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2023-03-31-accounts

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TURTLE KEY ARTS ANNUAL REVIEW

CONTENTS

Page Page
02 1.OBJECTIVES
03 2.REVIEW OF DEVELOPMENTS, ACTIVITIES & ACHIEVEMENTS OF THE TRUST
08 3.STRUCTURE, GOVERNANCE AND MANAGEMENT
10 4.STRATEGIC DEVELOPMENT
14 5.PARTICIPATION
18 6.COLLABORATING COMPANIES/PRODUCTION
26 7.FINANCIAL DETAIL
46 8.APPENDIX
48 9.OUR THANKS

01

1. OBJECTIVES

“We entered this financial year with a strong programme of productions and projects underway, busy with tours around the UK, welcoming international friends and supporting new productions and projects. We also ventured into Europe for the first time since the pandemic and under Brexit restrictions. We also got to go across the world to New Zealand. This year felt like a return to a semblance of normality following the previous Covid effected years. The team at Turtle Key Arts reacted quickly and worked very hard to make all these productions and projects possible in what felt very much like a year of catching up and finally realising work 1. that had to be delayed.

We also started to look to the future and to think about the next 3-5 years and what that would look like for us and our team. As always, we were well supported by our board and continue to be grateful for their enthusiasm, dedication, and belief in the work that we do.

For us it has been so important to return to the work we do, to being out and about, reconnecting with our partners, supporters, venues, participants, and audiences and engaging once again live and in person.

Zoom and technology has revolutionised the way we can work and we try and take the positive aspects to maximise our time most efficiently and avoid unnecessary travel as we become ever more conscious of how the arts can impact the environment.

At Turtle Key Arts we are increasingly aware of the challenges facing our sector with funding, the cost-of-living crisis, and rising costs for travel and materials etc. As a small charity we have had to work hard to navigate these challenges when projects and budgets are planned so far in advance. We are also aware of the plight of freelance artists and continue to advocate for fair pay and working conditions. These principles underpin the very foundations of Turtle Key Arts.

When I look at the work that we did this year, I know that it still sits at the very heart of Turtle Key Arts. Our team worked tirelessly with care, dedication and energy to make the work happen - bringing organisations, audiences, participants and communities together.

At Turtle Key Arts we continue to lobby and listen, supporting our collaborating artists, partners and participants. We continued to roll out as many of our core outreach and participation activities as possible.

As CEO I was determined for us to get our work back out into the community, to meet the challenges our industry increasingly faces, as arts and culture are increasingly under pressure. I am determined to continue protecting our team, our future and our contribution to the future of the arts.”

Alison King – Chief Executive Turtle Key Arts

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TURTLE KEY ARTS ANNUAL REVIEW

2. REVIEW OF DEVELOPMENTS, ACTIVITIES & ACHIEVEMENTS OF THE TRUST

2.

At the beginning of this period, April 2022, the sector was beginning to operate in a fairly recognisable way again. Turtle Key Arts returned to touring and were pleased to see audiences returning to theatres around the country. The shows we produced during this period were extremely diverse in character – a children’s show set in Bradford accompanied by workshops in schools and with refugee groups, a show exploring the classical Greek story of Atlas with Physics workshops, an interactive piece about the themes of communication, an award winning theatre film about baby loss, an outdoor high octane show about reclaiming public spaces, an integrated dance performance and an intense and beautiful piece around the themes of sexuality and addiction against a British Muslim background. This incredible variety allowed us to get a good sense of how audiences were reacting after the pandemic and gave us the foundation for strategic planning for our future and that of our collaborating companies.

We were also delighted to realise, although not entirely surprised, that this year we rolled out more arts outreach work than ever before. This was due partly to catching up with the backlog after the lockdowns, but it had more to do with the need for communities to come together again and to experience live arts interaction. From projects with very isolated autistic young people to taking a new backstage theatre project into secondary schools as well as further roll outs of our dementia project to new parts of the country and culminating in the JOY Festival for disabled artists in West London, connecting with our participants was an exhilarating experience and a further realisation of the continued need for this kind of work.

The success of the in-person experiences both within the touring sector and with education and outreach was a testament to the incredibly hard work of both our permanent staff and many freelancers and interns. Setting up professional projects is more challenging than ever; recruiting participants and communicating with audiences has changed significantly and many theatres no longer have the resources to support incoming shows or projects. The burden is therefore often shifted to organisations like ourselves and we are so grateful for the experience and dedication of our colleagues who have stepped up to take on the extra work and have enabled the many successes this year.

Funding also remains a challenge and the year saw many organisations struggle with Arts Council England funding decisions. Turtle Key Arts were lucky to retain the National Portfolio Organisation status for one of their collaborating companies and to see another company gain this status for the next period. Our foundation supporters have been incredible and have allowed us to develop the many outreach projects and to sustain important elements of our work. We feel more connected to many of them after the pandemic and we place enormous value on the collaboration between our funders, our participants and our team.

Towards the end of this period, we started to tour internationally again. The new parameters for touring in Europe and the changes, both financial and logistical, around the world made this challenging. We are pleased to have achieved it and to now be better placed to support other collaborating projects and companies to do the same. Our international reach was also demonstrated through the extraordinary coming together of integrated disabled and nondisabled dance theatre companies from as far afield as New Zealand and the USA to belatedly celebrate the 40th anniversary of Amici Dance Theatre Company – filling the main stage at our home of the Lyric Theatre Hammersmith with over a hundred performers from every corner of the world was an experience that we will never forget!

03

The end of the year brought changes to our core team with two of our longer-term employees moving on. We are extremely proud of their achievements with us and of their successful transitions – Kelly Codling-Bray to a new job within the outreach sector in Oxford and Holly Cameron-Jennings choosing a slight change of career to work within the architecture and design sector with a focus on theatre and arts spaces. Although we will miss them, we are always aware of how our formidable team dynamics ensure that those who have worked closely with us retain their ’Turtle’ status and we are always delighted to find them again in our collaborations and partnerships as we go forward. We started to look at a larger strategic plan during this period and thanks to the work associated to Arts Council England applications and other funding plans, we have a strong base over the 2. next two years which will allow us to assess the future of the organisation post pandemic and post Brexit.

In 2023...

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our work reached an 600
we had a AUDIENCE of 400
CORE TEAM
of 5 full-time equivalent 20,150 200 employed
posts and 5 part-time online and live
582
FREELANCE
ARTISTS
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involved over 2885 PARTICIPANTS

PRODUCED and we ran 35 7 OUTREACH SHOWS PROJECTS with 106 performances

Our mission statement remains consistent with the work we have carried out this year; TURTLE KEY ARTS UNLOCK CREATIVE POTENTIAL

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TURTLE KEY ARTS ANNUAL REVIEW

Turtle Key Arts work with collaborating artists and companies to produce original new work; nurturing talent, developing skills and empowering companies and individuals to achieve their artistic goals. We encourage everyone we work with to share our founding ethos of making the arts accessible to all by embedding outreach and participation at the heart of everything we do.

Turtle Key Arts forge strong relationships and partnerships with arts and community organisations in the UK and internationally to bring high quality art to diverse audiences.

Turtle Key Arts remains a charitable trust, helping to fund many of the education and disability arts projects and continuing our policy of full disability access to all aspects of our work.

OUR WORK

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PRODUCE CREATE
NEW WORK EDUCATION AND
BY ARTISTS PARTICIPATION
PROJECTS
THEATRE DANCE CIRCUS AUTISM DISABILITY DEMENTIA YOUNG DYSLEXIA YOUNG
ARTS PEOPLE PEOPLE
WITH HIV
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ARTISTS AND PROJECTS ARE INTER-RELATED AND EACH INFORMS
THE OTHER AND OFFERS OPTIONS FOR COLLABORATION.
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2.

