ATYP Annual Report 2023

TWENTY THREE ANNUAL REPORT

ATYP

ATYP acknowledges that we are a company that works and creates on the traditional lands and waters of First Nations people. From our base on Gadigal land, we run programs in Aboriginal and Torres Strait Island nations across the country.

We pay our respect to Elders past and present.

Always was, always will be, Aboriginal land.

Photo by Alice Boshell

TWENTY THREE ANNUAL REPORT

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Contents

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ATYP Our Vision Board & Staff Artistic Director’s Report

3 4 6

2023 Major Projects The Resistance CUSP National Tour Soul Trading Reboot Social Circus Lab

10 12 14 16 18

2023 Programs Writing Workshops Education Generator – Regional Engagement

23 27 31 37

Financial Statements

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Our Vision To enrich the lives of young Australians through transformative theatre experiences. We do this through three aspirations: 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.

ATYP is guided by four long-term strategies. They provide holistic thinking that sits across all company activities and discussions. They are: • National Impact – ensure programs resonate locally, regionally and nationally.

• Artistic Excellence – deliver programs with artists, companies, venues and events synonymous with artistic excellence.

• Innovation – embrace the evolving nature of storytelling as it relates to young people and celebrate risk and experimentation.

• Collaboration – be a meeting point between the professional theatre industry, youth arts sector, educational institutions and non-arts community for the benefit of young Australians.

Left: The Resistance, 2023 Photo by Clare Hawley

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Board Chair Deputy Chair

Youth Observer Youth Observer

Chris Puplick Gillian Larkins (stepped down 30th October) Nicole Webb Donna Worthington Samara Hand John Harding (appointed 31st July) Lily Hayman Jack Walton

ATYP Staff Artistic Director & CEO Executive Director Director of Strategic Initiatives Business Manager Education Manager Marketing Manager Workshop Manager Resident Dramaturg Production Manager Associate Producer Education Coordinator Development Coordinator Marketing Coordinator Digital Engagement Designer Venue Coordinator Resident Technologist Archivist Workshop Coordinator

Right: Photo by Clare Hawley

Fraser Corfield Amanda Wright Johanna Mulholland (until August) Adrienne Vaughan (from October) Chrissy Riley Jacqui Cowell Jason Dickson (March–November) Alana Dunn Jane FitzGerald Taryn Zentrich (until October) Hayden Tonazzi George Kemp Aden Abeleda Rebecca Herkess Georgia McGuiness (until June) Lillie Bailey (from June) Catherine Thompson Daniel Andrews Judith Seeff Emily Johnson

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Black Dog Institute to deliver a series of videos that communicate research into suicide prevention. The videos, which demonstrate how to have a conversation with someone you feel may be having suicidal thoughts, was developed in partnership with young people with lived experience and launched on the ATYP On Demand website. The company also established a partnership with The Smith Family to deliver workshops in underprivileged schools nationally through the SmArts program.

Wright in 2020 and proved too valuable to let go at the end of the year.

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Artistic Director’s Report While 2022 started with the optimism and ambition of moving into the new venue and launching a professional season in The Rebel Theatre, by contrast 2023 began with the realisation that the financial cliff that had long been discussed by staff and Board was drawing inexorably closer. It was the year the loss of Australia Council funding came into full effect, no longer covered by the funds received under the Federal Government’s RISE funding. As a result, 2023 ushered in a new age of austerity for ATYP. The strategy leading into 2022 was that the company would launch a professional theatre season targeting audiences aged 13+, an intergenerational family audience of theatre goers interested in professional theatre driven by young characters. It was hoped the success of this season and the Board’s capacity to engage politicians and cultural leaders in the company’s work would be used to leverage emergency funding to get the company through the following two years until it could once again apply for operational funding.

Sadly, ATYP proved unable to bring politicians and change-makers to the new Rebel Theatre to see what was being achieved, and the fundamental shift in audience behaviour in 2022 brought subscription seasons into question more broadly across the professional theatre industry.

As a result, ATYP made some significant changes to programming in 2023 to minimise costs. The company only staged two major productions. The first was a critically acclaimed season of The Resistance by Kip

Chapman which was presented in partnership with Auckland Theatre Company. The work had to be postponed from 2022 because of the disruptions to the creative development process bought about by COVID lockdowns and border closures, but ATYP was obliged to ensure it was produced. The year was then bookended by a return season of CUSP by Mary Anne Butler, which received Playing Australia funding to open in Sydney and undertake a regional tour before performing in the Darwin Festival to standing ovations and finishing its last performance in Nhulunbuy, in the community referenced in the play.

The company moved the Junior Foundation commission into the workshop program under an initiative called the Young Industry Studio.

Rather than offering an opportunity for all young people aged 10–13yrs to audition and be a part of the program, the show operated as a drama workshop masterclass where successful auditionees paid a significant participation fee that offset the costs of staging the work.

This allowed the company to stage Reboot by Michael Costi. ATYP was also able to support independent theatre company Steps and Holes to stage Kate Walder’s Soul Trading. ATYP intended to present Soul Trading in 2020 and 2021 but it was cancelled due to COVID. As a result, Kate committed to producing the show under her own company with support from ATYP. In order to continue delivering creative programs that engage young people the company established partnerships with the not for profit sector. This included a commission from The

The major administrative undertaking of the year was the development of a new Strategic Plan which was completed for the four-year funding application to Creative Australia. I’d like to acknowledge the generous in-kind support of Sam Peters and the team at Ernst & Young for their assistance with this process.

Sam has been involved with our strategic planning since 2011 and his guidance has been invaluable. ATYP was relieved to learn at the end of 2023 that we were successful in gaining operational funding for 2025–2028.

Employment issues befalling the larger performing arts sector in 2023 impacted ATYP. We were grateful for the assistance of Jason Dickson who stepped in as an interim Marketing Manager during the year, as well as the team at Paperjam Partners who gave us Taryn Zentrich as Operations Manager and assisted us to navigate a shortage of technical staff. We were very sad to say goodbye to our Executive Director of Strategy, Johanna Mulholland in August. Johanna joined the company as a maternity cover for Amanda

Chris Puplick stepped down as the Chair of ATYP after four years in the role navigating an exceptionally difficult period in the company’s history. I would like to acknowledge the exceptional role Chris played navigating the COVID years and the company’s defunding by the Australia Council. ATYP will be forever grateful for his contribution.

While there is a silver lining on the horizon with operational funding returning from the Federal Government in 2025, and the opportunity to apply for increased State funding in 2024, it is clear there is a further period of hardship ahead. ATYP moves into 2024 on the lowest level of operational funding in sixteen years which has significant implications for both the staff and the programs we deliver. It is a difficult time for the professional performing arts in Australia and ATYP is at the coalface of those concerns. Hopefully another year of austerity will see us through to greener pastures and new opportunities.

Fraser Corfield

ATYP Artistic Director & CEO

Left: Photo by Luke Stambouliah

2023 Major Projects

The Resistance 16 Feb—11 Mar CUSP National Tour 24 May—17 Aug Soul Trading 6—10 Sep Reboot 9—12 Nov Social Circus Lab 24 Oct (Launch)

THE RESISTANCE

A co-production with Auckland Theatre Company

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“Kip Chapman’s script is masterful, with an important and long-past-urgent message, a lot of heart, and a fantastic sense of humour.”

Writer & Director Kip Chapman Dramaturgs Adriane Daff & Jane FitzGerald Cultural Consultant Abbie-lee Lewis Set & Costume Designer Tobhiyah Stone Feller Sound Designer Luke Di Somma Lighting & AV Designers Rachel Marlow & Bradley Gledhill Production Manager Taryn Brown Stage Manager Amellia Bruderlin Assistant Director Sophia Bryant ASM Angélique Riou Stage Manager Intern Michele Gould Design Assistant Hannah Tayler Design Interns Olivia Calverley-Haack Savannah Melvin Erin Lesnie

– TheatreTravels.com

“If The Resistance is anything to go by, Australia’s climate future is in good hands.”

– Toasting Aussie Theatre

“THE RESISTANCE is exciting, challenging and interactive… the play was an embracing fun machine.”

