Cover image by Mark Dawson Photography
**TURTLE KEY ARTS ANNUAL REVIEW**
## **CONTENTS**
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|**02**|**1.OBJECTIVES**|
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|**03**|**2.REVIEW OF DEVELOPMENTS, ACTIVITIES & ACHIEVEMENTS OF THE TRUST**|
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|**08**|**3.STRUCTURE, GOVERNANCE AND MANAGEMENT**|
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|**10**|**4.STRATEGIC DEVELOPMENT**|
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|**16**|**5.PARTICIPATION**|
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|**22**|**6.COLLABORATING COMPANIES/PRODUCTION**|
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|**30**|**7.FINANCIAL DETAIL**|
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|**50**|**8.APPENDIX**|
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|**52**|**9.OUR THANKS**|
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**01**
## **1. OBJECTIVES**
## Turtle Key Arts produce and devise original and groundbreaking art to entertain and inspire, we believe that access to the arts helps improve the quality of life. The main objective of the Trust as stated in the Trust Deed is the advancement of public education in the dramatic and visual arts with the object of improving the conditions of life for those persons who have need of such provision by reason of their youth, age, infirmity or disablement, poverty or social and economic circumstances. The policies that have been adopted to further the objectives of the charity are: **1.** • The provision of artistic activities for and the advancement of the work of young
- The provision of artistic activities for and the advancement of the work of young performers and artists with a particular focus on young disabled practitioners
- The encouragement of new developments in the performing arts, in particular of dance, physical and visual theatre and collaborative work and the commitment to the professional production of this work.
“We entered this financial year with a strong programme, touring across the UK and internationally and projects happening up and down the country.
We visited several countries across Europe, going as far as Australia to be part of Syndey Arts Festival and then closer to home in London with a sell-out in the West End.
The team at Turtle Key Arts worked very hard and diligently as always to make these productions and projects possible with their usual brand of care, dedication, joy and professionalism – bringing organisations, audiences, participants and communities together.
We started to strategically plan the next 3 years and as always were well supported by our board and continue to be grateful for their enthusiasm and belief in our work. The board, with our new Chair, have been busy fund raising for our new Producer Mentorship Scheme, launching Summer 2024.
It is important in the changing political and funding landscape to continue the work we do, being hands-on and engaging in person with our partners, supporters, participants and audiences.
Whilst technology has revolutionised the way we can work, we take the positive to maximise our time most efficiently, mindful of our environmental footprint. We find coming together as a team in the office with some working from home proves to be the most effective.
We faced significant staff changes this year with the loss of two key personal, but we have taken this opportunity to look at future staffing models that will come into effect in the Autumn of 2024.
We are increasingly aware of the challenges facing our sector with funding, the cost-of-living crisis and rising costs. As a small charity we have had to work hard to navigate these 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.
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 am determined for us to get our work into the community, to meet the challenges our industry faces, as arts and culture are increasingly under pressure. I will continue to protect our team, our future and our contribution to the future of the arts ensuring that Turtle Key Arts continues to make a difference and have an impact”.
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.**
"This was my first year as Chair of Turtle Key Arts. It has been a busy and extremely fulfilling twelve months! The company has made good on its objective of artistic excellence, both with the theatre companies it produces, and the community participation projects it runs.
At the beginning of 2024, the year kicked off to an incredibly exciting start with our first West End production. Ockham’s Razor’s Tess ran for 4 nights to sold out audiences at the Peacock Theatre in London. Throughout the year, Tess has toured the UK reaching over 12,000 people, garnered five-star reviews, and equally importantly ran school workshops alongside the production to 15 Schools, reaching over 400 young people. Its extraordinary blend of circus skills and classical text continues to enchant audiences. Tess was a welcome injection of energy that has continued throughout the year in all projects and productions, ranging from touring across the world to 7 countries and running 18 outreach projects which engaged with over 4080 participants.
Turtle Key Arts has had a transformative year from a staffing perspective. Having said goodbye to two key members of staff in April and May of 2023 our CEO Alison King and Artistic Director Charlotte Cunningham, with advice and support from the board of trustees, took the time to strategise and restructure and will be appointing a new role, engaging a full-time General Manager.
Spear-headed by the board of trustees and with generous donations coming in, Turtle Key Arts has launched its first Producer Mentorship Scheme. In a time when it is so hard for young people to gain a foothold in the arts, we are delighted to be able to offer this opportunity. The mentee will work across all aspects of the company’s programme for 18 months. The team at Turtle Key Arts are grateful and encouraged by the successful start of this scheme and look forward to appointing the mentee and to continue fundraising for our next one.
It was also wonderful news that our CEO, Alison, was awarded an honorary Doctorate by Mountview Academy of Arts in recognition of her contribution to theatre.
As I reflect on the last year, and the challenges that our collaborators and partners, participants and audiences all continue to face, I am even more struck by the importance of Turtle Key Art’s work and core message – nurturing talent and artistic excellence and making the arts accessible to all. These times we live in are not easy, but I am so heartened by Turtle Key Art’s enthusiasm for the future, their determination to grow and expand, to reach more audiences and participants, and to continually question their role within the Arts, how they can best serve and inspire."
