2023-11-30-accounts

Conipny No: 3J.104.13 Chrlty CommiS5iOD England and Wales: 1050944 Office of the S¢ottish Chartty RegultOT: SC043237 THEP UST A COMPANY LIMITED BY GUARANfEE IYDED JiITH NOVEMB 2023 111 11111 AD9￿￿￿• 1W2024 COMPANIES HOLISE

THE PLEASAI¥CE THEATRE TRUST A COMPANY LIMITED BY GUAiiANTEE LEGAL AND ADMINISTRATIVE INFORMATION CHARITY NUMBER: 1050944 (Charity Conmussion England and Wales) SC043237 (Office of the Scottish Charity Regulator) COMPANY NUMBER: 3130433 DItiE AND TRUSTEES.. R.M. House, Esq .Ms D Williams Ms S Lloyd-Barnes Ms J. Boyd COMPANY SECRETARY: J.R. Faulkner. Esq REGISTERED OFFICE: Carpenters Mews. North RoaiL LONDON. N7 9EF AUDITORS: Messrs. JcffTey Alttnan & Company* Chartered Accouniants, Wayrnan House. 141, Wickham Road. Sbirley. CROYDON. Surrey. CRO 8TE. The Royal Bank of ScotlaThd Edinburgh St Andrew Square. 36 S¢ Andrew Squar¢. Edinbur EH2 2YB

PLEASANCE. TH£*TRÉ TAIJST Welcome to the Annual Report for the Pleasance Theatre Trust, Year End 30th November 2023 Introduction The year ending 30tr November 2023 was a successful year for the Trust - both on and off stage. With a programme of work in Pleasance London and a successfijl season at the Edinburgh Festival Fringe the Trust has restabibsed its finanaal posrtion. following the negative effects of Covid in the previous three years. For the Edinburgh Festival Fringe season, the Trust once again presented a vibrant and diverse programme, consistent with pr pandemic levels, operating on three siies. opening 29 theatre spa￿s. The programme induded 285 productions ofwhich over 150 were festival premieres. Productions in the feslival programme received numerous award ncxninations and attracted over 480,000 ticket sales, a 50A increase on the previous year. The Pleasance programrne represented 80A of the shows registered with the Edinburgh Festival Fringe Society and accounted for 22V• of the overall sales ofthe festival. Pleasance Futures. the Trusfs development umbrella, directly supported 15 produclions, through the Charlie Hartill Fund. the Young Pleasance and The Edinburgh National Partnership ￿heMe. The Edlnt￿rgh Festival Fringe remains the world's largest rnarketplace for theatre. t)uring the festival. the Pleasance issued 3.960 press tickets and over 9.600 arts industry tickets to wsiting entertainment industy representatives. The Pleasance remains one of the largest developers for new theatrical work in the UK. Festival highlights In¢￿ded the award-winnirvJ shows.. The Ice Hole in the Pleasance GraThJ, Dark Noon at the Edinburgh Intemational Conference Centre. Public The Musical and Pitch presented as part of the Trust's Charlle Hartlll Fund. The Trust hosted the second year of The Edinburyh National Partnership scheme, set up in collaboration with six regK)nal producing theatres to showcase the very test new writing from the four comers of the United Kingdom. With a new creattve t&wn. the Young Pleasance celebrated their 28th prodU￿10n at the festival wth Showgirfs and Spies. the company consisted of forty young people from various parts of the country. The Trust's primary schools, initiative also wekomèd over 1,300 ¢hildren from auoss the uty of Edinburgh. For many it was ther first visit to the theatre and the festival. At the Pleasance in London. the Trust put in place a more c{X￿lida1ed programrne across each week. as a way to maximise ticket sales. increase bar revenues and to reduce casual staff costs. This induded increasing the capacty of the cabaret layout of the main theatre, maintaining table servicE from the baf, embracing a nv)re popular trend for trywout sessions, scratch perfomances. one-night comedy or cabaret programmin9. The programme also included filmir¥J for broadcaster Comedy Central and a variety of recorded comedy specials for individual artists. During this period. Workspace, our London landlords, gave notice for Ihe removal of the temporary 'Downstairs' theatre space, established in the garage of Pleasan¢e London in 2017. As a result. during this peri(MJ we moved to more nightly doubl&show programmiro in both the Studio and Main House over fewer days of the v￿ek. Sales results were mainly positive, with shows averaging above 50% sales. greatty enhancing ow tv)x offKe from the preV￿uS yeaf. Overall, the Trust's achievements this year have beep very positsve. marked by a rich and diverse array of perfomances and a solKI financial recovery, setting a promising stage for the future. The year-ending November 2023, whilst challenging for the Trust. was financially consistent with the planned recovery from the pandemic. After devoting over £200.000, direcdy or i kind. to its chartlable development projects. the Trust recorded a surplus of £15,012. Pagell

PLEASANCE. THEATRE TAUST More information on all our activibes in the Financial Year ending 3trh November. 2023 is contained in the Artistic Report within. The Trust's Charitable Objective The pleasan￿ Theatre Trust {the Yrusf) is a tharity reglstered In both Scolland and England & Wales. The objective of the Trust. as enshrined in its Memorandum of Association, is lo advance the educatKJn of the public in the arts. and in particular the dramatic arts. It does thi5 by: offering to the publc the Opl￿nity to experience new Irends in performance, alongside outstanding examples of More traditi'onal practice: fostering innovatK>n in perk)miance auoss a wide spectrum of artistic enterptise: offering opportunities to Y(￿ng and emerging people both on and off stage: and encouraging Indusic￿ and diversity in productions, staff and audiences.. at al times contributing positr¥ety to (￿lture. communiti'es and our wider society. Specific activities to support our Objective The Trust supports its Ofy'ective ttwough a wide raNJe of adivities. which can be summarised as: production of a season of perfoman￿ at Pleasance Edinburgh. at the Edinburgh Festival Fringe- provision of a yeararound programme of perf￿M￿ceS at the Ploasance London theatre spaces: provision of rehearsal, production and development facilities al Pleasance London,. artistic developmenl and support through Pleasance Futures (induding The Young Pleasance. The Charlie Hartill Special Reserve Fund, The Pleasance National Partnership programme arKI other associale schemes and development activiiies}' development of initiatives lo exlend the reach of pleasan￿ actiwty on live and digital platfomis: development of initiatives to support the career devek)pment of indNiduals in industy related a¢tivilies induding. technical skills. marketing. customer servi and theatrical management. aiming to entertain and exate. to presep48 the opportunrty of live performance. development of initi.atives to support creative associates in industry-related activities e.g. photography, film-making. journalism and production; and supporting aitisb'c endeavour through the provision of production and technical servtces. Who we are, what we do and vthy we do IL The Pleasance is'a plattom. for established and emerging artists across muttiple perfonnance disciplines. Al the Pleasance we believe it is important to give all people affordable space and the freedom to tske risks. both on arKI off stage. From this platform of innovation and education springs personal confidence and great careers are given a stage from which they can Ilourish. Giving our audiences the widest possible diversty of performance. from across the cultural spectrum, is also central to the charitys aims. This spirit has powered the Pleasance throughout th8 past fwr decades. durin9 which we have become work￿renoVMed Pag¢12

