ATYP 2021 Annual Report

ANNU– AL REPO– RT 2021

The work of ATYP ripples far over this vast country.

Rachel Koster, #TakeTheStage petition signatory, Central QLD

ATYP

Annual Report 2021

02

Contents

03

Our Vision

04

Artistic Director's Report

07

Chair's Report

09

2021 Productions

11

I've Been Meaning to Ask You

13

Lights in the Park

15

Follow Me Home

17

Departments

19

Writing

23

Workshops

27

Education

31

Development

39

Marketing

41

Archives

43

Financials ATYP

44

Staff and Board

45

Partners and Supporters

02

OUR VISI– ON 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:

ATYP

Annual Report 2021

04

ARTISTIC DIRECTOR'S REPORT The year began well. The co-production with Brisbane-based The Good Room and touring specialists Critical Stages, I’ve Been Meaning to Ask You, was presented in Riverside Theatres, Parramatta, to critical and popular acclaim.

The senior Foundation Commission, Lights in the Park by Alexander Lee-Rekers, was successfully staged in Penrith in partnership with the Q Theatre. Likewise, Follow Me Home, Lewis Treston’s powerful examination of youth In many respects, the tone of 2021 was captured

homelessness, opened to critical acclaim… but

perfectly by our Art Director, Justin Stambouliah,

then on Friday the 25th of June at 11am, NSW

before it even began. For the annual season

officially went into lockdown.

program he put a cheeky scribble over the ‘20’ in 2020 to change it to 2021, referencing that

Once again the versatility and experience

many aspects of the program had to be carried

of the ATYP staff was clearly on show. By

forward from the previous year’s cancellations -

3pm that afternoon tickets to the remaining

the impact of COVID.

performances had been cancelled and all patrons contacted. We had also cancelled the

Of course, as it transpired, the impacts of COVID

following week of school holiday workshops

were far from finished. Sydney suffered a much

and refunded all parents. By the following

longer lockdown in 2021 than the previous year.

Monday morning ATYP’s Workshop Coordinator

Staff were confined to their homes in June and

Claudene Shoesmith had compiled and launched

did not return to the office until October. As

an online workshop program to be conducted

a national company, the delivery of programs

over Zoom during the lockdown. There was an

was further complicated by the closure of State

uncomfortable feeling of ‘business as usual’

borders and the variations of social-distancing

about our lives being upended once again and

laws in different parts of the country. No aspect

programs being moved online.

of the second half of 2021 and the beginning of 2022 was able to run as planned.

During the reporting period, COVID led to:

A major achievement during the year was the

•

the cancellation of half the Sydney season

completion of a rebrand thanks to the pro-bono

of Follow Me Home and the subsequent 15

services of The General Store. This saw ATYP

venue national tour;

embrace a new logo and style guide to celebrate

the transfer of the National Studio from an

the new look and feel of the company as it

in-person to an online event;

takes up occupancy of premises on Pier 2/3.

the cancellation of the seasons of Shack

The rebrand looked at the tension inherent in

by George Kemp and Soul Trading by Kate

ATYP - from the traditional comedy and tragedy

Walder;

of drama, to the balance between participation

the postponement of The Lies We Were Told,

and artistic excellence, the rebelliousness of

(delivered in partnership with Shopfront

youth within the discipline of performance; and

Youth Arts in 2022);

celebrating unique individuality while bringing

the postponement of The Chapel, the Fire

communities together. The resulting smile

and the Dead Cat (delivered in partnership

and frown, a reflection of the shape of the

with Newtown School of Performing Arts in

company’s new stage in The Rebel Theatre, has

2022);

received extremely positive responses from the

the cancellation of the 2021 Intersection

community and industry alike.

• •

•

•

•

Festival; •

•

•

the postponement of the launch of the

With the return of Amanda Wright from

2022 subscription season (delayed by two

maternity leave in 2021, the ATYP Board

months);

approved a significant change to the company

the postponement of The Deb and the

structure. Breaking from the theatre tradition

launch of The Rebel Theatre, ATYP’s new

of a two-person executive team, ATYP offered

venue; and

Johanna Mulholland the role of Director of

the postponement of ATYP’s occupancy of

Strategic Initiatives where she works alongside

Pier 2/3, from November 2021 to January

Amanda as Executive Director and myself

2022.

as Artistic Director. In these new roles the responsibilities of fundraising, marketing

Despite these setbacks, the quality of ATYP’s

and venue coordination sit with Johanna,

productions was evident at the Sydney Theatre

Amanda retains HR, finance, governance and

Awards where three of the four productions

producing, and I continue to be responsible for

nominated for “Best Production for Young

programming, artistic vision and responsibilities

People” were by ATYP, up against Playing Beatie

associated with the CEO.

Bow by STC. The 2021 Sydney Theatre Award was won by I’ve Been Meaning to Ask You.

ATYP

Annual Report 2021

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Increased activity meant a growing team. Our

The ATYP Board continued to be led with

first appointment was Monique Johnstone as

exceptional clarity and purpose by Chair Chris

Deputy Education Manager. Georgia McGinness

Puplick AM and Deputy Chair Janine Lapworth.

was hired as the company’s Digital Engagement

The Finance and Risk Committee was expertly

Designer in July. Amber Silk was brought on as

managed by Chairperson Gillian Larkins and

Production and Technical Manager to oversee

major announcements received national

the move.

coverage thanks to Nicole Webb and the probono support of The Impact Agency. Indeed

At the end of 2021, the company was very sad

all members of the ATYP Board were heavily

to lose Marketing Manager Lucy McNabb who

involved in the transition into Pier 2/3. The

made the decision to move back to the UK after

success of ATYP is a result of the extraordinary

being offered a job as Marketing Manager of

support and leadership of the Board.

Tate Modern. We thank her for her exceptional talent and energy through an exceptionally

I’d also like to acknowledge the dedication and

difficult time and wish her the very best in her

work of the ATYP staff who have overcome

future endeavours.

extraordinary obstacles during the reporting period. While everyone deserves special

While the company had to navigate significant

mention, I’m extremely grateful to have been

operational difficulties, the year proved to be

able to face this period in partnership with

financially successful on a number of levels. The

my executive colleagues Amanda Wright and

launch of the Capital Campaign secured just over

Johanna Mulholland. Their patience, practical

$2 million raised towards the goal of $2.5 million

wisdom and extraordinary generosity have been

for the occupancy of the new venue. Thanks to

an inspiration in difficult times.

the Ian Potter Foundation, the company received funding to launch a national e-newsletter for

As we emerge from this time of upheaval ATYP

the youth arts sector along with other sector-

faces a future filled with exciting possibilities. I

leadership programs over two years. Thanks

look forward to seeing what 2022 brings.

to additional COVID recovery funding ATYP was able to record a surplus to safeguard the company against expected losses incurred in

Fraser Corfield Artistic Director

2022.

Page 4 photo by Luke Stambouliah

CHAIR'S REPORT In last year’s Annual Report I wrote that “Just

I personally was so disappointed that our great

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

play focusing on youth homelessness, Follow Me

that 2021 will be as well.” I had no idea how

Home which had a great season in Sydney, had

prophetic those words would turn out to be!

to be cancelled part way through and its planned

Some of our most fervent aspirations were

national tour had to be scrapped.

moved closer to reality as we moved forward with the planning for our new home at Pier 2/3

This year the Board has responded to the

and some faded as the COVID-19 pandemic

challenges of COVID on a number of fronts.

continued to cut its swathe through the best

We welcomed a new member in Samara

planning and the best plans.

Hand who originally came to us as part of the Observer Programme, which links up keen

2021 was the year that we were able to

young executives with Boards so that they can

announce the wonderful donation of $1 million

gain insight into how such organisations work.

made by our fantastic alumna Rebel Wilson to

Samara was such a wonderful participant as an

the development of our new theatre, which

Observer that we invited her to become a full

will proudly be called the Rebel Theatre. This

time member of the Board. She is an Awabakal

generous donation has helped underpin our

woman of Worimi and Biripi descent who has

larger capital campaign and the work which

been a foundation member of the National

we have commissioned Tobhiyah Stone-Feller

Indigenous Youth Education Coalition. My

to undertake shaping the fit-out of the new

deputy, Janine Lapworth has been formidable

premises. This exercise was also supported

in taking charge of all the details of providing

by successful fundraising through the Adèle

supervision and oversight of the many

Jeffreys Memorial Fund and our success in

complexities of bringing our Pier 2/3 plans to

selling 167 of our 196 theatre seats to generous

fruition. This has particularly involved making

patrons.

use of her legal expertise in the management of contracts, leases, and building codes.

Although many of our planned productions

The Board has also had a preliminary discussion

were COVID-smashed, we did have a terrific

about a major rewrite of aspects of our

season with I’ve Been Meaning to Ask You

Constitution in order to strengthen aspects of

which played to over 1100 people at Riverside

better governance by regularising arrangements

Theatres, Parramatta, and our production of

for the nomination and election of Directors,

Lights in the Park which played at The Joan

as well as discussing how to get a greater

Sutherland Performing Arts Centre in Penrith.

involvement with the Board of our Youth

ATYP

Annual Report 2021

Advisory Body. I expect that we will see all of

In 2022 we will move – we will open our first

these changes come forward for ratification

season – we will deliver on our major plans and

next year.

commitments. I have no doubt there will be

08

extraordinary challenges to overcome – but I am I also mentioned last year that the Board had

supremely confident of our ability to meet and

received a report prepared by Justin Macdonnell

match any of them.

of Anzarts Institute which invited us to take an in-depth look at many of our operations. During this year we have continued to implement

Chris Puplick AM Board Chair

those recommendations and in doing so we have already seen the benefits in areas such as marketing and communications which are so important in getting out the message about the Company and its activities.