OUR INCOME STREAM TOTAL: £740,211

COLLABORATOR INCOME

Income earned by collaborating companies from performance fees, box-office takings and workshop fees

PUBLIC CHARITABLE FUNDING DONATIONS

FEE INCOME

Funding raised Funding raised Income earned by from Public Funds from charitable TKA from production eg: Arts Council foundations, trusts services, project England and and individual management, training local authorities giving and teaching

OUR EXPENDITURE TOTAL: £821,524

86%

14%

PROJECT AND CORE PARTICIPATION

£702,077

£119,447

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TURTLE KEY ARTS ANNUAL REVIEW
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3. STRUCTURE, GOVERNANCE AND MANAGEMENT

GOVERNING DOCUMENT The Charity is a Charitable Trust governed by a trust deed dated 29th May 1991 and amended on the 25th June 2015. The Trust is a registered charity, No. 1003113. Visit turtlekeyarts.org.uk/tka-board for more information about the trustees. 3.

RECRUITMENT AND APPOINTMENT OF TRUSTEES

New trustees are appointed on the recommendation of existing Trustees. The trustees who served for the financial period ending 31st March 2023 are:

Kate Lovegrove Chair

Graham McGrath Vice Chair

Laura Barlow Treasurer

Magdalen Wolloshin Trustee

Charlotte Cunningham MBE Trustee

Pegram Harrison Trustee

Jerry Gunn Trustee

James Charrington Trustee

Emma Bleasdale Trustee

Subathra Subramaniam Trustee

Sarah Long Trustee

Marc Roberts Trustee

Each trustees’ role on the board is reviewed regularly and rotation is considered every 4 years.

RISK MANAGEMENT

The trustees conduct comprehensive reviews of the Charity’s activities, setting out major opportunities available to the Charity and the risks to which it is exposed. The trustees monitor our progress against the strategic objectives.

AMBASSADORS

Sarah Long Ambassador for disability arts Amir Hosseinpour Ambassador for performing arts Emma Hall Ambassador for theatre arts

Anouskha Lucas Ambassador for music and performing arts

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TURTLE KEY ARTS ANNUAL REVIEW

OUR STRUCTURE

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ARTISTIC CHIEF
DIRECTOR EXECUTIVE
ManagerFinance Co-ordinatorKey Club Marketing and Development Production and Offce ProducerSenior Producer Dementia Arts Autism Project D evelopment
Director Assistant Consultant Lead
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4. STRATEGIC DEVELOPMENT

GOVERNANCE

Our board returned to in-person meetings with a proviso for those who were unable to attend, to still have the online possibility. The counsel of the trustees was extremely valuable in negotiating the new challenges within the arts and we were particularly grateful for those who also work within the sector or in associated fields for their willingness to share experience and to think ahead to allow us to anticipate potential issues.

The trustees met four times during the year; at the meetings they considered the ongoing governance of the charity and discussed changes within the board in view of the long service of certain trustees. The treasurer and trustees continued to assess the financial status of the trust and to ensure that it was secure and prudent in its operations and looking ahead to potential challenges in the future. The trustees reviewed all existing and new policies with particular attention to any new legislation. All trustees complete regular safeguarding training. Beyond the meetings, the trustees were regularly involved in specific strategy decisions, training, financial oversight and acting as Turtle Key Art’s representatives within their own online and other forums.

This year Magdalen Wolloshin stepped down as Chair of Trustees. We are so indebted for the many years of support and guidance and grateful to her for staying on as a legacy trustee/ founder to ensure we retain the memory of our founding principals and activities

FUNDRAISING

In terms of our development strategy, the year was particularly marked with raising funds from our public funders at Arts Council England. This is a major project for a small organisation without a dedicated fundraiser and we oversaw three applications. We were lucky to receive positive news on two of these and we now have two National Portfolio Organisation companies in our portfolio – Ockham’s Razor who maintained their funding and Open Sky who are a new National Portfolio Organisation based in Herefordshire.

Alongside this we continued to build our relationships with many foundations in the

UK. We have enjoyed working with Children in Need on our Turtle Opera projects and it has been heartening to see the appetite for the work in the new locations of Bristol and Birmingham. It is a challenge for our small team to keep targeting funders for each specific project so we are encouraging our local venue and charity partners to share the fundraising responsibilities.

Our regular individual funders have remained consistent though the concentration on public and foundation funds, in this period, has meant less emphasis on individual funders, however, it is our strategy to look closely at this as part of the plan for next year.

DATA AND EVALUATION

We continue to be a member of the Information Commissioners Office and are stringent about the data we gather. We use project specific mobile phones to ensure there are no data issues for any freelance team members and we include the issues around data and our participants as part of our training sessions. We have investigated new ways of collecting audience data through QR codes on our online programmes. This also allows us to be a greener, less paper intensive company.

We collaborated for a second year with David Faro, Associate Professor of Marketing at London Business School. He asked us to provide a new challenge related to our work for his behavioural economics students from both the London Business School and the Royal College of Arts. We asked one group to consider our increasingly complicated communication with those we are targeting for our autism projects, they spent a number of weeks working on aspects of this challenge and fed back to us with helpful ideas and recommendations which we have implemented. The second group looked at audience behaviour around ticketing and pricing and specifically at some of the ‘pay what you can’ initiatives around the country.

We also took part in a number of dementia and music initiatives with connections both in the UK and around the world.

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TURTLE KEY ARTS ANNUAL REVIEW

MARKETING AND PR

We have again worked closely with the PR company Chloe Nelkin Consulting, this year concentrating on tailor-made PR campaigns for high profile projects and new shows, it has proved successful with considerable hard copy and online coverage.

We have increased our online social media presence, especially on Instagram where we can reach a younger audience and have continued to tailor our social media output specifically to particular platforms and audiences.

We worked with students from the London Business School and the Royal College of Arts to

look at how to deliver more direct and impactful messages, especially for our projects for people from the neurodivergent community. This has resulted in new designs for our hard copy posters, e-flyers and social media content.

A large part of our marketing is focused on finding participants to take part in our participation projects, although the projects are of a high quality and free to all participants this is proving increasingly difficult and time-consuming. Our research suggests that email is becoming less effective as often people are over inundated, so we are exploring alternative methods as well as reverting to more traditional methods of hard copy posters, leaflets and of course Word-of-Mouth.

7,395 unique visitors

4,667 views

19,520 views

turtlekeyarts.org.uk

1.5% 8% from 2,265 to 2,298 followers increase

7% increase

from 1,395 to 1,495 followers

28% increase

from 1,123 to 1,439 followers

10,000 views per month

The Turtle Key Arts

MONTH IN A MINUTE

film continues to be successful, with regular positive feedback and is averaging 10,000 views per month.

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OUR COLLABORATORS AND PARTICIPATION PROJECTS We produced seven collaborating performance companies this year, with Sadiq Ali joining as a new collaborator. We have a tailored contracted relationship with each company to ensure we support them in the most constructive ways possible - building individual company resilience and expertise. Turtle Key Arts ensure these companies have access to opportunities which we help them attain, once they reach a level at which we feel they no longer need this help then we consider negotiating a transition for them to become an independently run company. This allows us to constantly discover new artists to support whilst maintaining relationships with previous collaborators.

This year our outreach work has reached more people, and we have run more projects than ever before. Many of these have been roll outs of project models with a proven success that we are, therefore, keen to replicate around the country. With our new project Theatre Box we have enjoyed reconnecting with the pre-GCSE age group, introducing a new generation to the varied opportunities within theatre including design and costume and the more technical aspects of sound and lighting. We know how important it is to support young people to become the future of the industry. We continued to examine our working practices particularly focusing on impact versus input – setting up projects further afield does incur more work and travel and we are therefore keen to embed projects with our partner organisations and to have a lighter touch involvement. We have achieved this with Turtle Opera by holding extended initial training sessions and employing local teams who can work independently but have access to us for advice and dealing with any complex issues.

