ATYP 2020 Annual Report

ANNU— AL REPo— RT 2o2O

01

Contents

02

Our Vision

03

Artistic Director

07

Board Chair Season 2020

09

CUSP

13

Intersection 2020: Beat

17

RoomWorks Departments

19

Writing

23

Workshops

27

Education

29

Development

31

Marketing

34

Archives

35

Financials ATYP

36

Staff and Board

37

Partners and Supporters

ATYP

Annual Report 2020

02

OUR VISI— ON ATYP’s vision is to enrich the lives of young Australians through transformative theatre experiences We do this through three aspirations:

National Impact — ensure programs resonate locally, regionally and nationally.

1.

Be indisputably recognised nationally and globally as a leading theatre company that

Artistic Excellence — deliver programs

fearlessly champions young artists.

with artists, companies, venues and events synonymous with artistic excellence.

2. Deliver inclusive opportunities that connect young people with the professional theatre

Innovation — embrace the evolving nature of

industry.

storytelling as it relates to young people and celebrate risk and experimentation.

3.

Be a leading advocate for youth arts and its social impact.

Pathways — be a meeting point between the professional theatre industry, youth arts sector,

ATYP is guided by four long-term strategies.

educational institutions and non-arts community

They provide holistic thinking that sits across all

for the benefit of young Australians.

company activities and discussions. They are:

ART— ISTIC DIREC— TOR The true test of an organisation is not how it fares in good times, it’s how it copes with adversity I appreciate it is an unusual way to introduce

Anne Butler. The show opened to critical acclaim

what has been a globally tumultuous, distressing

on a Friday… and closed on the Sunday. All

and difficult year, but it gives me enormous

plans for 2020 had to be cancelled - workshops,

pleasure and pride to present ATYP’s 2020

fundraising events, the entire production season,

Annual Report.

interstate and international travel and the scheduled tour of the USA and Canada.

ATYP has vast experience in coping with adversity. For many years the company has used

Once we’d come to terms with what we wouldn’t

innovation, collaboration, critical reflection and

be able to deliver, we switched focus to what

strategic thinking to maximise meagre resources

was possible. ATYP underwent at least three

and build its reputation as a flagship company.

years of research and development within two months:

So though the COVID-19 crisis forced the closure of all the company’s planned activities

•

We were able to record a performance of

for an extended period of time, in its place we

CUSP and screen it online for a three-week

invented, invested, inspired and evolved. Rather

‘season’ for an audience of just under 1,500.

than staggering out of 2020, ATYP has emerged with a greater profile, extended national reach and extraordinary opportunities.

•

Tutors that had been contracted to deliver the Autumn holiday workshops were redeployed to create a series of filmed

As the COVID-19 shutdown took hold in

tutorials for teachers that were released

March, we were in the process of opening our

on the ATYP On Demand platform over the

professional production for 2020, CUSP by Mary

early months of the shutdown.

ATYP

Annual Report 2020

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•

Weekly programs for ages 8+ were revised

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A partnership was established with Orana

and relaunched as online interactive

Arts in Dubbo, regional NSW, to engage

workshops that used conference software

young people across the state in online

and file sharing to connect young people

drama workshops and mentoring.

in NSW and nationally, streamed from the ATYP office.

•

ATYP partnered with Nightingale Content to stage RoomWorks, an online mentorship

•

The second production in the 2020 season,

program and showcase that connected 20

Intersection 2020: Beat, a partnership with

emerging artists with industry leaders to

The Arts Unit (the NSW public schools

develop and present a collection of ten new

arts excellence program), continued to be

works reflecting the experiences of this

rehearsed remotely, before the decision was

tumultuous year.

made to create four high-quality short films which were released for schools state-wide.

•

The company established an online Arts Webinar series and Playwriting Masterclass

•

ATYP commissioned a group of eleven

program connecting young people around

leading national playwrights to create

the country with leading artists and

five-minute scripts that young people and

innovators.

their families could rehearse and record at home during the lockdown, and enter into a

While all of these developments will have a

competition called ATYP Home Theatre.

lasting impact on the planning and programming of ATYP, the greatest achievement was

•

The ATYP Education team established an

the extraordinary success of ATYP’s digital

online interactive program for schools called

classroom, ATYP On Demand. Launched in 2018,

ATYP In the Classroom which enabled an

the national lockdown in 2020 saw ATYP On

ATYP tutor to work with a class either

Demand emerge as the leading national online

remotely from their homes, all together in

drama resource for schools. Within two weeks of

the classroom, or a combination of both.

lockdown, ATYP On Demand registrations had increased by 150%. By the end of 2020

•

The National Studio, Australia’s leading

it had seen an increase of over 400%, with

professional development initiative for

teachers registered from every state and

emerging playwrights, was delivered as

territory in the country.

an online week-long intensive with group workshops, individual mentoring and masterclasses, culminating in a reading of the resulting pieces.

Thanks to the success of ATYP On Demand, the

I need to acknowledge the exceptional work

company received funding from the Thyne Reid

of my colleagues and the ATYP Board during

Foundation to develop ATYP On Demand Plus,

2020. I’m particularly grateful to our Chair,

a learning portal for primary schools that uses

Chris Puplick, who had to face extraordinary

drama pedagogy and interactive learning to help

challenges throughout the year. He led the

teachers deliver the National Curriculum. These

company with exemplary grace, clarity,

two platforms have the potential to make ATYP’s

confidence and calm. His contribution cannot be

programs accessible to over 7,000 schools with

overstated. ATYP is deeply fortunate to have had

the capacity to reach over three million students.

Chris at the helm in this year of upheaval.

Of course, the year also brought with it a

The list of achievements is testament to the

devastating setback. In the midst of the

work of ATYP’s staff. Despite an intense and

shutdown as the industry was reeling from

relentless workload, they shouldered the

the impact of COVID-19, ATYP was among 49

challenges with warmth, humour and resilience.

companies informed that from 2022 we will lose

Everyone deserves special mention but if I

our Australia Council operational funding. The

was to identify one person that stepped up

most distressing element of this news was that

a whole new level during the year it was our

no reason was able to be given for the decision.

Finance and Administration Manager, Chrissy

In separate meetings with ATYP’s management

Riley. She was forced to recalculate financial

team, Chair, and analyst Justin Macdonnell, the

forecasts on a weekly basis, ensuring the

Australia Council was consistent: “There were no

Board and management maintained a detailed

faults with the application, there simply wasn’t

understanding of the company’s financial

enough money to go around.”

position and risk in a swirling sea of change.

Chrissy bore the brunt of the financial anxieties

It is difficult to comprehend the state of

that blew relentlessly throughout the year and

Australia’s Federal Government funding if the

she managed it with a level of self-assurance and

national youth theatre company can have its

calm that was a wonder to behold.

funding cut, without explanation, in the year it will move into a new purpose-built home. Unless

I’d also like to acknowledge my two colleagues

this is rectified by 2023, it will have devastating

at the helm during the year, Amanda Wright

consequences for ATYP and young people.

and Johanna Mulholland. I was trying not to view Amanda’s maternity leave as a personal

Fortunately however, the company was given

betrayal in the midst of the year. Fortunately

a small reprieve. Thanks to the Ministry for the

having Johanna step so competently into the

Arts, ATYP received over $750,000 to revise and

breach enabled me to celebrate the birth of

promote our programs nationally during 2021 and

Amanda’s second child with the joy it deserved.

2022 as part of the Federal Government’s RISE

It is an honour to work with such considered,

initiative. There is much to be done to leverage

compassionate and strategic arts leaders.

this unique opportunity, but the company is well placed for the challenge.

ATYP

During the year we said goodbye to three longterm members of the ATYP team. Marketing Manager Kar Chalmers left us after seven years to take up a role at a new Arts centre on the South Coast, our Education Coordinator Rowan Bate left us after four years with the company to do further study, and Workshop Manager Rob Jago left us after five years to leap back into to the world of a freelance professional artist.

We wish them all the very best in their future careers and thank them for the joy, passion and hard work they brought over years.

After many years of having to acknowledge financial deficits, I am also pleased to report that ATYP recorded a very healthy surplus in 2020. While there is no doubt it was helped by some good fortune by way of COVID-19 recovery incentives, it was also well deserved. We hope to deliver another surplus in 2021 as we prepare to move into the company’s new premises in 2022. There is much to look forward to over the coming twelve months.

Fraser Corfield Artistic Director

Annual Report 2020

06

BOARD CHAIR It’s true that you find your true strengths through adversity It seems to me that every year, the Chair’s

I am so proud in the first instance of how the

Forward to the ATYP Annual Report reflects that

Board rallied, resolute that we were not going to

the year past has been a difficult one, and the

let this setback defeat us, and how the senior

year ahead will be full of challenges.

managers and staff were ready to come with us on that journey. We were prepared to make some

Well, as the French say, plus ça change, plus

hard and unpleasant decisions, but fortunately

c’est la même chose ….

for us, and indeed for the whole arts sector, both the Federal and State Governments were

At the start of 2020, none of us had heard

determined that the arts sector would be helped

of SARS-CoV-2, now known to all of us as

through the Covid crisis.

COVID-19. We were just getting on with the delivery of our exciting 2020 season and had

Enter Jobkeeper, through which we have

opened a wonderful new production, CUSP,

managed to keep our staff together and our

written by Mary Anne Butler and directed by

team intact. Support packages from both

Fraser Corfield at the SBW Stables Theatre,

governments, the personal support of NSW

home of our Griffin friends, while we were

Arts Minister Don Harwin and the folk at Create

camping-out awaiting the refurbishment of our

NSW, combined with an enormous outpouring of

new Pier 2/3 home. The season was going well,

generosity from some of our traditional donors

tickets were selling fast and the gritty story

and supporters, has meant that we managed to

about life for young people in the Top End was

secure our financial position and can look with

engaging and resonating with audiences. Then –

confidence to 2021.

POW! The sudden closing of the show halfwaythrough and the cancellation of our 2020 season.

The State Government, sensing that infrastructure investment was critical to help

The whole Company rallied to meet the

support the sector, has made sure that there

challenges, none of which were anticipated, none

was no let-up on the redevelopment of Pier 2/3.

of which we’d ever faced before. Dealing with

I am very confident that we will be back in our

financial crises is easy – been there, done that,

new custom-designed permanent home within

we know the ropes. Dealing with a complete

the next twelve months.

lockdown is something else altogether.

ATYP

Annual Report 2020

08

This has also allowed us to develop and plan

with confidence. Our General Manager,

a 2021 Season, reprising some triumphs and

Amanda Wright, took maternity leave, and it was

putting together a season full of new and

our great fortune to steal Johanna Mullholland

exciting works aimed to directly address the

from Monkey Baa to step into the role in the

issues and interests of young Australians across

interim. We have big plans for both of them in

the nation.

the year ahead.

After experiencing some turnover on the Board,

The COVID-impetus has caused us to undertake

we now have a team which is well balanced,

some major rethinks, in particular, around how

experienced and keen. I am particularly grateful

we can make better use of online opportunities

to Janine Lapworth, my Deputy Chair, who

both for educational purposes and for the

has steered us through all the shoals of Pier

delivery of our shows, workshops, training

2/3 redevelopment and several other key legal

programmes and seminars. We have developed

issues this year. We have also been fortunate to

new strengths in these areas, and are ready

have support through the Board Observership

post-COVID to grow those opportunities

programme.

and expand our artistic reach further, both geographically and socially. The advice from

Following the Australia Council’s decision

our ATYPicals network has helped us in refining

not to extend our four-year funding beyond a

our approaches.

transitional year in 2021, the Board decided that we needed a full-scale review of the Company,

Just as 2020 was a year like no other, I am

involving not just its financing but also its

confident that 2021 will be as well; in our new

structures, operations and market positioning.

home, at the end of a new season, with a new

I asked Justin Macdonnell of the consultancy

focus and a renewed determination to keep

firm, OzArts Australia, to undertake this review.

ATYP where it must be - leading Australia’s

Justin’s report presented some very valuable

youth arts sector.

insights for the Company to address. The Board and senior management have been working

Chris Pulplick AM

through these – they are all good suggestions,

Board Chair

and we are determined to take them seriously and to act. Changes are underway and I hope that they will start to bear fruit during the next six months.

I pay tribute to Fraser Corfield for his fortitude in leading the Company as our Artistic Director.

His challenge has been enormous. Apart from having to abandon a season he had curated, it has been his task to keep the staff focused so that we have been able to plan ahead for 2021

ATYP

Annual Report 2020

ATYP@ GRIFFIN

11.03— 15.03.20

A Brown’s Mart Theatre Co—production

CUS— P Writer Mary Anne Butler Director Fraser Corfield

Image Justin & Luke Stambouliah Subject Jordan Dulieu

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HOW DO YOU MOVE INTO THE FUTURE, WHEN YOUR PAST KEEPS DRAGGING YOU BACK— WARDS?

ATYP

Annual Report 2020

12

Elvis wants Rosie. Rosie wants to escape.

Dramaturg

Maddie doesn’t know what she wants; but it

Jane FitzGerald

sure isn’t this. While Rosie balances the needs

Set Designer

of community with her own life dreams, Elvis

Cj Fraser-Bell

juggles a life of crime with a tougher path into

Lighting Designer

the straight-and-narrow, and Maddie faces life

Jessie Davis

as a single parent unless she aborts her

Sound Designer

unborn child.