PLEASANCE. TMEA TRE TRUST for showcasing some of the entertainment industrfs finest tslent, both on and off stage. Building a communty that encourages and develops Ihe brightest new ideas and careers, that inspires raw talent. nurtures skill. excitement and wellbeing is why we exi5L Our aim. through platl<)mi in both Ednburgh and London. and n partnershtp wtth numerous arts organisations, the UK and abn)ad, is consistent: to create a collegiate, diverse and mutually supportive environment, where the financral risk of presenting work Is transparent and the artJ'stiG risk is under-pinned. shared and enabled by a knowledgeable and imaginative oye team. Thi5 is delNered in the context of a cohort of Pleasance artists at very drfferent stages of their careers. Our objective is for those that have spent time at thg Pleasance to leave V￿th a far broader perspective, vasljy more knowledgeable, with greater confidence and a bdder. more productive sense of purpos8. We hope that some V￿11 retum to support others in time. The Pleasance is a place for th8 experimenlal and the r￿w. It is where performers. writers. directors. designers. technicians. producers and the rest can take risks, develop ￿eaS and feel fully supported and nurtured. Not every project *ill triumph. but l(y)k carefulky because. as our history demonstrates. a great many will. sin￿ 1985 the pleasan￿ has presented a programme of exciting and thallenging new theatrical work at the Edinburgh Festival Fringe across 29 different perfonnance sparEs and, sin¢e 1995. vthen the Pleasance became a tharity. it has also presented y￿rk at the Pleasan¢e Theatre in London. whith currenty houses thre8 perfomancA spac8S. In 1995. alongside the programmes of the EdIn￿rgh Festival Fringe and LorKlon theatre. the Trust launched its first distinct educational initiative. th8 Young Pleasance. to provide opportunities for young perfonners. In 2004 The Charlle Hartill Fund was established to support new work and new artists in both theatrical and comedy productions. The furKI supports work through three strands, The Comety Resorvo. The Early Ensemblo Fund and The Global Majority Fund - the latter for UK-based blad(, Asian and global majority artists. Since that time, several other educational or support programmes have been launched and. in 2014, the majority of these Programmes were brought together under Pleasanc• Futures, an umbrella to provide better focus, funding and ccFordination behveen all the dedicaled support Strands of the Trust's aGtivities. In 2018, the Trust launched its Edlnburgh Nallonal Partnership Programme under Pleasance Fuiures, lo partner with leading national producing theatres. to identify and support exceptional emerging artists and companies local to them. who want to take work to Ihe Fringe. The Trust houses a number of Associate Artlsts and performers on an annual basis arKJ regularly presents work-in-progress and devek)pment sessions with emerging artists and producers. For the third year, the Trust presented a season of new work during its London Futures Festival and. in 2021. the Trusl launched the Edlnburgh Schools Initiatlve. prov#Jing free lickets and transport for over 1,300 primary school children to be able to attend the Edinburgh Festival Fringe. The Pleasance believes in proTrMling the plaltom for eStablis￿d arKI devebping artists acrcJSS many performanctrbased disciplines. Such acliwty presents many risks to participants. including financial risK especially to emergirKJ artists. at whatever stage of life. At the Pleasance we believe il is importantto share many of those risks and give all people affordable space and the freedom to tske risks, both on and off stage. From this spirit of innovation and education. springs personal confidence and great careers are gtven a springboard from which they can flourish. Giving our audiences the widest possible diversty of performance, auoss the farthest reaches of the cultural spectrum, is also central to the Trust's aim. The Charty has a long-established px)Sit￿n in the perf0m￿nCe sector, based on the successful development ofthe Edinbur9h and London programmes. Its strategy is to maintain Page13

PLEASANCE. T￿￿A TRE TRUST and develop this position by employing an effective and innovatlve professional operational team. under the supervisM)n of a body of trustees. The TTUSt's operations in London and Edinburgh are entirely symbiotic, each promding the other wth mulual benefft. The London theatre houses the full-time siaffing operation for both Edinburgh and London - the same team njnning both operations. Crucially. London provides a hub and perfomiance opportunities for artists pre- and post- the annual Edinburgh Festival Fringe. and indudes vital development and rehearsal space for the various strands of Pleasan¢e Futures. The Pleasance celebrated 28 years in its London base in 2023. The Pleasance Theatre Trust is a rnmpany limited by guarantee, registered as a tharity (i) in England and Wales with the Charity Commission (CC) and (li) in Scotland, with The Office of Tha Scottish Charity Regulator (OSCR). There are no shareholders and th8 trustee d*ectors a￿ volunleers who receive no payment or divhdend. There is a fu114ime management team, and associated staff. who create and manage the festNal programme and run the London theatre. The Trustees would Ilke to thank all of those that have supported the charty through its continued recovery from the pandemic. This support from Govemment. a variety of trusts and foundatN)ns. and individual donors has enabled the Trust to retain its London theatre, maintain its core team of full-time staff. keep a presence in Edinburgh for the Festival Fringe and deliver as many of rts Pleasance Futures programmes as possible - in tum. supporting the wider theatrical arts community. Rl¢hard H¢xtse Chaimian Date 7d A a. aozfr Page14

PLEASANCE. THEATRÉ TRUST 1. Artistic Report 1.1 Edinburyh Festival Fringe Season. August 2023 The Trust's second fuu Festival post-Pandemic saw pleasan￿ retwn to almost full strength, with more than 480,000 tid(ets sokl, a 10% in¢Trase on the pre￿uS year. In recognition of the Increasing costs faced by wlists bringing work to the Fringe, Ihe Trust increased its stsndard box office split by 5% for both VAT and non-VAT registered artists presenting in performance spaces with less than 90 seats {Comedy) and 100 seats (Theatre). This crucial additional investment hel)ed offset increased accommLxk2tK)n costs and impacts of the cost-of-living rAisis. This reaffirmed the Pleasance as the leading supporter of emerging artists at th8 Fringe. and was combined with over £160,000 of direct investment in shows supported by Pleasan¢e Futures. with support from a variety of funders. the £dIn￿rgh Schools Inttiative, in its third year. Y￿S larger than ever. with more children and more schwls attending: over 1.300 tickets were issued for Ch￿dren in 18 different sch(ds (and approximately 150 for ac¢(wnpanying adults). Almost all of the schools sent more than one class, so in totsl arourKI 40 dasses attended. The schools involved were.. Balgreen: Carrick Knowe; Castleview" Craigentinny.. Dandérhall., Forthview: Frogston: GracemounL Granton.. Hennits￿ Park: Juniper Green" Murraybum" Pimiehall; Sighthill; St Cuthbervs RC" St Marfs RC. Stenhouse. and Victoria. The school leavers programme welcomell over 30 sdKxS leavers from Edinburgh's secondary schools to spend a number of days at the festival, shadowing varbous departments. For the Se￿nd year running. the Trust further devebped and enhanced the sector48ading °Playwell and Pleasance PreventatNe Care Programme". supporting the mental health and wellbeing of all Pleasance artists, staff and volunteers. 2023 saw additional artist and staff mentsl health risk assessment workshops. video and in person counselkng. and tie-ins with wider cty-wide sen4ices. Edlnburyh Theatre. Dance. Clprus & Muslc The theatre programme saw another hugely successful year w6th various awards and nominations. including.. Edinburgh National Partnership woduction CHOO CHOOI w)n a prestigious Fringe First Award from The Scotsman and the Mental Health Foundalion Fringe Award for this vital show exploring obsessive compulsive disorder: Broadway Baby's Bobby Award was awarded to A Manchest8rAnthem' Pleasance shows were induded in Theatre Weekvs 'Best of The Fesf awards. with Stroud & Notes taking home Best Musical for Public - The Mu&cal and Home winning the award for Best Physical Theatre. B18ck is the Color of My vol￿ won Best Play. the innovative genius of The Ice Hole - A Cardboard Comedy won Best Comedy; and Best Writing V￿nI to the very desemng Unforyettable Girt. Individual performances at The Pleasance were also celebrated. with Jack Stokes On￿ again V4rynning Best Solo Performance. this time fc* Lash" In Loyal Company and Public - The Musical were shortlisted for the Holden Street Theatres, Edinburgh Fringe Abyard. with Public also shortlisted for the Fringe Encore Season in New York Cty: and Diana.. The Untold and Untme Story was the runner up for the Brighton Fringe Award. Page15