Kate Brooke – Chair of the board
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**2.** In 2023...
our work we had a reached a LIVE CORE TEAM AUDIENCE of of 4 full-time equivalent posts and 6 part-time 20,684
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600
400
employed
200
673
FREELANCE
ARTISTS
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involved over 4080 PARTICIPANTS
and we ran PRODUCED 18 11 OUTREACH SHOWS PROJECTS with 83 performances with 453 workshops
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
*
~<~x_.-
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: £879,506
## COLLABORATOR INCOME
Income earned by collaborating companies from performance fees, box-office takings and workshop fees
## PUBLIC CHARITABLE FUNDING DONATIONS
FEE INCOME
Funding raised from Public Funds eg: Arts Council England and local authorities
Funding raised Income earned by from charitable TKA from production foundations, trusts services, project and individual management, giving training and teaching
OUR EXPENDITURE TOTAL: £797,590
87%
13%
PROJECT AND CORE PARTICIPATION £694,704 £102,886
£102,886
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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 2024 are:
**Kate Lovegrove** Chair **Graham McGrath** Vice Chair
**Laura Barlow** Treasurer
**Magdalen Wolloshin** Trustee **Charlotte Cunningham MBE** Trustee
**Pegram Harrison** Trustee **Jerry Gunn** ~~a~~ Trustee (stepped down March 24) **James Charrington** Trustee
**Emma Bleasdale** Trustee
**Subathra Subramaniam** Trustee
**Sarah Long** Trustee
**Marc Roberts** Trustee (stepped down March 24) **Tomas Nowacki** ee Trustee (joined November 23)
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 ~~a~~ **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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ManagerFinance Co-ordinatorKey Club Marketing and Development Production and Offce ProducerSenior Producer Autism Project Developme nt
Director Assistant Lead
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## **4. STRATEGIC DEVELOPMENT**
## GOVERNANCE
Our board has been extremely dynamic this year with a new chair being appointed and trustee changes which brought new energy and experience to the group. Kate Brooke became chair of the board in June 2023 and we were joined by Tomas Nowacki in November 2023. Two trustees retired in March 2024 – Jerry Gunn and Marc Roberts. The board expressed their thanks for all of their counsel over the years.
The trustees met four times during the year; at the meetings they considered the ongoing governance and policies of the charity as well as the ability of the board to cover all necessary areas of importance for the work of Turtle Key Arts. 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.
## FUNDRAISING
Our funding from trusts and foundations has stayed very consistent – particularly for some of our more established projects like Turtle Song, Key Club and Joy for schools. We value these relationships with funders like John Lyon’s Charity who work directly alongside us to shape the work and to react to our advice and feedback on the sector.
We have continued to work on our feedback and reporting for the two National Portfolio Organisations (NPO) in our portfolio – Ockham’s Razor and Open Sky. We are joined by many other voices in the arts ecology
in questioning the time consuming nature, relevance and rigour of some of the reporting required for NPOs – regardless of their size or reach. However, the work provides useful training potential for our younger producers.
We have invested in new software for our work with individual funders and have particularly concentrated on this area of work to raise funds for a new producer mentorship scheme. We feel that this area of fundraising will continue to grow and that we can ensure good stewardship of those who invest in our work in this way.
## MARKETING AND PR
We created an innovative marketing campaign for Tess by Ockham’s Razor and achieved 85%+ capacity figures throughout their UK tour. We were especially pleased with the sold out fournight run at the 1000 capacity Peacock Theatre, Sadlers Wells, our first venture into London’s West End. We ran free workshops in several London schools and each sent large groups, we sent ticket offers to independent book shops and created unique and exciting on-line content and achieved over 200K views for several posts on Instagram.
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.
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 timeconsuming. 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.
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**TURTLE KEY ARTS ANNUAL REVIEW**
## 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.
Evaluation continues to be an important part of all of our work, see an example below, and we strive to find new ways to both collect and present data in order to show our impact and provide the most useful information for our collaborators and supporters.
## QUANTATIVE EVALUATION FROM TURTLE OPERA
(music and drama for young people on the autism spectrum).
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A
5
4
3
E 2 B
1
D C
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Before session 1
After final session
1 I feel anxious/not very happy
3 I feel ok
- 5 I feel happy/confident
- **A** Joining in the activities and taking part
- **B** Asking for help if need to
- **C** Mixing with others in the group
- **D** Enjoying my time here and feeling safe and happy
- **E** Coming to the group today
To monitor whether there is a change in how the young people feel at the beginning and end of a project, we ask each participant to fill in an ‘outcome star Turtle’ before they start our projects and at the end of the experience.
This gives us a clear picture of the impact the project has had on the young people. This diagram is a graph that combines the results from all of the participants in one specific project in the last year.