Brad Fawcett (Darwin season) Sound Design Mentor

CUSP juxtaposes the Northern Territory’s vast

Matt Cunliffe

Top End landscape with the turbulent inner lives

Stage Manager

of three emerging adults as they swim against

Scott Gooding (Darwin season)

the tides of irrevocable change. Balancing choice

LX/AX Operator

versus fate in a world where, as Elvis observes,

Brenton Ryan (Darwin season)

“Some people just get better choices than

Production Manager/Stage Manager

others”, CUSP asks the central question: How

Sorie Bangura

do you move into the future, when your past

Cultural Consultant

keeps dragging you backwards?

Rosealee Grimes (nee Pearson) Assistant Director

Due to unavoidable derailment due to COVID-19,

Claudene Shoesmith

CUSP opened on 13 March 2020 at the SBW

Assistant Director

Stables, Kings Cross, before the run was forced

Adam Stepfner

to come to an end on 19 March 2020. A filmed performance was placed on ATYP's YouTube

Cast

channel and On Demand platform, where it

Stevie Kyriacou

received nearly 1.5k views.

Joshua McElroy Nyasha Ogden Performed at SBW Stables Theatre, Kings Cross Opened 13 March 2020 Season 11-19 March 2020 Performances

6

Attendance

178

Box office

$4,990

ATYP

An Arts Unit Co—production

INTER— SECTI— ON: BEAT Writers Daisy Coyle Bernadette Fam Shevaun Rutherford Bradley Ward Director Fraser Corfield

Image Justin & Luke Stambouliah Subject Keshini De Mel

Annual Report 2020

14

IT’S LIKE...

THAT FAIRY TALE YOU READ US... THE ONE WHERE SHE DANCES HERSELF TO DEATH.

ATYP

Annual Report 2020

Offbeat. Upbeat. Move to your own beat.

Cast

These are stories that explore the pulsating

Jack Andrew

experience of young lives.

Diya Goswami Jamie Gray

Following the cancellation of Intersection

Jeremy Jenkins

2020: Beat due to COVID restrictions,

Milla Kime

partner organisation The Arts Unit, the NSW

Holly Matthews

Public Schools Excellence Program, sought opportunities to have some form of performance

The Arts Unit Ensemble

outcome that could involve participating

Jack Andrew

students. Funding was secured to enable the

Kevin Fernando

filming of four of the ten short works that were

Diya Goswami

to make up the original production. Two of the

Jamie Gray

works were filmed in full and two were filmed

Jean Hinchliffe

in part to demonstrate how theatre can be

Jenaya Jacka

converted to film.

Jeremy Jenkins Emily Johnson

The filming took place during the July school

Milla Kime

holidays from the 6th – 14th July. The

Holly Matthews

performances will be made available to schools

Samuel Noll

through ATYP On Demand.

Reuben Odlum Olivia Staniforth

Film Director

Will Thomas

Leigh Richards

Hayley Winch

Dramaturg Jane FitzGerald Producer Jane Simmons Director of Photography Peter Copeland Documentation David Todd

ATYP will continue our relationship with Currency Press, which publishes the pieces in one book so they can be performed by young people for years to come.

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18.07.20

ROOM— WORK— S Producers Alexandra Punch Emily Buxton

Writers Flick Anderson Linda Chen Bernadette Fam Jasper Lee-Lindsay Callum Mackay Olivia McLeod Olivia Richards Shahrin Shamin Egan Sun-Bin Susan TakTak Hosts Chika Ikogwe VIctoria Zerbst Editor Alexander Lee-Rekers

ATYP

Annual Report 2020

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After a successful scratch night program in 2019,

Edited by Alexander Lee-Rekers and hosted

ATYP endeavoured to continue the opportunity

by Chika Ikogwe and Victoria Zerbst, the final

for young artists aged 18-26 to present their new

screening was distributed through ATYP’s

work in 2020. Plans were underway for a year-

Facebook and YouTube channels as a live

long Sparkly Sh*t program, with a showcase-

screening that reached 4,898 people from all

style event every two months. Unfortunately,

over the world. Optional “tickets” were available

this plan was not executed due to COVID-19,

for purchase to the screening, as self-nominated

however, independent company, Nightingale

donation amounts that were equally distributed

Content produced a digital scratch night and

between AIME and Headspace as selected

approached ATYP to partner on the project.

by Alexandra and Emily, culminating in a final

And thus, RoomWorks was born. The change in

donation total of $601.12.

program delivery gave the participants a more production-style outcome to work towards.

Mentors Kate Champion

Produced primarily by Alexandra Punch of

Jane FitzGerald

Nightingale Content and Emily Buxton on

Moreblessing Maturure

behalf of ATYP, RoomWorks was a creatively

Dom Mercer

ambitious, three-week long project that sought

Sam O'Sullivan

to engage and pay 20 young artists (10 writers

Paige Rattray

and 10 actors) from around Australia, pairing

Darren Yap

them and providing mentoring opportunities as they created and performed 10 original,

Actors

short monologues premiered during an online

Lotte Beckett

screening on Saturday 18 July.

Toby Blome An Dang

Alexandra and Emily were considered in making

Peter Irankunda

this an equal opportunity event for young

Mabel Li

people, encouraging applicants from every state

Teresa Li

and territory of every skill level to apply. Assisted

Susanna Pang

by ATYP Marketing Coordinator, Erica Penollar,

Sophie Strykowski

they succeeded in gaining national reach,

Renae Valastro

ultimately selecting the final 20 participants from

Georgia Willson

Queensland, New South Wales, Victoria, and the Australian Capital Territory.

The mentorship component spanned three sessions and involved industry professionals Jane FitzGerald, Sam O’Sullivan, Moreblessing Maturure, Darren Yap, Paige Rattray, Dom Mercer, and Kate Champion.

Premiered

18 July 2020

Online premiere views

4,898

Total donations

$601.12

WRIT— ING Overview

Commissioned Writers

Workshops

44

Donna Abela

Workshop attendances

298

John Armstrong

Playwrights under commission

22

Vanessa Bates

Playwriting participants

78

Kip Chapman

Mentors and teachers

10

Rachael Coopes

Professional actors, directors,

Felix Cross

dramaturgs

24

Tasnim Hossain

Other artists supported

17

Emme Hoy

Total artists part of programs

151

Chika Ikogwe

Audience

237

George Kemp

States and Territories operated in

3

Finegan Kruckemeyer

Hours of dramaturgy (Resident Dramaturg)

Jasper Lee-Lindsay 177

Hours of mentoring/tutoring (Resident Dramaturg)

Alexander Lee-Rekers The Listies (Richard Higgins and Matt Kelly)

111

Ross Mueller Madelaine Nunn Lachlan Philpott Leah Purcell Hannah Reilly Gretel Vella Kate Walder Victoria Zerbst

ATYP

Annual Report 2020

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Fresh Ink Mentoring

National Studio

Despite the challenges of COVID-19, Fresh

In response to border restrictions, the eleventh

Ink continued to thrive in 2020. The groups in

iteration of this successful program was held

Darwin, Perth and Sydney met successfully via

online as National Studio 2020: COVID Edition.

Zoom for the first half of the program, before

It maintained almost all the key elements of

moving to a mixture of in-person and Zoom

National Studio: 20 emerging writers aged 18-26

meetings. All 12 emerging playwrights aged

from six states experienced masterclasses, group

18-26 wrote two short plays, and the readings

tutorials, one-on-one mentoring and industry

for each of the programs were able to be held in

sessions from award-winning playwrights

person. The program run in Darwin co-presented

Vanessa Bates (NSW), Mary Anne Butler (NT)

with Brown’s Mart and was mentored by Ciella

and Chris Isaacs (WA), as well as Resident

Williams; in Perth co-presented with Barking

Dramaturg Jane FitzGerald. The participants

Gecko and mentored by Will O’Mahony; and in

created eight-minute pieces which were read

Sydney mentored by ATYP Resident Dramaturg

over Zoom at the conclusion of the week.

Jane FitzGerald.

Despite not being able to gather in person, a special atmosphere was created and strong peer

Amazing. I got to know some brilliant and

connections made.

inspiring artists, pursue bigger creative goals than I’ve ever set for myself and write a play I’m

Though in an ‘unprecedented’ year [in which]

looking forward to developing in the future.

things had to change on a dime, the quality

—Betty Sweetlove, Darwin Fresh Ink

and standard did not falter one bit. I thoroughly enjoyed the positive, open and innovative

Fresh Ink gave me an opportunity to explore

approach every single person brought to the

my voice. The programme felt like a supportive

lessons, and I would recommend it again and

environment to find my unique way of saying

again. Big thanks to ATYP for adapting in this

things… It gave me a chance to work with

digital environment. It was amazing.

people I would not have otherwise.

—Vivian Nguyen. VIC

—Anonymous, Perth Fresh Ink I had an absolutely incredible time at National Studio! In fact, it was one of the most inspiring and motivational experiences I’ve ever had!

—Sevgi Murphy, NSW

Foundation Commissions

Playwriting Masterclass

Two new commissions were awarded in 2020:

For the first time, ATYP ran a series of online

Shack by George Kemp (for ages 10-13 years)

playwriting masterclasses. Over five weeks,

and Cry Havoc by Emme Hoy (for ages 14-17

exceptional professional playwrights delivered

years). Lights in the Park by Alexander Lee-

1.5 hour masterclasses on a variety of topics

Rekers (to be produced April 2021), Soul Trading

to emerging playwrights across six states.

by Kate Walder (to be produced October 2021)

Playwrights who led the masterclasses were

and The Chapel, the Fire and the Dead Cat by

Mary Anne Butler, Anchuli Felicia King, Michele

Madelaine Nunn received ongoing development

Lee, Tommy Murphy and Lachlan Philpott.

supported by Resident Dramaturg Jane FitzGerald.

These masterclasses provided an incredible opportunity to connect with many different

ATYP Home Theatre

playwrights that I otherwise would not have

As a rapid-response to COVID-19 lockdowns,

had the opportunity to interact with. I gained

and thanks to generous support from the

so much knowledge from each and every

Foundation, ATYP commissioned 12 established

masterclass and it was so helpful and amazing.

and emerging playwrights to write five-minute

—Sarah Frencham, VIC

plays that could be downloaded and performed with family and friends at home or via Zoom.

Shows in Development

We invited young people and families to film

2020 saw the Resident Dramaturg provide

their performances and upload them to our

ongoing dramaturgical support to a number of

YouTube channel.

other scripts:

In an era when Australian playwriting and

•

theatre are being devastated from so many sides, it is incredible and utterly brilliant to

The Deb by Hannah Reilly, winner of the 2019 Rebel Wilson Comedy Commission

•

have ATYP take on such a role. I feel like

Converted! by Victoria Zerbst, winner of the 2020 Rebel Wilson Comedy Commission

ATYP is acknowledging the current dilemma

•

The Resistance by Kip Chapman

of Australian playwrights as well as its valued

•

Ali in Zombieland by John Armstrong

members and young people AND their families.

•

Play Number 4 by Brendan Hogan, winner of

Talk about leadership.

—Vanessa Bates, playwright

the 2019 Martin-Lysicrates Prize •

Intersection 2020: Beat by the playwrights of the National Studio 2019

ATYP

Annual Report 2020

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Ambassador Opportunities

While the impact of the COVID shutdown had

Rose Byrne Scholarship for

a devastating impact on many performing

Emerging Female Leader in the Arts

artists, the same can’t be said for Chika. During

Won by Chika Ikogwe

the year, she was kept extremely busy as a

Rebel Wilson Comedy Commission

playwright and actor, having been commissioned

Converted! by Victoria Zerbst

to develop her own work and employed to assist in the development and presentation of others.

In 2020, Rose Byrne and Rebel Wilson continued

Chika has worked with ATYP’s management

their generous support of young Australian

team on the development of workshops for the

artists by providing mentoring opportunities

African-Australian community and people of

through ATYP. Rose continued her Scholarship

colour and attended ATYP Board meetings as an

for an Emerging Female Leader in the Arts for

observer.

the fifth year, and the Rebel Wilson Comedy Commission (adjusted in 2019 from its former

ATYP ambassador Rebel Wilson awarded the

iteration as the Rebel Wilson Theatremaker

commission to comedy actor, writer, and political

Scholarship) enjoyed its second year. To date,

satirist Victoria Zerbst.

this program has provided opportunities for eight artists aged 18-26.

Rebel’s dedication to ATYP and the next-gen of Australian artists is beyond inspiring, and

Rose Byrne had a difficult job narrowing

being awarded a comedy commission is a

down the list. There were many exceptional

serious honour I don’t take lightly. Over the

submissions, however, after careful consideration

next 12 months I’ll be developing an idea for

Rose chose award-winning Nigerian-Australian

a show that has been rattling around my little

actor, writer and recent acting graduate of NIDA,

skull for the longest time and I am so excited I

Chika Ikogwe as the 2020 recipient.

get to pay it some attention and take it to the library. I’m collecting and re-working the songs

I very much look forward to being part of the

I wrote throughout my high school years and

ATYP team, and cannot wait to work with them

I’ll be turning them into a very camp comedy

to diversify the landscape of the entertainment

musical! I can’t wait to harness all the skills I’ve

industry here in Australia. I want to create

developed from the ATYP National Studio and

workshops that give BIPOC (Black, Indigenous,

Fresh Ink Program, and work with Rebel and the

People of Colour) the opportunity to come and

ATYP team to deliver a work that centres on the

learn acting, singing, dancing, and performance

complex experiences of young people and also

making from some of the country’s finest

makes people laugh heaps!

teachers and arts practitioners. My aim is for this to be a heavily subsidised, if not free

By the end of 2020, Victoria had completed two

program because I believe accessibility should

drafts of her Commission, supported by the

not only be reserved for those who are privileged

Resident Dramaturg. Two further drafts and a

enough to be able to afford it.

development workshop are planned for 2021.

