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2026-03-31-accounts

Charity registration number: 1041549

ATTIC THEATRE COMPANY (LONDON) TRUSTEES' REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

Attic Theatre Company (London) Contents

Page
Reference and Administrative Details 1
Trustees' Report 2—25
Independent Examiner's Report 26
Statement of Financial Activities 27
Comparative Statement of Financial Activities 28
Statement of Financial Position 29
Notes to the Financial Statements 30—38

Attic Theatre Company (London) Reference and Administrative Details For The Year Ended 31 March 2026

Trustees Paul Adrian Baynton - Chair
Robin Belfield (resigned April 2026)
Angela Jane Caldara - Treasurer
Jenny Lee
Wayne Mullen
Phillip Morris
Emma Manton
Charity Number 1041549
Principal Address Mitcham Library
157 London Road
Mitcham, London
CR4 2YR
Independent Examiner Matthew Brown CIPFA
Adding Value Consultancy Ltd
Studio 21, Bluecoat Chambers
School Lane
Liverpool
L1 3BX
Bankers CAF Bank
25 Kings Hill Avenue
West Malling
Kent
ME19 4TA
The Co-Operative
PO Box 101
1 Balloon Street
Manchester
M60 4EP
United Trust Bank
1 Ropemaker Street
London
EC2Y 9AW

Page 1

Attic Theatre Company

Annual Report for the year ending March 2026

The Trustees present their annual report together with the financial statements of the Charity for the period 1 March 2025 to 31 March 2026. The Trustees confirm that the Annual Report and financial statements of the company comply with the current statutory requirements, the company's governing document requirements and the provisions of the Statement of Recommended Practice (SORP), applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2015) as amended by Update Bulletin 1 (effective 1 January 2015).

Since the Charity qualifies as small under section 383, the strategic report required of medium and large companies under The Companies Act 2006 (Strategic Report and Director's Report) Regulations 2013 is not required.

The company also operates under the names “Attic” and “Attic Theatre Company”. References to either of these names in the body of this document should be taken as references to Attic Theatre Company (London).

Our report is presented under the following key areas:

Contents

Chair’s Report

Purposes and Activities

Projectogram

Achievements and Performance

Financial Review

Structure and Governance

Page 2

Chair’s Report

A successful and transformative year for Attic Theatre Company. Not only have we continued with our highly popular community engagement work, we have consolidated our plans for future theatre productions and laid the foundations for a local youth theatre course, a new venture for Attic.

The Community Engagement work involves 12 programmes for people ranging in ages from 7 to 90. Aimed at disadvantaged people and those benefitting most from inclusion and exercise, our courses are very well attended. Look at the photographs and read the quotes from attendees at these courses in the rest of this document. Notice the joy on their faces and the enthusiasm that is evident. If you are so inclined, look at the accompanying statistics. These courses are valuable; they are popular and contribute massively to the local community.

Our Artistic Director joined us last year with ambitious plans for locally inspired, original plays utilising, where possible, local talent. This is now coming to fruition. In this year four emerging and/or local playwrights have been commissioned to write plays. Unlike previous years where play production has been somewhat stop-start, we have a programme of plays, each at different stages of development. Principally these stages are funded research, followed by script development and then production. We continue to use non-traditional as well as traditional theatre spaces. In our Borough of Merton, we have used Community Centres and libraries as performance spaces for example.

Funding generally and especially for Charities that are London based is becoming increasingly difficult. Not surprisingly Attic does not get all the funding it applies for. Nevertheless, our success rate is considerably higher than most and thanks for this must go to our very talented team of employees. The Trustees would like to say thank you very much to all of you and thanks also to the pool of freelance facilitators and creatives that deliver the community programme and create and support our artistic work.

Into next year we have exciting projects, two plays of which will come to fruition, the launch of our Youth Theatre and the continuance of our Community Programmes.

I’m looking forward to it.

There is a detailed summary below (see Achievements and Performance) of the many successful activities that took place during the year.

If you would like to know more about current Attic events, please go to our website www.attictheatrecompany.com.

Paul Baynton, Chair

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Purposes and Activities

Attic Theatre Company believes in the life-enhancing and transformative power of stories and creativity; that telling your own story or bearing witness to another’s makes the world better in big and small ways.

We envision a vibrant and inclusive society where creativity flourishes, diversity is embraced, and equality is championed, where cultural activities serve as the cornerstone of personal and societal growth.

At the heart of our artistic programme is a commitment to community dramaturgy - a model that puts people at the centre of our creative process. We don't just create for our community; we create with them, ensuring their lived experiences, diverse voices, and unique insights shape and are reflected in our work.

We celebrate the form of theatre and what makes it unique by producing new plays and running creative participation projects that surprise, entertain and inspire. Our work extends across a diverse range of art forms, using multi-disciplinary creativity to deepen our community impact and cater directly to the varied interests and needs of those we serve. Through these encounters we invite individuals and communities to question, celebrate, reflect and unite in a sense of shared humanity. We meet those who engage with us in a way that removes as many barriers as possible.

Our home is the London Borough of Merton, and we are excited by its geographical and human landscape. Contributing to a thriving cultural offer in the borough is key to who we are. We work in partnership with our community and all our work is shaped by this relationship. We fly the flag for Merton wherever we go.

Company Activities

We place equal weight to our work with our participatory work and our produced work. They often flow into and are inspired by each other. Our artistic programme champions a community dramaturgy model, and stage is its production sin both traditional theatre venues as well as non-traditional, ‘found’ spaces such as libraries or community centres or site-specific locations. Through this collaborative approach, Attic runs a year-round programme of arts activities for local people, particularly focused in the London borough of Merton. Our core beneficiaries include older people, young people in low-income areas facing adverse experiences or environments, and young refugees and asylum seekers. These key activities break down into the following categories:

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Many Stages: Theatre Productions of new writing. This includes new, internally produced theatre productions which tour to traditional and non-traditional theatre spaces such as community centres, parks and libraries, as well as theatres and arts centres. It also encompasses new collaborative productions, mentoring, and/or producing associated artists’ work

Many Voices: Creative workshops aimed at young refugees and asylum seekers and English for Speakers of Other Languages (ESOL) to support their personal growth, creativity, integration and acclimatisation into the UK

Many Minds: Creative workshops aimed at young people facing adverse environments and experiences and with low emotional resilience including N/neurodivergent and Special Educational Needs and D/disabled (SEND) young teenagers to boost their personal growth, creativity, life skills and aspirations

Many Moons: Creative workshops for older people including dance and singing workshops which focus on boosting creativity, wellbeing, mental and physical health and combating isolation.

In 2025-2026 we delivered 12 regular participatory arts activities to nearly 200 people a week from a variety of communities across our local area, ranging from 7 to 90 years old. We also undertook a Research and Development process of two of the four newly commissioned plays by emerging and acclaimed writers.

