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SYDNEY THEATRE COMPANY


SYDNEY THEATRE COMPANY


To provide first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun. That entertainment should reflect the society in which we live thus providing a point of focus, a frame of reference, by which we come to understand our place in the world as individuals, as a community and as a nation.

Richard Wherrett, 1980 Aims of the Company


6 Isabelle Huppert and Cate Blanchett in The Maids. Photo: Lisa Tomasetti


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5

Rough Drafts undertaken

teachers participated in professional learning programs

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Helpmann Awards for The Secret River

11 1,053 4 280 777 18,512 3,733 4

new Australian works and adaptations

new commissions

national and regional tours presented

subsidised or free schools tickets

archival recordings digitised

(in total between 2012-2013)

total performances

million dollars of total ticket income earned

215

actors employed

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resident artists

new subscribers

1,594 1,327 Sydney Theatre 9 Awards students participated in the School Drama™ program

weeks of work for actors

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Hugo Weaving and Richard Roxburgh in Waiting For Godot. Photo: Lisa Tomasetti

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David Gonski Chairman

Ursula Yovich, Miranda Tapsell and Ethel-Anne Gundy in The Secret River. Photo: Heidrun Löhr

2013 was the year in which Sydney Theatre Company consolidated its home base in Walsh Bay. At a strategic planning day in 2011, our Board and management decided Sydney Theatre had become an important part of the Company’s identity, as well as being an important resource for performing arts in the State more generally, and so resolved to take on the lease, and the risks inherent in assuming control of the theatre, in order to better knit it into our organisational strategy and management. This meant we would consolidate the operations of Sydney Theatre Company and New South Wales Cultural Management (NSWCM), the body that previously held the lease to Sydney Theatre at Walsh Bay and outsourced management of it to the Company. We believe that this consolidation will provide greater clarity, stability and operating efficiency. The Board also requested, and was granted by the State Government, a long term lease of 45 years across both the Company’s Walsh Bay sites. The leases will give us the time to raise capital to fund refurbishments and to have security of tenure over a long enough period to design, implement and fully utilise these improvements. We thank the then Arts Minister, The Hon. George Souris MP, members of his department and the team at Arts NSW, for accepting our proposal for leasing the Walsh Bay sites, both at The Wharf and Sydney Theatre; for working with us on these important reforms and for the annual funding received from the State. We also thank the Australian Government for its commitment to the Company through the Australia Council, its arts funding and advisory body. We look forward to working with Federal Arts Minister George Brandis in keeping Australian creativity dynamic, sustainable and on the world stage. In 2014, our headquarters at The Wharf turn 30 and will require substantial renewal to ensure they continue to serve artists, audiences and staff for another 30 years. This will be a costly task and one that will clearly require the raising of large amounts of money. Also in 2014, Sydney Theatre at Walsh Bay will have its 10th birthday, another milestone signifying increased maintenance obligations.

With long-term leases sorted, we were able to begin the task of fundraising in earnest and were delighted that the Crown Foundation together with the Packer family – longstanding major supporters of Sydney Theatre Company in addition to many other arts organisations and charities in Australia – elected to make a landmark contribution of $15 million towards our capital plans. This stands as the largest philanthropic gift ever made to a performing arts organisation in Australia. We thank Ros, Gretel and James Packer as well as all at the Crown Foundation for many years of support and in particular for this outstandingly generous gift to the community. Our financial result for the year was a very pleasing surplus of $430,837 on a turnover of $34,942,977. This is our first “group” result following the consolidation of operations and accounts of STC and NSWCM. I take this opportunity to thank our talented and involved Board of Directors for their unstinting enthusiasm and generosity in sharing their many talents with each other and with management, helping to drive the success of the organisation. I also acknowledge the very substantial contribution made by the trustees of the STC Foundation. The support of philanthropic individuals, as nurtured and developed by the Foundation, has been a crucial part of the transformation of our business over the past four years. I acknowledge outgoing Chair Jillian Broadbent and welcome into the role her successor, Ann Johnson. Artistic Director Andrew Upton, Executive Director Patrick McIntyre and their brilliant, hard-working staff are to be congratulated for delivering so many great achievements and important reforms in what was an extremely busy year for the Company. Lastly, but most importantly, I am also pleased to note that the 2013 program – the last by Cate and Andrew as Co Artistic Directors – proved to be enormously successful in both artistic and commercial terms, attracting rave reviews and extraordinary attendances across the year. The experience of theatre at its most stimulating, spectacular and thought-provoking is of course the motivator behind all the work of the Company and its many supporters. The productions in 2013 were both our inspiration and our reward.

David Gonski AC Chairman

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Andrew Upton Artistic Director

Harry Greenwood, Geraldine Hakewill,  Sarah Peirse and Robert Menzies in Fury. Photo: Lisa Tomasetti

2013 was the last year that Cate and I programmed together. In order to facilitate the running of the year and the flow on through 2014 and 2015, Cate left the job a little early (but not the Company) and I moved a few couches in the office. As a final season for Cate, I think I am allowed to say that it was a great achievement. So, for all her work as Co Artistic Director, and of course as an actor, a huge thanks on behalf of the company. 2013 was also the concluding year of the Resident Artists program, made possible by funding from Arts NSW and our Resident Artist Patrons. Throughout its variety of incarnations, the program has had an enormous impact on the careers and development of many young theatre artists. On behalf of those artists and the Company, another huge thanks to the NSW Government for their commitment to this program since 2006. The final group of Resident Artists was composed of three Directors, two Designers and a Community Director. This group was chosen because, integral to the values of the Company and the needs of the industry, is the provision of career pathways for emerging Australian directors and designers. STC is perfectly suited to this, as the four spaces that we operate out of allow for the natural growth of vision and experience. To that end the Residents worked extensively in the Company over 2013, directing and designing Mrs Warren’s Profession, Little Mercy, Dance Better at Parties, Fury, Romeo and Juliet, Vere (Faith), Machinal, The Other Way and Road Train. We had some big shows in Sydney Theatre, probably the most we’ve ever programmed in a single year. It was great to see the theatre change and mature with each new experience, starting with the remarkable The Secret River, which Cate and I initiated in our first year as Co Artistic Directors. This was a landmark production for the Company on many levels. We commissioned Andrew Bovell to adapt Kate Grenville’s novel for the stage, welcomed Neil Armfield back as director and employed one of the biggest casts we’ve ever had. The resulting work was fearless in its emotional bravery and courageous in tackling this delicate but important subject. Following on from that we hosted the

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preposterous and brilliantly goofy National Theatre of Great Britain’s One Man, Two Guvnors and then a wild production of The Maids with Cate Blanchett, Isabelle Huppert and Elizabeth Debicki, directed by Benedict Andrews. Benedict is a director whose work for STC over the last ten years also evidences the Company’s unique ability to grow an artist from the small scale to the large vision. Simon Phillips returned to direct Rosencrantz and Guildenstern are Dead with Toby Schmitz and Tim Minchin in the eponymous lead roles. It was another welcome tonic and a brand new vision for Sydney Theatre, with remarkable set and costumes from Gabriela Tylesova. Finally in Sydney Theatre, Hugo Weaving, Richard Roxburgh, Philip Quast and Luke Mullins gave us a most beautiful production of Waiting for Godot. Conceived and designed by Tamás Ascher and Zsolt Khell and directed by myself in tricky circumstances, it could only have been done with the support of the whole Company. For all these great works and all the other work we did last year, a third huge thanks. The size and scale of the Company is one of its distinctive qualities. In this day and age, getting behind a production before it’s anything really tangible takes a lot of courage and insight. We have recently been led by our wonderful Chairman David Gonski and Board Member Simon Mordant in creating a new philanthropic Commissioning Patrons initiative for The Secret River. Gretel Packer then joined us to support our family show, Storm Boy. The remarkable, ongoing impact of this initiative seems to be continuing on through the next few years. We certainly could not make the shows of the scale we do without the generosity and support of these individuals. The list of thanks goes on – our sponsors of course, the NSW Government through Arts NSW, the Federal Government through the Australia Council and all of our co-producing partners over the year: Back to Back Theatre, Barking Gecko Theatre Company, Malthouse Theatre, Sisters Grimm and the State Theatre Company of South Australia. The giant The Secret River was produced with the assistance of the Major Festivals Initiative, Sydney Festival, Perth International Arts Festival and the Centenary of Canberra. Those partners, our Commissioning Patrons and all other donors, sponsors, casts, crew, administrative and workshop staff made all of this great theatre happen, so a final huge thanks to you all.

Andrew Upton Artistic Director


Patrick McIntyre Executive Director

Brian Tilley and David Woods in Super Discount. Photo: Jeff Busby

make important financial contributions, but also collaborate with us on strategic programs such as accessible ticketing, precinct development, enrichment events for audiences, and branding and marketing. 2013 was a great year for the Company: a barn-storming artistic program soundly backed by an organisation realising the benefits of the substantial change program that had been ticking in the background for the previous three years. Our group financial result, a surplus of $430,837, is comprised of $131,670 from STC operations (a deficit of $254,420 in 2012) and $287,759 from Sydney Theatre at Walsh Bay operations (a deficit of $243,610 in 2012). The two entities were merged during the year. The STC Foundation increased earnings from philanthropic sources from $2.043 million in 2012 to $2.613 million in 2013, of which $1.265 million was drawn into the Company’s operating budget. The 2013 season netted $4.851 million compared to $2.047 million in 2012. This financial success was driven by high ticket sales across all shows. Our Season Ticket Holder numbers rose 15% to 16,922, of which 3,733 were new customers. Overall paid attendances in Sydney were 290,370, 14% higher than budget, and we sold 83% of available inventory. It is particularly heartening to see such a strong showing for a season that included nine world premiere Australian works and adaptations on the main stage. Beyond the main stage, other programs provided ways for us to engage more broadly with our community. We completed the third year of our partnership with Bankstown Youth Development Service, toured Road Train – a new play for young people – around regional NSW in partnership with NRMA Motoring & Services, and doubled access to our professional development program for primary teachers, School Drama™, across metropolitan Sydney, in Broken Hill and in Adelaide. Corporate Partnerships continued to provide an extremely important source of revenue for the Company, $2.024 million in 2013. The Company is extremely fortunate to have the support of a very engaged circle of sponsors, who are as supportive of our work as they are a pleasure to do business with. Led by our Major Partners Lend Lease, Audi, Fairfax and Suncorp, our sponsors

Our many donors also play an increasingly important role in the life of the Company, from major gifts supporting the development of new work or the delivery of education and outreach programs, to the many smaller gifts we receive that add up. In 2013, we completed the process of digitising our archives thanks to a strong response from our donors, ensuring that the many records we keep are safe for future generations. This was becoming increasingly urgent as old-technology videos of performances by the Company dating back to its earliest years were deteriorating at an alarming rate. The Pier Group, chaired by Anne Schofield, hosted another series of lunches with artists during the year, which both raised funds and helped to provide rich experiences and new insights for audiences. I would like to thank the STC Board, chaired by David Gonski, for its guidance and support over the course of another busy year and another set of complex challenges. Thanks also to the STC Foundation, chaired in 2013 by Jillian Broadbent, for its tireless and enthusiastic work in philanthropic development. In 2013 the operations of New South Wales Cultural Management, the body that held the lease to Sydney Theatre at Walsh Bay, were wound up and I pay tribute to the commitment and achievements of its directors, chaired by Peter Young. I congratulate all our staff and artists on a great year. Their talent and commitment, and their shared vision for Sydney Theatre Company and its place in the world, are inspiring always – and the wonderful good humour that characterises our workplace makes the journey a pleasure.

Patrick McIntyre Executive Director

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Shaka Cook in Storm Boy. Photo: Brett Boardman

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Art

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

Maids (which also introduced newcomer Elizabeth Debicki as a major theatrical talent).

STRATEGY ONE EXCELLENCE, SCALE AND DIVERSITY 2013 was Andrew Upton and Cate Blanchett’s final program as Co Artistic Directors. It was a huge year on stage and included a record five productions in Sydney Theatre. First amongst equals was the mighty The Secret River, one of the earliest projects envisaged by Cate and Andrew when they took up their roles with the Company. Director Neil Armfield made his welcome return to the STC stage, working in collaboration with writer Andrew Bovell, whose adaptation of Kate Grenville’s novel was epic in scope and theatricality. The Secret River was one of many new Australian works and adaptations presented during the year: nine, out of a total of sixteen main stage presentations, not including our Theatre in Communities work. Other new works included: Fury, a scorching new work by Joanna Murray-Smith; Tom Holloway’s adaptation of Colin Thiele’s beloved children’s story Storm Boy; and Dance Better at Parties, the first text-based work from choreographer and former STC Resident Artist Gideon Obarzanek, a project which was devised and developed through creative workshops at STC in 2012. As we farewelled the Upton/Blanchett directorial twosome, it was fitting that many of the year’s major works explored partnerships, resulting in many extraordinary moments on stage: Hugo Weaving and Richard Roxburgh’s delicate, funny and moving Vladimir and Estragon in Waiting for Godot; Tim Minchin and Toby Schmitz’s exuberant onstage reunion in the title roles of Rosencrantz and Guildenstern are Dead; and the tour de force spectacle of Cate Blanchett and Isabelle Huppert in The

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The Company’s work was seen across Australia including regional NSW, ACT, South Australia, Victoria and Western Australia. In Adelaide, we were proud to have John Doyle’s new work Vere (Faith), have its premiere with State Theatre Company of South Australia before coming to the Drama Theatre; Storm Boy, a co-production between STC and Barking Gecko Theatre Company, was presented in both Sydney and Perth, and Super Discount, a three-way co-production between STC, Malthouse Theatre and Geelong-based Back to Back Theatre, had its world premiere season in Sydney and Melbourne. We were delighted to present Adelaide’s Windmill Theatre’s wonderful School Dance as part of the subscription season and we commissioned Melbourne’s theatrical provocateurs Sisters Grimm to create the gem Little Mercy for us, but kept it all to ourselves. The Wharf Revue continued to tour indefatigably before landing in Sydney for a nine week run. Perhaps most gratifyingly, because it is so rare to be able to take such large works on the road, The Secret River toured to Perth and Canberra with the assistance of the Federal Government’s Major Festivals Initiative. All in all, it was a year that demonstrated the Company’s incredible artistic elasticity, from first time STC director Imara Savage’s inventive miniature Machinal in Wharf 2, to Simon Phillips’ extravagant theatricality of Rosencrantz and Guildenstern are Dead on the grand stage of Sydney Theatre. And we were fortunate to do it in the company of some of the country’s finest artists and creatives, an extraordinary roll call of talent which, in addition to those already mentioned, included: Benedict Andrews, Alice Babidge, Paul Blackwell, Simon Burke, Mitchell Butel, Stephen Curtis, Nathaniel Dean, Harriet Dyer, Julie Forsyth, Steve Francis, John Gaden, Iain Grandage, Anita Hegh, Trevor Jamieson, Ewen Leslie, Nigel Levings, Max Lyandvert, Heather Mitchell, Amber McMahon, Robert Menzies, Colin Moody, Luke Mullins, Eryn Jean Norvill, Philip Quast, Nick Schlieper, Jeremy Sims, Bruce Spence, Miranda Tapsell, Helen Thomson, Gabriela Tylesova and Ursula Yovich.