WORK— SHOPS Overview

Holiday Workshops

ATYP believes the best way to learn is by

2020 was a mixed year for the Holiday

creating and by doing. Our high-quality courses

workshops program. Our January program

give young people the opportunity to work

was a strong start to the year, but then due

together to create their own show, express their

to COVID-19 we were unable to offer an April

own views and perform it to an audience.

or July holiday program. We returned with our

Led by some of the industry’s most experienced

October holiday session to finish off the year.

tutors, all of whom are working professionals,

The October program was also our first chance

young people build self-confidence, are

to run Holiday workshops from the Eighteen80

challenged and discover valuable insights into

Hall space in Surry Hills, which went very

the dramatic process.

smoothly.

In 2020, Workshops Manager and Associate

We were also able to invite parents in for a

Director, Robert Jago left the company after

showing at the end of the workshop at most

nearly five years, and we were joined by

of the venues, which is always a highlight.

Education and Workshop Manager, Jacqui

Where live audiences were not able to attend,

Cowell in mid-February.

performances were filmed, added to ATYP’s YouTube channel and sent to families. As this is

Many of the Workshop programs were impacted

an important part of the program it was good to

by COVID-19 during 2020, but overall we were

be able to deliver a performance outcome for all

able to successfully ensure that we continued to

participants.

offer workshops to students and provide a place for them to gather, create and learn through

Workshop facilitators

40

some very difficult times.

Assistant facilitators

25

Paid participants

440

Scholarships

44

Programs

41

Individual Workshops

1084

Individual attendances

2230

ATYP

Annual Report 2020

24

Weekly Drama Workshops

Workshop facilitators

34

In 2020 we relocated the majority of our Weekly

Assistant facilitators

10

Program to the Eighteen80 Hall in Surry Hills.

Paid enrolments

478

The exception being our Sunday classes, which

Scholarships

25

were held at the Abraham Mott Community

Programs

34

Centre in Millers Point for Term 1 classes. When

Individual workshops

404

we resumed in-person classes at the beginning

Individual attendances

6141

of Semester 2, the Abraham Mott space was not

Performances

15

yet available for hire so the classes were held at

Audiences not tracked. Limited audiences

The Seymour Centre for Term 3 and then at the

allowed due to COVID restrictions.

National Art School’s Cell Block Theatre space in Term 4.

ATYP Online During Term 2 of our weekly classes, ATYP

Our weekly program started with strong

offered a reduced number of our programs

enrolment and program numbers. There was also

online. These classes were run via the Zoom

a very smooth transition to our new space in

platform, and also made use of Google

Surry Hills. Due to COVID-19 all weekly ensemble

Classrooms as an additional online resource.

classes were suspended one week before the

Courses were taught from the ATYP office

end of Term 1. We created a reduced online

space and were attended by not only previously-

program and continued to run weekly classes

enrolled ATYP students, but also students

throughout the entire year. Please note that due

who joined us for the first time from all across

to the different programs offered in 2020, the

Australia (and two students from Nepal).

below figures account for Term 1 and Semester 2. Term 2 figures are accounted for in the online

During Term 3 and Term 4, ATYP continued to

information.

run one online drama class per week. These classes were also run via the Zoom platform and

We were also unable to host our Performance

were attended by students nationwide. Each

weekend, however all Semester 2 programs still

of our online classes had a final performance

had a performance outcome. Limited audiences

outcome, and we hosted online watch parties

were invited to watch the performance in person

via Zoom, where students could log in with their

and all performances were filmed and made

family and friends to share their work.

available via the ATYP YouTube channel.

Workshop facilitators

10

Assistant facilitators

2

Paid enrolments

150

Scholarships

5

Programs

15

Individual workshops

120

Individual attendances

1200

Audiences

Unknown

The Professional Series

Orana Arts

As with much of our 2020 program, COVID-19

In 2020, ATYP was engaged by Orana Arts to

restrictions meant our offerings were less than

deliver a series of online workshops as part of

they would normally be. We were, however,

their Not a Dress Rehearsal Program. ATYP was

still able to engage Darren Gilshenan and John

committed to delivering 12 months of weekly

Bashford, two of our popular facilitators, to run

online drama workshops, delivered via the Zoom

weekend Pro Series Masterclass sessions.

platform, in addition to sending artists to various regions in NSW to deliver workshops and provide

We were also engaged by Easy Peasy to deliver

mentoring (these additional programs will be

Corporate Workshops over the January Holiday

delivered in 2021).

period. These engagements were intended to be ongoing, but COVID-19 put a halt to

During Term 4, we ran three online workshops

these sessions. We were engaged to run a

a week with students across regional NSW.

series of one-off, online workshops during the

Each class had a performance outcome, and we

September/October Holidays.

hosted an online watch party for all participants of the program.

Tutors Darren Gilshenan

Workshop facilitators

4

John Bashford

Assistant facilitators

2

Paid enrolments

35

Paid enrolments

17

Scholarships

N/A

Scholarships

1

Programs

3

Individual workshops

2

Individual workshops

24

Individual attendances

34

Individual attendances

280

Audiences

Unknown

ATYP

Annual Report 2020

Image Tracey Schramm

26

EDUC— A— TION Overview

All education programs were heavily impacted

The ATYP Education program includes a range

by COVID-19 during 2020. We were not able to

of onstage, online and face-to-face programs

conduct in-person schools workshops, school

for teachers and students Australia-wide. ATYP

performances of productions, work-experience

offers a range of workshops and productions

or streamed productions. We were able to

throughout the year for primary and secondary

offer a few online workshops. We also created

schools. Increasingly these programs are

a Workshop Series for teachers hosted on our

available online through our free ATYP On

ATYP On Demand platform focusing on Voice,

Demand platform, allowing students across

Devising, Primary Drama and Playbuilding. We

Australia to access an ATYP production or

resumed face-to-face Education workshops in

workshop.

November 2020.

In 2020, Workshops Manager and Associate Director, Robert Jago left the company after nearly five years, and Jacqui Cowell joined as Education and Workshop Manager in midFebruary. Jacqui’s most recent role was as Education Programs Manager at Sydney Theatre Company. She has also worked with many arts organisations and schools as a drama educator and arts manager. Jacqui was promoted to Head of Learning in November 2020.

ATYP

Annual Report 2020

28

Productions

School Workshops

ATYP productions were impacted by COVID-19.

Schools workshops are available all year round,

We weren’t able to run any school performances,

and enable students to experience a drama

which meant there were no live-streamed

workshop in a chosen topic of study. The

performances. Prior to its immediate cancellation

workshops are closely linked to curricula and/or

due to COVID-19, CUSP was filmed and placed

ATYP performances and are delivered either in

on ATYP On Demand for Secondary teachers

schools or at an ATYP venue.

and students around the country to watch, along with a variety of streamed performances suitable

In-person workshops

for primary and secondary audiences.

Student participants

393

Teachers

24

Workshops

17

ATYP On Demand ATYP On Demand is our online learning platform, created to remove geographic and

Digital workshops

economic barriers that students and teachers

Student participants

213

across Australia face when wanting to engage

Teachers

11

with performing arts. The principal aim of the

Workshops

6

platform is to give schools access to theatre, no In hosting high-quality recordings of ATYP’s live

ATYP Foundation Commission Schools' Partnerships

productions, On Demand enables every school to

ATYP Foundation Commission Schools’

have the best seats in the house.

Partnerships provide a unique opportunity for

matter where they are located across Australia.

students to step inside the creative development New content is being added to ATYP On

of a play. The program connects schools to a

Demand regularly, and membership is available

playwright, a team of creative professionals and

free of charge to students and teachers across

a brand new Australian play at every stage of

the country.

the writing and production process. The ATYP Foundation Commission productions, Lights in

Site Visits (year-end)

9,420

the Park and Soul Trading were not able to be

Resource Views (year-end)

9,170

produced in 2020 because of COVID-19. Both of

Teachers registered (year-end)

1100

these plays were moved to the 2021 season.

Students registered (year-end)

2036

Total registrations (year end)

3660

DEVE— LOP— MENT Overview ATYP is a not-for-profit organisation that relies

Adèle Jeffreys Memorial Fund

on philanthropic support to fund core programs

In loving memory of ATYP’s late Education

and productions, and to keep our activities

Manager Adèle Jeffreys, the Fund will support

accessible and inclusive to all young people.

the development of interactive, participatory

The support of individual donors, trusts and

learning spaces that recognise Adèle’s vision

foundations is critical to the company’s growth

to ensure young Australians have access to

and success. ATYP gratefully acknowledges all

transformative theatre experiences.

donations received in 2020.

Donors

3

Annual Appeal May to June 2020

Amount Raised

$630

The 2020 Annual Appeal engaged the wider

Christmas Appeal

ATYP community to raise money to support the

Launched in December 2020, the Christmas

core funding of the company. The theme of the

Appeal encouraged our community to add a

appeal was to inspire donations, no matter what

present to the tree and put a smile on the face of

the amount, to help ensure ATYP programs are

a young person at Christmas, by raising funds for

available to young people across the country -

drama workshops and scholarship places.

helping their worlds stay big, open, creative and inspiring.

Donors

53

Amount Raised

$37,134

Donors

13

Amount Raised

$1,365

ATYP

Annual Report 2020

Image Tracey Schramm

30

MARK— ET— ING Overview

With the company’s networks finally settling into

The ATYP community is a diverse network

new production and workshop venues, the pivot

made up of young people who attend weekly

to digital communication and delivery was an

and holiday workshops, are cast members

unexpected change, but persistent and engaging

in productions, work in creative teams, are

communications kept our community informed

emerging writers, and attend shows. ATYP also

and connected.

counts parents, artists, alumni, sponsors, donors, tutors, audience members, Board, and staff as

The ATYP Brand

valuable and important members of its network.

ATYP’s visual brand remained strong in 2020, continuing the signature branding of recent

The ATYP communication strategy is

years, ahead of a rebrand planned for 2021. The

multifaceted, and uses multiple channels that

2020 design featured six vibrant key colours,

best target audiences and community members

one for each production, and chevron lines. With

based on what theatre connection is most

art design by Justin Stambouliah, the design

important and relevant to them.

for 2020 was aspirational and visionary as we entered a new decade.

In 2020, ATYP was challenged to maintain constant and consistent communications with

ATYP’s 2020 season featured a line-up of bold,

each of these key audiences when we weren’t

fresh, and modern productions, and the striking

necessarily able to engage with them through

cut-out design reflected this. Imagery was set

in-person workshops and productions - things

against a neutral backdrop, allowing the image

that ATYP is renowned for. Despite the hurdles

subjects, brand and production colours to “pop”

faced throughout this difficult year, in embracing

in a striking, eye-catching way.

the full potential of digital communication across the website, direct email and our social media

The 2020 design was extremely well received

platforms, ATYP was able to remain committed

by ATYP’s audiences of participants, peers,

to growing audiences through strategic,

and industry alike, and centred a future-

targeted, ongoing messaging. This resulted in a

forward design that celebrates young people as

large increase in digital followings across email

Australia’s future leaders and arts leaders.

subscribers and social media platforms.

ATYP

Annual Report 2020

32

2020 Productions

A particular achievement in 2020 was the

The 2020 production season was a welcome

efficient implementation of the ATYP Online

return to a full line-up of shows, with six

program - an online iteration of ATYP workshops.

productions programmed to take place across

The program was conceived and branded in a

venues in Sydney, five of them being world

few short weeks to positive acclaim from the

premieres. The majority of productions in the

ATYP workshops' audience, resulting in sold-

season were co-productions, with partnering

out online workshop classes that expanded the

organisations eager to collaborate with us on

workshops’ reach past Sydney and to the rest of

these exciting projects.

Australia. Part of this success can be attributed to the strong focus on social media advertising

Unfortunately, only the season of CUSP was

to communicate the messaging that ATYP was

able to be promoted, with the run being cut

still present and offering new, online workshops,

short after one week due to the COVID-19 shut

executed with eye-catching text in the season

down. CUSP by Mary Anne Butler completed

colours, maintaining a consistent brand, in lieu of

a premiere season in Darwin at Brown’s Mart

no productions.

Theatre, which provided existing visual collateral and production images that aided ATYP’s

The decision was made to have regular ATYP

promotion of the Sydney season. In addition to

photographer, Tracey Schramm, take in-situ

the use of the Darwin production photos in the

photos of workshops in action once they

promotional campaign, the cast and creatives

returned to in-person delivery. This provided

conducted various radio and print interviews

the Workshops and Marketing teams with

to supplement publicity. An opening night

fresh, vibrant imagery that reflected the current

audience-response vox-pop video was created

workshop's program and ensured consistent,

and received well upon its release ahead of

instantly recognisable ATYP branding across all

CUSP premiering on ATYP On Demand.

forms of collateral.

