Charity Registration No. 1000932 Company Registration No 02557811 THE NATIONAL YOUTH BALL OF GREAT BRITAIN IUMITED BYGUARANTEEI REPORT AND ACCOUNTS Y&4R ENDED 310ECEMBER 2025
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (UMITED BYGUARANTEEI LEGAL & ADMINISTRATIVE INFORMATION Trustees {all of whom are dlrettorsl Patricia Castanha Lloyd Kavya Chauhan Ashley Dixon Clint Masao Hsyashi Sasha MonSque Henry-crawford Paul Jackson MBE (known as Paul Reeve MBE) Kamal Lalwani Rosemary Ryde Annabelle Spring (known as Dr Anna Meadmorel fResiqned on 15/07/2025) Charlty number 1000932 Company numbèr 02S57811 ReElstered offl¢e The Courtyard Shoreham Road Upper Beeding Steyning West Sussex BN44 3TN Independent Emamlnar TC Group The Courtyard ShDreham Road Upper Beedin8 steynlng Wèst Sussex BN44 3TN BkerS HSBC Bank PLC 333 Vauxhall Bridge Road London SWIV IEJ nance Committee Simon 8ox, finance mana6er Patrlcia Ca5tanh3. trustee Ashley Dixon, trustee Kamal Lalwanl, trustee Barbara Palciynski, Chief executlve Paul Reeve. trustee Safeguardlng Committee Charlie Fulton-Langley. general manager Anna Meadmore, tTU5tee Barbara Palczynski, chief executive Pèul Reeve, trustee Jules Renahan, safeguarding and support team manager
THE NATIONAL YOWH BAiLETOF GREAT BRITAIN (LIMITED BY GUARANTEE) LEGAL & ADMINISTRATIVE INFORMATION Communlcatlons Commtttee Kavya Chauhan. trustee Ci3r3 Clayton, social media eoordlnator Megan Gibbons. marketing manager Clint Masao Hayashi, trustee Barba PalcryTr5ki, chief executive Envlronmental. Social, Go¥emance IESGI Committee Rob Fellman, data impact and eluatIOn officer Ch3rlie Fulton-Langley. general Manager Natalie Ha51am. projett rnanager inclusion and outreach Sasha Monique Henry-crawford, trustee Barbara Palcrynski, chief executive Creative Advisory Commlttee Liam Francis Sayaka Ishikawa Mlinde Kulashe Drew Mconie, patron Jo Meredith, creative director Van&55a Vince-Pan8 Iforrner trustee) Anna Watkins Tyrone Singleton, patron NYB All Inl Steerlng Group Grace Abercrombie Max Amold Suzie Birchwood Natasha Britton Honor Dixon Amy Groves Natalie Haslam (project manager for inclusion and outreach) Abri Holmes Pollyanna Hope Monique Jarrett Leanne Kirkham Jo Meredith Icreative dlrettorl Loulse Moulton Joe Powell-main Grace Thorllpson Sophie Tlckle Linzi WhittCJn Youth Council CÈ£e Grace Honor Niamh Zak Please note that as this is a youth council. for safeguarding aSOnS these children are identified by first names only.
THE NATIONAL YOUTH BALLgf OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Pa8e Trustees Report 1-26 Statsment of Tru5tees' Responsibilliies 27 Independent Examiner's Report 28 Statement of Financial Activities 29 Balance Sheet 30 Notes to the Financial statements 31-36
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR EAIDEO 31 DECEMBER 2025 Residential Performance Cofflpany, Elmhur5t Ballet Sthool, 2025 The dIrert0 and trustees have pleasure In presenting their Report and Financial Statements forthe year ended 31 December 2025 together with the accounts forthe charity. The accounts ¢omply with the requirements of the Charitie5 Aet 2011, the charity's governing document and Accounting and Reporting by Charitie5: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic uf Ireland IFRS 1021 (effective l January 20151. About National Youth Ballet For nèarly 40 years NYB has provided transformational apportnitIeS for young people to participate in, create and perform classical and contemporary ballet. Our mi$5i9n is to bring young people together through creative, joyful inclusive ballet artivities that nurture confidence, skllls and positivè values. Our vision is that younz people are empgwered to thrive, shaplng the future of ballet and the world around them. Many of our alumni have become dancers and choreographers in major British ballet companies Including The Royal eallei. Birmingham Royal Ballet. English National Ballet, Northern Ballet, Scottish BalleL Rarnbert and Matthew Bourne's New Adventure5, and rnany more have gone on to work in dance and related industries worfdwide.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Executive summa of 2025 out ts 2025 was a yèar of strategie growth at NY8. Workingto a 3-year business plan across the key areas of creative, marketing and communications, financial growth and organisational development, NYB was able to measure sieady progress in achieving its mission. We engaged with S52 dancers aged 9-25 and emerging artists across a range of activities in location5 around the country, wOrkig strategically to achleve our aims.1 Here are the headlines: 6 national auditlOll5 for our Residential Perforniance Company Edjoes of Tomorrow took plaTr in London, Birmingham, Leeds, Newcastle, Bath and onllne. openin8 the doors to 275 young people from atross the UK 74ay Residential Perforrnance Company Echoes of Tomorrowtook place at Elmhurst Ballèt School. Birmingham for 103 young people from 10-16 August 2025 inclusive 2 sharings of E¢hoes oi fomorrow works-ln-progress took pla in Elmhurst Ballet School, Blrmingham to 279 members of the public including youth groups and guests l-day Residential Performance Company Intensive took place In Elmhurst Ballet School, Birmingham reaching a further 36 young people from across the UK 23 Birmingham Roy31 Ballet Dance Tratk studènts took part In a creative workshop at Elmhurst Ballet School, a first for them and NYB, and embedding our relationship with BRB and the local communlty 7-day Big Give Arts for Impact appéal raising £10,375 Beyond Ballet 5UPPOrted 10 emerging artisls for our 2025 season plus an additional 12 choreographers through our extended Beyond Ballet network NY8 All Inl partnered with Birmingham Royal Ballet and FABRIC to dèliver a l.day conference'Ballet for All, reaching 41 participants NYB All Inl ran a second year of 5 Incluslve ballet classes at South East Dance reaching 15 unique participants plus repeat engagement5 NYB All Inl company partnered with English Herita£e for 12 participants to take part in è 3-day resldency in the Midlands at FABRSC Dance culminating in a day of filmlng at Kenilworth Castle 2 whole day ereative workshops reaching 20 young people completely new to ballet took place in Onside Youth Zcine 'Future' in Da8enharn 3 halF4ay winter workshops reaching 108 young petsple1133 in 20241 in LNerpool1451. Bath1271 and London1361 National auditlon5 for 2026 f¢e5idential Perfomance Company and Res>dential Perftsrmante Company Intensive opened at the end of 2025 Moving Mind5 continued to be embedded acr055 all our pro8rammes of activity to cultivatè our approach to creatlve health, nurturing confidence, mental health 3nd wellbeing of all our young people l January 2025- 310ecember 2025 we had 34,000 actlve users on the NYB website and 52,OW page views, and active user5 increased by IO% on the previous calendaryear Some dUpcatIon May occur in data as participants are not 100% unique B9 individupls rnay have participatèd on more than one prog¥8mme, though w& hav8 specifiealty avoided counting audltionees ihat18ter registered on proj¢cts
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN ILIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 With a strong focu5 on integrating inclusive pr3Ctice to achieve greater social impart, NYB'S team plloted some new ideas to reach even more partlclpants, whilst embeddlng depth and r4chness to our existSng model. The result has been a year with the maximum rea¢h and impart underlinin8 the NYB values. Planning is already underway for our 40th anniversary In 202712Q28, and we have ended the year on a posltlve note thanks to a succe55ful second theatre tax relief claim. Qur annu crea ro me A note on data: Data expressed as percentages throughout this document is based on total responses for each category, per year. where we refer to the percentage {%) change between years, this is by'percentage polnts, l%pl rather than the relative 8rowth or decline expressed as a percent, as the total responses are different each yéar. Pertènt3gè point thangè inste3d refers to the difference between percentages, ratherthan a ch3nge in absolute numbers. To aid clarity, we refer to the acEual numerical change a5 '#change' where appropriate. As there are'no responses, to some questions. causing gap5 in data. we specify the base number of responses for each StattiC in brackets, fortransparency. Auditions We were delighted that 275 young dance[276 in 20241 from across the UK registered for auditions in London, Birmingham, Leeds, Newcastle, Bath and online, having established in 2024 how these locations are key to making NY8 more accessible to dancers from Scotland, North of England and South Wèst of England. Our total reach across all programme participants Ibased on 260 survey respons@sl In 2025 is illustratÈd by this heat map.. This data ¢ontinues to inftsrm dÈ¢isions about NYB'S lo¢ations for wtsrkshops whi¢h also feèd5 into the audience development strategy and future audition pipeline, to increase access to under-represented geographic areas.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEM8ER 2025 Demographic data of auditionees1260 rèsponsèsl showèd 31% of 2025 participants130% In 2024, 26% in 2022 and 20231 were fton-white erit15h. Global majorit¢ auditionees represented 17% which is 5imilaT to 2024 and is an Increase on 2023, in both % and absolute numbers118% in 2024, 14% in 20231; 6% male representing a 5% decrease Since 2024; 2.5% disabled la 1.5% increase since 20241 and 12% neurodivergent la 2% increase since 20231. The rich dall in a11 the demographic data shows a wlder range of diversity of applicants overall but the decrease in applications from boys reflects the more general concern 3cross the artform that there is workto be done to address cultural stereotypes ol boy5 dolng ballet. We were supported at auditions in Birmingham by patron Tyrone Singleton. Principal Dancer, Birmingham Royal Ballet. Residential Performance Cotn an and Re51dential Perforrnance Com Intensive Our annual Residential Performance Company IRPCI summer residential replicates the experience of a professlonal ballèt company, providing a distinct training experience and stepping-stone for upto 105 9-18 year old aspirinE ballet dancers. Amelia O'Hara succeeded louise Bennett as Artistic Director forthe Residential Performance Cornpany two-year season. Louise Bennett took up a Dew role a5 Artistic Director for Londort Vocational Ballet school and we are thrilled that she remains close to NYB as Artistic Consultant. The 2025 Echoes of Tomorrow season was based on ihe suctess of our 202312024 Evolvlno Vislons two-year cycle, allowing usto keep costs l¢)w forfamilles and sprtading our rehearsal eogts. with a focus on a research and development IR&DI process to test ¢reative ideas in preparation for a public performance season in 2026. This shorter 7-day resldential took place at Elmhurst Ballet School, 6imiingham, from 10-16 August 2025. This R&D model allows NYB to develop 3 blueprint for 2026 in both choreography with prototypes