To reflect and enrich the lifestyle and cultural identity of the Northern Territory.
PURPOSE
To be the premier provider of live entertainment performance in the Northern Territory year-round; connecting audiences to remarkable local, national and international experiences.
VALUES
Ambition – We constantly pursue improvement in everything we do.
Diversity – We seek out broad experiences and influences to ensure DEC represents all peoples and their interests.
Passion – We are excited and driven to deliver remarkable experiences.
Safety – The health, safety and wellbeing of every person in every interaction with DEC is paramount.
First Nations – We will strive to provide a platform and opportunities for Aboriginal and Torres Strait Islander works and First Nations people.
Darwin Entertainment Centre acknowledges the Traditional Custodians of the lands on which we live and work. We pay our respects to Larrakia Elders past, present and future, and to all Aboriginal and Torres Strait Islander Peoples.
Cover: YOAH, Cirquework
Back Cover: Wayfinder, Dancenorth Australia, image
Amber Hayes
Taylor Sheesh: The Errors Tour, image Paz Tassone
TOTAL ATTENDANCES
94,849 All attendances at DEC-managed venues
TOTAL PERFORMANCES
137
104 EVENTS
LOCAL PERFORMANCES
37
TOTAL TICKETS SOLD 64,988 The Playhouse 56,356 Studio Theatre 7,434
EVENTS/ACTIVITIES AT DEC
643
VENUE UTILISATION
94%
DEC’s venues were open for use 345 days. Of this, 325 days were utilised for activities.
Excludes complimentary tickets and free registrations.
ARTISTS & PERFORMERS
5,349
TOP 3 ATTENDED GENRES 22% 17% 15% CONTEMPORARY MUSIC THEATRE COMEDY across
Reuben Kaye, Darwin Comedy Festival, image Paz Tassone
Our Audience
Based on ticket buyer data for the period FY2024-25. Rounded to the nearest whole number.
GENDER
12,420
ATTENDANCES OF CHILDREN AND STUDENTS AT DEC’S FAMILY AND CREATIVE LEARNING PROGRAMMING.
ATTENDANCE FREQUENCY
Message from the Chair
Growth in our audiences, new and exciting performances, expansion in our partnerships and strong and stable finances. This last financial year has been a year to be proud of for all involved with Darwin Entertainment Centre (DEC).
It’s been a year when we delivered on our strategic purpose: to be the premier provider of live entertainment performance in the Northern Territory year-round; connecting audiences to remarkable local, national and international experiences.
This year we achieved in our five strategic priorities. This annual report details that success.
We promised diverse and exciting performance and we did: from Darwin Symphony Orchestra and Kasey Chambers to the Garrmalang Retrospective and Cirque Africa. Not forgetting our wonderfully successful first Darwin Comedy Festival.
We promised to drive visitation and grow our audiences and we did by 17%.
We maintained our commitment for DEC to be an innovative and sustainable business, with strong financial management and governance.
We have also once again taken much care of our ageing building, actively protecting our asset with additions this year ranging from upgrades to the flyline system to a safer dress circle railing.
I want to pay tribute to Georgia and her team for their high-quality work and commitment to DEC and its vision. An entertainment centre is a very complex business to run and our DEC team delivers seamlessly.
Thanks yet again to our government partners, Northern Territory Government and City of Darwin. Your financial support is vital to our success, especially allowing DEC to have significant outreach in our community. And thanks also to our Venue and Program partners.
As this financial year ends, there’s an exciting new partnership in development for DEC, but I’ll leave those details for the next Annual Report.
Finally, thanks to the Darwin Entertainment Centre Board for their commitment over this last financial year. Collectively, the Board members bring much wisdom and experience to our deliberations.
HON CLARE MARTIN AO Chair
Message from the Chief Executive Officer
This year at Darwin Entertainment Centre has been nothing short of extraordinary.
We are proud to report a significant rise in both attendance at DECmanaged venues and ticket sales for events at DEC itself, reflecting the growing appetite for live performance and cultural experiences in our vibrant city.
Our stages have been alive with energy, laughter, and inspiration - none more so than during the inaugural Darwin Comedy Festival, a bold new initiative that not only brought joy to thousands but also earned us a prestigious NT Tourism Brolga Award. Featuring a stellar lineup including Australian comedy icon Celeste Barber, alongside an exceptional suite of local and national comedians, the Festival was a resounding success - one any city would be proud to call its own.
We’ve seen a heartening increase in young audiences, with more children attending performances through school excursions and family outings. This growth speaks to the power of the arts to engage, educate, and inspire the next generation.
Our community support has never been stronger, with new partners joining us to help deliver the special programs and initiatives that define our mission. Their contributions have enabled us to expand our reach and deepen our impact.
A particular highlight of the year was Garrmalang Retrospective, marking 10 years of this unique and powerful festival that celebrates First Nations voices and stories. Our programming has been more diverse and inclusive than ever, ranging from the breathtaking artistry of Japan’s YOAH to the timeless intrigue of Agatha Christie’s The Mousetrap, and so much more.
None of this would have been possible without the dedication, creativity, and skill of our incredible staff and the guidance of our Board of Directors. Their tireless work behind the scenes and on the frontlines has ensured that every event is delivered with excellence, with audiences and artists always at the heart of what we do. Together, we’ve created unforgettable experiences that move, inspire, and bring joy to our community.
This annual report is a celebration of growth - of our partnerships, our programming, and our place in the hearts of Territorians. Thank you for being part of this journey.
GEORGIA HENDY Chief Executive Officer
THE YEAR IN REVIEW
DARWIN COMEDY FESTIVAL -
Launched in March 2025, the inaugural Festival showcased national and international stars while celebrating the Territory’s vibrant comedy scene. The Festival featured comedy heavy-weights Celeste Barber, Nazeem Hussain, Sammy J, Luke McGregor, Geraldine Hickey, Reuben Kaye and the Aboriginal Comedy Allstars, alongside family shows, emerging talent and local favourites.
Every year at DEC delivers a packed program of performances, events and experiences that spark creativity and connection. From comedy, theatre and dance to music and cultural conversations, this year was one of great achievement - setting the stage for even more unforgettable moments ahead.
The period delivered a total of 137 performances over 104 events, with ticket sales up 17% from the previous year. Total attendances across all DECmanaged venues also rose by 19% reflecting strong audience demand. While overall figures have yet to return to historical peak attendance numbers (due to reduced programming of the George Brown Darwin Botanic Gardens Amphitheatre) this remains a reflection of the high cost of touring rather than audience appetite.
Focused on fostering creativity and collaboration, DEC inspired audiences with a vibrant calendar of events and performances. A major highlight was the inaugural Darwin Comedy Festival, proudly produced by DEC, which transformed the city into Australia’s newest comedy capital. Over three laughter-filled days, more
than 5,700 people attended shows featuring the nation’s best comedians, generating a $1.28 million economic impact and establishing the Festival as a cornerstone of Darwin’s cultural calendar. The Festival went on to win the Festivals and Events category at the 2025 Brolga Northern Territory Tourism Awards.
Another standout moment came when collaborative efforts with Shake & Stir Theatre Company resulted in Agatha Christie’s The Mousetrap coming to town. For three thrilling days, close to 3,000 people were captivated by this world-class production - a suspenseful, elegant whodunnit that had the city talking. Bringing such a high-calibre national tour to local audiences reinforced DEC’s position as the Territory’s premier arts and entertainment venue and
demonstrated the appetite for major theatrical works in Darwin.
The year also marked a milestone with the 10th anniversary of Garrmalang Festival - a decade of honouring Aboriginal and Torres Strait Islander music, dance, arts, and culture on Larrakia Country. What began as a passion project in 2014 by founder Ben Graetz has become a nationally recognised celebration and a vibrant gathering place for culture, creativity, and community. Garrmalang continues to shine as a proud testament to resilience, connection, and the enduring spirit of First Nations artists.