PLEASANCE. THEATRE TRUST Other programme highlights included: * - The Guardian "extraordinary outsider vision of American historf Dark Noon our headline produdion al the EICC. This co-production with Glynis Henderson PTodu¢tions and Alchemation facilitated the UK premiere of this startling new show- itself a collaboration between acdaimed Danish direGtor Tue Biering (Fix + Foxy), co-directed and choreographed by Soulh African theatrewmaker NNanhla Mahlangu: ** - The Stage "a show that is at once tender and resonant. Frankie Thompson and Liv Ello: Body Show, played a sold out month-long run. before a Se1￿Ul transfer to Sol)0 Theatre" picking up a The Stag8 Crit￿. Pick along the way.. Trainspotting Live played its 1￿ Annr¥er5ary Season, again selling out its bespoke immersive Spa￿ at the EICC" and Award winning Artistic Director of Graeae. Jenny Sealey retumed to Pleasance. this time with a unique autobiographical s<)lo show Self-Raising, beflye embarking on a UK tour. Edlnburgh Comedy Another fantastic year for Gomedy, dominating the Edinburgh Comedy Awards with eight nominations: Ania Magliano. Janine Harouni and Kieran Hodgson all up for the main award. and Bill O'Neill, Lindsey Santoro. Louise YouThJ. Martin Urbano aThl Paddy Young all getting a newcomer nomination. Adam Kay in the Pleasano Grand was the biggest selling show ofthe Fringe, other headlin8rs that sokl out at the Pleasance induded: Shaparak Khorsandi. Rosie Jones. Mark Watson. Mawaan Rizwan and fvo Graham. to name a but a few. As y￿11 as the nominees, the Pleasance also hosted some other exciting debuts. Nabil Abdulrashid, Lachlan Wemer. Jodie Mitchell. John Tothill, Leila Navabi, Tadiwa Mahlun9e and many more. The Pleasance always presents a few spea'als every Friffje. Direct from his last perfomiance on Broadway, Aex Edelman brought bad( his show Just For Us for one night. Nick Mohammed's alter ego Mr Swallow also came to the Grand for a one off show. Lolly Adefope presented a number of perfomiances. and before filming his HBO Special, Leo Reich retumed with Literally Who Cares?1 Always supporting new talent through the Pleasance Comedy R8seThe, w8 took two shows to the Fringe in 2023. supporting eight new exotsng comedians: Abby Wambaugh, Ele McKenzie, Jin Hao Li. Kyrah Gray. Micah Hall, Shalaka Kurup. Vlad Ilich and Will Robbins. 1.2 Pleasance London Since its foundation in 1995, the Pleasance's year-round hfft in Carpenters Mevts, Islington. has prowded some of the leading talents in the theatrical community with a plafforyn to develop vmrk. hone their craft and grow new audien￿. In a normal year, the artistic programrne at Pleasance Lon(kn runs in parallel with that of Pleasance Edinburgh. with curaled programmes such as the Work in Pr(>3ress, Edinburgh Preview and Best of Edinburgh transfer season hosting work both in and out of the Fringe. However. the programme also provides independent opportunities, fealuring work programmed specifically for a Lonth)n audierKe. one-off events and presentations from local academic inslitutK)ns including ArtsEd and Seedlwne. Page16

PLEASANCE. THEATRE TRVST Space in Pleasance L￿dI)n is utilised outside of perfomance lines to provide maximum benefit lo emerging companEs. with vacant space primarily offered in-kind for script readings, rehearsals and R&D weeks. aloryside a limited wmber of COMM￿ClaI hires. Formal artist developm8nt initiatives underthe Pla8sancoFu¢ures umbrella are also operated OLrt of the venue. such as a Pleasance Srxatch. Futures Festival and London Associates Programme. The building also provides an administrakn've hub for the Pleasance's Edinburgh operation. with a box office and off￿e space for the PleaSan￿'S ￿rrnanent employees Pleasance London comprises three perforniance spaces - the Main House. The Studio and Downstairs. With capacities rarying from 54 - 199 seats and flexible configurations in each, the London theatre prowdes perforniing companies wilh excellentfacilities that can be adapted to a large number of productions. Pleasance Downstairs is an innovative demountsble structure capable of being moved for use in Edinburgh. London Theatre The capacity of the Main House was expanded. from its COVKI layout of 150 seats. back lo 199, maintaining ts now unM4ue cabaret lay￿jL Continuing our recovery post-pandemic. this year saw a fools in the Main H￿s& on transfers from the 2022 Fringe programme. as wel as $upp)rting previews. and transfers from Ihe 2023 Fringe programme. High1￿hts included: Luke Wright: The Remains of Logan Dankworth -Raw. rollicking first-person poetry...a hurtling, headlong hour of storytelling stuffed full of savage satire and astule observations. V￿th the erErgy of Wrighl's delivery surging.. * The Stsge Rinkoo Barpaga: Made in Ilndia) Bntain- Winner of Mervyn Stutter's Spirit ofthe Fringe Awards 2022 and Winner of The Deaf Excellence Award. The Neurodiverse Review Award. l Love You. Now What?_ Yhis brillianlty funny, heart-warming and raw debut. it is a tender and emotional joumey that may be cathartic for many membefs of the audience." LondonTheatre1 Lucy McComiac: Lucy & Friernls- lucy Mcccffiiick may think she's the diva of her feral, budget cabaret of brazen filth but the real joy is tsking part in the push and pull of being in an audience under her spdf **** Broadway Baby We welcomed back Wright Bros Entertainment, after their Pleasan￿ debut in 2019. this time with a sell oui run of l Think l Might Cheat On My Girfriend. Our bi-annual WRESTIVAL continued in l)olh April and September 2023 including theatrelwrestling perfonnances. as well as a development programme where Pleasance London Associates were invited to help create the dramatic storylines for live wrestling matches. We also continued our annual Best of Edinburyh showcase in October. with 20+ productions retuming from the 2023 Fringe to play the Main House. Pleasance Downstairs continued as the home of emerging companies and debut playwrights. Responding to demand we ran a double-stacked programme throughout February to June. presenting multiple shows over a shorter period of the v￿ek. Page17

PLEASANCE. THEA TRE T AVST The season opened with Pick N Mix by Kat Rosfrmartin. as part of a UK twr. Other highlights included- l Hate It Here by London Associates Sweet Beef Broigus by London Associate Lauren Silver The Lrfe Sporadic of Jess kwildgoose by London Associates Vobz Collective Eila Domian-Gajic's Trade --A highty evocative look at the cruel world of human trafficking . Everything Theatre Kil Sindairfs 30 & Otrt - 'Powerful and moving with sexy grapefruits. A Youngish Perspective. Jonathan Oldfield's One Way Miffor - "Unmissable! A warmly comedi< poetKally written delight of a show.- London Comedy Christmas at the Pleasance was spent ith Tim Key. and the big names continued throughout the year with, Rcrtnesh Raryanathan, Sanders. Tom Davies. Adrian Bliss, Steff Todd and Marcus Brigstocke. Pleasance London has be¢ome a home for pe￿￿e filming their co￿dY sp8cials. with Michael Akadiri and Ignacio Lopez producing their Sho￿ in the Main House. while Comedy Central returned taking over the buikling for four n￿hts of shows. The Studio once again has been the home of comedy deveknp￿￿nI in London. The Pleasance hosted Ihree seasons over the year, sPDwcasing some of the best comic tslent in the UK: The Work in ProgTrss Season saw acts such as Darren HarrioL Laura Smyth. Celya AB, Sikisa and Simon Brodkin showcase brand new work with us; The Edinburgh Prewew Season helped lots of our Fringe acts work up their hour for August,. and Our Posl Edinburgh Season brougm the best from all over the Fringe back to London. Acts induded Stephen Buchanan. christ0p1￿r Macarthur Boyd, Jo Grrffin and Amy Matthews. A special menllon must go to Ihe inaugural Sean Lock Cixnedy Award with Channel 4 that we were very honoured to host. 2. Pleasance Futures (Artist Development and Support) Pleasance Futures is the artist devebpment strand of The Pleasance Theatre Twst. acting as an incubator for bold new artists to make their mark. Pleasance Futures is committed to discovering and supporting the most exciting new voices. nurturing the development of emerging companies. youry perfomws and new writers. The Trust continues to work on behalf of artists. perfonrrs and those behind the scenes, lo suc￿$$fullY mentor Ca￿er paths that, without support. may never come to light. All the work carried out by Pleasance Futures ts funded directly through donations from trusts and foundations, individuals and business. Any surplus from the Pleasance's annuaF operations is available to be reinvested back into these valuable programmes. Ple8san¢e Futures is overseen by a subcommitiee of the Trust Board. #Kluding Deborah Williams (Chair), Richard House, Sharon Uoyd Bames and Nikita Kana. Page18

