Malthouse Theatre 2013 Annual Report

Annual Report

2013

01 ———————————— Core Values & Mission 02 ———————————— Chair’s Report 04 ———————————— Executive Report 06 ———————————— Season 2013 14 ———————————— Helium 2013 1 7 ———————————— Touring 2013 1 8 ———————————— Artistic Development 20 ———————————— Malthouse Prompt 22 ———————————— Additional Activities 26 ———————————— Board, Staff & Partners 28 ———————————— Key Performance Indicators 30 ———————————— Financial Report

CONTENTS

Malthouse Theatre

Core Values & Mission Malthouse Theatre is at once a treasured building, a theatre company, a creative site and an engine for change.

It is also the imaginative expression of a committed team of artmakers reaching out to an even larger number of local, national and international artists.

All are dedicated to an ongoing conversation with audiences of exciting diversity and character.

This conversation chooses contemporary theatre as its vehicle: a compelling annual program of adventurous, multi-disciplinary work inspired by writers, directors, designers, choreographers, audio artists and performers. Here, the combined possibilities of all theatre arts are offered centre stage – for entertainment, for inspiration, and for fun.

The quality, depth and longevity of the relationship between artists and audiences are at the heart of everything we do. Our creative aspirations are driven by a number of values that reflect that relationship:

Risk Works created at Malthouse Theatre aim to test and extend the boundaries of our art form.

In order to be vital, cultural practice needs to be challenged and renewed. By acknowledging otherness and embracing experimentation as part of our day-to-day work, our assumptions are tested, our perspectives are expanded and our practice is rejuvenated. A celebration of difference, a desire to reach beyond our known limits and a willingness to venture into the thrilling unknown are how we define creative risk.

Rigour Malthouse Theatre is committed to research, creative development and the ongoing examination of our practice.

A work of art is created in the time and space between the first idea and its realisation. Its potential for intelligence, passion and beauty is the measure of how ideas are tested, developed and supported over time. While we have permission to fail, we have the right to create the best conditions for achievement: our rigour builds the strongest platform from which to leap towards greatness.

Quest Malthouse Theatre lives its values both onstage and off-stage: diversity, access and social inclusion are at the core of the world we want to represent and shape.

Theatre allows us to imagine and interact with the wondrous spectrum of human possibility, it allows us to picture a different world and know that it can be one of our own making. Through theatre, we participate in an ongoing quest to define who we are and what we value.

2013 ANNUAL REPORT //

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Malthouse Theatre

Chair’s Report

With artistic risk and intellectual rigour at the heart of the Malthouse Theatre ethos, 2013 once again asked us (artists and audiences alike) to take the road less travelled. With 43,000 people coming along for the ride, there were many unexpected adventures and delightful surprises along the way.

Likewise, we thank our philanthropic partners; The Besen Family Foundation, Copyright Agency, Helen Macpherson Smith Trust, Malcolm Robertson Foundation, Playking Foundation, Sidney Myer Fund, The Danielle & Daniel Besen Foundation, The Robert Salzer Foundation, Tom Kantor Fund and VISY.

The third biennial Dance Massive saw us joining forces once again with Dancehouse and Artshouse to engage with dancers and choreographers from across Australia to bring Malthouse Theatre to life through performances, discussions, and open rehearsals.

We welcome our new venue partner, Coopers, and look forward to working together to make what’s now The Coopers Malthouse the most exciting and welcoming venue in the country. Additionally, we’re pleased to announce a new alliance with Art Series Hotel Group as accommodation partner, which begins in 2014.

We took plenty of risks; Dance of Death shook sensibilities in a brilliant, if profane, examination of love gone awry; White Rabbit, Red Rabbit invited a suite of actors to step into the unknown, performing without rehearsal or forewarning; and Super Discount, with the wonderful Back to Back Theatre, had audiences questioning their prejudices on a very deep level. Not to mention The Shadow King – a stunning display of what can be achieved when risk meets rigour – over five years in the making, this work exemplified all that Malthouse Theatre stands for: work that crosses cultural boundaries, examines the present while acknowledging the past and celebrates contemporary Australian culture.

In addition to our mainstage productions, we once again opened the Tower Theatre to an eclectic array of independent artists through our Helium program.

We also branched out beyond our walls through Blak Cabaret, touring the best of Indigenous cabaret to regional Victoria. We look forward to continuing its journey in the coming years, reaching new audiences that can’t always make it to Southbank.

The Suitcase Series, the flagship offering of the Malthouse Prompt education program, reached over 700 secondary school students, empowering them as artists and creators. With an expanding tour to regional and outer metropolitan venues, this program is set to continue to flourish in 2014.

As any seasoned traveller knows, the journey is never taken alone, and so I would like to thank our ever-generous 2013 partners – Victoria University, Sofitel and Adina Hotels, Time Out Melbourne, Allens Linklaters, Roy Morgan Research, Qantas, Avant Card, John Mullen & Partners, Gorman, Bang & Olufsen, Georg Jensen and, of course, Avenue Bookstore.

We cannot exist without our Muse donors (all 127 of you). We are honoured by the faith and trust you show in us and the work we make.

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2013 ANNUAL REPORT //

Our Government Partners, The Australia Council for the Arts, Arts Victoria, City of Melbourne and the Department of Education and Early Childhood Development continue to play an integral role and we are ever-grateful for the support they offer our vision.

I would like to make a special acknowledgement of Creative Partnerships Australia who pledged matched funding to the donations raised from 30 extremely generous Muses, as well as The Ian Potter Foundation and The R E Ross Trust to help us implement new ticketing and CRM software – this possibly dry subject is actually incredibly important to us, as it will help us to continue to deliver world-class service to everyone who comes through our website and our doors.

And of course, I would like to thank Marion Potts, Jo Porter, Sarah Neal and all the staff and volunteers that make up Malthouse Theatre for their continued dedication, vision and professionalism. In the same breath, I thank my fellow board members for their commitment. I must give special thanks to Simon Westcott, who has chaired Malthouse Theatre to ongoing success for the last five years. I look forward to following in his footsteps!

Michele Levine, Chair

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Malthouse Theatre

42,866 } 93 2013 ANNUAL REPORT //

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Malthouse Theatre

Executive Report

In 2013 Malthouse Theatre’s creative identity was again powerfully represented through the work presented on its stages. This report details our achievements but it is also the story of a triennium that has seen Malthouse Theatre fulfil some important ambitions.

Over the last three years of programming, a discernible continuum has emerged through the centrality of large scale works that take on profound and thought-provoking public subjects: the postcolonial critique embedded in the bilingual production of Blood Wedding in 2012, or the ambitious and complex re-telling of King Lear through The Shadow King in 2013, are now trademark Malthouse Theatre productions. The latter asserted itself as a festival hit, eliciting standing ovations in Melbourne, Sydney, Perth and Adelaide. In many ways our values and working practices defined and inhabit this memorable project: a high level of creative risk and ambition; a foundation of rigour in four years’ worth of thinking, consultation and creative development; and a palpable sense of social importance and necessity. The collaborative, long-term nature of The Shadow King – the invaluable contribution of its cast and contributors over successive creative developments – exemplified yet another different, but highly successful way of working.

Another high point in 2013 was Matthew Lutton’s production of The Bloody Chamber. Alison Whyte’s interpretation of Angela Carter’s characters was both haunting and athletic: playing multiple roles and interacting seamlessly with David Chisholm’s exquisite harp score, it was a virtuosic performance and a production that advocates strongly for Malthouse Theatre’s multidisciplinary approach.

And, very happily, the latter two productions shone through at the 2013 Green Room Awards, where they received gongs across the spectrum: Best Writing and Adaptation for The Shadow King, and Best Production, Best Female Actor (Alison Whyte) and Best Sound and Composition for The Bloody Chamber. These awards came from a total of 21 Green Room Nominations.

Among these were nominations for the unforgettable performance by Jacek Koman in Dance of Death; and Anna Tregloan’s brilliant design and Tripod’s composition for The Dragon. It is hugely satisfying to provide so many great opportunities for artists to flourish and be recognised for their achievements.

This work also demonstrated the calibre of Malthouse Theatre’s Associate Artists, past and present, and the importance of building their skills across time – in 2012 Matthew and David were joined by Van Badham and Paul Jackson, and together they cemented working relationships that clearly benefitted from their dayto-day conversations and imaginings. Forget the lone artist in a garret: an ongoing, routine exposure to other artists, to other ideas and ways of seeing, had an undeniable impact on the work being staged. And as our Associate Artists continuously challenged and pushed each other, they also lent their expertise in composition, writing, design, direction and dramaturgy to independent artists connecting with the company.

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2013 ANNUAL REPORT //

This core team was further complemented by the company’s Female Director in Residence: in 2013 Roslyn Oades succeeded the talented Adena Jacobs (2012) who in turn succeeded Anne-Louise Sarks (2011). With the mounting of Roslyn’s production Hello Goodbye & Happy Birthday this October, all three women will have had their work presented on our mainstage within a year of their tenure. Their ongoing visibility will be largely due to the generous philanthropy that has enabled this program to see them through our building over the last three years, and of course their appetite to seize the day.

Malthouse Theatre’s work is also strengthened by the quality of the conversation it has with other companies and artists. 2013 saw some particularly diverse collaborations with Chunky Move, Tripod, Men of Steel (our Besen Company in Residence), Back to Back Theatre, Sydney Theatre Company and Circa. A co-production with Belvoir, Lally Katz’s Stories I Want to Tell You in Person, toured to New York after its Melbourne and Sydney seasons. These relationships are vital and provide the next step in building Malthouse Theatre’s profile beyond our shores.

The productions are rightly highlighted here, but the background activity that strengthens these works before they hit the stage isn’t celebrated enough.

This constitutes a large part of our working year and in 2013 the Engine Room (our research and development arm) was pumping with activity: our international collaboration with the National Theatre of China, the commissioning and development of new plays, our contribution to Dramafest in Mexico and many other projects. These activities are not immediately visible but are every bit as vital and already yielding results in 2014.

Finally, Jo Porter’s tenure as the company’s Executive Producer came to an end in 2013 and many thanks go to her for her care and effort over these past years.

The talented Sarah Neal came on board in October and completed a seamless transition in time for Christmas!

Sarah now shares the reins and together we look forward to the next triennium of Malthouse Theatre’s dynamic contribution to our theatre ecology.

Marion Potts, Artistic Director

Malthouse Theatre

‘Absolutely loved the performance – we went twice and took friends the second time. Never done that before with any performance!’