for c05tume5 whilst also offering young dancers the unique chance to take part in multiple creative workshops as well as learning classic NYB repertoire. This approach resembles the way rnany professional companies work. Th artists had the freedom to take creative ri5k5 and the dallcers collaborated in the proces5. The themes of ECIeS of Tomorrowwere inspired by sustainability and the natural world, reflecting NYB'S commitment to treatlng Èxtraordinary new works while breathing new life Into èxisting repertoire. Many costumes and set pieces are bein8 creatively adapted or recycled from previous productions. We were proudly supported by Oansez, Planet Friendly Dancewear. The R&D rehearsal process underpinned the creation of four new works by thoreographers Louise Bennett, Roisin Whelan, Monique Jonas and Lachlan Monash2n,. four restagings of works including Chadie Brittain's UTOPIA, Emma Jayne Boyle'5 rhe RedBolloon. Orew Mconie's Merlin Iwith kind permission of Northern Balletl and Ruth Armstroni5 Swingtime. Acros5 the week the young pegple also tgok part in a trio of short works choreographed, costumed and Ilt by young creative artists from NYB'S 8eyond Ballet• programme including choreographers Eli Forest Bryan, Honor Dixon, less Yeo with rehearsal director Rebecca Armstrong, costume supeis0r Megan Tubbs and Ilghtlng asslstant Harry Hlncks. We welcomed back over 50 freelancers to support the Company including our technical team, stage management. lighting and wardrobe personnel and volunteer5. Huge thanks to the support team of Jules Renahan15afeguarding and Support Team Manager), Surya Gupta-wright (Support Tearn Healthcare Worker) and Phil èirch (Soft Tissue Theraplstl and to the generosity of our house parent volunters and residentlal The tarm Global MBjority ref¢rs ta Inthgenous, Block. Asian, Brown, dval-heritage, and Latin Amèrican indNiduals wh when ¢onsid¢rEd co111¥91Y-cOrnpnS¢ opproxim8retry 80-85% of th¢wortd's population
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITÉD BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 supportvolunteers. In keeping with the theme of recycling and sustainability. thanks to a novel suggestion from the Youth Council and coordinated by a volunteer parent. NYB raised £596 through a Pre-Loved dancewear sale at the Residential to go towards our 2026 Relevé appeal. Movlng Minds set the tone for our focus on nurturing creative health from day one, underpinning the whole week to support the young people's growth as artrsts and individuals. Carrie faylor-johnson worked with the company on 'attr(ude and approach, helping them to explore new thought processes to support thelr future paihways. We introduced Pllates Sessions to complementthls. NYB'S commitment to outreach saw us welcorne even more ygung people to Elmhurst across the week. 36 dancers128 in 2024138ed 13-16 joined u5 for a one-day Residential Performance Comp3ny Intensive IRPCII to experien the NYB approach and embrace a day in the life of the residential experl¢n¢¢. They worked with Mark Hindle and Olivia Holland enjoying company class and a treative workshop to develop thelr technical Skills with a focu5 on devÈloping performance qualitie5, alongside Moving Minds ski115 to support confidence and well belng. Thé RPCI culminated in a sharing where the young dancers had a chance to put what they had learnt about performance, to an audience of friends and family and RPC participants. NY8 also tspened our doors to 23 8imiingham Royal Ballet Dance Track students from year l upwaids io give them an afternoon workshop opp¢rtunity with the NYB team. The brainchild of our patron Carlos Acosta, Dance Track introduces Year I pupils in Blrmingham primary schools to dance. and identifiés and offers training to children showlng potential for dance. This group represents the more diverse pipelifte wè would like to see more of in the future, with a ratio of 30170% malelfemale and 59% global majority. When asked 'Did you expèrien anythlng that surprised you about NYB. one partlclpant said: 'Wtstching the doncers ond seeing what they could do, NYB'S Choreographic Showcase 15 always a highlight Df the Rèsldèntlal and has previously been won by now- estsbli5hed choreographers Drew Meonié, Arielle Smith and Rlchard Chappell. Wlth over 35 entries, it was a joyful evening of creative choreosraphic solos. duet5 and grgUP5 and was attended by guest and social media celebrity Birmingham Royal Ballet Principal Hannah Martin. rhe Residential week culminatèd with two informal sharin85 in th¢ studio theatre at Elmhurst Ballet school on Saturday 16 August 2D25. As part of the event. NYB screened the première of Chlmes tsf Change, an NYB All Inl film, created at Kenilworth Castle in partnership with Enslish Heritage. FABRIC Dance's Future Shift, and Thatl Dance. Chimes of Chun9e sees two Beyond Ballet• choreo8raphèrs crtate a new Work inspired by the themes of Echoes of Tomorrow with a group of disabled and Mgn-disabled dancers. One Beyond Ballet• dance leader/facilit8tor was herself a dancer In the NYB All Inl company last year and is one of the NYB All Inl Youn8 Leaders. We welcomed over 279 rnembers of the public across both sessions, includin8 youth Broups and guests, wlth ap) additional 30 staff places, brlnging total attendance to 309. Audience suryeys were sént out afterthe performance. To thè quéstitrn What, if anything, stood out as distinct to other performances you may have seen?. hèrè is a Sample of the feedback.. 'The level of choreography L7nd dgncingfrom such young students! It W175 50 9reot to see that NY8 hod creot86 0 SpCe wvhere young ort15t5 ccTruld explore ond express themsefves through donce..
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN {UMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 The tolksfrom the choreogrophy teoms und the work in Progress pcrformonce gove me o reolleel of involvement in tlie creative process. The stondord wu5 incredibly profe5sionol- o reol te5toment to the youn9 people involved. A rrue di5ploy of what young performers con do when given the correct support )rtisÈicolly OnLI P05torally.' .1 enjoy seeing the concept costum8s ffn the NY8 dances to show where the ideo is going. '1 thought thgfilm was ureot, It showerl bullet 117 u new and dillerent WLTV which speoks to the Gudience a different wcly. The editing wos very well done ond told the story beoutilully. 'It was re¢711y lov¢ly to see the inclu51Vity provided toALL gender5, ages cupabiliries c1055icDI ballet on one stOge/recor6ing. 'It wos incredible. Whut u lovely video demonstratino the importonce of ucce55ykn"ffity to dance. Cl Drew Tommons, Echoes OJ Tomorrow 2025 In-house evaluation of impact data collected from pre- and post-artNity In63 and n65 respectively), combining the collected data for all residential strands IRPC and RPC Intensivel we can identify that: The average overall experience of participants was rated 4.715 When responding to survey staternent5 underthe theme of skills and knowledge partleipants. responses Increased on average 0.2 pla¢es from 415 before to 4.215 after taking part When respondln8 to survey statement5 underthe theme of conlidence que5tlons asked retumed an average of a 0.2 place Increase from 415 before to 4.215 after the course
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN {LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Confldence Intreased most notably under the following sub-themes.. o Being involved in a creatwe proce55 O In understanding a MinbodY approach o Testing new ideas • 41% of participants are first-time engagers wlth NY8. up +13pp on 2024 30% were new to this type of ballet 92% of particlpants self-identified thatthe RPC had made a change to them Data collected (from 99 responses) also identifies sorne changes in the RPC demographlcs. The bl8gest soclo- economic shift is a +13% Increase in ihose wmingfr¢m state-run or state-funded schools. The biggert demographi¢ ¢hanges this year are across Dldeaf and dlsabled partlcipants and those idenitfying as neurodivergent, wlth an average increase of 2.6% across these categories, wlth 3.4% the year prior. Representation of neurodivergen in particular has grown year-on-year since 2022. The growth and development of our RPC delivery this yèar has resulted in 78% of RPC participants lincludin8 RPCII recognising that thèy hav* a more po51tive mindset outside of NYB, up from 52% the prevlous year Ibas2d on 50 re5ponsesl. Attendee5 explained the impatt of the RPC In their own words.. 'Being cjble to moke goodfriends and work 05 (F kind compony member. I love how NYB pushedme otst of my normal comfort20ne which hus inspiredme to olwoys toke into occt)unt everything I leornt over the week50 thut I con tttntinue to improve. Itho5 u150 improved my conffidence., 'Honestly the whole week wos incredible, l ubsolutely loved leorning new thrng5. di5coverffng newstyles and rneeting 50 rrjuny amt7zin9. kind and nice people who helped me through this week ond m¢7de it so muchf(Jn. I lovedperforming thepieces os well.. 'If•undNY8 u unique experience compared to othersumn7er Schools due to its nque creative prtscess Gnd talented choreogrophers., '1 LVOS svrprised thut the Gtmosphere around bullet ftn particular wos differentfrom wht7t I hove experienced befc)re. At NYB everyone wos rhotsghr 4)boutnot just the 'b¢stpeopl¢' teachers were veryfriendly and welcoming.. Be ond Ballet Beyond Ballet" Is our professional Skills development programme for 18-25 year olds. It provides mentorin8 with industry experts and paid work opportunities at NY8 to support emer8ln8 creatives in the early 5tage5 of their careers. Reflecting on the learning from our NYB All Inl programme, and the strong eviden that supports the need for more gender diverslty and lived-èxperien¢e ¢f di$3bility, especially in choreo8raphy and young leadershlp roles. NY8'5 aim in 2025 was to integrate and embed new NY8 All Inl opportUnleS into the Beyond