Harriet Dyer in Machinal. Photo: Brett Boardman

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Angus King, Heather Mitchell, Nicholas Papademetriou, Christopher Stollery and Aaron Tsindos in Rosencrantz and Guildenstern are Dead. Photo: Heidrun Löhr

2013 was a great year across the board in terms of recognition by the industry. At the 2013 Helpmann Awards, The Secret River won six of the categories for which it was nominated: Best New Australian Work, Best Play, Best Direction of a Play for Neil Armfield, Best Music Direction and Best Score for Iain Grandage and Best Male Actor in a Supporting Role in a Play for Colin Moody. STC also dominated the Sydney Theatre Critics Awards, scoring 33 nominations and nine wins, including Best Mainstage Production for Waiting for Godot.

commence work on our collaboration with the Australian Defence Force, The Long Way Home. Stephen had directed an earlier work in England, The Two Worlds of Charlie F, that the Chief of the Defence Force, General David Hurley, had seen and which had inspired him to approach STC about creating a local equivalent.

STRATEGY TWO ON THE WORLD STAGE

International interest in STC also remains strong. A number of works of varying scales that premiered during 2013 have received international touring invitations, including The Maids, which will appear as part of the Lincoln Center Festival in New York in August 2014.

STC continued its international collaborations in 2013. The Maids offered Sydney audiences the first chance to see acclaimed French actress Isabelle Huppert on stage, and we also presented the National Theatre of Great Britain’s break-out hit One Man, Two Guvnors for the Sydney stop of its national tour. Unfortunately, Hungarian director Tamás Ascher (STC’s Uncle Vanya) was unable to join us to direct Waiting for Godot as planned, due to injury. We did, however, welcome members of his Hungarian creative team, Associate Director Anna Lengyel and Set Designer Zsolt Khell, who worked with Director Andrew Upton to create a very fine production. UK director Stephen Rayne joined us towards the end of the year to

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We like to think of her as one of our own, so it was great to welcome back New Zealand actor Sarah Peirse to star alongside Robert Menzies in Joanna Murray-Smith’s Fury.

STRATEGY THREE A DEVELOPMENT POWERHOUSE Supporting and developing new Australian artists and creatives continued to be one of the Company’s key priorities. In particular, the Company sought to make an investment in the new generation of main stage theatre directors. Three Co Resident Directors were engaged to become part of the fabric of the Company: Sarah Giles, Sarah Goodes and Kip Williams. Together they made some of the year’s most striking work.


Lizzie Schebesta (foreground) and Helen Thomson in Mrs Warren’s Profession. Photo: Brett Boardman

Steve Rodgers and Elizabeth Nabben in Dance Better at Parties. Photo: Brett Boardman

Hugo Weaving, Luke Mullins, Richard Roxburgh and Philip Quast in Waiting For Godot. Photo: Lisa Tomasetti

With the support of Arts NSW, in the final year of its dedicated support of our Resident Artist activities, we were also able to engage two talented Resident Designers, Renée Mulder and David Fleischer, who worked across the Company on everything from designing main stage shows to styling photo shoots and events.

Kylie Coolwell was subsequently commissioned by STC to further develop The Battle of Waterloo.

STC’s Assistant Director program continued to offer talented emerging directors the opportunity to work side-by-side with experienced main stage directors. We continued our Rough Drafts program, week long creative developments that give theatre-makers the opportunity to try out new ideas, new ways of working and new collaborations. Each development culminated in a free public showing and in 2013, STC produced five Rough Drafts:

The Patrick White Playwrights’ Award and Fellowship are annual initiatives in which both emerging and established playwrights are recognised. The prize money is intended to support playwrights by affording them the space and time to develop new work. In 2013, for the first time, the Fellowship prize also included a commission from STC. In recognition of her contribution to the contemporary Australian playwriting canon, Hilary Bell was awarded the Fellowship. Emerging playwright Anna Barnes won the Award for her unproduced work MinusOneSister. STC thanks the Pier Group for its support of the Patrick White Playwrights’ Award and Fellowship.

The Waiting Room – Kylie Trounson and Naomi Edwards (14 – 18 Jan 2013) Alphabet of Arousal – Angus Cerini and Sarah Giles (17 – 21 June 2013) The Secret Project – Duncan Graham and Kip Williams (8– 12 July 2013) Wake in Fright – Andrew Upton and Sarah Goodes (26 – 30 Aug 2013) The Battle of Waterloo – Kylie Coolwell and Sarah Goodes (21 – 25 Oct 2013).

Imara Savage, the 2012 Richard Wherrett Fellow, made her main stage debut directing Sophie Treadwell’s Machinal to excellent critical reviews.

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Business

Lead the industry in creating an innovative and sustainable business platform

STRATEGY ONE BUILD THE BALANCE SHEET In 2013, the Company reported a group surplus of $430,837. This strong result increased our reserves to $4.883 million, or 14% of the Company’s annual cost base. The Foundation also had an extremely successful year. It raised a total of $2.613 million, of which $1.265 million was contributed to the operating budget. Taking the operating balance sheet and the Foundation together, the company has a solid financial base of $10.059 million, representing 27% of annual cost base. This is up from 19% in 2009.

STRATEGY TWO MAXIMISE YIELD, MAXIMISE ACCESS The season attracted 16,922 season ticket holders, including 3,733 new subscribers. Interestingly, 2013 was the first year in which casual tickets outsold tickets purchased via subscription. A total of 111,728 subscriber tickets were sold against a total of 205,600 casual tickets. On Monday 11 February 2013, single tickets were released for all shows. Over the first two days, 13,000 tickets were sold – each day breaking the previous one-day ticket sales’ record. STC’s audience base continued to reach out from metropolitan Sydney, with 13% of audience members originating from interstate and regional communities. Customer Relationship Management (CRM) was one of the key areas underpinning the Company’s ongoing strategy for organisational sustainability. In 2013 a comprehensive CRM plan was devised, focusing on implementing plans for customer retention, rewarding loyalty and longevity and encouraging

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advocacy. All customer-facing departments delivered more personalised customer service, enabled by improved procedures, tools and access to data. Increasing accessibility and affordability to theatre is one of our long held ambitions. In 2013 STC announced a major new partnership with Suncorp which made a selection of $20 tickets available for every STC performance (excluding opening nights) across the year. The announcement of Suncorp Twenties received significant media coverage and the uptake by patrons was phenomenal, with over 3,500 tickets sold in 2013 since its launch on 14 May, introducing 471 new ticket bookers to STC’s work in that time. In 2013, STC’s generous and loyal family of donors supported a range of programs, from making possible works of vision and scale to funding the commissions and workshops that help us discover and develop new talent. We would like to thank all donors for the vital role they play in allowing the Company to continue functioning at its accustomed level of ambition, scale and excellence. In particular, we pay tribute to the leadership of: David Gonski and Orli Wargon and Simon and Catriona Mordant for their extraordinary support of The Secret River – a production that could not have been realised without private patronage; Gretel Packer for her contribution towards the development and production of Storm Boy; and The Chairman’s Council, which supported the commissioning and production of Fury. STC’s School Drama™ program received $250,000 in support from the Origin Foundation, Vincent Fairfax Family Foundation and the Caledonia Foundation. $135,000 was also given to support the work of the Company’s emerging Resident Artists by the Resident Artist Patrons: Anita and Luca Belgiorno-Nettis, Mr Robert Hansen and Dr Annabelle Farnsworth, W & A Johnson Family Foundation, Ms Rebel Penfold-Russell OAM, Michael and Eleonora Triguboff and Carla Zampatti AC.


David Woods and Mark Deans in Super Discount. Photo: Jeff Busby

Matthew Whittet and Amber McMahon in School Dance. Photo: Lisa Tomasetti

STRATEGY THREE HARNESS THE DIGITAL AGE In 2013 the STC website was relaunched with improved transactional capabilities. Despite inevitable teething problems, during the record-breaking, first on-sale day of the 2013 season over 51% of ticket sales were processed via the website. One of the aims of the redesigned website was to provide an accessible resource for all theatre lovers, offering rich content, experiential resources and the opportunity to contribute to the conversation around theatre. The STC website received over 1 million unique visits and 86,000 people viewed STC content on YouTube over the course of the year. During 2013 our social media community grew by 65% on Facebook, an increase of 8,935 page likes to 22,746, and 43% on Twitter, an increase of 4,960 followers to 16,363. The Archives digitisation fundraising campaign received $59,941 in individual donations from 200 members of the public. As a result of this, the Company was able to digitise and preserve over 280 archival recordings by the end of 2013, many of which were at risk of being lost forever.

STRATEGY FOUR MATCH FIT 2014 will be the 10th anniversary of Sydney Theatre and the 30th anniversary of The Wharf as STC’s home. These significant milestones trigger increasing maintenance obligations and, in the case of The Wharf, substantial renewal is required to ensure the venue and facilities continue to serve audiences, artists and staff for another 30 years. In 2013, STC signed 45 year leases with the NSW government for both its Wharf and Sydney Theatre premises. This long-term tenure allows the Company to plan confidently and, in particular, to raise and invest significant funds required to renew the facilities.

As part of a $60 million donation to Sydney’s arts community by the Packer family and the Crown Foundation, the Company received a generous philanthropic gift of $15 million, the largest single gift to a performing arts company in Australia. This sum gives us a great headstart in addressing the pressing infrastructure and capital needs of the Company. New South Wales Cultural Management (NSWCM), the body which held the lease to Sydney Theatre, was wound up and the two organisations consolidated their operations, providing increased operating efficiency. STC thanks the then Arts Minister, The Hon. George Souris MP, and Arts NSW for their support of this restructuring, including the granting of the long-term leases and the contribution of $5 million over the coming 10 years to enhance the contribution of Sydney Theatre as a cornerstone of the Walsh Bay cultural precinct. Other important capital investments were made in 2013, most significantly in upgrading IT infrastructure and installing a new extraction fan system in Scenic Art department. 96 people received training across the areas of lighting, rigging, project management, desktop publishing, Microsoft Office, digital marketing, customer relationship management, team building, performance management, first aid, fire warden training, manual handling, heath safety representative training and traffic management control. Staff also attended the global Tessitura conference and participated in the Australian Theatre Forum. STC staff were also invited and encouraged to attend the training and development programs run by Sydney Opera House for their own staff. STC would like to thank Sydney Opera House for facilitating these programs.

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Community

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

STRATEGY ONE THEATRE AS A SOCIAL ENGINE In 2013, STC commenced a collaboration with the Australian Defence Force to develop a stage play based on the personal stories of returned soldiers who had been wounded or injured during active service. For the ADF, the development in 2013 and subsequent delivery of the work in 2014 formed part of a program of rehabilitation and recovery for the participating soldiers. And, for STC, it represented our contribution to the Centenary of ANZAC – a bold partnership exploring the real issues affecting the lives of servicemen and women in the 21st century. We partnered with NRMA Motoring & Services to develop and deliver a new play on the issue of road safety. Road Train, written and directed by STC’s Resident Community Director, Stefo Nantsou, was performed to young people in eight schools and community venues throughout Western Sydney, regional NSW and ACT, reaching over 2,100 people. Our three-year partnership with Bankstown Youth Development Service (BYDS) culminated in performances of a new Australian play developed through a series of workshops in schools and communities throughout Western Sydney. Written and directed again by Stefo Nantsou, The Other Way was performed by a unique ensemble of professional actors, students and community members. Performances took place at Bankstown Arts Centre and at STC’s Wharf 2. STC would like to thank Arts NSW for its support of the project. Other community and advocacy projects included: speaking engagements by Andrew Upton (Wired for Wonder conference) and Patrick McIntyre (Circus – a Festival of Commercial Creativity conference); talks by various staff members at educational institutions; Greening the Wharf initiatives; profiling and sharing sustainability strategies. We continued our collaboration with Lend Lease on the development and online publication of oral histories relating to the ongoing evolution of the Walsh Bay and Barangaroo waterfront precinct. In 2013, STC formed a partnership with the Self Help for Hard of Hearing People (SHHH!) in which representatives of SHHH! attended preview performances in Sydney Theatre for all STC shows, providing feedback on the Induction Loop System so that

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it could be calibrated to optimum effectiveness. The Company also participated in an access cultural appraisal, undertaken by Arts Access NSW. The overall assessment was very positive and the outcomes of this appraisal will form the basis of STC’s Disability Action Plan. The Company offered audio-described, captioned and Auslan interpreted performances as well as pre-show tactile tours for Sydney Theatre and Drama Theatre shows, plus an audiodescribed and captioned performance for Super Discount in Wharf 1 Theatre, in collaboration with Accessible Arts. STC Archives is a valuable cultural resource. In 2013 we processed 387 requests for information or material from staff, the public, researchers, theatre practitioners and other theatre companies. The STC oral history project also continued recording interviews with former STC staff and artists. 51 oral history interviews have been conducted from the project’s inception in 2004 to the end of 2013. Volunteer guides generously gave their time to conduct backstage tours of the historic Wharf site for the general public. STC thanks the Guides and Archives volunteers for their time and longstanding commitment to the Company. The Theatre Bar at the End of The Wharf continued to make a vital contribution to the liveliness of the Walsh Bay precinct, and to the experiences of theatre-goers. After its successful launch in 2012 under STC’s management, the Company licensed the operation to Fresh Catering in 2013, significantly streamlining operations.

STRATEGY TWO CREATIVE FUTURES STC’s School Drama™ program (a joint project with the University of Sydney) continued to grow and, in 2013, doubled its reach to 27 schools, 58 teachers and 1,327 children in NSW. We also completed a pilot interstate roll-out with our partners State Theatre Company of South Australia (STCSA) and Flinders University, reaching four schools and 200 students in South Australia. Dedicated Schools Days performances, supplemented by resources for teachers and students, were presented during


Eryn Jean Norvill and Anna Lise Phillips in Romeo and Juliet. Photo: Lisa Tomasetti

Ash Flanders, Luke Mullins and Jill McKay in Little Mercy. Photo: Brett Boardman

seasons of The Secret River, One Man, Two Guvnors, Fury, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Super Discount and Waiting for Godot. Schools Days are an opportunity for students to interact with key members of the creative team through pre-show talks and post-show Q&As. Co Resident Director Sarah Goodes directed six performances of a staged reading of Moisés Kaufman and the members of Tectonic Theater Project’s The Laramie Project in Wharf 2 Theatre from 12 – 14 June as part of the STC Ed program. The work, part of the HSC Drama syllabus, played to over 1,000 students during its short season. During the Department of Education and the Board of Studies’ OnStage week in February, STC hosted a week-long program of events, including behind-the-scenes tours at The Wharf. Tours for school groups and children were held on a further 13 dates during the year. Two primary teacher workshops were held in 2013, attended by over 50 teachers. The sessions, which focussed on Transforming Learning through Drama and Reader’s Theatre, were facilitated by Professor Robyn Ewing.

STRATEGY THREE A GREAT PLACE TO WORK STC staff gathered together during the year for regular BBQs following our full Company meetings, and 2013 marked the emergence of Schnitzel Friday as the jewel in the crown of discounted staff lunches provided by our partners in The Theatre Bar at the End of the Wharf, Fresh Catering.