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2013 ANNUAL REPORT //

Malthouse Theatre

2013 season

Hate

Dance Massive:

Skeleton

20 February 8 March 2013 Venue

14 March 23 March 2013

Merlyn Theatre

Total No of Performances

16 1,987

Total Paid Attendances

All Attendances

2,717

All Attendances

$39,844

Beckett Theatre

Total No of Performances

Total Paid Attendances

Net Box Office

Net Box Office

10 819 1,143 $26,531

A Malthouse Theatre production

A Malthouse Theatre production

By / Stephen Sewell Directed by / Marion Potts Set & Costume Designer / Dayna Morrissey Lighting Designer / Paul Jackson Sound Designer / Russell Goldsmith Performers / Ben Geurens, Glenda Linscott, Grant Piro, Sara Wiseman, William Zappa Stage Manager / Thomas Webster Assistant Stage Manager / Tia Clark

Choreographed by / Larissa McGowan Directed by / Sam Haren & Larissa McGowan Set & Costume / Design Jonathon Oxlade Lighting Design / Bosco Shaw Composer / Jethro Woodward Rehearsal Director / Carol Wellman Kelly Producer / Insite Arts Performers / Tobiah Booth-Remmers, Lisa Griffiths, Marcus Louend, Larissa McGowan, Lewis Rankin Production Manager / Gabby Hornhardt Assistant Stage Managers / Tony Currie & Tina Venditto

‘The performances are all excellent, especially Zappa’s ruthless patriarch and Linscott’s wilfully oblivious Eloise. Potts’s production is an awe-inspiring opening to Malthouse Theatre’s 2013 season, and a significant revival of a major Australian play.’

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Venue

ANNUAL REPORT // 2013 season

‘Skeleton is a predatory piece that is divinely open to interpretation. Intense, dark and wildly creative, this celestial dance of body contortionist masochism is not one to miss.’

Malthouse Theatre

Dance Massive:

Dance Massive:

15 March 23 March 2013

21 March 22 March 2013

247 Days

Venue

[Gu:t]

Merlyn Theatre

Total No of Performances

9

Venue

Tower Theatre

Total No of Performances

4

Total Paid Attendances

2,358

Total Paid Attendances

110

All Attendances

2,928

All Attendances

171

Net Box Office

$87,586

Net Box Office

$1,225

A Malthouse Theatre & Chunky Move production

A Malthouse Theatre & Kath Papas production

Concept & Choreography by / Anouk van Dijk Composition & Sound Design / Marcel Wierckx Set Design / Michael Hankin Lighting Design / Niklas Pajanti Costume Design / Shio Otani Performers / Leif Helland, Lauren Langlois, Alya Manzart, James Pham, Niharika Senapati, Tara Soh

Conceived & performed by / Soo Yeun You & Albert David Choreography / Soo Yeun You Design by / Priya Namana Lighting Designer / Alexandre Malta Composition / Gus Macmillan Producer / Kath Papas

‘Artistic director Anouk Van Dijk brilliantly conveys her dancers’ inner turbulence.’

ANNUAL REPORT // 2013 season

‘[Gu:t] was incredibly potent, not merely evocative, but somehow drew together elements to create an atmosphere onstage.’

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Malthouse Theatre

2013 season

Dance Of Death

Persona

18 April 18 May 2013

27 June 14 July 2013

Venue

Beckett Theatre

Total No of Performances

29

Beckett Theatre

Total No of Performances

18

Total Paid Attendances

2,472

Total Paid Attendances

1,762

All Attendances

3,165

All Attendances

1,968

Net Box Office

$90,348

A Malthouse Theatre production By / Friedrich Dürrenmatt English Text by / Tom Holloway Directed by / Matthew Lutton Set & Costume Design / Dale Ferguson Lighting Design / Paul Jackson Composition & Sound Design / Kelly Ryall Performers/ Jacek Koman, Belinda McClory, David Paterson Stage Manager / Tia Clark

‘What a performance. In fact, I would have to say it was one of the most visually evocative and dare I say, exhilarating performances I have ever seen at the theatre. If you’re looking for an unconventional evening, I implore you to see Dance of Death, a great reminder that theatre is still alive and provocative on the Melbourne professional scene.’

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Venue

ANNUAL REPORT // 2013 season

Net Box Office

$39,382

A Fraught Outfit Production presented

by Malthouse Theatre Based on the film by / Ingmar Bergman Conceived by / Adena Jacobs, Dayna Morrissey & Danny Pettingill Directed by / Adena Jacobs Translated by / Keith Bradfield Set & Costume Design / Dayna Morrissey Lighting Design / Danny Pettingill Sound Design / Russell Goldsmith Performers / Alex de Vos, Julian Mineo, Meredith Penman, Daniel Schlusser, Karen Sibbing Voiceover Jane Montgomery Griffiths Stage Manager / Lisa Osborn Assistant Stage Manager / Noah Sharwood

‘Jacobs’s direction was miraculous; the piece not an adaptation of the film but a reimagining.

Jacobs is one of the hot new talents of Australian theatre – her work [is] austerely intelligent and elegant, generating a potent emotional force.’

Malthouse Theatre

The Dragon

White Rabbit, Red Rabbit

27 June 25 July 2013

23 July 3 August 2013

Venue

Merlyn Theatre

Total No of Performances

26

Venue

Beckett Theatre

Total No of Performances

14

Total Paid Attendances

2,850

Total Paid Attendances

1,556

All Attendances

4,422

All Attendances

1,838

Net Box Office

$107,066

Net Box Offices

$48,197

A Malthouse Theatre production

A Malthouse Theatre production

By / Evgeny Shwarz Adaptation by / Toby Schmitz Music & Lyrics by / Tripod Directed by / Marion Potts Set & Costume Design / Anna Tregloan Sound Design / David Franzke Lighting Design / Matt Scott Assistant Director / Mark Pritchard Fight Choreographer / Felicity Steel Video / Joel Loxton and Joey Hitten Performers / Jimi Bani, Tyler Coppin, Kim Gyngell, John Leary, Josh Price, Nikki Shiels, Tripod (Scott Edgar, Steven Gates & Simon Hall) Stage Manager / Tom Webster Assistant Stage Manager / Caitlin Byrne

By / Nassim Soleimanpour Project Curator / Janice Muller Performers / Rodney Afif, Alison Bell, Alan Brough, Shareena Clanton, Daniela Farinacci, Ming-Zhu Hii, Bert LaBonté, John Leary, Caroline Lee, Brian Lipson, Catherine McClements, Genevieve Morris, Brian Nankervis, Sam Pang

‘An ebullient, frisky, clever piece.

It has a moral and plenty of heart.’

ANNUAL REPORT // 2013 season

‘The element of risk is high, and this titillates and terrifies the audience… From the moment McClements opens the sealed envelope containing the script, the piece is engaging and accessible, often funny, sometimes menacing and involves gentle audience participation.’

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Malthouse Theatre

2013 season

The Bloody Stories I Chamber Want to Tell You in Person

2 August 10 August 2013 Venue

9August 25 August 2013

Merlyn Theatre

Total No of Performances

10

Beckett Theatre

Total No of Performances

18

Total Paid Attendances

2,135

Total Paid Attendances

1,730

All Attendances

2,917

All Attendances

2,135

Net Box Office

$80,127

Net Box Office

$63,907

A Malthouse Theatre production

A Malthouse Theatre & Belvoir co-production

By / Angela Carter Directed by / Matthew Lutton Music by / David Chisholm Performance Text by / Van Badham Set & Costume Design / Anna Cordingley Lighting Design / Paul Jackson Sound Design / Jethro Woodward Performers / Shelly Lauman, Alison Whyte Musicians / Jacinta Dennett, Jessica Fotinos, Yinuo Mu Stage Manager / Tia Clark Assistant Stage Manager / Kate Gregory

Written and performed by / Lally Katz Directed by / Anne-Louise Sarks Set & Costume Design / Ralph Myers Lighting Design / Damien Cooper Composition & Sound Design / Max Lyandvert Lighting Associate / Chris Page Stage Manager / Lisa Osborn

‘Director Matthew Lutton has made some interesting and brave decisions with this piece…Truly captivating.’

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Venue

ANNUAL REPORT // 2013 season

‘Lally’s story is too honest to be true, too outrageously wonderful to be made up and too marvellous to dare miss.’

Malthouse Theatre

‘It was fresh, exciting, engaging and very playful. All about the imagination.

Wonderful for families or adults alone.’

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ANNUAL REPORT // 2013 season

Malthouse Theatre

2013 season

Wunderkammer

Hard Rubbish

14 August 1 September

12 September 6 October 2013

Venue Total No of Performances

Merlyn Theatre 17

Venue

Beckett Theatre

Total No of Performances

29

Total Paid Attendances

3,328

Total Paid Attendances

2,903

All Attendances

3,920

All Attendances

3,445

Net Box Office

$135,528

A Malthouse Theatre production By / Circa Created by / Yaron Lifschitz & the Circa Ensemble Artistic Director / Yaron Lifschitz Producer / Danielle Kellie Technical Director & Lighting Design / Jason Organ Costume Design / Libby McDonnell Cast / Nathan Boyle, Jessica Connell, Robbie Curtis, Casey Douglas, Brittannie Portelli, Kimberley Rossi, & Duncan West

“Captivatingly exquisite”

Net Box Office

$78,917

A Malthouse Theatre, Strut & Fret & Men of Steel production Original Concept by / Men of Steel Created by / Hamish Fletcher, Jared Lewis, Phillip McInnes, Ian Pidd, Tamara Rewse, Sam Routledge & Malia Walsh Director / Ian Pidd Performers / Hamish Fletcher, Phillip McInnes, Tamara Rewse & Malia Walsh Lighting and Sound Design / Jared Lewis Stage Manager / Tia Clark Technical Stage Manager / Travis Cook

‘This new show, made while Men of Steel was company in residence at Malthouse Theatre, is a perfectly judged oil-andvinegar emulsion of adorably cute and gleefully callous…

Beg, borrow or steal a child if you have to. Or, damn it, just steel yourself and go it alone.’

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ANNUAL REPORT // 2013 season

Malthouse Theatre

The Shadow King

Super Discount

11 October 27 October 2013

13 November 1 December 2013

Venue

Merlyn Theatre

Total No of Performances

18

Venue

Merlyn Theatre

Total No of Performances

16

Total Paid Attendances

5,077

Total Paid Attendances

1,882

All Attendances

6,056

All Attendances

2,711

Net Box Office

$198,534

A Malthouse Theatre & Melbourne Festival production Co-Created by / Tom E. Lewis & Michael Kantor Directed by / Michael Kantor Associate Director / Melodie Reynolds-Diarra Translation by / the cast Music Director / John Rodgers Composer/Sound Design / Kelly Ryall Lighting Design / Paul Jackson Set Design / Paul Jackson, Michael Kantor & David Miller Props & Costume Design / Ruby Langton-Batty Dramaturg / Marion Potts Music Consultant / Iain Grandage Film / Natasha Gadd, Rhys Graham & Murray Lui Performers / Jada Alberts, Jimi Bani, Frances Djulibing, Rarriwuy Hick, Damion Hunter, Kamahi Djordon King, Tom E. Lewis, Natasha Wanganeen, Band / Selwyn Burns, Djakapurra Munyarryun, Bart Willoughby Producer / Jo Porter Associate Producer / Jason Tamiru Stage Manager / Lisa Osborn Assistant Stage / Manager Arthur Jackson Vocal Coach / Suzanne Heywood Fight Choreographer / Robert Shook Traditional Items by / Djilpin Arts

‘The use of a Shakespearean classic to tell an Indigenous tale of family, destruction, greed, corruption and deception works strikingly well.’

