Annual Review 12/13
Welcome to the Annual Review 12/13 The Festival & King’s Theatres, two of Scotland’s leading performing arts venues, are operated by Festival City Theatres Trust. Artistically led, but commercially focussed, we are Scotland’s largest independent theatre organisation.
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Contents
2 Annual Review 12/13
This review marks a celebration of our successes and growth over the past financial year. We hope you will enjoy reading about and sharing in some of our experiences. Thank you for your continued support.
A Year in Review Statement from our Chief Executive, Duncan Hendry Theatre Fit for a King’s King’s Theatre restoration project Charting our Success Overview of audience and sales statistics Time to Relax Case study of Scotland’s first Relaxed Performance Learning Curve A Learning & Participation programme to be proud of The Best of Friends How our membership scheme is thriving Group Hug Recent activity from our Group Bookings team Critics’ Choice Highlights from the year’s press reviews Taking the Initiative Round-up of recent projects including our new Green Policy Go Figure Financial summary and a word from our Chair
A Year in Review
The financial year just completed was my first as Chief Executive of Festival City Theatres Trust. I knew when I started it was going to be an exciting year and I wasn’t disappointed - it’s been a year of great achievement made possible by the outstanding commitment of our staff. The two priorities coming into the job were to develop the programme in both of our theatres and to improve our financial position. Twelve months on and it feels as if we have made significant progress on both counts. We have developed an eclectic programme of opera, ‘event’ theatre and dance at the Festival Theatre and we are presenting a fuller programme of drama, musicals and children’s theatre at the King’s. Attendance figures are up, the number of performances has increased, and I believe we have delivered a programme of real quality throughout the year. Highlights at the Festival Theatre have included English Touring Theatre’s Anne Boleyn and Cape Town Opera’s Porgy and Bess, and at the King’s The Ladykillers and Abigail’s Party were outstanding. The programming successes in the past year have encouraged the producers we work with to bring more exciting shows in the year ahead, including White Christmas, War Horse and Singin’ in the Rain, and we are looking forward to attracting even more customers through our doors over the next financial year. We have also ventured into the world of live cinema streaming at the Festival Theatre, exploiting our new state-of-the-art big screen facilities. We launched with Verdi’s Nabucco from Milan in February 2013, and will continue to develop a programme of live streamed opera, ballet and theatre productions.
Our aim has been to present not only the best international and national work but also to showcase work produced locally, and with this in mind we have encouraged local amateur companies to bring their productions to the King’s (this now comprises four weeks of our annual programme). By freezing their hire charges and working with them to reduce their other costs, the viability of their visits has improved. This has not only reduced the risk for the amateurs but also allowed them to invest more in their productions. This has also been a landmark year for the physical development of our two venues. When the Festival Theatre first opened in June 1994, it was the intention to create a rehearsal annex to the rear of the building. That plan has become a reality with the advent of The Studio. Completed on time and on budget, the new studio space will form a crucial part of our activity as both a rehearsal space and a performance venue. In July 2012 we completed the first phase of our refurbishment of the King’s Theatre. Thanks to the support and investment of City of Edinburgh Council, The Nancie Massey Charitable Trust and Historic Scotland, we are taking our Edwardian gem safely into the 21st century. It has been an interesting and productive year in Learning & Participation with over 12,000 people taking part in 126 different events. This represents an increase of 247% in participants and 262% in activities compared with 2011/12. This is a remarkable achievement and my thanks and congratulations go to all our staff and partners for their commitment to this valuable area of our work.
Towards the end of last year the Senior Management Team and Board undertook a comprehensive survey of our staff to give us a clear picture of how the organisation is viewed from within. The results were thankfully largely positive, and where the need for improvement has been identified we are working hard to address the issues. Our Chair, Chris Masters, has recently announced his decision to stand down from the Trust after serving for 11 years and we are in the process of appointing his successor. On behalf of everyone at the Trust I would like to thank Chris for his steadfast support and complete dedication to the role - he has set the bar extremely high and will be a very hard act to follow!
