APPENDIX B

Annual Report

1 April 2003 – 31 March 2004

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Index of contents 1/ Finance 2/ Programming 3/ Marketing & Development 4/ Refurbishments 5/ Staffing 6/ Wider Agendas 7/ Performance Indicator Appendices

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Section 1: Finance

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Please see attached (Appendix A) published accounts for the financial year ending 30 September 2003.

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Section 2: Programming

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Programme Review 2003 / 2004

Renewed emphasis was given to quality programming in 2003/4 with work produced at, originating at and touring from the Churchill Theatre combined with tours, many of which came directly from successful West End runs, to create a season that appealed to a wide range of tastes and interests. Whilst adventurous product has developed new audiences, ATG has also maintained a standard of regular programming that appeals to the Churchill Theatre’s core audience. The Churchill Theatre was proud to welcome companies of great repute with an emphasis on drama of great quality and recent prominence, including English Touring Theatre’s John Gabriel Borkman, Edward Hall and his company Propeller with A Midsummer Night’s Dream prior to a West End run, the National Theatre’s production of Vincent In Brixton (which won awards in London and New York); the Royal Shakespeare Company’s The Lieutenant Of Inishmore and Sir Peter Hall’s new production of As You Like It. Mathew Bourne’s New Adventures company returned to Bromley with the critically acclaimed production of Nutcracker!, again immediately prior to a season at Sadler’s Wells following its launch last year as a co-production with the Churchill Theatre. Programming suitable product for children and families, in addition to pantomime, is key to future audience development. Quality shows such as Noddy and The Hobbit were programmed, in addition to ancillary education activities. Co-productions between the Churchill Theatre and its producing partners The appointment in May 2003 of a Chief Executive (replacing former Producer and General Manager roles) raised the profile of the Churchill Theatre as a producing partner theatre and increased its attractiveness to co-producing partners to embrace drama, musicals, dance, and opera, including: Bouncers in July 2003 was a co-production between ATG and the Churchill

Theatre prior to an extensive national tour. A season of four co-productions from February 2004 commenced with the first

UK tour of the West End and Broadway hit The Full Monty. The production is now enjoying great success in the UK’s largest theatres.

84 Charing Cross Road starred Rula Lenska and William Gaunt and was directed by James Roose-Evans, who adapted and directed the original West End and Broadway productions.

Full Circle starred Joan Collins and became the Churchill Theatre’s most successful play for some time.

The Merry Widow was collaboration with the Carl Rosa Company and was presented with a fresh approach, enjoyed by both opera and musical enthusiasts.

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These titles contribute a unique distinctiveness to the Churchill Theatre, and subsequent presentations carry the “Churchill Theatre Bromley” stamp across the country. This producing role is an important feature of the Churchill Theatre’s profile in the theatre industry, and presents local people with the opportunity to enjoy a range of interesting productions before London and national audiences see them. Special events The Churchill Theatre presented two performances by resident company Magpie

Dance, an inclusive community dance company for adults with and without learning difficulties. The programme included five dance works, including three premieres, two of which were choreographed by Magpie dancers specially to celebrate the European Year of Disabled People 2003.

Local amateur productions were presented in May (Mack & Mabel); June

(Carmen); November (The King & I) and January (Jesus Christ Superstar). These all provided exciting opportunities for quality amateur work to be seen by local audiences, as well as providing a platform for local talent.

The ticket sale successes of the year exemplify the variety of programming to which the Churchill’s audience responds positively. The total attendance for the year was 182,900, in particular: Snow White and the Seven Dwarfs set a record as the highest attended

pantomime in the Churchill Theatre’s history with an attendance of 41,788 and 89.2% of tickets sold over 63 performances.

The Picture of Dorian Gray, 84 Charing Cross Rd and Full Circle all out-performed drama productions of recent years.

Children’s favourite Noddy played to 95% capacity over six performances. The ever popular musicals Joseph and the Amazing Technicolor Dreamcoat (12

performances) and The Rocky Horror Show played to 86% and Buddy to 97%. All four performances of Spirit of the Dance sold out and following its launch in

Bromley the previous year, Nutcracker! returned, playing to 84%. Popular comedian Al Murray – The Pub Landlord played to capacity.

