Sydney Dance Company 2014

Photo: Peter Greig

Contents

Chair’s Report Executive Director’s Report Artistic Director’s Report 2014 Repertoire Performance Schedule The Company Sydney Dance Company Partners Sydney Dance Company Sponsors Performance Against Goals Key Performance Indicators Corporate Governance Annual Financial Report

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Chair’s Report

I am delighted to present the annual report for Sydney Dance Company’s operations across 2014. The year was one of celebration as the Company marked its 45th anniversary with a focus on Australian touring. The Company performed in 19 Australian towns and cities and presented 78 performances and 146 education activities which included workshops, master classes and matinees.

The Company’s performances included ten newly commissioned works, seven of which were by Australian choreographers.

We were delighted to partner with the Balnaves Foundation and Carriageworks to present New Breed for the first of a three-year commitment.

New Breed represents an opportunity to significantly invest in the choreographic futures of Australian artists.

A feature of our 45th anniversary celebrations was the Heritage Collection, a re-editing and digitising project which has set out to preserve the films of the works created for Sydney Dance Company under Graeme Murphy’s 30-year artistic directorship. That project was supported by a small group of donors and we thank them for their investment in the cultural history of dance in this country.

Sydney Dance Company is again finishing the year with a surplus and is continuing to build financial resilience through increased reserves.

I would like to thank the staff and management for their efforts throughout the year. It is gratifying to see each year’s successes consolidated and that comes from passion and hard work from all levels of the organisation.

I would like to take this opportunity to thank the entire Board of Directors for their work and commitment over 2014. In particular I would like to thank Greta Thomas and Judy Crawford, who have stepped down as directors over the course of the year, for their valued contributions to the success and sustainability of the Company.

The Board was delighted to welcome Randal Marsh to the Board. Randal is the founder and partner of Wood Marsh Architecture and is Melbourne based reflecting Sydney Dance Company’s commitment to its national profile and presence.

Sydney Dance Company is the largest contemporary dance Company in Australia and as a not for profit company it is sustained through the generous support of government, corporate and private partners as well as through its own self generated revenues.

I would like to take this opportunity to thank those supporters and to acknowledge the Commonwealth Government support provided through the Australia Council for the Arts as well as the support of the NSW State Government through Arts NSW. A particular thank you goes to the many people who support Sydney Dance Company with private and foundation giving. The support you provide allows the Company to reach out to young people around the country, to commission artists to create new works and to support the dancers that are at the very heart of the Company.

Andrew Messenger Chair

Executive Director’s Report

Sydney Dance Company undertook a huge amount of activity in our 45th anniversary year, 2014. A very busy touring and performance schedule was augmented further by a significant increase in our education and outreach activities.

The Company achieved some pleasing results across the year, notably an increase of 17% in paid audiences, a 15% increase in philanthropic income and a 25% increase in revenue generated from our commercial, education and outreach activities.

The year encompassed a significant national touring program. It was a great pleasure to share the multi-award winning production 2 One Another with audiences across Queensland, Western Australia and regional NSW. Audience response to our regional touring program is exceptional and we value the opportunity to perform for those Australian’s that do not always have ready access to high quality dance performance.

Across the year there has been significant investment in the creation of new Australian works for the stage. This investment has allowed us to commission ten choreographies and five music scores. This would not have been possible without the support of the individuals and foundations who have given to Sydney Dance Company’s commissioning fund. Their faith in the artistic process and support of the Company is invaluable and we thank them for it.

In addition to the mainstage performance works Sydney Dance Company was pleased to partner with Sydney Symphony Orchestra and Queensland Symphony Orchestra to present works as part of their concert performances. The opportunity to extend our reach and bring dance to new audiences is a valuable one and we thank those orchestras for inviting us to be a part of their programs.

We were also delighted to partner with Carriageworks on the presentation of New Breed, designed to support Australian choreographic voices and supported by The Balnaves Foundation.

Sydney Dance Company initiated a new program in 2014 called the Pre-Professional Year (PPY).

The first of its kind in Australia to be attached to a contemporary dance Company, the program is a year long, accredited training program for elite young dancers, designed to help them further their skills and artistry. The course prepares them for life as a professional dancer. It includes segments on health and nutrition, business skills necessary for work as an independent dancer and exposes them to Company life.

There are precious few full time contemporary dance contracts available in Australia and young dancers need to be resilient and resourceful, not just great dancers. Under the direction of Linda Gamblin, the inaugural year for our Pre-Professional course was a huge success. We had 24 talented students from across Australia and New Zealand in the studios working with some of the best Australian and international choreographers and industry professionals.

In addition to the PPY program, Sydney Dance Company also extended its school age education program significantly. Additional investment in our education team has led to a rapid expansion in the reach of the program and we are pleased to now be delivering the program on a national basis. Our education program is developed with the assistance of our education advisory group and I sincerely thank them for their time, expertise and commitment. They are inspirational in their commitment to the value dance can bring to the lives of all young people.

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- Concrete Playground

Our open class program continued to flourish and in 2014 we had attendances of 70,688 to our classes. Ranging from absolute beginner ballet through to hip hop, seniors tap and advanced jazz, the open class program is an important touchstone for Sydney Dance Company and one which has taught literally hundreds of thousands of people to dance over the years.

Each year Sydney Dance Company is thankful for the assistance it is given in securing the funds it needs to continue to deliver on our commitments to commissioning, touring and education. A large part of that assistance comes from the organising committee and sponsors who help Sydney Dance Company stage its annual event, Dance Noir. Dance Noir is a fabulous evening of fund and friend raising for the Company, a highlight of which is that the dancers of the Company create their own productions to entertain the 450 guests in attendance. The event is a glittering moment on the Sydney social diary and we are grateful to all who support it.

Across the year Sydney Dance Company continued to invest in creating additional organisational capacity. The introduction of a new CRM system, Tessitura, will continue to yield benefits into the future and we thank Creative Partnerships Australia and those donors who made that investment possible through the funds they raised.

During the course of 2014, the Heritage Collection took shape and Sydney Dance Company was pleased to be able to support this important project. The Heritage Collection is an ongoing process of editing and digitising the films of Graeme Murphy’s productions created during the time he was the Artistic Director of Sydney Dance Company. We were delighted to be able to host a screening event which showcased excerpts of the work and brought Company alumni together

to share it. Thank you to those present and past Board members who contributed financially to the making of the Heritage Collection.

I would like to thank the Chair and Board of Sydney Dance Company for their support and commitment. I would also like to acknowledge the huge efforts and passion of the administration, production and management teams at Sydney Dance Company. As I reflect back on the year I am astounded at the level and quality of the output and so very proud of the team that achieves it.

Anne Dunn Executive Director

Photo: Ben Symons

“Accessible, provocative and entertaining from start to finish…Sydney Dance Company remains Australia’s darling after 45 jam-packed years in the business.”

Artistic Director’s Report

When I reflect on 2014 I am reminded of just how much we were able to squeeze into one year, a testament to the hard work and artistry of our dancers, and the wonderful team that supports them. The dancers undertook 78 performances, which for an ensemble of 16 dancers is a significant achievement and is testimony not just to the dancers but also to the health and fitness team which support them.

We wanted to make 2014 a significant year, one which would do justice to the extraordinary history of Sydney Dance Company. I was pleased to be able to commission a broad range of Australian choreographers across the year. From a main-stage work by Gideon Obarzanek through to short pieces commissioned for our student performances, we have truly made 2014 about investing in Australian artists and audiences.

The performance year started for us with a commission for Sydney Symphony Orchestra’s semi staged production of Strauss’s epic Elektra.

Stephanie Lake worked with eight of the Company dancers to create a contemporary response to this powerful work which was staged in February on the Sydney Opera House Concert Hall platform.

We were delighted to once more be collaborating with Sydney Symphony Orchestra and it was wonderful to see dance included in that program.

Our first Sydney Theatre season for the year was Interplay, a triple bill that premiered in March.

Interplay included my 2 in D Minor, which featured the extraordinary Veronique Serret playing Bach’s gorgeous violin partita, interspersed with electronic composition by Nick Wales. I was particularly pleased to commission Sydney Dance Company alumni Gideon Obarzanek to create L’Chaim!, the first dance commission since he stepped down from his longstanding role as Artistic Director of Chunky Move. The program was completed by a reprisal of the highly acclaimed Raw Models by

Jacopo Godani. This program premiered in Sydney and then travelled to Canberra and Melbourne where it was presented at the Southbank Theatre, home of the Melbourne Theatre Company.

As part of our 45th anniversary celebrations we toured extensively within Australia. The multi award winning 2 One Another was performed in cities and towns right across Western Australia, Queensland and regional New South Wales. 2 One Another has had an extraordinary touring life and I am very proud of presenting the same performance with the full ensemble in Bunbury and Townsville as we do in Moscow or Mexico, as we had done just the year before. In November 2014 we also toured 2 One Another to Auckland marking a return to that city after a ten year absence.

We were delighted to work with Queensland Symphony Orchestra for the first time as we restaged Les Illuminations with the incomparable Katie Noonan on stage with us. It was wonderful to see this work, which was originally cocommissioned between Sydney Dance Company and Sydney Opera House, reconfigured for the Concert Hall stage at Queensland Performing Arts Centre for performance in June.

To continue the 45th anniversary celebrations, Sydney Dance Company undertook a collaboration with Ausdance NSW to lead the first Australian edition of the United Kingdom’s Big Dance event. I was invited to choreograph this by the Big Dance UK team and we took the opportunity to make this a global event to mark the Commonwealth Games in Glasgow. This community participation event was staged in collaboration with dancers in London, Glasgow, and we even got Port Macquarie and Bega involved. It featured 2,000 dancers on the Northern Broadwalk of the Sydney Opera House in a live hook up with dancers across the globe performing the upbeat Beats for Peace. It was

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“I would also like to personally thank our loyal donors and sponsors whose belief in what we do is invaluable.”

Photo: Ben Symons

such a fabulous event that saw people unite and come together simultaneously in different parts of the world for a celebration of dance. A huge thank you goes out to the Sydney Opera House, the City of Sydney and the Australia Council for the Arts for their support of that event.

Sydney Dance Company to contribute to a mixed program which is presented at Carriageworks.

The resources of both Carriageworks and Sydney Dance Company support the choreographers, and we will watch with interest to see what sort of career impact this can have for them.

In October, we welcomed European choreographer, Andonis Foniadakis to the Company to develop a new work, Parenthesis, as part of our double bill program, Louder Than Words. This highly athletic, tour-de-force of movement, was choreographed to an original score by French composer Julien Tarride and exquisite costumes by fashion designer Tassos Sofroniou. The companion piece on the world premiere program was my own Scattered Rhymes, a piece which was informed by the choral composition by Tarik O’Regan from which the work takes its name. This angelic music was juxtaposed with electronic segments, which were commissioned by Sydney Dance Company and jointly composed between Nick Wales and Tarik O’Regan. I was also pleased to present an excerpt of the work at the 2014 Australian Dance Awards.

The 2014 edition saw three of our own Company dancers choreographing new pieces: Charmene Yap, Cass Mortimer Eipper and Juliette Barton, as well as works by independent practitioners Lee Serle and Gabrielle Nankivell. The season sold out and was extremely well received by critics and audiences alike and we look forward to presenting the 2015 edition of New Breed.

October was a busy month for Sydney Dance Company with us also presenting the inaugural graduation performance for our Pre-Professional Year students in a show called PPY14 Revealed.

It was a great pleasure to be able to commission new works from Australian choreographers Lucas Jervies, Dean Walsh and Paul Selwyn Norton as well as to mount Tanja Liedke’s To My Suite as part of that program.

Our final season for the year was New Breed. 2014 marked the start of a three-year partnership with The Balnaves Foundation and a creative partnership with Carriageworks in Sydney, designed to facilitate the fostering of choreographic talent. Choreographers were invited to create short works on the dancers of

I would like to give a huge thank you to the Board of Sydney Dance Company for their support and commitment. I would also like to personally thank our loyal donors and sponsors whose belief in what we do is invaluable.