ANNUAL REPORT // 2013 season

Net Box Office

$68,490

A Back to Back Theatre, Sydney Theatre Company & Malthouse Theatre presention Directed & Devised by / Bruce Gladwin Devised & Performed by / Mark Deans, Simon Laherty, Sarah Mainwaring, Scott Price, Brian Tilley & David Woods Choreography / Antony Hamilton Lighting Design / Andrew Livingston Sound Design / Marco Cher-Gibard Sound System Design / Marco Cher-Gibard & Hugh Covill Costume Design / Shio Otani Set Construction / Mark Cuthbertson Dramaturg / Kate Sulan Air Engineers / Mark Cuthberston, Alison Harvey, Rhian Hinkley, Bruce Gladwin, Andrew Livingston, Van Locker, Shio Otani Script Consultant / Melissa Reeves Stage Manager / Alice Fleming Assistant Stage Manager / Caitlin Byrne

‘This show challenges in unsettling ways our expectations of the theatre and the stories it tries to tell. The question of who is to play Mark’s superhero is resolved in the obvious way and the ending, played by him with lovely bravado and great comic timing, is exhilarating.’

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Malthouse Theatre

Helium 2013 14

Helium is designed as a season for contemporary performing artists to present their own work. The Tower Theatre is a space for experimentation and daring. For such a small space, it has produced some big ideas and the artists who work in it are valued for the size of their ambition. Helium is Malthouse Theatre’s acknowledgement of this ambition – and of the valuable resource that such a space can be.

ANNUAL REPORT // 2013 season

Lord of The Flies

28 June 14 July 2013 Venue

Tower Theatre

Total No of Performances

14

Total Paid Attendances

962

All Attendances Net Box Office

1,120 $23,845

A US-A-UM & Malthouse Theatre production By / William Golding Adapted for the stage by / Nigel Williams Directed by / Kip Williams Performers / Alexandra Aldrich, Zoe Boesen, Catherine Davies, Stacey Duckworth, Michele Durman, Emma Griffin, Fiona Pepper, Contessa Treffone, Eloise Winestock Dramaturg / Maree Freeman Set & Costume Design / Michael Hankin Lighting Design / Nicholas Rayment Sound Design / Nate Edmondson Producers / Samuel J Hagen & Kate McBride Stage Manager / Gemma Simpson Design / Gill Thomas Photography / Marnya Rothe

Malthouse Theatre

This Is Beautiful

It’s Molly’s Travelling Worm Show!

19 July 3 August 2013

13 August 24 August 2013

Venue

Tower Theatre

Total No of Performances

12

Venue

Tower Theatre

Total No of Performances

11

Total Paid Attendances

223

Total Paid Attendances

213

All Attendances

394

All Attendances

340

Net Box Office

$5,182

Net Box Office

$4,892

The Public Studio & Malthouse Theatre production

A Melita Rowston & Malthouse Theatre production

Directed & Created by / Ming-Zhu Hii Assistant Direction / Nicholas Coghlan Performers / Pier Carthew, Jing-Xuan Chan, Terry Yeboah Installation & Spatial Design / Ming-Zhu Hii & Melanie Liertz Sound Design / Russell Goldsmith Lighting Design / Damien McLean Costume Design / Melanie Liertz Dramaturgy / Glyn Roberts Cinematography / Pier Carthew, Nicholas Coghlan & Ming-Zhu Hii Editing & Film Post Production / Nicholas Coghlan & Ming-Zhu Hii Producers / Nicholas Coghlan & Ming-Zhu Hii as The Public Studio Publicity & Media Management / Frances Haysey of Small Talk PR

By / Melita Rowston Writer/Performer / Melita Rowston Director / Phillip Rouse Dramaturg / Augusta Supple Performer / Narda Shanley Puppeteer / Benito Di Fonzo Lighting & Effects Designer / Richard Whitehouse Production Assistant / Fern George Technician Operator / Nate Evers Photography / Marnya Rothe Publicity / Penney & Logan

ANNUAL REPORT // 2013 season

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Malthouse Theatre

Helium 2013

Salome

City of Shadows

30 August 14 September 2013

21 September 5 October 2013

Venue Total No of Performances

Tower Theatre 13

Tower Theatre

Total No of Performances

11

Total Paid Attendances

763

Total Paid Attendances

218

All Attendances

931

All Attendances

380

Net Box Office

$18,720

A Little Ones Theatre & Malthouse Theatre production By / Oscar Wilde Directed by / Stephen Nicolazzo Performers / Paul Blenheim, Genevieve Giuffre, Alexandra Aldrich, Nick Pelomis, Peter Paltos, Zoe Boesen, Tom Dent Set Design / Eugyeene Teh Costume Design / Tessa Leigh Wolffenbuttel Pitt & Eugyeene Teh Lighting Design / Katie Sfetkidis Sound Design / Nate Edmondson Dramaturgy/Adaptation / Natalia Savvides Choreography / Kurt Phelan Stage Manager / Rebecca Poulter Photography / Sarah Walker

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Venue

ANNUAL REPORT // 2013 season

Net Box Office

5245

A Smack! Bang & Malthouse Theatre in association with Melbourne Fringe production By / Rachael Dease Conceived, Written, Directed and Performed by / Rachael Dease (Vocals) Performers / Brian Kruger (Violin), Hayley-Jane Ayres (Violin), Aaron Wyatt (Viola), Tristen Parr (Cello)

Malthouse Theatre

Touring 2013

In conjunction with Vic Health and the Helen Macpherson Smith Trust, Malthouse Theatre has a three year touring plan for Blak Cabaret – a cocktail of comedy, music, poetry and dance featuring the deadliest mob of Aboriginal and Torres Strait Islander performers.

Blak Cabaret

SheppARTon Festival 9 March 2013

200 attendees

Rumbalara Football and Netball Club , Shepparton Castlemaine State Festival 16 March 2013

287 attendees

Theatre Royal, Castlemaine Swan Hill Town Hall 13 December 2013

110 attendees

Swan Hill Performing Arts & Conference Centre, Swan Hill

A Malthouse Theatre production Performers / Dave Arden, Nikki Ashby, Illana Atkinson, Selwyn Burns, Liz Cavanagh, Uncle Jack Charles, Kutcha Edwards, Dennis Fisher, Jida Gulpilil, Johnny Harding, Shiralee Hood, Kevin Kropinyeri, Uncle Herb Patten, Jimi Peters , Lowana Wickham, Bart Willoughby Produced by / Jason Tamiru

ANNUAL REPORT // 2013 season

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Malthouse Theatre

Artistic

The artistic core of Malthouse Theatre is The Engine Room – researching, developing, refining, testing, creating (and sometimes abandoning) the works which will at some point grace our stages.

The Engine Room continues to provide a rich beginning for programming works – Dance of Death, The Dragon, The Bloody Chamber, Hard Rubbish (by our Company in Residence, Men Of Steel) and The Shadow King all spent development time in The Engine Room in 2012, with full staging in 2013, making them all new Australian works. Malthouse Theatre-made productions were not the only new works found on our stages, with 247 Days making its debut (co-presented with Chunky Move), Stories I Want to Tell You in Person being co-produced with Belvoir and Super Discount co-produced with Back To Back Theatre. Stephen Sewell’s Hate was redeveloped and presented in a new production, again being worked on through The Engine Room development process.

Works in development for 2014 and beyond also include Ugly Mugs by Peta Brady, Walking Into The Bigness by Richard Frankland and Wayne Blair, The Woman Project by Ash Flanders, Dogger by Catherine Ryan, The ASIO Project with Ilbijerri Theatre Company, a live-art work with Lara Thoms/ Aphids and an adaptation of Paradise Lost.

Repertoire week is a testing ground for scripts; with our artistic team huddled around a table with a bunch of trusted actors going over the best of the theatre world’s written works. In 2013 the artistic team once again delved into the canon, this time focusing on primarily British works: The Entertainer by John Osborne, The Kitchen by Arnold Wesker, Quality Street

by JM Barry, The Castle by Howard Barker, Fanshen

by David Hare, Loot and What The Butler Saw by Joe Orton, Greenland by Howard Brenton, in addition to The Hairy Ape by Eugene O’Neill, The Misanthrope by Moliere and The Sluts of Sutton Drive by Joshua Conkel.

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2013 ANNUAL REPORT //

Female Director in Residence, supported by the Copyright Agency The talented Roslyn Oades took up residence in the loft of The Coopers Malthouse during 2013, and began development of Hello, Goodbye & Happy Birthday, which has subsequently been programmed for our 2014 season as part of Melbourne Festival.

Our 2012 Female Director in Residence Adena Jacobs also came back to the fold as director of Persona.

After three years of this program, the resonance of its intention has rippled out across the Australian theatre community. All three directors who have thus far held the position have had works produced on the main stages of major Australian companies through 2013.

We are proud to have ongoing relationships with these artists and of the ongoing success of the program.

Malthouse Theatre

Besen Family Artist Program In 2013, the Besen Family Artist Program (BFAP) offered supported professional development across two streams: Production Placements and the Writer’s Program. Both streams of the Besen Family Artist Program prioritise opportunities for historically disadvantaged theatre-makers across a range of disciplines. The Production Placement stream offered recipients the chance to observe a professional mentor’s work in the making of a mainstage production. Production Placements included: two lighting designers (Julia Knibs and Nicola Andrews) mentored by Paul Jackson, a sound design and composer (Rachael Dease) mentored

by Jethro Woodward, a costume designer (Melanie Liertz) placed with Anna Tregloan and two directors observing with Marion Potts (Medina Sumovic) and Matthew Lutton (Tanya Dickson).

Malthouse Theatre also supported a dramaturgy placement across a number of projects (Mark Pritchard). In the BFAP Writer’s Program stream, four young writers (Bridget Price, Louris Van de Greer, Kim Ho and Nakkiah Lui) were invited to workshop early stages of their scripts with a professional dramaturg, director and performers.

Artistic Evaluation Malthouse Theatre is dedicated to an ongoing conversation with audiences of exciting diversity and character. We welcome feedback via critical reviews, social media, blogs and other forms of dialogue. While sometimes we’ll agree to disagree with the comments we receive, we believe stimulating debate about the nature of our work (and the work of others) can only be good for the arts in Australia.

ARTISTIC COUNSEL Since 2005, Malthouse Theatre has utilised the insights of an Artistic Counsel. The Counsel is currently comprised of David Cuong Nguyen, Jana Perkovic, Alice Pung, John Romeril, Jason Smith and Nurin Veis, all of whom attend our season, offering written reports on works as well as meeting with the artistic team twice yearly to discuss the company’s successes and challenges. These forums offer a valuable perspective on the company’s direction and work.

ATSI COMMITTEE In 2012, Malthouse Theatre established a committee of Aboriginal and Torres Strait Islander (ATSI) artists to work with us to improve links to the ATSI community both of artists and audience members and guide us through protocols as needed.

Comprised of Uncle Jack Charles, Melodie Reynolds-Diarra, Isaac Drandic and Lisa Maza, the committee also gives specific feedback on performances, and ATSI artist needs allowing Malthouse Theatre to use its influence to enact change on our own stages and the sector at large.

2013 ANNUAL REPORT //

19

Malthouse Theatre

Malthouse Prompt: youth & education program 20

Malthouse Prompt is our Education program, comprising an array of workshops, talks, teacher professional development opportunities, guided discussions and other events. Prompt incites the next wave of creators, thinkers and performers.