All our participatory work is offered either free of charge or at a subsidised rate at point of delivery and is open to UK residents irrespective of income, race, gender, ability, sexual orientation or political or religious belief. Our productions, as a key element of our diverse funding streams are priced in accordance with the market and scale of productions and always offer subsidised tickets for underrepresented groups and our creative community and we offer a Pay What You Like ticket model for ‘unplugged’ performances in our home borough. Attic positively promotes and encourages social inclusion and strives to connect with a wide range of communities through its productions, workshops and creative events.

We are mindful that our activities are subject to personal taste and may occasionally and inadvertently cause offence. We take the views of our audiences, participants and beneficiaries very seriously and have a comprehensive set of policies and company procedures in place, including an Equality, Diversity and Inclusion policy, Safeguarding policy and Dignity at Work policy. All staff are made familiar with these policies, adherence to which is a condition of employment or engagement. Feedback from beneficiaries is collated on a regular basis, analysed formally to inform and evaluate the impact our work and presented for review to the board of trustees and our funders.

Page 5

Projectogram

Achievements and Performance

With an embedded team, this year saw a renewed investment in our strategic direction and overall purpose as an organisation. We spent time working on ensuring that our community work aligned with our artistic work and the intentions and objectives we have as an organisation.

For the past few years we have been delivering a high number of community outreach projects, responding the demands on community services as a result of the Covid-19 pandemic. Since 2020 we have moved from 15 regular community projects to 12 and as we entered the autumn of 2025 this reduced further to around 6 projects. Whilst this is a significant drop, it has allowed us to pivot the Creative Engagement Producer role to one that bridges the two strands of activity, gives our employee a more varied remit and meets the objective of fusing our community artistic work.

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In 2024 we utilised some of our company reserves, to invest in the new artistic model of commissioning multiple writers simultaneously and structuring a twophase process of research and development (R&D), followed by a move to a full production. By commissioning several writers simultaneously, it enables us to progress projects more swiftly and in a constant flow, eradicating the stop/start nature of previous theatre making projects.

Of the four writers commissioned, we secured funding for a R&D phase for a new play by Conor Hunt entitled Boyhood. During this R&D phase we worked with a large group of young men from the borough and engaged local award-winning beat boxer/hip hop theatre maker, Conrad Murray to create the music.

We also secured funding from Arts Council England and Leicester Council to develop Lie In It by Emma Lousie Howell which will explore current issues around housing insecurity. This R&D Phase will take place in 2026/2027.

We hoped to develop a new Merton centred project, The Dons, exploring the rise of Wimbledon AFC however, this is currently on pause due to other commitments and a lack of funding.

Overall Beneficiary Statistics for activities in the period 1 March 2025 – 31 March 2026

Key achievements include:

Overall, the make-up of our participants include:

Page 7

Many Stages: Theatre Productions and New Writing

Seed Commissions – The four writers commissioned in 2024 to develop treatments for new plays are:

All these projects resonate with the experiences of Merton residents and hold Attic's communities at their core. This new development model will include a research and development phase for each project prior to seeking funding for a full production. This phase will directly involve members of our local community, ensuring their contributions inform the content and narrative of the work, reinforcing Attic’s ambition to keep place-based work front and centre.

Boyhood. In summer 2025, we undertook a week-long research and development process exploring the themes around Conor Hunt’s new play Boyhood . This exploratory week was preceded by a phase of community engagement workshops with 71 local young men from across South London. Working in consultation with a dedicated wellbeing support specialist, these sessions focused on male mental health, masculinity, and lived experience, shaping the play’s language and emotional core around authentic local voices. From this broader cohort, five young men aged 16–21 were recruited to form the 'Boyhood Collective'. They joined the creative team during the R&D week as key co-creators of the script, contributing to its development and ensuring its authenticity.

Boyhood was conceived in response to the current and ongoing cultural discussion about the ‘crisis in masculinity’ specifically investigates the concept of "disenfranchised grief" - the kind of loss society often fails to

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acknowledge in young men. A crucial element of the production is the sound and music, created by Conrad Murray. The music and sound was created live using beatboxing, looping and rap creating an immersive "total theatre" experience where the sonic world is as important as the dialogue. Rap songs help give the audience an insight into Jay’s mind and give the play a dynamic theatrical language. Conrad, founder of the legendary BAC Beatbox Academy and author of the book ‘How to Make Hip Hop Theatre’ calls the play one of the most ambitious in his career so far.

At the R&D sharing an established theatre maker fed back “it feels really fresh & unique. The text & music feel equally strong & important. The way the rap & looping is threaded so seamlessly into the storytelling is really impressive”.

Following the R&D phase we began the process of approaching both London venues and national venues to shape a tour for 2026. We have secured a 3-week London run and the prestigious Pleasance Theatre in North London for autumn 2026, with the aim of exploring a national tour in due course.

Lie In It. Following a successful funding application to Lincolnshire City Council, writer, Emma-Louise Howell, secured a development award to launch the research and development phase for Lie In It . This grant funded an initial intensive period of creative workshops, script workshops, and thematic exploration in February 2026. The R&D process brought together the playwright, director, and creative team to test the script’s structure and map out its core themes regarding personal accountability and systemic choices. In line with Attic’s community dramaturgy development model, the award also allowed us to hold early-stage community engagement sessions with a group of both Lincolnshire and York residents, capturing local perspectives to inform the narrative as it develops. Partners included Mint Lane Cafe in Lincoln (a weekly group empowering tenants), Lincoln Student Union and ACORN in York (community led housing union).

We have subsequently secured support from Arts Council England to continue the development phase with a full process that will take place in summer 2026 alongside additional engagement workshops in York and London. We would then hope to stage a full production in 2027.

Page 9

Outcomes for Theatre Productions and New Writing:

Increased Profile, Partnerships, and Collaborations

The introduction of Artistic Director, Tom Bellerby’s new artistic programme model of place-based, phased development model has significantly elevated Attic’s profile, allowing us to attract high-calibre, award-winning artists such as Conor Hunt, Daniel Ward, Sian Owen, and Emma-Louise Howell. By pairing these exciting playwriting voices with our community dramaturgy framework, we have built robust, cross-regional partnerships. For Boyhood , our intensive R&D collaboration with pioneering hip-hop theatre-maker and Merton local, Conrad Murray has firmly established Attic at the forefront of innovative theatre-making. This artistic growth has directly translated into high-profile industry partnerships, notably securing a prestigious three-week autumn 2026 London run at The Pleasance Theatre, which acts as a springboard for a future national tour.