I am extremely grateful to the wonderful team that I get to work with each day and it is such a pleasure to be able to be a part of a Company that seeks to extend its reach and impact to people not only across Australia, but internationally as well. To each individual working behind the scenes and to my incredibly hardworking dancers that deliver such inspirational performances time after time, thank you.

I look forward to the year ahead and I can’t wait to see you all in 2015 as we continue to seek to bring you the very best of contemporary dance.

Rafael Bonachela Artistic Director

“Super-charged program… it is danced with crackling energy and virtuosity by the Company and showcased with flair.”

- Sydney Morning Herald on Interplay

Photo: Wendell Teodoro

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2014 Performance Repertoire

Sydney Symphony Orchestra’s Elektra

Photo: Darren Leigh Roberts

Choreography Stephanie Lake Conductor: D avid Robertson Soprano (Elektra): Christine Goerke Soprano (Klytemnestra): Lisa Gasteen Soprano (Chrysothemis): Cheryl Barker Baritone (Orestes): Peter Coleman-Wright Tenor (Aegisthus): Kim Begley Orchestra: Sydney Symphony Orchestra Choir: Sydney Philharmonia Choirs

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2 in D Minor Interplay

Photo: Wendell Teodoro

Choreography Rafael Bonachela Music: Johann Sebastian Bach & Nick Wales Violinist: Veronique Serret Costume Design: Rafael Bonachela Costume Design Realisation: Fiona Holley Stage and Lighting Design: Benjamin Cisterne

Raw Models Interplay

Photo: Wendell Teodoro

Choreography Jacopo Godani Music: 48nord Commissioned score: Ulrich Mueller & Siegfried Roessert Costume Design and Lighting: Jacopo Godani Costume Design Realisation: Fiona Holley

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L’Chaim!

Interplay

Photo: Wendell Teodoro

Choreography Gideon Obarzanek Composer: Stefan Gregory Writer: David Woods Costume Designer: Harriet Oxley Stage and Lighting Design: Benjamin Cisterne Actor: Zoe Coombs Marr (Sydney), Gideon Obarzanek (Canberra), David Woods (Melbourne)

Queensland Symphony Orchestra’s Maestro Series: Katie Noonan and Sydney Dance Company Les Illuminations Photo: Peter Greig

Choreography Rafael Bonachela Music: Benjamin Britten Vocals: Katie Noonan Conductor: Johannes Fritzsch Costumes: Toni Maticevski Stage and Lighting Design: Benjamin Cisterne

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2 One Another

Photo: Peter Greig

Choreography Rafael Bonachela and the dancers Production and Costume Design: Tony Assness Lighting Design: Benjamin Cisterne Music Original Music Composition: Nick Wales Violin: Veronique Serret Viola, Violin, Keyboards and Electronics: Nick Wales Percussion, Marimba: Bree van Reyk Drum Kit, Percussion: Jared Underwood Drum Kit: Evan Manell Cello: Julian Thompson Voices: Sydney Dance Company dancers, Justin Shoulder and Jeff Duff Additional Recording: Jared Underwood Text: Samuel Webster

Scattered Rhymes Louder Than Words

Photo: Peter Greig

Choreography Rafael Bonachela Composer: Tarik O’Regan and Nick Wales Costume Design: Rafael Bonachela Costume Design Realisation: Fiona Holley Stage and Lighting Design: Benjamin Cisterne

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Parenthesis Louder Than Words

Photo: Wendell Teodoro

Choreography Andonis Foniadakis Composer: Julien Tarride Costume Design: Tassos Sofroniou Stage and Lighting Design: Benjamin Cisterne Assistant Choreographer: Markella Manoliadi

White Elephant New Breed

Photo: Peter Greig

Choreography Lee Serle Costume Design: Aleisa Jelbart Lighting Design: Matthew Marshall Music Sound by Ben Frost: Leo needs a new pair of shoes; Venter; Hydrogen Sulphide

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Do we New Breed

Photo: Peter Greig

Choreography Charmene Yap Costume Design: Fiona Holley Lighting Design: Matthew Marshall Music: Gypsy Mandolin Gypsy Music Collection Sound: Cass Mortimer Eipper

Dogs and Baristas New Breed

Photo: Peter Greig

Choreography Cass Mortimer Eipper Text: Cass Mortimer Eipper Costume Design: Aleisa Jelbart Lighting Design: Matthew Marshall Music Cosmic Trigger, Pt. 1: December, A setting sun

Someone to watch over me, Ella & Louis – 100 Plus Original Recordings 2012 Play Digital, Ella Fitzgerald, Composed by George Gershwin and Ira Gershwin, © 1926 Chappell & Co., Inc. By kind permission of Warner/Chappell Music Australia Pty Ltd A kiss to build a dream on, The ultimate collection: Louis Armstrong La Vie En Rose, The Very Best of Louis, Louis Armstrong

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Scrutineer New Breed

Photo: Peter Greig

Choreography Juliette Barton Costume Design: Fiona Holley Lighting Design: Matthew Marshall Music: Animal Sacrifice, Owl Splinters, Deaf Centre I I, IX, Pentral, Jacaszek Sound: Joe Fletcher

Wildebeest New Breed

Photo: Jack Saltmiras

Choreography Gabrielle Nankivell Costume Design: Fiona Holley Composition & Sound Design: Luke Smiles / motion laboratories
 Lighting Design: Matthew Marshall

- New Zealand Herald on 2 One Another

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“A spectacle of intense physicality and extreme artistry”

Photo: Peter Greig

Performance Schedule 22 — 24 February Concert Hall, Sydney Opera House, Sydney NSW, 2 performances, Elektra

16 July Mackay Entertainment and Convention Centre, Mackay QLD, 1 performance, 2 One Another

15 March — 5 April Sydney Theatre, Sydney NSW, 18 performances, Interplay

19 July Pilbeam Theatre, Rockhampton QLD, 1 performance, 2 One Another

10 – 12 April Canberra Theatre Centre, Canberra ACT, 4 performances, Interplay

23 July Townsville Civic Theatre, Townsville QLD, 1 performance, 2 One Another

30 April – 10 May The Lawler, Southbank Theatre, Melbourne VIC, 10 performances, Interplay

26 July The Arts Centre Gold Coast, Gold Coast QLD, 1 performance, 2 One Another

14 June Concert Hall, QPAC, Brisbane QLD, 1 performance, Queensland Symphony Orchestra’s Maestro Series: Katie Noonan and Sydney Dance Company, Les Illuminations

31 July – 1 August Glasshouse Port Macquarie, Port Macquarie NSW, 2 performances, 2 One Another

18 – 21 June His Majesty’s Theatre, Perth WA, 5 performances, 2 One Another 25 June Mandurah Performing Arts Centre, Mandurah WA, 1 performance, 2 One Another 28 June Albany Entertainment Centre, Albany WA, 1 performance, 2 One Another 2 July Bunbury Regional Entertainment Centre, Bunbury WA, 1 performance, 2 One Another 5 July Queens Park Theatre, Geraldton WA, 1 performance, 2 One Another 11 – 12 July Cairns Civic Theatre, Cairns QLD, 2 performances, 2 One Another 13 July Sydney Opera House, Northern Broadwalk, 1 performance, Big Dance

6 August Dubbo Regional Theatre and Convention Centre, Dubbo NSW, 1 performance, 2 One Another 8 August Bathurst Memorial Entertainment Centre, Bathurst NSW, 1 performance, 2 One Another 9 August Orange Civic Theatre, Orange NSW, 1 performance, 2 One Another 4 – 18 October Sydney Theatre, Sydney NSW, 13 performances, Louder Than Words 13 October Sydney Theatre, Sydney NSW, 1 performance, PPY14 Revealed 18 October Sydney Theatre, Sydney NSW, 1 screening event, Heritage Collection 4 – 8 November Carriageworks, Sydney NSW, 6 performances, New Breed 13 – 15 November ASB Theatre, Aotea Centre, Auckland New Zealand, 4 performances, 2 One Another

Photo:Peter Greig

*This schedule includes all performances including school matinees

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78 performances* 74 Australian performances* 44 NSW performances* 4 overseas performances 9 sneak peeks and special showings 25km of thread used in sewing the set design for Parenthesis 640 pairs of socks worn out by the dancers over the year

Sydney Dance Company

Development Director Janine Collins (until June 2014) Lizzi Nicoll (from August 2014) Business Development Manager Paquita Wiesner (until May 2014)

Board of Directors

Philanthropy Manager Michelle Forsyth

Chair Andrew Messenger

Major Gifts Manager Susan Wynne (from October 2014)

Pamela Bartlett Peter Brownie Jean-Marc Carriol Judy Crawford Jane Freudenstein Kiera Grant Randal Marsh (from April 2014) Karen Moses Naseema Sparks Greta Thomas (resigned March 2014) Carla Zampatti

Development Coordinator Joshua Forward

Patron Darcey Bussell CBE Ambassadors Bee Hopkins Jules Maxwell

Management Artistic Director Rafael Bonachela Executive Director Anne Dunn Deputy Executive Director Sean Radcliffe Producer Dominic Chang Executive Assistant Kerry Thompson (until November 2014) Accountant Francesca Hendricks (until August 2014) Melissa Sim (from September 2014) Payroll Assistant Carina Mision (from February 2014) Business Consultant Bruce Cutler

Philanthropy Assistant Carina Martin Marketing Manager Georgia Malone (until March 2014) Zena Morellini (from March 2014) Marketing Coordinator Chontelle Clark Publicist Julie Clark Resident Multi-media Artist Peter Greig Education Coordinators Clare Goetze (Acting) (until June 2014) Kath Duhigg Emma Powell (from June 2014) Tessitura Project Manager Aaron Curran (from April 2014) Big Dance Producer Gemma Pepper

The Company Dance Director Amy Hollingsworth (until August 2014) Lucas Jervies (from August 2014) Chris Aubrey Juliette Barton Thomas Bradley Chen Wen Andrew Crawford (until August 2014) Holly Doyle Janessa Dufty David Mack Cass Mortimer Eipper Fiona Jopp

Production Technical Director Adam Iuston (until July 2014) Joe Fletcher (from August 2014) Stage Manager Simon Turner Production Technician Tony McCoy Head Mechanist John Shedden Production Assistant Roni Wilkinson Tour Manager William Jensen Wardrobe Supervisor Fiona Holley Wardrobe Steph Wiggens Costume Cutter Sheryl Pilkinton

Dancers Treatment & Care Company Doctor Dr. Michael Berger Sports & Exercise Physician Dr. Ken Crichton Physiotherapist April-Rose Ferris Complementary Therapies Marko Becejski

Company Teachers Andrea Briody Craig Bary Linda Gamblin Alister Grant (accompanist) Catherine Goss Lucas Jervies Lee Johnston Philipe Klaus (accompanist) Darren Spowart Sally Whitwell (accompanist) Pre-Professional Year Course Director Linda Gamblin Dance Studios Director, Dance Classes Ramon Doringo Dance Studios Manager Tamara Wheeler Office Assistant Narelle Howarth

2014 Dance Noir Committee Co-Chairs Tina Johnson & Peter Reeve Pam Bartlett Deirdre Brennan Hilary Burton Mark Cavanagh Debbie Coffey Jean-Marc Carriol Judy Crawford Vitek Czernuszyn Alexa Haslingden Terry Kaljo Paul Kelly Marita Leuver Jane McCallum Chris Paxton Karin Upton-Baker

Education Advisory Board Helen Cameron Julie Dyson Clare Goetze Lesley Graham John Mullins (until October 2014) Ruth Osborne Susan Rix

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Bernhard Knauer Paul Knobloch (from April 2014) Alana Sargent Jesse Scales Todd Sutherland Jessica Thompson Petros Treklis (from August 2014) Josephine Weise (Trainee from May - July 2014) Tynan Wood (Secondee from January - March 2014) Charmene Yap

Sydney Dance Company Partners Sydney Dance Company’s Partners provide the vital support we need to commission new works, share them with audiences around Australia and overseas, grow our education program and support emerging talent.