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## OUR COLLABORATORS AND PARTICIPATION PROJECTS
We produced five collaborating performance companies this year and acted as consultants to a previous collaborating company. 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.
Our outreach work – both alongside the work of our companies and the stand alone initiatives aimed at specific groups – have again had an enormous impact on our participants as proven by our evaluations and the feedback we receive.
The enthusiasm of the English and Drama students who had come to see Tess in the theatre and then received a free workshop was inspiring – many had not been to this kind of live performance before and were passionate about their interest.
You will read about the other initiatives in the rest of this report, but the main message for this year is that despite much ‘talk’, we feel that there is very little engagement on the ground with the type of participants who take part in our projects. It is harder to find and maintain groups – particularly in out of school and Special Educational Needs settings – and obviously funding is not easy to achieve, and therefore many providers have shifted their focus or sadly stopped working. This is an incentive for us to keep the work going and to share our knowledge and experience with all of the students who we engage and with new facilitators and artists.
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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 again took part in the Equity and ITC discussions on fair pay within the arts industry.
Our partnerships – particularly those with venues like our home at the Lyric Hammersmith Theatre and our local partners – Birmingham Hippodrome, Bristol Beacon, St Hilda’s College Oxford and St Edwards Oxford as well as our long-term partnerships with English Touring Opera, Royal College of Music and CHIVA continued to be an extremely important aspect of our work. We are aware of the pressure on venues to create income and the challenges that poses for these relationships with outside partners like ourselves, and we continue to support them in as many ways as we can to ensure they can still support their communities.
We continued with our paid internship programme and worked with another young producer from Mountview Academy of Theatre Arts and two other graduates. Through Ockham’s Razor, we trained and supported a number of young workshop facilitators and Open Sky and Amici Dance Theatre Company supported placements and trainees.
We ran “work experience” for students from Secondary and Special Educational Needs schools and engaged and supported a total of 6 early career professionals and students through our projects and production.
## SUMMARY
Turtle Key Arts and our collaborating companies have worked hard in a year that saw many changes in our team and in the wider arts ecology. We continued to look forward and to try to anticipate the changes for charities, arts organisations and future artists who we would like to support. As ever we are indebted to our many funders for making all of our work, our livelihoods and our planning possible.
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**TURTLE KEY ARTS ANNUAL REVIEW** mf oe
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5. PARTICIPATIO
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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”
DISABILITY ARTS
## **[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 to 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.
“ It gave me the opportunity to learn about stage design, lighting, sound, acting, directing and producing and I really enjoyed the experience.” PARTICIPANT
## **[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 What Lies Beyond the Rainbow Navel.
This year we also ran a four-day half-term intensive Turtle Opera in Birmingham.
“ Turtle Opera has given my son opportunities for expressing himself, socialising, friendship and maturing he could not have found anywhere else.” PARENT OF PARTICIPANT
**17**
“Key Club not only allows members to create great art and learn new skills, it also helps them to develop friendships and inspires confidence.”
THE LADY
## **[AUTISM]**
## **KEY CLUB >**
Key Club is a monthly arts and social club for 18-30 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 Hammersmith Theatre and one at Kiln Theatre in Kilburn. This year Key Club Lyric created a musical Beyond the Neutral Zone and Key Club Kiln created visual art as well as making and a song and accompanying video.
“ I love coming to Key Club because we get to do something new, creative and fun each month!” KEY CLUB PARTICIPANT
## **[DISABILITY ARTS]**
## **< JOY**
JOY is a celebration of West London disabled artists and young people. Weekly creative workshops were run in eight local SEN schools culminating in a sharing that brought all the schools together at The Lyric Hammersmith Theatre for a visual art exhibition and performances in the Lyric Studio Theatre.
- “ Being part of JOY was a truly unique experience.” PARTICIPANT
- “ Great experience, good teamwork and lots of fun.” SEN TEACHER
**19**
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20
“Turtle Song was a musical performance of pure wonder and fun. I was so touched by the effort and love that the organisers of this event and the music students put into this performance.”
DAUGHTER OF A PARTICIPANT
## **[YOUNG PEOPLE] CHIVA >**
Turtle Key Arts and CHIVA (Children’s HIV Association) hosted a residential week at Sheffield University for young people living with HIV. The group worked with a number of film, music, drama and design leaders to create stories, songs and ultimately a series of animated scenes inspired by their journeys.
“ Everyone was very respectful and understanding, it felt like a safe space to talk freely. My magical moment is when we all shared a laugh together and felt like one big family”
WORKSHOP PARTICIPANT
## **[DEMENTIA]**
## **< TURTLE SONG**
In collaboration with English Touring Opera and Royal College of Music, Turtle Song, is a singing and songwriting 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 Song’s in Oxford, Liverpool and twice in London.
- “ Thank you for bringing joy to my Mum, for accepting her just as she is and for making her truly happy.”