This year was defined by powerful collaborations and the forging of new connections, with eight new partners and supporters joining our growing network. Each partnership plays a
AGATHA CHRISTIE’S THE MOUSETRAP -
vital role in bringing extraordinary performances to the Top End, nurturing homegrown talent, expanding creative opportunities, and ensuring audiences across the Territory can share in the joy of live performance.
The year also welcomed inspiring new talent to our organisation, whose creativity, ambition, and fresh perspectives have energised our teams. Their ideas and dedication were evident in every collaboration, enriching projects across programming, production, and events, and elevating the quality of the experiences we deliver. By bringing new voices and approaches into the mix, these team members have not only strengthened our collective capacity but also contributed to outcomes that continue to surprise, delight, and inspire our audiences.
The arrival of The Mousetrap signalled more than a hit show. It showcased the power of national partnerships, premium storytelling, and the strength of Darwin’s cultural scene. With high-class staging, an exceptional cast, and an atmosphere brimming with suspense and laughter, this landmark production placed the Territory firmly on the touring map and delivered an unforgettable experience that lingered long after the curtain fell.
To deliver diverse and exciting performances and exhibitions, and position DEC as the primary arts and entertainment venue in the Northern Territory.
Our stages come alive with stories that move, challenge, and inspire - from the voices of our own community to those from across the world. Through diverse and daring programming, we celebrate the power of live performance to connect people, ignite imagination, and place DEC at the cultural heart of the Territory.
OUTCOMES
In 2024-25, a wonderfully rich and varied program saw 104 events, including 46 presented or copresented by DEC, spanning nine different genres, celebrating voices, stories and fresh perspectives.
Comedy has long been one of DEC’s greatest strengths - a genre that consistently fills seats, bringing people together through laughter. It was this strong audience appetite that inspired the creation of the inaugural Darwin Comedy Festival, a new signature event celebrating the Territory’s love of comedy, supported by event funding through Northern Territory Major Events Company (NTMEC) and sponsor Automobile Association of the Northern Territory (AANT). The Festival’s debut was a runaway success, featuring Celeste Barber, Nazeem Hussain, Geraldine Hickey, Luke McGregor, Sammy J, Reuben Kaye, the Aboriginal Comedy Allstars, Children Are Stinky, and a lineup of local talent alongside Class Clowns and RAW Comedy. Beyond the Festival,
the laughs kept coming with Frenchy, Stephen K Amos, Sooshi Mango, The Comedians, Are You Pulling My Leg?, Melbourne International Comedy Festival Roadshow, Deadly Funny, and Vanessa Larry Mitchell. Together these events cemented DEC’s reputation as the Territory’s home of comedy - a place where good humour thrives.
It was a year of big names and national buzz. From Abbie Chatfield, Marcia Hines, Eskimo Joe, Toni Childs and The Ten Tenors - this was a year where iconic Australian stars took the stage. These national touring acts not only filled the house but reinforced DEC’s potential as a major stop on Australia’s touring circuit - bringing big-city talent to Top End audiences.
Garrmalang Retrospective marked 10 years of celebrating Aboriginal and Torres Strait Islander arts and culture, featuring Dan Sultan with the DSO Quintet, Our Elders, Our Songs, and a stunning photographic exhibition. Joined by powerful touring works such as The Visitors, and Big Name, No Blankets and the National Indigenous Music Awards as part of Darwin Festival at the DEC-managed Amphitheatre, DEC’s stages continued to be a platform for truth-telling, pride, and cultural
connection. Two new program partners were secured with PowerWater and Airport Development Group whose meaningful support enables us to expand our Garrmalang program offerings, while Festival funding was also secured through NTMEC.
From The Wiggles to The Gruffalo, Ratburger, Dinosaur Time Machine, You Are a Doughnut, and countless local dance and school productions, family and youth audiences enjoyed a full calendar of colour, creativity and community spirit. Our education program evolved and expanded, becoming the Creative Learning Program with new and improved informational pathways into schools. Productions by SLIDE Youth Dance Theatre and local schools reflected DEC’s deep connection with emerging talent and the joy of participation.
International and national touring productions brought global perspectives to our local audiences, from Cirquework’s YOAH from Japan, Cirque Africa, Guards at the Taj to Celtica and Chinese Orchestra Night
Our partnership with Darwin Festival remains strong. This year we copresented Dancenorth Australia’s
Wayfinder and Shake & Stir Theatre Company’s FOURTEEN alongside Festival presented events Paradise and the Impermanence of Ice Cream, Little Murmur, I Wish and local production POD. Each reminded audiences that world-class artistry doesn’t just happen elsewhere, it happens right here at DEC.
Live music pulsed through the year with everything from Kasey Chambers and The Black Sorrows to tribute shows celebrating Taylor Swift, Fleetwood Mac, The Beatles, ABBA and Tina Turner. Darwin Symphony Orchestra delivered a stunning season with five major concerts plus special collaborations, solidifying its role as a pillar of the Territory’s live music landscape.
Community events continue to infuse our venues with energy and connection. With 9,510 audience members attending musicals such as Superstar Production’s Mary Poppins, concerts, presentations and showcases, these events strengthen community pride and keep our cultural heartbeat strong.
YOAH -
Darwin audiences were spellbound by Cirquework’s YOAH, a breathtaking blend of traditional Japanese artistry, acrobatics, and live percussion. The visually stunning performance showcased the precision, grace, and daring physicality that defines contemporary Japanese circus theatre.
Audience Engagement
WEBSITE TOTAL USERS
320,851
EMAIL OPEN RATE 33%
WEBSITE TOTAL PAGE VIEWS
911,010
EMAIL SUBSCRIBERS
29,565
EMAILS SENT 116
SOCIAL MEDIA TOTAL REACH
3,085,314
THE VISITORS
CENTRE CLUB MEMBERS
535
-
A standout First Nations production, The Visitors brought to us by the prestigious Sydney Theatre Company, expanded DEC’s audiences by delivering a distinctive, contemporary theatre experience to Darwin. Its powerful storytelling and rich cultural perspective drew both loyal patrons and new theatre-goers, while post-show talks provided meaningful opportunities to connect with the stories, culture, and artists behind the work.
PRIORITY 2
To drive visitation to the venue and DEC affiliated events and grow audiences for current and future events.
DEC is a cultural destination to which many Territorians of all ages and backgrounds return, throughout a rich and varied life, always confident they have a welcoming place to engage in art, culture and connection.
OUTCOMES
This period saw growth in ticket sales, attendance, and importantly, audience loyalty. Fourteen percent of attendees came to three or more events throughout the year, with an average attendance occupancy of 66% across all ticketed performances. Centre Club Membership numbers also increased, almost doubling in number.
The Visitors, image Stephen Wilson Barker
This growth was driven by a dynamic, audience-focused program, stronger marketing reach, and the continued rise of DEC’s reputation as the Territory’s premier entertainment destination. New flagship events like Darwin Comedy Festival and highprofile productions including Agatha Christie’s The Mousetrap, Dracula’s: Sanctuary, and Taylor Sheesh: The Errors Tour attracted new audiences, while community favourites such as Darwin Symphony Orchestra and SLIDE Youth Dance Theatre inspired loyal patrons to return. The launch of the Darwin Monopoly Board, featuring DEC as a key location, further strengthened brand awareness and visibility. Member presales, targeted digital campaigns, and consistent engagement through EDMs and social media (both exceeding industry benchmarks) successfully converted first-time visitors into regular attendees. Together, these strategies deepened audience connection and built a sense of belonging that keeps people returning for more.