In line with our policies, our collaborators have continued to incorporate outreach and participation alongside their performance work. Oddly Moving ran forty-four Physics workshops in secondary schools alongside their tour of Atlas. Open Sky created an online website to encourage people to share stories of child loss and miscarriage alongside their digital theatre production of Cold, Kill the Cat ran workshops on sustainability and interactive digital theatre and Amici Dance Theatre Company ran classes, simultaneously, online and “in the room”. The Jabala and the Jinn team worked with young people in schools, refugee groups and groups with special needs, with many of the workshops specifically for groups of young British Muslims. Our team of facilitators was also made up of British Muslim freelancers and we also trained new young facilitators. The Chosen Haram team connected directly with their audiences in post-show discussions allowing important conversations about faith, addiction and sexuality within an open and safe environment.

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TURTLE KEY ARTS ANNUAL REVIEW

INVOLVEMENT IN THE WIDER ARTS NETWORK, INTERNSHIPS AND PLACEMENTS

Our Chief Executive, Alison King, continued as chair of the National Centre for Circus Arts and the advisory board of the London International Mime Festival.

Our Artistic Director, Charlotte Cunningham, is a trustee of the Abderrahim Crickmay Charitable Settlement which handed out its first series of grants to projects in line with the late Anthony Crickmay’s interests in dance, photography and the wider arts.

The Turtle Key Art’s team delivered a Business Planning and Producing module for NCCA, a series of lectures on production for the BA students and a lecture on Education and Community for MA students at Mountview Academy of Theatre Arts and a Company Stage Management module at St Mary’s University, Twickenham.

Alison King took part in the Equity and ITC discussions on fair pay within the arts industry.

We have continued to build on our strong relationships with the Lyric Theatre Hammersmith team and the partnership – we feel very involved with the organisation and there is a great sense of mutual support and appreciation. We strengthened our local links and worked with local authority colleagues to help them to reach autistic young people in the borough. We maintained our local dementia connections and worked closely with disability and access organisations for the JOY Festival.

We continued with our paid internship programme and worked with a young producer from Mountview Academy of Theatre Arts and two other graduate professionals. We employed a young stage manager on the Jabala and the Jinn tour, and worked with a young disabled assistant producer, a disabled co-director and an entirely disabled cast to create the commissioned performance for the JOY Festival. Public, by Ockham’s Razor, engaged a new stage management trainee and a costume assistant and Open Sky and Amici Dance Theatre Company supported placements and trainees.

We ran “work experience” for students from Secondary and Special Educational Needs (SEN) schools and engaged and supported a total of seventy-five early career professionals and students through our projects and production.

SUMMARY

Turtle Key Arts and our collaborating companies have had an extremely successful year in a difficult environment for the arts. We were so grateful to our funders for their trust in us and their generosity in ensuring that we were able to concentrate fully on the delivery of work.

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[DEMENTIA] < TURTLE SONG

In collaboration with English Touring Opera and Royal College of Music, Turtle Song, is a singing and song writing project for people living with dementia, their companions, carers and music students.

The participants create a song cycle over the course of several weeks which culminates in a live performance for friends and family.

This year we ran Turtle Songs in Reading, Oxford, London and twice in Liverpool.

“Thank you for bringing joy to my Mum, for accepting her just as she is and for making her truly happy.”

DAUGHTER OF PARTICIPANT

[YOUNG PEOPLE] THEATRE BOX >

Theatre Box enlightens young people (KS3) about the variety of careers in the arts and encourages participants to take creative subjects at GCSE.

The young people work with professional Designers and a Drama Practitioner in four workshops at their school and, with a specially commissioned short play, create a “theatre model box” and learn about the many roles needed to take a theatre production from page to stage

At the end of the project the young people share their work and see all their ideas come together with a final sharing.

“I really enjoyed the final show that we put on because that was a new experience for me.” PARTICIPANT AT ARK BURLINGTON DANES SCHOOL

[AUTISM] < TURTLE OPERA

Turtle Opera is a music and drama project for 10-14 year olds on the autism spectrum, meeting once a week for ten weeks and culminating in a live performance for friends and family. In partnership with Oxford University the young people devised and created their own opera Beautiful Blue Planet.

This year with funding from Children in Need we were able to run a new Turtle Opera Through the Floortal in Bristol and also return to Birmingham to create and perform Day Dreaming.

“Turtle Opera has given my son opportunities for expressing himself, socialising, friendship and maturing he could not have found anywhere else.” PARENT OF PARTICIPANT

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[AUTISM]

< KEY CLUB

Key Club is a monthly arts and social club for 16-30 year olds on the autism spectrum. The club meets once a month on a Saturday, each meeting consists of a two-hour creative arts workshop presented by professional artists, followed by a social break.

There are two clubs held at the Lyric Theatre Hammersmith and this year, with funding from John Lyon’s Charitable Trust, we opened a new club based at Kiln Theatre in Kilburn.

“I love coming to Key Club because we get to do something new, creative and fun each month!” KEY CLUB PARTICIPANT

[DISABILITY ARTS] JOY >

In partnership with the Lyric, JOY Festival is a celebration of West London disabled artists with a week of live performances in the Lyric Theatre Studio including a specially commissioned play Where the Magic Happens.

There were workshops in seven local SEN schools and five community groups each made a film. The Family Fun Days, free arts entertainment for the whole family were held in Lyric Square.

We also set up an online social hub, The Green Room, which allows the members to share their work and creative ideas throughout the year.

“Turtle Key Arts promote many initiatives and implement a series of measures to engage with the most vulnerable and disadvantaged parts of society.” EVERYTHING THEATRE

[DYSLEXIA] < KEY WORDS

A writing project for young people with dyslexia and other issues with writing.

During the autumn term, Key Words engaged with students from local schools in the borough of Hammersmith and Fulham to write their own plays. The resulting pieces were published in individually bound playscripts and a fabulous cast of actors from Lyric Young Company performed them on the main stage at the Lyric Theatre Hammersmith to friends and family in a joyous and anarchic style.

“The project changed the way they saw themselves. Their voices, unusual, flawed, complicated as they were, were raised aloft and celebrated. That, for me, is inclusion.”

SEN CO-ORDINATOR

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6. COLLABORATING COMPANIES/PRODUCTION We continued to produce our portfolio of groundbreaking performing arts companies.

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“Turtle Key Arts have a long-standing reputation in their role as creative producers advancing participation in the arts by disabled, disadvantaged and socially excluded people”

COLIN HAMBROOK - DISABILITY ARTS

KILL THE CAT >

Kill the Cat make bold interactive theatre. They continued to tour their show Talk, a unique interactive scientific-experimental-game-showinstallation-theatre-extravaganza. The audience members are paired with a stranger and get to know each other over the course of six installations, where they make a pot of tea, paint a portrait, share memories, dress-up in card-board boxes and more.

“An immersive adventure unlike any other” SKIDDLE

< OPEN SKY THEATRE

Open Sky blended their film making and physical theatre skills to create the beautifully filmed dark fairy tale Cold, a digital theatre production. This year it screened at cinemas and theatres around the world, it was viewed many thousands of times and won numerous prestigious European film awards.

They also wrote, devised and directed the JOY Festival commissioned play Where the Magic Happens, the story of a disabled band rehearsing for their first gig.

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< YOUNG AMICI

A dance company for young disabled and nondisabled dancers who meet weekly during termtime at the Lyric Theatre Hammersmith.

Young Amici continued their weekly workshops, they took part in a residency in Derbyshire and were part of the JOY Festival. They also ran a free week-long Summer School for over forty participants that, with professional artists, explored different movement disciplines including Ballet, Drama, Feldenkrais, Meditation and Yoga.

