Charity No: 1000799 Company No: 02535040 THE OILY CART COMPANY (Limited by Guarantee) TRUSTEES, I DIRECTORS, ANNUAL REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 315t MARCH 2025 1.OBJECTIVES & ACTIVITIES Oily Cart continued to pursue its core mission to reimaglne thèatre for all babies. chlldrèn and young people to enjoyi Wlth a particular focus on Dldeaf, disabled and Nlneurodivergent babies, children and young people who experience the most barriers to access. The company strives to achieve its mission through five core objeclives: SHOWS and CREATIVE PROJECTS: To produce high-qualily theatrical experiences created for and with Dldeaf, disabled and Nlneurodlvergent babi6S, Children and young people who experience multiple barriers to aGcess, across the UK and Internationally. EXPLORATION: To push the boundaries of sensory performance practice through research, collaboration, and artist development. CREATIVE DIVERSITY: To widen the diversity of perspectives creating our work to enrlch our working practices and make our output more relevant. To remove barriers for communities who are under-represented in our audiences and the wider theatre sector. DRIVING CHANGE: To advocate for and with disabled Individuals to champion their right to lead active cultural lives. Advocating with our community for climate action. RESILIENCE.. To make sustainable choices and dev81op a dynamic business model that grows and nurtures our resources (people, assets, finances, technology and those of the planet.) These resources will allow us to be innovative and responsive in a rapidly shifting global context. 'If any politician, Scottish or English, requires confirmation of the power and value of theatre, then Oily Cart's When the World Turns - a sensory adventure for disabled children with the most barrlers to access - does the job and it does it with a genuine sense of wonder and artists who put aslde all ego. They perform wlth such care." (Lyn Gardner, The Stage). Charity No: 1000799 Company No: 02535040 THE OILY CART COMPANY (Limited by Guarantee) TRUSTEES, I DIRECTORS, ANNUAL REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31st MARCH 2025 TRUSTEES, I DIRECTORS, ANNUAL REPORT FOR THE YEAR ENDED 31st MARCH 2025 CONTENTS 1 . Objectivas & Activities Pag6 2 2. Public Baneflt Page 3 3. Achievements & Performance Page 4-12 3.1 Shows & Creative Projects Page 6-8 3.2 Exploration Page 9 3.3 Creative Diversity Page 9-10 3.4 Driving Change Page 10 3.5 Resilience Page 10-12 4. Financial R8vi8w 2021-22 Page 12-13 4.1 Financial Review Page 12 4.2 Going Concern Page 13 4.3 Investment Powers & Policy Page 13 4.3 Rese￿es, Policy Page 13 5. Future Plans Page 14-15 6. Structure, Governance & Management Page 15-16 6.1 Governing Document Page 15 6.2 Governance & Management Page 15 6.3 Related Parties Transactions Page 15 6.4 Risk Management Page 16 7. Reference & Administrative details Page 16-17 8. Independent Examiner's Report Page 18 9. Independently examined financial statements Page 19-28 1.OBJECTIVES & ACTIVITIES Oily Cart continued to pursue its core mission to reimagine theatre for all babies, children and young peopla to anjoyi With a particular focus on Dldaaf, disabléd and Nlneurodivorgent babios, chlldron and young people who experience tha most barriors to access. The company strives to achieve Its mission Ihrough five core objectives: SHOWS and CREATIVE PROJECTS: To produce high-quality theatrical experiences created for and with Dldeaf, disabled and Nlneurodivergent babies, children and young people who experience multiple barriers to access, across the UK and internationally. EXPLORATION: To push the boundaries of sensory performance practice through research, collaboration, and artist development. CREATIVE DIVERSITY; To widen the diversity of perspectives creating our work to enrich our working practices and make our output mor6 relevant. To remove barriers for communities who are under-represented in our audiences and Ihe wider theatre sector. DRIVING CHANGE: To advocate for and with disabSed individuals to champion their right to lead active cultural lives. Advocating with our community for climate aGtion. RESILIENCE: To mak8 Sustainable choices and develop a dynamic business model that grows and nurtures our resources (people, assets, finances, technology and those of the planet.) Th8se resources will allow us to be Innovative and responsive in a rapidly shifting global context. "If any politician, Scottish or English, requires confirmation of the power and value of theatre, then Oily Cart's When the World Turns- a sensory adventure for disabled children with the most barriers to access - does the job and it does it with a genulne sense of wonder and artists who put aside all ego. They perform with such care." (Lyn Gardner, The Stage). 2. PUBLIC BENEFIT The charity confirms that the Trustees have considered the Charity Commission's guidance on public beneflt, including the guidance on public benefit and fee charging. Oily Cart's purpose is to create theatrical eXperIen￿S that benefit the public, in particular babies, children and young people who are disabled and experience barriers to aC￿ss. By ensuring each experience is as accessible as possible and of the highest quality, the charity achieves benefits that include.. Reducing isolation and increasing wellbeing through taking part in positive shared activities. Bringing joy and entertainment. Improving communication and GonneGtion through creative activities. Challenging prec0n￿ptIOnS in relation to these children, and their potential. "It was vary special to be in a state of awe and wonder with my baby and has transformed the way I will play and listen with her." Audience feedback on Great Big Tiny World. In 2024-25 we continued to fight for an equilable society in which every chlld has the right to access world-class thcatre. We continued to evolve and deliver our flexible programffte - providing shows in different formats and settings - in direct response to family feedback on how to improve access and choice. Our 24-25 programrne reached a total of 1,706 beneficiaries. By offering a range of models, including show5 in family homes, we continued to reach a broad d8mographic, including a higher proportion of families who Identify as working-class. Oily Cart has a mixed