2013 Annual Report

2013 Annual Report atyp.com.au

Photo: 99% Accurate, 2000 (Photo: A Yap); All Stops Out, 1989 (Photo: S. Campbell);Outpatients, 2001 (Photo: W. McDougall); VX18504 rehearsals, 2008 (Photo: R. Lansac); atyp Foundation launch, 15/02/2003; Baz Luhrmann and Nicole Kidman visit The Wharf, 2005; Ruth Cracknell at opening Myrtle St premises, 1984; atyp Fundraising Lunch, 2012 (Photo: N.Hamilton); atyp Semester Performance, 2012 (Photo: C. Harris); Rebel Wilson and Fraser Corfield atyp annual dinner 2009; atyp Semester Performance, 2012 (Photo: C. Harris); Alastair Duncan, David Berthold and Liz Mullinar

atyp

Photo: Greg Barrett

4–5 atyp

Our Vision Artistic Director’s Report Chair’s Report

Annual Reportatyp

atyp

Our vision: To raise the national expectation of what theatre with young people can achieve.

We do this through four interlinked aspirations:

1.To be a fearless theatre company with a national impact that all levels of the industry love to work with. 2. To build an active playwriting community that champions and supports young artists and their work. 3.To be the first place teachers turn to for inspiration and support in drama education. 4.To maintain a vibrant creative hub and company culture that young people around the country want to be part of.

Our work is determined by our four overarching strategies:

1. National impact: Recognise the company’s role as the national youth theatre and prioritise initiatives that have the potential to resonate nationally. 2. Artistic excellence: Connect young people with industry leaders, and work in partnership with companies, venues and producers synonymous with “artistic excellence”.

3. Innovation: Embrace technology and the evolving nature of storytelling as it relates to young people and their place in the world. 4. Pathways: Maintain an environment that develops confidence and creativity in all young Australians by offering inclusive access to the company and supporting the career development of emerging professionals.

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It was a rare privilege to be the Artistic Director of atyp in its 50th year. These days I feel we can become a little too preoccupied by the future, with a consuming focus on innovation, reinvention and evolution - to the extent that we forget to take stock of what has come before. We forget to take a moment to acknowledge the achievements of those on whose shoulders we are currently standing. 2013 provided all of us at atyp that opportunity, and we are a stronger company for it.

In preparing our 50th season it was a curious surprise when I realised that all our productions were written or devised by young artists. From the Australian premiere of the critically acclaimed play by English teenage sensation, Anya Reiss, to the winner of the inaugural atyp Foundation Commission, Jessica Bellamy, each work in 2013 was born from the talented mind of artists aged under 26.

To be honest, this was not a curatorial choice, it was programming coincidence. Our work is as often by established playwrights as it is by young people themselves. But the 2013 season was a reflection of what makes this company unique - the relentless support of young artists and their work. It was a fitting way to honour our 50th year.

And what a year it was. In addition to the season of five atyp productions, three independent shows presented as part of Under the Wharf, and two national youth theatre productions in the atyp presents... season, we staged three major anniversary events – the Reunion Party, the Walsh Bay Arts Table and the Gala Dinner. These gatherings celebrated key achievements from the past 50 years and united past and present members.

Artistic Director’s Report

ATYP Annual Report

PB–9 A personal highlight was the opportunity to spend time with founding members Wendy Blacklock and Diana Sharpe. The company flew Diana to Australia from her home in France so she could join us for the Gala Dinner. Diana was involved in atyp for twenty five years, from the birth of the very idea of the national youth theatre company, at a dinner party in 1963, through to finally retiring from the board in 1988. Her stories about the early years of the company were as inspiring as they were entertaining.

As you will see included in this report, there were many creative successes throughout the year. The company continues to extend its reach in person and on-line. Of particular note was the first live-streaming of an atyp production, Compass by Jess Bellamy. This development offers the potential for the company to access young people around the country. While in years to come I have no doubt we will look back on the audience of the first event as modest, it heralds the beginning of an exciting new era for the company and a great technical achievement.

One of the most important developments of 2013 that may not be immediately evident from this report was the staffing re-structure conducted toward the

end of the year. For various personal reasons three of the company’s much loved employees, Production Manager Liam Kennedy, Education Manager Heather Clark, and Administration Assistant Chrissy Norford, all provided extended notice that they intended to leave the company at the end of the year. As a result we reassessed the distribution of duties across the company and conducted a significant staffing restructure. This restructure broke up the existing ‘flat’ management model and replaced it with a tiered organisational structure, increasing the responsibilities of the senior management team and establishing a level of Coordinators reporting to program managers. The new atyp staffing structure positions the company for continued growth over coming years.

2013 also saw our Marketing Manager Claire Harris move on to the responsibilities of running a youth theatre company in her own right as the Creative Producer of Outback Youth Theatre, and Development Manager Peter Murray move on to the challenges of fundraising for the Children’s Cancer Council. I’d like to acknowledge the exceptional work of both over the three years they were with us. The company grew enormously thanks to their contribution.

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atyp Annual Report 2013

But of course every loss brings new opportunity, and in this case they were in the form of Marketing Manager Annabel Tate and Development Manager Andrew Deane. Both joined the company in an unusually busy year and managed their new responsibilities with exceptional composure and grace. With a further two new part-time positions in Private Giving Manager Derek Minett and Marketing Coordinator Sebastian Andreassen, the staff housed in Studio 2 provide fresh perspectives and focus driving us forward.

In 2013 atyp’s staff and board needed to manage the largest creative program in the compa-ny’s history. It was an enormous responsibility and one that was shouldered by each and every person within this tight-knit community. From the manage-ment of fundraising events, to the ongoing discussions with State Government over a new home, and the every growing array of programs, 2013 was an extraordinary achievement for everyone involved.

I’d like to acknowledge the leadership, warmth and vision of both our Chair Michael Ihlein and my colleague and friend Aaron Beach for navigating the company through the year. And to those staff and board members who went above and beyond what would reasonably be expected to make the

company the great success that it is. In 2013 atyp was fortu-nate to be driven by a staff and board of exceptional ability and passion.

It is a great honour to be a part of this company. 2013 was a timely reminder that we are part of an organisation that means a great deal to a great many people. Long may it stay so.

Fraser Corfield Artistic Director & CEOAustralian Theatre for Young PeopleMay 2014

ATYP Annual Report

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Spur of the Moment Photo: Olivia Martin McGuire ©

Chair’s ReportI have pleasure in presenting the Chair’s report for 2013.

This past year has been the busiest by far since I became Chair of this wonderful organisation. As you all know, we have continued to focus our activities to deliver on our vision to raise the national expectation of what theatre with young people can achieve.

I believe that the artistic program in 2013 has been our best ever and the successes numerous. From Spur of the Moment to the Voices Project to the live streaming of Compass to the 50th Anniversary Gala Dinner, I continue to be amazed at the quality of what atyp is delivering and the leverage we are able to create from our relatively small financial base. It is truly fitting to think that in our 50th Anniversary year we also delivered our strongest artistic performance yet!

The Company has also had another successful financial year in 2013 in many ways even though we had a modest deficit. When I think about the breadth of what we have delivered artistically, I see the modest deficit as a continuing investment in our future.

Some of the most exciting news we received during the year is the commitment from Antoinette Albert and Edward Simpson to support the planned new home for atyp for a total amount of $400,000. Both Antoinette and Edward have been long time and very dedicated supporters of atyp and they both have inspired us to plan actively for our potential move to Pier 2/3 – a very exciting future indeed!The Company (including the Foundation) finished the year ending 31 December 2012 with Total Comprehensive Income of a loss of $46,140 and Total Equity of $1,466,431 (2012: $1,512,571).

The improved financial result reflects improved fundraising activities and the success of a number of our key workshop programmes.

ATYP Annual Report

PB–13 Regrettably, we continue to see relatively low earnings from investments by the atyp Foundation, due to the low interest rate environment. At the atyp level, a modest loss of $42,242 was recorded and this was slightly greater than the loss in 2012 of $28,324. We continue to have an objective to break even each year.

Some of the key atyp activities during 2013 are:•Over 250,000 people engaged with the company on-line either watching an atyp film or downloading atyp resources.•Over 45,000 people participated in atyp activities, including attending workshops and productions both in our space at The Wharf and nationally. •In 2013 the Company had coverage in more than 148 print articles: 69 local listings; 20 major dailies nationwide; 49 articles in Sydney local papers and street press; 16 magazine stories, 11 radio stories and 105 on-line articles highlighting all aspects of our work. • atyp undertook surveys of both customers and employees, receiving 96% positive feedback for holiday and term workshops and 98% positive feedback for education workshops measuring quality of experience at atyp.

Earned Income ($1,541,025) comprised 83% of total turnover ($1,851,949). Earned income includes sponsorship & donations ($736,972 / 39% of

turnover) and fees and services ($589,947 / 31%). Government subsidies and grants ($310,924) represented 17% of turnover.The Company has also continued with its organisational mentoring program with the Westpac Foundation. 2013 was the last year of the Westpac mentoring program and it has been an invaluable support to the Company. We are very appreciative of the support and I would like to take the opportunity to formally record our thanks to the Westpac Foundation.

In the area of funding, atyp continues to benefit from various subsidies and grants and totalling $310,921 in 2013 (2012: $295,321). These include Australia Council for the Arts, Arts NSW and the City of Sydney. The Company continues to excel in its private fundraising activities to make up for the lack of increase in the levels of multi-year funding from government sources. In 2013, atyp raised $736,972 in sponsorships and donations (2011: $446,465) – a truly wonderful effort! The Graeme Wood Foundation continues to be a great supporter of the Company through the Fresh Ink program. In addition, we are grateful for the support of a number of foundations in 2013.

The atyp Foundation has also continued to be a great supporter though its contributions from revenue and the five-year commitment to commissioning

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works. We are also fortunate to continue to attract financial support from individuals and a range of organisations which contribute to the success of our fundraising events. We gratefully acknowledge the support of government (especially Australia Council for the Arts and Arts NSW) and the private sector in supporting atyp in its valuable work.

A significant effort has taken place during the year in progressing the discussions with Arts NSW for the relocation to a new home in Pier 2/3. There have been numerous meetings with Arts NSW and a collaborative effort with Australian Chamber Orchestra and Bell Shakespeare in lobbying.

atyp delivered its best ever Artistic Program in 2013 under Fraser Corfield’s leadership. I would like to thank the whole atyp team for the efforts and successes this past year. It is a great credit to the leadership of Fraser Corfield (Artistic Director and CEO) and Aaron Beach (General Manager).

The atyp Foundation Advisory Committee comprising Angela Bowne (Chair), Carolyn Fletcher, Popsy Albert, Olev Rahn and Rob Rich has also been a great support to the Company in 2013.All the Board directors made a significant contribution during the year (serving on Committees, active participation in fund raising, delivery of the highly

successful 50th Anniversary Gala Dinner, etc.). There has been a great deal to do during the year and I am very appreciative of the support from our Board.2013 was atyp’s 50th Anniversary and the Gala Dinner held in Pier 2/3 was a great success. Not only did we raise $75,000 but the Company really did showcase how it can perform on the main stage. As a Company we really have come of age. 2013 was a very exciting time in our history and 2014 has continued the momentum we developed throughout last year.