Future plans: 2004 / 2005 Five further Churchill Theatre Bromley productions are scheduled until the end of 2004: the comedy Billy Liar staring Ralf Little prior to a West End transfer, the launch of European phenomena Magic of the Dance in the UK, Boogie Nights II (The Eighties Musical) staring David Essex, High Society and the award winning West End and Broadway production of Kiss Me Kate.

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Further visiting productions scheduled for the Spring include West End hits The Play What I Wrote and Grease, an acclaimed adaptation of the children’s novel Tom’s Midnight Garden and Play Without Words, Matthew Bourne’s award winning co-production with the National Theatre.

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Section 3: Marketing / Development

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Marketing and Sales Strategy Ticket Sales

Since March 03 all Ticket Sales calls have been routed through to the ATG London Call Centre. This has produced a major improvement in customer service and eliminated all difficulties that customers were previously experiencing in getting through to Ticket Sales by phone, with an average of 95% of all calls now being answered. As the ATG London Call Centre now handles telephone sales, the small in-house team is free to add proactive telephone selling to its over-the-counter sales function. Starting in June, significant resources have been devoted to training of the team into salespeople, rather than as people who take bookings. To ensure cohesion of approach, all developments have been mirrored as appropriate at the Call Centre. Groups Ticket Sales The groups operation has been moved from London to the Churchill’s Ticket Sales Team. The active groups database stands at approximately 5000 live records; each groups organiser has been given a dedicated named contact. The aim here is to improve customer service and to establish a more proactive approach to groups. As a result, for The Full Monty 168 group bookings of 10 plus theatregoers were made. Both The Hobbit and Stones In His Pockets were successful at attracting schools with 28% and 15% of the audience respectively. 10% of the audience for both Bouncers and Blues Brothers came as part of a group. Panto groups’ telesales campaign resulted in 372 ticket sales in three days. Campaign Monitoring

The continued distribution via National Letter Box Marketing is continuingly raising the profile of the venue as well as the individual shows. For Buddy this distribution contributed to 30% of the audience being first time attenders. The production of extra print has enhanced various strategies including English Touring Theatre’s John Gabriel Borkman. A joint postcard was produced with Richmond Theatre and inserted into the Evening Standard Magazine then distributed out of Greenwich, Charing Cross and Victoria Stations. Direct Mail

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Direct mail, which continues to be sent out to an average of 5000 previous attendees as part of the standard marketing campaign, continues to have a good response. The response for How The Other Half Loves was 21%, The Hobbit 24% and Office Suite 30%. As well as Churchill Theatre data we continue to source appropriate external data, for example direct mail for A Midsummer Night’s Dream was sent to Rose Rage and Macbeth attendees and resulted in a 9% response rate. Penetration into the high-end postcodes of TN covering Sevenoaks and Tonbridge was higher than average for this show at 9%. Hot mailing the Buddy attendees the day after they attended Roy Orbison also resulted in a 7% response rate. To hit the younger end of the audience for Stones In His Pockets schools, colleges, further/higher education establishments were targeted with direct mail and print distribution. Print was also distributed to trendy outlets, i.e. cafés and bars in Blackheath & Greenwich and comedy clubs across the southeast to target young professionals, resulting in 17% of the audience being first time attendees. Promotional Highlights The main planks of each show’s marketing campaign – season brochure, print distribution, direct mail, ladder and (occasional) solus press advertising, PR, post-code targeted door-to-door distribution – have continually been augmented by one-off promotions and the creation of special print including: The appearance of ‘Gandalf’ at local primary schools and in the high street

created a quirky platform for print distribution for The Hobbit . Young people made up 20% of the total audience (excluding school groups) and 10% came on a family ticket.

With Lesley Joseph as the main star, Office Suite was ideal to target the ‘office workers’ of Bromley. Direct mail was sent targeting school secretaries and a ticket offer was printed on all council employees payslips.

For Blues Brothers, a profile raising promotion (‘Everybody Needs Somebody’) with local dating agencies proved popular and created new contacts. A promotion in Bromley, Beckenham and Croydon involving doormen distributing postcards from bars and clubs was combined with show announcements to these people via the shop-watch radios.

A co-promotion with Bromley and Beckenham Odeons was arranged for Carousel with a display stand in the cinema foyers, and a group offer for the Silver Screen Club.