income model, which Includes charging varying levels of fees for our work. The Trustees have carefully considered the balance of this, to ensure that we can cover our operating costs and deliver work that is affordable - or ev8n free of charge - for audiences. Oily C8rt remains a sector-leader in access for some of the mosl overlooked audiences - babies and disabled children and young people. In the past year we used our profi18 to keep advocating with and for these audiences across the UK, working closely with each venue in our touring circuit to ensure access was at the forefront of everyone's minds. Rigorous health & safety protocols continued to be followed to ensure all beneficiaries remained safe. For each show, we made adjustments, to remove as many barriers as possible, such as providing high quality preparation resources in advance. We provided further resources for parents I carers and leaching staff to ensure they felt comfortable and confident in engaging in the activity, as well as providing ideas they could take home, and use beyond the show. '• 3.ACHIEVEMENTS & PERFORMANCE: 2024-25 Throughout 2024-25 we invited children of all ages from across the UK to experience the living, breathing setting of 'When the World Turns, in all its forms - including two new models that were inspired by the original production, Great Big Tiny World, and A World B8neath Us. We were thrilled to showcase this work at two leading children's theatre festivals - Imagine Festival at the Southbank Centre, London, and Imaginate, the Edinburgh International Children's Theatre Festival. This allowed work created with and for these too-often overlooked audiences to be positioned, and valu8d, alongside other world-class theatre shows. Throughout, we centred the themes of eco-systems, care and biophilic principles. We are delighted that thls year's programme of work has been shortlisted for the Young People Now Awards 2025 as well as for a Fantastic for Families Audienc8 Impact and Innovation Award. With our Artlsllc Dlr8cior on maternity leave during the first part of the year, this gave us the opportunity to offer lead creative roles to two former, and one current. Associate Artists. When The World Turns (co-produced with Polyglot Theatre, Australia) was re-developed for public venues in the UK, by award-winning Associat8 Director Rhiannon Armstrong. This has been highly acclaimed by press and audiences alike. Inspired by the origin81 production, our 24-25 Associate Artist Greta ChambÉrs-McMillan co-directed a new At-Home version, A World - Beneath Us, with co-Director Natalya Martin. On returning from maternlty leave, our Artistic Director, Ellie Griffiths worked closely in rehearsals with her baby to adapt this show into a new version for baby audiences (0-12 months) - Great Big Tiny World - which received 5-slar reviews and gave many babies an inspiring first experlence of theatre "The is the first time we'v8 ever taken our Ghild to the theatro, and It couldn't have been a better experience... It réally will be a day that stays In our memories" Audienc8 feedback on When the World Turns. In th18 challenging 8conomiG and environmental climate, we strlved to maximise our resources. and tour in more sustainable ways. With shows sharing the same performers and set, thls enabled more venues to buy into Ihis work, some programming work for disabled children with the most barriers to access for the first time. Meanwhile, our co-producers continued to tour the Australian version of this show to audiences the other side of the world. Together we are excited to be pursuing conversations around expanding the reach of this work across Europe, America and beyond, ensuring that suslainability is at the heart of these conversations. In 2024-25 our key achlévements were: Reaching 1706 children, young people and their parents I carers I families. Delivering 66 in-person shows" 50 at-home shows", 6 days of film-screenings. Delivering a further 24 workshop sessions for 550 participanls. Being shortlisted for the prestigious Children & Young People Now 2025 awards for best Arts & Culture Experiences for our programme of work in 2024-25 and for Ihe Fantsstic for Families award for Arts & Impact. Touring "When the World Turns (co-produced with Polyglot, Australia), to UK venues for the first time. Creating our 3r(J At Home show, A World Benealh Us, which continued the trend of this work reaching those experiencing significant intersectional barriers. Working together with our community to raise the profile of the creative potential and contributions of young people who experience complex barriers to access (often described as PMLD}. Greta Mcmillan took on the role of Associate Artist, and co-Directed A World Beneath Us - as well as writing an article for the Big Issue: 'I'm a disabled artist and activist. I create art where eve one is valued- includin nature,. We also showcased the work of young performers on big screens across Wandsworth, London. Deepening our engagement with families to increase the impact and influence of disabled young people on our creative and advocacy work. Providing thought-leadership and global advocacy for and alongside this audience through blogs, seminars, conferences and training, including at Bibu and Babaro international festivals. Location of events Cila". 4;nhLJro h UNITED KINGDOM Larlisl Rel*aft 15LE CF liddlesbiou9h SLdr burL)uyFI Harroqfl Mfln tp.r apl Dari Nnrw4lC.h iam Noi 5trthJa Cardill I bi1f15 'j'l['_iJuIII A map of Oily Cart delivery across the UK in 2024-25 3.1= SHOWS and CREATIVE PROJECT Key shows and projects delivered in 2024-25 were: A WORLD BENEATH US: an 'At Home, show that was inspired by When the World Tums. Using film and sensory activities to engage children in the safety of their home. WHEN THE WORLD TURNS: a revival of our sensory show that toured to venues across the UK. Using biophilic design principles, disabled children enter into an immersive world, surrounded by hundreds of living plants. GREAT BIG TINY WORLD: a new version of When the World Turns, adapted for babies, which toured alongside When The World Turns. SOUND SYMPHONY FILM SCREENING: Screening of a short film, featurlng dlsabled artists of all ages, as part of Wandsworth Arts Fringe. SPACE TO BE.. We delivered 1 workshop for staff and