Ticketing strategies play a key role in broadening access and driving audience growth. Affordable concession pricing was incorporated across all DEC Presents events, making live performances more accessible to Seniors and young people. Our average ticket price across all events presented was $55, compared to $122 nationally (Live Performance Australia (LPA) 2024 Attendance and Revenue Report). For Garrmalang Presents, Community/ Mob tickets were offered to Australian First Nations audiences, providing inclusive and equitable access, with 145 attendees taking up the opportunity this year. These targeted pricing initiatives not only increased attendance but
ARE YOU PULLING MY LEG? -
Accessible Arts’ Are You Pulling My Leg? brought five comedians with disabilities to DEC, supported by Auslan and live captioning to ensure inclusivity. The accompanying Accessible Festivals and Events workshop hosted by DEC equipped 17 industry professionals with practical tools to make events more welcoming and accessible. Together, these initiatives expanded DEC’s reach to new audiences and strengthened its commitment to inclusion in the arts.
also strengthened DEC’s role as a welcoming, community-focused venue, supporting both audience development and engagement across diverse demographic groups.
In this period, we developed new strategic partnerships with businesses that extended DEC’s reach and audience exposure. By packaging Darwin Comedy Festival tickets with accommodation, tours, and other local experiences, we created seamless, attractive offerings for visitors, encouraging longer stays in Darwin and attracting audiences from across the Territory, interstate, and internationally. These collaborations also position DEC as a key driver of the Territory’s cultural tourism. Partners benefit from association with high-quality arts experiences, while audiences enjoy convenient, valueadded experiences that enhance their connection to DEC and the city’s vibrant arts scene.
We support school and workplace fundraising, and host delegates and community stakeholders. Pre- and post-show events fostered personal connections, with 1,028 guests attending 12 engagement sessions during the year.
We were proudly accepted into Creative Australia’s Plus1 matched funding program, gaining dedicated support and professional development workshops to create a successful fundraising campaign aimed at bringing more young Territorians into our
theatres. Participation in this matched funding framework did more than raise money - it created a community of supporters who see themselves as co-creators in our cultural mission, expanding our reach, strengthening audience loyalty, and deepening the impact of our work.
Our Creative Learning program builds future audiences by engaging students and educators from early childcare to Year 12. Through curriculum-aligned performances, workshops and teacher resources, we inspire a love of the arts early, nurturing lifelong engagement. The expansion of relaxed and sensoryfriendly performances ensured all audience members could enjoy live theatre. By removing barriers and creating inclusive experiences, DEC fosters a sense of belonging while broadening access to the arts. During this period our Creative Learning program welcomed attendances of 3,894 students from 93 school visits.
Our Artists in Residence and visiting companies ran eight workshops, inspiring 174 participants to develop new skills, while DEC staff welcomed 14 students on a venue tour sparking curiosity and guiding the next generation of arts and event professionals. In conjunction with SLIDE Youth Dance Theatre and Corrugated Iron Youth Arts, we partnered twice with The Smith Family on their smARTS program to give students hands-on arts experiences and creative career insights.
Madeline Stewart, image Monica Pronk
To operate an innovative, sustainable, and streamlined business that promotes and supports growth with a future focus.
Behind every unforgettable performance at DEC is a team working smarter, safer, and more sustainably than ever.
OUTCOMES
This year, new onboarding, induction, and training programs, including staffwide refreshers, Chief Warden training and cultural capability sessions with Shifting Grounds, ensured teams were skilled, informed, and empowered to deliver exceptional experiences. Staff capability and awareness were strengthened through Accessible Festivals and Events and Disability Confidence Training workshops delivered by Accessible Arts. Additionally, our CEO completed Flare Access training programs focused on enhancing physical accessibility and embedding inclusive practices in business operations.
New hybrid roles were introduced to support business continuity and staff retention, enhancing flexibility across technical services, ticketing, and events administration. In addition, career pathways were strengthened, with three SLIDE Youth Dance Theatre members transitioning into front-of-house roles, demonstrating how practical opportunities within the organisation support professional growth. We continued our collaboration with Charles Darwin University giving students handson learning opportunities through their Cert IV in Live Production and Technical Services.
Professional development opportunities strengthened staff capability and leadership skills. This included the Presenter Training Program as part of Australian Performing Arts Exchange (APAX), the Meeting of Arts Professionals, Creative Australia’s Plus1 fundraising workshop, and Communicating the Arts conference. Our CEO presented at the International Leadership Course at Adelaide Festival Centre.
DEC staff also actively participated in sector engagement activities to connect with national and international peers. Key engagements
“With your team’s guidance, the experience turned out to be far smoother and more enjoyable than any other theatre I’ve worked with. Thanks to your exceptional support, I was able to focus on my students rather than worrying about the technical aspects, and for that, I am truly grateful. Your professionalism, responsiveness, and willingness to assist made all the difference, and I deeply appreciate the outstanding service you provided. I look forward to working with you again for my next production.”
LANKAN DANCE ACADEMY
Thaanama, Rhythms of Sri Lanka
DARWIN COMEDY FESTIVAL -
of attendees felt welcome
of attendees reported a postive experience
included APAX, the Association of Asia Pacific Performing Arts Centres Conference in Taiwan, the Creative Regions National Summit in Canberra, OZPAC, and holding a permanent position on City of Darwin’s Arts and Cultural Development Advisory Board. Our CEO was appointed in June to be a LPA Executive Council Observer. Planning for the 2025 APAX conference, to be hosted at DEC in August, included reconnaissance visits by PAC Australia staff, further positioning the Centre as a leading venue on the national arts stage.
All core operational staff completed Momentus Elite training, enabling real-time access and updates to event information. This supported seamless team communication and the efficient delivery of events. The improvements were first applied to Darwin Comedy Festival, consolidating all event details - including schedules, staff assignments, and technical requirements - into a single digital platform. The initiative reduced manual errors, improved data security, and streamlined operational workflows.
Operational excellence was reinforced through regular event operations meetings, training exercises, and proactive safety and compliance practices, including hazard and nearmiss reporting. This year, 21 minor safety incidents were recorded, none of significance, reflecting the Centre’s continued high safety standards and diligent risk management.
The Centre’s ongoing focus on policies such as the Disability Access and Engagement Plan, Succession Plan, and Reconciliation and Equity Action Plan ensures that every team member
of attendees reported exceptional customer service
understands their role in delivering a safe, innovative, and sustainable organisation. A focus on sustainability saw energy and waste tracking integrated into operations, bar menu simplifications implemented to reduce waste, and ongoing recycling and environmental initiatives.
Significant technical and asset upgrades ensured the Centre is equipped to meet contemporary production standards while maintaining safety and business continuity. Investments in extra rigging points, lighting, audio, and drapery were guided by lifecycle reviews and capital expenditure planning, with non-fixed assets over $5,000 audited for replacement timelines and estimated costs. An asbestos review, liquor license updates, and new security inductions further reinforced compliance and risk management. Venue Hire surveying and refined processes for working with Hirers of the Amphitheatre, and improvements in bar operations, exemplify our ongoing commitment to streamlined and customerfocused operations.
PRIORITY 4
To manage a strong framework of operational, governance and financial systems to ensure that DEC is fully compliant.
DEC has spent the past year strengthening its operational, governance, and financial frameworks to not only ensure full compliance but also enhance organisational resilience and support the delivery of high-quality, impactful programs for the community.
OUTCOMES
DEC’s Risk Register was regularly reviewed and updated. Desktop scenario exercises tested responses to potential operational, financial, and reputational challenges, ensuring staff were prepared to respond effectively across a range of situations. Complementing this, crisis
communication plans were developed for events that might involve sensitive or controversial content, or where stakeholder concerns could arise, enabling the organisation to respond promptly and maintain public trust.
A key operational improvement this year was the installation of new
permanent rigging infrastructure in The Playhouse. When specifications for the circus production YOAH were received, it was identified that additional overhead rigging points were required for their circus truss. Previously, temporary points had to be installed at floor level, requiring tonnes of weight to be manually moved to stage height. In partnership with a local construction company and engineer, eight permanent rigging points were installed in the side-stage walls. This investment has significantly reduced manual handling risks and will improve safety and efficiency for all future circus and aerial productions in the venue.
All major policies, including Delegations, Recruitment, Alcohol, Asset Management, and Working
with Children, were reviewed, updated, and rolled out through the Learning Management System. These updates ensured that we remained compliant with audit and reporting requirements while providing clear guidance to staff and stakeholders.