CUSP was seen by 1,602 audience members

Marketing worked with the Education

across the in-person season and online premiere.

department to focus on pushing the ATYP On Demand platform, seeing a significant increase

Workshops and Education

in sign ups during the COVID-19 shut down,

In 2020, Marketing worked particularly closely

particularly from schools interstate. Engaging

with Workshops and Education, with these

key imagery from the productions hosted on

programs being the primary online offerings

the platform imagery was used to promote the

during the COVID-19 shut down. This resulted

unique digital offering to new audiences. 2019

in a heavy reliance on digital and social media

productions Follow Me Home and April Aardvark

advertising for the Workshops and Education

were added to the platform, in addition to the

programs, as circumstances negated a need for

filmed version of the 2020 production of CUSP

the traditional print collateral such as postcards.

and a series of Workshop videos, meaning there was no shortage of new, inspiring, quality content provided to drama educators.

Image Tracey Schramm

ATYP

Annual Report 2020

34

ARCH— IVES ATYP established its in-house corporate

Working from home is not a realistic or practical

archives in early 2003, with support from the

option for an archivist, charged with arranging,

Vincent Fairfax Family Foundation, the second

describing and boxing hard-copy documents,

performing arts company in Australia to do so.

including scanning and backing up analogue photos, entering data from documents into

A qualified archivist is employed to identify, sort

databases, and researching requests for

and organise archival material so that staff and

information.

board members can easily source information and evidence of ATYP operations.

As soon as it became clear that other members of staff would not be working in the office, the

The collection comprises records of governance,

part-time service the Archives provides could

administration, promotion, production and

continue to function in situ, while distancing.

participation, in varied media, some dating from the 1960s.

As it turned out, the company took the initiative to make connections online and create new

Archival material is stored securely; and

projects, with productions and workshops

research conducted by the archivist, to ensure

reconfigured to be streamed, or accessed

appropriate access to personal and confidential

remotely, nationally and internationally.

information.

In-person operations may have been paused for Everything changed for the world and for ATYP,

a few months, but all the novel online activity

in March, 2020.

undertaken ensured there was as much information to be captured and

In fulfilment of official guidelines for safeguarding the ATYP community in a pandemic, the company began a response that initially closed productions, workshops and the office, and organised for staff and tutors to work remotely.

preserved as usual.

FINA— NC— IALS

Contents Australian Theatre for Young People and its controlled entity Table of Contents Corporate Information

3

Directors’ Report

4

Auditor’s Independence Declaration

10

Consolidated Statement of Surplus or Deficit and Other Comprehensive Income

11

Consolidated Statement of Financial Position

12

Consolidated Statement of Changes in Equity

13

Consolidated Statement of Cash Flows

14

Notes to the Financial Statements 1

General information and statement of compliance

15

2

New and revised Standards or Interpretations

15

3

Summary of accounting policies

15

4

Revenue

23

5

Cash and cash equivalents

26

6

Trade and other receivables

26

7

Financial risk management

26

8

Other assets

27

9

Financial assets

27

10

Property, plant and equipment

27

11

Intangible assets

28

12

Trade and other payables

29

13

Other liabilities

29

14

Grants liabilities

29

15

Employee remuneration

30

16

Parent entity note

30

17

Designated funds

31

18

Related party transactions

32

19

Contingent liabilities

32

20

Post-reporting date events

32

21

Member’s guarantee

32

22

Charitable Fundraising

33

Directors’ Declaration

34

Independent Auditor’s Report

35

Additional Financial lnformation Disclaimer

38

Detailed Statement of Surplus or Deficit

39

Corporate Information Australian Theatre for Young People and its controlled entity

Directors

Name

Special Responsibilities

F Corfield

Artistic Director, CEO

T Hossain J Lapworth G Larkins M Morrissey C Puplick

Chair

D Selikowitz N Webb D Worthington Company Secretary

A Wright/J Mulholland

Foundation Advisory Committee

A Albert A Bowne

Chair

C Puplick Registered Office and Principal Place of Business

Suite 302, 52-58 William St WOOLLOOMOOLOO NSW 2011

Auditors

Steven J Miller & Co Chartered Accountants

Page | 3

Directors’ Report Australian Theatre for Young People and its controlled entity The Directors present their report on the consolidated entity, consisting of Australian Theatre for Young People Limited (ATYP) and its controlled entity (the Group), for the year ended 31 December 2020 together with the financial statements and the Independent Audit Report thereon.

Directors’ details and meetings The following persons were Directors of the Australian Theatre for Young People during or since the end of the financial year.

The number of meetings of Directors (including meetings of Committees of Directors) held during the year and the number of meetings attended by each Director is as follows: Name

F Corfield

Date of Appointment

Date of cessation

26 May 2009

Board meetings

Finance Committee meetings

A

B

A

B

6

6

5

4

S Denney

15 Jan 2017

31 Mar 2020

1

1

1

1

N Guivarra

12 Aug 2019

6 Apr 2020

2

1

-

-

6

6

-

-

2

2

1

1

-

-

5

5

T Hossain

16 Apr 2018

N Kilpinen

30 Oct 2017

6 Apr 2020

J Lapworth

21 May 2012

6

6

G Larkins

12 Aug 2019

6

6

M Morrissey

25 Nov 2019

6

4

-

-

5

3

C Puplick

12 Feb 2018

6

6

D Selikowitz

12 Aug 2019

6

6

5

2

N Webb

12 Aug 2019

6

4

-

-

6

5

-

-

D Worthington

12 Aug 2019

A Number of meetings the director was entitled to attended B Number of meetings the director attended

Details of Directors’ qualifications, experience and special responsibilities can be found on pages 6 to 8 of this report.

Company secretary Amanda Wright has been company secretary since 12 November 2019. From 21 August 2020, Johanna Mulholland will act as company secretary whilst Amanda Wright is on maternity leave.

Statement of purpose Australian Theatre for Young People is the national youth theatre company. We exist to connect young people with the professional theatre industry – to share stories, build skills and create experiences that enhance our understanding of ourselves and the society to which we belong. It’s the principle that founded our company in 1963. It’s what drives us today.

Operating result The consolidated comprehensive income for the year amounted to $792,884 (2019 consolidated comprehensive loss: $239,341).

Page | 4

Directors’ Report Australian Theatre for Young People and its controlled entity Review of operations STRATEGIC GOALS 2020-2024 1.

Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.

2. Deliver inclusive opportunities that connect young people with the professional theatre industry.

3. Be a leading advocate for youth arts and its’ social impact.

PRINCIPAL ACTIVITIES FOR THE YEAR The principal activities undertaken by ATYP to meet its 2020 goals included: GOAL ONE: Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.

CUSP by Mary Anne Butler, commissioned by ATYP and co-produced with Brown’s Mart

Theatre in Darwin opened to overwhelmingly positive reviews in Sydney before going on to be awarded the 2020 AWGIE Award for Theatre for Young Audiences. Due to the COVID-19 theatre closures the production was filmed and broadcast in a season ‘online’ where it was seen by over 1,500 people.

Fangirls by Yve Blake, commissioned and developed by ATYP, was awarded the 2020 AWGIE Award for Music Theatre.

In response to the national lockdown due to COVID-19 ATYP commissioned 11 leading playwrights to create short works for young people. Under the title Home Theatre, the program created scripts that young people could rehearse and film with their families and friends at home or online.

GOAL TWO: Deliver inclusive opportunities that connect young people with the professional theatre industry.

ATYP On Demand, ATYP’s digital classroom for teachers, was listed in three national

publications amongst Australia’s ‘10 best online education sites’ with registrations increasing from 850 to over 3,500; The National Studio, the leading professional development residency for young adult Australian playwrights, was conducted entirely online over the week, engaging 20 young participants from every State and Territory in masterclasses, mentoring and script development; Within four weeks of the COVID-19 shutdown ATYP had re-imagined the weekly workshop programs and launched them online, engaging over 130 young people each week in group programs that combined online conferencing and file sharing to perform collaboratively digitally. These innovations were then rolled out across programs to include online workshops for schools, masterclasses for emerging artists and teachers and webinars.

ATYP partnered with new company Nightingale Content to stage Roomworks, an online professional development, networking and showcase event for young adult artists aged between 18 and 26. The event connected 10 emerging playwrights and 10 young actors with industry leaders to generate and present performances online. The event reached over 3,400 people.

GOAL THREE: Be a leading advocate for youth arts and its’ social impact.

Thanks to funding from the Thyne Reid Foundation, ATYP was able to invest in the development of ATYP On Demand Plus, a new platform specifically for primary schools.

Developed in partnership with leading academics from the University of Sydney led by Professor Robyn Ewing, this ground-breaking program uses drama pedagogy and interactive learning to teach the national curriculum. The first three units of work for years k-2, 3-4 and 45 were developed during 2020 to be trialled across the country in 2021.

Page | 5

Directors’ Report Australian Theatre for Young People and its controlled entity Review of operations continued During 2020 ATYP coordinated five online youth arts sector gatherings to discuss the impact of the COVID-19 shutdown and the Australia Council's defunding of five leading youth arts companies. As a result of the meetings ATYP facilitated an online webinar with Arts Law and the E-Safety Commissioner for the sector to discuss the legal considerations of interacting with young people online in their homes through conferencing software, and initiated the development of the "Youth Arts COVID-19 Impact Statement" which was distributed to industry and government representatives.

ATYP established a series of webinars connecting the ATYP community with leading industry professionals. The series began with a special event for parents on Digital Nutrition and Screen Health by psychologist Dr Jocelyn Brewer before moving into industry discussions about: How do I get in the arts?; How Do I stay in the Arts?; and Navigating the world of Musical theatre.

Directors’ qualifications and experience Name and qualifications

Experience and special responsibilities

Fraser Corfield

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 acts in numerous arts advisory roles across Government and industry.

BA (Communications)

Artistic Director and Chief Executive Officer.

Sean Denney B.Comm/Law, MBA

General Manager of Strategic Transformation for Westpac’s Consumer division. Previously worked in the finance and property industries in the UK and Australia with leading organisations such as the Macquarie Group and the Virgin Group.

Non-executive Director until 31 March 2020.

Nancia Guivarra Advanced Diploma of Producing (AFTRS), Graduate Diploma of Journalism (UTS), Bachelor of Human Movement Studies (UQ)

Manager of Communications at NSW Aboriginal Affairs Agency. Nancia is an experienced Meriam, Wuthathi and Bindal Juru journalist with more than 20+ years reporting on the arts and working within the media sector including ABC, SBS, NITV in all facets of radio, TV and online. Board member of Marrugeku Theatre Company.

Non-executive Director until 6 April 2020.

Tasnim Hossain BA (International Relations)

Tasnim Hossain is a playwright, dramaturg and screenwriter who has written work for companies that create theatre with, and for, young people, such as ATYP, Canberra Youth Theatre and Shopfront, as well as engaged in training and mentoring programs with Sydney Theatre Company and Melbourne Theatre Company.

Non-executive Director.

Page | 6

Directors’ Report Australian Theatre for Young People and its controlled entity Directors’ qualifications and experience continued Name and qualifications

Experience and special responsibilities

Nina Kilpinen

Managing Director of Seed Engineering, specialising in the development and delivery of complex civil engineering infrastructure, and is a casual academic at the University of Technology, Sydney.

BE, MEM, MConstrLaw, FIEAust GAICD

Non-executive Director until 6 April 2020.

Janine Lapworth BA, LLB

Intellectual property and entertainment lawyer.

Previously held senior legal positions at the Australian Broadcasting Corporation and at ESPN STAR Sports in Singapore.

Non-executive Director.

Gillian Larkins BCom, Grad Dip, MBA, GAICD, FCA

Gillian Larkins is currently the Chief Financial Officer of the ASX. Gillian has over 25 years of experience in finance strategy and management roles across a number of industries.

Previously, she was at Perpetual as Chief Financial Officer where her role encompassed finance technology, legal, compliance and risk responsibilities, Chief Financial Officer of Westpac's Institutional Bank, and Chief Financial Officer for Citigroup's operations in Australia and New Zealand.

Non-executive Director.

Mark Morrissey

Mark Morrissey is founder and Managing Director of Morrissey Management, one of Australia’s most successful and leading talent management companies.

Mark launched a new international production company, First Option Pictures, and also works as Executive Producer across a range of International TV and Web projects.

Non-executive Director.

Chris Puplick AM BA Hons, MA (Syd)

Senior Member, Commonwealth Administrative Appeals Tribunal, Chair NSW Justice Health and Forensic Mental Health Network, Formerly Australia Government Senator (1978-81, 1984-90), formerly President NSW AntiDiscrimination Board and NSW Privacy Commissioner.

Previous Chair, Griffin Theatre Company, Board of NIDA, member Theatre Panel of Create NSW and member Theatre Board of Australia Council for the Arts.

Chair and Non-executive Director.

Page | 7

Directors’ Report Australian Theatre for Young People and its controlled entity Directors’ qualifications and experience continued Name and qualifications

Experience and special responsibilities

Daniel Selikowitz

Partner at Boston Consulting Group and a leader in the Public Sector and Corporate Finance & Strategy practices in Asia Pacific. Daniel has previously held roles in the US with The Harbus News Corporation and L Catterton. Daniel was a Board Observer at the Australian Chamber Orchestra.