provided one set as a long-term loan to the Helen & Douglas hospice. A WORLD BENEATH US Toured to famlly homes: August 2024 A World Beneath Us is part of our 'fl8xlble programme, that aims to increase access by providing shows in different models so famllies have more choice in how to access creative opportunities. This show is inspired by When the World Turns. It was co-directed by our current Associate Artist, Greta Mcmillan and former Associate Natalya Martin. We delivered this to 50 familles across the UK (with 35 on the waiting list), worklng with local charityl community partners to 8nsure it reached those who fac8 th8 most barriers to accessing our venue-based shows. Families have indicated that our 'At Home, shows are really important ways, and sometlmes the only way, for some disab18d children to access theatrical experiences. You can read about one family's experiences of our at home shows in our blog,. htt s:Iloil cart.or ortan -of-at-home-shows-makin . uklresourceslthe- -theatre-accessiblè-for-ever onel 'My chlld has a profound learnlng disability, and it is very hard to find experiences that are meaningful to her, the show Is amazing and the more I play with it the more understanding l am getting about how best to angage her, a very individual experlanca" Audience feedback on A World Beneath Us Family feedback indicated the success of this reaching new audiences (68 % ) who otherwise have barriers to accessing live theatre. For 18 % of children experiencing this show, it was reported that this was their first ever arts and culture experience. 50 % of respondents reported that they only attend an arts & culture experience at most once per year. This show also continued the trend for our At Home shows reaching a higher proportion of families from lower socio-economic groups, compared to venue tours (430/0 self-identified as working class,. 290/0 as lower middle class). We tested a 'pay what you can, model for A World Beneath Us. This averaged at £12 per ticket, with some receiving the experience for free, or a very small donation, and other families opting to 'pay forward, for another family to experience the show. We anticipated that some families may experience barriers to digital engagement. We also provided pre-paid internet dongles to families for whom internet access was a barrier: "The fact you helped support by providing internet made that we were actually able to access it because internet in our property is a problem.. AUDIENCE ENGAGEMENT & FEEDBACK "Thanks so much for allowing us this opportunity of being part of your lour. Experiences are so few and far between for [childl to accass." "I feel so honoured to be chosen for such a beautiful thing. We got our delivery Ihis morning and I cried when l opened it. I don't think you realise how much it means and I wanled you to know how grateful l am. "A gift that will keep on giving. He loves interacting with the activities more each time we revisit them" "Thank you so much for bringing such an inspiration Into our home. I will be forever gratefull" "I'm using our sensory theatre experien￿ to help engage with my child in a more meaningful way" "It has opened up a world to explore both inside and outside when we are able to access It, The forest is an incredible place and we can now appreciale it on a different level" WHEN THE WORLD TURNS & GREAT BIG TINY WORLD Toured: February- March 2025 Following a successful tour to specialist schools In the UK in 23-24, we adapted When the World Turns (co-produced with Polyglot, Australia in 2022) for public venues in the UK. This immersive, sensory performance took audiences into the heart of a living landscape, featuring surround- sound, singing, lights, shadows, scents, water, puppatry and over 300 plants. When the World Turns playfully explores our connection with each other and th8 world around us. Created for sfflall audience numbers to allow for lots of up-close sensory moments, a gentle pace, and plenty of breathing space for processing. The show was expertly crafted for and with disabled children of all ages who experience complex and multiple barriers to access (0ft8n described as having PMLD). Our co-producing partners, Polyglot, continued tc deliver this co-production in Australia. "We went to your show in the Southbank and it was the most beautiful and amazlng show I've been to with my son. He loved it and cried when it was done. I nearly cried durlng it bécause il was truly about the children. The performers created a space where théy were the most important people, and thelr contrlbutions were valued." Audience feedback on When the World Turns. Using the same set and performers, Oily Cart created a new version of this show, Great Big Tiny World, especially for babies aged 0-12 months and their adults. Filled with beautiful sounds, scents, music, shadows and sensory objects, even the tiniest things played an importanl part. Each baby received a hand-made sensory storybook to keep, which guided Ihem through thls world and left them with the message "the world is different, now you are here.. AUDIENCE ENGAGEMENT & FEEDBACK We delivered 66 performances reaching a total of 996 beneficiarlos. Specifically, this included 37 performances of When the World Turns (354 ben8ficiaries) and 29 performances of Great Big Tiny World (642 beneficiaries). 8-week tour to 9 significant national venues belween 1 st February and 30th March 2025. The tour included the Southbank Centre as part of their Imagine Festival 2025, The Egg, Galeri Caernarfon, Hullabaloo, Attenborough Arts Centre, Dorchester Arts, Level Centre, Gulbenkian, and Chat's Palace. For When Ihe World Turns 75 % of audiences were new to Oily Cart's work, which rose to 970/0 for Great Big Tiny World. For When the World Turns 19 /0 were first-time theatre goers, with a further 12 /0 engaging less than once a year, and for Great Big Tiny World 210/0 were first-time theatre goers, with a further 7 % engaging less than On￿ a year. For When the World Turns, 33,/0 of audiences identified as working-class, and a fvjrther 22 % as lower-middle class, for Great Big Tiny World this was 8 % and 310/0 respectively, 1000/0 of survey respondents strongly agreed that When th8 World Turns mad8 their child or young person feel good, 100 % strongly agreed that It was an enjoyable shared experience, and the average show rating was gg1100. 