I would like to thank all of our stakeholders for their support and I very much look forward to having them with us as part of our ongoing journey as we pursue our vision to raise the national expectation of what theatre with young people can achieve.

Michael IhleinChair, Australian Theatre for Young People12 May 2014

ATYP Annual Report

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atyp Annual Report 2013atyp Annual Report 2013

atyp Gala Dinner- gold balloon entry to Pier 2/3 Photo: Noami Hamilton ©

productions

Quay to the City Photo: Olivia Martin McGuire ©

16–17 Productions

Out of Place Spur of the Moment Quay to the CityCompassThe Dwarf Revue 2: Solid Gold

productions


30.01.13–16.02.13

out of placeDirectorPaige Rattray

The Voices Project 2013:

Photo: Greg Barrett

Fresh Ink is for young writers hungry for a career in theatre. The program helps writers build skills and confidence to step into the industry. Emerging writers are matched with experienced mentors who help bring out their individual voice. When the scripts are ready we support the pieces through creative development to production.

Out of place is the third annual instalment of the overwhelmingly successful The Voices Project. Born from the need for quality scripts specifically tailored for young artists, this collection of seven-minute monologues challenges the way we look at youth theatre. This is a unique opportunity for a first look at the scripts young people will be performing for years to come.

Writers Arda Barut Christopher Harley Julia-Rose Lewis Tom Mesker Joel Perlgut Isobel Roberts-Orr Randa Sayed Krystal Sweedman Sara West Amanda Yeo

Set Designer Lauren Flaherty

Lighting Designer Ross Graham

Sound Designer Tom Hogan

Assistant Director Camilla Turnbull

Stage Manager Victor Areces

Cast Georgia Brindley, Lucy Coleman, Rosie Connolly, Sean Marshall, Mia Morrissey, Claudia Osborne, Patrick Richards, Charlotte Tilelli, Angela Tran, Karim Zreika

Season 30 January – 16 February 2013

Performances 18

Attendance 981

The Fresh Ink program is made possible through the generous support of the Graeme Wood Foundation and Copyright Agency limited.

The night is brimming with moments that are disturbing, funny, poignant, heartwrenching and cringeworthy. Emma Salkild- Alternative Media Group

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spur of the momentWriterAnya Reiss

DirectorFraser Corifield

28.08.13–14.09.13

Photo: Zan Wimberly

This blistering debut by Anya Reiss written when she was just 17, premiered at The Royal Court (London) to critical acclaim. A chilling examination of family politics and the confusion of adolescence, Spur of the Moment examines the way we grow, parent and mature, here and now.

The centrepiece production for atyp’s 50th year, Spur of the Moment brought back a collection of outstanding professional artists who have worked with the company in the past, including actors Felix Williamson and Zoe Carides, sound designer Steve Francis, lighting designer Ben Cisterne and extraordinary young design talent, Adrienn Lord. The production featured a cast of some of the best young actors in Sydney. Playwright Anya Reiss was flown to Sydney to attend the opening and then spent a week with young Australian playwrights at atyp’s National Studio.

Designer Adrienn Lord

Lighting Designer Ben Cisterne

Sound Designer Steve Francis

Assistant Director Sophie Kelly

Voice Coach Natasha McNamara

Stage Manager Rachael Higgins

Assistant Designer Dugal Parker

Cast Joshua Brennan, Zoe Carides, Simone Cheuanghane, Lucy Coleman, Madeleine Clunies-Ross, Holly Fraser, Antonia Lewin, Felix Williamson

Season 28 August – 14 September 2013

Performances 20

Attendance 681

Shrewd and bitingly funny.…a very good pro-duction and an excellent showcase for the ATYP. Jason Blake- Sydney Morning Herald

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18.09.13–04.10.13

quay to the cityCuratorJanice Muller

Creative ArtistsDavid Williams Danielle O’Keefe Cristabel Sved Patrick Thaiday Michael Pigott Janice MullerPhoto: Greg Barrett

Quay to the City is a head-on collision between history and contemporary performance created by young people in collaboration with some of Sydney’s most exciting artists. The production is a series of short performances devised in and about the historic suburb of The Rocks.

The audience met at a pop-up box-office on George Street where they were divided into six groups and given maps with different starting points. The audience then needed to find their own way to the performances, through cobblestone streets and haunted alleyways. This surprise hit of the 2013 season challenged audiences to experience The Rocks in a new light – as a canvas, a living space and an inspiration.

Composer (Surfaces) Yantra de Vilder

Production Manager Liam Kennedy

Technical Manager Juz McGuire

Design Assistant Kate Campbell

Cast Monica Assaf, Sezgin Aygun, Adam Bennett, Andrew Broph, Kate Buxton,Maddison Calcott, Linda Corazza, Hal Conyngham, Rebecca Cuttance, Erin Davoren, Brit Dell, Niamh Donnelly ,Phillipa Dracakis, Matthew Friedman, Claire Giuffre,Max Huehn, Blake Hurford, Tovia Jakovsky-Coleman, Tassja Kriek, Gabriela Melocco, Holly Moore, Isobel Mosse-Robinson, Liam Phelan, Sarah Raineri, Olivia Regueira-Garcia, Alannah Robertson, Kate Rutherford, Cole Scott-Curwood, Iris Simpson, Miles Sizer, Shenae Subritsky, Vaishnavi Suryaprakash, Kira Swift, Alex Tutton, Kate Wagstaff, Daisy Willow, Sylvie Woodhouse, Henry Vo

Season 18 September – 4 October, 2013

Performances 14

Attendance 760

Partners Sydney Living Museums, Sydney Harbour Foreshore Authority, YHA - Big Dig Education Centre

This is a poignant and well-orchestrated window into the early days of colonial history. Sam Cressweller – Alternative Media Group

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16.10.13–26.10.13

compassWriterJessica Bellamy

DirectorSarah Parsons

Compass Photo: Olivia Martin McGuire ©

Winner of the inaugural atyp Foundation Commission, Compass is a tense political drama for young actors aged between 10 and 13. The play asks how far we’ll go to hold on to what we think we deserve. Set during a school camp, Mr Cobbin, the only teacher on the trip, seems to have gone missing and the group has to fend for itself. When a stranger enters their midst things take a dangerous turn.

This beautifully crafted, suspenseful production was directed by atyp’s Workshop Manager Sarah Parsons. The script was published by Playlab Press to coincide with the performance, and the final matinee performance was filmed and live-streamed to an audience of over 700 school students watching in locations around the country. A detailed report of the live-streaming is included below.

Designer Emma Reyes

Lighting Designer Sara Swersky

Sound Designer Marty Jamieson

Stage Manager Peta Dyce

Cast Remington Adeney, Asha Boswarva, Francesca Brown, Joshua Di Mattina-Beven, Joel Franco, Samuel Hill-Wade, Elodie Jakes, Charlotte Pitt, Oscar Ryan, Amelia Warburton

Mr Finchle Gavin Boswarva, Flemming Busk-Christenson, Tony Dale, Keiron Devlin, Matt Faber, Ian Fenwick, Neil Jackson, Rob Jago, Sam Peters, Tony Sloman, Mark Warburton

Season 16 – 26 October, 2013

Performances 10

Attendance 1521 ( 813 theatre audience and 708 live streamed)

I think Compass is really brilliant! One of the best parts about it is that it’s incredibly tense. Bill Blake (9yrs) – Time Out

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11.12.13–14.12.13

WritersSome very funny young folk

11.12.13–14.12.13

dwarf revue 2: SOLID GOLDDirectorDaivd Harmon

Photo: Greg Barrett

dwarf revue 2: SOLID GOLD


As the Golden Jubilee year drew to a close atyp celebrated with a week of silliness devised by artists aged between 14 and 26. The Dwarf Revue 2: Solid Gold offered young performers and comedians the chance to create and stage a sketch show to close our 50th year. The closing night of The Dwarf Revue 2 served as the Christmas party for atyp participants with the presentation by the Atypical Advisors of the coveted Golden Coathanger Awards, and a disco.

Designer Kate Campbell

Lighting Designer / Stage Manager Michael Twomey

Sound Designer Ash Walker

Assistant Director Ash Kurrie

Cast Oliver Ardill-Young, Alicia Badger, James Burchett, Claire De Mellow, Lukasz Embart, Rhianne Evelyn-Ross, Ben Freeman, Bronwyn Hicks, Michelle McCowage, Rueben Morrison-Greet, Annie Schofield, Shanae Subritzky, David Wiernik

Season 11 – 14 December, 2013

Performances 4 Attendance 196

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atyp presents

Out of Place Photo: Olivia Martin McGuire ©


28–29 atyp presents

Tease FONY 2013

Showcasing the best in youth theatre from interstate and around the country.

atyp

atyp presents

Annual Report 2013

20.03.13–23.03.13

teaseProduced by Corrugated Iron Youth Arts, Darwin

DirectorSam Young

Tease cabaret welcomes you to a dirty tropical bar where you store your broken dreams and the one that got away. The crocodiles from Darwin headed south and took over The Wharf. Corrugated Iron descended on Sydney to ‘wow’ audiences with a provocative assortment of theatre, live music and cabaret that has Sydney and Darwin artists performing their weird and wonderful skills. Audiences were faced with magicians, contortionists, comedians, baton twirlers, fire breathers, hula hoopers and many, many questionable acts.

Production Manager Kelly Blumberg

Cast Danielle Andrews, Meri Davies, Jim Fishwick, Casey Glennon, Aimee Gray, Mark Gray, Kadek Hobman, Nick Maricic, Pollyanna Nowicki, Alana Parrot-Jolly, Tim Reuben, Rachel Smuin, Annaliese Szota, Tehani Vicario, Alistair Wallace

Season 20 –23 March, 2013

Performances 4

Attendance 191

Thank you for your support and enthusiasm for this project. Your trust in me and your passion for supporting youth arts has made this a joyous experience. Sam Young – director

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26.06.13–29.06.13

FONY 2013Produced by Courthouse Arts Ensemble Project

DirectorsRoss Mueller Georgina Capper

WritersRoss Mueller Georgina Capper

FONY 2013 A play about the trolls we let into our lives.

Jennifer Lee became an overnight sensation for her Cyber Buddy Program. For some people it wasn’t enough. For four students who thought they knew her, an afternoon locked in a classroom will become the point at which their lives will change. Only the truth will set them free… Social Media. Digital activism. Bullying. Trolling. Duck shooting. Shooting. Rumour-made-easy. How to be authentic in an anonymous world where you can be anyone you want to be.

Produced by Courthouse Arts as their first Ensemble Project 2013, it came all the way from Geelong to The Wharf, Sydney.

Lighting Designer James Edwards

Sound Designer Georgina Capper

Cast Jesse Bickerton, Didem Caia, Charlie McIntyre, Thomas Russell Shears

Season 26 – 29 June, 2013

Performances 4

Attendance 62

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under the wharf

Photo: Claire Harris ©

under the wharf

34–35 Under the Wharf

4000 Miles fireface Sweet Nothings

A launchpad for young theatre makers.

atyp’s Under the Wharf program gives emerging professionals a platform to connect, discuss and learn through doing.