DAUGHTER OF PARTICIPANT
**21**
**6. COLLABORATING COMPANIES/PRODUCTION We continued to produce our portfolio of groundbreaking performing arts companies.**
**22**
“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
## **YOUNG AMICI >**
A dance company for young disabled and nondisabled dancers who meet weekly during termtime at the Lyric Hammersmith Theatre.
Young Amici continued their weekly workshops, took part in Dance Together – dance workshops in local SEN schools – and also ran a free week-long Summer School with professional dancers for over forty participants.
“ It was a very special opportunity for our pupils to explore new activities within new spaces and feel included in their local community.”
SEN SCHOOL TEACHER
## **< AIK PRODUCTIONS**
An award-winning theatre making company who aim to produce new, high-quality theatre, specialising in stories and voices from minority backgrounds.
They started to R&D a new show Sisters360, about two young hijab wearing skateboarders, which will premiere in spring 2025 – a partnership between AIK, Turtle Key Arts, The Polka, Leeds Playhouse and Bradford 2025.
“ There is lots of humour in Jabala and the Jinn but wrapped up in the fun are lots of messages around acceptance, love, friendship and difference.”
WEEKEND NOTES ON JABALA & THE JINN
**23**
“The Chosen Haram was scorching, yet tender, and Ali’s handling of his own life was bold without being brash. Tenderness, resistance, chaos and control.”
REVIEW ARTSHUB AUSTRALIA
## **AMICI DANCE THEATRE COMPANY >**
Amici Dance Theatre Company continued with their weekly classes and took their work into local SEN schools as part of Dance Together, at the end of the project they brought all the schools together at the Lyric Hammersmith Theatre to share their work.
“ Amici are totally and utterly inspiring” THE GUARDIAN
“ Amici is committed to using their inclusive method to highlight matters of moral and global consequence.”
REVIEWS HUB
## **< SADIQ ALI**
Sadiq Ali’s award-winning debut show The Chosen Haram continued its extensive tour of the UK and Europe and also performed at the Sydney Arts Festival.
Initial R&D took place for the follow up show Tell Me, about the stigma of HIV, which will be adapted for both out-door and in-door spaces.
“ Elevates a boy meets-boy love story into something dream-like” THE GUARDIAN
- “ Beautiful story, beautifully told” THE STAGE
**25**
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“Ockham’s Razor use their superhuman physical skills to illustrate drama and emotion in storytelling.”
THE TIMES
## **OCKHAM’S RAZOR >**
Ockham’s Razor, the UK’s leading circus company, premiered and toured their new show Tess, a circus adaptation of Thomas Hardy’s Tess of the D’Urbervilles, including a four-night sell-out run in the West End at The Peacock Theatre.
They also continued to R&D Joyride, a collaboration with Oily Cart.
The artistic directors continued lecturing, teaching and supporting companies and artists with mentoring and directing support.
- “ full of joy, wonder and delight, a highly original interpretation.”
- THE GUARDIAN
- “ ingenious, an inspired adaptation”
THE STAGE
## **< OPEN SKY THEATRE**
Open Sky blended their film making and physical theatre skills to create Micro Plays 2 – a series of short films by diverse writers.
Their beautifully filmed dark fairy tale Cold was screened at film festivals around the world picking up over 25 awards and was then released free to view online and has more than 12,000 views.
- “ Cold is beautiful and brutal. But there is hope too.” REVIEWS HUB
- “ It’s very theatrical and evocative” GUARDIAN
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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:
Kate Brooke (Chair) Graham McGrath (Vice chair) Laura Barlow (Treasurer) Magdalen Wolloshin Charlotte Cunningham MBE Pegram Harrison Jerry Gunn* James Charrington Emma Bleasdale Subartha Subramaniam Sarah Long Marc Roberts ** Tomas Nowacki ***
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
_* Jerry Gunn stepped down in March 2024._
_** Marc Roberts stepped down in March 2024_
_*** Tomas Nowacki joined in November 2023_
The trustees present their annual report and financial statements of the charity for the year ended 31st March 2024.
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.
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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 2024 are listed on the attached schedule. Each trustees’ role on the board is reviewed regularly.
## RISK MANAGEMENT
The trustees conduct quarterly reviews of the Charity’s activities, setting out 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.
## PARTICIPATION 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.
## COLLABORATORS 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 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 a Project and Office Manager and contracting project leaders/production managers to run specific projects.
## 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.
## DESIGNATED FUNDS
This fund represents unrestricted reserves where Trustees have made an internal decision to set aside specific funds for future projects or budgeted costs that fall outside of their commitment to maintain free reserves to meet the day to day run
## FREE RESERVES
The charity’s free reserves is money that sits outside of the designated or restricted funds and can be used in whatever capacity the CEO, Artistic Director and board of Trustees deem appropriate for the needs of the charity.
## GOING 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.
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## 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:-
- select suitable accounting policies and then apply them consistently;
- observe the methods and principles of the Charities SORP;
- make judgements and estimates that are reasonable and prudent;
- state whether applicable accounting standards and statements of recommended practice had been followed, subject to any departures disclosed and explained in the financial statements; and
- prepare the financial statements on the going concern basis unless it was inappropriate to presume that the Charity will continue in operation.