ODDLY MOVING >

Oddly Moving continued to tour the UK with their show Atlas, about the metaphorical weight we each bear, which interweaves personal stories with the Greek myth of Atlas, told with Oddly Moving’s unique blend of physical theatre, autobiographical storytelling and circus skills.

Oddly Moving also ran a physics based circus and movement workshop four many school groups around the UK.

“ Incredible displays of acrobatics combine with clever storytelling to create a truly immersive experience.” NUMBER 9

< AIK PRODUCTIONS

AIK continued to tour the UK, including a two-week run at the Lyric Studio Theatre Hammersmith, with the five-star reviewed Jabala and the Jinn, a play for children, written by Asif Khan, which explores the story of a modern British Muslim family.

With a team of British Muslim workshop facilitators, they delivered sessions in schools, and for refugee organisations, community groups and special needs groups which looked at themes tackled in the play such as friendship, Eid, Loss of a parent, Islam and Refugees.

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< SADIQ ALI

Turtle Key Arts supported Sadiq Ali with his debut show The Chosen Haram at the Edinburgh Fringe Festival where it had five-star reviews and sold-out performances at Summerhall and won the Lustrum Award for Unforgettable Performance.

Produced by Turtle Key Arts, the show then embarked on an extensive tour of the UK, Europe and visited the Auckland ArtsFestival in New Zealand.

“ Elevates a boy meets-boy love story into something dream-like” THE GUARDIAN

“ Beautiful story, beautifully told” THE STAGE

AMICI DANCE THEATRE COMPANY >

Amici Dance Theatre Company, albeit two years later than planned, were able to perform their 40th Anniversary show One World on the main stage at the Lyric Theatre Hammersmith. With over a hundred performers on stage including their past collaborators from all over the world - America, New Zealand, Austria, Wales and Scotland - the show was a stunning success.

Amici continued with their weekly classes and also took their work into local SEN schools as part of Dance Together.

“ Wolfgang Stange’s production is a rallying cry for unity and compassion” FINANCIAL TIMES

“ Amici is committed to using their inclusive method to highlight matters of moral and global consequence.” REVIEWS HUB

< OCKHAM’S RAZOR

Ockham’s Razor, the UK’s leading circus company, finished creating their outdoor show Public, an integrated performance about the ownership of public space and toured it all over the UK, premiering at The Lowry, Salford.

They also started research and development for two new shows. TESS, based on Thomas Hardy’s Tess of the D’Urbervilles, and Joyride, a collaboration with Oily Cart.

The artistic directors also continued lecturing, teaching and supporting companies and artists with mentoring and directing support.

“ Physically thrilling” “Artful” THE SUNDAY TIMES THE TIMES

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TURTLE KEY ARTS ANNUAL REVIEW
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FOR THE PERIOD ENDED 31ST MARCH 2023

7. FINANCIAL DETAIL

REGISTERED CHARITY NAME: Turtle Key Arts Centre Trust CHARITY NUMBER: 1003113 ADMINISTRATIVE ADDRESS: Turtle Key Arts Lyric Hammersmith 7.

ADMINISTRATIVE ADDRESS: Turtle Key Arts Lyric Hammersmith Lyric Square King Street London W6 0QL

AMBASSADORS:

Sarah Long (Disability Arts) Amir Hosseinpour (Performing Arts) Emma Hall (Theatre Arts)

Anouskha Lucas (Music and Performing Arts)

BANKERS: Lloyds TSB Fenchurch Street Branch 72 Fenchurch Street London EC3P 3EH

INDEPENDENT EXAMINER:

TRUSTEES:

Magdalen Wolloshin (Chair - stepped down on 31st March 23)* Graham McGrath (Vice chair)

Laura Barlow (Treasurer)

Charlotte Cunningham MBE Pegram Harrison Kate Lovegrove (Appointed Chair on 31st March 23)

Jerry Gunn James Charrington Emma Bleasdale Subartha Subramaniam Sarah Long

*Magdalen Wolloshin will remain on the board as a trustee.

Bright Grahame Murray Emperor’s Gate 114a Cromwell Road Kensington London SW7 4AG

SOLICITORS:

Pothecary Witham Weld Solicitors 70 St. George’s Square London SW1V 3RD

WEBSITE:

www.turtlekeyarts.org.uk

The trustees present their annual report and financial statements of the charity for the year ended 31st March 2023.

The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the accounts and comply with the charity’s trust deed (dated 29th May 1991), the Charities Act 2011 and Account and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard for Smaller Entities published on 16th July 2014.

New Trustees are appointed on the recommendation of existing Trustees based on the needs of the charity. Each trustees’ role on the board is reviewed regularly and rotation and appointment is considered every four years.

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TURTLE KEY ARTS ANNUAL REVIEW

STRUCTURE, GOVERNANCE AND MANAGEMENT

NATURE OF FUNDS

GENERAL FUNDS – UNRESTRICTED FUND

GOVERNING DOCUMENT

The Charity is a Charitable Trust governed by a trust deed dated 29th May 1991 and amended on the 25th June 2015. The Trust is a registered charity, No. 1003113.

RECRUITMENT AND APPOINTMENT OF TRUSTEES

New trustees are appointed on the recommendation of existing Trustees. The trustees who served for the financial period ending 31st March 2023 are listed on the attached schedule. Each trustees’ role on the board is reviewed regularly and rotation is considered every four years.

RISK MANAGEMENT

The trustees conduct comprehensive reviews of the Charity’s activities, setting out major opportunities available to the Charity and the risks to which it is exposed. The trustees monitor progress against the strategic objectives.

This fund is used predominantly to cover the administration costs and to increase the profile of the work of the organisation as well as covering the staff and running costs of the organisation..

RECPARTICIPATION FUND – RESTRICTED FUND

This fund is made up of all the donations towards the participation work carried out with community groups, people with dementia, young people with Autism Spectrum conditions, young people with HIV and people with disabilities and is spent directly in relation to these projects.

RECCOLLABORATORS FUND - RESTRICTED INCOME

This fund consists of the payments and grants towards the projects and artistic work carried out by the theatre, circus and dance companies that we promote and whose work we support.

ORGANISATION STRUCTURE

A board of trustees is responsible for the policies, planning, direction and organisation of the charity. The board meet a minimum of four times annually and a Finance subcommittee that reviews the financial position, risk management and finance policy of the charity meet twice a year.

The day to day operations of the charity are run by a Chief Executive and Artistic Director with the support of a Development and Project Director, a Senior Producer, a Finance Manager, a Producer and one Project and Office Manager. The charity also employs a dementia consultant on a one day per week basis and contracts project leaders/production managers to run specific projects.

RECDESIGNATED FUNDS

This fund represents a surplus which has been set aside for future projects or budgeted costs that fall outside of their commitment to maintain free reserves to meet the day to day running needs of the charity. This is in addition to the funds allocated overhead funds that are there to accommodate 3 month wind down costs.

RECGOING CONCERN

The trustees consider that the Charity has adequate resources available to be able to continue to fund the activities of the charity for the foreseeable future.

RESERVES POLICY

The trustees have developed a policy whereby the unrestricted funds not committed and held by the charity should be sufficient to fund three months of staff and overhead costs.

27

STATEMENT OF TRUSTEES’ RESPONSIBILITIES

The Trustees are responsible for preparing the annual report and the financial statements in accordance with applicable law and United Kingdom Generally Accepted Accounting Practice (United Kingdom Accounting Standards and applicable law).

The law applicable to charities in England and Wales requires the charity trustees to prepare financial statements for each year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources, of the charity for that period. In preparing these financial statements, the Trustees are required to:-

The Trustees were responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charity and enable them to ensure that the financial statements comply with the Charities Act 2011, the application Charities (Accounts and Reports) Regulations, and the provisions of the trust deed. They were also responsible for safeguarding the assets of the charity and hence took reasonable steps for the prevention and detection of fraud and other irregularities.

