Annu Al RepoRt 2013 · The third biennial Dance Massive saw us joining forces once again with Dancehouse and Artshouse to engage with dancers and choreographers from across Australia

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Malthouse Theatre is at once a treasured building, a theatre company, a creative site and an engine for change.It is also the imaginative expression of a committed team of artmakers reaching out to an even larger number of local, national and international artists. All are dedicated to an ongoing conversation with audiences of exciting diversity and character.This conversation chooses contemporary theatre as its vehicle: a compelling annual program of adventurous, multi-disciplinary work inspired by writers, directors, designers, choreographers, audio artists and performers. Here, the combined possibilities of all theatre arts are offered centre stage – for entertainment, for inspiration, and for fun.

CoRe VAlues & Mission

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

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

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

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

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

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

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

Malthouse theatre

2013 ANNUAL REPORT // 1

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

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

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

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

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

Michele Levine, Chair

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

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

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

In addition to our mainstage productions, we once again opened the Tower Theatre to an eclectic array of independent artists through our Helium program. We also branched out beyond our walls through Blak Cabaret, touring the best of Indigenous cabaret to regional Victoria. We look forward to continuing its journey in the coming years, reaching new audiences that can’t always make it to Southbank.

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

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

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

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2013 ANNUAL REPORT //2

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

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

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

And, very happily, the latter two productions shone through at the 2013 Green Room Awards, where they received gongs across the spectrum: Best Writing and Adaptation for The Shadow King, and Best Production, Best Female Actor (Alison Whyte) and Best Sound and Composition for The Bloody Chamber. These awards came from a total of 21 Green Room Nominations. Among these were nominations for the unforgettable performance by Jacek Koman in Dance of Death; and Anna Tregloan’s brilliant design and Tripod’s composition for The Dragon. It is hugely satisfying to provide so many great opportunities for artists to flourish and be recognised for their achievements.

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

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

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

The productions are rightly highlighted here, but the background activity that strengthens these works before they hit the stage isn’t celebrated enough. This constitutes a large part of our working year and in 2013 the Engine Room (our research and development arm) was pumping with activity: our international collaboration with the National Theatre of China, the commissioning and development of new plays, our contribution to Dramafest in Mexico and many other projects. These activities are not immediately visible but are every bit as vital and already yielding results in 2014.

Finally, Jo Porter’s tenure as the company’s Executive Producer came to an end in 2013 and many thanks go to her for her care and effort over these past years. The talented Sarah Neal came on board in October and completed a seamless transition in time for Christmas! Sarah now shares the reins and together we look forward to the next triennium of Malthouse Theatre’s dynamic contribution to our theatre ecology.

Marion Potts, Artistic Director

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Dance Massive:

SkeLeton

14 MARCh - 23 MARCh 2013

venue Beckett Theatre

Total no of Performances 10

Total Paid attendances 819

all attendances 1,143

net Box Office $26,531

HAte

20 feBRuARy - 8 MARCh 2013

venue Merlyn Theatre


Total Paid attendances 1,987



A Malthouse theatre production

Choreographed by / Larissa McGowanDirected by / sam Haren & Larissa McGowanSet & Costume / Design Jonathon Oxlade Lighting Design / Bosco shawComposer / Jethro Woodward Rehearsal Director / carol Wellman KellyProducer / insite artsPerformers / Tobiah Booth-Remmers, Lisa Griffiths, Marcus Louend, Larissa McGowan, Lewis Rankin Production Manager / Gabby HornhardtAssistant Stage Managers / Tony currie & Tina venditto

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


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

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

Malthouse theatre

ANNUAL REPORT // 2013 season






Dance Massive:

247 DAySDance Massive:

[Gu:t]



venue Tower Theatre



all attendances 171


A Malthouse theatre & Chunky Move production

Concept & Choreography by / anouk van DijkComposition & Sound Design / Marcel WierckxSet Design / Michael HankinLighting Design / niklas PajantiCostume Design / shio OtaniPerformers / Leif Helland, Lauren Langlois, alya Manzart, James Pham, niharika senapati, Tara soh

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

A Malthouse theatre & kath Papas production

Conceived & performed by / soo Yeun You & albert DavidChoreography / soo Yeun YouDesign by / Priya namanaLighting Designer / alexandre MaltaComposition / Gus MacmillanProducer / Kath Papas

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

Malthouse theatre

7 ANNUAL REPORT // 2013 season

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DAnCe of DeAtH

18 ApRil - 18 MAy 2013

PerSonA

27 June - 14 July 2013


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

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

A fraught outfit Production presented by Malthouse theatre

Based on the film by / ingmar Bergman Conceived by / adena Jacobs, Dayna Morrissey & Danny Pettingill Directed by / adena JacobsTranslated by / Keith Bradfield Set & Costume Design / Dayna MorrisseyLighting Design / Danny PettingillSound Design / Russell GoldsmithPerformers / alex de vos, Julian Mineo, Meredith Penman, Daniel schlusser, Karen sibbingVoiceover Jane Montgomery Griffiths Stage Manager / Lisa OsbornAssistant Stage Manager / noah sharwood

‘Jacobs’s direction was miraculous; the piece not an adaptation of the film but a reimagining. Jacobs is one of the hot new talents of Australian theatre – her work [is] austerely intelligent and elegant, generating a potent emotional force.’











Malthouse theatre


tHe DrAGon

WHite rAbbit, reD rAbbit

27 June - 25 July 2013

23 July - 3 August 2013


By / evgeny shwarz Adaptation by / Toby schmitz Music & Lyrics by / TripodDirected by / Marion PottsSet & Costume Design / anna Tregloan Sound Design / David FranzkeLighting Design / Matt scott Assistant Director / Mark PritchardFight Choreographer / Felicity steelVideo / Joel Loxton and Joey HittenPerformers / Jimi Bani, Tyler coppin, Kim Gyngell, John Leary, Josh Price, nikki shiels, Tripod (scott edgar, steven Gates & simon Hall)Stage Manager / Tom Webster Assistant Stage Manager / caitlin Byrne

‘An ebullient, frisky, clever piece. It has a moral and plenty of heart.’