We would like to thank all those who have contributed to our Commissioning Fund, Touring Fund, Education Fund and Partner Program. We would also like to thank our partners who wish to remain anonymous.

2014 Commisions Julian & Lizanne Knights Nelson Meers Foundation Andrew Messenger Carla Zampatti Foundation Mike & Annie Cannon-Brookes Judy & Robin Crawford Manuela Darling-Gansser Jules Maxwell Beau Neilson & Jeffrey Simpson Dr Richard Balanson & Dawn Talbot Paul Brady & Christine Yip Jillian Broadbent AO & Olev Rahn Burrabaroo Foundation Julia Champtaloup & Andrew Rothery James & Jacqui Erskine Belinda Hutchinson AM & Roger Massy-Green Penelope Seidler AM Bianca Spender Erin Ostadal & the late Billy Ostadal Victoria Taylor The Waypoint Group Mrs Ros Bracher Janice & Tony Burke Carina Martin Judy Bingley-Pullin Antony Bullimore Louis Kwan Katrina & Bruce Rathie Naseema Sparks

2014 Touring Rebel Penfold-Russell OAM Evelyn Hawkins Karen Moses Peter & Liz Brownie Jane & Richard Freudenstein Julian & Lizanne Knights The Alexandra & Lloyd Martin Family Foundation James & Daniela McMurdo Andrew Messenger Victoria Taylor Judy & Sam Weiss Judi Wolf & Alden Toevs Paul Bedbrook Martin Dickson AM & Susie Dickson Jane Bridge Jillian Broadbent AO & Olev Rahn Janice & Tony Burke Jana Juanas Tony Jones Carina Martin John & Ursula Moore Leslie Stern Niall Barlow Sue Hoopmann Gary Nicholls Erin Ostadal & the late Billy Ostadal

2014 Education Program Tim Fairfax AC Belinda Hutchinson AM & Roger Massey-Greene Les Kennedy Christina Scala & David Studdy Ian Wallace & Kay Freedman Pam & Doug Bartlett Paul Brady & Christine Yip Dr Catherine Brown-Watt & Mr Derek Watt Graham & Marisa Campion EQV Group Heather & Marshall Farrer Kiera Grant Allen Iu Joanne Killen Julian & Lizanne Knights Macansh Family Macquarie Group Foundation Sandra McCullagh

Robert & Carmel Clark Diane Grady AM Robert Kidd Guy Thompson Carla Zampatti Foundation Sarah Brasch Vanessa Koltai Mark & Jennifer Royle Sketch Evolution Renae Worboys 2014 Pre–Professional Inaugural Scholarship Mary Zuber

Annual Partner Program Platinum Partner Robert Albert AO & Elizabeth Albert The Balnaves Foundation Julian & Lizanne Knights Andrew Messenger The Neilson Foundation Carla Zampatti Foundation Star Partner Carrie & Steve Bellotti Judy Crawford Ian & Min Darling Jonathan Dempsey Richard & Jane Freudenstein Kiera Grant Andrew & Emma Gray Key Foundation Paul McCullagh Susan Maple-Brown & the late Robert Maple-Brown AO Michael Mills Erin Ostadal & the late Billy Ostadal Gretel Packer Rebel Penfold-Russell OAM John Prescott AC & Jennifer Prescott John Taberner & Grant Lang Turnbull Foundation Principal Partner Pam & Doug Bartlett Janice Burke Jillian Broadbent AO & Olev Rahn Andrew Cameron AM & Cathy Cameron Jean-Marc & Kirsten Carriol Peter Chadwick Crawford Foundation Hon. Mrs Ashley Dawson-Damer

Susie Dickson & Martin Dickson AM Paul & Roslyn Espie James & Jacqui Erskine David Fite & Danita Lowes Sarah & Robby Ingham Melinda Conrad & David Jones Marnie Lewis-Millar & Bruce Millar Macquarie Group Foundation Alexandra Martin in memory of Lloyd Martin AM Carina Martin Jules Maxwell Sandra McCullagh Karen Moses Peter Reeve & Jaycen Fletcher Naseema Sparks Victoria Taylor The Wales Family Foundation Emma Zuber Leading Partner John & Susan Blue Mr & Mrs MH Carriol Dr Bruce Caldwell Mrs David Clarke Chum Darvall AM David Jonas & Desmon Du Plessis Suellen & Ron Enestrom Bradford Gorman & Dean Fontana Ian Galloway & Linda Treadwell Girgensohn Foundation Mark Hassell D Hazelton & L Anderson Fraser Hopkins Belinda Hutchinson AM & Roger Massey-Greene Gabrielle Iwanow Elias & Jana Juanas Tina & Mark Johnson David & Skye Leckie Amanda Love David Mathlin Douglas Marcotte John & Ursula Moore Morna Seres & Ian Hill Ezekiel Solomon AM Leslie Stern The Waypoint Group Dance Partner Lenore & Ross Adamson Antoinette Albert Dr Richard Balanson & Dawn Talbot Lisa Barakat Anita & Luca Belgiorno-Nettis Foundation Marco Belgiorno-Zegna AM & Angela Belgiorno-Zegna Christine Bishop Marita Blood Phillip & Catherine Brenner

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Servcorp Mike Thompson

Maxine Brenner Jane Bridge Antony Bullimore Hilary Burton & Craig Goodman Christine & Robert Camping Jade & Richard Coppleson Mary-Lou Donnan Jane Douglass AM Ari & Lisa Droga Keith Findlay Fivex Commercial Property Mandy & Peter Gray Ray Hansen Ben Harlow Alexa & David Haslingden Joey, Charles & Sarah Hue-Williams Michael Ihlein Brian Ladd & Brian Kelly Jo Killen Gail O’Brien OneVentures Greeba Pritchard Edward & Nanette Robson Carolyn & Philip Rossi Christina Scala & David Studdy Stephen Shrimpton Janine Stewart Howard & Mary Tanner Greta Thomas Costa & Despina Vrisakis Margaret Waller Donna Woodhill Barre Partner Ian Belgiorno-Zegna Minnie Biggs Jacqui Burton Michael & Rhiannon Chisholm Min Li Chong Rob Coombe Chris Cuthbert Mandy Foley-Quin Rosemary Forbes & Ian Hocking Amber Gooley MR & SE Harte Diane Ipkendanz Nicky Joye Virginia Judge Josephine Key & Ian Breden Julia King AM Jeff Mason Jane McCallum Peter & Janette Miller Prue Milne Selene Ng Gwen & John O’Brien Stephen O’Rourke Bree & Morgan Parker Prof Nerida Smith Emma & Duncan Snodgrass

David Thomson Kathryn Warren Angela Young Partner Dr Cynthia à Beckett Annie Aitken John Armati OAM & Kate Armati Monica Atrash Leila Bishara Sarah Brasch Patrick Burnett Judith Campbell Stephen Chase Rita Coenen Amanda Cooton Angela & Tim Crammond Susanne de Ferranti Dr Michelle Deaker Francois Devos & Robyn Butler Tanya Diesel Suzanne Dwyer Dr Robert Eidus Mrs Diana Evans Marilyn Forbes Helen Forrester Michelle Forte Rachael Haggett Louise Hamshere David Hardidge Prof Margaret Harris The Teresa Johnson Ballet School Samantha Kasalo Leona King Deirdre Kirby Lynne Lancaster Margaret Lederman Maureen Lyons Doreen & Phillip Marsh Helen McCarthy Robert & Robbie Minter Margaret O’Halloran Dr Cecile Paris Pamela Renneberg Norman R Scott Heather Sedman Jillian Segal AM Greer Simpkin & David Jowesy David Spurgeon Sandra Taylor Vezta Consortium

Bequests The Estate of C.R. Adamson The Estate of Patricia Cameron-Stewart The Estate of Janet Fischer

30 – 31 Photo: Peter Greig

Partners & Supporters

Government Partners

New Breed Season Supporter

Major Partners

Trusts & Foundations

Associate Partners

Government Supporters

32 – 33 Photo: Wendell Teodoro

Supporters Contemporary Hotels, EY, Pages, Rococo Flowers, Santa Vittoria, Stedmans, Vitek Vodka Sydney Dance Company acknowledges the valuable contribution of its sponsors and partners and thanks them for their commitment and generosity.

Social Media and Online Annual Reach

30,495 fans

77,027 views

10,500 followers

9,259 fans

452,021 views

Dance Class eNews 23,270 subscribers

Company eNews 16,040 subscribers

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Performance Against Goals

Sydney Dance Company measures success against three key goals outlined in the Strategic Plan. These goals are designed to work together to strengthen each other. All activities the Company undertakes are informed by and assessed against these goals. The three goals as stated in the current Strategic Plan are: 1. Artistic Excellence and Innovation 2. Growth in Audience and Participation 3. Financial Sustainability 1. Artistic Excellence and Innovation With Rafael Bonachela’s appointment at the end of 2008, Sydney Dance Company adopted an artistic vision that outlined a new artistic direction for the Company and signaled a transition for the Company into being a contemporary repertory Company. One which would work with a range of artistic voices and one which would be firmly rooted in a very contemporary articulation of the artform. 2014 was the 45th anniversary year for Sydney Dance Company and programming for the year was designed to reflect the past, celebrate the current and invest in the future.

Across the year a broad range of new Australian works were commissioned with ten dance commissions and a further five music commissions for the full time ensemble.

Additionally there were three commissioned dance works created with the student body at Sydney Dance Company and presented on stage as part of their graduation performance.

The presentation of new commissioned works carries inherent risk. There is no familiar story to be told and no known title to sell, instead we ask our audiences to invest in the experience of the new and the unknown, secure in the knowledge that it will be performed at the highest possible standard. The programming

for 2014 incorporated an adventurous mix of newly commissioned works for presentation in Sydney, Canberra and Melbourne and remounted recently commissioned repertoire for national and international touring. Commissioning new works is a significant investment and Sydney Dance Company’s commissioned dance pieces go on to have a touring life for a number of years after their initial creation. In 2014 2 One Another (2012) toured to Western Australia, Queensland, NSW and Auckland whilst Les Illuminations (2013) toured to Brisbane.

Alongside these tours, Sydney Dance Company delivers an innovative education program which is designed to broaden the reach and understanding of the art-form and to break down actual and perceptual barriers to attending performances. Sydney Dance Company’s education program is devised in conjunction with our Education Advisory Group and we thank them for their time and expertise. Under their guidance we have seen this program grow from a concept and an idea five years ago, to now being a comprehensive program which reaches out to young people all over Australia.

A significant addition to the education program in 2014 was the commencement of the PreProfessional Year Program (PPY). The first Australian full time, one year, accredited training program attached to a professional contemporary Company, PPY took in 24 students in 2014.

94% of ticket buyers said their experience of a performance was good, very good or excellent in 2014.

Performance Against Goals

Chosen via application and audition, the students spent a year of intensive training at our Wharf studios in Sydney. The course focuses on students’ future lives as artists and dancers.

During the course of their study they spend time with the Company, learn repertoire and work with choreographers in having new works created on them. Their graduation performance, held at Sydney Theatre, featured commissioned pieces

by Lucas Jervies, Paul Selwyn Norton and Craig Bary.

Sydney Dance Company’s performance year opened with collaboration with the Sydney Symphony Orchestra. Sydney Dance Company was commissioned to create a contemporary dance piece as part of the Symphony’s semistaged presentation of Elektra. Australian choreographer Stephanie Lake worked with eight of the Company dancers on the piece, which was staged in the Concert Hall of the Sydney Opera House.

