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2021-03-31-accounts

Clean Break Theatre Company

(Clean Break)

Annual Report and Financial Statements

31 March 2021

Company Limited by Guarantee

Registration Number

2690758 (England and Wales)

Charity Registration Number

1017560

Contents

Reports

Reference and administrative details Reference and administrative details
about the charity, its Board and its
advisers 1
Chair’s message 3
Report of the Board 5
Independent auditor’s report 38
Financial statements
Consolidated statement of financial
activities 43
Balance sheets 44
Consolidated statement of
cash flows 45
Principal accounting policies 46
Notes to the financial statements 50
Section 37 Statement 64

Clean Break

Reference and administrative details about the charity, its Board and its advisers

Members of the Board Sabba Akhtar (Chair of Finance Committee) Deborah Coles Kim Evans (Chair, Resigned 23 July 2020) Sara Forbes Doreen Foster Alison Frater (Co-Chair, Appointed 23 July 2020) Alison Jefferis (Chair of Development Committee) Ellie Kendrick Winsome Pinnock Tess Randolph Amanda Richardson Tanya Tracey (Co-Chair) Despina Tsatsas Secretary Erin Gavaghan Leadership Team Erin Gavaghan (Executive Director) Anna Herrmann (Joint Artistic Director) Róisín McBrinn (Joint Artistic Director) Senior Management Cath Longman-Jones (Head of Finance & Operations) Sally Muckley (Head of Development & Communications) Jacqueline Stewart (Head of Participation) Registered office 2 Patshull Road London NW5 2LB Company registration number 2690758 (England and Wales) Charity registration number 1017560

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Reference and administrative details about the charity, its Board and its advisers

Auditor Buzzacott LLP 130 Wood Street London EC2V 6DL Solicitors Bates Wells 10 Queen Street Place London EC4R 1BE Bankers CAF Bank Ltd 25 Kings Hill Avenue Kings Hill West Malling Kent ME19 4JQ Co-operative Bank plc PO Box 101 1 Balloon Street Manchester M60 4EP

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Message from the Co-Chairs Year to 31 March 2021

Message from the Co-Chairs

This year has been extraordinary in many ways, and this report will show how our charity responded to the external challenges with resilience and determination to arrive in a more stable state than we started. We also met challenges internally, beginning a journey of implementing lasting change that will strength how we deliver our aims for the future.

Board leadership changed this year to embrace shared leadership, so we are writing this report as Co-Chairs of Clean Break. Becoming Co-Chairs was a joy, enabling us to share issues and perspectives, experience and of course the work. And as the year comes to a close, we are excited to welcome new trustees to our Board while sad to bid farewell to others. Continuing to refresh our governance is key to ensuring that diverse voices are heard and share power.

At Clean Break, we are advocates for women’s rights and women’s health and nowhere is the need for change greater than in the criminal justice system. Every year over 12,000 women in the UK are sent to prison mostly for short sentences of less than 12 months. Women are most often sentenced for minor, non-violent offences often related to issues of poverty and social injustice. As Co- Chairs we are passionate about the purpose of Clean Break in promoting the rights of women through drama and theatre. This has a dual purpose. Through creative work, Clean Break gives women a voice. Expression builds self-esteem and personal resilience meeting mental health and emotional needs. By recognising and validating women’s experience, Clean Break transforms lives. And by inspiring and informing audiences, Clean Break changes hearts and minds; theatre is our advocacy.

The enthusiasm and creativity of the staff, our Members, and trustees have been extraordinary as is evident in the brilliant programme of work and support achieved across the year. Starting with a determination to keep in touch with women in prison, Clean Break delivered a letter writing project; shifted our Members programme and workshops online; supported artists and continued to commission new voices; and launched a wonderful archive championed by our founders. All of this as well as ongoing support for staff and Members during a challenging period for everyone. And behind the scenes, continual effort to fundraise, improve systems, develop our culture and inclusion, and keep the building running.

This is even more impressive given the backdrop of 2020.

The global pandemic has challenged but intensified our work in addressing long-standing societal inequalities and injustices. At times we’ve felt the impact on mood and motivation but hearing that catch in the voice - Members, artists, staff, volunteers and Trustees of Clean Break have reached out to support each other. Through imagination, resilience, solidarity and teamwork

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Message from the Co-Chairs Year to 31 March 2021

Clean Break has continued to raise its voice ensuring all of the work achieves impact at a time when most needed.

We have been especially determined to drive and build Clean Break’s commitment to its anti-racism agenda. We know we have work to do yet we firmly believe addressing systemic racism lies at the heart of our values and is key to delivering our mission. This work will require continued work in strengthening our organisational understanding and creating a culture where power and privilege are shared.

We’d like to recognize all of the amazing charities and cultural organisations that didn’t make it through the pandemic. We work in partnership with many who’ve been especially hard hit. The reasons for their existence haven’t gone away and it’s more important now than ever that we contribute to and support the ecosystem of organisations in our space.

We would like to thank the Leadership team, the staff, our Members and our fellow trustees for their steady working together through one of the most disruptive periods in global history. As this report will detail, we have emerged from crisis with resilience. Clean Break has stuck to its values and is delivering now and into the future with renewed focus. We stand to applaud.

Alison Frater and Tanya Tracey

Co-Chairs of Clean Break

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Report of the Board Year to 31 March 2021

The members of the Board present their statutory report together with the consolidated financial statements of Clean Break Theatre Company (the company) and its trading subsidiary, Clean Break Productions Limited, for the year ended 31 March 2021.

The report has been prepared in accordance with Part 8 of the Charities Act 2011 and constitutes a directors’ report for the purposes of company legislation.

The financial statements have been prepared in accordance with the accounting policies set out on pages 44 to 47 of the attached financial statements and comply with the charitable company’s memorandum and articles of association, the Charities Act 2011 and 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 United Kingdom and Republic of Ireland (FRS 102).

OBJECTIVES AND ACTIVITIES

Principal aims and objects

Our charitable objects as stated in our governing document are:

We no longer use the term ‘offenders’ in our communications internally or externally. Instead, we speak of ‘women with experience of the criminal justice system’. In keeping with our vision, we emphasise they are women foremost and do not use the stigmatising label of offender. We refer to women who attend our onsite and online programme of activities as our Members. They either have lived experience of the criminal justice system or identify as at risk of entering it, with addiction and/or mental health needs. Members can be currently attending or have attended in the past but want to maintain an ongoing affiliation with Clean Break.

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Our Vision: A society where women can realise their full potential, free from criminalisation.

Clean Break was established for and by women with lived experience of the criminal justice system. They remain at the core of our work which is designed to enable them to realise their full potential in society.

Our Mission: Producing ground-breaking theatre which puts women’s voices at its heart and creates lasting change by challenging injustice in and beyond the criminal justice system.

As a theatre company, we make bold, adventurous and outstanding theatre that impacts positively on the lives of women in the criminal justice system. We do this in collaboration with artists, Members, partners in the criminal justice sector, in theatre and beyond. We engage with audiences to provoke dialogue and mobilise them to make change with us.

Our Values: Creativity, Change, Courage, Compassion, Collaboration, and Equity and Fairness

Public benefit

The members of the Board confirm that they have complied with their duty under the Charities Act 2011 to ensure the charity provides public benefit. They have considered the public benefit guidance published by the Charity Commission and believe that they have followed its guidance in this area.

The annual report gives a detailed description of the activities undertaken by the charity during the period in furtherance of its charitable purposes, and the Board are satisfied that all such activities provide public benefit.

Specifically, we define our beneficiaries as:

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ACHIEVEMENTS AND PERFORMANCE

Clean Break fulfils its mission by delivering against the four aims set out in our business plan. These are to:

This report will highlight key activities and approaches used to deliver our aims and how this was supported financially.

How we delivered our aims in 2020-2021

This was the third year of our current four-year Business Plan and marked a period in which the world changed entirely with the Covid-19 pandemic. We saw our building closed, live productions and our heritage exhibition cancelled and postponed, access to prisons denied, and extreme levels of pressure on our Members’ lives due to increased isolation, ill health and socio-economic inequality.

Despite the challenges of the year, we have found resilience and hope through our community of Members, staff, trustees, artists and supporters. We were able to adapt quickly as our mission and values drive our work and provided a clarity of purpose that was sustained throughout the year.

In the first few months of the year, we rapidly reimagined our approach. The needs of our Members came into sharper focus and our energies went into supporting their basic needs (food, digital access, mental health provision and housing security) alongside a pivot to providing creative and wellbeing activities online and increased one to one support and therapy via telephone.

One of our Members reflects on the support she received this year: “ Over the past eighteen months I have been supported through art and talking therapies to regain my inner balance and self-esteem. This meant I was able to continue to take part in life and Clean Break activities, throughout this Covid period, and not regress completely. ”

Despite the disappointment of cancellations and postponements, we were able to secure crucial core support from existing and new funders that enabled us to end the year more financially secure than we began. We are incredibly grateful for the help that we have been able to access from the government,

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our supporters, and new funders. From its creation in March 2020, we accessed the vital support of the government's Job Retention Scheme and we had, at one point, over 70% of our staff on furlough. The way our funders rallied around us through this difficult year has been very emboldening. Their flexibility, swift response, and light touch approach, as well as offers of emergency funding, not only allowed us to survive but to fulfil our aims, albeit in reinterpreted ways.

As well as our focus on Members, we innovated new projects to provide connection for some of our freelance artists, and with women in prison, most of whom were locked in cells for 23 hours each day. As the year progressed, we made use of new digital platforms with our partners, particularly our research partners, to find ways to talk to audiences through events online. We strengthened our digital voice artistically with the creation of a film and a radio play.

The year also saw us build on our foundations to increase income from our Leadership work, where we share our expertise through training. We launched our corporate offer and have increased our targets for this work for next year, having secured a large contract to deliver training to the women staff of our partners, Columbia Threadneedle Investments.

Partnerships equally looked very different this year and we are proud to have been part of online communities supporting each other in all our sectors – theatre, criminal justice, and the women’s sector. The legacy of these partnerships is already visible, as we build stronger and more formal networks, articulating a collective and unified voice over ongoing injustices and sharing resources to strengthen all our practices.

Our commitment to Equality, Diversity and Inclusion is embedded in our vision, mission, values, and strategic aims. In May 2020, the world witnessed the killing of George Floyd in Minnesota. This caused an outcry of anger and pain across the world and, mobilised by the Black Lives Matter movement, a re-energised demand for change. Clean Break renewed its own pledge to combat racism and to take further action to dismantle racism and embed race equality within our own structures. We are prioritising investment in creating an anti-racist culture and accountability framework for the company through a six-month consultation with staff, trustees, and Members, overseen by an antiracism consultant.

Another tragic murder shook the UK in March 2021. The killing of Sarah Everard as she walked home across South London reignited calls for safer policing, safer streets for women and an acknowledgement that girls and women are still too frequently victims of violence and are blamed for their innocent behaviour. This, coupled with the government announcing plans to create 500 new prison places for women when every study and government funded report has advised against this, has highlighted once again the disadvantaged position millions of women in the UK are in. It is precisely the

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sharpest edge of the cross section of the discrimination, criminalisation, and oppression of women that we exist to combat.

The impact of these national and international injustices, combined with the pressures of three national lockdowns, has taken its toll on our staff team. Throughout the year, their mental health and wellbeing was a priority for us, and we participated in MIND ’s Wellbeing Index programme to measure and assess what can be improved in our policies and practices. We are also engaged with people make it work through our participation in the Weston Jerwood Creative Bursary scheme to make the organisation more diverse and accessible; starting with work to improve our recruitment approaches, with a particular focus on encouraging those from lower socio-economic backgrounds to pursue work in the creative sector.

A huge debt of gratitude goes to our staff this year. We are so proud of the exceptional women who make up our team and are indebted to them for their dedication, honesty, and commitment through this year.

While our expenditure decreased this year to £1,017,341 (2020: £1,179,842) we delivered significant levels of activity in different ways.

During 2020-21 Clean Break:

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posted 45 articles, blogs and stories on our website over the year and reached 35,688 visits.

The year end results look very different from previous years, with significant designated and restricted fund balances to bring forward into 2021/22 as a result of the disruption to our normal working. We expect a busy year ahead as postponed activities are realised, and we can’t wait to see our Members and audiences in person soon.

We are proud of what we have achieved this year within a climate of adversity. It would not have been possible without the resilience of our Members, the hard work of our wonderful staff team, the tireless commitment of our trustees, our loyal funders, our engaged patrons and friends, and our dedicated volunteers. We all felt the need for community this year and at Clean Break, we are honoured to be part of a very special one.