Special print distribution runs for Vincent in Brixton to art house cinemas to coincide with the release of the film Vincent and to local art galleries and shops were organised.

Grass roots research to build relationships with student bodies – through their drama societies, magazines and web sites – has continued and proved useful for the more left field titles including The Lieutenant of Inishmore.

A large scale co-promotion for As You Like It was established with the National Trust and English Heritage.

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Postcards for The Lieutenant of Inishmore and The Vagina Monologues specifically designed to appeal to the younger audience were produced. These were distributed to cafes, bars, clubs, colleges etc throughout our catchment area.

A new relationship has been cultivated with the Regional Area Manager of the National Trust, which it is hoped will continue to develop.

New bookers Mirroring the make-up of the database, typically 50% of new bookers reside in BR, CR and TN post-codes. As a new initiative, in the week following each show, a letter is sent to new bookers welcoming them to the Churchill and highlighting the attractions of theatregoing in Bromley. New Media Customers now regularly use the website’s feedback facility as a communication tool. In order to promote the website the address is listed on all direct marketing. An ad was placed in the ‘Seek Directory’ – a regional listings directory for website addresses that is distributed directly to 250,000 households in the Churchill’s catchment area. The website address and logo are also printed on all mouse mats that are used by every library in the London Borough of Bromley. The Churchill Theatre has continued to maintain and improve its presence on the internet by way of various ticket promotions with Lastminute.com and Theatrenet.com, particularly for the shows that appeal to the younger end of the market. For example 10% of all promotional tickets were sold via Lastminute.com for Bouncers and 12% of all promotional tickets were sold via the e-mail campaign. Retail Synergy Building relationships with local retail outlets continues. By using shows with a younger appeal, new relationships have been secured with sales outlets that target this market. A large promotion was arranged for Bouncers with the designer cosmetic store Virgin Vie, which resulted not only in in-store distribution but also a large staff group purchasing tickets for the show. Leaflet bagging has also taken place with Debenhams, Ann Summers, La Senza, MVC and Virgin Vie. The Theatre also continues to cultivate the relationship with Bromley’s Town Centre Manager and the Glades Shopping Centre Management with a number of ‘snippet show’ performances in the High Street during the busy summer holidays. The Churchill’s presence in The Glades is now a regular feature. Friends

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Friends’ memberships remain steady at 2625. There are 318 silver members and Platinum patrons are at 9. The introduction of a lower £5 level that will only entitle the customer to priority booking (‘Jump The Queue’) has been launched. Development New Corporate Sponsorship packages have been devised following intensive research within the local business community and current interest is high. Sponsorship was secured for Snow White from Laing Homes at no cost to the theatre and the company was keen to have first refusal on panto sponsorship for the following year. The relationship continues to be cultivated. Successful external investment in the production of the theatre’s ticket wallets has resulted in sponsorship from Abbaye Restaurant. A strong relationship has been forged with the general business community through Bromley Business Focus and the Bromley Business Women’s networking events. A fulltime Development Manager was appointed in March 2004 to grow sponsorship and corporate business sales As of the year end, the business and organisations which sponsor the Churchill Theatre are Allied Irish Bank (GB), Abbaye Belgian Brasserie, HSBC, Laing Homes and Leigh Williams Solicitors. Press A strategic plan to raise the profile of the Churchill Theatre and the shows has proved extremely successful and is continuing to be developed. There has been a substantial increase in local and national media coverage, along with the securing of a number of high-profile television interviews as The Churchill Theatre’s reputation grows within the media for presenting quality shows, companies and stars. Productions at the Churchill now regularly enjoy almost weekly live BBC Radio Kent interviews, full colour features and front pages in the regional press (not only on the arts and entertainment pages, but now also the business and news pages), in the nationals and on television, highlights included: Coverage for Summer Holiday in national newspapers and cast appearances on

Channel Four’s morning television show, Rise, GMTV and Living TV, raising the Theatre’s national and television media profile.

The Theatre was delighted to welcome Barbara Orbison to The Roy Orbison Story. This caused hype in the media and resulted in immediate news coverage.

