parent Entity

2014

2013

2014

2013

Receipts from customers (inclusive of goods and services (inclusive of goodstax) and services tax)

745,312

731,255

920,017

731,255

Receipts from sponsorship & donations

497,542

821,005

487,542

811,972

187,771

414,919

187,771

414,919

2,288

59,326

2,288

7,466

(1,830,565)

(1,894,155)

(1,885,138)

(1,872,358)

(397,652)

132,350

(287,520)

93,254

16,064

16,372

(977)

Note Cash flows from operating activities

Receipts from government grants Interest received Payments to employees and suppliers (inclusive (inclusiveofofgoods goodsand andservices servicestax) tax) Net cash inflows I (outflows) from operating activities Cash flows from investing activities Dividends & distributions from managedfunds funds managed Payments for plant & equipment

Payment for leasehold improvements

Net cash (outflows) / inflows from investing activities

(977)

16,064

15,395

(977)

Payment to ATYP from capital funds

(10,000)

Net cash movement from financing activities

(10,000)

Net (decrease) / increase in cash and cash equivalents held

(391,588)

137,745

(287,520)

92,277

Cash and cash equivalents at the beginning of the financial year

1,422,528

1,284,783

332,567

240,290

1,030,940

1,422,528

45,047

332,567

Cash flows from financing activities

Cash and cash equivalents at the end of the financial year

These statements of comprehensive income should be read in conjunction with the attached notes

ANNUAL REPORT 2014

74-75

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS: 1 CORPORATE INFORMATION

b) Basis of consolidation

The financial statements and notes represent those of the not for profit parent entity Australian Theatre for Young People as an individual parent entity and Australian Theatre for Young People and the controlled entity as a consolidated group (the “Group”). The financial report was authorised for issue in accordance with a resolution of the directors of the economic entity dated 28 April 2015.

The consolidated financial statements incorporate the assets, liabilities and results of entities controlled by ATYP at the end of the reporting period. A controlled entity is any entity over which ATYP has the power to govern the financial and operating policies so as to obtain benefits from its activities. Control will generally exist when the parent owns, directly or indirectly through subsidiaries, more than half of the voting power of an entity. In assessing the power to govern, the existence and effect of holdings of actual and potential voting rights are also considered.

ATYP is a company limited by guarantee, incorporated and domiciled in Australia. The nature of the operations and principal activities of the group are described in the Directors’ Report. 2 SUMMARY OF ACCOUNTING POLICIES a) Basis of preparation These general purpose financial statements have been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards Reduced Disclosure Requirements (RDR), other authoritative pronouncements of the Australian Accounting Standards Board and Urgent Issues Group interpretations. AASB 1053 establishes a differential financial reporting framework consisting of two tiers of reporting requirements for general purpose financial statements: •Tier 1 - Australian Accounting Standards •Tier 2 - Australian Accounting Standards Reduced Disclosure Requirements AASB 2010-2 makes amendments to each Standard and Interpretations indicating the disclosures not required to be made by Tier 2 entities or inserting RDR paragraphs requiring simplified disclosures for Tier 2 entities. The group complies with Australian Accounting Standards - Reduced Disclosure Requirements as issued by the Australian Accounting Standards Board. The adoption of these Standards has resulted in significantly reduced disclosures in respect of related parties and financial instruments. There was no other impact on the current or prior year financial statements.