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Ballet prosramme. An open recruitment process resulted in 53 applications from a broad range of artists, more than double our previous recruitment. The 10 new Beyond Ballèt rolès for 202512026 included four choreographers. reh2ar5al director, dance facilitator, two costvme supeThisors, assistant sta8e mana8er and assistant lightin8 designer. The 8eyond Ballet network has increased to welcorne 12 more emer8ing artists to widen the op)rtUnity by &vin8 them access to the online talks Wlth our incredible network of industry professlonals. Participants acr05S the programme rei¥¢d bespoke one-tO-oThÈ mèntoring with NYB ¢reatfve directorlo Meredfth as well as mentodng sessions and industry talks, including three online prgfe5519nal developrnent talks by lo Meredith such as'Life as a self-employed person,. Beyond Ballet• choreographers received mentoring from Charlle Brittain, choreographer and dance artist, and production roles received one.to.one mentoring from Emilie Depauly-vlguié INYB head of costume) and Andrew Ellis INYB technical director. stage managefflent / The professional work opportunities offered thiough Beyond Ballet• were central to the SUC$$fUl delivery of NYB'S whole season. Echoes of Tomorrowyear one included a trio of short works by Beyond Ballet artists Eli Forest Bryan, Honor Dixon and Jess Yeo for stagé. The 2024 collaboratlon with English Heritage Young Producers 'Shout Out Loud, continued in 2025 integrating the NYB All Inl company to Create a beautifvl new film Chlmes of Change choreoBraphed by Beyond Ballet• Grace Thompson and Anna Smith. Beyond the Plaoues120241 contlnued garnerlng intemational awards including offici315election5 at many film festivals (see @beyondtheplaques thef11ml. The film réeèivÈd a second screening in London in February 2025 fur a private audience with a Q&A afterwards with the artists. Of the 53 Beyond Ballèt applieatlons received in 2025 15% were from non-white demosraphics. 9% were male, with 13% self-defining as non-binary. 17% identified a5 Dldeaf or disabled. Beyond 8alletO continues to offer a p13tlorm for dancer5 from diverse backgrounds and lived experlence. In-ho¢Jse evaluation of impact data collected In91 from pre- and post-actNity has shown.. The averige overall experience of partlcipants W3s rated 4.815 When resp)ndin8 to survey statements under the theme of skills and knowledge participants. responses increased on average by I place from 2.815 before to 3.815 aftertskin8 Part Skills and knowledge increased most notably under the following sub-themes.. o UTrder5tanding howto work a5 a freelance portfolio artist e.g. reer plannin8 o Access to paid creative work to include In your portfolio o Acce5S to a prgfes5i9nal network wtthln ballet and related creative industries RPC danr5 explained the impact of working with Beyond Ballèt• artlsts In thelr own words.. 'The energy rhut the beyondbollet Cho0910pherS brought ollowed us oll to reolly engoge Gndfind more energy to put o piece togetherond reolly enjoy the lost reheur501 Gf the day even ofter trfvll doy. Amazing. Creative worksho NYB'S creative workshops allow young people from across the country to experlence their firsttaste of high quality NYB activity located in rwonal centres to wlden the pipeline of dancers into our national auditions and support our on80ing audience development work.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 In 2025 we delivered three winter workshops reaching 108 young people1133 In 20241 a5 follows.. Llverpool1451, alrnost doubling the numbersfrom 20241251 London1361 8ath1271 a new location for 202S workshops, building on the audltion lootion In-house evaluation of irnpact data colletted In57 for pre. / n34 for post-activity across all workshops) has shown.. 87.7% had never tzken part in NY& actwity b¢fore, which tells us we really are reaching new dancers The average overall experien of particSpants was rated 4.715 When responding to SUry statements under the theme of sknlls and knowledge participants. response5 increased on average 0.2 places from 415 before to 4.215 after taking part Skills and knowlÈd8e increased most notably under the followin8 sub-themes-. o Technical skills, classical andlor contemporary ballet o Awareness of inclusive practke o Perfomiance ski115 When respondinE 10 survey statements underthe theme of confidence participants. pOnse$ increased on average 0.3 places from 3.815 before to 4.115 aftertaking part Confidence increased most notably under thé following sub-themes-. o In being involved in a creative process o Testlng new idea5 o In understanding a rnindlbody approach NYB'S workshop attivity fills a unlque place in the wider portfolio of artivtty on offér,. 71% had done simllar ballet befo, demonstrating how the workshops offer a growth and progresslon opportunity for developin8 dancers. In 2026 we look forward to strate8ic partnerships tD allow u5 to work with values-aligned organlsation5 in more locations. Here's what participants sard about their day.. 'We do pirouettes. we do repertoire, we do our own choreogrophy ot NYg1' 'It guve MÉ G t05ter into the NYB repertoire ond mtrde mefeel purtof o community because we collubomted during the treotivesession unrl I got to meet50me other doncers as well., 'It h¢7s helpedmy confidence and mokingfriend5 quffckly and working with newpeople colluborutively., io
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Onside Youth Zones Qjules Renahan, Future Youth Zone, 2025 The Onside Network of Youth Zones is a thrivin8 collaboration of 15 independent local charities comrrbttted to exceptional. life changirhg youth work that has a genuine long-terni impatton the livesof young ppople. Newt our activitythis year. we very much enjoyed delivering two pilot creative ballet workshops in the'Future' Youth Zone, in Dagenh3m, an area idèntified by the Arts Council as a 'priority Pla., We worked wlth 20 young dancers agÈd 9-12 from the local area, most of whom had never done ballet before and coming from background5 which are under-represented at both NYB and in ballet generally. On g and 10 April 2025 they worked with NYB dance artists Hannah Geor8e and Gerrard Martln. They took part in a Moving Minds and a ballet class each day, as well a5 exploring their idea5 creatively with professional musician Devid Dell'Aiera collaboratin8 on a bespoke score for each group. The projecl culminated In a sharln8 on the last afternoon to an audience of NYB tÈam and Onside staff and youth workers. We hope to return to 'Future' Youth Zone and will continue to seek funding $0 we mlght explore the wider national network in thè *utur•. Jules Renahan. Future YoLrthZone, 2025 li
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEM8ER2025 Movin Mlnds Moving Mlnds, developed in 2021 as a dirert SuIt of the pandemic, continues to form a key part of our work. It Ss core to ¢ur mind / body approach to cgnsiderthe mentsl and physical wellbèing of our dancers to builtl resilience and confidence not JU in a performing arts ¢onteKt but also providing skills for life. Movlng Minds is embedded across the delivery of all our se55ions. Meetlng the ongoing needs of our young dancers in terms of their rnental health and wellbeing is a key safeguarding consideratlon for NY8. Carrie Taylor-johnson (Moving Minds prartitioner since 20211 joined us at the Residential with a focus thls year on'attitude and approach., To8etherwlth our work on inclusive practice through NYB All Inl and evaluation of what young people need to feel supported and included, NYB continues to value the role of creativity in 5UPPOrting a young person's overall health and wè continue to seek ways to develop Movin8 Minds. Impact evaluation of Movin8 Mlnd5 in 2025 reinforces the Importance of thi5 work, and our aim Is to host a wider discussion in the art5 about the role that we play as creatnie organisations In supporting young people to thrive. 2025 data te115 US.. 42% had never taken part In a session designed to support their mental health and wellbein8 before 86% sald Moving Minds has helped develop them a5 a dancer 71% said it made them feel more confident 59% said it helped them have a mtsfe ptssitive mindset outside NY8 'Helps to recognise emotlOF15 ond regulute how I'mfeeling.. Helps me become less unxious ond mole confident., Enter the spoce with positive rnindset to toke on difficult or chollenging tU5ks whilststaying ctsnfidgnt to leurn., It helpedme colm myself down if I've got o challenge to overcome., NYB All Inl NYB All Inl 15 NY8's programme to makè ballÈt more inclusive with a particularfocus on working with dancers ol different abilities includingthosÈ who are disabled and neurodivergent. Whllst we were able to raise vital funds for this work throu8h the annual Big Glve Arts for Impact campaign, we were not successful in our application to Arts Council England for projett funding which meant that delivery had to be extreme cost-effitient. Despite this, Jo Meredlth, NYB creative director, Natssha Britton, Parable Dance co-founderlartistic director, Natalie Haslam, NYB project manager for inclusion and OLrtreath and the NYB All Inl steering group continued to meet quarterly to drive the strategy of the proittt forward with a focus on advocacyas well as integr4tion into NYB'S other attivities. 12
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 ()Celine EllioL English Herttage, Kenilworth Castle, 2025 Finding new way5 to advocate for this work was key in 2025. NY8 produced two NYB All In! pOrtS in 2025. The first NYB All Inl Pre-vocational and Vocational Ballet Report addressed thè question-How can ballet be taught in z morè Inclusive way at pre-vocational and vocational level?" It hi8hli8hts the challÈngèsthat young disabled dance artlsts have faced In accessing ballet training and share5 their idea5 for maklng It more inclusive, infom)ed by their feedback to thi5 questlon and outlines are3s where Change is needed, as well as Sharing practlcal recommendations for schools and or8ani5ations on how to make early-5tage dance trainin8 more accessible. NYB will use this report to shape our practice and hLipe it help5 schools and organisations better support young disabled dancers right frorn the start of their journey. Thè sècond 8allet forAII report captured the findings frum the'B3llet forAII' conferert¢e on 7 July 2025, run bv Dance Leaders Group Bimingham, National Youth Ballet and Bimiingham Royal Ballet. This wa5 a day of hands- on learning about making ballet more inclusive. led by Suzie 8irchwood. The event welcomed practitioners and orEani5ations working with, or interested in workin8 Wlth, disabled dancers, offering practical too15, Shared experiences, accessible teaching strategies, and thought-provokin8 discussions on what inclusive ballet can look like. NY8 Beyond Ballet• artist Grace Thompson led an inclusive ballet workshop. '1 lovedoll the difftrent wqys to look ot mtrvement., 8olletforAllporticipunt. The report highlights the key findings from the day and sets out next steps and recommendations which NYB hopès to bring to the work of the newly formed ABC IAcce5s To Balletl Collective led by Stopgap Danie Company in 2026. The written reports combined with our studio learnlng intorrned the dèvelopment of an NYB All Inl CPD Incluslve practice toolkit, allowing us to share our empeitlse with vocational ballet Schools and prauitioners. We delivered our first CPD training session in September 2025 with teachers at Elmhurst Ballet School. 8y the end of the year we had stsrted to see a growing interest from ballet in5tilutions including Imperlal Society of Teathers of Dancing IISTDI, British Ballet OrganisatioTh IB801 and Royal Ballet School IRBSI and we lookfDrward to workin8 Wlth these organi5ations next year. 13