Interplay, a triple bill, which premiered in Sydney in March and then went on to seasons in Canberra and Melbourne, featured two world premieres and a reprisal of the acclaimed Raw Models by Jacopo Godani. Rafael Bonachela’s 2 In D Minor featured Veronique Serret on violin performing Bach’s score with electronic intervals created by Nick Wales. The third part of the program was the commissioned L’Chaim!

by Gideon Obarzanek and featured a different actor in each of its three city presentations, with Gideon himself undertaking the role for the Canberra season. The program of three very diverse works from three distinct choreographic voices was presented in Sydney, Canberra and Melbourne and was well received in all cities.

Dancer Charmene Yap once again won the Helpmann Award for Best Female Dancer, this time for her performance in 2 in D Minor.

The commissioning of new works continued in the second Sydney season. Andonis Fonidakis was commissioned to create a new dance

work, the first time he has been commissioned in Australia and only the second time his work had been seen here (a piece of his for the Geneva Ballet was included in a Perth festival program in 2009). The resulting work Parenthesis was premiered alongside Rafael Bonachela’s Scattered Rhymes. The contrast between the two works was sharp, with Parenthesis having a driven electronic score and a dark aesthetic whilst Scattered Rhymes was danced to a score derived from acoustic vocals, and audiences responded to the diversity of the program well.

2014 marked a year of significant investment in the work of Australian choreographers.

New Breed 2014, a program which included commissioned works from Lee Serle, Gabrielle Nankivell, Charmene Yap, Cass Mortimer Eipper and Juliette Barton, was the first year of a three year commitment by Sydney Dance Company.

Presented in partnership with Carriageworks and supported by The Balnaves Foundation, New Breed is designed to foster and support the work of Australian choreographers. The program delivers the resources of the Company to talented choreographers who are early in their choreographic careers. The program provides them with studio space, dancers, production support and the final works are presented for a one week season at Carriageworks. The 2014 edition of New Breed sold out.

Across the year Sydney Dance Company was nominated for nine awards between the Helpmann Awards, the National Dance Awards and the Green Room Awards, and also won significant praise in the annual Dance Australia’s critics survey. Sydney Dance Company was honoured to receive a special commendation in the inaugural Creative Laureate Awards for our achievements in raising the international profile of NSW creative industries through our international touring and events. See page 39 for a snapshot of the feedback the Company received in relation to its 2014 program and performances.

36 – 37

“New Breed @Carriageworks: Innovative dance, with a good handful of humour.

Very impressed” - Audience member

Photo: Peter Greig

- Sunday Telegraph

Photo: Wendell Teodoro

“The dancers are extraordinary and never more so than in Louder Than Words in which they perform an avalanche of intensely physical, ever-flowing choreography and make it look easy�

38 – 39

Performance Against Goals

What critics had to say about Sydney Dance Company in the 2014 Dance Australia Critics Survey Highlight of the year Jacopo Godani’s Raw Models – Chloe Smethurst, The Age Most significant dance event Sydney Dance Company turning 45 – Susan Bendall, Dance Australia Most outstanding choreography Jacopo Godani’s Raw Models in Sydney Dance Company’s Interplay season – Stephanie Glickman, Herald Sun Most outstanding dancer Janessa Dufty – Deborah Jones, The Australian Most outstanding dancer Charmene Yap, Interplay – Stephanie Glickman, Herald Sun Most outstanding dancer Charmene Yap, 2 One Another – Margaret Mercer, Dance Australia Most outstanding dancer Charmene Yap, Interplay – Chloe Smethurst, The Age Most outstanding dancer Charmene Yap – Jill Sykes, Sydney Morning Herald

Most interesting Australian group or artist “Not a group but a concept: the opportunities for performances to express ideas and experiment with choreography through ventures such as New Breed, Big Dance in Small Chunks and iOU.” – Jill Sykes, Sydney Morning Herald Best new work Gabrielle Nankivell’s Wildebeest for Sydney Dance Company’s New Breed.

– Deborah Jones, The Australian Best new work “2 in D Minor by Rafael Bonachela. Bonachela’s exceptional approach to collaboration, especially his ongoing use of musicians working on stage with Company dancers, his mixing of different musical genres to create a sound score, and his commissioning of lighting designs that contribute strongly to the underlying themes of his work.”

– Michelle Potter, Canberra Times and Dance Tabs Dancer to watch Holly Doyle in Charmene Yap’s Do we for New Breed – Deborah Jones, The Australian Dancer to watch “All of Sydney Dance Company’s dancers.

Can they possibly go any further in terms of their ability to execute the complexities of Rafael Bonachela’s choreography?”

– Michelle Potter, Canberra Times and Dance Tabs

Performance Against Goals

2. Growth in Audience and Participation In 2014 Sydney Dance Company undertook 78 performances across 18 cities in Australia and undertook one international tour to New Zealand.

Across the year Sydney Dance Company undertook a number of strategies geared towards further developing audiences. Programming of work was considered with accessibility, audience appeal and artistic excellence in mind. 2014 also demonstrated a continued focus on audience cross-pollination via collaborations with organisations working in performance forms other than dance. In 2014 these included the commissioning of Stephanie Lake to create a dance piece for the Sydney Symphony Orchestra’s presentation of Elektra and a presentation with the Queensland Symphony Orchestra of Rafael Bonachela’s Les Illuminations created to the Benjamin Britten score of the same name and Katie Noonan performing the vocals.

A partnership with Carriageworks to present New Breed was very successful with performances in the season selling out and pre-sales for the 2015 edition proving to be very strong.

Specific marketing strategies such as package sales within Sydney and multi-city marketing have been successful. 2014 marked the first year of presentation at the Southbank Theatre, The Sumner and Interplay was a direct transfer from the Sydney season. This transfer also included Canberra and we were able to take advantage of the buzz of the premiere season to drive ticket sales in both Canberra and Melbourne. The Melbourne season also benefited from a change of date, moving from November to May. The Big Dance project, which took place in July, and was delivered in partnership with Ausdance NSW and the Sydney Opera House was wonderfully successful in broadening participation in

Sydney Dance Company activities. Conceived as a participatory dance for all ages and all abilities, the choreography was created by Rafael Bonachela and commissioned by Big Dance UK for use across the event in multiple countries and cities. Sydney Dance Company played an instrumental role in bringing the event together.

The choreography was created on students in Sydney Dance Company’s Pre-Professional Year.

A series of teaching videos was created and uploaded to the internet so that participants could download them and learn at home or with friends. A teaching video of the choreography was also created which was appropriate for wheelchair users and we were pleased to work with Northcott Disability Service in Sydney to extend participation in Big Dance. A series of free teaching workshops was then held right across Sydney over a four week period culminating in the performance event which was synchronised with live video hook up across Sydney, London and Glasgow. This entire program was delivered free to all participants.

• 78 performances across 19 cities • 17% increase in paid attendances • 134 workshops delivered to 3,570 young people • 3,480 open classes delivered to 70,688 participants • Direct reach of 129,370

Photo: Peter Greig

- Northcott

40 – 41

“5 of our clients & 4 staff members took part in @SydneyDanceCo #BigDanceAu! They spent weeks rehearsing... We showed that #dancing really is for people of all abilities”

“The quality of the dancers, who move with incredible discipline and precision as individuals and as an ensemble but also with an electrifying intent; it’s perfection.”

Photo: Peter Greig

- Time Out Sydney

42 – 43

Performance Against Goals

As part of the 45th anniversary celebrations, Sydney Dance Company was pleased to be able to host an event to mark the work being undertaken to preserve the films of performances created by Graeme Murphy during his tenure as Artistic Director of Sydney Dance Company.

The Heritage Collection screening showed excerpts from the films and featured Graeme Murphy and Janet Vernon discussing elements and context of the productions. The event was an opportunity to bring together the alumni of the Company with many ex dancers, Board and staff members in attendance.

Across Sydney Dance Company performances in 2014 there was a total theatre audience of 47,858.

This figure is an increase of 17% year on year in paid attendances. Across a five year period Sydney Dance Company’s theatre audience has increased by 60%.

Included in the growth in audiences over that five year period are new audiences who have seen Sydney Dance Company’s performances via our collaboration projects, such as 2014’s Sydney Symphony Orchestra’s Elektra and the presentation with the Queensland Symphony Orchestra of Les Illuminations. There has been an increase in paid ticket numbers of 49% to stand alone Sydney Dance Company performances over the past five years. These figures validate the strategy of collaboration to increase audience exposure to the Company, as well as the other audience development strategies in place to increase paid audience numbers to stand alone performances.

A range of behind the scenes video clips and activities, such as open rehearsals, supports each season. In seeking to develop audiences Sydney Dance Company seeks not only to generate new audiences but to also deepen the

engagement of each current audience member.

In 2014 the Company maintained a range of access points including discounts for audiences under 30 years of age, free behind the scenes work in progress showings, meet the artist talks, the provision of free programs and free resource kits to schools.

Across 2014 Sydney Dance Company’s education department continued to increase activity with a significant increase in the number of workshops being delivered nationally. Sydney Dance Company delivered a total of 134 workshops to young people reaching 3,570 students.

As part of these activities a pilot project was conducted in conjunction with the Queensland regional tour of 2 One Another and with the support of a targeted donation. This pilot program involved sending two dancers/ educators ahead of the Company touring schedule into regional centres in Queensland to conduct workshops in schools and deepen the engagement of local students. Teachers were provided with resource kits to assist them in delivering lessons both pre and post the workshop delivery. These students and teachers were then supported to attend the Company performances.

98% of ticket buyers said they would be likely to recommend Sydney Dance Company to friends/family in the future.

Performance Against Goals

This pilot project reached a total of 372 students over 17 workshops in five towns. With Sydney Dance Company’s success in achieving multiyear funding for regional touring under the Australia Council’s ‘National Touring Status’ program (2015-2017), Sydney Dance Company plans to further refine and expand this pilot model in the coming years. 24% of the students and teachers who attended a Sydney Dance Company school matinee performance in Sydney during the year came from the south and western suburbs.

In 2014 Sydney Dance Company achieved a modest surplus, which was slightly ahead of its budget target and the Company performed well against other key performance indicators. This result was largely generated by a combination of careful cost control, increases in philanthropic income and self-generated commercial revenue.

The final result of a surplus of $169,119 continues to contribute towards building the cash reserves of the Company, a key goal of the five year Strategic Plan.

The ticketed school matinee performances continue to have significant demand and growth in audience numbers with a 30% increase in attendance between 2013 and 2014 (across the same number of performances).

Revenue from performances, which includes ticket sales and performance fees from presentations, were on budget however the Company did see a reduction in cash sponsorship income. There was a significant increase in philanthropic income to the Company across the same period.

In addition to the education and outreach activities aimed at school students, Sydney Dance Company delivers an extensive program of open classes for adults. In 2014 this program had an attendance figure of 70,688. This figure represents a growth of 6.3% on the 2013 attendances.

Across 2014 Sydney Dance Company achieved a total direct reach of 129,370 taking into account audience members, class and workshop participants and special event attendees.

Indirectly there were many thousands more reached via our social networks and web presence, digital content and venue visitation.

3. Financial Sustainability It was a central goal of Sydney Dance Company’s 2014 Strategic Plan to achieve increased sustainability through rigorous financial management and growth. The resulting annual surplus leads to an increase in the reserve holdings of the Company and an improvement in the viability ratio of the Company.

Sydney Dance Company’s Key Performance Indicator matrix has a number of measures built in to ensure that the Company achieves its goals.

These indicators include building reserves, increasing profitability and securing long term sustainability (Sydney Dance Company maintains a working capital ratio of over 1.3).