ACTIVITIES

1. Productions and production pipeline

Our aims to produce bold, adventurous, and outstanding theatre and spark action, curiosity and debate had to take a new approach this year with the cancellation of two productions, one sector play and a small-scale tour. Instead, we invested in our digital voice and new forms of telling our stories, the development of future projects and online campaigning events.

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of years, Sonya died soon after the play was recorded. We are launching and distributing the audio drama in June 2021.

Pipeline development included play commissions with Deborah Bruce, Ambreen Razia, Natasha Marshall, Theresa Ikoko, Sian Owen and Morgan Lloyd Malcolm. This year we offered a new commission to Yasmin Joseph; the J’ouvert writer worked with us previously, writing Inside this Box with our Young Artists in 2019/20. We are delighted to be working with Yasmin again, who is also engaged with us on our Inspiring Futures prison research project (currently on hold while prisons are inaccessible to us).

Some of the additional investment in future productions and projects we made this year included:

"Clean Break commissioned my play 'The Favour' which centres around Muslim women in the prison system. Although it's a daunting topic to tackle, Clean Break has always provided me with a safe and inspirational space to tell my story. I can only hope I mirror the influential work they do as an organisation through my work as an artist"

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2. Members Programme and other services

Led by government advice to curb the rising spread of Covid-19, we closed our building on 19 March 2020. Our building is a women-only, traumainformed space that our Members rely on for more than the creative work that we offer to them through our Members Programme.

It was also clear that reaching women in the wider community and in prisons was going to be extremely challenging in the period ahead. We set about rethinking how to engage with women we usually support from our building, in women’s centres and in prison.

Three projects took shape early in the year:

In place of our usual on-site Members Programme in Kentish Town, our initial experiment with online delivery used vimeo (online platform for video). We engaged our artists to produce thirty-minute activity-based sessions, adhering to our usual pattern of health and wellbeing, theatre making and playwriting. These were uploaded to our vimeo channel each week enabling our Members to watch them in their own time.

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Thanks to generous support from Camden Giving and Matrix Chambers we were able to equip 19 of our Members - who had no access to online activities or services - with Chromebooks and wi-fi units with data, to enable participation in both our programme and other services which were now being delivered remotely. We chose to continue to provide this support beyond the initial investment and will continue until we are no longer offering the online or blended programme, to ensure access is equitable. Alongside this offer, we supported building Members’ confidence with IT contributing to an increased sense of independence from all involved.

We also made our sessions available to our wider Membership - those who have previously been a student or Member but were not actively participating at the time - and nationally to women attending women’s centres.

Normally, our creative activities pause over the summer holidays; however, the impact of the ongoing pandemic prompted us to offer Members some creative outlet and connection to us throughout July and August. This included providing ongoing access to the 40 sessions created for vimeo since April, introducing weekly Zoom sessions in drama and yoga, (with clear safeguarding guidelines in place) and offering a 10day dance challenge throughout July, as well as ongoing support.

We were determined and delighted to reopen our building to Members for the Autumn Season, in a Covid-secure way, for three weekly groups of up to 10 Members. In addition to this we delivered a blended model including activities across both Zoom and vimeo to account for a range of needs and interests. Our final week of live delivery was in early November 2020, before shutting the building for the second lockdown and returning to a wholly digital offer.

Although there were mixed emotions from Members and staff about the closure of the building for a second time, we recognised we had learnt a huge amount about what worked and what didn’t work, additional staffing needed to be Covid-secure, how to run blended workshops, and our additional technology needs.

Our spring season through Zoom and vimeo was launched during the country’s third national lockdown. Attendance improved and engagement was strong across the season. This bedding in of the digital offer enabled us to focus also on recruitment of new Members, and we hosted online introductions to Clean Break for referral partners and potential Members.

Throughout the year we offered masterclasses alongside our regular programme. Eight of our young artists benefited from a masterclass with our Patron Zawe Ashton in early May 2020, which they valued hugely. She generously offered to follow these up with 1:1 mentoring sessions, alongside another artist, Polly Frame (cast of Thick of Thieves in 2018). Providing our current cohort of young artists with 1:1 mentoring support helped them

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develop their ideas for their independent projects, the final aspect of their yearlong development programme which was delayed due to Covid-19 and lockdown.

By continuing this work online, we were not only able to sustain support for our Members but also continue to provide employment to our freelance artist community. Given the closure of so many organisations and projects, this was very important. Artists engaged over this year with our Members were Sonia Jalaly, Paula Varjack, Deborah Bruce, Sabrina Mahfouz, Sam Adams, Deborah Pearson, Stef O’Driscoll, Kirsty Housley, Myah Jeffers, Kate McCoy, Imogen Knight, Yasmin Joseph, JR Robinson, Laura Asare, Sophie Shaw, Asher Hoyles, Morgan Lloyd Malcolm and Diane Page.

We are deeply grateful for the voluntary work that also contributed to the programme, in particular from our Patrons Harriet Walter, Zawe Ashton and Sharon Duncan Brewster who offered continued inspiration and creativity in these universally challenging times.

Underpinning our creative offer is our trauma-informed holistic support, which was needed more than ever this year. We worked hard to meet our Members’ support needs with nimbleness and resourcefulness, focused on connectivity and care. Across the year we provided regular support phone calls, care packages, newsletters, advocacy, and telephone therapy, addressing a range of issues including mental health, drug relapses, access to digital services, liaising with statutory services, provision of food, and seeking refuge from domestic violence.

In the spring, we trained and supported volunteers to offer weekly calls to reduce isolation and anxiety as part of a new Creative Buddies pilot from JuneAugust.

Thanks to the extraordinary resilience of our Members and the phenomenal work of our support staff, drawing on our extensive experience and networks to spot needs, we were able to make a difference, and saw some positive outcomes. The devastating impact of inequalities widening through the pandemic has been felt here as elsewhere - and some crises could not be averted.

The work that we deliver outside of our building was also challenged by lockdowns. However, our learning enabled us to transition to online delivery for our women’s centre partnerships as well. Thanks to artists Sam Adams, Laura Asare and JB Rose, for their commitment and ongoing dedication to this work.

We are delighted that collectively the women’s centre model has been recognised by MOPAC (Mayors Office of Policing and Crime) and MOJ (Ministry of Justice) who have agreed to co-commission the joint service from

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June 2021. A huge debt of thanks to our lead partners Advance Minerva and Women in Prison for securing this model for London women’s services.

Knowing that women in prison have been largely invisible this year, and acutely aware that the impact of not having visits, activity or social interaction has been their predominant experience, we partnered with Wayout TV to secure a weekly slot in their broadcast at HMP Downview, and our Participation Manager Lorraine Maher produced the first four of a series of 10 micro-videos offering a creative activity once a week (launched on International Women’s Day 2021). It is challenging to know the reach and the impact of this, as there is no data on numbers watching; however, we are pleased to have found a new way to deliver in prisons when we can’t be there in person. This pilot has resulted in an expanded offer for 2021/22, with production of micro-videos for all nine of the women’s prisons who broadcast on Wayout TV , to promote our Voices from Prison project across the prisons, which is live at the time of producing this report.

Artist Sam Adams delivered three pilot poetry sessions on Zoom for the South London Maudsley Hospital Trust in the medium-secure Spring Ward in February. A small group devised poetry together and produced a group poem of Hope, which is displayed on the ward. We are looking to build on this work in 2021/22.

The following is a testimony from one of our long-term Members, Shona Babayemi. Shona now works as an actor, having starred in Clean Break’s coproduction BLANK with the Donmar Warehouse in 2019. In Summer 2021, she will share the Globe stage with Michelle Terry in a leading role. As for many, this year was hard for her and we were pleased to welcome her back:

“Structure, routine, connection, laughter, and purpose were all things that went out of the window at the beginning of a year the world will never forget. We found ourselves navigating an experience completely alien to what we have grown to know. But, despite the overall experience being novel to the entirety of the world, we all experienced this period in completely individual ways. Our work lives, social lives, and even family life came to a stop or changed for the unforeseeable; the routine that I had intentionally and methodically adhered to, my work, my hobbies and friendships that are all centred in and around the arts, that keep me feeling as close to human as possible, came to an end. For the arts the work came to a grinding halt. For Clean Break [CB], the work never stopped.

I remember receiving an email from CB very early on just before the country went into lockdown officially, it’s heading: “The doors may be closed but we are still here”. This couldn’t have been more true, as CB has played a massive role in how I managed to navigate myself throughout the past year. Shortly after lockdown I received a phone call from a member of the team to simply have a chat and check in, I thought during the call that it was mainly to check in about coming out of CB’s Production [BLANK] at the Donmar Warehouse

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at the end 2019, which it partially was, but it quickly became apparent that all Members were being contacted individually in one way or another. Managing to make so many people feel included and connected in a time of such great isolation is really quite special, and the offer to call and chat with a member of the team at any time was very grounding for me, and nice to know that if I needed to, I could pick up the phone and connect with someone. Experiencing two personal family losses and knowing that was an option for me was incredibly steadying.

Finding ways to connect and reach out to others became a big part of my lockdown experience. Helping fellow CB Members, more importantly, friends, with their creative output was really fulfilling. Getting to lend a hand to people’s work by helping with play readings, reading their writing or poetry, listening to their songs all felt like being a part of a community that extended the physical walls of Kentish Town. Knowing I would be in a Zoom call with familiar friendly faces, not only chatting away, quizzing or dancing to our favourite songs, (which was all very much needed!) but progressing as an artist... with structure, connection and purpose kept me in a place of openness. Masterclasses with Zawe Ashton, Dame Harriet Walter, Stef O’Driscoll enriched me artistically and opened my eyes to other aspects of the industry. Especially during the colder winter months when lockdown began to feel endless, having that structure of joining a group like the Writers’ Circle with playwright Yasmin Joseph kept me focused and engaged.

Receiving the most wonderful and completely unexpected parcel of presents for Christmas, as someone who was isolating alone, is one of those things that I couldn’t thank Clean Break enough. Things like this are simply the cherry on the cake for being part of this organisation. There is so much work and consistency, care and patience that comes from this team of women. And my experience of this tough and taxing year has been made a whole lot easier by just having their unwavering support.”

3. Research and leadership

Our aims to deepen understanding of the complex issues of women and crime through research and to share our experience and leadership are often less visible aspects of our work. We contribute to and support campaigns for justice led by like organisations, and we champion valuing lived experience.

Clean Break: Women, Theatre Organisation and the Criminal Justice System continued this year, led by Queen Mary University of London. This large research project sees Clean Break partner with four leading university academics to explore the many facets and linking disciplines that our work touches.

From April 2020 the researchers observed the senior management, Board and leadership team meetings and some weekly staff team meetings over a fivemonth period, made more accessible through the shift to online working. The

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project hosted online seminars by Reading, Sheffield, Leeds, Leicester, Warwick and Manchester Universities which we contributed to that reached 495 audience across the events.

The pandemic also interrupted the second tour of our production SWEATBOX , performed in a decommissioned prison van. We were able to repurpose funding from AHRC for the tour to recreate it as a short film. This will be made available to the public in June 2021 and will continue to be shared through the partner universities.

Our participation in another research project, INSPIRING FUTURES , was significantly disrupted by Covid-19 due to the severe lockdown of the prison estate. The project, led by National Criminal Justice Arts Alliance (NCJAA) and funded by Paul Hamlyn Foundation and Economic and Social Research Council in partnership with Institute of Criminology, Cambridge University, looks into the impact of the arts in criminal justice settings. Our project activity has been postponed; however, we have continued to meet with partners and provide peer support and share experiences of pivoting practice. The work is being rescheduled as soon as access is allowed.

Our work featured in four books published during the year:

Combining the threads of research and leadership, we launched the archive of Clean Break’s 40-year history and impact with an online event in Autumn 2020. Part of our on-going heritage project, generously supported by the National Lottery Heritage Fund, the quiet work of the previous year to bring

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our artefacts together was undertaken by our volunteers and the archive is now housed in the Bishopsgate Institute. The emboldening launch event online in November 2020, hosted by our Chair Alison Frater and reaching 267 online audience members, included our inspiring founders, Jenny Hicks and Jacqui Holborough, and performances of theatre pieces inspired by the archive created and performed by Members.

The exhibition, bringing all elements of the project together for the public, was postponed twice due to lockdown restrictions but will now open in June 2021 at Swiss Cottage Gallery, Camden.

We have experienced a consistent demand to learn more about our practice and have regularly offered training to support this ask. Our current business model looks to develop this as an asset, to extend how we share our leadership and generate income from the activities. We were building the trajectory of this when the disruption of the pandemic closed our doors, meaning we had to cancel planned training as it normally happens in our building. We were then forced to pause our investment in this area due to capacity, with the team members who support this work being on furlough until the autumn.