02.05.13–18.05.13

4000 milesProduced by MopHead Productions Catnip Productions

WriterAmy Herzog

DirectorAnthony Skuse

Vera is a vibrantly dimensional 91-year-old – prickly, stubborn and mentally acute. Leo is her 21-year-old grandson who shows up in the middle of the night at her Greenwich Village apartment. He’s just biked cross-country from Washington to New York. Along the way, something happened that he can’t stand to talk about and has him evading all responsibility.

This beautiful, critically acclaimed production was the first in the 2013 Under the Wharf program.

Producer Cat Dibley

Lighting Designer Sara Swersky


Set Designer Gez Xavier Mansfield

Stage Manager David Mahoney

Assistant Director Rebecca Barbera

Cast Diana McLean, Stephen Multari, Eloise Snape, Aileen Huynh

Season 2-18 May 2013

Performances 18

Attendance 1,045

If you simply love theatre, go and see this play. John Shand - Sydney Morning Herald

Audiences should be flocking to this indie production, which — under the auspices of ATYP and the direction of Anthony Skuse — was always set to be a knockout. Rima Sabina Aouf – Concrete Playground

36–37


01.08.13–17.08.13

fire faceProduced by Stories Like These

WriterMarius Von Mayenburg

DirectorLuke Rogers

ATYP Annual Report 2013

39–39 Whoever gets close, gets burned.38–39


There’s something going on with Kurt and Olga. Kurt loves Olga. Olga loves Kurt. They want to be together forever, without ever having to grow up and become like Mum and Dad. They’re just normal siblings trying to escape the endless humiliation of being a teenager. But when Olga meets her first boyfriend, Kurt’s obsession turns to anger and his dangerous hobby threatens to burn their world to the ground. This family is about to explode. Marius Von Mayenburg (The Ugly One, Moving Target, Schaubühne’s Hamlet), one of Germany’s most exciting playwrights, delves deep behind the façade of the family home to reveal a world filled with sexual desire, violent liberation and destruction.

Producers Peter Gahan Luke Rogers

Translator Maja Zade

Designer Lucilla Smith

Lighting Designer Sian James-Holland

Sound Designer Nate Edmondson

Cast Darcy Brown, Darcie Irwin-Simpson, James Lugton, Lucy Miller, Ryan Bennett

Season 1–17 August, 2013

Performances 18

Attendance 417

07.11.13–23.11.13

sweet nothingsPresented by pantsguys Productions

WriterDavid Harrower, after Arthur Schnitzler

DirectorJohn Kachoyan

sweet nothings

41–41

In a dynamic new translation by David Harrower, Sweet Nothings explores the power of sexual longing, the cruelty of tradition and the vulnerability of those in love. The third production in the 2013 Under the Wharf season, this new interpretation of a classic text saw pantsguys return to atyp, this time in partnership with producer, Geraldine Timmins, and director, John Kachoyan.

Producers Geraldine Timmins John Kachoyan

Designer Sophie Fletcher

Lighting Designer Hartley T A Kemp


Assistant Directors Rachel Chant Alistair Wallace

Cast Mark Lee, Owen Little, Graeme McRae, Lucy Miller, Clementine Mills, Matilda Ridgway, Alistair Wallace

Season 7 –23 November, 2013

Performances 20

Attendance 447

...a moving, at times cringe-inducing, at times heartbreaking play to watch. Rima Sabina Aouf – Concrete Playground

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fresh ink

Rehearsals Wharf 1 Photo: atyp ©

40–43


Fresh Ink

Fresh Ink The National Studio atyp Foundation Commission AwardNational Mentorship Where in the World? The Voices Project Films

fresh ink

Fresh Ink2013 saw a substantial increase in the profile of the program, powered by the success of the online films of The Voices Project, notably The Language of Love.

Key elements of the 2013 program were:

•a pilot 8-month mentorship program (4x4), taking place in Sydney and Geelong, of monthly meetings for 8 emerging playwrights in cohorts of 4 (April 2013 to December 2013) with readings in July and December in both locations; •the 2013 National Studio for 18 emerging writers and theatremakers (September 2013) which led to the development of monologues for the 2014 showcase The Voices Project, 2014: Bite Me; •continued growth in readership of the Fresh Ink website; •forums and subsequent podcasts on writing for young audiences (The Wonder Years), and on writing for stage and screen (The Space in Between);

•weekend workshop for young writers (Finding Your Voice) and a 5-week program for young writers, in partnership with The Sydney Story Factory; •Currency Press publication, of the monologues from 2013 The Voices Project: Out Of Place; •launch of 3 films of The Voices Project: Stick and Hunger and Love Bytes Competition short film The Language of Love; •Launch of Re: Boot project, an online,crowd-sourced mashup of original monologue Boot by Joanna Erskine; •The Voices Project, 2013: Where in The World? online film competition (June 2013); •atyp Foundation Commission (June 2013) awarded.

Leading playwrights/theatre-makers involved in Fresh Ink in 2013: Ola Animashawun, Vanessa Bates, Jessica Bellamy, Angela Betzien, Jane Bodie, Declan Greene, Lally Katz, Finegan Kruckemeyer, Tim McGarry, Ross Mueller, Debra Oswald, Lachlan Philpott, Tim Roseman, Anthony Skuse, Christopher Summers, Jo Turner.


44–45 The National StudioThe National Studio brings together the best young playwrights from around the country for a week of professional development. 18 young writers spend the week involved in master classes, small group workshops and one-on-one mentoring sessions.

2013 had a record number of applications (58) for the year’s National Studio, where the monologues for the 2014 show for The Voices Project (Bite Me) were developed.

Dates Sunday 1 to Friday 6 September, 2013.

Tutors Angela Betzien, Jane Bodie, Declan Greene

Guests Jessica Bellamy, Anya Reiss, Tim Roseman (AD, Playwriting Australia),Anthony Skuse

Bloggers Philip Kavanagh, Julia-Rose Lewis

Emerging Playwrights Faith Ng, Joel Tan ( both form Singapore)

Co-ordinator Dan Prichard

Participants Jory Anast (QLD), Jake Brain (NSW), Christopher Bryant (VIC), Didem Caia (VIC), Grace Chipperfield (SA), Zsuzsanna Ihar (NSW), Sunday Gullifer (NSW), Sophie Hardcastle (NSW), Tasnim Hossain (SA), Julian Larnach (NSW), Zac Linford (VIC, 4 x 4), Faith Ng (SG), Felicity Pickering (NSW), Cassandra Ramsay (QLD), Emily Sheehan (NSW), Joel Tan (SG), Kyle Walmsley (NT), Keir Wilkins (NSW)

Eleven pieces were subsequently selected for the Currency Press publication, The Voices Project 2014: Bite Me. The writers whose work was selected for publication and production are as follows: Jory Anast (PNG),Jake Brain (Tell Me), Sophie Hardcastle (Sweet Sour), Tasnim Hossain (Sweet in The Savoury), Julian Larnach (Something I Prepared Earlier), Zac Linford (Dig In, Dean), Felicity Pickering (Facon), Emily Sheehan (Eating Sunshine), Joel Tan (That Daniel Publication only), Kyle Walmsley (Food, Baby), Keir Wilkins (George).

atyp Foundation Commission AwardEstablished in 2012, the atyp commission was created to professionally develop plays for actors aged 10-13. In its second year it continues to build valuable connections with the writing community.

The atyp Foundation Commission offers Australian writers of any age the opportunity to: •develop a 45-minute play with the opportunity for two script development workshops with young actors; •have the resulting play produced in atyp’ s main stage season ; and • have the script published by Playlab Press so that it can be performed by schools and youth groups around the country for years to come.

The winner of the 2013 Award was John Armstrong with his proposal Luke Lloyd Alienoid and the play will be part of the 2014 program.

The call for submission for the atyp Foundation Commission ran from 1 March and closed on May 10, with 90 submissions, and 1270 visits to the Fresh Ink site to read the Commission information.

National Mentorship (The 4X4 Program)In April atyp launched a new mentorship program, in partnership with Courthouse ARTS, Geelong. Over 8 months, 8 writers (4 in Geelong, 4 in Sydney) were taken through a monthly program of 1-day masterclasses, workshops and one-on-one mentorship sessions with Ross Mueller (Geelong) and Jane Bodie (Sydney). They each produced a 15-minute piece at the halfway point, were given public readings in their respective venues, and presented a 30-minute piece for the program’s end. The Sydney readings were held in partnership with NIDA’s Acting Faculty. The response to the pieces was very strong and feedback on the course from the participants was very positive. It is planned that the program will be repeated in 2014, with an additional cohort in either Perth or Adelaide.

Sydney writers Christopher Harley, Julia-Rose Lewis, Tom Mesker, Emrys Quinn,

Geelong writers Zac Linford Alexandra Macalister-Bills, Trevor Maitland, Izzy Roberts-Orr


46–47 Where in the World ? online monologue competitionSeventy-nine short monologues were submitted for Where In The World ?, our online monologue competition (up 44 from the 2012 competition, which saw the development of The Language of Love). Three monologues were selected by our judges:

Something Borrowed performed by Amanda Yeo,

Hot Kebab Guy performed by Lucy Coleman,

Asian Angels performed by Disapol Savetsila.

The Voices Project Films Four films were released online in 2013, with 2 (Twisted, This Feral Life) launched in early 2014.

Stick by Carolyn Burns.From the 2012 stage show The Voices Project 2012: The One Sure Thing

Director Martha Goddard

Performer Emma Campbell

Views 12,122

Hunger by Brooke Robinson. From the 2012 stage show The Voices Project 2012: The One Sure Thing

Director Stephen McCallum

Performer Tom Stokes

Views 5,155

https://vimeo.com/71325167



http://www.youtube.com/watch?v=LboHcsu35Jc

http://www.youtube.com/watch?v=9zMf8jzeC9g

The crowd-sourced RE:BOOT by Joanna Erskine

Curator Laura Scrivano.

Performers 10 actors from around Australia who filmed themselves performing the monologue and uploaded the performances for editing into one film. From the 2010 stage show The Voices Project: Tell It Like It Isn’t.

The Language of Love by Kim Ho From the 2012 Love Bytes online competition.

Director Laura Scrivano

Performer Kim Ho

Views 607,214

Reaction to all films has been tremendously positive, with The Language of Love being the breakout film, featuring on the front page of the Sydney Morning Herald website, with a feature article in their news section.

It has also featured in articles on 3 of the world’s leading news websites, Buzzfeed, The Huffington Post and Upworthy, and has been shared by leading figures, including Stephen Fry (‘Amazing!’), Ellen DeGeneres (‘This is amazing’) and Dannii Minogue.