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Activityflourished despite lack of project fundin8. The second year of our partnership with English Herita8e 'Sheut Out Loud, Young Producers saw two NYB 8eyond Ballet• choreographer5 and a costume designer Isee Beyond Ballet" sectlonl work with our NYB All Inl performance company Including 11 dancers from National Youth Ballet, That Dancel and Future Shlft. After only three days of rehearsal, the company created a short dance film inspired bythe themes of Echoes of Tomorrow and on a beautiful surnmerfs day they filmed on location in the ground5 of Kenilworth Castle. The film was screened at the Echoes of Tomorrow5haring in Elmhur5t Studio Theatre on 16 August 2025. .1 nowfeellike bollet is modefor me t7nd is something I con occe55 being o wheelchuir user., NYB All Inl dancer The team continued to run inclusive ballet classes throughout the yearto avoid any gaps In provlslon with the comrnunity at South East Dancé. Led by our NYB All Inl Young Leaders. these classes show the ballet, arts and disability worlds how ballet-tran51ated movernent throv8h inclusive practice can benefit so many young people. Internal evaluatlon of NY8 All Inl infomis the ongoing need for this work, not just in ballet, but In soclety generally. Approximately Il% of thildren in the UK in 2023 were disabled IHouse of Commons Libraryl. Wavin8 NYB All Inl as an intetvention thai speeifi¢ally tsrgets disabled participation means that in 2L125 we 51ightlv exceeded natSonal rePSentatION with 11.5% of NY8 participants Sdentlfying as disabled ur'undefined, across all programmes. Those self-defining as neurodlver8ent Sn 2025 were 17% of participants (from 517 responses), which is at the upper end of national estimate5 of 15-20% IICAEWI. Year-on-yearchange also shows signifitèftt increases each year since 20231+8.5% and +4% respectively). This suggests either a growing demographic amon8 younger people. andlor could suggest an area of strength in NY8's inclusive recruitmentlp3rticipation practlce. We look forword to next yearfs analysls to understand mctre aboutthis. The conversion ratÈ of disabled and neurodivergent participant5 from auditions to the Residential Performance Company represents an average Ime3nl increase of +1% across both categories. meaning there is a slightly higher representation of these demo8raphics than in the overall audition cohort. Evaluation of data collected16 total rosponses) has shown.. The avera8e overall experiènce of participants was rated 4.715 100% said they would take part in ballet activities again When responding to survey statements under the theme of skills and knowledge their answers Increased most notab under thè following su&themes'. o Awarenèss of dancers who are neurodivergent and/or disabled andlor have learning disabilities o Awareness ol inclusive practice Individual choreographlc skllls Confldence incTea5ed most notably under the following sub-themes.. Self-confidence to work inclusively in a ballet setting o Self-confidence to approach ballet technique In a new way Of particular note. parti¢ipants' self-assessed'level of confidenTr' has incre35ed aftertaking part. This is represented by an inC8$e from 2.815 to 4.515 from before and aftertakin8 part. We noted in 2024 that 50% Df attendees reported haviThg never done similar ballet before, which would suggèst thls makes this coftlidence 14
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 Increase more significant.. not only are partlclpants learning new ski115. but gaining In confldence as a result of the way NYB has facilitated this personal growth. Most interestingly. when i501ating onlythe dats for those experiencingthis type Of ballet forthe first tlme. thelr confldence Improved even rnore than the cohort average. going up by +23%. 58% used variations of the word 'love' to express their thou8hts in this Optional field. In 202S 100% of NYB All Inl survey respondents had done ballet before, and taken part in NYB artivity, demonstrating the desire for continued engagement. 'Ifeltmore confidenr working inclusively now und know 50 rnuch more Dbout inclusive bollet choreogrophy.. he progrurnme wos on incredible experience undmude mefeel comforttsble to be myself.. acl Evaluation Aob Fellman. data. Impact and evaluation officer has now cleansed and analysed three years of daia collection to show year-on-year change. A5 we head into 2026 he has built NYB a bespoke data dashboard that 311ow5 US to filter by categories to understand the dimensions of difference on our pro8rarnme5. and the unique user experience as a participant journey. We can now track individuals from a workshop to an audition and into the maln company and beyond. NYB'S Impact Evaluatlon Framework aligns with Arts Cgun¢il England's current Investment Principles and Is based on the ACE Im act and Insi ht ualit Evaluation Framework. OurTheory of Change Shows our organisational purpose and strategles for long term change, identifying audience, outputs and outcomes. Data is collected consistently aeress all NYB activities and is providing us with rich feedback to help us underSts[ how well we are workin8 and where we ¢an d¢ better. We work ethically (voluntary participation. informed consenL safeguardin8, confidentiality) using different data collection methodologies including accessible pre- and p05t-event participant-tailored SUNeys, open text boxes for individual qualitativè fèedbatk. In 2025 we captured feedback at activities, frorn participants, from live audienees and, new to 2025, practitloner 3nd partnerfèÈdb3tk. In 2026 we will undertake new case studies. The data tells us the dilference we continue to make in terms of Skills, knowledge and confidence, how 'relevanV our work is. what the 'qUali of the work is. the extent to which our work has resulted in 'changes' for participants, how'distincv thÈ work ig (whether participants have done any ballet Similar to thi5 beforel, how'unique, NY8 is overall a5 an organisation. Headllne data hlghllghts that In 2025: 85% respondents said NY8'supported thelr development as a dan£er' 87% self-identified that they had experienced ¥ 'change' Outside of Greater London and the South East, the top 3 regions represented were North WesL South West and West Midlands. In particular, the greatest increases were seen in the North West with +8% and West Mid12nds +6% 15
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN {LIMITED BY GUARANTEE TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 202S Main increases In derno8raphic representation were neurodivergence (increased a further +2.4% this year, up to 74 in actual numbers) and partlcipants from 5tate-run or 5tate-funded schools lup by nearly lO%I The overall ratings lout of 51 across all our activity wère Quality 4.68 Distlnctiveness 4.43 Relevance 4.40 'NY8 wu5 a wonderful ondinspirlno envlronment to wtsrk in und ull of the words ond voluES are rEuIIy demonstraterl through ottion!. Beyond Ballet patticipant Wè measure our SUC$5 uslng outcome indlcaters that tell u5 how well we are achleving our overall aim to improve.. audience perptIOn of ballet as an art form.. changes in attitudes to ballei pathway5 into ballet and Into NYB Irom the widest range of young people around the UK The analysis of our impact informs values-led decision making about organisation318mwth to find the best ways to drive this exPtIonal, relevant and distinct work forwards whilst pivotin8 to find the mosl sustainable financial model. Marketin Communlcations and Audience Develo ment Prloritising marketing and communications was identlffied as a stratÈ8ic priority in both 2024 and 2025 and crucial to our success in achieving our ovèrall aim of changing the perception of ballet. How we tell our stories, raise our profile and engage with the public 15 underpinned by an annual Marketing. Communications and Audience Development Strategy and executed by a restructured part-time marketing team. We recruited Laura Roque as marketing, outreach and audience developrnent assistant in Aprll 2025 to add depth to the team. Megan Glbbons was then sUceded by Marcomms Con5ultsnt Fran Taylor in August 2025. Our fallure to secure Arts Council project funding led, once again, tg P05tponin8 the website development work into 2026 but we pro8re55ed with mapping a refreshed visual Identityfor NYB, woTrrking with stakeholder engagement and with an external designer. At the time of writing this report we have just handed this over trj the webslte developers to begin the resklnning of the webslte In 2026. Our Comms Committee led by trustee Kavya Chauhan Imarketing and content consultant specialising in social media, content and influencer strategy) and trustee Clint Hayashi Isenior communicatorworking with 8lobal brands includlng D15ney, Paramount and Universall continued tts meet quarterly to support the brand development. We were thrilled that Brunswick PRjoined our annual board away day, held in September, to deliver a pro bone session on how we tell our story. Covering tOPiC5 such as What do we want people ttr know about you?J Audiences and Media, and explored how to help NYB find 'a single messa8e', as if we were berng introduced on the radio. Since 2021 the Marcomms team has grown by 50% in tearn members and in resource capacity by 167%. Thanks to this additional resour, not unly are we engaging with our existing audiences and donors more regularly through new512tter5 as well a5 our comms on socials but we are also driving new user5 to NYB through well researched audience develc*pment and outreach especiallyto reEional activities. 16
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR ThE YEAR ENDED 31 DECEMBER 2025 Thank5 to our improved outreach and our well curated social media, in 2025 we were approachèd by a south east England local influencer @unjadedjade with 392,000 followers on Insts8ram who attended an NYB All Inl class and posted about NYB on her story. Analc$ of our digital audience tells us that Instagram is stlll the platfom of choice for us. Other hi8hli8hts of 2025 included securing a Google Ad grant worth SlQ,000 which will improve our SEO and drive traffictowards our webslte. We are setting this up in collaboration with the Art5 Council Digltal Culture Network. Bylhe end of the year, we had completed the work on refining our values, and we now have an acronym to spell the word DANCE. NYB Value5 DIVERSE We make b311et accessiblè to ytsung people from all backgrounds and levels of experience. AMBITIOUS We create bold new works with young people's voice at the heart of our performance and production. NURTURING We prloritise the wellbeing and creativity ol every dancer, bulldlnE klnd communitie5 where they can be their authentic selves. CHALLENGING We push tFte boundaries of how ballet Is created. taught, and experienced. Inspiring a more accessible art form. ETHICAL We seize every opportunltyto champion fairn$, equity and the environment to make a positive impact. Commltment to Envlronment Soclal and Governance Governance In 2025 orte trustee. Anna Meadmore, stood down from the board. Arts Councll England monitoring information collected in 2025 showed the following profilèef governante.. Ethnicity.. 3 White British, I White Other, I mixed multiple elhnic, 3 Indian, 181ack Caribbean. l Not Known. I Prefer not to sav A8e: 20-24121, 35-39131. S64(4). l Known. I Prefer not to say Dldeaf or disabled- l Not Known, I Prefer not to $3y Gender Identity.. 5 Female, 4 Male, l Not Known. I Prefer not to say The chief executbve mèets once a month with the chair or vice-chair, and Senior leadership SucSsion plannlng Is an on-8olng part of the agenda. 17
