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2012 ANNUAL REPORT


2012

ANNUAL REPORT


SNAPSHOT ~

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The staff of Sydney Theatre Company, March 2013. Photo Grant Sparkes-Carroll

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SNAPSHOT ~

HIGHLIGHTS OF OUR YEAR January

February

March

Renovations start on The Bar at the End of the Wharf

April

May

June

Les Liaisons Dangereuses opens in Wharf 1

Under Milk Wood opens at the Drama Theatre

The Histrionic (Der Theatermacher) opens in Wharf 1

Gross und Klein opens in Vienna and Recklinghausen

Agatha Christie’s The Mousetrap opens at Sydney Theatre

Sydney Writers’ Festival takes over The Wharf and Sydney Theatre

Scottish director and playwright Anthony Neilson undertakes a creative development at The Wharf

Rehearsals for the interstate tour of Bloodland take place at Bangarra Dance Theatre

Cate Blanchett Photo Lisa Tomasetti

Sydney Theatre presents Bob Downe’s 20 Golden Greats

Gross und Klein is presented in Paris Josh Mu and Alan Flower Photo Lisa Tomasetti

Never Did Me Any Harm with Force Majeure premieres in Wharf 1 Sydney Festival presents Babel and ’Tis Pity She’s a Whore at Sydney Theatre

Pier Group lunch held with the cast of Les Liaisons Dangereuses Actor on a Box creative development held at The Wharf

Pygmalion opens at Sydney Theatre

Never Did Me Any Harm is presented at Adelaide Festival Bloodland tours to Adelaide and Brisbane

Cora Bissett and Matthew Pidgeon Photo Lisa Tomasetti

Midsummer (a play with songs) by Scotland’s Traverse Theatre opens at the Drama Theatre

A History Of Everything is performed in Belgium and Amsterdam STC trivia night held at The Beresford Hotel STC’s the Bar at the End of the Wharf opens

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Gross und Klein opens at the Barbican in London

A History Of Everything is performed in Chicago

The Wharf Sessions hosts musician Brendan Maclean

A History Of Everything is performed in Plymouth Actor on a Box play The Tale Maker premieres at Sydney Theatre’s Richard Wherrett Studio

A History Of Everything with Belgian company Ontroerend Goed is performed in Wharf 2 Rough Draft #13 Underland by Alexandra Collier and Paige Rattray is undertaken at The Wharf

Sydney Dance Company presents 2 One Another at Sydney Theatre

The Bar at the End of the Wharf hosts the Wharf Sessions with rock band Faker Pier Group lunch held with the cast of Under Milk Wood

Photo Chris Herzfeld

Australian Dance Theatre presents Be Your Self at Sydney Theatre Philip Kavanagh and Patricia Cornelius announced as the Patrick White Playwrights’ Award winner and fellow, respectively


July

August

September

Actor on a Box play The Luck Child premieres at Sydney Theatre’s Richard Wherrett Studio Uncle Vanya is performed at the Lincoln Center Festival in New York Wentworth Talk #13 is held: Whose Great Southern Land?

Kerry Fox Photo Brett Boardman

Darren Gilshenan Photo Sylvia Della Vedova

November

Rough Draft #18 The Post-Colonial Traveler by Frank Mainoo and Kip Williams presented in Wharf 2

The Wharf Revue opens in Wharf 2

West Australian Ballet presents Neon Lights at Sydney Theatre

Face To Face opens at Sydney Theatre New Australian work The Splinter opens in Wharf 1

October

STC’s 2013 season is launched Australia Day opens at the Drama Theatre Wentworth Talk #14 is held: It’s All in the Numbers Water by UK company Filter opens at Sydney Theatre

Sydney Dance Company presents Project Rameau at Sydney Theatre The Wharf Revue plays in Penrith, Dubbo, Canberra, Newcastle and Wollongong

Aaron Pedersen and Pauline Whyman Photo Lisa Tomasetti

Signs of Life opens at the Drama Theatre Regan De Wynter’s The Pirates of Penzance opens at Sydney Theatre with an all male cast

Pier Group Wharf Revue Gala held

Director and choreographer Gideon Obarzanek undertakes a creative development for the 2013 production Dance Better at Parties

Mariage Blanc opens in Wharf 2 The Mousetrap returns to Sydney Theatre for an encore season The Secret River bumps in to Sydney Theatre Blues band, Jimmy Rigg and the Crow Bars, plays at the Wharf Sessions

Fool’s Island opens in Wharf 2 as part of STC’s education program Rough Draft #15 Birds Flying High by Imara Savage and Sue Smith presented in Wharf 2

December

Australia Day by Jonathan Biggins opens in Parramatta and Canberra Singer Christa Hughes and her father play at the Wharf Sessions Pier Group lunch held with the cast of Sex With Strangers

Amanda Bishop and Josh Quong Tart Photo Tracey Schramm

The Wharf Revue opens in Parramatta Sex With Strangers opens in Wharf 1

Look The Other Way plays in Bankstown In A Heart Beat opens in Armidale

Photo Ellis Parrinder

Pier Group lunch held with the cast of The Secret River

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OUR BUSINESS PLAN ~

ON THE WORLD STAGE

Gross und Klein

A History of Everything

London

Chicago

Paris

Ghent

Vienna

Leuven

Recklinghausen

Amsterdam

Uncle Vanya New York

Hasselt Plymouth

 he Wharf Revue. Red Wharf: T Beyond The Rings of Satire Parramatta, NSW Wollongong, NSW Dubbo, NSW Penrith, NSW

Frenchs Forest, NSW

Newcastle, NSW

Canberra, ACT 10


In 2012 STC presented works locally, nationally and internationally. Here is a snapshot of where we presented:

Bloodland Adelaide, SA Brisbane, Qld Never Did Me Any Harm Adelaide, SA Melbourne, Vic

 he Wharf Revue: T Debt Defying Acts Hobart, Tas Moonee Ponds, Vic Nunawading, Vic

Australia Day Parramatta, NSW

Canberra, ACT In A Heart Beat

Armidale, NSW Look The Other Way Bankstown, NSW

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SNAPSHOT ~

2012 IN NUMBERS 8

writers commissioned

15

workshops undertaken

6

new Australian works and adaptations

51

t eachers participated in professional learning programs

769

performances in Sydney

5

national and regional tours presented

3

productions presented internationally

3

interstate co-productions performed

6

Rough Drafts undertaken

143

actors employed

1000+

hours of theatre presented on main stage

1378

weeks of work for actors

18

Artists in Residence

2

awards won for Greening The Wharf program

29,827

million dollars of total income earned

2

Helen Hayes Awards won for 2011 season of Uncle Vanya

115

days spent developing new works

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Kerry Fox in Face To Face. Photo Brett Boardman

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Hugo Weaving and Justine Clarke in Les Liaisons Dangereuses. Photo Brett Boardman

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REPORT ~

DAVIDChairman GONSKI

As the Company’s productions delighted audiences in Sydney, around Australia and internationally, the team behind the scenes forged on with a program of upgrades to propel STC into its next 30 years of operation.

the Trustees of the Sydney Theatre Company Foundation, chaired by Jillian Broadbent ao, and the New South Wales Cultural Management board, the body that governs the operations of Sydney Theatre at Walsh Bay, chaired by Peter Young.

Our net operating result for the year, a deficit of $254K, is a very sound result given the other achievements of 2012. Changes to personnel, systems and processes set the Company on a new footing and the results of these investments are already visible.

Our thanks again to the Australian Government through the Australia Council and to the NSW Government through Arts NSW. The long-term commitment made by governments to the major performing arts sector enables organisations like ours to plan for the long term with confidence.

One of the most important jobs of chairing an arts organisation is managing succession. At STC, in particular, this is about leading the search for incoming Artistic Directors. Cate Blanchett and Andrew Upton gave plenty of notice that their second term, concluding with the 2013 program, would be their last. A sub-committee was set up and a search firm engaged but meanwhile, I asked Andrew Upton to consider another term as sole Artistic Director. We believed the Company had come an enormous distance both artistically and operationally since he and Cate joined us and that a final term with Andrew at the helm would magnificently consolidate this work. To my great delight, Andrew decided to stay on. The board considers this an enormous win. Andrew’s growing international reputation as a writer, his programming flair and his extensive relationships with artists here and abroad are great assets to us. There was a thrilled response from employees when I stood before them to announce his appointment. It has been a privilege to work alongside the Company’s talented, hard working and generous board of directors, particularly in this volatile business climate. I thank deputy chairs Sam Mostyn and Martin McCallum, and directors Jonathan Biggins, Toni Cody, John Connolly, Justin Miller, Simon Mordant am and Andrew Stuart. In addition, I acknowledge the enormous contribution made by

The employees and management of the Company have again excelled themselves. In a crowded and challenging year they didn’t miss a beat. It is a great testament to their efforts that we enter 2013 on such a positive footing. Congratulations. It was a privilege to work with our General Manager, Patrick McIntyre, in 2012. Patrick is now the Executive Director of the Company, a role he richly deserves, and he and Andrew make a formidable team. Lastly, a heartfelt thank you to Cate Blanchett as she steps away from her five-year role as Co-Artistic Director. They have been five extraordinary years, fuelled in no small part by Cate’s curiosity, her commitment to the larger community, her distinctive eye for artists and collaborations, her intelligence and ability to pursue opportunities, her rigorous approach to her responsibilities as Artistic Director and, of course, for her performances, which were hailed both in Australia and internationally. The Company is a very different one from that which Cate took on, and she moves into her next chapter with the admiration, congratulations and thanks of us all.

David Gonski ac 13


REPORT ~

ANDREW UPTON Artistic Director

2012 was all about transition, endings and beginnings. The Company was interstate and overseas as much as it was here in its Sydney home. We had outgoing Artistic Directors, a new bar at The Wharf, Gross und Klein’s three-month European tour, and the implementation of new operational systems and an upgraded website. Through all this travel and upheaval, the Company delivered 11 main stage shows, all produced to the highest standards and much loved by their makers. Certain aims and ambitions have guided the Company during the time Cate and I have been Co-Artistic Directors. These are manifested most obviously in our program choices but are also visible in initiatives including Greening The Wharf, Open Days, more work with small and medium theatre companies, cross-form experimentation and artist development, to name a few. Many less visible – but still important – changes were initiated in 2011 and continued to unfold through 2012. However, as is often the case, many of these changes are still unfolding and settling. So, when STC Chairman David Gonski approached me in the middle of the year to ask if I’d consider staying on, I felt compelled to see these changes take root. Not to mention, I had developed a great working relationship with STC General Manager, Patrick McIntyre. Then, there was the fact that I love the Company with all my heart, and the prospect of leaving was difficult. By August, it was decided I would stay on as Artistic Director and, for the enthusiasm of everyone who supported this decision: thank you. There are so many others to thank and congratulate for their hard work and devotion over 2012. First, to the casts, crews and creative teams on all our shows – from the biggest, slickest extravaganzas to the roughest draft. To all our producing partners – to Melbourne Theatre Company which jumped on board with our commission of Jonathan Biggins’ play Australia Day and to Malthouse Theatre which joined us in making Tom Wright’s adaptation of Thomas Bernhard’s The Histrionic. Thanks also to Western Australia’s Black Swan Theatre Company 14

which brought us Tim Winton’s play Signs Of Life, to Force Majeure with whom we developed and produced Never Did Me Any Harm and to Ontroerend Goed with whom we made the strange and enormous A History Of Everything which was one of the final shows involving our Resident Actors, who I would also like to thank. I’d also like to acknowledge New York’s Lincoln Center Festival which hosted Uncle Vanya and our many co-producers on the Gross und Klein tour. It was in the thick of that tour I realised I would not be able to direct Dylan Thomas’ Under Milk Wood so Kip Williams took on the role as director. Thank you to Kip for stepping up and to the cast for supporting him as director and, ultimately, supporting my decision to stay closer to the Gross und Klein tour. Out of that work I saw the opportunity I could create for the three resident directors who have now joined the Company. Hello and welcome to Sarah Goodes, Sarah Giles and Kip Williams. Finally, I would like to add my thanks, on behalf of everyone at the Company, to outgoing Co-Artistic Director, Cate Blanchett. Cate has been a great leader, an exemplary artist and an inspiration. I know everyone at STC is thrilled to have worked with her and will miss her. I know she too would like me to thank all of our supporters, our fellow workers, our boards and our wonderful audiences. Regards,

Andrew Upton


REPORT ~

PATRICK McINTYRE Executive Director

As the third year in a program of organisational change, it is no surprise that 2012 proved to be crammed with incident.

who gave generously to the Company in 2012 and to the Pier Group for its continued support.

The Company’s regular slate of programs was delivered in Sydney while we kept on the international map through three separate international tours.

With all these projects in play on top of our regular activity, pressure on the budget was inevitable. Our financial outcome for the year, a deficit of $254K, represents an investment in the future of the Company. It is pleasing, then, to be able to report that already in 2013 there are signs of a return on this investment. In February this year, the Company broke its one day sales record not once but twice, with the new website handling 60% of transactions over a period of unprecedented demand. Season ticket sales are up 15%, driven by a strong program and supported by a new range of more tailored marketing tactics. Our international profile has strengthened, with the Company securing numerous invitations for its work at all scales.

Back at home base, in April the STC team opened The Bar at the End of the Wharf, a significant undertaking and one that has made a huge difference to the experience of our visitors and employees. Sound system and lighting upgrades also took place in theatres at The Wharf. Our new customer relationship management processes and systems went live in time for the 2013 season launch, along with a totally redesigned website featuring enhanced e-commerce functionality. Our new payroll system also went live. These substantial projects necessitated top to bottom process reviews and training in addition to designing and implementing the systems themselves. Our education and community programs were reviewed to ensure that available resources are best allocated to maximise our impact. Accordingly, the Company will be placing more priority on the further development and wider roll out of the School Drama™ teacher development program, delivered in schools by teaching artists. This program was expanded in 2012, including a pilot in regional NSW (Broken Hill). Plays of particular relevance to schools will now be programmed into the main stage season (led by Pygmalion in 2012). We announced a major new partnership with Lend Lease which has been designed around our organisations’ shared strategic objectives and skills. Led by our other major partners, Audi and The Sydney Morning Herald, our corporate supporters contributed some 10% of the budget in 2012. Thanks also to the many donors

These are great results, and the inventive, committed, hard working and good humoured staff of the Company are to be commended for them. I thank everyone who worked with us during 2012. I would also like to thank the directors of the Board of Sydney Theatre Company, chaired by David Gonski, for their unwavering support during a complex and busy time. Their wise counsel and generosity with time and expertise has been invaluable. The STC Foundation, chaired by Jillian Broadbent, also came to the party in magnificent form in 2012, making substantial contributions not only to our artistic and community endeavours, but also to some of the less exciting but nonetheless important investments behind the curtain.

Patrick McIntyre

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OUR BUSINESS PLAN ~

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Alex Chorley in Under Milk Wood. Photo Heidrun Lรถhr

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OUR BUSINESS PLAN ~

ART

A dynamic mix of creative, distinctive programs that excite and attract artists and audiences

STRATEGY ONE: EXCELLENCE, SCALE AND DIVERSITY Create a broad-ranging program of theatrical experiences The Company produced 11 plays on its main stages, including six new Australian works and adaptations. Themes of metamorphosis, shifting identity and class were explored in plays such as Pygmalion, Face To Face, Signs Of Life and Australia Day. Perennial favourites – sex and death – were another thematic thread, as seen in Les Liaisons Dangereuses, Sex With Strangers and Midsummer (a play with songs). Enduring favourites Pygmalion and Under Milk Wood brought the power of language to the fore and demonstrated that great artists of previous ages still speak to audiences with striking directness. STC remained commited to telling contemporary stories, evidenced in new works by Tim Winton, Jonathan Biggins and Hilary Bell. Meanwhile, new stage adaptations presented an Australian perspective on classic text from other cultures, such as Simon Stone and Andrew Upton’s adaptation of Ingmar Bergman’s film Face To Face and Tom Wright’s adaptation of Austrian playwright Thomas Bernhard’s The Histrionic (Der Theatermacher).

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Create diverse work through broad collaborations The Company continued its exploration of the theatrical form through its collaboration with renowned physical theatre company Force Majeure, led by choreographer Kate Champion, which resulted in the engaging and proactive work Never Did Me Any Harm. Meanwhile, in realising Hilary Bell’s darkly mysterious play The Splinter, director Sarah Goodes collaborated with puppetry and movement director Alice Osborne – with appropriately atmospheric results. STC and the Belgian theatre group Ontroerend Goed jointly produced A History Of Everything, featuring STC Resident Actors alongside European actors. The play was rehearsed in Belgium in 2011 and presented by STC as part of Sydney Festival in January 2012 before embarking on an international tour. Attract the finest talent STC continued to attract the best actors, directors and creative artists throughout its vibrant 2012 season. The fine actors STC assembled during the season included Bille Brown, Justine Clarke, Marta Dusseldorp, Sandy Gore, Wendy Hughes, Kerry Fox, Jacqueline McKenzie, Heather Mitchell, Barry Otto, Pamela Rabe, Jack

Thompson, Helen Thomson and Hugo Weaving. Award-winning film director Jocelyn Moorhouse made her directorial debut in 2012 with Sex With Strangers. STC was also thrilled to work with Kate Champion, Kate Cherry, Richard Cottrell, Peter Evans, Sarah Goodes, Sam Strong and Simon Stone. Meanwhile, the following creative artists contributed their sizeable talents: Robert Cousins, Damien Cooper, Dale Ferguson, Alice Osborne, Mel Page and Nick Schlieper. As always, it was a pleasure and a privilege to work with such talented and committed artists. Celebrate successes with awards STC scooped up numerous Sydney Theatre Awards in 2012. STC resident costume designer Alice Babidge took out Best Costume Design for Gross und Klein while Cate Blanchett was named Best Actress in a Leading Role of a mainstage production for the same play. STC set and lighting designer Nick Schlieper’s work on Baal saw him receive both Best Stage Design and Best Lighting Design, Alan John and Steve Francis took out Best Score or Sound Design for The White Guard and actor Meyne Wyatt received the award for Best Newcomer, for her


Zindzi Okenyo, Tahki Saul and Charlotte de Bruyne A History Of Everything. Photo Brett Boardman

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Clockwise from top left Andrea Demetriades in Pygmalion. Photo Brett Boardman Paige Gardiner in Mariage Blanc. Photo Brett Boardman Anna Martin and Kerry Fox in Face to Face. Photo Brett Boardman Opposite page Heather Mitchell, Jane Harders, Hugo Weaving, Justine Clarke and Geraldine Hakewell in Les Liaisons Dangereuses. Photo Brett Boardman

body of work including her role as Gulami in our 2011 production Bloodland. STC also picked up two Helpmann Awards for Gross und Klein with Cate Blanchett named Best Female Actor and Benedict Andrews named Best Director. The Judith Johnson Award for Best Performance by an Actor in a Musical went to Paul Capsis for his role in The Threepenny Opera. Meanwhile, STC won two prestigious Helen Hayes Awards for its 2011 season of Uncle Vanya at the Kennedy Center in the USA, with Hugo Weaving winning Outstanding Supporting Performer, Non-Resident Production, and Cate Blanchett winning Outstanding Lead Actress, Non-Resident Production. Cate Blanchett was also awarded the Chevalier de l’Ordre des Arts et des Lettres (Knight of the Order of Arts and Letters).