By / nassim soleimanpourProject Curator / Janice MullerPerformers / Rodney afif, alison Bell, alan Brough, shareena clanton, Daniela Farinacci, Ming-Zhu Hii, Bert LaBonté, John Leary, caroline Lee, Brian Lipson, catherine Mcclements, Genevieve Morris, Brian nankervis, sam Pang

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










net Box Offices $48,197

Malthouse theatre


10

2013sea

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tHe bLooDy CHAMber

2 August - 10 August 2013

StorieS i WAnt to teLL

you in PerSon

9August - 25 August 2013


By / angela carter Directed by / Matthew Lutton Music by / David chisholmPerformance Text by / van BadhamSet & Costume Design / anna cordingley Lighting Design / Paul Jackson Sound Design / Jethro WoodwardPerformers / shelly Lauman, alison WhyteMusicians / Jacinta Dennett, Jessica Fotinos, Yinuo MuStage Manager / Tia clark Assistant Stage Manager / Kate Gregory

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

A Malthouse theatre & belvoir co-production

Written and performed by / Lally KatzDirected by / anne-Louise sarks Set & Costume Design / Ralph Myers Lighting Design / Damien cooperComposition & Sound Design / Max Lyandvert Lighting Associate / chris PageStage Manager / Lisa Osborn

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











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Malthouse theatre


12

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HArD rubbiSH

WunDer-kAMMer

12 septeMBeR - 6 oCtoBeR 2013

14 August - 1 septeMBeR

A Malthouse theatre, Strut & fret & Men of Steel production

Original Concept by / Men of steelCreated by / Hamish Fletcher, Jared Lewis, Phillip Mcinnes, ian Pidd, Tamara Rewse, sam Routledge & Malia WalshDirector / ian Pidd Performers / Hamish Fletcher, Phillip Mcinnes, Tamara Rewse & Malia Walsh Lighting and Sound Design / Jared LewisStage Manager / Tia clark Technical Stage Manager / Travis cook

‘This new show, made while Men of Steel was company in residence at Malthouse Theatre, is a perfectly judged oil-and-vinegar emulsion of adorably cute and gleefully callous… Beg, borrow or steal a child if you have to. Or, damn it, just steel yourself and go it alone.’












By / circaCreated by / Yaron Lifschitz & the circa ensembleArtistic Director / Yaron LifschitzProducer / Danielle KellieTechnical Director & Lighting Design / Jason OrganCostume Design / Libby McDonnellCast / nathan Boyle, Jessica connell, Robbie curtis, casey Douglas, Brittannie Portelli, Kimberley Rossi, & Duncan West

“Captivatingly exquisite”

Malthouse theatre







SuPer DiSCount

13 noVeMBeR - 1 DeCeMBeR 2013

A back to back theatre, Sydney theatre Company & Malthouse theatre presention

Directed & Devised by / Bruce GladwinDevised & Performed by / Mark Deans, simon Laherty, sarah Mainwaring, scott Price, Brian Tilley & David WoodsChoreography / antony Hamilton Lighting Design / andrew LivingstonSound Design / Marco cher-Gibard Sound System Design / Marco cher-Gibard & Hugh covillCostume Design / shio Otani Set Construction / Mark cuthbertsonDramaturg / Kate sulanAir Engineers / Mark cuthberston, alison Harvey, Rhian Hinkley, Bruce Gladwin, andrew Livingston, van Locker, shio OtaniScript Consultant / Melissa Reeves Stage Manager / alice FlemingAssistant Stage Manager / caitlin Byrne

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

tHe SHADoW kinG

11 oCtoBeR - 27 oCtoBeR 2013

A Malthouse theatre & Melbourne festival production

Co-Created by / Tom e. Lewis & Michael KantorDirected by / Michael Kantor Associate Director / Melodie Reynolds-DiarraTranslation by / the cast Music Director / John RodgersComposer/Sound Design / Kelly Ryall Lighting Design / Paul JacksonSet Design / Paul Jackson, Michael Kantor & David Miller Props & Costume Design / Ruby Langton-BattyDramaturg / Marion Potts Music Consultant / iain Grandage Film / natasha Gadd, Rhys Graham & Murray Lui Performers / Jada alberts, Jimi Bani, Frances Djulibing, Rarriwuy Hick, Damion Hunter, Kamahi Djordon King, Tom e. Lewis, natasha Wanganeen, Band / selwyn Burns, Djakapurra Munyarryun, Bart Willoughby Producer / Jo PorterAssociate Producer / Jason TamiruStage Manager / Lisa Osborn Assistant Stage / Manager arthur JacksonVocal Coach / suzanne HeywoodFight Choreographer / Robert shook Traditional Items by / Djilpin arts

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






Malthouse theatre


14

heliu

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LorD of tHe fLieS

venue Tower Theatre





28 June - 14 July 2013

heliuM is DesigneD As A seAson foR ConteMpoRARy peRfoRMing ARtists to pResent theiR own woRK. the toweR theAtRe is A spACe foR expeRiMentAtion AnD DARing. foR suCh A sMAll spACe, it hAs pRoDuCeD soMe Big iDeAs AnD the ARtists who woRK in it ARe VAlueD foR the size of theiR AMBition. heliuM is MAlthouse theAtRe’s ACKnowleDgeMent of this AMBition – AnD of the VAluABle ResouRCe thAt suCh A spACe CAn Be.

A uS-A-uM & Malthouse theatre production

By / William GoldingAdapted for the stage by / nigel WilliamsDirected by / Kip WilliamsPerformers / alexandra aldrich, Zoe Boesen, catherine Davies, stacey Duckworth, Michele Durman, emma Griffin, Fiona Pepper, contessa Treffone, eloise WinestockDramaturg / Maree FreemanSet & Costume Design / Michael HankinLighting Design / nicholas RaymentSound Design / nate edmondsonProducers / samuel J Hagen & Kate McBrideStage Manager / Gemma simpsonDesign / Gill ThomasPhotography / Marnya Rothe

Malthouse theatre


it’S MoLLy’S trAveLLinG

WorM SHoW!

tHiS iS beAutifuL

19 July - 3 August 2013

venue Tower Theatre



all attendances 394


venue Tower Theatre



all attendances 340


13 August - 24 August 2013

the Public Studio & Malthouse theatre production

Directed & Created by / Ming-Zhu HiiAssistant Direction / nicholas coghlanPerformers / Pier carthew, Jing-Xuan chan, Terry YeboahInstallation & Spatial Design / Ming-Zhu Hii & Melanie LiertzSound Design / Russell GoldsmithLighting Design / Damien McLeanCostume Design / Melanie LiertzDramaturgy / Glyn RobertsCinematography / Pier carthew, nicholas coghlan & Ming-Zhu HiiEditing & Film Post Production / nicholas coghlan & Ming-Zhu HiiProducers / nicholas coghlan & Ming-Zhu Hii as The Public studioPublicity & Media Management / Frances Haysey of small Talk PR

A Melita rowston & Malthouse theatre production

By / Melita RowstonWriter/Performer / Melita RowstonDirector / Phillip RouseDramaturg / augusta supplePerformer / narda shanleyPuppeteer / Benito Di FonzoLighting & Effects Designer / Richard WhitehouseProduction Assistant / Fern GeorgeTechnician Operator / nate eversPhotography / Marnya RothePublicity / Penney & Logan

Malthouse theatre


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City of SHADoWS

21 septeMBeR - 5 oCtoBeR 2013

A Smack! bang & Malthouse theatre in association with Melbourne fringe production

By / Rachael DeaseConceived, Written, Directed and Performed by / Rachael Dease (vocals)Performers / Brian Kruger (violin), Hayley-Jane ayres (violin), aaron Wyatt (viola), Tristen Parr (cello)

venue Tower Theatre



all attendances 380

net Box Office 5245

SALoMe

A Little ones theatre & Malthouse theatre production

By / Oscar WildeDirected by / stephen nicolazzoPerformers / Paul Blenheim, Genevieve Giuffre, alexandra aldrich, nick Pelomis, Peter Paltos, Zoe Boesen, Tom DentSet Design / eugyeene TehCostume Design / Tessa Leigh Wolffenbuttel Pitt & eugyeene TehLighting Design / Katie sfetkidisSound Design / nate edmondsonDramaturgy/Adaptation / natalia savvidesChoreography / Kurt PhelanStage Manager / Rebecca PoulterPhotography / sarah Walker

venue Tower Theatre



all attendances 931


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30 August - 14 septeMBeR 2013