In January 2021, we launched our ATYP On Demand Plus programme which connects us with what is now a national network of educators and students and is designed to allow access to be facilitated in a COVID-responsive fashion. Of course, the pandemic has meant that so much of our income and activity which was related to our face-to-face provision of classes and workshops has had to be replaced with online and remote contacts. There are pluses and minuses in this in that the loss of personal contact in a learning environment is unfortunate, but the technology allows more people in total to be involved.

Once again, I must pay tribute to our senior management and all the members of our staff.

They have had yet another year of frustration to cope with as plans have been altered or put on hold due to COVID, timetables have been disrupted, shows cancelled, contracts rewritten and relocation arrangements deferred. They have all coped magnificently and I am grateful to all of them and in particular to Fraser for his continued leadership and fortitude.

Photo supplied

2021 PROD– UCTI– ONS

ATYP

Annual Report 2021

10

2021 Productions

After a shaky 2020, ATYP was excited to return to a regular season of production programming.

I've Been Meaning to Ask You

However, the 2021 season was once again

Lights in the Park

derailed by the COVID-19 pandemic.

Follow Me Home Soul Trading

We successfully staged two production seasons,

Shack

I’ve Been Meaning to Ask You and Lights in the Park, with our professional production and return season of Follow Me Home playing for 19 performances before closing due to NSW lockdowns.

Our seasons of Foundation Commission plays, Shack and Soul Trading, which were due to play in rep at the SBW Stables Theatre, were both sadly cancelled due to the ongoing NSW restrictions and lockdowns throughout the latter half of 2021.

Riverside Theatres and Critical Stages Touring Present An ATYP Production

I'VE BEEN MEA– NING TO ASK YOU Created by The Good Room

Image supplied

ATYP

Annual Report 2021

Why do you have to go to work?

Key Creative

How come adults drink to have fun?

Amy Ingram

What was life like before the Internet?

Key Creative/Resident Director

Is 50 too old to learn to surf?

Nathan Sibthorpe Director

This is a work full of questions. Asked by young

Daniel Evans

people. Answered by adults. Performed inside a

Dramaturg

theatre-turned-playground-turned-battleground

Saffron Benner

and delivered by Generation Up Next. Watch as

Creative Producer

age collides with experience and adults take a

Tara Hobbs

backseat as a powerful gang of 9-13-year-olds

Rehearsal Director

drop some hard truths… and the mic.

Kate Walder Rehearsal Assistant Director

Combining your burning questions with high-

Zoe Tomaras

impact video design, I’ve Been Meaning to Ask

Key Facilitator

You is a revealing one-hour tell-all conversation

Maddie Nixon

built around three key starting points: what

Facilitator

you’ve been told, what you know to be true, and

Cienda McNamara

what you want to believe.

Facilitator Steve Pirie

Cast

Lighting Design

Ian Baek, Aisata Bah, Eloise Bendall, Alice

Jason Glenwright

Campbell, Ginger Campbell, Louis Carroll,

Composer & Sound Design

Alexander Cheung, Sophie Davis, Anton Galati,

Dane Alexander

Riley Gatt, Gil Gracie, Chloe Harnisch-Rojas,

Video Design

Lucas Lawford, Gabriella Massoud,

Craig Wilkinson (Optikal Bloc)

Scarlett Saunders, Adele Simon,

Production Design

Shujay Vijaygiri, Jack Waters

Jonathan Hindmarsh Costumes

Performed at

Madeline Taylor

Riverside Theatres, Parramatta

Choreography

Opened

Dr Nerida Matthaei

18 March 2021

Stage Manager

Season

Jeremy Gordon

17-20 March 2021 Performances 4 Attendance 1,177 Box office $20,640.80

12

A co-production with Q Theatre

LIGHT– S IN THE PARK Writer Alexander Lee-Rekers

Image supplied

ATYP

Annual Report 2021

One quiet night, the street lights flicker out and

Writer

plunge the world into darkness. A “lights out”

Alexander Lee-Rekers

party in Royal Park is announced, and every kid

Director

in town makes their way there to celebrate this

Lucy Clements

strange occurrence.

Dramaturg Jane FitzGerald

A trio of role-players leave their game

Production & Stage Manager

and embark on a quest for revenge…, two

Sorie Bangura

enterprising youngsters sell torches at

Designer

reasonable prices…, the disgraced star of a

Liv Hutley

viral video looks to make her social comeback

Lighting Designer

and the floor-mopper at the local chemist

Benjamin Turner

encounters the worst kind of shoplifter. All these

Sound Designer

stories unfold on the way to the park because

Chrysoulla Markoulli

everybody’s on their way to the same party. And

Content Producer

it is not to be missed.

Adam Stepfner Assistant Director

The Senior ATYP Foundation Commission

Sacha Slip

develops a new play each year that showcases

Rehearsal Assistant

the skills of actors aged 14-17. Lights in the Park

Kate Wooden

is the 2018 winner of this award.

Performed at Cast

Q Theatre, Joan Sutherland Performing Arts

Dean Alexander, Scott Barton, Alexander Billett,

Centre, Penrith

Denica Brillo, Ben Buenen, Laila Chesterman,

Opened

Robin Golka, Josephine Hill, Amélie James-

22 April 2021

Power, Eliza Marshall, Daisy Millpark,

Season

Brayden Sim, Cooper Soo

21-24 April 2021 Performances 6 Attendance 410 Box office $8,333

14

An Arts On Tour co-production

FOL– LOW ME HOME Writer Lewis Treston

Image Luke Stambouliah

ATYP

Annual Report 2021

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Follow Me Home is an insightful theatre

Writer

production by award-winning playwright Lewis

Lewis Treston

Treston. Presented as a series of vignettes,

Director

the play reveals the real stories of a group of

Fraser Corfield

extraordinarily strong, resilient and courageous

Set and Costume Designer

young people.

Aleisa Jelbart Lighting Designer

Inspired by the lived experiences shared by

Martin Kinnane

homeless young people across NSW, this

Sound Designer

thought-provoking work from Australian Theatre

Kailesh Reitmans

for Young People (ATYP) is a must-see for

Production and Stage Manager (Sydney

audiences aged 14 and over. Four talented young

Season), Production Manager (National Tour)

actors take on multiple roles in a fast-paced

Sorie Bangura

show that will leave audiences with a shift in

Stage Manager (National Tour)

perspective, a little more compassion and a

Paisley Williams

deeper understanding of the world around them.

Videographer Hugh Clark

Due to the ongoing NSW COVID-19 lockdowns

Character Consultant

and difficulties with interstate travel, we were

Janine Lau

unable to proceed with the national tour of the

Assistant Director

production. The tour, produced by Arts On Tour,

Hayden Tonazzi

was due to perform in fifteen venues nationally across four states.

Cast Laneikka Denne, Jordan Dulieu (National Tour), Jasper Lee-Lindsay, Sofia Nolan, Thomas Weatherall (Sydney Season) Performed at SBW Stables Theatre, Kings Cross Opened 18 June 2021 Intended Season 16 June - 3 July 2021 Actual Season 16-24 June 2021 Performances

19

Attendance

441

Box office

$11,230

2021 DEPAR– TMEN– TS

ATYP

Annual Report 2021

2021 Departments

Writing Workshops Education Development Marketing Archives

18

WRIT– ING

Photo 2021 Fresh Ink

ATYP

Annual Report 2021

Overview

Commissioned Writers

Workshops 50

Donna Abela

Workshop attendances 279

John Armstrong

Playwrights under commission

Kip Chapman

13

Playwriting participants 79

Felix Cross

Mentors and teachers

Emme Hoy

11

Professional actors, directors,

George Kemp

dramaturgs 42

Alexander Lee-Rekers

Other artists supported

84

Madelaine Nunn

Total artists part of programs

230

Hannah Reilly Alex Vickery-Howe

Audience 225

Kate Walder

States and Territories operated in

Nikita Waldron

4

Hours of dramaturgy

Victoria Zerbst

(Resident Dramaturg) 249 Hours of mentoring/tutoring (Resident Dramaturg)

145

20

Fresh Ink National Mentoring

National Studio

Fresh Ink welcomed Hobart to its program for

In 2021, the National Studio was held online

the first time in 2021, as well as the ongoing

in response to the ongoing challenges of

groups in Darwin, Perth and Sydney. COVID

COVID. For the twelfth year, this successful

impacted the Sydney group, which adapted

program brought together 20 emerging writers

to Zoom meetings during lockdown, including

aged 18-26 from 6 states who experienced

for its mid-year reading. Across the 4 cities,

masterclasses, group tutorials, one-on-one

14 emerging playwrights aged 18-26 wrote

mentoring and industry sessions from award-

two short plays (with one playwright in Perth

winning playwrights Donna Abela (NSW),

completing one short play before withdrawing

Vanessa Bates (NSW) and Lewis Treston (QLD),

from the program for personal reasons), with

as well as Resident Dramaturg Jane FitzGerald.

mid-year and end-of-year readings for each of

The participants of National Studio: From Our

the cities. The program ran in: Darwin, co-

Place to Yours created eight-minute pieces

presented with Brown’s Mart and mentored

which were read over Zoom at the conclusion of

by Ciella Williams; Hobart, co-presented with

the week.