Financial oversight and revenue diversification were key priorities. We renewed sponsorships with De Silva Hebron and Lexus of Darwin and secured new sponsorships, including aligning AANT with Darwin Comedy Festival, and Airport Development Group, PowerWater, and E3 Productions with other program areas, which strengthened the organisation’s income streams. Corporate Memberships and donor campaigns, such as Plus1, further contributed to diversified funding
– we acknowledge and thank HWLE Lawyers and Adept Business Accountants for their support. Settlement processes were reviewed and streamlined, improving efficiency and timeliness of transactions. The Finance and Risk Management Committee met regularly to monitor performance, compliance, and risk, ensuring strategic oversight and accountability.
Through these initiatives, DEC has reinforced a strong operational and governance framework. By building robust systems and processes, fostering staff expertise, and maintaining rigorous financial and risk oversight, the organisation continues to provide safe, compliant, and highquality programs while positioning itself for sustainable growth.
CHILDREN ARE STINKY -
As part of the Darwin Comedy Festival program, Children Are Stinky brought high-energy circus comedy to the stage for families. Immediately prior to the performance, the team identified that a pre-set trapeze rigging point wasn’t ideal for the artists. Our technicians quickly consulted with the performers, adjusted the rig safely within minutes, and ensured the show could proceed smoothly. A small moment that showcased big things: responsiveness, collaboration, and a commitment to performer safety.
PRIORITY 5
Plan to protect the physical longevity and sustainability of DEC as a Northern Territory asset, whilst safeguarding DEC’s cultural integrity.
Protecting DEC’s physical infrastructure and cultural integrity is not just a priority, but an organisational imperative, ensuring that generations to come can continue to experience world-class performances, community engagement, and the vibrant arts life that DEC uniquely delivers.
OUTCOMES
DEC’s value to the community and the Territory is clear: 94% of audiences surveyed through Culture Counts in relation to Darwin Comedy Festival and the 2023-24 Impact and Evaluation Survey, reported that attending DEC events made them feel welcome and included, while a Net Promoter Score of 76 demonstrates strong loyalty and advocacy (exceeding the national benchmark of 65 for performing arts). In addition, 83% of Darwin Comedy Festival respondents indicated they would not have visited the local area if not for the events they attended at DEC. These insights highlight DEC’s role not just as a venue, but as a driver of cultural engagement, regional visitation, nighttime economy and
community connection, making its longevity and sustainability a critical organisational imperative.
To protect this important asset, DEC has continued investment in venue and asset management, including upgrades to the flyline system, dress circle railings, new rigging points, and technical equipment, alongside fireretardant curtains and staff training to ensure safety and business continuity. The Project Control Group coordinated major works with the City of Darwin and Northern Territory Government, including carpet replacement and ongoing remediation projects, while advocacy for Amphitheatre upgrades continues through productive conversations with all stakeholders.
DEC’s strategic planning is guided by long-term sustainability and future facility needs, supported by successful grant outcomes such as the Business Security and Safety Audit. Complementing this, a focus on workplace culture and inclusive programming ensures DEC’s cultural integrity remains as strong as its physical infrastructure. This commitment supports higher productivity, greater staff satisfaction, and reinforces DEC’s reputation as a desirable place to work. Our stable pool of skilled technicians reflects the respect and trust embedded in our culture.
DEC operates in alignment with its core values of Ambition, Diversity,
Passion, and Safety, and regularly planned social and team-building events strengthen relationships and a sense of camaraderie across the organisation. Governance continuity was also reinforced this year with the ratification of two Board members, ensuring stability and ongoing guidance in line with DEC’s strategic and cultural priorities.
By safeguarding both the venue and the experiences it delivers, DEC secures its role as a trusted, enduring hub for the Territory’s arts and entertainment.
LOCAL IMPACT
98% of visitors agreed the Festival was important to Darwin
LOCAL SPENDING 90%
attendees spent money in the local area as part of their visit to the Festival
ECONOMIC IMPACT
$1.28m
The Gruffalo, Image Peter Wallis
DARWIN COMEDY FESTIVAL -
SUPPORTING OUR ARTS COMMUNITY
This year, we strengthened our commitment to supporting the Territory’s creative community, providing space, expertise, and resources to help local artists and organisations bring their work to life.
Our partnerships with community groups and our Artist in Residence companies continue to foster creativity, connection, and professional growth, ensuring the performing arts remain vibrant and accessible across the region.
Throughout the year, we offered discounted access to performance and rehearsal spaces, marketing support, and technical expertise to local hirers including Darwin Fringe Festival, Darwin Chorale, schools, and numerous dance and performing arts studios. These initiatives remove barriers to participation and make it possible for community-led productions to thrive.
In total, $335,587 in subsidies (an increase from $250,079) supported 35 community groups and artists, enabling them to deliver performances and programs that enriched the cultural life of Darwin:
• Artback NT
• Australian Army
• Base Entertainment
• Brown’s Mart Theatre
• Charles Darwin University Confucius Institute
• Christmas in Darwin Association
• Dance Construct
• Darwin Chorale Incorporated
• Darwin Fringe Festival
• Darwin Festival
• Darwin Performance Academy
• Darwin Symphony Orchestra
• Deadloch Pty Ltd
• Department of Defence
• Encore Theatrical Pty Ltd
• Gary Lang NT Dance Company
• Haileybury Rendall School
• Lankan Dance Academy Incorporated
$335,587 in subsidies provided to 35 community groups
• Larrakeyah Primary School
• Leisa’s School of Dancing
• Lyrella Couzens
• MacKillop Catholic College
• Northern Territory Police
• NT Calisthenics Association
• NT Music School
• Palmerston Christian School
• Preachrs Podcast Online & OnStage Pty Ltd
• Rosebery Primary School
• Royal Existence Dance Academy
• SAM’s Dance Studio
• SLIDE Youth Dance Theatre
• Sunday Skippers
• The Smith Family
• Vivienne Starr
• Whistling Kite New Music
Mary Poppins, Superstar Productions
DEC ARTIST IN RESIDENCE COMPANIES
We’re proud to host three exceptional Artist in Residence companies, each bringing unique creativity, expertise, and vision to the Territory.
These resident ensembles not only create, rehearse, and perform within our venue but also engage deeply with local communities, nurturing emerging talent, inspiring audiences, and contributing to the Territory’s vibrant cultural landscape.
DARWIN SYMPHONY ORCHESTRA
DSO is the only full-scale orchestra based in the Territory, performing a wide-ranging repertoire from classical masterpieces to contemporary works, while championing world premieres by Territory composers.
In 2024–25, the orchestra expanded its community and regional engagement, touring remote and urban communities to bring orchestral music to audiences across the Territory, alongside its program at the Centre which included Heroes, Romance and Revolution, Vital Forces - a world premiere in partnership with Larrakia Elder Dr Aunty Bilawara Lee commemorating 50 years since Cyclone TracyVoyage, and One Hit Wonders at the Amphitheatre.
GARY LANG NT DANCE COMPANY
NT Dance Company, owned and led by acclaimed First Nations choreographer Gary Lang, is the Territory’s premier professional dance ensemble in residence at DEC.
Over the 2024–25 period, the company toured The Other Side of Me across the country, earning the Most Outstanding Performance award at the NT Performing Arts Awards for the production, while also developing Bukuminkum - an Indigenous Australian adaptation of Giselle’s second act.
SLIDE YOUTH DANCE THEATRE
A proud resident company since 2018, SLIDE have ushered hundreds of young Territorians into the creation of bold, powerful dance-theatre works. Their mission is clear: to engage, educate and develop emerging artists through on-the-job training, vibrant collaborations and professional performance opportunities within a youth-driven company environment.