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: 9/12/24
**32**
**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 2024.
## RESPECTIVE RESPONSIBILITIES OF TRUSTEES AND INDEPENDENT EXAMINER
As trustees of the charity, the members of the PCC are responsible for the preparation of the accounts. They consider that an audit is not required for this year under section 144(2) of the Charities Act 2011 (the 2011 Act) and that an independent examination is needed.
It is my responsibility to:
- examine the accounts under section 145 of the 2011 Charities Act;
• to follow the procedures laid down in the General Directions given by the Charity Commissioner under section 145(5)(b) of the Charities Act; and
- to state whether particular matters have come to my attention.
## BASIS OF INDEPENDENT EXAMINER'S STATEMENT
My examination was carried out in accordance with the General Directions given by the Charity Commissioner. An examination includes a review of the accounting records kept by the charity and
a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from you as trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit, and consequently no opinion is given as to whether the accounts present a 'true and fair view' and the report is limited to those matters set out in the statement below.
## INDEPENDENT EXAMINER'S STATEMENT
In connection with my examination, no matter has come to my attention:
- which gives me reasonable cause to believe that in any material respect, the requirements:
- a) to keep proper accounting records in accordance with section 130 of the Charities Act; and
- b) to prepare accounts which accord with the accounting records and comply with the accounting requirements of the Charities Act have not been met; or
- to which, in my opinion, attention should be drawn in order to enable a proper understanding of the accounts to be reached.
## ord Brian Clif
## Brian Clifford FCA
Independent Examiner
Bright Grahame Murray Chartered Accountants
Emperor’s Gate, 114a Cromwell Road, Kensington London, SW7 4AG
Date: 9/12/24
**33**
## INCOME AND EXPENDITURE
|INCOMING RESOURCES
**Donations and grants**
Voluntary income
2a
**Donations and grants**
2b
**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
8/9a|Unrestricted
Funds
£
238,443
28,151
-
-
115,244
381,838
86,914
171,777
102,446
361,137
20,701
-
20,701
51,289
71,990|Restricted
Funds
£
-
-
313,677
184,341
-
498,018
260,212
175,801
-
436,013
62,505
-
62,505
166,564
228,569|Designated
Funds
£
-
-
-
-
-
-
-
-
440
440
(440)
-
(440)
170,440
170,000|Total Funds
2024
£
238,443
28,151
313,677
184,34
115,244
879,506
347,126
347,578
102,886
797,590
82,266
-
82,266
388,293
470,559|Total Funds
2023
£
219,703
698
235,834
166,789
117,187|
|---|---|---|---|---|---|
||||||740,211|
||||||444,872
257,205
119,447|
||||||821,524|
||||||(81,313)
-|
||||||(81,313)
469,606|
||||||388,293|
**34**
**TURTLE KEY ARTS ANNUAL REVIEW**
CONSOLIDATED BALANCE SHEET AT 31ST MARCH 2024
||Notes||2024|2024||2023||
|---|---|---|---|---|---|---|---|
|||£||£|£||£|
|CURRENT ASSETS||||||||
|Debtors|6|69,509|69,509||50,463|50,463||
|Cash at bank and in hand||418,752|418,752||367,583|367,583||
|||488,261|488,261||418,046|418,046||
|Creditors: Amounts falling due within one year|7|17,702|17,702||29,753|29,753||
|NET CURRENT ASSETS||||470,559|||388,293|
|NET ASSETS||||470,559|||388,293|
|The funds of the charity:|9|||||||
|Unrestricted funds||||71,990|||51,289|
|Designated funds||||170,000|||170,440|
|Restricted funds||||228,569|||166,564|
|TOTAL CHARITY FUNDS||||470,559|||388,293|
C. CUNNINGHAM L. BARLOW Trustee Trustee
Approved on: 9/12/24
**35**
## 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:
- there is a present legal or constructive obligation resulting from a past event
- it is more likely than not that a transfer of benefits (usually a cash payment) will be required in settlement
- the amount of the obligation can be measured or estimated reliably.
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.
**36**
**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.
## GROUP FINANCIAL STATEMENTS
The financial statements consolidate the results of the charity and its wholly owned subsidiary Turtle Key Productions Limited on a line-byline 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.
## TANGIBLE FIXED ASSETS
Individual fixed assets costing £1,000 or more are capitalised at cost and are depreciated over their estimated useful economic lives on a straight line basis.
## 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.
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.
## TAXATION
The Trust is a registered charity and is exempt from Income and Corporation Taxes.
## GIFTS IN KIND
Gift in kind income in the accounts represents donated services. On receipt, donated professional services and donated facilities are recognised on the basis of the value of the gift to the charity. This represents the amount the charity would have been willing to pay to obtain services or facilities of equivalent economic benefit on the open market. A corresponding amount is then recognised in expenditure in the period of receipt.