– Sydney Arts Guide

Marlee’s on a mission, Bundilla is seeking justice, Miro has his head in the clouds and Pepper just wants to blow things up. With this group in charge, it’s no wonder the rally is going nowhere fast. But when Marlee is unexpectedly thrust into the limelight, it suddenly feels as if the whole country is watching. Could these young people save the world?

by Kip Chapman

Set in the arena of the climate justice movement and social media, The Resistance is a giant protest rally exploring the power of friendship, the pain of ambition and the deliciousness of potato chips. Interactive theatre-maker Kip Chapman (Destination Mars, APOLLO 13: Mission Control) takes over The Rebel Theatre and immediately destroys the fourth wall, welcoming the audience in on the action.

Performed at The Rebel Theatre Season 16 February–11 March 2023

Photo by Luke Stambouliah

Cast Diya Goswami Lakesha Grant Genevieve Lemon Thea Sholl Jo Turner Jack Walton Fraser Crane (Understudy)

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“An important new work about people and places that deserve a voice but are rarely heard.” – audience feedback form, 2023

Writer Mary Anne Butler Director Fraser Corfield Dramaturg Jane FitzGerald Designer Cj Fraser-Bell Lighting Designer Jessie Davis Sound Designer Brad Fawcett Lighting Realiser Jasmine Rizk Tour Manager Kate Atkinson Technician/Operator Chris Kluge Cultural Consultant Rosealee Grimes [nee Pearson] Associate Director Hayden Tonazzi Rehearsal Stage Manager Bronte Schuftan

Winner in the 53rd Annual AWGIE Awards for the category ‘Theatre for Young Audiences’.

CUSP

Co-presented with Artback NT and the Darwin Festival

Winner in the Northern Territory Literary Awards for the category ‘Brown’s Mart Theatre Award’.

Elvis wants Rosie. Rosie wants to escape.

Maddie doesn’t know what the hell she wants, but it sure isn’t this.

by Mary Anne Butler

While Rosie balances the needs of community with her own life dreams, Elvis juggles a life of crime with a tougher path into the straight-and-narrow, and Maddie faces life as a single parent. CUSP juxtaposes the Northern Territory’s vast Top End landscape with the turbulent lives of three emerging adults as they swim against the tide of irrevocable change; balancing choice versus fate in a world where, as Elvis observes, “Some people get better choices to choose from.”

Created by Mary Anne Butler, CUSP is a love letter to the young people and landscape of Australia’s Top End, and a reminder of the inherent privilege of being able to make your own choices. The 2023 season opened in Sydney before travelling to Cowra, the Gold Coast, Darwin and Gove.

Performed at The Rebel Theatre (Sydney) Civic Theatre (Cowra) Arts Centre (Goulburn) HOTA (Gold Coast) Browns Mart Theatre (Darwin) Nhulunbuy Season 24 May–17 August 2023 Photo by Tracey Schramm

Cast Lakesha Grant Joshua McElroy Abbey Morgan Isaac Harley (Understudy) Mema Munro (Understudy)

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The year is 2079. Humans are created with gene selection technology; Artificial Intelligence is part of everyday life and children's best friends are their Learning Bots.

Except for Jerry. Jerry is not like the others.

Neither is Neutron Finch, an exceptionally clever Learning Bot who seems to appear out of nowhere. He is smarter than most Bots, funnier and also possibly illegal. It doesn't take long for the status quo to unravel and one night, Jerry and his classmates are summoned to the oval…

Writer & Director Kate Walder Dramaturg Jane FitzGerald Producer Emily Buxton Video Design Laura Turner Designer Meg Anderson Lighting Designer Benjamin Brockman Sound Designer Tegan Nicholls Composer Patrick Haesler Production Manager Heidi Aitkins Stage Manager Dylan Ford Assistant Director Jestika Chand

Soul Trading is a fast-paced, sophisticated and hilarious exploration of an impending future, performed by 18 young people.

Winner of the 2019 Jnr ATYP Foundation Commission, this season was presented by Steps and Holes Theatre, supported by ATYP.

Performed at The Rebel Theatre Season 6–10 September 2023 Performances 5

by Kate Walder

Produced by Steps & Holes Theatre Company

Cast Trix Bowditch Eloise Bracher Ewan Buchanan-Constable Aria Calabro Archie Carfax-Foster Jeffrey Dimi Araminta Dusseldorp Finn Dusseldorp Charlie Griffin Addie Houston Saskia Munro Annabelle Obermeder Ava Palfreyman Max Stores Tahlia Sturzaker Jordan Thompson Jacob Townsend Felicity Yang with Aimee Horne as the voice of T5000 and Miss ABC

Photo by Justin Stambouliah & Fifty One Watts

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Reboot

by Michael Costi

Co-presented with Artback NT and the Darwin Festival

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Parents of Australia! Are you sick of your kids being glued to their phones? Do you wish they could leave their devices behind forever? Well, you just may need to sign them up for Camp Reboot…

Writer Michael Costi Director Madeleine Diggins Dramaturg Jane FitzGerald Designer Hannah Tayler Lighting Designer Tom Doyle Sound Designer Ashley Walker Producer Alana Dunn Production Manager Taryn Zentrich Stage Manager Natalie Baghoumian Assistant Director Julie Bettens Assistant Director [Rehearsals] Jake Fryer-Hornsby

Reboot follows a group of young campers as they journey through Camp Reboot, a special new Summer Camp designed to detox kids from all forms of technology. However, things are not quite as they seem, as the campers discover a secret that could change their lives forever.

Reboot is a comedic thriller that tests the limits of a life without technology. It is a satire on our attachment to our screens but also a probing look into who really pulls the strings.

Winner of the 2022 Jnr ATYP Foundation Commission, this season was presented through the ATYP workshop program.

Performed at The Rebel Theatre Season 9–12 November 2023 Performances 4

Photo by Clare Luke Stambouliah Hawley

Cast Felix Fox Sofia Harling Chloe Harnisch-Rojas Sophie May Oliver Milner Billy Nicolaou Laila Pasqualini Heath Rosen Alexandra Szewcow Sienna Spence Willow Seager Mila-Kate Smith Isabel de Sousa Scarlet Stewart Olive Talib Alyssa Wallwork

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SOCIAL CIRCUS LAB

SUICIDE PREVENTION RESOURCES Co-presented with Artback NT and the Darwin Festival

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On Tuesday 24 October ATYP launched a series of three short films for a Suicide Prevention project commissioned and developed with the Blackdog Institute. The Institute engaged ATYP to find a creative solution to communicating the research findings generated by the Centre of Research Excellence in Suicide Prevention (CRESP) that can be accessed by schools. ATYP engaged script writer George Kemp who worked with a lived experience team and Blackdog stakeholders to create three scripts demonstrating how to navigate discussions about suicidal thoughts with and for teenagers.

Writer George Kemp Knowledge Translation Dr Aurora (Roar) Murphy Producer/Director Georgia McGinness Film Maker Tony Whittaker Project Coordinator Fraser Corfield

The videos are available to schools through the ATYP On Demand Platform.

Cast Fraser Crane Masego Pitso Joe Cumpston Sophie Kelly

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2023 Programs

Short Play Commissions Fresh Ink National Mentoring National Studio Cultivate: Emerging Dramaturgs Program ATYP Foundation Commissions Drama Workshops Industry Studio School Productions ATYP On Demand School Workshops Intersection Festival 2023 Partnerships Generator – Regional Engagement

ATYP

Writing Short Play Commissions 2023 Taylor Fernandez Blake Hohenhaus Aliyah Knight Bronte Locke Callum Mackay Caitlin Monk Jake Parker Megan Rundle Pip Thoroughgood El Waddingham

Left: National Studio Photo by George Kemp

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Fresh Ink National Mentoring

National Studio

In 2023, Fresh Ink welcomed Cairns to the program for the first time, partnering with JUTE Theatre, as well as partnering for the first time with Black Swan State Theatre Company of WA to present the program in Perth. The groups in Hobart (co-presented with Archipelago Productions) and Sydney continued successfully. 16 emerging playwrights aged 18–26 across the four states wrote two short plays, with mid-year and end-of-year readings for each of the cities. The Mentors in 2023 were Kathryn Ash (Cairns), Belinda Bradley (Hobart), Chris Isaacs (Perth) and ATYP’s Resident Dramaturg, Jane FitzGerald (Sydney).