1000/0 of gurvey respondents strongly agreed that When the World Turns was a meaningful experience to their child/young person. 1000/0 of survey respondents agreed that When the World Turns has given them ideas that they will use with their childlyoung person in the future. 92Q/o of survey respondents strongly agreed (40/0 agreed) that When the World Turns crealed opportunities to connect with their child or young person in a differenl way. Parentslcarers responded that they were inspired to communicate more interactively, playfully, and incorporate stillness into their interactions 100 /0 of survey respondents strongly agreed that When the World Turns felt accessible for thelr chlldlyoung person. Family feedback: It's hard to find sensory theatre. It was amazing from start to finish,. the intenslve interaction was lovely. [My chlld] loved tha whole thlng" I partScularty loved seeing the reactions and responses of my daughters., my younger profoundly disabled daughter listened attentively to the sounds, worked so hard to raise her head to look up at the shadows, especially on the canopy, loved exploring the textures of th8 moss and foliage, and vocalised her appreciation and enjoyment during the 'being still, time. Her neuro-typical sibling Initially tried to remain so non-committsl and hard-to- impross but couldn'l help but enjoy hersolfl." "When the World Turns is sirnply exquisite: the set, lightlng, sounds, scents, puppetry and especially the choreography all come together to deliver a beautifully accessible and completely immersiv8 performance" "I watched the show alongside a small class of children who had some very complex needs - It was an emotional journey as I watched them light up in the space and immerse themselves wlthin the sights and sounds of th8 room - It was like a very special dream - the care and attention of the show was a delight to witness - a very emotional and unique experience for me." "The changes in sound. .made them really focus and search for the source" "Th8 last part where the actors18t th8 Stud8nts16ad was one of the best bits! It was really fanlastic and we hope to come back with our school soon" "One of the best cultural experiences of my life" "So inclusive. Best thing I've seen for individuals wlth disabllities!. 3.2. EXPLORATION Pushing the boundaries of sensory performance practice through research, collaboration and artist development Exploration is a vital part of our process. Creating time and space to test out new ideas, enables us to push the boundaries of the artform, and find new, creative ways to remove barriers for disabled children and artists to engage in our work - ultimately leading to more exciting, more relevant and more inclusive shows. Key activity in this area in 24-25 included: JOYRIDE DEVELOPMENT: 1 weeks, R&D with local families. ASSOCIATE ARTIST: Oily Gart continued to engage multi-disciplinary artist Greta Mcmillan as our Associate Artist. When asked to sum up her time on the project Greta said: "enjoyable, Joyful and pressurad" When asked about the pressure she said clarified that It was in mostly a good way as it links to the importance of th8 project. She was also asked how she was feeling at the end of the project, to whiGh she responded: "Inspired, empowered, croatlvg, ambltlousi proud, curious, creatlve empowered, empowerad." 3.3. CREATIVE DIVERSITY Inviting diverse perspective8 to ènrich all of our working practices Oily Cart continued to champion best practice in representation by.. Menloring 1 disabled artist through a 7-month Associate Artist placement. Creating all of our work directly with children and young people to ensure they had a impact and influence on the development of all our work. Inviting former Associales to step up to lead roles for the company during our Artistic Director's maternity leave in 24-25. 35 % of the company's workforce identify as dlsabl•d (38 % of core staff and 35Q/o of freelancers). 179/D of the company's workforce identified as Nlneurodiverg8nt (63 /0 of core staff and 17 % of freelancers). Of the company workforce (core & freelance) 38°/9 identified as White British,. 16 % olher white background; 80/0 white Irish; 5 % Indian,. 5 /0 Other Asian Background; 30/0 Chinese., 30/0 Other Black background; 30/0 white & black Caribbean,. 3 % Latin American,. 3 /0 mixed white and Asian and13 1 preferred not to say. The workforce also identified as being 57 % female; 38 % male; 30/0 as non-binary; and 30/0 preferred not to say. 59 /0 identified as heterosexual, 27,/0 as gay, lesbian, bisexual or queer, and 14 % preferred not to say. 470/0 identified as being from higher socio-economlc backgrounds, 18 % from intermediate and 24 % from lower socio-economic backgrounds and 11 % preferred not to say. Oily Cart also started to explore how to expand and deepen the ways we work with disabled children who have the most barriers lo access and to explore new ways that families can have more power within the organisation. We focused on the question "How can the voice of disabled Ghildren and young people, who communicate in ways other than words, and Iheir families, have impact and influence on Oily Cart's governance?" Staff and Trustees worked closely throughout the year to pilot a 'Sensory Board,, as an extension of the company's engagement of 'Expert Families, (families who have at least one disabled child). Over the year we tested: Forming a small group of 5 local families, which included children who experience barriers to access, including one Trustee and her family. Hosting 4 meetings throughout the year at weekends or during holidays. Families, staff and Trustees were invited to each meetlng. Linking the themg of the mèetings to those of our Trustee meetlngs. Inviting the group to attend Wh8n Th8 World Turns to gather more in-depth feedback. 