STRATEGY TWO: ON THE WORLD STAGE Create Australian and international works through collaboration STC presented Gross und Klein to 20

a clamour of critical acclaim at the Barbican in London, at the Theatre de la Ville in Paris, at the Wiener Festwochen in Vienna and at Ruhrfestspiele Recklinghausen in Germany. Meanwhile, Uncle Vanya toured to the Lincoln Center Festival in New York to a similarly rapturous reception. A History Of Everything, STC’s collaboration with Belgian theatre group Ontroerend Goed, was performed in five cities in Europe, and in Chicago, giving STC’s Resident Actors the opportunity to develop international profiles and work with other leading theatre organisations. STC thanks the Chairman’s Council for its financial support of Gross und Klein’s international tour. Bring world class theatre productions to Australia STC used its international networks to deliver the best world theatre to Australian audiences. The Company presented Scotland’s Traverse Theatre Company’s production of Midsummer (a play with songs) at the Drama Theatre and Regan De Wynter’s all-male production The Pirates Of Penzance from the UK.

STRATEGY THREE: A DEVELOPMENT POWERHOUSE Develop new Australian work Premiering new Australian works kept STC audiences captivated in 2012. New Australian works that premiered in 2012 included Never Did Me Any Harm by Force Majeure, The Histrionic (Der Theatermacher) adapted by Tom Wright from the play by Thomas Bernhard, Face To Face adapted by Andrew Upton and Simon Stone from the film by Ingmar Bergman, The Splinter by Hilary Bell, Australia Day by Jonathan Biggins and Signs Of Life by Tim Winton. In pursuit of more new works, STC commissioned several writers during the year including Jonathan Biggins, Melissa Bubnic, Susanna Dowling, Stefo Nantsou, Jo Turner, Duncan Graham, Simon Stone, Sue Smith and Tom Wright. Develop career paths for emerging artists The Richard Wherrett Fellowship nurtures emerging talent by giving up-and-coming directors the chance to work with STC’s creative team for a year. The 2012 Fellow, Imara Savage, was Assistant Director on Pygmalion

Facebook Feedback ‘Jack Thompson gives the best performance in Under Milk Wood since Sir Richard Burton, and the lovely Sandy Gore is right there with him. Marvellous to hear those beautiful words and superb poetry.’ Tony Williams ‘I thoroughly enjoyed last night’s performance of Face To Face. Brilliant acting and great script accompanied by wonderful staging. I was mesmerised from start to finish… Bravo!’ Marisa Raoul ‘Just back from seeing Pygmalion! Wow! A truly tremendous production in every way. It’s the best piece of theatre I have seen to date.’ Mark Salvestro


in 2012 and will direct Machinal in Wharf 2 in 2013. Meanwhile, 2011’s Richard Wherrett Fellow, Sarah Giles, directed Mariage Blanc in Wharf 2 – a collaboration with writer Melissa Bubnic who won 2010’s Patrick White Playwrights’ Award – and will undertake her main stage debut in 2013 with Mrs Warren’s Profession. Sue Smith, Duncan Graham and Rita Kalnejais were Associate Playwrights in 2012 as part of STC’s partnership with Playwriting Australia, with plays commissioned from Duncan and Sue as a result. STC continued to develop emerging theatre makers through its Rough Draft program, with six works undertaken in 2012. The program provides a showcase for the work of emerging theatre makers while supporting artistic risk, encouraging experimentation and helping artists share skills. Participants included Alexandra Collier, Adrienne Daff, Rita Kalnejais, Frank Mainoo, Byron Perry, Zoe Pepper, Paige Rattray, Imara Savage, Sue Smith and Kip Williams. Nurture playwrights The Patrick White Playwrights’ Award and the Patrick White

Playwrights’ Fellowship recognise and support both established and emerging artists, while honouring Patrick White’s contribution to Australian theatre. The 2012 award recipient was NIDA student Phillip Kavanagh for his play Little Borders, while Patricia Cornelius was appointed as the Fellow, a position designed for an established playwright. Patricia and former Fellow, Raimondo Cortese, presented playwriting workshops at STC, as did visiting international playwrights David Greig and Eve Ensler. STC thanks the Pier Group for their support of the Patrick White Playwright’s Award. STC spent 115 days in the studio across 15 separate workshops during 2012 to devise and develop new work. Literary Manager Polly Rowe taught NIDA playwriting students, and ran a workshop for school children with director, Stefo Nantsou, on the Bankstown Youth Development Service project. Develop new works through partnership STC began a creative partnership with Geelong’s Back to

Back Theatre Company in 2012, undertaking creative development workshops ahead of the 2013 premiere season of Laser Beak Man. The Company also partnered with Perth’s Barking Gecko Theatre Company to begin the creative development of Storm Boy for the 2013 main stage season. Artists in Residence In 2012, STC expanded its Artists in Residence program to include a broader range of creative professionals in addition to actors. These included directors, playwrights, educators, actors and designers. STC’s 2012 Artists in Residence were Georgia Adamson, Alice Babidge, Victoria Campbell, Susanna Dowling, David Fleischer, Cameron Goodall, Anna Martin, Renée Mulder, Stefo Nantsou, Gideon Obarzanek, Julia Ohannessian, Zindzi Okenyo, Richard Pyros, Sophie Ross, Tahki Saul, Imara Savage, Jo Turner and Kip Williams. STC thanks Arts NSW and our individual donors for their longterm commitment to this program.

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OUR BUSINESS PLAN ~

BUSINESS Lead the industry in creating an innovative and sustainable business platform

STRATEGY ONE: BUILD THE BALANCE SHEET STC’s business transformation project was at its most intense in 2012. This project put the Company in a stronger and more financially sustainable position in the long term but generated short-term costs, which were paid from the 2012 budget. In combination with a difficult market in the wake of global economic ructions, these costs drove a $254K operating deficit in 2012 which we regard as an investment in the Company’s future business performance. It is heartening to note initial positive signs of success, including a 17% increase in subscribers from 2012 to 2013. STC thanks David and Claire Paradice for their generous donation towards this work.

STRATEGY TWO: MAXIMISE YIELD, MAXIMISE ACCESS A mix of pricing and packaging initiatives continued in 2012 aimed at keeping the experience of theatre as accessible as possible. STC’s pursuit over several years to find a corporate partner to help the Company offer $20 tickets across the season finally paid off – watch this space in 2013. Box office income only covers around 60% of the Company’s annual operating budget. The financial contributions of donors and

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sponsors, therefore, remained vital, and increasingly so, as costs continued to rise faster than earned revenue. Individual giving and philanthropy is an important revenue stream for STC. General donations were strong in 2012, with $448,000 raised through bequests and fundraising campaigns. 957 subscribers donated to the Company – an increase of 3% on 2011. A series of fundraising events throughout the year raised a total of $463,000, while a combination of major gifts and dedicated support from the Chairman’s Council contributed to projects including STC’s Theatre in Communities work, the commissioning of new Australian works and playwrights, the School Drama™ program, the development of work for young audiences, conservation of archival production footage, the international tours of Gross und Klein, Uncle Vanya, and A History Of Everything, and investment in core business systems. Throughout 2012, STC gave $42,000 worth of tickets to charities, foundations and schools to increase community access to its performances and demonstrate its commitment to social equity. Two strategic corporate partnerships

were launched in 2012 with Lend Lease and NRMA. Both of these partnerships fufilled STC’s ambition to collaborate with corporate partners in areas of shared value that would not be possible otherwise. STC announced a partnership with Barangaroo developer Lend Lease that represents a new model of embedding sponsors in arts organisations and vice versa. Partnership initiatives will involve joint public programs for Barangaroo, an oral history of the Barangaroo development, and workplace health and safety videos for Lend Lease, which STC will use its skills to produce. NRMA Motoring and Services also confirmed a partnership with STC to create a piece of theatre with social impact. With the aim to raise road safety awareness among young people in regional NSW, Road Train will be written and directed by STC Resident Director, Stefo Nantsou and developed in consultation with NRMA, STC creative talent and regional community groups. The play will tour schools and community halls in 2013 across metropolitan and regional NSW and in Canberra. Late in 2012, more than 500 people attended a public panel hosted by Sydney’s University of Technology (UTS), and STC called The Business of Creativity. Panellists


Photo Grant Sparkes-Carroll

included Cate Blanchett, Andrew Upton, Patrick McIntyre and the Dean of the UTS Business School, Professor Roy Green. The panel explored the corporate sector’s increasing awareness of the need to foster creativity to remain competitive, and the role arts could play in this process.

STRATEGY THREE: HARNESS THE DIGITAL AGE During 2012, all of STC’s social media platforms experienced a spike in interest and numbers. There was a 43% increase on 2011 Facebook numbers (13,296 friends), a 50% increase on 2011 Twitter numbers (11,399 followers) and 4,422 people used social media channels to ‘check in’ at The Bar at the End of the Wharf. In June, STC launched a new website in tandem with the launch of our new Customer Relationship Management (CRM) and ticketing system, Tessitura. The new website integrates with Tessitura, offering the following functionality: select-your-own-seat bookings (including for season tickets), the ability to donate when purchasing a ticket and an engaging ‘magazine’ section with a large volume of editorial images and videos. Our precious Archives took a step further into the digital age when, following a

dedicated philanthropic campaign to secure funding, AusStage and a consortium of universities provided STC with access to a SAMMA digitisation unit to begin the process of digitally archiving analogue content. The machine captures tapes, frame by frame, and converts the images and audio into a digital format that – when properly stored – will never decay. Archival recordings are the only full references to past work, documenting landmark productions and the talents of great Australian actors, directors, designers and creatives. This priceless resource is in great demand by employees, academics, students, artists and researchers and STC thanks the many generous donors who contributed to it.

STRATEGY FOUR: MATCH FIT In 2012 STC implemented systems that had been scoped in 2011, including a new payroll system, a CRM platform, and expanded e-commerce facilities. The new CRM system allows the Company to better identify and engage with new audiences, to communicate with existing patrons on a more personal basis and to re-connect with lapsed subscribers. The business benefits were immediate, with STC able to target campaigns more intelligently and improve its reporting and analysis.

The roll out of a new interactive payroll system began mid-year. The system benefitted from extensive customisation before launch and has given employees easier accessibility and autonomy to manage their leave, payslips and allowances. The system also reduces paper use, helping STC meet its sustainability targets. The Bar at the End of the Wharf was launched, providing a much-needed social space for employees, creatives and patrons. The area has great ambience and has already established itself as a destination independent of the theatres. With revenue turnover of $1,900,000 in its first nine months and a growing clientele, it has been a big positive change for the Company and for the Sydney social scene more widely. Other important infrastructure investments included new house lights for the Wharf 1 and Wharf 2 theatres.

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OUR BUSINESS PLAN ~

COMMUNITY Maintain and promote theatre’s traditional place at the centre of social thought, discussion and change

STRATEGY ONE: A GREAT PLACE TO WORK The Bar at the End of the Wharf was opened in April. In addition to providing a better service to audiences before and after shows, the bar also became the rendezvous location of choice for artists and employees – the ‘green room’ with the best view in Australia. STC’s 2013 season launch helped to christen the bar, as well as the Company’s tikithemed Christmas party. The bar has also become home to regular sausage sizzles – a well-received social gathering that’s timed to include as many employees as possible regardless of department, roster, shift or venue. The shift to the Tessitura ticketing and CRM system saw STC’s customer services, technology, philanthropy, marketing and sponsorship teams receive major training and professional development. Other training and development opportunities were provided across the Company, such as in Workplace Health and Safety compliance and STC’s new payroll system, while Cultural Development Manager Matt Morse was accepted into the prestigious Emerging Leaders Program run by the Australia Council for the Arts.

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STC employees Eric Duffy, Helen Ban, Scott Fisher and Alex Stuart all received Preston Awards, which recognise the commitment of employees to STC for 10 years or longer and are named after the longest-standing STC employee, John Preston, who has been with the Company for 33 years.

Thousands of HSC English students saw a full-scale production of Pygmalion in Sydney Theatre, which signals STC’s return to more main stage programming of school syllabus classics. The HSC Drama curriculum play, Stolen, was presented by actors as a rehearsed reading.

STRATEGY TWO: CREATIVE FUTURES

Twelve work experience students and 10 interns joined the Company in 2012, while 51 teachers attended professional learning workshops.

STC continued to refine theatre experiences suitable for the very young to young adults in 2012. For STC’s littlest audience, Jonathan Biggins devised two new works, The Luck Child and The Tale Maker, for the Actor on a Box program. Both plays were very popular with four to six year olds with The Luck Child winning a Sydney Theatre Award. We thank Joanna R. Love and the Nelson Meers Foundation for their support of this program. The Company’s program of workshops, schools productions (presenting main stage plays that are part of the school curriculum) and schools days (presenting main stage matinees with interactive before-and-after sessions for students in the audience) reached 9,475 students in NSW.

Now in its fourth year, STC’s primary school teacher professional learning program, School Drama™, continued to make a great impact in classrooms and was delivered to 39 teachers in 23 schools. With help from STC partner, the University of Sydney, School Drama™ was piloted in Broken Hill with teachers and principals. Meanwhile, the process to benchmark teacher progress was refined and the support of the Origin Foundation and STC Foundation’s education supporters made it possible to begin planning the expansion of School Drama™ regionally and interstate. STC thanks The Origin Foundation and STC Ed Donors, Ian and Min Darling, Ann and Warwick Johnson, The Australian Children’s Trust, The Caledonia Foundation and The Vincent Fairfax Family Foundation for their generous support of


the School Drama™ program as well as for their financial support of STC’s Theatre in Communities program. “The Origin Foundation is interested in finding new ways to engage students in traditional education,” said an Origin Foundation representative. “The School Drama™ program is achieving wonderful results - we’re excited to be helping more teachers and students to experience it.” Michelle Sayers, a teacher at Curl Curl North Primary School said: “School Drama™ is the most beneficial program I have ever seen – it should be in every school. It was an exceptional experience for both my students and myself.”

STRATEGY THREE: THEATRE AS A SOCIAL ENGINE Building on the successes of Burnt and Deep Suburbia, STC delivered two projects in two very different communities, which saw professional actors work alongside school students to build confidence and pride. The Company’s aim was to develop contemporary Australian stories while also building local creative capacity.

Company partnered with Bankstown Youth Development Service on Look The Other Way, reaching over 200 community members and 701 students in seven local schools across 36 workshops and performances. STC thanks Julie and Stephen Fitzgerald for their support of In A Heart Beat and The Girgensohn Foundation for their support of Look The Other Way.

Clockwise from left David Collins in Actor on a Box: The Luck Child. Photo Grant Sparkes-Carroll Andrew Tighe in In A Heart Beat. Photo Terry Cooke Look The Other Way. Photo Bilal Reda

STC’s partnership with The Wentworth Group of Concerned Scientists continued in 2012 with The Wentworth Talks – a series of free presentations and panel discussions about environmental issues, led by guest speakers. The Bar at the End of the Wharf gave patrons, employees and the public an informal place to congregate before and after shows. The Bar also hosted a series of Friday night gigs called the Wharf Sessions, attracting theatre and non-theatre crowds for post-show performances by artists including Faker, Megastick Fanfare, Melodie Nelson and Ngaiire.

Armidale’s In A Heart Beat reached 647 New England community members and 724 students in five local schools across 34 workshops and performances. The 25


OUR BUSINESS PLAN ~

GREENING THE WHARF 2007 – 2012 Cumulative Results GRID ENERGY CONSUMPTION DOWN 45.3% enough to power 70 homes

WATER USAGE DOWN 65.8% saving 4.2 Olympic pools 2007 2007

2010 2011 2012

MATERIALS RECYCLED / ENERGY RECOVERED UP 32.1%

2010 2011 2012

TIMBER PURCHASE DOWN 64.6% saving 18 trees 2007

GREENHOUSE GAS EMISSIONS DOWN 48.4% equivalent to taking 126 cars off the road 2007

2007

2011

2010 2011

2012

2010 2011

2012

2012

2012 ACHIEVEMENTS In 2012, we’re proud to report that the Company’s environmental footprint shrank even further. Town water consumption (5,411.6 kL) fell a further 28.6% due to a full year of use of our rainwater harvesting system and some heavy rains. Consumption of energy from the grid (424.7 MWh) fell 29.3%, thanks to the sunny days and our photovoltaic array (still the third biggest in Australia) pumping out an impressive 26

801.5 MWh. Our resulting greenhouse gas emissions (513.9 tCO2-e – from electricity and gas) fell 27.6%. The push towards greener set construction saw our purchase of timber (31.6m3) drop 44.7% from last year, despite delivering the same number of productions. Our total waste generated decreased by 6.4%, while the amount of recycling and energy capture from our waste increased by 80.1% to 40.8 tonnes. This year saw our landmark Greening

The Wharf project come to a close, but acknowledgements continued through the year. STC was awarded the national Visy Environmental Sustainability Award in the ABAF National Business and Arts Partnership Awards, the Water Conservation Award in the Keep Australia Beautiful NSW Sustainable Cities Program, and was shortlisted for an International Green Award.


Josh Quong Tart in Red Wharf: Beyond the Rings of Satire (The Wharf Revue). Photo Tracey Schramm

27


OUR TEAM ~

PLAYERS STC has an unique mix of talent and skills in its workforce which enables us to develop, produce and present world class theatre. Here is a snapshot of six of our 2012 players.

IMARA SAVAGE

SCOTT FISHER

TIM CARROLL

Imara Savage joined STC at the start of 2012 as the Richard Wherrett Fellow. The 12-month fellowship was created to enable a young director to work with the Company and to develop his or her professional skills.

Costume Manager and Preston Award recipient Scott Fisher describes his decade working at STC as “the fastest 10 years of my life”.

Tim Carroll, Director of the Bankstown Youth Development Service (BYDS) at Bankstown Arts Centre, worked in 2012 with STC’s Resident Director, Community, Stefo Nantsou to develop Look The Other Way.

“I really value the access to great mentors and extended artists’ networks,” says Imara. “As well as first-hand experience working intimately within a large company.” Imara spent her fellowship year engaging widely with the Company. She worked as Assistant Director to Peter Evans on Pygmalion, directed a Rough Draft piece called Birds Flying High (inspired by Euripides’ Medea and the music of Nina Simone), and prepared to direct the play Machinal in 2013. “Machinal is a challenging piece on so many levels and the fact that I’m working in Wharf 2 gives me licence to really treat this as a theatrical experiment. That’s terrifying but ultimately the most rewarding way to work.”

28

As the manager of one of the busiest departments in the Company, Scott has led his team through countless challenges, though he has enjoyed many moments of triumph with them too. He says the period dramas Victory, Hedda Gabler, In the Next Room or the Vibrator Play and The Way of the World (his first production with the department) were particular career highlights. 2012 was an unusual year for the costume department due to the large number of productions given contemporary treatments, which presented new and interesting challenges for the team. “Les Liaisons Dangereuses and Face To Face were, without doubt, the biggest shows of the year for us,” says Scott. “Then of course in November we began work on The Secret River for the 2013 season.”

The play examined the contemporary issue of young male violence and retribution. It was created in collaboration with local students and community representatives in Western Sydney and performed by professional actors alongside students from Sir Joseph Banks High School. “These projects are important because of the themes they explore, like violence and retribution, especially though the eyes of the young people who were involved, ” says Tim. The production’s three performances at Bankstown Arts Centre in October were well received. “There were so many moments of sheer joy, watching the young people who had never acted really going for it, forgetting themselves and acting beautifully,” says Tim. “It was a powerful experience for everyone concerned. We’re looking forward to the next BYDS/STC iteration.”