The trustees are responsible for the maintenance and integrity of the charity and financial information included on the charity’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions.

Approved by the trustees and signed on their behalf by:

----- Start of picture text -----
C. CUNNINGHAM
Trustee
----- End of picture text -----

L. BARLOW Trustee

Approved on: 13 December 2023

28

TURTLE KEY ARTS ANNUAL REVIEW

I report to the charity trustees on my examination of the consolidated accounts of the Group accounts of the charity for the period ended 31 March 2023 .

RESPONSIBILITIES AND BASIS OF THE REPORT

As the trustees of the Trust you are responsible for the preparation of the consolidated accounts of the Group in accordance with the requirements of the Charities Act 2011 (‘the Act’) and you have chosen to prepare consolidated accounts for the Group. You are satisfied that the accounts of both the Trust and the Group are not required by charity law to be audited and have chosen instead to have an independent examination.

I report in respect of my examination of the consolidated accounts. I have carried out my examination under section 145 of the 2011 Act. In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.

An independent examination does not involve gathering all the evidence that would be required in an audit and consequently does not cover all the matters that an auditor considers in giving their opinion on the accounts. The planning and conduct of an audit goes beyond the limited assurance that an independent examination can provide. Consequently I express no opinion as to whether the consolidated accounts present a ‘true and fair’ view and my report is limited to those specific matters set out in the independent examiner’s statement.

INDEPENDENT EXAMINER’S STATEMENT

Since the Trust’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I a member of ICAEW, which is one of the listed bodies. I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe:

  1. accounting records, with respect to the Trust, were not kept as required by section 130 of the 2011 Act and, with respect to its subsidiaries, were not kept as required by section 386 of the Companies Act 2006; or

  2. the accounts do not accord with those records; or

  3. the accounts do not comply with the applicable requirements concerning the form and content of accounts set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a ‘true and fair view which is not a matter considered as part of an independent examination; or

  4. the accounts have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for accounting and reporting by charities.

I confirm that there are no other matters to which your attention should be drawn to enable a proper understanding of the accounts to be reached.

ord Brian Clif

Brian Clifford FCA

Bright Grahame Murray Chartered Accountants

Emperor’s Gate, 114a Cromwell Road, Kensington London, SW7 4AG

29

INCOME AND EXPENDITURE

INCOMING RESOURCES
Donations and grants
Voluntary income
2
Income from charitable activities
Collaborators project income
Participation project income
Production & Participation
management fees
Total income
3
RESOURCES EXPENDED
Expenditure on charitable activities
Collaborator projects
Participation projects
Governance and other operating costs
Total expenditure
4
NET INCOMING RESOURCES
BEFORE TRANSFERS
Transfer between funds
Net income and net movement
in funds for the year
Reconciliation of funds
Total funds brought forward
Total funds carried forward
9/10a		 Unrestricted
Funds
£
220,401
-
-
117,187
337,588
178,083
90,345
119,447
387,875
(50,287)
(50,000)
(287)
61,576
61,289		 Restricted
Funds
£
-
235,834
166,789
-
402,623
266,789
166,860
-
433,649
(31,026)
-
(31,026)
197,590
166,564		 Designated
Funds
£
-
-
-
-
-
-
-
-
-
-
50,000
(50,000)
210,440
160,440		 Total Funds
2023
£
220,401
235,834
166,789
117,187
740,211
444,872
257,205
119,447
821,524
(81,313)
-
(81,313)*
469,606
388,293		 Total Funds
2022
£
301,487
223,576
132,891
105,447
763,401
399,558
213,583
66,080
679,221
84,180
-
84,180
385,426
469,606

*The deficit reflects the surplus funds from the previous year, from projects that were unable to take place due to the pandemic. E.G , The JOY Festival and the Turtle Song projects, these projects have now been run and then funding spent.

30

TURTLE KEY ARTS ANNUAL REVIEW

CONSOLIDATED BALANCE SHEET AT 31ST MARCH 2023

Notes
FIXED ASSETS
Tangible fxed assets
6
CURRENT ASSETS
Debtors
7
Cash at bank and in hand
Creditors: Amounts falling due within one year
8
NET CURRENT ASSETS
NET ASSETS
The funds of the charity:
10
Unrestricted funds
Designated funds
Restricted funds
TOTAL CHARITY FUNDS		 2023
£
£
-
50,463
367,583
418,046
29,753
388,293
388,293
61,289
160,440
166,564
388,293		 2022
£
£
-
82,522
410,610
493,132
23,526
469,606
469,606
61,576
210,440
197,590
469,606		 2022
£
£
-
82,522
410,610
493,132
23,526
469,606
469,606
61,576
210,440
197,590
469,606
469,606
61,576
210,440
197,590
469,606

C. CUNNINGHAM Trustee

L. BARLOW Trustee

Approved on: 13 December 2023

31

1. ACCOUNTING POLICIES

BASIS OF PREPARATION OF FINANCIAL STATEMENTS

The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK (FRS 102) (Effective 1 January 2019) - (Charities SORP (FRS 102)), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

The trustees consider that there are no material uncertainties about the charity’s ability to continue as a going concern. There are no material uncertainties affecting the current year’s accounts.

INCOME AND EXPENDITURE

All incoming resources are recognised once the charity has entitlement to the resources, it is probable (more likely than not) that the resources will be received and the monetary value of incoming resources can be measured with sufficient reliability.

Where there are terms or conditions attached to incoming resources, particularly grants, then these terms or conditions must be met before the income is recognised as the entitlement condition will not be satisfied until that point. Where terms or conditions have not been met or uncertainty exists as to whether they can be met then the relevant income is not recognised in the year but deferred and shown on the balance sheet as deferred income.

All expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all costs related to each category of expense shown in the Statement of Financial Activities. Expenditure is recognised when the following criteria are met:

Irrecoverable VAT is charged against the category of resources expended for which it was incurred.

Direct charitable expenditure comprises all expenditure relating directly to the charitable objects. Support costs and consultants fees are allocated to the activity cost categories on a basis consistent with the use of the resource.

Governance costs include those costs incurred in the governance of the charity and are primarily associated with constitutional compliance and statutory requirements. Overheads are the costs of running the charity not attributable to specific projects.

Support costs are those costs which do not relate directly to a single activity. These include some staff costs, costs of administration, and professional fees. Support costs have been apportioned between fundraising costs and charitable activities on an appropriate basis.

The costs of generating funds are those costs attributable to generating income for the charity, other than those costs incurred in undertaking charitable activities or the costs incurred in undertaking trading activities in furtherance of the charity’s objects. Fundraising costs include expenses for fundraising activities.

Costs of charitable activities comprise all costs incurred in the pursuit of the charitable objects of the charity. These costs, where not wholly attributable, are apportioned between the categories of charitable expenditure in addition to the direct costs.

32

TURTLE KEY ARTS ANNUAL REVIEW

FUND ACCOUNTING

General funds are unrestricted funds which are available for use at the discretion of the Trustees in furtherance of the general objectives of the Charity.

Restricted funds are funds that can only be used for restricted purposes within the objects of the Charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes.

Governance costs and support costs relating to charitable activities have been apportioned based on the time and nature of the work undertaken in each respect. This allocation is analysed in note 4.

During the year, the Trust have revisited their allocations of staff time between project and central work and have updated the percentages used to better reflect the actual use of staff time.

DEBTORS

GROUP FINANCIAL STATEMENTS

The financial statements consolidate the results of the charity and its wholly owned subsidiary Turtle Key Productions Limited on a line-by-line basis. A separate Statement of Financial Activities and Income and Expenditure Account for the charity has not been presented because the charity has chosen to make use of the exemption available in section 408 of the Companies Act 2006.