Malthouse theatre


tou

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Performers / Dave arden, nikki ashby, illana atkinson, selwyn Burns, Liz cavanagh, Uncle Jack charles, Kutcha edwards, Dennis Fisher, Jida Gulpilil, Johnny Harding, shiralee Hood, Kevin Kropinyeri, Uncle Herb Patten, Jimi Peters , Lowana Wickham, Bart WilloughbyProduced by / Jason Tamiru

ShEPPARTON FESTIVAL

9 March 2013 200 attendees

Rumbalara Football and netball club , shepparton

CASTLEMAINE STATE FESTIVAL

16 March 2013 287 attendees

Theatre Royal, castlemaine

SWAN hILL TOWN hALL

13 December 2013 110 attendees

swan Hill Performing arts & conference centre, swan Hill

in ConJunCtion with ViC heAlth AnD the helen MACpheRson sMith tRust, MAlthouse theAtRe hAs A thRee yeAR touRing plAn foR BlAK CABARet – A CoCKtAil of CoMeDy, MusiC, poetRy AnD DAnCe feAtuRing the DeADliest MoB of ABoRiginAl AnD toRRes stRAit islAnDeR peRfoRMeRs.

bLAk CAbAret

Malthouse theatre


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

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

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

Repertoire week is a testing ground for scripts; with our artistic team huddled around a table with a bunch of trusted actors going over the best of the theatre world’s written works. In 2013 the artistic team once again delved into the canon, this time focusing on primarily British works: The Entertainer by John Osborne, The Kitchen by Arnold Wesker, Quality Street by JM Barry, The Castle by Howard Barker, Fanshen by David Hare, Loot and What The Butler Saw by Joe Orton, Greenland by Howard Brenton, in addition to The Hairy Ape by Eugene O’Neill, The Misanthrope by Moliere and The Sluts of Sutton Drive by Joshua Conkel.

feMAle DiReCtoR in ResiDenCe, suppoRteD By the CopyRight AgenCyThe talented Roslyn Oades took up residence in the loft of The Coopers Malthouse during 2013, and began development of Hello, Goodbye & Happy Birthday, which has subsequently been programmed for our 2014 season as part of Melbourne Festival.

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

After three years of this program, the resonance of its intention has rippled out across the Australian theatre community. All three directors who have thus far held the position have had works produced on the main stages of major Australian companies through 2013. We are proud to have ongoing relationships with these artists and of the ongoing success of the program.

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Malthouse theatre


Besen fAMily ARtist pRogRAMIn 2013, the Besen Family Artist Program (BFAP) offered supported professional development across two streams: Production Placements and the Writer’s Program. Both streams of the Besen Family Artist Program prioritise opportunities for historically disadvantaged theatre-makers across a range of disciplines. The Production Placement stream offered recipients the chance to observe a professional mentor’s work in the making of a mainstage production. Production Placements included: two lighting designers (Julia Knibs and Nicola Andrews) mentored by Paul Jackson, a sound design and composer (Rachael Dease) mentored by Jethro Woodward, a costume designer (Melanie Liertz) placed with Anna Tregloan and two directors observing with Marion Potts (Medina Sumovic) and Matthew Lutton (Tanya Dickson). Malthouse Theatre also supported a dramaturgy placement across a number of projects (Mark Pritchard). In the BFAP Writer’s Program stream, four young writers (Bridget Price, Louris Van de Greer, Kim Ho and Nakkiah Lui) were invited to workshop early stages of their scripts with a professional dramaturg, director and performers.

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

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

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

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

Malthouse theatre


Malthouse Prompt is our Education program, comprising an array of workshops, talks, teacher professional development opportunities, guided discussions and other events. Prompt incites the next wave of creators, thinkers and performers. It challenges students and teachers, and equips them with tools and experiences to realise their vision. This rigorous combination of inspiration, education and provocation teaches radical theatre.

Key suCCesses foR MAlthouse pRoMpt in 2013— Roll-out of a consolidated Provocateurs program

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

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

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

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

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

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

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

The Suitcase Series continues to tour regionally. In 2013 it visited:

— Hothouse Theatre, Wodonga— Courthouse Theatre, Geelong; and — Frankston Arts Centre

Frankston saw the largest with attendances close to 150 student participants over two days. The Malthouse Theatre season was a bumper one, with over 500 participants over the two week season. The result was the largest Suitcase Series yet with 743 participants including both teachers and students.

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

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

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

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

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

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

— Pimp My Play was an offer from the underground-hit, cabaret-style event-makers, The Last Tuesday Society, whereby the group’s collection of ‘mix-tape’ artists ‘pimped’ a play to celebrate White Rabbit, Red Rabbit. The result was a bastardised, poignant and politically astute commentary on David Williamson’s Don’s Party by artists including Bron Batten, Richard Higgins, Emma Beech, post, Luke George, Ash Flanders and Declan Greene. One of the stand-out moments of theatre of the year, Pimp My Play was an unforgettable, one-night-only spectacular.

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

— king Lear for fools was a panel discussion with local Indigenous community leaders in response to The Shadow King. The discussion was hosted by Jason Tamiru, Malthouse Theatre’s Indigenous Engagement Manager, with Tammy Anderson

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

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

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

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

CoMMunity pARtneRshipsMalthouse Theatre’s Community Partners are organisations that have established programs which empower young people from a range of backgrounds and geographic locations across Victoria. Malthouse Theatre’s 2013 Community Partners included:

— Worowa College— Big Brothers, Big Sisters— Foundation for Young Australians— St Martins Youth Arts Centre— Australian Business and

Community Foundation (ABCN)

Bespoke opportunities were offered to each of these organisations with highlights including: the attendance of Worowa College students and staff to The Shadow King; over 400 mentors and mentees meeting and undertaking backstage tours at Malthouse Theatre as part of ABCN programs; and the continued and much-loved dedication of Malthouse Theatre staff to talk one-on-one with young people through the World of Work program with the Foundation for Young Australians. Without fail, our Community Partners comment that opportunities to interact with Malthouse Theatre are always the most popular experiences for their young participants.

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

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

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

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

Our volunteers also join us for Play Club – where debate both ferocious and congenial take place. These sometimes intellectual, sometimes irreverent, usually passionate discussions represent the very purpose of our artform.

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

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

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

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

In October 2013, Malthouse Theatre was successful in securing a matched funding opportunity through Creative Partnerships Australia’s Plus 1 initiative. This rare opportunity enabled Malthouse Theatre to raise much needed funds to implement a new CRM system for the ongoing expansion of its Development activities.