Amber McMahon in School Dance. Photo: Lisa Tomasetti

Other social activities included: participation in Australia’s Biggest Morning Tea, to raise money for the Cancer Council; donation of over 350 books and toys to The Smith Family’s annual Christmas Toy & Book Appeal; and supporting fundraising initiatives for The Actors Benevolent Society, ACON and the Bobby Goldsmith Foundation. Across the year, the Company donated $54,440 worth of tickets to charities, foundations and schools. The Preston Award is awarded to employees who have worked at STC for 10 years, in recognition of their commitment to the Company. It is named after John Preston, STC’s longest serving staff member, who has worked at the Company for 34 years. There were five new Prestonians in 2013: Maryanne Lawler, Steve Mason, Serena Hill, Nancy Alexander and Jennifer White. In 2013, STC joined the CareerTrackers program. CareerTrackers is a national non-profit organisation that works with Indigenous university students, creating career pathways through a paid, structured internship program. STC thanks Lend Lease for enabling the Company to host an intern within the STC Human Resources department. Four additional interns also joined the Company in 2013, three via the Company’s long-standing partnership with the BostonAustralian Intern program, in which the STC has participated for over 20 years. The fourth intern, a final year WAAPA student who worked on STC’s project with the Australian Defence Force, was subsequently recruited – demonstrating the potential for internships to act as a pathway to employment.

21


Greening the Wharf

GRID ENERGY CONSUMPTION DOWN 53.8% enough to power 68 homes

2007

2007 – 2013 Cumulative Results

2013

WATER USAGE DOWN 77% saving 5 Olympic pools

2007

2013

2013 ACHIEVEMENTS Our landmark Greening The Wharf project continues to deliver on the Company’s, and the environment’s, bottom line. Our consumption of overall purchased energy supply, including natural gas and grid power (3,201 GJ) fell again this year by 32.6%. Our resulting greenhouse gas emissions (504.4 tCO2-e from electricity and gas) also fell 1.8%. Happily, when it rained, it poured – so our town water consumption across the Company (3,649.9 kL) fell again on the previous year by 32.6%.

DIVERSION RATE (MATERIALS RECYCLED / ENERGY RECOVERED) UP 58.3%* 2010

The 2013 results further reduce the cumulative environmental impact the Company has made since we started to record our baseline data in 2007. Over this time, 174.7 tonnes of coal have been saved by reducing electricity purchased from the grid. Our reductions in greenhouse gas emissions mean we have removed the equivalent of 128.8 cars from the road per year. We have saved five Olympic-sized swimming pools of town water, plus we have saved enough power to run 68 average NSW households’ annual electricity supply. Our workshop teams continue to deconstruct and re-use our sets so our purchase of timber has remained well under half of when we began measurement in 2007. With 18 waste streams in place, our total waste generated decreased by 10.6% in 2013, while the diversion (recycling and energy capture) from our waste again positively increased by 19.7% to 42.9 tonnes.

2013

GREENHOUSE GAS EMISSIONS† DOWN 49.3% equivalent to taking 128 cars off the road

2007

STC is not a wasteful company and this year our renewed Green Team of passionate staff continued to raise awareness and encourage sustained behavioural change to support our goals. New initiatives included the promotion of switching off computers at night, and regularly resetting printing defaults to double sided and black and white, saving resources and money. We also started a Company-wide regular “Friday Fling” to encourage clearing workspaces of unwanted paper/materials and returning them for re-use or recycling. Environmental results verified by Pangolin Associates

22

2013

*

results since 2010 †electricity and gas only


STC Life Patrons

Photos: Collider

In 2013, we decided to permanently recognise those individuals and foundations who have demonstrated a deep commitment to and enduring engagement with the Company. Our inaugural Life Patrons have made substantial contributions to the growth and achievements of Sydney Theatre Company over many years. Their leadership and generosity have enabled us to take artistic risks, invest in new projects and champion new creative voices. We commissioned Collider to design a fitting – and of course theatrical – tribute to our Life Patrons for installation at The Wharf. Their solution: a series of “boxes at the theatre” that contain props from our productions to symbolise the breadth of our work, from a glove from Into The Woods to a skull from Titus Andronicus to a dillybag from The Secret River.

Collider Design Team Andrew van der Westhuyzen, Natasha Bartoshefski, Yuna Moon, Sarah Nguyen

Prop Styling Renée Mulder Construction A&W Signs STC Project Management Carmel England, Laura Hough, Tiffany Moulton

With thanks to our inaugural Life Patrons: Mr Giorgio Armani Shi’s Family Foundation Ian and Min Darling Gretel Packer The Pier Group (Chair Anne Schofield AM) David and Claire Paradice The Caledonia Foundation Anonymous Catriona and Simon Mordant AM W & A Johnson Family Foundation Origin Foundation David Gonski AC and Orli Wargon OAM Mrs Roslyn Packer AO Ilse and Cameron O’Reilly Vincent Fairfax Family Foundation Minderoo Foundation Julie and Stephen Fitzgerald John and Frances Ingham Carla Zampatti AC Andrew Stuart

23


Mark Deans and David Woods in Super Discount. Photo: Jeff Busby

24


25


What the critics said

The Secret River “It’s a stunning, shattering piece of theatre that goes to the heart of our history.” Jo Litson, The Sunday Telegraph

The Maids “Huppert and Blanchett are magnificent, playing the extremity of their characters with an icily passionate precision.” Alison Croggon, ABC Arts Online

School Dance “...a ridiculously charming kit bag of 80s nostalgia.” Angela Bennetts, Alternative Media Group

Rosencrantz and Guildenstern are Dead “Tim Minchin and Toby Schmitz are brilliantly intense...” John McCallum, The Australian

Mrs Warren’s Profession “Giles’s production is very fine and thought-provoking.” John McCallum, The Australian

Storm Boy “...it was plain awesome. I liked Fingerbone Bill (Trevor Jamieson) a lot, he was very humorous.” Bill Blake – 8 year old critic, Time Out

Little Mercy “I haven’t been so surprised or laughed so hard in a theatre in ages. It is perverted, disturbing and very, very funny, thanks to brilliant comic timing, great sound design and lots of sparkling ideas.” Elissa Blake, The Sun-Herald One Man, Two Guvnors “...possibly the funniest night out at the theatre this year.” Alexandra Spring, Vogue Dance Better at Parties “If you’d like to spend 70 minutes in the absorbing company of two fascinating characters and a couple of mysterious, funny and touching stories – Dance Better at Parties is the show for you.” Diana Simmonds, Stage Noise Fury “The play benefits from excellent direction by STC Artistic Director Andrew Upton, who elevates the drama onstage by creating strong physical relationships in designer David Fleischer’s simple, sleek set and drawing strong, textured performances, particularly from Peirse and Menzies whose characters unravel beautifully.” Ben Neutze, Time Out

26

Romeo and Juliet “...as beautifully tragic as anyone could hope.” Dee Jefferson, Time Out Super Discount “...a satisfyingly complex and richly entertaining experience.” Keith Gallasch, Real Time Whoops! The Wharf Revue “...one of the best Wharf Revues ever.” Lloyd Brad Syke, Crikey Vere (Faith) “...full of intellect, tenderness and humour.” Shona Benson, Limelight Waiting For Godot “I’ve seen many productions of this great play, including one directed by Beckett himself, but this is the best.” John McCallum, The Australian Machinal “Dyer’s raw-nerved everywoman is riveting to watch.” Jason Blake, Sydney Morning Herald


Jonathon Oxlade, Luke Smiles and Matthew Whittet. Photo: Lisa Tomasetti

Rory Potter and Trevor Jamieson. Photo: Heidrun Lรถhr

Owain Arthur. Photo: Lisa Tomasetti

Helen Thomson and Lizzie Schebesta. Photo: Brett Boardman

Steve Rodgers and Elizabeth Nabben. Photo: Brett Boardman

Sarah Peirse. Photo: Lisa Tomasetti

Tim Minchin and Toby Schmitz. Photo: Heidrun Lรถhr

Isabelle Huppert and Cate Blanchett. Photo: Lisa Tomasetti Simon Laherty, David Woods and Brian Tilley. Photo: Jeff Busby

Michael Smith. Photo: Brett Boardman

Eryn Jean Norvill and Dylan Young. Photo: Lisa Tomasetti Hugo Weaving and Richard Roxburgh. Photo: Lisa Tomasetti

Jonathan Biggins and Amanda Bishop. Photo: Tracey Schramm

Jill McKay. Photo: Brett Boardman

Harriet Dyer and Ivan Donato. Photo: Brett Boardman

Paul Blackwell. Photo: Matt Nettheim

27


Trevor Jamieson, Miranda Tapsell and Iain Grandage . Photo: Heidrun Löhr

SYDNEY THEATRE COMPANY, SYDNEY FESTIVAL AND ALLENS PRESENT


THE SECRET RIVER
 BY KATE GRENVILLE AN ADAPTATION FOR THE STAGE BY ANDREW BOVELL

World Premiere 37 performances 28,309 paid attendance On Tour 14 Feb – 2 Mar 12 performances 9,783 paid attendance The Playhouse, Canberra Theatre Centre, Canberra

Wangarra/Branyimala Rhimi Johnson Page Mrs. Herring Judith McGrath Willie Thornhill Callum McManis Thomas Blackwood Colin Moody Dick Thornhill Rory Potter

His Majesty’s Theatre, Perth

Smasher Sullivan Jeremy Sims

Cast

Narabi James Slee

William Thornhill Nathaniel Dean Garraway/Dulla Djin’s Child Bailey Doomadgee Willie Thornhill Lachlan Elliott Garraway/Dulla Djin’s Child Kamil Ellis Yalamundi Roy Gordon

Loveday Bruce Spence Sagitty Birtles/Suckling/ Turnkey Matthew Sunderland

Production Team Director Neil Armfield


Assistant Stage Manager Remy Woods

Production Photographer Heidrun Löhr

Artistic Associate Stephen Page


Assistant Stage Manager Liam Murray

Running Time 2 h 45 min including interval

Set Designer Stephen Curtis
 Costume Designer Tess Schofield
 Lighting Designer Mark Howett
 Composer & Musician Iain Grandage
 Sound Designer Steve Francis
 Assistant Director Kip Williams
 Language Consultant Richard Green


Gillyagan/Muruli Miranda Tapsell

Dramaturg Matthew Whittet

Dick Thornhill Tom Usher

Voice & Text Coach Charmian Gradwell

Dhirrumbin/Dulla Djin Ursula Yovich

Additional Music Trevor Jamieson

Wig, Hair & Wardrobe Supervisor Lauren A. Proietti Dresser Katie Hankin Head Mechanist David Stabback Head Fly Operator Kane Mott Floor Mechanist Chris Fleming Head Electrician Andrew Tompkins Lighting Board Operator Pat Smithers Head of Sound Kevin White FOH Sound Operator David Bergman

Fight Director Scott Witt

Buryia Ethel-Anne Gundy

Production Manager John Colvin

Sal Thornhill Anita Hegh

Stage Manager Georgia Gilbert

Dan Oldfield Daniel Henshall

Chaperones Anne Carroll Alice Hatton Caroline Mooney Katie Hankin (tour)

Deputy Stage Manager Matt Schubach

Rehearsal Photographer Grant Sparkes-Carroll

PRESENTING SPONSOR COMMISSIONING PATRONS

DAVID GONSKI AC & ORLI WARGON OAM CATRIONA & SIMON MORDANT AM

28

The Secret River was assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival, Perth International Arts Festival and the Centenary of Canberra.

Radio Mic Technician Olivia Benson

Musician/Composer Iain Grandage

Ngalamalum Trevor Jamieson

The Secret River was produced by Sydney Theatre Company in association with Sydney Festival, the Centenary of Canberra and the Perth International Arts Festival.

SYDNEY THEATRE 8 JAN – 9 FEB


Jonathon Oxlade and Luke Smiles. Photo: Lisa Tomasetti

Lizzie Schebesta and Helen Thomson. Photo: Brett Boardman

SYDNEY THEATRE COMPANY IN ASSOCIATION WITH SYDNEY FESTIVAL PRESENTS A WINDMILL THEATRE PRODUCTION

SCHOOL DANCE BY MATTHEW WHITTET

SYDNEY THEATRE COMPANY PRESENTS


MRS WARREN’S PROFESSION
 BY GEORGE BERNARD SHAW

28 performances 7,140 paid attendance

Production team Director Rosemary Myers


Backstage Wardrobe Supervisor Lisa Peddie

Designer Jonathon Oxlade


Father’s Voice Richard Vabre

Jonathon Jonathon Oxlade

Original Soundtrack Luke Smiles Motion Laboratories


Voice Overs Anthony Phelan

Luke Luke Smiles

Lighting Designer Richard Vabre


Derek Sturgess Jack Wetere Ben Coles

Movement Gabrielle Nankivell


Cast Joanie/Danika/Random Girl/Hannah Ellis Amber McMahon

Matthew Matthew Whittet

Animation Chris More

Production Photographer Lisa Tomasetti Running Time 1 h 15 min no interval

75 performances 21,199 paid attendance Tour 10 Apr – 20 Apr 10 performances 3,132 paid attendance IMB Theatre, Illawarra Performing Arts Centre, Wollongong Riverside Theatre, Parramatta Cast Vivie Warren Lizzie Schebesta

Production Team Director Sarah Giles
 Designer Renée Mulder
 Lighting Designer Nigel Levings
 Composer & Sound Designer Max Lyandvert
 Assistant Director Harriet Gillies Voice & Text Coach Charmian Gradwell

Production Manager Jason Warner

Praed Simon Burke

Production Manager Terri Richards

Stage Manager Gabby Hornhardt

Praed (Extension Season) David Whitney

Stage Manager Tanya Leach

Mrs. Kitty Warren Helen Thomson

Assistant Stage Manager Todd Eichorn

Theatre Technician Cameron Menzies

Sir George Crofts Martin Jacobs

Head Mechanist David Tongs

Sound Operator Andrew Lysle

Frank Gardner Eamon Farren

Head Mechanist Eric Duffy

The Reverend Samuel Gardner Drew Forsythe

Backstage Wardrobe Supervisor Lisa Peddie

Assistant Stage Manager Alex Hayley

Running Time 2 h 20 min including interval

Theatre Technician Cameron Menzies Rehearsal Photographer Grant Sparkes-Carroll Production Photographer Brett Boardman

WHARF 1 THEATRE 10 JAN – 3 FEB

SUPPORTED BY

THE RESIDENT ARTIST PATRONS

WHARF 1 THEATRE 14 FEB – 6 APR

4 – 20 JUL EXTENSION SEASON

29


Luke Mullins and Ash Flanders. Photo: Brett Boardman

Steve Rodgers and Elizabeth Nabben. Photo: Brett Boardman

SYDNEY THEATRE COMPANY PRESENTS

SYDNEY THEATRE COMPANY PRESENTS

LITTLE MERCY

DANCE BETTER AT PARTIES

BY SISTERS GRIMM CREATED BY ASH FLANDERS AND DECLAN GREENE

BY GIDEON OBARZANEK

World Premiere 19 performances 3,290 paid attendance

Production Team Director Declan Greene

Cast Virginia Summers Ash Flanders

Designer David Fleischer

Mercy Jill McKay Roger Summers/Miss Trentham Luke Mullins Musician Steve Toulmin

Running time 1 h 25 min no interval

Lighting & AV Designer Verity Hampson

World Premiere 41 performances 6,840 paid attendance

Production Team Director Gideon Obarzanek

Cast Rachel Elizabeth Nabben

Designer Renée Mulder

Dave Steve Rodgers

Composer & Sound Designer Steve Toulmin Production Manager Simon Khamara

Running Time 1 h 20 min no interval

Lighting Designer Benjamin Cisterne Composer & Sound Designer Stefan Gregory Dance Instructor & Choreographer Jessica Prince