## DEBTORS
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.
## 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.
**37**
## 2a. DONATIONS INCOME
|2a. DONATIONS INCOME||||
|---|---|---|---|
|Unrestricted
funds
£
Gift in kind – Consultants
51,170
The Dillon Fund
32,000
C&A Dillon Dunwalke Trust
57,959
The Aurelia Foundation
62,500
The Redfern Trust
2,000
Other Miscellaneous income:
Individual Giving
13,330
Gift Aid
1,582
Mentorship donations
17,902
238,443|Restricted
Funds
£
-
-
-
-
-
-
-
-
-|Total
2024
£
51,170
32,000
57,959
62,500
2,000
13,330
1,582
17,902
238,443|Total
2023
£
51,170
32,000
54,010
62,500
1,000
13,913
162
-|
||||219,703|
## 2b. OTHER INCOME
|2b. OTHER INCOME||||
|---|---|---|---|
|Unrestricted
funds
£
Bank interest
3,767
Theatre Tax Relief
24,384
28,151|Restricted
Funds
£
-
-
-|Total
2023
£
3,767
24,384
28,151|Total
2022
£
698
-|
||||698|
**38**
**TURTLE KEY ARTS ANNUAL REVIEW**
## 3. ANALYSIS OF INCOME
|3. ANALYSIS OF INCOME|||||
|---|---|---|---|---|
|i Restricted funds - collaborators project income
Joy
Amici Integrated Theatre Co.
Young Amici
Red Cape
Ockham’s Razor
Oddly Moving
Open Sky
Sadiq Ali
AIK Productions
ii Restricted funds - participation projects
Theatre Box
The Key Club (Hammersmith)
The Key Club (Kiln)
Turtle Song
Chiva
Turtle Opera
Key Words|Voluntary
Income
£
37,000
16,655
5,000
168
25,000
10,259
-
53,793
18,292
166,167
37,500
22,150
21,000
71,050
-
26,100
-
177,800
343,967|Direct
Income
£
-
4,998
9,234
1,780
49,529
-
12,914
69,055
-
147,510
-
-
-
955
1,086
4,500
-
6,541
154,051|Total
2024
£
37,000
21,653
14,234
1,948
74,529
10,259
12,914
122,848
18,292
313,677
37,500
22,150
21,000
72,005
1,086
30,600
-
184,341
498,018|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|
|||||402,623|
**39**
## 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 (Hammersmith)
Key Club (Kiln)
Turtle Opera
Red Cape
Joli Vyann
Amici
Young Amici
Theatre Box
Joy
Sadiq Ali
Covid Response Project
Project Contributions to Core
Expenses repaid to Core
Donations income (note 2)
Total restricted income (3i, 3ii)
Total income|Total
2024
£
2,985
250
37,000
500
9,000
500
-
1,850
8,084
4,600
4,000
3,000
350
-
3,640
4,000
7,300
1,500
12,000
14,500
185
115,244
266,594
498,018
879,856|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
2,900
11,000
-
4,580
10,372|
|||
117,187|
|||
220,401
402,623
740,211|
**40**
**TURTLE KEY ARTS ANNUAL REVIEW**
## 4. RESOURCES EXPENDED
|4. RESOURCES EXPENDED|||||
|---|---|---|---|---|
|Charitable activities
Collaborators project expenses:
Kill The Cat
Joy
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
Autism Projects
Turtle Opera
Key Words
The Key Club - Hammersmith
The Key Club - Kiln
Turtle Song
Chiva
Covid Projects
Other – salary gift in kind ^
Consultants & support fees ^
Overheads
Governance|Direct
Costs
£
-
1,680
5,600
8,326
14,004
600
81,161
12,630
12,712
-
120,047
-
-
256,760
29,670
169
33,230
15,450
22,184
23,323
46,174
1,086
-
-
-
171,286
12,675
488
13,163
441,209|Unrestricted
Support Consultants'
Fees
Costs
£
£
-
-
-
-
901
-
898
-
80
-
600
-
615
-
9
-
210
-
20
-
119
-
-
15,351
-
71,563
3,452
86,914
-
-
4,500
-
5
-
-
-
-
-
-
-
10
-
-
-
-
-
-
25,585
-
146,192
4,515
171,777
72,693
-
17,030
-
89,723
-
97,690
258,691|Total
2024
£
-
1,680
6,501
9,224
14,084
1,200
81,776
12,639
12,922
20
120,166
15,351
71,563
347,126
29,670
4,669
33,235
15,450
22,184
23,323
46,184
1,086
-
25,585
146,191
347,578
85,368
17,518
102,886
797,590|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
|
|||||112,322
7,125|
|||||119,447|
|||||
821,524|
**41**
## 4. RESOURCES EXPENDED (continued)
|4. RESOURCES EXPENDED (continued)|||
|---|---|---|
|Consultants fees
Gift in kind
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 ^)
Non project related staff costs (note 4 ^)
Total staff costs (note 5)
Overheads
Insurance (net of contributions from projects)
Rent, rates and utilities
Offce costs
Bank charges
Governance
Theatre Tax Relief support
Bookkeeping and accountancy
Enquiry insurance
Other Governance
Total Overheads|2024
£
40,936
50,319
34,207
24,290
35,101
184,853
10,234
34,463
8,552
6,072
14,517
73,838
-
258,691
4,727
20,049
60,182
412
85,369
10,435
6,000
594
488
17,517
102,886|2023
£
40,136
55,177
30,583
30,415
34,873|
|||151,048|
|||10,034
36,610
7,645
7,604
10,018|
|||71,911
5,331|
|||268,427|
|||3,974
31,713
76,200
435|
|||112,322
-
7,125
-
-|
|||7,125|
|||119,447|
**42**
**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|2024
£
135,956
122,735
258,691
No.