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

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

Malthouse theatre


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

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

2013 2012 2011 noteSSteeL 3 t 3 t 3 t Approximate.bAtterieS 45 kg 30 kg

(approx)55 kg

LiGHt buLbS nil 8 kg 3 kg No pick up required – with LEDs installed, there is less usage, and timing of previous pickups meant that capacity was not reached until 2014.

CArDboArD 18 t 6.44 t 5.37 t Due to a change in service providers, cardboard and paper are now reported together. Additionally figures now include Malthouse Theatre’s workshop facilities (not previously included).

WHite PAPer Nil 1.46 t 1.93 tCo-MinGLeD reCyCLinG 14.9 t 30.3 t 21.41 totHer WASte 57 t 33 t 39.2 t

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Board of Directors Simon Westcott (Chair until Nov 2013) frankie Airey John Daley (Deputy Chair) Michele Levine (Chair from Nov 2013) ian Mcrae Sarah Morgan thea Snow Sigrid thornton kerri turner Leonard vary

Artistic Director Marion Potts

Executive Producer Jo Porter Sarah neal (from November)

Associate Artist – Design Paul Jackson

Associate Artist – Direction Matthew Lutton

Associate Artist – Writing van badham

Female Director in Residence roslyn oades

Marketing Manager Lisa Scicluna

Company Manager Lucy birkinshaw nina bonacci (job share until June 2013)

Associate Producer Josh Wright

Youth and Education Program Manager Clare Watson

Administrator narda Shanley

Finance Manager Mario Agostinoni

Finance Administrator Liz White

Finance Assistant Connie Stella

Philanthropy Manager nicole Punte

Digital Strategy & Marketing Coordinator Carl nilsson-Polias (until February 2013) Chloe Gordon (June - October) Alice Gage (from November to present)

Development Manager Jaclyn birtchnell

Development Assistant Hiroki kobayashi

Communications Coordinator Jennifer Smith (March to August) emily fiori (from August)

Ticketing Manager emma Howard

Assistant Ticketing Manager Lauren White

Executive Assistant emily fiori (until August) Sarah Wong (from September)

Indigenous Engagement Jason tamiru

Building Manager Peter Mandersloot

Production Manager David Miller

Technical Manager baird Mckenna

Operations Manager Dexter varley

Head Electricians Stewart Campbell

Head Mechanist Andy Moore

Theatre Technician nathanael bristow

Head of Wardrobe Amanda Carr

Wardrobe Assistants Chloe Greaves, tessa Pitt & Zoe rouse

Workshop Supervisor David Craig

Steel Fabricator Goffredo Mameli

Scenic Artist Patrick Jones

Props Master ross Murray (lifetime recognition)

Bar Manager Cherry rivers

Front of House Managers tristan Watson & Sean Ladhams

Front of House/Bar Staff Leeor Adar, Matt Adair, thomas banks, Jacqui brown, Christopher bryant, ben Carollo, Mimi Catterns, kathryn Delaney, tom Dent, nadine Dimitrivietch, Carla Di Stefano, Alice Dixon, Graham Downey, tanja George, Christian Grant, kate Gregory, Mark Hoffman, Simon Jeanes, evona Lee, bridie McCarthy, ian Michael, Daniel newell, ruby nolan, Syrie Payne, kliment Poposki, Claire richardson, Sanne rodenstein, Dominic Simonelli, kathryn Stuckey, Phoebe taylor, Jade thomson, Lee threadgold, noel turner, Matilda Woodroofe.

Box Office Staff Jack Angwin, Abbey barnes, Paul buckley, Mark byrne, kathryn Delaney, Dan Giovannoni, kate Gregory, Suzie Hardgrave, Michelle Hines, ian Michael, fiona Wiseman, Liz White.

Malthouse theatre


goVeRnMent pARtneRs

eDuCAtion pARtneR MeDiA pARtneR pRoDuCtion pARtneR

CoRpoRAte pARtneRs

CoRpoRAte AssoCiAtes

CoMpAny suppoRteRs

tRusts AnD founDAtions Australian Communities Slome-Topol Family The Robert Salzer Vera Moore Foundation Charitable Trust Foundation Foundation

pRogRAM pARtneRs

THE SUITCASE SERIES REGIONAL EDUCATION ARTIST PROGRAM FEMALE DIRECTOR IN PROGRAM RESIDENCE PROGRAM REGIONAL PERFORMANCE NEW AUSTRALIAN DIRECTORS PROJECTS COMMISSION & PRODUCTION EXCHANGE PROJECT

The Danielle and Daniel Maureen and Jeanne Pratt AC, Rae Rothfield, Tom Kantor Besen Foundation Tony Wheeler Sue Nattrass AO, Judith Maitland-Parr FundCOMPANY IN RESIDENCE INTERNATIONAL THE KENN BRODZIAK INDIGENOUS THEATRE PROGRAM (MEN OF STEEL) PROGRAM ASSOCIATE PRODUCER (THE SHADOW KING)

Malthouse Theatre is supportedby the Australian Governmentthrough the Australia Council,its arts funding and advisory body

We thank Malthouse Muses for supporting our artistic vision and helping us to create a unique and dynamic environment for artists and audiences. urAniA—MuSe of tHe StArS—$25,000+Annamila Pty Ltd, The Dara Foundation, The Danielle and Daniel Besen Foundation, Maureen & Tony WheelerCLio—MuSe of HiStory—$10,000+Betty Amsden OAM, John & Lorraine Bates, Michele Levine, Craig Reeves, The Pratt Foundation, Anonymous (1)tHALiA—MuSe of CoMeDy—$5,000+Frankie Airey & Stephen Solly, Eva Besen AO & Marc Besen AO, Debbie Dadon, Roger Donazzan & Margaret Jackson AC, Neilma Gantner, Colin Golvan SC, Richard Leonard & Gerlinde Scholz, Mary Ruth & Peter McLennan, Judith Maitland-Parr, Elisabeth & John Schiller, Carol & Alan Schwartz AM, Anonymous (2) MeLPoMene—MuSe of trAGeDy—$2,500+Chryssa Anagnostou & Jim Tsaltas, Rosemary Forbes & Ian Hocking, Val Johnstone, Janine Tai, Jon Webster, Tom WrighteuterPe—MuSe of MuSiC—$1,000+Ingrid Ashford, John & Sally Bourne, Beth Brown & Tom Bruce AM, Sally Browne, Diana Burleigh, Ingrid & Per Carlsen, Marilyn and Andrew Cookes, Sieglind D’Arcy, Georgina Damm, Dominic & Natalie Dirupo, Rev Fr Michael Elligate, William J. Forrest AM, John & Helen Gibbins, D.L & G.S Gjergja, Marco Gjergja, Michael Kingston, Sue Kirkham, Pamela McLure, Naomi Milgrom AO, Jenny Schwarz, Neil & Barbara Smart, Gina & Paul Stuart, Leonard Vary & Matt Collins, Jason Waple, Jenny Werbeloff, Anonymous (3)

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

Muse DonoR pRogRAM

Malthouse theatre


outCoMe MeCHAniSM MeASure 2013 tArGet ACtuAL AS At 31 DeCeMber 2013

ArtforM

Artistic quality and excellence of craft

Artistic Counsel Response

% stimulated feedback

55% 100%

Consultations with Nominated Creative Colleagues

% positive feedback

55% 80%

Audience engagement and stimulation

Surveys Audience satisfaction

55% 94% either satisfied or very satisfied

examination and extension of artforms

New productions and/or creative development projects

Number of new productions as % of total

70% 91% new productions

Development of artists

See sector development

ACCeSS

Maximise access and diversity of audiences

Capital city performances home market

Attendances Paid Attendance: 48,000

42,866 paid attendances

Deliver broad community engagement

Mini Artform Festival/Limited Editions

Paid/unpaid attendances

Paid/unpaid attendance

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

Data Capture Activity Growth of contacts data base

Data base to 37,500

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

Capital performances other than home market

Ticket sales Paid Attendance: 7,000

nil

Regional and Metro Program Pilot

Number of participants & contact hours

700/ Contact hours

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

Access through digital platforms

Education program ‘ning’ participation & engagement

Growth in visitation metrics

10% increase on 2012

17% increase in “ning” users.