Archipelago Productions and mentored by Belinda Bradley; Perth, co-presented with

A nurturing and stimulating atmosphere was

Barking Gecko and mentored by Will O’Mahony;

created despite not being in person. Of those

and Sydney, mentored by ATYP’s Resident

who attended (and provided feedback), 76%

Dramaturg, Jane FitzGerald.

reported that the impact of COVID-19 had had a negative impact on their mental health and

It was incredible! Belinda was a beautiful,

wellbeing - of these, 92% reported that National

patient, effective and inspiring mentor. The

Studio had a positive impact on their mental

whole process has been a dream!

health and wellbeing.

—Rosemary Cann, Hobart Fresh Ink I loved that we were all treated equally and It was awesome! I really enjoyed the process

professionally, never patronised or treated as

of working under a mentor, doing the writing

though we were inexperienced (though that is

exercises, getting feedback, bonding with my

the case). I always felt trusted enough by all

fellow Fresh Inkers and especially watching the

the mentors to take the theme and produce

actors and directors bring it to life in front of an

meaningful writing.

audience. It was great, I highly recommend it to

—Lotte Beckett, VIC

anyone wanting to get into writing or to improve their writing skills.

—Jack McMillan, Darwin Fresh Ink

ATYP

Annual Report 2021

ATYP Foundation Commissions

Scripts in development

In 2021 there was no call-out for new Foundation

In 2021 the Resident Dramaturg provided

Commissions due to the backlog in production

ongoing dramaturgical support to a number of

caused by COVID. However, Lights in the Park

other scripts:

22

by Alexander Lee-Rekers was produced and published in April 2021; The Chapel, the Fire and

•

the Dead Cat by Madelaine Nunn was completed and published; Soul Trading by Kate Walder was

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

•

completed and prepared for publication; Shack

Amber by Nikita Waldron, winner of the 2021 Rebel Wilson Comedy Commission

by George Kemp was completed and prepared

•

The Resistance by Kip Chapman

for publication, and Cry Havoc by Emme Hoy

•

Ali in Zombieland by John Armstrong

continued its development, supported by Resident Dramaturg Jane FitzGerald.

(including a script development with actors) •

Uncanny Valley by Alex Vickery-Howe

•

Seeing Double by Madelaine Nunn, winner of the 2020 Martin-Lysicrates Prize

Playwriting Masterclasses

•

Intersection 2021: Unleashed - 15 short plays

For the second year, our online playwriting

by the playwrights of the National Studio

masterclasses offered 1.5-hour interactive

2020

sessions on a variety of topics by exceptional professional playwrights. Over three weeks,

Ambassador Opportunities

Jenevieve Chang, Kendall Feaver and Anchuli

Rebel Wilson Comedy Commission

Felicia King each delivered a masterclass via

Won by Nikita Waldron for her pitch for a play,

Zoom, reaching 35 emerging playwrights in 5

Amber.

states.

In 2021, ATYP alumna and international ambassador Rebel Wilson continued her

Thespo Festival

generous support of young Australian artists.

A cross-cultural collaboration with Thespo (India) concluded in digital readings of 10

Being awarded the Rebel Wilson Comedy

short plays at Thespo’s Digital Festival. 18

Commission has truly been one of the highlights

emerging Australian playwrights, dramaturgs

of my year. I am so excited to share what I’ve

and performers aged 18-25, alongside 18

been cooking up and truly couldn’t have dreamt

emerging Indian artists, attended masterclasses

up a more supportive theatre company or a

by Australian and Indian writing and acting

more enjoyable process.

professionals. The teams were supported and

—Nikita Waldron

mentored, creating 5-minute plays which were then showcased at the Festival.

By the end of 2021, Nikita had completed the first draft of her Commission, supported by the Resident Dramaturg. Three further drafts and a development workshop are planned for 2022.

WORK– SHOPS

Photo by Tracey Schramm

ATYP

Annual Report 2021

Overview

ATYP’s high-quality Workshop programs give

24

young people aged 5-26 the opportunity to work together to create their own work, express their own views and perform their stories. Led by some of the industry’s most experienced tutors, all of whom are working professionals, young people build self-confidence, are challenged, and discover valuable insights into the dramatic process.

In 2021, there were title changes across the department. Jacqui Cowell became Head of Learning and Claudene Shoesmith became the Deputy Workshops Manager.

The entire second half of the year's programs were impacted by COVID-19 lockdowns, but overall, and due to our learnings from 2020, we were able to quickly and successfully ensure that we continued to offer workshops to students and provide a place for them to gather, create and learn through some very difficult times.

Holiday Workshops

Weekly Drama Workshops

2021 was again a mixed year for the Holiday

2021 was also a mixed year for our Weekly

workshops program. Even with COVID hesitation

Workshops as the extended lockdowns kept us

and some cancellations, our January holiday

online for the whole of Semester 2.

program was a strong start to the year. We were also able to run a strong Autumn Holiday

Our Weekly program started with strong

program, but unfortunately due to the extended

enrollment numbers across Semester 1. The

lockdowns we ran our Winter and Spring Holiday

majority of the weekly workshops were held

programs online.

in the Eighteen80 Hall in Surry Hills, with our Sunday Theatre Maker classes held at the

Out of caution, we did not invite live audiences

Abraham Mott Hall in Millers Point. We were

into the majority of our performances. As in

unable to hold an end of Semester Performance

2020, all final performances were filmed, added

weekend due to COVID restrictions, but we

to ATYP’s YouTube channel and sent to families.

were able to invite an in-person audience to the

As this is an important part of the program it

last workshop for each individual class so that

was good to be able to continue to deliver a

participants could still share their work.

performance outcome for all participants.

Semester 2 classes started with strong Workshop facilitators

35

enrollment numbers, but as the program

Assistant facilitators

26

returned online our enrolment declined. We

Paid participants

560

were still able to run a reduced program with

Scholarships 50

a recorded performance outcome for all

Programs 48

participants.

Individual workshops 225 Individual attendances 2638

Workshop facilitators 29 Assistant facilitators 5 Paid enrolments 368 Scholarships 19 Programs 26 Individual workshops 416 Individual attendances 3096 Performances 26 Audiences N/A. Not ticketed, numbers are not tracked in addition to limited audiences due to COVID restrictions.

ATYP

Annual Report 2021

26

Industry Studio

Specialist Workshops

Our 18-26-year-old Industry Studio programs

In 2021, we continued our relationship with

were also impacted by the COVID lockdowns.

Orana Arts to deliver online workshops to

We were able to deliver one Industry Studio

facilitate connections with ATYP teaching

program in person before creating and delivering

artists. Classes ran across Terms 1, 2, and 3, with

a series of online offerings that fostered

Junior and Senior sessions. Each class had a

connections with young artists across Australia,

performance outcome and we hosted an online

which is not something that we usually get from

watch party for all participants of the program.

our in-person program.

Workshop facilitators 5 Workshop Facilitators

Assistant facilitators

Natasha McNamara (in person)

Paid enrolments 50

Yve Blake

Scholarships N/A

Fraser Corfield

Programs 7

Carissa Licciardello

Individual workshops 56

Matthew Whittet

Individual attendances 2,800

Jane FitzGerald

Audiences unknown

Katrina Douglas Chris Bendall Bernadette Fam Janine Lau Tasnim Hossain Paid enrolments

103

Scholarships 1 Individual workshops 17 Individual attendances 174

2

EDUC– A– TION

Photo by Tracey Schramm

ATYP

Annual Report 2021

Overview

The ATYP Education program includes a range

28

of onstage, online and face-to-face programs for teachers and students Australia wide. ATYP offers a range of workshops and productions throughout the year for primary and secondary schools. Increasingly, these programs are available online through our free ATYP On Demand platform, allowing students across Australia to access an ATYP production or workshop.

In December 2020, Rowan Bate (Education Coordinator) left the company, and Jacqui Cowell became the Head of Learning, managing the Education and Workshops department.

Monique Johnstone started at ATYP as Deputy Education Manager in February 2021. All education programs were heavily impacted

by COVID-19 in 2021. We were only able to conduct a small number of in-person schools’ workshops, school performances of productions, work experience and streamed productions. We were able to pivot some in-person student and teacher workshops to be delivered online.

Productions

ATYP On Demand Plus

ATYP productions were impacted by COVID-19.

In 2021, we launched ATYP On Demand Plus, a

ATYP opened Follow Me Home, but it closed

complete education package for teachers, that

soon after. The school's show of Shack at The

uses literacy and drama strategies to explore

Stables Theatre didn’t go ahead. There was one

the primary curriculum. ATYP On Demand Plus

school’s performance for I’ve Been Meaning

was trialled in 6 primary schools; 5 in NSW

to Ask You at Riverside Theatres. This was a

and 1 in the Northern Territory. The program

co-production with Critical Stages Touring and

was launched with three units focussing on the

Riverside Theatres.

primary History curriculum: Past and Present (F-2), First Nations Connections

ATYP also participated in the Lysicrates prize

(Year 3-4) and Waves of Migration

performance at Riverside Theatres, with schools

(Year 5-6). Trial school teacher feedback was

attending in person as well as having the option

overwhelmingly positive, with many commenting

to watch it as a live stream or a pre-recorded

on the impact the program had on students’

performance.

interest in and understanding of curriculum content, in addition to their own gratitude for

Resource views 6,000

new strategies and practices and complete units of work with lesson plans.