In 2023, ATYP’s annual National Studio was once again held at Bundanon. As always, this highly successful residential program created a nurturing and safe environment in which 20 emerging writers could immerse themselves in skills development and creative practice. The writers from seven states and territories, all aged 18–26, participated in masterclasses, group tutorials, one-on-one mentoring and industry sessions from awardwinning playwrights Anchuli Felicia King (VIC/ UK), George Kemp (NSW) and Lewis Treston (QLD), as well as ATYP Resident Dramaturg Jane FitzGerald. The participants wrote eightminute plays, ten of which went on to be selected to form Intersection: Dawn, receiving further dramaturgical support by Jane FitzGerald before being presented as 2024’s Intersection Festival and being published by Currency Press.

“Fresh Ink is an outstanding opportunity for young writers and storytellers to be empowered to use their voice; to experiment with craft and form, and connect with likeminded emerging artists and industry professionals, working towards common goal of creativity. [It] gave me a place to experiment and develop my craft, away from the pressure of consistently producing work for 'immediate' production. As a result of this nurture and care, I feel I have significantly developed my voice as a writer, and found personal success in these new genres and techniques that I was empowered to experiment with.”

– Amber Grossman Fresh Ink Cairns participant 2023

“On top of being the most enjoyable, heart-warming, loving week in my recent memory, in which I made life-long friends, played games and laughed harder than I have all year – I am already seeing the actual, real-world impact of the Studio on my mental and physical health and my approach to my creative practice. I have elevated as an artist through this experience, which to be honest I could never have expected. I will recommend the Studio and ATYP to every writer I ever encounter from here-on."

– Blake Hohenhaus National Studio QLD participant 2023

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Cultivate: Emerging Dramaturgs Program

ATYP Foundation Commissions

The inaugural Cultivate program for emerging dramaturgs who identify as First Nations or as a Person of Colour continued throughout 2023 (having started in September 2022), concluding in November.

The program exceeded expectations in all goals, with highly positive feedback received from all participants, who praised the uniqueness of the program and the opportunity it provided for a pathway into the industry. The four emerging dramaturgs received mentorship from writer, performance-maker, and story developer Jenevieve Chang and Resident Dramaturg Jane FitzGerald during monthly sessions, providing participants with skills development and industry connections. Across the program four industry professionals were also welcomed as guest speakers. “[Cultivate] has had a profound impact on me as a dramaturg and theatre practitioner. I’m particularly grateful for this program because it offered an educational experience that I think wouldn’t be found at a traditional institution. Specifically, I found the emphasis on relationship building, how to give and receive feedback, and the mental frame of mind when going into dramaturgy useful… This program has taught me ways to have a much more measured approach, and I think I can use what I learnt in other areas of my life as well, even outside theatre.”

– Varuna Naicker Cultivate participant 2023

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In 2023 the Junior (10–13 years) commission was won by Michael Louis Kennedy for his play The Racket, and the Senior (14–17 years) commission was won by Amy May Nunn for her play Flicker Flicker Glow. All Foundation Commissions receive a structured and nurturing dramaturgical development process, including a workshop reading with young people aged 10–13 or 14–17 years.

Previous Foundation Commission winner, Reboot by Michael Costi (10–13 years in 2022) was produced as part of the Young Industry Studio. Scab by Danny Ball (14–17 years winner 2022) and Cry Havoc by Emme Hoy (14–17 years winner 2020) continued their development, supported by the Resident Dramaturg.

“Winning the ATYP Foundation Commission and developing a new work was an incredible experience. As a writer, I was overwhelmingly supported by ATYP through numerous workshops; developments, and dramaturgical sessions. The company ethos of creating dynamic and relevant theatre for young people clearly impacted my process as I felt I had the space to craft and receive invaluable feedback from young performers.

As the work made its way from page to stage, this driving sense of enthusiasm culminated in a final production that I believe reflected the professionalism of the team and vision I had for the play. It was truly a joy to work with ATYP!” – Michael Costi playwright of Reboot

ATYP

Workshops ATYP’s high-quality Workshop programs provide an entry point to the arts for children and young people aged 5–26 who are interested in theatre and performance, regardless of their experience. Participants come together to create their own work, express their own views, and perform their own stories. Led by some of the industry’s most experienced tutors, all of whom are working professionals, the workshops enable young people to be challenged, to build selfconfidence and discover valuable insights into the dramatic process.

The Workshops department enjoyed a year of growth in 2023 with increased numbers of enrolments across holiday and weekly programs, as well as an increase in scholarship placements.

Left: Photo by Clare Hawley

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Holiday Drama Workshops

Weekly Drama Workshops

2023 was again a mixed year for the Holiday Workshops program. Our summer and autumn programs were a slower start to the year, with the winter and spring initiatives performing much better. This year we were invited by the newly refurbished Bondi Pavilion to bring our programs into their spaces. We began running programs there as a satellite venue in spring 2022 and have continued to do so, due to the success of this venture. We also ran a program with the team at Orana Arts. Finally, we partnered with MyKindCo to activate holiday workshops in the Balmain area.

2023 was a very strong year for the Weekly Workshop program, with growth across the programs in semester 1 and semester 2.

Our weekly programs started with strong enrolment numbers throughout the course of semester

Workshop facilitators Assistant facilitators Paid participants Scholarships Programs Individual workshops Individual attendances

43 25 922 57 73 322 3,688

Several classes in the Year 7–9 and Year 10–12 age groups were expanded to meet the demand for places. Semester 2 classes also had very strong enrolment numbers and we continued the trend of expanding classes across the Year 5–6 and Year 7–9 age groups. All of our weekly programs were held at ATYP’s premises in Dawes Point, which has clearly had a very positive impact on the program.

This year we continued to run workshops at the McDonald College as part of their extracurricular activities program. We ran two classes per week in semester 1. The program did not continue in semester 2.

In 2023 we ran the Young Industry Studio program for the second year running. The program is designed for experienced young creatives who want to take their skills to the next level. Learning from industry professionals, the ATYP Young Industry Studio

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brings the arts industry and young people together to grow and develop the creative leaders of the future. The program uses a standard professional production model to stage the Junior Foundation Commissions.

This culminated in a season of Reboot by Michael Costi (2022 Junior Commission winner) in the Rebel Theatre in November.

Industry Studio

Workshop facilitators Assistant facilitators Paid enrolments Scholarships Programs Individual workshops Individual attendances Performances Audiences

24 6 493 18 37 388 4,831 31 1,009

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2023 was a smaller year for the Industry Studio program with only a handful of offerings and smaller numbers of participants for the 18+ community.

Workshop facilitators Paid enrolments Participants across 2 free programs Scholarships Individual workshops Performances

6 11 18 3 4 2

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Education Student workshops are delivered at our home at Pier 2/3, online and in schools.

Online programs and productions are available through our On Demand and On Demand Plus platform, allowing access to teachers and students across Australia.

In 2023, the Education department was composed of Jacqui Cowell (Education Manager) and George Kemp (Education Coordinator).

Left: Photo by Clare Hawley

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Productions There were school shows for The Resistance and CUSP. These included a post-show Q&A with actors and creatives, facilitated by the Education team.

Total attendance, inclusive of teachers and students: The Resistance CUSP

277 138

ATYP On Demand ATYP On Demand is our online learning platform, created to remove geographic and economic barriers for students and teachers across Australia who want to engage with the performing arts.

By providing access to high-quality recordings of ATYP’s live productions, On Demand enables every school to have the best seat in the house. Membership is free of charge to students and teachers Australia-wide.

In 2022 we rolled out our first full year of On Demand Plus, a complete education package that utilises literacy and drama strategies to explore content in the primary curriculum.

A subscription provides access to the platform for up to 20 teachers within a school. The program was launched in 2021 with six trial schools which all signed on for an annual subscription in 2022.

Teacher feedback has been overwhelmingly positive, with many commenting on the impact the program had on students’ interest in books, writing, drama and poetry. They reported that On Demand Plus enhanced students’ understanding of curriculum content. Benefits of On Demand Plus also include providing resource material to teachers delivering complete units of work, which enhances their teaching and learning strategies. We filmed a new unit in 2023 for the Children’s Book Council of Australia book week project. This unit called August and Jones was based on one of the CBCA nominated books in the Younger Readers category.

States reached with subscriptions Schools subscribed

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School Workshops

Theatre Flat-Pack

School workshops are offered year-round across a range of dramatic pedagogies.

