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 B￿kerS 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 e￿luatIOn 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 apport￿nitIeS 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, wOrki￿g 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 dUp￿catIon 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 Stat￿tiC 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 d￿all 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 ECI￿eS 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 supe￿is0r 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 volunt*ers and residentlal The tarm Global MBjority ref¢rs ta Inthgenous, Block. Asian, Brown, dval-heritage, and Latin Amèrican indNiduals wh when ¢onsid¢rEd co1￿11¥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 Sp￿Ce 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 Min￿bodY 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 ￿n￿que 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 opportUn￿leS 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 re￿i¥¢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 dan￿r5 explained the impact of working with Beyond Ballèt• artlsts In thelr own words.. 'The energy rhut the beyondbollet Cho￿0910pherS 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 reP￿SentatION 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 inC￿8$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 per￿ptIOn 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 ex￿PtIonal, 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 sUc￿eded 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. Ana￿lc$ 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. S￿64(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 Suc￿Ssion 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