In preparing the consolidated financial statements, all inter-group balances and transactions between entities in the consolidated group have been eliminated in full on consolidation. Accounting policies of subsidiaries have been changed where necessary to ensure consistency with those adopted by the parent entity. c) Basis of measurement The financial report has been prepared on an accruals basis and is based on historical cost convention. It does not take into account changing money value, or except where stated, current valuations of non-current assets. Cost is based on the fair value of the consideration given in exchange for assets. The financial report is presented in Australian dollars. d) Significant accounting judgments, estimates and assumptions The preparation of financial statements requires management to make judgments, estimates and assumptions that affect the application of policies and reported amounts of assets, liabilities, income and expenses. The estimates and associated assumptions are based on historical experience and other various factors that are believed to be reasonable under the circumstances, the results of which form the basis of making the judgments. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period or in the period of the revision and future periods if the revision affects both current and future periods. Significant accounting estimates and judgments The key estimates and assumptions that have a significant risk of causing material adjustment to the carrying amount of certain assets and liabilities within the next annual reporting period are: Provision for employee benefits Provisions for employee benefits payable after 12 months from the reporting date are based on future wage and salary levels, experience of employee departures, and periods of service, as discussed in Note 2(n). The amount of these provisions would change should any of the employees change in the next 12 months. e) Revenue recognition Revenue is recognised when the group is legally entitled to the income and the amount can be quantified with reasonable accuracy. Revenues are recognised net of the amounts of goods and services tax (GST) payable to the Australian Taxation Office. Revenue from fundraising Donations Donations collected, including cash and goods for resale, are recognised as revenue when the group gains control, economic benefits are probable and the amount of the donation can be measured reliably. Sponsorship Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed. Interest income Interest income is recognised as it accrues, using the effective interest rate method. Government funding Grant revenue is recognised in the statements of comprehensive income when the group obtains control of the grant and it is probable that the economic benefits gained from the grant will flow to the group 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 met. When grant revenue is received whereby the group 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 statements of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt. Asset sales The gain or loss on disposal of all noncurrent assets is determined as the difference between the carrying amount of the asset at the time of the disposal and the net proceeds on disposal. f) Expenditure All expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all costs related to the category. Wages, fees and allowances include all employment related costs such as wages, superannuation, provision for annual leave, provision for long service leave and workers compensation. This category also includes all contracts for labour costs. Production costs include all direct costs associated with the delivery of the artistic program. Marketing costs include all direct costs associated with marketing both the artistic program and the group. Infrastructure costs include all other indirect costs including rental and running costs, insurance and depreciation. g) Cash and cash equivalents Cash and cash equivalents in the statements of financial position comprise cash at bank and on hand and short-term deposits with an original maturity of three months or less. For the purposes of the statements of cash flow, cash and cash equivalents consist of cash and cash equivalents as defined above, net of any outstanding bank overdrafts.

ANNUAL REPORT 2014

76-77

h) Trade and other receivables Trade receivables are recognised and carried at original invoice amount less an allowance for any uncollectable amounts. Normal terms of settlement vary from 7 to 90 days. The carrying amount of the receivable is deemed to reflect fair value. An allowance for doubtful receivables is made when there is objective evidence that the group will not be able to collect the receivables. Bad receivables are written off when identified. i) Inventories Inventories of goods purchased for resale are valued at the lower of cost and net realisable value. The cost of bringing each item to its present location and condition is determined on a first-in, first-out basis. Net realisable value is the estimated selling price in the ordinary course of business, less estimated costs necessary to make the sale. j) Property, plant and equipment Property, plant and equipment is stated at cost less accumulated depreciation and any accumulated impairment losses. Any property, plant and equipment donated to the group or acquired for nominal cost is recognised at fair value at the date the group obtains control of the assets. Depreciation Items of property, plant and equipment (other than land) are depreciated over their useful lives to the group commencing from the time the asset is held ready for use. Depreciation is calculated on a straight line basis over the expected useful economic lives of the assets as follows: 2014

2013

%pa

Equipment & furniture

10-33

Leasehold improvements

10-20

Impairment The carrying values of property, plant and equipment are reviewed for impairment at each reporting date, with the recoverable amount being estimated when events or changes in circumstances indicate that the carrying value may be impaired. The recoverable amount of property, plant and equipment is the higher of fair value less costs to sell and value in use. Depreciated replacement cost is used to determine value