The co-production of Bouncers gained television appearances (GMTV and Living TV), radio interviews (BBC Radio Kent and BBC Radio 2) and a vast amount of

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press coverage with full colour previews, spreading the word and reputation of the Churchill Theatre. A cast photo call supported Bromley Council’s ‘Anti drink driving’ campaign.

As You Like It gained extra publicity in the news pages as its director Sir Peter Hall attended the first night. Sir Peter’s daughter Rebecca, playing Rosalind, also caused a stir among the press.

Linda Lusardi, star of Snow White and the Seven Dwarfs, was interviewed on This Morning and Des and Mel.

A photo call of Joan Collins at the Theatre for Full Circle rehearsals gained the highest number of news features the Theatre has ever generated. Ms Collins was also interviewed on This Morning.

Brochure Print Run The print run of the Autumn brochure (Aug - Nov 2003) was increased from 120,000 to 220,000. 30,000 of the additional brochures were mailed to patrons purchased from ATG and the balance distributed door-to-door to top end post codes in SE London and Kent. Season launch ads in key local papers were taken in mid-September as part of this initiative to appeal to a wider range of theatregoers, as much as to continue to attract current patrons. The print run of the Winter brochure (Nov 2003 – Apr 2004) was 180,000. Distribution A review of the print distribution companies engaged by the Churchill was completed. As a result, Impact is contracted to undertake distribution of all print – brochures, leaflets and posters – throughout our catchment area. Impact has been briefed to research and identify 500 outlets for print, displayed in new branded brochure holders. Challenges To continue the re-branding of the Churchill Theatre as an exciting and modern

venue that offers a genuine alternative to the West End. The weekend figures are low, which is unusual in theatres, and results from the

poor reputation of Bromley Town Centre. To broaden the audience profile, attracting younger audiences, particularly

professional young singles, with high-disposable incomes. To further develop audiences from North Kent, in high-income towns such as

Sevenoaks. To implement a full marketing strategy for the Friends membership scheme and

Jump The Queue. Future Developments

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The District Sales Adviser (DSA) selling operation will be re-introduced by early April, with a clear emphasis on increasing sales for each individual show.

Group marketing will be re-invigorated, with the collating of a more comprehensive database to be cultivated through direct mail and tele-sales campaigns.

The implementation of a full email marketing strategy, with regular mailings of high quality html emails.

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Section 4: Refurbishments

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Refurbishments The Theatre’s Maintenance Technician used reclaimed timber to begin a remodelling of the Stage Door office to create an effective administrative base and communications centre; and embarked on effecting long overdue and much-needed improvements to the decayed poster sites on the exterior of the building. During a dark week in June, extensive and much-needed repairs were carried out to the upholstery of auditorium seats with cleaning and maintenance projects undertaken by Theatre staff. During the July dark period front-of-house staff were used to redecorate a number of front-of-house and office areas of the Theatre. The stage lighting dimmers were also replaced at a cost of £48K. A quotation has been received for the refurbishment of the Function Room as an attractive corporate and sponsors’ facility, combined with continuing use for educational activities. The potential for commercial sponsorship and hospitality at the Churchill Theatre will be much more readily realised if there is a facility for corporate customers. A quotation is being prepared for re-seating of the auditorium. The seats are not robust, and many are now uncomfortable and noisy. Developing regular and more frequent theatregoing for a quality programme will be difficult if standards of comfort are tangibly declining. Future refurbishment plans also include bringing the stalls foyer up to the decorative standard of the main foyer, Stalls and Circle bars.