It challenges students and teachers, and equips them with tools and experiences to realise their vision. This rigorous combination of inspiration, education and provocation teaches radical theatre.

Key successes for Malthouse Prompt in 2013

The Suitcase Series: Tame Last year was the largest yet for Malthouse Prompt’s flagship program, The Suitcase Series, with almost 1000 participants.

At its heart, The Suitcase Series is an opportunity for young people to engage deeply with the theatre making experience from conception, to creation, to presentation. It involves the commissioning of a script from an established playwright, and the development of the show and all its elements over the school year by Year 9 and 10 students.

— Roll-out of a consolidated Provocateurs program for 25 young people aged 16-26 to attend theatre shows, begin conversations in The Coopers Malthouse foyer and to attend discussions and workshops with artists and makers. The Provocateur program will expand in 2014.

In 2013, Declan Greene’s Tame was remounted, which is the second work in repertoire for The Suitcase Series.

— Collaboration with subject associations including Drama Victoria and the Victorian Association for the Teachers of English (VATE) on combined activities and programs.

— Hothouse Theatre, Wodonga

— Popularity in teacher professional development through panel discussions and seminars such as the ‘Indigenous Authorship and the Australian Curriculum’ panel which we will now repeat annually.

— Introduction of language-focussed content such as Luka Lesson Poetry Workshop.

The Suitcase Series continues to tour regionally.

In 2013 it visited: — Courthouse Theatre, Geelong; and — Frankston Arts Centre Frankston saw the largest with attendances close to 150 student participants over two days.

The Malthouse Theatre season was a bumper one, with over 500 participants over the two week season. The result was the largest Suitcase Series yet with 743 participants including both teachers and students.

In 2014, The Suitcase Series is set to make a new work and we have commissioned Melbourne writer Angus Cerini.

2013 ANNUAL REPORT //

Malthouse Theatre

‘one of the best things I have ever seen in the theatre. an important story about our shared country and what it means to be Australian’

021

2013 ANNUAL REPORT //

Malthouse Theatre

Additional

Limited Editions Malthouse Theatre continued with its Limited Editions program in 2013, championing a series of special events that were unrepeatable.

— What Stephen Couldn’t Know was a political panel discussion to support Hate and a terrific touchstone and legitimation of the currency of this 25-year-old work. Hosted by Van Badham, the panel included Jeff Sparrow (Overland), Mary Delahunty (ex-politician) and Stephen Sewell (playwright). A wonderful, entertaining and pointed discussion about politics and power.

— Gu:T: a ritual in progress was a dance work in development between South Korean artist Soo Yeun You and Senior Torres Strait man Albert David. This show was presented as part of Dance Massive and sold out three public presentations in the Tower Theatre.

— A Contract of Love was a debate designed to open-up the discussion, politics and dissent of ‘gay marriage’ campaigns within the GLBTQI community itself. A very dangerous discussion, it received strong media pick-up and community interest and discussion (even in the office!). The panel was hosted by Richard Watts (ArtsHub, RRR) with Helen Razer (Commentator and Broadcaster), Professor Dennis Altman (academic and author), Benjamin Law (author) and Jacqui Tomlins (activist).

A Contract of Love was an accompaniment to Dance of Death.

— So Soviet Drama was a theatrical investigation into the Russian theatre canon by resident dramaturg and Russophile Van Badham. Van presented adaptations of key works read live by performers along with discussion about the background of each work. Performers included Jing-Xuan Chan, Aaron Orzech, Andrew Gray, Olga Makeeva with direction by Tanya Dickson.

— Pimp My Play was an offer from the undergroundhit, cabaret-style event-makers, The Last Tuesday Society, whereby the group’s collection of ‘mixtape’ artists ‘pimped’ a play to celebrate White Rabbit, Red Rabbit. The result was a bastardised, poignant and politically astute commentary on David Williamson’s Don’s Party by artists including Bron Batten, Richard Higgins, Emma Beech, post, Luke George, Ash Flanders and Declan Greene.

One of the stand-out moments of theatre of the year, Pimp My Play was an unforgettable, onenight-only spectacular.

— Crafternoon was once again a heart-warming and wonderful series of programs in the foyer to support Hard Rubbish and to make the theatre a friendly space for young people.

— King Lear for Fools was a panel discussion with local Indigenous community leaders in response to The Shadow King. The discussion was hosted

by Jason Tamiru, Malthouse Theatre’s Indigenous Engagement Manager, with Tammy Anderson

22

2013 ANNUAL REPORT //

(actor, artist), Leila Gurruwiwi (broadcaster and media personality) and Melody Reynolds (Associate Director on The Shadow King).

— Superhero Saturday was out last event of the year with a special happy hour accompanied by musician, thereminist, and synthesist Miles Brown entertaining patrons in the foyer prior to the last Saturday show of the year: Super Discount. A unique, fascinating and entertaining end to Season 2013.

Time to Talk Time to Talk is a free post-performance event, occurring at least once every season.

Time to Talk engages the cast and creative team of select productions in post-performance discussions with the audience. Often as enlightening for the audience’s responses as they are for revelations about the artistic process and experience, these events are among the most popular in each season.

Community Partnerships Malthouse Theatre’s Community Partners are organisations that have established programs which empower young people from a range of backgrounds and geographic locations across Victoria. Malthouse Theatre’s 2013 Community Partners included: — Worowa College — Big Brothers, Big Sisters — Foundation for Young Australians — St Martins Youth Arts Centre — Australian Business and Community Foundation (ABCN) Bespoke opportunities were offered to each of these organisations with highlights including: the attendance of Worowa College students and staff to The Shadow King; over 400 mentors and mentees meeting and undertaking backstage tours at Malthouse Theatre as part of ABCN programs; and the continued and much-loved dedication of Malthouse Theatre staff to talk one-on-one with young people through the World of Work program with the Foundation for Young Australians. Without fail, our Community Partners comment that opportunities to interact with Malthouse Theatre are always the most popular experiences for their young participants.

Malthouse Theatre

Access and Engagement At its very core, Malthouse Theatre believes the arts are for everyone and we strive to play an active role in our community, whether that is a geographical community, the arts community, the community that shares our values or the broader community.

To this end, we work hard to make Malthouse Theatre not only accessible but engaging through a variety of programs and activities.

2013 saw us expand our Auslan Interpreted and Audio Description performances across the season. With the support of a number of partner organisations our Auslan offerings have been particularly successful in encouraging new audiences, and some of our staff are learning basic Auslan to further involve ourselves in the deaf community.

Since the very beginnings of our company, we have been supported by a committed and hardworking group of volunteers; we thank them for their hours running our bookshop and helping with other administrative tasks.

Our volunteers also join us for Play Club – where debate both ferocious and congenial take place.

These sometimes intellectual, sometimes irreverent, usually passionate discussions represent the very purpose of our artform.

Fundraising 2013 was a year of great progress for the Development Department.

Foremost to its achievements was the announcement of a multi-year naming rights partnership with Coopers that will see our much loved buildings renamed The Coopers Malthouse. This three year partnership marks the union of two iconic brands known for their passion and commitment to quality, craftsmanship and creativity and will connect these organisations in a shared vision to reflect imagination, engage community and celebrate an irreverent approach to life.

A new partnership was also established with Art Series Hotel Group as Malthouse Theatre’s new Accommodation Partner. Malthouse Theatre’s interstate artists will find themselves comfortably housed in one of Melbourne’s favourite contemporary boutique hotels, The Blackman, as this partnership flourishes over the next three years.

Receiving recognition at the Creative Partnerships Australia Awards, the long-standing partnership between Victoria University and Malthouse Theatre continues to grow with the leading tertiary institution’s exemplary support of Malthouse Prompt. Offering their students a range of practical and cultural access opportunities, the partnership celebrates its 15th anniversary in 2014 and is a shining light in Malthouse Theatre’s growing corporate partner program.

In October 2013, Malthouse Theatre was successful in securing a matched funding opportunity through Creative Partnerships Australia’s Plus 1 initiative.

This rare opportunity enabled Malthouse Theatre to raise much needed funds to implement a new CRM system for the ongoing expansion of its Development activities.

Venue This year The Coopers Malthouse was home for the seasons of 20 producers and hirers, bringing an additional 12,597 people into the building. In addition, The Coopers Malthouse rehearsal rooms and conference facilities were booked by more than 70 clients.

We continued our support of independent artists and community groups by offering discounted or free hire to 56 organisations, totalling over $143,000 in donated resources.

2013 ANNUAL REPORT //

23

Malthouse Theatre

Additional Activities

Malthouse Greenlight Malthouse Theatre remains committed to a holistic approach to our business; the focus in 2013 has been on behavioural change as funding constraints have stemmed capital projects. As well as a focus on internal habits, Malthouse Theatre is an active contributor to Arts Victoria’s Sustainability Roundtable – a group that represents the companies that occupy buildings managed by Arts Victoria, who share training, innovations and ideas.

Malthouse Greenlight is our commitment to reducing energy wastage and improving the company’s sustainability practices.

2013 STEEL

2011

Notes

3t

3t

3t

45 kg

30 kg (approx)

55 kg

LIGHT BULBS

nil

8 kg

3 kg

No pick up required – with LEDs installed, there is less usage, and timing of previous pickups meant that capacity was not reached until 2014.

CARDBOARD

18 t

6.44 t

5.37 t

Due to a change in service providers, cardboard and paper are now reported together. Additionally figures now include Malthouse Theatre’s workshop facilities (not previously included).

WHITE PAPER

Nil

1.46 t

1.93 t

14.9 t

30.3 t

21.41 t

57 t

33 t

39.2 t

BATTERIES

CO-MINGLED RECYCLING OTHER WASTE

24

2012

2013 ANNUAL REPORT //

Approximate.

}

60

}

Malthouse Theatre

341% } 63 2013 ANNUAL REPORT //

025

Malthouse Theatre

Board, Staff & Partners

Board of Directors Simon Westcott (Chair until Nov 2013) Frankie Airey John Daley (Deputy Chair) Michele Levine (Chair from Nov 2013) Ian McRae Sarah Morgan Thea Snow Sigrid Thornton Kerri Turner Leonard Vary Artistic Director Marion Potts Executive Producer Jo Porter Sarah Neal (from November) Associate Artist – Design Paul Jackson Associate Artist – Direction Matthew Lutton Associate Artist – Writing Van Badham Female Director in Residence Roslyn Oades Marketing Manager Lisa Scicluna Company Manager Lucy Birkinshaw Nina Bonacci (job share until June 2013)

Executive Assistant Emily Fiori (until August) Sarah Wong (from September) Indigenous Engagement Jason Tamiru Building Manager Peter Mandersloot Production Manager David Miller Technical Manager Baird McKenna Operations Manager Dexter Varley Head Electricians Stewart Campbell Head Mechanist Andy Moore Theatre Technician Nathanael Bristow Head of Wardrobe Amanda Carr Wardrobe Assistants Chloe Greaves, Tessa Pitt & Zoe Rouse Workshop Supervisor David Craig

Associate Producer Josh Wright

Steel Fabricator Goffredo Mameli

Youth and Education Program Manager Clare Watson

Scenic Artist Patrick Jones

Administrator Narda Shanley

Props Master Ross Murray (lifetime recognition)

Finance Manager Mario Agostinoni

Bar Manager Cherry Rivers

Finance Administrator Liz White

Front of House Managers Tristan Watson & Sean Ladhams

Finance Assistant Connie Stella

Front of House/Bar Staff Leeor Adar, Matt Adair, Thomas Banks, Jacqui Brown, Christopher Bryant, Ben Carollo, Mimi Catterns, Kathryn Delaney, Tom Dent, Nadine Dimitrivietch, Carla Di Stefano, Alice Dixon, Graham Downey, Tanja George, Christian Grant, Kate Gregory, Mark Hoffman, Simon Jeanes, Evona Lee, Bridie McCarthy, Ian Michael, Daniel Newell, Ruby Nolan, Syrie Payne, Kliment Poposki, Claire Richardson, Sanne Rodenstein, Dominic Simonelli, Kathryn Stuckey, Phoebe Taylor, Jade Thomson, Lee Threadgold, Noel Turner, Matilda Woodroofe.