in use. Depreciated replacement cost is the current replacement cost of an item of property, plant and equipment less, where applicable, accumulated depreciation to date, calculated on the basis of such cost. Impairment exists when the carrying value of an asset exceeds its estimated recoverable amount. The asset is then written down to its recoverable amount. For property, plant and equipment, impairment losses are recognised in the statements of comprehensive income. Derecognition and disposal An item of property, plant and equipment is derecognised upon disposal, when the item is no longer used in the operations of the group or when it has no sale value. Any gain or loss arising on derecognition of the asset ( calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in surplus or deficit in the year the asset is derecognised. Any part of the asset revaluation reserve attributable to the asset disposed of or derecognised is transferred to general funds at the date of disposal. k) Intangibles Software and website are recorded at cost. Software and website have a finite life and are carried at cost less any accumulated amortisation and impairment losses. This is calculated on a straight line basis over the estimated useful life of three years. They are assessed annually for impairment. I) Trade and other payables These amounts represent liabilities for goods and services provided to the group prior to the end of the financial year which are unpaid. The amounts are unsecured and are usually paid within 30 days of recognition. The notional amount of the payables is deemed to reflect fair value. m) Deferred income (including Grants in advance and Income in advance) The liability for deferred income is the unutilised amounts of grants received on the condition that specified services are delivered or conditions are fulfilled. The services are usually provided or the conditions usually fulfilled within 12 months of receipt of the grant. Where the amount received is in respect of services to be provided over a period that exceeds 12

months after the reporting date, or the conditions will only be satisfied more than 12 months after the reporting date, the liability is discounted and presented as non-current. n) Employee benefits Employee benefits comprise wages and salaries, annual, non-accumulating sick and long service leave. Liabilities for wages and salaries expected to be settled within 12 months of balance date are recognised in other payables in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date. Liabilities for annual leave in respect of employeesâ&#x20AC;&#x2122; services up to the reporting date which are expected to be settled within 12 months of balance date are recognised in the provision for annual leave. Both liabilities are measured at the amounts expected to be paid when the liabilities are settled. The liability for long service leave is recognised in the provision for employee benefits and is measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to anticipated future wage and salary levels, experience of employee departures, and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows. o) Taxation Income tax The economic entity and its controlled entity are charitable institutions for the purposes of Australian taxation legislation and are therefore exempt from income tax. This exemption has been confirmed by the Australian Taxation Office. Both entities hold deductible gift recipient status. 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 Taxation Office, in which case it is recognised as part of the cost of acquisition of an asset or as part of an item of expense. Receivables and payables are recognised inclusive of GST.

The net amount of GST recoverable from or payable to the Australian Taxation Office is included as part of receivables or payables. Cash flows are included in the statement of cash flows on a gross basis. The GST component of cash flows arising from investing and financing activities which is recoverable from or payable to the Australian Taxation Office is classified as operating cash flows. p) Going concern The financial report has been prepared on a going concern basis, which contemplates continuity of normal trading activities and the realisation of assets and settlement of liabilities in the normal course of business. The groupâ&#x20AC;&#x2122;s continued existence is ultimately dependent upon the success of future productions, development income, workshop income as well as government support. If the group is unable to continue as a going concern it may be required to realise its assets and extinguish its liabilities other than in the normal course of business and in amounts different from those stated in the financial report. At the date of the report, the parent entity has received notification that 2015 grant funding has been approved and it is expected the company will be able to continue in its normal capacity for 2015. The parent entity was successful in its renewal of Australia Council for the Arts triennial funding for the period 2013-2015 in June 2012. The parent entity will submit an application for six year Key Organisation funding in 2015 for the period 2017 - 2022. Notification from the Australia Council extending our current Key Organisation operational funding until the end of 2016 has been received. Arts NSW triennial funding has been rolled over for one year and the next application will be for 2016 - 2018.