Furthermore, our regional connections have expanded through Lie In It , leveraging funding from Lincolnshire City Council to build new relationships with non-traditional partners. Collaborating with local advocacy groups - including Mint Lane Cafe in Lincoln, Lincoln Student Union, and ACORN in York - has allowed us to integrate lived experiences of the housing crisis directly into our script development. Supported by subsequent investment from Arts Council England, these partnerships evidence a nationally contemporary and relevant story that our authentic, place-based storytelling is perfectly suited to explore.

Increased Arts Engagement

Our arts engagement has shifted to prioritise authentic and targeted community co-creation as a more sustainable and valuable methodology for making new work. Through the Boyhood research and development phase, we successfully engaged 71 local young men across South London in specialised mental health and masculinity workshops and worked with 13 people with lived experience of housing insecurity. These targeted approaches embed non-traditional theatremaking voices directly into the creative fabric of the work we are producing, and through this, we can ensure that our final productions speak directly to, and attract, the under-represented demographics Attic aims to serve.

Increased Arts Provision

In response to a challenging cultural sector facing risk-averse programming and funding cuts, Attic’s new two phased model offers a sustainable approach to making new work. By introducing an intensive research and development phase before securing full production funding, we reduce financial risk while protecting our artistic ambition. Instead of scaling back, this model allows us to develop multiple, socially relevant new plays simultaneously that resonate with, stay true to,

Page 10

and reflect the lives of Merton and UK residents. As we move toward staging these productions in future years, this approach successfully balances financial . sustainability with our commitment to high-quality, community-led new writing

Many
Stages
Statistical
Data
(based on
demographic data
collected)		 Performances Audiences Ethnically
diverse
participants
/audiences		 SEND /
Disabled
participants
/audiences		 Other
Boyhood 1 (R&D Sharing) 23 49% 20% 8 artists and
creatives
involved
Lie In It 71
Participants		 17% 48% 15 artists and
creatives
involved

Many Moons - Participatory work with older people

Going for a Song - Singing workshops for the over 55s to support mental and physical wellbeing, reduce isolation and increase creativity. Delivered weekly to two groups, in Mitcham and Wimbledon, the sessions are well established with participants particularly reporting that the social aspect and the light-hearted, enjoyable nature of the workshops are the key factors in their attendance. Community performances included the Singfest , and Christmas performances at Age UK, a local care home and as part of a Merton Carers event.

We experienced low numbers attending the Mitcham sessions, in part due to the location being adjacent to a busy road. We launched a series of 3 taster sessions in Spring 2026 at a new location, day and time, following directly on from the Dance workshops and these were well attended. As a result, we have moved the sessions to this new scenario. We have also implemented a donation-based subscription model to encourage attendance and to ensure we are accessible as possible to those in the east of the borough.

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The Wimbledon Group were required to relocate to a new nearby venue. Fortunately, attendance remains strong and has been unaffected by the move.

Feedback:

‘Singing is like taking medicine. It makes you feel better.’

'I was obliged to retire [as] I was disabled by a persistent and violent cough. The consultant advised that I join a singing group. I am certain the singing has helped my voice'

‘Well worth joining. Singing is good for mental wellbeing. Prevent loneliness.’

Movement Mornings – These weekly dance workshops for older people are open sessions targeted to those with mild to moderate frailty including Arthritis, Parkinson’s, Stroke, Diabetes and other age-related conditions. Sessions focus on having fun and feeling good. Each week participants learn simple but fun routines to funk, soul and disco tracks, the aim of it is to feel like a weekly party. Sessions are very well attended, and the group performed at Mitcham Carnival, Merton Big Sports Day and the Let’s Dance charity event. A case study can be found here.

Feedback:

‘Just wonderful, everyone is welcome whatever level and brilliant start to the week.’

‘These sessions have made such a big different to my life, so happy’

‘Excellent. Great for people who would otherwise stay at home and become immobile.’

‘These sessions are important to me. Enables me to exercise and meet new people as I live alone. Gives me something to look forward to.’

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Feelgood Fridays – Movement and dance workshops for older people and those suffering with dementia and their carers to support mental and physical wellbeing, reduce isolation and increase creativity .

Feedback:

'All the staff are working very hard and manage to bring our brain back working. Thank you xxx'

'I look forward to coming here each week. I am very happy.'

‘The session gives me a new life.’

‘It help me feel good and

the opportunity to meet more peoples. Please keep the good work. It is very valuable to save peoples life. [sic]’

‘I feel the help given to me in my difficult time has me get my life back and I can mix with others.’

‘You are all brain surgeons, I’m always at my best after one of these sessions and all my friends know it’s the best day to see me.’

Outcomes for participatory work with older people:

Increased Creativity. Participants gain access to new artistic activities including styles of music and dance and are encouraged to express their creativity and stimulate their imaginations.

Increased wellbeing, mental health and happiness . Physical activity boosts mental wellness. Singing releases ‘feel-good’ endorphins and ’stress busting’ oxytocins.

Reduced isolation and improved community cohesion . Regularity of sessions

and familiarity of attendees supports participants to feel less isolated and allows them to build connections. They have built a social network outside of the group. Dance sessions support connection between carers and the person experiencing Dementia through music and movement and provide respite from care giving responsibilities. Sessions are as beneficial to the carer as the participant.

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Improved skills and cognitive retention. Movement and musicality improve brain function, lucidity and cognitive retention. Different dance genres can also help to improve experience and knowledge of new dance techniques, as well as provide reminiscence therapy benefits. New dance moves improve technique and widen the knowledge of dance styles. Singers are taught vocal skills, breath and lung control exercises, and musicality and technique. Harmonies and arrangements that may not always be familiar further stretch participants’ abilities and sustain brain dexterity.

Improved physical health and energy – Physical activity helps with flexibility, mobility, strength, stamina, movement and balance; Improves immune system; Provides a cardiovascular workout and is beneficial to lung capacity. This can prove a potentially useful benefit for maintaining lung function. All benefits which support older people retain independence.

Many
Moons
Statistical
Data
(based on
demographic data
collected)		 Workshops Participants
(no.of people on
the register)		 Audiences
(at community
performances)		 Ethnically
diverse
participants
/audiences		 SEND /
Disabled
participants
/audiences
Going for a
Song		 75 + 4 x
Community
Performances		 91 252 42% 29%
Movement
Mornings		 36+ 2 x
Community
Performances		 112 250 55% 53%
Feelgood
**Fridays **		 37 38 + 20
carers		 0 67% 68%
TOTAL 148 + 6 261 502 55% 59%

Many Voices - Participatory work with ESOL, refugee and asylumseeking young people

St Mark’s Academy, Mitcham – workshops to support the integration and communication skills of young ESOL students, refugees, asylum seekers and unaccompanied minors. Working with two groups: low level learners and those with a stronger command of the English language. A long-standing project with up to 50 students over an academic year.