With each production, SLIDE explores issues relevant to young peoplestories of identity, belonging, risk, and connection - brought to life through rich choreography and theatricality. This year saw two presentations of TIME due to popular demand - with two cast members receiving the Young Achiever Award at the NT Performing Arts Awards - alongside Beautiful and Short Works One 2025
Image Hannah Herbert
The Other Side of Me, image Paz Tassone
TIME, image Jacob Scott
KASEY CHAMBERSBACKBONE TOUR
Australian country music royalty Kasey Chambers brought her distinctive voice, heartfelt storytelling, and career-spanning hits to DEC on her national Backbone Tour , celebrating new music, timeless favourites, and over 25 years of authentic, award-winning artistry.
2024-25 PERFORMANCES & EVENTS
THE PLAYHOUSE
ABBIE CHATFIELD The Trauma Dump Tour
AGATHA CHRISTIE’S THE MOUSETRAP
BJÖRN AGAIN Waterloo Anniversary Tour
CELESTE BARBER Back Up Dancer
CELTICA
CHILDREN ARE STINKY
CHINESE ORCHESTRA NIGHT Mid Autumn Festival
CIRQUE AFRICA
CIRQUEWORK Yoah
COAL MINER’S DAUGHTER
CROSSING OVER WITH PSYCHIC MEDIUM JOHN EDWARD
DANCENORTH AUSTRALIA Wayfinder
DARWIN PERFORMANCE ACADEMY Take a Chance
DARWIN SYMPHONY ORCHESTRA Heroes
DARWIN SYMPHONY ORCHESTRA Romance and Revolution
DARWIN SYMPHONY ORCHESTRA Vital Forces
DARWIN SYMPHONY ORCHESTRA Voyage
DRACULA’S: SANCTUARY
ESKIMO JOE IN CONCERT
FRENCHY Embrace the Chaos
GARRMALANG RETROSPECTIVE Dan Sultan with DSO Quintet
GUARDS AT THE TAJ
HAILEYBURY RENDALL SCHOOL Charlie and the Chocolate FactoryThe New Musical
HINDLEY STREET COUNTRY CLUB Just Gets Better
KASEY CHAMBERS Backbone Tour
LANDSLIDE THE FLEETWOOD MAC & STEVIE NICKS TRIBUTE SHOW
LARRAKEYAH PRIMARY SCHOOL A Night at the Oscars
LEISA’S SCHOOL OF DANCING Coppelia
LUKE MCGREGOR Okay, Wow
MACKILLOP CATHOLIC COLLEGE Presentation Evening
MARCIA HINES The Still Shining Concert Tour
MELBOURNE INTERNATIONAL COMEDY FESTIVAL ROADSHOW
NAZEEM HUSSAIN You Paid for This
NT CALISTHENICS ASSOCIATION FRANGIPANI COMPETITION
NT CALISTHENICS ASSOCIATION SOLO, DUO AND GRACEFUL CHAMPIONSHIPS
NT CALISTHENICS TEAM CHAMPIONSHIPS
OBM NAB PRESENTS BUSINESS SUCCESS WITH DAVID KOCH
PALMERSTON CHRISTIAN COLLEGE Awards and Graduation Ceremony
PATCH THEATRE IN COLLABORATION WITH GRAVITY & OTHER MYTHS
I Wish
RATBURGER
REUBEN KAYE The Party’s Over
ROSEBERY PRIMARY SCHOOL The Road Trip
ROYAL EXISTENCE DANCE ACADEMY Ready Set Dream
ROYAL EXISTENCE DANCE ACADEMY Supernova
SAMMY J The Kangaroo Effect
SAM’S DANCE STUDIO On Broadway
SHAKE & STIR THEATRE CO Fourteen
SHOWCASE AUSTRALIAN DANCE CHAMPIONSHIPS
SLIDE YOUTH DANCE THEATRE Time (May)
SOOSHI MANGO Home Made
STEPHEN K AMOS Oxymoron
SUPERSTAR PRODUCTIONS Mary Poppins
TAYLOR SHEESH: THE ERRORS TOUR
THAANAMA Rhythms of Sri Lanka
THE BEAT FESTIVAL Home
THE BEATLES LEGACY
THE BLACK SORROWS IN CONCERT
THE COMEDIANS
THE GRUFFALO
THE REWIND ‘80S MIXTAPE TOUR
THE TEN TENORS 30th Anniversary World Tour
THE VISITORS
THE WIGGLES Bouncing Balls Tour
TINA The Ultimate Tribute to the Queen of Rock ‘n’ Roll
VICTORIAN STATE BALLET The Nutcracker
STUDIO THEATRE
AAKASH ODEDRA & LEWIS MAJOR Little Murmur
ABORIGINAL COMEDY ALLSTARS
AN EVENING WITHOUT KATE BUSH
ARE YOU PULLING MY LEG?
AUSTRALIAN BURLESQUE FESTIVAL The Big Tease
CHARLES DARWIN UNIVERSITY NT SCIENCE AWARDS
CLASS CLOWNS
DANCE CONSTRUCT Beyond the Galaxy
DARWIN SYMPHONY ORCHESTRA 2025 Season Launch
DEADLY FUNNY
DIESEL Bootleg Melancholy Tour 2024
DINOSAUR TIME MACHINE
GARRMALANG RETROSPECTIVE Our Elders
GERALDINE HICKEY Meander
GREAT DETECTIVES!
INDIAN INK THEATRE COMPANY Paradise and the Impermanence of Ice Cream
LIQUORED UP LATE
LUMINOUS PRODUCTIONS Pod
PETER WILLIAMS Return of the Medium (Sep)
PETER WILLIAMS Return of the Medium (Mar)
THE NUTCRACKERVICTORIAN STATE BALLET
A beloved festive tradition, Victorian State Ballet’s The Nutcracker delighted audiences with two soldout performances, offering a magical Christmas experience of dazzling ballet, Tchaikovsky’s iconic score, and the timeless wonder of Clara’s enchanted adventure.
RAW COMEDY NT FINAL
SCHALK BEZUIDENHOUT Crowd Pleaser
SLIDE YOUTH DANCE THEATRE Short Works One 2025
SLIDE YOUTH DANCE THEATRE Beautiful
SLIDE YOUTH DANCE THEATRE Time (Sep)
SMARTS Corrugated Iron Youth Arts and Palmerston College
SMARTS – SLIDE Youth Dance Theatre and Casuarina Senior College
SUB BY GUTS DANCE
TONI CHILDS Retrospective
TOWN HALL MEETING, DEADLOCH SEASON 2
VANESSA LARRY MITCHELL Lube Me Alone
VANESSA LARRY MITCHELL Teardrops on My Dildo
WHISTLING KITE NEW MUSIC The Traveller Without Baggage
YOU ARE A DOUGHNUT
THE GALLERY, REHEARSAL ROOM AND OTHER SPACES
DARWIN COMEDY FESTIVAL Beats & Laughs After Dark
DARWIN COMEDY FESTIVAL Opening Ceremony
GARRMALANG RETROSPECTIVE Our Songs
GARRMALANG RETROSPECTIVE Photographic Exhibition
LAUGH LOUNGE Top Floor Comedy Showcase
LAUGH LOUNGE Wheel of Jokes
LAUGH LOUNGE Are You Smarter Than a Comedian?
LAUGH LOUNGE Sweat Seat
NT ELECTORAL COMMISSION Legislative Assembly General Election
NTIX
CITY OF DARWIN CAROLS BY CANDLELIGHT
DARWIN SYMPHONY ORCHESTRA One Hit Wonders
ILBIJERRI THEATRE COMPANY Big Name, No Blankets
MISSY HIGGINS The Second Act Tour
NATIONAL INDIGENOUS MUSIC AWARDS
OUR PARTNERS
We work in partnership with valued sponsors and supporters who share our belief in the power of the arts to connect, inspire and enrich our community.
These relationships enable us to present world-class performances, nurture local talent, and make the transformative experience of live theatre accessible to audiences across the Territory.
Enduring partnerships help us grow and innovate, while new collaborations bring fresh energy,
GOVERNMENT PARTNERS
creativity and opportunity to our stage and beyond. Together with our sponsors, we’re not just presenting performances, we’re building a vibrant cultural legacy for future generations. Whether supporting a single season, a community initiative, or a long-term program, every partnership contributes to keeping the arts alive and thriving at DEC.