ATYP On Demand ATYP On Demand is our online learning

The program was formally launched in June

platform, created to remove geographic and

at an event with arts and education industry

economic barriers that students and teachers

colleagues at the Eighteen80 Hall.

across Australia face when wanting to engage with performing arts. The principal aim of the

Due to secured funding, an additional three units

platform is to give schools access to theatre, no

across the English, Science, and Physical Health

matter where they are located across Australia.

and Education curricula were locked in, with two

In hosting high-quality recordings of ATYP’s live

filmed in 2021 and one to be filmed in early 2022,

productions, On Demand enables every school to

all to be released in 2022.

have the best seats in the house.

Site visits (year-end)

4,080

New content is being added to ATYP On Demand

Trial schools in 2021

6

regularly, and membership is available free of

Teachers registered for trials in 2021

56

charge to students and teachers across the

States with subscriptions in 2021

7

country.

Schools subscribed in 2021

17

Teachers with subscriptions in 2021

60

Site visits (year-end)

7,107

Resource views (year-end)

6,000

Teachers registered (year-end)

611

Students registered (year-end)

912

Total registrations (year-end)

1714

ATYP

Annual Report 2021

School Workshops

Theatre Flat-Pack

School workshops are available all year round

Theatre Flat-Pack is a new Education program

and enable students to experience a drama

launched in 2021. The program involves ATYP

workshop on a chosen topic or area of study in

co-producing an ATYP play in a school. ATYP

Drama and Theatre. The workshops are closely

provides an industry director, production

linked to curricula and/or ATYP performances

support, scheduling and licensing.

30

and are delivered either in schools, online via Zoom or at an ATYP venue.

The first Theatre Flat-Pack program, a production of Impending Everyone took place

ATYP also participated in the Martin-Lysicrates

on 5th and 6th June 2021. The production was

Prize performance at Riverside Theatres. A

directed by Sophie Kelly, and involved 13 Year 11

total of 315 students from 8 schools attended

students.

in person, with a further 680 students from 16 schools watched the event as a live stream

The performance was attended by the writer

or recording. 100 students participated in the

Michael Andrew Collins. When students were

shortlisting of the submissions, facilitated in

asked “What are you most looking forward

school with their teachers.

to about Theatre Flat-Pack?”, the students responded with: “Engaging with the audience

In-person workshops

and showing people my work”, and “exploring

Student participants 323

the process of creating a piece of theatre from

Teachers 16

beginning to end."

Workshops 16 McDonald College workshops

Teacher Professional Development

Workshops 564

Devising a Group Performance (online and in-person)

Scots College workshops

Teachers 27

Workshops 134 Digital Storytelling (online) Teachers 18 Verbatim Theatre (online) Teachers 20

DEVE– LOP– MENT

Photo by Tracey Schramm

ATYP

Annual Report 2021

Overview

ATYP is a not-for-profit organisation that relies

32

on philanthropic support to fund core programs and productions, and to keep our activities accessible and inclusive to all young people.

The support of individual donors, trusts and foundations are critical to the company’s growth and success. ATYP gratefully acknowledges all donations received in 2021.

Funding Activities

Christmas Appeal

Annual Appeal

December 2021

May to June 2021

The 2021 Christmas Appeal, titled “Last

The 2021 Annual Appeal engaged the wider

Lockdown, I Gave You My Art”, encouraged our

ATYP community to raise money to support the

community to give-back to artists, who were

core funding of the company. The theme of the

some of the hardest hit during the COVID-19

appeal was “At ATYP, young people get the job

pandemic. Funds were raised for the ATYP

done!” with the aim to inspire donations which

Production Fund to support our first ever

would help directly support ATYP in delivering

fully-professional Season in 2022, and help us

and developing engaging, creative and innovative

showcase new stories, with fresh faces (and

programs and opportunities for us to show the

some well-known ones too!), and get artists

world what young people are capable of.

back to work.

Donors 34

Donors 8

Amount Raised $52,694

Amount Raised $2,630

Adèle Jeffreys Memorial Fund

Individual Donors

In loving memory of ATYP’s late Learning

ATYP warmly acknowledges the financial

Manager, Adèle Jeffreys, the Fund supports

support and encouragement received from

the development of interactive, participatory

individual contributors in 2021. Without this

learning spaces that encourage creativity,

philanthropic support, ATYP would not be able to

inclusion and imagination. In 2021, we raised

deliver our bespoke programs and productions.

funds for the fit-out of Pier 2/3, encouraging

As a not-for-profit, ATYP recognises this

donations to ensure our new home is

continued support is essential for the

extraordinary while recognising Adèle's legacy

advancement of the company and enables us

and vision to ensure young Australians have

to continue to enrich the lives of young people

access to transformative theatre experiences.

through theatre each and every year.

The theme of this unique campaign was "Build a Brighter Place to Play". Donations to the

Pascal Adolphe

fund in 2021 were matched through Creative

Antoinette ‘Popsy’ Albert

Partnerships Australia with a $50,000 Plus1

Apple Pty Limited

grant towards our capital campaign.

Lucinda Armour Ruth Armytage AM

Donors 45

Etty Ayalon

Amount Raised $118,537

Sue Banfield Elise Barton Sue Bate Keith Bradley Joanna Bradley Jocelyn Brewer

ATYP

Annual Report 2021

Andrew Buchanan

ATYP also acknowledges those who donated the

MLC Burwood

cost of tickets for cancelled performances due

Xanthe Chapman

to the COVID-19 pandemic.

Catherine Cooney Sarah Corbett

The Adèle Jeffreys Memorial Fund

Russell Crowe

Malcolm Anderson

John & Libby Fairfax

Bill & Gay Antonopoulos

Anny Friis

Lucinda Armour

Future Generations Australia

Rowan Bate

Ali Gordon

Francesca Beddie

Agatha Gothe-Snape

Angela Bowne SC

Ron Graham

Emma Campbell

Gregory Hamilton

Zoe Castorina

David Jackson

Kar Chalmers

David Jonas

Rebecca Constantin

Tina Kazmer

Yvonne Cowell

Hannah Kim

Jane FitzGerald

Katerina King

Nancy Fox & Bruce Arnold

Ross Lapworth

Fran Hendricks

Matthew May

Ruth Horsfall

Ruth McColl

Glen Jeffreys

Maurissa Montgomery

Beverley Johnson

Mark Nathan

Iley Jones

David Nguyen's Dental Surgeons

Michaela Kalowski

Rachel Owens

Susan Maple-Brown AM

Greeba Pritchard

John McCallum

Chris Puplick AM

Rebel Penfold-Russell OAM

Jonathan Randall

Matthew Purcell

Tim Regan

Sarah Reddie

Whitney Richards

Chris Stalley

Richard Stuart

Richard Stuart

Ervin Tankiang

Lisa Sullivan

Julie Thoms

Annabel Tate

Sally Treeby

Chris Tomkinson

Stephen Varga

Rachel van Eldik

Yvette Wall

Jane Westbrook & Mark Ramsden

Madeleine Winslow

Anonymous (14)

Graeme Wood AM & Anna Cerneaz Anonymous (26)

34

ATYP Foundation

Schedule of voting donors

The ATYP Foundation’s purpose is to provide

The following organisations and individuals have

money, property and additional benefits to ATYP

obtained the status of voting donor:

with the objective to advance, develop and promote the performing arts. ATYP gratefully

Antoinette ‘Popsy’ Albert

acknowledges the ongoing support of the ATYP

Robert O Albert AO RFD RD

Foundation. The capital funds raised through the

Albert Investments

Foundation assist in maintaining a sustainable

Ruth Armytage AM

financial platform on which ATYP can thrive.

Chum Darvall AM Estate of the Late Nicholas Enright

ATYP Foundation Advisory Committee

Carolyn Fletcher AM

Popsy Albert

Henry Herron

Angela Bowne SC (Chair)

Peter Hunt

Chris Puplick AM

Michael Ihlein & Gosia Dobrowolska Millennium Pty Ltd

Capital Campaign

King & Wood Mallesons

We would like to acknowledge the significant

Robert Rich

contribution of ATYP alumna Rebel Wilson, the

Graham O'Neill

Theatre’s namesake, who pledged $1M towards

Ezekiel Solomon AM

our capital campaign. The Rebel Theatre will

Robert Salteri

place young people centre stage and Australia’s

Jill Wran

future leading actors, playwrights, and theatre-

Thyne Reid Trust

makers will walk its boards.

Turnbull Foundation

ATYP would also like to acknowledge

ATYP Pier Group

the generosity of our Pier Group whose

Rebel Wilson

contributions exceeding $100,000 will play a

Popsy Albert

major part in shaping Australia's leading national

Susie & Martin Dickson AM

youth theatre company.

Neilson Foundation Edward Simpson

ATYP acknowledges the financial support of all donors who made generous contributions to

Individual Donors

our capital campaign, including our Buy-A-Seat

Robert O Albert AO RFD RD

donors thus far. We are honoured to have them

Keith Birch

as part of ATYP’s legacy.