Philanthropy Manager Nicole Punte Digital Strategy & Marketing Coordinator Carl Nilsson-Polias (until February 2013) Chloe Gordon (June - October) Alice Gage (from November to present) Development Manager Jaclyn Birtchnell Development Assistant Hiroki Kobayashi Communications Coordinator Jennifer Smith (March to August) Emily Fiori (from August) Ticketing Manager Emma Howard

26

Assistant Ticketing Manager Lauren White

2013 ANNUAL REPORT //

Box Office Staff Jack Angwin, Abbey Barnes, Paul Buckley, Mark Byrne, Kathryn Delaney, Dan Giovannoni, Kate Gregory, Suzie Hardgrave, Michelle Hines, Ian Michael, Fiona Wiseman, Liz White.

Malthouse Theatre

GOVERNMENT PARTNERS Malthouse Theatre is supported by the Australian Government through the Australia Council, its arts funding and advisory body

EDUCATION PARTNER

MEDIA PARTNER PRODUCTION PARTNER

CORPORATE PARTNERS

CORPORATE ASSOCIATES

COMPANY SUPPORTERS

TRUSTS AND FOUNDATIONS Australian Communities Foundation

Slome-Topol Family Charitable Trust

The Robert Salzer Foundation

Vera Moore Foundation

THE Suitcase Series REGIONAL EDUCATION PROGRAM

ARTIST PROGRAM

Female Director in Residence PROGRAM

REGIONAL PERFORMANCE PROJECTS

NEW AUSTRALIAN COMMISSION & PRODUCTION

DIRECTORS EXCHANGE PROJECT

The Danielle and Daniel Besen Foundation

Maureen and Tony Wheeler

Jeanne Pratt AC, Rae Rothfield, Tom Kantor Sue Nattrass AO, Judith Maitland-Parr Fund

COMPANY IN RESIDENCE (Men of Steel)

International Program

THE KENN BRODZIAK ASSOCIATE PRODUCER

PROGRAM PARTNERS

INDIGENOUS THEATRE PROGRAM (The Shadow King)

MUSE DONOR PROGRAM

We thank Malthouse Muses for supporting our artistic vision and helping us to create a unique and dynamic environment for artists and audiences.

URANIA—Muse of The Stars—$25,000+ Annamila Pty Ltd, The Dara Foundation, The Danielle and Daniel Besen Foundation, Maureen & Tony Wheeler CLIO—Muse of History—$10,000+ Betty Amsden OAM, John & Lorraine Bates, Michele Levine, Craig Reeves, The Pratt Foundation, Anonymous (1) THALIA—Muse of Comedy—$5,000+ Frankie Airey & Stephen Solly, Eva Besen AO & Marc Besen AO, Debbie Dadon, Roger Donazzan & Margaret Jackson AC, Neilma Gantner, Colin Golvan SC, Richard Leonard & Gerlinde Scholz, Mary Ruth & Peter McLennan, Judith Maitland-Parr, Elisabeth & John Schiller, Carol & Alan Schwartz AM, Anonymous (2) MELPOMENE—Muse of Tragedy—$2,500+ Chryssa Anagnostou & Jim Tsaltas, Rosemary Forbes & Ian Hocking, Val Johnstone, Janine Tai, Jon Webster, Tom Wright EUTERPE—Muse of Music—$1,000+ Ingrid Ashford, John & Sally Bourne, Beth Brown & Tom Bruce AM, Sally Browne, Diana Burleigh, Ingrid & Per Carlsen, Marilyn and Andrew Cookes, Sieglind D’Arcy, Georgina Damm, Dominic & Natalie Dirupo, Rev Fr Michael Elligate, William J. Forrest AM, John & Helen Gibbins, D.L & G.S Gjergja, Marco Gjergja, Michael Kingston, Sue Kirkham, Pamela McLure, Naomi Milgrom AO, Jenny Schwarz, Neil & Barbara Smart, Gina & Paul Stuart, Leonard Vary & Matt Collins, Jason Waple, Jenny Werbeloff, Anonymous (3)

2013 ANNUAL REPORT //

TERPSICHORE—Muse of Dance—$500+ Min Li Chong, Mark & Jo Davey, Taleen Gaidzkar, Charles Gillies & Penelope Allen, Carolyn Floyd, Brian Goddard, Scott Herron, Leonie Hollingworth, Brad Hooper, Susan Humphries, Irine Irvine, Irene Kearsey, Ann Kemeny & Graham Johnson, K & J Lindsay, Sir Gustav AC CBE & Lady Nossal, Tony Oliver, Robert Peters, Right Lane Consulting, Tim & Lynne Sherwood, Maria Sola & Malcolm Douglas, Fiona Sweet & Paul Newcombe, Katherine Sampson, John Thomas, Kerri Turner & Andrew White, Richard P. Watson, Phil & Heather Wilson, Henry Winters, Angelika & Pete Zangmeister, Anonymous (3) ERATO—Muse of Love—$250+ Simon Abrahams, Stephen & Diane Alley, Graham & Anita Anderson, Sandra Beanham,John & Alexandra Busselmaier, John Carruthers, Ros Casey, Tim & Rachel Cecil, Diane Clark, Chris Clough, Patricia Coutts, Mary Crean AM, Tania de Jong AM, Orla & Rachel, Paula Hansky OAM & Jack Hansky AM, Peggy Hayton, Roberta Holmes, Vas Katos, Patricia Keith, Ruth Krawat, Liquorice Studio, Kim Lowndes, William Lye, Brad Martin, Gael & Ian McRae, John Millard, Dr Kersti Nogeste, Linda Notley, Wendy Poulton, John & Margot Rogers, Rae Rothfield, Ernie Schwartz, Morry & Anna Schwartz, Jill Sewell, Lisl Singer, Thea & Hayden Snow, Janice Taylor, Rosemary Walls, Jan Watson, Joanne Whyte, Dr Roger Woock & Fiona Clyne, Barbara Yuncken, Anonymous (6) CATALYST SYNDICATE Warwick & Lida Bray, John Carruthers & Rosie Purcell, Charles Gillies & Penelope Allen, Nick Glenning & Jenny Proimos, Sarah Morgan, Corrie Perkin & Peter Loder, Maria Prendergast OAM, Bob Sessions & Christina Fitzgerald, Simon Westcott & Dr Ben Keith

27

Malthouse Theatre

Key Performance Indicators

OUTCOME

MECHANISM

MEASURE

2013 TARGET

ACTUAL AS AT 31 DECEMBER 2013

Artistic Counsel Response

% stimulated feedback

55%

100%

Consultations with Nominated Creative Colleagues

% positive feedback

55%

80%

Audience engagement and stimulation

Surveys

Audience satisfaction

55%

94% either satisfied or very satisfied

Examination and extension of artforms

New productions and/or creative development projects

Number of new productions as % of total

70%

91% new productions

Development of artists

See sector development

ARTFORM Artistic quality and excellence of craft

ACCESS Maximise access and diversity of audiences

Capital city performances home market

Attendances

Paid Attendance: 48,000

42,866 paid attendances

Deliver Broad community engagement

Mini Artform Festival/Limited Editions

Paid/unpaid attendances

Paid/unpaid attendance

3,188 Paid, 894 unpaid to Dance Massive. 379 paid attendances and approximately 730 unpaid to Limited Edition events.

Data Capture Activity

Growth of contacts data base

Data base to 37,500

Approximately 3,500 added in 2013. Database has over 44,000 names.

Capital performances other than home market

Ticket sales

Paid Attendance: 7,000

nil

Regional and Metro Program Pilot

Number of participants & contact hours

700/ Contact hours

490 Attendees to Blak Cabaret. 240 participants in Suitcase Series equalling 1440 contact hours.

Education program ‘ning’ participation & engagement

Growth in visitation metrics

10% increase on 2012

17% increase in “ning” users.

Social media presence

Growth in visitation metrics

10% increase on 2012

Twitter has increased by 60%, Facebook increased by 63% and while not comparable to the previous year, Instagram has grown 71% in quarter one 2014.

Access through digital platforms

28

2013 ANNUAL REPORT //

Malthouse Theatre

OUTCOME

MECHANISM

MEASURE

2013 TARGET

ACTUAL AS AT 31 DECEMBER 2013

Pathways for emerging artists via Residencies, Mentorships, readings, pitch sessions

Number of residencies & mentorships

7

1 x Female Director residency; 4 x Besen Family Artist Placements; 2 x Besen Writers Program

Company in Residence

Number

0

1 Company in Residence (Men of Steel, Hard Rubbish)

Co-Productions & Presentations

Number

1 x co-pro 1x presentation

4 x presentations (Skeleton, Persona, 247 Days, White Rabbit, Red Rabbit); 2 x co-productions (Super Discount, Stories I Want to Tell You in Person)

“Helium” independent works season

Number

5 x Helium productions

5 x Helium productions

Resources for small-to-medium & independent sector

Venue access (rehearsal & performances), co-producing & presenting work generated in smallto-medium sector

$ Value

$0

Approximately $45,000 (indicative only - will be recalculated at end of month)

Develop new work

“The Engine Room” development program

Number of works workshopped

5

7 initial investigations for three concepts (Voices – has become Walking Into The Bigness, The Woman Project, The Misanthrope, ASIO Files, Ugly Mugs, Paradise Lost); 7 development periods for 2013 productions (The Dragon, The Shadow King, The Bloody Chamber, Hard Rubbish.)

Number of new works performed or staged

4-5

9 (Skeleton, 247 Days, Dance of Death, The Dragon, The Bloody Chamber, Stories I Want to Tell You in Person, Hard Rubbish, The Shadow King and Super Discount)

SECTOR DEVELOPMENT Fully activate MT’s role as the company of “first breaks”

Access, artistic collaborations & other methods as detailed below:

FINANCIAL Reserves ratio

Financial analysis

Benchmark 20% reserves

24%

24%

Working capital ratio

Financial analysis

Current assets divided by current liabilities

1:1

0.58:1

2013 ANNUAL REPORT //

29

Malthouse Theatre

3 1 —————————————— Directors’ Report 33 —————————————— Auditor Independence Declaration 34 —————————————— Statement of Comprehensive Income 34 —————————————— Statement of Changes in Equity 35 —————————————— Statement of Financial Position 36 —————————————— Statement of Cash Flows 37 —————————————— Notes to the Financial Statements 50 —————————————— Directors’ Declaration 51 —————————————— Independent Auditor’s Report

FINANCIAL STATEMENTS

ANNUAL REPORT // FINANCIAL STATEMENTS

30

Malthouse Theatre

DIRECTORS’ REPORT The directors present this report on the Company for the financial year ended 31 December 2013.