:
1
1
-
1
3
1
1
2
10||FTE*
1
1
-
1
1.2
1
0.5
0.2||2023
£
141,957
121,139
263,096
No.
1
1
1
1
1.2
1
1
1|
|||||||
||:|||||
|||10|5.9||8.2|
* Full time equivalent
During the year the organisation employed one individual as a full-time chief executive, one employee as a fulltime Marketing and Development Director, one employee as a full time Producer and one employee as a full time Office and Project Manager. These employees did not receive emoluments above £60,000 in the year.
None of the Trustees received remuneration (2024: £Nil) nor did they have expenses reimbursed by the Trust (2024: £Nil).
**43**
## 6. DEBTORS
|6. DEBTORS|||
|---|---|---|
|Trade debtors
Prepayments
Other debtors
7. CREDITORS: Amounts falling due within one year
Trade creditors
Other creditors
Accruals and deferred income|2024
£
54,065
1,500
13,944
69,509
2024
£
4,726
12,976
-
17,702|2023
£
29,674
6,822
13,966|
|||50,462|
|||2023
£
21,710
5,210
2,833|
|||29,753|
**44**
**TURTLE KEY ARTS ANNUAL REVIEW**
## 8. ANALYSIS OF NET ASSETS BETWEEN FUNDS
|Restricted funds
Collaborators fund
Participation and disability arts fund
Unrestricted fund
Designated fund
General fund|Fixed
assets
£
-
-
-
-
-
-|Debtors
£
-
-
-
-
69,509
69,509|Cash
£
58,499
170,070
228,569
170,000
20,183
418,752|Creditors
£
-
-
-
-
(17,702)
(17,702)|Total
Assets/
Liabilities
£
58,499
170,070|
|---|---|---|---|---|---|
||||||228,569
170,000
71,990|
||||||470,559|
## 9a. DESIGNATED FUNDS
|9a. DESIGNATED FUNDS||||
|---|---|---|---|
|Allocated reserves
Future projects
Free reserves
DCMS equipment funding|Balance
1 April
2023
£
60,000
60,000
50,000
440
170,440|Movement in Year
Balance
Amounts
Amounts
Amounts
provided
utilised
released
£
£
£
-
-
-
70,000
-
(60,000)
40,000
-
(50,000)
-
(440)
-
160,000
(440)
(160,000)|31 March
2024
£
60,000
70,000
40,000
-|
||||170,000|
Designated funds represent unrestricted reserves where Trustees have made an internal decision to set aside specific funds for future projects and budgeted core costs, as well as an allowance for 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.
**45**
## 9b. RESTRICTED FUNDS
|9b. RESTRICTED FUNDS||||
|---|---|---|---|
|Collaborators Fund
Kill The Cat
Joy
Sadiq Ali *
Oddly Moving *
Amici Integrated Theatre **
Young Amici
Ockham’s Razor
Red Cape
AIK Productions *
Open Sky
Joli Vyann
Participation & Disability Arts Fund
Autism Projects
Turtle Opera
Theatre Box
Key Words
The Key Club (Lyric)
The Key Club (Kiln)
CHIVA
Turtle Song|Balance
1 April
2023
£
13
158
(2,035)
3,543
(660)
(150)
7,247
6
(3,144)
-
56
4,900
16,206
33,101
16,487
30,720
13,368
4,007
42,741
166,564|Movement in Year
Incoming
Outgoing
Transfer
£
£
£
-
-
(13)
37,000
(1,680)
-
122,848
(120,166)
-
10,259
(6,501)
-
21,653
(9,224)
-
14,234
(14,084)
-
74,529
(81,776)
-
1,948
(1,200)
-
18,292
(12,639)
-
12,914
(12,922)
13
-
(20)
-
-
(4,669)
-
30,600
(33,235)
-
37,500
(29,670)
-
-
(15,450)
-
22,150
(22,184)
-
21,000
(23,323)
1,086
(1,086)
-
72,005
(46,184)
-
498,018
(436,013)
-|Balance
31 March
2024
£
-
35,478
647
7,301
11,769
-
-
754
2,509
5
36
231
13,571
40,931
1,037
30,686
11,045
4,007
68,562|
||||
228,569|
* Held via a subsidiary undertaking. ** Activities partly recognised by a subsidiary undertaking.