Sunday Emerson Gullifer Ruth Hollows

Target $2,600,000

Jessica Laffan

Current Amount Raised

Emma Campbell

$2,044,482

Simon Croker James Handsaker

ATYP

Annual Report 2021

Georgia Wilson

Row B

Amanda Wright

Andrew Dunn

Anonymous (3)

Rob Carlton Roberts Family

Buy-A-Seat Plaques Inscriptions

Anne-Marie Heath

Row A

Rosie Fisher

Alexander Cheung

Antoinette Blaxland

Kirsten Castorina

Cassandra Darvall

Zoe Sarina Castorina

Lucinda Armour

Charlee Kwintner

Jane & Robin Byrne

Andrew Deane & James Buck Jr

Alex Vaughan

Antonia Murphy

Neil Gooding

Eglantine & Marius Samway

C Dunphy, J Louis, J Turner

Zachary Boyd

The Stambouliah Family

Annabelle Szewcow

Rachael Coopes

Harper Lynch - Alumni

Alyssa McClelland

Adelaide & Fletcher Kennedy

For artists of colour to dream

Lucie, Ned & Lucinda Armour

Darcie Irwin-Simpson

Mitchell Butel

Adam Player & Jonathan Alley

For all young Blackfullas - CP

Luca Cavanagh-Downs

Max Oswald

Odette Cavanagh-Downs

Lachlan Philpott

Scarlett Hines

Tommy Murphy for Dane Crawford

Jasper Hines

Michael Gow

Sam Kennedy

Pierre Bourel

Suzy Howarth

Miles Pike

Ava Willow de Jong

Charlie Crowe

Zoe de Jong

Russell Crowe

Peter Murray

Tennyson Crowe

Kristin Williamson

Lyne Owen - for Ava & Hunter x

Kaitlyn M. Brush

The 1 & Only Margi de Ferranti

Asha Boswarva

The Hunt Sisters

Jessica Balzer

Jack Andrew

36

Row C

Row D

Charlie Lau

Gracie & Gus Gilchrist

Charles Fielke

Richard Carroll

Hunter Drama

Jessica Marshall

Paul Viles

Jane Negline

Evan Stanhope

Emmanuelle Mattana

Sunday Webb

The Purcell Family

Stanley Webb

Ellen Borda

Sally Anderson

Ross Steele AM & Alan Toohey

Simon Webb

Elizabeth Butcher

Aaron Beach

Andrew Buchanan

The Worthington Family

Baly Douglass Foundation

The Worthington Family

The Sturzaker/Manion Family

Anderson – Larkins Family

Mark & Jacqueline Warburton

Lizzi Dayney Morrissey

Nancy Fox AM & Bruce Arnold

Mark Morrissey (Morrissey Mgt)

Robert Love

Ciara Hartigan

Mark Ramsden

Caitlin Hartigan

Jane Westbrook

Fraser Corfield

Maple-Brown Family

Danielle O'Keefe

Maple-Brown Family

Chris Puplick AM

Neilson Foundation

Popsy Albert

Jacqueline & Harry Plater

Angela Bowne SC

Joshua Bauchet

Gosia Dobrowolska

Ben Bauchet

Michael Ihlein

Margaret Kirby

Brendan, Jacqui, Yvonne Cowell

Helen Kirby

Claudene & Will Shoesmith

Tom Waterworth

Kaiya, Kar & Keano

Ian Phipps

Hugo Bowne-Anderson

Yim Family Foundation

Isabella Townsend

Dr David Nguyen

Todd Abbott

Dr David Nguyen

Eva Spata

Barbara & Paul Ryan

Sydney Catholic Schools CaSPA

Rachael Brady

Tim Martin

Amy Maiden

Alexandra Glazenburg

Craig McMaster

Yasmina Glazenburg

Brickhill Family

ATYP

Annual Report 2021

Row E

Row F

Mikaela Whitehead

Jan & Maree Sieders

Malcolm Place & Cherine Peck

Peter Hayward

David Berthold

Henrietta Stathopoulos

Jarrod Carland

Tanya Goldberg & Trent Bartfeld

Carly & Nicholas Pickard

Fraser Orford & Luke Taylor

The Champion Family Gus Murray William & Simonne Ingham Joshua Maxwell Sam Davey Gil Stanton Gracie Johannes Martien Mulholland Johanna Mulholland Leonard & Annelise Russo Bronwyn Morgan Alumni 1977-87 Antoinette Sampson AD 1992-1996 Tim Jones AD 2003 - 2008 Mark Gaal AD 1988-1991 Adèle Jeffreys Louise Joanne Menicou Emily’s Wish Foundation Arup Glen Hogstrom Chloe Dallimore Jessica Machin & Déwi Wiasa Simone Parrott William & Simonne Ingham Charlie Mason Bec Allen & Kathryn McCabe Andrew Benson Thomas De Angelis Andrew Davidson Craig Limkin

38

MARKE– TING

Photo by Tracey Schramm

ATYP

Annual Report 2021

In October 2021, ahead of the move to Pier 2/3

and, in the case of our production partner

and the launch of our fully-professional 2022

Archipelago Productions, Tasmania. Despite

season, ATYP unveiled a new brand identity.

the challenges, ATYP delivered a polished and

Developed with pro-bono support from The

professional suite of season collateral which

General Store, the new identity is built around

features the beautiful photography of the very

the concept of duality and captures antonymous

talented Luke Stambouliah.

40

attributes of a professional youth theatre company: professional vs. punk; disciplined vs.

The 2022 season was launched on Wednesday,

rebellious. Central to the new brand is the icon of

24 November via Zoom with guest presenters

the semi-circle which, when animated, playfully

Diya Goswami, Kip Chapman, and George

represents this duality and hints at the traditional

Buchanan, and was attended by 72 members of

comedy and tragedy masks. Coincidentally, the

the ATYP community from around the country.

semi-circle is also emblematic of the seating

The event also launched ATYP’s subscription

bank in our new theatre, The Rebel, which is

program which includes five-, four-, three- and

in direct sight of the Sydney Harbour Bridge

two-play packages.

- another iconic semi-circle. From the vibrant yellow of our previous incarnation, our new

Continued COVID-19 challenges and lockdowns

colour palette is unique to each application

saw an impact on the rest of ATYP’s programs,

with a selection of colours drawn together to

much like in 2020. However, we were a well-

create a gradient. Finally, FH Oscar

oiled machine and once again swiftly pivoted

TM

is herod

as both the primary (SemiBold) and secondary

our Workshop program to an online format and

(Regular) typeface. The curved features of the

saw great interest in our digital classroom, ATYP

new typeface, especially in the glyphs, function

On Demand Plus. Writing programs also saw

symbiotically with the curve of the smile icon.

another online twist with a successful running of

Playwriting Masterclasses and an online National

We are very grateful to The General Store for

Studio Mentoring program.

their expert guidance throughout this process and look forward to realising its full potential in

A large aspect of setting up ATYP for success in

our new home and marketing platforms.

2022 is communicating the move back to Pier 2/3 ahead of the 2022 Production season. The

The Marketing team delivered the 2022 Season

2022 Season Brochure was created with strong

photoshoot in October, at the tail-end of the

written emphasis on the new venue. Additionally,

restrictions of the Sydney lockdown which,

digital and print collateral featured the new Pier

with the exception of The Deb, included limiting

2/3 address.

cast to one per production image, considerably limited staff and crew presence, and a lot of time

Many thanks to The Impact Agency for their

in the fresh air when not shooting in the studio.

continued support as we prepare for the move

The inability for interstate travel also limited

and launch of our new venue with the premiere

our options with casting, with key creatives and

of The Deb.

cast in our 2022 season hailing from Queensland

ARCH– IVES

Photo by Tracey Schramm

ATYP

Annual Report 2021

42

ATYP Archives continued to spend 2021 in

A qualified archivist is employed to identify and

the temporary premises in Woolloomooloo,

organise archival material so that staff and board

before being packed up and ready to move to

members can easily source information and

the newly-built office (to be shared with the

evidence of ATYP operations.

Production team) on Pier 2/3, in January 2022.

Deposits of hard-copy documents are sorted, ATYP has been a peripatetic organisation in its

listed and boxed, analogue photos are scanned

58 years, moving premises at least 15 times.

and backed up to ‘cloud’ storage, databases are

In a testament to the pride of the staff in the

created and populated, and research undertaken,

achievements of the company, records have

on behalf of staff and the public.

been collected, stored and moved each time, so that the corporate memory would be preserved.

Some examples of records’ use are: content for the ATYP website, information and visual

ATYP established its in-house archives in early

material for social media promotion, assistance

2003, with support from the Vincent Fairfax

with furtherance of past participants’ careers,

Family Foundation, the second performing arts

illustrations in publications and documentaries,

company in Australia to do so.

maintenance or initiation of relationships with alumni, and fact-checking.

The collection comprises records of governance, administration, promotion, production and participation, in varied media, some dating from the 1960s.