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN ILIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 The strategic vision of NY8 15 delivered through a model of sub<ommlttees which includes Finance, Environrnental Social and Governance IESGI, Marcomms (Marketing and Communications), Safeguarding and Creative Advisory Council. The commlttees meet quarterly to support the execution of the business plan as part of a structured fr3rnework backed up by specialist knowledge and KPIS. At the end of 2025 Dur general manager and chair of tru5tee5 have Set up an annual govprnance review cycle to work on in 2026 including the completion of Terms of Reference for all the sub-committees to outlrne their respective schemes of delegation and deci51on.makin& The committees are 5UPPOrted by the NY8 All Inl Steerin8 Group and the Youth Councll. Soci The E5G committee continuèd to meet quartedy. The majority of committee time is spent on the 'soclaf aspect of our work, and our iommitmpnt to EDI. Understanding the types of participants we work with and where they come Irotll 15 done throu8h a mandatory participant registration fomi so we have 100% response rates. This provides a granular pirture of participants and infomis our decisions about prioritisation of under-represented groups. We look at dimensions of difference across gender, ethnicity, disability, SociecOnoMiC diversity. type of school attended, parental educational qualificatitsn, parental job, Free School Meals, young carer, and/or a looked afterladopted child. Our 2025 priorities focussed on ethnicity. disability, soclo-economic diverstty. Geography falls across all of these areas and was also part of th¢ audience developrnent Strategy. A note on data- Data expressed below In percentages is based on total response5 for each category, peryear. RPC land Intensivel ha5 been removed from the figures below to avoid double<ounting those auditionees that look up Pla5, though some duplication may have been included for other multi-pro6ramme participants (for example RPC auditionees who also ttsok part in a workshopl- It should a150 be noted that 2023.2024 Free School Meal data wa5 skewed due to an issue in reporting. As above. where we refer to the percentage (%} change between years. this 15 by'percentage points, l%pl ratherthan the relative growth or declin? expressed a5 a per¢ent, as the total respDnse5 are different eath year. Percentage point change instead refers to the difference between two percenta£es, ratherthan 3 change in ab501ute numbers. To aid clarity, we refer to the actual numeric31 change as'#chan6e' where appropriate. Overall data collected in 2025 across our diffent non- residential adivitie5 (including auditions, workshop5. and NYB All Inll whlle not includin8 the Beyond Ballet participants118-25 year olds) shows.. Gender identity-. 8.1% male, reflecting 8-2% change, 90.6% female. 0.01% non-binary or in another way. Q.Ol% prefer not to sav Ethnic Group.. 71.9% White British, reflecting a-2.7% change, 11.3% White Other/White Irish, 16.2% 81obal majority114% in 2023, 15.1% In 20241,. 0.6% pfer not to say D/deaf, disabled or long term he31th condition.. 85% Imgst 5i8nrficant increase was from 2023-2024, an 8.6% change and stabilisin8 in 20251 Npurodiver8ent'. 15.7%19.3% In 2023. 13.3% in 20241 Additional socio.econgrnic data was collected to use for future benchmarkin8 and comparison atrtsss years: Type of school attended.. 58%158.8% in 2023. 48.3% in 20241 state-run school, 5% independent or fee paying schools wtth financial assistan 13-1.5% change since 20241. 13.9% in vcotional dan training 1-6.1% since 20241 18
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR E14DED 31 DECEMBER 2025 Parental income.. % modem professional occupations14.5% deCree). 31.5% senior manager51+4.OY• ncreasel,. 13.4% tditional professionals1+2.6%1. 8.7% are clerical, technical, seml-routlne, routine or manual workers. 4.5% prefer not to say Parental qualiflcations.. 75.4% at least one parent educated to degree level or above l+l.l%p changel., 12.3% below degree 1-0.7% decrease).. 4.5% ne fomial qualifications 1-0.6%),. 2.6% other l+%1.' 5.2% prefer not to say Young carers: 18 younE carers l+g #chan8e Sin 20241 Looked after l adopted thild.. 12 students1+7 #chan8e sin¢e 20241 By looking atthe year on year change in both percentage and absolute nurnbers, the picture of our pipeline is even clearer and we use this dats and data from the settor more widelyto inforrn our strategic partnerships. Eath year we are seeing increases in engagement across all our activitles (including both auditionees and RPC participants) in spetific under-represented groups.. socio economic dlversity IS partitipants had pants who were long term unemployed, i.e. ¢lalminE Universal Credit or other unemployment benefit for more than a year, compared to 2 participants in 20231 geographic dwersity141.8% participants were frorn London and South East down from 66% in 2022, showing1ncrease Sn orher regions) participants who identify as male138 in 2D2S, 67 in 2024- and 6 in 20211 partitipanis who are Dldeaf disabled / have long term health ¢ondition140 dancers in 2025, 47 dancers in 2024, from only 7 in 20231 participants who are neurodNergent174 In 2025, 72 dancers in 2024, from only 4 In 20211 Through monitoring all priority areas, over the nèxt three years, NYB aims to steadily increase the percentage of dancers in the company and in creative roles across its workforce to be more representative of the society which we believe will be relevant for young people and our audience5. Bursarie5 and removln financial barriers In 2025, we took further steps to remove flnancial barriers to partitipation. The Echoes of Tomorrow RPC was kept affordable thrctugh a R&D rehearsal season, and our new'Pay it Forward. Rolové appeal invited supporters to fund a fellow dancer at the poini of audition. We supported 15 dancers with bur5arie5 across our RPC and NYB All Inl residency, awarded one Pat Primè Award. and introduced five travel bursaries based on geographic location. Identifyin8 and addressing soclo-economlc bathers rernains central to our E05 strategy. We use the JerwDod Tuolkit to ensure robust asse$smeNt of applicants, and developed a bespoke'Access to ExcellEnce' funding case to subsidise participatlon costs. Audition lo¢ations in Newea5tle and Bath were maintained to reduce travel C05t5 for families. In 2026, we will continue the Relevé appeal, maintain bursary leve15, and award up to five tr3vel bursaries for dancers in remote bcations. Our y¢th Council took the initiative and introduced our first Pre-loved Dancewear sale at our Residential. Thls raised almost £600 for our Relevé appeal throu8h donations of pre-loved clothing. This fund helps ensure that even more young peopl& are supported flnancially to acce55 Ihe life-chan8lnB Opportunities to take part in NYB. 19
THE NATIONAL YOUTH 8ALLEf OF GREAT BRITAIN {LIMITED BY GUARANTEEI TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER2025 Pat Prrme Bursa In 2025 NYB awarded one Pat Prime Bursary to a young dancerwho fit the eligibility critEria- people of global majority aged 9-18 and from the United Kingdom- who are under-represented in ourartform. The award was generously donated in 2021 by Pat Prime's family. NYB will continue to celebrate this award in the future through allocatin8 bursaries under this name. Youth Qjuncil We were delighted to welcome Youth Council members to our quarterly board meetings in 2025. Honor Dixon and Gr3ce Abercrombie brought the Youth Council voi¢e. and the beatlng heart of our work, directlyto trustees. The Youth Council contlnued to work with the team providing stakeholder input on a ran8e of tOPi¢5 including the vlsual identity. the Brunswick PR 5es5ion and contributing ideas for future planning and the forthcoming 40th anniversary 5ea50n. In 2026 we will recruit openly within the NYB community for new members. Environmentsl res oftsibili Our ¢ommitment to integrzting environmental getsd practice wlth our activities really took shape in 2025, telling a story of 5USt3ined, organisation-wide effort. Since 2023, we have been ernbedding our commitm&nt to sustsinability into the fabric of how we Operate not as a bolt-on initiatwe. but as a genuine expression of our values. From what we eat to how we bank, from our performances to our supply chains, we 3re doing the hard. quiet work of becoming thé values-led organi53tion that we Set out to be fwè years ago. Our 2025 refreshed'EthiEaf values affirm 'we selzt Èvery opportunlty to champion faimess, equity and the environment to make a positive impact., Our Clim3te Action Plan aligns with the Arts Councll Investment Principle5 on Environment31 Sustainability and look5 in depth at how NYB can make environmentally consclous active ehoices informed by the five B Corp 'pillars'. At NYB this includes Flnance and Opèrations, Equality of Access, Influence and Advocacy, Governance and our Creative outputs. We began with semething simple but symbolic.. Meat-free Mondays at our Residential. Using an online tarbon calculator, we discovered that thi5 single change has saved the equivalent of 417 lenni$ ¢ourts of forest reminder of how rneaningful small. consistent aLtions can be. Our commitment extends to everyckne we work with. We have embedded a declaratlon of climate ernergency into our contracts and Trustee Declarations. and we are committed to working with 8 Corp certlfied and ethically accredited suppliers across merchandise, ticketing, training and web hing. Our 2025 merchandise order alone enabled the planting of 25 trees and offset 0.5 tonnes of COI. Closer to home. we cleared and downsized our costume storage facilities. rèducin8 ener8V Costs and recycling a5 much as p0$5ible. We have replaced single-use plastic cups with NYB water bottles across our activities, and, within organisational capacity, we are measuring our Carbon footprint using tools from arts sector leaderjulie's Bicycle. Echoes of Tomorrow placed sustainability at its very heart a remindef ihat the arts can do more than reflect the world,. they can inspire young people to change il. Desplte ongoing budgetary pressures, we have continued to deliver fair pay increases to all contrattors. because climate justice and economic justice are not separate conversations. 20