• 13% growth in turnover • 15% growth in development income • 25% increase in revenue generated from commercial, education and outreach activities

44 – 45

Sydney Dance Company had overall year on year growth in turnover of 13% in 2014. This growth was primarily achieved through three significant factors; increased revenue from box office income (due to increased number of Sydney and Melbourne performances), significant expansion in the education programs of the Company including the introduction of the Pre-Professional Year course (education and commercial activities contributed $385,000 more in 2014 than the previous year and now makes up 20% of total income) and increased revenue from private and foundation giving (fundraising income increased by 15% on the previous year).

Increases in grant income were due to project grants for Big Dance and national and state touring grants flowing through Sydney Dance Company’s accounts. The financial result achieved is the sixth consecutive annual surplus for Sydney Dance Company and is evidence of the efficacy of the business approaches used in Company management.

Sydney Dance Company is in a period of ongoing growth. We are successfully achieving that growth within a framework of slim margins and inherent risk associated with the Company’s artistic frame-work of presenting commissioned premier works. Medium term strategies, such as investment in injury prevention programmes, are impacting positively on the business with a reduction in workers compensation costs. There were a number of mid level staff changes across the organisation in 2014 and this created some operational pressures. On-going investment in the IT systems will assist in mitigating the loss of corporate knowledge in the future. In 2014 the Company invested in a new customer relations management system, Tessitura, and implementation of the new system was near completion at the end of the 2014 financial year.

Conclusion The Company continues to gain financial sustainability via the results of its strategic initiatives and focus areas. There has been significant audience growth over the past five years, however we are ambitious and will continue to seek further growth in this area via strategies to broaden our reach. The growth we have experienced is due to the efforts the Company has put into its strategies such as its education program, its regional touring commitment and the programming mix it presents.

Sydney Dance Company is a significant contributor to the Australian arts landscape via the range of artists we commission and produce with each year. With the addition of New Breed to our annual program we will continue to invest in supporting Australian talent and providing opportunities for audiences to be exposed to fresh dance experiences. Sydney Dance Company maintains the largest full time ensemble of contemporary dancers in Australia.

This ensemble of exceptional dancers, and the performances they deliver, are at the heart of the on-going success of the Company.

Key Performance Indicators

Audiences

2014

2013

2012

2011

2010

Sydney

15,298

10,832

14,602

12,712

9,002

Canberra

2,487

2,766

2,383

2,534

2,717

Melbourne

3,543

Brisbane

1,125

Perth

3,071

Darwin

2,472 2,021

1,463

735

1,797 884

NSW Regional

1,750

Australia Regional excl NSW

3,740

2,136

International

3,659

14,797

Sydney Symphony Orchestra’s Elektra

4,109

Total Paid Audiences

38,782

33,287

Free Festival Performances

2,000 2

Other Unpaid Audiences* Total Audiences

2,900

2,737

1,426

993 8,770

2,958

39,635

30,898

22,453

29,000 3

1,525

7,000

9,076

4,134

8,540

9,076

7,373

49,858

66,421

49,700

46,974

29,826

14,968

* Inclusive of sponsor events and other complimentary tickets Australian Ballet’s Let’s Dance Big Dance Sydney participants 3 Kaldor Public Arts Project 13 Rooms 4 Pop Up Performances as part of the City Of London Festival 2

2,651

2,629

Hobart

1

2,388

1

46 – 47

Performances

2014

2013

2012

2011

2010

Sydney

39

27

36

34

33

7

2 3

Western Sydney Canberra

4

4

5

Melbourne

10

1

10

Brisbane

1

5

Other State Capital Cities

5

7

2

NSW Regional

6

-

12

Australia Regional excl NSW

16

1

3

9

International

4

14

45 4

20

4

Other Performances

2

11

11 1

Total Performances

87

70

131

73

62

5 6

5

8

6

All performances include school matinees and sneak peek performances (Please note ticketed theatre performances for 2014 total 78) Number of seasons presented in Sydney

5

3

3

2

Number of new dance commissions

10

3

7

2

Number of new music commissions

5

1

2

2

Number of different works in repertoire during the year

9

7

8

5

Key Performance Indicators

Education and Outreach

2014

2013

2012

2011

Number of School Matinees

5

5

4

2

Number of ‘Sneak Peeks’

7

-

4

2

Number of ‘Work in Progress’ Events

2

-

2

2

Number of In-School Workshops and Masterclasses

90

46

24

12

Number of in-studio School Workshops

44

69

52

58

Attendance at School Matinees

2,886

2,220

2,052

1,385

Attendance at ‘Sneak Peeks’

343

-

366

404

Attendance of ‘Work in Progress’ Events

798

-

863

1,161

Attendance at in-school School Workshops and Masterclasses

2,223

1,362

421

246

Attendance at in-studio School Workshops

1,347

2,998

2,738

2,978

Pre-Professional Year Students

24

-

-

-

48 – 49

Education and Outreach

2014

2013

2012

2011

Attendance in Open Dance Classes

70,688

66,490

64,186

64,458

Attendance at School Holiday Workshops

956

825

892

884

Attendance at Studio Hires

2,115

2,444

2,968

3,692

Sydney Dance Company premises visitation

168,228

165,021

162,500

150,000

Income

9,242,717

8,172,178

7,703,011

7,377,555

Expenses

9,073,598

7,660,292

7,252,379

6,870,943

Results

169,119

511,886

450,632

506,612

Financial Results

Corporate Governance

This statement outlines Sydney Dance Company’s corporate governance practices and addresses the Essential Governance Practice Principles published and monitored by the Australia Council for the Arts. These principles are based on the recommendations published by the ASX Corporate Governance Council. As at 31 December 2014 Sydney Dance Company has achieved substantial compliance with the recommendations as outlined below; 1. Lay solid foundations for management and oversight Over the course of 2014 the Board continued to operate in line with the practises and principles set out in the Governance strategy contained within the Strategic Plan. A high level of engagement with Company operations was clearly expressed across the six Board meetings held with attendance rates of more than 75%. In addition Board sub-committees on audit and marketing met regularly with senior management in order to assist in the discharge of Board strategic direction. Development was placed as a standing agenda item with whole of Board oversight and nominations and strategy committees met on an as needed basis.

2. Structure the Board to add value In 2014, Andrew Messenger continued in his role as Board Chair. Two Board members, Greta Thomas and Judy Crawford, resigned in 2014 while Randal Marsh joined the Board in April.

There is a formal structure of Board evaluation carried out on an annual basis between the Chair and all Board members. A nominations committee comprised of Board members and Sydney Dance Company management meets once a year or as needed to discuss skill gaps and propose potential new Board members.

3. Promote ethical and responsible decision making Sydney Dance Company’s governance model is driven by both our constitution and the code of conduct incorporated within the Strategic Plan. It is the policy of the Board to ensure that directors and management behave in an ethical and appropriate manner. This requires that people who occupy these positions are people of integrity.

4. Safeguard integrity in financial reporting Sydney Dance Company has an active Audit and Risk Committee. The prime responsibility of this committee is to independently verify and safeguard the integrity of the Company’s financial reporting. It does this through: • • • • • • • •

Reviewing the annual budget and monthly management accounts and forecasts Reviewing all financial reports and statements contained in the statutory accounts and recommending acceptance to the Board Reviewing the Company’s financial progress against its strategic plan Evaluating the adequacy of the Company’s internal control system and procedures Reviewing the audit plan and appropriateness of accounting policies Ensuring that any recommendations of the external auditors are implemented in a timely and effective manner Overseeing and approving programming and presentation plans Approving any capital expenditure over $20 000

The Audit and Risk Committee meets monthly, and on an as-needs basis. The committee is comprised by Andrew Messenger, Karen Moses (Chair), Peter Brownie and Keira Grant with the Executive Director and the Finance Manager in attendance. The Board members of the committee have specific financial/accounting

50 – 51

experience. Sydney Dance Company is currently working towards financial sustainability. Our 2014 result again contributes further towards bettering our accumulated financial position and our business plan is geared towards building reserves. The 2014 result is the sixth consecutive surplus result.

5. Risk management Risk analysis and management, including financial, health and safety and reputational risks, is undertaken by management and reported to the Audit and Risk Committee as part of regular Board briefings. A detailed risk management plan is included in the Sydney Dance Company five year Strategic Plan identifying the ten most direct and damaging risks to the Company’s future as well as listing controls and strategies to deal with each risk.

6. Encourage enhanced performance The Chairman and Chair of the Audit and Risk Committee meet regularly with the Company management to assess and refine operations around enhancing the Company’s output in all areas. A structured framework of subcommittees is in place in order to harness Board expertise most effectively. Regular cross industry referencing via AMPAG and industry forums is undertaken and audience feedback is sought at regular intervals. Feedback is incorporated into planning and programming activities and schedules. Assistance through structured volunteer programs is undertaken and designed to maximise outputs particularly in the area of development.

7. Remunerate fairly and responsibly The audit committee functions as the remuneration committee on an annual and as needed basis with reference to both performance

and industry standards. Responsibility for recruitment and remuneration negotiations with administrative staff is delegated to the Executive Director and reported on within the audit papers. A conscientious effort is made to keep remuneration levels within industry norms.

Negotiation for dancers levels of remuneration happen between the union and management.

2014 represents the first year of the current three year dancer collective agreement.

8. Recognise the legitimate interests of stakeholders The Board recognises the legitimate interests of the many stakeholders and meets regularly with our funding stakeholders. Our partners, donors and sponsors are listed and recognised on Company marketing material and season programmes. Within the arts industry, Sydney Dance Company is considered a leader with regard to communicating with our dance class and performance audiences through social media and online engagement.

The Board believes that the Directors and management both recognise the legitimate interests of stakeholders and strive to service those interests.

Andrew Messenger Chair

Photo: Peter Greig

52 – 53

Annual Financial Report

SYDNEY DANCE COMPANY ABN 59 002 707 897

GENERAL PURPOSE (RDR) FINANCIAL REPORT For the year ended 31 December 2014

54 – 55

SYDNEY DANCE COMPANY

Contents

Directors' report ....................................................................................................................................................................

2 Auditor's independence declaration ……………..............................................................................................................

7

Statement of profit or loss and other comprehensive income..................................................................................................................................

8 Statement of financial position……………………….....................................................................................................................................

9 Statement of changes in equity ………………..................................................................................................................

10 Statement of cash flows ……………………………………………………………………………………………………….

11 Notes to the financial statements …………………..........................................................................................................

12 Governance statement………………………………………………………………………………………………………………………..

26 Directors' declaration ……………........................................................................................................................................

27 Independent auditor's report …………….….……………....……………………………………………………………..........

28

SYDNEY DANCE COMPANY

Directors' report Your directors submit their report for the year ended 31 December 2014.

DIRECTORS The names of Sydney Dance Company's ("the Company") directors in office during the financial year and until the date of this report are as follows. Directors were in office for this entire period, unless otherwise stated.

ANDREW MESSENGER (CHAIRMAN) PAMELA BARTLETT PETER BROWNIE JEAN-MARC CARRIOL JUDY CRAWFORD (Resigned: January 2015) JANE FREUDENSTEIN KIERA GRANT RANDAL MARSH (Appointed: April 2014) KAREN MOSES NASEEMA SPARKS (Resigned: March 2015) GRETA THOMAS (Resigned: March 2014) CARLA ZAMPATTI BRETT CLEGG (Appointed: March 2015) BEAU NEILSON (Appointed: March 2015) Qualifications, experience and special responsibilities ANDREW MESSENGER - B.Comm (Melbourne), LLB (Melbourne) (appointed Chair 22 April 2013) Partner - Corrs Chambers Westgarth Appointed to the Sydney Dance Company Board of Directors in August 2010 Member of the Audit Committee Expertise: Legal, governance, corporate contacts PAMELA BARTLETT Founding member of The Marmalade Foundation, operating and funding Lou’s Place, a safe place for women.

Studied liberal arts and business administration. Previously Executive Manager, American Express Company with 20 years’ experience in Card and Travelers Cheque Operations.