FINA– N– CIALS

Australian Theatre for Young People and its controlled entity (a company limited by guarantee)

ABN 24 000 816 704

Annual Financial Report 31 December 2021

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 or 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

26

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

29

16

Parent entity note

29

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

S Hand T Hossain A Johnson J Lapworth

Deputy Chair

G Larkins

Chair, Finance Committee

M Morrissey C Puplick

Chair

D Selikowitz N Webb D Worthington Company Secretary

J Mulholland/A Wright

Foundation Advisory Committee

A Albert A Bowne

Chair

C Puplick Registered Office and Principal Place of Business

Pier 2/3, 13A Hickson Road, Dawes Point NSW 2000

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 2021 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 S Hand T Hossain

Date of Appointment

Date of cessation

26 May 2009

Board meetings

Finance Committee meetings

A

B

A

B

6

6

6

5 -

29 Nov 2021

1

1

-

16 Apr 2018

6

6

-

-

-

-

A Johnson

16 Aug 2021

3

3

J Lapworth

21 May 2012

6

6

-

-

G Larkins

12 Aug 2019

6

6

6

6

M Morrissey

25 Nov 2019

6

4

-

-

12 Feb 2018

6

6

6

5

6

1

C Puplick D Selikowitz

12 Aug 2019

6

4

N Webb

12 Aug 2019

6

5

-

-

D Worthington

12 Aug 2019

6

5

-

-

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 and 8 of this report.

Company secretary Amanda Wright has been company secretary since 12 November 2018. From 21 August 2020 – 16 August 2021, Johanna Mulholland acted as company secretary whilst Amanda Wright was 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 $828,463 (2020 consolidated comprehensive income: $792,884).

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 2021 goals included: GOAL ONE: Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.

• • •

Three of the Four nominations for the Sydney Theatre Awards in the Category ‘Best Production for Young People’ for 2021 were by ATYP - Cusp, Follow Me Home and I’ve Been Meaning to Ask You with the latter winning the Award.

The Deb, a new Australian musical was commissioned and developed by ATYP by artists Hannah Reilly and Megan Washington.

In July 2021 ATYP launched a new digital classroom from primary schools, On Demand Plus.

This national program offers every school in Australia access to comprehensive lesson plans and materials that teach educators how to use drama to teach areas of the national curriculum.

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

• • •

•

ATYP On Demand, ATYP’s digital classroom for teachers, has steadily grown with over 5,500

registrations around the country over the reporting period; ATYP maintained a relationship with Orana Arts in Dubbo, regional NSW, connection young people from regional communities in the Central West with drama workshops and masterclasses through the Not a Dress Rehearsal initiative; Once again ATYP delivered drama workshops, masterclasses, teacher professional development programs and the National Playwriting Studio online due to the four month Sydney lockdown. Indeed, when the closure was called on a Friday morning at 11am, the company had cancelled and refunded the planned holiday program (commencing three days later) that afternoon and launched an online program by close of business the following Monday.

ATYP continued to work in partnership with national companies including Browns Mart in Darwin, Barking Gecko Theatre Company in Perth and Archipelago Productions in Tasmania.

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

•

Thanks to the Ian Potter Foundation ATYP has secured funds to deliver programs that service the wider youth arts sector including: o Establishing a quarterly e-news mapping activity across the sector: https://atyp.com.au/yarts-quarterly-q2/ o Establishing a youth arts sector database co-hosted by ATYP and the Theatre Network Australia; o Hiring a Youth Advocacy Officer and a Digital Engagement Designer to steer the company’s advocacy activities; and o Creating opportunities to live stream the work of leading youth theatre companies and host them on On Demand.

Page | 5

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

Samara Hand BA/BLaw (UNSW), MA (UoL)

Samara is an Awabakal woman of Worimi and Biripi descent. Samara is the Learning and Programs Manager at the National Indigenous Youth Education Coalition, and has experience in policy and program design and evaluation, goverment regulation and curriculum development focused on Indigenous Peoples. Samara is also completing her PhD in Law at UNSW on Indigenous Peoples' right to education. Samara was a Board Observer at ATYP in 2021.

Non-executive Director from 29 November 2021.

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.

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.

Andrew Johnson BA, LLB, MSW

Executive Director of Thrive International, Andrew was the first NSW Advocate for Children and Young people, Andrew has lead NGOs both at the national and international level including ACOSS, Australian Republican Movement, Save the Children, ChildFund Alliance and chaired the NGO Committee on UNICEF. 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

Gillian Larkins

Gillian Larkins is currently the Chief Financial Officer of the ASX.

BCom, Grad Dip, MBA, GAICD, FCA

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, Create NSW Theatre and Music Theatre Board. Formerly Senator for NSW (1978-81; 1984-90) and Shadow Minister for the Arts. Formerly Chair Griffin Theatre Company, National Film and Sound Archives and Board of NIDA. Chair William Fletcher Foundation.

Author of two Platform Papers for Currency Press on aspects of public policy in the arts.

Chair and Non-executive Director.

Daniel Selikowitz MBA (Harvard), BA/BLaw (USyd)

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.

Non-executive Director.

An award-winning PR specialist, Nicole is the founder and CEO of The Impact Agency, with previously held PR BA Communications, PR & Media (UC) 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.

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

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

Sigma Green Belt for Leaders (SA Donna has a blended background of working in Financial Partners), Bachelor of Business (USC), Services and consulting, having worked in Big 4 Diploma of Export Management (USC) 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 2021 the collective liability was $100 (2020: $90).

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 continued to encounter significant business interruption due to Covid-19. The Company had planned for the delivery of in-person engagements across all programs, including a national tour.

The lockdown in July saw the Company cancel productions, including the tour which had opened in Sydney, as well as returning to online workshops for a period of time.

Significant events after year end ATYP received the keys to the long-awaited new venue at Pier 2/3, 13A Hickson Road Dawes Point, on 17 January 2022. The Company had been planning to move into the venue in December 2021, however delays in construction meant this timeline was pushed back. ATYP has identified defects within the new venue, and is working with Create NSW and Create Infrastructure to address these.

Due to the effects of the Covid-19 Omicron outbreak, ATYP had to reschedule two productions in its first subscription season. “The Deb” was due to commence rehearsals in January and open in February. The Company assessed the risk to the cast and creative team was too great to begin the rehearsal process, and this was postponed until the end of February. “The Resistance” was postponed to 2023. Writer and director, Kip Chapman, is based in New Zealand, and travel restrictions prevented necessary creative developments taking place in time to stage the production.

Likely developments and future results ATYP currently has no federal operational funding from the Australia Council for the Arts for 2023.

However, the company will be eligible to apply for funding in 2025 fund round.

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

Page | 8

Directors’ Report Australian Theatre for Young People and its controlled entity 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 2021, 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

Page | 10

Consolidated Statement of Surplus or Deficit and Other Comprehensive Income For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity Note

2021

2020

$

$

Revenue Other income Depreciation and amortisation expense

10/11

(51,772)

2,107,754 876,356 (54,947)

Employee benefits expense

15.2

(1,892,554)

(1,630,745)

(109,999)

(125,095)

(152,156)

(106,589)

(340,259)

(271,059)

826,082 -

795,675 -

826,082

795,675

4 4

Infrastructure expenses Marketing expenses Production expenses Surplus before income tax Income tax expense

3.8

Surplus for the year Other comprehensive income for the year, net of income tax Total comprehensive income for the year

9

3,075,303 297,519

2,381

(2,791)

828,463

792,884

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 2021 Australian Theatre for Young People and its controlled entity Note

2021

2020

$

$

1,991,157 166,734 15,329 475,000

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

2,648,220

1,524,426

181,312 56,393 208,700

37,693 53,048 206,319

446,405

297,060

3,094,625

1,821,486

109,117 103,842 634,268 103,380

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

Current liabilities

950,607

505,931

Total liabilities

950,607

505,931

2,144,018

1,315,555

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

Net assets Equity General funds Capital fund Revenue fund Capital campaign reserve FVOCI reserve Settlement sum Total equity

17.1 17.2 17.3 17.4

241,289 864,370 524,103 505,545 8,700 11 2,144,018

(81,442) 864,370 20,752 505,545 6,319 11 1,315,555

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 2021 Australian Theatre for Young People and its controlled entity

Note

Parent Company General Funds

Capital Fund

Revenue Fund

$

$

$

Balance at 1 January 2020

(611,719)

1,009,370

Surplus for the year Other comprehensive income

370,821 -

-

9

Total comprehensive income for the year

370,821

-

Transfer to/(from) reserves

159,456

(145,000)

Balance at 31 December 2020

(81,442)

864,370

Balance at 1 January 2021

(81,442)

Surplus for the year Other comprehensive income

(4,102) 424,854 -

FVOCI Reserve

$

120,001

Settlement Sum

Total equity

$

$

$

9,110

11

522,671

-

(2,791)

-

795,675 (2,791)

-

(2,791)

-

792,884

385,544

-

-

-

20,752

505,545

6,319

11

1,315,555

864,370

20,752

505,545

6,319

11

1,315,555

412,168 -

-

413,914 -

-

2,381

-

826,082 2,381

412,168

-

413,914

-

2,381

-

828,463

Transfer to/(from) reserves

(89,437)

-

89,437

-

-

-

-

Balance at 31 December 2021

241,289

864,370

524,103

505,545

8,700

11

2,144,018

Total comprehensive income for the year

9

424,854

Capital Campaign Reserve

(400,000)

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 2021 Australian Theatre for Young People and its controlled entity Note

2021

2020

$

$

• Normal course of operations

1,689,636

1,273,176

• Government grants

2,062,137

565,717

265,893

732,100

2,132

14,197

Operating activities Receipts from:

• COVID-19 Government support • Interest income Payments to clients, suppliers and employees

(2,724,062)

Net cash provided by operating activities Investing activities Purchases of plant and equipment Purchase of intangible assets Dividends and distributions

(2,198,085)

1,295,736

387,105

(179,859) (18,877) 7,531

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

Net cash used in investing activities

(191,205)

(27,524)

Financing activities Repayment of principal portion of lease liability

(30,475)

(17,519)

10 11

Net cash used in financing activities

(30,475)

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

5

(17,519)

1,074,056 917,101

342,062 575,039

1,991,157

917,101

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 2021 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.