ANNUAL REPORT 2014

78-79

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS : Consolidated Entity

Parent Entity

2014

2013

2014

2013

Box office

72,874

69,782

72,874

69,782

Performance fee

38,060

6,673

38,060

6,673

110,934

76,455

110,934

76,455

Education workshops

56,713

86,027

56,713

86,027

Ensemble workshops

177,498

149,656

177,498

149,656

Holiday workshops

276,167

302,294

276,167

302,294

Production workshops

10,620

13,440

10,620

13,440

Other workshops & fees

31,984

38,530

31,984

38,530

552,982

589,947

552,982

589,947

345,561

555,793

440,561

630,793

3 Performance income

4 Fees & services

5 Sponsorship & donations Donations Fundraising

46,981

181, 179

46,981

181, 179

392,542

736,972

487,542

811,972

Distributions from managed funds

16,064

16,372

Interest

40,769

59,326

2,288

7,466

6 Other Income

Membership Other commissions

16,731

Other income

13,713

16,731

12,830

13,713

12,830

87,367

88,608

32,822

20,376

Australia Council - Operational funding

155,552

154, 701

155,552

154,701

Australia Council - Project funding

100,000

7 Subsidies & grants received -

100,000

Arts NSW Operational grant

98,000

- Aboriginal Middle Years

35,000

39,750

35,000

39,750

- Writers Commissions

10,000

City of Sydney

10,000

8,473

10,000

8,473

398,552

310,924

398,552

310,924

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS : Opening Balance

Additions (disposals)

Revaluation (deficit) Surplus

Closing Balance

8 Available-for-sale financial assets 2014 Shares - Australian listed companies atatfair fairvalue value

299,420

(1,970)

297,450

TOTAL

299,420

(1,970)

297,450

Shares--Australian Australianlisted listedcompanies companies-Shares atfair fairvalue value at

296,550

2,870

299,420

TOTAL

296,550

2,870

299,420

2014

Available-for-sale financial assets consist entirely of assets in Australian listed securities. The fair value of listed available-for-sale financial assets has been determined directly by reference to published daily rates listed on the Australian Securities Exchange at balance date. The ATYP Foundation as part of the consolidated entity will be subject to market risk as its assets in Australian listed securities will fluctuate with daily market prices.

Consolidated Entity

2014

2013

2014

2013

Cash at bank

163,374

388,000

45,047

332,567

Cash on deposit - fixed term

867,566

1,034,528

1,030,940

1,422,528

45,047

332,567

11, 785

106,509

11,785

106,509

Allowance for doubtful debts

(446)

Net trade receivables

11,339

106,063

11,339

106,063

Related party receivables

3,923

78,223

9 Cash and cash equivalents -

10 Trade and other receivables Trade receivables

Imputation credits refundable Interest and dividends receivable

1,628

2,404

15,401

15,282

28,368

123,749

15,263

184,286

11 Inventories Merchandise inventory

3,686

3,806

3,686

3,806

3,686

3,806

3,686

3,806

ANNUAL REPORT 2014

80-81

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS : Consolidated Entity

Parent Entity

2014

2013

2014

2013

Prepayments

19,554

22,587

19,554

22,587

Deposits paid

200

19,754

22,787

19,754

22,787

1,829

(1,829)

12 Prepayments & deferred expenditure

13 Intangibles Software - at cost Accumulated amortisation Total software

Website - at cost

72,833

(72,808)

(48,791)

(72,808)

(48,791)

Total website

24,042

Total intangibles

24,042

Accumulated amortisation

Amortisation of intangibles is included in the statement of comprehensive income in Infrastructure Costs Reconciliation of the carrying amounts of each asset at the beginning and end of the current financial year for the economic entity Software at cost

Website at cost

Total

Carrying amount 1 January

24,042

Additions

Disposals

Amortisation

(24,017)

Carrying amount 31 December

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS : Consolidated Entity

Parent Entity

2014

2013

2014

2013

87,825

87,782

87,825

87,782

(62,054)

(57,354)

(62,054)

(57,354)

25,771

30,428

25,771

30,428

286,920

287,191

286,920

287,191

(284,855)

(270,928)

(284,855)

(270,928)