They are closely aligned with areas of study in the school curriculum or with ATYP production content and are delivered at ATYP, in schools or online. In 2023, we coordinated the following student workshops:

Theatre Flat-Pack is an in-school program launched in 2021, where we co-produce an ATYP-commissioned play. ATYP provides an industry director, production support, schedules and licensing. ATYP Education produced four Theatre Flat-Pack programs in 2023. Jacqui and George produced two programs each:

Student workshops Workshops Student participants

63 1,360

ATYP also provided workshops for the Department of Education and Butucarbin Aboriginal Corporation as after school Drama programs. The two DET schools were Matraville Public School and Ruse Public School.

Ruse Public School Workshops Student participants

17 425

Matraville Public School Workshops Student participants

26 650

Bathory Begins Writer Director School Performances Student cast

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Emme Hoy & Gretel Vella Warwick Doddrell Newtown High School of the Performing Arts 18, 19 & 20 Oct 2023 14

SAAM Writer Maddie Nunn Director Sophie Kelly Performances 27, 28 & 29 Jul 2023 Schools De La Salle College, Caringbah Our Lady of Mercy College, Burraneer Bay Student cast 10 The Chapel, the Fire and the Dead Cat Writer Maddie Nunn Director Claudia Osborne School St Ives High School Performances 30 Nov, 1 & 2 Dec 2023 Student cast 11 Shack Writer Director School Performances Student cast

George Kemp Sophie Kelly St Aloysius College 2, 3 & 4 Nov 2023 18

Intersection Festival 2023

Partnerships

Intersection Festival was a new and innovative Education program launched in 2022. The festival allows students and teachers the opportunity to work with ATYP to present brand-new Australian stories in The Rebel Theatre.

ATYP Education developed partnerships with The Smith Family and Children’s Book Council of Australia (CBCA) in 2023.

This program allows students to develop their acting and staging skills by working on new scripts by emerging Australian playwrights in our National Studio program. The program also provides professional learning opportunities for teachers to refine their directing and staging skills.

Intersection Festival 2023 showcase was, yet again, a huge success, with a sold-out season of families and friends of the students.

It was an inspiring night of enthusiastic performances and conversation with the National Studio writers, who met the young actors who performed their work. Many of the writers also conducted a Zoom Q&A; A session with the students during their rehearsal processes.

We facilitated, programmed and managed 10 SmArts programs nationally in schools in NSW, ACT and SA. SmArts programs are Theatre and Musical Theatre artist in residence programs, with a 3 day workshop program and 1 day arts experience day. The artist in residence program culminated in a short performance at the school. The arts experience day can involve the students seeing a professional production at a theatre company or coming to Australian Theatre for Young People to do workshops, an industry talk and tour of our theatre and venue.

We developed a strong partnership with the Children’s Book Council of Australia. This involved scripting, filming and helping CBCA to launch the CBCA awards including the judging of 6 categories of children’s books by young people and adults. We had two young people present the awards; Jasper Reucassal and Catherine Laga’aia.

Intersection has doubled in size since its inception, with schools participating from North Queensland, Byron Bay, The Blue Mountains and The Western Suburbs amongst others. It involved a broad range of schools – public, private, catholic, independent and Steiner.

Participating schools Students participating Intersection Festival 2023 participants

18 360 68

Right: The Resistance, 2023 Photo by Clare Hawley

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Generator – Regional Engagement

Generator is a comprehensive professional development and mentoring initiative that connects regional teaching artists that have experience and skills in facilitating drama with young people so they may share ideas, experiences, resources and inspiration.

12 teaching artists from 7 locations across Regional NSW were invited to participate in a week-long professional development week in Sydney, before being supported to develop and deliver brand-new drama holiday programs for young people in their regional communities. With the support of the Department of Regional NSW, ATYP offers complete financial support to these programs, with the aim of developing effective and sustainable programs that can exist beyond the 18-month program.

“I feel ready to hit the ground running with creating workshops. I also feel I have made new friends and a happy drama circle and all the good vibes with the group! I also feel so grateful for the experience and equipped with new skills and extended old skills.”

– Sara Sinclair Generator participant 2023/24

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Generator Participants 2023/24 1

Danielle Brame-Whiting Jopuka Productions (Central Coast) 2 Ben Mettam O’Grady Drama Tamworth & New England (Tamworth) 3 Sara Sinclair O’Grady Drama Tamworth & New England (Tamworth) 4 Ajita Canning Understorey Youth Theatre (Evans Head) 5 Noa Rotem Understorey Youth Theatre (Evans Head) 6 Sarah Martin Three Brothers Theatre Group (Camden Haven) 7 Matthew Fitz Three Brothers Theatre Group (Camden Haven) 8 Sally Jackson Freeroam Theatre (Wagga Wagga) 9 Jhi Reynor Freeroam Theatre (Wagga Wagga) 10 Clancy Hauser HotHouse Theatre (Albury) 11 Zajkel Zaia Freeroam Theatre (Wagga Wagga) 12 Mel Toscan Whoop Theatre (Griffith) The program will run across 2023 and 2024.

Left: Photo by Clare Hawley

ATYP

Australian Theatre for Young People and its Controlled Entity ABN 24 000 816 704

Financial Statements

For the Year Ended 31 December 2023

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Table of Contents Directors’ Report Auditor’s Independence Declaration Consolidated Statement of Profit or Loss and Other Comprehensive Income Consolidated Statement of Financial Position Consolidated Statement of Changes in Equity Consolidated Statement of Cash Flows

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40 45 46 47 48 49

Notes to the Consolidated Financial Statements 1 General information 2 Changes in accounting policies 3 Summary of material accounting policies 4 Revenue from contracts with customers 5 Other revenue 6 Employee benefits 7 Cash and cash equivalents 8 Trade and other receivables 9 Other financial assets 1 0 Other assets 1 1 Property, plant and equipment 1 2 Right-of-use assets 1 3 Intangible assets 1 4 Trade and other payables 1 5 Provisions 1 6 Lease liabilities 1 7 Other liabilities 1 8 Interests in other entity 1 9 Parent entity 20 NSW Charitable Fundraising Act 1991 21 Related parties 22 Remuneration of auditors 23 Members’ guarantee 24 Economic dependence 25 Commitments 26 Contingent liabilities 27 Subsequent events

50 50 50 56 56 57 57 57 57 57 57 58 59 59 60 60 60 61 61 61 62 62 63 63 63 63 63

Responsible Persons’ Declaration Independent Auditor’s Report

64 66

Australian Theatre for Young People and its Controlled Entity Directors’ Report For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Directors’ Report For the Financial Year Ended 31 December 2023

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 2023 together with the financial statements and the Independent Audit Report thereon.

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.

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.

Principal activities for the year The principal activities undertaken by ATYP to meet its 2023 goals included:

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 J Harding T Hossain J Lapworth A Johnson G Larkins M Morrissey C Puplick D Selikowitz N Webb D Worthington J Trifunovic

Date of appointment

Date of cessation

26 May 2009 29 November 2021 13 October 2023 16 April 2018 20 May 2012 16 August 2021 12 August 2019 25 November 2019 12 February 2018 12 August 2019 12 August 2019 12 August 2019 30 October 2023

3 April 2023

1 January 2023 27 February 2023 31 October 2023 1 January 2023 25 May 2023 30 October 2023

Board meetings A 2 8 3 1 8 6 8 4 8 6 3

B 2 5 3 1 8 6 7 3 8 6 3

GOAL ONE: Be indisputably recognised nationally and globally as a leading theatre company that fearlessly champions young artists.  ATYP staged two fully professional productions involving young people in 2023. The Resistance, written and directed by Kip Chapman and presented in partnership with Auckland Theatre Company, and Cusp by Mary Anne Butler which opened in Sydney before conducting a small national tour culminating in a season at the Darwin Festival.  ATYP’s season of The Resistance was short-listed for a Sydney Theatre Award and commissions The Chapel, The Fire and The Dead Cat and Past the Shallows were both short-listed for Australian Writers Guild Industry Awards.  ATYP was invited to present Saplings, a new work by Hannah Belanszky developed with young people in conflict with the justice system, as part of the 2024 Sydney Festival.