The Language of Love was also invited to screen at Bathurst Regional Arts Gallery as a complement to the touring Archibald exhibition (30/8 to 13/10), where it was seen by school groups totalling 851 students; at Shanghai Gay Pride; at the Tasmanian Queer Film Festival and was nominated for the Iris Prize (Cardiff), where it received an Honourable Mention in the Youth Section.

http://www.youtube.com/watch?v=A4Y1qTSqmgI


48–49 Fresh Ink onlineVisits/page views Jan 2013 to Dec 2013: 48,032

Unique visitors Jan 2013 to Dec 2013: 33,560

Fresh Ink Facebook page fans: 629 (+278)

The Voices Project Facebook page: 1455 (+694)

Fresh Ink Twitter followers: 1286 (+512)

YouTube The Voices Project Channel subscribers: 4757 (+4644)

The Voices Project vimeo channel followers:251 (+94)

Tumblr followers: 579 (+465)

Where in The World? entries: 79 (+44)

Views (vimeo, youku and YouTube combined, as of 16th Jan 2014)

The Language of Love: 607,214

The Making of the Language of Love: 35,099

Stick: 12,122

Hunger: 5,155

RE:Boot : 1,198

Bat Eyes: 194,044

Boot: 87,980

Little Love: 6,933

Boot:The Original Monologue: 8,310

YouTube views for content 813,951

Vimeo views for content 137,553

Youku views for content 43,433

RUNNING TOTAL: 994,937 views

workshops

ATYP Annual Report 2013

51–51

workshops

Workshops

Holiday Workshops Semester Ensembles The Actor’s Toolkit Master Classes

50–51


Holiday workshopsMy child’s favourite aspect of the workshop? The games. The teachers. The location. The performance. The everything. Parent of Charlie, 6 - who participated in Backwards Land

atyp delivers a comprehensive school holiday program for young people aged 4-18. The holiday workshop program provides an entry point for children and young people interested in theatre and performance regardless of their level of experience. Each work-shop builds skills and enables young people to put their own ideas on stage.

Workshop facilitators 109Trainee facilitators 87Paid Participants 1,013 Scholarships 127Workshops 358Individual attendances 5,285

Semester Ensemble WorkshopsSemester Ensembles give young people the opportunity to participate in weekly workshop programs at The Wharf. The Ensembles build skills in performance, develop confidence and self-esteem and encourage creative thinking and problem solving. Each ensemble works toward a performance shown in Studio 1 to audiences of family and friends.Paid enrolments 447Scholarships 46Individual workshops 504 Individual attendances 8,874 Performances 12Audience 1,552

The best bit was the performance! Jonathan (who starts Kindergarten next week) asked me if the ATYP was his new ‘big school’ he loved it that much! Parent of Jonathan, 5 - who participated in Boisterous Beasts

atyp

The Actor’s Toolkit Master Classes2013 saw the introduction of a new workshop focusing on the 18-26 year old age group. Designed as a series of 16 x 3-hour workshops, each workshop concentrating on a particular acting subject and each taught by a well-known industry professional. Students can opt to be part of all 8 workshops, or to hand-pick those which appeal to them.Tutors 16Attendances 249Venue The Wharf

Acting for Camera Felix Williamson - 4 May, 2013 Jacob Allen - 16 Nov, 2013

Audition Techniques Zoe Carides - 22 Jun, 2013 Zoe Carides - 2 Nov, 2013

Creating Character Charlie Garber - 8 Jun, 2013 Charlie Garber - 31 Aug, 2013

Interpreting Scripts Robert Jago - 18 May, 2013 Robert Jago - 7 Sep, 2013

Physicality Justin Buchta - 1 Jun, 2013 Justin Buchta - 21 Sep, 2013

Shakespeare Damian Ryan - 11 May, 2013 Matt Edgerton - 25 Nov, 2013

Voices and Accents Natasha McNamara - 25 May, 2013 Natasha McNamara - 9 Nov, 2013 Working with Directors Anthony Skuse - 15 Jun, 2013 Anthony Skuse - 14 Sep, 2013

Annual Report 2013

52–53

education

Photo: Clare Harris

education

Education

2013 HighlightsAttendance Location

54–55


atyp education aims to be the first place teachers turn to for inspiration and support in drama education.

2013 HIGHLIGHTSNational Impact: Live Streaming 2013 saw atyp’s inaugural live stream-project. We interacted with audiences in regional, remote and metropolitan areas across the country, thus greatly increasing our national impact. The project allowed us to amplify our audience capacity and establish a nationwide discussion about theatre through interactive post- show Q&A sessions. Schools Workshops atyp continues to provide an extensive range of workshops that directly relate to the curriculum. We pride ourselves on tailoring experiences to the needs of our teachers and students.

Digital Resources

The 2013 series of curriculum-relevant resources are shorter, more approachable text-based resources coupled with videos that feature our leading professionals alongside our greatest assets: our young people! This shift of approach resulted in an increase in on-line engagement and positive feedback.

Year 7 just got back and they had a fabulous day. Teachers and students were raving about the work [Travis] did. They said that he was engaging and relational and brought great things out of the kids. Whatever he did worked. Please pass this onto him. Thanks for educating our students in the wonderful creative world of drama. Greg Smith - Inaburra School


56–57

Attendance at workshops includes @atyp, @schools, production-based, Artist-in-Residence and funded programs. Production attendance in-cludes atyp productions, Education rehearsed readings and one atyp Presents show. See Figure 1 for growth over 4 years.

Attendance

LocationLocation data is based on the number of schools represented at work-shops, performances, teacher PD, artist in residence programs, partner programs and live streaming. The jump in the numbers is due to the success of teacher PD (due to a collaborative approach with other companies) and the live-streaming initiative.

development

atyp mini-waiters 50th anniversary Gala Dinner, Pier 2/3 Photo: Noami Hamilton ©


PB–59

development


Development

Key events Fundraising activities

54–59

2013 was atyp’s 50th anniversary year since it was formally launched in 1963.

To commemorate the anniversary atyp had three key events to celebrate.

THE 50 YEAR- REUNION PARTY

Date 23 February, 2013

Number of Guests 165

Venue atyp Studio 1, The Wharf

50 YEAR- MORNING TEA

With guests of honour Diana Sharpe and Wendy Blacklock.

Date 25 October, 2013

Number of Guests 20 including previous atyp Artistic Directors, General Managers and Board Members.

Dr Margaret Leask conducted an oral history interview of Diana Sharpe for atyp Archives.

50TH ANNIVERSARY GALA DINNER

Date 26 October, 2013


Venue Pier 2/3 Walsh Bay

Amount Raised $75, 000

The Dinner was the highlight of the anniversary year, celebrating atyp’s achievements and the people who made atyp the world-class theatre for young people it is today. atyp Chair Michael Ihlein and Artistic Director Fraser Corfield greeted guests . Guests were treated to performances by young atyp performers throughout the night. atyp Alumni, Rose Byrne and Rebel Wilson provided video messages lending their support to atyp and encouraging guests to donate.


60–61 Key 2013 atyp fundraising activities:

WALSH BAY ARTS TABLE – ATYP DINNER UNDER THE STARS

Date 18 March,2013


Amount Raised $29, 000

IN THE WINGS - ANNUAL APPEAL

Date 12 June, 2013

Number of Donors 37

Amount raised $46, 000

Funds raised through the ‘in the Wings’ Appeal supported the atyp online initiative, the Scholarship Fund and atyp productions.

financials

atyp 50th anniversary Gala Dinner, Pier 2/3 Photo: Noami Hamilton ©

63–63 Financials

Corporate Information Directors’ Report Financial Statements Directors’ Declaration Business & Government Partners Financial Supporters atyp Foundation SupportersStaff financials


Corporate InformationABN 24 000 816 704

DIRECTORS OF THE PARENT ENTITY Michael Ihlein (Chair) Fraser Corfield Claire Duffy Nancy Fox Alexandra Holcomb Janine Lapworth Nick Marchand Catherine Robinson Edward Simpson Simon Webb Natasa Zunic

FOUNDATION ADVISORY COMMITTEE Angela Bowne SC (Chair) Antoinette Albert Carolyn Fletcher AM Michael Ihlein Olev Rahn Robert Rich

COMPANY SECETARY Aaron Beach

REGISTERED OFFICE AND PRINCIPAL PLACE OF BUSINESS The Wharf, Pier 4/5 Hickson Road Walsh Bay NSW 2000

AUDITORS PricewaterhouseCoopers Chartered Accountants

64–65 Directors’ reportThe directors of the Australian Theatre for Young People (atyp) submit the annual financial report on the consolidated group for the financial year ended 31 December 2013.

Date of Appoint-ment

Date of cessation

Board meetings

Finance Committee

A B A B

Fraser Corfield 26-May-09 6 4 6 5

Claire Duffy 1-Jul-11 6 5

Nancy Fox 1-Jul-11 6 4 6 6

Alexandra Hol-comb

26-May-09 6 5

Michael Ihlein 27-Apr-10 6 5 6 5

Janine Lapworth

21-May-12 6 6

Nick Marchand 28-Nov-11 6 5

Catherine Rob-inson

25-Nov-08 6 5

Edward Simpson

16-Mar-10 6 4

Simon Webb 11-Nov-11 6 3

Natasa Zunic 23-Aug-12 6 5

INFORMATION ABOUT THE DIRECTORS The names and particulars of the directors of the company during and since the end of the financial year are:

A Number of meetings held during the time the director held office during the year

B Number of meetings attended

Details of director’s qualifications, experience and special responsibilities can be found on page

70-71 of this report.


STATEMENT OF PURPOSE

atyp is a Sydney-headquartered theatre company exclusively devoted to young people. Our vision is driven by the knowledge that the arts can inspire creative, courageous and confident young people wherever they are and whatever they want to be. We believe that the arts have the power to transform lives, enrich communities and ultimately impact upon the future of our nation. Our work is motivated by the need to improve access for all young Australians to participate in the arts and to encourage them to share their stories, regardless of economic or geographical barriers.

At the heart of atyp lies collaboration between professional artists and young people, placing a priority on access, community engagement and creative excellence. For 50 years atyp has invited young people to get involved in inspirational theatre experiences that promote engagement with contemporary social issues, grow young audiences and provide a space for young people to celebrate their creativity and speak out.

STRATEGIC GOALS 2013-2015

•Be a fearless theatre company with a national impact that all levels of the industry love to work with. •Build an active playwriting community that champions and supports young artists and their work. •Be the first place teachers turn to for inspiration and support in drama education. •Maintain a vibrant creative hub and company culture that young people around the country want to be part of. •Build sustainable infrastructure and resources to support the company’s work.

Directors’ Report Continued

66–67 PRINCIPAL ACTIVITIES FOR THE YEAR

The principal activities undertaken by atyp to meet its 2013 goals included:

•Partnered with the Historic Houses Trust to present Quay to the City, a tour of theatrical performances and installations in The Rocks. •atyp productions, Spur of the Moment and Compass were each nominated for an award at the 2013 Sydney Theatre Awards. •Hosted Corrugated Iron from Darwin, Northern Territory with their production Tease and Courthouse Arts Ensemble from Geelong, Victoria with their production FONY 2013.

•atyp’s inaugural, pilot live-stream project was held in October 2013. Compass was streamed to over 700 students in 4 states. An interactive Q&A session followed the performance where our live audience at The Wharf connected with our virtual audience around the nation. •In 2013 there were two Helpman nominations for Medea (a Belvoir production in association with atyp). Medea was nominated for Best Play and Rory Potter was nominated for Best Male Actor in a Supporting Role in a Play.

GOAL ONE: Be a fearless theatre company with a national impact that all levels of the industry love to work with.

GOAL TWO: Build an active playwriting community that champions and supports young artists and their work.

•Commissioned ten young Australian playwrights to develop seven-minute monologues presented as part of The Voices Project: Out of Place. •The Fresh Ink filmed monologues have had over one million views online. •The Language of Love was invited by YouTube to represent the platform at the 2014

Sundance Film Festival. •Delivered the 4x4 mentoring program with the 30-minute pieces given a public reading in Sydney and Geelong. •With the support of the atyp Foundation Commission, Jessica Bellamy wrote a new work for 10-14 year olds, Compass, which was presented in 2013.