3.4 DRIVING CHANGE Advocating with and for the rights of Dldeaf, disabled and Nlneurodivergent children who experien￿ the mosl barriers to access to lead active cultural lives. As part of this strategy, the company: Continued to provide thought-leadership in the UK and internationally, through panel talks at Bibu (Sweden) and Rabara (Ireland) international children's theatre festivals Partn8rad with high profile v8nu8s, including presentlng work at the Imagine Festival (Southbank, London}, to advocate for the right of this audience to access these public spaces and festivals. Engaged former Assoclate Artist Jo-Anne Cox, and sensory board member Kyllah Dyer to perform as part of the soundtrack for both A World 8eneath Us and Whèn the World Turns l Great Big Tiny World. Jo-anna has been a fantastic role model for Kyllah, who has taken up the cello after having been Inspired by Jo-Anne's creative practice. Developed a new Advocacy Strategy, and continued to champion the voices of disabled artists through a series of blogs and press artlcles, including a significant article by Associate Artist Greta Chambers-mcmillan, published in the Big Issue, 3.5 RESILIENCE Making sustainable choices that nurture our r8sourc8s {cr8atlve, flnanclal, organisational and the planet). These resources will allow us to be responsive to our audiences. changing needs. DIGITAL RESOURCES Led by a renewed communication strategy, and messaging framework, the company continued to use its digital platforms lo raise Ihe profile of the company, and the right of our audience members lo lead active. cultural liv6s. Key achievements included: We maintained our accessible website www.oilycart.org.uk, using this to showcase the quality of our work, and the artists that we Gollaborate with. In 24-25 1 gk users engaged with our website (a 37 /0 increase from 23-24). There were 112.5k views of content (58Q/g increase from 23-24). There was an average engagement of 2m08 (300/0 increase from 23-24) Our social following grew by 14,/0 over the year (with 15k followers across all platforms by the year end). Growth was consistent across all platforms, with the greatest growth being on Instagram (19 % increase in followers). 10 STAFFING During 24-25 we engaged 8 members of core staff and 29 freelancers. The company continued to act as an Ethical Manager of the Independent Theatre Council upholding ethical employment practices. The company remained a Living Wage Employer. CLIMATE CRISIS Our identifiable footprint was 20 tonnes C02e (compared to 14 lonnes in 23-24), measured using Julie's Bicycle's "Green Tools" The main reason for the increase on the year before was the difference in programme delivery, which means our specific footprint for each year varies. However, this remains a decrease on the prior year (20 tonnes in 22-23), and the multi-year trend is that our impact is gradually decreasing. However, each year we strive to improve our monitoring system3 to provide the most accurate picture of our impact. In the past year we planned, monitored and evaluated the impact of all of our productions by using the Theatre Green Book. Project Materials & Waste: 17.66% Energy: 32.20% Frei9ht Travel: 6.99% - Artlstlcrew Travel: 11.08% Show power. 4.02% Fleet Travel: 7.24% Buslness Travel: 4.65% OperatSonal Materlals & Waste: 16.16% Graph depicting the breakdown of the company's known emissions in 24-25 Key findings from annual monitoring: We achieved the base-line target for When The World Turns l Great Big Tiny World (meeting advanced standard in all areas). By working with Eco-scenograpers the use of sustainable materials was embedded in the concept. As much as possible we used recycled materials, but if not purchased from eco-sources e.g. second hand (800/0 of material usage was rated as "excellent"). The main negative irllpacts of When The Worfd Turned was the use of 2 vans Éo tour the large and heavy set, and the purchase of a new dancefloor (although this will be re-used). For A World Beneath Us we did not achieve the planned baseline standard, although this overall had a significantly lower carbon footprint that our standard touring shows. We learnt that when using eco materials {e.g.natural fibres) thls doesn't work towards our 50 % target of recycled materials. 650/0 of material usage was rated as "good. which was mostly fabric and items expected to be reused. 180/0 of materials were rated as "bad" although these were all natural materials (e.g. wool, moss) but classed as 'new - sustainable. and 'recycled' as destination. We provided all families with a guide on how to re-use the materials from the show. EVALUATION We continued to make strategic decisions, and evaluate our work, in line with our Theory of Change model. This provides clarity in our mission and objectives and allows us to revlew our assumptions and ensure the company remalns on track. We evaluated all our work and continued to use Culture Count's "Impacl & Insights Toolkit" lo evaluate our work, focusing on the quality, relevancy, accessibility and environmental impact of our work. We also invited p88r reviewers to evaluate our work and are currently working towards an external evaluation of our 'flexible programme,, FINANGIAL REVIEW 2024-25 4.1 Financial review The detailed figures are included in the Financial Statements. At the year end, the accumulated surplus on the General Fund was £230,255 (of which £ 2,461 is Fixed Assets and £227,794 is net Current Assets). The company also carries forwards a restricted fund of £196,500 arising from gr8nts received for future work, as well as a designated Creative Fund of £15,000 to support the company's plans as detailed in the Reserves Policy below. Th8 variation in restricted funds between 2023-24 and 2024-25 accounts is due to the fluctuation in timing of multi-year grants being awarded. Two large multi-year grants were awarded in 2023- 24 which are carried forwards in a r8Strict8d fund to be spent in subsequent years in line wilh funding agreements. The principal funding of the Charity's activities continues to be fees from performances given in schools and theatres. public subsidy received from Arts Council England and London Borough of Wandsworth. The Charity continued to attract generous support from major charitable trusts and foundations and in the year received an upturn in donations from prlvate Indlvlduals. There remains a high need for continued support from Trust and Foundations, with Ihe company having experienced disruption to its planned fundraising timeline for securing replacement funds in future years. The Trustees have considered Ihis risk and taken this risk into account when planning the future programme and maintaining the designated Creative Fund. The security of continued Arts Council England funding as a National Portfolio Organisation has played a vital part in maintaining the viability of the company at such a critical time, and in maintaining confidence of other funders in Oily Cart's work. The company secured an extended commitment to funding until March 2027. 