Finance Committee meetings A B 2 2 1 1 6 6 7 7 4 6 5 -

GOAL TWO: Deliver inclusive opportunities that connect young people with the professional theatre industry.  ATYP delivered programs in partnership with leading national companies including Auckland Theatre Company, Black Swan State Theatre, Archipelago Productions, JUTE Theatre and the Darwin Festival.  ATYP delivered drama workshops, masterclasses and teacher professional development through our thriving Workshops and Education programs;  ATYP successfully piloted the Cultivate program, a professional development initiative supporting dramaturgs from culturally and linguistically diverse backgrounds.  Following her completion of the 2023 Cultivate dramaturgy program, Ayah Tayeh was appointed

by Belvoir as Producer, New Work. Ayah credits the Cultivate program with giving her the skills required to apply for and secure the job.

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 page 4 to 5 of this report.

GOAL THREE: Be a leading advocate for youth arts and its’ social impact.  ATYP was approached by the Black Dog Institute to develop a performance outcome that could communicate suicide prevention strategies for teenagers and young adults. The resulting videos and resources were developed throughout 2023 under the title Social Circus Lab.  ATYP was approached by Youth Action, the peak body for young people in NSW, to develop a performance that could communicate the lived experience of young people in conflict with the Justice system. Development of the new work, Saplings by Hannah Belanszky, was attended by the Minister for Youth Justice, Jihad Dibb, with the production outcome supported by the Office for Regional Youth.  ATYP plays as a flagship Australian Youth Theatre company championing the youth arts sector was confirmed by Creative Australia through the awarding of four-year operational funding announced in December 2023.

Company secretary Amanda Wright 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 loss for the year amounted to $519,358 (2022 consolidated comprehensive loss: $1,100,492).

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Australian Theatre for Young People and its Controlled Entity Directors’ Report For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Directors’ Report For the Financial Year Ended 31 December 2023

Directors’ qualifications and experience Name and qualifications Samara Hand BA/BLaw (UNSW), MA (UoL)

Name and qualifications Nicole Webb BA Communications, PR & Media (UC)

John Harding (VIC) Currently completing his Doctorate of Philosophy (UoM) (Creative Arts)

Andrew Johnson BA, LLB, MSW

Chris Puplick AM BA Hons, MA (Syd)

Julijana Trifunovic

Experience and special responsibilities 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, government 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.

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

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 2023 the collective liability was $60 (2022: $110).

Non-executive Director.

John Harding (Kuku Yulangi/Erub; TSI) is the founder of Ilbijerri Aboriginal/TSI Theatre Company. An experienced playwright, director and actor, John has been awarded the Indigenous Fellowship by the Australia Council for the Arts (1997), the Australian Human Right Medal for Arts (1997), the ANU Nugget Coombes Fellowship (2002) and the Deadly Award for Literature (2009). John’s work has toured nationally and internationally to critical acclaim.

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.

Significant changes in the state of affairs In 2023 ATYP did not receive operational funding from the Federal Government through the Australia Council for the Arts, following a decision announced in 2020. This has left the company with very low levels of operational funding for 2023 and 2024. In response the company has cut investment in productions and will only stage works that have received appropriate levels of project funding.

Significant events after year end There has not been any circumstance occurring subsequent to the end of the financial year that has significantly affected, or may significantly affect, the operations of the company, the results of those operations, or the state of affairs of the company in future financial years.

Non-executive Director.

Chair, Theatre and Music Theatre Board, Create NSW. Former President NSW Anti-Discrimination Board and Privacy Commissioner. Senior Member Commonwealth Administrative Appeals Tribunal (2019-2023). Former Chair, Griffin Theatre Company, NIDA and National Film and Sound Archive. Senator for NSW (1978-1981 and 1984-1990).

Likely developments and future results Creative Australia (previously the Australia Council for the Arts) announced in December that ATYP will receive $250k per annum in operational funding from 2025 - 2028. While this offers stability to the company, it falls short of money required to maintain current company output. Strategies are being developed and implemented in 2023 to make up for the projected shortfall.

Chair and Non-executive Director.

Director of Philanthropy at the Australian College of Nursing. Julijana is an Australian charity fundraiser with over 25 years of experience. An active Fundraising Institute of Australia (FIA) member for over 21 years, she has previously held various portfolios including Vice President of the NSW Chapter, Awards and Membership, National Conference Committee member and Professional Events Coordinator

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.

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

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Australian Theatre for Young People and its Controlled Entity Directors’ Report For the Financial Year Ended 31 December 2023

SDJ Audit Pty Ltd t/a SDJA ABN: 11 624 245 334 P: PO Box 324 West Pennant Hills NSW 2125 M: 0428 074 081 E: info@sdja.com.au W: www.sdja.com.au

Auditor’s independence declaration A copy of the Auditor’s Independence Declaration as required under section 60-40 of the Australian Charities and Not-for-profits Commission Act 2012 is included in page 7 of this financial report.

Australian Theatre for Young People and its Controlled Entity Auditor’s Independence Declaration to the Directors of Australian Theatre for Young People and its Controlled Entity For the Financial Year Ended 31 December 2023

Signed in accordance with a resolution of the directors.

Andrew Johnson Director June 2024

In accordance with the requirements of section 60-40 of the Australian Charities and Not-for-profits Commission Act 2012, as lead auditor for the audit of Australian Theatre for Young People and its Controlled Entity for the year ended 31 December 2023, 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.

SDJA

Simon Joyce Director June 2024 Sydney, New South Wales

Liability limited by a scheme approved under Professional Standards Legislation

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Australian Theatre for Young People and its Controlled Entity Consolidated Statement of Profit or Loss and Other Comprehensive Income For the Financial Year Ended 31 December 2023 Notes Revenue Revenue from contracts with customers Other revenue Total revenue

Australian Theatre for Young People and its Controlled Entity Consolidated Statement of Financial Position As at 31 December 2023 2023 $

2022 $

Notes Assets

2,238,316 101,956 2,340,272

2,857,183 410,922 3,268,105

(195,632) (278,907) (1,898,177) (89,295) (8,272) (81,167) (304,580) 130 (2,855,900)

(188,310) (254,878) (3,110,960) (83,740) (1,497) (133,364) (591,258) (380) (4,364,387)

Net deficit for the year

(515,628)

(1,096,282)

Total assets

Income tax expense Deficit after income tax

(515,628)

(1,096,282)

Liabilities

Expenses Administration and other operating costs Depreciation and amortisation Employee benefits Finance costs Fundraising expenses Lease payments for short-term/low-value leases Marketing and production expenses Reversal of/(impairment loss on) receivables Total expenses

Other comprehensive income: Loss on revaluation of financial assets at fair value through other comprehensive income Total comprehensive loss

4 5

6

(3,730) (519,358)

(4,210) (1,100,492)

2023 $

2022 $

Current Cash and cash equivalents Trade and other receivables Other financial assets Other assets Total current assets

7 8 9 10

1,034,426 11,094 190,000 31,157 1,266,677

1,176,826 120,217 41,015 1,338,058

Non-current Other financial assets Property, plant and equipment Right-of-use assets Intangible assets Total non-current assets

9 11 12 13

100,760 180,437 1,709,470 26,717 2,017,384

104,490 289,205 1,854,317 45,393 2,293,405

3,284,061

3,631,463

Current Trade and other payables Provisions Lease liabilities Other liabilities Total current liabilities

14 15 16 17

174,994 86,446 64,521 514,514 840,475

178,572 120,890 67,390 345,072 711,924

Non-current Lease liabilities Total non-current liabilities

16

1,919,418 1,919,418

1,876,013 1,876,013

2,759,893

2,587,937

524,168

1,043,526

1,362,732 (838,564) 524,168

1,366,462 (322,936) 1,043,526

Total liabilities Net assets Equity Reserves Accumulated losses Total equity

The accompanying notes form part of these financial statements.

The accompanying notes form part of these financial statements.