Stage Manager Sarah Smith

Production Manager Kate Chapman

Assistant Stage Manager Roxzan Bowes

Stage Manager Tim Burns

Theatre Technician Tony McCoy

Assistant Stage Manager Rebecca Poulter

Production Photographer Brett Boardman

Theatre Technicians Ren Kenward Tony McCoy Production Photographer Brett Boardman

WHARF 2 THEATRE 7 – 24 MAR

30

SUPPORTED BY

THE RESIDENT ARTIST PATRONS

DANCE BETTER AT PARTIES WAS INITIALLY WORKSHOPPED WITH SUPPORT FROM MRS ROSLYN PACKER AO

WHARF 2 THEATRE 3 APR – 11 MAY


Isabelle Huppert and Cate Blanchett. Photo: Lisa Tomasetti

Tahki Saul, Robert Menzies and Sarah Peirse. Photo: Lisa Tomasetti

SYDNEY THEATRE COMPANY PRESENTS

SYDNEY THEATRE COMPANY AND COLONIAL FIRST STATE GLOBAL ASSET MANAGEMENT PRESENT

A NEW PLAY BY JOANNA MURRAY-SMITH

BY JEAN GENET IN A NEW TRANSLATION BY BENEDICT ANDREWS AND ANDREW UPTON

FURY

World Premiere 61 performances 14,961 paid attendance

Production Team Director Andrew Upton

Cast Bob Yure Covich

Designer David Fleischer

Joe Harry Greenwood Rebecca Geraldine Hakewill Annie Claire Jones Patrick Robert Menzies Alice Sarah Peirse Teacher Tahki Saul

THE MAIDS Running Time 1 h 40 min no interval

Lighting Design Nick Schlieper Chris Twyman Composer & Sound Designer Max Lyandvert Assistant Director Imara Savage Voice & Text Coach Charmian Gradwell Fight Director Scott Witt Production Manager Simon Khamara Stage Manager Minka Stevens Assistant Stage Manager Matt Schubach

THE STC CHAIRMAN'S COUNCIL

Cast Claire Cate Blanchett

Deputy Production Manager Terri Richards

Lighting Board Operator Harry Clegg

Solange Isabelle Huppert

Stage Manager Georgia Gilbert

Mistress Elizabeth Debicki

Deputy Stage Manager Amy Forman

Production Team Director Benedict Andrews

Rehearsal Assistant Stage Manager Todd Eichorn

Designer Alice Babidge

Video System Designer Shane Johnson

Lighting Designer Nick Schlieper

Video Technician David Bergman

Composer Oren Ambarchi

Sound System Designer Adam Iuston

Video Designer & Operator Sean Bacon

Head of Sound Kevin White

Sound Designer Luke Smiles

Hayley Forward

15 APR – 8 JUN

PRESENTING SPONSOR

Running Time 1 h 45 min no interval

Wig, Make-Up & Wardrobe Supervisor Lauren A. Proietti Head Mechanist Steve Mason

Translation from the original French version Julie Rose

WHARF 1 THEATRE

Rehearsal/Production Photographer Lisa Tomasetti

foh Sound Operator

Voice & Text Coach Charmian Gradwell

Production Photographer Lisa Tomasetti

THIS PRODUCTION IS SUPPORTED BY

Head Electrician Andrew Tompkins

Assistant to the Designer Sophie Fletcher

Backstage Wardrobe Supervisor Rosalie Lester

AUDI NIGHT WITH THE ACTORS PARTNER

Production Manager Annie Eves-Boland

Dramaturg Matthew Whittet

Theatre Technician Cameron Menzies

MEDIA PARTNER

53 performances 43,027 paid attendance

Head Fly Operator David Stabback Deputy Head Fly Operator Kane Mott

ASSOCIATE SPONSOR

MEDIA PARTNER

SYDNEY THEATRE 4 JUN – 20 JUL

31


Tim Minchin and Toby Schmitz. Photo: Heidrun Löhr

SYDNEY THEATRE COMPANY AND COMMONWEALTH BANK PRESENT

Eryn Jean Norvill and Dylan Young. Photo: Lisa Tomasetti

SYDNEY THEATRE COMPANY PRESENTS

ROSENCRANTZ AND GUILDENSTERN ARE DEAD ROMEO AND JULIET THE MOST EXCELLENT AND LAMENTABLE TRAGEDY OF BY WILLIAM SHAKESPEARE

BY TOM STOPPARD

44 performances 34,263 paid attendance Cast Musician Paul Cutlan

Production Team Director Simon Phillips Designer Gabriela Tylesova

Polonius John Gaden

Lighting Designer Nick Schlieper

Alfred George Kemp

Musical Director & Composer Alan John

Player/Laertes Angus King The Player Ewen Leslie Rosencrantz Tim Minchin Gertrude Heather Mitchell Player/King in Dumbshow/Ambassador Nicholas Papademetriou

Sound Designer Steve Francis Assistant Director Sarah Giles Voice & Text Coach Charmian Gradwell Movement Director Scott Witt Production Manager Simon Khamara

Ophelia Adele Querol

Deputy Production Manager Kate Chapman

Guildenstern Toby Schmitz

Stage Manager Minka Stevens

Player/Murderer Berynn Schwerdt

Deputy Stage Manager Matt Schubach

Claudius Christopher Stollery

Assistant Stage Manager Todd Eichorn

Player/Horatio Aaron Tsindos Hamlet Tim Walter

Head Mechanist Steve Mason

49 performances 20,637 paid attendance

Head Fly Operator David Stabback

Cast Benvolio Akos Armont

Deputy Head Fly/ Automation Operator Kane Mott

Lighting Designer Nicholas Rayment

Head Electrician Andrew Tompkins

Paris Alexander England

Lighting Board Operator Harry Clegg

Mercutio Eamon Farren

Composer & Sound Designer Alan John

Head of Sound Kevin White

Nurse Julie Forsyth

Associate Sound Designer Nate Edmondson

Audio Programmer David Bergman

Tybalt Josh McConville

Fight Director Nigel Poulton

foh Sound Operator

Michael Toisuta

Capulet Colin Moody

Voice & Text Coach Charmian Gradwell

Radio Mic Technician Olivia Benson

Juliet Eryn Jean Norvill

Production Manager John Colvin

Rehearsal Photorapher Lisa Tomasetti

Lady Capulet Anna Lise Phillips

Stage Manager Tanya Leach

Production Photographer Heidrun Löhr

Romeo Dylan Young

Assistant Stage Manager Roxzan Bowes Wig, Make-Up & Wardrobe Supervisor Lauren A. Proietti

Running Time 2 h 50 min including interval

Head Mechanist David Tongs Radio Mic Technician Remy Woods

Wig & Make-Up Supervisor Lauren A. Proietti

Rehearsal Photographer Grant Sparkes-Carroll Production Photographer Lisa Tomasetti

SYDNEY THEATRE 6 AUG –14 SEP

32

Running Time 3h including interval

Designer David Fleischer

Friar Laurence Mitchell Butel

Backstage Wardrobe Supervisor Lisa Peddie

PRESENTING SPONSOR

Production Team Director Kip Williams

ASSOCIATE SPONSOR

SUPPORTED BY

MEDIA PARTNER

AUDI NIGHT WITH THE ACTORS PARTNER

THE RESIDENT ARTIST PATRONS

DRAMA THEATRE 20 SEP – 2 NOV


Brian Tilley, Simon Laherty and David Woods. Photo: Jeff Busby

Yalin Ozucelik, Paul Blackwell and Geoff Morrell. Photo: Matt Nettheim

SYDNEY THEATRE COMPANY PRESENTS BACK TO BACK THEATRE, SYDNEY THEATRE COMPANY AND MALTHOUSE THEATRE

SUPER DISCOUNT World Premiere 26 performances 3,002 paid attendance

Production Team Director And Devisor Bruce Gladwin

Cast Performers & Devisors Mark Deans Simon Laherty Sarah Mainwaring Scott Price Brian Tilley David Woods

Choreography Antony Hamilton Lighting Design Andrew Livingston Costume Design Shio Otani Set Construction Mark Cuthbertson Dramaturg Kate Sulan

SYDNEY THEATRE COMPANY PRESENTS A SYDNEY THEATRE COMPANY AND STATE THEATRE COMPANY OF SOUTH AUSTRALIA PRODUCTION

VERE (FAITH) A NEW PLAY BY JOHN DOYLE

Show Director Samara Hersch Artist Support Jo Leishman Shannon Quinn Adriana Sobolewski Nikki Watson Rehearsal/Production Photographer Jeff Busby Running Time 60 min no interval

Sound Engineer Marco Cher-Gibard Air Engineers Mark Cuthberston Alison Harvey Rhian Hinkley Bruce Gladwin Andrew Livingston Van Locker Shio Otani

World Premiere 36 performances 13,990 paid attendance

Production Team Director Sarah Goodes

Cast Gina/Gianna/Holly Matilda Bailey

Set Designer Pip Runciman

Vere Paul Blackwell Mike/Michael Matthew Gregan

Running Time 2 h 20 min including interval

Costume Designer Renée Mulder Lighting Designer Nigel Levings

Marissa/Melissa Ksenja Logos

Composer & Sound Designer Steve Francis

Kate/Katherine Rebecca Massey

Assistant Director Nescha Jelk

Ralph/Roger Geoff Morrell

Production Manager Gavin Norris

Simon/Scott Yalin Ozucelik

STC Production Manager John Colvin Stage Manager Melanie Selwood Assistant Stage Manager Sarah Smith

Script Consultant Melissa Reeves

Head Mechanist David Tongs

STC Production Manager Kate Chapman

Backstage Wardrobe Supervisor Rosalie Lester

Stage Manager Alice Fleming

Rehearsal Photographer Shane Reid

Assistant Stage Manager Minka Stevens

Production Photographer Matt Nettheim

Lighting Operator Lachlan O’Dea

WHARF 1 THEATRE 20 SEP – 19 OCT

DRAMA THEATRE SUPPORTED BY

THE RESIDENT ARTIST PATRONS

6 NOV – 7 DEC

33


Hugo Weaving, Philip Quast, Richard Roxburgh, Luke Mullins Photo: Lisa Tomasetti

Katie McDonald, Harriet Dyer and Robert Alexander. Photo: Brett Boardman

SYDNEY THEATRE COMPANY AND QANTAS PRESENT

SYDNEY THEATRE COMPANY PRESENTS

BY SAMUEL BECKETT

BY SOPHIE TREADWELL

WAITING FOR GODOT 44 performances 34,861 paid attendance Cast Lucky Luke Mullins Boy Otis Pavlovic Rory Potter Pozzo Philip Quast Estragon Richard Roxburgh Vladimir Hugo Weaving

Production Director Andrew Upton

Deputy Head Fly Operator Chris Fleming

Associate Director Anna Lengyel

Head Electrician Andrew Tompkins

Set Designer Zsolt Khell

Lighting Board Operator Harry Clegg

Costume Designer Alice Babidge

Head of Sound Kevin White

Lighting Designer Nick Schlieper

foh Sound Operator

Sound Designer Max Lyandvert

Chaperones Sally Manning Kay Drummond

Assistant to the Costume Designer Sophie Fletcher Voice & Text Coach Charmian Gradwell Production Manager Simon Khamara

Michael Toisuta

Rehearsal /Production Photographer Lisa Tomasetti Running Time 2 h 50 min including interval

Deputy Production Manager Nathaniel Lunn

MACHINAL 17 performances 2,799 paid attendance Cast Stenographer/Doctor/ Older Man In Bar/ Lawyer/Priest Robert Alexander Filing Clerk/Boy In Bar/ Lawyer/Barber Matthew Backer Mr Jones/Man In Bar Brandon Burke Lover/Lawyer/Barber Ivan Donato Young Woman Harriet Dyer Adding Clerk/Mr Smith/ Lawyer/Singer Katie McDonald Telephone Girl/Nurse/ Lawyer/Reporter Terry Serio Mother/Woman In Bar/ Judge/Reporter Wendy Strehlow

Stage Manager Georgia Gilbert

Production Team Director Imara Savage

Running Time 1 h 30 min no interval

Designer David Fleischer Lighting Designer Verity Hampson Composer & Sound Designer Steve Francis Voice & Text Coach Charmian Gradwell Production Manager Terri Richards Stage Manager Minka Stevens Assistant Stage Manager Liam Murray Head Mechanist Eric Duffy Theatre Technicain Pat Smithers Sound Operator Luke Davis Production Photographer Brett Boardman

Assistant Stage Manager Todd Eichorn Wig, Make-Up & Wardrobe Supervisor Lauren A. Proietti Head Mechanist Steve Mason Head Fly Operator Kane Mott

PRESENTING SPONSOR

ASSOCIATE SPONSOR

MEDIA PARTNER

SYDNEY THEATRE 12 NOV – 21 DEC

34

SUPPORTED BY

THE RESIDENT ARTIST PATRONS

WHARF 2 THEATRE 21 NOV – 7 DEC


Special Presentation

Owain Arthur. Photo: Lisa Tomasetti

SYDNEY THEATRE COMPANY AND UBS AUSTRALIA PRESENT
 A NATIONAL THEATRE OF GREAT BRITAIN PRODUCTION


ONE MAN, TWO GUVNORS
 BY RICHARD BEAN
 BASED ON THE SERVANT OF TWO MASTERS BY CARLO GOLDONI
 WITH SONGS BY GRANT OLDING 49 performances 24,657 paid attendance Cast Francis Henshall Owain Arthur Stanley Stubbers Edward Bennett Dolly Amy Booth-Steel Harry Dangle Nick Caveliere Alfie Mark Jackson Charlie Clench Colin Mace Lloyd Boateng Mark Monero

Ensemble Sabrina Carter Alicia Davies Joshua Lacey Alan Pearson Seun Shote Russell Wilcox The Craze Music Director/Bass Richie Hart Lead Vocal/Guitar Philip Murray Warson Guitars Oliver Seymour-Marsh Drums Billy Stookes

Production Team Director Nicholas Hytner
 Physical Comedy Director Cal McCrystal
 Revival Director/ Choreographer Adam Penford
 Designer Mark Thompson


Deputy Stage Manager Nik Haffenden Assistant Stage Manager Charlotte Heath

Lighting Designer Mark Henderson
 Music & Songs Grant Olding


Technical Supervisor Craig Emerson

Sound Designer Paul Arditti

Lighting Supervisor & Relighter Ben Dodds

Associate Set Designer Jonathan Allen

Alan Dangle Leon Williams

Associate Costume Designer Poppy Hall Associate Lighting Designer Tom Snell

Rachel Crabbe Rosie Wyatt

Company Stage Manager Andrew Speed

Assistant Stage Manager Tanya Harrison

Pauline Kellie Shirley

Gareth Matthew Woodyatt

Production Manager Anna Anderson

Fight Director Kate Waters Company Voice Work Jacquie Crago

Sound Engineer Ross Chatfield

Assistant Stage Manager Edwina Guinness

Production Photographers John Persson Tristram Kenton Lisa Tomasetti Running Time 2 h 50 min including interval