OUR PEOPLE
BOARD
Chair
Hon. Clare Martin AO
Directors
Charlie Falanga
Jane de Gault
Camille Damaso
Andrew Giles
Andrew Kay AM
Sam Strohmayr
CORE STAFF
Chief Executive Officer
Georgia Hendy
Operations
Head of Operations
Jati Wixted (until November)
Roxanne Smith (from October)
Technical Manager
Josh Batten
Senior Lighting Technician
Tomm Lydiard
Senior Audio Technician
Peter Colautti
Events Coordinator
Neža Strenčan (from October)
Events Assistant
Neža Strenčan (until October)
Ticketing & Administration Coordinator
Alana Rossiter
DELIVERING UNMATCHED VALUE THROUGH EXCLUSIVE EXPERIENCES -
Lexus of Darwin Encore Members enjoyed a ‘money-can’t-buy’ onstage experience during Cirquework’s YOAH , enjoying exclusive access, seamless logistics, and unforgettable moments that delighted all.
Administration Assistant
Edie Polkinghorne (December - April)
Venue Maintenance & Cleaning
Peter Burghof
Ann Peters
Programming
Head of Programming
Roz Pappalardo (September - March)
Senior Producer
Brigette Chapman
Alison Wheeler (February - June)
Creative Learning Program Coordinator
Joanna Noonan
Garrmalang Festival Creative Director
Ben Graetz
Marketing & Communications
Head of Marketing & Communications
Melissa White
Senior Marketing Coordinator
Heena Kriplani
Graphic Design & Marketing Coordinator
Tash Reichelt
Digital Marketing Coordinator
Saoirse O’Reilly
Finance
Head of Finance
Andrew Spagnardi
Accounting Officer
Navneet Kaur (until January)
Tracy Ambrose-Pearce (from January)
OUR PEOPLE
$2,180,538
Wages and superannuation paid to our Territory based workforce
$1.35m
Annual NTG and City of Darwin funding.
TICKET SALES
$3,653,755
All gross box office ticket sales through DEC and NTix
FINANCIALS
The 2024–25 financial year closed with an operating surplus of $39,296 after accounting for non-cash expenses. Prior to these non-cash adjustments, the organisation achieved a pre-depreciation surplus of $226,181, reflecting another year of strong operational performance and careful financial management.
When compared to the approved budget, the result was favourable, with increased programming and Venue Hire income as well as increased project funding. This positive variance reflects the continued success of self-presented programming under the DEC Presents banner.
DEC PRESENTS REVENUE
$984,755
Gross box office revenues from DEC Presents performances
Total operating income for the year was $4,903,074, exceeding the budgeted figure of $4,466,443 by $436,631, demonstrating sound forecasting and stable income generation across major revenue streams.
Total expenses, as reported in the audited financial statements, amounted to $4,863,778, including non-cash expenses of $186,885. This represents a moderate increase from the previous year’s total expenses of $$4,525,205, primarily reflecting growth in staffing costs, utility expenses, and professional fees associated with programming and venue operations.
Overall, the 2024–25 results highlight the organisation’s resilience and financial discipline in a year marked by steady audience recovery and continued investment in community and artistic outcomes.
Fourteen, Shake & Stir Theatre Co
The Directors
Darwin Performing Arts Centre
trading as Darwin Entertainment Centre
93 Mitchell Street
Darwin NT 0800
Auditor's Independence Declaration
I declare that, to the best of my knowledge and belief, during the year ended 30 June 2025 there have been:
(i)
no contraventions of the auditor independence requirements as set out in the Australian Charities and Not-for-profits Commission Act 2012 in relation to the audit; and
(ii) no contraventions of any applicable code of professional conduct in relation to the audit.
LOWRYS AUDIT
Colin James, FCA Registered Company Auditor
Darwin
Dated: 30 October 2025
DIRECTORS' DECLARATION
In accordance with a resolution of the Directors of Darwin Performing Arts Centre trading as Darwin Entertainment Centre (the Company), the Directors declare that:
1. a. b.
The financial statements and notes, as set out on pages 3-23, are in accordance with the Australian Charities and Not-for-profits Commission Act 2012 including:
complying with Australian Accounting Standards and the Australian Charities and Not-for-profits Commission Regulation 2022 ; and
give a true and fair view of the financial position of the Company as at 30 June 2025 and of its performance for the year ended on that date.
2. This declaration is made in accordance with a resolution of the Board of Directors.
In the Directors' opinion there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable.
STATEMENT OF PROFIT OR LOSS AND OTHER COMPREHENSIVE INCOME FOR THE YEAR ENDED 30 JUNE 2025
STATEMENT OF FINANCIAL POSITION AS AT 30 JUNE 2025
STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 30 JUNE 2025
The Statement of Changes in Equity should be read in conjunction with the accompanying notes.
STATEMENT OF CASH FLOWS
THE YEAR ENDED 30 JUNE 2025
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Darwin Performing Arts Centre trading as Darwin Entertainment Centre (the Company) is a Company limited by guarantee, incorporated under the Corporations Act 2001 and also registered with the Australian Charities and Not-for-profits Commission Act 2012 (the Acts) and domiciled in Australia.
The principal activities of the Company during the financial year were the hiring of the theatres and other areas within the Centre, entrepreneurial activities in the staging of shows and acting as a ticketing agent for other venues.
Principal place of business
93 Mitchell Street Darwin NT 0800
Registered Office
93 Mitchell Street Darwin T 0800
Note 1:
Material Accounting Policy Information
Basis of Preparation
The financial statements are required by the Acts and are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards and the Australian Charities and Not-for-profits Commission Act 2012. The Company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards and in the opinion of the directors, the Company is not publicly accountable.
Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless stated otherwise.
The financial statements, except for the cash flow information, have been prepared on an accrual basis and are based on historical costs, modified where applicable, by the measurement at fair value of selected non-current assets, financial assets and financial liabilities. The amounts presented in the financial statements have been rounded to the nearest dollar.
Accounting Policies
(a) Revenue and income
Grant Income
When the company receives operating grant revenue, it assesses whether the contract is enforceable and has sufficiently specific performance obligations in accordance with AASB 15.
When both these conditions are satisfied, the Company:
- identifies each performance obligation relating to the grant; - recognises a contract liability for its obligations under the agreement; and - recognises revenue as it satisfies its performance obligations.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 1:
Material Accounting Policy Information (continued)
(a) Revenue (continued)
Where the contract is not enforceable or does not have sufficiently specific performance obligations, the Company:
recognises the income upon receipt of funding under AASB 1058 recognises related amounts (being contributions, lease liability, financial instruments, provisions, revenue or contract liability arising from a contract with a customer); and
recognises income immediately in profit or loss as the difference between the initial carrying amount of the asset and the related amount.
If a contract liability is recognised as a related amount above, the Company recognises income in profit or loss when or as it satisfies its obligations under the contract.
Event and Sponsorship Income
Event and sponsorship income is taken to income in the period to which it relates. The total value of inkind sponsorship is booked to income and expenditure as it is used.
Revenue attributable to performances staged by the Company is reflected in gross terms in operating revenue. Commission on ticket sales and venue hire are recognised in the case of Playhouse , Studio Theatre and other venue performances , at the completion if a performance or season.
Receipts from ticket sales that derive from activities of commercial promoters and other external parties hiring the Centre are held by the Company in a designated bank account recorded in the asset register. All such receipts are also recorded as a corresponding liability on the Statement of Financial Position, resulting in a nil effect on net assets.
Interest Income
Interest income is recognised as interest accrues using the effective interest method. This is a method of calculating amortisation cost of a financial asset and allocating the interest income over the relevant period using the effective interest rate.
All revenue is stated net of the amount of goods and services tax.