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Australian Theatre for Young People and its Controlled Entity Consolidated Statement of Cash Flows For the Financial Year Ended 31 December 2023 Notes

Australian Theatre for Young People and its Controlled Entity Consolidated Statement of Changes in Equity For the Financial Year Ended 31 December 2023 Capital Campaign Reserve $ Balance at 1 January 2022 Deficit for the year Other comprehensive income: Loss on revaluation of financial assets at FVOCI Total comprehensive loss Transfer (from)/to reserves Balance at 31 December 2022 Balance at 1 January 2023 Deficit for the year Other comprehensive income: Loss on revaluation of financial assets at FVOCI Total comprehensive loss Balance at 31 December 2023

505,545 -

FVOCI Reserve $ 8,700 -

Settlement Sum $ 11 -

Revenue Fund $ 524,103 -

Capital Fund $ 864,370 -

Accumulated Funds/ (Losses) $ 241,289 (1,096,282)

Total Equity $ 2,144,018 (1,096,282)

(342,224) 163,321

(4,210) (4,210) 4,490

11

(189,833) 334,270

864,370

(1,096,282) 532,057 (322,936)

(4,210) (1,100,492) 1,043,526

163,321 -

4,490 -

11 -

334,270 -

864,370 -

(322,936) (515,628)

1,043,526 (515,628)

163,321

(3,730) (3,730) 760

11

334,270

864,370

(515,628) (838,564)

(3,730) (519,358) 524,168

Cash flows from operating activities Receipts from grants, donors, customers and others Receipts from government subsidies Payments to suppliers and employees Net cash provided by/(used in) operating activities

2023 $

2022 $

2,779,508 3,531 (2,748,902) 34,137

3,024,122 29,714 (3,759,863) (706,027)

Cash flows from investing activities Interest and dividends received Payments for property, plant and equipment Payments for intangible assets Proceeds from sale of investment in listed securities Net investment in term deposits Net cash used in investing activities

20,079 (6,616) (190,000) (176,537)

15,082 (208,578) (7,848) 100,000 (101,344)

-

-

(142,400) 1,176,826 1,034,426

(807,371) 1,984,197 1,176,826

Cash flows from financing activities Net cash provided by financing activities Net change in cash and cash equivalents Cash and cash equivalents at beginning of financial year Cash and cash equivalents at end of financial year

7

Capital funds and 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.

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.

Equity through fair value through other comprehensive income (FVOCI) reserve comprises gains and losses relating to equity investments held in ATYP Foundation.

The accompanying notes form part of these financial statements.

10

The accompanying notes form part of these financial statements.

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

1. General information

The acquisition method of accounting is used to account for business combinations by the group.

The financial statements cover Australian Theatre for Young People (ATYP) and its only subsidiary, ATYP Foundation (collectively referred to as “the group”). ATYP is an entity limited by guarantee, incorporated and domiciled in Australia. The entity is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards and a registered charity under the Australian Charities and Not-for-profits Commission Act 2012.

Inter-company transactions, balances and unrealised gains on transactions between group companies are eliminated.

Revenue from contracts with customers Revenue is recognised on a basis that reflects the transfer of promised goods or services to customers at an amount that reflects the consideration the group expects to receive in exchange for those goods or services.

The group’s principal activity during the year is indicated on the directors’ report.

Revenue is recognised by applying a five-step model as follows: 1. Identify the contract with the customer 2. Identify the performance obligations 3. Determine the transaction price 4. Allocate the transaction price to the performance obligations 5. Recognise revenue as and when control of the performance obligations is transferred

Principal place of business is Pier 2/3, Suite 2, 13A Hickson Road, Dawes Point, NSW 2000.

The financial report was authorised for issue by the directors on

June 2024.

2. Changes in accounting policies New and revised standards that are effective for these financial statements A number of revised standards became effective for the first time to annual periods beginning on or after 1 July 2022. The adoption of these revised accounting standards has not had a material impact on the group’s financial statements.

Other revenue For any revenue streams that are not defined as contracts with customers, revenue is recognised when the group gains control, economic benefits are probable and the amount of the revenue can be measured reliably.

Accounting Standards issued but not yet effective and not been adopted early by the group A number of new and revised standards have been issued but are not yet effective and have not been adopted early by the group. The directors are currently assessing the impact such standard will have on the group.

All revenue is stated net of the amount of goods and services tax (GST).

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

3. Summary of material accounting policies

Income tax No provision for income tax has been raised as the group is exempt from income tax as a registered charity under the Australian Charities and Not-for-profits Commission Act 2012.

Financial reporting framework The general purpose financial statements of the group have been prepared in accordance with the requirements of the Australian Charities and Not-for-profits Commission Act 2012 and the NSW Charitable Fundraising Act 1991.

Cash and cash equivalents Cash and cash equivalents include cash on hand, deposits held at-call with banks, other short-term highly liquid investments that are readily convertible to known amounts of cash and which are subject to an insignificant risk of changes in value.

Statement of compliance The general purpose financial statements of the group have been prepared in accordance with Australian Accounting Standards – Simplified Disclosures and other authoritative pronouncements of the Australian Accounting Standards Board.

Trade and other receivables Trade receivables are initially recognised at fair value and subsequently measured at amortised cost using the effective interest method, less any allowance for expected losses. Trade receivables are generally due for settlement within 30 days.

Basis of preparation The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs unless otherwise stated in the notes. The material accounting policies that have been adopted in the preparation of this report are as follows:

Financial assets Financial assets are initially recognised at fair value.

Basis of consolidation Subsidiaries are all entities over which the group has control. The group controls an entity where the group is exposed to, or has rights to, variable returns from its involvement with the entity and has the ability to affect those returns through its power to direct the activities of the entity. Subsidiaries are fully consolidated from the date on which control is transferred to the group. They are deconsolidated from the date that control ceases.

Financial assets at amortised cost Financial assets at amortised cost are subsequently measured using the effective interest (EIR) method and are subject to impairment. Gains and losses are recognised in profit or loss when the asset is derecognised, modified or impaired.

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

Investments in equity instruments designated at fair value through other comprehensive income Upon initial recognition, the group can elect to classify irrevocably its equity investments as equity instruments designated at fair value through OCI when they meet the definition of equity under AASB132 Financial Instruments: Presentation and are not held for trading. The classification is determined on an instrument-by-instrument basis.

Trade and other payables These amounts represent liabilities for goods and services provided to the group prior to the end of the financial year and which are unpaid. Due to the short-term nature, they are measured at amortised cost and are not discounted. The amounts are unsecured and are usually paid within 30 days of recognition.

Gains and losses on these financial assets are never recycled to profit or loss. Dividends are recognised as other income in profit or loss when the right of payment has been established, except when the group benefits from such proceeds as a recovery of part of the cost of the financial asset, in which case, such gains are recorded in OCI. Equity instruments designated at fair value through OCI are not subject to impairment assessment.

Goods and services tax (GST) Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the Australian Taxation Office (ATO).

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

The net amount of GST recoverable from, or payable to, the ATO is included as part of receivables or payables in the statement of financial position.

Receivables and payables are stated inclusive of GST.

Cash flows in the statement of cash flows are included on a gross basis and the GST component of cash flows arising from investing and financing activities which is recoverable from, or payable to, the taxation authority is classified as operating cash flows.

Depreciation Property, plant and equipment, is depreciated on a straight-line basis over the asset’s useful life to the group, commencing when the asset is ready for use.

Provision for employee benefits Provision is made for the group's liability for employee benefits arising from services rendered by employees to the end of the reporting period. Employee benefits that are expected to be wholly settled within one year have been measured at the amounts expected to be paid when the liability is settled.

The useful lives used for each class of depreciable asset are shown below: Fixed asset class Equipment and furniture Leasehold improvements

Useful lives 2 – 10 years Over their useful lives

In determining the liability, consideration is given to employee wage increases and the probability that the employee may satisfy vesting requirements. Cashflows are discounted using market yields on high quality corporate bond rates incorporating bonds rated AAA or AA by credit agencies, with terms to maturity that match the expected timing of cashflows. Changes in the measurement of the liability are recognised in profit or loss.

The assets’ residual values and useful lives are reviewed, and adjusted if appropriate, at the end of each reporting period.

Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are included in the statement of profit or loss and other comprehensive income.

Leases The group assesses at contract inception whether a contract is, or contains, a lease.

Intangible assets Intangible assets acquired as part of a business combination, other than goodwill, are initially measured at their fair value at the date of the acquisition. Intangible assets acquired separately are initially recognised at cost.

As a lessee The group applies a single recognition and measurement approach for all leases, except for short-term leases and leases of low-value assets. The group recognises lease liabilities to make lease payments and right-of-use assets representing the right to use the underlying assets.

Finite life intangibles assets Finite life intangible assets are subsequently measured at cost less amortisation and any impairment.

The method and useful lives of finite life intangible assets are reviewed annually.