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Feedback:

This class helped me to find a language and good friends’

‘Mondays put a smile on some people's face when they are angry before coming to school’

‘It makes me feel like I'm visible to others’

Women’s ‘Conversation Club’ - workshops to build independence, networks, employability and language skills in refugee and asylum-seeking women. Sessions provide information and guidance on navigating their new environments, ie healthcare, education, UK culture and traditions etc. The sessions help acclimatise the women and enable them to build a peer network as well as give scope to build their employability skills.

Our previous partners, CARAS in Tooting, no longer had the resources to continue the collaboration and so we formed a partnership with Learn English Together in Merton – a local tutoring service based in Mitcham however, we found that they lacked the capacity to help us with recruitment. At the same time, the new Labour government began transitioning people through local hotels much quicker, which stopped us from building any real momentum. As a result, we decided to pause the project until such time as the demand for our support increases.

Feedback:

‘I like this class this class is different and I enjoying’ (sic)

‘They became regular attendees and one said Conversation Club had really helped her feel part of a community and less alone. Many also said that they liked how different it was to all of the other language lessons they had attended.’ - Facilitator

Sutton and District Training – ESOL group – Creative workshops which focus on building relationships and connection between students (who are otherwise quite isolated from each other) as well as employability skills, basic English language, helping them acclimatise etc. There are a lot of young people in foster care or who are unhoused, often mainly male groups. These sessions are delivered across one term of an academic year.

Feedback:

‘I like drama, speaking, laughing.’

‘I enjoy with game because it help me learn English’

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ReWrite – Creative writing workshops for and with a range of participants. An intergenerational project for refugee and asylum-seeking communities living in temporary hotel accommodation. Sessions work to support the integration and acclimatisation of these newly arrived people, helping them with language skills and familiarising them with UK systems and processes such as education and healthcare provision. Similarly to the Conversation Club workshops, increased transience made it hard to get traction; people were moving through temporary hotel housing so quickly that they often moved on before we could properly engage them. We have paused these workshops also.

Feedback:

‘As expected many of the residents have been struggling with their mental health’ Facilitator

‘Thank you Rachael I feel better now’

‘It’s so good to see you, I really miss creative writing and seeing you every week’

‘I was really hoping I would see you today, we waited until today to come back to London because we wanted to see you’

Outcomes for participatory work with young refugees and asylum seekers:

Increased Creativity. Students learn drama skills and are given opportunities to utilise their imagination, stretch their creative thinking, play, experiment and have fun through artistic pursuit, including creative writing and role play.

Increased knowledge of the English language . Students learn English in an informal setting. The topics covered focus on their immediate environment and give them new vocabulary which allows them to interact with their peers.

Increased sociability . The sessions build friendships and trust within the group, allowing the participants to make friends outside of their background and culture and build support networks. Participants interact with their peers, learn more about each other and are able to find common ground to forge friendships and connect. Peer groups are expanded and this reduces isolation. They teach valuable social skills such as speaking and listening.

Improved skills . The participants learn theatre skills and life skills: how to express themselves, communicate their ideas and lead a group. They learn more English and learn about different cultures and backgrounds as well as learning more about the UK and their new environment. They learn teamwork, leadership and listening, how to deal with simple social interaction, shopping etc.

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Employability skills . Participants learn about the recruitment process in an informal setting. The sessions give them appropriate vocabulary which allows them to succeed at interview and advocate for themselves. They learn interview techniques such as expressing their ideas and clear communication.

Improved confidence and self-esteem. Through shared endeavour and play they begin to trust in their peers and environment, building teamwork and they are proud of the work they achieve. They gain confidence to integrate themselves into the UK and begin to become familiar with British culture. The work builds on their attitude to life, gives them aspirations and encourages a tolerant and diverse community that embraces multiculturalism, and they begin to develop personal values. The Jack Petchey Award scheme further reinforces this.

Improved behaviour, motivation and academic achievement . The work builds on their attitude to life, gives them aspirations and encourages a tolerant and diverse community.

Many Voices
Statistical
Data
(based on
demographic data
collected)		 Workshops Participants
(no. of people on the
register)		 Audiences
(at community
performances)		 Ethnically
diverse
participants
/audiences		 SEND/
Disabled
participants
/audiences
St Mark’s
Academy,
Mitcham		 34 86 10 100% Unknown
Conversation
Club		 10 9 N/A 100% Unknown
Sutton and
District
Training –
ESOLgroup		 11 24 N/A 100% 10%
ReWrite 3 23 N/A 100% Unknown
TOTAL 58 142 10

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Many Minds - Participatory work with young people facing adverse environments and experiences

Leap! Drama Workshops – School holiday workshops to boost confidence and have fun during school holidays, supported by the Healthy Activities and Food fund (HAF). Four weeks of activities were delivered across Easter, Summer and October half term breaks at Green Arts Centre and in partnership with Mitcham Town Community Trust.

Summer activities included a week of Drama workshops and a week of Dance workshops. In all cases the students worked towards a performance/ sharing which played to friends and family.

Feedback:

‘[I enjoyed] Making new friends and learning more acting skills’

‘It accepts our feelings and we have fun’

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Flourish – Afterschool drama workshops to support primary aged children from lowincome areas. Delivered to the KS2 children at Sherwood School in Mitcham these sessions prioritised those on free school meals and those with EAL. Participants worked with two creative facilitators to develop their devising and improvisation skills, build their confidence and help them strengthen social connections. However, we have made the decision to pause this project. The facilitators struggled to maintain control of the sessions, which impacted the quality of the final work. We are taking a step back to review the project’s delivery format.

Feedback

‘[I enjoy] The warm-up and play fun drama clubs!’

‘We feel excited every drama club’

‘Being a team.’

Sutton and District Training – Creative Media group (Gamers) – weekly creative sessions for young neurodivergent people aged 16+ to explore their creativity and develop skills in communication, social interaction and employability. As Creative Media students they spend much of their time on computers with headphones on and these sessions help with their communication skills. Creative projects around world building, storytelling and real-life games have worked well previously.

The new cohort of students starting in September 2025 had different needs than in previous years and the College were keen to redeploy funding to address this. We paused the project after the summer 2025 term.

Feedback:

‘Just chatting, asking hypotheticals, and getting to know each other.’

‘Talking about video games or worst-case scenarios, those conversations were more fun and helped us connect.’

The workshops made me think about…

’The possibility of how stories can play out in different ways’

‘How theatre is complicated’

‘Making me think about my relationships’

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Sutton and District Training – ‘STEPS’ group – Weekly creative sessions with the STEPS group covers many of the same themes and objectives as with Gamers but to a group with more complex Special Educational and/or Additional Needs. This year focused on different arts genres including music and creative journalling, scene creation and group stories. The work aims to improve the soft skills of the young people: speaking, listening, communication, confidence and aspirational thinking as well as encouraging and developing their social interaction.