Duncan Hendry Chief Executive
Annual Review 12/13 3
Theatre Fit for a King’s Last year saw a dramatic refurbishment of the beloved King’s Theatre, affectionately known as the ‘Old Lady of Leven Street’. The first phase of an ongoing restoration project has addressed the most urgent priorities for the venue: securing the fabric of the building, tackling health and safety issues, improving disabled access and enhancing customer comfort. A comfortable position Luxurious ‘lazarus’ style seats in the Stalls and Dress Circle, improved wheelchair facilities and a new ventilation system have created an altogether more comfortable audience experience.
IN NUMBERS > 10 months to complete > £2.6 million cost > 824 new seats > 400 external stones replaced > 380m2 of new carpet > 4-8 inches more leg room
A new roof and extensive external stonework repairs have secured the fabric of the King’s, while new roof insulation, a heat recovery system, new boiler and LED lighting across the auditorium have made the building more energy efficient. The brand new Box Office, completed to a sleek and contemporary design, complements the Art Nouveau splendour of the freshly decorated foyers.
Changing with the times Since 1998 the King’s Box Office has only been open when a performance was on. We’re delighted to announce that from September 2013 our new Box Office will be open Monday to Saturday 10am-6pm, allowing visitors much more flexibility to book tickets in person. 4 Annual Review 12/13
Photo: Jane Barlow
John Byrne Lights up the King’s Dome The star of the show is still the King’s auditorium. A superb example of Edwardian, Viennese-style baroque, the next exciting development is the auditorium’s decorative domed ceiling, which will be painted with an original, commissioned design by acclaimed Scottish artist John Byrne, and unveiled in August 2013. All of the recent King’s refurbishment works, including the painting of the Dome, have been designed and managed by Edinburgh-based architects Smith Scott Mullan Associates. Since the building opened in 1906, these are only the third significant changes the theatre has undergone in over 100 years. The first in 1951 saw major reconfiguration of the Upper Circle, then in 1985 restoration work was undertaken in the foyers, the auditorium was redecorated, orchestra pit enlarged and seats replaced. Funded by the City of Edinburgh Council, Historic Scotland and The Nancie Massey Charitable Trust, this refurbishment of our much-loved historic building will continue to ensure the ‘Old Lady’ lives on and continues to provide a valuable cultural resource to the city of Edinburgh. Dedicate a seat 58 seats have been dedicated with engraved brass plaques since our Seat Dedication scheme was introduced at the King’s Theatre in January 2012. The scheme has raised over £16,000 to date, including Gift Aid, which will help to fund new seating in the Upper Circle in the next phase of King’s restoration. Stars of the stage including Elaine C Smith, Simon Callow and Penelope Keith have endorsed the new scheme. edtheatres.com/dedications or call Lucy Clement on 0131 622 8087 Annual Review 12/13 5
Charting our Success Audience and Sales Statistics for 12/13 IN NUMBERS
> 408 PERFORMANCES 208 at the Festival Theatre 200 at the King’s Theatre
> 337,367 TICKETS SOLD 195,752 at the Festival Theatre 141,615 at the King’s Theatre
TicketS SOLD 350
14%
300
Numbers in Thousands
INCREASE in tickets sold* 250
200
150
100
50 King’s
Festival Venue
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Total
2011/12 2012/13
Performance income by genre
Ticket PANTO 24%
DRAMA 21%
DANCE 14%
OPERA 13%
FAMILY 13%
MUSICAL 11%
MUSIC 3%
COMEDY 1%
Ticket Income 6
27.9%
5
INCREASE in ticket income* ÂŁ in Millions
4
3
2
1
0 Apr
May
Jun
Jul
Aug
Sep
Oct
Months *compared with previous financial year
Nov
Dec
Jan
Feb
Mar
2011/12 2012/13 Annual Review 12/13 7
Time to Relax
On Fri 14 December 2012, the Festival Theatre hosted the first ever Relaxed Theatre Performance in Scotland, thanks to the generous support of the Walter Scott Foundation. This extraordinary performance of The Snowman welcomed 297 children from six special schools in Edinburgh, along with teachers and carers, to enjoy a unique Christmas treat. Feedback from the schools was exceptional and the event has served as a pilot for further relaxed performances across the country. We aimed to give the children, who have a range of complex physical and behavioural needs, a chance to experience the magic of live theatre. Many of the pupils had never been able to attend a theatre before, either because of their physical and medical needs, because their behaviour can be disruptive, or because the sensory intensity of live theatre would upset them. At our Relaxed Performance the children could express themselves freely, move around, make noise and come and go as much as they wished. Teachers and carers also found it a more enjoyable experience without having to worry about upsetting other audience members, safe in the knowledge that every effort had been made to fully accommodate the needs of the children in their care.