2,065

16,263

2,065

16,263

27,836

46,691

27,836

46,691

Leasehold improvements

Plant & equipment

Total

30,428

16,263

46,691

14 Property, plant & equipment Leasehold improvements - at cost Accumulated amortisation Total leasehold improvements

Plant & equipment - at cost Accumulated depreciation Total plant & equipment

Total property, plant & equipment Reconciliation of the carrying amounts of each asset at the beginning and end of the current financial year for the economic entity

Carrying amount 1 January Additions

Depreciation / amortisation

(4,657)

(14,198)

(18,855)

Carrying amount 31 December

25,771

2,065

27,836

Consolidated Entity

Parent Entity

2014

2013

2014

2013

Trade creditors

20,549

22,745

20,549

22,554

Sundry creditors & accruals

67,702

63,968

67,482

63,968

88,251

86,713

88,031

86,522

43,415

41, 719

43,415

41, 719

3,363

2,845

3,363

2,845

46,778

44,564

46,778

44,564

46,778

44,564

46,778

44,564

46,778

44,564

46,778

44,564

15 Trade and other payables

16 Employee Benefits Provision for annual leave Provision for long service leave

Analysis of total provisions Current

ANNUAL REPORT 2014

82-83

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS : Consolidated Entity

Parent Entity

2014

2013

2014

2013

17 Grants in advance Arts NSW

- Aboriginal Middle Years

98,000 -

98,000

- Writersâ&#x20AC;&#x2122; Commissions

3,100

- Creative Development

1,565

36,570

1,565

36,570

Australia Council - Operational grant

77,776

4,665

215,446

4,665

215,446

137,516

127,084

137,516

127,084

18 Income in advance Workshop fees in advance Other income in advance

2,785

137,516

129,869

2,785

137,516

129,869

19 Related parties and related party transactions a)Director compensation The directors act in an honorary capacity and receive no remuneration other than Fraser Garfield who is the Artistic Director of ATYP. b)Key management personnel compensation Key management personnel compensation for the year ended 31 December 2014 amounts to $179,505 (2013: $186,156). c) Director donations The total amount of donations received from directors during the year ended 31 December 2014 was $76,100 (2013: $78,125).

Consolidated Entity

Parent Entity

2014

2013

2014

2013

49,958

34,075

49,958

34,075

8,505

42,580

8,505

42,580

58,463

76,655

58,463

76,655

20 Commitments and contingencies a) Operating /ease commitments Non-cancel/able operating leases contracted for but not capitalised in the financial statements Payable - minimum lease payments - not later than 12 months - between 12 months and 5 years

NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS : Consolidated Entity

Parent Entity

2014

2013

2014

2013

20 Commitments and contingencies continued (b) Capital expenditure commitments At reporting date the company has entered into contracts for capital expenditure of $0 which have not been provided for in the financial statements. The amounts are payable: - not later than 12 months

The lease commitments relate to the lease of premises, storage space and copier machine

21 Rent subsidy ATYP is supported by Arts NSW with subsidised rent through the Infrastructure Support Program; this provides ATYP with affordable space at Pier 4/5. Consolidated Entity

Parent Entity

2014

2013

2014

2013

Rent in cash

36,333

29,758

36,333

29,758

Rent in kind

243,152

199, 150

243,152

199, 150

279,485

228,908

279,485

228,908

Occupancy expense

22 Charitable fundraising The parent company and its controlled entity hold an authority to fundraise under the Charitable Fundraising Act, 1991 (NSW) and conduct fundraising appeals throughout the year. Additional information and declarations required to be furnished under the Act are as follows: All funds raised from fundraising activities, net of direct costs were applied to the groupâ&#x20AC;&#x2122;s normal operations. The group did not conduct any appeals in which traders were engaged.