Right-of-use assets The group recognises right-of-use assets at the commencement date of the lease (i.e., the date the underlying asset is available for use). Right-of-use assets are measured at cost, less any accumulated depreciation and impairment losses, and adjusted for any remeasurement of lease liabilities. The cost of right-of-use assets includes the amount of lease liabilities recognised, initial direct costs incurred, and lease payments made at or before the commencement date less any lease incentives received.

The useful lives used for each class of amortised asset are shown below: Intangible asset class Website and software

Useful lives 3 – 5 years

Impairment of assets At the end of each reporting period the group determines whether there is evidence of an impairment indicator for non-financial assets.

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

Right-of-use assets are depreciated on a straight-line basis over the shorter of the lease term and the estimated useful lives of the assets, as follows:

Useful lives of depreciable assets The Board of Directors review 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 depreciable assets.

Office premises

2023

2022

20 years

20 years

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.

The right-of-use assets are also subject to impairment.

Lease liabilities At the commencement date of the lease, the group recognises lease liabilities measured at the present value of lease payments to be made over the lease term.

Liabilities relating to contracts with customers Contract liabilities A contract liability is recognised if a payment is received or a payment is due (whichever is earlier) from a customer before the group transfers the related goods or services/grant conditions are fulfilled.

Contract liabilities include deferred income. Contract liabilities are recognised as revenue when the group performs under the contract (i.e., transfers control of the related goods or services to the customer/fulfils conditions of the grant).

The services are usually provided/conditions usually fulfilled within twelve (12) months of receipt of the payment/grant. Where the amount received is in respect of services to be provided over a period that exceeds twelve (12) months after the reporting date/the conditions will only be satisfied more than twelve (12) months after the reporting date, the liability is discounted and presented as noncurrent.

Comparative figures Where required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current financial year. With the exception of minor reclassifications between certain financial statement line items, comparatives are consistent with prior years, unless otherwise stated.

Significant management judgement in applying accounting policies When preparing the financial statements, Board of Directors undertakes a number of judgements, estimates and assumptions about the recognition and measurement of assets, liabilities, income and expenses.

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.

Receivables The receivables at reporting date have been reviewed to determine whether there is any objective evidence that any of the receivables are impaired. An allowance for expected losses is included, where applicable, based on historical credit loss experience, adjusted for forward-looking factors specific to the debtors and the economic environment. The allowance for expected losses is based on the best information at the reporting date.

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

4. Revenue from contracts with customers Revenue recognised over time Grants - Create NSW Grants - Office for the Arts Grants - Creative Australia Foundation income - non-government Workshop income Performance income Resource income

Revenue recognised at a point in time Sale of goods Total revenue from contracts with customers

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023 2023 $

2022 $

640,571 222,760 325,000 799,173 126,093 123,870 2,237,467

412,596 496,062 61,290 744,600 729,988 368,595 38,548 2,851,679

849

5,504

2,238,316

2,857,183

6. Employee benefits Salaries, wages and fees Superannuation Employee benefits written-back/(provided)

7. Cash and cash equivalents Cash at bank

Workshop, performance and resource income Revenue relating to workshop, performance and resource is recognised over the period in which the service is provided.

9. Other financial assets Current Term deposits

Sale of goods Sale of goods are recognised at the point of sale, which is where the customer has taken delivery of the goods, the risks and rewards are transferred to the customer.

1,007 66,840 3,531 6,431 17,068 7,079 101,956

2022 $

(1,766,622) (165,999) 34,444 (1,898,177)

(2,820,047) (273,403) (17,510) (3,110,960)

1,034,426 1,034,426

1,176,826 1,176,826

2,584 110 200 6,700 1,500 11,094

75,108 (130) 200 3,280 34,799 6,960 120,217

190,000 190,000

-

100,760 100,760

104,490 104,490

19,157 12,000 31,157

29,015 12,000 41,015

67,890 (11,584) 56,306

67,890 (4,795) 63,095

8. Trade and other receivables Current Trade receivables Allowance for expected losses Accrued income Deposits Imputation credits and interest receivable Net GST receivable Other receivables

How the entity recognises revenue Grants If conditions are attached to a grant, revenue is recognised when the entity satisfies those conditions.

5. Other revenue Donations - capital campaign Donations - other JobKeeper Parental Leave Funds Dividends income Interest income Other income

2023 $

Non-current Investment in ASX listed securities

177,649 143,090 15,808 13,906 9,911 4,795 45,763 410,922

10. Other assets Current Prepayments Productions in progress

11. Property, plant and equipment Leasehold improvements at cost Leasehold improvements accumulated depreciation

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

11. Property, plant and equipment (continued) Plant and equipment at cost Plant and equipment accumulated depreciation

Total property, plant and equipment

Net carrying amount 1 January 2023 Additions Disposals Depreciation Net carrying amount 31 December 2023

Leasehold Improvements $ 63,095 (6,789) 56,306

12. Right-of-use assets Right-of-use assets - leasehold improvements at cost Right-of-use assets - leasehold improvements accumulated depreciation

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023 2023 $

2022 $

448,122 (323,991) 124,131

441,506 (215,396) 226,110

180,437

289,205

Plant and Equipment $ 226,110 6,616 (108,595) 124,131

Total $ 289,205 6,616 (115,384) 180,437

2023 $

12. Right-of-use assets (continued)

Net carrying amount 1 January 2023 Additions Disposals Depreciation Net carrying amount 31 December 2023

13. Intangible assets Website at cost Website accumulated amortisation

2022 $

724,435 (162,103) 562,332

724,435 (77,457) 646,978

Right-of-use assets - office premises at cost Right-of-use assets - office premises accumulated depreciation

1,265,228 (118,090) 1,147,138

1,265,228 (57,889) 1,207,339

Total right-of-use-assets

1,709,470

1,854,317

Net carrying amount 1 January 2023 Additions Disposals Amortisation Net carrying amount 31 December 2023

14. Trade and other payables Current Trade payables Accrued expenses Net GST payable

Right-of-Use Assets Right-of-Use Leasehold Assets - Office Improvements Premises $ $ 646,978 1,207,339 (84,646) (60,201) 562,332 1,147,138

2023 $

Total $ 1,854,317 (144,847) 1,709,470

2022 $

97,288 (70,571) 26,717

97,288 (51,895) 45,393

Website $ 45,393 (18,676) 26,717

Total $ 45,393 (18,676) 26,717

2023 $

22,963 140,591 11,440 174,994

2022 $

21,630 156,942 178,572

20

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TWENTY THREE ANNUAL REPORT

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

15. Provisions Current Provision for employee benefits

16. Lease liabilities Current Lease liabilities

Non-current Lease liabilities

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023 2023 $

2022 $

86,446 86,446

120,890 120,890

64,521 64,521

67,390 67,390

1,919,418 1,919,418

1,876,013 1,876,013

18. Interests in other entity

Name of entity ATYP Foundation

150,477 854,977 1,747,651 2,753,105

152,962 698,709 1,953,944 2,805,615

The lease is subject to a Tenant Works Contribution of $1,000,000 over the 10-year lease term. During the year, the entity was not liable to pay the $100,000 and is meeting with NSW State Government to discuss the ongoing treatment of payments in relation to this.

89,549 9,157 2,578 127,459 285,651 120 514,514

100%

100%

Principal activities Supporting ATYP for the purpose of advancing, developing and promoting the performing arts.

2023 $

2022 $

527,289 1,916,624 2,443,913

272,968 2,188,915 2,461,883

Liabilities Current liabilities Non-current liabilities Total liabilities

842,797 1,919,538 2,762,335

714,368 1,876,013 2,590,381

Net liabilities

(318,422)

(128,498)

Equity Accumulated losses Total equity

(318,422) (318,422)

(128,498) (128,498)

Deficit for the year Total comprehensive loss

(189,924) (189,924)

(669,770) (669,770)

417,847

1,010,239

Information relating to ATYP Limited (parent entity) Assets Current assets Non-current assets Total assets

The entity leases premises at Pier 2/3, 13A Hickson Road, Dawes Point, NSW. Lease term is for period of 10 years ending 16 January 2032, with an option to renew for further 10 years. Payments are made monthly and are subject to annual review based on a fixed percentage of 5%.