Directors’ Report Continued

GOAL THREE: Be the first place teachers turn to for inspiration and support in drama education.

•Delivered 358 holiday workshops, 504 term ensemble classes, 123 school workshops; produced 12 productions with 6,697 audience members and had a total number of holiday and semester participants of 14,159. •Delivered education programs reaching 9,055 students, and conducted 123 education workshops for students both in schools and atyp.

•atyp’s Atypical Advisors met monthly to provide feedback and evaluation of creative programs and marketing techniques and overall brand awareness.

GOAL FOUR: Maintain a vibrant creative hub and company culture that young people around the country want to be part of.

•In 2013 the Company had coverage in more than 148 print articles; 69 local listings; 20 major dailies nationwide; 49 articles in Sydney local papers and street press; 16 magazine stories, 11 radio stories and 105 on-line articles highlighting all aspects of our work. •Over 250,000 people engaged with the company on-line either watching an atyp film or downloading atyp resources.

•Over 45,000 people participated in atyp activities, including attending workshops and productions both in our space at The Wharf and nationally. •atyp undertook surveys of both customers and employees, receiving 96% positive feedback for holiday and term workshops and 98% positive feedback for education workshops measuring quality of experience at atyp.

GOAL FIVE: Build sustainable infrastructure and resources to support the company’s work.

•In 2013 atyp funding ratios were (figures relate to the parent entity): Earned Income ($1,541,025) comprising 83% of total turnover ($1,851,949). [Earned income includes sponsorship & donations ($736,972 / 39% of turnover) and fees & services ($589,947 / 31%).] And government subsidies and grants ($310,924) representing 17% of turnover.

•In 2013, atyp continued a two-year organisational mentoring program with the Westpac Foundation, supporting atyp with strategy, human resources and cultural development teams to progress the development of a working culture of creativity and innovation. •The Board Finance Committee carried out monthly reviews of the annual budget to actuals and made recommendations to the atyp Board on financial matters.

68–69 MEMBERS’ GUARANTEE

atyp is incorporated in New South Wales as a company limited by guarantee. In the event of the company being wound up, each member undertakes to contribute a maximum of $20 respectively for payment of the company’s liabilities. As at 31 December 2013 there were 11 members of atyp and the amount of capital that could be called up in the event of atyp being wound up is $220.

INDEMNIFICATION AND INSURANCE OF DIRECTORS AND OFFICERS

Since the end of the previous financial year the company has paid insurance premiums in respect of directors’ and officers’ liability and legal expenses’ insurance contracts for current and former directors and officers, including senior executives of the company. The company has not otherwise indemnified or agreed to indemnify an officer or auditor of the company against a liability incurred as such an officer or auditor.

AUDITOR’s independence

The auditor’s declaration of independence appears on page 10 and forms part of the Directors’ report for the year ended 31 December 2013.

Signed in accordance with a resolution of the directors made pursuant to s.298(2) of the Corporations Act.

On behalf of the directors:

MICHAEL IHLEIN Chair Australian Theatre for Young People Sydney 29 April 2014


Directors’ qualifications, experience and special responsibilities

Qualifications Experience Special duties

Fraser Corfield BA (Communications) Artistic Director, Australian Theatre for Young People and previously Artistic Director of Backbone Youth Arts, Riverland Youth Theatre and Associate Director of La Boite Theatre, and has acted in numerous arts advisory roles.

Artistic Director and Chief Executive Officer

Claire Duffy BADipEd Master of Public Policy

Principal, Speak for Yourself providing strategic planning and communication advice and has 25 years management experience in arts, culture and government. Formerly a director of Gondwana Choirs, Beyond Online Limited and Sydney Philharmonia Limited.

Non-executive director

Nancy Fox BA, Juris Doctorate in Law, FAICD

Chairman of Adelaide Managed Funds Limited, HCF Life, APA Ethane Limited and the Taronga Conservation Society Australia. Previously held numerous senior roles in financial institutions including Managing Director of Ambac Assurance Corporation and Managing Director ABN Amro Australia Limited.


Alexandra Holcomb MBA, MA, BA, FAICD Group General Manager, Global Transactional Services, Westpac Institutional Bank. Co-Chair of the Asia Council for the Bankers’ Association for Finance and Trade (BAFT) and the International Financial Services Association (IFSA). Formerly a strategy consultant with Booz Allen and other roles with financial institutions.


Michael Ihlein BBus (Accounting), FCPA, FAICD, F Fin

Company director, Westfield Retail Trust, CSR Limited, Snowy Hydro Limited and Murray Goulburn Co-operative Co Limited and formerly Chief Executive Officer of Brambles Limited and Chief Financial Officer of Brambles Limited and Coca-Cola Amatil Limited.

ChairNon-executive director

Janine Lapworth BA, LLB Intellectual property and entertainment lawyer, and formerly held positions as Senior Lawyer at the Australian Broadcasting Corporation and Assistant General Counsel and Company Secretary of ESPN STAR Sports in Singapore.


Nick Marchand Graduate, London Academy of Music and Dramatic Art

Director, British Council (Australia) with 15 years’ experience in the arts in UK and Australia as a writer, director, artistic director and producer. Formerly Artistic Director of Griffin Theatre and numerous senior roles in the arts in UK and Australia.


Catherine Robinson Journalism and Commu-nications at University of SA; BA

Director, LikeMinds Consulting and previously Chief Executive of Australian Film Commission and other senior soles with City of Sydney, Sydney Film Festival and board roles with several not-for-profit and government organizations.


Edward Simpson BA, LLB Film Producer and previously worked extensively in music and acting having completed professional theatre training at London Academy of Music and Dramatic Arts.


Simon Webb BA (Hons) – Politics, Phi-losophy, Economics

Senior Vice President, Ogilvy Public Relations, and is a public affairs, strategic communications and research specialist having worked across the government (including indigenous affairs), private and not-for-profit sectors.


Natasa Zunic B.Commerce (Marketing and Finance)

Marketing Director KFC at Yum Restaurants. Previous Marketing roles across big consumer brands in Australia and the US. Operational and Strategic Marketing experience with roles in brand development and product innovation in global marketing teams.


Qualifications Experience Special duties

Fraser Corfield BA (Communications) Artistic Director, Australian Theatre for Young People and previously Artistic Director of Backbone Youth Arts, Riverland Youth Theatre and Associate Director of La Boite Theatre, and has acted in numerous arts advisory roles.

Artistic Director and Chief Executive Officer

Claire Duffy BADipEd Master of Public Policy

Principal, Speak for Yourself providing strategic planning and communication advice and has 25 years management experience in arts, culture and government. Formerly a director of Gondwana Choirs, Beyond Online Limited and Sydney Philharmonia Limited.


Nancy Fox BA, Juris Doctorate in Law, FAICD

Chairman of Adelaide Managed Funds Limited, HCF Life, APA Ethane Limited and the Taronga Conservation Society Australia. Previously held numerous senior roles in financial institutions including Managing Director of Ambac Assurance Corporation and Managing Director ABN Amro Australia Limited.


Alexandra Holcomb MBA, MA, BA, FAICD Group General Manager, Global Transactional Services, Westpac Institutional Bank. Co-Chair of the Asia Council for the Bankers’ Association for Finance and Trade (BAFT) and the International Financial Services Association (IFSA). Formerly a strategy consultant with Booz Allen and other roles with financial institutions.


Michael Ihlein BBus (Accounting), FCPA, FAICD, F Fin

Company director, Westfield Retail Trust, CSR Limited, Snowy Hydro Limited and Murray Goulburn Co-operative Co Limited and formerly Chief Executive Officer of Brambles Limited and Chief Financial Officer of Brambles Limited and Coca-Cola Amatil Limited.

ChairNon-executive director

Janine Lapworth BA, LLB Intellectual property and entertainment lawyer, and formerly held positions as Senior Lawyer at the Australian Broadcasting Corporation and Assistant General Counsel and Company Secretary of ESPN STAR Sports in Singapore.


Nick Marchand Graduate, London Academy of Music and Dramatic Art

Director, British Council (Australia) with 15 years’ experience in the arts in UK and Australia as a writer, director, artistic director and producer. Formerly Artistic Director of Griffin Theatre and numerous senior roles in the arts in UK and Australia.


Catherine Robinson Journalism and Commu-nications at University of SA; BA

Director, LikeMinds Consulting and previously Chief Executive of Australian Film Commission and other senior soles with City of Sydney, Sydney Film Festival and board roles with several not-for-profit and government organizations.


Edward Simpson BA, LLB Film Producer and previously worked extensively in music and acting having completed professional theatre training at London Academy of Music and Dramatic Arts.


Simon Webb BA (Hons) – Politics, Phi-losophy, Economics

Senior Vice President, Ogilvy Public Relations, and is a public affairs, strategic communications and research specialist having worked across the government (including indigenous affairs), private and not-for-profit sectors.


Natasa Zunic B.Commerce (Marketing and Finance)

Marketing Director KFC at Yum Restaurants. Previous Marketing roles across big consumer brands in Australia and the US. Operational and Strategic Marketing experience with roles in brand development and product innovation in global marketing teams.


2013 2012 2013 2012Note $ $ $ $

IncomePerformance income 3 76,455 89,896 76,455 89,896 Fees & services 4 589,947 437,769 589,947 437,769 Resource income 42,275 47,859 42,275 47,859 Sponsorships & donations 5 736,972 446,465 811,972 760,060 Other income 6 88,608 94,848 20,376 22,081 Subsidies & grants 7 310,924 295,321 310,924 295,321

Total income 1,845,181 1,412,158 1,851,949 1,652,986

ExpenditureWages, fees & allowances 1,269,773 1,178,389 1,269,773 1,178,389 Production costs 201,226 153,115 201,226 153,115 Marketing costs 234,111 152,448 234,111 152,448 Infrastructure costs 189,081 198,358 189,081 197,358

Total expenditure 1,894,191 1,682,310 1,894,191 1,681,310

Operating result (49,010) (270,152) (42,242) (28,324)

Other comprehensive income - items that may be reclassified to profit or loss

Net changes in fair value ofavailable-for-sale financial assets 8 2,870 (4,050) - -

Total other comprehensive income 2,870 (4,050) - -

Total comprehensive income (46,140) (274,202) (42,242) (28,324)

Consolidated Entity Parent Entity


Statements of comprehensive income

2013 2012 2013 2012Note $ $ $ $

IncomePerformance income 3 76,455 89,896 76,455 89,896 Fees & services 4 589,947 437,769 589,947 437,769 Resource income 42,275 47,859 42,275 47,859 Sponsorships & donations 5 736,972 446,465 811,972 760,060 Other income 6 88,608 94,848 20,376 22,081 Subsidies & grants 7 310,924 295,321 310,924 295,321

Total income 1,845,181 1,412,158 1,851,949 1,652,986

ExpenditureWages, fees & allowances 1,269,773 1,178,389 1,269,773 1,178,389 Production costs 201,226 153,115 201,226 153,115 Marketing costs 234,111 152,448 234,111 152,448 Infrastructure costs 189,081 198,358 189,081 197,358

Total expenditure 1,894,191 1,682,310 1,894,191 1,681,310

Operating result (49,010) (270,152) (42,242) (28,324)