(b) Property, Plant and Equipment
Property, plant and equipment are measured on the cost basis and are therefore carried at cost less accumulated depreciation and any accumulated impairment losses. In the event the carrying amount of property, plant and equipment is greater than the estimated recoverable amount, the carrying amount is written down immediately to the estimated recoverable amount and impairment losses are recognised. A formal assessment of recoverable amount is made when impairment indicators are present (refer to Note 1(e) for details of impairment).
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 1:
Material Accounting Policy Information (continued)
(b) Property, Plant and Equipment (continued)
Depreciation
All fixed assets are depreciated on a straight-line basis over the asset's useful life to the company commencing from the time the asset is held ready for use.
The Estimated useful lives used for each class of depreciable assets are :
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 the proceeds with the carrying amount. These gains and losses are recognised in profit or loss in the period in which they arise.
(c) Leases
The Company elects to measure Right-Of-Use (ROU) asset arising from the application of AASB 16 Leases , to 'peppercorn' or concessionary leases at initial recognition at cost, in accordance with AASB 2018-8 Amendments to Australian Accounting Standards-Right-of-Use Assets of Not-for Profit Entities.
The lease commencing 1 July 2014 over Lot 5355 Town of Darwin, Unit 11 as described in Unit Plan 89/025 between the City of Darwin and the Darwin Performing Arts Centre in respect to the land and premises used by the Company to engage in its principal activities, expired on 30 June 2023.
The term of lease was for three years, the rent being AUD $1 per annum. Under the terms of the lease, there was an option to renew the lease for two further renewals each being of three years, under the same terms and conditions.
As per the letter issued on 5 November 2025, the City of Darwin has confirmed that, as outlined in Occupancy terms under 5 Mutual Covenants Clause 5.5, the lease is currently in Holding Over.
(d)
Financial Instruments
Initial recognition and measurement
Financial assets and financial liabilities are recognised when the Company becomes a party to the contractual provisions to the instrument. For financial assets, this is equivalent to the date that the Company commits itself to either purchase or sell the asset.
Note 1:
(d)
Material
Accounting Policy Information (continued)
Financial Instruments (continued)
Financial instruments (except for trade receivables) are initially measured at fair value plus transaction costs except where the instrument is classified 'at fair value through profit and loss' in which case transaction costs are recognised as expenses in profit or loss immediately.
Classification and subsequent measurement
Financial instruments are subsequently measured at fair value, amortised cost using the effective interest method, or cost.
Amortised cost is calculated as the amount at which the financial asset or liability is measured at initial recognition less principal repayments and any reduction for impairment, and adjusted for any cumulative amortisation of the difference between that initial amount and the maturity amount calculated using the effective interest method.
The effective interest method is used to allocate interest income or interest expense over the relevant period and is equivalent to the rate that discounts estimated future cash payments or receipts (including fees, transactions costs and other premiums or discounts) over the expected life (or when this cannot be reliably predicted, the contractual term) of the financial instrument to the net carrying amount of the financial asset or financial liability. Revisions to expected future net cash flows will necessitate an adjustment to the carrying amount with a consequential recognition of income or expense in profit or loss.
Impairment
A financial asset (or a group of financial assets) is deemed to be impaired if, and only if, there is objective evidence of impairment as a result of one or more events (a 'loss event') having occurred, which has an impact on the estimated future cash flows of the financial asset(s).
In the case of available-for-sale financial assets, a significant or prolonged decline in the market value of the instrument is considered to constitute a loss event. Impairment losses are recognised in profit or loss immediately. Also any cumulative decline in fair value previously recognised in other comprehensive income is reclassified into profit or loss at this point.
In the case of financial assets carried at amortised cost, loss events may include: indications that the debtors or a group of debtors are experiencing significant financial difficulty, default or delinquincy in interest or principal payments; indications that they will enter bankruptcy or other financial reorganisation; and changes in arrears or economic conditions that correlate with defaults.
With the terms of financial assets that would otherwise have been past due or impaired have been renegotiated, the Company recognises the impairment for such financial assets by taking into account the original terms as if the terms have not been renegotiated so that the loss events that have occurred are duly considered.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 1:
Material Accounting Policy Information (continued)
(d) Financial Instruments (continued)
Derecognition
Financial assets are derecognised where the contractual right to receipt of cash flows expires or the asset is transferred to another party, whereby the Company no longer has any significant continuing involvement in the risks and benefits associated with the asset. Financial liabilities are derecognised where the related obligations are discharged, cancelled or have expired. The difference between the carrying amount of the financial liability extinguished or transferred to another party and the fair value of consideration paid, including the transfer of non-cash assets or liabilities assumed, is recognised in profit or loss.
(e) Impairment of Non Financial Assets
At the end of each reporting period, the Company reviews the carrying amounts of its tangible and intangible assets to determine whether there is any indication that those assets have been impaired. If such an indication exists, the recoverable amount of the asset, being the higher of the asset's fair value less costs of disposal and value in use, is compared to the asset's carrying amount. Any excess of the asset's carrying amount over its recoverable amount is recognised.
Where the future economic benefits of the asset are not primarily dependent upon the asset's ability to generate net cash inflows and when the entity would, if deprived of the asset, replace its remaining future economic benefits, value in use is determined as the depreciated replacement cost of an asset.
Where it is not possible to estimate the recoverable amount of an asset's class, the entity estimates the recoverable amount of the cash-generating unit to which the class of assets belong.
(f) Provision for Employee benefits
Short-term employee benefits
Provision is made for the Company's obligation for short-term employee benefits. Short-term employee benefits are benefits (other than termination benefits) that are expected to be settled wholly before 12 months after the end of the annual reporting period in which the employees render the related service, including wages, salaries and annual leave. Short-term employee benefits are measured at the nominal amounts expected to be paid when the obligation is settled.
The Company's obligations for short-term benefits such as wages, salaries and sick leave are recognised as part of current trade and other payables in the statement of financial position.
Other long-term employee provisions
Provision is made for employees' long service leave and annual leave entitlements not expected to be settled wholly within 12 months after the end of the annual reporting period in which the employees render the related service. Other long-term employee benefits are measured at the present value of the expected future payments to be made to employees. Expected future payments incorporate anticipated future wage and salary levels, durations of service and employee departures, and are discounted at rates determined by reference to market yields at the end of the reporting period on government bonds that have maturity dates that approximate the terms of the obligations. Upon the remeasurement of obligations for other long-term employee benefits, the net change in the obligation is recognised in profit or loss as a part of employee benefits expense.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 1:
Material Accounting Policy Information (continued)
(f) Provision for Employee benefits (continued)
The Company's obligations for long-term employee benefits are presented as non-current employee provisions in its statement of financial position, except where the Company does not have an unconditional right to defer settlement for at least 12 months after the end of the reporting period, in which case the obligations are presented as current provisions.
(g) Cash and Cash Equivalents
Cash and cash equivalents include cash on hand, deposits held at-call with banks, other short-term highly liquid investments with original maturities of three months or less, and bank overdrafts. The Company did not have an overdraft during the year.
(h) Trade and Other Receivables
Trade and other receivables include amounts receivable from members as well as amounts receivable from clients for goods provided in the ordinary course of business. Receivables expected to be collected within 12 months of the end of the reporting period are classified as current assets. All other receivables are classified as non-current assets.
Trade and other receivables are initially recognised at fair value and subsequently measured at amortised cost using the effective interest method, less any provision for impairment. Refer to Note 1(d) for further discussion of impairment of financial assets.
(i) Goods and Services Tax
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).
Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included with other receivables or payables in the statement of financial position.
Cash flows are included in the cash flow statement on a net basis. 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.
(j) Income Tax
No provision for income tax has been raised as the Company is exempt from income tax as it is registered with the Australian Charities and Not-for-profits Commission as a Charity.
(k) Fringe Benefits Tax
The Company, as a Charity, is also endorsed by the Australian Taxation Office to access to FBT rebate.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 1:
(l)
Material Accounting Policy Information (continued)
Provision for payroll deductions
Provisions are recognised when the Company has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured. Provisions recognised represent the best estimate of the amounts required to settle the obligation at the end of the reporting period.