PLEASANCE. T￿￿￿TRE TFiUST During the 2023 Fringe, the Pleasance c£*ntinued to buHd on last yearfs success and produced the largest wogramme of Futures supported work to date. collaborating with new organisations from across the UK and Northern Ireland and investing in a wide array of productijns and artists under new and existwig initiatives enabling companies with limited resources to appear on the Fringe. Productions received over £180.000 of direct financial support in addition to invaluable mentoring from the1leasan￿ tearn. 2.1 The Charlie Hartill Special Reserve The Charlie Hartill Special Reserve fund was estsblished in 2005 by Pleasance Founder Christopher Richardst)n. This is a designated. rolling hjnd towards the production costs of selected projects at the Edinburgh Festival Fringe. The Fund was created in memory of Charl•e Hartill - writer. perforner. ex-Presidenl of the Cambridge Foollights. eight years director of the Festival Fringe and the Pleasance's man of the ¢(Xnp￿er- who died in January that year. The Fund is managed Und￿ the Pleasance Futures subcommtttee and Christopher Richardson, founder of Pleasance, is the Chaiman of the Fund. The fund is divideij into three strands.. The Comedy ReseThe. The Earfy Ensemble Fund and The Generate Fund lor UK-ba$ed Blaek. Asian and Global MaiorltyArtlsts. The Trust is extremely grateful to Ellie and Duncan Mackinnon who have provided substantial financial donations to the Fund over several years. "It was the best decision that we ever made. and was the catalyst for the rolling series of events that followed... Elliot Warren. Flesh and Bone. Olivier-Award Winners, Charlie Hartill Recipients 2.1.1 The Comedy Reserve Wiat the Pleasance means to me is an instant emotional rncam of exu'tement.". Miranda Hart. Comedian Established in 2005. the Comedy ReseNe supports new comic tslent on the Fringe by selecting four emerging comedians and presenting them in a nightly mixed bill show in Edinburgh. Each act receives a finanoal subs1sten￿ during the festival and the full production costs are rA>vered ty the fund. Following in the footsteps of an illustri￿$ lisl of Reserve alumni, induding Jack Whitehall, Jamali Maddix. Holly Walsh. Daniel Rigby. Roisin Conaty and Joe Lycett, we were able lo support two lineups of eight Comedians. The 2023 recipients were: Abby Wambaugh, Ele McKenzie. Jin Hao Li. Kyrah Gray, Micah Hall. Shalaka Kurup, Vlad Ilich. and Wtill Robbins. Each comedian was selected by a judging panel after t¥￿> nights of try-outs in Pleasance London featurirvJ 20 acts shortlisted from 163 applications. The pleasan￿.$ 2023 comedy programme also featured seven Come(ty Reserve alumni. induding Chloe Pelts. Simon Brodkin. Rhys James, Darren Harriott, Josh Jones with Tadiwa Mahlunge and Mamun Elagab debutiThJ their solo shows at the Fr¥we. 2.1.2 The Earfy En$emble Fund As with the C<xnedy Reserve. we were able to double our commitment and fund Iwo companies thrwgh the Charlie Hartill Early Ensemble Fund in 2023. The recipients of Pag¢19

PLEASANCE. r￿ATRE TRUST the Charlie Hartill Early Ensemb18 Fund were November Theatre Pitch and Stroud & Notes y￿th Public.. The Musical. Established in NYC in 2019, November Theatre is a transatlantbc new writlng company championing trans and queer artists. Building on Iheir success frcxm 2022 with How To Build a Wax Figure. November Theatre trwht PitGh to the Pleasance. Deifjsed from conversations with hundreds of LGBTQIA+ football players. fans and professionals across the UK. Pilch imagined a future in whth queer presence in the beautiful game is more than just a debate over a rainbow armband. The show was critically well received and had a strong preserKe in the Courtyard. The show was nominated in the OffFest Awards and is currenty completirvJ an ACE and Unity Theatre Trust lunded UK tour. Stroud and Notes is an original musr¢31 company conceived by queer slnger- songwriter and ideas person. Kyla Stroud. Public." Th8 Musical did incredibty well across the board, both on general exposur8. press. PR, sales and future life inter8St. with keen interest from across the UK for a nat￿)nal tour and intemational interest including New York and Australia. They received four and five stars across the board and won Theatr8 Weekty's Best oflhe Fest Awards. taking home Best Musical, as well as a spe(aal mention from the Popcom Writing Award. They were also shortlisted for the Holden Street Theatres. Edinburgh Fringe Award. The show was consistently sold out and was a huge commercial success, buikling the exposure of the Charlie Hartill Fund: 3720 tickets were sokl at 98% capacity. The Theatre R8s8rv8 is our fiagship fund and re￿ived over 150 applications. As part of the Fund, the Pleasance provided direct financial support. covering adminislrative. marketing, accommt)dation and tethnical costs for the produ¢tions. he Chartie Ha￿11 Fund is revolutionary for a theatre company, providing an opportunity for gr0￿h and expansion Ihat would olheThwse be incredibly hard to access... Pitch. Charlie Hartil Fund Reapient 2023. 2.1.3 The Global Majorlty Fund for UK-based Black. Aslan and Global Majorlty Artssts Now in its third year, the Generate Fund. renamed Ihe Global Majority Fund for UK- based Black. Asian and Global Majority AJtists specifically supports work by artists from the Global Majorty and provides finance. mentorship and programming opportuntlies to support in brin9ing their work to the Edinburgh FestNal Fringe. This fund is the result of consultation with a wide cross-section of independent artists. companies and organisations with experience of presentin9 wcffk at the Fringe. and was a response to specth barriers facwvj Global Majority artists wishing to present work at the festival. There were two 2023 recipients of the Global Majority Fund this year: Unforgettable Girl by Elisabeth Gunawan and Santi & Naz by The Thelmas. Santi & Naz. from award-winning female producing team. The Thelmas, explored hildhood friendship, identity arKI loyalty against the backdrop of the polttical and civil unrest of the looming Partition of India. Elisabeth Gunawan's unhinged tragi-comedy. Unforgett8ble Girf examined Asian stereotypes. violence, and bodies through the lens of a mail order bride transfonning herself to bècomé 'unforgettable'. Pag¢ | 10

PLEASANCE. THEATRE TRUST The Trust made £10,000 available. Imth each production re￿IVing investment of up to £5.000 along wrth in-kind mentorship and support from the Pleasance team. During the selection process we pulled together a committee of Global Majority artists including Nikita Kana. Ameena Hamid and Shayshay who have experience of producing and presenting on the Fringe. and with d8velopi)g work by diverse artists, as supporting partners. "The team supported and guided us Ihroughout - through both tho highlights and challenges that face Artists of Colour. This experience has given us invaluable leamings and is an imwtant milestone towards putting me on the map as an exGiting artist that makes excellent innovative ￿￿al￿". Elisabeth Gunwana I Charfie Hartill Fund Recipient 2023 22 Young Pleasance Th8 Pleasance's youth theatre company. The Young Pleasan(% (YV}. retumed to the Fringe to bring together a cohort of young perfOrn￿rS to celebrate Iheir 27th year on the Fringe. showcasing their unKiue. critically acclaimed b￿nd of large-scale ensemble theatre. YP brought Shotrlyirts AND Spies to the Edlnt￿rgh Fringe for 2023. the thrilling story of Florence Ware. an intrepid Je¥rysh resistan￿ f￿hter and dazzlirKJ Str￿[rI leading a perilous life of espionage in VIW2. The refreshed creative team provided a rene￿1 energy within the creative team whilst retaining YP'S ambition- tsking in consideration the s¢ale of the show- whilst creating stepping stonas and maintaining ihe legacy of YP. working ith previous participants as writer. director, designer et¢. In January we auditioned over 100 yourvJ peoFAe from ac¥oss the UK at the Pleasan¢e theal and on Zc￿)M for perfornier and backstage roles. We offered 22 perfomer roles and 4 backstage rcAes. with a V￿lling list of 15 eager and lalenled young people. YP successfulty secured funding from Wavendon FoundatKm, which enabled the company to offer bursaries to financially supp)rt means4ested participants. The Young Pleasance is run by Directors. Joanna Bill1r￿n. rim Norton and Kathryn Norton- Smith. Waving the opportunity to be part of a professional production has been the most enrichlng and life-changing exp8ri9nce I have had so far." °It was a bnlliant experience that bvas equalparts insighlful. praclical andsupportive but al)ove all il was so much ftm." °During my time with the Young Pleasance as a costume assistant I leamed many invaluable life skills. As someone new to London and English cutture I feR incredibly welcomed and supported in my craft. Additionally I made so many connections, which is crucial for making any sort of career in the theatre and media industry. I would not be as far inlo my career as a student or as a costume d2￿gner without the help of the people of Young Pleasance." - Young Pleasance Participants 2023 2.3 Edinburyh National Partnerships Pagel 11