Appointed to the Sydney Dance Company Board of Directors in August 2012.

Chairman of SDC’s major fundraiser, Dance Noir in 2011, 2012 and 2013.

Expertise: Operational Management, Customer Service, Quality Assurance, Marketing and Fundraising.

PETER BROWNIE- B. Economics Managing Director, Morgan Stanley Australia Appointed to the Sydney Dance Company Board of Directors in August 2012 Member of the Audit Committee Expertise: Finance, strategy, management, corporate contacts JEAN-MARC CARRIOL- BA (International Relations – Commerce) Director of Saint Germain Holdings Director of CADA Enterprises Appointed to the Sydney Dance Company Board of Directors in January 2011 Expertise: Fundraising, strategic management, corporate contacts

2

56 – 57

SYDNEY DANCE COMPANY

Directors' report (continued) DIRECTORS (continued) Qualifications, experience and special responsibilities (continued) JUDY CRAWFORD President Point Piper branch of Liberal party 20 years' experience in fundraising for Sydney Symphony, MCA, Lifehouse, University of Sydney, Sydney Children's Hospital Appointed to the Sydney Dance Company Board of Directors in May 2012 Expertise: Fundraising, Event Management JANE FREUDENSTEIN Jane is Deputy Chair of the Board of Directors of the Sydney Children’s Hospital Foundation, prior to which she was a Director on the board of Sydney Children’s Choir and Gondwana Voices (2007-2010).

Appointed to the Sydney Dance Company Board of Directors in October 2012 Expertise: Advertising, Marketing and strategic brand development, Fundraising KIERA GRANT- B. Economics (Sydney) Non Executive Director of Samuel Smith and Sons (incorporating Yalumba Wines and Negociants Limited) Non Executive Director of Pacific Brands Ltd Trustee of the AGNSW Foundation Former Executive Director of UBS Australia.

Appointed to the Sydney Dance Company Board in March 2013 Member of the Audit Committee Expertise: Finance, strategic management, corporate governance and corporate contacts.

RANDAL MARSH Founder and Partner of Wood/Marsh Pty Ltd Architecture Appointed to the board in April 2014 Expertise: Fundraising, strategic management, corporate contacts KAREN MOSES- B.Economics, Dip Education Executive Director, Finance and Strategy, Origin Energy Limited Director of Origin Energy Limited and Group companies and member of Risk Committee Director of Contact Energy Limited, New Zealand and Chair of Risk Committee Director of Australia Pacific LNG Pty Limited and Group companies and Chair of Audit and Risk Committee Director of SAS Trustee Corporation and member of Risk and Audit Committee and the HR & Nominations Committee Appointed to the Sydney Dance Company Board of Directors in May 2012 Chair - Audit Committee (appointed Chair 22 April 2013) Expertise: Financial, strategic management, corporate governance, corporate contacts NASEEMA SPARKS- B.Pharm, MBA (Melbourne) Independent Director - various ASX listed, private and statutory companies, including: Melbourne IT, Racing NSW, PMP Ltd, AIG Australia ltd, Grays eCommerce Group and Ingogo.

Appointed to the Sydney Dance Company Board of Directors in July 2009 Member – Marketing Committee Expertise: Marketing, media, online commerce, fundraising, governance, corporate contacts

3

SYDNEY DANCE COMPANY

Directors' report (continued) DIRECTORS (continued) Qualifications, experience and special responsibilities (continued) GRETA THOMAS- MBA, Graduate Diploma in Performing Arts (Dance) Management Consultant Appointed to the Sydney Dance Company Board of Directors in February 2011 Resigned from the board in March 2014 Member – Marketing Committee Expertise: Strategic management, marketing, sponsorship and fundraising CARLA ZAMPATTI Executive Chairman of Carla Zampatti Pty Ltd. Board member of the Australian Multicultural Foundation, the European Australian Business Council, MCA Foundation, Scalabrini Village and Australian Fashion Chambers. Former Chairman of the SBS Corporation, and a former director of several boards including Westfield Holdings and McDonalds Australia and former board member of Sydney Theatre Company Foundation.

Appointed to the Sydney Dance Company Board of Directors in October 2012 Expertise: Business, Export Markets, Board Governance, Networks BRETT CLEGG- B.Business, Masters of Commerce in Advanced Finance Senior Executive – News Corp Australia Appointed to the Sydney Dance Company Board of Directors in March 2015 Expertise: strategy, corporate contacts BEAU NEILSON- B.Laws Fundraising Management - Anti-Slavery Australia Appointed to the Sydney Dance Company Board of Directors in March 2015 Expertise: philanthropy, events, relationship management DIVIDENDS The Company is a not for profit organisation which does not pay dividends.

CORPORATE INFORMATION Sydney Dance Company is a company limited by guarantee that is incorporated and domiciled in Australia.

The registered office and principal place of business of the Company is: The Wharf, Pier 4, Hickson Road, Walsh Bay, NSW 2000.

The Company employed 35 permanent employees as at 31 December 2014 (2013: 34 employees).

PRINCIPAL ACTIVITIES The principal activities during the year were as follows: - Production and presentation of live dance in Australia and overseas.

- Promotion and the study of dance.

- Commercial activities to provide financial support for the above including daily dance classes, school holiday workshops and dance studio hire.

- Fund raising to support production, promotion and presentation of live dance in Australia and internationally.

There have been no significant changes in the nature of these activities during the year.

OPERATING RESULTS Operating Results for the Year The operating surplus of the Company for the year ended 31 December 2014 was $169,119 (2013: $511,886).

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58 – 59

SYDNEY DANCE COMPANY

Directors' report (continued) SIGNIFICANT CHANGES IN THE STATE OF AFFAIRS There have been no significant changes in the state of affairs of the Company during the year.

SIGNIFICANT EVENTS AFTER THE REPORTING DATE There have been no significant events occurring after the reporting date which may affect either the Company’s operations or results of those operations or the Company’s state of affairs.

OBJECTIVES 2014 was the 45th anniversary of Sydney Dance Company and the focus was on National touring. The year finished with a surplus result of $169k. This resulted in further growing reserves and an accumulated financial position, which is ahead of that projected for the same period within our current 5 year strategic plan.

Across the year Sydney Dance Company presented 78 performances across 17 towns and cities. Touring included Western Australia, Queensland and rural New South Wales, as well as Canberra, Melbourne and Auckland. Nine world premiere dance works were commissioned including five from young Australian Choreographers that featured as part of our New Breed season, designed to support choreographic talent.

The “DancEd” education program continued to grow and expand its reach delivering workshops and performances to over 5000 students right around Australia and significantly, 2014 marked the inaugural year of our Pre Professional Program (PPY). PPY is an accredited full time one-year training program for exceptional young dancers and gives them the opportunity to train alongside the dancers of the Company. In addition over 70 000 attendees across the year took a dance class or participated in a workshop in our Walsh Bay studios.

INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS Since the end of the previous financial year, the Company has not indemnified or made a relevant agreement for indemnifying against a liability of any person who is or has been an officer or auditor of the Company.

Since the end of the previous financial year, the Company has paid premiums in respect of directors' and officers' liability and legal expenses insurance contracts. These insurance contracts insure against liability (subject to specific exclusions) for persons who are or have been directors or officers of the Company.

The Directors have not included details of the nature of the liabilities covered nor the amount of the premium paid in respect of the directors' and officers' liability and legal expenses' insurance contracts, as such disclosure is prohibited under the terms of the contract.

5

60 – 61

SYDNEY DANCE COMPANY

Statement of profit or loss and other comprehensive income For the year ended 31 December 2014 Notes

2014 $

2013 $

Revenue

4(a)

9,093,782

7,784,543

Other income

4(b)

148,935

387,635

Administration and marketing expenses including staff costs Performance and production expenses Commercial activity related costs Philanthropy activity related costs Sponsorship activity related costs Education costs Operating surplus for the year Other comprehensive income Total comprehensive income for the year

(5,036,143) (2,523,631) (810,730) (469,548) (5,982) (227,564) 169,119 169,119

(4,737,525) (1,623,037) (785,909) (463,871) (6,430) (43,520) 511,886 511,886

The above statement of profit or loss and other comprehensive income should be read in conjunction with the accompanying notes.

8

62 – 63

SYDNEY DANCE COMPANY

Statement of financial position As at 31 December 2014 Notes Assets Current assets Cash Trade and other receivables Total current assets Non-current assets Property, plant and equipment Reserve incentive funding scheme Total non-current assets Total assets Liabilities Current liabilities Trade and other payables Deferred revenue Employee benefit liabilities Governments grants Total current liabilities Non-current liabilities Employee benefit liabilities Total non-current liabilities Total liabilities Equity Contributed equity Retained earnings Reserve incentive funding scheme reserve Total equity Total equity and liabilities

2014 $

2013 $

5 6

1,195,189 282,315 1,477,504

1,357,261 265,644 1,622,905

7 8

127,524 495,000 622,524 2,100,028

97,722 412,500 510,222 2,133,127

9 10 11 12

270,818 317,672 112,445 413,810 1,114,745

481,467 322,974 109,037 405,396 1,318,874

11

41,475 41,475 1,156,220

39,564 39,564 1,358,438

13

524 448,284 495,000 943,808

524 361,665 412,500 774,689

2,100,028

2,133,127

14

The above statement of financial position should be read in conjunction with the accompanying notes.

9

SYDNEY DANCE COMPANY

Statement of changes in equity For the year ended 31 December 2014 Contributed equity (Note 13) $ At 1 January 2013

Retained earnings $

Reserve incentive funding scheme reserve (Note 14) $

Total equity $

524

262,279

-

262,803

Surplus for the year Other comprehensive income Total comprehensive income for the year

-

511,886 511,886

-

511,886 511,886

Transfer to reserve incentive funding scheme reserve

-

(412,500)

412,500

-

524

361,665

412,500

774,689

-

169,119 169,119

-

169,119 169,119

(82,500)

82,500

-

448,284

495,000

943,808

At 31 December 2013 Surplus for the year Other comprehensive income Total comprehensive loss for the year Transfer to reserve incentive funding scheme reserve At 31 December 2014

524

The above statement of changes in equity should be read in conjunction with the accompanying notes.

10

64 – 65

SYDNEY DANCE COMPANY

Statement of cash flows For the year ended 31 December 2014 Notes

Operating activities Receipts from customers Payments to suppliers and employees Receipt of Reserve Incentive Funding Scheme Receipt of government grants Interest received Net cash flows from operating activities Investing activities Purchase of property, plant and equipment Transfer Reserve Incentive Funding to Escrow account Net cash flows used in investing activities

2014 $

2013 $

5,112,093 (8,425,204) 3,279,427 36,475 2,791

4,158,211 (6,478,134) 330,000 3,178,448 26,590 1,215,115

(82,363) (82,500) (164,863)

(36,188) (412,500) (448,688)

Financing activities Net cash flows used in financing activities Net (decrease)/increase in cash and cash equivalents Cash and cash equivalents at beginning of year Cash and cash equivalents at end of year

-

5

(162,072) 1,357,261 1,195,189

766,427 590,834 1,357,261

The above statement of cash flows should be read in conjunction with the accompanying notes.

11

SYDNEY DANCE COMPANY

Notes to the financial statements For the year ended 31 December 2014 1

CORPORATE INFORMATION The financial report of Sydney Dance Company (the ''Company'') for the year ended 31 December 2014 was authorised for issue in accordance with a resolution of the directors on 25 March 2015.

Sydney Dance Company is a not for profit company limited by guarantee and as such has no authorised capital and is domiciled in Australia.

The Company exists to present live dance in Australia and overseas and to promote the study of dance. The nature of the operations and principal activities of the Company are further described in the directors' report.

2

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES

(a) Basis of preparation The financial report is a general purpose financial report, which has been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards – Reduced Disclosure Requirements and other authoritative pronouncements of the Australian Accounting Standards Board, and the Australian Charities and Not-for-Profits Commission Regulation 2013. The financial report has also been prepared on a historical cost basis.