We reimagined our delivery and were delighted with a successful launch our corporate offer in December 2020, through one-day online training and 1:1 follow up coaching session, engaging 10 women staff members of Columbia Threadneedle Investments. Key to our delivery is the involvement of Clean Break Members in this offer. The day was received very well by the participants and our partners have confirmed at least 4 more sessions for 2021.

Learning from this, in March 2021 we launched a new online training offer for the public comprised of five, three-hour modules about Clean Break’s practice, delivered by core staff and artists. There is strong evidence that this course is in demand, with both March and May dates selling out in a few days of going on sale.

The majority of income earned through activities this year was through this area of delivery, generating £8,838 (2020: £12,882) in a year where we anticipated no earning from this work. It has given us the confidence return to our aims for this work and increase our targets for the next year, delivering digitally and hopefully again in our building as soon as possible.

One-off events that Clean Break produces feed our aim to spark action, curiosity, and dialogue with audiences. This year, it was impossible to deliver these live, but we substantially increased our reach through online events. A total of 1,164 people attended online events that we created or co-created: the average attendance being 200 for our stand-alone events, and 100 for our university events. These included events connected to our research projects and partners, two events connected to our fundraising, and events specifically

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created to highlight issues facing women to increase our campaigning voice. Our format included a performance by an actor of a piece of Clean Break writing, followed by a discussion panel. One of our best attended events was in collaboration with sister organisation, Birth Companions, to mark International Women’s Day in March 2021 and to shine a light on maternal imprisonment. This event reached an audience of 284:

“ I was mesmerised by the performances completed by Ayesha, she was fantastic. I felt sympathetic towards those who had shared their experiences within a prison environment and was fascinated by the statistics that Dr Minson presented. I was unaware quite how many women are sentenced for under 12 months - really shocking.” Attendee, Disrupted Lives, 14 March 2021

We also contributed to other organisations’ events, including the Women’s Equality Party annual conference, with a short workshop and performance extract of Not Pretty Like the Rainbow by Daisy King, performed by our Member, Nicci Durkin, to 122 people. We presented at the online launch of a new alliance of seven lead women’s sector organisations, London Women’s Services Alliance, which sees us joining strategically with our key partners to deliver gender specific holistic services for women and girls affected by the criminal justice system across London.

The Leadership team have continued to raise the profile of our work by speaking at events and conferences, including the Independent Theatre Council annual conference, participating in networks such as CLINKS, Tonic’s Advance Network and What Next? and representing the organisation on umbrella bodies, including the National Criminal Justice Arts Alliance Steering Group which elected our Joint Artistic Director, Anna Herrmann, as Co-Chair in July 2020. Both Artistic Directors were named Women of the Year in 2020 and invited to a celebration of women who had helped change women’s lives, especially during this tough year. Anna continued to lecture at universities and Róisín consulted with artist Sonia Boyce on a project she is making for the Serpentine Gallery.

We had a successful visit from Sir Keir Starmer MP (Our local MP and Leader of the opposition) to launch the reopening of our building in October. This was followed the same month by an online meeting with Carolyn Harris MP, who is interested in the company’s work with women prisoners, attended by Anna Herrmann and trustee Amanda Richardson.

4. Operations and administration

Our fourth strategic aim is to run our organisation with equity and fairness with women’s voices and sustainability at the heart – our general support costs (overheads and admin) and direct and support staff costs reflect this aim. We achieve this by ensuring that our governance framework is strong; our Members are represented at board level and in our programme planning; our business model is fit for purpose; and our operational systems and processes

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are robust. This year, we had to adapt quickly and respond to an uncertain and constantly changing environment.

Our trustees devoted considerable additional time to working with the Leadership Team to ensure that the charity was financially stable, and the staff were coping with the changes around us, all while centring our Members’ needs. We continued our robust succession cycle with our trustees, and despite being entirely online, we had engaging and productive meetings that supported the charity and staff team well. Strengthening how Members’ voices influence the charity continued, with representation at board level and through our participation in a programme of training to encourage more women with lived experience of the criminal justice system to become trustees.

This year tested our business model intensely, and we reverted to a reliance on fundraising for our income. But it also gave us an opportunity to look at some of our operational processes and staffing in a new light, and to consider how we want to take our learning from this period forward, to create positive change from crisis.

As our building remained closed for much of the year in response to government guidance around lockdowns, all hires business ceased, resulting in us reducing our earned income target by £150,000 immediately in April 2020. This income usually provides vital support towards the operational overheads and administrative costs of the building and the company, many of which did not reduce despite closure. Our support costs, including support staff, totalled £476,542 making up 47% of our expenditure this year (2020: £413,810, 35%).

Our ability to sustain our building ownership and protect jobs was thanks to emergency funding from statutory funders Arts Council England’s initial emergency funding, DCMS’ Culture Recovery Fund, Camden Business Discretionary Fund and National Lottery Community Fund; and generous support through grants from Esmée Fairbairn Foundation, Paul Hamlyn Foundation, The Rank Foundation, The Julia & Hans Rausing Trust, and two waves of the London Community Foundation funds. These funders specifically enabled us to cover our core operational and staffing costs, which would normally have been supported through earned income and full cost recovery contributions included in project grant funding.

Weekly building checks continued through the lockdowns, to ensure that our building remained in a decent condition; unfortunately, buildings don’t like to be empty, and over the year issues arose with leaking underfloor heating that have resulted in an extensive investigation and repair through our insurers. However, while the building has remained closed to participants and most staff, we have been able to ensure that remedial works are undertaken and that the building can be as safe as possible for future ways of working. We are

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Report of the Board Year to 31 March 2021

grateful for funding that has included support to ensure that our ventilation and socially distanced changes to operating are able to be realised.

Staff, advisers and volunteers

Our people are our greatest asset, and this year showed their commitment, courage and compassion as never before. We worked tirelessly to protect jobs and support wellbeing where we could.

A combination of the government’s Coronavirus Job Retention Scheme (we claimed £122,727 across the year) and other emergency funding received this year (we raised £561,389 through emergency offers) enabled us to avoid redundancies across our salaried team. Already a lean team, at the beginning of the year we took the decision to pause current recruitments until we could see more clearly how the pandemic was going to progress, as part of our effort to protect jobs. This halted our recruitment for two roles: Communications Manager and Development Officer; both of which were held until spring 2021 and will be recruited for this summer.

The ongoing nature of the pandemic and uncertainty around reopening our building resulted in our ceasing to offer future work to our casual, zero hours contracted staff in September, having supported them through the CJRS at 80% of their wages from mid-March. It was a difficult choice to make, and the grace of those we said farewell to was incredible.

From March 2020, our staff have worked almost entirely from home; other than in the brief period where we opened, only 2-3 staff have been in the building. Furloughing staff from 6 April 2020 created challenges for those remaining active and impacted many of our operational processes as it was a time where robust financial management was needed more than ever. We adapted to online meetings and new communication patterns, and some staff took on new responsibilities. It was an incredibly challenging year that required a lot from our team, and we are very proud of how they have managed.

Furlough enabled us to extend fixed term contracts and be ready for 2021/22 and the rescheduling of activities, as with our Heritage Project Manager who will also curate the exhibition in the summer. Further grant funding also enabled us to create the new role of Operations Manager from February 2021 to support us in restoring the building to operational use and addressing remedial works, and to participate in preparatory work for the Weston Jerwood Creative Bursary programme, bringing on board a Participation Associate in May 2021.

Additionally, with funding to support our digital transition, we were able to invest £2.4k from the London Community Foundation’s Wave 3 grant in digital upskilling for our team. It is difficult to quantify the increase in learning this year, in part due to how much was offered generously for free online through short courses and webinars. Our commitment to team learning shifted to

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Report of the Board Year to 31 March 2021

shorter, more regular team sessions together, the sharing of resources, and strong peer to peer learning. In total, we invested £6,890 in staff and trustee development this year (2020: £5,102).

Organisational learning was enhanced by the learning and support provided for organisations taking part in the Weston Jerwood Creative Bursaries programme 2020-2022. As well as funding and resources to employ an early career artist from a lower socio-economic background for 12 months, representatives from the staff and trustees of the c. 50 participating organisations have met regularly to receive guidance and share experiences around good practice and what it really takes to improve access to role opportunities in our organisations. We are grateful to funders the Garfield Weston Foundation, funders and project leaders Jerwood Arts, programme partners people make it work and our culture sector peers for their openness, encouragement, and many useful insights, and look forward to continuing to engage with this programme throughout 2021/22.

A key development that this work supported for us was a revised approach to recruitment. We began a detailed review of our recruitment practices, with the aim of improving the experience of finding out about and applying for voluntary and paid roles with Clean Break. We want to ensure we are encouraging women from the widest possible range of backgrounds and experiences to apply for positions with us and doing all we can to reduce barriers to entry and progression for women in our sectors.

Our initial focus has been on paid positions and trustee recruitment. By the year end, we had made significant changes to our staff and trustee recruitment packs in terms of style, language and content, endeavouring to clarify and simplify the requirements, demystify the process and improve access. We have been testing out new recruitment channels and exploring new partnerships and have begun to collect broader data to better understand the diversity of the candidates we are reaching. Our interview panels have included our Members, and the results to date have been an increase in the quantity, quality and reach of our opportunities. We are currently analysing the impact of our efforts and honing our next steps towards improving our inclusive practices.

We are committed to supporting women artists through our work, and this year we showed that support by funding an artist to join the Freelance Task Force. Freelancers make up 70% of those employed by the theatre industry. This body was set up to ensure that freelancers’ voices are heard and have impact in post pandemic structures and approaches. Set designer Rosie Elnine was our nominee and, alongside attending meetings, she met with our Members to hear about their experiences and ideas. The Big Freelancer Report has now been released and its stark evidence will enable all of us to build a better future for this essential part of our cultural workforce.

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Report of the Board Year to 31 March 2021

In addition to the freelance artists already mentioned in this report, we are very grateful for the support and guidance of freelancers who contribute to our work in other fundamental ways. In particular, we again extend our thanks to Henri Seebohm for her ongoing clinical supervision work with our Members Support Team; this was a challenging year for our Members and we were grateful to be able to offer additional clinical supervision to our team, thanks to funding from London Community Foundation who also supported other wellbeing initiatives for our team within their Wave 3 grant. Thanks also to our press and media consultant Nancy Poole her continued support this year.

Our volunteers helped to sustain our work this year and are a vital part of how we deliver our ambitions. We were supported by 35 volunteers working 1,135 hours across the year (2020: 72 volunteers offered 3,372 hours support). Our volunteers support projects, deliver Art Therapy to Members, tend to the garden at Clean Break and support our admin. Unfortunately, we were not able to accept all offers from volunteers with our building closed and look forward to welcoming more back in the coming year.

Emergency funding from the Culture Recovery Fund and The London Community Foundation, Wave 3, enabled us to consider our operating and future business model. With the funding we engaged HR consultant Rachel Barker, who added capacity to review our human resource policies, bringing them up to date and reframing them with more accessible language; and Ayla Sureven to coach us through revisioning our business plan, which will continue into 2021/22.

Sustainability

Sustainability has been at the heart of our work this year, considering how to sustain our Members, our staff and their resilience, our finances, and our building, as well as our ability to affect change within our organisation and within society. All of this with the immeasurable challenge of a global pandemic on everyone. In our lifetime, there has been no comparable mass experience and we will be impacted for years to come.

We have described how we sustained our Members as best we could, with the support of partners and funders, as some of the most vulnerable and heavily impacted in society. We have also described how we have protected jobs where possible and focused on the wellbeing of our staff as they faced the individual sharp challenges of pandemic and furlough. Further on we will outline how we have increased the sustainability of the organisation through careful financial management and generous funding through the year.

How we affect positive change runs through all aspects of our organisation, and this element of sustainability engages us in many global issues that need to be addressed within our organisation and beyond.

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Report of the Board Year to 31 March 2021

While climate change continues to be an urgent concern, the closure of our building limited our progress this year. The circumstances of lockdown will have had positive impacts on the environment, less travel has resulted in a reduction of air pollution (nitrogen dioxide levels and small particle pollution were significantly lower than usual) across 10 major cities in the UK. It will remain to be seen how we can translate the benefits to positive behaviour change for the future – though we have certainly made permanent changes to the amount of paper used in our administrative functions, for example by bringing finance approval processes online. We are renewing our commitment to reducing our impact on the environment and are assessing how we can improve our data around our current impact, to better understand how we can increase our efforts and champion this for the future.