How we Relaxed > DVDs, soundtrack and toys provided to help familiarise children with the show > ‘Social Story’ created by teachers, explaining what pupils could expect on the day > Teachers fully consulted, and visited the theatre beforehand
Trying to get children like ours to sit quietly through a performance is quite difficult, so having it tailored for them is just great. At this performance we didn’t have this worry and consequently the children and staff had a very enjoyable experience.
> No admission charged and all transport costs covered
Redhall School
> Additional ramps installed
> Seats removed to accommodate 50 wheelchairs > Sensory intensity reduced: sound levels lowered, flashing lights removed and houselights kept on so auditorium wasn’t dark > Provision made for feeding, administering medication and eating during the show > Performance streamed to foyer screens so children had the option of going to a quieter space to watch > Performance audio-described for visually impaired children > Numbers of Customer Services staff greatly increased to ensure high staff-to audience ratio
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Learning Curve A Learning & Participation Programme to be proud of
IN NUMBERS > 12,241 young people and adults taking part > 126 different events > 247% increase in participants* > 262% increase in activities* *compared with previous financial year
BRIGHT YOUNG THINGS Our partnership work with Scottish Ballet has seen the establishment of a new youth dance company at the Festival Theatre. Scottish Ballet Youth Collective meets weekly to develop dance and choreographic skills. ENRICHING EXPERIENCES 1,756 people took part in our pre- and post-show talks, greatly enhancing their enjoyment and understanding of live performance. UNWRAPPING OPERA 5,206 people attended Scottish Opera’s free Unwrapped events, where they could experience opera in a shortened and accessible format, encouraging them to attend full-length operas in future. BACKSTAGE PASS 699 people attended our special Backstage Tours of the Festival and King’s Theatres, learning the historical, architectural and operational detail of the venues.
Throughout 2012/13 we greatly increased our education and outreach activities, and as a result saw a huge rise in participation from people of all ages and abilities. We are delighted to be encouraging engagement with the arts and continue to deliver a range of inclusive activities, linked directly to our artistic programme. FINDING FUNDING We were successfully awarded funding from the Princes Foundation for Children and the Arts to support Dance Quest a three-year programme of work.
Dance Quest enables over 200 young people to experience professional dance performances, take part in workshops at their schools and then perform on the Festival Theatre stage. TEACHING THE TEACHERS Our hugely popular Continuing Professional Development sessions have provided local school teachers with opportunities to work directly with companies like Scottish Ballet and Rambert Dance Company and learn new dance skills to take back into the classroom.
CAREER ADVICE Working with the Lyceum and Traverse, we jointly ran two Careers Days for students spotlighting careers in theatre. 87 pupils from across the city’s secondary schools took part. FAMILY FUN New to our Learning programme this year has been the introduction of participatory music, storytelling and dance workshops for children under five and their families. These have been very popular and we continue to develop opportunities for families to enjoy creative experiences together at our theatres.
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The Best of Friends
86%
INCREASE in MEMbERSHIP REVENUE*
Our Friends membership scheme has continued to grow, with membership revenue increasing by 86% in 2012/13. The Trust now has over 3,350 Friends who enjoy a range of benefits including ticket discounts, priority booking, advance notice of new shows, invitations to special events and discounts in bars and restaurants. For more information, or to become a Friend, visit edtheatres.com/friends
Group Hug Over the past year we’ve been growing and developing our Groups market with a series of exclusive events, specially designed for our valuable Group Bookers. SAYING THANKS In July 2012, we hosted an afternoon tea at the Festival Theatre for new and regular Group Bookers, both as a thank you for their support and to introduce them to Duncan Hendry, who had recently been appointed as Chief Executive. Guests were treated to a preview of our new season brochure and the announcement of two huge Scottish premieres: Carlos Acosta in April 2013 and National Theatre’s War Horse in January 2014. A relaxed occasion, this gave us a chance to chat with guests over drinks and canapés and hear their feedback, so we can continue to improve the customer experience.