The financial report is presented in Australian dollars ($). (b) Changes in accounting policy, disclosures, standards and interpretations Changes in accounting policies, new and amended standards and interpretations The accounting policies adopted are consistent with those of the previous financial year. (c) Going concern The financial report has been prepared on a going concern basis, which contemplates continuity of normal business activities and realisation of assets and settlement of liabilities in the ordinary course of business.

The Company reported an operating surplus of $169,119 (2013: $511,886) for the year ended 31 December 2014, and as at that date, the Company’s total current assets exceeded total current liabilities by $362,759 (2013: $304,031).

Sydney Dance Company has received confirmation of funding from the Australia Council and Arts NSW to 31 December 2016. This is subject to Sydney Dance Company continuing to meet the requirements of the Tripartite Agreement under which it is funded, and addressing any specific concerns and caveats that the funding bodies might require throughout the period.

Each year the Directors and management prepare a schedule of performances and a budget for the Company based on assumptions as to the level of income from the various streams. A budget has been prepared for the year ending 31 December 2015 which projects a surplus.

Therefore the directors believe that Sydney Dance Company will be able to pay its debts as and when they fall due and can continue on a going concern basis.

12

66 – 67

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 2

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (continued)

(d) Current versus non-current classification The Company presents assets and liabilities in the statement of financial position based on current/non-current classification. An asset is current when it is: - Expected to be realised or intended to be sold or consumed in the Company's normal operating cycle - Held primarily for the purpose of trading - Expected to be realised within twelve months after the reporting period, or - Cash or cash equivalent unless restricted from being exchanged or used to settle a liability for at least twelve months after the reporting period The Company classifies all other assets as non-current.

A liability is current when: - It is expected to be settled in the Company's normal operating cycle - It is held primarily for the purpose of trading - It is due to be settled within twelve months after the reporting period, or - There is no unconditional right to defer the settlement of the liability for at least twelve months after the reporting period The Company classifies all other liabilities as non-current. (e) Foreign currency translation Transactions in foreign currencies are recorded by the Company at its functional currency spot rate at the date the transaction first qualifies for recognition.

Monetary assets and liabilities denominated in foreign currencies are translated at the functional currency spot rates of exchange at the reporting date. Differences arising on settlement or translation of monetary items are recognised in profit or loss. (f) Cash Cash in the statement of financial position comprise cash at banks and on hand.

For the purpose of the statement of cash flows, cash and cash equivalents consist of cash, as defined above. (g) Trade and other receivables Trade receivables, which generally have 30-90 day terms, are recognised initially at fair value and subsequently measured at amortised cost using the effective interest method, less an allowance for impairment.

Collectibility of trade receivables is reviewed on an ongoing basis. Individual debts that are known to be uncollectible are written off when identified. An impairment provision is recognised when there is objective evidence that the Company will not be able to collect the receivable. (h) Property, plant and equipment Plant and equipment is stated at cost, net of accumulated depreciation and accumulated impairment losses, if any.

Such cost includes the cost of replacing part of the plant and equipment. When significant parts of plant and equipment are required to be replaced at intervals, the Company depreciates them separately based on their specific useful lives. Likewise, when a major inspection is performed, its cost is recognised in the carrying amount of the plant and equipment as a replacement if the recognition criteria are satisfied. All other repair and maintenance costs are recognised in profit or loss as incurred.

13

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 2

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (continued)

(h) Property, plant and equipment (continued) Depreciation is calculated on a straight-line basis over the estimated useful lives of the assets as follows: Leasehold improvements - over 10 years Plant and equipment - over 2 to 5 years Furniture and fittings - over 5 years Computer equipment - over 3 years An item of property, plant and equipment and any significant part initially recognised is derecognised upon disposal or when no future economic benefits are expected from its use or disposal. Any gain or loss arising on derecognition of the asset (calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in the statement of profit or loss and other comprehensive income when the asset is derecognised.

The residual values, useful lives and methods of depreciation of property, plant and equipment are reviewed at each financial year end and adjusted prospectively, if appropriate. (i) Impairment of non-financial assets The carrying values of plant and equipment are reviewed for indicators of impairment at each reporting date, with a recoverable amount being estimated when events or changes in circumstances indicate the carrying value may not be recoverable. The recoverable amount of plant and equipment is the greater of fair value less costs to sell and value in use. Impairment losses are recognised in the statement of profit or loss and other comprehensive income. (j) Leases The determination of whether an arrangement is, or contains, a lease is based on the substance of the arrangement at the inception of the lease. The arrangement is, or contains, a lease if fulfilment of the arrangement is dependent on the use of a specific asset or assets or the arrangement conveys a right to use the asset, even if that right is not explicitly specified in an arrangement.

Company as a lessee A lease is classified at the inception date as a finance lease or an operating lease. A lease that transfers substantially all the risks and rewards incidental to ownership to the Company is classified as a finance lease. An operating lease is a lease other than a finance lease.

Operating lease payments are recognised as an operating expense in the statement of profit or loss and other comprehensive income on a straight-line basis over the lease term. (k) Trade and other payables Trade and other payables are carried at amortised cost and due to their short-term nature they are not discounted.

They represent liabilities for goods and services provided to the Company prior to the end of the financial year that are unpaid and arise when the Company becomes obliged to make future payments in respect of the purchase of these goods and services. The amounts are unsecured and are usually paid within 30 days of recognition.

14

68 – 69

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 2

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (continued)

(l) Provisions and employee benefit liabilities General Provisions are recognised when the Company has a present obligation (legal or constructive) as a result of a past event, it is probable that an outflow of resources embodying economic benefits will be required to settle the obligation and a reliable estimate can be made of the amount of the obligation. When the Company expects some or all of a provision to be reimbursed, for example, under an insurance contract, the reimbursement is recognised as a separate asset, but only when the reimbursement is virtually certain. The expense relating to a provision is presented in the statement of profit or loss and other comprehensive income net of any reimbursement.

Wages and salaries Liabilities for wages and salaries, including non-monetary benefits expected to be settled within 12 months of the reporting date are recognised in respect of employees' services up to the reporting date. They are measured at the amounts expected to be paid when the liabilities are settled.

Long service leave and annual leave The Company does not expect its long service leave or annual leave benefits to be settled wholly within 12 months of each reporting date. The Company recognises a liability for long service leave and annual leave measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to expected future wage and salary levels, experience of employee departures, and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows. (m) Contributed equity The membership fees were contributed by the initial members upon establishment of the Company. In accordance with the Constitution, members are not entitled to any reimbursement or return of initial membership fees upon ceasing to be a member. (n) Revenue recognition Revenue is recognised to the extent that it is probable that the economic benefits will flow to the Company and the revenue can be reliably measured, regardless of when the payment is received. Revenue is measured at the fair value of the consideration received or receivable, taking into account contractually defined terms of payment and excluding taxes or duty. The specific recognition criteria described below must also be met before revenue is recognised.

Box office Box office revenue is recognised in the year in which the performance is given.

Sponsorship and Government grants Sponsorship and Government grant income are brought into account over the year to which the sponsorship agreement or grant relates. If the sponsorship or grant relates to a specific project, then it is brought to account at the time the project occurs.

Sponsorship in kind Sponsorship in kind is brought to account as revenue in the year to which the equal and corresponding expense relates. Consequently, the revenue and expenses are recognised in the same accounting year. Where a depreciable asset is received as sponsorship in kind, revenue is recognised in the period in which the asset is received, and that asset is depreciated over its useful life.

15

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 2

SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES (continued)

(n) Revenue recognition (continued) Dance classes Dance classes are recognised as revenue within the period in which they are provided. Dance class tickets have an expiry date of 6 months (2013: 12 months). The income from unused dance class tickets at year end is deferred into the following year after an adjustment is made for tickets that will remain unused at the date of expiry.

Interest income Interest income is recorded using the effective interest rate (EIR) method. The EIR is the rate that exactly discounts the estimated future cash receipts over the expected life of the financial instrument or a shorter period, where appropriate, to the net carrying amount of the financial asset. Interest income is included in other income in the statement of profit or loss and other comprehensive income. (o) Income tax The Company has not provided for income tax as it is exempted from income tax by virtue of section 50-5 of the Income Tax Assessment Act, 1997. (p) Goods and services tax (GST) Revenues, expenses and assets are recognised net of the amount of GST, except: - When the GST incurred on a sale or purchase of assets or services is not payable to or not recoverable from the taxation authority, in which case the GST is recognised as part of the revenue or the expense item or as part of the cost of acquisition of the asset , as applicable - When receivables and payables are stated with the amount of GST included The net amount of GST recoverable from, or payable to, the taxation authority is included as part of receivables or payables in the statement of financial position. Commitments and contingencies, if any, are disclosed net of the amount of GST recoverable from, or payable to, the taxation authority.

Cash flows are included in the statement of cash flows on a gross basis and the GST component of cash flows arising from investing and financing activities, which is recoverable from, or payable to, the taxation authority is classified as part of operating cash flows. (q) Government grants Government grants are recognised when there is reasonable assurance that the grant will be received and all attaching conditions will be complied with.

When the grant relates to an expense item it is recognised as income on a systematic basis over the periods that the related costs, for which it is intended to compensate, are expensed.

Any funding not spent on the planned activities agreed by both parties, at the start of the calendar year, is required to be repaid. (r) Comparatives Certain numbers of the prior year have been reclassified to be consistent with the current year's disclosure presentation.

16

70 – 71

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 3

SIGNIFICANT ACCOUNTING JUDGEMENTS, ESTIMATES AND ASSUMPTIONS The preparation of the Company’s financial statements requires management to make judgements, estimates and assumptions that affect the reported amounts of revenues, expenses, assets and liabilities, and the accompanying disclosures, and the disclosure of contingent liabilities. Uncertainty about these assumptions and estimates could result in outcomes that require a material adjustment to the carrying amount of assets or liabilities affected in future periods.

Estimates and assumptions The key assumptions concerning the future and other key sources of estimation uncertainty at the reporting date, that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next financial year, are described below. The Company based its assumptions and estimates on parameters available when the financial statements were prepared. Existing circumstances and assumptions about future developments, however, may change due to market changes or circumstances arising beyond the control of the Company. Such changes are reflected in the assumptions when they occur.

Long service leave provision The liability for long service leave is recognised and measured at the present value of the estimated future cash flows to be made in respect of all employees at balance date. In determining the present value of the liability, attrition rates and pay increases through promotion and inflation have been taken into account.

Annual leave provision The liability for annual leave provision is recognised and measured at the present value of the estimated future cash flows to be made in respect of all employees at balance date. In determining the present value of the liability and pay increase through promotion and inflation have been taken into account.

Unused dance class tickets The value of unused dance class ticket income is calculated at year end. Estimates of the future use of these tickets, based on historical use of tickets, are applied in the calculation of this value. The value of tickets estimated to remain unused at the 6 month expiry date are recognised as income in the year of sale.