MBA (Harvard), BA/BLaw (USyd)

Non-executive Director.

An award-winning PR specialist, Nicole is the founder BA Communications, PR & Media (UC) and CEO of The Impact Agency, with previously held PR and marketing roles at Universal Press, Profile Communications and the NSW State Government. Nicole is the current Chair of the PRIA Registered Consultancy Group.

Nicole Webb

Non-executive Director.

Partner at MinterEllison Consulting. A leader of Risk & Executive Coaching Lv 1&2 (IECL), Six Regulation Transformation and Strategy with experience managing complex portfolios within large organisations.

Sigma Green Belt for Leaders (SA Partners), Bachelor of Business (USC), Donna has a blended background of working in Financial Diploma of Export Management (USC) Services and consulting, having worked in Big 4 consulting and for large ASX50 Financial Services institutions in executive management roles. Donna is a Board Advisor to PeopleStories Foundation.

Donna Worthington

Non-executive Director.

Contribution in winding up The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the company is wound up, the constitution states that each member is required to contribute a maximum of $10 each towards meeting any outstanding obligations of the company. At 31 December 2020 the collective liability was $90 (2019: $120).

Auditor’s independence declaration A copy of the Auditor’s Independence Declaration as required under s.60-40 of the Australian Charities and Not-for-profits Commission Act 2012 is included in page 10 of this financial report and forms part of the Directors’ Report.

Significant changes in the state of affairs ATYP encountered unprecedented changes to business brought on by quarantine measures to manage the impact of the COVID-19 virus. The Company adapted to the online space, and offered many of its programs with great success, whilst seeing a decrease in attendance. All performances from March onwards were cancelled and the Education and Workshop programs saw significant decline in the amount of enrolments for online programs. Due to the relatively small effect of the pandemic in NSW, the Company was able to move forward with in person offerings from July onwards, adjusting to venue capacity caps and restrictions accordingly.

Page | 8

Directors’ Report Australian Theatre for Young People and its controlled entity Significant events after year end ATYP is currently awaiting the completion of a new, purpose-built home on Pier 2/3, Hickson Road, The Rocks, in Sydney which will provide the company with workshop spaces, a 200-seat theatre, office and meeting spaces. In the interim, the company is delivering programs across multiple venues and theatres around Sydney as well as expanding our national reach. Operating without a permanent venue has resulted in a significant downturn in the number of people attending workshops and productions and has impacted revenue. Fortunately, the pandemic has not impacted the building industry and the development of Pier 2/3 is continuing unabated. The works are scheduled to be completed in late 2021.

Likely developments and future results 2020 saw ATYP defunded by The Australia Council for the Arts, and from 2022 the Company will no longer receive Operational Funding. This will cause a significant decrease in government funding towards the company’s core activities, and the loss will be mitigated by an increase in revenue streams across the public and private sector.

Environmental regulation The consolidated entity is not subject to any particular or significant environmental regulation.

Indemnification and insurance of directors and officers 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.

Signed in accordance with a resolution of the Directors.

CHRIS PUPLICK AM Director Sydney Dated

Page | 9

Auditor’s Independence Declaration To the Directors of the Australian Theatre for Young People: In accordance with the requirements of section 60-40 of the Australian Charities and Not-forprofits Commission Act 2012, as lead auditor for the audit of the Australian Theatre for Young People and the entity it controlled for the year ended 31 December 2020, I declare that, to the best of my knowledge and belief, there have been: (a)

No contraventions of the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and

(b)

No contraventions of any applicable code of professional conduct in relation to the audit.

STEVEN J MILLER & CO Chartered Accountants

S J MILLER Registered Company Auditor No 4286 Sydney Dated

Consolidated Statement of Surplus or Deficit and Other Comprehensive Income For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity Note

2020 $

2019 $

Revenue Other income Depreciation and amortisation expense

10/11

(54,947)

1,698,511 41,592 (54,184)

Employee benefits expense

15.2

(1,630,745)

(1,412,868)

Infrastructure expenses

(125,095)

(107,352)

Marketing expenses

(106,589)

(139,508)

Production expenses

(271,059)

(272,393)

Surplus/(deficit) before income tax Income tax expense

795,675 -

(246,202) -

795,675

(246,202)

4 4

3.8

Surplus/(deficit) for the year Other comprehensive income for the year, net of income tax Total comprehensive income/(loss) for the year

9

2,107,754 876,356

(2,791) 792,884

6,861 (239,341)

This statement should be read in conjunction with the notes to the financial statements.

Page | 11

Consolidated Statement of Financial Position As at 31 December 2020 Australian Theatre for Young People and its controlled entity Note

Assets Current Cash and cash equivalents Trade and other receivables Other assets Financial assets

5 6 8 9

Current assets Non-current Property, plant and equipment Intangible assets Financial assets

10 11 9

Non-current assets Total assets Liabilities Current Trade and other payables Other liabilities Grants liabilities Employee provisions

12 13 14 15.1

Current liabilities Non-current Trade and other payables

12

Non-current liabilities Total liabilities Net assets Equity General funds Capital fund Revenue fund Capital campaign reserve FVOCI reserve Settlement sum Total equity

17.2 17.1 17.3 17.4

2020 $

2019 $

917,101 106,868 25,457 475,000

575,039 33,875 41,220 475,000

1,524,426

1,125,134

37,693 53,048 206,319

75,690 34,109 209,110

297,060

318,909

1,821,486

1,444,043

143,384 139,670 152,437 70,440

164,340 155,947 505,796 64,814

505,931

890,897

-

30,475

-

30,475

505,931

921,372

1,315,555

522,671

(81,442) 864,370 20,752 505,545 6,319 11

(611,719) 1,009,370 (4,102) 120,001 9,110 11

1,315,555

522,671

This statement should be read in conjunction with the notes to the financial statements.

Page | 12

Consolidated Statement of Changes in Equity For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity Parent Company General Funds

Capital Fund

Revenue Fund

$

$

$

Balance at 1 January 2019

(331,494)

1,009,370

Surplus/(deficit) for the year

(280,225)

-

Note

Other comprehensive income

9

-

Capital Campaign Reserve

FVOCI Reserve

$

Settlement Sum

Total equity

$

$

$

120,001

2,249

11

762,012

34,023

-

-

-

(246,202)

-

-

-

6,861

-

34,023

(38,125)

6,861

Total comprehensive income/ (loss) for the year

(280,225)

-

-

6,861

-

(239,341)

Balance at 31 December 2019

(611,719)

1,009,370

(4,102)

120,001

9,110

11

522,671

Balance at 1 January 2020

(611,719)

1,009,370

(4,102)

120,001

9,110

11

522,671

Surplus for the year Other comprehensive income

370,821 -

-

424,854 -

-

(2,791)

-

795,675 (2,791)

Total comprehensive income for the year

370,821

-

424,854

-

(2,791)

-

792,884

Transfer to/(from) reserves

159,456

(145,000)

Balance at 31 December 2020

(81,442)

864,370

9

(400,000) 20,752

385,544

-

-

-

505,545

6,319

11

1,315,555

This statement should be read in conjunction with the notes to the financial statements.

Page | 13

Consolidated Statement of Cash Flows For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity Note

2020 $

2019 $

1,273,176

1,050,498

Government grants

565,717

970,873

COVID-19 Government support

732,100

-

14,197

17,721

Operating activities Receipts from: Normal course of operations

Interest income Payments to clients, suppliers and employees

(2,198,085)

Net cash provided by/(used in) operating activities Investing activities Purchases of plant and equipment Purchase of intangible assets Dividends and distributions Divestment in short-term deposits

387,105 10 11 9

Net cash provided by/(used in) investing activities

(2,213,080) (173,988)

(8,326) (27,563) 8,365 -

(2,226) (6,875) 10,559 268,867

(27,524)

270,325

Financing activities Repayment of principal portion of lease liability

(17,519)

(33,277)

Net cash used in financing activities

(17,519)

(33,277)

Net change in cash and cash equivalents Cash and cash equivalents, beginning of year Cash and cash equivalents, end of year

5

342,062 575,039

63,060 511,979

917,101

575,039

This statement should be read in conjunction with the notes to the financial statements.

Page | 14

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 1

General information and statement of compliance

The financial report includes the financial statements and notes of the Australian Theatre for Young People and its only subsidiary ATYP Foundation (the Group). ATYP is a company limited by guarantee, incorporated and domiciled in Australia.

These financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Australian Charities and Not-for-profits Commission Act 2012.

The Australian Theatre for Young People is a not-for-profit entity for the purpose of preparing the financial statements.

The financial statements for the year ended 31 December 2020 were approved and authorised for issuance by the Board of Directors.

2

New and revised Standards or Interpretations

The group has adopted all of the new or amended Accounting Standards and Interpretations issued by the Australian Accounting Standards Board ('AASB') that are mandatory for the current reporting period.

Any new or amended Accounting Standards or Interpretations that are not yet mandatory have not been early adopted.

3 3.1

Summary of accounting policies Overall considerations

The significant accounting policies that have been used in the preparation of these financial statements are summarised below. The financial statements have been prepared using the measurement bases specified by Australian Accounting Standards for each type of asset, liability, income and expense. The measurement bases are more fully described in the accounting policies below.

3.2

Basis of consolidation

The consolidated financial statements incorporate the assets, liabilities and results of the subsidiary controlled by ATYP at the end of the reporting period. The parent controls a subsidiary if it has controlling power to affect all the decisions of the subsidiary through its voting rights.

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 the subsidiary have been changed where necessary to ensure consistency with those adopted by the parent entity.

3.3

Revenue

The Group recognises revenue under AASB 1058 or AASB 15 when appropriate. In cases where there is an ‘enforceable’ contract with a customer with ‘sufficiently specific’ performance obligations, the transaction is accounted for under AASB 15 where income is recognised when (or as) the performance obligations are satisfied (i.e. when it transfers control of a product or service to a customer).

Revenue is measured based on the consideration to which the Group expects to be entitled in a contract with a customer and excludes amounts collected on behalf of third parties. In other cases, AASB 1058 applies when a not-for-profit (NFP) entity enters into transactions where the consideration to acquire an asset is significantly less than the fair value of the asset principally to enable the entity to further its objectives and the excess of the asset recognised (at fair value) over any ‘related amounts’ is recognised as income immediately.

Page | 15

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3 3.3

Summary of accounting policies continued Revenue continued

The Group recognises revenue from the following major sources: Revenue from performance income Revenue from performance income is recognised upon delivery of the associated performance.

Revenue in respect of performances not yet performed is included in Consolidated Statement of Financial Position as income received in advance.

Revenue from fees and services Revenue from fees and services income is recognised when the service is provided to the customer.

Sponsorship Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed.

Government grants A number of the Group’s programs are supported by grants received from the Federal, State and Local governments. Grant Income is recognised in accordance with AASB 15 if the contract has sufficiently specific performance obligations.

Grant income from contracts that do not contain sufficiently specific performance obligations is recognised under AASB 1058 as income when the Group obtains control over the funds.

Donations and bequests 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.

Bequests are recognised when the legacy is received. Revenue from legacies comprising bequests of shares or other property are recognised at fair value, being the market value of the shares or property at the date the group becomes legally entitled to the shares or property.

Interest income Interest income is recognised on an accruals basis using the effective interest method.

3.4

Operating expenses

Operating expenses are recognised in surplus or deficit upon utilisation of the service or at the date of their origin.

3.5

Intangible assets

Recognition of other intangible assets: Acquired intangible assets Acquired computer software licences and website construction costs are capitalised on the basis of the costs incurred to acquire and install the specific software.

Subsequent measurement All intangible assets are accounted for using the cost model whereby capitalised costs are amortised on a straight-line basis over their estimated useful lives, as these assets are considered finite. Residual values and useful lives are reviewed at each reporting date. In addition, they are subject to impairment testing as described in Note 3.15.

Page | 16

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3

Summary of accounting policies continued

3.5

Intangible Assets continued

The following useful lives are applied: Website and software:

3-5 years

Subsequent expenditures on the maintenance of computer software, brand names and website are expensed as incurred.

When an intangible asset is disposed of, the gain or loss on disposal is determined as the difference between the proceeds and the carrying amount of the asset and is recognised in surplus or deficit within other income or other expenses.

3.6

Property, plant and equipment

Property, plant and equipment are initially recognised at acquisition cost or manufacturing cost, including any costs directly attributable to bringing the assets to the location and condition necessary for it to be capable of operating in the manner intended by the group’s management.

Property, plant and other equipment are subsequently measured using the cost model, cost less subsequent depreciation and impairment losses.

Depreciation is recognised on a straight-line basis to write down the cost less estimated residual value of buildings, plant and other equipment. The following useful lives are applied: Equipment and furniture Right-of-use assets and Leasehold improvements

2-10 years Over the life of the lease Over the life of the lease

Material residual value estimates and estimates of useful life are updated as required, but at least annually. Gains or losses arising on the disposal of plant and equipment are determined as the difference between the disposal proceeds and the carrying amount of the assets and are recognised in surplus or deficit within other income or other expenses.

3.7

Leases

Operating leases At lease commencement date, the Group recognises a right-of-use asset and a lease liability on the balance sheet. The right-of-use asset is measured at cost, which is made up of the initial measurement of the lease liability, any initial direct costs incurred by the Group, an estimate of any costs to dismantle and remove the asset at the end of the lease and any lease payments made in advance of the lease commencement date (net of any incentives received).