Clockwise from top left Imara Savage, Scott Fisher, Tim Carroll, Robyn Ewing, Phoebe Meredith, Kevin Sigley

ROBYN EWING

PHOEBE MEREDITH

KEVIN SIGLEY

School Drama™ is a groundbreaking professional learning program that ‘up-skills’ primary teachers to use drama strategies and quality literature to improve children’s literacy outcomes. A huge strength of the program is the method of having professional actors, known as ‘teacher artists’ working alongside teachers in their classrooms.

Since joining STC in 2009, Events Manager, Phoebe Meredith, has enjoyed an enormous amount of variety in her role of overseeing all events hosted by the Company.

With STC since 1995, and now Technical Manager at Sydney Theatre, Kevin Sigley is responsible for everything from maintaining the theatre’s technical infrastructure to training staff, overseeing the diverse technical requirements needed to make sure the season runs go off without a hitch and, of course, bumping in and bumping out.

“I have been delighted by how the School Drama™ partnership between STC and The University of Sydney has flourished over 2012,” says Robyn, a Professor of Teacher Education and the Arts at The University of Sydney. “This year we worked in 22 Sydney schools and had our first pilot in a remote area with two teacher artists working in Broken Hill primary schools.” Teachers and principals have been unequivocally positive about the understanding they develop about the importance of the arts in learning as well as the improved learning outcomes they observe in students. “We have started planning to take the program and the School Drama™ model to a national level. Exciting times!”

Working closely with the philanthropy and corporate partnerships teams and the technical department, Phoebe can dash between The Wharf and her Sydney Theatre office up to four times each day, organising and running events designed to uniquely reflect STC’s ethos. “Every STC event is different and each client presents new challenges,” says Phoebe. Her highlights for 2012 include the ASTRA Awards at Sydney Theatre and the annual STC Foundation dinner. “I love my role because it combines my passion for performing arts and events,” Phoebe says. “I produce and manage so many amazing events while still being connected to theatre practice and the wonderful work STC does.”

Kevin recalls being “handed the keys” for Sydney Theatre in 2004 as a definite highlight of his career so far with the Company. “It was a once-in-a-lifetime opportunity,” he says. “The theatre opened with two new Australian works – Harbour and The Republic of Myopia for those who can remember back that far! Getting to the final cue on opening night was a terrific feeling.” Kevin attributes much of Sydney Theatre’s success to its employees. “Apart from being a venue with all the bells and whistles, the theatre’s staff are amazing. From stage door to box office, front of house managers, administrative staff members, events and building services.”

29


PLAYS AND PERFORMANCES ~

20 shows performed across our four home venues, Wharf 1 and 2, Sydney Theatre and the Drama Theatre

30


Jacqueline McKenzie and Ryan Corr in Sex With Strangers. Photo Brett Boardman

31


WHAT THE CRITICS SAID ~

WHAT THE CRITICS SAID Erik Thomson and Helen Thomson. Photo Brett Boardman

‘Deceptive,

disturbing

Heather Mitchell and Joshua Mu. Photo Lisa Tomasetti

‘Never Did Me Any Harm is a confirmation of our shared humanity.’

long after its final moments.’ and resonates

Stage Noise on The Splinter Cora Bissett and Matthew Pidgeon. Photo Lisa Tomasetti

The Australian on Never Did Me Any Harm

The Australian on Pygmalion

32

Funny, joyful, sweet.

The Daily Telegraph on Midsummer

‘SHAW’S WIT AND RIGOUR COME UP SPARKLING.’


“DIRECTOR SAM STRONG’S ELEGANT PRODUCTION IS AS SEDUCTIVE AS VALMONT HIMSELF.” Sun Herald on Les Liaisons Dangereuses

‘THERE’S SOMETHING TO OFFEND JUST ABOUT EVERYONE IN JONATHAN BIGGINS’ DELICIOUSLY LIGHT AND PERFECTLY PITCHED JOKEFEST.’ The Australian on Australia Day

Justine Clarke and Hugo Weaving. Photo Brett Boardman

‘Taut with snappy dialogue and effortless action.’

Stage Noise on Face To Face

Daily Telegraph on Signs Of Life

‘The Histrionic is thrilling, sometimes unnerving and often perverse, but always great theatre.’

Bille Brown. Photo Jeff Busby

‘If you want to get your teeth, heart and mind into something truly substantial and rewarding Face To Face is the play for you.’

Sun Herald on The Histrionic (Der Theatermacher)

Jack Thompson and Cameron Goodall. Photo Heidrun Lohr

‘It is great to see this lovely, lyrical, bittersweet classic delivered so well by such a good cast.’ The Australian on Under Milk Wood

‘A thoroughly

modern ripping Ryan Corr and Jacqueline McKenzie. Photo Brett Boardman

about sex and the single writer.’ The Australian on Sex With Strangers 33


Marta Dusseldorp, Alan Flower and Vincent Crowley. Photo Lisa Tomasetti

Andrea Demetriades. Photo Brett Boardman

SYDNEY THEATRE COMPANY, FORCE MAJEURE AND SYDNEY FESTIVAL PRESENT

NEVER DID ME ANY HARM DEVISED BY FORCE MAJEURE WORLD PREMIERE

SYDNEY THEATRE COMPANY PRESENTS

PYGMALION BY GEORGE BERNARD SHAW

41 PERFORMANCES 6,980 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

37 PERFORMANCES 22,054 PAID ATTENDANCE

ON TOUR

SET AND LIGHTING DESIGNER

CAST ELIZA DOOLITTLE

SPACE THEATRE, ADELAIDE FESTIVAL CENTRE SUMNER THEATRE, MTC, MELBOURNE 12 PERFORMANCES 2,593 PAID ATTENDANCE CAST

MARLO BENJAMIN (MELBOURNE SEASON) KRISTINA CHAN (SYDNEY AND ADELAIDE SEASONS)

VINCENT CROWLEY MARTA DUSSELDORP ALAN FLOWER SARAH JANE HOWARD (SYDNEY AND

MELBOURNE SEASONS) TRACY MANN (ADELAIDE AND MELBOURNE SEASONS) KIRSTIE MCCRACKEN (SYDNEY AND ADELAIDE SEASONS)

KATE CHAMPION GEOFF COBHAM

COMPOSER/ SOUND DESIGNER

MAX LYANDVERT DRAMATURG

ANDREW UPTON ASSOCIATE DIRECTOR

ROZ HERVEY

ASSISTANT DIRECTOR

GEORDIE BROOKMAN AUDIO-VISUAL DESIGNER/ ASSISTANT LIGHTING DESIGNER

CHRIS PETRIDIS

JOHN COLVIN ERIN DALY

ASSISTANT STAGE MANAGER

CHANTELLE FOSTER COSTUME CO-ORDINATOR

JUICE BERLIN

THEATRE TECHNICIAN

CAMERON MENZIES PRODUCTION PHOTOGRAPHER

LISA TOMASETTI

THIS PRODUCTION OF NEVER DID ME ANY HARM WAS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL FOR THE ARTS, ITS ARTS FUNDING AND ADVISORY BODY, AND BY THE AUSTRALIAN GOVERNMENT’S MAJOR FESTIVALS INITIATIVE, MANAGED BY THE AUSTRALIA COUNCIL IN ASSOCIATION WITH THE CONFEDERATION OF AUSTRALIAN INTERNATIONAL ARTS FESTIVALS, SYDNEY FESTIVAL, ADELAIDE FESTIVAL AND MELBOURNE INTERNATIONAL ARTS FESTIVAL. FORCE MAJEURE IS ASSISTED BY THE AUSTRALIAN GOVERNMENT THROUGH THE AUSTRALIA COUNCIL AND ARTS NSW.

34

ASSISTANT STAGE MANAGER

FREDDY EYNSFORD HILL

HAIR, WIG & COSTUME SUPERVISOR

MRS PEARCE

HEAD MECHANIST

ALFRED DOOLITTLE

HEAD FLY OPERATOR

MRS HIGGINS

DEPUTY HEAD FLY OPERATOR

VANESSA DOWNING

PRODUCTION MANAGER (FORCE MAJEURE)

STAGE MANAGER

EMMA JACKSON BENJAMIN WINSPEAR MARLO BENJAMIN

MRS EYNSFORD HILL

WENDY HUGHES

HEATHER MITCHELL JOSHUA MU VOICE-OVERS

DEPUTY STAGE MANAGER

HARRIET DYER

PRODUCER

PRODUCTION MANAGER (STC)

DANIELLE ROFFE

CLARA EYNSFORD HILL

DAVID WOODS

MARTIN LANGTHORNE

VOICE AND DIALECT COACH

STAGE MANAGER

KIM GYNGELL

CHOREOGRAPHY BY

KAREN RODGERS

TOBY SCHMITZ

COLONEL PICKERING

DEBORAH KENNEDY

THE COMPANY

DRAMATURG

PRODUCTION MANAGER

MARCO CHIAPPI

VOICE-OVER EDITOR

MARK BLACKWELL

IMARA SAVAGE

PROFESSOR HENRY HIGGINS

TOM STOKES

CATHERINE MCCLEMENTS (MELBOURNE SEASON)

ANDREA DEMETRIADES

ASSISTANT DIRECTOR

PRODUCTION TEAM DIRECTOR

PETER EVANS

SIMON KHAMARA TANYA LEACH MATT SCHUBACH ROXZAN BOWES

LAUREN A. PROIETTI STEVE MASON DAVID STABBACK KANE MOTT

HEAD ELECTRICIAN

ANDREW TOMPKINS LIGHTING BOARD OPERATOR

PAT SMITHERS

SET DESIGNER

HEAD OF SOUND

COSTUME DESIGNER

FOH SOUND OPERATOR

LIGHTING DESIGNER

RADIO MICROPHONE TECHNICIAN

COMPOSER

AUDIO-VISUAL OPERATOR

SOUND DESIGNER

REHEARSAL PHOTOGRAPHER

AUDIO-VISUAL DESIGNER

PRODUCTION PHOTOGRAPHER

ROBERT COUSINS MEL PAGE

DAMIEN COOPER ALAN JOHN STEVE FRANCIS SEAN BACON

WHARF 1 THEATRE

SYDNEY THEATRE

6 JAN – 12 FEB 2012

31 JAN – 3 MAR 2012

KEVIN WHITE MICHAEL TOISUTA REMY WOODS AN NGUYEN

GRANT SPARKES-CARROLL BRETT BOARDMAN

MEDIA PARTNER


Cora Bissett and Matthew Pidgeon. Photo Lisa Tomasetti

Hugo Weaving and Geraldine Hakewill. Photo Brett Boardman

SYDNEY THEATRE COMPANY, MERRIGONG THEATRE CO AND RICHARD JORDAN PRODUCTIONS PRESENT THE TRAVERSE THEATRE COMPANY PRODUCTION OF

MIDSUMMER (A PLAY WITH SONGS)

SYDNEY THEATRE COMPANY AND UBS INVESTMENT BANK PRESENT

LES LIAISONS DANGEREUSES BY CHRISTOPHER HAMPTON FROM THE NOVEL BY CHODERLOS DE LACLOS

BY DAVID GREIG AND GORDON MCINTYRE 43 PERFORMANCES 13,392 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

79 PERFORMANCES 23,226 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

CAST HELENA

SONGWRITER

CAST LA PRESIDENTE DE TOURVEL

SET DESIGNER

DAVID GREIG GORDON MCINTYRE

CORA BISSETT BOB

MATTHEW PIDGEON

DESIGNER

GEORGIA MCGUINNESS LIGHTING DESIGNER

CLAIRE ELLIOT DRAMATURG

KATHERINE MENDELSOHN PRODUCTION MANAGER (TRAVERSE)

KEVIN MCCALLUM

PRODUCTION MANAGER (MERRIGONG)

DANIEL POTTER

PRODUCTION MANAGER (STC)

JOHN COLVIN STAGE MANAGER

SARAH SCARLETT LIGHTING REALISER/OPERATOR

RENNY ROBERTSON PRODUCTION PHOTOGRAPHER

LISA TOMASETTI

JUSTINE CLARKE

SAM STRONG DALE FERGUSON COSTUME DESIGNER

CECILE VOLANGES

MEL PAGE

MME DE ROSEMONDE

HARTLEY T A KEMP

LE CHEVALIER DANCENY

ALAN JOHN

MME DE VOLANGES

STEVE FRANCIS

AZOLAN

JAMES DALTON

LA MARQUISE DE MERTEUIL

SCOTT WITT

EMILIE/MAJOR DOMO

CHARMIAN GRADWELL

LE VICOMTE DE VALMONT

SIMON KHAMARA

GERALDINE HAKEWILL JANE HARDERS JAMES MACKAY HEATHER MITCHELL TJ POWER PAMELA RABE

ASHLEY RICARDO HUGO WEAVING

LIGHTING DESIGNER COMPOSER

SOUND DESIGNER

ASSISTANT DIRECTOR FIGHT DIRECTOR

VOICE AND TEXT COACH PRODUCTION MANAGER STAGE MANAGER

SUZANNE LARGE ASSISTANT STAGE MANAGER

VICTORIA MARQUES THEATRE TECHNICIAN

CAMERON MENZIES BACKSTAGE HAIR AND MAKE-UP

DAVID JENNINGS

REHEARSAL PHOTOGRAPHER

GRANT SPARKES-CARROLL PRODUCTION PHOTOGRAPHER

BRETT BOARDMAN

DRAMA THEATRE 1 FEB – 10 MAR 2012

ASSOCIATE SPONSOR

MEDIA PARTNER

WHARF 1 THEATRE

PRESENTING SPONSOR ASSOCIATE SPONSOR

MEDIA PARTNER

31 MAR – 9 JUN 2012 35


Bille Brown and Barry Otto. Photo Jeff Busby

Drew Livingstone, Helen Thomson and Bruce Spence. Photo Heidrun Lohr

SYDNEY THEATRE COMPANY PRESENTS

SYDNEY THEATRE COMPANY AND MALTHOUSE THEATRE PRESENT

BY DYLAN THOMAS

BY THOMAS BERNHARD TRANSLATED BY TOM WRIGHT

UNDER MILK WOOD A PLAY FOR VOICES

THE HISTRIONIC (DER THEATERMACHER)

52 PERFORMANCES 22,906 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

45 PERFORMANCES 8,260 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

CAST MRS BEYNON/ MYFANWY PRICE/ WALDO’S MOTHER/ MRS UTAH WATKINS/ MRS WILLY NILLY/ MAE-ROSE COTTAGE/ LITTLE GIRL (WALDO’S DREAM)/ 1ST WOMAN (WALDO’S DREAM)

SET DESIGNER

CAST BRUSCON

DESIGNER

PAULA ARUNDELL

A SAILOR (CAPTAIN CAT)/ LITTLE BOY (WALDO’S DREAM)/ 4TH DROWNED (WALDO’S DREAM)/ MARRY ANNE THE SAILOR’S CHILD

KY BALDWIN

A SAILOR (CAPTAIN CAT)/ LITTLE BOY (WALDO’S DREAM) 4TH DROWNED (WALDO’S DREAM)/ MARRY ANNE THE SAILOR’S CHILD

ALEX CHORLEY

MR WALDO/ 2ND DROWNED/ MR PRITCHARD/ BUTCHER BEYNON/ REV. ELI JENKINS/ DAI BREAD

DREW FORSYTHE

EVANS THE DEATH/ MR UTAH WATKINS/ WILLY NILLY/ 1ST DROWNED/ ANOTHER MOTHER (WALDO’S DREAM)/ MRS FLUSHER (WALDO’S DREAM)/ MR PUGH/ NO GOOD BOYO/ MR CHERRY OWEN

CAMERON GOODALL

KIP WILLIAMS ROBERT COUSINS ORIGINAL COSTUME DESIGN

ALICE BABIDGE LIGHTING DESIGNER

DAMIEN COOPER MUSICAL DIRECTOR AND COMPOSER

ALAN JOHN

SOUND DESIGNER

STEVE FRANCIS ASSOCIATE DESIGNER

DAVID FLEISCHER VOICE DIRECTOR

CHARMIAN GRADWELL DRAMATURG

ANDREW UPTON

PRODUCTION MANAGER

DEPUTY STAGE MANAGER

FIRST VOICE

ERNA

DAVID MILLER

MADAME BRUSCON

MEG DEYELL

SARAH

JEMIMA HOGG

KATHERINE TONKIN JENNIFER VULETIC EDWINA WREN

BACKSTAGE WARDROBE SUPERVISOR

LISA PEDDIE

DAVE BERGMAN SIMON HAMILTON REHEARSAL PHOTOGRAPHER

GRANT SPARKES-CARROLL PRODUCTION PHOTOGRAPHER

HEIDRUN LOHR DRAMA THEATRE 22 MAY – 7 JUL 2012 36

PRESENTING SPONSOR

STAGE MANAGER (MALTHOUSE) ASSISTANT STAGE MANAGER (MALTHOUSE) HEAD ELECTRICIAN (MALTHOUSE)

STEWART CAMPBELL

JEFF BUSBY

EDWINA GUINNESS

SHOW MECHANIST

PRODUCTION MANAGER (MALTHOUSE)

PRODUCTION PHOTOGRAPHER

ASSISTANT STAGE MANAGER

FOH SOUND OPERATOR

TRANSLATOR

MALTHOUSE THEATRE WORKSHOPS

AMY FORMAN

ROSIE PROBERT/ MRS PUGH/ WALDO’S WIFE/ BLODWEN BOWEN/ CAT/ GOSSAMER BEYNON/ MRS DAI BREAD ONE/ MRS CHERRY OWEN

COMPOSER AND SOUND DESIGNER

SET, PROPS AND COSTUMES

SARAH SMITH

JACK THOMPSON HELEN THOMSON

TOM WRIGHT

JOSH PRICE

JOHN COLVIN STAGE MANAGER

BRUCE SPENCE

FERRUCCIO

DANIELLA LACOB

MOG EDWARDS/ OCKY MILKMAN/ 3RD DROWNED/ DULCIE PROTHERO (WALDO’S DREAM)/ SINBAD/ LORD CUT GLASS CAPTAIN CAT/ MR OGMORE/ LILY SMALLS/ LITTLE GLUEPOT (WALDO’S DREAM)

DARRIN VERHAGEN

BARRY OTTO

CONSULTANT CHOREOGRAPHER

ALAN JOHN

DREW LIVINGSTON

THE LANDLORD

CHILD CHAPERONES

JACK BLACK/ ORGAN MORGAN/ 5TH DROWNED/ 2ND NEIGHBOUR (WALDO’S DREAM) PC ATILLA REES/ BESSIE BIGHEAD/ PREACHER (WALDO’S DREAM)

LIGHTING DESIGNER

PAUL JACKSON

KELLY BUTLER

DEREK HENDERSON JENNI ANDERSON CAROLINE MOONEY

MARG HORWELL

THE LANDLORD’S WIFE

SCENIC PHOTOGRAPHER

SECOND VOICE/ FIRST NEIGHBOUR (WALDO’S DREAM)/ EFFIE BEVAN (WALDO’S DREAM) MRS ORGMORE-PRITCHARD/ MRS DAI BREAD TWO/ MRS ORGAN MORGAN