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Section 5: Staffing

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Staff changes Derek Nicholls become the first Chief Executive of the Churchill Theatre in May 2003 replacing that of Producer and that of General Manager, both of which have been discontinued. Derek’s experience of running theatres ranges across the Midlands Arts Centre in Birmingham; Birmingham Repertory Theatre; York Theatre Royal and (for the last nine years) the Grand Opera House, Belfast. The post of Chief Executive, as well as having overall artistic, financial and commercial responsibility for the Theatre, will specialise in developing new co-productions at the Churchill Theatre, increasing the range, distinctiveness and appeal of the programme. The new position of Administrator replaced the former role of PA. Christopher Glover joined in the capacity at the end of June 2003. Digby Robinson, The Production Manager, now works alongside the Chief Executive on new co-production projects, and a new Post of Technical Services Manager was filled by Ed Brimley in October to run the backstage function of the Theatre. The salary of the former Chief Electrician funded this new post In May the ticket sales function was absorbed within a reorganised Marketing and sales Department under the supervision of new Ticket Sales Manager Julie Hocking. John Baker joined the Churchill as Marketing and Sales Manager in December 2003 to oversee the newly created department. The reorganisation has provided strong sales focus and coordination and collaboration. Shane Tanner was appointed Development Manager in March 2004. Previously part of the highly-successful Development team at the Young Vic, Shane is a fund-raising and sponsorship professional, whose post at the Churchill Theatre will be full time, and confined to sponsorship and corporate business sales. As a concomitant to this new arrangement, responsibility for loyalty marketing (Friends’ Memberships) moved to John Baker as Marketing and Sales Manager. In June 2003 the permanent employment of staff members who once belonged to producing departments, when these were fully staffed, was discontinued. When the functions of Production Assistant, Company Stage Manager, Wardrobe Master and Wardrobe Assistant are required for co-productions expert, labour is now hired in.

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Section 6: Wider Agendas

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Churchill Theatre Education Activities The Education Department continued to offer a wide range of opportunities to the local community throughout 2003-2004. Highlights included:

Show-Related Work An insightful ‘Page to Stage’ workshop lead by the company of John Gabriel Borkman involved two school groups taking part in an interactive discussion about the play, as well as getting up on stage and working on sections of the script with direction from the company and other participants. A pre-show Insight into John Gabriel Borkman, lead by the Director, attracted 50 patrons. Stones In His Pockets proved very popular with schools, and the acting company lead a hugely successful acting workshop with two school groups, which culminated in students working on a section of the script and performing their work on stage. Demand for this exceeded the number of available places and the provision of a workshop helped to incentivise bookings from schools and colleges. How the other Half Loves and Office Suite were both accompanied by half-day acting workshops for adults tied into the Saturday matinee, a formula that has proved extremely popular. Post-Show talks continue to be popular and were held for both productions. Candide was enhanced by a pre-show Insight delivered by the Great Little Opera Company, with whom the Churchill continue to build a strong relationship. Carousel was also accompanied by a pre-show ‘In Context’ session given by the Theatre Museum. Vincent in Brixton was accompanied by an insightful and memorable post show talk with the company, attended by c. 150 people. The Lieutenant of Inishmore was enhanced by a great Post-Show Talk with the backstage crew focusing on the blood, gore and special effects that were used; this helped to bring in a younger audience and improved ticket sales to both matinees. As You Like It was accompanied by a half-day workshop, which allowed participants to tackle the language of Shakespeare before seeing the show. Pre-show talks with Malcolm Jones Workshop Manager, Theatre Museum for As You Like It, and HMS Pinafore again proved to be an excellent way of promoting a particular performance. Post Show Talks from the casts of A Midsummer Night’s Dream and Our Song were both attended by over 100 audience members. Malcolm Jones contributed to the Winter season with a pre-show Insight into The Picture Of Dorian Gray that attracted 25 patrons and an Acting Correspondence

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Workshop for 84 Charing Cross Road. 84 Charing Cross Road and Taking Sides were complemented by fantastic Post Show Talks from both casts, which engaged 230 audience members. Taking Sides was also accompanied by a Design Workshop and a Page to Stage workshop run by members of the company who did a marvellous job and educated 48 young people about pre production theatre. To complement Joseph and the Amazing Technicolor Dreamcoat a Joseph Dance Workshop was held, which was a success with 25 young people and their parents (who joined in!). The pantomime Snow White was accompanied not only by the usual popular Workshops run by Malcolm Jones but also three workshops run by Keith Park drama therapist and storyteller. Keith Park’s workshops were for 60 young people from special schools in Bromley, all of who have multiple disabilities. This was well received and was covered in the local press, which in turn has broadened our repertoire. In-House Work In association with the Theatre Museum, the Churchill ran a series of practical A-Level revision workshops for Theatre Studies students, looking at the work of Brecht and Stanislavski. These were attended by 65 students in total, from five different schools. Primary and Secondary schools alike have continued to benefit from our outreach workshop programme, Acting Out. Recent workshops include Macbeth for English SATs students, a day of European Folk Tales for a Primary School, Caribbean Folk Tales workshops in three different schools, and a day of workshops in a Secondary school exploring issues of Citizenship. The programme of participative classes at the Churchill Theatre is burgeoning. Drama classes continue to flourish and most are full with waiting lists. Our two new classes (Early Years and Home Educated Children), which were launched in February, continue to attract new members. All Sorts, a class for adults with disabilities, run in association with Bromley Social Services, started in March and is attended by 12 participants. The Churchill has created another class for the 7-11 age group on Saturdays as the waiting list was so long. Feedback from the classes has been extremely positive, with the reputation of two adult groups growing dramatically over recent months, resulting in a major increase in demand from this sector. The success of the adult class in particular has resulted in an exciting initiative to take one group to the Edinburgh Festival next year with a preview performance on stage at the Churchill on the 20th July 2004.