(m) Trade and Other Payables
Trade and other payables represent the liability outstanding at the end of the reporting period for goods and services received by the Company during the reporting period which remain unpaid. The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.
(n) Comparative Figures
Where required by Accounting Standards, comparative figures have been adjusted to conform with changes in presentation for the current financial year.
(o) Economic Dependency
The Company receives significant grant funds from the City of Darwin and the Northern Territory Government. Funding for the 2025-26 financial year has been confirmed by both major funding bodies. The financial report has been prepared on a going concern basis on the expectation that such funding will continue.
(p) Critical Accounting Estimates and Judgements
The Directors evaluate estimates and judgements incorporated into the financial statements based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the Company.
Key estimates
Useful lives of property, plant and equipment
As described in Note 1(b), the Company reviews the estimated useful lives of property, plant and equipment at the end of each annual reporting period.
Key judgements
Employee benefits
For the purpose of measurement, AASB 119: Employee benefits (September 2011) defines obligations for short-term employee benefits as obligations expected to be settled wholly before 12 months after the end of the annual reporting period in which the employees render the related services. The Company expects most employees will take their annual leave entitlements within 24 months of the reporting period in which they were earned, but this will not have a material impact on the amounts recognised in respect of obligations for employees' leave entitlements.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 2: Revenue
Note 3:
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 3: Note 3C
(continued)
Depreciation and amortisation
No interest is charged on outstanding debtor balances. No allowance has been made for irrecoverable amounts.
The Company does not hold any financial assets whose terms have been renegotiated, but which would otherwise be past due or impaired.
No collateral has been pledged for any of the current or non-current trade and other receivable balances.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 6: Inventories
Inventories are measured at the lower of cost and net realisable value. Costs are assigned on an average basis.
Note 7: Property, Plant and Equipment
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 7: Property, Plant and Equipment (continued)
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 8: Intangible Assets
Note 9:
Trade and Other Payables
Total trade and other payables
Settlement of trade creditors is generally net 30 days.
The Company does not hold any financial liabilities whose terms have been renegotiated, but which would otherwise be past due or impaired.
No collateral has been pledged for any of the current or non-current trade and other payable balances.
No interest is payable on outstanding payables.
TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 11:
(a) There were no contingent liabilities at 30 June 2025 (2024: $Nil).
(b) There were no commitments at 30 June 2025 (2024: $Nil).
After the Reporting Period
The Directors are not aware of any significant events that have occurred since the end of the reporting period which would have an effect on the presentation or require disclosure to the financial statements.
Flow Information
Financial Instruments and Risk Management
The Company manages its interest rate risk by ensuring cash is invested in short-term deposits at a fixed interest rate with reputable financial institutions.
Financial Risk Management Policies
The overall risk management strategy seeks to ensure that the Company meets its financial targets, while minimising potential adverse effects of cash flow shortfalls.
Special Financial Risk Exposures and Management
The main risks the Company is exposed to through its financial instruments are credit risk, liquidity risk and market risk relating to interest rate risk. There has been no substantive change in the types of risk the Company is exposed to, how these risks arise, management's objectives, policies and procedures for managing or measuring risks from the previous period.
a. Credit risk
Exposure to credit risk relating to financial assets arises from the potential non-performance by counterparties of contract obligations that could lead to a financial loss for the Company.
Credit risk exposures
The maximum exposure to credit risk by class of recognised financial assets at the end of the reporting period is equivalent to the carrying amount and classification of those financial assets (net of any provisions) as presented in the statement of financial position.
Trade and other receivables that are neither past due nor impaired are considered to be of high credit quality. Aggregates of such amounts are detailed in Note 5.
The Company has no significant concentrations of credit risk exposure to any single counterparty or group of counterparties. Details with respect to credit risk of trade and other receivables are provided in Note 5.
b. Liquidity risk- only investing surplus cash with major financial institutions.
Liquidity risk arises from the possibility that the Company might encounter difficulty in settling its debts or otherwise meeting its obligations in relation to financial liabilities. The Company manages this risk through the following mechanisms:
preparing forward-looking cash flow analysis in relation to its operational, investing and financing activities; and
Financial Risk Management (continued)
Exposure to interest rate risk arises on financial assets and financial liabilities recognised at the end of the reporting period whereby a future change in interest rates will affect future cash flows or the fair value of fixed rate financial instruments. The Company is also exposed to earnings volatility on floating rate instruments.
The financial instruments that expose the Company to interest rate risk are limited to bank loans and cash and cash equivalents.
The Company also manages interest rate risk by ensuring that, whenever possible, payables are paid within any pre-agreed credit terms.
Unless otherwise stated, the directors consider the financial assets and financial liability carrying amount to also be its fair value.
Centre operational costs
In addition to the operational costs contained within the Company’s financial statements, the City of Darwin and the Northern Territory Government jointly maintain the building and fixtures used by the Company in its operations. A funding pool of $120,000 per annum from each source is managed by a Project Control Group (PCG) within NT Government. The PCG has representation from NT Government, City of Darwin and the Company. The PCG provides funding and oversight to all maintenance associated with the building and fixtures not owned by the Company. City of Darwin provides the building and fixtures at no cost to the Company. Additional reviews and consultancies conducted for the Company on behalf of the City of Darwin were also funded by the City of Darwin.
Related Parties
Any person(s) having authority and responsibility for planning, directing and controlling the activities of the Company, directly or indirectly, including any director (whether executive or otherwise) is considered key management personnel.
NOTES TO AND FORMING PART OF THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 30 JUNE 2025
Note 16:
Related Parties (continued)
Other Related Party Disclosure
There were no loans to directors either this year or last year nor was there any outstanding balances from prior years.
There were no other transactions during the year between any director and the Company other than on normal commercial terms, except as noted below:
Claire Martin
Camille Damaso
Jane De Gault
Andrew Kay
Andrew Giles
Total Complementary tickets
Note 17: Auditor's Remuneration
Lowrys Audit (prior year -KPMG):
INDEPENDENT AUDITOR'S REPORT
TO THE MEMBERS OF DARWIN PERFORMING ARTS CENTRE (COMPANY LIMITED GUARANTEE)
Report on the Audit of the Financial Report
Opinion
We have audited the financial report of Darwin Performing Arts Centre trading as Darwin Entertainment Centre (the Company), which comprises the statement of financial position as at 30 June 2025, the statement of profit or loss and other comprehensive income, the statement of changes in equity and the statement of cash flows for the year then ended, notes to the financial statements including material accounting policy information and the directors' declaration.
In our opinion, the accompanying financial report of the Company has been prepared in accordance with the Australian Charities and Not-for-profits Commision Act 2012, including:
(i) (ii)
giving a true and fair view of the Company's financial position as at 30 June 2025 and of its financial performance for the year then ended; and
complying with Australian Accounting Standards and 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 Company 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 financial report in Australia. We have also fulfilled our other ethical responsibilities in accordance with the Code.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
Responsibilities of the Directors for the Financial Report
The Directors of the Company are responsible for the preparation of the financial report that gives a true and fair view in accordance with the Australian Accounting Standards, the Australian Charities and Not-for-profts Commission Act 2012 and for such internal controls as the Directors determine are necessary to enable the preparation of the financial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error.
In preparing the financial report, the Directors are responsible for assessing the Company'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 Company or to cease operation, or have no realistic alternative but to do so.
Directors are also responsible for overseeing the Company's financial reporting process.
INDEPENDENT
AUDITOR'S REPORT
TO THE MEMBERS OF DARWIN PERFORMING ARTS CENTRE (COMPANY LIMITED GUARANTEE)
Report on the Audit of the Financial Report (continued)
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 the 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 this financial report.
A further description of our responsibilities for the audit of the financial report is located at the Auditing and Assurance Standards Board website (http://www.auasb.gov.au/Home.aspx) at: http://www.auasb.gov.au/auditors_responsibilities/ar4.pdf.
This description forms part of our auditor’s report.