Equality, diversity and inclusion are deeply embedded in our mission, values and all activities. This year centred on our work to become an anti-racist organisation. In response to the killing of George Floyd and the amplification of the Black Lives Matter movement, Clean Break renewed its own pledge to combat racism and to take further action to embed racial equality within our own structures. Many of our plays have historically called out racism within the criminal justice system, and we will continue to shine the light on the ongoing double discrimination face by women of colour in the penal system. We have a commitment to ensuring 50% of our annual commissions go to women who have experienced racism.

We have a diverse staff team and Board of Trustees but recognise that our Leadership Team does not reflect this diversity, being three white women. Our Board is considering this in its longer-term succession planning to ensure that our leadership is more reflective of our community for the future, whilst we identify ways of sharing power at leadership level in the short term. We are expanding how we capture and analyse data about our team, and what data we benchmark our diversity against to ensure that we can be more transparent about who we work with and attract a workforce that is representative of our community. At the moment, we can share information on the ethnicity, disability and experience of criminal justice of our workforce, and are beginning to collect more information to enable us to analyse the socioeconomic diversity of our team in the future.

Our workforce (staff, freelancers/contractors & volunteers) in 2020/21 had a 75% return rate on survey response (up from 70% in 2020). The return rate for freelance and contractual staff was relatively low at 57%; of those responding 71% were artists.

This chart illustrates our diversity as of 31 March 2021 and includes some benchmarking from Arts Council England (2019/20 statistics) and the known make-up of the diversity of women in prison (Bromley Briefings, Prison Reform Trust published twice annually) and UK ethnicity data from the 2011 census. The disproportionate number of Black and minoritised women in the penal

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system compared to the general population clearly indicates the systemic challenge of racism that needs addressing.

----- Start of picture text -----
Diversity Freelancers Staff Trustees Volunteers Arts (ACE) Women in the England & London
Measure 47/82 or 21/21 or 10/12 or 34/35 or workforce in prison system Wales demographics
57% 100% 83% 97% theatre demographics
response response response response 80% response
% of those surveyed 17% BAME 26% BAME
Asian 3% 0% 8.3% 9% 8% 7.5% 18.4%
Black 15% 19% 9% 13% 3.3% 13.3%
Mixed or 3% 14% 8.3% 11% 5% 2.2% 5%
multiple ethnic
background
White British or 28% 43% 50% 60% 57% 73% 81.5% 47.1%
Irish
White Other 5% 19% 8.3% 5% 5% 4.5% 12.7%
Other ethnic 1% 3.4%
group/Arab
Prefer not to 3% 5% 8.3% 3% 3%
say
Disabled or 19% 38% 17% 9% 7% Not available 16%
having long-
term disability
including
mental health
Identify as 7% 24% 0% Not asked Not available Not available 10%
neurodivergent
Personal 15% 17% 25% Not asked Not available 100% Not available
experience of
the criminal
justice system
----- End of picture text -----

*BAME is being used in this context as it is how this data is aggregated, but we do not advocate for the term and no longer use it in our own communications.

We are reviewing our policies and practices around staff and recruitment, considering where these are contributing to inequality.

The journey to becoming an anti-racist organisation is one we have embraced whole-heartedly with commitment and with additional resources. We are engaging the whole community at Clean Break: our trustees, staff, artists, Members and volunteers in our next steps - to build trust, speak out and listen, engage and act to address the inequality we see and the inequalities that are less visible. We acknowledge that racism is systemic in society, and features across the arts and cultural sector, and within Clean Break. We held a series of reflective spaces with our Members to process the impact of George Floyd’s killing on them personally, convened staff and trustee groups and have offered some training in the past year. In March 2021 we engaged darvaja to lead a process of anti-racism consultancy with Clean Break, involving all stakeholders to create a strategy, accountability framework and action plan and make a step change moving forward.

Keeping women’s voices at the heart, ensuring that our Members’ voices are those amplified and central is vital to our sustainability. Our ambition to have Members involved across all areas of company life and represented in decision making structures continues to strengthen. This year, we have made strong progress with Members involved in all activity, and our achievements above are evidence of this, however, our Members Advisory Group has faltered due to remote connection and Members own lives being adversely impacted by the pandemic. We have now directed some additional capacity and expertise to help us make the change we seek in this area, and appointed Inspirit as our Members Involvement Consultant, to work with us moving

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forward over 2021/22 to review and implement a new structure. We look forward to reporting on our progress next year.

The Future

If this trying year has taught us anything it is that our existence remains essential, especially to our Members and our communities; that we can be agile and nimble in our approaches and that our digital voice will be more essential than ever as we move forward. We are also imagining a very tough few years ahead in terms of the financial and emotional ramifications of the pandemic on our Members and staff, an uncertain funding environment and a long road ahead when it comes to winning back audiences and ensuring that our agendas of women’s equality, justice and decriminalisation are pushed centrally on agendas and stages across the country.

Like so much of the theatre sector, we yearn to return to live performance and to engage our audiences with unique, live, theatre experiences. We are putting our toe in the water with a project called THROUGH THIS MIST in July 2021: We will be welcoming small audience groups into our courtyard in Kentish Town to share a series of monologues, performed by Member artists, culminating in a shared moment and conversation about the future. We are also very excited about welcoming audiences to our heritage exhibition, I AM A THEATRE. We are moving forward optimistically with our partner, Sheffield Theatres, to produce one of our commissions, a play with music TYPICAL GIRLS (this is a rescheduled project) at their Crucible Theatre in autumn 2021. All of these projects will have digital alternatives connected to them.

Whether it is some of the benefits of working from home, reaching new audiences, using new artistic forms or delivering training online and expanding our reach beyond the UK, we know that digital will play an irreplaceable role in our future. In searching for the benefits of this year’s learning, we are leaning into the accelerated digital confidence and skill that we have embedded this year.

A place that the digital revolution seems almost to have wilfully left behind is in UK prisons. We are painfully aware that women in prison this year frequently spent 23 hours a day in the cells, hardly saw their children and had limited or no visits. We are pleased that we have found ways to retain some connection this year, but with Government plans to build 500 more prison places for women announced in February of this year, we know that our voice on this issue needs to be increasingly loud and clear. As such, we are joining Women in Prison’s #Stopthe500 campaign and planning our own future events to shine a light on this increasing disparity. Looking back on our history, and learning about past campaigns, such as the Close Durham H Wing campaign, which our founders initiated with partners in the early years of the company, this year has shown us too, the power of a collective voice. We have found support, wisdom, solidarity, and strength in our partners, and will be sure to

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bring that into the year ahead as we propel more urgently to seek the change we need.

FINANCE AND FUNDING

Overview

Total income for the year was £1,535,996, an increase of 19% on the previous year (2020: £1,292,231). Income was almost entirely fundraised, with 96% from Donations and Legacies compared with 80% in 2019/20. The increase in fundraised income was due to a number of factors, including:

It was an extraordinary year, and we are grateful to all of our funders and donors for their support.

Total expenditure for the year was £1,017,341, a reduction of 14% on the previous year (2020: £1,179,842).

This unusual year has generated a surplus of £518,656 (2020: £112,389); or excluding the funding specifically granted towards rebuilding free reserves, a surplus of £364,810. Of this, £264,589 is unrestricted funding received in advance towards activities and overheads in 2021/22 and has therefore been held by the trustees in a fund designated for this purpose. A further £41,792 is restricted funding recognised during 2020/21 towards activities in 2021/22.

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Report of the Board Year to 31 March 2021

This designated and restricted advance funding supports a deficit budget in operation for 2021/22.

Income

Income from donations and legacies

Clean Break follows the fundraising practices as per section 13 of the Charities (Protection and Social Investment) Act 2016. Clean Break does not currently work with any commercial or professional fundraisers. Clean Break has received no complaints relating to fundraising during the year. If any complaints are received, these would be dealt with the trustees and Leadership Team.

Income from donations and legacies totalled £1,480,678 in 2021, an increase of 44% from the previous year (2020: £1,031,588).

This included £122,727 from the Coronavirus Job Retention Scheme, and a further £561,389 in emergency funding from Statutory grants, Trusts and Foundations and the general public (2020: no emergency funding). £236,520 of this emergency funding came through successfully gaining support from Arts Council England (ACE)’s initial emergency grants programme, and then ACE’s delivery of the government’s Culture Recovery Fund, incorporating critical rebuilding of our free reserves as noted above. Clean Break has also been successful in gaining support from Round 2 of the Culture Recovery Fund, towards costs during the first quarter of 2021/22.

Our regular funders continued to support our work, supporting further by offering increased flexibility around reporting, and amending outcomes to work with inevitable changes in the ways we could deliver, and our project timelines. In addition they provided us with an enhanced level of guidance, and we felt our partnerships with them grow.

We took part in new appeals and campaigns this year, participating in the 2.6 Challenge that replaced the London Marathon in April 2020, raising £4,702 (2020: nil). We are delighted to have a place in the Marathon itself for autumn 2021.

In June 2020, Maxine Peake was the voice of our first BBC Radio 4 Charity Appeal which exceeded our expectations and drew in donations totalling £14,869 (2020: nil). Reaching new audiences and supporters through this appeal was a wonderful boost, and we are grateful to the support of BBC producers in shaping our appeal.

Our annual fundraising efforts through the Big Give Christmas Challenge saw us raise £34,844 (2020: £32,004) towards the additional support and activities that we offer to our Members. Special thanks to our Patron Zawe Ashton for

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Report of the Board Year to 31 March 2021

taking part in an In Conversation event and promoting the Christmas Challenge.

Together with the ongoing generosity of our Friends and other individual supporters, General Donations totalled £112,337 including gift aid (2020: £190,512). 2019/20’s General Donations were boosted by a one-off legacy donation of £75k; this aside, levels of giving therefore held steady.

Our fundraising (development) team worked tirelessly, and with reduced staffing capacity, to respond to the opportunities that were presented through the year from existing funders and new supporters to secure our future. Their success is a credit to their efforts.

We have been overwhelmed by the urgency, flexibility, and generosity of support from all those reaching out to help with sustaining our organisation and contributing to reserves at the time when we need them most.

Income from charitable and other activities

The impact of the pandemic on our earned income was significant this year. Normally, we would expect to generate earned income from ticket sales, fees for delivering work and training, and through hiring our space in our building. As much of this is dependent on venues that were closed, we were only able to generate £55,281 through our charitable and other activities this year, 39% of the total achieved in the previous year (2020: £141,373).

This income from our charitable activities included £11,385 through our Leadership offer, which, significantly, was delivered digitally (2020: £12,882, no digital delivery). The remainder was primarily through delivering our Women’s Centres services digitally, as supported through the Mayors’ Office for Policing and Crime (MOPAC, led by Advance Minerva and Women in Prison).

Other income, usually mostly from room hire to local community organisations and arts organisations, was negligible this year (2021: £37 compared with 2020: £119,270).

The loss of building-based earned income streams was total and immediate, and at the time we faced the risk of additional loss of donated income because of the overwhelming need for support across the charity sector, uncertainty regarding the impact of the pandemic on the giving capacity of individual and corporate donors, and the lack of activity to fundraise against. This shifted the focus almost entirely to voluntary sources of income this year. Covid-19 had a huge impact on our income this year and will continue to impact heavily on our business model for the foreseeable future.

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Report of the Board Year to 31 March 2021

Expenditure

An unusual element of this year’s expenditure is £140,735 in costs relating to direct and support staff time spent on furlough leave (2020: nil). This cost has been allocated within expenditure on raising funds and expenditure on charitable activities according to how the staff members would ordinarily have spent this furloughed time.

Total staff costs, including core support from freelance consultants, reduced this year to £691,642 (2020: £749,715). This reduction mostly reflects the two key positions vacant throughout the year, the loss of our casual hires team from September, and some reductions to staff pay during furlough leave. Furloughed staff were paid 80-90% of their normal gross pay. Social security and pension costs held steady, with gaps in core payrolled positions balanced out by freelance finance support during 2019/20 being brought fully in house this year.

Expenditure on raising funds

Expenditure on raising funds reduced to £126,084 this year (2020: £169,996) predominantly due to lower staffing costs relating to a gap in resources while recruitment was on hold. Events costs were also lower this year (2021: £764, 2020: £6,016), being limited to low cost, digital events compared with venue based events in celebration of our 40[th] anniversary last year.

Expenditure on charitable activities

Direct costs of delivering against our charitable activities totalled £419,052 this year, compared with £600,242 in 2019/20. Direct spend on theatre productions and related engagement activity more than halved, with resources focused on smaller scale digital projects, alongside developing work in the production pipeline.