Feedback:

‘The participants were proud of their work. Some of them mentioned they found the activity ‘’interesting’’ and made them feel ‘’creative’’.’ Facilitator

‘This went very well’ - Teacher

Outcomes for participatory work with young people facing adverse environments and experiences:

Increased peer group – meeting and making friends with people from other schools, circumstances, cultures and backgrounds.

Improved sociability and social skills – opportunities to chat and play, building intersocial skills.

Improved emotional wellbeing and maturity – creative and mental stimulation boosting and supporting positive mental health , preparation for and knowledge of teenage and young adult life.

Improved creative skills - learning improvisation, devising and presentation and storytelling; creative writing, character, devising, storytelling and poetry; through exploring different themes and topics imaginatively and participating in creative based, related activities.

Improved confidence and self-esteem - learning to work as a team and be creative in their approach. The performances/films at the end of the projects provide a sense of achievement and worth and the opportunity to lead engenders pride, self-worth and aspirational thinking. They are given a safe space to explore their identity and reflect on their attitudes and aspirations. They learn to work as a team, trust in others and be creative in their approach.

Improved understanding, empathy and tolerance – through listening to others’ work and presenting their own.

Improved teamwork and leadership skills – through listening and working together on a shared theme of work as well as taking turns to lead in games and exercises.

Improved Civic Pride – through knowledge of society, environment and ecological issues they begin to hold ownership in their community and are more engaged and invested in it, building emotional maturity and social capital.

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Many Voices
Statistical
Data
(based on
demographic data
collected)		 Workshops Participants
(no. of eople on the
register)		 Audiences
(at community
performances)		 Ethnically
diverse
participants
/audiences		 SEND /
Disabled
participants
/audiences
Leap! Drama
Workshops
Green Arts
Space		 18 87 43 72% 25%
Flourish
Afterschool
workshops
The Sherwood
School		 10 16 10 94% 14%
Sutton and
District
Training –
‘Gamers’
group		 19 29 N/A Unknown 100%
Sutton and
District
Training –
‘STEPS’ group		 8 19 N/A Unknown 100%
TOTAL 55 151 53 83% 60%

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Financial Review

Income

Core funding awards

We are in receipt of a longstanding grant from the London Borough of Merton which contributes to our overheads and provides a foundation for further fundraising, underpinning funding applications to Trusts and Foundations. This aims for this local authority award are to maintain the artistic provision in the borough, delivering theatre productions and creative outreach activities to older people and young people.

Trusts and Foundations

We brought forward a level of restricted funds for projects from the previous year, namely the Jack Petchey Foundation and the Wimbledon Foundation, all for our participatory work.

We secured funding from various funders including LB Merton borough of Sport and the McCarthy Trust to support the Older people’s dance workshops and the Civic Pride fund for wider support of our older people’s programme. Arts Council England awarded funding for the R&D process for Boyhood and the NHS funded a number of health and wellbeing focused initiatives that were able to roll out across several of the community projects. Finally, Merton Giving provided an extension grant to support our youth programme following the conclusion of a Health Inequalities funding award.

Public funding

Given there were no public, professional performances this year, no Theatre Tax Relief is being sought. However, this is anticipated for future years and has been factored into budgeting.

Private income

With no corporate connections or private donors or income from this avenue is limited to small scale donations. In spring 2026 we trialled a new donation method of generating income from one of the singing workshops. This proved successful and met with our organisational objectives of supporting people facing financial barriers and will be rolled out more extensively in future years.

Earned income

Whilst in previous years, since the pandemic, earned income had become an established income stream to support our work, a steep decline in activity has seen a significant drop in the level of earned income generated from one partner.

Page 22

Our partnership with Sutton and District Training, had previously been made up of three separate projects for their young people. However, this was reduced after the summer term to a single project that spanned just the autumn term. We are working hard to sustain this relationship.

We were approached by Periscope Architects who had been commissioned by the borough to deliver a series of youth workshops focusing on Mitcham town centre and young people’s experience of living there. Periscope had previously delivered similar projects in other areas, and we worked with them to deliver 3 workshops across spring 2026.

We were also invited by a previous partner Community Action for Refugees and Asylum Seekers (CARAS) to deliver a series of employability workshops for their users. 4 sessions were delivered over two days, generating income through a saleable product.

Forward financial planning

Despite the continued decline in Trust and Foundation funding and the intense competition for grants, we have been fortunate to secure funding from local sources, and the upcoming year has been fully funded. The implementation of the new artistic programme, with a pipeline of projects, ensures there is an additional level of income to support the core expenditure of the company, a revenue stream that has been missing for some years.

We have also taken an analytical approach to our financial modelling, identifying a new approach to map our fundraising targets. This ensures that core organisational costs are accurately and proportionately distributed across all projects.

Finally, we intend to utilise funds from our reserves to invest in external support to bring an outside eye and evaluate our future trajectory and strategy, from both a financial and planning perspective, ensuring we are robustly positioned within the wider theatre ecology.

Reserves Policy

Attic Theatre Company requires a level of free reserves to safeguard the

organisation, protect options for future development and to achieve the following:

Page 23

Our minimum reserves have been increased to £32,500, to take into account inflation and rising operational costs over the past few years. This is designated as a contingency fund should we need to wind down the organisation. Any surplus above this contingency is designated to our New Projects Fund which provides seed money for new developments in both our community outreach and live performance programme.

Total income for 2025-2026 was made up of funding awards from the London Borough of Merton revenue grant, trusts and foundations, donations, commissions and community subscriptions to our regular activities.

Structure and Governance

Attic Theatre Company (London) converted to a Charitable Incorporated Organisation on 1[st] March 2021. Charitable status was granted on 28 October 1994.

The charitable object for which the company was established is to “advance education for the public benefit through the promotion of the arts with particular, but not exclusive, reference to the dramatic arts”. There have been no changes in the objectives since the last annual report.

The Governing Body

The charity is managed by the Chair and a minimum of 3 trustees who meet quarterly and whose powers and responsibilities are defined in the governing document. The trustees also decide on the general strategy and policies to be adopted in the pursuance of the objectives of the charity.

The Board is currently made up of seven trustees with a strong and diverse mix of skills to support the charity achieve its mission.

The trustees are provided with a job description and code of conduct as well as a series of company policies and procedures as part of their training and induction and are informed of training courses, third sector and cultural developments and initiatives and development opportunities throughout their tenure.

None of the trustees received remuneration or any other benefit from their work with the organisation, in their capacity as trustees. Any connection between a trustee or

Page 24

senior manager of the organisation or with any employed artist or production company is disclosed to the full board of trustees.