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Special Events The Easter Holiday course was fully booked, and provided 20 children aged 8-11 the chance to take part in a drama and musical theatre week based around Summer Holiday. The children worked with a professional director and musician on a condensed scripted version of the show. The three day course culminated in a show for parents and friends, followed by seeing the production and meeting the cast on the final afternoon. A further course was run during the Easter Holidays for students aged 14-16 years. This was made possible by successfully securing some funding from South London Learning and Skills Council. The course was aimed at students at risk of not achieving 5 A-C grades at GCSE. With help from five local secondary schools, 12 students were identified and invited to attend the course, which lasted for five days and was focused around Ed Hall’s all-male production of A Midsummer Night’s Dream, which was on at the theatre that same week. The students’ key communication and language skills were developed, and they enjoyed the chance to see the production and take part in a backstage tour. In May the Churchill held staged readings of the winning entries from our fifth Annual Play-Writing Competition. The evening attracted an audience of 200+. Six of the 15 minute plays were staged in a rehearsed reading involving 12 actors and two directors who rehearsed over two days. The performance went extremely well, receiving excellent feedback from both the writers and the local community, and the Churchill was very proud to once again produce an evening of new writing in our venue. In August, the Education Department-managed week-long Summer School for eight- to twelve-year-olds culminated in a performance on stage of a specially-devised musical: a fine collaborative effort involving the Theatre’s stage and electrics staff in giving the one performance a professional “gloss”. The success and popularity of this, the second such Summer School, has led to an aspiration that Summer 2004 will see a junior and a senior level School. During the summer the Theatre also worked with Bromley Council’s Community Safety Department on a week-long course using drama and video to tackle some of the issues encountered by the young people who ‘hang out’ outside the theatre and potentially cause trouble. During the Autumn half term free storytelling was held in the theatre foyer, which promoted the pantomime (the Storyteller was the Wicked Queen from Snow White) whilst providing entertainment for children on half term. These were well attended by 55 young people aged between 3 and 16. Not only did this help promote pantomime sales, but it also encouraged attendance of the other half term events. The Theatrical Make-up Workshop was full and encouraged more teenagers through the doors. The Clowning workshop also went well.

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World Book Day was a fantastic success and was sold out within half an hour! Writers Malorie Blackman and Valerie Bloom won over the 788 young audience members and brought their books to life with some great animated audience participation! Staff from the Churchill Theatre have participated in regular presentations at local schools and colleges, including a talk to Beaverwood School in December on customer care and disabled access.

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Access

The Churchill Theatre is committed to providing the highest quality access provision for its patrons with disabilities. During 2003/4 the access policy was reviewed by a new Access Committee with the introduction of regular SLIPs, audio described and captioned performances to the season. In December staff members attended a course on communicating with deaf and hard of hearing people for people working in the arts and in March the Churchill hired Vee Ltd to provide Access Awareness Training to staff on site. An audit of access training needs for all staff is planned for April 2004. The Churchill Theatre was successful in applying to the Arts Council for a grant to install a new Sennheiser infra-red audio system for the hearing impaired and audio-described performances. Patron feedback has been very positive. A new hearing loop has also been installed at the Ticket Sales counter. The Theatre received favourable feedback from the Adapt Trust and Arts Line, and inline with recommendations, is currently planning to install a new lift between the Circle Foyer and Circle Bar and new accessible toilet and shower facilities for performers. The Theatre believes that to maximise access it is essential to consult with people with different disabilities and those who provide support. An external advisory group is therefore being established, which it is envisaged will meet once or twice a year.