Direct costs of Research & Leadership activities held steady (2021: £57,878, 2020: £61,437). The bulk of the cost was staffing in both years, as these are areas where delivery has to date been reliant on in-house staff. Staffing costs on research & heritage activities increased this year while other direct costs reduced; this was a full year of the archive related heritage project (which started in May 2019) and required additional staff time in the lead-up to the exhibition now planned for summer 2021.

Direct costs of delivering our Members programme and related support services increased this year (2021: £163,091, 2020: £149,695). This was mostly due to emergency support provided through IT equipment, care packages and additional staffing resource focused on this work. Meanwhile, direct costs of delivering work for women’s’ centres, prisons / other outreach, and other services including hires reduced significantly (2021: £53,140, 2020: £81,084) as options for delivery were more limited or lower in cost.

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Report of the Board Year to 31 March 2021

In contrast, our support costs increased this year (2021: £476,542, 2020: £413,810). More staff time was needed to support the organisation and its governance in general, with more frequent governance meetings and continuous financial and strategic planning and re-planning. In other support costs, less was spent on marketing and promotion, with this spend normally geared towards theatre productions, and more was spent to support areas of organisational development, including business model changes, anti-racism consultancy, and theatre freelance community initiatives.

Reserves

As at 31 March 2020, trustees had a stated target of rebuilding free, unrestricted cash reserves to £212,000, approximately three months’ expenditure on core costs, to provide sufficient flexibility to cover temporary shortfalls in working capital, allow the charity to cope with and respond to unforeseen emergencies and provide the charity with the opportunity to invest in new opportunities and innovation. Trustees had expected to reach this target by 31 March 2024, increasing reserves by £50,000 per year over 5 years from 2019/20. With careful financial planning and thanks to support from the Culture Recovery Fund round 1, this target has now been met in full. Free reserves at 31 March 2021 totalled £253,886 (2020: £18,408).

Trustees have revisited the reserves target, in light of the charity’s current position, planned activities and the financial risks ahead. The Board considers that the charity should now maintain a minimum of £250,000 in reserve and aim to build this to £300,000 to support the charity when necessary, in relation to the following financial risks:

The desired target includes a further £50,000 to be held to cover unforeseen expenditure beyond contingencies built into annual budgets. This would include the cost of covering unexpected long term staff absence, or the cost of urgent, unplanned maintenance or repairs to our ageing building (offices and rehearsal studios).

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Report of the Board Year to 31 March 2021

As at 31 March 2021, Clean Break has free unrestricted cash reserves (general funds) of £253,886 and has therefore slightly exceeded the minimum target and achieved 85% of the desired target. Trustees will review reserves levels at least quarterly and this policy annually.

Going concern

The trustees have considered the requirement that the financial statements should be prepared on a going concern basis unless they intend to liquidate the charity or cease operations or have no realistic alternative but to do so.

They have discussed the potential impact that the on-going nature of the pandemic continues to have on society and the sectors that the charity operates within and considered the company’s operations in 2021/22 and beyond. They have concluded that it is appropriate that the financial statements be prepared on a going concern basis.

In making this assessment, the trustees have considered whether there is a material uncertainty that the charity can continue as a going concern and how this should be presented in the financial statements. They have concluded that on-going uncertainty does not constitute a material uncertainty related to going concern.

Trustees continue to identify the risks relating to the company’s ongoing operations and discuss the strategies designed to manage them regularly.

The key risks that are considered in relation to going concern include continued restrictions impacting the generation of hires income in 2021/22 and into 22/23, potential resurgence of coronavirus over winter 2021/22 resulting in cancellations of activities and other potential operational disruption, and changes to the sectors we operate in, impacting partnerships.

Clean Break’s learning and experience from 2020/21 is applied to a nimble approach to the year ahead that anticipates disruption and is being managed through rigorous planning, regular re-forecasting of income and expenditure, and continuous risk assessment. Having rebuilt free reserves to a much healthier level at the end of 2020/21, the charity is in a more stable position with a healthy cash position to support its continued operation, and, at the time of finalising this report and accounts, 69% of income targets secured in support of activities for the year ending 31 March 2022.

Trustees have therefore concluded that the financial statements of Clean Break for the year ended 31 March 2021, should be prepared on a going concern basis.

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Report of the Board Year to 31 March 2021

Risk management

Risk management has become an even more prominent consideration this past year, with the landscape changing rapidly and often. The key risk for the year was the impact of Covid-19 and subsequent restrictions enacted by the government in response to controlling the pandemic. We followed guidance offered and adapted as this changed; the trustees met frequently in addition to their regular quarterly meetings to steward the process of risk analysis and decision making to mitigate what was arising from the ever-changing landscape.

Identified risks are listed in a register which outlines the nature of each individual risk and rates them either high, medium or low risk with regards to both probability and impact; a risk management strategy is agreed for each identified risk and a net risk rating after mitigation of either high, medium or low is assigned. Ratings are reviewed regularly, and progress is actively monitored.

The financial impact of risks this year - namely through loss of income from earned sources and limitations on typical fundraising against ever-changing projects and project timelines - was mitigated through

For the coming year, income targets have been set more conservatively than in the past in anticipation of a challenging year ahead in terms of both fundraising and earning income. Capacity for funders to continue to offer emergency funding is likely to wane, and we have not yet seen a return to previous patterns of project funding. Uncertainty around living with coronavirus in society longer term will impact capacity at events and our building, both of which will determine levels of income that can be generated from fees, tickets and hires in the future. To further address this, the business model is being interrogated and will be adapted to best suit the needs of the charity and its beneficiaries. Having rebuilt reserves, the charity is determined to maintain its stability.

STRUCTURE, GOVERNANCE AND MANAGEMENT

The charity is constituted as a company limited by guarantee and is therefore governed by a Memorandum and Articles of Association. The maximum

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Report of the Board Year to 31 March 2021

liability of members in the event of a winding up is £1. At 31 March 2021 there were 12 members who are all Directors of the company.

The charity has one active, wholly owned trading subsidiary, Clean Break Productions Limited. Any profits go to support the charity.

Members of the Board

The members of the Board constitute directors of the charity for the purposes of the Companies Act 2006 and trustees for the purposes of charity legislation. At any one time there must be a minimum of six members but never more than fourteen. New members of the Board are elected by existing members. Members of the Board are required to retire after four years’ service but are eligible for re-election for up to a further four years.

In December 2020, the members of the Board agreed to a special resolution amending a clause in the Articles to enable them to extend a trustee’s final term for up to one year in extraordinary circumstances.

Each member of the Board has taken responsibility for monitoring the charity’s activities in specific operational areas and constant attention is paid to the skills mix of the members of the Board to ensure that the Board has all the necessary skills required to contribute fully to the charity’s development.

The Board were essential to the success of the charity in this extraordinary year. The Board met 10 times in 2020/21 online to support senior staff and ensure good governance in the wake of Covid-19 rather than their usual quarterly meetings, and additionally invested in a day of strategic working in September 2020.

The Finance Committee was led by Sara Forbes as Chair until February 2021 at which time she stepped back from leading the committee; Sabba Akhtar took over as committee Chair. The committee includes Despina Tsatsas, Doreen Foster, and Kim Evans and Alison Frater, Chairs of the Board. The Committee, which usually meets four times a year, met six times to support the planning required in response to Covid-19.

This in-depth scrutiny and support to the Leadership Team and Senior Management in the financial management of the charity in addition to Board Meetings is greatly appreciated.

The Board regularly reviews the skills and expertise needed at governance level, the diversity of its members, and plans for succession.

In July 2020, Kim Evans concluded her second term as Chair of the Board. Kim led the company with a remarkable level of care, expertise, and extraordinary dedication. Incoming Chair Alison Frater observed meetings from April to July before taking up the reins from Kim at the AGM. Kim and

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Report of the Board Year to 31 March 2021

Alison had a strong handover during a turbulent time with the lockdown meaning they could not meet in person to support induction. Following her appointment, Alison championed shared leadership within the Board as well and in February 2021 existing trustee Tanya Tracey was unanimously elected as Co-Chair. The result has been a more reflective approach to chairing, strengthening governance by bringing broader diversity and experience to its leadership.

In autumn 2020, the Board formed a Recruitment Committee to seek new board members as part of the ongoing succession of trustees, with a view to welcoming new trustees in July 2021 to coincide with the conclusion of Despina Tsatsas and Doreen Foster’s second terms as trustees and members of the Finance Committee.

In accordance with the special resolution agreed in December 2020, trustees have also asked Deborah Coles to remain on the Board for an additional year, bringing her term of service to 9 years by July 2022.

Clean Break has a Development Committee led by a trustee and comprised of non-trustee volunteers. We are grateful for the commitment of our Development Committee members: Tracey Abayeta, Honour Bayes, Elise Brown, Sarah Jane Dent, Baroness Simone Finn, Sharon Heyman, Alison Jefferis (Chair), Sarah Jeffs, Gillian Jones, Marie-Claire Meisels, Rebecca Urang, Sara Watson. The role of all these women in helping us achieve our development targets has been crucial.

As mentioned in describing our activities during this report, we are especially grateful to our Patrons this year who have gone above and beyond to support our work and our Members. We were particularly grateful to Patrons Zawe Ashton, Sharon Duncan- Brewster, Lucy Kirkwood, Dame Emma Thompson and Dame Harriet Walter DBE, for being there for us both on stage, online, in our audiences and behind the scenes. We also note the sad passing of longterm Patron and company friend Barbara Hosking in April 2021. Her spirit and ambition for women will be an enduring legacy.

Key management personnel

Key management personnel for Clean Break are the Board of trustees (who do not receive remuneration for their services as trustees), the Leadership Team (two Joint Artistic Directors and Executive Director) and the Senior Management Team (Head of Participation, Head of Finance & Operations, Head of Development & Communications). Salary bands which are externally benchmarked every 3 years are used to set Leadership and Senior Management Team pay.

There is a Pay and Pay Review Policy which sets out the systems in place to set and review pay. A cost-of-living increase is considered by the Board

Clean Break 35

Report of the Board Year to 31 March 2021

annually and if approved is awarded to all staff who have completed their probationary period.

Pay is also reviewed for each post if there is an increase in salary recommended as a result of significant responsibility increases within an existing role. All decisions are ratified by the Board before being awarded.

Statement of the members of the Board’s responsibilities

The members of the Board (who are also directors of Clean Break for the purposes of company law) are responsible for preparing the report of the Board and financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Company law requires the members of the Board to prepare financial statements for each financial year, which give a true and fair view of the state of affairs of the charitable company and the group and of the income and expenditure of the group for that period. Under company law the members must not approve the financial statements unless they are satisfied that they give a true and fair view of the state of affairs of the charitable company, the group and of the income and expenditure of the group for that period.

In preparing these financial statements the members of the Board are required to:

The members of the Board are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charitable company and enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and the group and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Each of the Board members confirms that:

Clean Break 36

Report of the Board Year to 31 March 2021

This confirmation is given and should be interpreted in accordance with the provisions of s418 of the Companies Act 2006.

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

Approved by members of the Board and signed on their behalf by:

Tanya Tracey

Alison Frater

Alison Frater and Tanya Tracey Co-Chairs of the Board Date: 22 July 2021

Clean Break 37

Independent auditor’s report Year to 31 March 2021

Independent auditor’s report to the members of Clean Break Theatre Company

Opinion

We have audited the financial statements of Clean Break Theatre Company for the year ended 31 March 2021 which comprise the consolidated statement of financial activities, the consolidated and charitable company balance sheets, the consolidated statement of cash flows, the principal accounting policies and the related notes. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice) (United Kingdom Generally Accepted Accounting Practice), including FRS 102, the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland.

In our opinion, the financial statements:

Basis for opinion

We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the auditor’s responsibilities for the audit of the financial statements section of our report. We are independent of the group in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.

Conclusions relating to going concern

In auditing the financial statements, we have concluded that the trustees' use of the going concern basis of accounting in the preparation of the financial statements is appropriate.

Based on the work we have performed, we have not identified any material uncertainties relating to events or conditions that, individually or collectively, may cast significant doubt on the group and charitable parent company’s ability to continue as a going concern for a period of at least twelve months

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Independent auditor’s report Year to 31 March 2021

from when the financial statements are authorised for issue.

Our responsibilities and the responsibilities of the directors with respect to going concern are described in the relevant sections of this report.

Other information

The trustees are responsible for the other information. The other information comprises the information included in the annual report and financial statements, other than the financial statements and our auditor’s report thereon. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon.

In connection with our audit of the financial statements, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the audit or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether there is a material misstatement in the financial statements or a material misstatement of the other information. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact.

We have nothing to report in this regard.

Opinions on other matters prescribed by the Companies Act 2006

In our opinion, based on the work undertaken in the course of the audit:

Matters on which we are required to report by exception

In the light of the knowledge and understanding of the group and the charitable parent company and its environment obtained in the course of the audit, we have not identified material misstatements in the trustees’ report.