ANNUAL REPORT 2014

84-85

DIRECTORS’ DECLARATION

INDEPENDENT AUDITOR’S REPORT

In the opinion of the directors of Australian Theatre for Young People:

REPORT ON THE FINANCIAL REPORT:

1.the financial statements and notes, as set out on pages 11 to 29 are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 (the Act), including: i)complying with Accounting Standards, the Corporations Regulations 2001 and other mandatory professional reporting requirements, and ii)giving a true and fair view of the consolidated entity’s financial position as at 31 December 2014 and of its performance for the financial year ended on that date. 2.in the directors’ opinion there are reasonable grounds to believe that the consolidated entity will be able to pay its debts as and when they become due and payable; 3.the accounts give a true and fair view of all income and expenditure including with respect to fundraising appeals; 4.the Statement of Financial Position gives a true and fair view of the state of affairs of the consolidated entity including with respect to fundraising appeals; 5.the provisions of the Charitable Fundraising Act 1991, the regulations under the Act and the conditions attached to the fundraising authority have been complied with by the group; and 6.the internal controls exercised by the consolidated entity are appropriate and effective in accounting for all income received and applied by the consolidated entity including from any of its fundraising appeals. This statement is made in accordance with a resolution of the board of directors of the parent entity.

MICHAEL IHLEIN Chair Australian Theatre for Young People Sydney 28 April 2015

We have audited the accompanying financial report of Australian Theatre for Young People (the company), which comprises the statements of financial position as at 31 December 2014, the statements of comprehensive income, statements of changes in equity and statements of cash flows for the year ended on that date, a summary of significant accounting policies, other explanatory notes and the directors’ declaration for both Australian Theatre for Young People and the Australian Theatre for Young People Group (the consolidated entity). The consolidated entity comprises the company and the entities it controlled at year’s end or from time to time during the financial year. 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 Australian Charities and Not-for-profits Commission Act (ACNC) 2012 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. AUDITOR’S RESPONSIBILITY: Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit in accordance with Australian Auditing Standards. Those standards require that we 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. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinions. AUDITOR’S OPINION: In our opinion, the financial report of Australian Theatre for Young People is in accordance with the Australian Charities and Not-for-profits Commission Act (ACNC) 2012, including: (a)giving a true and fair view of the company’s and consolidated entity’s financial position as at 31 December 2014 and of their performance for the year ended on that date; and (b)complying with Australian Accounting Standards -Reduced Disclosure Requirements.

PricewaterhouseCoopers

MK Graham Partner Sydney 28 April 2015

ANNUAL REPORT 2014

86-87

Photo: Naomi Hamilton

BUSINESS & GOVERNMENT PARTNERS 2014

FINANCIAL SUPPORTERS 2014

Government Australia Council for the Arts Arts NSW City of Sydney

Producers’ Circle Donors $5,000+ Antoinette Albert Libby & Robert Albert AO RFD RD Martin Dickson AM & Susie Dickson Nancy Fox & Bruce Arnold Alexandra Holcomb & Andrew Bird Michael Ihlein & Gosia Dobrowolska Rebel Penfold-Russell Edward & Anne Simpson

Companies BBM Youth Support Copyright Agency Limited Cultural Fund High Pass Holdings Pty Ltd Interbrand King & Wood Mallesons Mullinars Casting Consultants RE Holding Company Rebelstudio PWC SpotCo NYC UBS Australia Limited Walsh Bay Arts and Commerce Corporation Westfield Ltd Foundations ATYP Foundation ANZ Staff Foundation Bird Holcomb Pty Ltd Foundation City of Sydney Creative Partnerships Australia Graeme Wood Foundation The Greatorex Foundation James N. Kirby Foundation Lord Mayor’s Charitable Foundation The Luca & Anita Belgiorno-Nettis Foundation Matana Foundation for Young People Tim Fairfax Family Foundation Vincent Fairfax Family Foundation Westpac Foundation Yim Family Foundation

Guardians ($10,000 and up) Antoinette Albert Martin Dickson AM & Susie Dickson Alexandra Holcomb & Andrew Bird Michael Ihlein & Gosia Dobrowolska Susan Maple-Brown Robert Rich Edward & Anne Simpson Curt Zuber Superstars ($5,000 - $9,999) Robert Albert AO RFD RD & Libby Albert Nancy Fox & Bruce Arnold Graham & Glynn O’Neill Rebel Penfold-Russell OAM Champions ($1,000 - $4,999) Ruth Armytage AM Aaron Beach Angela Bowne SC Graeme Browning Andrew & Kate Buchanan Kate di Mattina J.B Fairfax AO Douglas Ferguson Matthew & Kimberly Grounds Mark & Kathy Johnson Olev Rahn & Jillian Broadbent AO John Tuckey Jane Westbrook