Social media presence



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

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ArtforM

Artistic quality and excellence of craft

Artistic Counsel Response

% stimulated feedback

55% 100%

Consultations with Nominated Creative Colleagues

% positive feedback

55% 80%

Audience engagement and stimulation

Surveys Audience satisfaction

55% 94% either satisfied or very satisfied

examination and extension of artforms

New productions and/or creative development projects

Number of new productions as % of total

70% 91% new productions

Development of artists

See sector development

ACCeSS

Maximise access and diversity of audiences

Capital city performances home market

Attendances Paid Attendance: 48,000

42,866 paid attendances

Deliver broad community engagement

Mini Artform Festival/Limited Editions

Paid/unpaid attendances

Paid/unpaid attendance

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

Data Capture Activity Growth of contacts data base

Data base to 37,500

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

Capital performances other than home market

Ticket sales Paid Attendance: 7,000

nil

Regional and Metro Program Pilot

Number of participants & contact hours

700/ Contact hours

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

Access through digital platforms

Education program ‘ning’ participation & engagement



17% increase in “ning” users.

Social media presence



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


SeCtor DeveLoPMent

fully activate Mt’s role as the company of “first breaks”

Access, artistic collaborations & other methods as detailed below:

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

Number of residencies & mentorships

7 1 x Female Director residency; 4 x Besen Family Artist Placements; 2 x Besen Writers Program

Company in Residence

Number 0 1 Company in Residence (Men of Steel, Hard Rubbish)

Co-Productions & Presentations

Number 1 x co-pro 1 x presentation

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

“Helium” independent works season

Number 5 x Helium productions

5 x Helium productions

resources for small-to-medium & independent sector

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

$ Value $0 Approximately $45,000 (indicative only - will be recalculated at end of month)

Develop new work “The Engine Room” development program

Number of works workshopped

5 7 initial investigations for three concepts (Voices – has become Walking Into The Bigness, The Woman Project, The Misanthrope, ASIO Files, Ugly Mugs, Paradise Lost); 7 development periods for 2013 productions (The Dragon, The Shadow King, The Bloody Chamber, Hard Rubbish.)

Number of new works performed or staged

4-5 9 (Skeleton, 247 Days, Dance of Death, The Dragon, The Bloody Chamber, Stories I Want to Tell You in Person, Hard Rubbish, The Shadow King and Super Discount)

finAnCiAL

reserves ratio Financial analysis Benchmark 20% reserves

24% 24%

Working capital ratio Financial analysis Current assets divided by current liabilities

1:1 0.58:1

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MAlthouse theAtRe

ANNUAL REPORT // FINANCIAL STATEMENTS

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

The names of the directors in office at any time during, or since the end of the year are:

— Simon Westcott, Chair (resigned 28/11/13)— Frankie Airey — Sigrid Thornton — Ian McRae — Thea Snow — Michele Levine, Chair (commenced 28/11/13)— John Daley — Leonard Vary — Kerri Turner — Sarah Morgan

Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

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

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

the CoMpAny’s oBJeCtiVes AReARtistiC— Creation of exceptional work that appeals to

demanding artistic collaborators, devotee audiences and third party presenters.

ACCess— Diversification of the cultural backgrounds

of its staff, collaborators and audiences— Utilisation of performance and rehearsal spaces

by as many artists as possible

DiReCtoRs’ RepoRt

seCtoR DeVelopMent— Engagement with the small-to-medium

and independent performing arts sector

finAnCiAl AnD goVeRnAnCe— Expansion of earned income base and maintenance

of levels of existing funding

stRAtegiesARtistiCMALtHouSe MAkeSCharacterised by rigorous creative development process, investigation of public subjects and collaboration between artists from diverse practises, backgrounds and interest. Malthouse Makes will be developed and presented as follows:

— The Engine Room-creative development and research

— Annual mainstage program

ACCess— MT’s education program: PROMPT— MT’s access activities including

community partnerships— Limited Editions— ArtformXS— Broader recruitment strategies

seCtoR DeVelopMent— Facilitation of independent works via

programs including Helium

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

finAnCiAl AnD goVeRnAnCe— Continuation of existing fundraising

and government support strategies— Increased focus on philanthropic,

trust and foundation support— Exploration of buy-in shows that

reflect Malthouse Theatre’s values— Increased focus on touring opportunities

domestically and internationally

Malthouse theatre

2013 ANNUAL REPORT // FINANCIAL STATEMENTS 31

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

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

Sigrid thornton Actor Responsibilities: Development and Marketing Committee

ian Mcrae Arts Consultant Responsibilities: People and Nominations Committee

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

Michele Levine CEO, Roy Morgan Research Responsibilities: Chair, Board of Directors Development and Marketing Committee People and Nominations Committee

Leonard vary CEO, The Myer Foundation and Sidney Myer Fund Responsibilities: Chair, People and Nominations Committee

John Daley CEO, Grattan Institute Responsibilities: Chair, Audit, Finance & Risk Committee, People and Nominations Committee

kerri turner Director, Tinitrader Responsibilities: Audit, Finance & Risk Committee

Sarah Morgan Director, Corporate Finance – Grant Samuel Responsibilities: Development and Marketing Committee

Meetings of DiReCtoRsDuring the financial year, six meetings were held. Attendances by each director were as follows:

DireCtorS’ MeetinGS

no. eLiGibLe to AttenD

nuMber AttenDeD

Simon Westcott 6 6Frankie Airey 6 5Sigrid Thornton 6 4Ian McRae 6 5Sarah Morgan 6 3Thea Snow 6 5Michele Levine 6 5John Daley 6 6Leonard Vary 6 6Kerri Turner 6 4

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

AuDitoR’s inDepenDenCe DeClARAtionThe lead auditor’s independence declaration for the year ended 31 December 2013 has been received and can be found on page 33 of the financial report.