We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion:

Clean Break 39

Independent auditor’s report Year to 31 March 2021

branches not visited by us; or

Responsibilities of trustees

As explained more fully in the trustees’ responsibilities statement, the trustees (who are also the director of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.

In preparing the financial statements, the trustees are responsible for assessing the group’s and the charitable parent company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the trustees either intend to liquidate the group or the charitable parent company or to cease operations, or have no realistic alternative but to do so.

Auditor’s responsibilities for the audit of the financial statements

Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists.

Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.

Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design procedures in line with our responsibilities, outlined above, to detect material misstatements in respect of irregularities, including fraud. The extent to which our procedures are capable of detecting

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Independent auditor’s report Year to 31 March 2021

irregularities, including fraud is detailed below.

Our approach to identifying and assessing the risks of material misstatement in respect of irregularities, including fraud and non-compliance with laws and regulations, was as follows:

We assessed the susceptibility of the charity’s financial statements to material misstatement, including obtaining an understanding of how fraud might occur, by:

To address the risk of fraud through management bias and override of controls, we:

In response to the risk of irregularities and non-compliance with laws and regulations, we designed procedures which included, but were not limited to:

There are inherent limitations in our audit procedures described above. The

Clean Break 41

Independent auditor’s report Year to 31 March 2021

more removed that laws and regulations are from financial transactions, the less likely it is that we would become aware of non-compliance. Auditing standards also limit the audit procedures required to identify non-compliance with laws and regulations to enquiry of the trustees and other management and the inspection of regulatory and legal correspondence, if any.

Material misstatements that arise due to fraud can be harder to detect than those that arise from error as they may involve deliberate concealment or collusion.

A further description of our responsibilities for the audit of the financial statements is located on the Financial Reporting Council’s website at www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor’s report.

Use of report

This report is made solely to the charitable company’s members, as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company’s members those matters we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company’s members as a body, for our audit work, for this report, or for the opinions we have formed.

Catherine Biscoe, Senior Statutory Auditor Buzzacott LLP Statutory Auditor 130 Wood Street London EC2V 6DL

Date: 02 September 2021

Clean Break 42

Consolidated statement of financial activities Year to 31 March 2021

Notes
Unrestricted
funds
£		 Restricted
funds
£


2021
Total
funds
£


Unrestricted
funds
£		 Restricted
funds
£

2020
Total
funds
£
Income and expenditure
Income from:
Donations and legacies
1
Charitable activities
2
Other
3
Total income
Expenditure on:
Raising funds
5
Charitable activities
6
Total expenditure
Net income (expenditure)
before transfers
Gross transfers between
funds
16, 17
Net movement in funds
and net income
(expenditure)
8
Reconciliation of funds:
Fund balances brought
forward at 1 April 2020
Fund balances carried
forward at 31 March 2021
806,310

11,781

37		 674,368
43,500
—		 1,480,678
55,281
37		 626,048
95,694
119,270		 405,540
45,679
—		 1,031,588
141,373
119,270
818,128 717,868 1,535,996 841,012 451,219 1,292,231

126,084

377,364		 —
513,892		 126,084
891,256		 169,996
613,768		 —
396,078		 169,996
1,009,846
503,448 513,892 1,017,340 783,764 396,078 1,179,842
314,680

162,184		 203,976
(162,184)		 518,656
—		 57,248
682,752		 55,141
(682,752)		 112,389
—

476,864
715,771		 41,792
169,807		 518,656
885,578		 740,000
(24,229)		 (627,611)
797,418		 112,389
773,189
1,192,635 211,599 1,404,234 715,771 169,807 885,578

There were no other recognised gains or losses other than those stated above.

All of the charity’s activities derived from continuing operations during the above two financial periods.

Clean Break 43

Balance sheets Year to 31 March 2021

Notes Group Group Charity Charity

2021
£		 2020
£		 2021
£		 2020
£
Fixed assets
Tangible assets
12
Investments
13
Current assets
Debtors
14
Cash at bank and in hand
Creditors: amounts falling due
within one year
15
Net current assets
Total net assets
Represented by:
The funds of the charity
Restricted funds
16
. Restricted income funds
Unrestricted funds
17
. General fund
. Activities fund
. Building fund
. Tangible fixed assets fund
674,160

—		 697,363
—		 674,160
1		 697,363
1
674,160

176,580
658,048		 697,363
199,488
113,513		 674,161
176,714
657,913		 697,364
199,961
113,309
834,628

(104,554)		 313,001
(124,786)		 834,627
(104,554)		 313,000
(124,786)
730,074 188,215 730,073 188,214
1,404,234 885,578 1,404,234 885,578

211,599

253,886
264,589
630,668
43,492		 169,807
18,408
—
653,551
43,812		 211,599
253,886
264,589
630,668
43,492		 169,807
18,408
—
653,551
43,812
1,404,234 885,578 1,404,234 885,578

Approved by the members of the Board and signed on their behalf by:

Alison Frater

Alison Frater

Member of the Board

Approved on: 22 July 2021

Clean Break Theatre Company

Company Registration Number 2690758 (England and Wales)

Clean Break 44

Consolidated statement of cash flows Year to 31 March 2021

A
B		 Notes
2021
£
Cash flows from operating activities:
Net cash provided by operating activities
A
Cash flows from investing activities:
Purchase of tangible fixed assets
Net cash used in investing activities
Change in cash and cash equivalents in the year
Cash and cash equivalents at 1 April 2020
B
Cash and cash equivalents at 31 March 2021
B

564,805


(20,270)
(20,270)

544,535


113,513

658,048
Net movement in funds (as per the statement of financial activities)
Adjustments for:
Depreciation charge
Increase in debtors
Increase (decrease) in creditors
Net cash provided by operating activities		 518,656
43,473
22,908
(20,232)
564,805
Analysis of cash and cash equivalents
Analysis of cash and cash equivalents
2021
£		 2020
£
Analyse as follows:
Cash at bank and in hand
Total cash and cash equivalents		 658,048 113,513
658,048 113,513

Clean Break 45

Principal accounting policies Year to 31 March 2021

The principal accounting policies adopted, judgements and key sources of estimation uncertainty in the preparation of the financial statements are laid out below.

Basis of accounting

These financial statements have been prepared for the year to 31 March 2021.

The financial statements have been prepared under the historical cost convention with items initially recognised at cost or transaction value unless otherwise stated in the relevant accounting policy note.

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 and Republic of Ireland (FRS 102) (Charities SORP FRS 102), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.

The charity constitutes a public benefit entity as defined by FRS 102.

The financial statements are presented in sterling and are rounded to the nearest pound.

Basis of consolidation

The consolidated statement of financial activities and group balance sheet incorporate the financial statements of the Clean Break Theatre Company and its subsidiary, Clean Break Productions Limited for the year ended 31 March 2021, as the Clean Break Theatre Company owns 100% of the issued share capital of Clean Break Productions Limited. Further details are given in note 4 to the accounts.

No separate statement of financial activities has been presented for the charity alone as permitted by section 408 of the Companies Act 2006.

Assessment of going concern

The Trustees have considered the requirement that the financial statements should be prepared on a going concern basis. They have discussed at length the effects of Covid-19 and its potential impact on the company’s operations in 2020-21 and beyond. They have concluded that it is appropriate that the financial statements be prepared on a going concern basis.

Clean Break 46

Principal accounting policies Year to 31 March 2021

In making this assessment, the Trustees have considered whether there is a material uncertainty that the charity can continue as a going concern and how this should be presented in the financial statements. They have concluded that whilst the degree of uncertainty described in the Report of the Board warrants transparent disclosure, it does not constitute a material uncertainty related to going concern.

The risks are being managed through ongoing risk assessment of the external environment, strong focus on key stakeholder communication, continuous monitoring of progress against income targets and regular review and reforecasting of expenditure and cashflows. The charity has ongoing support from its bankers and funders. At the time of finalising this report, the charity has secured 69% of its income target for the year ending 31 March 2022.

Taking into account the above, as well as the charity’s cost base and reserves position at 31 March 2021, and having looked at least 12 months from the date of signing these accounts, the trustees have concluded that there are no material uncertainties about the charitable company's ability to continue as a going concern.

Income recognition

Income is recognised in the period in which the charity is entitled to receipt and the amount can be measured with reasonable certainty. Income is deferred only when the charity must fulfil conditions before becoming entitled to it or where the donor or funder has specified that the income is to be expended in a future accounting period.

Grants from government and other agencies have been included as income from charitable activities where these amount to a contract for services, but as donations where the money is given in response to an appeal or with greater freedom of use, for example monies for core funding.

Expenditure recognition

Expenditure is included in the statement of financial activities when incurred and includes any attributable VAT which cannot be recovered.

Expenditure comprises the following:

Clean Break 47

Principal accounting policies Year to 31 March 2021

Allocation of support and governance costs

Support costs represent indirect charitable expenditure. In order to carry out the primary purposes of the charity it is necessary to provide support in the form of personnel development, financial procedures, provision of office services and equipment and a suitable working environment.

Governance costs comprise the costs involving the public accountability of the charity (including audit costs) and costs in respect of its compliance with regulation and good practice.

Support costs including governance costs are apportioned based on the proportion of time spent on each activity by staff.

Debtors

Debtors are recognised at the settlement amount, less any provision for nonrecoverability. Prepayments are valued at the amount prepaid. They have been discounted to the present value of the future cash receipt where such discounting is material.

Cash at bank and in hand

Cash at bank and in hand represents such accounts and instruments that are available on demand or have a maturity of less than three months from the date of acquisition.

Creditors and provisions

Creditors and provisions are recognised when there is an obligation at the balance sheet date as a result of a past event, it is probable that a transfer of economic benefit will be required in settlement, and the amount of the settlement can be estimated reliably. Creditors and provisions are recognised at the amount the charity anticipates it will pay to settle the debt. They have been discounted to the present value of the future cash payment where such discounting is material.

Tangible fixed assets

All assets costing more than £500 and with an expected useful life exceeding one year are capitalised. Where assets are depreciated in accordance with this policy, a full year's depreciation is expensed in the year of acquisition.

Clean Break 48

Principal accounting policies Year to 31 March 2021

Freehold land and buildings are included in the financial statements at cost.

Freehold buildings are depreciated at a rate of 2% per annum on a straight-line basis in order to write the buildings off over their estimated useful economic life to the charity. No depreciation is charged on freehold land.

Building improvements are capitalised at cost and depreciated at the rate of 10% per annum based on cost in order to write them off over their estimated useful lives. Refurbishment is capitalised at cost and depreciated at a rate of 20% per annum in order to write it off over its estimated useful life.

Equipment, fixtures and fittings are capitalised at cost and depreciated at the rate of 20% per annum based on cost in order to write them off over their estimated useful lives.

Fund accounting

Restricted funds comprise monies raised for, or their use restricted to, a specific purpose, or contributions subject to donor-imposed conditions.

General funds represent those monies which are freely available for application towards achieving any charitable purpose that falls within the charity's charitable objects.

Designated funds represent monies or assets set aside by the trustees, out of general funds, for specific purposes.