17

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014

4

REVENUE AND EXPENSES

2014 $

2013 $

(a) Revenue Box office & fees Sponsorship - cash Sponsorship - inkind Fundraising Commercial income Education income Government grants - cash Government grants - inkind rental Total revenue

1,285,047 57,171 440,135 1,327,443 1,604,813 301,695 3,271,013 806,465 9,093,782

1,094,525 86,300 440,618 1,057,761 1,501,646 19,666 2,773,052 810,975 7,784,543

(b) Other income Interest income Reserve incentive funding scheme Other income Total other income

36,475 112,460 148,935

26,590 330,000 31,045 387,635

(c) Salaries and employee benefit expenses included in the statement of profit or loss and other comprehensive income Wages and salaries Workers' compensation costs Long service leave expense/(reversal) Total employee benefit expense

4,428,296 37,312 7,627 4,473,235

(d) Depreciation expense included in the statement of profit or loss and other comprehensive income Depreciation of non-current assets Plant and equipment Office equipment Furniture and fittings Computer software Total depreciation expense

25,919 17,287 2,020 7,335 52,561

4,011,931 168,551 (11,921) 4,168,561

22,056 16,750 1,215 2,295 42,316

18

72 – 73

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014

4

REVENUE AND EXPENSES (continued)

(e) Government grant income included in the statement of profit or loss and other comprehensive income Australia Council Grants: - Australia Council General - Australia Council Dance Managers Meeting Grant - Australia Council Big Dance NSW Government MPA Grant NSW Government Education Grant NSW Government Inkind Rental Assistance Arts on Tour Funds Grant* Australia Council Reserve Incentive Funding Scheme Arts NSW Reserve Incentive Funding Scheme City of Sydney Big Dance NSW Government NSW touring City of Sydney education grant Total Government Grants

2013 $

2014 $

2,516,862 37,848 267,218 5,500 806,465 300,612 40,000 90,973 12,000 4,077,478

2,472,360 2,500 267,217 810,975 18,975 165,000 165,000 12,000 3,914,027

*Touring funding in 2013 was paid directly to Arts on Tour and did not run through Sydney Dance Company books apart from per diems paid through payroll. 2014 touring funding was paid to Sydney Dance Company and is accounted for in the 2014 financial statements.

5

CASH Cash at bank and on hand

6

1,195,189

1,357,261

TRADE AND OTHER RECEIVABLES Trade receivables Allowance for impairment loss

Sundry debtors Goods and services tax receivable Insurance receivable Other receivables Carrying amount of trade and other receivables Movements in the provision for impairment loss were as follows: At 1 January Charge for the year At 31 December

61,364 (2,079) 59,285

33,901 (1,249) 32,652

26,284 30,688 3,247 162,811 282,315

32,444 3,196 197,352 265,644

1,249 830 2,079

1,249 1,249

19

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014

7

PROPERTY, PLANT AND EQUIPMENT

2014 $

2013 $

Leasehold improvements At cost Accumulated depreciation Net carrying amount

22,259 (22,259) -

22,259 (22,259) -

Plant and equipment At cost Accumulated depreciation Net carrying amount

316,681 (231,446) 85,235

254,777 (205,527) 49,250

Office equipment At cost Accumulated depreciation Net carrying amount

241,897 (223,245) 18,652

226,713 (207,684) 19,029

Furniture and fittings At cost Accumulated depreciation Net carrying amount

28,157 (19,305) 8,852

28,157 (17,285) 10,872

Computer software At cost Accumulated depreciation Net carrying amount

24,415 (9,630) 14,785

20,866 (2,295) 18,571

633,409 (505,885) 127,524

552,772 (455,050) 97,722

Total property, plant and equipment At cost Accumulated depreciation Net carrying amount

Reconciliation of carrying amounts at the beginning and end of the year Leasehold improvements Balance at the beginning of the year At cost Accumulated depreciation Balance at the end of the year - Net carrying amount Plant and equipment Balance at the beginning of the year At cost Accumulated depreciation Net carrying amount Additions Depreciation charge for the year Balance at the end of the year - Net carrying amount

2014 $

22,259 (22,259) -

254,777 (205,527) 49,250 61,904 (25,919) 85,235

20

74 – 75

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014

7

PROPERTY, PLANT AND EQUIPMENT (continued) Reconciliation of carrying amounts at the beginning and end of the year (continued) Office equipment Balance at the beginning of the year At cost Accumulated depreciation Net carrying amount Additions Depreciation charge for the year Balance at the end of the year - Net carrying amount

2014 $

226,713 (207,684) 19,029 16,910 (17,287) 18,652

Furniture and fittings Balance at the beginning of the year At cost Accumulated depreciation Net carrying amount Depreciation charge for the year Balance at the end of the year - Net carrying amount

28,157 (17,285) 10,872 (2,020) 8,852

Computer software Balance at the beginning of the year At cost Accumulated depreciation Net carrying amount Additions Depreciation charge for the year Balance at the end of the year - Net carrying amount

20,866 (2,295) 18,571 3,549 (7,335) 14,785

Total property, plant and equipment At cost Accumulated depreciation Net carrying amount Additions Depreciation charge for the year Balance at the end of the year - Net carrying amount

552,772 (455,050) 97,722 82,363 (52,561) 127,524

21

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014

8

RESERVE INCENTIVE FUNDING SCHEME Reserve Incentive Funding Scheme

2014 $

495,000

2013 $

412,500

The funds received under the Reserve Incentive Funding Scheme Agreement together with the Company’s contribution are held in escrow for a period of 15 years ending on 2 April 2028 and are subject to the terms and conditions of the Reserves Incentive Funding Scheme Agreement between the Australia Council, Arts NSW and the Company. The funds have not been used to secure any liabilities of the Company. The funds consist of short term deposits of $495,000 (2013: $412,500). During 2014, Sydney Dance Company contributed $82,500 (2013: $82,500) to this escrow account.

9

TRADE AND OTHER PAYABLES Current Trade payables Other payables Goods and services tax payable

117,341 153,477 270,818

109,058 326,159 46,250 481,467

81,463 51,209 185,000 317,672

120,281 104,193 98,500 322,974

59,210 53,235 112,445

70,864 38,173 109,037

41,475 41,475

39,564 39,564

(a) Trade payables Trade payables are non-interest bearing and are normally settled on 30 day terms. (b) Other payables Other payables are non-trade and non-interest bearing.

10 DEFERRED REVENUE Dance class deferred revenue Education activity deferred income Development activity deferred income

11 EMPLOYEE BENEFIT LIABILITIES Current Annual leave Long service leave Non-current Long service leave

22

76 – 77

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014

12 GOVERNMENT GRANTS Current Australia Council touring grant advances NSW Government touring grant advances Touring funds repayable Total government grants deferred Movement in government grants At 1 January Received during the year Released to the statement of profit or loss and other comprehensive income At 31 December

2013 $

2014 $

400,000 13,810 413,810

405,396 4,085,892 (4,077,478) 413,810

311,091 94,305 405,396

4,319,423 (3,914,027) 405,396

13 CONTRIBUTED EQUITY Membership fees

524 524

524 524

The membership fees were contributed by the initial members upon establishment of the Company. In accordance with the Constitution, members are not entitled to any reimbursement or return of initial membership fees upon ceasing to be a member.

14 RESERVE INCENTIVE FUNDING SCHEME RESERVE At 1 January Transfer from retained earnings in relation to: Reserve incentive funding scheme At 31 December

412,500

-

82,500 495,000

412,500 412,500

15 COMMITMENTS AND CONTINGENCIES (a) Commitments Reserves Incentive Funding Scheme Sydney Dance Company contributed a further $82,500 to match the Reserves Incentive Funding Scheme contributions already made by the Australia Council and Arts NSW. This scheme has now been fully funded.

Leasing commitments Negotiations are currently underway with Arts NSW concerning the lease and lease term of the premises going forward. (b ) Contingencies The directors are not aware of any contingent liabilities as at 31 December 2014 (2013: none).

23

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 16 RELATED PARTY DISCLOSURES Transactions with related parties Donations: The following donations were made by directors during the year:

2014 $ 30,000 7,500 5,000 7,000 20,000 15,000 19,000 20,000 1,500 35,500 160,500

Andrew Messenger (Chairman) Pamela Bartlett Peter Brownie Jean-Marc Carriol Judy Crawford Jane Freudenstein Kiera Grant Karen Moses Naseema Sparks Greta Thomas Carla Zampatti Total donations

2013 $ 40,000 6,700 5,000 2,500 20,000 10,500 14,000 15,000 7,000 1,050 25,500 147,250

17 KEY MANAGEMENT PERSONNEL (a) Details of Key Management Personnel Current Directors Andrew Messenger Pamela Bartlett Peter Brownie Jean-Marc Carriol Jane Freudenstein Kiera Grant Karen Moses Carla Zampatti Randal Marsh Brett Clegg Beau Neilson Executives Anne Dunn Rafael Bonachela Sean Radcliffe

Chairman Director (non-executive) Director (non-executive) Director (non-executive) Director (non-executive) Director (non-executive) Audit and Risk Committee Chair Director (non-executive) Director (non-executive) Director (non-executive) Director (non-executive) Executive Director Artistic Director Deputy Executive Director, Company Secretary

Non-executive Directors of Sydney Dance Company do not receive remuneration for serving on the Board of Directors.

24

78 – 79

SYDNEY DANCE COMPANY

Notes to the financial statements (continued) For the year ended 31 December 2014 17 KEY MANAGEMENT PERSONNEL (continued) (b) Key Management Personnel

Total compensation

2014 $ 636,892

2013 $ 541,471

(c) Other transactions and balances with Key Management Personnel Donations from directors are disclosed in Note 16. There are no other transactions or balances with key management personnel.

18 EVENTS AFTER THE REPORTING DATE There have been no significant events occurring after the reporting date which may affect either the Company’s operations or results of those operations or the Company’s state of affairs.

19 ECONOMIC DEPENDENCY The Company is dependent upon funding in the form of government grants, sponsorship, donations and funds received through various fundraising events.

25

SYDNEY DANCE COMPANY

Governance statement For the year ended 31 December 2014 This statement outlines the main corporate governance practices that were in place throughout the financial year. (a) Board of Directors The board is responsible for the overall corporate governance of the Company including its corporate planning, establishing goals for management and monitoring achievement of these goals. The board meets quarterly. To assist in the execution of its responsibilities the board has established five standing committees: the Audit Committee, the Marketing Committee, the Development Committee and Nominations Committee.

The board at year end had eleven members. The board currently again has eleven members after the resignation of 2 members in January and March 2015 and appointment of 2 members in March 2015. During the year, one new director had been added to the board as from January 2014 while one had resigned in the same period. The names of board members at the date of this statement are set out in the director’s report. Established skills represented on the board include finance, legal, marketing, administration and fundraising. (b) Audit and Risk Committee The audit committee is responsible for reviewing, advising and evaluating the Company’s financial controls, procedures and policies including the review of annual budgets, management accounts and forecasts. The committee also reviews the annual audit plan and statutory accounts.

The Audit Committee meets monthly. Currently it is comprised of Karen Moses (Audit and Risk Committee Chair), Andrew Messenger (Board Chair), Peter Brownie (Board member) and Kiera Grant (Board member). The Executive Director and Deputy Executive Director is invited as observers. (c) Marketing Committee The marketing committee is responsible for strategic guidance in relation to marketing and communications plans.

This function includes post season reviews and recommendations on changes to be made for future marketing campaigns.

The Marketing Committee meets on a quarterly and an as needs basis. In 2014, the committee was composed of Naseema Sparks (Board member) and Jane Freudenstein (Board member), Executive Director and Marketing (d) Development Committees Development is overseen by the entire board. This oversight includes reviewing annual development targets, budgets and results as well as providing advice to management as to increasing development income.

Individual Board members are appointed to take carriage of specific development events and strategies in conjunction with the Development Director.

Sydney Dance Company’s major fundraising event is managed by a committee. In 2014 the committee was comprised of 3 Board members, Pam Bartlett, Jean-Marc Carriol, Judy Crawford and additional external expert members. This committee meets regularly in the six month lead up to the event. (e) Nominations Committee The nominations committee meets to identify, propose and discuss the skills and suitability of persons for nomination and election to the Sydney Dance Company board of directors. The committee also has the responsibility of identifying skills gaps in the current Sydney Dance Company board and finding suitable replacements thus ensuring an appropriate combination of skills, experience and influence.

Currently it is chaired by the Andrew Messenger (Board Chair) and comprises three other board members, Jean-Marc Carriol, Peter Brownie, Kiera Grant and the Executive Director.

The committee meets twice a year and on an as-needs basis.

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