BUSINESS IS BLOOMING At the end of the financial year, we also treated Group Bookers to a special event hosted by international megastar, Dame Edna Everage, who was visiting Edinburgh ahead of her Eat Pray Laugh! tour in November 2013. Arriving to red carpet treatment and a crowd of screaming fans, Dame Edna went on to entertain guests with her distinct brand of light repartee, handing out her signature gladioli to adoring fans as she worked the crowd. Our captivated Groups audience was then updated about new shows, including a screening of the trailer for the musical spectacular, Singin’ in the Rain, coming to the Festival Theatre in February 2014.
31%
INCREASE in GROUPS REVENUE* 10 Annual Review 12/13
*compared with previous financial year
Critics’ Choice
“ “ “ “ highlights from the year’s reviews
“
Mary Brennan The Herald (Matthew Bourne’s Sleeping Beauty, Festival Theatre, November 2012)
A riot from start to finish, finely crafted, vividly characterised, and teeming with telling detail, from the Magritte-like floating boy guides to the voluptuous yet lascivious ladies sent by the Queen of the Night…it’s a thrilling show, expertly executed and most importantly, a real hoot. David Kettle The Scotsman (Scottish Opera’s The Magic Flute, Festival Theatre, November 2012)
“
Joyce McMillan The Scotsman (The Ladykillers, King’s Theatre, November 2012)
Fun, realistic and touching, but also featuring Leigh’s wit and some token British humour… a must see.
Amy Taylor The Public Reviews (Abigail’s Party, King’s Theatre, February 2013)
Dance that is guaranteed to be laugh-out-loud funny is thin on the ground; mix it with high quality classical ballet and you’ve got a compelling reason to head to the theatre.
“
A jolly, irreverent and perfectly crafted evening.
“
Sumptuous, dramatic, eerie and captivating: the list of approving adjectives could go on and on, because Matthew Bourne’s new Sleeping Beauty is a many-splendoured thing, an inspired dansical that draws audiences into the dark heart of fairytales.
Kelly Apter The Scotsman (Les Ballets Trockadero de Monte Carlo, Festival Theatre, February 2013)
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Get with the programme In September 2012, H2 Creative Media took over production of our show programmes, launching the new-look and the new editorial brief with I Dreamed a Dream at the Festival Theatre. H2’s hands-on approach of commissioning exclusive creative content is now firmly established. It’s important to us that programme content speaks to our audiences, so we work closely with H2 to develop articles about our theatres and Edinburgh’s cultural history. Save the Last Dance for Me programme buyers were treated to an article by music and theatre critic Neil Cooper about Edinburgh in the swinging sixties, and in the latest Festival Theatre programmes local journalist Miles Fielder looks back at all the famous faces who have graced the stage over the years.
Exclusive interviews and in-depth articles are packaged in stylish designs tailored to the show, and the improved programmes have improved sales, netting over £50,000 in profit to date. Drama audiences tend to buy the most (with 1 in 5 audience members purchasing a programme), and thanks to new family-friendly content of puzzles and games, our two 2012 Christmas programmes, for Mother Goose and The Snowman, brought in nearly £20,000 of income alone. We really do think these new programmes enhance the audience experience, which is why we’ve now made them available to order in advance. Customers can pre-book a programme when purchasing tickets online at edtheatres.com, saving 50p in the process.