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

Michele Levine, Director

John Daley, Director Dated 31 day of March 2014

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Malthouse theatre

2013 ANNUAL REPORT // FINANCIAL STATEMENTS32

AuDitoR’s inDepenDenCe DeClARAtion unDeR seCtion 307C of the CoRpoRAtions ACt 2001 to the DiReCtoRs of plAyBox theAtRe CoMpAny liMiteD (Mt)I declare that, to the best of my knowledge and belief, during the year ended 31 December 2013 there has been:

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

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

Crowe Horwath, Melbourne

Anne Lockwood, Melbourne Dated 31 day of March 2014

Malthouse theatre


stAteMent of CoMpRehensiVe inCoMe foR the yeAR enDeD 31 DeCeMBeR 2013

noteS 2013 2012$ $

Revenues from continuing operations 2(a) 6,665,318 7,108,521Production and touring expenses 3 (2,585,572) (3,403,897)Marketing and sponsorship expenses 3 (623,343) (487,211)Other expenses from continuing operations 3 (3,744,263) (3,426,847)Profit before income tax (287,860) (209,434) Income tax expense 1(n) - -

Profit before earning from investments (287,860) (209,434)Earnings from investments 2(b) 430,625 192,369total comprehensive income for the year, net of tax 142,765 (17,065)total comprehensive income for the year 142,765 (17,065)total comprehensive income attributable to members of the Company

142,765 (17,065)

stAteMent of ChAnges in eQuity foR the yeAR enDeD 31 DeCeMBeR 2013

ACCuMuLAteDSurPLuS reServeS totAL

Balance at 1 January 2013 (272,543) 1,966,313 1,693,770Transfer to Incentive Scheme Reserve - - -Transfer to Future Fund Reserve - - -Profit attributable to the Company 142,765 142,765balance at 31 December 2013 (129,778) 1,966,313 1,836,535

Balance at 1 January 2012 (34,380) 1,745,215 1,710,835Transfer to Incentive Scheme Reserve (60,986) 60,986 -Transfer to Future Fund Reserve (160,112) 160,112 -Profit attributable to the Company (17,065) - (17,065)balance at 31 December 2012 (272,543) 1,966,313 1,693,770

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stAteMent of finAnCiAl position As At 31 DeCeMBeR 2013

note 2013 2012Current ASSetS $ $Cash and cash equivalents 4 435,112 718,923Trade and other receivables 5 205,171 187,366Inventories 6 61,483 48,841Other current assets 7 299,536 266,904total current assets 1,001,302 1,222,034

non-Current ASSetSProperty plant & equipment 8 429,070 496,721Investments 9 2,176,969 1,716,874total non-current assets 2,606,039 2,213,595total assets 3,607,341 3,435,629

Current LiAbiLitieS Trade and other payables 10 266,586 242,147Short-term provisions 11 132,408 124,135Borrowings 12 215,000 215,000Other current liabilities 13 1,122,846 1,109,984 total current liabilities 1,736,840 1,691,266

non-Current LiAbiLitieSLong-term Provisions 11 33,966 50,593total non-current liabilities 33,966 50,593

total liabilities 1,770,806 1,741,859net assets 1,836,535 1,693,770

eQuityRetained earnings 14 (129,778) (272,543)Reserves 15 1,966,313 1,966,313total equity 1,836,535 1,693,770

Malthouse theatre


stAteMent of CAsh flows foR the yeAR enDeD 31 DeCeMBeR 2013

noteS 2013 2012$ $

CASH fLoWS froM oPerAtinG ACtivitieSReceipts from government grants 2,691,338 2,329,224Receipts from patrons, sponsors 3,931,671 4,605,369Payments to creditors and employees (6,885,697) (7,167,384)Interest received 37,366 88,693Net cash provided by operating activities 19 (225,322) (144,098)

CASH fLoWS froM inveStinG ACtivitieSPayment for plant and equipment (29,019) (93,967)Payment for investments (29,470) (1,154,361)Net cash used in investing activities (58,489) (1,248,328)

CASH fLoWS froM finAnCinG ACtivitieSRepayment of loan principal - -Net cash used in financing activities - -

net increase/(decrease) in cash held (283,811) (1,392,426)

Cash and cash equivalent held at the beginning of the year 718,923 2,111,349

Cash and cash equivalent held at the end of the year 435,112 718,923

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The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards - Reduced Disclosure Requirements of the Australian Accounting Standards Board (AASB) and the Corporations Act 2001.The Company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards.

Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless stated otherwise.

The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs, modified, where applicable, by the measurement of fair value of selected non-current assets, financial assets and financial liabilities. The amounts presented in the financial statements have been rounded to the nearest dollar.

notes to the finAnCiAl stAteMents foR the yeAR enDeD 31 DeCeMBeR 2013The financial statements are for Playbox Theatre Company Limited as an individual Company, incorporated and domiciled in Australia.

Playbox Theatre Company Limited is a Company Limited by Guarantee.

1— suMMARy of signifiCAnt ACCounting poliCiesPlaybox Theatre Company Limited has adopted the Australian Accounting Standards – Reduced Disclosure Requirements as set out in AASB 1053: Application of Tiers of Australian Accounting Standards and AASB 2010–2: Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements. Accordingly, the entity has also early adopted AASB 2011–2: Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project – Reduced Disclosure Requirements and AASB 2012–7: Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements in respect of AASB 2010–6: Amendments to Australian Accounting Standards – Disclosures on Transfers of Financial Assets and AASB 2011–9: Amendments to Australian Accounting Standards – Presentation of Items of Other Comprehensive Income.

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Malthouse theatre


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

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

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

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

Depreciation rates used for each of depreciable assets are:

Furniture & equipment 10% - 20%Theatre fixtures & fittings 5% - 20%Workshop improvements 5% - 10%

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

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

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

ACCounting poliCiesA— ReVenue

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

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

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

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

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

B— otheR CoMpRehensiVe inCoMeDonations in respect of the Future Fund and interest earned by investing funds held in the Future Fund Reserve and Incentive Scheme Reserve are recorded as income and transferred to the appropriate reserve.

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

D— plAnt AnD eQuipMentEach class of property, plant and equipment is carried at cost less, where applicable, accumulated depreciation and any impairment losses.

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

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

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

Impairment At the end of each reporting period, the Company assesses whether there is objective evidence that a financial instrument has been impaired. Impairment losses are recognised in the statement of comprehensive income

Fair Value Fair value is determined based on current bid price for all quoted investments. Valuation techniques are applied to determine the fair value of all unlisted securities, including recent arm’s length transactions, reference to similar instruments and option pricing models.

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

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

f— finAnCiAl instRuMentsInitial recognition and measurement Financial assets and financial liabilities are recognised when the Company becomes a party to the contractual provisions to the instrument. For financial assets, this is equivalent to the date that the Company commits itself to either purchase or sell the asset (i.e. trade date accounting is adopted). Financial instruments are initially measured at fair value plus transaction costs except where the instrument is classified “at fair value through profit or loss” in which case transaction cost are expensed to the statement of comprehensive income immediately.

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

Amortised cost is calculated as:

(a) The amount at which the financial asset or financial liability is measured at initial recognition;

(b) Less principal repayments;

(c) Plus or minus the cumulative amortisation of the difference, if any, between the amount initially recognised and the maturity amount calculated using the effective interest method; and

(d) Less any reduction for impairment.