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Impact on the Community The Churchill Theatre is now seen as a major force in the borough with greater presence within the community with many partnerships thriving. The Theatre employs 88 people with a total payroll for the year of £774,157. The Theatre hosts and is represented at the quarterly meetings of The Bromley Business Watch. The group consists of a broad representation of both local and national companies working in Bromley to pool ideas and resources, where appropriate, and support each other where necessary on certain issues. Approximately 50 Senior Managers regularly attend it. The Theatre’s Chief Executive has played a key role on the BACAS steering committee and attends the regular meetings with other local Senior Managers. The Theatre is also represented at the Bromley Business Forum, a meeting between Senior Councillors and leading members of the Business Community. Matters that have arisen from the Bromley Business Watch are regularly presented here for discussion. The Churchill Theatre is a member of the Bromley Business Focus and also enjoys a mutually beneficial relationship with Bromley Pub Watch, Kent Marketing Consortium, Bromley Chaplaincy and Bereavement Partnership, London Arts Audience Development Forum, Bromley Arts Consultative Panel and Bromley Community Safety Partnership. In addition to the education programme, management and marketing at the Churchill Theatre have been active in promoting the Theatre locally by delivering talks to groups, including: Beckenham Women’s Group of Friendship (May), New Eltham Community Association (Oct), Beckenham Methodist Church Guild (Nov), St Mary Cray Tenants Action Group (Nov) and U3A Bexleyheath (March). The Theatre welcomes school children on work experience placements throughout the year with personalised programmes and a new volunteer scheme for performing arts students is in development. In a hire capacity the venue also makes a valuable contribution to both the business and private sectors of community life as a popular venue for meetings including: monthly Bromley Business Watch meetings, the BACAS Steering Group, Research International, Broomleigh Housing Association all day conference in the main auditorium, Allen Court Partnership, Leigh Williams staff meetings, NOP Market Research during the year, a Magpie Dance board meeting, the Bromley Cultural and Arts Panel meeting in June and September and the Bromley Mobile Toy Library one day each week.

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The Theatre is also used for pre & post show talks throughout year, ATG Regional Managers and General Managers meetings and courses and the Bromley Police dog training section is allowed monthly use of the stalls foyer when not otherwise required. The first wedding ceremony at the Theatre took place in February 2004. The Theatre provides a platform for local talent with Ravensbourne Operatic Society, West Wickham Operatic Society and Kentish Opera presenting shows throughout the year. The Churchill Theatre plays a key role in maintaining the safety, security and vibrancy of the Town Centre in the evenings. Good attendances have helped keep the town centre alive after 6pm and contribute to the local restaurant trade. A new relationship has been developed with The Glades shopping centre – securing a site for large-scale displays. Co-promotions are already planned for Aladdin.

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Section 7: Performance Indicator