Backstage Wardrobe Supervisor Darryl Myott Dresser Anita Oram Wig & Make-Up Supervisor Lauren A. Proietti Wig Stylist Margaret Aston Head Mechanist Steve Mason Dave Stabback

Wardrobe Supervisor Jo Kuhn

Head Fly Operator Kane Mott

Wigs Supervisor Suzanne Scotcher

Floor Mechanist Chris Fleming

Staff Director Sam Yates

Floor Electrician Andrew Tompkins Lighting Board Operator Harry Clegg foh Sound Operator

Pete Sforcina

UK Touring Production Staff Producer Pádraig Cusack

ASSOCIATE SPONSOR

Assistant Stage Manager Sarah Smith

Sound Operator Sam Clarkson

Literal Translator Francesca Manfrin

PRESENTING SPONSOR

STC Production Staff Production Manager John Colvin

Floor Sound Technician Kevin White

CULTURAL SPONSOR

SYDNEY THEATRE 30 MAR – 11 MAY

35


Special Presentation

Special Presentation

Rory Potter and Trevor Jamieson. Photo: Brett Boardman

Simon Burke and Jonathan Biggins. Photo: Tracey Schramm

SYDNEY THEATRE COMPANY PRESENTS A SYDNEY THEATRE COMPANY AND BARKING GECKO THEATRE COMPANY PRODUCTION

STORM BOY

BY COLIN THIELE ADAPTED FOR THE STAGE BY TOM HOLLOWAY

World Premiere 36 performances 10,446 paid attendance

Production Team Director John Sheedy

Cast Storm Boy Joshua Challenor

Designer Michael Scott-Mitchell

Mr Ponder/Mr Pride Shaka Cook Fingerbone Bill Trevor Jamieson Hideaway Tom Peter O’Brien Storm Boy Rory Potter Mr Percival Michael Smith

Puppetry Director Peter Wilson Lighting Designer Damien Cooper Sound Designer Kingsley Reeve

SYDNEY THEATRE COMPANY AND BANK OF AMERICA MERRILL LYNCH PRESENT

WHOOPS! THE WHARF REVUE 2013 WRITTEN AND CREATED BY JONATHAN BIGGINS, DREW FORSYTHE AND PHILLIP SCOTT

Theatre Technician Cameron Menzies Chaperones Sally Manning Kay Drummond Rehearsal/Production Photographer Brett Boardman Running Time 1 h 10 min no interval

Assistant Director Scarlet McGlynn

World Premiere 68 performances 19,917 paid attendance On Tour 5 Sep – 19 Oct

Cast Jonathan Biggins Amanda Bishop Simon Burke Drew Forsythe

40 performances 14,043 paid attendance Joan Sutherland Performing Arts Centre, Penrith

Sound & Video Designer David Bergman

Riverside Theatre, Parramatta

Production Manager & Set Realiser Barry Searle Stage Managers Nicole Robinson Matt Schubach

Casula Powerhouse, Casula

Head Electrician Pat Smithers

Civic Theatre, Newcastle

Voice & Text Coach Charmian Gradwell

Glen Street Theatre, Belrose

Production Manager Terri Richards

The Playhouse, Canberra Theatre Centre, Canberra

Stage Manager Sarah Smith

Lighting Designer Matthew Marshall Musical Director & Accompanist Andrew Worboys

IMB Theatre, Illawarra Performing Arts Centre, Wollongong

Puppets created by Annie Forbes Tim Denton (Aboutface Productions) STC Props

Production Team Musical Supervisor Phillip Scott

Costume Supervisor Scott Fisher Wigs Margaret Aston Video Artist Todd Decker Voice Coach Charmian Gradwell

Assistant Stage Manager Jemima Hogg

Rehearsal Photogrpaher Grant Sparkes-Carroll

Backstage Wardrobe Supervisor Genevieve Blewitt

Production Photographer Tracey Schramm Running Time 1 h 30 min no interval

COMMISSIONING PATRON

WHARF 1 THEATRE

PRESENTING SPONSOR

ASSOCIATE SPONSOR

WHARF 1 THEATRE

GRETEL PACKER

9 AUG – 10 SEP

36

23 OCT – 21 DEC


Community Presentation Matuse and the cast. Photo: Lee Pham

SYDNEY THEATRE COMPANY IN PARTNERSHIP WITH BYDS PRESENT

THE OTHER WAY WRITTEN AND DIRECTED BY STEFO NANTSOU

World Premiere 18 Jul 4 performances 720 free attendance Bankstown Arts Centre, Bankstown 19 – 20 Jul 2 performances 391 free attendance Wharf 2 Theatre Cast The Hajj Family Vera Zindzi Okenyo David Fayssal Bazzi Matuse Matuse Alia Randa Sayed Kayla Emni El Masri Mohammed Karim Zreika Hajj Stefo Nantsou

The Fostevski Family Gotse Vasko Srbinovski

Centro Shops Mr Warsaw’s Butcher Filip Stempien

Thieves Olivia Twist Kadeja El Masri

Production Team Studio Engineer Sho Nidhi

Lena Ildiko Kiss

Sharman’s Fruit And Vegetables Sharneel Sharma

Lexi Caoimhne Quinn

Assistant Director/ Dramaturg Randa Sayed

The Gill Family Gayatri Aishverya Nidhi

Two Dollar Toni’s Shauna Connolly

Community Services Tina Zindzi Okenyo

Bobby Arman Gupta

Gabriella’s Hair Salon Sophie Bilton

Shelly Emily Warwick

Lucky Rijul Banerjee

Habib’s Mixed Business Naser Chamali

Police Officer Neo Kellie Pritchard

Mohammed’s Mates Jojo Madhi Hussian

Taj Mahal’s Indian Take-Away Sho Nidhi

Ali Abdullah El Sayed

Target Staff & Customers Entire Cast

Sim Ali El Chebib Kayla’s Friends Pixie Naomi Najarin Ponya Esaena Tanaki Petra Aida Zjakic

Tamar Alice Ansara

The Gang Red Justin Kilic

The Webb Family Maya Alice Ansara

The Beat Joey Wells

Jasmine Talisha Diaz Ziggy Anees Quader

Mungo Naser Chamali Slick Filip Stempien

STC Production Manager John Colvin Stage Manager Suzanne Large Lighting Technician (Bankstown) Frank Mainoo Original Music Zindzi Okenyo Matuse Stefo Nantsou

Bankstown Youth Development Service Director Tim Carroll Engaging Young Men Through The Arts John Shrimpton Aboriginal Youth Arts Tim Bishop Digital Producer/ Administration Kavita Bedford Bankstown Arts Centre Director Vandana Ram Front Of House Chillet Paz Thanks to The students and teachers of Sir Joseph Banks High School, Easthills Girls High School, Baulkham Hills High School and James Meehan High School

Centro Security Lenny Sopa Enari Ho Henry Vo Paul Stefo Nantsou David Fayssal Bazzi

Running Time 1 h 20 min no interval

Centro Information Milly Isabella Henriques Centro Manager Noel Naser Chamali Train Inspector Ita Alice Ansara

COMMISSIONING PATRON

THIS PROJECT IS SUPPORTED BY

THE GIRGENSOHN FOUNDATION

THE NSW GOVERNMENT THROUGH ARTS NSW

WHARF 2 THEATRE 19 JUL – 20 JUL

37


Community Presentation

STC Ed Presentation

Ellen Bailey, Aaron Tsindos and John Shrimpton Photo: Brett Boardman

NRMA MOTORING AND SERVICES AND SYDNEY THEATRE COMPANY PRESENT

ROAD TRAIN

THE LARAMIE PROJECT

WRITTEN AND DIRECTED BY STEFO NANTSOU

World Premiere 1 performance 200 free attendance On Tour 17 May – 6 Jun 14 performances 1,903 free attendance James Meehan High School, Macquarie Fields Merrylands High School, Parramatta Lismore High School, Lismore Mount View High School, Cessnock Hunter River High School, Heatherbrae Cowra High School, Cowra Dapto High School, Wollongong Melrose High School, Canberra

Cast Ryan Holden/Freda Suburu/Preston Tucker/ Calvin Bedford/Police Officer/Adam Kia/ Ronaldo Skoda/Manfred Benz/Castrol Guy John Shrimpton

STC ED PRESENTS A STAGED READING OF

BY MOISÉS KAUFMAN AND THE MEMBERS OF TECTONIC THEATER PROJECT

Running Time 1 h 5 min no interval

6 performances 1,032 paid attendance Cast Andy Paris Brandon McClelland John McAdams Nicholas Brown

Production Team Director Sarah Goodes

Running time 1 h 50 min no interval

Production Manager Kate Chapman Stage Manager Sarah Smith

Stephen Belber Marshall Napier

Karla Ford / Carol Ford / Magistrate / Vicki Holden / E.J. / Bruce Hillan / Wayne Torana / Jude Jag / Slade Panelvan / Bundy Girl Ellen Bailey

Greg Pierotti Stephen Multari Mercedes Herreno Natasha Beaumont Kelli Simpkins Sara West

Eddie Ford / Court Clerk / Graham Holden / Muz Selica / Ethan Monaro / Alicia Datsun / Nathan Ute / Chris Fiat / Ziggy Bluebird / Mark Ferrari / Tyre Man Aaron Tsindos

Barbara Pitts Michelle Lim Davidson Amanda Gronich Sarah Woods

Production Team Director Stefo Nantsou Voice Consultant Charmian Gradwell Production Manager John Colvin Stage Manager Sophie Berry Production Photographer Brett Boardman

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WHARF 2 THEATRE

WHARF 1 THEATRE

20 MAY

12 – 14 JUN


School Drama

Since 2009, Sydney Theatre Company and The University of Sydney have partnered to design and deliver School DramaTM. School DramaTM is a professional development program for teachers that uses drama strategies to improve learning outcomes across the primary school curriculum, particularly in literacy. For 90 minutes a week over seven weeks, each participating teacher works in the classroom alongside a specially trained teaching artist who helps build confidence and capacity in utilising drama to develop literacy outcomes in primary school students from kindergarten to grade six. Together they explore how drama strategies can be integrated into any area of English and literacy, such as narrative writing, comprehension and inference, confidence in oracy, descriptive language and student engagement. The process begins with a day-long professional development workshop at STC, followed by a series of planning sessions focused on tailoring a “team-teaching” program to meet the class’ individual learning goals. The teaching artists then go into the schools, modelling the drama strategies and empowering teachers to carry these ideas into their regular teaching practice. In 2013, The University of Sydney delivered a longitudinal evaluation of the program which demonstrated its efficacy. Key research findings show significant shifts in teacher-reported knowledge, understanding and confidence to use process drama strategies. Further, increased student academic achievements in literacy and English, improvements in student confidence and class cohesion and ongoing research and evaluations illustrate that the co-teaching model provides a powerful professional learning experience for teachers. Teachers also report that they

continue to use the knowledge and expertise gained long after the teaching artist has left the school, ensuring the program has a lasting and scalable impact. Armed with this research, we doubled access to School Drama™ in 2013 across metropolitan Sydney, working with 58 teachers in 27 schools and in the process engaging with 1,327 children. We also trialled regional delivery models in Broken Hill and the Blue Mountains, as well as conducting an interstate pilot of the program in South Australia in partnership with State Theatre Company of South Australia and Flinders University. Pre-service teachers from The University of Sydney shadowed teaching artists in Term 2, and our Education Manager has shared School Drama™ practice and research with pre-service teachers in Primary and English courses, and at conferences both nationally and internationally. We believe that School DramaTM demonstrates the extremely positive instrumental value of the arts in education, and hope that confident, drama-literate teachers will help impart a joy of learning, language and storytelling to primary students. Developing the program has been a major commitment and investment. Crucial support for the program has come from the Origin Foundation, Vincent Fairfax Family Foundation, the Caledonia Foundation and the STC Foundation and we thank them wholeheartedly for their help in getting it off the ground. School DramaTM is supported by: The Caledonia Foundation Origin Foundation Vincent Fairfax Family Foundation

39


Plays and Performances No. of Performances

Paid Attendance

Subscription Season

The Secret River

37

28,309

School Dance

28

7,140

Mrs Warren’s Profession

75

21,199

Little Mercy

19

3,290

Dance Better at Parties

41

6,840

Fury

61

14,961

The Maids

53

43,027

Rosencrantz and Guildenstern are Dead

44

34,263

Romeo and Juliet

49

20,637

Super Discount

26

3,002

Vere (Faith)

36

13,990

Waiting for Godot

44

34,861

17

2,799

530

234,318

Machinal Sub Total

Special Presentations

One Man, Two Guvnors

49

24,657

Storm Boy

36

10,446

Whoops! The Wharf Revue

68

19,917

153

55,020

Sub Total

Education/Family/Community

Road Train – Sydney, Regional NSW & ACT

15

2,103

The Other Way – Bankstown & Wharf 2 Theatre

6

1,111

The Laramie Project

6

1,032

124

27

1,032

3,338

Total Subscription Season, Education and Special Presentations 2013

710

290,370

Total Subscription Season, Education and Special Presentations 2012

769

214,372

Sub Total

40

Free Attendance


No. of Performances

Paid Attendance

Touring

The Secret River – ACT & WA

12

9,783

Mrs Warren’s Profession – NSW

10

3,132

Whoops! The Wharf Revue – NSW & ACT

40

14,043

62

26,958

Sub Total

Free Ticketed Events

Free Attendance

Rough Draft #19 – The Waiting Room

1

178

Rough Draft #20 – Alphabet of Arousal

1

200

Rough Draft #21 – The Secret Project

1

191

Rough Draft #22 – Wake in Fright

1

191

Rough Draft #23 – The Battle of Waterloo

1

184

5

944

Sub Total

Total Performances in 2013

Sydney Metropolitan Area

National International Grand Total Performances 2013

734 43 0 777

Total Attendance 2013

321,610

Total Attendance 2012

311,571

41


Key Performance Indicators Art

2011

2012

2013

12

11

13

5 weeks

4.3 weeks

4.6 weeks

8.25

6.45

7.4

15

13

11

Next stage productions presented

3

1

0

New commissions

6

8

4

30+

15

20

Regional and national tours

4

5

4

International tours and presentations

1

3

0

1,706

1,820

4,273

(281)

(7)

466

419

235

113

(1,853)

(2,301)

(4,719)

(9)

(254)

431

17.03%

14.80%

13.93%

3,630

3,478

3,921

196,796

174,809

234,318

Non-subscription activities

36,614

37,438

56,052

Subscriber members

16,696

14,652

16,922

63%

75%

76%

Productions presented

3

3

2

Workshops

3

12

18

24,834

12,686

14,932

17

17

27

5

43

34

Subscription season productions presented

Average rehearsal time

(STC produced & co-produced shows only) Average performers per play New Australian works and adaptations produced

Readings and workshops

Business

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

Net overheads

(including funding and development income) ($’000) Surplus/deficit ($’000) Reserves as % of turnover Total raised (net) including Foundation ($’000) Paid attendance Subscription season

Subscriber renewal

Community/Education

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

2013 results represent the merged Sydney Theatre Company and Sydney Theatre (NSWCM) entity

42


43

Lizzie Schebesta in Mrs Warren’s Profession. Photo: Brett Boardman


STC Foundation

Philanthropic donations directly contribute to STC’s ability to create visionary theatre of scale, develop its artists and engage with the broader community. I would like to earnestly thank the many individuals and families who make up this critical support group as it is through you that the Company has the confidence and capacity to take risks and deliver the dynamic and engaging program of work we all enjoy.

new Australian commissions and the ongoing investment in STC’s capacity to carry out its core work.