The Group depreciates the right-of-use assets on a straight-line basis from the lease commencement date to the earlier of the end of the useful life of the right-of-use asset or the end of the lease term. The Group also assesses the right-of-use asset for impairment when such indicators exist. At the commencement date, the Group measures the lease liability at the present value of the lease payments unpaid at that date, discounted using the interest rate implicit in the lease if that rate is readily available or the Group’s incremental borrowing rate.

Subsequent to initial measurement, the liability will be reduced for payments made and increased for interest.

The Group has elected to account for short-term leases and leases of low-value assets using the practical expedients. Instead of recognising a right-of-use asset and lease liability, the payments in relation to these are recognised as an expense in profit or loss on a straight-line basis over the lease term. On the statement of financial position, right-of-use assets have been included in property, plant and equipment and lease liabilities have been included in trade and other payables.

Page | 17

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3 3.8

Summary of accounting policies continued Income taxes

No provision for income tax has been raised as the group is exempt from income tax under Div 50 of the Income Tax Assessment Act 1997.

3.9

Cash and cash equivalents

Cash and cash equivalents comprise cash on hand and demand deposits, together with other short-term, highly liquid investments that are readily convertible into known amounts of cash and which are subject to an insignificant risk of changes in value.

3.10

Employee benefits

Short-term employee benefits Short-term employee benefits are benefits, other than termination benefits, that are expected to be settled wholly within twelve (12) months after the end of the period in which the employees render the related service.

Examples of such benefits include wages and salaries, provisions for annual leave, long service leave and maternity leave and non-monetary benefits. Short-term employee benefits are measured at the undiscounted amounts expected to be paid when the liabilities are settled.

Other long-term employee benefits The group’s liabilities for annual leave and long service leave are included in other long-term benefits if they are not expected to be settled wholly within twelve (12) months after the end of the period in which the employees render the related service. They are measured at the present value of the expected future payments to be made to employees. The expected future payments incorporate anticipated future wage and salary levels, experience of employee departures and periods of service, and are discounted at rates determined by reference to market yields at the end of the reporting period on high quality corporate bonds that have maturity dates that approximate the timing of the estimated future cash outflows.

Any re-measurements arising from experience adjustments and changes in assumptions are recognised in surplus or deficit in the periods in which the changes occur.

The group presents employee benefit obligations as current liabilities in the consolidated statement of financial position if the group does not have an unconditional right to defer settlement for at least twelve (12) months after the reporting period, irrespective of when the actual settlement is expected to take place.

Post-employment benefits plans The group provides post-employment benefits through defined contribution plans.

Defined contribution plans The group pays fixed contributions into independent entities in relation to several superannuation plans for individual employees. The group has no legal or constructive obligations to pay contributions in addition to its fixed contributions, which are recognised as an expense in the period that relevant employee services are received.

3.11

Provisions, contingent liabilities and contingent assets

Provisions are measured at the estimated expenditure required to settle the present obligation, based on the most reliable evidence available at the reporting date, including the risks and uncertainties associated with the present obligation. Where there are a number of similar obligations, the likelihood that an outflow will be required in settlement is determined by considering the class of obligations as a whole. Provisions are discounted to their present values, where the time value of money is material.

Page | 18

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3

Summary of accounting policies continued

3.11

Provisions, contingent liabilities and contingent assets continued

Any reimbursement that the group can be virtually certain to collect from a third party with respect to the obligation is recognised as a separate asset. However, this asset may not exceed the amount of the related provision.

No liability is recognised if an outflow of economic resources as a result of present obligation is not probable. Such situations are disclosed as contingent liabilities, unless the outflow of resources is remote in which case no liability is recognised.

3.12

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 these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense. Receivables and payables in the consolidated statement of financial position are shown inclusive of GST. Cash flows are presented in the consolidated statement of cash flows on a gross basis, except for the GST components of investing and financing activities, which are disclosed as operating cash flows.

3.13

Economic dependence

The group is dependent upon the ongoing receipt of Federal and State Government grants, sponsorship income, workshops fees and attendances, and donations, to ensure the ongoing continuance of its programs. At the date of this report Management has no reason to believe that this financial support will not continue to the extent required to continue operating as a going concern (Refer Note 20).

3.14

Financial instruments

Recognition, initial measurement and derecognition Financial assets and financial liabilities are recognised when the group becomes a party to the contractual provisions of the financial instrument and are measured initially at fair value adjusted by transactions costs, except for those carried at fair value through surplus or deficit, which are measured initially at fair value. Subsequent measurement of financial assets and financial liabilities are described below.

Financial assets are derecognised when the contractual rights to the cash flows from the financial asset expire, or when the financial asset and all substantial risks and rewards are transferred. A financial liability is derecognised when it is extinguished, discharged, cancelled or expires.

Classification and subsequent measurement of financial assets Except for those trade receivables that do not contain a significant financing component and are measured at the transaction price, all financial assets are initially measured at fair value adjusted for transaction costs (where applicable).

For the purpose of subsequent measurement, financial assets other than those designated and effective as hedging instruments are classified into the following categories upon initial recognition: Amortised cost.

Fair value through profit or loss (FVPL).

Equity instruments at fair value through other comprehensive income (FVOCI).

Page | 19

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3

Summary of accounting policies continued

3.14

Financial instruments continued

All income and expenses relating to financial assets that are recognised in the consolidated statement of surplus or deficit are presented within finance costs, finance income or other financial items, except for impairment of trade receivables which is presented within other expenses.

Classifications are determined by both: The entity’s business model for managing the financial asset.

The contractual cash flow characteristics of the financial assets.

All income and expenses relating to financial assets that are recognised in surplus or deficit are presented within finance costs, finance income or other financial items, except for impairment of trade receivables, which is presented within other expenses.

Subsequent measurement of financial assets Financial assets at amortised cost Financial assets are measured at amortised cost if the assets meet the following conditions (and are not designated as FVPL): They are held within a business model whose objective is to hold the financial assets and collect its contractual cash flows.

The contractual terms of the financial assets give rise to cash flows that are solely payments of principal and interest on the principal amount outstanding.

After initial recognition, these are measured at amortised cost using the effective interest method.

Discounting is omitted where the effect of discounting is immaterial. The group’s cash and cash equivalents, trade and most other receivables fall into this category of financial instruments as well as long-term deposit that were previously classified as held-to-maturity under AASB 139.

Financial assets at fair value through profit or loss (FVPL) Financial assets that are held within a different business model other than ‘hold to collect’ or ‘hold to collect and sell’ are categorised at fair value through profit and loss.

Further, irrespective of business model financial assets whose contractual cash flows are not solely payments of principal and interest are accounted for at FVPL. All derivative financial instruments fall into this category, except for those designated and effective as hedging instruments, for which the hedge accounting requirements apply (see below).

Equity instruments at fair value through other comprehensive income (Equity FVOCI) Investments in equity instruments that are not held for trading are eligible for an irrevocable election at inception to be measured at FVOCI. Under Equity FVOCI, subsequent movements in fair value are recognised in other comprehensive income and are never reclassified to surplus or deficit. Dividend from these investments continue to be recorded as other income within the surplus or deficit unless the dividend clearly represents return of capital.

Impairment of Financial assets AASB 9’s impairment requirements use more forward-looking information to recognise expected credit losses – the ‘expected credit losses (ECL) model’. Instruments within the scope of the new requirements included loans and other debt-type financial assets measured at amortised cost and FVOCI, trade receivables and loan commitments and some financial guarantee contracts (for the issuer) that are not measured at fair value through profit or loss.

The group considers a broader range of information when assessing credit risk and measuring expected credit losses, including past events, current conditions, reasonable and supportable forecasts that affect the expected collectability of the future cash flows of the instrument.

Page | 20

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3

Summary of accounting policies continued

3.14

Financial instruments continued

In applying this forward-looking approach, a distinction is made between: Financial instruments that have not deteriorated significantly in credit quality since initial recognition or that have low credit risk (‘Stage 1’) and Financial instruments that have deteriorated significantly in credit quality since initial recognition and whose credit risk is not low (‘Stage 2’).

‘Stage 3’ would cover financial assets that have objective evidence of impairment at the reporting date. ’12-month expected credit losses’ are recognised for the first category while ‘lifetime expected credit losses’ are recognised for the second category. Measurement of the expected credit losses is determined by a probability-weighted estimate of credit losses over the expected life of the financial instrument.

Trade and other receivables The group makes use of a simplified approach in accounting for trade and other receivables and records the loss allowance at the amount equal to the expected lifetime credit losses. In using this practical expedient, the group uses its historical experience, external indicators and forwardlooking information to calculate the expected credit losses using a provision matrix.

The group assesses impairment of trade receivables on a collective basis as they possess credit risk characteristics based on the days past due.

Classification and measurement of financial liabilities As the accounting for financial liabilities remains largely unchanged from AASB 139, the group’s financial liabilities were not impacted by the adoption of AASB 9. However, for completeness, the accounting policy is disclosed below.

The group’s financial liabilities include borrowings and trade and other payables. Financial liabilities are initially measured at fair value, and, where applicable, adjusted for transaction costs unless the group designated a financial liability at fair value through surplus or deficit.

Subsequently, financial liabilities are measured at amortised cost using the effective interest method except for derivatives and financial liabilities designated at FVPL, which are carried subsequently at fair value with gains or losses recognised in surplus or deficit (other than derivative financial instruments that are designated and effective as hedging instruments).

All interest-related charges and, if applicable, changes in an instrument’s fair value that are reported in surplus or deficit are included within finance costs or finance income.

3.15

Significant management judgement in applying accounting policies

When preparing the financial statements, Management undertakes a number of judgements, estimates and assumptions about the recognition and measurement of assets, liabilities, income and expenses.

Revenue Recognition To determine if a grant contract should be accounted for under AASB 1058 or AASB 15, the Group has to determine if the contract is ‘enforceable’ and contains ‘sufficiently specific’ performance obligations. When assessing if the performance obligations are ‘sufficiently specific’, the Group has applied significant judgement in this regard by performing a detailed analysis of the terms and conditions contained in the grant contracts, review of accompanying documentation (e.g. grant application forms and accompanying documentation) and holding discussions with relevant parties.

Page | 21

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 3 3.15

Summary of accounting policies continued Significant management judgement in applying accounting policies continued

Estimation uncertainty Information about estimates and assumptions that have the most significant effect on recognition and measurement of assets, liabilities, income and expenses is provided below. Actual results may be substantially different.

Impairment In assessing impairment, management estimates the recoverable amount of each asset or cashgenerating unit based on expected future cash flows and uses an interest rate to discount them.

Estimation uncertainty relates to assumptions about future operating results and the determination of a suitable discount rate.

Useful lives of depreciable assets Management reviews its estimate of the useful lives of depreciable assets at each reporting date, based on the expected utility of the assets. Uncertainties in these estimates relate to technical obsolescence that may change the utility of certain software and IT equipment.

Long service leave The liability for long service leave is recognised and measured at the present value of the estimated cash flows to be made in respect of all employees at the reporting date. In determining the present value of the liability, estimates of attrition rates and pay increases through promotion and inflation have been taken into account.

Coronavirus (COVID-19) pandemic Judgement has been exercised in considering the impacts that the Coronavirus (COVID-19) pandemic has had, or may have, on the Group based on known information. This consideration extends to the nature of the products and services offered, customers, supply chain, staffing and geographic regions in which the group operates. There does not currently appear to be either any significant impact upon the financial statements or any significant uncertainties with respect to events or conditions which may impact the group unfavourably as at the reporting date or subsequently as a result of the Coronavirus (COVID-19) pandemic.