SANDY GORE

BILLE BROWN

DANIEL SCHLUSSER

WHARF 1 THEATRE 15 JUN – 28 JUL 2012


Wendy Hughes and Kerry Fox. Photo Brett Boardman

Kate Worsley. Photo Brett Boardman

SYDNEY THEATRE COMPANY PRESENTS

SYDNEY THEATRE COMPANY PRESENTS

ADAPTED FOR THE STAGE BY ANDREW UPTON AND SIMON STONE WORLD PREMIERE

WORLD PREMIERE

FACE TO FACE A FILM BY INGMAR BERGMAN 34 PERFORMANCES 10,285 PAID ATTENDANCE CAST WANKEL

HUMPHREY BOWER

DRAMATURG

TOM WRIGHT PRODUCTION MANAGER

JOHN COLVIN STAGE MANAGER

MINKA STEVENS

TOMAS

DEPUTY STAGE MANAGER

JENNY

ASSISTANT STAGE MANAGER

UNCLE

WIG, HAIR & WARDROBE SUPERVISOR

AUNT

HEAD MECHANIST

MARIA AND AS CAST

HEAD FLY OPERATOR

ANNA

HEAD ELECTRICIAN

ELIZABETH

LIGHTING OPERATOR

MICHAEL AND AS CAST

HEAD OF SOUND

MITCHELL BUTEL KERRY FOX JOHN GADEN WENDY HUGHES ANNA MARTIN JESSICA NASH QUEENIE VAN DE ZANDT DYLAN YOUNG PRODUCTION TEAM DIRECTOR

SIMON STONE

ERIN DALY

VICTORIA MARQUES LAUREN A. PROIETTI

PRODUCTION TEAM DIRECTOR

CAST PERFORMER/ MANIPULATOR

PUPPETRY AND MOVEMENT DIRECTOR

JULIA OHANNESSIAN

DESIGNER

MOTHER

DAMIEN COOPER

PERFORMER/ MANIPULATOR

EMILY MAGUIRE

HELEN THOMSON KATE WORSLEY

LIGHTING DESIGNER COMPOSER

SOUND DESIGNER

STEVE FRANCIS VOICE AND TEXT COACH

CHARMIAN GRADWELL PRODUCTION MANAGER

TERRI RICHARDS STAGE MANAGER

SUZANNE LARGE

PAT SMITHERS

ASSISTANT STAGE MANAGER

MATT SCHUBACH

KEVIN WHITE

VOICE OF CHILD

ROSE RICHARDS

FOH SOUND OPERATOR

DAVID BERGMAN

LIGHTING OPERATOR

CAMERON MENZIES

RADIO MIC TECHNICIAN

ALISTAIR MUNROE PRODUCTION PHOTOGRAPHER

ALICE OSBORNE RENÉE MULDER

ERIK THOMSON

ANDREW TOMPKINS

COSTUME DESIGNER

SARAH GOODES

FATHER

KANE MOTT

REHEARSAL PHOTOGRAPHER

ALICE BABIDGE

40 PERFORMANCES 8,269 PAID ATTENDANCE

STEVE MASON

SET AND LIGHTING DESIGNER

NICK SCHLIEPER

THE SPLINTER BY HILARY BELL

REHEARSAL PHOTOGRAPHER

GRANT SPARKES-CARROLL

GRANT SPARKES-CARROLL

PRODUCTION PHOTOGRAPHER

BRETT BOARDMAN

BRETT BOARDMAN

THE INITIAL DEVELOPMENT OF THE SPLINTER WAS SUPPORTED BY THE GIRGENSOHN FOUNDATION.

COMPOSER AND SOUND DESIGNER

STEFAN GREGORY ASSISTANT DESIGNER

DAVID FLEISCHER VOICE CONSULTANT

CHARMIAN GRADWELL LIGHTING ASSOCIATE

CHRIS TWYMAN

SYDNEY THEATRE 7 AUG – 8 SEP 2012

ASSOCIATE SPONSOR

WHARF 1 THEATRE 10 AUG – 15 SEP 2012 37


Geoff Morrell and David James. Photo Jeff Busby

Jacqueline McKenzie and Ryan Corr. Photo Brett Boardman

SYDNEY THEATRE COMPANY, MELBOURNE THEATRE COMPANY AND ALLENS PRESENT

SYDNEY THEATRE COMPANY PRESENTS

57 PERFORMANCES 21,915 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

67 PERFORMANCES 17,607 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

ON TOUR

DESIGNER

CAST ETHAN

DESIGNER

AUSTRALIA DAY BY JONATHAN BIGGINS

RICHARD COTTRELL

RIVERSIDE THEATRE, PARRAMATTA CANBERRA THEATRE CENTRE, CANBERRA 10 PERFORMANCES 3,310 PAID ATTENDANCE

RICHARD ROBERTS LIGHTING DESIGNER

NIKLAS PAJANTI SOUND DESIGNER

DAVID FRANZKE

SEX WITH STRANGERS BY LAURA EASON JOCELYN MOORHOUSE TRACY GRANT LORD

RYAN CORR OLIVIA

JACQUELINE MCKENZIE

LIGHTING AND PROJECTION DESIGNER

MATTHEW MARSHALL

COMPOSER AND SOUND DESIGNER

STEVE FRANCIS

ASSISTANT DIRECTOR

ASSISTANT DIRECTOR

TOUR PRODUCTION MANAGER (MTC)

VOICE AND TEXT COACH

PRODUCTION MANAGER (STC)

PRODUCTION MANAGER

CHESTER

STAGE MANAGER

STAGE MANAGER

ROBERT

ASSISTANT STAGE MANAGER

ASSISTANT STAGE MANAGER

WALLY

PRODUCTION PHOTOGRAPHER

HAIR, WIG AND COSTUME DESIGN

BRIAN

SHORT FILM MAKER

THEATRE TECHNICIAN

GARY ABRAHAMS

DOMINIC MERCER

MICHELE PRESHAW

CAST MARIE

VALERIE BADER KAENG CHAN DAVID JAMES PETER KOWITZ GEOFF MORRELL

CHARMIAN GRADWELL

TERRI RICHARDS

SIMON KHAMARA

WHITNEY MCNAMARA

TANYA LEACH

BEC POULTER

TODD EICHORN

JEFF BUSBY

LAUREN A. PROETTI

JOSH BURNS

CAMERON MENZIES HEAD MECHANIST

HELEN

ERIC DUFFY

ALISON WHYTE

REHEARSAL PHOTOGRAPHY

GRANT SPARKES-CARROLL PRODUCTION PHOTOGRAPHY

BRETT BOARDMAN

DRAMA THEATRE 7 SEP – 27 OCT 2012 38

PRESENTING SPONSOR ASSOCIATE SPONSOR ASSOCIATE SPONSOR

WHARF 1 THEATRE 24 SEP – 24 NOV 2012

ASSOCIATE SPONSOR

MEDIA PARTNER


Aaron Pedersen. Photo Lisa Tomasetti

SYDNEY THEATRE COMPANY, BLACK SWAN STATE THEATRE COMPANY AND COMMONWEALTH BANK PRESENT

SIGNS OF LIFE BY TIM WINTON 57 PERFORMANCES 19,897 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

CAST GEORGIE

SET AND COSTUME DESIGNER

KATE CHERRY ZOE ATKINSON

HEATHER MITCHELL

LIGHTING DESIGNER

BENDER

JON BUSWELL

LU FOX

BEN COLLINS

MONA

SCOTT WITT

AARON PEDERSEN GEORGE SHEVTSOV PAULINE WHYMAN

COMPOSER AND SOUND DESIGNER FIGHT DIRECTOR

ASSISTANT DIRECTOR

DAMON LOCKWOOD VOICE AND TEXT COACH

CHARMIAN GRADWELL PRODUCTION MANAGER (BSSTC)

GARRY FERGUSON

PRODUCTION MANAGER (STC)

JOHN COLVIN

Katie McDonald and Paige Gardiner. Photo Brett Boardman

SYDNEY THEATRE COMPANY PRESENTS

MARIAGE BLANC BY TADEUSZ RÓZEWICZ, ADAPTED BY MELISSA BUBNIC 11 PERFORMANCES 857 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

CAST BENJAMIN

SET DESIGNER

GIG CLARKE

SARAH GILES DAVID FLEISCHER COSTUME DESIGNER

BIANCA

RENÉE MULDER

AUNT/COOK

GAVAN SWIFT

GRANDFATHER

DAVID HEINRICH

MOTHER

MELISSA BUBNIC

PAULINE

TERRI RICHARDS

FATHER

SARAH SMITH

PAIGE GARDINER SACHA HORLER PETER KOWITZ LUCIA MASTRANTONE KATIE MCDONALD SEAN O’SHEA

LIGHTING DESIGNER

COMPOSER AND SOUND DESIGNER ADAPTER

PRODUCTION MANAGER STAGE MANAGER

ASSISTANT STAGE MANAGER

CATHERINE CAPOLUPO HEAD ELECTRICIAN

STAGE MANAGER (BSSTC)

GRAHAM HENSTOCK

ERIN COUBROUGH

SOUND SUPERVISOR AND HEAD OF SOUND

ASSISTANT STAGE MANAGER (STC)

BEN LIGHTOWLERS

VICTORIA MARQUES

THEATRE TECHNICIAN

REHEARSAL PHOTOGRAPHY

ANTHONY MCCOY

GRANT SPARKES-CARROLL

FIGHT CHOREOGRAPHER

PRODUCTION PHOTOGRAPHY

SCOTT WITT

LISA TOMASETTI

REHEARSAL PHOTOGRAPHER

GRANT SPARKES-CARROLL PRODUCTION PHOTOGRAPHER

BRETT BOARDMAN

THE PRODUCTION OF MARIAGE BLANC WAS SUPPORTED BY THE LANSDOWNE FOUNDATION

DRAMA THEATRE 2 NOV – 22 DEC 2012

PRESENTING SPONSOR

ASSOCIATE SPONSOR

WHARF 2 THEATRE 1 – 15 DEC 2012 39


Adam Vaughan. Photo Kay Young

Drew Forsythe and Amanda Bishop. Photo Tracey Schramm

SYDNEY THEATRE COMPANY AND BANK OF AMERICA MERRILL LYNCH PRESENT

SYDNEY THEATRE COMPANY PRESENTS A REGAN DE WYNTER PRODUCTION SASHA REGAN’S

THE WHARF REVUE RED WHARF: BEYOND THE RINGS OF SATIRE

THE PIRATES OF PENZANCE BY W.S. GILBERT & A. SULLIVAN

WRITTEN AND CREATED BY JONATHAN BIGGINS, DREW FORSYTHE AND PHILLIP SCOTT WORLD PREMIERE 62 PERFORMANCES 14,577 PAID ATTENDANCE

PRODUCTION TEAM MUSICAL DIRECTOR

19 PERFORMANCES 7,291 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

ON TOUR

LIGHTING DESIGNER

CAST MABEL

CHOREOGRAPHER

RIVERSIDE THEATRES, PARRAMATTA IPAC THEATRE WOLLONGONG CIVIC THEATRE, NEWCASTLE DUBBO THEATRE, DUBBO Q THEATRE, PENRITH GLEN STREET THEATRE, FRENCHS FORREST CANBERRA THEATRE CENTRE, CANBERRA 40 PERFORMANCES 13,573 PAID ATTENDANCE

PHILLIP SCOTT MATTHEW MARSHALL SET REALISER/PRODUCTION MANAGER

BARRY SEARLE

ROSIE GILBERT SOUND/ AUDIO-VISUAL CREATOR/ OPERATOR

DAVID BERGMAN

ANTHONY MCCOY COSTUME SUPERVISOR

SCOTT FISHER WIGS

MARGARET ASTON REHEARSAL STAGE MANAGER

MATT SCHUBACH

AMANDA BISHOP DREW FORSYTHE JOSH QUONG TART PHILLIP SCOTT

MICHAEL ENGLAND

THE PIRATE KING

ROBYN WILSON-OWEN

SAMUEL (HIS LIEUTENANT)

STEVE MILLER

RUTH (A PIRATE MAID OF ALL WORK)

BEN DE WYNTER

NIC GIBNEY

ANDREW WORBOYS VOICE AND TEXT COACH

CHARMIAN GRADWELL

LIGHTING DESIGNER

COMPANY MANAGER

TOURING TECHNICAL MANAGER

MAJOR–GENERAL STANLEY SARGEANT OF POLICE

REHEARSAL PIANIST

ADAM VAUGHAN

MARK MULLER HUW EVANS

EDITH

CASTING

ISABEL

DANCE CAPTAIN

CONSTANCE

AUDITION PIANIST

KATE

CORSETIER

CHORUS OF PIRATES, POLICE AND DAUGHTERS

ADDITIONAL COSTUME MAKERS

CHRIS THEO COOK

MUSIC TRACKS

DESIGNER

JOSEPH HOUSTON

STEWART CHARLESWORTH

TODD DECKER

MUSICAL DIRECTOR/SUPERVISOR

FREDERIC (THE PIRATE APPRENTICE)

MICHAEL BURGEN

HEAD ELECTRICIAN

VIDEO PRODUCTION

CAST

LIZZIE GEE

ALAN RICHARDSON MATTHEW GENT

STAGE MANAGER

SASHA REGAN

LEE GREENAWAY DALE PAGE ADAM LEWIS FORD RAYMOND TAIT EDWARD SIMPSON SAM LATHWOOD WILLIAM WHELTON JOEL ELFERINK JO PARSONS

ADAM BRAHAM CASTING RAYMOND TAIT CHRISTOPHER PEAKE KATE HEALY KINGSLEY HALL JAMES LACEY STAGE MANAGER

KATHERINE TIPPINS STAGE MANAGER

ELIZABETH MANSFIELD PRODUCTION PHOTOGRAPHER

KAY YOUNG

PRODUCTION PHOTOGRAPHER (SYDNEY)

LISA TOMASETTI

PRESENTED BY ARRANGEMENT WITH ARTS PROJECTS AUSTRALIA

WHARF 2 THEATRE 1 – 25 NOV WHARF 1 THEATRE 27 NOV – 22 DEC 40

PRESENTING SPONSOR

ASSOCIATE SPONSOR

SYDNEY THEATRE 8 – 24 NOV 2012

PRESENTING SPONSOR


The cast A History of Everything. Photo Brett Boardman

SYDNEY THEATRE COMPANY AND ONTROEREND GOED, IN ASSOCIATION WITH SYDNEY FESTIVAL PRESENT

Darren Gilshenan. Photo Sylvia Della Vedova

SYDNEY THEATRE COMPANY PRESENTS TAMARAMA ROCK SURFERS THEATRE COMPANY’S

ATEXTHISTORY OF EVERYTHING FOOLS ISLAND BY ALEXANDER DEVRIENDT AND JOERI SMET, IN COLLABORATION BY DARREN GILSHENAN AND CHRIS HARRIS WITH THE CAST WORLD PREMIERE

24 PERFORMANCES 3,937 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

25 PERFORMANCES 3,581 PAID ATTENDANCE

PRODUCTION TEAM DIRECTOR

ON TOUR

SCENOGRAPHY/ COSTUMES

CAST

COMPOSER

VOORUIT ARTS CENTRE, GHENT STUK ARTS CENTRE, LEUVEN STADSSCHOUWBURG, AMSTERDAM KUNSTENCENTRUM BELGIE, HASSELT DRUM THEATRE, PLYMOUTH SHAKESPEARE THEATRE, CHICAGO 35 PERFORMANCES 5,497 PAID ATTENDANCE

ALEXANDER DEVRIENDT SOPHIE DE SOMERE PRODUCTION MANAGER (STC)

TERRI RICHARDS

DARREN GILSHENAN ROSE TURTLE ERTLER

JO TURNER

ROSE TURTLE ERTLER DESIGNER

JASMINE CHRISTIE

LIGHTING DESIGN/ MAIN TECHNICIAN

LIGHTING DESIGN

ASSISTANT STAGE MANAGER/ TECHNICIAN

PRODUCTION MANAGER

THEATRE TECHNICIAN

STAGE MANAGER

SCRIPT/ RESEARCH ASSISTANCE

PRODUCER (TRS)

PRODUCTION PHOTOGRAPHER

THEATRE TECHNICIAN

LILITH TREMMERY

MATT COX

MICHAEL YALLOP

TERRI RICHARDS

ANTHONY MCCOY

TIM BURNS

ZACHARY HATCH

KAR CHALMERS

BRETT BOARDMAN

ANTHONY MCCOY PRESHOW MUSIC

CAST

KAROLIEN DE BLESSER CHARLOTTE DE BRUYNE CAMERON GOODALL ZINDZI OKENYO TAHKI SAUL JOERI SMET NATHALIE VERBEKE

AZO BELL

PRESENTED IN ASSOCIATION WITH STADSSCHOUWBURG AMSTERDAM, DRUM THEATRE PLYMOUTH AND RICHARD JORDAN PRODUCTIONS LTD.

PRODUCTION PHOTOGRAPHER

SYLVIA DELLA VEDOVA

WHARF 2 THEATRE

WHARF 2 THEATRE

13 JAN – 5 FEB 2012

30 JUL – 17 AUG 2012 41


Lucia Mastrantone. Photo Tracey Schramm

David Collins. Photo Grant Sparkes-Carroll

SYDNEY THEATRE COMPANY PRESENTS

SYDNEY THEATRE COMPANY PRESENTS

WORLD PREMIERE

WORLD PREMIERE

ACTOR ON A BOX: THE TALE MAKER ACTOR ON A BOX: THE LUCK CHILD BY JONATHAN BIGGINS, FROM TRADITIONAL FAIRY TALES BY JONATHAN BIGGINS AND DAVID COLLINS 17 PERFORMANCES 1,124 PAID ATTENDANCE

PRODUCTION TEAM CREATOR AND DIRECTOR

16 PERFORMANCES 1,485 PAID ATTENDANCE

CAST

DESIGN CONCEPT

CAST

LUCIA MASTRANTONE

JONATHAN BIGGINS DAVID FLEISCHER RENÉE MULDER

DAVID COLLINS

DESIGNER

PRODUCTION TEAM CO-CREATORS

JONATHAN BIGGINS DAVID COLLINS DIRECTOR

JONATHAN BIGGINS DESIGN CONCEPT

DAVID FLEISCHER

DAVID FLEISCHER RENÉE MULDER

PRODUCTION MANAGER

TERRI RICHARDS

DESIGNER

RENÉE MULDER

STAGE MANAGER

MATTHEW SCHUBACH

SOUND

BEDE SCHOFIELD

PRODUCTION PHOTOGRAPHER

TRACEY SCHRAMM

TECHNICIAN

LACHLAN O’DEA

ACKNOWLEDGEMENT: ACTOR ON A BOX HAS BEEN MADE POSSIBLE THROUGH THE SUPPORT OF JOANNA R. LOVE AND THE NELSON MEERS FOUNDATION.

PRODUCTION MANAGER

TERRI RICHARDS STAGE MANAGER

TANYA LEACH PRODUCTION PHOTOGRAPHER

GRANT SPARKES-CARROLL ACKNOWLEDGEMENT: ACTOR ON A BOX HAS BEEN MADE POSSIBLE THROUGH THE SUPPORT OF JOANNA R. LOVE AND THE NELSON MEERS FOUNDATION.