Debtors are amounts owed to the charity and are measured on the basis of their recoverable amount, and any conditions attached to their receivability.

CASH AND CASH EQUIVALENTS

Cash at bank and in hand is held to meet the day to day running costs of the charity as they fall due. Cash equivalents are short term, highly liquid investments, usually in short notice interest bearing savings accounts.

TAXATION

The Trust is a registered charity and is exempt from Income and Corporation Taxes.

GIFTS IN KIND

CREDITORS

Creditors are amounts owed by the charity. They are measured at the amount that the charity expects to have to pay to settle the debt, as well as any relevant recognition conditions.

These represent the consultants time which are included at open market value.

ALLOCATION OF SUPPORT AND GOVERNANCE COSTS

Support costs have been differentiated between governance costs and other support costs. Governance costs comprise all costs involving the public accountability of the charity and its compliance with regulation and good practice.

33

2. DONATIONS INCOME

2. DONATIONS INCOME
Unrestricted
funds
£
Gift in kind – Consultants
50,170
The Dillon Fund
32,000
C&A Dillon Dunwalke Trust
59,958
The Aurelia Foundation
62,500
The Redfern Trust
1,000
Atomy UK~
-
Headley Trust~
-
Anthony Crickmay Estate~
-
DCMS
-
Other Miscellaneous income:
Coronavirus Job Retention Scheme
-
Individual Giving
13,913
Gift Aid
162
Bank interest
698


220,401		 Restricted
Funds
£
-
-
-
-
-
-
-
-
-
-
-
-


-		 Total
2023
£
50,170
32,000
54,010
62,500
1,000
-
-
-
-
-
13,913
162
698

220,401		 Total
2022
£
49,000
32,000
54,010
62,500
-
30,000
30,000
10,000
8,350
8,933
16,200
458
36
301,487

~ These funds were received as a one off in the previous year as support to the Charity during the impact of the Covid 19 pandemic and were not expected to recur in this financial year.

34

TURTLE KEY ARTS ANNUAL REVIEW

3. ANALYSIS OF INCOME

3. ANALYSIS OF INCOME
i Restricted funds - collaborators project income
Kill The Cat
Joy
Hassan Abdulrazzak
Amici Integrated Theatre Co.
Young Amici
Red Cape
Ockham’s Razor
Oddly Moving
Open Sky
Sadiq Ali
AIK Productions
ii Restricted funds - participation projects
General Participation
Theatre Box
The Key Club (Hammersmith)
The Key Club (Kiln)
Turtle Song
Chiva
Turtle Opera
Key Words
Covid Response Projects		 Voluntary
Income
£
-
73,100
-
19,390
2,025
-
-
9,630
-
9,000
24,150
137,295
-
35,000
23,037
21,000
44,895
-
37,884
4,973
-
166,789		 Direct
Income
£
-
1,320
-
46,424
9,257
12
12
5,095
-
24,877
11,542
98,539
-
-
-
-
-
-
-
-
-
-		 Total
2023
£
-
74,420
-
65,814
11,282
12
12
14,725
-
33,877
35,692
235,834
-
35,000
23,037
21,000
44,895
-
37,884
4,973
-
166,789		 Total
2022
£
2,670
36,000
2,514
11,264
13,828
52
25,350
49,050
5,788
-
77,060
223,576
220
35,000
23,500
-
38,422
1,903
21,645
9,251
2,950
132,891

35

3. ANALYSIS OF INCOME (continued)

3. ANALYSIS OF INCOME (continued)
iii Production and participation management fees:
Lecturing & training
Consultancy & mentoring
Ockham’s Razor
Oddly Moving
Open Sky
Kill the Cat
AIK Productions
Key Words
Turtle Song
Key Club
Turtle Opera
Red Cape
Joli Vyann
Amici
Young Amici
Proteus
Theatre Box
Joy
Lyric Partner Project
Covid Response Project
Project Contributions to Core
Expenses repaid to Core
Donations income (note 2)
Total restricted income (3i, 3ii)
Total income		 Voluntary
Income
£
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-

-
 Direct
Income
£
5,095
1,300
36,000
7,000
-
-
9,000
2,700
7,500
2,850
3,000
-
250
9,640
3,000
-
3,900
11,000
-
-
4,580
10,372


117,187

 Total
2023
£
5,095
1,300
36,000
7,000
-
-
9,000
2,700
7,500
2,850
3,000
-
250
9,640
3,000
-
3,900
11,000
-
-
4,580
10,372


117,187


220,401
402,623
740,211		 Total
2022
£
4,858
3,750
35,460
-
7,800
500
-
-
5,000
3,600
2,900
250
-
1,000
3,000
8,500
3,100
9,350
10,000
4,500
1,700
179


105,447


301,487
356,467
763,401

36

TURTLE KEY ARTS ANNUAL REVIEW

4. RESOURCES EXPENDED

4. RESOURCES EXPENDED
Charitable activities
Collaborators project expenses:
Kill The Cat
Joy
Hassan Abdulrazzak
Oddly Moving
Amici
Young Amici
Red Cape
Ockham’s Razor
AIK Productions
Open Sky
Joli Vyann
Sadiq Ali
Other – salary gift in kind ^
Consultants & support fees ^
Participation projects:
Theatre Box
General Participation
Turtle Opera
Key Words
The Key Club – Lyric x 2
The Key Club - Kiln
Chiva
Turtle Song
Covid Projects
Other – salary gift in kind ^
Consultants & support fees ^
Overheads and governance*		 Direct
Consultants
Costs
Fees
£
£
166
-
99,150
-
-
-
18,633
-
64,193
-
11,542
-
58
-
1,972
-
29,531
-
-
-
-
-
35,912
-
-
25,085
5,331
75,755
266,488
100,840
28,453
-
430
-
40,190
-
12,593
-
16,443
-
7,626
-
-
60,239
-
831
-
-
15,051
-
75,294
166,805
90,345


-
-


433,293
191,185		 Support
Costs
£
-
2,520
-
227
2,281
90
-
314
200
-
-
-
10,034
61,878
77,544
-
-
-
29
-
-
26
-
-
-
55


119,447


197,046		 Total
2023
£
166
101,670
-
18,860
66,474
11,632
58
2,286
29,731
-
-
35,912
35,119
142,964
444,872
28,453
430
40,190
12,622
16,443
7,626
-
60,265
831
15,051
75,294
257,205


119,447


821,524		 Total
2022
£
2,641
45,965
2,515
44,687
11,264
13,628
-
15,829
88,502
5,788
18
-
34,300
134,421
399,558
8,446
-
22,511
40
19,877
-
2,001
46,690
30,339
14,700
68,979
213,583


66,080


679,221

37

4. RESOURCES EXPENDED (continued)

4. RESOURCES EXPENDED (continued)
Consultants fees
Wages
Production assistance
Participation, projects and marketing
Administration and fnance
Total consultants costs (note 4 ^)
Support costs– these are the direct costs of running the
Turtle Key Charity Consultants costs support time:-
Gift in kind
Wages
Production assistance
Participation, projects and marketing
Administration and fnance
Total support costs (note 4 ^)
Total staff costs (note 5)
Non project related staff costs (note 4 ^)
Overheads
Insurance (net of contributions from projects)
Rent, rates and utilities
Offce costs
Bank charges
Governance
Accountancy and advisory fees		 2023
£
55,177
30,583
30,415
34,873
191,185
10,034
36,610
7,645
7,604
10,019
71,912
263,096
5,331
268,427
3,974
31,713
76,200
435
112,322
7,125
119,447		 2022
£
54,532
28,138
34,893
15,581
172,344
9,800
36,085
5,410
10,783
7,920
69,998
242,342
10,058
252,400
3,099
13,682
42,416
1,383
60,380
5,700
66,080

38

TURTLE KEY ARTS ANNUAL REVIEW

5. STAFF SALARIES AND CONSULTANTS

5. STAFF SALARIES AND CONSULTANTS
Salaries and social security costs
Consultants fees
The number of staff and consultants utilised, analysed by function was:
Chief Executive
Artistic Director (In Kind)
Senior Producer (P/T)
Producer
Production, education and technical consultants
Marketing and Development Director
Financial management
Autism and Dementia consultants		 2023
£
141,957
121,139
263,096
No.
FTE*
1
1
1
1
1
0.3
1
1
3
1.2
1
1
1
0.5
2
0.2		 2022
£
136,204
90,018
226,222
No.
1
1
1
1
1.2
1
1
1

The organisation employs one individual as a full time chief executive, one employee as a full time Marketing and Development Director and one employee as a full time Producer. These employees did not receive emoluments above £60,000 in the year.