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN ILIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED31 OECEM8ER2025 We plan ta update our Memorandurn and Articles of Association to include environmental sustainability, and move to a more ethical bank in 2026n - the next stèp In allgning every aspect of how we operate with the future wè want io help build. Leadershl sat(onal develo rnent Barbara Palczynski continued as chief executNe In 2025 and updated the three-year business plan based on the theory of change to articulate a clear case for support for multi-year core and project funding applications. Working closely with Jo Merèdith. creative director, NYB navigated the line balance of ongoin8 funding challen8e5 set against exponential 8rtswth of the organisation, delivering the most socially impartful work and investing Iti outreach and marcomms so we could continue to reach new people and devélop new pathway5 into NY8. The board away daytook platè in September 2025 with a focus on PR (see marketing and communlcations abovel and fundralsing. We were gr3tehJl for the pro bono service5 of Claire Walsh Ipartnerl and David Lasserson Idirettorl of Brunswick PR. Katy shaw, Clarity Fundraisin& worked through the current fundralsin8 challenges 8$ a shared reality in our sector, and helped us thlnk about diverslfication of income by exploring new opportunities through earned inceme and corporate p3rtnership5. The outcome of the day was a senior leadership consensus on objectives for 2026 including a commitment to becoming change agents reframing who ballet 15 for and what it can do for You as well as a renewed commÈtment to fundralsing with a template fgr our UPCDming 40th Anniversary Qmpaign in 2028. The leadership Is confident that organisationally and artistically our work remains impactful and we continu* to move fopNards with intention. The ambition for the neKt three years Is to focus on priorities set out ifb the Theory of Change. supported with enhanced communications to share our impact widely. and ensure that NYB tontlnues to grow its offer nationally as we prepare for our 40th anniversary season in 202712028. In the absence of our own ofFices. we are grateful to Beck Greenèr for their generous in-kind support providing us with actess to their boardroom in 2025. Our ur ose and artlvltie5 for ublic benefft WE have considered the Charity Commlsslon's guidance on public benefit, Including in relation to fee char£ln& Our charitable objective5 are set out in our Articles of Association. Trustees ensure thls purpose is carried out for the publlc benefit by delivering the services outlined above that conilnue to be of value to beneficlarles, youn8 p&ople. public audiences, friends and families of partldpants and the wlder arts community and society. All f2e Structures are reviewed annually and benchmarked against the sector, takin8 into ¢onsideratlon the cost of living crisis and Dur commltmentto fair access to nurture our role for public benefit. Barbatt Palczynsks and Charlie Fulion-Langley, general manager, oversaw the annual comprehen5Ne revlews of all NYB policies lavailable on the wèbsitel and ensured our core value5 are embedded through all our documentation and procedures, includlng contracts, recruitment, policie5 and participant documèntation. 21
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITEO BY GUARANTEE) TRUSTEES, REPORT FOR THE YE4R ENDED 31 DECEMBER 2025 Fundralsln and diversificatlon of Incomè NY8 adheres to the Fundraising Code of Prattice formerly administered bythe Fundraising Standards Board, now regulated by the Fundraising Regulator. Our fundralsing comprisesapproaehes to trusts and foundations. public funders and indivlduals. The total secured for 2025 from trusts, indwidu?Is and legacies. includln8 Gift was £111,64312024 £179,52412023 £136,336]. Trusts and Found tions Thank5 to the hard work of fundraising manager. Martha Oddy Boninfante. we Secured E70,308 across a rèngè of grants. We received the second of a three-yeargrant from the Linbury Trust, and renewed support from loyal donors including the International Muslt and Art Foundation IIMAFI. Maria Bjornson Memorial Fund and Legat Foundation towards core costs. The Abderrahim Crickmay Charitable Settlèmènt and Idlewild Trust once again provided invaluable supptsrt for our Beyond Ballet• sthÈme for emergln8 artist5. We were Erateful for a renewed grant from the WE Dunn Charitable Trust and the Edward and Dorothy Cadbury Charitable Trust for our work in the Birmingham area. Our appeal to fund Access ttr Excellthte 3CtivitiÈs includine the Bursaries Fund and regional workshops, was supported by the Thistle Trust and Sylvia Waddilove Foundation. undin NYB continues to allen its work with Arts Council England's cyrrent Investment PfillEiples. At the very end of December 2025 we received the decision that our resubmitted application- our largest yet- was successful for work in 2026, for£59,954. This grant is both significant financially but also a key step to natignal recognition and work that has a public benefit. It follows a serie5 of smaller giants including Culture Recovery Funding1£36,5041 in 2021, National Lottery Project Grant INLPGI in 20221£14,9501. 20231£29,9501 and 20241£29,9791. This grant was modelled to underpin NYB All Inl. website refresh and orgènisational development. We will continue to work to the Arts Council framework as we strèngthen our case for suppctrt and in 2026 will refresh the 3-year strategy and business plan to make us NPO-ready. Individuals and cam fts 2025 was a strong year for Indlvidual giving. NYB was grateful ftsr all donations received. Including a one-off anonymous donatlon of £IO.000. the annual Relevé appeal donations, a tCtal of £10.37S from our second successful Arts for Impact appeal lincluding match-funds from The 818 GNel. and major sifts from 10 repeat s¢Jbscrlbers and newjoiners to our Circles a5 follows.. 6 Company Spon50r5 from £500 per annum l Barre Circle from £1,000 per annum 3 Spctlight Clrcle from £5,(o- £10,000 per annum (moved up from Centre Circle last yearl We recognise that Clrcle support Is particularlyvaluable since our members offer an enhanced level of loyalty. We ext2nd special thanks to former trustee Glles Gordon and patron Dame Joanna Lumley DBE FRGS for thelr support as Spotlight Circle donors, and a fellow SpDtlight Circle donorwhts prefer5 to remaln anonyrllou5, for refreshing their particularly significant danations. We secured 100% IIOO% in 2024, 34% in 20231 of our ambltiOU5 target for individual giving; we know how vital this source of income is for NYB and will continue to 22
THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 310ECEMBER 2025 build on this worl increasing the target in 20Z6 to Include a new alumni appeal as we head into our40th anniversary tampaign phase. At the end of 2025, we submitted an application to The Big Give Trust, which was successful In being 5ele¢ted for match-funding for a third Arts for lrnpaci appeal in March 2026. Thls is an opportunity for NYB to gafvanise a donor base of both hlgher value and smaller donor5 through the mechanism af a carefully managed campaign. sIn 2021 NYB has rais a total £719,494 through fundralsing and invested directly in young people. Le acies NYB retelved a further payment of £3,678 from the Pamela O'Neill legacyto support the work around widening participation. In September 2025 our fundraising rnanager Martha Oddy Boninfante was succeeded by Hanaa Skalli. In recognition of the challenging fundraising landscape, the board, chief executive and new fundraising manager recognised the nèéd to test a revised model which allowed more time for diversifying income streams whilst still progressin8 With in-year fundraising and building the c8se for multi.year Brants and donation5 to increase financi31 resilience and sustainability. This included.. increaslng donated income through regularly submitting proposals to funders. Atthe end of 2025 we had Secured pl¢dges and grants equal to 31% of the £98,4SO target for trust and foundation 8rants for 2026131% in December 2024, 59% in December 20231 but wè intreased the target of £41,000 for individual giving1£36.000 in 20251 actively engaging a new pool of individual supporters and cultivatlng patrons with the mechanism of a 2025 Atts for Impact matching funding appeal and giving Circles to boost our individual givin£ Income building on our now five-year relationship wlih Arts Council England and workin8 towards an application of national significance or NPO application securing multi-year ctsrÈ fundingfrom key trusts and foundations constantly developing new discrete propositions sultable for reglonally or thematically focused grantmakers the creation of a Busines5 Development Working Group with trustees and senlor executive in November 2025 t¢ prepare products to pltch to marketfor new earned income opportunities through CPD training which can be scaled up Sale uardin Health and Saf NYB is committed to the safety and protection of children and youn8 peoplé in our care as well as to our staff, trustees and volunteers. NYBS, Safeguarding Policy is publicly available on our website and to eontractors and the Safeguarding CommittÈe continues to meet quarterly. The Safeguarding Policy is rl$ed annually in conjunction with updates to the DfE Keeping Children Safe in Education Guidance. Further amendments are sometimes necessary as new 8uid3nre is published. Barbara PalcLynskn and Charlie Fulton-Langley are Level 3- trained and are Designated Safe8u3rdin8 OfFicer and Deputy Designated Safeguarding Officer respectively. In July 2025 Anna Meadmore stepped down as safeguarding trustee and was succeeded by trstte Paul Reeve. 23
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN {LIMITED BY GUARANTEO TRUSTEES, REPORT FOR THE YEAR ENDED31 DECEMBER 2025 NYB used the Safeguarding trainin6 budget in March 2025 for DSL to undertake specialist trafjning run by Ann Craft Trust in understanding Safèguarding Adults and recognising and reporting abuse in adults. This led to the creation of a new NYB Safeguardin8 Adults Policy. with a specific focus on safeguarding adults at risk. This is in linÈ with the work we are developin8 through our proiect NYB All Inl This training was then shared with the core team. NYB was delighted that our 2024 safeguarding and support team manager Jules Renahan rerned to the Residential to lead the support team. providing professional expertise in safeguarding as well as attending the Sale8uardlng Committee. Barbara Palc2ynski ran the annual two-hour all-tearn feguarding and Heah and Safetytraining session ahead of the Residential. Thi5 work is central to NYB'S culture and form5 3 regular part of team meeting di5CUS5ions. NY8 practises safer recruitment. Barbara Palt2ynski also completed a Health and Safety training for managers, and ran a refreshèron Health and Safety in the workplace for the core team. Risk mana ement NYB'S Risk Register identifie5 the potential financial, operational, reputational and straie8Sc risks and outlines the posslble causes, impzcts and miti8ating management actions. This is a live document whlch trustees review and update annually. The main uncertaintiès facing NYB at the end of December 2025 arè= Financial Risk Cashflow Failure lo achieve income tar et We ended the financial year wlth a shortfall against our fundrai5in8 target. NYB'S ablltty tD meet core organisational costs and achiev 3 balanced budget is still heavily reliant on a mixture of fundraising and eamed Income. In recognltion of this, we dCed the target for trusts and foundatlons for 2026 and Increased t3rget5 for individual glving earned income and public grants. The hard-to-predict sales at audltions, work5hop5 or perfomiances remains fragile, with audiènce behaviours still unreliable irh a reie55ion, with escalating costs of livin8 and high rates of inflation. Moreover, in 2025 we received even more statement5 from trusts and foundatlons about an overwhelm in applications with % success rates decreasing to as little as 3%. The board and thief executive continued to reviewtargets to ensure we have a realistic and achievable 5trate8ic plan, linked to a delNerable fvndraising strat&8y and timeline. Barbara Palczyr*ski also worked wtth CrEative Tax Reliefs Ltd on Natlonal Youth Ballet's second Theatre Tax Relief claim, for activity delivered in 2023-2024. This led to unexpected income in December 2025 of £108,870, IIIO% of which will be aCCQLtnted for in 2025, and gwing NYB some much needed reseNes to draw on in 2026 should this be necessary. Loss of ke tèam and leadershl NYB'S ¢Jutputs in ternis of artivity are increaslng exponentially wTrth investment Sn gr0h of resources an essentlal part of longer term sustalnablllty. Retention is excellent overall. It may be necessaryto review the part.time freelance team model in 2026 If we are to maintain this growth. The thief executive ensures that all team members have annval reviews and we reuuitwhere new skills are required. In 2025 the core team 24