Going Green In the past financial year we have worked closely with the Carbon Trust, examining how we can continue to improve our Green credentials and minimise our environmental impact. Recycling management is a key focus across our two venues. We have signed up with Changeworks Edinburgh to develop and deliver solutions to operate our theatres more sustainably. This is the beginning of what we hope will be a real shift in our business practice. During the first phase of the King’s refurbishment, all interventions have been developed in line with the Carbon Trust’s recommendations. These include 12 Annual Review 12/13
the installation of a new boiler system, ventilation with built-in heat recovery, improved insulation and draft proofing. We are also making the best decisions on sustainability in the fit-out of The Studio at the Festival Theatre. Intuitive, energy-efficient lighting is being installed in The Studio, and front-of-house lighting at both theatres is gradually being changed from halogen to LED, resulting in dramatically reduced energy consumption and costs. Our theatre tickets are printed on recycled paperstock and, where possible, all printed material we commission comes with robust environmental credentials.
Staff Highlights May 2012: I love when Breakin’ Convention turns up on our doorstep. Not only are the stage performances always technically difficult, musically excellent and visually stunning, but it also brings in a community from the surrounding area and it’s great to see parents get involved with their children’s interests. Lisa Thompson, Usher
November 2012: Dancing and singing along to Soul Sister with the guys from the office, and watching some of our regular Group Bookers getting starring roles as old ladies in The Ladykillers!
Lindsay Attwood, Group Sales Supervisor
March 2013: Driving Miss Daisy was an absolute delight to watch. The acting was superb and the set simple, but so effective. I now refer to my local shop as the ‘Piggly Wiggly’ in its honour!
Eleanor Barnes, Usher
September 2012: Elaine C Smith and the I Dreamed A Dream company had just stunned a packed Festival Theatre with a moving, funny and entertaining portrayal of Susan Boyle’s life. A few of us knew that there was a chance that SuBo might take the stage. ‘Ladies and Gentlemen, Susan Boyle!’ I have never witnessed a reaction quite like it. Within a second, the audience was on its feet and the noise from the crowd was deafening. It was a truly memorable moment Nick Parr, Commercial Director
Annual Review 12/13 13
A word from our Chair I am delighted to be able to report another successful financial year during which the Trust achieved an operating surplus of over £200,000. At the end of 2010/11, following some extremely difficult trading conditions which necessitated a major restructuring of the Trust’s operations, our accumulated deficit on unrestricted reserves reached £934,000. We committed, not only to eliminate this deficit over a five year period, but also to build maintainable reserves of £350,000 over the subsequent two years. It is extremely encouraging to be able to report that we are on track to achieve this goal. Following two years of surpluses, the deficit has now been reduced to £473,000 and we are well on target to eliminate it totally by March 2016, and then go on to create reserves of £350,000 in the following two financial years. This is a great tribute to both our people and to our many supporters and puts the Trust firmly on the path to financial stability in the years ahead. The strength of our programming over the last year has had a significant impact on advance sales with the Trust ending the financial year with cash balances of over £1.8 million; an increase of over 200% on the balance at March 2012. In addition, contributions to the Theatres Development Fund in the year totalled £339,000 which will go towards the continued improvement and maintenance of our theatres.
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The strength of the programme was also reflected in ticket income which, at almost £5.8m, was over 25% ahead of 2011/12 with over 330,000 people visiting our two theatres during the year. These are all achievements we can be proud of and our sincere thanks go to our staff, our Friends, Patrons and supporters, including specifically the City of Edinburgh Council and Creative Scotland, without whom none of this would have been possible. This will be my last annual review as Chair of the Trust since, after 11 years in the post, I will be stepping down in 2013 once my successor has been appointed. The first stage of the King’s refurbishment has now been completed with John Byrne’s exciting new design for the dome; at the Festival Theatre our new rehearsal space and studio is currently being programmed and, as detailed above, the Trust’s finances are much improved. It has been an immense pleasure and privilege to have worked with the Trust over the last 11 years and, although we have had our challenges, I am very fortunate to be leaving the Trust in such good heart with a fantastic team of people under Duncan Hendry’s excellent leadership.