ANNUAL REPORT 2014

88-89

Allies ($500 - $999) Nicole Abadee & The Hon Justice MacFarlan Charles & Hannah Alexander Paul & Mira Brassil Andrew Carriline & Jody Marshall David & Rachael Chin Andrew Deane & James Buck Jr Keith Doree Brenna Hobson Mark & Sandra Johnson Derek Minett & George Dodd Nessa Oâ&#x20AC;&#x2122;Sullivan Ilana Prideaux & Hannah Liddy Greeba Pritchard Tom & Kica Saar Mertsi Spencer Augusta Supple Buddies (Up to $499) Jacob Allan Bec Allen Billie Arnull Melanie Araya Nicole Artsetos Ellie Bock Ali Brosnan Ian Brown Robert Brookman AM & Verity Laughton Cheryl Cooper Karla Cooper James Crawford The Late John Cuningham Jane De Matteis Louise Dobson & Garry Dobson Jane Dresens Mark & Mirella Eggleton

Darren Eller Scott Farrell Melissa Flemming Rachel Ford Wendy Fraser Tahni Froudist Sally Greenaway Annalise Guest Ron Haddrick AM MBE Claire Harris Alice Hatton Marcus James Jasper Judd Allison Lee Sophie Lynch Rebecca MacFarling Elisabetta Magnani Eleanore Mattana Christy McCarthy Juz McGuire Eva McNaughton Simon Mumford AR & AC Norris Georgie Parker Simone Parrott Sally Patten Neale Peppernell Catharine Pruscino Ann Robinson Michiko Shibagaki Nathalie Vallejo William Vo Aleksandr Voninski Georgia Vrondas Mark Watmore Ellen Watts 2 Anonymous Donors

ATYP STAFF

THE ATYPICAL YOUTH ADVISORS

Artistic Director Fraser Corfield

Andrew Brophy Emma Campbell Airlie Dodds Matt Friedman Naomi Hastings Ava Karuso Stephanie King Julia McNamara Paul Musumeci Sydney Nicholas Kathleen Quere Julia Rorke Cole Scott-Curwood Charlotte Tilelli Cooper Torrens Rachel Weiner Emily Bailey Hughes Emily Sheehan Rebecca Cuttance Sean Marshall

General Manager Aaron Beach Finance Manager Kate di Mattina Development Manager Andrew Deane Marketing Manager Annabel Tate (until August 2014) Amy Maiden (from September 2014) Workshop Manager Sarah Parsons Education Manager AdĂ¨le Jeffreys Heather Clark (until January 2014) Production Manager Juz McGuire Education Co-ordinator Lisa Mumford (from January 2014) Writing Coordinator Dan Pritchard (until February 2014) Jennifer Medway (from February 2014) Administration Coordinators Elise Barton (from January 2014) Alice Hatton (January to October 2014) Marketing Co-ordinator Sebastian Andreassen (until August 2014) Samantha Cable (from August 2014) Geek-in-Residence Dan Andrews (from June 2014) Archivist Judith Seeff Publicist Kar Chalmers 2014 Writer-in-Residence Tom Mesker

ANNUAL REPORT 2014

90-91

Photo: Lisa Tomasetti Production: M.Rock

PARTNERS & SUPPORTERS Government Partners

Trusts & Foundations

Associate Partners

ANNUAL REPORT 2014

92-93

Photo: Naomi Hamilton

AUSTRALIAN THEATRE FOR YOUNG PEOPLE The Wharf, Pier 4/5 Hickson Road, Walsh Bay NSW 2000 02 9270 2400 | hello@atyp.com.au | ATYP.COM.AU