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN {LIMITED BY GUARANTEE) TRUSTEES. REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 received a 3% uplift in fee5 05 well a5 increasing contracted days, to manage the increase in work. The 202S/202712028 budgets must reflect increased fees iFnplemented carefully overtime and set again5tgrowrh In targets for core costs. Data breach In 2025 we identrfied a new risk of processing data through Al and the increased rlsks of data breaches. We reets8nise that small charities are vulnerable to these risks due to a combination of13ck of expert15e and insufficient intemal rèsource available to effectively manage the rlsks. To ensure effective safeguards are in place. we are working on a plan of implementation guidelines and through governance. In 2026 we are preparing an Al policy trainin8 and will prioritlse data sharing agreements with all partners. FKnantial revlew National Youth Ballet is reporting a surplus of £16.775 for the year ended 31 December 202512024 £34.056 surplu51. At 31 December 2025, NYB had assets of £96,s(2024 £79.2301 comprising unrestricted reserves and restricted incon. NYB has no debt and at 31 Decernbei 2025 had cash at b3nk of £I04.3(2024 £34,229). The surplus 15 again due to the unexpected income from the 202314 Theatre Tax Relief claim, without which we would have antlcipated to end the yèar again. very close to our Reserves Policy. We continue to mana8e our budgets very carefully year on year and trustees are satisfied that there is adequate funding in place for 2026 to ciperate and Safeguard NYB. Financial outcomes from 2021 to 2025 continue to vary reflectin8 both thanges in the NYB model, ourtwo.year cycle and the chanEes to philanthropy and fundraising in the charitable sertor. The impactful actlvity outlined in thi5 report reflects NYB'5 success and shows that we are still moving slowly fiom short-term fundraising towards a multl-year case for 5UPPOrt. We continue to find treative solution5 for longer-term flnancial modelling. Since 2024, our budget has increased from £392.000 tD a projected £489,611 for 2026. We are diverslfylng our sources of income including Theatre Tax Relief. The ratio of earned incoThe to donated Income in 2025 was 36164% but will move to a more resilient 42139119% spllt in 2026, with Theatre Tax Relief rnakillg the 19%. 2024 was 57143% split. 2023 36164% spllt, 2022 was 57143% split. At the tlme of writin& we can also report that NYB contlnues to secure funding from new trusts and foundations, and has been ihvlttd to make renewed applications from previous years, funders to continue thelr relationship with NYB. Trustees have considered the wssible event5 oreonditlons that mi8ht affect our ability a5 a charity to continue as a going Concern. They have made an assessment for a period of at least one year from the date of th approval of these financial statements. In particular. trusteés have considered the charity's f0c8StS and projections and have taken account of pressure on income and cash low. We have concluded the charity has adequate resources to continue in operational eXiStee for the foreseeablÈ future. and that therefo NYB 15 going concern. Reserves Polic NYB'S reserve5 fall Into two main categories: rèstricted funds, whlch may be used only for the purposes specrfied by the donor, and unrestrlctèd funds, which are free for any of the purposes uf the charity as set out in the governing document. Unrestricted resource5 comprise free general reserves. We budget to deliver our 25
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEE) TRUSTEES, REPORT FOR THE YEAR ENDED 31 DECEMBER 2025 charrtable objectives whi15t ensuring financial stabilty. This is achieved by aiming to keep levels of unrestritted free re5erve5 sufficient to ensure that contractual commitment to general overheads and any programmed works can be made with reasonable cenfidente. The appropriateness of the reserve5 policy 15 reviewed each year Sn conjunction with the bud8et-setting process. Trustees have set a formal reserves policy and concluded that the overall level of the charlS unrestricted general reserv&s should be Maintained at minimum of £25,000, although the strategic airn remainsto grow this year on year. At 31 Decernber 2025, NY8 free reserves amounted to £96,OQS12024 £79,230,. 2L123 £25,053,. 2022 £46,2261. The Trustees. Report was prepared by the ¢hi¢f executive. reviewed by the chair, vice-chair and chairolthe Finance Committee, approved by the board of trustees trn .-.. .. and signed on its behalf by,. Patricia Ca5tanha Uoyd Chair of the board of trustees 26
THE NATIONAL YOUTH BALLET OF GREAT BRAIN STATEMENT OFTRUSTEE5' RESPONSIBILITIES The trustees, who a also the Dirertors of The National Youth Ballet of G8t 8rltaln for the purpose of company law. are responsible for preparing the Trustees. Report and the account5 in accordance wlth applicable law and United Kingdom Accounting Standards Iunited Kingdom Generally Accepted Accounting Practicel. Charity law requires thé trustees to prepare accounts for eath financial year which give a true and falr view of the state of aflalrs of the Charity and of the incoming resources and application of resources, includin8 the income and expenditure, of the charitable company for that year. In preparing these accounts, the trustees are required to: 5elett suitable zccountin8 policies and then apply them consistentlv,. obse¥vè thè methods and principles in the Charitie5 SORP- make judgements and estimates that are reasonable and prudent. state whether applicable UK accounting standords have been followed. subject to any material departures disclosed and explained in the financlal statements,. and prepare the accounts on the going concern basis unless it is inappropriate to presume tharthe Charity will continue in operation. The trustees are responsible for keeping proper accounting records that disclose with reasonable atturacy at any time the financial position of the Charity and to enable them to ensure that the fin3ncial statements comply with the Charities Act 2011. They arè also responsible for safeguarding the assots of the Charity and hence taking reasunable Steps for the prevention and detection of fraud and other irre8ularitles. The trustees are responsible for the maintenance and integrityof the corporate and financial inlorniation included on the CharitV5 web5tte. Legislation in the Unlted Kingdom governing the preparation and dissemlnation of financial statements may differ from legislation in other juri5dittions. -27-
THE NATIONAL YOUTh BALL OF GREAT 8RITAIN INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF THE NATIONAL YOUTH BALLEf OF GREAT BRITAIN I report to the trustees on my examination of the accounts of The National Youth Ballet of Great Britain lor the yearended 31 December 202S. Aesponslbilltie5 and basis of report As the charity trustees of the Charity land also its directors for the purposes of Company Lawl you are responsible for the preparation of the accounts in accord3nce with the requirernents of the Companies Att 2c61'the ACVI. I report in respect of my examination of the Charivs accounts carrled out under sertion 145 of the 2011 Charities Att and in carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 1451Sllbl. Independent examlner's statement Since the charitable companrfs gross income exceeded £250,OOOyoureKaminer must be a member of a bodylisted in section 14S ol the 2011 Art. I confirm that l am qualified to undertake the exarnination because l am a member of the Association of Chartered Certified Accountants, whid) is one of the listed bodies. I have complÈt2d my examination. I confirm that no material matters have ¢¢me to rny attention in connection with the examlnation giving me cavse to believe that in any material respect.. accounting record5 were not kept in respett of the Charlty as requlred by seetion 130 of the Act,. or the accounts do not accord wSth those records,. or the accounts do notcomplywith the applicable requiremen15 concerning thefom and contentof account5 set in the Charities (Actounts and Reports) Regulations 2008 other than any quIrernent that the accountsgive a true and fHirview which is not a matterconsidered a5 part of an independent examination. I have no concerns and have come acros5 no other matters in connection with the examination to which attention should be drawn in this report In order to enable a proper understanding of the a¢¢¢unts ttr be reached. Mr Mark Cymmlns FCCA FCIÉ for and on behalf of TC Group The Courtyard Shoreharn Road Upper Beeding Steyning West Su55ex BN44 3TN Dated.. .2&
THE NATIONAL YOUTH BALL OF GREAT BRITAIN (LIMITED BYGUARANTEEI STATEMENT OF FINANCIAL AcfiviTIES FOR THE YEAR TO 31 DECEMBER 2025 Unrestrlcied lund$ Total 2025 Total INCOMEAND ENDOWMENTS.. Notss Donations and legacies 111.643 ILI,643 179.524 Investment income 1.232 L232 1.798 Charitable attNitits 219.416 219A16 241,673 Total Income 332.291 332,291 422,995 EXpENDVRE. Raising funds 29fi54 29.654 20,775 Charitable actNi¢ies 285%62 285,862 368,164 Total expenditure 315,516 315.516 388,939 Net Income/ {expenditurel 16.775 16,775 34.056 Net mo¥tment In funds 16,775 16,775 34,056 Fund balances at l January 2025 79.230 79,230 45.174 Fund balancès at JI Detèmb•r 2025 96.005 96,005 79,230 The charity has no re¢ognised galns or losses other than the surplus forthe financial year. The Note5 on pages 31 to 36 form part of these financial statements.