Foundation Trustees Chair Jillian Broadbent AO

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.

Deputy Chair Andrew Stuart

In 2013, donations totalled $2,612,709, an increase of 28% on 2012 figures. Donations were raised alongside sales transactions, via direct mail campaigns, from major gifts for specific projects, fundraising events (including an auction, private dinners and Pier Group lunches) and from generous individuals who chose to leave the Company a gift in their Will.

After a wonderful 17 years of working with STC, first as a Board Member, then as a member of the STC Foundation and finally as Foundation Chair, I have decided to step down with the confidence that I remain very close to the Company and the many individuals I respect, admire and have worked with over the years.

This year we disbursed back to STC an amount of $1,464,237. Disbursements were directed towards:

I would also like to acknowledge Carla Zampatti, who after 18 years of incredible service to the STC Foundation has also decided to step down from an official role with the Company.

Our creative work Donations directly supported the main stage productions of The Secret River, Storm Boy and Fury. Our artists Donations empowered the work of emerging Resident Directors Sarah Giles, Sarah Goodes and Kip Williams. Our community Donations gave us the capacity to expand our education outreach program, School Drama™. Our company Donations from many generous individuals funded a much needed digital upgrade of our archives. The accumulated balance held in the Foundation has been earmarked for a number of our 2014 main stage productions (some of which were already in development during 2013), ongoing investment in Resident Artists and support for new creative talent,

44

Shaka Cook, Michael Smith and Rory Potter in Storm Boy. Photo: Brett Boardman

The role of Foundation Chair has been taken up with enthusiasm and great skill by Ann Johnson, who has been a significant supporter of the Company for a number of years. Both Carla and I look forward to continuing to support the work of the Sydney Theatre Company. The passion and impact of theatre keeps us connected to each other as individuals and as a community, and ongoing support is essential to continuing the quality and energy of Sydney performances.

Jillian Broadbent Chair STC Foundation

Trustees Cate Blanchett 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 2013

2013

2012

$

$

Current assets

Cash and cash equivalents

3,105,283

3,058,000

Trade and other receivables

2,083,046

1,579,445

5,188,329

4,637,445

Total assets

Current liabilities

Trade and other payables

5,439

43,576

Deferred revenue

7,217

7,218

12,656

50,794

5,175,673

4,586,651

Total liabilities

Net assets

Equity

Statement of comprehensive income For the year ended 31 December 2013

Retained earnings

2,628,088

1,275,271

Restricted funding – Greening

2,102,585

2,301,380

Restricted funding – other

445,000

1,010,000

Total equity

5,175,673

4,586,651

Revenue

2,612,709

2,042,504

Fundraising expenses

(211,810)

(185,715)

Administrative expenses

(426,543)

(414,014)

Greening funds applied to charitable purposes

(198,795)

(198,620)

(1,265,442)

(2,341,324)

510,119

(1,097,169)

Financing income

78,903

105,632

Net financing income

78,903

105,632

589,022

(991,537)

-

-

589,022

(991,537)

Funds applied to charitable purposes

Profit before financing income

Profit for the period

Other comprehensive income

Total comprehensive income for the period

45


Our Donors

A special thank you to all of our generous donors who make our work possible. We applaud you! Life Patrons

Mr Giorgio Armani Shi’s Family Foundation Ian and Min Darling Gretel Packer The Pier Group (Chair Anne Schofield AM) David and Claire Paradice The Caledonia Foundation Anonymous Catriona and Simon Mordant AM W & A Johnson Family Foundation

Origin Foundation David Gonski AC and Orli Wargon OAM Mrs Roslyn Packer AO Ilse and Cameron O’Reilly Vincent Fairfax Family Foundation Minderoo Foundation Julie and Stephen Fitzgerald John and Frances Ingham Carla Zampatti AC Andrew Stuart

2013 DONATIONS $100,000 and above David Gonski AC and Orli Wargon OAM John & Frances Ingham Catriona & Simon Mordant AM Origin Foundation Gretel Packer Mrs Roslyn Packer AO David and Claire Paradice $50,000 - $99,999 Anonymous, The Caledonia Foundation, Julie and Stephen Fitzgerald, W & A Johnson Family Foundation, Vincent Fairfax Family Foundation, Carla Zampatti AC $25,000 - $49,999 Anita & Luca Belgiorno-Nettis Foundation, Ian & Min Darling, Prudence MacLeod, Petre Foundation, The STC Pier Group, Ms Rebel Penfold-Russell OAM, John Symond AM $15,000 - $24,999 John and Julie Connolly, Craig & Bernadette Drummond, Mr Robert Hansen & Dr Annabelle Farnsworth, Will & Jane Vicars Chairman’s Council 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 and Orli Wargon OAM, John M Green & Jenny Green, John & Frances Ingham, Mark & Anne Lazberger, Danita R. Lowes & David M. Fite, MacKenzie Family, Andrew Messenger, Catriona & Simon Mordant AM, David and Claire Paradice, Robert Purves AM, Ian & Kelly Saines, Mr Fred Street AM & Mrs Dorothy Street, Andrew Stuart, TAG Family Foundation, The Hon Malcolm Turnbull MP and Lucy Hughes Turnbull AO, Kim Williams AM & Catherine Dovey, Graeme Wood AM $10,000 - $14,999 Anonymous, Robert Albert AO & Libby Albert, Robert Cameron AO & Paula Cameron, Edward and Diane Federman, Mrs Megan Grace, Hausmann Communications, Mark & Anne Lazberger, Ross Littlewood & Alexandra Curtain, Maple-Brown Charitable Foundation Ltd, Roger Massy-Greene & Belinda Hutchinson, Dick & Pip Smith, Michael and Eleonora Triguboff, Phillip and Suzy Wolanski

46


$5,000 - $9,999 Anonymous, Wayne Adams in memory of Liz O’Neill OAM, Michael Adena & Joanne Daly, Ruth Armytage AM, Philip Bacon, Ms Jillian Broadbent AO, Anne and David Craig, Y Faros and P McIntyre, Bill Hayward, Lowy Family Group, The William McIlrath Charitable Foundation, Miss Janette O’Neil, Andrew & Andrea Roberts, Barbara Spencer, in memory of Lance Bennett, Mr Fred Street AM & Mrs Dorothy Street, Mr Kim Williams AM $2,000 - $4,999 Anonymous (4), Mr Victor Baskir, Tom & Diane Beecroft, Billy Bennett and Marguerite Gregan, Christine Bishop, Anthony and Leda Booth, Janice Burke, Dr Bishnu Dutta & Ms Jayati Dutta, Julia Farrell, Mandy Foley Quin, Amanda Harkness, Claire Hilmer, H. Kallinikos Pty Ltd, Mrs Elizabeth Laverty, Alexandra Martin in memory of Lloyd Martin AM, Robert McDougall, Timothy & Eva Pascoe, Robert Purves AM, Emine Sermet, Louise Taggart and Peter Homel, Lynne Watkins and Nicholas Harding, Sarah Whyte, Dr John Yiannikas $1,000 - $1,999 Anonymous (17), Janet Abernethy and Richard Willis, Alex and Paula Adamovich, Mr Andrew Andersons AO, Bruce & Judy Baird, J Berry, S Browne, Mr Joseph Catanzariti, JT Clark, Tim and Bryony Cox, Jane Douglass AM, Diane & John Dunlop, Ms Anne Galbraith, The Gill Family, R Godlee & A Maxwell, Nick and Kathryn Greiner, Priscilla Guest, Donald Hector & Sandra Ollington, Andreas & Danielle Heidbrink, Jennifer Hershon, Michael Ihlein & Gosia Dobrowolska, Geraldine James, Richard and Elizabeth Longes, Danita R. Lowes & David M. Fite, M. J. Mashford, Mr & Mrs G. McConnochie, Dr Ann McFarlane, J. A. McKernan, Dr Stephen McNamara, Andrew Messenger, Peter and Jannette Miller, Andree Milman, Sue O’Keefe in memory of Lynda Shearer, Janine Perrett, Dr S A Reeckmann & Dr G S Holmes, Lesley and Andrew Rosenberg, John Sheahan & Shannon Gregory, John and Christina Stitt, Gai Wales, Sue-Anne Wallace, Antony Whitlam, Mr Tony Williams $500 - $999 Anonymous (25), Charles and Hannah Alexander, Mrs Margaret Arnott, Alan & Susie Bardwell, James Barron, Mr John Blattman, Bonnie Boezeman AO, Ellen Borda, Mrs Geraldine Bull, Annette & Kevin Burges, Dr Gil Burton, Mr & Mrs Andrew Cornish, Christopher Cosier, Sandy and Les Csenderits, Joan and John Dale, Hon Mrs Ashley Dawson-Damer, Peter Demou, Graham Egan, Gary and Susanne Elliott, Archie Elliott, Mr & Mrs Paul Espie, James Fairfax AC, Julie Goold, His Honour Geoffrey Graham, W M & E L Gray, Wendy & Rhys Gwyn, Anthony Harris, Professor Margaret Harris, Lady P. H. M. Harrison, Dorothy Hoddinott AO, Ceri & Peter Ittensohn, I M & N R Jackman, Dr George Jacobs, Prof. Richmond Jeremy and Dr. Janet Lee, Julia Jane Pty Limited, Margaret Johnston, Holly Kramer and Malcolm Noad, Gilles & Susan Kryger, Jennifer Ledgar and Bob Lim, Gillian Long, Andrew and Bronwyn Lumsden, Ken McKinnon AO & Suzanne Walker, Dr & Mrs A Moss, Richard Owens, Christina Pender, Wayne Perkins, Mr Reg Perry, Brenda Petrisic, Simone and John Rasko, Manfred and Linda Salamon, Mrs Lee Schimann, Brian and Gene Sherman, Emily Simpson, Ann and Quinn Sloan, Dr P and Mrs D Southwell-Keely, Titia Sprague, Fiona Stewart, Victoria Taylor, Janet Tepper, Sue Thomson, G & M Watson, Dr Peter Wilkins MBE, Ms Joan Wilkinson, Evan Williams AM, A. Wilmers & R. Pal, Neil & Lynn Wykes, In Memory of Isobel Yuille Bequest We gratefully acknowledge those individuals who have chosen to leave us a gift in their Will.

47


Our 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

Presenting Sponsors

Accommodation Partner

Associate Sponsors

Media Partner

48

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


Premium Season Sponsors

Sydney Theatre Sponsor

Season Sponsors

Corporate Sponsors

ACMN Marketing and Advertising

Flick Pest Control and Flick Hygiene Services

IDS Displays

Tourism & Transport Forum

SYDNEYTHEATRE.COM.AU/SUPPORT

FOR FURTHER INFORMATION PLEASE CONTACT LIBBY GAULD, MANAGER, CORPORATE PARTNERSHIPS ON (02) 9250 1704

49


Our Staff 1 Jan – 31 Dec 2013 BOARD OF DIRECTORS

FINANCE AND ADMINISTRATION

David Gonski AC (Chair), The Hon. Bruce Baird AM (from May), Jonathan Biggins, Toni Cody, John Connolly, Ann Johnson (from May), Martin McCallum, Patrick McIntyre, Justin Miller, Simon Mordant AM, Sam Mostyn, Daniel Petre AO, Andrew Stuart, Andrew Upton, Peter Young AM (from May)

Director of Finance and Administration Claire Beckwith HR Manager Kate Crisp Accountant Helen Ban Accounts Officer Julie Stagg HR Officer Patricia Hennessy IT Manager Andrew King IT Support Adam Ghannoum Application and Database Manager Patrick Drew Receptionist Karly Pisano (until Aug), Frances Greene (from Aug)

EXECUTIVE Artistic Director Andrew Upton Executive Director Patrick McIntyre Executive Administrator Laura Hough Personal Assistant to the Artistic Directors Georgina Pym (until Sep)

ARTISTIC Director of Programming and Artistic Operations Rachael Azzopardi Casting Director Serena Hill Casting Coordinator Annelies Crowe Literary Manager Polly Rowe Voice & Text Coach Charmian Gradwell Senior Producer Ben White Associate Producer Zoe O’Flanagan Company Manager Colm O’Callaghan Artistic Administrator Rhys Holden (until Mar), Ella Minton (from Apr) Program Coordinator Liam Mangan (from Nov) Resident Directors Sarah Giles, Sarah Goodes, Kip Williams Resident Designers David Fleischer, Renée Mulder Resident Director Community Stefo Nantsou STC Writers under Commission Hilary Bell, Melissa Bubnic, Duncan Graham, Daniel Keene, Ross Mueller, Sue Smith Patrick White Fellow Patricia Cornelius (until May), Hilary Bell (from May) Education Artists Georgia Adamson, George Banders, Victoria Campbell, Douglas Hansell, Danielle King, Anna Martin, Gwyneth Price, John Saunders, Jennifer White

50

MARKETING AND CUSTOMER SERVICES Director of Marketing and Customer Services Nicole McPeake Marketing Manager Carmel England Content Manager Alex Lalak (until Apr), Carl Nilsson-Polias (from May) Marketing & Campaign Specialist Carolyn Johnstone (until May) Digital Marketing Specialist Steve Connolly (Feb-Aug) Digital Marketing Coordinator Elyssa Haratsis (from Jul) Marketing Coordinator Leonardo Pinto-Messias (from Aug) Lead Graphic Designer Grant Sparkes-Carroll Graphic Designer Hon Boey Marketing Assistant Elyssa Haratsis (until Jul), Amy Church (Aug-Dec) Data Analyst Alex Bosi Media Relations Manager Tim McKeough Publicist Ella Minton (until April), Georgia McKay (from May) Customer Services and Ticketing Manager Beth Deguara Ticketing Specialists Sarah Coffey, Walter Mansfield Season Ticket Manager Travis Green (until Apr), Tamar Cranswick (from May) Education Systems & Client Services Manager Travis Green (from Nov) Assistant Customer Services Manager Louise Rafferty Customer Services Supervisors Nola Dean, Lisa Griffiths, Kaylee Hazell, Anne Howie, Jennifer Mawhinney, Bradley Hinde, Elliott Wilshier

Customer Services Representatives Tamar Cranswick (until May), Nancy Alexander, Loretta Cain, John Calvi, Andrew Castle, Quinn Gibbes, Marietta Hargreaves, Tom Hatfield, Adriana Law, Catherine McCrorie, Bonnie Pares-Carr, Gavin Roach, Amy Wanless, Kennie Ward, Jennifer White, Chris Williams, Heath Wilder

PHILANTHROPY Director, Private Support Danielle Heidbrink Major Gifts Manager Amelia Pryke Donor Program Manager Tiffany Moulton Donor Program Executive Lucy HowardTaylor Donor Program Coordinator Georgia Shepherd (from Oct) Donor Hospitality Coordinator Jessica Howard (until Aug) STC Pier Group Anne Schofield (Chair), Peggy Carter, Eve Heath, Graham Jennings, Richard Lyle, Virginia Pearce