RICHARD WHERRETT STUDIO, SYDNEY THEATRE

RICHARD WHERRETT STUDIO, SYDNEY THEATRE

12 – 22 APR 2012

6 – 15 JUL 2012

42


Ethan Cranfield and Eamon Farren. Photo Terry Cooke

Justin Kilic and John Shrimpton. Photo Bilal Reda

SYDNEY THEATRE COMPANY AND THE ARMIDALE SCHOOL HOSKINS CENTRE PRESENT

SYDNEY THEATRE COMPANY IN PARTNERSHIP WITH BANKSTOWN YOUTH DEVELOPMENT SERVICE PRESENTS

WORLD PREMIERE

WORLD PREMIERE

IN A HEART BEAT CREATED BY JO TURNER AND SUSANNA DOWLING 7 PERFORMANCES 841 PAID ATTENDANCES

PRODUCTION TEAM WRITER

CAST

DIRECTOR

ETHAN CRANFIELD EAMON FARREN SAM KREUSLER ELEANOR PROKOP EMILY ROBERTS RHEYANON SHIELDS GEORGINA SYMES JACK TEARLE ANDREW TIGHE ADAM WILLIAMS

JO TURNER

SUSANNA DOWLING DESIGNER

RENÉE MULDER

LOOK THE OTHER WAY WRITTEN AND DIRECTED BY STEFO NANTSOU 4 PERFORMANCES 390 ATTENDANCE CAST TAMAR/ IDA/ HOLLY/ BELLA/ MAYA

ALICE ANSARA

LIGHTING DESIGNER SOUND OPERATORS

SEBASTIAN/ SHIMPAL/ IAN

LUKE POLSON PAT BRADLEY PRODUCTION MANAGER

SARAH WATSON

ZINDZI OKENYO

JOHN SHRIMPTON DAVID/ LUKE/ HIGH SCHOOL PRINCIPAL

FAYSSAL BAZZI

SHIMPAL’S BEST FRIEND/ HIGH SCHOOL TEACHER

STAGE MANAGER

MATUSE EL ALI

ASSISTANT STAGE MANAGER

YOUNG BOY AT STATION/ SHIMPAL’S LITTLE BROTHER/ TROUBLE MAKER

STC RESIDENT STAGE MANAGER

BEN

SARAH SMITH BENJAMIN BIBLE MINKA STEVENS

THIS PROJECT WAS MADE POSSIBLE BY STC ED DONORS: IAN AND MIN DARLING, ANN AND WARWICK JOHNSON, THE AUSTRALIAN CHILDREN’S TRUST, THE CALEDONIA FOUNDATION AND THE VINCENT FAIRFAX FAMILY FOUNDATION. PROJECT PATRONS: JULIE AND STEPHEN FITZGERALD.

JUSTIN KILIC

LIBRARY GIRL NO 2/ HOMELESS WOMAN/ SOUND EFFECT ARTIST IN BATHROOM SCENE

KADEJA EL MASRI

LUKE’S YOUNGER BROTHER/ PIANIST

VERA/ CATHERINE/ ROSALIE/ SHIMPAL’S LOVE INTEREST/ ZIN

ANTHONY CARLON

PARKOUR PERFORMER/ ATTACKER AT ATM / JEWELLER’S BODYGUARD

ANEES QUADAR ALI EL CHEBIB ZANE

ALI NAJJARINE LUKE’S YOUNGER SISTER/ SHOPPING GIRL

EMINI EL MASRI

GUY AT STATION/ BUTCHER/ BREAK-DANCER/ ATTACKER AT ATM

KARIM ZREKA

OLD MAN AT STATION/ TROUBLEMAKER

MAHMOUD RACIMIE

MANOUSH SHOP OWNER/ JEWELLERY SHOP OWNER

NASER CHAMALI

PROLOGUE/ LIBRARY GIRL NO 4/ SHOPPING GIRL

NATALIE MASTERS GROCERY SHOP OWNER

SHARNEEL SHARMAN GRANDFATHER OF GRIEVING FAMILY/ PAUL

STEFO NANSTOU PRODUCTION TEAM WRITER AND DIRECTOR

STEFO NANTSOU LIGHTING DESIGNER

FRANK MAINOO STAGE MANAGER

FILIP STEMPIEN

RANDA SAYED

LIBRARY GIRL NO 1 / GIRL WHO DOBS/ SHOPPING GIRL

ADAM ALLSOP

FRANKIE BEYA

SECOND STAGE MANGER LIGHTING & SOUND OPERATOR

VIETNAMESE MAN AT STATION/ ELECTRICIAN/ BREAK-DANCER

HENRY VO

LIBRARY GIRL NO / HIGH SCHOOL TEACHER/ SHOPPING GIRL

ISABELLA HENRIQUES

PARKOUR PERFORMER/ ATTACKER AT ATM

JOEY WELLS

TAS HOSKINS CENTRE, ARMIDALE

BANKSTOWN ARTS CENTRE

9 – 13 OCT 2012

11 – 12 OCT 2012

AISYIYAH PRAHASTONO THIS PROJECT WAS MADE POSSIBLE BY STC ED DONORS: IAN AND MIN DARLING, ANN AND WARWICK JOHNSON, THE AUSTRALIAN CHILDREN’S TRUST, THE CALEDONIA FOUNDATION AND THE VINCENT FAIRFAX FAMILY FOUNDATION. COMMISSIONING PATRON: THE GIRGENSOHN FOUNDATION. BYDS INVOLVEMENT IN THE PROJECT WAS SUPPORTED BY THE NSW GOVERNMENT COMMUNITY BUILDERS PROGRAM.

43


PLAYS AND PERFORMANCES

Number of performances

Paid attendance

Never Did Me Any Harm

41

6,980

Pygmalion

37

22,054

Midsummer (a play with songs)

43

13,392

Les Liaisons Dangereuses

79

23,226

Under Milk Wood

52

22,906

The Histrionic (Der Theatermacher)

45

8,260

Face To Face

34

10,285

The Splinter

40

8,269

Australia Day

57

21,915

Sex With Strangers

67

17,607

Signs Of Life

57

19,897

552

174,791

11

857

11

857

25

3,581

Main Stage

Subtotal

Next Stage

Mariage Blanc

Subtotal

Education/Family/Community

Fool’s Island

In A Heartbeat

7

841

The Caucasian Chalk Circle Reading

3

353

Stolen Workshop

5

825

The Removalist Reading

4

673

Look The Other Way

4

390

Actor on a Box: The Tale Maker

17

1,124

Actor on a Box: The Luck Child

16

1,485

81

9,272

A History Of Everything

24

3,937

19

7,291

Red Wharf: Beyond The Rings Of Satire (The Wharf Revue)

62

14,577

Return season Debt Defying Acts! (The Wharf Revue, 2011)

20

3,647

Subtotal

125

29,452

Total Main Stage, Next Stage, Education And Special Presentations 2012

769

214,372

Total Main Stage, Next Stage, Education And Special Presentations 2011

763

232,683

Subtotal

Special Presentations

44

The Pirates Of Penzance


PLAYS AND PERFORMANCES

Number of performances

Paid attendance

40

13,575

8

2,420

Touring Red Wharf: Beyond The Rings Of Satire (The Wharf Revue) – NSW & ACT Return season Debt Defying Acts! (The Wharf Revue, 2011) – Vic & Tas

Australia Day – NSW & ACT

10

3,310

Uncle Vanya – USA

10

17,720

Bloodland – SA & QLD

12

3,849

Never Did Me Any Harm – SA & Vic

12

2,593

Gross und Klein – Europe & UK

52

46,974

A History Of Everything – Europe & USA

35

5,497

179

95,938

Subtotal

Free attendance

Free Ticketed Events Rough Draft #13 Underland

1

100

Rough Draft #14 The Star Story

1

200

Rough Draft #15 Medea

1

107

Rough Draft #16 Open Them, Shut Them

1

115

Rough Draft #17 The Lobotomist

1

196

Rough Draft #18 The Post-Colonial Traveler

1

117

Wentworth Talk #12 Politics, Money and the Murray Darling Basin

1

89

Wentworth Talk #13 Whose Great Southern Land?

1

177

Wentworth Talk #14 It’s All in the Numbers

1

60

Wentworth Talk #15 Groundwater – Vital to our future (but little appreciated)

1

100

10

1,261

Total Free Ticketed Events

Total Performances In 2012 Sydney Metropolitan Area

793

National

68

International

97

Grand Total Performances 2012

958

Total Attendance 2012

311,571

Total Attendance 2011

307,630

45


KPI’S ~

KEY PERFORMANCE INDICATORS Stream

KPI

2010

2011

2012

Art

Main stage productions presented

12

12

11

4.6 weeks

5 weeks

4.3 weeks

8.75

8.25

6.45

15

15

13

4

3

1

13

6

8

30+

30+

15

National tours

5

4

5

International tours and presentations

1

1

3

2,979

1,706

1,820

-439

-281

-7

173

419

235

Net overheads (including funding and development income)

-1090

-1,853

-2,301

Surplus/deficit

1,623

-9

-254

16.08%

17.03%

14.80%

6,117

3,630

3,478

255,696

196,796

174,809

Non-subscription activities

46,397

36,614

37,438

Subscriber members

20,176

16,696

14,652

70%

63%

75%

Productions presented

5

3

3

Workshops

3

3

12

29,676

24,834

12,686

16

17

17

297

5

43

Average rehearsal time Average performers per play (Main stage) New Australian works and adaptations produced Next stage productions presented Commissions Readings and workshops

Business

Subscription season ($’000) Non-subscription activities Touring

Reserves as % of turnover Total raised (Net) including Foundation Paid attendance Subscription season

Subscriber renewal Community/ Education

No of participants School Drama™ (No of schools participating) Special in community productions (no of participants)

46


Bille Brown in The Histrionic (Der Theatermacher). Photo Jeff Busby

47


STC FOUNDATION ~

JILLIAN BROADBENT Chair STC Foundation STC Foundation supported in 2012 Seed funds for two new Australian commissions The international tour of Gross und Klein (with particular thanks to the STC Chairman’s Council)

An organisation of STC’s scale and output needs a strong Foundation to ensure its ambitions are fully realised. Our Foundation seeks and secures personal donations from private individuals, as well as from family trusts and foundations. It directly contributes to STC’s ability to create visionary theatre, develop its artists and engage with the broader community. I would like to thank the many individuals who make up this critical support group: it is through you that the Company is able to achieve its vision, standards, scale and creativity. In 2012, donations to the Foundation totalled $2,148,137, an increase on both 2011 and 2010 figures (excluding tied funding for the Greening the Wharf project). Donations were raised alongside ticket sales transactions, via direct mail campaigns, from major gifts for

specific projects, through fundraising events (including an auction, a trivia night and Pier Group lunches) and from generous individuals who chose to leave the Company a gift in their Will. This year we were able to disburse back to STC an amount of $2,538,320. Our capacity to support the STC to this level is an extraordinary result and responds to the needs of the Company as it concludes its three-year program of organisational change. Disbursements were directed towards: 1. Our Artform: We enhanced the scale and ambition of our main stage program, took part in major international tours and seeded new Australian works. 2. Our Artists: We supported the development of individual artists as they worked on their own projects and as part of our main stage program. 3. Our Community: We continued the roll out and development of our educational outreach programs locally and in the regions. 4. Our Company: We invested in business systems to ensure the ongoing viability of Company operations.

The digitisation and conservation of at-risk performance footage through STC’s Archive Project The work of our Artists in Residence on a variety of main stage projects Creative development through the Rough Drafts and Next Stage programs and the work of 2012 Richard Wherrett Fellow, Imara Savage The Patrick White Playwrights’ Award (with particular thanks to the Pier Group fundraising events) The School Drama™ program including a regional pilot in Broken Hill The New England Project, In A Heart Beat, with performances designed to stimulate community discussion

Going forward, STC forecasts an increasing reliance on Foundation funds to carry out its core work and main stage program. As well as ensuring our capacity to increase the amount disbursed back to STC when needed, the Foundation also plans to grow its overall balance of funds to provide further stability to the Company as it moves towards its 30th anniversary at The Wharf.

Workshops and performances with the Bankstown Youth Development Service and local high schools

I would like to thank the STC Foundation Trustees for their continued commitment to STC. Without their skill, dedication and support we could not sustain the level of donations raised.

Foundation Trustees

Jillian Broadbent ao Chair STC Foundation 48

STC’s new customer relationship management system and website (thanks to a significant donation)

STC’s interactive ‘first theatre’ experience for children, Actor on a Box.

Chair Jillian Broadbent ao Deputy Chair Andrew Stuart Trustees Nick Greiner ac Judi Hausmann Ann Johnson Justin Miller Peter Miller Gretel Packer Matthew Playfair Carla Zampatti ac


SYDNEY THEATRE COMPANY FOUNDATION TRUST

STATEMENT OF FINANCIAL POSITION AS AT 31 DECEMBER 2012

2012

2011

$

$

Current assets

Cash and cash equivalents

3,058,000

2,949,565

Trade and other receivables

1,579,445

2,686,566

4,637,445

5,636,131

43,576

41,185

7,218

16,758

50,794

57,943

4,586,651

5,578,188

Total assets

Current liabilities

Trade and other payables

Deferred Revenue

Total liabilities

Net assets

Equity

Retained earnings

1,275,271

2,540,588

Restricted Funding - Greening

2,301,380

2,500,000

Restricted Funding - Other

1,010,000

537,600

4,586,651

5,578,188

2012

2011

$

$

2,042,504

1,687,116

Fundraising expenses

(185,715)

(155,127)

Administrative expenses

(414,014)

(349,896)

Greening Funds applied to charitable purposes

(198,620)

-

Funds applied to charitable purposes

(2,341,324)

(1,411,286)

Profit before financing income

(1,097,169)

(229,193)

Financing income

105,632

129,788

Net financing income

105,632

129,788

(991,537)

(99,405)

-

-

(991,537)

(99,405)

Total equity

STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2012

Revenue

Profit for the period

Other comprehensive income

Total comprehensive income for the period

49


OUR DONORS ~

THANK YOU Lifetime gifts of $300,000 and above

Mr Giorgio Armani The Shi Family Foundation Ian & Min Darling David and Claire Paradice Anonymous Cameron & Ilse O’Reilly The Johnson Family Foundation The Australian Children’s Trust

Lifetime gifts of $100,000 and above

Catriona & Simon Mordant AM The Caledonia Foundation Gretel Packer Origin Foundation David Gonski AC and Orli Wargon OAM Julie and Stephen Fitzgerald Mr & Mrs Andrew & Jo Stuart Mrs Roslyn Packer AO Julia Ross Davies Family Foundation Ms Rebel Penfold-Russell OAM Peter Hall AM Mr Kim Williams AM Carla Zampatti AC Ms Jillian Broadbent AO John Symond AM Anita & Luca Belgiorno-Nettis Foundation Andrew Messenger Vincent Fairfax Family Foundation Andrew Upton & Cate Blanchett

2012 DONATIONS $100,000 and above

The Australian Children’s Trust, Ian & Min Darling, Origin Foundation, Gretel Packer, David and Claire Paradice

$50,000 – $99,999

The Caledonia Foundation, David Gonski AC and Orli Wargon OAM, The Johnson Family Foundation, Catriona & Simon Mordant AM, Vincent Fairfax Family Foundation

$25,000 – $49,999

Anonymous, Anita & Luca Belgiorno-Nettis Foundation, Julie and Stephen Fitzgerald, Prudence MacLeod, Andrew Messenger, The STC Pier Group, John Symond AM, Andrew Upton & Cate Blanchett

$15,000 – $24,999

Ms Jillian Broadbent AO, The Girgensohn Foundation, Mr Robert Hansen & Dr Annabelle Farnsworth, Nelson Meers Foundation, Ms Rebel Penfold-Russell OAM

Chairman’s Council

Anonymous, Mr Neil Balnaves AO, Catherine and Phillip Brenner, Michael Carapiet & Helen Carapiet, Mr and Mrs Robin and Judy Crawford, Rowena Danziger AM & Ken Coles AM, Ian & Min Darling, Craig & Bernadette Drummond, Julie and Stephen Fitzgerald, David Gonski AC, Mark & Anne Lazberger, Danita R Lowes & David M Fite, MacKenzie Family, Peter & Kate Mason, Andrew Messenger, David and Claire Paradice, Robert Purves AM, Ian & Kelly Saines, Mr Fred Street AM & Mrs Dorothy Street, Mr & Mrs Andrew & Jo Stuart, The Hon Malcolm Turnbull MP and Lucy Hughes Turnbull AO, Kim Williams & Catherine Dovey, Graeme Wood AM

50


$10,000 – $14,999

Mr Robert Albert AO & Mrs Elizabeth Albert, Craig & Bernadette Drummond, Edward and Diane Federman, Bill and Kate Guy, Hausmann Communications, Joanna R. Love, Maple-Brown Charitable Foundation Ltd, Mrs Roslyn Packer AO, Simon & Alison Rothery, Mr & Mrs Will and Jane Vicars, Sarah Whyte, Phillip and Suzy Wolanski

$5,000 – $9,999

Anonymous (3), Wayne Adams in memory of Liz O’Neill OAM, Ellen Borda, John and Julie Connolly, Anne and David Craig, Y Faros and P McIntyre, Mandy Foley-Quin, John & Frances Ingham, Lowy Family Group, Ross Littlewood & Alexandra Curtin, Roger Massy-Greene & Belinda Hutchinson, The William McIlrath Charitable Foundation, Victoria Taylor, TMA Australia, Peter Waters, Mr Kim Williams AM, Peter and Susan Young

$2,000 – $4,999

Anonymous (7), Michael Adena & Joanne Daly, Tom & Diane Beecroft, Billy Bennett and Marguerite Gregan, Dr David G Block AC and Mrs Naomi Block, Anthony and Leda Booth, Janice Burke, Mark and Louise Nelson, Dr Bishnu Dutta & Ms Jayati Dutta, Julia Farrell, R Godlee & A Maxwell, Mrs Megan Grace, Bill & Alison Hayward, Funded by The Perpetual Foundation - The Hilmer Family Endowment, Mark & Anne Lazberger, Margaret J. Mashford, Robert McDougall, Dr Ann McFarlane, Dr Stephen McNamara, Julia Ross, Mr Ian Saines, Emine Sermet, Louise Taggart and Peter Homel, Lynne Watkins and Nicholas Harding

$1,000 – $1,999

Anonymous (9), Alex and Paula Adamovich, Mr Andrew Andersons AO, Jim & Sarah Butler, Mr Joseph Catanzariti, JT Clark, Tim and Bryony Cox, Peter Demou, Jane Douglass AM, Diane & John Dunlop, Kelly Ehrlich, Mr & Mrs Paul Espie, James Fairfax AO, Ms Anne Galbraith, Ginny & Leslie Green, Amanda Harkness, Donald Hector & Sandra Ollington, Andreas & Danielle Heidbrink, Jennifer Hershon, Dr John & Mrs Mary Holt, Michael Ihlein & Gosia Dobrowolska, IM & NR Jackman, Geraldine James, H. Kallinikos Pty Ltd, Mrs Elizabeth Laverty, Richard & Elizabeth Longes, Danita R Lowes & David M Fite, Carolyn and Peter Lowry OAM, Ian Mackinnon, J. A. McKernan, Justin Miller, Peter and Jannette Miller, Irena Nebenzahl, Selene Ng, Sue O’Keefe in memory of Lynda Shearer, Eva and Timothy Pascoe, Janine Perrett, Scott Ryall and Natasha Morris, Titia Sprague, Jenny & Dorset Sutton, Patricia Swann, Lynn Trainor, Gabrielle Wales, Antony Whitlam