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Performance Indicator

2001/2 2002/3 2003/4 2004/5 2005/6 Attendance at Theatre

198,139 197,824 182,900 199,800 200,000

Population of Bromley

297,100 296,400 296,400

Performance Indicator 667 667 617

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Appendices

Appendix A Published accounts year ending 30th September 2003

Appendix B Table of productions

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Appendix A

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Appendix B

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Churchill Theatre Occupancy

W/C Wks Perf Production Cat Capac. Tickets Occpc'y Av Price

31-Mar-03 1 8 Buddy M 744 5,794 97.3% 16.86 07-Apr-03 1 6 John Gabriel Borkman D 785 1,059 22.5% 12.93 14-Apr-03 1 8 Summer Holiday M 744 3,285 55.2% 16.45 21-Apr-03 1 7 A Midsummer Night's Dream C 785 2,009 36.6% 14.33 28-Apr-03 1 8 The Roy Orbison Story RM 744 3,879 65.2% 16.33 05-May-03 1 8 Our Song D 785 2,453 39.1% 14.08 12-May-03 1 7 Mack & Mabel AM 744 3,438 66.0% 9.88 19-May-03 1 8 Stones in His Pockets C 785 4,571 72.8% 15.65 26-May-03 1 8 How the Other Half Loves C 785 3,188 50.8% 15.29 01-Jun-03 2 Candide O 744 506 34.0% 15.53 01-Jun-03 4 Spirit of the Dance CD 744 2,967 99.7% 14.04 08-Jun-03 7 Carmen AM 744 4,125 79.2% 16.98 22-Jun-03 1 8 The Hobbit D 785 3,550 56.5% 10.94 29-Jun-03 1 Buddy Holly 1 744 295 39.7% 14.26 29-Jun-03 1 8 Office Suite C 785 2,910 46.3% 14.87 06-Jul-03 1 8 My Cousin Rachel T 785 1,850 29.5% 14.62 13-Jul-03 1 The Elvis Collection 1 744 508 68.3% 14.33 13-Jul-03 1 8 Blues Brothers RM 744 3,247 54.6% 16.48 20-Jul-03 1 7 Bouncers C 744 1,718 33.0% 12.94 18-Aug-03 2 12 Carousel M 744 5,138 57.5% 18.13 01-Sep-03 3 Rockin' on Heaven's Door 1 744 1,584 71.0% 13.81 01-Sep-03 6 Noddy K 760 4,312 94.6% 8.78 08-Sep-03 1 8 Vincent in Brixton D 785 2,728 43.4% 17.08 15-Sep-03 1 8 The Lieutenant of Inishmore C 785 1,805 28.7% 16.99 22-Sep-03 1 8 As You Like It C 785 2,461 39.2% 15.73 29-Sep-03 1 8 Cemetery Club C 785 3,325 52.9% 13.71 06-Oct-03 1 8 The Rocky Horror Show RM 744 5,110 85.9% 18.83 13-Oct-03 1 8 HMS Pinafore O 744 2,795 47.0% 16.35 20-Oct-03 1 8 The Vagina Monologues C 785 2,511 40.0% 16.75 27-Oct-03 1 8 The Graduate C 785 2,088 33.2% 18.69 03-Nov-03 2 Magpie Dance 1 785 555 35.4% 7.26 1 Al Murray 1 785 776 98.9% 16.31 1 Sing-a-long-a-Wizard of Oz 1 785 690 87.9% 14.80 10-Nov-03 1 8 The King & I AM 744 4,368 73.4% 12.74 17-Nov-03 1 12 Joseph M 744 7,662 85.8% 17.79 24-Nov-03 1 8 Nutcracker B 744 4,997 84.0% 23.19 01-Dec-03 1 8 The Picture of Dorian Gray D 785 4,536 72.2% 18.39 08-Dec-03 6 63 Snow White P 744 41,788 89.2% 14.46 19-Jan-04 1 8 Taking Sides D 785 2,902 46.2% 17.75 26-Jan-04 1 7 Jesus Christ Superstar AM 744 4,100 78.7% 13.10 02-Feb-04 3 19 The Full Monty M 744 9,074 64.2% 20.96 23-Feb-04 2 12 84 Charing Cross Road D 785 4,214 44.7% 18.13 08-Mar-04 2 12 Full Circle C 785 7,448 79.1% 20.19 22-Mar-04 2 9 The Merry Widow O 744 4,581 68.4% 18.12

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Programme Summary April 2003 – March 2004 Musicals Buddy Candide Carousel Joseph And The Amazing Technicolor Dreamcoat Summer Holiday The Blues Brothers The Full Monty The Rocky Horror Show The Roy Orbison Story Drama 84 Charing Cross Road A Midsummer Night’s Dream As You Like It Bouncers Full Circle How The Other Half Loves John Gabriel Borkman My Cousin Rachel Office Suite Our Song Stones In His Pockets Taking Sides The Cemetery Club The Graduate The Lieutenant Of Inishmore The Picture Of Dorian Gray The Vagina Monologues Vincent In Brixton Dance Magpie Dance Nutcracker! Spirit Of The Dance

Pantomime Snow White and the Seven Dwarfs Opera / Operetta Carmen HMS Pinafore The Merry Widow Children Noddy The Hobbit Concerts Al Murray Buddy Holly Rockin’ On Heaven’s Door Sing A Long A Wizard Of Oz The Elvis Collection Amateur Jesus Christ Superstar Mack and Mabel The King And I