.'PLEASANCE. THEA TRE TRUST Now in its third year. the Edinburgh Nalional Partnership ProgramTre retumed, with support from the John Ellerman Foundation. The Pleasan￿ collalK)rated with seven regional partner theatres across the UK and Northem Ireland to identify and support exceptional artisls and companies local to them. who wanted to take work to the festival. Each partner.- a leading national producing house - has a commitment to supporting and developing new artists. The continuation of this programme recognises the extraordinary V￿rk being cxeated outside London. and aims to provide tangible support to these companies to present at the festival. Together, the Pleasance and its partner oryanIsat￿ hope to make a substsntial contribution to devek)p the next generation of leadff￿ theatrtrmakers and companies. NotatAe in 2023 was the expansion of the programme into Northem Ireland. working with The Lyric Theatre in Belfast. as well as a rarge of avrards and nominations across the season. We had tv￿ productions with them as a way of launching them as a partner. The 2023 Edinburgh National Partnership thèatres. companies and Pr￿lUcIl0nS were: Buff by Sbearita ProduL#Kms (Theatre Royal PlyThv)uth) Edmonds by Cosmic Collective (York Theatre Royal) Guffy by Glenna Morrison (Pttltichry Festival Theatre) Scaredy Fat by Skelpie Limmer l The HaM&Voon by Alice Malseed & Emily Foran (LYTIC Belfast) Bitter Lemons by Lucy Hayes (Bristol Okl Wic Femnt) CHOO CHOOI (Or...Have You Ever Thought About - Stammermouth (sheM￿n Theatre) Glass Cling Beneath The Stars by Bric a Brac Theatre (Pleasance London) -? (Cos I havel) by All eight productions surpassed the 2022 box Offi￿ return for shows in equivalent ¢apacty venues and run length. an increase in the numbers of tickets sold abngside an increase in ticket prices. Two productions Buff by Sibearita Productions. and Bitter Lemons by RJG Productions exceeded ttreir targets signifKantty- In total. 5650 audience members attended these eoht productN)ns. an increase on last year's ticket total for the rxogramme of 38y¢t - athieved by programming I￿rk into larger venues. Brfter Lemons was shortlisted for the prestigious Pop¢cffi Writlng Award. CHOO CHOOI (Or... Have You Ever Thought About . (Cos l Have)) won a Scotsman Fringe First. one of only 15 shows across the entire Fringe programme {more than 1500 theatre shows) as well as the Mental Health Foundation Award which was accompanied by a £50(Xl cash prize as well as being shortlisted for the Neurodiverse Review BOP EXcept￿nal Theatre Award. Buff vms shoruisted for th8 Neurodiverse Rev￿ Bounce Emerging Artist Award. On accessibility, all shows delivered captioned performance with CHOO CHOOI (Or... Have You Ever Thoughl About (Cos l Have)) integrating audio description and BSL interpretation creatively into the show and Glass Ceiling B6n8ath Th8 Stars offering captioning for every perf0M￿nce. "Bringing CHOO CHOOI to the Edinburgh Fringe vi'a the Edinburgh National Partnership Programme has been an incredible ioumey. tts allowed us to connect ￿"th audiences, showcase Ihe power of accessible theatre. and spath meaningful ¢onversations about mental health. Due to the festivalsplaffom? we have been reupients of hyo amazing awards,. A Fringe First and a Mental Heafth Foundation Award which has opened doors to collal)orations. dened our artistic ambitions. and reaffim?8d our commitment to inclusive storytelling." Page112

PLEASANCE. THEATRE TRUST Ceriann Williams, prodU￿r, CHOO CHOOI (Or... Have You Ever ThoughtAI)out '-- (Cos I Have)) 2.4 Popcom Writing Award The Popcom Writing Avrfard from Popc(*n Group ieturned for its fifth year. working with BBC Writers room, offering each of the shoruisted playwights one-tckone meetirwJs with members of the BBC Drama Commissioning Team. The award celebrates new writing excellence. feartess work which playfully and artisticalty questions and addresses current affairs. societal trends and contributes posits'vely to publK debate. Eligibilty was expanded to 8KJht partner venues. and was open to any new play debuting at Edinburgh Festival Fringe 2023. The shortlist included several Pleasance artists. induding the ENP Bitter Lemons by Lucy Hayes. Green Fingers by Adam Sowier. Flo Poskitt and Ben Tansey (the first children's show to be nominated). and Super by fvAatthew Radway. The 81ieff Life & Mysternus Death Of Bons 111. lting of Bulgaria by Sasha Wilson & Joseph Cullen and Public- The L4usical by Stroud & Notes (Charfi8 Hartill Recipient) were shortlisted finalists and received a share of £3.000 between them. The latter production transferred to 59E59th St Theatre in NY as part of the Brits Off Broa(tway season. 2.5 Pleasance Futures Trainlng Opportunhles As part of a commitment to artists. 2023 saw the Pleasance continue its Pleasance Producers workshops. the plan was similar to last year. taking the sessions online and opening them up to the entire programme. OrvJinalty for emerging producers and artists, the Pleasance lell Post-pandemic artists needed as much support as we could provide and ended up being as useful to our volunteers, many of whom a￿ also emergng artists in their own righL The sessions were for artists and producefs wt￿Se work was induded in the Pleasance's Edinburgh programme and they were invited to participate in a series of tailored sessions from March - July. The initiative not only aims to supFK)rt productions in their journey towards the Fringe - and to leave them inspired and empowered to take the Festrrfal by storm - but also to am them with tocAs for the future post-Edinburgh in order to maximise their experience. The sessions offered insigm into the responsibilities of producirKJ theatre. wactical approaches for bringing together and managing a prc¥lu¢tion, as well as being in an open platfom to ask questions and discuss their projects. Pleasance Producers sessions continued into the Fringe itself. offering free training. outreach and networking opportunities lo artists and vdunteers performing and working with the Pleasance's Festival programm8. As part of the Pleasance Festival Programme we offered the followtng workshops. TV Demystifier- Wribng from Stage to S￿en- with Natalie Denton from the Popcom Group: offering valuable advice to writers on treatments. production companies, ar how to shape their work from stage to screen. Intemational Tour B00kM￿- with Sally Cowling.. a workshop on how artists can make the most of their Fringe experience and capitalise on securing firture bookings of their work abroad. Pag¢ | 13

PLEASANCf. THEA TRE TRUST Making a Musical- with Slroud & Notes: a workshop with key thoughts on developing a musical from scratch. DeMysti￿n9 Publishing - with Calan Mccarthy from Bloomsbury Publishers: lffted the veil on gett￿￿ work published, parttujlarly on communutin9 With publishers. Devising Work & Setting Up A Theatre Company - with Bric a Bra¢ Theatre". workshopped the ins and outs of setting up a theatre company and the challenges that need to be overcome. Other initi'atNes included Artists & Venues Speed Dating, where leading venues offered one- onwone me8tings with artists ab¢xrt Iheir programming models. which resulted in tour dates for many of the companies. It was irnrnensety popular so we're dimw￿ to fun it again in 2024. 2.6 Artist Support London As the Trust's year-round development hub, Pleasance London plays a vital role in nurturing talent and providing opportunities. wth much of this work uliimately contribuiing to the notable productions in the Edinburgh programme. 2.7 London Associate Artist Programme The Trust continued to support its resident artists at its London theatre through the London Assoclate Artlst Programme, whKh aims to help companies arKI artists presenting excellent and innovative work are based in the capital. to take the next steps in their careers. Following an open application process in 2022 for 2023, six new artists and companies were welcomed into the Pleasance Fu1u￿ family as part of a {W￿year support programme. The programme grows in success year on year. with a record number of applicants.. 220 applications in total. 2023- 2025 London Associate Artists: Louise Orwin Don One Sweet Beef Flawbored Papergang Awkward Productims 2022 - 2024 London Associate Artists: Part of the Main Jack Sears Shayshay Lagahoo Productions Katie Amstein Playwell The Trust provides London Assocrates with 100% subsi(lised rehearsal space, financial suppjrt, programming opportunitiés, work and meeting space along wth practical artistic. technical and producer mentoring. 2.8 Futures Feslival Back for its third year, Futures Festival 2023 {°FF23") showcased developing productions from leading independent perf0m￿nCe makers. FF23 was curated by three Pleasance Pag¢114