Other comprehensive income - items that may be reclassified to profit or loss

Net changes in fair value ofavailable-for-sale financial assets 8 2,870 (4,050) - -

Total other comprehensive income 2,870 (4,050) - -

Total comprehensive income (46,140) (274,202) (42,242) (28,324)



2013 2012 2013 2012

Note $ $ $ $

ASSETS

Current assetsCash and cash equivalents 9 1,422,528 1,284,783 332,567 240,290

Trade and other receivables 10 123,749 121,484 184,286 129,783

Inventories 11 3,806 4,266 3,806 4,266

Prepayments & deferredexpenditure 12 22,787 23,245 22,787 23,245

Total current assets 1,572,870 1,433,778 543,446 397,584

Non-current assetsAvailable-for-sale financial assets 8 299,420 296,550 - -

Intangibles 13 24,042 48,855 24,042 48,855

Property, plant and equipment 14 46,691 69,201 46,691 69,201

Total non-current assets 370,153 414,606 70,733 118,056

TOTAL ASSETS 1,943,023 1,848,384 614,179 515,640

LIABILITIES

Current liabilitiesTrade and other payables 15 86,713 64,900 86,522 64,707

Employee benefits 16 44,564 49,333 44,564 49,333

Grants in advance 17 215,446 111,451 215,446 111,451

Income in advance 18 129,869 110,129 129,869 110,129

Total current liabilities 476,592 335,813 476,401 335,620

TOTAL LIABILITIES 476,592 335,813 476,401 335,620

NET ASSETS 1,466,431 1,512,571 137,778 180,020

FUNDSGeneral funds 137,778 180,020 137,778 180,020

Capital fund 1,339,370 1,349,370 - -

Revenue funds (10,148) (13,380) - -

Asset revaluation reserve (580) (3,450) - -

Settlement sum 11 11 - -

TOTAL FUNDS 1,466,431 1,512,571 137,778 180,020

These statements of financial position should be read in conjunction with the attached notes

Statements of financial position


72–73


2013 2012 2013 2012

Note $ $ $ $

ASSETS



Inventories 11 3,806 4,266 3,806 4,266




Intangibles 13 24,042 48,855 24,042 48,855



TOTAL ASSETS 1,943,023 1,848,384 614,179 515,640

LIABILITIES







NET ASSETS 1,466,431 1,512,571 137,778 180,020


Capital fund 1,339,370 1,349,370 - -

Revenue funds (10,148) (13,380) - -



TOTAL FUNDS 1,466,431 1,512,571 137,778 180,020




Statements of changes in funds

Parent general

funds

Capital fund Asset revaluation

reserve

Revenue fund

Settlement sum

Total funds

$ $ $ $ $ $Balance as at 1 January 2012 208,344 1,349,370 600 228,448 11 1,786,773

Surplus / (deficit) for the year (28,324) - - (241,828) - (270,152)Other comprehensive income - - (4,050) - - (4,050)

Balance as at 31 December 2012 180,020 1,349,370 (3,450) (13,380) 11 1,512,571

(deficit for the year) (42,242) 3,232 (39,010)Other comprehensive income (10,000) 2,870 - (7,130)

Balance as at 31 December 2013 137,778 1,339,370 (580) (10,148) 11 1,466,431


2013 2012 2013 2012

Note $ $ $ $

ASSETS



Inventories 11 3,806 4,266 3,806 4,266




Intangibles 13 24,042 48,855 24,042 48,855



TOTAL ASSETS 1,943,023 1,848,384 614,179 515,640

LIABILITIES







NET ASSETS 1,466,431 1,512,571 137,778 180,020


Capital fund 1,339,370 1,349,370 - -

Revenue funds (10,148) (13,380) - -



TOTAL FUNDS 1,466,431 1,512,571 137,778 180,020



74–75 Statements of cash flow

2013 2012 2013 2012Note $ $ $ $

Cash flows from operating activities

Receipts from customers (inclusive of goods and services tax) 731,255 580,895 731,255 580,895 Receipts from sponsorship & donations 821,005 770,060 811,972 760,060 Receipts from government grants 414,919 303,761 414,919 303,761 Interest received 59,326 61,262 7,466 6,789

Payments to employees and suppliers (inclusive of goods and services tax) (1,894,155) (2,051,183) (1,872,358) (1,691,299)Net cash inflows / (outflows) from 132,350 (335,205) 93,254 (39,794)operating activities

Cash flows from investing activities

Dividends & distributions frommanaged funds 16,372 18,294 - -

Payments for intangibles 13 - (15,300) - (15,300)Payments for plant & equipment 14 (977) (28,200) (977) (28,200)Payment for leasehold improvements 14 - (5,032) - (5,032)Net cash (outflows) / inflows from investing activities 15,395 (30,238) (977) (48,532)

Cash flows from financing activities

Payment to ATYP from capital funds (10,000) - - - Net cash movement from financing activities (10,000) - - -

Net (decrease) / increase in cash and 137,745 (365,443) 92,277 (88,326)cash equivalents held

Cash and cash equivalents at thebeginning of the financial year 1,284,783 1,650,226 240,290 328,616

Cash and cash equivalents at the endof the financial year 9 1,422,528 1,284,783 332,567 240,290




2013 2012 2013 2012

Note $ $ $ $

ASSETS



Inventories 11 3,806 4,266 3,806 4,266




Intangibles 13 24,042 48,855 24,042 48,855



TOTAL ASSETS 1,943,023 1,848,384 614,179 515,640

LIABILITIES







NET ASSETS 1,466,431 1,512,571 137,778 180,020


Capital fund 1,339,370 1,349,370 - -

Revenue funds (10,148) (13,380) - -



TOTAL FUNDS 1,466,431 1,512,571 137,778 180,020



Notes to and forming part of the financial statements

1. CORPORATE INFORMATION The financial statements and notes represent those of the not for profit parent entity Australian Theatre for Young People as an individual parent entity and Australian Theatre for Young People and the controlled entity as a consolidated group (the “Group”). The financial report was authorised for issue in accordance with a resolution of the directors of the economic entity dated 28 April 2014.

atyp is a company limited by guarantee, incorporated and domiciled in Australia.

The nature of the operations and principal activities of the group are described in the Directors’ Report.

2. SUMMARY OF ACCOUNTING POLICIES

a)Basis of preparation These general purpose financial statements have been prepared in accordance with the requirements of the Corporations Act 2001, Australian Accounting Standards – Reduced Disclosure Requirements (RDR), other authoritative pronouncements of the Australian Accounting Standards Board and Urgent Issues Group interpretations.

The directors of the parent entity have elected under Section 334(5) of the Corporations Act 2001 to apply the following Accounting Standards in advance of their effective dates: •AASB 1053 Application of Tiers of Australian Accounting Standards; and •AASB 2010-2 Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements

These Accounting Standards are not required to be applied until the annual reporting periods beginning on or after 1 July 2013.

AASB 1053 establishes a differential financial reporting framework consisting of two tiers of reporting requirements for general purpose financial statements: •Tier 1 – Australian Accounting Standards •Tier 2 – Australian Accounting Standards – Reduced Disclosure Requirements

AASB 2010-2 makes amendments to each Standard and Interpretations indicating the disclosures not required to be made by Tier 2 entities or inserting RDR paragraphs requiring simplified disclosures for Tier 2 entities.

76–77 The group complies with Australian Accounting Standards – Reduced Disclosure Requirements as issued by the Australian Accounting Standards Board.

The adoption of these Standards has resulted in significantly reduced disclosures in respect of related parties and financial instruments. There was no other impact on the current or prior year financial statements.

b)Basis of consolidation The consolidated financial statements incorporate the assets, liabilities and results of entities controlled by atyp at the end of the reporting period. A controlled entity is any entity over which atyp has the power to govern the financial and operating policies so as to obtain benefits from its activities. Control will generally exist when the parent owns, directly or indirectly through subsidiaries, more than half of the voting power of an entity. In assessing the power to govern, the existence and effect of holdings of actual and potential voting rights are also considered.

In preparing the consolidated financial statements, all inter-group balances and transactions between entities in the consolidated group have been eliminated in full on consolidation. Accounting policies of subsidiaries have been changed where necessary to ensure consistency with those adopted by the parent entity.

c)Basis of measurement The financial report has been prepared on an accruals basis and is based on historical cost convention. It does not take into account changing money value, or except where stated, current valuations of non-current assets. Cost is based on the fair value of the consideration given in exchange for assets. The financial report is presented in Australian dollars.

d)Significant accounting judgements, estimates and assumptions The preparation of financial statements requires management to make judgments, estimates and assumptions that affect the application of policies and reported amounts of assets, liabilities, income and expenses. The estimates and associated assumptions are based on historical experience and other various factors that are believed to be reasonable under the circumstances, the results of which form the basis of making the judgments. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised if the revision affects only that period or in the period of the revision and future periods if the revision affects both current and future periods.


Significant accounting estimates and judgments

The key estimates and assumptions that have a significant risk of causing material adjustment to the carrying amount of certain assets and liabilities within the next annual reporting period are: Provision for employee benefits Provisions for employee benefits payable after 12 months from the reporting date are based on future wage and salary levels, experience of employee departures, and periods of service, as discussed in Note 2(n). The amount of these provisions would change should any of the employees change in the next 12 months.

e)Revenue recognition Revenue is recognised when the group is legally entitled to the income and the amount can be quantified with reasonable accuracy. Revenues are recognised net of the amounts of goods and services tax (GST) payable to the Australian Taxation Office.

Revenue from fundraising Donations Donations collected, including cash and goods for resale, are recognised as revenue when the group gains control, economic benefits are probable and the amount of the donation can be measured reliably.

Sponsorship Sponsorship commitments are brought to account as income in the year in which sponsorship benefits are bestowed.

Interest income Interest income is recognised as it accrues, using the effective interest rate method.

Government funding Grant revenue is recognised in the statements of comprehensive income when the group obtains control of the grant and it is probable that the economic benefits gained from the grant will flow to the group 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 met. When grant revenue is received whereby the group 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 statements of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt.

Asset sales The gain or loss on disposal of all non-current assets is determined as the difference between the carrying amount of the asset at the time of the disposal and the net proceeds on disposal.

78–79 f) Expenditure All expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all costs related to the category.Wages, fees and allowances include all employment related costs such as wages, superannuation, provision for annual leave, provision for long service leave and workers compensation. This category also includes all contracts for labour costs.Production costs include all direct costs associated with the delivery of the artistic program.

Marketing costs include all direct costs associated with marketing both the artistic program and the group.Infrastructure costs include all other indirect costs including rental not classed here in 2013 and running costs, insurance and depreciation.

g) Cash and cash equivalents Cash and cash equivalents in the statements of financial position comprise cash at bank and on hand and short-term deposits with an original maturity of three months or less. For the purposes of the statements of cash flow, cash and cash equivalents consist of cash and cash equivalents as defined above, net of any outstanding bank overdrafts.

h) Trade and other receivables Trade receivables are recognised and carried at original invoice amount less an allowance for any uncollectable amounts. Normal terms of settlement vary from 7 to 90 days. The carrying amount of the receivable is deemed to reflect fair value. An allowance for doubtful receivables is made when there is objective evidence that the group will not be able to collect the receivables. Bad receivables are written off when identified.

i) Inventories Inventories of goods purchased for resale are valued at the lower of cost and net realisable value. The cost of bringing each item to its present location and condition is determined on a first-in, first-out basis. Net realisable value is the estimated selling price in the ordinary course of business, less estimated costs necessary to make the sale.

j) Property, plant and equipment Property, plant and equipment is stated at cost less accumulated depreciation and any accumulated impairment losses. Any property, plant and equipment donated to the group or acquired for nominal cost is recognised at fair value at the date the group obtains control of the assets.