Page | 22

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 4

Revenue

The group’s revenue may be analysed as follows for each major product and service category: Note

Revenue Donations received Donations – Capital Campaign Foundation revenue received Net grant revenue Performance income Workshop income Sponsorship income Resource income Investment income:

4.1

2019

$

$

249,076 400,000 125,000 892,858 16,896 384,544 18,800 1,190

117,140 122,500 746,804 156,554 514,897 12,000 4,272

Interest

11,025

13,785

Dividends

8,365

10,559

2,107,754

1,698,511

711,300 100,000 18,441 46,615

100 41,492

876,356

41,592

2,984,110

1,740,103

2020

2019

$

$

60,000 445,796

140,000 340,264

505,796

480,264

514,288

882,612

514,288

882,612

(82,226) (45,000) -

(60,000) (445,796) (110,276)

(127,226)

(616,072)

892,858

746,804

Other income Memberships Job Keeper subsidy Cash Flow Boost Rent relief from government Other income Total revenue and other income 4.1

2020

Net grant revenue Note

Unexpended grants – January Grants received in advance – 1 January Add: Grants received during the year Less: Unexpended grants – 31 December Grants received in advance – 31 December Grants receivable – 1 January

4.2 4.2

4.2

4.2 4.2

4.2

Page | 23

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2

Grant reconciliation Unexpended Grants 1 Jan $

Grants in Advance 1 Jan $

Received in 2020

Unexpended Grants 31 Dec

Grants in Advance 31 Dec

Net Grant Income 2020

$

$

$

$

Australia Council: Operational Create NSW:

-

144,666

141,666

-

-

286,332

Operational

-

200,000

-

-

-

200,000

60,000

-

-

-

-

60,000

-

-

5,000

-

-

Arts and Cultural Funding Program

-

-

3,000

-

-

3,000

Decant – Venue Hire and Fit-Out

-

-

140,802

-

-

140,802

-

-

39,680

(33,680)

-

6,000

Walking Tour

-

6,180

-

-

-

6,180

Young Showcase Series

-

-

6,140

-

-

6,140

-

-

20,000

-

-

20,000

-

49,950

-

-

-

49,950

60,000

400,796

356,288

(33,680)

-

783,404

Special Initiatives Funding Regional and Remote Digital Marketing Strategy

Project Funding – Ali in Zombieland City of Sydney:

Digital Workshops St George Foundation: Workshop Scholarship Program Sub-totals carried forward

5,000

Page | 24

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2

Grant reconciliation continued Unexpended Grants 1 Jan

Grants in Advance 1 Jan

Received in 2020

Unexpended Grants 31 Dec

Grants in Advance 31 Dec

Net Grant Income 2020

$

$

$

$

$

$

60,000

400,796

356,288

(33,680)

-

783,404

Western Sydney Arts Education Initiative Packer Family Foundation

-

22,500

22,500

(7,500)

(22,500)

15,000

Western Sydney Arts Education Initiative Service NSW

-

22,500

22,500

(7,500)

(22,500)

15,000

Small Business Grant Thyne Reid Foundation

-

-

13,000

-

-

13,000

On Demand Plus

-

-

100,000

(33,546)

-

66,454

60,000

445,796

514,288

(82,226)

(45,000)

Sub-totals brought forward Crown Resorts Foundation:

892,858

Page | 25

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 5

Cash and cash equivalents

Cash and cash equivalents consist of the following: Note

Current Cash at bank

2020

2019

$

$

917,101

575,039

917,101

575,039

2020

2019

$

$

3,868 79,200 23,800

4,628 29,247

106,868

33,875

6 Trade and other receivables Trade and other receivables consist of the following: Note

Current Imputation credits and interest receivable Job Keeper subsidy receivable Trade receivables, net of allowance

7 7.1

Financial risk management Categories of financial assets and liabilities

The carrying amounts presented in the consolidated statement of financial position relate to the following categories of assets and liabilities: Note

2020

2019

$

$

5

917,101

575,039

Trade and other receivables

6

106,868

33,875

Investment in ASX Listed securities

9

206,319

209,110

Investment in term deposits

9

475,000

475,000

1,705,288

1,293,024

Financial assets

Financial assets measured at amortised cost Cash and cash equivalents

Financial liabilities

Financial liabilities measured at amortised cost Trade and other payables

12

143,384

194,816

143,384

194,816

Page | 26

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 8

Other assets

Other assets consist of the following: Note

2020

2019

$

$

Deposits paid

200

200

Prepayments

25,257

41,020

25,457

41,220

Current

9 Financial assets Financial assets consist of the following:

2020 Shares – ASX listed Term deposits Total 2019 Shares – ASX listed Term deposits Total

Opening Balance

Additions/ (disposals)

Surplus/ (deficit) on revaluation

Closing Balance

$

$

$

$

209,110 475,000

-

(2,791) -

206,319 475,000

684,110

-

(2,791)

681,319

202,249 743,867

(268,867)

6,861 -

209,110 475,000

946,116

(268,867)

6,861

684,110

10 Property, plant and equipment Details of the group’s property, plant and equipment and their carrying amounts are as follows: Right-of-use Asset

Plant & Equipment

Leasehold Improvements

Total 2020

$

$

$

$

Gross carrying amount Balance 1 Jan 2020 Additions Disposals

95,797 -

Balance 31 Dec 2020

95,797

120,958

87,825

304,580

Depreciation and impairment Balance 1 Jan 2020 Written back on disposal Depreciation

(31,932) (34,835)

(103,468) 2,661 (11,488)

(87,825) -

(223,225) 2,661 (46,323)

Balance 31 Dec 2020

(66,767)

(112,295)

(87,825)

(266,887)

Carrying amount 31 Dec 2020

29,030

8,663

115,293 8,326 (2,661)

87,825 -

-

298,915 8,326 (2,661)

37,693

Page | 27

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 10 Property, plant and equipment continued Right-of-use Asset

Plant & Equipment

Leasehold Improvements

Total 2020

$

$

$

$

Gross carrying amount Balance 1 Jan 2019 On application of AASB 16 Additions Disposals

95,797 -

113,330 2,226 (263)

87,825 -

201,155 95,797 2,226 (263)

Balance 31 Dec 2019

95,797

115,293

87,825

298,915

Depreciation and impairment Balance 1 Jan 2019 Written back on disposal Depreciation

(31,932)

(89,107) 128 (14,489)

(87,825) -

(176,932) 128 (46,421)

Balance 31 Dec 2019

(31,932)

(103,468)

(87,825)

(223,225)

Carrying amount 31 Dec 2019

63,865

11,825

-

75,690

11 Intangible assets Details of the group’s intangible assets and their carrying amounts are as follows: Website

Total

$

$

Gross carrying amount Balance at 1 January 2020

43,000

43,000

Additions

27,563

27,563

Balance at 31 December 2020

70,563

70,563

Amortisation and impairment Balance at 1 January 2020

(8,891)

(8,891)

Amortisation

(8,624)

(8,624)

Balance at 31 December 2020

(17,515)

(17,515)

Carrying amount 31 December 2020

53,048

53,048

36,125

36,125

6,875

6,875

43,000

43,000

Gross carrying amount Balance at 1 January 2019 Additions Balance at 31 December 2019 Amortisation and impairment Balance at 1 January 2019

(1,128)

(1,128)

Amortisation

(7,763)

(7,763)

Balance at 31 December 2019

(8,891)

(8,891)

Carrying amount 31 December 2019

34,109

34,109

Page | 28

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 12 Trade and other payables Trade and other payables recognised consist of the following: Note

Current: Sundry payables and accruals Trade payables Lease liability Non-current: Lease liability

2020

2019

$

$

76,252 39,646 27,486

95,814 36,481 32,045

143,384

164,340

-

30,475

-

30,475

13 Other liabilities Other liabilities recognised consist of the following: Note

Current Income received in advance Workshop fees in advance

2020

2019

$

$

22,000 117,670

44,397 111,550

139,670

155,947

14 Grants liabilities Grants liabilities can be summarised as follows: Note

2020

2019

$

$

Current Unexpended grants

4.2

82,226

60,000

Grants received in advance

4.2

45,000

445,796

25,211

-

152,437

505,796

Auspiced grants payable

Page | 29

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 15 Employee remuneration 15.1

Employee provisions

The liabilities recognised for employee benefits consist of the following amounts: Note

Current Annual leave Long service leave

15.2

2020

2019

$

$

47,000 23,440

43,304 21,510

70,440

64,814

2020

2019

$

$

Employee benefits expense

Expenses recognised for employee benefits are analysed below: Note

Employee benefits provided/(written back) Salaries, wages and fees Superannuation Workers compensation and other expenses

5,626 1,508,587 104,329 12,203

(1,977) 1,286,213 112,635 15,997

1,630,745

1,412,868

2020

2019

$

$

Current assets

565,957

587,857

Total assets

656,697

697,655

Current liabilities

562,594

978,897

Total liabilities

562,594

1,009,372

94,103

(311,717)

405,820

(100,225)

16 Parent entity note Information relating to ATYP Limited (the parent entity) Note

Statement of financial position

Net assets/(liabilities) and retained earnings/(losses) Statement of surplus or deficit and other comprehensive income Surplus/(deficit) for the year Other comprehensive income Total comprehensive income/(loss)

405,820

(100,225)

Page | 30

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 16 Designated funds 17.1

Revenue funds

The Revenue funds are reserves of the ATYP Foundation established to raise funds and accumulate capital to support the aims of ATYP and its long-term financial security.

Note

Opening balance

2020

2019

$

$

(4,102)

Foundation surplus/(deficit)

(38,125)

424,854

(215,977)

-

250,000

Transfer from/(to): General Funds – In support of ATYP commissions/productions

(400,000)

Capital Campaign Reserve

20,752 17.2

(4,102)

Capital funds

Capital funds are reserves of the ATYP Foundation established to raise funds and accumulate capital to support the aims of ATYP and its long-term financial security.

Note

Opening balance

2020

2019

$

$

1,009,370

Transfer from/(to) Capital Campaign Reserve

(145,000) 864,370

17.3

1,009,370 1,009,370

Capital campaign reserve

The Capital campaign reserve is a reserve where donations received towards ATYP’s new home as part of the Pier 2/3 redevelopment are earmarked until required to meet the costs of the redevelopment.

Note

Opening balance Transfer from/(to) In support of Pier 2/3 Capital Campaign

2020

2019

$

$

120,001

120,001

385,544

-

505,545

120,001

Page | 31

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 17 Designated funds continued 17.4

Fair value through other comprehensive income reserve (FVTOCI reserve)

The Equity through FVOCI reserve comprises gains and losses relating to equity investments held in ATYP Foundation.

Note

2020

2019

$

$

9,110

2,249

(2,791)

6,861

6,319

9,110

Equity through FVOCI reserve Opening balance Transfer from/(to) general funds: Other comprehensive income/(loss)

9

18 Related party transactions The group’s related parties include its key management personnel and related entities as described below.

Unless otherwise stated, none of the transactions incorporate special terms and conditions and no guarantees were given or received. Outstanding balances are usually settled in cash.

18.1

Transactions with related entities

The directors act in an honorary capacity and receive no compensation for their services, other than Fraser Corfield who is the Artistic Director of ATYP. 18.2

Transactions with key management personnel

Key management personnel are those persons having authority and responsibility for planning, directing and controlling the activities of the entity, directly or indirectly, including any director (whether executive or otherwise) of that entity. Key management personnel remuneration includes the following expenses:

Total key management personnel remuneration 18.3

2020 $

2019 $

239,523

218,871

Director donations

The total amount of donations received from directors during the year ended 31 December 2020 amounts to $10,010 (2019: $5,000).

19 Contingent liabilities There are no contingent liabilities that have been incurred by the group in relation to 2019 or 2020.

20 Post-reporting date events The impact of the Coronavirus (COVID-19) pandemic is ongoing and while it has been financially positive for the group up to 31 December 2020, it is not practicable to estimate the potential impact, positive or negative, after the reporting date. The situation is rapidly developing and is dependent on measures imposed by the Australian Government and other countries, such as maintaining social distancing requirements, quarantine, travel restrictions and any economic stimulus that may be provided.

Page | 32

Notes to the Financial Statements For the year ended 31 December 2020 Australian Theatre for Young People and its controlled entity 20 Post-reporting date events continued No other matter or circumstance has arisen since 31 December 2020 that has significantly affected, or may significantly affect the group’s operations, the results of those operations, or the group’s state of affairs in future financial years.

21 Member’s guarantee The parent company is incorporated under the Corporations Act 2001 and is a company limited by guarantee. If the Company is wound up, the Constitution states that each member is required to contribute a maximum $10 each towards meeting any outstanding obligations of the entity. At 31 December 2020, the total amount that members of the Company are liable to contribute if the Company is wound up is $90 (2019: $120).

22 Charitable Fundraising 22.1

Details of gross income and expenditure from fundraising activities: 2020

2019

$

$

Revenue from fundraising

774,076

239,640

Total income

774,076

239,640

Note

Fundraising expenses Functions

(7,329) (883)

(8,260) (1,483)

Total expenses

(8,212)

(9,743)

Surplus from fundraising activities 22.2

765,864

229,897

Statement showing how funds were applied for charitable purposes

All funds raised from fundraising activities, net of direct costs were applied to the group's normal operations. The group did not conduct any appeals in which traders were engaged.

22.3

Assets and liabilities resulting from fundraising 2020

2019

$

$

Cash generated from fundraising

765,864

229,897

Total assets resulting from fundraising

765,864

229,897

Note

Assets

Page | 33

Directors’ Declaration Australian Theatre for Young People and its controlled entity In the opinion of the Directors of the Australian Theatre for Young People: (a)

(b)

The consolidated financial statements and notes of the Australian Theatre for Young People are in accordance with the Australian Charities and Not-for-profits Commission Act 2012, including; (i)

Giving a true and fair view of its consolidated financial position as at 31 December 2020 and of its consolidated performance for the financial year ended on that date; and

(ii)

Complying with Australian Accounting Standards and the Australian Charities and Not-for-profits Commission Regulation 2013; and

There are reasonable grounds to believe that the Australian Theatre for Young People and its controlled entity will be able to pay its debts as and when they become due and payable (Refer Notes 3.13 and 20).

Declaration by Director as required by the Charitable Fundraising Act 1991 (NSW) a)

the accounts for the year ended 31 December 2020, give a true and fair view of all income and expenditure of the Australian Theatre for Young People with respect to fundraising appeals; and

b)

the consolidated statement of financial position as at 31 December 2020 gives a true and fair view of the state of affairs with respect to fundraising appeals; and

c)

the provisions of the Charitable Fundraising Act 1991 (NSW) and the regulations under that Act and the conditions attached to the authority have been complied with; and

d)

the internal controls exercised by Australian Theatre for Young People are appropriate and effective in accounting for all income received and applied from any of its fundraising appeals.

Signed in accordance with a resolution of the Directors.