The names of the directors in office at any time during, or since the end of the year are: — Simon Westcott, Chair (resigned 28/11/13) — Frankie Airey — Sigrid Thornton — Ian McRae — Thea Snow — Michele Levine, Chair (commenced 28/11/13) — John Daley — Leonard Vary — Kerri Turner — Sarah Morgan Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

Company Secretary The following person held the position of company secretary at the end of the financial year: Narda Shanley. Ms Shanley was appointed on 23 May 2011.

Principal Activities The principal activity of the Company (MT) during the financial year was to create, facilitate and present contemporary performances in a program of adventurous creative work inspired by artists who practice a range of disciplines for entertainment, for inspiration, and even for fun.

The Company’s objectives are Artistic

— Creation of exceptional work that appeals to demanding artistic collaborators, devotee audiences and third party presenters.

Access

— Diversification of the cultural backgrounds of its staff, collaborators and audiences

Sector Development

— Engagement with the small-to-medium and independent performing arts sector

Financial and Governance

— Expansion of earned income base and maintenance of levels of existing funding

Strategies Artistic

Malthouse Makes Characterised by rigorous creative development process, investigation of public subjects and collaboration between artists from diverse practises, backgrounds and interest. Malthouse Makes will be developed and presented as follows: — The Engine Room-creative development and research — Annual mainstage program

Access

— MT’s education program: PROMPT — MT’s access activities including community partnerships — Limited Editions — ArtformXS — Broader recruitment strategies

Sector Development

— Facilitation of independent works via programs including Helium

— Presentation and collaboration of/with independent artists e.g. via Company in Residence

Financial and Governance

— Continuation of existing fundraising and government support strategies — Increased focus on philanthropic, trust and foundation support — Exploration of buy-in shows that reflect Malthouse Theatre’s values — Increased focus on touring opportunities domestically and internationally

— Utilisation of performance and rehearsal spaces by as many artists as possible

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

31

Malthouse Theatre

FINANCIAL STATEMENTS

Information on Directors

Meetings of Directors

Simon Westcott Managing Director, Mr & Mrs Smith Asia Pacific Responsibilities: Chair, Board of Directors People and Nominations Committee

During the financial year, six meetings were held.

Attendances by each director were as follows:

Frankie Airey Director, Philanthropy Squared Responsibilities: Chair, Development and Marketing Committee

No. eligible to attend

Number attended

Simon Westcott

6

6

Frankie Airey

6

5

Sigrid Thornton

6

4

Ian McRae

6

5

Sarah Morgan

6

3

Thea Snow

6

5

Michele Levine

6

5

Ian McRae Arts Consultant Responsibilities: People and Nominations Committee

John Daley

6

6

Leonard Vary

6

6

Kerri Turner

6

4

Thea Snow Manager, Strategic Projects Branch Department of Education and Early Childhood Development Responsibilities: Audit, Finance & Risk Committee

The Company is incorporated under the Corporations Act 2001 and is a Company limited by guarantee. If the Company is wound up, the Memorandum and Articles of Association states that each member is required to contribute a maximum of $ 10 each towards meeting any outstanding obligations of the Company. As at 31 December 2013, the total amount that members of the Company are liable to contribute if the Company is wound up is $140 (2012 $140).

Sigrid Thornton Actor Responsibilities: Development and Marketing Committee

Michele Levine CEO, Roy Morgan Research Responsibilities: Chair, Board of Directors Development and Marketing Committee People and Nominations Committee Leonard Vary CEO, The Myer Foundation and Sidney Myer Fund Responsibilities: Chair, People and Nominations Committee John Daley CEO, Grattan Institute Responsibilities: Chair, Audit, Finance & Risk Committee, People and Nominations Committee Kerri Turner Director, Tinitrader Responsibilities: Audit, Finance & Risk Committee Sarah Morgan Director, Corporate Finance – Grant Samuel Responsibilities: Development and Marketing Committee

32

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Directors’ Meetings

Auditor’s Independence Declaration The lead auditor’s independence declaration for the year ended 31 December 2013 has been received and can be found on page 33 of the financial report.

The directors’ report is signed in accordance with a resolution of the Board of Directors:

Michele Levine, Director

John Daley, Director Dated 31 day of March 2014

Malthouse Theatre

AUDITOR’S INDEPENDENCE DECLARATION UNDER SECTION 307C OF THE CORPORATIONS ACT 2001 TO THE DIRECTORS OF PLAYBOX THEATRE COMPANY LIMITED (MT) I declare that, to the best of my knowledge and belief, during the year ended 31 December 2013 there has been: i. no contraventions of the auditor independence requirements as set out in the Corporations Act 2001 in relation to the audit; and ii. no contraventions of any applicable code of professional conduct in relation to the audit.

Crowe Horwath, Melbourne

Anne Lockwood, Melbourne Dated 31 day of March 2014

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

33

Malthouse Theatre

FINANCIAL STATEMENTS

STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2013 Notes Revenues from continuing operations

2013

2012

$

$

2(a)

6,665,318

7,108,521

Production and touring expenses

3

(2,585,572)

(3,403,897)

Marketing and sponsorship expenses

3

(623,343)

(487,211)

Other expenses from continuing operations

3

(3,744,263)

(3,426,847)

(287,860)

(209,434)

-

-

(287,860)

(209,434)

Profit before income tax Income tax expense

1(n)

Profit before earning from investments Earnings from investments

430,625

192,369

Total comprehensive income for the year, net of tax

2(b)

142,765

(17,065)

Total comprehensive income for the year

142,765

(17,065)

Total comprehensive income attributable to members of the Company

142,765

(17,065)

STATEMENT OF CHANGES IN EQUITY FOR THE YEAR ENDED 31 DECEMBER 2013 Accumulated Balance at 1 January 2013 Transfer to Incentive Scheme Reserve Transfer to Future Fund Reserve Profit attributable to the Company

Reserves

Total

(272,543)

1,966,313

1,693,770

-

-

-

-

-

142,765

142,765

Balance at 31 December 2013

(129,778)

1,966,313

1,836,535

Balance at 1 January 2012

(34,380)

1,745,215

1,710,835

Transfer to Incentive Scheme Reserve

(60,986)

60,986

-

Transfer to Future Fund Reserve

(160,112)

160,112

-

Profit attributable to the Company Balance at 31 December 2012

34

Surplus

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

(17,065)

-

(17,065)

(272,543)

1,966,313

1,693,770

Malthouse Theatre

STATEMENT OF FINANCIAL POSITION AS AT 31 DECEMBER 2013 Note CURRENT ASSETS

2013

2012

$

$

Cash and cash equivalents

4

435,112

718,923

Trade and other receivables

5

205,171

187,366

Inventories

6

61,483

48,841

Other current assets

7

299,536

266,904

1,001,302

1,222,034

Total current assets NON-CURRENT ASSETS Property plant & equipment

8

429,070

496,721

Investments

9

2,176,969

1,716,874

Total non-current assets Total assets

2,606,039

2,213,595

3,607,341

3,435,629

266,586

242,147

CURRENT LIABILITIES Trade and other payables

10

Short-term provisions

11

132,408

124,135

Borrowings

12

215,000

215,000

Other current liabilities

13

1,122,846

1,109,984

1,736,840

1,691,266

33,966

50,593

33,966

50,593

Total liabilities

1,770,806

1,741,859

Net assets

1,836,535

1,693,770

(129,778)

(272,543)

Total current liabilities NON-CURRENT LIABILITIES Long-term Provisions

11

Total non-current liabilities

EQUITY Retained earnings

14

Reserves

15

Total equity

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

1,966,313

1,966,313

1,836,535

1,693,770

35

Malthouse Theatre

FINANCIAL STATEMENTS

STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 31 DECEMBER 2013

Notes

2013

2012

$

$

Cash flows from operating activities Receipts from government grants Receipts from patrons, sponsors Payments to creditors and employees Interest received Net cash provided by operating activities

19

2,691,338

2,329,224

3,931,671

4,605,369

(6,885,697)

(7,167,384)

37,366

88,693

(225,322)

(144,098)

Cash flows from investing activities Payment for plant and equipment

(29,019)

(93,967)

Payment for investments

(29,470)

(1,154,361)

Net cash used in investing activities

(58,489)

(1,248,328)

Repayment of loan principal

-

-

Net cash used in financing activities

-

-

(283,811)

(1,392,426)

Cash and cash equivalent held at the beginning of the year

718,923

2,111,349

Cash and cash equivalent held at the end of the year

435,112

718,923

Cash flows from financing activities

Net increase/(decrease) in cash held

36

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Malthouse Theatre

Notes NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2013 The financial statements are for Playbox Theatre Company Limited as an individual Company, incorporated and domiciled in Australia.

Playbox Theatre Company Limited is a Company Limited by Guarantee.

1— SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES Playbox Theatre Company Limited has adopted the Australian Accounting Standards – Reduced Disclosure Requirements as set out in AASB 1053: Application of Tiers of Australian Accounting Standards and AASB 2010–2: Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements.

Accordingly, the entity has also early adopted AASB 2011–2: Amendments to Australian Accounting Standards arising from the TransTasman Convergence Project – Reduced Disclosure Requirements and AASB 2012–7: Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements in respect of AASB 2010–6: Amendments to Australian Accounting Standards – Disclosures on Transfers of Financial Assets and AASB 2011–9: Amendments to Australian Accounting Standards – Presentation of Items of Other Comprehensive Income.

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards - Reduced Disclosure Requirements of the Australian Accounting Standards Board (AASB) and the Corporations Act 2001.

The Company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards.

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 accruals basis and are based on historical costs, modified, where applicable, by the measurement of fair value of selected noncurrent assets, financial assets and financial liabilities. The amounts presented in the financial statements have been rounded to the nearest dollar.

37

Malthouse Theatre

FINANCIAL STATEMENTS

Notes ACCOUNTING POLICIES a— Revenue Grant revenue is recognised in the statement of comprehensive income when the Company obtains control of the grant and it is probable the economic benefit gained from the grant will flow to the entity and the amount of the grant can be measured reliably.

If conditions are attached to the grant which must be satisfied before it is eligible to receive the contribution, the recognition of the grant as revenue will be deferred until those conditions are satisfied.

When grant revenue is received whereby the Company incurs an obligation to deliver economic value directly back to the contributor, this is considered a reciprocal transaction and the grant revenue is recognised in the statement of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt.

Revenue from sponsorships and donations is identified with specific projects to which it relates. Where revenue received from the above sources relate to projects in future periods such revenue is written back as revenue received in advance and included in the statement of financial position as a liability.