In shaping our objectives for the year and planning our activities, the trustees have considered the Charity Commission’s guidance on public benefit, including the guidance on public benefit and fee charging. The charity relies on grants and other income from fees and charges to cover its operating costs.

The trustees have carried out their duty to identify and review the risks to which the charity is exposed and to ensure appropriate controls are in place to provide reasonable assurance against fraud and error. The trustees have assessed the risk to which the charity is exposed, in particular those related to the operations and finances of the charity and are satisfied that systems and procedures are in place to mitigate our exposure to the major risks. A comprehensive set of policies and procedures are in place and reviewed regularly by the trustees.

Staffing

In the year 2025-26 Attic operated on a daily, part-time basis under the leadership of Victoria Hibbs, as Executive Director and Chief Executive Officer, the artistic direction of Tom Bellerby and Milly Roberts as Creative Engagement Producer.

The actors and creative teams for our productions and the workshop facilitators for our participatory projects are all on freelance engagements.

Members’ liability

The Members of the company guarantee to contribute an amount not exceeding £10 to the assets of the charity in the event of winding up.

This report was approved by the Trustees on and signed on their behalf by:

Paul Baynton, Chair

Date: 19th August 2026

Page 25

Attic Theatre Company (London) Independent Examiner's Report to the Trustees of Attic Theatre Company (London) For The Year Ended 31 March 2026

I report to the trustees on my examination of the accounts of Attic Theatre Company (London) (the Trust) for the year ended 31 March 2026.

Responsibilities and Basis of Report

As the charity trustees of the Trust you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 (“the Act”).

I report in respect of my examination of the Trust’s accounts carried out under section 145 of the 2011 Act and in carrying out my examination, I have followed the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act.

Independent Examiner's Statement

I have completed my examination. I confirm that no material matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:

  1. accounting records were not kept in respect of the Trust as required by section 130 of the Act; or

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

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

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

Matthew Brown CIPFA

Date: 19th August 2026 Studio 21, Bluecoat Chambers School Lane Liverpool L1 3BX

Page 26

Attic Theatre Company (London) Statement of Financial Activities For The Year Ended 31 March 2026

Notes
INCOME AND ENDOWMENTS FROM:
Charitable activities:
3
Theatre Productions
Community
Core
Investments
4
EXPENDITURE ON:
Charitable activities:
6
Theatre Productions
Community
Core
NET INCOME/(EXPENDITURE)
Transfers between funds
17
NET MOVEMENT IN FUNDS
RECONCILIATION OF FUNDS:
Total funds brought forward
TOTAL FUNDS CARRIED FORWARD
17		 Unrestricted
funds
£
-
51,773
32,294
1,196		 Restricted
funds
£
36,568
16,817
25,457
-		 2026
Total funds
£
36,568
68,590
57,751
1,196		 2025
Total funds
£
14,550
77,444
42,148
1,658
85,263 78,842 164,105 135,800
(311)
(39,868)
(44,242)		 (10,868)
(3,186)
(26,713)		 (11,179)
(43,054)
(70,955)		 (37,433)
(70,161)
(52,553)
(84,421) (40,767) (125,188) (160,147)
842
8,739		 38,075
(8,739)		 38,917
-		 (24,347)
-
9,581
58,397		 29,336
8,831		 38,917
67,228		 (24,347)
91,575
67,978 38,167 106,145 67,228

The notes on pages 30 to 38 form part of these financial statements.

Page 27

Attic Theatre Company (London) Comparative Statement of Financial Activities For The Year Ended 31 March 2026

Notes
INCOME AND ENDOWMENTS FROM:
Charitable activities:
3
Theatre Productions
Community
Core
Investments
4
EXPENDITURE ON:
Charitable activities:
6
Theatre Productions
Community
Core
NET EXPENDITURE
Transfers between funds
17
NET MOVEMENT IN FUNDS
RECONCILIATION OF FUNDS:
Total funds brought forward
TOTAL FUNDS CARRIED FORWARD
17		 Unrestricted
funds
£
14,550
-
34,702
1,658		 Restricted
funds
£
-
77,444
7,446
-		 2025
Total funds
£
14,550
77,444
42,148
1,658
50,910 84,890 135,800
(37,412)
794
(52,503)		 (21)
(70,955)
(50)		 (37,433)
(70,161)
(52,553)
(89,121) (71,026) (160,147)
(38,211)
13,792		 13,864
(13,792)		 (24,347)
-
(24,419)
82,816		 72
8,759		 (24,347)
91,575
58,397 8,831 67,228

The notes on pages 30 to 38 form part of these financial statements.

Page 28

Attic Theatre Company (London) Statement of Financial Position As At 31 March 2026

Notes
FIXED ASSETS
Tangible Assets
12
CURRENT ASSETS
Debtors
13
Cash at bank and in hand
Creditors: Amounts Falling Due Within One Year
14
NET CURRENT ASSETS (LIABILITIES)
TOTAL ASSETS LESS CURRENT LIABILITIES
NET ASSETS
FUNDS OF THE CHARITY
Restricted Funds
Unrestricted Funds
TOTAL FUNDS
17
On behalf of the board		 Unrestricted
funds
£
-		 Restricted
funds
£
-		 2026
Total funds
£
-		 2025
Total funds
£
1,051
-
1,181
71,064		 -
250
37,317		 -
1,431
108,381		 1,051
981
70,534
72,245
(4,267)		 37,567
600		 109,812
(3,667)		 71,515
(5,338)
67,978 38,167 106,145 66,177
67,978 38,167 106,145 67,228
67,978 38,167 106,145 67,228
38,167
67,978		 8,831
58,397
106,145 67,228

Paul Adrian Baynton Trustee

Date: 19th August 2026

The notes on pages 30 to 38 form part of these financial statements.

Page 29

Attic Theatre Company (London) Notes to the Financial Statements For The Year Ended 31 March 2026

1. General Information

Attic Theatre Company (London) is a charitable incorporated organisation registered with the Charity Commission, registered charity number 1041549. The principal address is Mitcham Library, 157 London Road, Mitcham, London, CR4 2YR.

2. Accounting Policies

2.1. Basis of Preparation of Financial Statements

The financial statements have been prepared in accordance with the Charities SORP (FRS 102) "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) (effective 1 January 2019)", Financial Reporting Standard 102 "The Financial Reporting Standard applicable in the UK and Republic of Ireland" and the Charities Act 2011.

The charity is a Public Benefit Entity as defined by FRS 102.

2.2. Going Concern Disclosure

At the time of approving the financial statements, the trustees have a reasonable expectation that the Charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees consinue to adopt the going concern basis of acounting in preparing the financial statements.