Impairment The carrying values of property, plant and equipment are reviewed for impairment at each reporting date, with the recoverable amount being estimated when events or changes in circumstances indicate that the carrying value may be impaired.

The recoverable amount of property, plant and equipment is the higher of fair value less costs to sell and value in use. Depreciated replacement cost is used to determine value in use. Depreciated replacement cost is the current replacement cost of an item of property, plant and equipment less, where applicable, accumulated depreciation to date, calculated on the basis of such cost.

Impairment exists when the carrying value of an asset exceeds its estimated recoverable amount. The asset is then written down to its recoverable amount.For property, plant and equipment, impairment losses are recognised in the statements of comprehensive income.

Derecognition and disposal An item of property, plant and equipment is derecognised upon disposal, when the item is no longer used in the operations of the group or when it has no sale value. Any gain or loss arising on derecognition of the asset (calculated as the difference between the net disposal proceeds and the carrying amount of the asset) is included in surplus or deficit in the year the asset is derecognised. Any part of the asset revaluation reserve attributable to the asset disposed of or derecognised is transferred to general funds at the date of disposal.

2013 %pa 2012%pa

Equipment & furniture 10-33 10-33

Leasehold improvements 10-20 10-20

Depreciation Items of property, plant and equipment (other than land) are depreciated over their useful lives to the group commencing from the time the asset is held ready for use. Depreciation is calculated on a straight line basis over the expected useful economic lives of the assets as follows:

80–81 k) Intangibles Software and website are recorded at cost. Software and website have a finite life and are carried at cost less any accumulated amortisation and impairment losses. This is calculated on a straight line basis over the estimated useful life of three years. They are assessed annually for impairment.

l) Trade and other payables These amounts represent liabilities for goods and services provided to the group prior to the end of the financial year which are unpaid. The amounts are unsecured and are usually paid within 30 days of recognition. The notional amount of the payables is deemed to reflect fair value.

m) Deferred income (including Grants in advance and Income in advance) The liability for deferred income is the unutilised amounts of grants received on the condition that specified services are delivered or conditions are fulfilled. The services are usually provided or the conditions usually fulfilled within 12 months of receipt of the grant. Where the amount received is in respect of services to be provided over a period that exceeds 12 months after the reporting date, or the conditions will only be satisfied more than 12 months after the reporting date, the liability is discounted and presented as non-current.

n) Employee benefits Employee benefits comprise wages and salaries, annual, non-accumulating sick and long service leave.

Liabilities for wages and salaries expected to be settled within 12 months of balance date are recognised in other payables in respect of employees’ services up to the reporting date. Liabilities for annual leave in respect of employees’ services up to the reporting date which are expected to be settled within 12 months of balance date are recognised in the provision for annual leave. Both liabilities are measured at the amounts expected to be paid when the liabilities are settled.

The liability for long service leave is recognised in the provision for employee benefits and is measured as the present value of expected future payments to be made in respect of services provided by employees up to the reporting date using the projected unit credit method. Consideration is given to anticipated future wage and salary levels, experience of employee departures, and periods of service. Expected future payments are discounted using market yields at the reporting date on national government bonds with terms to maturity and currencies that match, as closely as possible, the estimated future cash outflows.


o) Taxation Income tax The economic entity and its controlled entity are charitable institutions for the purposes of Australian taxation legislation and are therefore exempt from income tax. This exemption has been confirmed by the Australian Taxation Office. Both entities hold deductible gift recipient status.

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 Taxation Office, in which case it is recognised as part of the cost of acquisition of an asset or as part of an item of expense.

Receivables and payables are recognised inclusive of GST.

The net amount of GST recoverable from or payable to the Australian Taxation Office is included as part of receivables or payables.

Cash flows are included in the statement of cash flows on a gross basis. The GST component of cash flows arising from investing and financing activities which is recoverable from or payable to the Australian Taxation Office is classified as operating cash flows.

p) Going concern The financial report has been prepared on a going concern basis, which contemplates continuity of normal trading activities and the realisation of assets and settlement of liabilities in the normal course of business. The group’s continued existence is ultimately dependent upon the success of future productions, development income, workshop income as well as government support.

If the group is unable to continue as a going concern it may be required to realise its assets and extinguish its liabilities other than in the normal course of business and in amounts different from those stated in the financial report.

At the date of the report, the parent entity has received notification that 2014 grant funding has been approved and it is expected the company will be able to continue in its normal capacity for 2014. The parent entity was successful in its renewal of Australia Council for the Arts triennial funding for the period 2013-2015 in June 2012. Arts NSW triennial funding has been rolled over for one year and the next application will be for 2016 – 2018.

82–83

2013 2012 2013 2012$ $ $ $

3 Performance income

Box office 69,782 54,650 69,782 54,650 Performance fee 6,673 35,246 6,673 35,246

76,455 89,896 76,455 89,896

4 Fees & services

Education workshops 86,027 41,840 86,027 41,840 Ensemble workshops 149,656 103,757 149,656 103,757 Holiday workshops 302,294 241,605 302,294 241,605 Production workshops 13,440 7,500 13,440 7,500 Other workshops & fees 38,530 43,067 38,530 43,067

589,947 437,769 589,947 437,769

Parent EntityConsolidated Entity


2013 2012 2013 2012$ $ $ $

5 Sponsorship & donations

Donations 555,793 392,200 630,793 705,795 Fundraising 181,179 54,265 181,179 54,265

736,972 446,465 811,972 760,060

6 Other Income

Distributions from managed funds 16,372 18,294 - - Interest 59,326 61,262 7,466 6,789 Membership 80 182 80 182 Other income 12,830 15,110 12,830 15,110

88,608 94,848 20,376 22,081

7 Subsidies & grants received

Australia Council - Operational funding 154,701 153,321 154,701 153,321 Arts NSWOperational grant 98,000 98,000 98,000 98,000 - Aboriginal Middle Years 39,750 42,500 39,750 42,500 - Writers Commissions 10,000 - 10,000 - DEET grant - 1,500 - 1,500 City of Sydney 8,473 - 8,473 -

310,924 295,321 310,924 295,321


84–85 8 Available-for-sale financial assets

Opening Additions / Revaluation Closing

Balance (disposals) (deficit)/ Balance

Surplus

2013

Shares - Australian listed companies -

at fair value 296,550 - 2,870 299,420

TOTAL 296,550 - 2,870 299,420

2012

Shares - Australian listed companies -

at fair value 300,600 - (4,050) 296,550

TOTAL 300,600 - (4,050) 296,550

Available-for-sale financial assets consist entirely of assets in Australian listed securities. The fair value of listed available-for-sale financial assets has been determined directly by reference to published daily rates listed on the Australian Securities Exchange at balance date.

The atyp Foundation as part of the consolidated entity will be subject to market risk as its assets in Australian listed securities will fluctuate with daily market prices.

2013 2012 2013 2012$ $ $ $

9 Cash and cash equivalents

Cash at bank 388,000 278,068 332,567 240,290 Cash on deposit - fixed term 1,034,528 1,006,715 - -

1,422,528 1,284,783 332,567 240,290



2013 2012 2013 2012$ $ $ $

10 Trade and other receivables

Trade receivables 106,509 105,945 106,509 105,945 Allowance for doubtful debts (446) (1,181) (446) (1,181)Net trade receivables 106,063 104,764 106,063 104,764

Related party receivables - - 78,223 25,019 Imputation credits refundable 2,404 2,466 - - Interest and dividends receivable 15,282 14,254 - -

123,749 121,484 184,286 129,783 11 Inventories

Merchandise inventory 3,806 4,266 3,806 4,266 3,806 4,266 3,806 4,266

12 Prepayments & deferred expenditure

Prepayments 22,587 23,045 22,587 23,045 Deposits paid 200 200 200 200

22,787 23,245 22,787 23,245

13 Intangibles

Software - at cost 1,829 1,829 1,829 1,829 Accumulated amortisation (1,829) (1,145) (1,829) (1,145)Total software - 684 - 684

Website - at cost 72,833 72,833 72,833 72,833Accumulated amortisation (48,791) (24,662) (48,791) (24,662)Total website 24,042 48,171 24,042 48,171

Total intangibles 24,042 48,855 24,042 48,855

Amortisation of intangibles is included in the statement of comprehensive income in Infrastructure Costs


86–87 13 Intangibles (continued)

Reconciliation of the carrying amountsof each asset at the beginning and endof the current financial year for the economic entity Software Website Total

at cost at cost

Carrying amount 1 January 684 48,171 48,855 Additions - - - Disposals - - - Amortisation (684) (24,129) (24,813)Carrying amount 31 December - 24,042 24,042

2013 2012 2013 2012$ $ $ $

14 Property, plant & equipment

Leasehold improvements - at cost 87,782 87,782 87,782 87,782 Accumulated amortisation (57,354) (52,654) (57,354) (52,654)Total leasehold improvements 30,428 35,128 30,428 35,128

Plant & equipment - at cost 287,191 286,214 287,191 286,214 Accumulated depreciation (270,928) (252,141) (270,928) (252,141)Total plant & equipment 16,263 34,073 16,263 34,073

Total property, plant & equipment 46,691 69,201 46,691 69,201

Reconciliation of the carrying amountsof each asset at the beginning and endof the current financial year for theeconomic entity

Leasehold Plant & Totalimprovements equipment

Carrying amount 1 January 35,128 34,073 69,201 Additions - 977 977 Depreciation / amortisation (4,700) (18,787) (23,487)Carrying amount 31 December 30,428 16,263 46,691

15 Trade and other payables

Trade creditors 22,745 19,414 22,554 19,221 Sundry creditors & accruals 63,968 45,486 63,968 45,486

86,713 64,900 86,522 64,707


2013 2012 2013 2012$ $ $ $

16 Employee Benefits

Provision for annual leave 41,719 46,784 41,719 46,784 Provision for long service leave 2,845 2,549 2,845 2,549

44,564 49,333 44,564 49,333

Analysis of total provisionsCurrent 44,564 49,333 44,564 49,333 Non-current - - - -

44,564 49,333 44,564 49,333

17 Grants in advanceArts NSW 98,000 - 98,000 - - Aboriginal Middle Years - 5,000 - 5,000 - Writers' Commissions 3,100 9,100 3,100 9,100 - Creative Development 36,570 - 36,570 - Australia Council - Operational grant 77,776 77,351 77,776 77,351 Katherine Project Evaluation - 10,000 - 10,000 Copyright Agency Limited - 10,000 - 10,000

215,446 111,451 215,446 111,451

18 Income in advance Workshop fees in advance 127,084 104,549 127,084 104,549 Other income in advance 2,785 5,580 2,785 5,580

129,869 110,129 129,869 110,129


19 Related parties and related party transactionsa) Director compensation The directors act in an honorary capacity, and receive no remuneration, other than Fraser Corfield who is the Artistic Director of atyp.

b)Key management personnel compensation Key management personnel compensation for the year ended 31 December 2013 amounts to $180,156 (2012: $167,729).

c) Director donations The total amount of donations received from directors during the year ended 31 December 2013 was $88,125 (2012: $79,500).