COMMUNITY AND CORPORATE PARTNERSHIPS Director of Community & Corporate Partnerships Paul O’Byrne Education Manager (Teacher Learning) John Saunders (from Apr) Acting Education Manager Toni Murphy (until Jan) Archivist Judith Seeff Corporate Partnerships Manager Anna McPherson (until Apr), Libby Gauld (from Sep) Cultural Development Manager Matthew Morse (until May) Partnerships Executive Camilla Lawson (until Sep) Corporate Partnerships Executive Sacha Marie Curtis Corporate Partnerships Coordinator Claudia Rowe School Drama Coordinator Georgia Adamson (until Feb) School Liaison Officer Beth Downey (until Oct) Education Projects Officer Hannah Brown (from Dec) Administration Assistant Communities Rachel Small (from Dec)


Oral Historian for STC Archives’ Oral History Project Dr. Margaret Leask Archival Videographer Andrew Williams

HOUSE SERVICES House Services Manager Martyn Nightingale House Managers Sherry-Anne Cunniffe, Laszlo Hajdu, Edward Whitmarsh-Knight

PRODUCTION Head of Production Annie Eves-Boland (until Jul) Acting Head of Production Simon Khamara (from Jul) Production Managers John Colvin, Simon Khamara (until Jun), Terri Richards Head of Stage Management Georgia Gilbert Resident Stage Manager Minka Stevens Technical Manager Barry Searle Production Administrator Daniel O’Connell Head of Sound Ben Lightowlers Sound Supervisor Bede Schofield (until Aug) Senior Head Mechanist Eric Duffy Head of Lighting Graham Henstock (until Jun), Pádraig Ó Súilleabháin (from Sep) Theatre Technicians Ian Garrard, Tony McCoy (until May), Cameron Menzies 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 Maker Paul Harrison Props Buyer Traleen Ryan 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 Venue Manager Phoebe Meredith Head Mechanist Steve Mason

Head Fly Operator David Stabback (until Aug), Kane Mott (from Aug) Head Electrician Andrew Tompkins Deputy Head Electrician Pat Smithers (until Mar), Harry Clegg (from Mar) Head of Sound Kevin White Deputy Fly/Venue Maintenance Kane Mott (until Aug), Chris Fleming (from Sep) Sydney Theatre House Manager Alex Plavsic Sydney Theatre Venue and Events Coordinator Karly Pisano (from Jul) Operations Coordinator Alexa Dodd (until Jul) Stage Door Attendants (from Oct) Denise Hutch, Errol Robertson

THE THEATRE BAR AT THE END OF THE WHARF Restaurant Manager Sharon Timms (until Feb), Berri Eggert (Feb-May) Restaurant Day Supervisor Shannon Johnson (until May) Restaurant Floor Manager Lachlan Price (until May) Casual Bar Staff (until May) Jemma Whiteman, Cameron Watt, Kevin Walsh, Ziggy Tockuss, Sharon Timms, Zaid Salah, Hannah Redknap, Lisa Raeburn, Karla Pusz, Povilas Pullinen, 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, Rhys Cornish, Michael Chance, Oliver Champion, Michael Cassidy, Andrew Calvert, Hannah Burnett, Tomar Buki, Paloma Brierley Newton, Timothy Bannister, Georgia Anderson, Irena Adam

STC CASUAL AND SEASONAL STAFF Costume Casual Lisa Javelin, Shereen Khan, Kia Snell, Stephanie Wigens, Roslyn Keam Costume Seasonal Margaret Aston, Genevieve Blewitt, Brandie Foote, Katie Hankin, Rosalie Lester, Lisa Peddie Seasonal Carpenter Matthew Clouston, Dallas Winspear Draftsperson Casual Matt Higgins Electrics Casual Pat Smithers, Paul Najor, Andrew Williams Sound Casual Luke Davis, Louis Thorn, Sound Seasonal Dave Bergman, Olivia Benson, Hayley Forward, Michael Toisuta, Remy Woods

Stores Casual Stuart Brown, Jason Keir, Jee Leong, Allan Vella Mechanists Casual David Tongs Production Managers Kate Chapman, Nathaniel Lunn, Chris Mercer Stage Management Seasonal Roxzan Bowes, Amy Burkett, Tim Burns, Todd Eichorn, Amy Forman, Edwina Guinness, Katie Hankin, Jemima Hogg, Suzanne Large, Tanya Leach, Liam Murray, Rebecca Poulter, Matt Schubach, Sarah Smith, Remy Woods Education Resources Kerreen Ely-Harper (until Oct) Front of House Lorena Arancibia (until May), James Barrow, Sarah Brown, Loretta Cain, Rita Kahn Chen (until Mar), Amelia Cuninghame, Nick Curnow (until Jun), Michael Cutrupi, Bonnie Dalrymple, Nola Dean, Cloe Fournier, Matt Goodwin, Frances Greene (until Aug), Charlotte Grien, Angelina Grien, Stephanie Gunn (until Mar), Tamlyn Henderson, Lee Horton, Dan Hunter, Shannon Johnson (from May), Maddi Jones, Amy Kersey, Kirsty Kiloh, Grainne King (from May), Tessa Lind, Owen Little, Steve Martin (from Jan), Jodie Payne, Geneveive Reynolds, Ines Richter, Errol Robertson, Amelia Robertson-Cuningham (from Feb), Jessica Rogers, Joanne Sanders, Damian Sommerland, Flora Smith (until Oct), Louise Sykes, Allan Vella, Lucy White, Heath Wilder, Adriane White (from May), Christian Witz Functions Assistants Kaylee Hazell, Paige Leacey, Laurisa Poulos, Amber Virtue Program Sellers The Vintage Allsorts (until May), Kitty Van Horne (from May) 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, Greig Tillotson, Erin Daly (Jan-Feb)

51


(clockwise) Nathaniel Dean, Anita Hegh and Ursula Yovich in The Secret River. Photo:Heidrun Lรถhr


53


Contents Page

54

1

Directors

55

2

Directors’ meetings

56

3

Company secretary

57

4

Principal activities

57

5

Operating and financial review

57

6

Dividends

57

7

Events subsequent to reporting date

57

8

Likely developments

57

9

Environmental regulation

57

10

Indemnification and insurance of officers and auditors

57

11

Lead auditor’s independence declaration

57


Directors’ Report For the year ended 31 December 2013 The directors present their report together with the financial report of Sydney Theatre Company Limited (“the Company”) for the year ended 31 December 2013 and the auditor’s report thereon.

1. Directors The Directors of the Company at any time during or since the end of the financial year are: 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 and Coca-Cola Amatil Ltd Director, Lowy Institute of International Policy, and Infrastructure NSW Member, ASIC External Advisory Panel, Australia & New Zealand Banking Group Ltd Patron, Australian Indigenous Education Fund Chancellor of UNSW Bachelor of Commerce; Bachelor of Laws (UNSW)

Bruce Baird AM Director since 30 May 2013

Company Director Chairman, Advisory Committee of McCabe Terrill, Tourism & Transport Forum, Refugee Resettlement Council & National Heavy Vehicle Regulatory Authority Director, Garvan Foundation Member, Cubic International Advisory Board, Qantas Foundation, Restaurant & Catering Australia Bachelor of Arts (Sydney Uni), MBA (Melb Uni), Hon PHD (Newcastle) & Hon PHD (UTS)

Jonathan Biggins Director since 13 July 2010

Actor, Writer and Director

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 and The Manager Pty Ltd

Ann Johnson Director since 3 May 2013

Director of W & A Johnson Family Foundation Chair, Sydney Theatre Company Foundation Director, Ecotrust Australia Council Member, Philanthropy Australia Bachelor of Arts/Bachelor of Laws (UNSW)

Mark Lazberger Director since 12 February 2014

Company Executive Director, CFS Managed Property Ltd, Colonial First State Asset Management (Aust) Ltd, Colonial First State Property Ltd, Colonial First State Property Management Pty Ltd, First State Investment Management (UK) Ltd, RealIndex Investments & Australian Financial Markets Association Bachelor of Commerce (Uni of WA), Chartered Financial Analyst (CFA)

Martin McCallum Director since 28 February 2005 Term expired 28 February 2014

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

Patrick McIntyre Executive Director since 1 January 2013

Executive Director 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)

55


Simon Mordant, AM Director since 12 February 2008 Term expired 12 February 2014

Investment Banker Vice Chairman & Managing Director, Greenhill & Co., Inc Chairman, Museum of Contemporary Art Director, Opera Australia, 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, Virgin Australia, Transurban, Citibank 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), NSW Climate Council, National Sustainability Council Bachelor of Arts with Bachelor of Laws (ANU)

Daniel Petre AO Director since 3 May 2013

Investor/Philanthropist Director, Garvan Institute, HRX Ltd, Advisory Board Centre for Social Impact, Smart Sparrow Pty Ltd Bachelor of Science (UNSW), MBA (Syd)

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, Easter Holdings Pty Ltd, Blutopia Pty Ltd & Upton Super Pty Ltd Bachelor of Arts

Peter Young AM Director since 30 May 2013

Non Executive Director Chairman, Standard Life Investments Australia, Barclays Bank Australia & NZ Governor, The Taronga Foundation Director, Great Barrier Reef Research Foundation, Fairfax Media Ltd Member, Standard Life PLC Asia Advisory Board, Barangaroo Delivery Authority Board Bachelor of Science (Uni of Qld), Master of Business Administration (Uni of NSW)

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*

B Baird

3

4

-

-

J Biggins

6

6

-

-

T Cody

6

6

-

-

J Connolly

4

6

2

2

D Gonski

6

6

2

2

A Johnson

4

4

-

-

M McCallum

4

6

2

2

P McIntyre

6

6

2

2

J Miller

5

6

-

-

S Mordant

6

6

1

2

S Mostyn

4

6

-

-

D Petre

3

3

-

-

A Stuart

5

6

1

2

A Upton

6

6

1

2

P Young

2

4

-

-

* Reflects the number of meetings held during the time the Director held office.


3. Company secretary

10. Indemnification and insurance of officers and auditors

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

Indemnification

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 surplus of the Company for 2013 was $430,837 (2012: deficit of $254,420). This is a combined result for 2013 for NSW Cultural Management Ltd (NSWCM) surplus of $287,759 and Sydney Theatre Company Ltd surplus of $131,670. On 31 July 2013, NSWCM, the related party company that managed the Sydney Theatre was deregistered as part of the process of signing long term leases with Arts NSW (refer to note 20). The net assets of $387,370 were transferred to STC as directed by the constitution on windup. In 2011, the Greening the Wharf Project was successfully completed and acquitted. 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.

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 77 and forms part of the Directors’ report for financial year ended 31 December 2013. This report is made with a resolution of the Directors:

David Gonski Chairperson Dated at Sydney this 14th April 2014.

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. 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.

57


Statement of comprehensive income For the year ended 31 December 2013

Note

2013

2012

$

$

34,942,977

29,827,820

(22,805,639)

(19,020,186)

Sales and promotion expenses

(2,525,686)

(2,481,869)

Administrative expenses

(4,682,521)

(3,752,146)

Occupancy expenses

(3,526,902)

(2,552,267)

(930,061)

(2,185,582)

Revenue

2

Theatre and production expenses

The Bar expenses Greening the Wharf expenses

3b

(200,317)

(227,595)

Other expenses

3a

(104,583)

(110,500)

167,268

(502,325)

Profit from operating activities

Finance income

263,569

247,905

Net finance income

6

263,569

247,905

Profit/(Loss) for the period

430,837

(254,420)

-

-

430,837

(254,420)

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 62 to 74

Statement of changes in equity

General reserves

Reserves incentive scheme

Total reserves

Retained earnings

Total Equity

$

$

$

$

$

Balance at 1 January 2012

1,453,000

219,872

1,672,872

3,033,913

4,706,785

Total comprehensive income for the year

-

-

-

(254,420)

(254,420)

-

8,305

8,305

(8,305)

-

Balance at 31 December 2012

1,453,000

228,177

1,681,177

2,771,188

4,452,365

Balance at 1 January 2013

1,453,000

228,177

1,681,177

2,771,188

4,452,365

Total comprehensive income for the year

-

-

-

430,837

430,837

-

6,194

6,194

(6,194)

-

1,453,000

234,371

1,687,371

3,195,831

4,883,202

Note

Transfers

Transfers Balance at 31 December 2013

7 (ii)

7 (ii)

The statement of changes in equity is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

58


Statement of financial position As at 31 December 2013

Note Assets

2013

2012

$

$

Cash and cash equivalents

7

11,372,147

9,063,587

Trade and other receivables

8

2,325,901

2,464,204

9

119,231

138,520

10

1,544,166

2,463,864

15,361,445

14,130,175

Inventories

Other assets

Total current assets

Plant and equipment

11

3,139,111

2,837,757

Greening the Wharf – plant and equipment

12

3,239,886

3,438,681

Intangible assets

13

1,156,373

758,481

7,535,370

7,034,919

22,896,815

21,165,094

Total non-current assets

Total assets

Liabilities

Trade and other payables

14

3,875,516

3,367,230

Employee benefits

15

886,789

831,528

Other liabilities

16

297,862

461,706

Deferred revenue

17

12,766,535

11,843,183

17,826,702

16,503,647

186,911

209,082

186,911

209,082

18,013,613

16,712,729

4,883,202

4,452,365

Total current liabilities

Employee benefits

Total non-current liabilities

Total liabilities Net assets

15

Equity

Reserves

1,687,371

1,681,177

Retained earnings

3,195,831

2,771,188

4,883,202

4,452,365

Total equity

The statement of financial position is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

59


Statement of cash flows For the year ended 31 December 2013

Note

2013

2012

$

$

36,906,906

32,806,069

(32,826,894)

(32,147,162)

263,569

247,905

4,343,581

906,812

Acquisition of plant, equipment and software

(2,035,021)

(2,402,258)

Net cash from investing activities

(2,035,021)

(2,402,258)

2,308,560

(1,495,446)

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

Net Increase/(Decrease) in cash and cash equivalents Cash and cash equivalents at 1 January

7

9,063,587

10,559,033

Cash and cash equivalents at 31 December

7

11,372,147

9,063,587

The statement of cash flows is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

60


Notes to the financial statements

Contents

Page

1

Significant accounting policies

62

2

Revenue

64

3

Other income and expenses

65

4

Personnel expenses

65

5

Auditor’s remuneration

65

6

Net finance income and expenses

65

7

Cash and cash equivalents

66

8

Trade and other receivables

66

9

Inventories

66

10

Other assets

66

11

Plant and equipment

67

12

Plant and equipment – Greening the Wharf

68

13

Intangible assets

69

14

Trade and other payables

70

15

Employee benefits

70

16

Other liabilities

70

17

Deferred income

70

18

Grant income

71

19

Financial instruments

72

20

Operating leases

73

21

Contingencies

73

22

Reconciliation of cash flows from operating activities

73

23

Key management personnel disclosures

73

24

Charitable fundraising

74

61


Notes to the financial statements 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 Limited is a not for profit entity.

Australian dollars at foreign exchange rates ruling at the dates the fair value was determined.