PLEASANCE. THEA TRE TRUST Associate A￿sts and each week featured ttwee different shows explorin9 a theme of our urrent times. Each year the Pleasance commits to supportin9 srx London-based theatre makerslwriters for a two year resKlency, prowding them with the transfomiative tools to take their work and craft to the next level. We asked them to curaie a festNal based around themes of their choosing. Futures Festp4al 2023 took pla￿ ac¥oss three weeks from 27th November to the 16th December. Following an open call out. over 100 submissions received, each week was curated by one of the Pkasance's LorKlon associate artists ¢x companies around a specific theme. These were: The Fulure Is Thirsty AF by Louise Orwin. focusing on soGial media, shrfting paradi3ms. mults'media arKI the dimate crisis. The Future Is Queer by Sweet Beef, with a focus on queer theatre makers pushing fomial boundaries to create interactive work frorn drag and cabaret to formally experimental WOTk. The Future Is Violet by Papergang. focused on character dri4en work that Chalenges tokenism and rises al)ove marginatisation. Crucialty. FF23 gave thè selected performing artists a vilal opportunty to bn'ng their work to lrfe and gain valuable feedback from audience aNJ industry specialists at a crucial time in their work's development. The selected artists each received 100% of their b)x office takings. subslantially reducing their risk, along with rehearsal space. feedbad<. technical and producing support from Ihe Pleasance team. The original festival was a resFrf)nse to the lack of OPF)Ortunities to present work-in-progress theatre during and after Ihe Covid-19 pandern￿, with the aim to showcase what the future of the Fringe is. "Futures Fest provides us with a dream space to present the ￿ldest ideas and share them with our loved community.°_ Ghost & John, An Evening with Two Plant Gays. Futures Fest Participant 2023 2.9 A Pleasance Scratch A Pleasance Scratch has been running since 2015 and is a chance for artists to present brave. new work at the first stsges of development. Since its inception A Pleasance Scratch has supported the development of a large number of artists, writers and theatre makers throughout the year. The success ofA Pleasance Seratch led on to the Pleasance formalising its work-in-progress theatre offer with a new development season of work4wrogress work. regularly presentin9 rnore new. dynamic and developing the81￿. A Pleasance Scratch was Cowcurated by IM> earfy emerging creatives, Ash Manganaro and Emilia Hargreaves, who both have an interest in programming. We ran scratch nights at Pleasance, London with open submissions in March and November, showcasing the earty work of up to 20 artists. The scratthes were popular wrth over 31)0 submissions for the 12 spaces. °Such a nice envimnment. It was so accepting. supportive. I totally ￿11 come to the nexl one, whether I know someone in it or not 111 Thank you lor putbng this onl-. Audience Member, March 2023 Page115

PLEASANCE. THEA TRE TAUST 3. Festival Partnerships 3.1 Edinburyh University Students Association Since the very first season the pleasan￿ operated al the Edinburgh Festival Fringe in 1985, the Trust has enjoyed a mutualty beneficial partnership with the Edinburgh University Students, Association {"EUSA'), vtho manage a large number of the spaces that the Trust occupies at the pleasan￿ Courtyard and Pleasance Dome. Whilst the scale of the operation has grown since then. the principal relationship has remained the same - the Pleasance sets up the venues and creates the programme. v•hilst EUSA manages all of the food and beverage. Their catering operation is primarily slaffed by those studying at the UnDiersity, giving the student body a very close V￿rkIng relationship wtth the Fringe. for many their first job. Festival staff for EUSA are pemitted access to shows when tickets are available. As part of the festival deal. the Pleasance Theatre Festival Ltd, a wholly-owned subsidiary of the Trust. received a contractual sharé ol the bars and catering income generated by EUSA at the Courtyard and Dome. Whilst the theatre and catering operations are managed largety independently. the two organisations work dosely together to provide a seamless festival experience for visitors to the Courtyard and Dome. The Trust gralef(A fmpanies have taken their contractual share. with the Pleasance receiving a minority split of the resulting balants. "The Pl8asanc8 at EICC. programme and audience have steadily grown year-by-year. with the site offering opportunities for a range of large technicalty-complex produclions that may not otheNise be accommodated by the Fringe's tempcyary venues. The Trust is extremely grateful lo the stall at EICC. Page | 16

PLEASANCE. TMÉAYkÉ TkUSI 3.4 Waverfey Care For 31 years. the Pleasance has proudly supwted the vitsl work of s￿lIand's HIV and Hepatitis C charity. Wavertey Care. Everyyear. Wavertéy Care's dedicated team of volunteèrs an be found collecting donations throu9hout the Pleasance's venues and the annual comedy benefrt. The Tartan Ribbon. has become a staple of the Fringe calendar. This unique collaboration of two charities has raised over £660.000 to help deliver lifethnging services and change public perception for people thrOUg￿uL Scotland suffering from HIV. Hepatitis C and the effects of these diseases. Perfomiing companies across the Pleasance programme are encouraged to make live or reccrfded announcements at the end of their productions to highlight Wav8rt8y Care's work. 3.5 Accessibility The Trust is committed to creatirvJ a programme that is accessible to all and continues to take prowactive steps lo increase awareness arKI uptske of accessib￿ perfom7ances. Th8 Trust was pleased to continue to operate at the highest Level 3 Award as part of the Fringe Society's Venue Access Toolkit, wh￿h recognises prtractiwty in creating universally a¢cessible venues and partiapant experiences. Improvements to reach this level induded an incrèased level of disabilty awareness training across festival teams and improvements to the site including further investment in the 'Access Highwal over the Pleasance Coutyard's cobblestones for those with limited mobilty. There has also been an expansion of our programme of accessible wfomiances with 50% more perfonn8n￿s offering accessible enhancement (relaxed environment. BSL. ￿ptiOnS, audio description, touch tour or combination) than at the 2022 festNal. Amongst our progravnme was the intemational leader and innovator in accessible theatre, Graeae. premiering their new show Self Raising which has integrated BSL interpretation, captioning. audto description. In addition, the Fringe First Award-winning CHOO CHOOI (Or... Have You Ever Thought About ? (Cos l Have) had an integrated BSL and audio description. and was supported by th8 Edinburgh National Partnership programme. Whilst the Pleasance was pr￿d to conlnue improving its acGe5sibilty offering. it is committed lo the positive action required to make even further progress towards universal accessibility in the festival operation, facililies and programming. 3.6 Sustalnablllty The Trust manages a conts'nuous assessment of its impact on the environment and. in response to the climate crisis, concerted efforts were made again this year to improve the sustsinability of the Trust's operations through changes to our day-t{￿aY operation. our artistic programme. improvements to our year-round London premises and for the festival operation in Edinburgh, via the Green Venues initiative. In London. through significant capital funding received from the Cty Bridge Trust, the Tnjst will make improvements to our London premises and head offi￿, which wil S￿n￿¢antlY improve our energy efficiency and reduce our cart)on footprint, removing our dependen￿ on fossil fvels as a building. It will also move the lighting rig in both spaces to a full LED Operath￿ and better insulate the public a￿ as. Now in its second year. the Trust's Sustainability Steeling Group has continued to make improvements to the Trusl's operation and advocacy- and have reontly published an updated Environmental Policy which sets out the T￿￿rS k)ng-term green ambitions and Ihe roadmap for achieving these. 4. The Trust Pagel 17

PLEASANCE. T￿￿TRE TRUST The Trustees (also referred to as directors for the purposes of company law) present their report with th8 financial statements of the Trust for the year ended 30 November 2023. The financial statements have been prepared in accordance with the accounting policies set out In the notes to the financial statements arKI compty with the Trusvs constitutional documents, applicable law and the requirements of the Statement of Recommended Practice. "Accounting and Rep￿ing by Charities" 2005 FRS102. 4.1 Reference and Administrative Details The Charity was founded on 21 November 1995 and registered in England and Wales as a company limited by guarantee. with company r￿. 2013041. It is registered by the Charity Commissioners in England and Wales as a charity under the number 1050944 and by The otrice of the Scottish Charity Registrar under the number SC043237. 4.2 Truste•s Th8 Truslees vtho served during the year were as follows". R M House J Boyd S Lloyd Bames N Kana D Williams Secretary to the Trust: John Faulkner. The retiring Trustees are Richard House and Deborah Williams who offer themselve5 for re- election. The power to appoint arKI remove Injstees is vested with the Trustees. 4.3. Structure, Govemance and Management The operation of the Charity is govemed by its Memorarrfjum and Articles of Association. It is a company limited by guarantee. In the event of winding up. the members ¥￿11 be liable to contribute a maximum of £10 each. The charitsNe status has been approved by HM Revenue and Customs. sin￿ the charity uses ts funds onty for charitable purposes no laxalion is payable on the income or gains. The overall responsibility for the operations of the Trust and its finances is with the Trustees. but day to day responsibility for the administration and financial aspècts is delegated to the Trust Director, Mr Anthony Alderson, who is appointed by the Twst8es- for the avoidan¢8 of confusion, Mr. Alderson is not a Trustee (nor a legal director) of the company. The Trustees meet several times a year. eiiher in person ￿ by online conference. The Trustee body is compact and there are two operational sub<ommittees: Pleasan¢e Fulures and Finance, Audit and Risk. The Trustees work closety with the appointed Director to develop. but have overall control of, the Trust's policy. programme, finances and future plans. The Trustees set aside one meeting each year. without a nonnal business agenda. as a risk review and long-term strategy exercise, with briefing papers contributed by both Trustees and appointed staff. The Finance. Audit and Risk coMm￿ee met several times to review financial statements and projections. and determine the ￿st risk strategy for the Trust. This informed the following budget cyde and acts as a general guidance for the structurin9 01 public perfoTman¢e programmes and the development of Pleasan¢e Futures, emerging companies and digitsl initiatives and other community a¢tivit*s. Page118