The Trust relies mainly on consultants which the Trustees believe to be more cost effective. Much of the work of the Charity is undertaken by some of the Trustees, however none of the Trustees received remuneration (2022: £Nil) nor did they have expenses reimbursed by the Trust (2022: £Nil).

39

6. TANGIBLE FIXED ASSETS

6. TANGIBLE FIXED ASSETS
Offce
equipment
£
Cost or valuation:
At 1st April 2022 and at
31st March 2023
11,989

Accumulated depreciation:
At 1st April 2022 and at
31st March 2023
11,989

Net book value:
At 31st March 2023
-
Net book value:
At 31st March 2022
-		 Fixtures
and
fttings
£
16,046


16,046


-
-		 Motor
vehicles
£
10,550


10,550


-
-		 Total
£
38,585


38,585


-
-

7. DEBTORS

7. DEBTORS
Trade debtors
Prepayments
Other debtors		 2023
£
29,674
6,822
13,967
50,463		 2022
£
70,238
12,284
-
82,522

8. CREDITORS: Amounts falling due within one year

8. CREDITORS: Amounts falling due within one year
Trade creditors
Other creditors
Accruals and deferred income		 2023
£
21,710
5,210
2,833
29,753		 2022
£
10,646
12,880
-
23,526

40

TURTLE KEY ARTS ANNUAL REVIEW

9. ANALYSIS OF NET ASSETS BETWEEN FUNDS

Restricted funds
Collaborators fund
Participation and disability arts fund
Unrestricted fund
Designated fund
General fund		 Fixed
assets
£
-
-
-
-
-
-		 Debtors
£
-
-
-
-
50,463
50,463		 Cash
£
5,034
161,530
166,564
160,440
40,579
367,583		 Creditors
£
-
-
-
-
(29,753)
(29,753)		 Total
Assets/
Liabilities
£
5,034
161,524
166,564
160,440
61,289
388,293

10a. DESIGNATED FUNDS

10a. DESIGNATED FUNDS
Allocated overhead reserve
Other unrestricted reserves		 Balance
1 April
2022
£
60,000
160,440
210,440		 Movement in Year
Balance
Amounts
Amounts
Amounts
provided
utilised
released
£
£
£
-
-
-
-
(50,000)
-
-
(50,000)
-		 31 March
2023
£
60,000
110,440
170,440

Designated funds represent unrestricted reserves where Trustees have made an internal decision to set aside specific funds for future projects and budgeted core costs that fall outside of their commitment to maintain free reserves to meet the day to day running needs of the charity. These funds also include allocated reserves in place in the event of the charity needing to wind down operations. This amount is calculated at three months running costs and is reviewed annually.

41

10b. RESTRICTED FUNDS

10b. RESTRICTED FUNDS
Collaborators Fund
Kill The Cat
Joy
Sadiq Ali
Oddly Moving
Amici Integrated Theatre
Young Amici
Ockham’s Razor
Red Cape
AIK Productions
Joli Vyann
Participation & Disability Arts Fund
General Participation
Turtle Opera
Theatre Box
Key Words
The Key Club (Lyric)
The Key Club (Kiln)
CHIVA
Turtle Song
Covid Response Projects		 Balance
1 April
2022
£
179
27,408
-
7,678
-
200
9,521
52
(9,105)
56
5,330
18,506
26,554
24,136
24,126
-
4,007
58,111
831

197,590		 Movement in Year
Incoming
Outgoing
Transfer
£
£
£
-
(166)
-
74,420
(101,670)
-
33,877
(35,912)
-
14,725
(18,860)
-
65,814
(66,474)
-
11,282
(11,632)
-
12
(2,286)
-
12
(58)
-
35,692
(29,731)
-
-
-
-
-
(430)
-
37,884
(40,190)
-
35,000
(28,453)
-
4,973
(12,622)
-
23,037
(16,443)
-
21,000
(7,626)
-
-
-
-
44,895
(60,265)
-
-
(831)
-



402,623
(433,649)
-		 Balance
31 March
2023
£
13
158
(2,035)
3,543
(660)
(150)
7,247
6
(3,144)
56
4,900
16,200
33,101
16,487
30,720
13,368
4,007
42,741
-


166,564

42

TURTLE KEY ARTS ANNUAL REVIEW

10b. RESTRICTED FUNDS (continued)

The Trustees are confident that the expected ongoing project income and funding will cover any negative balances on restricted funds. Due to the impact of COVID 19 in the prior year, some of our project activity, particularly our work with collaborators, was delayed or postponed until we were able to undertake the work again, from late spring of last year. Therefore, some project funding received was deferred and carried forward into this financial year.

As always, these projects are supported administratively by funding for the core objectives of the charity.

The nature and purpose of each fund is as follows:-

GENERAL FUNDS – UNRESTRICTED

This fund is used predominantly to cover the administration costs and to increase the profile of the work of the organisation as well as covering the staff and consultant costs of the organisation.

COLLABORATORS FUNDS – RESTRICTED

This fund consists of the payments and donations towards the artistic work carried out by the young theatre and dance companies that we promote and manage, and whose work we support.

PARTICIPATION AND DISABILITY ARTS FUND – RESTRICTED

This fund is made up of the donations towards the participation and community work carried out with local community groups and special schools or young disabled people and is spent directly in relation to these projects.

43

10c. RESTRICTED FUNDS (continued)

Analysis of participation activity income
Autism
The Key Club (Hammersmith)
John Lyons Trust
City Bridge Trust
Donation
The Key Club (Kiln)
John Lyons Trust
Turtle Opera
Prospero
BBC Children in Need
University of Oxford
Golsoncott Foundation
Armstrong International
Donation
Earned income
Partner contribution
Gift Aid
General Donations (Autism)
Earned income
Dementia:
Turtle Song
The Scouloudi Foundation
Swire Charitable Trust
Lord Faringdon Charitable Trust
Headley Trust
Prue Macleod
Ashe Windham Donation
Other Donations (incl. fundraising activities)
Armitage Charitable Trust
Partner contribution
Gift Aid
Other Education:
CHIVA – Art is Key
Partner contribution (CHIVA)
Key Words
City Bridge Trust
Covid-19 Response Projects
Arts Council England
Theatre Box
John Lyon’s Trust
Total Income		 2023
£
20,350
2,500
150
37
21,000
14,000
10,500
1,000
500
10,000
260
250
1302
72
-
5,000
5,000
4,000
7,800
14,000
-
3,345
5,000
-
750
-
-
4,973
-
35,000
152,688		 2022
£
18,500
5,000
-
-
-
11,000
10,000
-
-
-
645
-
-
-
220
2,000
-
3,000
20,000
-
2,000
4,929
-
6,425
68
-
1,903
9,251
2,950
35,000
123,206

44

TURTLE KEY ARTS ANNUAL REVIEW

10c. RESTRICTED FUNDS (continued)

10c. RESTRICTED FUNDS (continued)
Analysis of JOY activity income
JOY Festival 2022
Arts Council England
Hammersmith United Charities
Partner contribution (H&F Arts Fest c/o John Lyon’s)
LBHF Fast Track Grant
Dr Edward Bishop King Fulham Charity
Atomy UK contribution
Daisy Trust
Earned income (Box offce)
Total Income		 2023
£
16,500
500
26,100
4,000
6,000
20,000
-
1,320
74,420		 2022
£
28,500
6,500
-
-
-
-
1,000
-
36,000

11. SUBSIDIARY

The charity owns a subsidiary, Turtle Key Productions Limited (company number (13199091) which was incorporated in England and Wales on 12 February 2021. The subsidiary’s main purpose is to undertake theatrical creation activities. The charity holds the sole £1 share of this company.