17. Other liabilities Current Contract liabilities - workshop fees Contract liabilities - income received in advance Contract liabilities - box office Contract liabilities - government grants Contract liabilities - non-government grants Contract liabilities - gift certificates

Australia

Controlling interest held by the Group 2023 2022

19. Parent entity The financial information for the parent entity, ATYP Limited has been prepared on the same basis as the consolidated financial statements except as disclosed below.

Future lease payments in relation to lease liabilities as at period end are as follows: Within one year Later than one year but not later than five years Later than five years

Place of business/ country of incorporation

115,845 5,500 967 222,760 345,072

20. NSW Charitable Fundraising Act 1991 a) Details of aggregated gross income and total expenses from fundraising appeals Income from fundraising Fundraising income

22

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Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Notes to the Consolidated Financial Statements For the Financial Year Ended 31 December 2023

20. NSW Charitable Fundraising Act 1991 (continued)

23. Members' guarantee The parent company is incorporated under the Corporations Act 2001 and is an entity limited by guarantee. If the entity 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 2023, the total amount that members of the entity are liable to contribute if the entity is wound up is $60 (2022: $110).

a) Details of aggregated gross income and total expenses from fundraising appeals (continued)

Expenses from fundraising Fundraising costs Functions Net surplus from fundraising activities

2023 $

2022 $

(5,501) (2,771)

(1,374) (123)

409,575

1,008,742

24. 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, directors have no reason to believe that this financial support will not continue to the extent required to continue operating as a going concern.

25. Commitments The group had no material unrecognised contractual commitments as at 31 December 2023.

b) Nature of fundraising appeals and application of net surplus Fundraising appeals primarily consisted of donations. The net surplus generated from fundraising activities was applied to the charitable purposes of the organisation.

26. Contingent liabilities There are no contingent liabilities as at 31 December 2023.

21. Related parties The group’s related parties include its key management personnel and related entities. Transactions between related parties are on normal commercial terms and conditions no more favourable than those available to other parties.

27. Subsequent events No adjusting or significant non-adjusting events have occurred between the reporting date and the date of authorisation of these accounts.

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.

Key management personnel compensation Total key management personnel compensation

2023 $

2022 $

108,914

331,378

The total amount of donations received from directors during the year ended 31 December 2023 amounted to $747 (2022: $6,020).

22. Remuneration of auditors SDJA Audit of financial report Assistance with financial report preparation

Steven J Miller & Co Audit of financial report

9,000 3,000 12,000

-

-

11,500 11,500

24

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Australian Theatre for Young People and its Controlled Entity Responsible Persons’ Declaration For the Financial Year Ended 31 December 2023

Australian Theatre for Young People and its Controlled Entity Responsible Persons’ Declaration under the NSW Charitable Fundraising Act 1991 For the Financial Year Ended 31 December 2023

The Responsible Persons declare that in the Responsible Persons’ opinion:

The Responsible Persons declare that in the Responsible Persons’ opinion:

a) the consolidated financial statements and notes are in accordance with the Australian Charities and Not-for-profits Commission Act 2012, including: i)

a) the consolidated statement of profit or loss and other comprehensive income and associated notes gives a true and fair view of all income and expenditure of the organisation with respect to fundraising appeals for the financial year ended 31 December 2023;

giving a true and fair view of the group’s financial position as at 31 December 2023 and of its performance for the year ended on that date; and

b) the consolidated statement of financial position and associated notes gives a true and fair view of the state of affairs of the organisation with respect to fundraising appeals conducted by the organisation as at 31 December 2023;

ii) complying with Australian Accounting Standards – Simplified Disclosures and the Australian Charities and Not-for-profits Commission Regulations 2022; and

c) the provisions of the NSW Charitable Fundraising Act 1991 and Regulations and the conditions attached to the authority have been complied with during the financial year ended 31 December 2023; and

b) there are reasonable grounds to believe that the group is able to pay all of its debts, as and when they become due and payable.

Signed in accordance with subsection 60.15(2) of the Australian Charities and Not-for-profits Commission Regulations 2022.

d) the internal controls exercised by the organisation are appropriate and effective in accounting for all income received and applied by the organisation from any of its fundraising appeals during the financial year ended 31 December 2023.

Andrew Johnson Director June 2024

Andrew Johnson Director June 2024

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Australian Theatre for Young People and its Controlled Entity Independent Auditor’s Report to the Members of Australian Theatre for Young People and its Controlled Entity For the Financial Year Ended 31 December 2023

SDJ Audit Pty Ltd t/a SDJA ABN: 11 624 245 334 P: PO Box 324 West Pennant Hills NSW 2125 M: 0428 074 081 E: info@sdja.com.au W: www.sdja.com.au

If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. We have nothing to report in this regard.

Australian Theatre for Young People and its Controlled Entity Independent Auditor’s Report to the Members of Australian Theatre for Young People and its Controlled Entity For the Financial Year Ended 31 December 2023

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

Opinion We have audited the financial report of Australian Theatre for Young People and its Controlled Entity (the group), which comprises the consolidated statement of financial position as at 31 December 2023, the consolidated statement of profit or loss and other comprehensive income, consolidated statement of changes in equity and consolidated statement of cash flows for the year then ended, notes to the consolidated financial statements, including a summary of material accounting policies, and the responsible persons’ declaration.

In preparing the consolidated financial report, responsible persons 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 responsible persons either intend to liquidate the group or to cease operations or have no realistic alternative but to do so.

The responsible persons are responsible for overseeing the group’s financial reporting process.

In our opinion, the financial report of Australian Theatre for Young People and its Controlled Entity has been prepared in accordance with Division 60 of the Australian Charities and Not-for-profits Commission Act 2012 (ACNC Act), including:

Auditor’s Responsibilities for the Audit of the Financial Report Our objectives are to obtain reasonable assurance about whether the 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 our 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 financial report.

(a) giving a true and fair view of the group’s financial position as at 31 December 2023 and of its financial performance for the year then ended; and (b) complying with Australian Accounting Standards – Simplified Disclosures and Division 60 of the Australian Charities and Not-for-profits Commission Regulations 2022.

Basis for Opinion We conducted our audit in accordance with Australian Auditing Standards. Our responsibilities under those standards are further described in the Auditor’s Responsibilities for the Audit of the Financial Report section of our report. We are independent of the group in accordance with 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 our audit of the consolidated financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.

A further description of our responsibilities for audit of the financial report is located at the Auditing and Assurance Standards Board website at: http://www.auasb.gov.au/. This description forms part of our auditor’s report.

Report of the requirements of the NSW Charitable Fundraising Act 1991 We have audited the consolidated financial report as required by Section 24(2) of the NSW Charitable Fundraising Act 1991. Our procedures included obtaining an understanding of the internal control structure for fundraising appeal activities and examination, on a test basis, of evidence supporting compliance with the accounting and associated record keeping requirements for fundraising appeal activities pursuant to the NSW Charitable Fundraising Act 1991 and the NSW Charitable Fundraising Regulation 2021.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Information Other than the Financial Report and Auditor’s Report Thereon The directors are responsible for the other information. The other information is the directors’ report accompanying the consolidated financial report.

Because of the inherent limitations of any assurance engagement, it is possible that fraud, error or non-compliance may occur and not be detected. An audit is not designed to detect all instance of noncompliance with the requirements described in the above-mentioned Acts and Regulations as an audit is not performed continuously throughout the period and the audit procedures performed in respect of compliance with these requirements are undertaken on a test basis. The audit report expressed in this report has been formed on the above basis.

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

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

Liability limited by a scheme approved under Professional Standards Legislation

28

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Australian Theatre for Young People and its Controlled Entity Independent Auditor’s Report to the Members of Australian Theatre for Young People and its Controlled Entity For the Financial Year Ended 31 December 2023 Opinion In our opinion: a) the consolidated financial report of Australian Theatre for Young People and its Controlled Entity has been properly drawn up and associated records have been properly kept during the financial year ended 31 December 2023, in all material respects, in accordance with: i)

sections 20(1), 22(1-2), 24(1-3) of the NSW Charitable Fundraising Act 1991; and

ii) sections 10(6) and 11 of the NSW Charitable Fundraising Regulation 2021. b) the money received as a result of fundraising appeals conducted by the group during the financial year ended 31 December 2023 has been properly accounted for and applied, in all material respects, in accordance with the above-mentioned Act and Regulations.

SDJA

Simon Joyce Director June 2024 Sydney, New South Wales

30

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