88–89

2013 2012 2013 201220 Commitments and contingencies $ $ $ $

a) Operating lease commitmentsNon-cancellable operating leases contracted for but not capitalised in the financial statements

Payable - minimum lease payments- not later than 12 months 34,075 33,324 34,075 33,324 - between 12 months and 5 years 42,580 75,153 42,580 75,153

76,655 108,477 76,655 108,477

(b) Capital expenditure commitmentsAt reporting date the company has entered into contracts for capital expenditure of $0 which have not been provided for in the financial statements. The amounts are payable:

- not later than 12 months - - - - - - - -

The lease commitments relate to the lease of premises, storage space and copier machine


21 Rent subsidyatyp is supported by Arts NSW with subsidised rent through the Infrastruc-ture Support Program; this provides atyp with affordable space at Pier 4/5.

2013 2013$ $

Occupancy expense

Rent in cash 29,758 29,758 Rent in kind 199,150 199,150

228,908 228,908


22 Charitable fundraisingThe parent company and its controlled entity hold an authority to fund-raise under the Charitable Fundraising Act, 1991 (NSW) and conduct fundraising appeals throughout the year. Additional information and dec-larations required to be furnished under the Act are as follows:All funds raised from fundraising activities, net of direct costs were applied to the group’s normal operations. The group did not conduct any appeals in which traders were engaged.

1. The financial statements and notes, as set out on pages 11 to 28 are in accordance with the Corporations Act 2001 (the Act), including:i) complying with Accounting Standards, the Corporations Regulations 2001 and other mandatory professional reporting requirements, andii) giving a true and fair view of the consolidated entity’s financial position as at 31 December 2013 and of its performance for the financial year ended on that date.2. In the directors’ opinion there are reasonable grounds to believe that the consolidated entity will be able to pay its debts as and when they become due and payable;3. The accounts give a true and fair view of all income and expenditure including with respect to fundraising appeals;4. The Statement of Financial Position gives a true and fair view of the state of affairs of the consolidated entity including with respect to fund-raising appeals; 5. The provisions of the Charitable Fundraising Act 1991, the regulations under the Act and the conditions attached to the fundraising authority have been complied with by the group; and6. The internal controls exercised by the consolidated entity are appropri-ate and effective in accounting for all income received and applied by the consolidated entity including from any of its fundraising appeals.

This statement is made in accordance with a resolution of the board of directors of the parent entity.

MICHAEL IHLEINChairAustralian Theatre for Young PeopleSydney

29 April 2014

Directors’ Declaration


90–91 Business & Government Partners – 2013

Government Australian Council for the Arts Arts NSW City of Sydney ConnectEd

Foundations atyp Foundation Graeme Wood Foundation Tim Fairfax Family Foundation Vincent Fairfax Family Foundation James N. Kirby Foundation Bird Holcomb Pty Ltd Foundation ANZ Staff Foundation City of Sydney Lord Mayor’s Charitable Foundation Mercy Foundation The Luca & Anita Belgiorno-Nettis Foundation Westpac Foundation Matana Foundation for Young People St George Foundation The Greatorex Foundation Yim Family Foundation

Companies BBM Youth Support Camp Sugar Productions Pty Ltd Copyright Agency Limited Cultural Fund High Pass Holdings Pty Ltd Mullinars Casting Consultants PricewaterhouseCoopers RE Holding Company Rebelstudio UBS Australia Limited Walsh Bay Arts and Commerce Corporation Westfield Ltd

Australian Theatre for Young People is assisted by the NSW Government through Arts NSW; and the Australian Government through the Australia Council for the Arts, its arts funding and advisory body.

Australian Theatre for Young People wishes to gratefully acknowledge the continuing support of the atyp Foundation. The capital funds raised through the Foundation help build a sustainable financial platform on which the Australian Theatre for Young People can thrive.

Guardians ($10,000 and up) Antoinette Albert Susan Maple-Brown Jillian Broadbent AO & Olev Rahn Robert Rich Susanne & Grahame Corfield Edward & Anne Simpson Martin Dickson AM & Susie Dickson Rebel Wilson Alexandra Holcomb & Andrew Bird Curt Zuber Michael Ihlein & Gosia Dobrowolska Superstars ($9,999 - $5,000) Libby & Robert Albert AO RFD RD Graham & Glynn O’Neill Rebel Penfold-Russell

Champions ($4,999 - $1,000) Kate Anderson Janine Lapworth Susan RothwellRuth Armytage AM T Samway & J Littlemore John Tuckey Graeme Browning David Maloney Simon Webb & Sally AndersonAndrew & Kate Buchanan AR & AC Norris Sam WeissNancy Fox & Bruce Arnold Domenic Panaccio Jane WestbrookDouglas Ferguson Simone Parrott Mark & Kathy Johnson Sandra Plowman

Allies ($999 - $500) Nicole Abadee & The Hon Justice MacFarlan Sandra McPhee Tom SaarPhilip Coleman Derek Minett Kristin StubbinsCarol Dettmann Georgie Parker Jeremy SutcliffeJ.B Fairfax Greg Peirce Kylie SweeneySimon Fraser Greeba Pritchard Katharina TagliaferroNicholas Hughes Tim Regan

Financial Supporters – 2013Australian Theatre for Young People is proud to acknowledge the support and encouragement received through individual donations. These generous donors have contributed to the Company in 2013. Their continued support is essential for the on-going viability of the Company.


92–93 Buddies (up to $499) Claire Aird & Nat DeanGuy AlexanderJacob AllanMarilyn AltCatherine BaldwinMary R Barber Nathan Bennett Julian Beaumont Jillian BlaufelderEllie BockRona BowreyDeborah BrownJames Buck JrLoretta BusbyGeorge Candi Jill CarhanDr Dee CarterAngela Cecco Arthur Charles & Prudence CharlesKathleen ConlonLaura Connarty-DuncanJudith CookLisa CottonJohn Cuningham Erin Daly Nick Dare & Jadanne Dare Andrew Deane Louise Dobson & Garry DobsonSimon EllisMelissa FlemmingShaun Foley Tahni FroudistAmy Hardingham Barbara Harvey Sandra Johnson Rory Johnson Ben Lightowlers & Georgia ThorneBrian Long Amanda Matenaere

Eleanore MattanaEva McNaughton Len McKinnonSteve MillerAndrew MurrayDawn Oldham Marika Overbeek Lisa Panarello Linda Peppernell Neale PeppernellAnne PetterdJK PowerRobert PrattenHeilan RenshawIngrid SeleneVivianne QuereKate ReidSally Greenaway Jonathan & Emma ReyesLarry RobertsonIngrid SeleneBrett SheehyIsabel Sloman Mark Sutcliffe Chris TangyeJulie ThomsMary-Jane TrujilloTiara ValderBridgette van LeuvenAleksandr VoninskiGeorgia VrondasJacquelin WarburtonKevin WiddowsTina Winton-Chaka2 Anonymous Donors

atyp Foundation Advisory Committee Angela Bowne SC (Chair) Antoinette Albert Carolyn Fletcher AMMichael Ihlein Olev RahnRob Rich

atyp Foundation SupportersThe sole purpose of the atyp Foundation is to provide money, property or other benefits to Australian Theatre for Young People for the purpose of advancing, developing and promoting the performing arts.

Schedule of voting donorsAt 31 December 2013 the following organisations and individuals have obtained the status of voting donor. Antoinette AlbertRobert O Albert AO RFD RDAlbert InvestmentsAndrew Thyne Reid Trust Ruth Armytage Chum Darvall Estate of the Late Nicholas Enright Carolyn Fletcher AM Henry Herron Peter Hunt Michael Ihlein & Gosia Dobrowolska Millennium Pty Ltd King & Wood Mallesons Robert Rich Graham O’Neill Ezekiel Solomon AM Robert Salteri Jill Wran Turnball Foundation

Schedule of founding donors Robert O. Albert AO, RFD, RD Antoinette AlbertAlbert Investments Andrew Thyne Reid TrustRuth Armytage AM Miles ArmstrongAngela Bowne SC Felicity Atanaskovic Ian Brown Jillian Broadbent AOMichael Carapiet Hilary CaldwellDixie Coulton & Donald Grieve Phil CostaChum and Belinda Darvall Richard CropleyAchim & Anthea Drescher Francis Douglas QC & Dr Lisa CantamessaCarolyn Fletcher AM Estate of the Late Nicholas EnrightMark Hopkinson & Michelle Opie Hal HerronChristopher Johnson

Michael Ihlein & Gosia DobrowolskaJohn King Judith JoyeMacquarie Bank Foundation The Late Ann Lewis AO Millenium Pty Limited King & Wood MallesonsDr Helen Nugent Raymond NelsonGlynn O’Neill James O’LoghlinFrances Roberts Robert & The Late Helen RichJosephine Walton Ezekiel Solomon AMJane & Pat Wilde Sarah WhyteYengarie Pty Ltd Jill WranDavid Zobel & Emma Lee Ross Youngman & Veronica Espaliat


94–95 Board of DirectorsMichael Ihlein (Chair) Fraser Corfield Claire Duffy Nancy Fox Alexandra Holcomb Janine Lapworth Nick Marchand Catherine Robinson Edward Simpson Simon Webb Natasa Zunic

Staff

Artistic Director Fraser Corfield General Manager Aaron Beach Finance Manager Kate di Mattina Development & Philanthropy Manager Peter Murray (until March 2013) Fundraising Manager Andrew Deane (from May 2013) Private Giving Manager Derek Minett (from March 2013) Marketing Manager Claire Harris (until June 2013) Annabel Tate (from July 2013) Marketing Co-ordinator / Graphic Designer Sebastian Andreassen (from May 2013) Education Manager Digital Adèle Jeffreys Education Manager Heather Clark

Workshop Manager Sarah Parsons Fresh Ink Manager Dan Prichard Production Manager Liam Kennedy (until November 2013) Juz McGuire (from December 2013) Administration Assistant Chrissy Norford Archivist Judith Seeff Bookkeeper Natalie Newton (until February 2013) Publicist Kar Chalmers

Atypicals Youth AdvisorsDeng Akot Georgia Brindley Andrew Brophy Emma Campbell Airlie Dodds Nathalie Fenwick Davey Friedman Matt Friedman Naomi Hastings Emily Bailey Hughes Ava Karuso Stephanie King Julia McNamara Paul Musumeci Sydney Nicholas Claudia Osbourne Kathleen Quere Patrick Richards Julia Rorke Cole Scott-Curwood Charlotte Tilelli Cooper Torrens Sebastian Wang Rachel Weiner


Quay to the City Photo: Olivia Martin McGuire ©

Partners & Supporters

Partners

Major partners

Associate partners


PB–99

Photo: Noami Hamilton

Australian Theatre for Young People (atyp)

The Wharf, Pier 4/5 Hickson Road Walsh Bay NSW 2000 Phone: 02 9270 2400 Email: [email protected]

atyp.com.au

Documents

2013 Annual Report