At 31 March 2023 the subsidiary has net assets of £43,764. These results are fully consolidated into these group accounts.

45

DOES NOT FORM PART OF THE STATUTORY ACCOUNTS

8. APPENDIX

SUMMARY PROFIT AND LOSS ACOUNT FOR TURTLE KEY ARTS PRODUCTIONS FOR THE PERIOD ENDED 31 MARCH 2023

.
Analysis of participation activity income
Turnover
Outreach Revenue
Tour Revenue
Creation
Funding and donations
Cost of sales
Creation costs
Tour costs
Outreach costs
Marketing
Participation costs
Production costs

Total cost of sales
Gross loss
Administrative costs
Accountancy
Sundry expenses
Operating loss
122,370
50,793
450
5,837
50,823
17,502

247,775

900
3,972		 Total
£
-
41,792
109,649
73,087

224,528
(247,775)

(23,247)
(4,872)
(28,119)

The operating loss is from the individual collaborators not from Turtle Key Arts Trust. The liability of which lies with the collaborators. This loss also does not include the Theatre Tax Relief that is in the process of being claimed.

46

TURTLE KEY ARTS ANNUAL REVIEW

PROJECT BY PROJECT PROFIT AND LOSS ACCOUNT FOR THE PERIOD ENDED 31 MARCH 2023

Turnover
Tour Revenue
Creation
Funding and donations
Expenditure
Creation costs
Tour costs
Outreach costs
Participation
General expenses
Surplus/(defcit)
Opening surplus/(defcit)
Carried forward surplus/(defcit)		 JOY
£
1,320
26,100
47,000

74,420
51,580
4,682
-
28,975
16,433

101,670
(27,250)
27,408
158		 Oddly
Moving
£
5,095
9,630
-


14,725
5,359
7,385
-
3,335
2,781


18,860
(4,135)
7,678
3,543		 Amici
£
4,000
44,727
17,087


65,814
47,070
-
450
4,067
14,887


66,474
(660)
-
(660)		 AIK
£
11,500
24,192
-


35,692
9,243
13,720
-
3,886
2,882


29,731
5,961
(9,105)
(3,144)		 Sadiq
£
19,877
5,000
9,000


33,877
9,119
25,006
-
249
1,538


35,912
(2,035)
-
(2,035)		 Total
£
41,792
109,649
73,087


224,528
122,370
50,793
450
40,512
38,521


252,647
(28,119)
(25,981)
(2,138)

47

9. OUR THANKS

THANK YOU TO OUR PARTNERS

Wigmore Hall, National Portrait Gallery, English Touring Opera, Royal College of Music, Oxford University, Chats Palace, University of Reading, University of York, University of Chester, Waddesdon Manor, St Edward’s School Oxford, Autism Family Support Oxfordshire, Autistica, Royal Court Theatre, CHIVA, Dep Arts, Arc Stockton, Paddington Arts, South Street - Reading, Lyric Hammersmith, London International Mime Festival, Park Theatre, the Philip Barker Centre for Creative Learning at Chester University, Daniella Cromwell, Arts Alive, The Lowry - Salford Quays, Kings College London, The Hub - High Wycombe, The Core at The Corby Cube, artsdepot, Dance City, Harlow Playhouse, Lincoln Drill Hall, The Point - Eastleigh, Pavilion Dance South West, The Albany, Norden Farm Centre for the Arts, Jacksons Lane, National Centre for Circus Arts, Hammersmith & Fulham Arts Fest The Wardens Trust, Three Choirs Festival, Hereford College of Arts, Mindsong, The Courtyard – Hereford, Independent Theatre Council, Theatre Royal Portsmouth, Greenwich+Docklands International Festival, Out There International Festival of Circus & Street Arts, Norfolk & Norwich Festival, Lift Off! - Salisbury, Circulate, Stratford Circus Arts Centre. The Auckland project, The University of Durham, The University of Liverpool, Chetham’s Music School, Belgrade Theatre Coventry, Kala Sangam, Mountview Academy of Theatre Arts, St. Mary’s University, Birmingham Conservatoire, Birmingham Ormistom Academy, Worthing Theatres, Circomedia, Proteus, Hall for Cornwall, University of the Arts London, Reading Rep, Bristol Beacon, Birmingham Hippodrome, Mime London and Theatre in the Mill.

THANK YOU TO OUR FUNDERS

Arts Council England, The Henry Smith Charity, Mark Armitage, C.A. Redfern Charitable Foundation, Scouloudi Foundation, Cockayne - Grants for the Arts and The London Community Foundation, Royal Victoria Hall Foundation, The London Borough of Hammersmith & Fulham, Adult Learning & Skills Service, Hammersmith United Charities, RBS, The Ashley Family Foundation, PRS for Music Foundation, The Clarence and Anne Dillon Dunwalke Trust, Atomy UK, The Dillon Fund, Roseheath Foundation, John Lyon’s Charity, The Garrick Trust, Esmee Fairbairn, Split Infinitive Grant, Geoffrey Watling Foundation, Norwich County Council, Buckinghamshire Community Foundation, Heart of Bucks Community Foundation, The Rothschild Foundation, The Swire Charitable Trust, The Headley Trust, Monday Charitable Trust, Prospero World, The Aurelia Foundation, Van Houten Fund, Ammco Charitable Trust, Oak Dale Trust, ViiV Healthcare, Austin Hope Pilkington Trust, The Mercer’s Company, Royal Borough of Kensington and Chelsea Arts Fund, Buckinghamshire County Council Prevention Grant, The Clothworkers’ Foundation, The Faringdon Charitable Trust, The Herefordshire Community Trust, The Berkshire Community Fund, Fresh Leaf Charitable Foundation, Primark, The City Bridge Trust, The Goldsmiths Company Charity, Unity Theatre Trust, Schroder Charitable Trust, Brinsden Charitable Trust, The Arah Foundation, The Suffolk Foundation, Dementia Friendly Communities Fund, Norman Scarfe Charitable Trust, Englefield Charitable Trust, Hammersmith United Charities, Dr Edwards & Bishops King’s Fulham Charity, The Elmley Foundation, Without Walls, Stockton International Riverside Festival, Basingstoke Festival, Daisy Trust, London Community Foundation, Goldman Sachs, The Lord Faringdon Charitable Trust, Children in Need, The Leche Trust, The Ogden Trust, The Anthony Crickmay Estate, Department for Digital, Culture, Media & Sport, The Golsoncott Foundation, Armstrong International, Young Hammersmith & Fulham Foundation and Ashe Windham.

Thank you to all those individuals who have generously donated to Turtle Key Arts.

48

TURTLE KEY ARTS ANNUAL REVIEW

Turtle Key Arts Lyric Hammersmith, Lyric Square King Street, London W6 0QL www.turtlekeyarts.org.uk 020 8964 5060 admin@turtlekeyarts.org.uk Registered charity: 1003113