Revenue from the rendering of a service is recognised upon the delivery of the service to the customer.

b— Other comprehensive income Donations in respect of the Future Fund and interest earned by investing funds held in the Future Fund Reserve and Incentive Scheme Reserve are recorded as income and transferred to the appropriate reserve.

c— Inventories Inventories of bar and set construction supplies have been measured at the lower of cost and current replacement cost.

d— Plant and Equipment Each class of property, plant and equipment is carried at cost less, where applicable, accumulated depreciation and any impairment losses.

Plant and equipment are measured on the cost basis less depreciation and impairment losses.

38

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

The carrying amount of plant and equipment is reviewed annually by directors to ensure it is not in excess of the recoverable amount from these assets. The recoverable amount is assessed on the basis of the expected net cash flows that will be received from the assets employment and subsequent disposal. The expected net cash flows have been discounted to their present value in determining recoverable amounts.

The cost of fixed assets constructed within the company includes the cost of materials, direct labour, borrowing costs and an appropriate proportion of fixed and variable overheads.

Subsequent costs are included in the asset’s carrying amount or recognised as a separate asset, as appropriate, only when it is probable that future economic benefits associated with the item will flow to the company and the cost of the item can be measured reliably. All other repairs and maintenance are charged to the statement of comprehensive income during the financial period in which they are incurred.

e— Depreciation The depreciable amount of all fixed assets is depreciated on a straight line basis over their useful lives to the Company commencing from the time the asset is held ready for use.

Depreciation rates used for each of depreciable assets are: Furniture & equipment

10% - 20%

Theatre fixtures & fittings

5% - 20%

Workshop improvements

5% - 10%

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

Asset classes’ carrying amount is written down immediately to its recoverable amount if the asset’s carrying amount is greater than its estimated recoverable amount.

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

Malthouse Theatre

Notes f— 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 (i.e. trade date accounting is adopted). Financial instruments are initially measured at fair value plus transaction costs except where the instrument is classified “at fair value through profit or loss” in which case transaction cost are expensed to the statement of comprehensive income immediately.

Classification and subsequent measurement Financial instruments are subsequently measured at fair value, amortised cost using the effective interest rate method or cost. Where available, quoted prices in an active market are used to determine fair value. In other circumstances, valuation techniques are adopted.

Amortised cost is calculated as: (a) The amount at which the financial asset or financial liability is measured at initial recognition; (b) Less principal repayments; (c) Plus or minus the cumulative amortisation of the difference, if any, between the amount initially recognised and the maturity amount calculated using the effective interest method; and (d) Less any reduction for impairment.

The effective interest method is used to allocate interest income or interest expense over the relevant period and is equivalent to the rate that exactly discounts estimated future cash payments or receipts (including fees, transaction costs and other premiums or discounts) through 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 value with a consequential recognition of an income or expense in profit or loss.

Loans and receivables Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market and are subsequently measured at amortised cost.

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Financial assets at fair value through profit or loss Financial assets are classified at ‘fair value through profit or loss’ when they are held for trading for the purpose of short-term profit taking, derivatives not held for hedging purposes, or when they are designed as such to avoid an accounting mismatch or to enable performance evaluation where a group of financial assets is managed by key management personnel on a fair value basis in accordance with a documented risk management or investment strategy. Such assets are subsequently measured at fair value with changes in carrying amount being included in profit or loss.

Financial liabilities Non-derivative financial liabilities are subsequently recognised at amortised cost.

Impairment At the end of each reporting period, the Company assesses whether there is objective evidence that a financial instrument has been impaired. Impairment losses are recognised in the statement of comprehensive income Fair Value Fair value is determined based on current bid price for all quoted investments. Valuation techniques are applied to determine the fair value of all unlisted securities, including recent arm’s length transactions, reference to similar instruments and option pricing models.

g— Impairment of Assets At the end of each reporting period, the Company reviews the carrying values of its tangible and intangible assets to determine whether there is any indication that those assets have been impaired. If such indication exists, the recoverable amount of the asset, being the higher of the asset’s fair value less costs to sell and value in use, is compared to the asset’s carrying value. Any excess of the asset’s carrying value over its recoverable amount is expensed to the statement of comprehensive income.

Where an impairment loss on a revalued asset is identified, this is debited against the revaluation reserve in respect of the same class of asset to the extent that the impairment loss does not exceed the amount in the revaluation reserve for the same class of asset.

39

Malthouse Theatre

FINANCIAL STATEMENTS

Notes h— Employee Benefits Provision is made for the Company’s liability for employee benefits arising from services rendered by employees to the end of the reporting period.

Employee benefits that are expected to be settled within one year have been measured at the amounts expected to be paid when the liability is settled. Employee benefits payable later than one year have been measured at the present value of the estimated future cash outflows to be made for those benefits. In determining the liability, consideration is given to employee wage increases and the probability that the employee may not satisfy vesting requirements. Those cash flows are discounted using market yields on national government bonds with terms to maturity that match the expected timing of cash flows.

Contributions are made by the Company to employee superannuation funds and are charged as expenses when incurred.

i— Provisions 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 are measured using the best estimate of the amount required to settle the obligation at the end of the reporting period.

j— Cash and Cash Equivalents Cash and cash equivalents include cash on hand, deposits held at call with banks and other shortterm highly liquid investments.

k— Deferred Income The liability for deferred income is the unutilised amounts of grants received on the condition that specified services are delivered or conditions are fulfilled. The services are usually provided or the conditions usually fulfilled within 12 months of receipt of the grant. Where the amount received is in respect of services to be provided over a period that exceeds 12 months after the reporting date, or the conditions will only be satisfied more than 12 months after the reporting date, the liability is discounted.

l— Borrowing Costs Borrowing costs are recognised as expenses in the period in which they are incurred.

40

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

m— Goods and Services Tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Tax Office (ATO). In these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense. Receivables and payables 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 presented on a gross basis.

The GST components of cash flows arising from investing or financing activities which are recoverable from, or payable to, the ATO are presented as operating cash flows included in receipts from customers or payments to suppliers.

n— Income Tax No provision for income tax has been raised as the Company is exempt under Division 50 of the Income Tax Assessment Act, 1997.

o— 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 – Impairment The Company assesses impairment at the end of each reporting date by evaluating conditions specific to the Company that may be indicative of impairment triggers.

Malthouse Theatre

Notes p— Comparative figures When required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current financial year. The following 2012 figures have been restated: 2012 As previously Reported

2012 As Restated

$

$

2,329,224 4,605,369 (7,167,384) 131,906

2,329,224 4,605,369 (7,167,384) 88,693

(100,885)

(144,098)

(93,967) (93,967)

(93,967) (1,154,361) (1,248,328)

-

-

Net increase/(decrease) in cash held

(194,852)

(1,392,426)

Cash and cash equivalent held at the beginning of the year

2,481,493

2,111,349

Cash and cash equivalent held at the end of the year

2,286,641

718,923

Cash flow from operating activities Receipts from government grants Receipts from patrons, sponsors Payments to creditors and employees Interest received Net Cash provided by operating activities Cash flows from investing activities Payment for plant and equipment Payment for investments Net cash used in investing activities Cash flows from financing activities Repayment of loan principal Net cash used in investing activities

Reconciliation of Net Cash Used in Operating Activities to Profit From Continuing Operations Net profit (loss) Unrealised gain on investments Depreciation Change in net assets and liabilities (Increase)/Decrease in investments (Increase)/Decrease in receivables (Increase)/Decrease in other current assets (Decrease)/Increase in payables (Increase)/Decrease in inventories (Decrease)/Increase in other current liabilities (Decrease)/Increase in provisions Net cash provided by(used in) Operating Activities

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

$ (17,065) 95,303

$ (17,065) (192,368) 95,303

(149,156) 34 9,751 19,045 (18,301) (85,269) 44,773

33 9,751 19,045 (18,302) (85,269) 44,774

(100,885)

(144,098)

41

Malthouse Theatre

FINANCIAL STATEMENTS

Notes q— Trade and Other Payables Trade and other payables represent the liabilities for goods and services received by the Company during the reporting period that remain unpaid the end of the reporting period.

The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.

r— Economic dependence Playbox Theatre Company is dependent upon Australia Council and Arts Victoria for the funding of its core activity. At the date of this report the Board of Directors has no reason to believe that this support will not continue.

s— New Accounting Standards for application in Future periods The AASB has issued a number of new and amended Accounting Standards and Interpretations that have mandatory application dates for future reporting periods, some of which are relevant to the company. The directors have decided not to early adopt any of the new and amended pronouncements.

The directors’ assessment of the new and amended pronouncements that are relevant to the company but applicable in future reporting periods is set out below: Amendments to AASB 136 – Recoverable Amount Disclosures for Non-Financial Assets AASB 2013-3 amends the disclosure requirements in AASB 136 Impairment of Assets. The amendments include the requirement to disclose additional information about the fair value measurement when the recoverable amount of impaired assets is based on fair value less costs of disposal.

Application date of standard: 1 January 2014 Materiality AASB 1031: The revised AASB 1031 is an interim standard that cross-references to other Standards and the Framework (issued December 2013) that contain guidance on materiality.

AASB 1031 will be withdrawn when references to AASB 1031 in all Standards and Interpretations have been removed.

Application date of standard: 1 January 2014 The financial report was authorised for issue on 31 March 2014 by the Board of Directors.

42

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Malthouse Theatre

Notes Note

2013

2012

$

$

2.a—REVENUE Included in the revenues from continuing operations are the following items: Theatre and performance Venue hire

1,420,903

1,948,385

705,555

563,506

1,077,788

1,052,527

Government Grants Australia Council - General Purpose - One off Project Funding

188,000

-

- Interconnection

-

30,000

- New work

-

15,000

- External Artistic Agency

-

30,000

22,793

-

5,000

-

20,000

-

- Creative Development New Duet - CEO Mentoring - Young Emerging Artists - Rigging Training 3 Creatives

5,000

-

- Interconnection (Partial)

3,590

-

- CRM Strategic Support

23,250

-

19,301

21,025

48,024

32,000

1,199,714

1,048,408

83,821

100,264

Local Government - Department of Education & Early Childhood - City of Melbourne Arts Victoria - General Purpose - NGO maintenance Sponsorships and donations - Sponsorship - Fundraising and donations

95,000

83,589

928,574

1,241,803

37,366

88,693

Other Revenue - Interest earned - Ticketing Services - Bar Taking - Workshop External Commissions - Other revenue from continuing operations Total Revenue

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

186,077

168,199

300,593

323,881

138,566

156,132

156,403

205,109

6,665,318

7,108,521

43

Malthouse Theatre

FINANCIAL STATEMENTS

Notes Note

2013

2012

$

$

- Change in Fair Value of financial assets

192,546

110,694

- Income earned

125,589

33,478

- Change in Fair Value of financial assets

76,802

38,462

- Income Earned

35,688

9,735

430,625

192,369

2.b—EARNINGS FROM INVESTMENTS Future Fund

Incentive Scheme Reserve

Total Other Comprehensive Income

3—OTHER EXPENSES FROM CONTINUING ACTIVITIES Profit from continuing operations has been determined after: Expenses Production & Touring Marketing & Sponsorship

2,585,572

3,403,897

623,343

487,211

96,670

95,303

25,070

19,100

Other Expenses Depreciation Auditor’s remuneration - Audit fees Finance Costs – external

21,952

15,191

2,392,763

2,257,062

522,140

539,473

242,444

278,225

173,160

137,649

270,064

84,844

Total Other Expenses

3,744,263

3,426,847

Total Expenses

6,953,178

7,317,955

Wages & On costs Venue Administration Ticketing Services Other

3(a)

3(a) Wages and on costs for permanent staff have been allocated to other expenses rather than to individual departments.