Chris Masters Chair of the Board
Go Figure SUMMARISED FINANCIAL INFORMATION Unrestricted Designated Restricted Total Total Funds 2013 Funds 2013 Funds 2013 Funds 2013 Funds 2012 £’000s £’000s £’000s £’000s £’000s INCOME Box office receipts 5,799 339 6,138 3,779 Other theatre income 641 641 813 Grants and donations 1,035 761 1,796 1,270 Friends, Patrons and sponsorship 202 202 183 Commercial Trading 781 781 727 Investment income 10 10 4
8,468
339
761
9,568
6,776
(9,222)
(44)
(273)
(9,539)
(7,158)
966
-
(966)
-
-
Defined benefit scheme actuarial loss
-
(44)
-
(44)
(97)
Net Incoming(outgoing) resources for the year
212
251
(478)
(15)
(479)
(473)
615
4,419
4,561
4,576
EXPENDITURE - total Transfers between funds
Fund balances at 31 March 2013
KEY Unrestricted Funds reflect the day-to-day trading activities of the Trust and its subsidiary, presenting shows and providing facilities to visiting producing companies and audiences. Designated Funds comprise the Theatres Development Fund (£871,000) less provision for a pension fund deficit (£256,000). The former continues to grow at a healthy rate, contributed £500,000 towards the creation of The Studio at the Festival Theatre, and will be utilised on a variety of additional projects in the coming year. The latter is a long term liability with no immediate cash effect.
Restricted Funds relate in large part to the original 1994 re-development of the Festival Theatre, and are depreciated over the term of the Trust’s lease. Additional amounts relate to the cinema installation, The Studio at the Festival Theatre and restoration of the dome at the King’s Theatre.
Full details of the Trust’s performance and the Independent Auditor’s Report are contained in the statutory accounts which are filed at Companies House or available on request from the Company Secretary. enquiries@edtheathres.com
Annual Review 12/13 15
Chair Dr Chris Masters CBE Chief Executive Duncan Hendry
Managed by Festival City Theatres Trust
Board of Directors Dr Chris Masters CBE Cllr Elaine Aitken Joanna Baker Philip Bernays Kate Gemmell Cllr Norma Austin Hart Cllr Richard Lewis Helen Mackie Cllr Melanie Main Iain McLaren Alasdair Peacock Colin Ross General Manager Brian Loudon Director of Finance and Company Secretary Iain Ross Commercial Director Nick Parr Technical Manager James D Clark PRINCIPAL FUNDER City of Edinburgh Council PROGRAMME SUPPORTED BY Creative Scotland CORPORATE SUPPORTERS Adam & Company Comcab George Hotel Kempen Capital Management Inverarity Morton Lothian Buses Mackie’s Royal Bank of Scotland Walter Scott & Partners Administrative Address 13/29 Nicolson Street Edinburgh EH8 9FT Administration 0131 662 1112
Box Office 0131 529 6000
email enquiries@edtheatres.com
PRINCIPAL PATRONS Sir Tom & Lady Farmer Mr Roger & Mrs Jean Miller Chris & Gill Masters 2 Anonymous SUPPORTING PATRONS Ewan & Christine Brown Richard & Catherine Burns Diana, Viscountess Younger of Leckie Sir Gerald & Lady Elliot Kate & Gavin Gemmell Hamish & Alison Glen Malcolm & Avril Gourlay Fred & Ann Johnston Donald & Louise MacDonald Fiona & Ian Russell Alastair & Elizabeth Salvesen Barry & Helen Sealey Andrew Shepherd Jim & Isobel Stretton Sarah Whitely & Graham Whyte Hedley G Wright 8 Anonymous PATRONS Jean Matterson Geoffrey & Tish Alderson Bernard & Denise Burgin The Cameron Family Dennis & Brenda Carmichael Dr Ann C Chandley Reverend & Mrs David Dalglish George Gwilt Shields & Carol Henderson John & Fiona Hutchinson James & Felicity Ivory Alan M Johnston Sir Raymond & Lady Johnstone Lesley Knox Christine & Stewart Mackay Shelagh C Mackay Jim & Irene McCready Peter & Kirsteen Millar Sir Ronald & Lady Miller Walter & Norma Nimmo Mr & Mrs I F Osborne Christine Richard OBE & Fiona Richard Bruce & Eileen Ritson Jack & Shirley Shaw Derek & Ann Shepherd Mrs Elieen Waddell Margaretha Walker Sir John & Lady Ward John & Fiona Watt 4 Anonymous