$500 – $999

Anonymous (32), Mrs Margaret Arnott, Alan & Susie Bardwell, James Barron, Annabelle Bennett, Jonathan Biggins, Bonnie Boezeman AO, Mrs Geraldine Bull, Annette & Kevin Burges, Mark Burrows, Dr Gil Burton, Leith and Darrel Conybeare, P. Cornwell & C. Rice, Nick and Joy Cowdery, Miriam Davis, Mr Graham Egan, Allan Elliott, Archie Elliott, Frances Garrick, Tony & Camilla Gill, W M & E L Gray, Nick and Kathryn Greiner, Chris & Gina Grubb, Priscilla Guest, The Honourable Ian Gzell, David & Lisa Hale, Anthony Harris, Professor Margaret Harris, Lady P. H. M. Harrison, Dorothy Hoddinott AO, Peter and Ceri Ittensohn, Dr George Jacobs, Anita Jacoby, Julia Jane Pty Limited, Margaret Johnston, Lynette Kornmehl, Holly Kramer and Malcolm Noad, Gilles & Susan Kryger, Ralph W Lane OAM, Jennifer Ledgar & Bob Lim, J G Lewis, Andrew and Bronwyn Lumsden, Alexandra Martin in memory of Lloyd Martin AM, David H. Mathlin, Scot and Fiona Menzies, Andree Milman, Robert Morgan, Dr Andrew Moss, John & Maureen Murray, Dr Peter & June Musgrove, Rointon Nugara & Brendan Nugent, George & Penelope Palmer, W Perkins, Reginald Perry, Brenda Petrisic, Philanthropy Initiative Australia (Lorraine Copley), Peter and Jenny Pockley, Simone and John Rasko, Lesley and Andrew Rosenberg, Bradley Russell, Manfred and Linda Salamon, Susan Scobie, Jillian Segal, Mr Brian Sherman, Ann and Quinn Sloan, Dick & Pip Smith, Dr Peter & Mrs Diana SouthwellKeely, Robert Stephens, John and Christina Stitt, Mr & Mrs Andrew & Jo Stuart, Judy Swan, Janet Tepper, Sue Thomson, In Memory of Nathan Trepezanov 30.04.1984-16.01.2006, The Hon Malcolm Turnbull MP & Lucy Hughes Turnbull AO, Vera Vargassoff, Dr Peter Wilkins MBE, Ms Joan Wilkinson, Evan Williams AM, Jonathan Wood, Neil & Lynn Wykes, Dr John Yiannikas, In Memory of Isobel Yuille, Carla Zampatti AC

Bequest

Anonymous x 2 Lady Nancy Fairfax OBE

51


OUR PARTNERS ~

OUR 2012 PARTNERS SYDNEY THEATRE COMPANY CELEBRATES THE SUPPORT OF OUR VALUED PARTNERS Major Sponsors

Government Support

Sydney Theatre Company is supported by the NSW Government through Arts NSW

Energy Advisor to Greening The Wharf

Sydney Theatre Company is assisted by the Australian Government through the Australia Council, its arts funding and advisory body

Presenting Sponsors

Accommodation Partner

Associate Sponsors

Media Partner

Fine Wine Partner

52


Premium Season Sponsors

Season Sponsors

Corporate Sponsors ACMN MARKETING & ADVERTISING ARIA Restaurant

IDS Displays ISS Facility Services

Tourism & Transport Forum

STC is proud to be a member of the Australian Major Performing Arts Group

SYDNEY THEATRE CELEBRATES VALUED PARTNERSHIPS WITH THE FOLLOWING SPONSORS Presenting Partner

Government Partner

Premium Season Sponsor

53


2012 AT ~

SYDNEY THEATRE With more than 154,000 tickets sold to Sydney Theatre performances across the year, the venue hosted one of its busiest years to date

Set in the burgeoning Walsh Bay Arts Precinct, in 2012 Sydney Theatre hosted main stage STC productions as well as other critically-acclaimed plays, children’s theatre, festival shows and corporate events. Photography exhibitions, dance, poetry and not-for-profit organisations also made wonderful use of the space, bringing new audiences, ideas and vibrancy to the venue. In addition to STC’s three subscription productions (Face To Face, Pygmalion and The Pirates Of Penzance), Sydney Theatre also hosted two Actor on a Box seasons (STC’s series for children) and a range of other performances including Potted Potter, Yes, Prime Minister and two seasons of The Mousetrap. In January, Sydney Theatre’s partnership with Sydney Festival resumed, with the Festival’s presentations of Cheek by Jowl’s ’Tis Pity She’s A Whore and contemporary dance work Babel by Sidi Larbi Cherkaoui. Meanwhile, Sydney Dance Company presented two very successful seasons with 2 One Another and a collaboration with the Australian Chamber Orchestra, Project Rameau. In May, Sydney Theatre again hosted Sydney Writers’ Festival events, with patrons choosing from a series of entertaining and thought-provoking discussions as part of the Festival’s week-long program. The Sydney Theatre Presents program had its busiest year to date with comedy great Bob Downe’s show 20 Golden Greats and England’s Filter Theatre presenting its highly acclaimed production of Water. The welcome return of Adelaide’s Australian Dance Theatre and the

54

West Australian Ballet to Sydney saw both contemporary dance (Be Your Self) and classical dance (Neon Lights) take their place on the stage. During the year, the venue was used for 44 corporate events from the ASTRA Awards to major events for National Australia Bank, Google, Fremantle Media and The Department of Foreign Affairs and Trade. Attracting an even bigger following of dedicated spoken word fans, the Australian Poetry Slam made a welcome return while the Richard Wherrett Studio hosted some interesting small-scale works including the Irish production The Year Of Magical Wanking and an exhibition of photographic portraits by Luke Stambouliah. Activist and The Vagina Monologues playwright, Eve Ensler, presented the University of New South Wales Australian Human Rights Centre’s annual human rights lecture in the auditorium. More than 154,000 tickets were sold to Sydney Theatre performances across the year with The Mousetrap and Yes, Prime Minister both setting new records for non-STC presented plays. Meanwhile, the pre- and post-show experience for patrons continued to thrive thanks to resident bookstore, gleebooks, and the venue’s exclusive caterer, Culinary Edge. STC acknowledges Arts NSW for its continued support of Sydney Theatre and its commitment to enhancing the Walsh Bay Precinct as a hub for the arts.

NSW Cultural Management Ltd Chair Peter Young am Members The Hon. Bruce Baird am Anita Belgiorno Nettis Jonathan Biggins Cate Blanchett Mary Kostakidis Martin McCallum Andrew Upton


ADT Be Your Self. Photo Chris Herzfeld

55


ACKNOWLEDGING ~

OUR STAFF David Gonski (Chair), Jonathan Biggins, Cate Blanchett, Toni Cody, John Connolly, Martin McCallum, Justin Miller, Simon Mordant AM, Sam Mostyn, Andrew Stuart, Andrew Upton Artistic Directors Cate Blanchett (until Dec 2012) Andrew Upton Associate Director Tom Wright (Until Dec) Casting Director Serena Hill Casting Coordinator Annelies Crowe Literary Manager Polly Rowe Company Manager Colm O’Callaghan Voice & Text Coach Charmian Gradwell Executive Director Patrick McIntyre Director of Programming and Artistic Operations Rachael Azzopardi (From Feb) Executive Producer Jo Dyer (Until Apr) Associate Producer Ben White Artistic Administrators Rhys Holden, Zoe O’Flanagan HR Manager Claire Diment (Until Nov) HR Manager Kate Crisp (From Nov) Personal Assistant to the Artistic Directors Georgina Pym Executive Assistant to the General Manager Briony Sefton (Until Jan) Executive Assistant Laura Hough (From Jan) Receptionist Fleur Stevenson (Until Mar) Receptionist Karly Pisano (From Mar) Director of Finance and Administration Claire Beckwith IT Manager Andrew King IT Support Adam Ghannoum Application and Database Manager Patrick Drew (From Mar) Accountant Helen Ban Accounts Officer Julie Stagg Personnel Officer Patricia Hennessy Corporate Partnerships Manager Anna McPherson Corporate Partnerships Executives Sacha Marie Curtis (From Jul), Camilla Lawson, Georgia Blok (Until Jul) Corporate Partnerships Coordinator Claudia Rowe (From Jul) Corporate Partnerships Coordinator Sacha Marie Curtis (Until Jul) Head of Philanthropy Danielle Heidbrink Philanthropy Manager Amelia Pryke (Maternity leave from Oct) Acting Philanthropy Manager Tiffany Moulton (From Oct) Donor Hospitality Coordinator Jessica Howard (From Oct)

56

Philanthropy Coordinator Tina Ferguson (Until Mar) Philanthropy Coordinator Lucy Howard-Taylor (From Mar) STC Pier Group Anne Schofield (Chair), Peggy Carter, Eve Heath, Graham Jennings, Richard Lyle, Virginia Pearce Director of Marketing and Customer Services Nicole McPeake Marketing Manager Carmel England Direct Marketing Manager Jessica Debrodt (Until Dec) Marketing & Website Co-ordinator Car olyn Johnstone Marketing Assistant Elyssa Haratsis Data Analyst Alex Bosi Lead Graphic Designer Grant Sparkes-Carroll Graphic Designer Hon Boey Content Manager Alex Lalak Media Relations Manager Tim McKeough Publicist Ella Minton Season Ticket Manager Travis Green Customer Services and Ticketing Manager Beth Deguara Assistant Customer Services Manager Louise Rafferty Acting Assistant Customer Services Manager Tamar Cranswick Ticketing Specialist Stephanie Son Ticketing Specialist Walter Mansfield Customer Services Supervisors Tamar Cranswick, Tom Hatfield, Bradley Hinde, Lisa Griffiths, Elliott Wilshier Customer Services Representatives Nancy Alexander, Marietta Hargreaves, Jennifer White Sustanability Manager Paul O’Byrne (Until Mar) Director of Community Programs Paul O’Byrne (From Mar) Cultural Development Manager Matthew Morse Education Manager Helen Hristofski (Maternity leave from March) Acting Education Manager Toni Murphy (From Mar) Acting Education Coordinator Helen Machalias (Until Oct) School Liaison Officer Beth Downey (From Oct) School Drama Coordinator Georgia Adamson Education Ticketing Representative Alana Hicks (Until Sept) Archivist Judith Seeff Oral Historian for STC Archives’ Oral History Project Dr. Margaret Leask Archives’ Digitisation Project Technician Andrew Williams House Services Manager Martyn Nightingale House Managers Sherry-Anne Cunniffe, Laszlo Hajdu, Edward Whitmarsh-Knight Restaurant Manager Sharon Timms (From Jan) Bar Manager Joe Cutcliffe (From Feb-Dec) Day Supervisor Shannon Johnson (From Apr) Floor Manager Lachlan Price (From Jul)

Casual Bar Staff Jemma Whiteman, Cameron Watt, Kevin Walsh, Ines Vas De Sousa, Ziggy Tockuss, Sharon Timms, Hannah Sim, Zaid Salah, Hannah Redknap, Lisa Raeburn, Karla Pusz, Povilas Pullinen, Lachlan Price , Anna Pihan, Joshua Mitchell, Briton Mardirosian, Jacqueline Maloney, Evan Jones, Shannon Johnson, Dan Hunter, Zara Hawkes , James Hansen, Alira Goode, Eliza-Jane George, Dominique Gaultier, Scott Frame, Jed Finlay, Shai Feniger, Berri Eggert, Michael Eggert, Belinda Donnelly, Kavaljit Dhillon, Bonnie Dalrymple, Joe Cutcliffe, Ryhs Cornish, Michael Chance, Oliver Champion, Michael Cassidy, Andrew Calvert, Hannah Burnett, Tomar Buki, Paloma Brierley Newton, Timothy Bannister, Georgia Anderson, Irena Adam Head of Production Annie Eves-Boland Production Managers John Colvin, Simon Khamara, Terri Richards Acting Production Administrator Larna Burgess-Munro (Until Dec) Head of Stage Management Georgia Gilbert Resident Stage Manager Minka Stevens Technical Manager Barry Searle Head of Lighting Graham Henstock Deputy Head of Lighting Adam Bowring Head of Sound Ben Lightowlers Sound Supervisor Bede Schofield Senior Head Mechanist Eric Duffy Theatre Technicians Tony McCoy, Cameron Menzies Lighting Technician Ian Garrard Production Workshops Manager John Preston Head of Set Construction James McKay Deputy Head of Set Construction Barry Hiblen Senior Set Constructor Andrew Craig Set Constructors Michael Apoifis, Boaz Shemesh, Mark Rowley Draftsperson Andrew Powell Head of Stores and Maintenance Gary Everingham Head of Props Alex Stuart Props Buyer Traleen Ryan Props Maker Paul Harrison Head of Scenic Art Hilary Burrows Scenic Artist Ron Thiessen Driver/Buyer Ashley Trotter Costume Manager Scott Fisher Costume Coordinator Sam Perkins Costumiers Joanna Grenke, Mary Anne Lawler, Martin Roberts, Ruth Tickle Wig, Hair & Makeup Supervisor Lauren A. Proietti Sydney Theatre Technical Manager Kevin Sigley Building Services Manager Barry Carr Events Manager Phoebe Meredith Operations Coordinator Alexa Dodd (From Jan) House Manager Alex Plavsic Head Mechanist Steve Mason Head Fly Operator David Stabback


Photo Grant Sparkes-Carroll

Photo Brett Boardman

Photo Brett Boardman

Deputy Fly/Venue Maintenance Kane Mott Head Electrician Andrew Tompkins Deputy Head Electrician/Board Operator Pat Smithers Head of Sound Kevin White STC Artists in Residence Artistic Associates Alice Babidge, Gideon Obarzanek Resident Director Stefo Nantsou Resident Actors Cameron Goodall, Julia Ohannessian, Zindzi Okenyo, Richard Pyros, Sophie Ross, Tahki Saul Directing Associate Kip Williams Richard Wherrett Fellow Imara Savage Resident Designers David Fleischer, RenĂŠe Mulder Education Artists Georgia Adamson, Victoria Campbell, Susanna Dowling, Anna Martin, Jo Turner STC Writers Under Commission Hilary Bell, The Black Lung, Andrew Bovell, Melissa Bubnic, Ross Mueller, Joanna Murray-Smith, Simon Stone PlayWriting Australia Associate Playwrights Duncan Graham, Rita Kalnejais, Sue Smith

STC Casual and Seasonal Staff Costume Seasonal Rosalie Lester Seasonal Carpenter Matthew Clouston Electrics Casual Lynton Blessington, Paul Najor, Andrew Williams Sound Casual Louis Thorn, Michael Toisuta Sound Seasonal Dave Bergman Stores Casual Cat Bauman, Stuart Brown, Jason Keir, Jee Leong, Allan Vella Archival Videographer Andrew Williams Stage Management Seasonal Roxzan Bowes, Tim Burns, Catherine Capolupo, Erin Daly, Todd Eichorn, Amy Forman, Rosie Gilbert, Edwina Guinness, Jemima Hogg, Suzanne Large, Tanya Leach, Victoria Marques, Liam Murray, Rebecca Poulter, Matt Schubach, Sarah Smith, Eva Tandy, Remy Woods Front of House Lorena Arancibia, James Barrow, Sarah Brown, Loretta Cain, Rita Kahn Chen, Nick Curnow, Michael Cutrupi, Cloe Fournier, Nola Dean, Matt Goodwin, Frances Green, Charlotte Grien, Angelina Grien, Stephanie Gunn, Tamlyn Henderson, Lee Horton, Khadijah Shah Idil, Maddi Jones, Amy Kersey, Kirsty Kiloh, Tessa Lind, Owen Little, Meg Lofts, Fabian McCallum,

Jodie Payne, Geneveive Reynolds, Errol Robertson, Jessica Rogers, Joanne Sanders, Damian Sommerland, Flora Smith, Louise Sykes, Holly Thompson, Allan Vella, Heath Wilder, Christian Witz Bar Michael Cassidy, Michael Chance, Jed Finlay, Dominique Gaultier, Briton Mardirosian, Joshua Mitchell, Paloma Newton, Anna Pihan, Povi Pullinen, Cameron Watt Program Sellers The Vintage Allsorts Box Office John Calvi, Andrew Castle, Quinn Gibbes, Adriana Law, Catherine McCrorie, Gavin Roach, Kennie Ward, Heath Wilder, Chris Williams Education Resources by Kerreen Ely-Harper Volunteer Guides Rosemary Allison, Joan Betteridge, Dianne Johnson, Ron Johnson, Anne Lennard, Lyn Mallesch, Steve McAuley, Vicki Mike, Joan Morgan, Barry Moscrop, Prim Moss, Valda Rigg, Tony Sherlock, Diane Sturrock, Bill Turbet STC Archives Volunteers Ken Gray, Patricia Ryan, Betty Smith, Greig Tillotson

57


FINANCIAL REPORT ~

58


FINANCIAL REPORT ~

Photo Brett Boardman

59


FINANCIALS ~

CONTENTS

Contents

Page

1 Directors

61

2

Directors’ meetings

62

3

Company secretary

62

4

Principal activities

62

5

Operating and financial review

62

6 Dividends

62

7

Events subsequent to reporting date

62

8

Likely developments

62

9

Environmental regulation

63

10

Indemnification and insurance of officers and auditors

63

11

Lead auditor’s independence declaration

63

60


FINANCIALS ~

DIRECTORS’ REPORT

FOR THE YEAR ENDED 31 DECEMBER 2012

The directors present their report together with the financial report of Sydney Theatre Company Limited (“the Company”) for the year ended 31 December 2012 and the auditor’s report thereon.