12 4.2 Going Concgrn After making enquiries the Trustees l Directors have a reasonable expectation that the company has adequate resources to continue In operational existence and meet its liabilities as they fall due for the foreseeable future, being a period of at least twelve months from the date these finanGial statements were approved. Accordingly, they continue to adopt the golng concern basis in preparing the financial statements. 4.3 Investment powers and policy Under the Memorandum and Articles of Associalion, the Charity has the power to invest in any way the Trustees wish. To the extent that cash balances exceed short term needs they are invested in deposit accounts. 4.4 Reserves Policy The level of free reserves held by Oily Cart at 31st March 2025 is £246,472, which comprises free reserves within the General Fund of £231,472 (excluding fix8d ass8ts of £2,461) and the Creative Fund of £15,000 which is designed to support the company's on-going artistic plans at a time of economic uncertainty. At the year-ené the company also held a Capital Fund of £193,592, which represents the past funding of the leasehold premises improvements. It is the policy of th8 charity to maintain unrestricted funds, which are the free reserves of the company, at a level which can ensure the sustainability of the charity through periods of change, unc6rtalnty and flnanclal cha118nges. Thls Is deemed necessary as a substantial part of the charity's funding is from trusts and foundations and there is no Gertainty that the level of funding required to continue and develop the Charity's activities will be received, In setting the level of required reserves, the Trustees have considered the costs to which the company is committed on a regular basis, and the length of that commitment (usually betw88n 3 - 6 months). This includes, but is not limited to, the lease on the company's premises, supplier contracts, core staff contracts, freelance and performer contracts. Additionally, the Trustees have considered the timelines and commitments the company undertakes when booking its productions and the potential costs r8quirod to underwrite these key commitments for a period of 6 months. The Trustees have also taken into consideration the expected cashflow of the company over the year ahead. The Trustees deem that the target level of free reserves to support this policy are £206,000. The company's General Fund is available for the general purposes of the Charity. The Trustees, policy has been to build the reserves where possible, particularly in the current economic climate. Crealiv8 Fund The purpose of the d8signated Creative Fund is to set aside monies for future expenditure on strategic artistic activities where we foresee that we may have a funding shortfall during the period 2025-27. In these financial years, amounts have been set aside to support the company's programme which requir8s Increased investment due to recent high levels of inflation, which has not been matched by increases in funding, as well as to enable strategic developments that will support the long-term stability of the cornpany. 13 FUTURE PLANS: 2025-26 When The World Turns & Great Big Tiny World We will continue to tour When The World Turns (co-production with Polyglot, Australia) and it's related show for babies, Great Big Tiny World, to venues across the U K. This show will feature at Imagine, the Edinburgh International Children's Theatre Festival and the Liberty Festival as part of the London borough of culture, which this year takes place in our host borough - 'Welcome to Wandsworth,. We will also explore opportunities to take this show oversees to venues and l or festivals in Europe In 2026-28. We are delighted to have been awarded in 2025-26 a Special Award for this work, from The Fringe Theatre Awards, for pioneering work in inclusive theatre. Insldeways In collabroration with two Swedish producing thealres, Folkteatern Gavleborg and Estradd Norr, we will conlinue to develop a new show for UK and Swedish audiences. Insldeways will start life as an 'at home, show and build to a touring sensory exhibition. It will premier in the UK to family homes from January- March 2026. Aquatlc Symphony R&D We will continue to supporl composer and lead artist Shiori Usui, to develop a new show that can tour to hydrotherapy pools. Following family workshops In 24-25, we wlll further develop the comp(Tr.sition and creative sensory 818ments of the show. We expect this to tour to audiences from 2027. Associate Artist We will re-engage former Associate Artists, Rhiannon Armstrong as Associate Director- supporting her further d6velopm6nt In creating sensory shows for audlences with the most barriers to access. During this period she will re-direct the touring shows, When The World Turns and Great Blg Tiny World, as well as presenting a site-specific audio instillation of 'How to be held.. songs of self-soolhing, within the set of When The World Turns at the Liberty Festival. Joyride We will work with co-producers Ockham's Razor and Creative Giants to explore commercial and festival opportunities for presenting this as a large-scale, outdoor kinaesthetic show in summer 2026 or 2027. Drivlng Change Oily Cart will continue to work closely with families, to ensure that they can influence and impacl all of the organisation's decision-making. Oily Cart will work with university (London School of Economics and Roehampton University) and peer arts partners to launch a large-scale AHRC-funded research project "CRICA" which will create a Consortium for Researching Inclusive Cultures in the Arts. The primary research theme of CRICA is the intersection of disability and the creative economy. specifically the performing and participatory arts sectors. The scale of CRICA will permit researchers to address systemic obstacles to the academic, creative, economic and social benefits of this knowledge, such as ableist informed timelines, environments, labour value and aesthetics. 