Historical cost convention

The financial statements have been prepared under the historical cost convention.

Critical cost convention

The preparation of the financial statements requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the Group’s accounting policies. The areas involving a higher degree of judgement or complexity, or areas where assumptions and estimates are significant to the financial statements are disclosed at Note 3.15.

The financial statements for the year ended 31 December 2021 were approved and authorised for issuance by the Board of Directors on 26 May 2022.

2

New or 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.

Page | 15

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 3.3

Summary of accounting policies continued 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.

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.

Page | 16

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 3.5

Summary of accounting policies continued 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.

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.

Page | 17

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 3.7

Summary of accounting policies continued Leases continued

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.

3.8

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.

Page | 18

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 3.10

Summary of accounting policies continued Employee benefits continued

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.

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).

Page | 19

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 3.14

Summary of accounting policies continued 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).

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.

Page | 20

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3

Summary of accounting policies continued

3.14

Financial instruments continued

Subsequent measurement of financial assets continued Financial assets at fair value through profit or loss (FVPL) continued 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.

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.

Page | 21

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 3 3.14

Summary of accounting policies continued Financial instruments continued

Classification and measurement of financial liabilities continued 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

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

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. Other than as addressed in specific notes, 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.

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.

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.

Page | 22

Notes to the Financial Statements For the year ended 31 December 2021 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

2021

2020

$

$

86,234 563,930 390,829 1,384,322 83,815 553,007 1,320 2,395

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

• Interest

1,920

11,025

• Dividends

7,531

8,365

3,075,303

2,107,754

186,693 13,671 97,155

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

297,519

876,356

3,372,822

2,984,110

2021

2020

$

$

82,226 45,000

60,000 445,796

127,226

505,796

1,874,670

514,288

1,874,670

514,288

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

4.1

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

Net grant revenue Note

Unexpended grants – 1 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 repayable – 31 December

4.2 4.2

4.2

4.2 4.2 4.2

4.2

(38,022) (574,114) (5,438)

(82,226) (45,000) -

(617,574)

(127,226)

1,384,322

892,858

Page | 23

Notes to the Financial Statements For the year ended 31 December 2021 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 2021

Unexpended Grants 31 Dec

Grants in Advance 31 Dec

Net Grant Income 2021

Net Grant Income 2020

$

$

$

$

$

$

$

-

195,407

286,332

Australia Council: •

Operational

-

-

195,407

-

•

Follow Me Home

-

-

165,040

(5,438)*

-

159,602

-

• The Resistance Create NSW:

-

-

39,290

-

(39,290)

-

-

•

Operational

-

-

220,000

-

-

220,000

200,000

•

Special Initiatives Funding

-

-

-

-

-

-

60,000

•

Regional and Remote Digital Marketing Strategy

-

-

-

-

-

-

5,000

•

Arts and Cultural Funding Program

-

-

-

-

-

-

3,000

•

Decant – Venue Hire and Fit-Out

-

-

179,501

-

-

179,501

140,802

•

Project Funding – Ali in Zombieland

33,680

-

-

-

8,656

6,000

•

Rescue and Restart Funding

-

-

220,000

-

-

220,000

-

•

Youth Arts Sector National Connections

-

-

59,000

-

(59,000)

-

-

33,680

-

1,078,238

(98,290)

983,166

701,134

Sub-totals carried forward

(25,024)

(25,024)

* Relates to grants repayable, disclosed under Note 12, as a part of sundry payables and accruals, and has been excluded from the total above.

Page | 24

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 4 Revenue continued 4.2

Grant reconciliation continued

Sub-totals brought forward City of Sydney:

Unexpended Grants 1 Jan

Grants in Advance 1 Jan

Received in 2021

$

$

$

33,680

-

1,078,238

Unexpended Grants 31 Dec $

(25,024)

Grants in Advance 31 Dec $

(98,290)

Net Grant Income 2021

Net Grant Income 2020

$

$

983,166

701,134 6,180

•

Walking Tour

-

-

-

-

-

-

•

Young Showcase Series

-

-

-

-

-

-

6,140

• Digital Workshops St George Foundation:

-

-

-

-

-

-

20,000

• Workshop Scholarship Program Crown Resorts Foundation:

-

-

-

-

-

-

49,950

7,500

22,500

22,500

-

(22,500)

30,000

15,000

7,500

22,500

22,500

-

(22,500)

30,000

15,000

-

-

33,546

-

-

-

-

33,546

66,454

-

-

751,432

(12,998)

(430,824)

307,610

-

82,226

45,000

1,874,670

1,384,322

892,858

•

Western Sydney Arts Education Initiative Packer Family Foundation: •

Western Sydney Arts Education Initiative Service NSW: • Small Business Grant Thyne Reid Foundation: • On Demand Plus Office for the Arts: •

RISE Funding

13,000

(38,022)

(574,114)

Page | 25

Notes to the Financial Statements For the year ended 31 December 2021 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

2021

2020

$

$

1,991,157

917,101

1,991,157

917,101

2021

2020

$

$

3,656 163,078

3,868 79,200 23,800

166,734

106,868

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

2021

2020

$

$

Financial assets

Financial assets measured at amortised cost 5

1,991,157

917,101

• Trade and other receivables

6

166,734

106,868

• Investment in ASX Listed securities

9

208,700

206,319

• Investment in term deposits

9

475,000

475,000

2,841,591

1,705,288

• Cash and cash equivalents

Financial liabilities

Financial liabilities measured at amortised cost Trade and other payables

12

109,117

143,384

109,117

143,384

Page | 26

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 8

Other assets

Other assets consist of the following: Note

2021

2020

$

$

Deposits paid

200

200

Prepayments

15,129

25,257

15,329

25,457

Current

9 Financial assets Financial assets consist of the following:

2021 Shares – ASX listed Term deposits Total 2020 Shares – ASX listed Term deposits Total

Opening Balance

Additions/ (disposals)

Surplus/ (deficit) on revaluation

Closing Balance

$

$

$

$

206,319 475,000

-

2,381 -

208,700 475,000

681,319

-

2,381

683,700

209,110 475,000

-

(2,791) -

206,319 475,000

684,110

-

(2,791)

681,319

10 Property, plant and equipment Details of the Group’s property, plant and equipment and their carrying amounts are as follows:

Gross carrying amount Balance 1 Jan 2021 Additions Disposals Balance 31 Dec 2021 Depreciation and impairment Balance 1 Jan 2021 Written back on disposal Depreciation

Right-of-use Asset

Plant & Equipment

Leasehold Improvements

Total 2021

$

$

$

$

120,958 166,522 -

13,337 -

216,755 179,859 (95,797)

287,480

13,337

300,817

95,797 (95,797) (66,767) 95,797 (29,030)

(112,295) (7,210)

-

(179,062) 95,797 (36,240)

-

(119,505)

Balance 31 Dec 2021

-

(119,505)

Carrying amount 31 Dec 2021

-

167,975

13,337

181,312

Page | 27

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 10 Property, plant and equipment continued Right-of-use Asset

Plant & Equipment

Leasehold Improvements

Total 2021

$

$

$

$

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

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

Total 2021

70,563

70,563

18,877

18,877

89,440

89,440

$

$

Gross carrying amount Balance at 1 January 2021 Additions Balance at 31 December 2021 Amortisation and impairment Balance at 1 January 2021

(17,515)

(17,515)

Amortisation

(15,532)

(15,532)

(33,047)

(33,047)

56,393

56,393

Balance at 31 December 2021 Carrying amount 31 December 2021 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

Page | 28

Notes to the Financial Statements For the year ended 31 December 2021 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

2021

2020

$

$

100,454 8,663 -

76,252 39,646 27,486

109,117

143,384

2021

2020

$

$

94,079 9,763

22,000 117,670 -

103,842

139,670

2021

2020

$

$

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

Current Income received in advance Workshop fees in advance Box office in advance

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

Current Unexpended grants

4.2

38,022

82,226

Grants received in advance

4.2

574,114

45,000

22,132

25,211

634,268

152,437

Auspiced grants payable

Page | 29

Notes to the Financial Statements For the year ended 31 December 2021 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: 2021

2020

$

$

78,000 25,380

47,000 23,440

103,380

70,440

2021

2020

$

$

32,940 1,693,112 145,599 20,903

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

1,892,554

1,630,745

2021

2020

$

$

Current assets

1,256,620

565,957

Total assets

1,494,325

656,697

Current liabilities

953,062

562,594

Total liabilities

953,062

562,594

Net assets/retained earnings

541,263

94,103

447,159

405,820

Other comprehensive income

-

-

Total comprehensive income

447,159

405,820

Note

Current Annual leave Long service leave

15.2

Employee benefits expense

Expenses recognised for employee benefits are analysed below: Note

Employee benefits provided Salaries, wages and fees Superannuation Workers compensation and other expenses

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

Statement of financial position

Statement of surplus or deficit and other comprehensive income Surplus for the year

Page | 30

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 17 Designated funds 17.1

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 Transfer to Capital Campaign Reserve

2021

2020

$

$

864,370

1,009,370

864,370

17.2

(145,000) 864,370

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

2021

2020

$

$

Opening balance

20,752

(4,102)

Foundation surplus

413,914

424,854

89,437

(400,000)

Transfer from/(to): •

Capital Campaign Reserve

524,103 17.3

20,752

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 to reserve, In support of Pier 2/3 Capital Campaign

2021

2020

$

$

505,545

120,001

-

385,544

505,545

505,545

Page | 31

Notes to the Financial Statements For the year ended 31 December 2021 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

2021

2020

$

$

6,319

9,110

2,381

(2,791)

8,700

6,319

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

2021

2020

$

$

283,825

239,523

Director donations

The total amount of donations received from directors during the year ended 31 December 2021 amounted to $13,000 (2020: $10,010).