4—CASH AND CASH EQUIVALENTS Cash on Hand Cash at Bank Deposits at call Short Term Bank Deposits

2,902

3,549

93,711

216,961

307,297

53,349

31,202

445,064

435,112

718,923

Sundry debtors

155,329

151,822

Accrued income

39,823

19,435

1,500

7,235

5—TRADE AND OTHER RECEIVABLES

Deposits paid GST recoverable

44

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

8,519

8,874

205,171

187,366

Malthouse Theatre

Notes Note

2013

2012

$

$

Raw materials

38,055

13,230

Bar & Sponsorship Stock

23,428

35,611

61,483

48,841

299,536

266,904

6—INVENTORIES At cost

7—OTHER CURRENT ASSETS Prepayments

8.a—PROPERTY PLANT & EQUIPMENT Furniture and equipment Less accumulated depreciation Theatre fixtures and fittings Less accumulated depreciation

Workshop Improvements Less accumulated depreciation

TOTAL PROPERTY, PLANT & EQUIPMENT

1,129,772

1,101,135

(871,984)

(810,444)

257,788

290,691

1,237,055

1,236,673

(1,172,800)

(1,153,728)

64,255

82,945

263,086

263,086

(156,059)

(140,001)

107,027

123,085

429,070

496,721

8.b—MOVEMENTS IN CARRYING AMOUNTS Movement in the carrying amounts of property, plant and equipment between the beginning and the end of the current financial year.

2013

Furniture & Equipment

Theatre Fixtures & Fittings

Workshop Improvements

Total

290,691

82,945

123,085

496,721

28,637

382

-

29,019

Depreciation Expenses

(61,540)

(19,072)

(16,058)

(96,670)

Carrying amount at the end of the year

257,788

64,255

107,027

429,070

Furniture & Equipment

Theatre Fixtures & Fittings

Workshop Improvements

Total

286,028

72,885

139,144

498,057

Balance at the beginning of the year Additions

2012

Balance at the beginning of the year

63,465

30,502

-

93,967

Depreciation Expenses

Additions

(58,802)

(20,442)

(16,059)

(95,303)

Carrying amount at the end of the year

290,691

82,945

123,085

496,721

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

45

Malthouse Theatre

FINANCIAL STATEMENTS

Notes Note

2013

2012

$

$

1,627,796

1,298,302

9—INVESTMENTS Future Fund Incentive Scheme Reserve Deposit

549,173

418,572

2,176,969

1,716,874

266,586

242,147

Employee entitlements - Annual leave

54,198

87,440

Employee entitlements - Long service leave

78,210

36,695

132,408

124,135

33,966

50,593

215,000

215,000

10—TRADE & OTHER PAYABLES Sundry creditors & accruals

11—PROVISIONS Current

Non-current Employee entitlements - Long service leave

12—BORROWINGS Current Bank Loan – secured

Bank loan and overdraft facilities with National Australia Bank Ltd are secured by Registered Mortgage Debenture over the whole of the company’s assets including goodwill and uncalled and called but unpaid capital together with relative insurance policy assigned to the National Australia Bank Limited but excluding funds held in the Incentive Scheme Reserve. The loan is due for repayment on the 31/12/2014 and any extension beyond this period will be conditional upon a repayment program acceptable to the Bank.

13—OTHER CURRENT LIABILITIES Young & Emerging Artists (Australia Council)

-

MPAB Strategic Assistance (Australia Council)

-

23,250

Core Grant One-Off Funding Model Adjustments

-

188,000

Interconnection (Partial)

26,410

-

New Work Creative Development

34,521

-

1,061,915

878,734

1,122,846

1,109,984

(272,543)

(34,380)

Income received in advance

20,000

14—RETAINED EARNINGS Retained earnings at the beginning of year

142,765

(17,065)

Transfer to Future Fund Reserve

Net profit (loss) for the financial year

-

(160,112)

Transfer to Incentive Scheme Reserve

-

(60,986)

(129,778)

(272,543)

Retained earnings at the end of financial year

46

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Malthouse Theatre

Notes Note

2013

2012

$

$

127,459

127,459

1,394,382

1,394,382

444,472

444,472

1,966,313

1,966,313

15—RESERVES Capital Assets Reserve Future Fund Reserve Incentive Scheme Reserve

15.A—Capital Asset Reserve Opening balance

127,459

127,459

Closing balance

127,459

127,459

The Capital Assets Reserve records the value of plant and equipment assets transferred to the Company at the conclusion of the Company’s relationship with Monash University.

15.b—Incentive Scheme Reserve Movements during the year Opening balance Change in market value

444,472

383,486

-

38,462

Income earned

-

9,735

Transfer from accumulated surplus/(deficit)

-

12,789

444,472

444,472

Closing balance

Funds held in the Incentive Scheme Reserve are subject to the terms of the Incentive Scheme Reserves Funding Agreement dated 21 June 2004 between the Australia Council, Arts Victoria and the Company. In particular, these funds are held in escrow for fifteen years (to 18/10/2023) and cannot be accessed without the express agreement of the funding bodies under prescribed circumstances.

Funds held in the Incentive Scheme Reserve are expressly excluded from the security charge held over the assets of the Company by the National Australia Bank Ltd. The Incentive Scheme Reserve records the amount set aside to fund the long term future operations of the Company.

15.C—Future Fund Reserve Movements during the year Opening balance

1,394,382

1,234,270

Change in market value

-

110,694

Income earned

-

33,478

Transfer from accumulated surplus/(deficit) Closing balance

-

15,940

1,394,382

1,394,382

The Fund is established for the purpose of accruing and accumulating a sustainable capital base for the Company to support the long term financial viability of the Cultural Objects of the Company. The Fund is managed by the Audit, Finance & Risk committee of the Board.

16—MEMBERS’ GUARANTEE The Company is limited by guarantee. If the Company is wound up, the Memorandum and Articles of Association of the Company states that each member is required to contribute a maximum of $10 cash towards meeting any outstanding obligations of the Company. At 31 December 2013, the number of members were 14 (2012: 14).

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

47

Malthouse Theatre

FINANCIAL STATEMENTS

Notes 17—COMMITMENTS AND CONTINGENT LIABILITIES There are no capital expenditure commitments or contingent liabilities not otherwise disclosed or provided for in the accounts at 31 December 2013.

18—RELATED PARTY TRANSACTIONS There were no related party transactions that occurred in 2013 (2012: $15,000)

19—CASH FLOW INFORMATION Reconciliation of Net Cash Used in Operating Activities to Profit from Continuing Operations Note

2013

2012

$

$

142,765

(17,065)

(430,625)

(192,368)

96,670

95,303

(Increase)/Decrease in receivables

(17,805)

33

(Increase)/Decrease in other current assets

(32,632)

9,751

Net profit (loss) Unrealised gain on investments Depreciation Change in net assets and liabilities

(Decrease)/Increase in payables (Increase)/Decrease in inventories (Decrease)/Increase in other current liabilities (Decrease)/Increase in provisions Net cash provided by (used in) Operating Activities

24,439

19,045

(12,642)

(18,302)

12,862

(85,269)

(8,354)

44,774

(225,322)

(144,098)

20—FINANCIAL RISK MANAGEMENT The Company’s financial instruments consist mainly of deposits with banks, local money market instruments, short term investments, accounts receivable and payable.

The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed in the accounting policies to these financial statements, are as follow: Financial Assets Cash and cash equivalent

4

435,112

718,923

Trade and other receivables

5

205,171

187,366

Domestic Corporate Bonds

9

391,596

280,716

Equities Domestic

9

1,325,427

990,002

Equities International

9

459,946

297,000

2,817,252

2,474,007

Total Financial Assets Financial Liabilities Trade and other payables

10

266,586

242,147

Borrowing

12

215,000

215,000

481,586

457,147

Total Financial Liabilities

Net Fair Value For listed available-for-sale financial assets and financial assets at fair value through profit & loss, the fair values have been based on closing quoted bid prices at the end of the reporting period.

48

2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Malthouse Theatre

Notes 21—DIRECTORS’ REMUNERATION Directors do not receive remuneration for services provided in their role as directors although they are eligible to be reimbursed for out of pocket expenses.

22—KEY MANAGEMENT PERSONNEL REMUNERATION The total remuneration paid to key management personnel of the Company during the period is as follows: Key management personnel compensation:

280,937

250,700

23—SUBSEQUENT EVENTS The directors are not aware of any significant events since the end of the reporting period.

24—COMPANY DETAILS The registered office of the Company is: 113 Sturt Street Southbank Vic 3006 The principal place of business is: The Coopers’ Malthouse 113 Sturt Street Southbank Vic 3006

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49

Malthouse Theatre

FINANCIAL STATEMENTS

DIRECTORS’ DECLARATION The directors of the Company declare that: 1—The financial statements and notes, as set out on pages 37-49, are in accordance with the Corporations Act 2001 and: (a)comply with Accounting Standards and; (b) give a true and fair view of the financial position as at 31 December 2013, and of the performance for the year ended on that date of the Company.

2—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.

This declaration is made in accordance with a resolution of the Board of Directors of Playbox Theatre Company Limited.

Michele Levine, Director

John Daley, Director Dated 31 day of March 2014

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2013 ANNUAL REPORT // FINANCIAL STATEMENTS

Malthouse Theatre

INDEPENDENT AUDITOR’S REPORT TO MEMBERS OF PLAYBOX THEATRE COMPANY LIMITED

Report on the Financial Report We have audited the accompanying financial report for Playbox Theatre Company Limited, which comprises the statement of financial position as at 31 December 2013, the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, notes comprising a summary of significant accounting policies and other explanatory information, and the Director’s declaration.

Directors’ Responsibility for the Financial Report The directors of the Company are responsible for the preparation and fair presentation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards – Reduced Disclosure Requirements and the Corporations Act 2001 and for such internal control as the directors determine is necessary to enable the preparation of the financial report that is free from material misstatement, whether due to fraud or error.

Auditor’s Responsibility Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit in accordance with Australian Auditing Standards. Those standards require that we comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance whether the financial report is free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. The procedures selected depend on the auditor’s judgment, including the assessment of the risks of material misstatement of the financial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the Company’s preparation of the financial report that gives a true and fair view in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the directors, as well as evaluating the overall presentation of the financial report.

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

Independence In conducting our audit, we have complied with the independence requirements of the Corporations Act 2001.

We confirm that the independence declaration required by the Corporations Act 2001, which has been given to the directors of Playbox Theatre Company Limited, would be in the same terms if given to the directors as at the date of this auditor’s report.

Opinion In our opinion the financial report of Playbox Theatre Company Limited is in accordance with the Corporations Act 2001, including: (i) giving a true and fair view of the Company’s financial position as at 31 December 2013 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards – Reduced Disclosure Requirements and the Corporations Regulations 2001.

Crowe Horwath, Melbourne

Anne Lockwood, Melbourne Dated 31 day of March 2014

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