2.3. Fund Accounting

General funds are unrestricted funds which are available for the use at the discretion of the Trustees in furtherance of the general objectives of the Charity and which have not been designated for other purposes.

Designated funds comprise unrestricted funds that have been set aside by the Trustees for particular purposes. The aim and use of each designated fund is set out in the notes to the financial statements,

Restricted funds are funds which are to be used in accordance with specific restrictions imposed by donors or which have been raised by the Charity for particular purposes. The cost of raising and administering such funds are charged against the specific fund. The aim and use of each restricted fund is set out in the notes to the financial statements.

2.4. Incoming Resources

All incoming recourses are included in the Statement of Financial Activities (SoFA) when the Charity is legally entitled to the income after any performance conditions have been met, the amount can be measured reliably and it is probable that the income will be received. For donations to be recognised the Charity will have been notified of the amounts and the settlement date in writing, if there are conditions attached to the donation and this requires a level of performance before entitlement can be obtained then income is deferred until those conditions are fully met or the fulfilment of those conditions is within the control of the Charity and it is probable they will be fulfilled. The Charity receives government grants in respect of furthering its charitable objectives. Income from government and other grants are recognised at fair value when the Charity has entitlement after any performance conditions have been met, it is probable that income will be received and the amount can be measured reliably. If entitlement is not met then these amounts will be deferred. Interest on funds held on deposit is included when receivable and the amount can me measured reliably by the Charity; this is normally upon notification of the interest paid or payable by the bank.

2.5. Resources Expended

All expenditure is accounted for on an accruals basis and has been classified under headings that aggregate all costs related to the category. Expenditure is recognised where there is a legal or constructive obligation to make payments to third parties, it is probable that the settlement will be required and the amount of the obligation can be measured reliably. Expenditure is categorised under the following headings:

Expenditure on charitable activities includes all costs incurred on further the objects of the following and

Other expenditure represents those items not falling into the categories above.

Irrecoverable VAT is charged as an expense against the activity for which expenditure arose. Charitable activities and Governance costs are costs incurred on the Charity's operations, including support costs and costs relating to the governance of the Charity apportioned to charity activities.

Support costs are those that assist the work of the Charity but do not directly represent charitable activities and include office costs, governance costs, administrative payroll costs. They are incurred directly in the support of expenditure on the objects of the Charity and include project management carried out at Headquarters. Where support costs cannot be directly attributed to particular headings they have been allocated to expenditure on charitable activities on the basis consistent with use of the resources. Governance costs are those incurred in connection with the running of the Charity and compliance with constitutional and statutory requirements.

Page 30

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

2.6. Tangible Fixed Assets and Depreciation

Tangible fixed assets are measured at cost less accumulated depreciation and any accumulated impairment losses. Depreciation is provided at rates calculated to write off the cost of the fixed assets, less their estimated residual value, over their expected useful lives on the following bases:

IT & Office Equipment

33% per annum straight line

The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in net income/(expenditure) for the year.

Impairment of fixed assets

At each reporting end date, the Charity reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any).

2.7. Cash and Cash Equivalents

Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.

2.8. Financial Instruments

The Charity has elected to apply the provisions of Section 11 'Basic Financial Instruments' and Section 12 'Other Financial Instruments Issues' of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the Charity's balance sheet when the Charity becomes party to the contractual provisions of the instrument.

Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

Basic financial assets

Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.

Basic financial liabilities

Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.

Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

Derecognition of financial liabilities

Financial liabilities are derecognised when the Charity's contractual obligations expire or are discharged or cancelled.

Page 31

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

2.9. Taxation

The Charity is an exempt Charity within the meaning of schedule 3 of the Charities Act 2011 and is considered to pass the tests set out in Paragraph 1 Schedule 6 Finance Act 2010 and therefore it meets the definition of a charity for UK tax purposes. It therefore does not suffer tax on income or gains applied for charitable purposes. Theatre tax credits have been recognised when received by the charity and going forward will be recognised on submission of the claim to HM Revenue & Customs.

2.10. Pensions

The charity operates a defined pension contribution scheme. Contributions are charged to the Statement of Financial Activities as they become payable in accordance with the rules of the scheme.

3. Income from Charitable Activities

Theatre Productions:
Earned income and donations
Grants
Community:
Earned income and donations
Grants
Core:
Earned income and donations
Grants
Theatre Productions:
Earned income and donations
Grants
Community:
Earned income and donations
Grants
Core:
Earned income and donations
Grants		 Unrestricted
funds
£
-
-
16,674
35,099
294
32,000		 Restricted
funds
£
-
36,568
-
16,817
740
24,717		 2026
Total
funds
£
-
36,568
16,674
51,916
1,034
56,717
84,067 78,842 162,909
Unrestricted
funds
£
14,550
-
-
-
-
34,702		 Restricted
funds
£
-
-
37,599
39,845
3,525
3,921		 2025
Total
funds
£
14,550
-
37,599
39,845
3,525
38,623
49,252 84,890 134,142

Grants, included above, are as follows:

2026
Unrestricted Restricted Total
funds funds funds
£ £ £
London Borough of Merton - Core 32,000 - 32,000
London Borough of Merton - 11,993 11,993
Jack Petchey Award - 2,395 2,395
Merton Giving - - -
London Community Foundation - 7,532 7,532
Other Grants < £1,000 - 2,072 2,072
Arts Council England - 32,909 32,909
Page 32 ...CONTINUED

Page 32

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

NHS South West London ICB
KFC Foundation
The McCarthy & Stone Foundation
Borough of Sport - LB Merton
The Prism Charitable Trust
London Borough of Merton - Core
London Borough of Merton
Jack Petchey Award
Merton Giving
London Community Foundation
Other Grants < £1,000
Arts Council England
NHS South West London ICB
KFC Foundation
The McCarthy & Stone Foundation
Borough of Sport - LB Merton
The Prism Charitable Trust
4.
Investment Income
Bank interest receivable
5.
Net Income/(Expenditure)
The net income/(expenditure) is stated after charging/(crediting):
Depreciation of tangible fixed assets - owned		 -
-
-
-
-		 2,500
3,000
2,995
4,406
8,000		 2,500
3,000
2,995
4,406
8,000
32,000 77,802 109,802
Unrestricted
funds
£
31,900
-
-
2,470
-
332
-
-
-
-
-
-		 Restricted
funds
£
3,921
26,600
2,516
-
9,824
905
-
-
-
-
-
-		 2025
Total
funds
£
35,821
26,600
2,516
2,470
9,824
1,237
-
-
-
-
-
-
34,702 43,766 78,468
2026
Unrestricted
funds
£
1,196		 2025
Unrestricted
funds
£
1,658
2026
£
1,051		 2025
£
526