Clean Break 49

Notes to the financial statements Year to 31 March 2021

1 Income from donations

Income from donations
Unrestricted
funds
£		 Restricted
funds
£		 2021
Total
funds
£
General
. General donations
. The Big Give campaign donations
. Radio 4 Appeal
Statutory Grants
. Arts & Humanities Research Council via Women, Theatre, Justice project
. Arts Council England: National Portfolio
. Arts Council England: Emergency Response Fund
. Arts Council England and DCMS: Culture Recovery Fund
Round 1
. Coronavirus Job Retention Scheme
. London Borough of Camden: Discretionary Grant Fund
for business
. The National Lottery Community Fund
. The National Lottery Community Fund: Coronavirus Community Support
Fund
Trust and Foundations
. 1772 Charity (Debtors Relief Funds Charity)
. The A B Charitable Trust
. Backstage Trust
. Breslaff Centre
. The Bromley Trust
. Camden Giving
. City Bridge Trust
. Esmée Fairbairn Foundation
. Esmée Fairbairn Foundation: Fast Response Grant
. Garfield Weston Foundation
. The Garrick Charitable Trust
. The Goldsmiths' Company Charity
. Inner London Magistrates' Court's Poor Box and Feeder
Charity
. The Julia and Hans Rausing Trust
. The London Community Foundation: London Community
Response Fund Wave 2
. The London Community Foundation: London Community
Response Fund Wave 3, COVID 19: DCMS
. The Mary Kinross Charitable Trust
. Paul Hamlyn Foundation - Emergency Fund grant
. Paul Hamlyn Foundation via Clinks
. The Rank Foundation - Resilience Fund
. Rupert & Elizabeth Nabarro Charitable Trust
. The Schroder Foundation
. Stavros Niarchos Foundation
. Tallow Chandlers Benevolent Fund
Corporate funding
. Columbia Threadneedle Foundation
. Co-Op Local Community Fund
. GMS Estates Ltd
. Matrix Chambers – Matrix Causes Fund
2021 Total funds		 61,909
34,844
14,869		 715
—
—		 62,624
34,844
14,869
111,622 715 112,337
—
220,173
40,000
—
122,727
10,000
—
—		 11,400
—
—
196,520
—
—
115,000
53,653		 11,400
220,173
40,000
196,520
122,727
10,000
115,000
53,653
392,900 376,573 769,473
3,000
10,000
25,000
5,000
10,000
—
—
40,000
30,000
50,000
—
15,000
—
—
—
—
5,000
40,000
—
20,000
5,000
30,000
—
—		 —
—
—
—
—
6,000
50,000
—
—
—
3,000
—
5,000
95,745
5,191
49,578
—
—
8,061
—
—
—
40,000
4,000		 3,000
10,000
25,000
5,000
10,000
6,000
50,000
40,000
30,000
50,000
3,000
15,000
5,000
95,745
5,191
49,578
5,000
40,000
8,061
20,000
5,000
30,000
40,000
4,000
288,000 266,575 554,575
—
2,413
11,375
—		 30,000
—
—
505		 30,000
2,413
11,375
505
13,788 30,505 44,293
806,310 674,368 1,480,678

Clean Break 50

Notes to the financial statements Year to 31 March 2021

1 Income from donations (continued)

Income from donations(continued)
Unrestricted
funds
£		 Restricted
funds
£		 2020
Total
funds
£
General
. General donations
. Legacy donations
. The Big Give campaign donations
Statutory Grants
. Arts & Humanities Research Council via Women, Theatre,
Justice project
. Arts Council England: National Portfolio
. National Lottery Community Fund
. National Lottery Heritage Fund
. Women’s Mental Health Peer Support Programme
Trust and Foundations
. 1772 Charity (Debtors Relief Funds Charity)
. The A B Charitable Trust
. Backstage Trust
. Breslaff Centre
. The Bromley Trust
. City Bridge Trust
. Esmée Fairbairn Foundation
. The Evan Cornish Foundation
. The Garrick Charitable Trust
. The Goldsmiths’ Company Charity
. The Lovington Foundation
. Oak Foundation
. Paul Hamlyn Foundation
. The Schroder Foundation
. The Swire Charitable Trust
. Tallow Chandlers Benevolent Fund
. The Victoria Wood Foundation
Corporate funding
. Columbia Threadneedle Foundation
. Columbia Threadneedle Investments
. The Co-Operative Foundation
. Garden Court Chambers
. GMS Estates Ltd
. Matrix Chambers – Matrix Causes Fund
. Nick Hern Books
2020 Total funds		 81,393
75,000
32,004		 2,115
—
—		 83,508
75,000
32,004
188,397 2,115 190,512
—
216,195
—
—
—		 38,880
—
150,000
36,300
1,000		 38,880
216,195
150,000
36,300
1,000
216,195 226,180 442,375
3,000
10,000
25,000
—
20,000
—
60,000
—
—
15,000
—
19,250
—
30,000
24,000
—
—		 —
—
—
10,000
—
50,000
—
9,000
3,000
—
10,000
—
27,000
—
—
4,000
7,000		 3,000
10,000
25,000
10,000
20,000
50,000
60,000
9,000
3,000
15,000
10,000
19,250
27,000
30,000
24,000
4,000
7,000
206,250 120,000 326,250
—
—
—
3,000
11,206
—
1,000		 30,000
900
24,830
—
—
1,515
—		 30,000
900
24,830
3,000
11,206
1,515
1,000
15,206 57,245 72,451
626,048 405,540 1,031,588

Clean Break 51

Notes to the financial statements Year to 31 March 2021

2 Income from charitable activities

Income from charitable activities
Unrestricted
funds
£		 Restricted
funds
£		 2021
Total
funds
£
Fees, ticket sales and recharges from:
Production and Production pipeline
. Productions and related engagement activity
. Production pipeline: commissions and R&D
Research and Leadership activities
. Leadership activities: workshops, talks, training, mentoring
Members programme and other services
. Members groups, support services and related engagement activity
Performance-related grants from:
Members programme and other services
. Members groups, support services and related engagement activity
. Women’s’ Centres service delivery
Theatre tax relief from:
Productions and Production pipeline
. Productions and related engagement activity
2021 Total income from charitable activities		 2,147
—		 —
—		 2,147
—
2,147
8,838		 —
—		 2,147
8,838
8,838
400		 —
—		 8,838
400
400 — 400
11,385 — 11,385
—
—		 3,600
39,900		 3,600
39,900
—
396		 43,500
—		 43,500
396
11,781 43,500 55,281
Unrestricted
funds
£		 Restricted
funds
£		 2020
Total
funds
£
Fees, ticket sales and recharges from:
Production and Production pipeline
. Productions and related engagement activity
. Production pipeline: commissions and R&D
Research and Leadership activities
. Leadership activities: workshops, talks, training, mentoring
Members programme and other services
. Members groups, support services and related engagement activity
Performance-related grants from:
Members programme and other services
. Members groups, support services and related engagement activity
. Women’s’ Centres service delivery
Theatre tax relief from:
Productions and Production pipeline
. Productions and related engagement activity
2020 Total income from charitable activities		 57,413
4,326		 —
—		 57,413
4,326
61,739
12,882		 —
—		 61,739
12,882
12,882
1,662		 —
—		 12,882
1,662
1,662 — 1,662
76,283 — 76,283
—
—		 3,600
42,079		 3,600
42,079
—
19,411		 45,679
—		 45,679
19,411
95,694 45,679 141,373

Clean Break 52

Notes to the financial statements Year to 31 March 2021

3 Other income

Other income
Unrestricted
funds
£		 Restricted
funds
£		 2021
Total
funds
£
Room hire
Sundry income
2021 Total funds		 —
37		 —
—		 —
37
37 — 37
Unrestricted
funds
£		 Restricted
funds
£		 2020
Total
funds
£
Room hire
Sundry income
2020 Total funds		 118,624
646		 —
—		 118,624
646
119,270 — 119,270

4 Investment in trading subsidiary

The charity controls 100% of the share capital of Clean Break Productions Limited (Company No. 09753638) which was incorporated on 28 August 2015. Its principal activity is the production of theatre shows.

The net assets and liabilities of Clean Break Productions Limited at 31 March 2021 were:

2021
£		 2020
£
Current assets
Creditors: amounts falling due within one year
Total net assets
Aggregate share capital and reserves		 135
(134)		 19,615
(19,614)
1 1
1 1

A summary of its trading results for the period ended 31 March 2021 is shown below.

2021
£		 2020
£
Turnover
Cost of sales
Gross profit
Administrative expenses
Operating loss
Gift aid payment
Loss for the year before taxation
Taxation for the year
Loss for the year		 10,155
(7,555)		 165,790
(164,690)
2,600
(2,600)		 1,100
(1,100)
—
(396)		 —
(19,411)
(396)
396		 (19,411)
19,411
— —

Clean Break 53

Notes to the financial statements Year to 31 March 2021

5 Expenditure on raising funds

Expenditure on raising funds
Unrestricted
funds
£		 Restricted
funds
£		 2021
Total
funds
£
Fundraising costs
. Staff costs
. Events
. Subscriptions, resources and general expenses
. Support costs
2021 Total funds		 119,479
764
1,504
4,337		 —
—
—
—		 119,479
764
1,504
4,337
126,084 — 126,084
Unrestricted
funds
£		 Restricted
funds
£		 2020
Total
funds
£
Fundraising costs
. Staff costs
. Events
. Subscriptions, resources and general expenses
. Support costs
2020 Total funds		 156,773
6,016
3,001
4,206		 —
—
—
—		 156,773
6,016
3,001
4,206
169,996 — 169,996

6 Expenditure on charitable activities

Expenditure on charitable activities
Direct
costs
£		 Support
costs
(note 7)
£		 2021
Total
£
Productions and Production pipeline
. Productions and related engagement activity
. Production pipeline: commissions and R&D
Research and Leadership activities
. Leadership activities: workshops, talks, training, mentoring
. Research and heritage activities
Members programmes and other services
. Members groups, support services and related engagement
activity
. Women’s Centres delivery
. Prison residencies
. Other		 103,571
41,372		 125,099
39,784		 228,670
81,156
144,943
22,203
35,675		 164,883
38,635
13,072		 309,826
60,838
48,747
57,878
163,091
24,068
8,908
20,163		 51,707
225,454
14,606
11,218
4,337		 109,585
388,545
38,674
20,126
24,500
216,230 255,615 471,845
419,051 472,205 891,256

Clean Break 54

Notes to the financial statements Year to 31 March 2021

6 Expenditure on charitable activities (continued)

Direct
costs
£		 Support
costs
(note 7)
£		 2020
Total
£
Productions and Production pipeline
. Productions and related engagement activity
. Production pipeline: commissions and R&D
Research and Leadership activities
. Leadership activities: workshops, talks, training, mentoring
. Research and heritage activities
Members programmes and other services
. Members groups, support services and related engagement
activity
. Women’s Centres delivery
. Prison residencies
. Other		 263,761
44,265		 127,877
37,622		 391,638
81,887
308,026
27,999
33,438		 165,499
32,811
9,062		 473,525
60,810
42,500
61,437
149,695
33,559
9,831
37,694		 41,873
159,258
21,272
10,004
11,698		 103,310
308,953
54,831
19,835
49,392
230,779 202,232 433,011
600,242 409,604 1,009,846

7 Support costs

2021
£		 2020
£
Support staff (note 9)
Depreciation
Governance costs
Other costs
Total funds		 259,698
43,473
48,326
125,045		 203,501
45,485
36,385
128,439
476,542 413,810

Support costs are allocated to expenditure on raising funds and expenditure on charitable activities (Notes 5 and 6).

8 Net movement in funds

This is stated after charging:

2021
£
691,642
11,186
1,183
1,613
2,891
43,473		 2020
£
749,715
10,433
1,185
2,017
—
45,485
Staff costs
Auditor’s remuneration (including irrecoverable VAT)
. Statutory audit services – charity
. Statutory audit services - subsidiary
. Corporation tax services - subsidiary
. VAT consultancy services – group
Depreciation

Clean Break 55

Notes to the financial statements Year to 31 March 2021

9 Employees and staff costs and remuneration of key management personnel

Staff costs during the year were as follows:

Staff costs during the year were as follows:
2021
£		 2020
£
Wages and salaries
Redundancy payments
Social security costs
Pension costs
Freelance fees		 616,634
—
52,428
20,080		 640,194
1,050
55,536
20,485
689,142
2,500		 717,265
32,450
691,642 749,715

The average number of employees during the year, expressed as average head count, was 22.9 (2020: 28.2), and as full-time equivalents was 17.6 (2020: 19). Employee costs include casual staff with variable hours.

One employee earned between £60,001 and £70,000 per annum or more (including taxable benefits) during the year (2020: one).

Total employee cost includes £140,735 in wages and salaries paid to staff while placed on furlough due to the coronavirus pandemic (2020: nil). The average full-time equivalent head count excluding staff on furlough was 12.2.

The key management personnel of the charity in charge of directing and controlling, running and operating the charity on a day to day basis comprise the members of the Board, the Leadership Team (two Joint Artistic Directors, Executive Director) and the Senior Management Team (Head of Finance and Operations, Head of Development and Communications, Head of Participation).

The total remuneration (including taxable benefits and employer's pension and national insurance contributions) of the key management personnel for the year was £327,979 (2020: £303,910).

10 Members of the Board

During the year, one member of the Board received £100 in event speaker fees, as approved by the other members of the Board. No other Board member received any remuneration in respect of their services (2020: £nil).

Out of pocket travelling and childcare expenses totalling £50 (2020: £596) were reimbursed to or paid on behalf of one member of the Board during the year (2020: 2 members of the Board).

Clean Break 56

Notes to the financial statements Year to 31 March 2021

11 Taxation

Clean Break Theatre Company is a registered charity and therefore is not liable to income tax or corporation tax on income derived from its charitable activities, as it falls within the various exemptions available to registered charities.