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

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

The financial report was approved by the Board of Directors on 14th April 2014. (a) Statement of compliance The financial report is a general purpose financial report which has been prepared in accordance with Australian Accounting Standards (“AAS”) (including Australian Accounting Interpretations) adopted by the Australian Accounting Standards Board (“AASB”) and the Corporations Act 2001. (b) Basis of preparation The financial report is presented in Australian dollars, which is the Company’s functional currency. 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. 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 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. (c) 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. Nonmonetary assets and liabilities denominated in foreign currencies that are stated at fair value are translated to

62

(d) Plant and equipment

(ii) Greening the Wharf assets 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. (iii) Depreciation Depreciation is recognised in profit or loss on a straightline 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: Theatre and production equipment Furniture, fittings and equipment Leasehold improvements

4 – 10 years 4 – 10 years 6 – 25 years

The depreciation method and useful lives, as well as residual values, are reviewed at each reporting date. (e) 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 straightline basis over the estimated useful life of intangible assets. The estimated useful lives on the current and comparative period are as follows: Software

4 years

(f) 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.


(i) Impairment 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). 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-for-sale 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) 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. Impairment of receivables is not recognised until objective evidence is available that a loss event has occurred. Significant receivables are individually assessed for impairment. Non-significant 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. (k) 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. (ii) Long-term service benefits 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.

(iii) Wages, salaries, annual leave, rostered days off and non-monetary benefits 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) Trade and other payables Trade and other payables are stated at amortised cost. (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. (n) Operating lease payments Payments made under operating leases are recognised in the income statement on a straight-line 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-tomaturity 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.

63


(q) Goods and services tax

(s) Capital

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.

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.

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.

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 2013 the Company had 31 members (2012: 31 members).

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 2013 are disclosed in Note 24.

2. Revenue

Production and related revenue Royalty revenue Sponsorship revenue

(t) New standards and interpretations not yet adopted No standards, amendments to standards or interpretations available for early adoption at 31 December 2013 have been applied in preparing these financial statements and none would have a material impact.

2013

2012

$

$

23,438,973

17,355,104

152,401

467,722

2,023,601

2,266,284

2,102,797

2,053,513

30,000

-

Government grants

Australia Council MPAB Annual Grant

Australia Council MPAB Project Grants

Australia Council MFI Project Grants

681,618

-

NSW Government through the Ministry of the Arts

361,703

361,703

712,600

712,600

Residents endowment grant

Donation of rent in-kind

1,905,009

1,824,948

Interconnections Grant

40,000

-

-

75,000

90,000

60,000

1,265,441

2,341,324

Donations, Greening the Wharf

198,795

198,620

Restaurant rental

346,555

-

1,005,412

1,990,820

588,072

120,182

34,942,977

29,827,820

Department of Environment, Water, Heritage & the Arts

Greening the Wharf

Australian Government Austrade

Export Market Development Grant

Donations

The Bar at the End of the Wharf revenue Other revenue

64


3. Other income and expenses

2013

2012

$

$

104,583

110,500

104,583

110,500

Consultancies

1,250

2,613

PV Installation

-

-

Energy and water efficiencies

-

1,020

198,795

198,729

272

501

-

24,732

200,317

227,595

13,245,395

14,518,008

1,378,258

1,353,713

33,090

(20,801)

14,656,743

15,850,920

70,000

55,210

70,000

55,210

Interest income

263,569

247,905

Finance income

263,569

247,905

Net finance income and expense

263,569

247,905

3a. Other expenses Other expenses

3b. Greening the Wharf expenses

Asset depreciation Marketing and education Other costs

4. Personnel expenses

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

5. Auditor’s remuneration

Audit Services

KPMG Australia:

Audit of the financial report

6. Net finance income and expenses

65


7. Cash and cash equivalents

2013

2012

$

$

851,905

1,121,412

9,748,251

7,190,587

Asset maintenance cash deposit account (i)

537,619

523,410

Reserves Incentive bank account (ii)

234,372

228,178

11,372,147

9,063,587

Bank balance Cash deposits

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 $297,862 (2012: $461,706). (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.

8. Trade and other receivables

Trade debtors

282,939

978,366

-

-

282,939

978,366

2,042,962

1,485,838

2,325,901

2,464,204

Not past due

110,197

143,535

Past due 0-30 days

164,215

688,551

8,527

146,280

282,939

978,366

-

86,471

119,231

52,049

119,231

138,520

1,166,265

1,545,960

79,980

736,296

297,921

181,608

1,544,166

2,463,864

Less: Provision for doubtful debts

Other debtors

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

Past due 31-120 days

9. Inventories

Bar Stock Raw materials and consumables

10. Other assets

Prepaid production and subscription season costs Prepaid assets Other

66


11. Plant and equipment

Leasehold improvements

Furniture, fittings and equipment

Theatre and production equipment

Total

$

$

$

$

3,324,969

1,927,660

2,257,249

7,509,878

506,947

196,121

918,847

1,621,915

-

-

-

-

Balance at 31 December 2012

3,831,916

2,123,781

3,176,096

9,131,793

Balance at 1 January 2013

3,831,916

2,123,781

3,176,096

9,131,793

531,977

74,155

675,018

1,281,150

-

-

-

-

4,363,893

2,197,936

3,851,114

10,412,943

2,446,677

1,519,593

1,595,881

5,562,151

315,791

166,128

249,966

731,885

-

-

-

-

Balance at 31 December 2012

2,762,468

1,685,721

1,845,847

6,294,036

Balance at 1 January 2013

2,762,468

1,685,721

1,845,847

6,294,036

414,383

179,257

386,156

979,796

-

-

-

-

3,176,851

1,864,978

2,232,003

7,273,832

878,292

408,067

661,368

1,947,727

At 31 December 2012

1,069,448

438,060

1,330,249

2,837,757

At 1 January 2013

1,069,448

438,060

1,330,249

2,837,757

At 31 December 2013

1,187,042

332,958

1,619,111

3,139,111

Cost Balance at 1 January 2012 Acquisitions Disposals

Acquisitions Disposals Balance at 31 December 2013

Depreciation Balance at 1 January 2012 Depreciation charge for the year Disposals

Depreciation charge for the year Disposals Balance at 31 December 2013

Carrying amounts At 1 January 2012

67


12. Greening the Wharf – plant and equipment

Leasehold improvements

Furniture, fittings and equipment

Theatre and production equipment

Total

$

$

$

$

3,677,932

19,602

180,430

3,877,964

Acquisitions

-

-

14,095

14,095

Disposals

-

-

-

-

Balance at 31 December 2012

3,677,932

19,602

194,525

3,892,059

Balance at 1 January 2013

3,677,932

19,602

194,525

3,892,059

Acquisitions

-

-

-

-

Disposals

-

-

-

-

3,677,932

19,602

194,525

3,892,059

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

-

-

-

-

Balance at 31 December 2012

406,439

4,462

42,477

453,378

Balance at 1 January 2013

406,439

4,462

42,477

453,378

Depreciation charge for the year

177,357

1,960

19,478

198,795

-

-

-

-

583,796

6,422

61,955

652,173

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

At 1 January 2013

3,271,493

15,140

152,048

3,438,681

At 31 December 2013

3,094,136

13,180

132,570

3,239,886

Cost Balance at 1 January 2012

Balance at 31 December 2013

Depreciation

Disposals

Disposals Balance at 31 December 2013

Carrying amounts

68


13. Intangible assets

Software $ Cost Balance at 1 January 2012

546,975

Acquisitions

766,248

Balance at 31 December 2012

1,313,223

Balance at 1 January 2013

1,313,223

Acquisitions Balance at 31 December 2013

753,870 2,067,093

Amortisation Balance at 1 January 2012

473,084

Amortisation charge for the year

81,658

Balance at 31 December 2012

554,742

Balance at 1 January 2013

554,742

Amortisation charge for the year

355,978

Balance at 31 December 2013

910,720

Carrying amounts At 1 January 2012

73,891

At 31 December 2012

758,481

At 1 January 2013

758,481

At 31 December 2013

1,156,373

69


14. Trade and other payables

2013

2012

$

$

3,875,516

3,367,230

3,875,516

3,367,230

Accrued salaries and wages

67,852

70,630

Liability for long service leave

305,182

214,465

Liability for annual leave

513,755

546,433

886,789

831,528

186,911

209,082

186,911

209,082

Trade and other payables 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 $1,378,258 for the year ended 31 December 2013 (2012: $1,353,713).

16. Other liabilities

Grant funds held in escrow for NSW Cultural 297,862

461,706

297,862

461,706

Subscriptions and ticket sales

9,332,925

11,053,157

Other Income

3,433,610

790,026

12,766,535

11,843,183

17. Deferred income

70

Management Limited (refer Note 7(i))

Current


18. Grant income

Unexpended Grants at 31 December 2011

2012 Grant Income

2012 Grant expenditure

Unexpended Grants at 31 December 2012

$

$

$

$

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

Other

NSW Arts Total

Commonwealth Govt

Project Grant

-

75,000

(75,000)

-

Austrade Export Grant

-

60,000

(60,000)

-

Commonwealth Total

-

135,000

(135,000)

-

-

5,773,817

(5,087,763)

686,054

Unexpended Grants at 31 December 2012

2013 Grant Income

2013 Grant expenditure

Unexpended Grants at 31 December 2013

$

$

$

$

616,054

1,486,743

(2,102,797)

-

30,000

681,618

(711,618)

-

646,054

2,168,361

(2,814,415)

-

-

361,703

(361,703)

-

712,600

(712,600)

-

Total

Australia Council

Core Grant

Project Grant

Australia Council Total

Arts NSW

Core Grant

Multiyear Funding Grant

Project Grant

-

3,250,000

-

3,250,000

Non Cash Subsidy (rent)

-

1,905,009

(1,905,009)

-

Other

40,000

-

(40,000)

-

NSW Arts Total

40,000

6,229,312

(3,019,312)

3,250,000

Commonwealth Govt

Austrade Export Grant

-

90,000

(90,000)

-

Commonwealth Total

-

90,000

(90,000)

-

686,054

8,487,673

(5,923,727)

3,250,000

Total

71


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 2013. 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 2013 are $3,875,516 (2012: $3,367,230). 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. Interest rate risk 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: Effective Average Interest Rate

2012

Cash and cash equivalents

7

4.28%

Total

6 Months or less

6-12 Months

1-2 Years

2-5 Years

More than 5 years

$

$

$

$

$

$

9,063,587

8,835,409

-

-

-

228,178

9,063,587

8,835,409

-

-

-

228,178

11,372,147

11,137,775

-

-

-

234,372

11,372,147

11,137,775

-

-

-

234,372

2013 Cash and cash equivalents

72

7

3.04%


20. Operating leases

Leases as lessee Non-cancellable operating lease rentals are payable as follows: 2013

2012

$

$

842,654

44,225

Between one and five years

1,793,389

-

More than five years

1,870,122

-

4,506,165

44,225

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 and Sydney Theatre, 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. After extensive negotiations with Arts NSW, The Company secured a long term lease of 45 years. The lease contract was renewed for both the Wharf and Sydney Theatre on 1st May 2013 and expires 30th April 2058. In addition, the Company rents a storage facility at Leichhardt under an operating lease expiring on 31 December 2013. This contract will be renewed in the near future with Arts NSW. During the year ended 31 December 2013, $2,512,568 was recognised as an expense in the income statement in respect of operating leases (2012: $2,045,254), including the fair value of in-kind rent of $1,905,009 (2012: 1,824,948). Leases as lessor Non-cancellable operating lease rentals are payable as follows: Less than one year

467,500

367,500

Between one and five years

791,044

791,044

-

-

1,258,544

1,158,544

More than five years

21. Contingencies

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

22. Reconciliation of cash flows from operating activities

Profit/(Loss) for the period

430,836

(254,420)

Depreciation and amortisation

1,534,570

1,012,272

Operating profit before changes in working capital and provisions

1,965,406

757,852

(Increase) in receivables

138,303

(149,224)

(Increase) in other current assets

919,697

(283,384)

(Increase)/decrease in inventories

19,290

(73,872)

(Decrease) in payables

502,232

(1,562,974)

(Decrease) in provisions

(124,700)

(290,434)

923,353

2,508,848

4,343,581

906,812

Adjusted for:

Increase in deferred revenue

Net cash from operating activities

73


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:

Short-term employee benefits Other long term benefits

2013

2012

$

$

1,300,617

941,297

148,733

112,159

1,449,350

1,053,456

Other key management personnel transactions with the Company In addition to the compensation noted above, in 2013 Jonathan Biggins received $55,244 (2012: $35,810) 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 had a relationship with NSW Cultural Management Limited. As part of the negotiations with Arts NSW for long term leases it was agreed to deregister NSWCM. NSWCM effectively ceased trading as at 31st July 2013 and transferred net assets of $387,370 to Sydney Theatre Company as required by the constitution. This transfer has been reflected as other income. The process was finalised with the ATO and ASIC in December 2013. All board members of NSWCM were satisfied that NSWCM had fulfilled all legal duties and obligations required. Deregistration occurred on 22nd January 2014. 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 2013, the Sydney Theatre Company Foundation raised $2,612,709 (2012: $2,032,274) through fundraising events, projects and appeals and donated $1,464,237 to the Sydney Theatre Company Ltd (2012: $2,539,944). Of this, in 2013, $198,795 (2012: $198,620) was donated to the Sydney Theatre Company Greening Project to cover annual depreciation. The appeals conducted by the Sydney Theatre Company Foundation include: Private Dinner, STC Auction and Dinner, The Residents, Chairman’s Club, Major Gifts, Business Transformation, STC Annual Giving, Archives Project, Production Patronage and Education Projects. As at 31 December 2013, Sydney Theatre Company had a payable of $2,076,920 (2012: $1,572,063) due to Sydney Theatre Company Foundation.

24. Charitable fundraising

During the financial year, the Company received donations of $13,126 (2012: $8,727) 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).

74


Directors’ declaration

In the opinion of the Directors of Sydney Theatre Company Limited (“the Company”): • the financial statements and notes, set out on pages 62 to 74, are in accordance with the Corporations Act 2001, including: • giving a true and fair view of the financial position of the Company as at 31 December 2013 and its performance, for the year ended on that date; and • 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 14th April 2014 Signed in accordance with a resolution of the Directors:

David Gonski Chairperson

75


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 2013, 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.

Independence In conducting our audit, we have complied with the independence requirements ofthe 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 2013 and of its performance for the year ended on that date; and (ii) complying with Australian Accounting Standards and the Corporations Regulations 2001.

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.

76

KPMG Sydney 14 April 2014

Duncan McLennan Sydney 14 April 2014


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 2013 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) n  o contraventions of any applicable code of professional conduct in relation to the audit.

KPMG Sydney 14 April 2014

Duncan McLennan Sydney 14 April 2014

77


Sydney Theatre Company Limited Pier 4, Hickson Road Walsh Bay NSW 2000 PO Box 777 Millers Point NSW 2000 Administration t +61 2 9250 1700 f +61 2 9251 3687 e mail@sydneytheatre.com.au Box Office t +61 2 9250 1777 f +61 2 9247 3584 e boxoffice@sydneytheatre.com.au sydneytheatre.com.au

78

Venues Wharf 1 Theatre and Wharf 2 Theatre Pier 4, Hickson Road Walsh Bay NSW 2000 Sydney Theatre 22 Hickson Road Walsh Bay NSW 2000 Drama Theatre Sydney Opera House Bennelong Point NSW 2000

Annual Report 2013 Project Manager Laura Hough Graphic Designer Hon Boey Sydney Theatre Company Limited Incorporated in New South Wales A company limited by guarantee abn 87 001 667 983


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