**46**
**TURTLE KEY ARTS ANNUAL REVIEW**
## 9b. RESTRICTED FUNDS (continued)
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.
**47**
## 9b. RESTRICTED FUNDS (continued)
|Analysis of participation activity income
Autism
The Key Club (Hammersmith)
John Lyons Trust
City Bridge Trust
Donation
Gift Aid
TOTAL KC Hammersmith
The Key Club (Kiln)
John Lyons Trust
Turtle Opera
Prospero
BBC Children in Need
University of Oxford
King Charles III Charitable Fund
Golsoncott Foundation
Armstrong International (re-allocated)
Donation
Earned income
Gift Aid
TOTAL Turtle Opera
Dementia:
Turtle Song
The Scouloudi Foundation
Swire Charitable Trust
Lord Faringdon Charitable Trust
Headley Trust
Prue Macleod
John Armitage Charitable Trust
Partiger’s Trust
Other Donations (incl. fundraising activities)
G J Ward Charitable Trust
Donation
Gift Aid
Training fee – Oxford University
TOTAL Turtle Song
Other Education:
CHIVA – Art is Key
Partner contribution (CHIVA)
Key Words
City Bridge Trust
Theatre Box
John Lyon’s Trust
**Total Income**|2024
£
22,000
-
150
-
22,150
21,000
14,000
10,000
-
2,000
-
-
4,600
-
-
30,600
15,000
-
3,000
28,000
14,000
6,000
2,500
800
1,000
750
705
250
72,005
1,086
-
37,500
**184,341**|2023
£
20,350
2,500
150
38
23,038
21,000
14,000
10,500
1,000
-
500
10,000
260
250
72
36,582
5,000
5,000
4,000
-
14,000
-
-
3,345
-
-
750
-
32,095
-
4,973
35,000|
|---|---|---|
|||**152,688**|
**48**
**TURTLE KEY ARTS ANNUAL REVIEW**
## 9b. RESTRICTED FUNDS (continued)
|9b. RESTRICTED FUNDS (continued)|||
|---|---|---|
|Analysis of JOY activity income
JOY Festival
Arts Council England
Hammersmith United Charities
Partner contribution (H&F Arts Fest)
LBHF Fast Track Grant
Dr Edward Bishop King Fulham Charity
John Lyon’s Trust
Donations/contributions
Total JOY Income|2024
£
-
-
-
-
-
27,000
10,000
37,000|2023
£
16,500
500
26,100
4,000
6,000
-
-|
|||53,100|
## 10. 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 2024, the subsidiary had net assets of £6,287 (2023: liabilities of £18,235). These results are fully consolidated into these group accounts.
**49**
**TURTLE KEY PRODUCTIONS LTD.**
## **8. APPENDIX**
SUMMARY PROFIT AND LOSS ACCOUNT FOR THE PERIOD ENDED 31 MARCH 2024
Total £
Turnover
Outreach Revenue
7,320
|**.**
Tour Revenue
Creation
Funding and donations
TTR
Cost of sales
Creation costs
Tour costs
Participation costs
Total cost of sales
Gross proft
Administrative costs
General expense
Operating loss/surplus|
19,614
108,957
14,170
142,741
5,789|68,995
10,000
56,450
30,287|
|---|---|---|
|||
173,052
(142,741)|
|||
30,311
(5,789)|
|||24,522|
NB – Not included in the above is the claim for Theatre Tax Relief based on the above figures, which is in the process of being agreed with HMRC.
**50**
**TURTLE KEY ARTS ANNUAL REVIEW**
PROJECT BY PROJECT PROFIT AND LOSS ACCOUNT FOR THE PERIOD ENDED 31 MARCH 2024
|Turnover
Outreach
Tour Revenue
Creation
Funding
TTR
Expenditure
Creation
Tour
Participation
General expenses
Surplus/(defcit)|Sadiq
£
60
68,995
10,000
41,000
2,793
122,848
11,084
108,957
51
74
120,166
2,682|Oddly
Moving
£
2,470
-
-
-
7,789
10,259
-
-
5,051
1,450
6,501
3,758|AIK
£
-
-
-
-
18,292
18,292
8,530
-
-
4,109
12,639
5,653|Amici
£
4,790
-
-
15,450
1,413
21,653
-
-
9,068
156
9,224
12,429|
|Total
£
7,320
68,995
10,000
56,450
30,287|
|---|---|---|---|---|---|---|
|||||||
173,052
19,614
108,957
14,170
5,789|
|||||||
148,530|
|||||||24,522|
**51**
## **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, Kiln Theatre 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, Armstrong Charitable Trust, King Charles III Charitable Fund, Partiger’s Trust, G J Ward Charitable Trust and Ashe Windham.
Thank you to all those individuals who have generously donated to Turtle Key Arts
**52**
**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