19 Contingent liabilities There are no contingent liabilities incurred by the Group in relation to 2020 or 2021.

20 Post-reporting date events ATYP obtained control of its new leased premises at Pier 2/3, 13A Hickson Road Dawes Point, on 17 January 2022. The company had been planning to move into the venue in December 2021, however, operational delays meant that this timeline was not met. ATYP has identified defects within the new venue, and is working with Create NSW and Create Infrastructure to address these.

The terms of the lease are bound by a confidentiality agreement, and hence no further comment can be made regarding the terms of the lease agreement. In accordance with AASB16 the company will report a Right of Use Asset and the corresponding discounted lease liability in its Financial Report for 2022 and throughout the term of the lease.

Page | 32

Notes to the Financial Statements For the year ended 31 December 2021 Australian Theatre for Young People and its controlled entity 20 Post-reporting date events continued The impact of the Coronavirus (COVID-19) pandemic is ongoing and while it has been financially positive for the company up to 31 December 2021, 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.

Due to the effects of the Covid-19 Omicron outbreak, ATYP had to reschedule two productions in its first subscription season. “The Deb” was due to commence rehearsals in January and open in February. The Company assessed the risk to the cast and creative team was too great to begin the rehearsal process, and this was postponed until the end of February. “The Resistance” was postponed to 2023. Writer and director, Kip Chapman, is based in New Zealand, and travel restrictions prevented necessary creative developments taking place in time to stage the production. No other matter or circumstance has arisen since 31 December 2021 that has significantly affected, or may significantly affect the company's operations, the results of those operations, or the company'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 2021, the total amount that members of the Company are liable to contribute if the Company is wound up is $100 (2020: $90).

22 Charitable Fundraising 22.1

Details of gross income and expenditure from fundraising activities: Note

2021

2020

$

$

Revenue from fundraising

1,040,993

774,076

Total income

1,040,993

774,076

Fundraising expenses Functions

(1,440) (842)

(7,329) (883)

Total expenses

(2,282)

(8,212)

Surplus from fundraising activities 22.2

1,038,711

765,864

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 2021

2020

$

$

Cash generated from fundraising

1,038,711

765,864

Total assets resulting from fundraising

1,038,711

765,864

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 2021 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 2021, 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 2021 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 2021, 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)

Giving a true and fair view of the Group’s consolidated financial position as at 31 December 2021 and of its consolidated financial performance and consolidated cash flows for the year then ended; and

(b)

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 2021 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 2021; and (b) The financial report has been properly drawn up, and the associated records have been properly kept for the year ended 31 December 2021, 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: 25 May 2022

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 2021. 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 25 May 2022

Page | 38

ATYP

Annual Report 2021

ATYP Staff

Resident Technologist

Artistic Director

Daniel Andrews

Fraser Corfield

Company Accountant

General Manager (returning from mat leave,

Steve Davidson

August) New title Executive Director

Archivist

Amanda Wright

Judith Seeff

Acting General Manager till August, then

Administration Coordinator

Director of Strategic Initatives

Janine Lau

Johanna Mulholland Finance & Operations Manager

ATYP Board

Chrissy Riley (maternity leave from May)

Fraser Corfield

Finance & Operations Coordinator

Samara Hand (Board Observer)

Yoko Miki-Feeney (from May)

Tasnim Hossain

Development Manager

Andrew Johnson

Stephen Attfield (until February)

Janine Lapworth

Marketing & Communications Manager

Gillian Larkins

Lucy McNabb (from February)

Mark Morrissey

Head of Learning

Chris Puplick AM (Chair)

Jacqui Cowell

Daniel Selikowitz

Production & Technical Manager

Nicole Webb

Amber Silk (from November)

Donna Worthington

Production Coordinator Sorie Bangura

ATYPicals

Resident Dramaturg

Adam Stepfner

Jane FitzGerald

Alan Fang

Deputy Workshops Manager

Alaska Turner

Claudene Shoesmith

Alexis Nguyen

Deputy Education Manager

Amelia McCann

Monique Johnstone

Anjelica Murdaca

Development Officer

Apsara Lindeman

Meg Goodfellow

Aria Ferris

Marketing Coordinator

Aria Rai Munton

Erica Penollar

Astra Milne

Art Director

Blake Hohenhaus

Justin Stambouliah

Brayden Sim

Advocacy Officer

Bridget Gielissen

Rebecca Clarke (from June)

Chiara Lo Pilato

Digital Engagement Designer

Claire Holland

Georgia McGinness (from July)

Coco Gracie Connie Annabel

44

Danial Yazdani

Miranda Michalowski

Declan Dowling

Nick Annas

Demitra Sealy

Noemie Huttner-Koros

Ewan Peddley

Olivia Calverley-Haack

Fletcher Scully

Olivia Everingham

Flick Anderson

Olivia Xegas

Gabriella May

Parker Craig

Gia Cohen

Pierre Bourel

Griffin Walsh

Rebekah Parsons

Hannah Kim

Rhayne Fountain

Helena Burke

Robbie Wardhaugh

Indiana Jamie

Rosy Cardis

Isabel Knight

Samuel Hatton

Isabel Zakharova

Sarah Carroll

Isabella Nolan

Sarah Maguire

Jack Walton

Sasha Grace Hallit

Jacob Parker

Sonia Dodd

Jai Cameron

Suzanna Steele

Jasper Reucassel

Tahlia Merlino

Jasper Whittet

Tahlia Ransley

Jessica Marshall

Tara Neilsen

Jo Bradley

Thomas Hamilton

Jordon Riley

Tobias Purcell

Josephine Elisabeth Hill

Tristan Brown

Josephine Lee

Victoria Bullard

Julia Chuah McNamara

Zoe Castorina

Justin Lou Kalani Guillien

2021 Rebel Wilson Comedy Commission

Kate Bobis

Recipient

Kate Wooden

Nikita Waldron

Katherine Sortini Laura Campbell

Partners & Supporters

Lily Hayman

ATYP recognises the assistance received by

Lily Sauran

the NSW Government through Create NSW

Louis Beaumont

and the Australian Government through the

Louise Colin

Australia Council for the Arts, its arts funding

Maddison Calcott

and advisory body.

Mannon Davies Margaret Thanos Mia Grace Williams

ATYP

Annual Report 2021

Government

Media Partners

Restart Investment to Sustain and Expand

IMPACT Agency

(RISE) Fund – an Australian Government

Carnivore Films

initiative

Big Spin

Australia Council for the Arts

Kabuku PR

Create NSW

Vision Australia

Create Infrastructure NSW City of Sydney

Learning Partners Drama NSW

Foundations

State Library of New South Wales

ATYP Foundation

The McDonald College

Baly Douglass Foundation

Orana Arts

Copyright Agency

Poetry in Action

Creative Partnerships Australia

The Girls and Boys Brigade

Crown Resorts Foundation

The Catholic Diocese of Parramatta -

Future Generation Australia

CAPTIVATE

Graeme Wood Foundation

The Smith Family

The Ian Potter Foundation

The Fact Tree Youth Service

James N. Kirby Foundation

CREATE Centre

Jibb Foundation Packer Family Foundation

Production Partners

The Lansdowne Foundation

Archipelago Productions

Sidney Myer Fund & The Myer Foundation

Artology

The Neilson Foundation

Auckland Theatre Company

The Lysicrates Foundation

Australian Plays Transform

Thyne Reid Foundation

Barking Gecko Theatre

Yim Family Foundation

Brown's Mart Camp Sugar Productions

Business Partners

Currency Press

BBM Youth Support

Griffin Theatre Company

The General Store

Haymes Paint

Givar

Playlab

King & Wood Mallesons

Q Theatre

Minter Ellison

Riverside Theatres, Parramatta

Stagekings

Playwriting Australia

Studio Jack

Salamanca Arts Centre Shopfront Arts Co-Op

Hospitality Partner

Tasmanian Government

Optimiste Wines

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Australian Theatre for Young People Eora Country, Pier 2/3, Suite 2/13A Hickson Rd, Dawes Point NSW 2000 (02) 9270 2400 hello@atyp.com.au atyp.com.au