12 Tangible fixed assets

Tangible fixed assets
Group and charity Freehold
land and
buildings
£		 Building
improve-
ments
£		 Equipment,
furniture
and fittings
£		 2020
Total
£
Cost
At 1 April 2020
Additions
Disposals
At 31 March 2021
Depreciation
At 1 April 2020
Disposals
Charge for year
At 31 March 2021
Net book values
At 31 March 2021
At 31 March 2020		 1,144,082
—
—		 59,700
—
—		 143,286
20,270
(16,894)		 1,347,068
20,270
(16,894)
1,144,082 59,700 146,662 1,350,444
490,531
—
22,883		 49,351
—
5,682		 109,823
(16,894)
14,908		 649,705
(16,894)
43,473
513,414 55,033 107,837 676,284
630,668 4,667 38,825 674,160
653,551 10,349 33,463 697,363

A first charge over freehold land and buildings was granted to CAF Bank as security for an overdraft facility.

13 Investments

Investments
Group Charity
2021 2020 2021
£		 2020
£
£ £
Investment in subsidiary — — 1 1

Clean Break owns 100% of the share capital of Clean Break Productions Limited (Company No. 09753638), which was incorporated on 28 August 2015, which is registered in England, and commenced trading during the period ended 31 March 2016. Its principal activity is the production of theatre shows.

Clean Break 57

Notes to the financial statements Year to 31 March 2021

14 Debtors

Debtors
Group Charity
2021
£		 2020
£		 2021
£		 2020
£
Grants receivable
Amounts owed by subsidiary undertaking
Other debtors
Theatre tax credits
Prepayments and accrued income		 118,724
—
39,040
—
18,816		 128,000
—
24,441
19,411
27,636		 118,724
134
39,040
—
18,816		 128,000
204
24,440
19,411
27,636
176,580 199,488 176,714 199,691

15 Creditors: amounts falling due within one year

Creditors: amounts falling due within one year within one year
Group Charity
2021 2020 2021
£		 2020
£
£ £
Expense creditors
Social security and other taxes
Grants received in advance
Earned income received in advance
VAT control account
Other creditors
Accruals		 20,344
16,402
15,900
—
1,769
10,913
39,226		 28,879
15,854
—
1,640
5,432
12,742
60,239		 20,344
16,402
15,900
—
1,769
10,913
39,226		 28,879
15,854
—
1,640
5,432
12,742
60,239
104,554 124,786 104,554 124,786

Deferred income comprises grants and earned income received in advance.

Group Group Charity Charity
2021 2020 2021
£		 2020
£
£ £
Balance as at 1 April 2020
Amount released to income
Amount deferred in year
Balance as at 31 March 2021		 1,640
(1,640)
15,900		 50,467
(50,467)
1,640		 1,640
(1,640)
15,900		 50,467
(50,467)
1,640
15,900 1,640 15,900 1,640

Clean Break 58

Notes to the financial statements Year to 31 March 2021

16 Restricted funds

The income funds of the charity include restricted funds comprising the following unexpended balances of donations and grants held on trusts to be applied for specific purposes:

Group and charity
Arts & Humanities Research Council
via Women, Theatre, Justice project
Research & Heritage
Arts Council England and DCMS:
Culture Recovery Fund Round 1
Covid-19 response & recovery
Camden Giving
Covid-19 response & recovery
City Bridge Trust_Core salary_
Columbia Threadneedle Foundation
Member activities
The Co-Operative Foundation
Member activities
The Evan Cornish Foundation
Prison projects
The Garrick Charitable Trust
Production pipeline
Individual donations for specified
purposes_incl Members theatre trips_
Inner London Magistrates’ Court’s
Poor Box and Feeder Charity
Member activities
The Julia and Hans Rausing Trust
Covid-19 response & recovery
London Borough of Camden
Member activities
London Community Foundation
Covid-19 response & recovery
Matrix Chambers – Matrix Causes
Fund_Equipment_
MOPAC via Advance Minerva & WIP
Womens’ Centre activities
The National Lottery Community
Fund_Member activities, infrastructure_
& equipment
The National Lottery Community
Fund: Coronavirus Community
Support Fund_Covid-19 response_
The National Lottery Heritage Fund
Research & Heritage
Paul Hamlyn Foundation via Clinks
Prison projects
Stavros Niarchos Foundation
Member Activities
Tallow Chandlers Benevolent Fund
Member activities		 At
1 April
2020
£
24,265
—
—
—
—
5,000
3,400
—
1,360
—
—
—
—
460
—
132,282
—
3,040
—
—
—
169,807		 Income
£		 Expenditure
£		 Transfers
£		 At
31 March
2021
£
11,400
196,520
6,000
50,000
30,000
—
—
3,000
715
5,000
95,745
3,600
54,769
505
39,900
115,000
53,653
—
8,061
40,000
4,000		 (18,350)
(42,674)
(6,000)
(44,323)
(24,124)
(5,000)
(286)
(3,000)
(215)
(5,000)
(95,745)
(3,600)
(34,381)
(939)
(30,544)
(105,598)
(53,124)
(10,268)
—
(26,721)
(4,000)		 —
(153,846)
—
—
—
—
—
—
(1,360)
—
—
—
(13,112)
(26)
—
(539)
(529)
7,228
—
—
—		 17,315
—
—
5,677
5,876
—
3,114
—
500
—
—
—
7,276
—
9,356
141,145
—
—
8,061
13,279
—
717,868 (513,892) (162,184) 211,599

Clean Break 59

Notes to the financial statements Year to 31 March 2021

Group and charity
Building fund
Restricted income funds:
Arts & Humanities Research Council
via Women, Theatre, Justice project
Research & Heritage
Breslaff Centre_Member activities_
City Bridge Trust_Core salary_
Columbia Threadneedle Foundation
Member activities
Columbia Threadneedle Investments
Leadership activities
The Co-Operative Foundation
Member activities
The Evan Cornish Foundation
Prison projects
The Garrick Charitable Trust
Production pipeline
Individual donations for specified
purposes_incl Members theatre trips_
London Borough of Camden
Member activities
The Lovington Foundation
Productions
Matrix Chambers – Matrix Causes
Fund_Equipment_
MOPAC via Advance Minerva & WIP
Womens’ Centre activities
The National Lottery Community
Fund_Member activities, infrastructure_
& equipment
The National Lottery Heritage Fund
Research & Heritage
Paul Hamlyn Foundation via Clinks
Prison projects
The Space_Training_
Tallow Chandlers Benevolent Fund
Member activities
The Victoria Wood Foundation
Member activities
Women’s Mental Health Peer Support
Programme_Member activities_		 At
1 April
2019
£
676,434
—
—
—
—
—
—
—
—
3,962
—
—
—
—
116,146
—
—
875
—
—
—
797,417		 Income
£		 Expenditure
£		 Transfers
£		 At
31 March
2020
£
—
38,880
10,000
50,000
30,000
900
24,830
9,000
3,000
2,116
3,600
10,000
1,515
42,079
150,000
36,300
27,000
—
4,000
7,000
1,000		 —
(14,615)
(10,000)
(50,000)
(30,000)
(900)
(19,830)
(5,600)
(3,000)
(4,718)
(3,600)
(10,000)
—
(42,079)
(128,601)
(33,260)
(27,000)
(875)
(4,000)
(7,000)
(1,000)		 (676,434)
—
—
—
—
—
—
—
—
—
—
—
(1,055)
—
(5,263)
—
—
—
—
—
—		 —
24,265
—
—
—
—
5,000
3,400
—
1,360
—
—
460
—
132,282
3,040
—
—
—
—
—
451,220 (396,078) (682,752) 169,807

Clean Break 60

Notes to the financial statements Year to 31 March 2021

Restricted income funds have been presented by funder, to reflect more clearly how the charity manages its restricted funding. Many funders support Clean Break’s activities across a number of charitable activities; for example, a funder may support a range of activities involving and supporting Members: productions and projects, commissions, the Members’ programme and related infrastructure and equipment.

Fund balances held at 31 March 2021 towards the specified purposes are expected to be spent in the next financial year.

17 Unrestricted funds

Unrestricted funds
Group and charity At
1 April
2020
£		 Income
£		 Expenditure
£		 Transfers
and new
designations
£		 At
31 March
2021
£
General fund
Activities fund
Building fund
Tangible fixed assets fund		 18,408
—
653,551
43,812		 818,128
—
—
—		 (503,448)
—
—
—		 (79,202)
264,589
(22,883)
(320)		 253,886
264,589
630,668
43,492
715,771 818,128 (503,448) 162,164 1,192,635
Group and charity At
1 April
2019
£		 Income
£		 Expenditure
£		 Transfers and
new
designations
£		 At
31 March
2020
£
General fund
Building fund
Tangible fixed assets fund		 (84,324)
—
60,096		 841,012
—
—		 (783,764)
—
—		 45,485
653,551
(16,284)		 18,408
653,551
43,812
(24,229) 841,012 (783,764) 682,752 715,771

A new designated Activities fund was established in the year ended 31 March 2021, representing the amount of unrestricted funding raised in advance towards direct and support costs of activities planned for the year ahead.

Transfers between funds represent:

Clean Break 61

Notes to the financial statements Year to 31 March 2021

18 Analysis of net assets between funds

Group and charity General
fund
£		 Activities
fund
£		 Building
Fund
£		 Tangible
fixed asset
fund
£		 Tangible
fixed asset
fund
£		 Restricted
funds
£		 Restricted
funds
£		 Total
2021
£
Fund balances at 31
March 2021
Are represented by:
Tangible fixed assets
Net current assets
Total net assets		 —
253,886		 —
264,589		 630,668
—
43,492

—		 —
211,599
211,599		 674,160
730,074
1,404,234
253,886 264,589 630,668
43,492
Group and charity Restricted
funds
£		 Total
2020
£
Fund balances at 31
March 2020
Are represented by:
Tangible fixed assets
Net current assets
Total net assets		 —
169,807		 697,363
188,215
169,807 885,578

19 Liability of members

The charity is constituted as a company limited by guarantee. In the event of the charity being wound up members are required to contribute an amount not exceeding £1.

Clean Break 62

Notes to the financial statements Year to 31 March 2021

20 Related party transactions

Alison Jefferis, Member of the Board and Chair of the Development Committee, is Chair of Columbia Threadneedle Foundation (CTF) and Head of Corporate Affairs at the Foundation's parent company, Threadneedle Asset Management Holdings Ltd (TAMH Ltd). During the year ended 31 March 2021, Clean Break received £33,000 in corporate donations from CTF and £3,500 in sales income from TAMH Ltd (2020: £30,000 corporate donations from CTF, £1,650 sales income from TAMH Ltd, £900 corporate donations from TAMH Ltd). All transactions were conducted at arms' length. There were no balances outstanding with either organisation at the year end. (2020: nil)

Winsome Pinnock, Member of the Board, is a Member of the Board of English Stage Company, trading as Royal Court Theatre (ESC). There were no transactions with ESC during the year (2020: sales income received from ESC £1,632, purchases made from ESC £683). All transactions were conducted at arms' length. There were no balances outstanding with ESC at the year end (2020: nil).

One trustee, Tanya Tracey, received £100 for her services as an event speaker, as disclosed in note 10 (2020: no trustees received payment for services to Clean Break).

Members of the Board, members of the Development Committee and members of the Senior Management Team made donations with a total value of £8,475 during the year (2020 restated: £8,764).

Clean Break 63

Section 37 Statement Year to 31 March 2021

In accordance with Section 37 of the Local Government and Housing Act 1989, the following is a statement of grants in excess of £2,000, receivable in respect of the year ended 31 March 2021, together with a note on the use to which they were put.

This statement also includes unspent balances brought forward at 1 April 2020, the amounts used during the year and the balances carried forward at 31 March 2021.

Donor Purpose At
1 April
2020
£		 Income
£		 Expenditure
and
transfers
£		 At
31 March
2021
£
London Borough of Camden:
Discretionary Grant Fund for business
London Borough of Camden: Adult
Community Learning Service		 To compensate for loss of
income against ongoing
fixed building costs (included
in note 1 and note 6 to the
accounts)
Towards Members
Programme – Health &
Wellbeing group (included in
note 2 and note 6 to the
accounts)
—
—		 10,000
3,600		 (10,000)
(3,600)		 —
—

Both grants were spent in full during the period on the purposes for which they were awarded.

The comparative statement for the year ended 31 March 2020 is as follows:

Donor Purpose At
1 April
2019
£		 Income
£		 Expenditure
and
transfers
£		 At
31 March
2020
£
London Borough of Camden Towards Members’
Programme – Health &
Wellbeing group (included in
note 2 and note 6 to the
accounts)		 — 3,600
(3,600)		 —

The grant was spent in full during the period on the purpose for which it was awarded.

This statement forms part of the audited financial statements of the charity.

Clean Break 64