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BYGUARANTEE) BALANCE SHEET ASAT 31 DECEMBER2025 2025 2024 Current Assets Debtors ID 8.474 104.340 87,675 34,229 121.904 Cash at bank and In hand 112,814 Currènt Liabllitie5 Creditors li 116,8091 142,6741 Net Current Assets 96,005 79,230 Total Assets %,IK15 79,230 Represented by: UnrtrICted funds 96.005 79,230 96.005 79,230 96,LYJS 79,230 For the financial year ended 31 December 2025 the company was entitled to exemption from audit under section 477 of the Companies Act 2006. ThÈ direttors acknowledge their responsibilities for complying with the requiremenis of the Att with Tesped to accounting records and the preparation of financial Statements. The members have not required the company to obtain an audit of its flnanclal statements forthe year In question in accordance wlth sectlon 476. These financlal statements have been prepared in accordance with the provisions applicable to companies subject to the srnall companies, regime. The financlal statements were approved by the board of directors and authorised for issue on . 13 2. z are signed on its behalf by.. and Patricia C3St3nha lloyd Dlrettor Comparry Registration No. 02557811 Charity re8istratlon No. IIX10931 The notes attathÈd here form part of the financial statements. -30-
THE NATIONAL YOLrrH BALLEf OF GREAT BRITAIN (UMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THEYEAR ENDED 31 DECEMBER 2025 1.0 Company 1r1fomt1oft The National Youth Ballét of Gieat 8ritain1025578111 Is a charSiy and company limited by guarantee incorporated in England and Wales. The registered officè is The Courtyard. Shoreham Road. Upper8eeding, Steyning, West Sussex, BN44 3TN. 2.0 AccounllrE pollcies 2.1 Attounting basis and standards The financial statements have been PrePad in acwrdance with the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021. The charitable company Is a public benefit entity for the purp05e5 of FRS 102 and a registered charity established as a company limited by guarantee and therefore has also prepared it5 financial statement5 in accordance with the Ststement of Recommended Practice applicable to charitie5 preparing their accounts in accordance with the Financial Reporting Standard5 applicable in the UK and Republlc of Ireland (The FRS 102 Charlties SORPI. the Companles Act 2006 and Charities Act 2011. The financial statements are prepared in sterling, which is the functional currencyof the charity. Mtsnetary amounts In these financial ststements are rounded to the nearest pound. IrTr view of the ChaTity'S Posltive cash and reserves positions, the Charity ha5 no material uncertainties in relation to its ability to continue operating. and as such the account5 have been prepared on a going concern basi5. 2.2 Intomè All Income is recognised when there is an entitlementto the funds, the receipt is probable and the amount can be measured reliably. Legacies are recognSsed following probate and once there is sufficientevidence that the receipt is probable and the amount of the legacy receivable ¢an be measured reliably. Where entltlement to a legacy exists. but there is uncertainty as to its receipt or the amount receivabl¢. detail$ are disclosed as a contlngent sset until the criteiia for income cDgnItIon are met. ncome is dÈfÈrrÈd when the donor attaches conditron5 Outside the Charity's own torbtrol or specrfies that the resources are to be used in a fvture accounting period. 2.3 Expendlture Expenditure is included in the Statement of Financial Actiwties on an accrua15 basi5, inclusive of any VAT which cannot be recovered. Expenditure is reeognlsed once there is a le8al or constructive obli8ation to transfer economic benefitto a third party, it is probable that a transfer of economic benefitwill be required n settlement and thè amount of the obligation can be rneasured reliably. Expenditure is analysed ljetween Direct and Support costs based on the nature of the expense. Governan costs comprise the Cost of running the charity. including external accountsncy, legal a(fvice and constitutional and statutory compliance costs. These have been included in support cOs. -31-
THE NATIONAL YOUTH BALL OF GREAT BRITAIN (LIMITED BY GUARANTEE) NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2025 2.0 Accountlng Pollcles IcontlNedl 2.4 Fund Accountln8 Fund5 held by the charity are either.. Unre5trirted General Funds-these are funds which can be used in accordance with ihe ¢harit3ble objects at the discretion of the Trustees. Designated funds- Ihese are fundswhich have been set aside bytrusteesto èe spent on a specific purpose. Restricted Fuftds- the$e funds can only be used for particular restricted purposes within the objects of thè charity. Restrictions arise when the specified by the donor or whèn the fvnds are raised for particular r&strirted purposes. 2.5 Critlcal Accountlng EstSmates and Area of Judgement In preparing financial statements it is necessary to make certaln judgements, estimates and auMptIOnS that affect the amounts reco8nised in the financi315tstement5. In the view of the Trustees In appFying the accountinq policies adopted, no judgements were required that have a significant effert Cn the 3mounts recognised In the financial statements nor do any estimates or assumptions made carry any significant rlsk of materlal adjustment ots the next financial year. 2.6 Cash Flow Statement The charity has taken the exemption available in paragraph 7.IB of FRS 102 and has not prepared a cash flow statement. 2.7 Chand cash equtvalents Cash and cash equivalents include cash at bank and in hand and short term dep051tswith a maturity date of three month5 or les5. 2.8 Debtors and credltors Debtors and cdItOrS réceivable or payzble wlthin one year of the repc*rtin8 date are carried at their transaction price. Debtors and treditofs thal are receivable or payable in more than one year and not subject to rrarket rate of interest are measured at the present value of the expected fut¢Jre receipts or payment discounted at a market rate of interest.
THE NATIONAL YOUTH BALLET OF GREAT 8RITAIN ILIMrrED BY GUARANTEE) NOTES TO THE ACCOUNT5 FOR THE YEAR ENDED 31 DÉCEM8ER 2025 Income from donatlons and legaries Unrestrlcted funds Total Z02S Total 2024 Public Trusts and Foundations Individual Gift aid 29,445 102,774 40,369 6,936 179.524 70.308 39,197 2.138 111.643 70,308 39,197 1138 111,643 Income from tharltsble artivltles Unrestrkted funds Total 20Z5 Total 2024 Rehearsal & Workshop Fees Theatre tax Felief Other incomlng resources 107,585 108,870 2,961 219,416 107,585 108A70 2,961 119.416 187,215 49,641 4,817 241.673 Expendlture Dlrert Costs Support costs Total 2025 Total 2024 Raising funds Charitable actlvltles 29,654 122,246 151,91X) 29ffiS4 285,862 315,516 20.775 368.164 388,939 163.616 163.616
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN ILIMITED BY GVARANTEEI NOTES TO THE ACCOUNT5 FOR THE YEAR ENDED 31 DECEMBER 2025 Expenditure Icontinuedl Support Costs Total 2025 Total 2024 Accountancv Administrator Advertising & Marketing Fundrèlsing costs Chief Executive costs General manager costs Insuiance IT Software and Consumables Legal, professional & tonsultancv Office costs PR Rates, ren¢ utilitie5 & cleaning Repairs, maintenance & computer costs Safeguarding stsff trainin8 Telephone, internet & website costs Travel 3,060 1,695 21,692 29,654 41.000 10,881 3,94S I,B60 15,580 3.630 2,705 1,690 23.672 20,775 31.500 1,841 3,109 15,690 3,314 7.800 7,800 iio 500 631 192 733 122.062 7AIO 231 254 524 192 255 151.9tyJ Support costs are allocated to charitsble activities, with the exception of fundraisln8 costs which are allocated to raising funds. Support costs include Bovernance costs of £3.(MX)12024.. £2,646). None of the support cost expendlture relate5 to restrirted funds. 6 Independent examination fee Total 2025 Total 2024 Independent eXaMinatn f¢¢ 3.000 2,646
THE NATIONAL YOUTH BALLET OF GREAT BRITAIN (LIMITED BY GUARANTEEI NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2025 Employee Informatlon There were no employees durlng the current or prior year. In 2025 there were 18 volunteers12Q24- 251 assisting and giving theirtime for free at the Residential Performance Companv. 8 Trusteés Remuneratlon and Eypenses Key man?gement personnel include the dlrectors and chief executive of the ¢haritable tompany. The chief execuiive is contracted on a se-eMploYed basis. Total compensation received for key managÈmènt services provided in the year was £41.00012024.. £31,500). The directors of the charitable company are trustees under charity law and received no remuneration or benefits in kind from the charity. No trustee5 were ieimbursÈd Èxpenses in the current or pritsryear. Taxatlon The Company is not liable to Corporation Tax as the incume is of an exempt nature. LO DeOrS The following debtor5 are estlmated to be received within one ytar= Total 2025 Total 2024 Trade debtors AcErued incorne Prepayments and other debtors 49,641 37.223 811 4.474 ,474 87.675 11 Credltors The following creditors are payable within one year.. Total 2025 Total 2024 Trade credito Other creditors Accruals Deferred income 3.109 169 6.751 6,780 16,809 6,036 678 21,190 14,770 42,674
THE NATIONAL YOUTH BALLEf OF GREAT BRrfAIN {UMITED BYGUARANTEEI NOTESTO THE ACCOUNTS FOR THE YEAR ENDED 31 DECEMBER 2025 11 Credltors {contlnued) 2025 2024 Deferred income at 01 Jznuary Resourtes deferred during the year Amounts released 14,770 6.780 114,7701 6,780 38.385 14,770 138,3851 14,770 Deferred incorne relates to arnounts received In the year from audition5 that have yet to take place at ihe year- end. 12 Related partytransactions There were no related party tran5attions in the current or prioryear that reouire disclosure. 13 Cornparatlve Ststement of FinaTrclal Artlvltle5 Unrestrkted funds Designated funds Restricted funds Total 2024 INCOME AND ENDOWMENTS: Donations and le8acies 179,524 179.524 Investment income 1.798 1.798 Charitable activitie5 241.673 241.673 Total Income 422,995 422.995 EXPENDITURE: Rai5in8 funds 20.775 20.775 Charitable activities 368.043 121 368.164 Totsl expenditure 388A18 121 388,939 Net èxpendlture 34.177 11211 34.056 Transfer between funds 20,000 I20,or) Net mov•m•nt In fund5 54.177 120,0001 11211 34P56 Fund balances at l January 2024 2553 20.( 121 45,174 Fund balances at 31 December 2024 79,230 79,230 .3