14 The company CEOS will lead talks, seminars and workshops internationally to inspire global progress around access for young people to the theatre. They have been invited to the Trattini festival in Cagliari I Slovenia l and KORZAC Today in Warsaw. Oily Cart will maintain active membership of the ASSITEJ network, and are founding- members of IIAN. They will also celebrate the 1 Oth anniversary of the Upfront Performance Network, an international network of sensory theatremakers, founded by Artistic Director, Ellie Griffiths. Financlal plans The Trustees agreed a deficit budget in th6 year 2025-26 to invest company r6sourc6s in excess of our general fund above our reserves target strategically to support the company's long-term stability. This includes investing in income generation from other slreams to mitigate against risk of multi-year large grants being increasingly difficult to obtain, STRUCTURE. GOVERNANCE AND MANAGEMENT 6.1 Governing Documenl Oily Cart is a registered charlty {reglstered wlth the Charlty Commlsslon) and a company limited by guarantee, governed by ils Memorandum and Articles of Association. 6.2 Governance & Management Oily Cart continued to benefit from having effective financial monitoring systems in place, and a successful fundraising programme. The company has a strong and dediGated Board with a diversity of relevanl skills and experience. The Trustees are continuing planning for the retention and succession for Trustees. New Trustees are elecled to the board by exisling members, following an initial induction and observation process. The new trustees then undergo a full induction and training process to brief them on their legal obligations under charity and company law, the company's board policy, the Memorandum and Articles of Association, safeguarding, the committee and decision-making processes, the strategic plan and recent financial performance of the charity. Trustees are encouraged lo undergo regular internal and external training when this will facilitate the undertaking of their role. The key management personnel of the charily comprise the members of the Board, the Artistic Director (Joint CEO) and the Executive Director (Joint CEO). The Board of Trustees administers the charity. The board meets a minimum of four times a year, and the Finance and General Purposes Sub-committee meet at least once in between each meeting. Senior Management, who are subject to appointment by the board, are responsible for the day to day running of the Company and operalional matters including finance, employment and artistic performance and strategy. New staff I board working groups are currently being set up to further increase oversight on key company areas including Evaluation and Environmental Responsibility. The organisation benchmarks salaries and fees for all personnel within the organisation, including Key Management personnel, with the wider independent theatre sector. Changes to levels of pay for employees can be made in line with the benchmarking process and the annual appraisal prO￿5S that all permanent employees complete. Salaries are reviewed annually, subject to the approval of the Board. 15 6.3 Related Parties Transactions Other than the payments to key management personnel as disclosed in the financial ststements. the charity had no related party transactions. 6.4 Risk Management The Trustees, risk management strategy comprises: A comprehensive budgeting and planning system with an annual budget A 3-year Business and strategic plan A company risk register which is subject to annual review The design and implementation of systerns and procedures to mitigate all identified risks and to minimise any potential impact on the Charlty should those risks materialise The Trustees have identified and reviewed the major rlsks to which the charity is exposed on a regular basis. Particular risks that are being regularly monitored include: Safeguarding of children, young people and adults at risk. The impact of the 'cost of living crisis, in particular Ihe Increase in energy costs and inflation. Fundraising activity, in particular the Increaslngly comp8tltlv8 landscape with trusts and foundations, and the risks related to public subsidy. The Impact of external events on the delivery of company activity, and its ability to raise earned income and meet existing funding requirements. Personnel capacity and wallbalng. Th8 Trustees are satisfied that systems are in place to mitigate the charity's exposure to the major risks. Company policies and procedures are closely monitored as Is the company risk registcr, which provides the impetus for better organisational planning. A key element in the management of financial risk is the setting of a reserves policy and its regular review. The Trustees foster an environment in which the creative team are able to take appropriate artistic risks as parl of the development and innovation of new artistic approaches. REFERENCE & ADMINISTRATIVE DETAILS The TrusteeslDirectors present their report, together with the independently examlned financial Statements of the Gharitable company, for the year ended 31st March 2023. Charity Number: Company Registration Number: The Company s Registered Office: 1000799 02535040 Smallwood School Annexe, Smallwood Road, London SW17 OTW 16 DIRECTORS & TRUSTEES The directors of the charitable company are its trustees for the purpose of charity law and throughout this report are collectively referred to as the trustees. The trustees who served during the year and since the year-end were as follows.. Taiwo Dayo-Payne Philip Barden (resigned on 2 December 2024) Linda Davidson Sue Kingscote Rita Ray Aprll Selhi Charlotte Wood Peter Westaway (appointed on 2 December 2024} SENIOR MANAGEMENT ArtistiG Director & CEO: Ellie Griffiths Executive Director & GEO: Zoe Lally BANKERS: HBOS CAF Bank Ltd Charity Bank Ltd. INDEPENDENT EXAMINERS Bridget Kalloushi ACIE Independent Examiner 6 Linden Road Muswell Hill London N10 3DH A resolution was proposed at the Annual General Meeting that Bridget Kalloushi ACIE be appointed as independent examiner to the charitsble Company. SMALL COMPANY EXEMPTIONS This report is prepared in accordance with the provisions of the Companies Acl 2006 relating lo small Companies. This report was approved by the Board of Trustees on 2nd December 