The effective interest method is used to allocate interest income or interest expense over the relevant period and is equivalent to the rate that exactly discounts estimated future cash payments or receipts (including fees, transaction costs and other premiums or discounts) through the expected life (or when this cannot be reliably predicted, the contractual term) of the financial instrument to the net carrying amount of the financial asset or financial liability. Revisions to expected future net cash flows will necessitate an adjustment to the carrying value with a consequential recognition of an income or expense in profit or loss.

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

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Malthouse theatre


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

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

i— pRoVisionsProvisions are recognised when the Company has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured. Provisions are measured using the best estimate of the amount required to settle the obligation at the end of the reporting period.

J— CAsh AnD CAsh eQuiVAlentsCash and cash equivalents include cash on hand, deposits held at call with banks and other short-term highly liquid investments.

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

l— BoRRowing CostsBorrowing costs are recognised as expenses in the period in which they are incurred.

M— gooDs AnD seRViCes tAx (gst)Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Tax Office (ATO). In these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of the expense. Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included with other receivables or payables in the statement of financial position.

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

n— inCoMe tAxNo provision for income tax has been raised as the Company is exempt under Division 50 of the Income Tax Assessment Act, 1997.

o— CRitiCAl ACCounting estiMAtes AnD JuDgeMentsThe directors evaluate estimates and judgements incorporated into the financial statements based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the Company.

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

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p— CoMpARAtiVe figuResWhen required by Accounting Standards, comparative figures have been adjusted to conform to changes in presentation for the current financial year. The following 2012 figures have been restated:

2012 AS PreviouSLy rePorteD

2012 AS reStAteD

$ $CASH fLoW froM oPerAtinG ACtivitieSReceipts from government grants 2,329,224 2,329,224Receipts from patrons, sponsors 4,605,369 4,605,369Payments to creditors and employees (7,167,384) (7,167,384)Interest received 131,906 88,693

Net Cash provided by operating activities (100,885) (144,098)

CASH fLoWS froM inveStinG ACtivitieSPayment for plant and equipment (93,967) (93,967)Payment for investments - (1,154,361)Net cash used in investing activities (93,967) (1,248,328)

CASH fLoWS froM finAnCinG ACtivitieSRepayment of loan principal - -Net cash used in investing activities - -

net increase/(decrease) in cash held (194,852) (1,392,426)

Cash and cash equivalent held at the beginning of the year 2,481,493 2,111,349

Cash and cash equivalent held at the end of the year 2,286,641 718,923

reConCiLiAtion of net CASH uSeD in oPerAtinG ACtivitieS to Profit froM ContinuinG oPerAtionS

$ $net profit (loss) (17,065) (17,065)Unrealised gain on investments - (192,368)Depreciation 95,303 95,303

CHAnGe in net ASSetS AnD LiAbiLitieS(Increase)/Decrease in investments (149,156) -(Increase)/Decrease in receivables 34 33(Increase)/Decrease in other current assets 9,751 9,751(Decrease)/Increase in payables 19,045 19,045(Increase)/Decrease in inventories (18,301) (18,302)(Decrease)/Increase in other current liabilities (85,269) (85,269)(Decrease)/Increase in provisions 44,773 44,774

net cash provided by(used in) operating Activities (100,885) (144,098)

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Malthouse theatre


Q— tRADe AnD otheR pAyABlesTrade and other payables represent the liabilities for goods and services received by the Company during the reporting period that remain unpaid the end of the reporting period. The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.

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

s— new ACCounting stAnDARDs foR AppliCAtion in futuRe peRioDsThe AASB has issued a number of new and amended Accounting Standards and Interpretations that have mandatory application dates for future reporting periods, some of which are relevant to the company. The directors have decided not to early adopt any of the new and amended pronouncements. The directors’ assessment of the new and amended pronouncements that are relevant to the company but applicable in future reporting periods is set out below:

Amendments to AASB 136 – Recoverable Amount Disclosures for Non-Financial Assets AASB 2013-3 amends the disclosure requirements in AASB 136 Impairment of Assets. The amendments include the requirement to disclose additional information about the fair value measurement when the recoverable amount of impaired assets is based on fair value less costs of disposal.

Application date of standard: 1 January 2014

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

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

Application date of standard: 1 January 2014

The financial report was authorised for issue on 31 March 2014 by the Board of Directors.

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note 2013 2012$ $

2.A—ReVenueinCLuDeD in tHe revenueS froM ContinuinG oPerAtionS Are tHe foLLoWinG iteMS:

Theatre and performance 1,420,903 1,948,385Venue hire 705,555 563,506Government GrantsAuStrALiA CounCiL - General Purpose 1,077,788 1,052,527 - One off Project Funding 188,000 - - Interconnection - 30,000 - New work - 15,000 - External Artistic Agency - 30,000 - Creative Development New Duet 22,793 - - CEO Mentoring 5,000 - - Young Emerging Artists 20,000 - - Rigging Training 3 Creatives 5,000 - - Interconnection (Partial) 3,590 - - CRM Strategic Support 23,250 -LoCAL GovernMent - Department of Education & Early Childhood 19,301 21,025 - City of Melbourne 48,024 32,000ArtS viCtoriA - General Purpose 1,199,714 1,048,408 - NGO maintenance 83,821 100,264SPonSorSHiPS AnD DonAtionS - Sponsorship 95,000 83,589 - Fundraising and donations 928,574 1,241,803otHer revenue - Interest earned 37,366 88,693 - Ticketing Services 186,077 168,199 - Bar Taking 300,593 323,881 - Workshop External Commissions 138,566 156,132 - Other revenue from continuing operations 156,403 205,109total revenue 6,665,318 7,108,521

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note 2013 2012

$ $

2.B—eARnings fRoM inVestMents

future funD - Change in Fair Value of financial assets 192,546 110,694 - Income earned 125,589 33,478

inCentive SCHeMe reServe - Change in Fair Value of financial assets 76,802 38,462 - Income Earned 35,688 9,735totAL otHer CoMPreHenSive inCoMe 430,625 192,369

3—otheR expenses fRoM Continuing ACtiVitiesProfit from continuing operations has been determined after: exPenSeSProduction & Touring 2,585,572 3,403,897Marketing & Sponsorship 623,343 487,211otHer exPenSeSDepreciation 96,670 95,303Auditor’s remuneration- Audit fees 25,070 19,100Finance Costs – external 21,952 15,191Wages & On costs 3(a) 2,392,763 2,257,062Venue 522,140 539,473 Administration 242,444 278,225Ticketing Services 173,160 137,649Other 270,064 84,844

totAL otHer exPenSeS 3,744,263 3,426,847totAL exPenSeS 6,953,178 7,317,9553(a) Wages and on costs for permanent staff have been allocated to other expenses rather than to individual departments.