PLEASANCE. THEATRE TRUST The Trustees appoint the Director. and partsciwe in the appointment of other key staff. The Director appoints all other staff, within the Trustee-approved budget and organisation structure and manages all stsff. reporting diredty lo the Trustees al their regular meetings. Trustees consider and set the overall remuneration pattem annualty. The Trust is advised on personnel matters by Alcumus Group Limited and there is a comprehensive stsff handbook and an agreed grievance pror2dure with the Trustees as the final int8mal arbiters. The Director has delegated authority to exp8rK1 th8 agreed budget within the organisational strudure, and reports to the Trustees through management accounts. presented at regular Finance, Audit & Risk Committee meetings and fum Trust meetings. Given the speed and fluidity of theatrical business. the Trustees have a system of swift variance approval. outside the meeting cycle. through the Chairman and by electronic consultation wtth the small Trustee The Twstees have agreed the ouuines of the various contradual instruments necessary to secure venue spaces in Edinburgh and to regulate the relationship belween Trust and companies which perfonn al the Pleasance venues. The Director is responsible for the detailed negotiation and execution of thesè contracts within the budget, delegating to other staff as necessary. On ¢aprtal expenditure. other than normal repairs reneyrdls and rnainlenance includèd in the agreed budget. th8 Trust rètains all decisions. takiry professN)nal advice as required The appointed staff develop arKI structure the programmes and budgds for Ihe Edinburgh Fesiival season in the January to April period. alongside the operation of the London Pleasan￿ Main House (variable from 180-280 seats). the 50-seat Studio and Pleasance Downstairs. These prowd subject to the approval of Trustees at their regular meetings The Edinburgh programme is announced from January to April and the London Pleasance Theatre hosts a preview season of selected companies whith wdl appear in Edinburgh. During this period the London Autumn season is finalised. The London iheatre is not usually given a public programme durirvJ the time the operational staff are running the Edinburgh Fringe Festival season, althou￿ it has been used for hxal summer schc#)Is and commercial lets. After the Edinburgh season, the London season recommences in late September. running through the Christmas period and leading up to the nexi application cycle for the Edinburgh Fringe Festival season. The Trust has developed rehearsal and development facilities which function alongside the public perfomiance programm8 The charity has a subsidiary Company, P￿asance Theatre Festival Limited. Trading activitie5 not permitted to be carried out in the charity are Carried out in the company on behalf of the charty. Profits n excess of operating requirements are donatad to the charity under gift aKI. 4.4 Appointment of Trustees Membership of the Trust is by invitalion of the Trustees, having regard to the need to maintain a broad range of experience and interest and to the expectation that the Twstees will be closely invdved in specialist supervision of the ChafiWs activities. On appointrnent a Trustee receives an induction pack comprisiry the principal constitutional and policy documents of the TWSL wrth current financial and foThYard Flanning information, and a Current briefing document suth as Good Govemance issued by the National Hub of Expertise in Governan￿. The Chairman. Secretsry and the Trustees who have legal training Page | 19

PLEASANCE. THEA TRE TRIJST are available to deal with any qUer￿s. Each Trustee is required to give a written ass[Kan￿ abc#Jt slalus in relation to previous service as a director or trustee (bankruptcy, financial pnyriety. disqualification) In the event of significant changes in the legal framewthk goveming the responsibilittes of Twstees, the Trust wdl provide appropriate trainK)g or infomiation. 4.5 Risk review The Trustees review major risks to the Iyganisatron on a regular basts and establish systems and procedures to mitigate identified risks. A more detailed review is norn)alSy undertaken each year at a meeting with no other agenda to examine the Theatre's areas of confidence and of risk. P8rfomance against the plan is reweV￿d at the Trustees. regular meetings. encompassing aspects such as budgeting. financial control. artistic programming. public benefit, heatth and safety. safeguarding. dala protection. equality. diversty and inclusion, sustainabilty and arxessiblty. The Trustees consider tr￿1 the current principal risks and uncertainties are in the cost-of4rving increases and increases in infialion. in particular the dramatic increase in accomrnodation sts for artists in Edinbwgh for the period of the festival. The Trustees have reviewed the chanws activities and consityered these consistent with providing pubk benefiL 5. Achievements and Perfom)ance The Trustees consider that the outcome of the work presented in Lond(￿. 8t the Edinburgh Festival Fringe and onth'ne achieved the aims and objectNes set out atK)ve. having due regard to the responsibility to deliver public benefrt. The festival and London operations have very much relumed to a more nonnalised operatw following the pandemic. The Trust's intention is to maintain its operational aim of presenting a more varied programme year-on-year, increasing overall attendance and containing costs in such a way that the Edinburgh and London Pleasance seasons provide cOmple￿￿ntary financial and operational benefit and ongoing support to Pleasance Futures. In all its public programmes the Trust strives to balance the legtlimate interest of the artists in receiving a fair retum from ticket revenue for their artistic input, the necessity of balancing the operational budget to ensure conts'nuation of actiwty and the aim of maintsining a pricing structure which offers affordable t￿kets for the general audience. Concess￿)nary entrance for specific economic and sooal groups. and largeted tKkel schemes, aimed at makin9 the programme accessible to all. 6. Flnanclal Review Presenting a full festival at the Edinburgh Festival FrirYJe and a full pwogramme at the Pleasan￿ in London, the Trust has been able to stabilise its finances since the negative impact of the pandemic and, whilst the Arts continues on a path to recovery. the landscape remains challenging. The financial resutts for this year end remain positive. Page120

PLEASANCE. THEA TRE TftitsT In Edinburgh. the Trust was able to mount a complete festival in Edinburgh in August. Attendances were 6.3°A up on 2022 and with a purposeful inLYeas8 in ts'cket pri￿. achieved a 12.2% increase on the 2022 b)x office lotal. A crucial part of the sustainabilty of the Twst throughcxrt the pandemFC was a re¢eipt of CBILS loan of £250,000. Repayments of this loan started in September 2021. Whilst this debt is being reduced. it remains on the balance sheet as capital, it remains a signtficant liability for the TrusL At the end of the finanoal year. the remaining liabilty was £131.400. The Trust was successful in receiving grants for pro9rarnme activities within Pleasan Futures. These restricted grants totalled £56.500. The Trust are extremely gratefvl to the trusts and foundations that continue to support its wofk in devebping and supporting new artistic enterprise. At the end of the financial year the Tnjst generated a suwFlus of £15,012 Looking fo￿ard, the Trust are continuing lo look at ways to diversify revenue streams and this includes a continued increase in events hires following the ieconffiguration of th8 Main House in London. The Tfust also rnntinues to kM)k al ways of maintaining head office ovetheads at budgeted levels. In 2023 the Trust Conlinued to explo￿ ways of increasing revenues via online and broadcast perfomanc8. Whilst these revenues rernained small due to a greater preference for live perfomwnce. this worf( continues to be ex[A￿ed. 6.1 Pleasance Theatre Festival Limited The Pleasance Theatre Festival Ltd. a wholty owned subsidiary of the Trust, receNed a contractual share of the catering income generated by Edinburgh University Students Association EUSA at the festival Courtyard and Dome venue5. Pleasan￿ Theatre Festival also runs the bar operation at the London Theatre. P￿aSarKe Theatre Festival Ltd re￿rded a loss of £19,261. 6.2 Reserves pollcy The Trustees consKler that the funds received each year should be fulty utilised to meet the objectives of the Charity as stated above. However, Ihe Trustees also consider thal it is prudent to hold a minimum of £250,000 of unrestricted funds to meet on-going contraciual commitments and for moments of finanoal stress like those of the pandemic. These funds equate to appioximately four months of head off￿e running rnsts. The negatrve effects of the pandemic did require the Trust to utilise Gash reserves. however the stated ￿SeNe$ level was maintained throughout the financial year. The Trust now has several designated funds *Atythin Pleasance Futures, funded by arKI foundations. including.. Arts Counal ErvJland. National Lottery Heritage Fund, John Ellemian Foundalion, Pcpcom Group, Christina Smrth Foundalion. Crerar Trust, Austin & Hope Pilkington Foundation. Islinwon Local Initiatprfes Fund. Cwicom Energy. Bloomsbury Put4ishing, WM Mann Foundation. Radio Forth Cash for Kids, Russell Trust, Hays Travel Foundation, Schreier Foundation, 8arcapel FoundalKm, Behrens Foundation, Garrick Charitable Trust, Scottish Children's Lottery, Teale Charitable Trust. Mbili Charilable Trust. David Family Foundat￿n. Wiggin Charitable Foundation, Equity Chartlable Trust, Unty Theatre Trust, Royd Victoria Hall Foundation. Thistl8 Tmst, Kirsten Scott Mom￿la1 TWSL A combination of these reserves. other undesignated funds and local and national support funds enabled the Trust to stabilise rts p￿1￿￿ and progress plans for activty throughout 2024. Page121