2025 and signed on its behalf by.. TAIWO DAYO-PAYNE Chair of TrusteeslDirectors 17 THE OILY CART COMPANY Page 18 (Limiled by Guaranlee) INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF THE OILY CART COMPANY FOR THE YEAR ENDED 315t MARCH 2025 I r¢port on th¢ fllwicial statcin¢nts for tlic ycar ciidcd 31 st March 2025 wliicli aL'¢ set OUL oil pages 19 to 28. Resptctive responsibilities of trustees and examiner The trustees (who are also the directors of the coinpany for the purposcs ot coinpany law) are responsible for the preparatinn of the accounts. The t￿SteeS consider that an audit is not reqiiired for this year linder section 144(2} of the Charities Act 2011 (th¢ 201 l Act) and that an indepcnd¢nt examination is needed. The charity's gross income exceeded £250,000 and l am qualified to undertake the examination by being a qualified member of th¢ Institutc of Chartered Accountants in EnglaThd and Wales. Having satisificd mysclf thal thc charity is not subject to an audit under company law and is eligiible for independent examlnation, it is my responsibility to: ¢Xiunine the (ILLounts under section 145 of rhe 201 l Act; follow the procedLires laid down in the General Directions givell by the Charity Coinmission 145(5)(b) of the 2011 Acr; and slate wh¢thei' particular matters have coine lo my attL'ntivn. Bas1& nf Independent examlner's Statement My examination was carried out in accordanie with Gcn¢ral Directions given by tli¢ Cliarity Commission. An examinatÈon includes a review of the accounting records kept by the cliarity aIid a comparison of the accounts presented with those rccords. It also includes considcralion ofany iinusual itcms or disclosurcs in the accounts, and seeking explanations from you as trustees concerning any such matters. The prncediire$ ijndcrlakcn do noi providL (ill the evidence Ehat would bc rcquircd in an audit, and cons¢qu¢ntly no opinion is givLri as tu wh¥th¢r the uccow]ts pr¢s¢nt a Irue and fair vicw" and th¢ report is limited to those matters set out in the 8tateiiient hclnw. Independent examiner's statement IT) conneclion with iny examination, no mattcr has come to my attenlion,, which gives nic rcasnnable cause lo believe thdt in any inaterial respect, thc rcquircmcnts,, lo keep accounting records in accordance with section 3 86 ot" thc Companies Act 2006. and to prepare account5 which accord with the accounting recordq, comply with the accoiinting r¢quirement?> of section 396 of the Companies Act 2006 and with the methods and principles vf Lhl St¢ltctnent of Kecommended Practice.. Accountin8 and Reporting by Chariiics have not been mel, or 2. to which, in my opinion, attention should be drawn in order to enable a propcr understanding of ihL aLcvunts to be reached. Bridg¢t KalLi>ushi ACIE Independent Examiner 6 1.inden Road London N10 3DII 2nd Decemb¢r 2025 Page 19 THE OILY CART COMPATrIY (Lznu"led by GUara￿ee) sTATEIIqE1￿ OF FL1'A￿'cJAL ACTIvrriES FOR THE YEAR ENDED 31st MARCH 2025 General Designated Rcstrictsd Capital Funds Funds Funds Funds Total Funds 2025 General Designated Restricted Funds Funds Funds Cvdpilal Funds Total Funds 2024 Dote INCOME from Grants and Donation5 Investments 472,2811 2.729 78,704 22,562 576,283 3,15L) 475,438 2.729 78,704 22,562 579,433 414,127 3,891 81.676 278.150 692,277 3.891 81,676 5,IK)O 782.844 2b Cl]aritdble ACti￿ll]eS Othcr Incon)e TOTAL INCOMING RESOURCES 2c 2d 2¢ 3,150 504,694 27%,150 EXPENDITURE ON: Charitable Activities TOTAL EXPENDITURE 554,293 554,29.3 89.650 89,650 643.943 643.943 570.209 570,?09 99,701 99,701 669.910 669,910 NET INCOME I (EXPE]NDITURE) BEFORE TRANSFERS 21,9 (86,500) (64,510) (6i.515} 178.449 112,934 TIUNSFER BETWEEN TIUNDS From Capital Fund From (To) Designdted Fund 20,230 (20.230} 20230 45,QO() (45,0(M)) (20.230) NET INCOME / (EXPENDITURE) AFTER TRANSFERS 42,220 86,500 20,230 64,510 45.OlX) 178,449 20,230 112,934 FUND BALANCES BROUGHT FORWARD 188,035 15,000 FUND BALAIYCES CARRIED FORWARD £ ?30,255 £ 15,000 £ 283,(X)0 213.822 699,857 196.500 £ 193,592 £ 635,347 £ 188.035 £ IS8.320 6Q,OC 15,OtK) £ 104.551 283,000 £ 234,052 586,923 213,822 £ 699,857 note 5b sd 5a This statement of Financial Activities includes all gains and1055cs recogniscd in the year. All Income and Expenditure derives from continuing activilics. THE OILY CART COMPANY (Limiled by Guarantee) Page 20 BALANCE SHEET AS AT 31st MARCH 2025 202S 2024 FIXED ASSETS Leasehold Premises lrnprov¢m¢nts (note 4a) Equipment (iiote 4b) Mulor Veliiclcs (notc 4c) 193,592 419 2,042 196,053 213.822 558 2,722 217,102 CURREN'f ASSETS Debt()rs (note sc and iiote 10) C,ash ut bank and in Iiand 220,714 272,4XR 4g13,2U2 296,327 215,390 511,717 CURRENT LIABILITIES C;reditllP? Amounls falling due within one year (note I l) EXCFSS ()F CURRENT ASSETS OVER CURRENT LIABILITIES EXCESS OF ASSETS OVER LIABILITIES ($3,YU¥) 439,294 635,347 £ {28,962) 482,755 699,857 Kepresented by: INCOME AND FXPENDITURE ACCOUNT I GENERAL FUND (Dote 5b} CAPITAL FUND (note 5a) RF.STRICTED FUIYDS (note 5¢) DESIGINATED FUND (Note Sd) 230,255 193,59? l96,500 15,000 188,035 213,8?2 283,000 15,000 TOTAL CHARI'I'Y Tr'UNDS 635,347 £ 699,857 For the year endin¥ 31 st MurLh 2025 ilie ¢QiTipaiiy was eiititled to exemptioii froiii audit under section 477 ot.thc Companies AL't 2(I06 relating to small coinpanies. Directors, responsibilities: The Members have not required the company to ubtuin un dudil of ils accouIits for the ycai. iii question in accordance with section 476: The directors acknowledge their resp()nqibilities for complying with the requirements of the Act with rcspect to accounting records and the preparation of accounts. Thcse financial statements have been prepared in accordance with the provisions of the Companies Act 2006 applicable to companies subject to thc Sn￿11 companies regime. The financial slatements wcrc appro￿.ed by the Board of Trustees on 2 December 2025 and signed on its behalf by { Director l Trustee TAI O DAYO-PAYNE THE OILY CART COMPANY (Limited by Guorantee) STATEMENT OF CASH FLOW FOR THE YEAR EIYDED 31st MARCH 2025 Pagc 21 2025 2024 CASH FLOW FROM OPERATING ACTIVITTES Net Income for the reporting period Funds awarded for future periods (restricted) 21,990 6,.50()) (64,510) 21,049 (65,515) 17R,449 112,934 21,924 (163,963) 9,444 (38,549) Depreciation l Amortisation Decrcase l (InLre