1. Directors Name and qualifications

Experience, special responsibilities and other directorships

David Gonski AC Chairperson since 9 February 2010

Company Director Chairman, Ingeus Ltd, Investec Bank (Aust) Ltd, UNSW Foundation Ltd, National E Health Transition Authority, Swiss Re Life & Health Aust, Future Fund of Australia and Coca-Cola Amatil Ltd Director, Lowy Institute of International Policy, and Infrastructure NSW Member, ASIC External Advisory Panel Patron, Australian Indigenous Education Fund Chancellor of UNSW Bachelor of Commerce; Bachelor of Laws (UNSW)

Jonathan Biggins Director since 13 July 2010

Actor, Writer and Director Director, NSW Cultural Management Ltd

Catherine Blanchett Co-Executive Director since 7 January 2008. Resigned 31 December 2012

Actor, Co-Artistic Director of the Sydney Theatre Company Director, Dirty Films Aust Pty Ltd, NSW Cultural Management Ltd Bachelor of Arts (NIDA) Doctorate, Doctor of Letters (Honorius Causa) (UNSW)

Toni Cody Director since 1 July 2011

Consultant Deputy Chair, Chris O’Brien Lifehouse at RPA Director, Pierpat Pty Ltd Bachelor of Economics (Monash University)

John Connolly Director since 10 February 2009

Consultant Director, John Connolly and Partners, The Manager Pty Ltd and Teneo Strategy Australia Pty Ltd

Martin McCallum Director since 28 February 2005

Producer, Theatre Design Consultant Fellow of the Royal Society Honorary Lifetime Member, Society of London Theatre Director, Martin McCallum Pty Ltd, Mrs Rupa Mehra Productions Pty Ltd, Twelve-Twelve-Twelve Pty Ltd, NSW Cultural Management Ltd

Patrick McIntyre Executive Director since 1 January 2013

Executive Director Executive Director, NSW Cultural Management Ltd Bachelor of Arts (University of Technology, Sydney)

Justin Miller Director since 19 March 2007

Art Consultant Governor, Taronga Zoo Trustee, Sydney Theatre Company Foundation Ambassador, Museum of Contemporary Art Bachelor of Arts Honours (University of Sydney)

Simon Mordant, AM Director since 12 February 2008

Investment Banker Vice Chairman & Managing Director, Greenhill & Co., Inc Chairman, Museum of Contemporary Art Director, Garvan Foundation, Wharton Executive Board for Asia, and Australian Broadcasting Corporation Chartered Accountant

Sam Mostyn Director since 9 May 2005

Non-Executive Director and Advisor Director, Transurban, Citibank Australia, Virgin Australia Chair, Stakeholder Advisory Committee, CSIRO Climate Adaptation Flagship Deputy Chair, Diversity Council of Australia Commissioner, Australian Football League, and Australian Mental Health Commission Public Interest Representative & Chair Community Partnerships, Australia Council of the Arts Member, Advisory Board, ClimateWorks Australia, and Crawford School of Government & Economics (ANU) Member, NSW Climate Council, National Sustainability Council Bachelor of Arts with Bachelor of Laws (ANU)

Andrew Stuart Director since 26 May 2009

Chief Executive Officer, BKK Partners Director, Reuse Pty Ltd, Jaada Pty Ltd, and BKK Partners Bachelor of Commerce

Andrew Upton Executive Director since 7 January 2008

Writer, Executive Director & Artistic Director of the Sydney Theatre Company Director, Dirty Films Aust Pty Ltd, NSW Cultural Management Ltd Bachelor of Arts 61


FINANCIALS ~

DIRECTORS’ REPORT (CONT’D) 2. Directors’ meetings

The number of Directors’ meetings (including meetings of Committees of Directors), and number of meetings attended by each of the Directors of the Company during the financial year are

Director

Directors’ meetings

Finance Committee meetings

No. of meetings attended

No. of meetings held*

No. of meetings attended

No. of meetings held*

J Biggins

6

7

C Blanchett**

6

7

2

4

T Cody

7

7

J Connolly

5

7

4

4

D Gonski

7

7

3

4

M McCallum

4

7

3

4

J Miller

6

7

-

S Mordant

2

7

3

4

S Mostyn

5

7

A Stuart

7

7

3

4

A Upton**

6

7

2

4

* Reflects the number of meetings held during the time the Director held office. ** Cate Blanchett and Andrew Upton share one position on the board and are each other’s alternate.

3. Company secretary

Claire Beckwith was appointed to the position of Company Secretary in March 2004.

4. Principal activities

The principal activities of the Company during the course of the financial year was the production and presentation of a series of plays. There were no significant changes in the nature of the activities of the Company during the year.

5. Operating and financial review

Overview of the Company The deficit of the Company for 2012 was $254,420 (2011: deficit of $8,901). In 2011, Greening The Wharf net surplus funds of $207,459 were recognised as income, without this income the Company would have had a deficit of $216,360. In 2011, the Greening the Wharf Project was successfully completed and acquitted. In 2012, ongoing expenses of $198,729 in Greening the Wharf Assets depreciation charge are fulfilled by Greening the Wharf donation income. Significant changes in the state of affairs In the opinion of the Directors there were no significant changes in the state of affairs of the Company that occurred during the financial year under review.

6. Dividends

No dividends were paid or proposed by the Company during the financial year.

7. Events subsequent to reporting date

There has not arisen in the interval between the end of the financial year and the date of this report any item, transaction or event of a material and unusual nature likely, in the opinion of the Directors of the Company, to affect significantly the operations of the Company, the results of those operations, or the state of affairs of the Company, in future financial years.

8. Likely developments

Further information about likely developments in the operations of the Company and the expected results of those operations in future financial years has not been included in this report.

62


FINANCIALS ~

9. Environmental regulation

The Company is not subject to any significant environmental regulation under either Commonwealth or State legislation. However, the Board believes that the Company has adequate systems in place for the management of its environmental requirements and is compliant with any environmental requirements as they apply to the Company.

10. Indemnification and insurance of officers and auditors

Indemnification The Company undertakes to indemnify current Directors and Executive Officers against all liabilities to other persons (other than the Company or a related body corporate) that may arise from their positions as Directors of the Company, except where the liability arises out of conduct involving a lack of good faith. Insurance premiums The Company has paid insurance premiums under contracts insuring Directors and officers of the Company against liability incurred in that capacity.

11. Lead auditor’s independence declaration

The lead auditor’s independence declaration is set out on page 84 and forms part of the Directors’ report for financial year ended 31 December 2012.

This report is made with a resolution of the Directors:

David Gonski Chairperson Dated at Sydney this 16th April 2013.

63


FINANCIALS ~

STATEMENT OF COMPREHENSIVE INCOME FOR THE YEAR ENDED 31 DECEMBER 2012

Note

2012

2011

$

$

29,827,820

28,654,329

(19,020,186)

(20,161,293)

Sales and promotion expenses

(2,481,869)

(2,472,959)

Administrative expenses

(3,752,146)

(3,531,791)

Occupancy expenses

(2,552,267)

(2,455,406)

The Bar expenses

(2,185,582)

(8,658)

Revenue

2

Theatre and production expenses

Greening the wharf expenses

3b

(227,595)

(393,916)

Other expenses

3a

(110,500)

(122,175)

(502,325)

(491,869)

247,905

482,968

247,905

482,968

(254,420)

(8,901)

-

-

(254,420)

(8,901)

Profit from operating activities

Finance income

6

Net finance income

Profit/(Loss) for the period

Other comprehensive income Total comprehensive income for the period

The statement of comprehensive income is to be read in conjunction with the notes of the financial statements set out on pages 67 to 81.

STATEMENT OF CHANGES IN EQUITY

Note

Balance at 1 January 2011 Total comprehensive income for the year Transfers

General reserves

Reserves incentive scheme

Total reserves

Retained earnings

Total Equity

$

$

$

$

$

1,453,000

209,943

1,662,943

3,052,743

4,715,686

-

(8,901)

(8,901)

7 (ii)

-

9,929

9,929

(9,929)

-

Balance at 31 December 2011

1,453,000

219,872

1,672,872

3,033,913

4,706,785

Balance at 1 January 2012

1,453,000

219,872

1,672,872

3,033,913

4,706,785

-

(254,420)

(254,420)

Total comprehensive income for the year Transfers Balance at 31 December 2012

7 (ii)

-

8,305

8,305

(8,305)

-

1,453,000

228,177

1,681,177

2,771,188

4,452,365

The statement of changes in equity is to be read in conjunction with the notes of the financial statements set out on pages 67 to 81.

64


FINANCIALS ~

STATEMENT OF FINANCIAL POSITION

AS AT 31 DECEMBER 2012

Note

2012

2011

$

$

Assets

Cash and cash equivalents

7

9,063,587

10,559,033

Trade and other receivables

8

2,464,204

2,314,980

Inventories

9

138,520

64,648

10

2,463,864

2,180,480

14,130,175

15,119,141

11

2,837,757

1,947,727

Greening the wharf – Plant and equipment

12

3,438,681

3,623,315

13

758,481

73,891

7,034,919

5,644,933

21,165,094

20,764,074

Other assets

Total current assets

Plant and equipment

Intangible assets

Total non-current assets

Total assets

Liabilities

Trade and other payables

14

3,367,230

4,900,191

Employee benefits

15

831,528

824,723

Other liabilities

16

461,706

761,352

Deferred revenue

17

11,843,183

9,334,335

16,503,647

15,820,601

209,082

236,688

209,082

236,688

16,712,729

16,057,289

4,452,365

4,706,785

Reserves

1,681,177

1,672,872

2,771,188

3,033,913

4,452,365

4,706,785

Total current liabilities

Employee benefits

Total non-current liabilities

Total liabilities Net assets

15

Equity

Retained earnings

Total equity

The statement of financial position is to be read in conjunction with the notes of the financial statements set out on pages 67 to 81.

65


FINANCIALS ~

STATEMENT OF CASH FLOWS

FOR THE YEAR ENDED 31 DECEMBER 2012

Note

2012

2011

$

$

32,806,069

29,165,142

(32,147,162)

(31,264,236)

247,905

482,968

906,812

(1,616,126)

Acquisition of plant & equipment

(2,402,258)

(933,936)

Net cash from investing activities

(2,402,258)

(933,936)

Net (Decrease) in cash and cash equivalents

(1,495,446)

(2,550,062)

Cash flows from operating activities Cash receipts from customers and contributions Cash paid to suppliers and employees Interest received Net cash from operating activities

22

Cash flows from investing activities

Cash and cash equivalents at 1 January

7

10,559,033

13,109,095

Cash and cash equivalents at 31 December

7

9,063,587

10,559,033

The statement of cash flows is to be read in conjunction with the notes of the financial statements set out on pages 67 to 81.

66


FINANCIALS ~

NOTES TO THE FINANCIAL STATEMENTS Contents

Page

1.

Significant accounting policies

68

2.

Revenue

71

3.

Other income and expenses

71

4.

Personnel expenses

72

5.

Auditor’s remuneration

72

6.

Net finance income and expenses

72

7.

Cash and cash equivalents

72

8.

Trade and other receivables

73

9.

Inventories

73

10.

Other assets

73

11.

Plant and equipment

74

12.

Plant and equipment – Greening the Wharf

75

13.

Intangible assets

76

14.

Trade and other payables

77

15.

Employee benefits

77

16.

Other liabilities

77

17.

Deferred income

77

18.

Grant income

78

19.

Financial instruments

79

20.

Operating leases

80

21.

Contingencies

80

22.

Reconciliation of cash flows from operating activities

80

23.

Key management personnel disclosures

81

24.

Charitable fundraising

81

67


FINANCIALS ~

1. SIGNIFICANT ACCOUNTING POLICIES

Sydney Theatre Company Limited (the “Company”) is an Australian Public Company, limited by guarantee incorporated and domiciled in Australia. The Sydney Theatre Company is a not for profit entity.

(d)

(i) Owned assets Items of plant and equipment are stated at cost less accumulated depreciation (see below) and impairment losses (see accounting policy i).

Its principal registered address and place of business is Pier 4, Hickson Rd, Walsh Bay, NSW 2000.

(ii) Greening the Wharf assets

The financial report was approved by the Board of Directors on 16th April 2013. (a)

Greening the Wharf assets are stated separately to highlight the enormity of the project. These assets to date include the roof Photovoltaic Array, Public bathroom refurbishment, Office refurbishments, and Theatre Lighting. All these assets have been purchased to provide investment in the latest sustainability infrastructure; new green theatre technology and up to date energy efficiencies that will ultimately save the Company money and reduce our carbon footprint.

Statement of compliance The financial report is a general purpose financial report which has been prepared in accordance with Australian Accounting Standards (“AASBs”) (including Australian Accounting Interpretations) adopted by the Australian Accounting Standards Board (“AASB”) and the Corporations Act 2001.

(b)

Basis of preparation

(iii) Depreciation

The financial report is presented in Australian dollars, which is the Company’s functional currency.

Depreciation is recognised in profit or loss on a straight-line basis over the estimated useful lives of each part of an item of plant and equipment. The estimated useful lives in the current and comparative period are as follows:

The financial report is prepared on the historical cost basis except that the following assets and liabilities are stated at their fair value: derivative financial instruments, financial instruments held for trading, and financial instruments classified as available-for-sale.

Theatre and production equipment 4 – 10 years Furniture, fittings and equipment 4 – 10 years Leasehold improvements 6 – 25 years

The preparation of a financial report requires management to make judgements, estimates and assumptions that affect the application of policies and reported amounts of assets and liabilities, income and expenses. Actual results may differ from these estimates. The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in any future periods affected.

The depreciation method and useful lives, as well as residual values, are reviewed at each reporting date. (e)

(c)

68

Software 4 years (f)

Foreign currency transactions Transactions in foreign currencies are translated at the foreign exchange rate ruling at the date of the transaction. Monetary assets and liabilities denominated in foreign currencies at the balance sheet date are translated to Australian dollars at the foreign exchange rate ruling at that date. Foreign exchange differences arising on translation are recognised in the income statement. Nonmonetary assets and liabilities that are measured in terms of historical cost in a foreign currency are translated using the exchange rate at the date of the transaction. Non-monetary assets and liabilities denominated in foreign currencies that are stated at fair value are translated to Australian dollars at foreign exchange rates ruling at the dates the fair value was determined.

Intangible assets Intangible assets that are acquired by the Company are stated at cost less accumulated amortisation. Amortisation is recognised in profit or loss on a straight-line basis over the estimated useful life of intangible assets. The estimated useful lives on the current and comparative period are as follows:

The accounting policies set out below have been applied consistently to all periods presented in the financial report. All financial information presented in Australian dollars has been rounded to the nearest dollar unless otherwise stated.

Plant and equipment

Trade and other receivables Trade and other receivables are stated at their amortised cost less impairment losses (see accounting policy i).

(g)

Inventories Inventories are valued at the lower of cost and net realisable value.

(h)

Cash and cash equivalents Cash and cash equivalents comprises cash balances and call deposits.


FINANCIALS ~

(i)

Impairment

(ii) Long-term service benefits

The carrying amounts of the Company’s assets, other than inventories (see accounting policy g), are reviewed at each balance sheet date to determine whether there is any indication of impairment. If any such indication exists, the asset’s recoverable amount is estimated (see accounting policy j).

The Company’s net obligation in respect of long-term service benefits, other than defined benefit plans, is the amount of future benefit that employees have earned in return for their service in the current and prior periods. The obligation is calculated using expected future increases in wage and salary rates including related on-costs and expected settlement dates, and is discounted using the rates attached to the Commonwealth Government bonds at the balance sheet date which have maturity dates approximating to the terms of the Company’s obligations.

An impairment loss is recognised whenever the carrying amount of an asset or its cash-generating unit exceeds its recoverable amount. Impairment losses are recognised in the income statement, unless an asset has previously been revalued, in which case the impairment loss is recognised as a reversal to the extent of that previous revaluation with any excess recognised through profit or loss. When a decline in the fair value of an available-forsale financial asset has been recognised directly in equity and there is objective evidence that the asset is impaired, the cumulative loss that had been recognised directly in equity is recognised in profit or loss even though the financial asset has not been derecognised. The amount of the cumulative loss that is recognised in profit or loss is the difference between the acquisition cost and current fair value, less any impairment loss on that financial asset previously recognised in profit or loss. (j)

Liabilities for employee benefits for wages, salaries, annual leave and rostered days off that are expected to be settled within 12 months of the reporting date represent present obligations resulting from employees’ services provided to reporting date, are calculated at undiscounted amounts based on remuneration wage and salary rates that the Company expects to pay as at reporting date including related on-costs, such as workers compensation insurance and payroll tax. (l)

Impairment of receivables is not recognised until objective evidence is available that a loss event has occurred. Significant receivables are individually assessed for impairment. Nonsignificant receivables are not individually assessed. Instead, impairment testing is performed by placing non-significant receivables in portfolios of similar risk profiles, based on objective evidence from historical experience adjusted for any effects of conditions existing at each balance date. The recoverable amount of other assets is calculated as the depreciated replacement cost of the asset. Employee benefits (i) Defined contribution plans Obligations for contributions to defined contribution pension plans are recognised as an expense in the income statement as incurred.

Trade and other payables Trade and other payables are stated at amortised cost.

Calculation of recoverable amount The recoverable amount of the Company’s receivables carried at amortised cost is calculated as the present value of estimated future cash flows, discounted at the original effective interest rate (i.e., the effective interest rate computed at initial recognition of these financial assets). Receivables with a short duration are not discounted.

(k)

(iii) W  ages, salaries, annual leave, rostered days off and non-monetary benefits

(m)

Revenue (i) Production and related revenue Revenue from production and other service related revenues is recognised in the period in which the service is provided. (ii) Sponsorship revenue Revenue receivable from sponsors may be cash or in-kind. Where a sponsorship constitutes a reciprocal transfer (i.e. where there is an obligation to return unspent funds or the Company is obliged to give approximately equal value in return for funds) the Company defers the unearned portion of these funds at year end. Where a sponsorship does not constitute a reciprocal transfer, the amount is recognised as revenue when it is reliably measurable and controlled by the Company. (iii) Government grants Grant funds are recognised as revenue when the Company gains control of the contribution or when services and obligations are rendered under the terms of the funding agreement. Where the grant has been received but the revenue recognition criteria has not yet been met, the revenue is deferred until such time as revenue recognition conditions have been met.

69


FINANCIALS ~

(n)

A person may become a member of the Company upon subscription to the Company’s current theatre season and upon payment of an annual membership fee. Members are entitled to attend and vote at general meetings of the Company and to elect 50% of the non-executive Directors of the Company. As at 31 December 2012 the Company had 31 members (2011: 31 members).

Operating lease payments Payments made under operating leases are recognised in the income statement on a straightline basis over the term of the lease. Lease incentives received are recognised in the income statement as an integral part of the total lease expense and spread over the lease term. Where the Company is required to make-good any leased premises at the end of the lease, provision for the estimated costs is made and the expense is spread over the lease term.

(o)

Finance income and expenses Interest income is recognised in the income statement as it accrues, using the effective interest method. Finance expenses comprise loss on disposal of held-to-maturity investments and impairment losses recognised on financial assets.

(p)

Income tax The Company is exempt from paying income tax in accordance with the Income Tax Assessment Act.

(q)

Goods and services tax Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the taxation authority. In these circumstances, the GST is recognised as part of the cost of acquisition of the asset or as part of the expense. Receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from, or payable to, the ATO is included as a current asset or liability in the statement of financial position. Cash flows are included in the statement of cash flows on a gross basis. The GST components of cash flows arising from investing and financing activities which are recoverable from, or payable to, the ATO are classified as operating cash flows.

(r)

Fundraising appeals The Company holds an authority to fundraise for charitable purposes under the provisions of Section 16 of the Charitable Fundraising Act, 1991. The details of fundraising appeals conducted in 2012 are disclosed in Note 24.

(s)

Capital The Company is limited by guarantee and has no paid up capital. The amount of capital which is capable of being called up only in the event of and for the purpose of the winding up of the Company is not to exceed $20 per member by virtue of the Company’s Memorandum and Articles of Association.

70

(t)

New standards and interpretations not yet adopted No standards, amendments to standards or interpretations available for early adoption at 31 December 2012 have been applied in preparing these financial statements and none would have a material impact.