CHRIS PUPLICK AM Director Sydney Dated

Page | 34

Independent Auditor’s Report To the members of The Australian Theatre for Young People and its controlled entity Report on the Audit of the Financial Report Opinion I have audited the consolidated financial report of the Australian Theatre for Young People and its controlled entity, which comprises the consolidated statement of financial position as at 31 December 2020, the consolidated statement of surplus or deficit and other comprehensive income, the consolidated statement of changes in equity and the consolidated statement of cash flows for the year ended, and notes to the financial statements, including a summary of significant accounting policies, and the Directors’ declaration.

In my opinion, the financial report of the Australian Theatre for Young People and its controlled entity has been prepared in accordance with Division 60 of the Australian Charities and Not-forprofits Commission Act 2012, including: (a)

(b)

Giving a true and fair view of the group’s consolidated financial position as at 31 December 2020 and of its consolidated financial performance and consolidated cash flows for the year then ended; and Complying with Australian Accounting Standards and Division 60 of the Australian Charities

and Not-for-profits Commission Regulation 2013.

Basis for Opinion I conducted my audit in accordance with Australian Auditing Standards. My responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of my report. I am independent of the group in accordance with the auditor independence requirements of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act) and the ethical requirements of the Accounting Professional and Ethical Standards Board’s APES 110 Code of Ethics for Professional Accountants (the Code) that are relevant to my audit of the consolidated financial report in Australia. I have also fulfilled my other ethical responsibilities in accordance with the Code.

I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my opinion.

Other Information Those charged with governance are responsible for the other information. The other information comprises the information included in the group’s annual report for the year ended 31 December 2020 but does not include the consolidated financial report and my auditor’s report.

My opinion on the consolidated financial report does not cover the other information and accordingly I do not express any form of assurance conclusion.

In connection with my audit of the consolidated financial report, my responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial report or my knowledge obtained in the audit or otherwise appears to be materially misstated.

Page | 35

Independent Auditor’s Report To the members of The Australian Theatre for Young People and its controlled entity Other Information continued If, based on the work I have performed, I conclude that there is a material misstatement of this other information; I am required to report that fact. I have nothing to report in this regard.

Directors’ Responsibility for the Consolidated Financial Report The Directors of the group are responsible for the preparation and fair presentation of the financial report in accordance with Australian Accounting Standards and the ACNC Act, and for such internal control as the Directors determine is necessary to enable the preparation of the consolidated financial report that is free from material misstatement, whether due to fraud or error.

In preparing the consolidated financial report, Directors are responsible for assessing the group’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the Directors either intend to liquidate the group or to cease operations, or has no realistic alternative but to do so.

Those charged with governance are responsible for overseeing the group’s financial reporting process.

Auditor’s Responsibility for Audit of the Consolidated Financial Report My objectives are to obtain reasonable assurance about whether the consolidated financial report as a whole is free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes my opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with Australian Auditing Standards will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of the consolidated financial report.

As part of an audit in accordance with the Australian Auditing Standards, I exercise professional judgement and maintain professional scepticism throughout the audit. I also: Identify and assess the risks of material misstatement of the consolidated financial report, whether due to fraud or error, design and perform audit procedures responsive to those risks, and obtain audit evidence that is sufficient and appropriate to provide a basis for my opinion.

The risk of not detecting a material misstatement resulting from fraud is higher than for one resulting from error, as fraud may involve collusion, forgery, intentional omissions, misrepresentations, or the override of internal control.

Obtain an understanding of internal control relevant to the audit 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 group’s internal control.

Evaluate the appropriateness of accounting policies used and the reasonableness of accounting estimates and related disclosures made by Directors.

Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the group’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the consolidated financial report or, if such disclosures are inadequate, to modify our opinion. My conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the group to cease to continue as a going concern.

Page | 36

Independent Auditor’s Report To the members of The Australian Theatre for Young People and its controlled entity Auditor’s Responsibility for Audit of the Consolidated Financial Report continued Conclude on the appropriateness of the Directors’ use of the going concern basis of accounting and, based on the audit evidence obtained, whether a material uncertainty exists related to events or conditions that may cast significant doubt on the group’s ability to continue as a going concern. If I conclude that a material uncertainty exists, I am required to draw attention in my auditor’s report to the related disclosures in the consolidated financial report or, if such disclosures are inadequate, to modify our opinion. My conclusions are based on the audit evidence obtained up to the date of our auditor’s report. However, future events or conditions may cause the group to cease to continue as a going concern.

Evaluate the overall presentation, structure and content of the consolidated financial report, including the disclosures, and whether the consolidated financial report represents the underlying transactions and events in a manner that achieves fair presentation.

I communicate with those charged with governance regarding, among other matters, the planned scope and timing of the audit and significant audit findings, including any significant deficiencies in internal control that I identify during my audit.

Opinion pursuant to the Charitable Fundraising Act 1991 In my opinion: (a) The financial report of the Group gives a true and fair view of the financial result of fundraising appeal activities for the year ended 31 December 2020; and (b) The financial report has been properly drawn up, and the associated records have been properly kept for the year ended 31 December 2020, in accordance with the Charitable Fundraising Act 1991 and its Regulations.

STEVEN J MILLER & CO Chartered Accountants

S J MILLER Registered Company Auditor No 4286

Sydney Dated

Page | 37

Additional Financial Information Disclaimer Australian Theatre for Young People and its controlled entity The additional financial data presented on page 39 and 40 is in accordance with the books and records of the Group which have been subjected to the auditing procedures applied in my statutory audit of the Group for the year ended 31 December 2020. It will be appreciated that my statutory audit did not cover all details of the additional financial information. Accordingly, I do not express an opinion on such financial information and no warranty of accuracy or reliability is given.

In accordance with my firm's policy, I advise that neither the firm nor any member or employee of the firm undertakes responsibility arising in any way whatsoever to any person (other than the consolidated entity) in respect of such information, including any errors or omissions therein, arising through negligence or otherwise however caused.

STEVEN J MILLER & CO Chartered Accountants

S J MILLER Registered Company Auditor No 4286 Sydney Dated

Page | 38

ATYP

Annual Report 2020

ATYP Staff

ATYP Board

Artistic Director

Fraser Corfield

Fraser Corfield

Sean Denney (until February)

General Manager

Nancia Guivarra (until April)

Amanda Wright (until Aug - mat. leave)

Tasnim Hossain

Johanna Mulholland (from Aug - mat. cover)

Janine Lapworth

Finance and Operations Manager

Gillian Larkins

Chrissy Riley

Mark Morrissey

Development Manager

Chris Puplick AM (Chair)

Stephen Attfield

Daniel Selikowitz

Marketing Manager

Nicole Webb

Kar Chalmers (until December)

Donna Worthington

Workshops Manager and Associate Director Robert Jago (until February)

ATYPicals

Workshops and Education Manager

Hannah Barr

Jacqui Cowell (from February)

Anika Bhatia

Production Manager

Tristan Brown

Sorie Bangura

Victoria Bullard

Resident Dramaturg

Helena Burke

Jane FitzGerald

Rose Callaghan

Education Coordinator

Zoe Castorina

Rowan Bate

Daisy Coyle

Development Coordinator

Claudia Elbourne

Meg Goodfellow

Olivia Everingham

Marketing Coordinator

Bernadette Fam

Erica Penollar

Lily Hayman

Graphic Designer

Elodie Jakes

Justin Stambouliah

Brianna Lowe

Workshops Coordinator

Sarah Maguire

Claudene Shoesmith

Jamila Main

Resident Technologist

Tanvi Maroo

Daniel Andrews

Piper McCowan

Company Accountant

Julia McNamara

Steve Davidson

Miranda Michalowski

Archivist

Isabella Milkovitsch

Judith Seeff

Astra Milne

Administration Assistant

Aria Rai Munton

Janine Lau

Tara Neilsen Isabella Nolan Charlotte Pitt

36

Esther Randles

Thyne Reid Foundation

Jasper Reucassel

Yim Family Foundation

Lily Sammut Lily Sauran

Companies and Partner Organisations

Noah Sturzaker

ARA Group

Eleanor Swan

Artology

Jack Walton

Barking Gecko Theatre Brown’s Mart Productions

Rebel Wilson Comedy Commission Recipient

Camp Sugar Productions

Victoria Zerbst

Currency Press

Carnivore Films Drama NSW

Rose Byrne Scholarship Recipient

Griffin Theatre Company

Chika Ikogwe

IMPACT Agency

Haymes Paint Interbrand

Partners and Supporters

KidsXpress

ATYP recognises the assistance received by

King & Wood Mallesons

the NSW Government through Create NSW

Mandurah Performing Arts Centre

and the Australian Government through the

Museum of Applied Arts & Sciences

Australia Council for the Arts, its arts funding

Optimiste Wines

and advisory body.

Playlab Playwriting Australia

Government

Q Theatre

Australia Council for the Arts

Rebelstudio

City of Sydney

Redline Productions

Create NSW

Riptide

Create Infrastructure NSW

Riverside Theatres, Parramatta Shopfront Arts Co-Op

Foundations

SM&c

ATYP Foundation

Sydney Living Museums

Copyright Agency

The Joan

Crown Resorts Foundation

Think Space

Graeme Wood Foundation Jibb Foundation

Adèle Jeffreys Memorial Fund Donors

Matana Foundation for Young People

Emma Campbell

Packer Family Foundation

Susan Millet

St George Foundation

Judith Seeff

James N. Kirby Foundation

The Lysicrates Foundation

ATYP

Annual Report 2020

Individual Donors

Sam Meers AO

ATYP warmly acknowledges the financial

David Nguyen

support and encouragement received from

Bernard Ryan & Michael Rowe

individual contributors in 2020. Without this

Robert Thomas AO

philanthropic support, ATYP would not be able to

Donna Worthington

deliver our bespoke programs and productions.

Yim Family Foundation

As a not-for-profit, ATYP recognises this continued support is essential for the

Allies ($500 - $999)

advancement of the company, and enables us

Francesca Beddie

to continue to enrich the lives of young people

Sophie Collins

through theatre each and every year.

David Jonas Jean Prouvaire

Guardians ($50,000+)

Damian Sturzaker & Danielle Manion

Susan Maple-Brown AM

Kerrie Walters

Paris Neilson

Andrea Wilson

Graeme Wood AM & Anna Cerneaz Buddies ($100 - $499) Guardians ($10,000+)

Anonymous

Antoinette "Popsy" Albert

Lucinda Armour

Rose Byrne

John Armstrong

Chris Puplick AM

Anna Barker

Robert Rich

Elise Barton

Rebel Wilson

Ian Batterham

The Estate of the Late Eleanor Witcombe AM

Nicole Beyer Ronda Booth

Superstars ($5,000 - $9,999)

Anne Brophy

Robert Albert AO RFD RD & Libby Albert

Ron Christianson

Ruth Armytage AM

Nerida Cole

Michael Ihlein & Gosia Dobrowolska

Katharine Cooke

Justin Punch & Patty Akopiantz

Catherine Cooney

Jane Westbrook & Mark Ramsden

Erin Daly Eveline Dowling

Champions ($1,000 - $4,999)

Tracy Everingham

Todd Abbott

Delia Falconer

Alison Baly & Stephen Hawkins

Brian Fitzgerald

Sue Bate

Melissa Fleming

Andrew Buchanan

Cate Friedlander

George Dodd & Derek Minett

Stephen Gillies

Nancy Fox & Bruce Arnold

Kerri Glasscock

Eleanore Mattana

Rebecca Gregg

38

Steven Hankey

ATYP Foundation Supporters

Raymond Harding

The ATYP Foundation’s purpose is to provide

Brendan Hogan

money, property and additional benefits to ATYP

Kylie Hunt

with the objective to advance, develop and

Warwick Hunt

promote the performing arts. ATYP gratefully

Susan Jones

acknowledges the ongoing support of the ATYP

Trina Jorre de St Jorre

Foundation. The capital funds raised through the

James Kelly

Foundation assist in maintaining a sustainable

Ross Lapworth

financial platform on which ATYP can thrive.

Jemima Littlemore Gregory Madhavan

ATYP Foundation Advisory Committee

Amy Maiden

Antoinette Albert

Maria Marshall

Angela Bowne SC (Chair)

Ruth McColl

Chris Puplick AM

Alison Lyssa

Emma McCue Chris McInnes

Schedule of Voting Donors

Lisa McKay

At 31 December 2020, the following

Kate Mulvany

organisations and individuals have obtained the

Emma Murphy

status of voting donor:

Amy Neville Jennie Noakes

Antoinette "Popsy" Albert

Debra Oswald

Robert O. Albert AO RFD RD

Josh Palmer

Albert Investments

Mouche Phillips

Ruth Armytage AM

Matthew Purcell

Chum Darvall AM

Leigh Sales

Estate of the Late Nicholas Enright

Miri Seeff

Carolyn Fletcher AM

Helen Slarke

Henry Herron

Richard Stuart

Peter Hunt

Sally Sussman

Michael Ihlein & Gosia Dobrowolska

Robyn Tantau

Millennium Pty Ltd

Liam Taylor

King & Wood Mallesons

Jo Thomas

Robert Rich

Stephen Varga

Graham O'Neill

Susan Walder

Ezekiel Solomon AM Robert Salteri Jill Wran Thyne Reid Trust Turnbull Foundation

COME AND SEE THE WORLD THRO— UGH OUR EYE— S