4—CAsh AnD CAsh eQuiVAlentsCash on Hand 2,902 3,549Cash at Bank 93,711 216,961Deposits at call 307,297 53,349Short Term Bank Deposits 31,202 445,064

435,112 718,923

5—tRADe AnD otheR ReCeiVABlesSundry debtors 155,329 151,822Accrued income 39,823 19,435Deposits paid 1,500 7,235GST recoverable 8,519 8,874

205,171 187,366

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note 2013 2012

$ $

6—inVentoRiesAt CoStRaw materials 38,055 13,230 Bar & Sponsorship Stock 23,428 35,611

61,483 48,841

7—otheR CuRRent AssetsPrePAyMentS 299,536 266,904

8.A—pRopeRty plAnt & eQuipMent

Furniture and equipment 1,129,772 1,101,135Less accumulated depreciation (871,984) (810,444)

257,788 290,691Theatre fixtures and fittings 1,237,055 1,236,673

Less accumulated depreciation (1,172,800) (1,153,728)64,255 82,945

Workshop Improvements 263,086 263,086Less accumulated depreciation (156,059) (140,001)

107,027 123,085

totAL ProPerty, PLAnt & eQuiPMent 429,070 496,721

8.B—MoVeMents in CARRying AMountsMovement in the carrying amounts of property, plant and equipment between the beginning and the end of the current financial year.

2013 furniture & eQuiPMent

tHeAtre fixtureS &

fittinGS

WorkSHoP iMProveMentS

totAL

Balance at the beginning of the year 290,691 82,945 123,085 496,721Additions 28,637 382 - 29,019Depreciation Expenses (61,540) (19,072) (16,058) (96,670)Carrying amount at the end of the year 257,788 64,255 107,027 429,070

2012 furniture & eQuiPMent

tHeAtre fixtureS &

fittinGS

WorkSHoP iMProveMentS

totAL

Balance at the beginning of the year 286,028 72,885 139,144 498,057Additions 63,465 30,502 - 93,967Depreciation Expenses (58,802) (20,442) (16,059) (95,303)Carrying amount at the end of the year 290,691 82,945 123,085 496,721

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note 2013 2012$ $

9—inVestMentsFuture Fund 1,627,796 1,298,302Incentive Scheme Reserve Deposit 549,173 418,572

2,176,969 1,716,874

10—tRADe & otheR pAyABlesSundry creditors & accruals 266,586 242,147

11—pRoVisionsCurrentEmployee entitlements - Annual leave 54,198 87,440Employee entitlements - Long service leave 78,210 36,695

132,408 124,135non-Currentemployee entitlements - Long service leave 33,966 50,593

12—BoRRowings

Currentbank Loan – secured 215,000 215,000

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

13—otheR CuRRent liABilities Young & Emerging Artists (Australia Council) - 20,000MPAB Strategic Assistance (Australia Council) - 23,250Core Grant One-Off Funding Model Adjustments - 188,000Interconnection (Partial) 26,410 -New Work Creative Development 34,521 -Income received in advance 1,061,915 878,734

1,122,846 1,109,984

14—RetAineD eARningsRetained earnings at the beginning of year (272,543) (34,380)Net profit (loss) for the financial year 142,765 (17,065)Transfer to Future Fund Reserve - (160,112)Transfer to Incentive Scheme Reserve - (60,986)retained earnings at the end of financial year (129,778) (272,543)

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note 2013 2012$ $

15—ReseRVesCapital Assets Reserve 127,459 127,459Future Fund Reserve 1,394,382 1,394,382Incentive Scheme Reserve 444,472 444,472

1,966,313 1,966,313

15.A—CApitAl Asset ReseRVeOpening balance 127,459 127,459Closing balance 127,459 127,459

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

15.B—inCentiVe sCheMe ReseRVe MoveMentS DurinG tHe yeArOpening balance 444,472 383,486Change in market value - 38,462Income earned - 9,735Transfer from accumulated surplus/(deficit) - 12,789Closing balance 444,472 444,472

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

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

15.C—futuRe funD ReseRVe MoveMentS DurinG tHe yeArOpening balance 1,394,382 1,234,270Change in market value - 110,694Income earned - 33,478Transfer from accumulated surplus/(deficit) - 15,940Closing balance 1,394,382 1,394,382

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

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

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17—CoMMitMents AnD Contingent liABilitiesThere are no capital expenditure commitments or contingent liabilities not otherwise disclosed or provided for in the accounts at 31 December 2013.

18—RelAteD pARty tRAnsACtionsThere were no related party transactions that occurred in 2013 (2012: $15,000)

19—CAsh flow infoRMAtionReconciliation of Net Cash Used in Operating Activities to Profit from Continuing Operations

note 2013 2012$ $

Net profit (loss) 142,765 (17,065) Unrealised gain on investments (430,625) (192,368) Depreciation 96,670 95,303

CHAnGe in net ASSetS AnD LiAbiLitieS(Increase)/Decrease in receivables (17,805) 33 (Increase)/Decrease in other current assets (32,632) 9,751 (Decrease)/Increase in payables 24,439 19,045 (Increase)/Decrease in inventories (12,642) (18,302) (Decrease)/Increase in other current liabilities 12,862 (85,269)(Decrease)/Increase in provisions (8,354) 44,774 net cash provided by (used in) operating Activities (225,322) (144,098)

20—finAnCiAl RisK MAnAgeMentThe Company’s financial instruments consist mainly of deposits with banks, local money market instruments, short term investments, accounts receivable and payable.

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

finAnCiAL ASSetSCash and cash equivalent 4 435,112 718,923Trade and other receivables 5 205,171 187,366Domestic Corporate Bonds 9 391,596 280,716Equities Domestic 9 1,325,427 990,002Equities International 9 459,946 297,000

total financial Assets 2,817,252 2,474,007

finAnCiAL LiAbiLitieSTrade and other payables 10 266,586 242,147Borrowing 12 215,000 215,000

total financial Liabilities 481,586 457,147

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

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

22—Key MAnAgeMent peRsonnel ReMuneRAtionThe total remuneration paid to key management personnel of the Company during the period is as follows:

Key management personnel compensation: 280,937 250,700

23—suBseQuent eVentsThe directors are not aware of any significant events since the end of the reporting period.

24—CoMpAny DetAilsThe registered office of the Company is: 113 Sturt Street Southbank Vic 3006

The principal place of business is: The Coopers’ Malthouse 113 Sturt Street Southbank Vic 3006

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DiReCtoRs’ DeClARAtionthe directors of the Company declare that:

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

2—In the directors’ opinion, there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable.

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

Michele Levine, Director

John Daley, Director Dated 31 day of March 2014

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inDepenDent AuDitoR’s RepoRtto MeMberS of PLAybox tHeAtre CoMPAny LiMiteD

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

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

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

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

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

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

opinionIn our opinion the financial report of Playbox Theatre Company Limited is in accordance with the Corporations Act 2001, including:(i) giving a true and fair view of the Company’s financial position as at 31 December 2013

and of its performance for the year ended on that date; and(ii) complying with Australian Accounting Standards – Reduced Disclosure

Requirements and the Corporations Regulations 2001.

Crowe Horwath, Melbourne

Anne Lockwood, Melbourne Dated 31 day of March 2014

Malthouse theatre


Documents

Annu Al RepoRt 2013 · The third biennial Dance Massive saw us joining forces once again with Dancehouse and Artshouse to engage with dancers and choreographers from across Australia