Page 33

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

6. Analysis of Expenditure

Theatre Productions
Community
Core
Theatre Productions
Community
Core		 2026
Activities
undertaken
directly
(see note 7)
£
11,179
43,054
70,955
125,188
2025
Activities
undertaken
directly
(see note 7)
£
37,433
70,161
52,553
160,147

7. Direct Costs

Employee costs:
Wages and salaries
Employers pensions - defined contribution schemes
Travel and subsistence expenses
Training and recruitment
General administration:
Project fees
Project costs
Share of support costs
Share of governance costs
Employee costs:
Wages and salaries
Employers pensions - defined contribution schemes		 Theatre
Productions
£
-
-
-
-
8,461
2,624
94
-		 Community
£
-
-
(728)
132
35,365
7,427
858
-		 Core
£
57,742
1,561
731
365
-
3,793
4,303
2,460		 2026
Total
£
57,742
1,561
3
497
43,826
13,844
5,255
2,460
11,179 43,054 70,955 125,188
Theatre
Productions
£
18,863
356		 Community
£
-
-		 Core
£
36,190
682		 2025
Total
£
55,053
1,038
...CONTINUED

Page 34

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

Travel and subsistence expenses
Training and recruitment
General administration:
Project fees
Project costs
Share of support costs
Share of governance costs
8.
Support Costs
Premises expenses:
Office rent / theatre / room hire
General administration:
IT
Insurance
Printing, postage and stationery
Advertising and marketing costs
Telephone
Subscriptions
Bank charges
Admin and governance
Office costs
Support costs reallocated to direct costs
Depreciation:
Depreciation
Governance costs:
Independent examiner's fees
Governance costs reallocated to direct costs
Premises expenses:
Office rent / theatre / room hire
General administration:
IT
Insurance
Printing, postage and stationery
Core training and recruitment
Telephone
Subscriptions		 21
-
14,642
3,551
-
-		 -
35
56,118
14,008
-
-		 -
-
1,214
2,215
9,012
3,240		 21
35
71,974
19,774
9,012
3,240
160,147
2026
Total
£
114
1,405
727
239
189
85
1,032
60
303
50
(5,255)
1,051
2,460
(2,460)
-
2025
Core
£
1,610
3,450
1,066
309
678
135
637
...CONTINUED
37,433 70,161 52,553
Theatre
Productions
£
-
-
-
-
-
-
94
-
-
-
(94)
-
-
-		 Community
£
-
-
727
-
131
-
(10)
-
-
10
(858)
-
-
-		 Core
£
114
1,405
-
239
58
85
948
60
303
40
(4,303)
1,051
2,460
(2,460)
- - -

Page 35

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

Bank charges
Admin and governance
Office costs
Support costs reallocated to direct costs
Depreciation:
Depreciation
Governance costs:
Independent examiner's fees
Governance costs reallocated to direct costs
9.
Independent Examiner's Remuneration
Independent examination of the financial statements
10.
Staff Costs
Staff costs were as follows:
Wages and salaries
Other pension costs		 2026
£
2,460
2026
£
57,742
1,561
59,303		 80
439
82
(9,012)
526
3,240
(3,240)
-
2025
£
3,240
2025
£
55,053
1,038
56,091

No employees received employee benefits (excluding employer pension costs) for the reporting period of more than £60,000.

Remuneration and benefits received by Key Management Personnel, considered by the Trustees to be the Artistic Director and Executive Director, amounted to £48,835 (2025: £42,373).

  1. Average Number of Employees

Average number of employees during the year was: 3 (2025: 3)

12. Tangible Assets

Cost
As at 1 April 2025
As at 31 March 2026
Depreciation
As at 1 April 2025
Provided during the period
As at 31 March 2026
Net Book Value
As at 31 March 2026
As at 1 April 2025		 IT & Office
Equipment
£
3,668
3,668
2,617
1,051
3,668
-
1,051

Page 36

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

13. Debtors

3.
Debtors
Due within one year
Trade debtors
Other debtors
4.
Creditors: Amounts Falling Due Within One Year
Trade creditors
Other creditors
Taxation and social security
Accruals and deferred income
5.
Deferred Income
eferred income movements in the year were as follows:
Balance at the start of the period
Income deferred in the current period
Amounts released in income from previous periods
Balance at the end of the period		 2026
£
200
1,231
1,431
2026
£
1,230
-
37
2,400
3,667
2026
£
300
-
(300)		 2025
£
-
981
981
2025
£
980
218
-
4,140
5,338
2025
£
7,486
300
(7,486)
- 300
  1. Creditors: Amounts Falling Due Within One Year

15. Deferred Income

Deferred income movements in the year were as follows:

Deferred income above relates to income received prior to the year-end which relates to delivery of service in the next financial year.

16. Pension Commitments

The charity operates a defined contribution pension scheme. The assets of the scheme are held separately from those of the charity in an independently administered fund.

During the year the charge to the statement of financial activities in respect of defined contribution schemes was £1,561 (2025: £1,038).

At the statement of financial position date contributions of £0 (2025: £218) were due to the fund and are included in creditors.

17. Movement in Funds

Unrestricted funds
Designated:
New projects Funds
Contingency
Total unrestricted funds		 As at 1 April
2025
£
33,397
25,000		 Income
£
85,263
-		 Expenditure
£
(84,421)
-		 Transfers
£
1,239
7,500		 As at 31 March
2026
£
35,478
32,500
58,397 85,263 (84,421) 8,739 67,978

...CONTINUED

Page 37

Attic Theatre Company (London) Notes to the Financial Statements (continued) For The Year Ended 31 March 2026

Restricted funds
Community
Core
Productions
Total restricted funds
Total funds
Unrestricted funds
Designated:
New projects Funds
Contingency
Total unrestricted funds
Restricted funds
Community
Core
Total restricted funds
Total funds		 7,575
1,256
-		 16,817
25,457
36,568		 (3,186)
(26,713)
(10,868)		 (5,415)
-
(3,324)		 15,791
-
22,376
8,831 78,842 (40,767) (8,739) 38,167
67,228 164,105 (125,188) - 106,145
As at 1 April
2024
£
57,816
25,000		 Income
£
50,910
-		 Expenditure
£
(89,121)
-		 Transfers
£
13,792
-		 As at 31 March
2025
£
33,397
25,000
82,816 50,910 (89,121) 13,792 58,397
7,427
1,332		 77,444
7,446		 (70,976)
(50)		 (6,320)
(7,472)		 7,575
1,256
8,759 84,890 (71,026) (13,792) 8,831
91,575 135,800 (160,147) - 67,228

18. Transactions with Trustees

None of the trustees received any remuneration or any other benefits from an employment with the charity or a related entity during the current or previous year.

No trustee expenses have been incurred.

19. Related Party Disclosures

There were no disclosable related party transactions during the year (2025 - none).

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