FINANCIALS ~

2. REVENUE Production and related revenue Royalty revenue Sponsorship revenue

2012

2011

$

$

17,355,104

18,181,810

467,722

608,354

2,266,284

2,359,574

2,053,513

2,009,308

-

70,000

361,703

355,307

712,600

700,000

1,824,948

1,782,289

75,000

225,000

Government grants Australia Council MPAB Annual Grant Australia Council MPAB Project Grants NSW Government through the Ministry of the Arts Residents endowment grant Donation of rent in-kind Department of Environment, Water, Heritage & the Arts Greening the Wharf Australian Government Austrade Export Market Development Grant Donations

60,000 2,341,324

1,751,998

198,620

-

-

276,830

1,990,820

-

120,182

333,859

29,827,820

28,654,329

110,500

122,175

110,500

122,175

Consultancies

2,613

-

PV Installation

-

30,661

1,020

4,393

198,729

181,968

501

23,916

24,732

152,978

227,595

393,916

Donations, Greening the Wharf Restaurant rental The Bar at the End of the Wharf revenue Other revenue

3. OTHER INCOME AND EXPENSES

-

3a. Other expenses Other expenses

3b. Greening the wharf expenses

Energy & water efficiencies Asset depreciation Marketing and education Other costs

71


FINANCIALS ~

4. PERSONNEL EXPENSES

2012

2011

$

$

14,518,008

13,441,419

1,353,713

1,146,635

(20,801)

123,111

15,850,920

14,711,165

55,210

52,835

-

4,635

55,210

57,470

Interest income

247,905

482,968

Finance income

247,905

482,968

Net finance income and expense

247,905

482,968

Bank balances

1,121,412

1,941,665

Cash deposits

7,190,587

6,453,596

Asset maintenance cash deposit account (i)

523,410

1,943,900

Reserves Incentive bank account (ii)

228,178

219,872

9,063,587

10,559,033

Wages and salaries Superannuation (Decrease)/increase in employee benefits

5. AUDITOR’S REMUNERATION

6. NET FINANCE INCOME AND EXPENSES

7. CASH AND CASH EQUIVALENTS

Audit Services

KPMG Australia:

Audit of the financial report

Greening the Wharf grant audit

Cash and cash equivalents in the statement of cash flows

(i) In 2004, the Company received cash on behalf of NSW Cultural Management Limited in relation to a grant for assistance towards maintenance of the Sydney Theatre. The Company holds these funds on behalf of NSW Cultural Management Limited invested in a cash deposit account and funds are transferred to NSW Cultural Management Limited when grant conditions are satisfied. The unexpended balance of this grant funding is $461,706 (2011: $761,352). (ii) The Reserves Incentive bank account relates to funds of $94,000 received in 2003 through the Reserves Incentives Funding Scheme of the Australia Council and the NSW Government through the Ministry of the Arts. It also includes $47,000 transferred in 2003 from the general reserves of the Company. The funds and any interest earned on those funds are held in escrow for fifteen years and cannot be accessed without the express agreement of the Funding bodies under prescribed circumstances. These funds have not been used to secure any liabilities of the Company. Refer to Statement of changes in equity.

72


FINANCIALS ~

8. TRADE AND OTHER RECEIVABLES

2012

2011

$

$

978,366

890,453

-

-

978,366

890,453

1,485,838

1,424,527

2,464,204

2,314,980

Not past due

143,535

769,960

Past due 0-30 days

688,551

61,885

Past due 31-120 days

146,280

58,608

978,366

890,453

Bar Stock

86,471

-

Raw materials and consumables

52,049

64,648

138,520

64,648

1,545,960

1,047,714

Prepaid assets

736,296

905,328

Other

181,608

227,438

2,463,864

2,180,480

Trade debtors Less: Provision for doubtful debts

Other debtors

The aging of the Company’s trade debtors at the reporting date was:

9. INVENTORIES

10. OTHER ASSETS

Prepaid production and subscription season costs

73


FINANCIALS ~

11. PLANT AND EQUIPMENT

Leasehold improvements

Furniture, fittings and equipment

Theatre and production equipment

Total

$

$

$

$

3,172,892

1,604,198

2,142,422

6,919,512

152,077

323,462

114,827

590,366

-

-

-

-

Balance at 31 December 2011

3,324,969

1,927,660

2,257,249

7,509,878

Balance at 1 January 2012

3,324,969

1,927,660

2,257,249

7,509,878

506,947

196,121

918,847

1,621,915

-

-

-

-

3,831,916

2,123,781

3,176,096

9,131,793

2,134,481

1,385,924

1,412,894

4,933,299

312,196

133,669

182,987

628,852

Cost Balance at 1 January 2011 Acquisitions Disposals

Acquisitions Disposals Balance at 31 December 2012

Depreciation Balance at 1 January 2011 Depreciation charge for the year Disposals

-

Balance at 31 December 2011

2,446,677

1,519,593

1,595,881

5,562,151

Balance at 1 January 2012

2,446,677

1,519,593

1,595,881

5,562,151

315,791

166,128

249,966

731,885

Depreciation charge for the year Disposals Balance at 31 December 2012

2,762,468

1,685,721

1,845,847

6,294,036

1,038,411

218,274

729,528

1,986,213

At 31 December 2011

878,292

408,067

661,368

1,947,727

At 1 January 2012

878,292

408,067

661,368

1,947,727

1,069,448

438,060

1,330,249

2,837,757

Carrying amounts At 1 January 2011

At 31 December 2012

74


FINANCIALS ~

12. GREENING THE WHARF – PLANT AND EQUIPMENT

Leasehold improvements

Furniture, fittings and equipment

Theatre and production equipment

Total

$

$

$

$

3,352,302

19,602

180,430

3,552,334

325,630

-

-

325,630

-

-

-

-

Balance at 31 December 2011

3,677,932

19,602

180,430

3,877,964

Balance at 1 January 2012

3,677,932

19,602

180,430

3,877,964

Acquisitions

-

-

14,095

14,095

Disposals

-

-

-

-

3,677,932

19,602

194,525

3,892,059

67,117

542

5,022

72,681

161,965

1,960

18,043

181,968

-

-

-

-

Balance at 31 December 2011

229,082

2,502

23,065

254,649

Balance at 1 January 2012

229,082

2,502

23,065

254,649

Depreciation charge for the year

177,357

1,960

19,412

198,729

-

-

-

-

406,439

4,462

42,477

453,378

At 1 January 2011

3,285,185

19,060

175,408

3,479,653

At 31 December 2011

3,448,850

17,100

157,365

3,623,315

At 1 January 2012

3,448,850

17,100

157,365

3,623,315

At 31 December 2012

3,271,493

15,140

152,048

3,438,681

Cost Balance at 1 January 2011 Acquisitions Disposals

Balance at 31 December 2012

Depreciation Balance at 1 January 2011 Depreciation charge for the year Disposals

Disposals Balance at 31 December 2012

Carrying amounts

75


FINANCIALS ~

13. INTANGIBLE ASSETS

Software $ Cost Balance at 1 January 2011 Acquisitions

529,035 17,940

Balance at 31 December 2011

546,975

Balance at 1 January 2012

546,975

Acquisitions

766,248

Balance at 31 December 2012

1,313,223

Amortisation Balance at 1 January 2011

416,083

Amortisation charge for the year

57,001

Balance at 31 December 2011

473,084

Balance at 1 January 2012

473,084

Amortisation charge for the year

81,658

Balance at 31 December 2012

554,742

Carrying amounts At 1 January 2011 At 31 December 2011

73,891

At 1 January 2012

73,891

At 31 December 2012

76

112,952

758,481


FINANCIALS ~

14. TRADE AND OTHER PAYABLES

2012

2011

$

$

3,367,230

4,900,191

3,367,230

4,900,191

2012

2011

$

$

Accrued salaries and wages

70,630

100,643

Liability for long service leave

214,465

151,246

Liability for annual leave

546,433

572,834

831,528

824,723

209,082

236,688

209,082

236,688

Trade payables and other accrued expenses

15. EMPLOYEE BENEFITS Current

Non current Liability for long service leave

Defined contribution superannuation plans The Company makes contributions to various Superannuation Funds, all being defined contribution (accumulation) plans. The amount recognised as an expense was $1,353,713 for the year ended 31 December 2012 (2011: $1,146,635).

16. OTHER LIABILITIES

17. DEFERRED INCOME

Grant funds held in escrow for NSW Cultural

Management Limited (refer Note 7(i))

461,706

761,352

461,706

761,352

11,053,157

9,295,398

790,026

38,937

11,843,183

9,334,335

Current Subscriptions and ticket sales Other Income

77


FINANCIALS ~

18. GRANT INCOME

Unexpended Grants at 31 December 2010

2011 Grant Income

2011 Grant expenditure

Unexpended Grants at 31 December 2011

$

$

$

$

Australia Council

Core Grant

-

2,009,308

(2,009,308)

-

Project Grant

-

70,000

(70,000)

-

Australia Council Total

-

2,079,308

(2,079,308)

-

Arts NSW

Core Grant

-

355,307

(355,307)

-

Project Grant

-

700,000

(700,000)

-

Non Cash Subsidy (rent)

-

1,782,289

(1,782,289)

-

NSW Arts Total

-

2,837,596

(2,837,596)

-

Commonwealth Govt

Project Grant

-

225,000

(225,000)

-

Commonwealth Total

-

225,000

(225,000)

-

-

5,141,904

(5,141,904)

-

Unexpended Grants at 31 December 2011

2012 Grant Income

2012 Grant expenditure

Unexpended Grants at 31 December 2012

$

$

$

$

Total

Australia Council

Core Grant

-

2,669,567

(2,053,513)

616,054

Project Grant

-

30,000

-

30,000

Australia Council Total

-

2,699,567

(2,053,513)

646,054

Arts NSW

Core Grant

-

361,702

(361,702)

-

Project Grant

-

712,600

(712,600)

-

Non Cash Subsidy (rent)

-

1,824,948

(1,824,948)

-

40,000

-

40,000

-

2,939,250

(2,899,250)

40,000

-

75,000

(75,000)

-

60,000

(60,000)

-

135,000

(135,000)

-

-

5,773,817

(5,087,763)

686,054

Other

NSW Arts Total

Commonwealth Govt

Project Grant

Austrade Export Grant

Commonwealth Total

Total

78


FINANCIALS ~

19. FINANCIAL INSTRUMENTS

Exposure to credit, interest rate and liquidity risks arises in the normal course of the Company’s business. The Company holds a number of financial instruments as at 31 December 2012.

Credit risk

At the balance sheet date there were no significant concentrations of credit risk. The maximum exposure to credit risk is represented by the carrying amount of each financial asset in the statement of financial position.

Liquidity risk

Liquidity risk is the risk that the Company will not be able to meet its financial obligations as they fall due. The Company’s approach to managing liquidity is to ensure as far as possible, that it will always have sufficient liquidity to meet its liabilities when due, under both normal and stressed conditions, without incurring unacceptable losses or risking damage to the Company’s reputation. The Board reviews cash flow forecasts formally on a regular basis. The contracted cash flows of the Company as at 31 December 2012 are $3,367,230 (2011: $4,900,191). The contractual maturity of these financial liabilities is 6 months or less.

Fair Values

The Company’s recognised financial assets and liabilities are carried at amounts that approximate fair value. These include cash and cash equivalents, held-to-maturity investments, available-for sale investments, receivables and payables. The fair value of securities is based on quoted market prices at the balance sheet date without any deduction for transaction costs. The Company’s exposure to interest rate risk and the effective weighted average interest rate for classes of financial assets and financial liabilities and the periods in which they reprice are set out below:

Interest Rate Risk

2011 Effective Average Interest Rate

Cash and cash equivalents

7

4.93%

Total

6 Months or less

6-12 Months

1-2 Years

2-5 Years

More than 5 years

$

$

$

$

$

$

10,559,033

10,339,161

-

-

-

219,872

10,559,033

10,339,161

-

-

-

219,872

9,063,587

8,835,409

-

-

-

228,178

9,063,587

8,835,409

-

-

-

228,178

2012 Cash and cash equivalents

7

4.28%

79


FINANCIALS ~

20. OPERATING LEASES

Leases as lessee Non-cancellable operating lease rentals are payable as follows:

2012

2011

$

$

44,225

88,446

Between one and five years

More than five years

44,225

88,446

Less than one year

The Company leases its Wharf premises from the Arts NSW. The operating lease commitments detailed above include the contractual value of rent payable for the Wharf, but not the commercial value of rent in-kind donated by the lessor. Lease rentals comprise a base amount plus an adjustment, which is based on movements in the Consumer Price Index. The lease expired on 30 June 2012. Negotiation has commenced with Arts NSW to renew the operating lease for a further 25 year term and currently operating on a variation to the lease with expires on 30 June 2013. In addition, the Company rents a storage facility at Leichhardt under an operating lease expiring on 31 December 2012. During the year ended 31 December 2012, $2,045,254 was recognised as an expense in the income statement in respect of operating leases (2011: $1,996,594), including the fair value of in-kind rent of $1,824,948 (2011: 1,782,289).

21. CONTINGENCIES

22. RECONCILIATION OF CASH FLOWS FROM OPERATING ACTIVITIES

The Directors are not aware of any contingent liability or contingent asset where the probability of future payments/ receipts is not considered remote.

2012

2011

$

$

(254,420)

(8,901)

1,012,272

867,821

757,852

858,920

(Increase) in receivables

(149,224)

(117,493)

(Increase) in other current assets

(283,384)

(1,167,296)

(Increase)/decrease in inventories

(73,872)

13,837

(1,562,974)

(1,127,041)

(290,434)

(184,668)

2,508,848

107,615

906,812

(1,616,126)

(Loss) for the period Adjusted for: Depreciation and amortisation Operating profit before changes in working capital and provisions

(Decrease) in payables (Decrease) in provisions Increase in deferred revenue

Net cash from operating activities

80


FINANCIALS ~

23. KEY MANAGEMENT PERSONNEL DISCLOSURES

Transactions with key management personnel

The key management personnel compensation included in “personnel expenses” (see note 4) are as follows: 2011

$

$

Short-term employee benefits

941,297

884,125

Other long term benefits

112,159

130,725

1,053,456

1,014,850

Termination benefits

Other key management personnel transactions with the Company

2012

In addition to the compensation noted above, in 2012 Jonathan Biggins received $35,810 (2011: $82,076) for artists services rendered on normal commercial terms and conditions. During the year a number of Directors were employed by or associated with organisations that provided sponsorships to the Company in the ordinary course of business. These organisations received the normal benefits flowing from such sponsorships. No Directors received Directors fees from the Company during the current or prior year.

Other transactions/ relationships

The Company has a relationship with NSW Cultural Management Limited. Sydney Theatre Company Limited and NSW Cultural Management Limited (lessee of the Sydney Theatre) have three Directors in common, which is less than a majority in each case. Neither Company is a member or shareholder of the other. Sydney Theatre Company is obligated under the “Hiring and Services Agreement” to provide management services to NSW Cultural Management Limited. The cost of these services is reimbursed on a direct cost basis that also includes the provision of plant and equipment, where an asset usage fee is charged. The asset usage charge in 2012 was $97,608 (2011: $98,258). In 2012, Sydney Theatre Company Limited also paid venue hire and related costs of $862,302 (2011: $1,094,260) to NSW Cultural Management Limited. As at 31 December 2012, Sydney Theatre Company Limited had a receivable of $123,376 (2011: $187,127) due from NSW Cultural Management Limited. The Company also has a relationship with the Sydney Theatre Company Foundation. The Sydney Theatre Company and Sydney Theatre Company Foundation have four Directors/Trustees in common, which is less than a majority in each case. Neither Company is a member or shareholder of the other. In 2012, the Sydney Theatre Company Foundation raised $2,032,274 (2011: $1,682,116) through fundraising events, projects and appeals and donated $2,539,944 to the Sydney Theatre Company Ltd (2011: $1,406,456). Of this, in 2012, $198,620 (2011: $0) was donated to the Sydney Theatre Company Greening Project to cover annual depreciation. In 2010, the Foundation raised funds and collected donations of $2,200,000 (2009: $300,000) specifically for the Greening the Wharf Project which have been recorded in revenue in 2010 and will be donated to STC when future expenditure or depreciation of assets involved with the project is recorded in STC’s accounts. In 2012, no further funds were raised for the Greening the Wharf Project. The appeals conducted by the Sydney Theatre Company Foundation include: Trivia Night, STC Auction and Dinner, The Residents, Walkway Project, Chairman’s Club, Major Gifts, Business Transformation, STC Annual Giving, Archives Project, Production Patronage and Education Projects. As at 31 December 2012, Sydney Theatre Company had a payable of $1,572,063 (2011: $2,676,381) due to Sydney Theatre Company Foundation.

24. CHARITABLE FUNDRAISING

During the financial year, the Company received donations of $8,727 (2011: $9,726) from ticket donations. The costs associated with raising these funds were absorbed by the Company. The donations received were applied to the development of Next Stage and Education programmes and research and development work. No fundraising appeals were conducted by the Sydney Theatre Company during the financial year or prior year. The Company’s main fundraising activity is conducted by the Sydney Theatre Company Foundation (please refer note 23). 81


FINANCIALS ~

DIRECTOR’S DECLARATION In the opinion of the Directors of Sydney Theatre Company Limited (“the Company”): (a)

(b)

the financial statements and notes, set out on pages 64 to 81, are in accordance with the Corporations Act 2001, including: (i)

giving a true and fair view of the financial position of the Company as at 31 December 2012 and its performance, for the year ended on that date; and

(ii)

complying with Australian Accounting Standards (including the Australian Accounting Interpretations) and the Corporations Regulations 2001; and there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable.

Dated at Sydney 16th April 2013 Signed in accordance with a resolution of the Directors:

David Gonski Chairperson

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FINANCIALS ~

INDEPENDENT AUDITOR’S REPORT TO THE MEMBERS OF SYDNEY THEATRE COMPANY LIMITED Report on the financial report

We have audited the accompanying financial report of Sydney Theatre Company Limited (the Company), which comprises the statement of financial position as at 31 December 2012, and the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year ended on that date, notes 1 to 24 comprising a summary of significant accounting policies and other explanatory information and the directors’ declaration.

Directors’ responsibility for the financial report

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

Auditor’s responsibility

Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit in accordance with Australian Auditing Standards. These Auditing Standards require that we comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance whether the financial report is free from material misstatement. An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the financial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity’s preparation of the financial report that gives a true and fair view in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the directors, as well as evaluating the overall presentation of the financial report. We performed the procedures to assess whether in all material respects the financial report presents fairly, in accordance with the Corporations Act 2001 and Australian Accounting Standards, a true and fair view which is consistent with our understanding of the Company’s financial position and of its performance. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion.

Independence

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

Auditor’s opinion

In our opinion the financial report of Sydney Theatre Company Limited is in accordance with the Corporations Act 2001, including: (i) giving a true and fair view of the Company’s financial position as at 31 December 2012 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards and the Corporations Regulations 2001.

KPMG Sydney 16th April 2013

Geoff Wilson Partner Sydney 16th April 2013

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LEAD AUDITOR’S INDEPENDENCE DECLARATION UNDER SECTION 307C OF THE CORPORATIONS ACT 2001 To: the directors of Sydney Theatre Company Limited I declare that, to the best of my knowledge and belief, in relation to the audit for the financial year ended 31 December 2012 there have been: (i)

no contraventions of the auditor independence requirements as set out in the Corporations Act 2001 in relation to the audit; and

(ii)

no contraventions of any applicable code of professional conduct in relation to the audit.

KPMG Sydney 16th April 2013

84

Geoff Wilson Partner Sydney 16th April 2013


FINANCIALS ~

Helen Thomson, Kate Worsley and Erik Thomson in The Splinter. Photo Brett Boardman

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Sydney Theatre Company Limited Pier 4, Hickson Road, Walsh Bay New South Wales 2000 PO Box 777, Millers Point New South Wales 2000 Administration Telephone +61 2 9250 1700 Facsimile +61 2 9251 3687 Email mail@sydneytheatre.com.au Box Office Telephone +61 2 9250 1777 Sydneytheatre.com.au

Venues The Wharf Wharf 1 and Wharf 2 Pier 4, Hickson Road Walsh Bay Sydney Theatre 22 Hickson Road Walsh Bay

Annual Report 2012 Project Manager Matt Morse Designer Hon Boey Editor Kate Hennessy Sydney Theatre Company Limited. Incorporated in New South Wales. A company Limited by guarantee. ABN 87 001 667 983

Drama Theatre Sydney Opera House


Profile for Sydney Theatre Company

STC 2012 Annual Report  

STC 2012 Annual Report  

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