PLEASANCE. THEA TRLIST 7. Plans for the Future Throughout the year, each acti￿ arKI programme is planned with new budgets in the light of the Trust's experience in developing them over more than three d￿ades. The Trust presents productions by others, and a smaller number which it facilitates or co-produces itself. with the double aim of respondirvJ to the dynamism of live performance and securing a positive finanaal outcome through ticket sa￿. which are the Trusfs maior source of income. The Trust has not sought iegular revenue funds by way of dired subsidy from any public sector source. It is therefore dependent on the theatrical entrepreneutship of its management team and of the Trustee body to ensure that In￿Me is maintained. and, where possible, increased. To this end it maintains a high level of experieno in the enterlainment sector in the Trustee body and management team, and will continue to do so, securing additKnal expertise as and when appropriate. 8. Statement of Trustees, responsibilities Charity law requires the Trustees to prepare accounts that give a true and fair view of the state of affairs of the charity and of its income and expenditure for the financial year. In doing so. the Trustees ar8 required lo: selecl suitable accounting policaes and then apply them consistently: make judgernent5 and estimates that are reasonab18 and prudent" state whether appliGable acGounting standards have been followed subject to any material departures disdosed and explained in the finanoal stat8m8nts', and prepare the financial statements on the going ￿ncern basis unless it is inappropnate to presume that the charity will continue in business. The Trustees are reSp￿Sible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the Charity and to enable thern lo ensure that the financial statements Comply Y￿th the Charities Act 2011. They are also responsible for safeguarding the assets of the Charty and hence for tak￿g reasonable steps for the prevention and deleclion of fraud and other irregularities. Amounts are presenled wthin items in the profft and loss account and balance she81. th8 Trustees have had regard to the substance of the reported transaction or arrangement. in accordance with generally accepted aGcountin9 principles or practice. In the case of each of the persons who are Trustees at the time when the Trustees. report is approved: so far as the Trustee are aware. there is no relevant audit information (information needed by the Charity's auditors in connection with preparing their report) of which the Charty's audttors are unaware. and each Trustee has taken all steps that ItrEy ought and themselves aware to have taken as a Trustee in order lo make hwnself aware of any relevant audit inf0m￿tIOn and to eslablish that the Charitys auditors are aware of that information. 9. Appolntment of Auditors The auditors. Jefftey ￿tMan & Company, will be proposed for re-appointment at the forthcoming Annual General Meeting. Page122

PLEASANCE. THÉATRE rTtUST Approved by the Truslees and signed on their behaff by: Richard House Trustee Date: 20 Principal and Rogist•r•d Offi¢• R•gi$t•r•d Offlcè in Scotland Pleasance Theatre Carpenters Mews North Road London N7 9EF 13 Eskside West Musselburgh E&8t Lothian EH216PL Tel.. [phone] Prolessional Advlsors The following professional advisors have been used where appropriale. Audltors Bankers Jeffrey Altrnan & Company Wayman House, 141 Wickham Road Shirley, Croydon, SU￿ey. CRO 8TE The Royal Bank of Scotland Edinburgh St Andrew Square 36 St Andrew Square. EH2 2YB Page | 23

PLEASANCE: THEA TRE Tf¢usT Pleasance Team Director General Manager Technical Operations Manager Head of Comedy Head of Theatre Marketing Mana Producer Associate Producer and progTammer Graphic Designer Marketing Officer Head of Finance Finance Assistant Box Office Manager Box Office Deputy Manager London Venue Technical Manager London Venue Technicians Kidzone Coordinator Young Pleasance Directors Laura Schofield Hamish Ellis Ryan Taylor Nic Connaughton Stuart Hurford Ell￿ Simpson Jonny Patton Ajw Gonnan RI￿ Colins Janine Slolz Nida Zamir Kathleen Price Georgina Franldin Dave Burn Jay McPheTson & Helen Du(hJa Candida Alderson Kathryn NortoTrSmith Tim Norton Joanna Bi￿ngtOn Founder & Patron Christopher RKhardson Pleasance Futures su￿0mMIttee Chair.. Members: Deborah Williams Sharon Lloyd Bames Richard House Nikita Kana Finance, Audit and Rlsk Commlttee Chair.. Members: Jenny Boyd "chard House Janine Stolz (Head of Finance) Laura Schofield (General Manager) Page124

THE PLEASANCE THEATRE TRusr A COfvtPANY LIMITED BY GUARA EE INDEPENDENT AUDITORS. REPORT TO THE MEMBEILS OF THE PLEASATrICE THEATRE TRUS Opillion We have audited the Fir1a￿l81 Stst¢trMts of Th¢ Ple&wce Theatre Tn￿ {th¢ chari￿) for the year ended 30th November, 2023. whith ￿Mprise Consolidated Ststernent of Fi￿a￿la1 Adivities. the CotMlidated and Charity Balattce Sheets, the Consolidated Ststement of Cash Flows and now to the finallci￿ S￿ements. including a summary of si￿1￿¢￿nt accoimting rK>licies. The fir￿l¢la1 reF￿1￿ framewo￿ th h&8 len applied ID their preparation is applicable law and United Kingdom Accounttng St8tthrds, iD¢luding FRS102 Tr FiDaDciai Reporting S¢ applicable in the UK and Republi¢ of Ireland, (United Kitigdom Generalty Acceptsd Accimmting Practice). In opitttott the financial ststernen￿. Give a true and fair view of the of the Cbarity ￿ the Group's affaits as at 30 Novemiv. 2023 and of the Group's iocome and expetidibm for the year then Hav¢ be¢n prwty PT¢p4red ill acc£¥datt¢2 with UDiteA Kingdom GwKrally Accepted Accouting Ptactice" Have been properly pr¢par&J in xwrdanc¢ with the Charities and Ttwstee tnvestnKDt (s￿¢18nd) Act 21K15 and regulation 8 of the Ch•riti&% A¢cowits (Scotland) Regulations 2(K)6 (￿ ameD(led). B8sis for opinio We condu¢ted our audit ID a￿ordance with lrtten￿ StsndaTds on Audiiitig (UK) OSAS (UK)) and applicable law. Our responsibilities uThler thos¢ starylarth are further d&scribed the auditoPs responsibiliiies for th¢ audit of the fmanciat statements seaion of our reporL We are Inde￿ of the Clwity and the parent clwityble ¢ornp8ny In 3ccoriJance with the ethical reqUireMu￿ that are releI￿llt to audit of the financial Slat￿ents in the UK, in¢luditig the FRCS Ethi￿ Standar4 and w¢ hav¢ fulfilled our other ethical resp)osibilities ID accordaDce with these requirem¢nts. We ixli¢ve that th¢ 4udii evidenc¢ wt h•¥e (Jbtaitd is sufficieftt and appropriate to provi(le a basis for our opinion. Concluslons relatlDt to golog coneern tn auditing the financial sta¢¢]D¢nts, we have that the trLL%te& use of the goitig CODC¢rn basis of &¢¢outttitig in th¢ preparation of the financial statements is apwopriat¢. Bas¢d OD the WO￿ tb we have i￿rfOrn￿￿ w¢ have not idetltified any materiat Uncertai￿lieS relating to events or condittons thaL individually or collectively, may cast sigTLificant doubt on the group's ability to continue as a goin8 concern for a period of at least 12 mODths from when th¢ finaucial staernents are authorised for is5U Our respon5ibiliti¢5 and th¢ re5w)DsilJilhti¢s of the tru5te¢5 with rtspect to going concern ae described in th¢ relevant Sectio￿ of this reporL ¢r information The mjstees are rttwible for the other infornthtioffj. The other Inforn￿on comprises the inf0m￿tion iDcluded in the Annual Repory including the tnLS¢s [¢￿rt other thaTh th¢ financRal $tat¢rn￿ts and our auditovs report thereon. Our opinion on the fmancial sra¢¢aMts does not wver th¢ other itthrma¢ioD and ¢x¢¢pt to the extent otherwise explicffttly SW¢d in our report w¢ do nol exprw any form of assurance ￿￿luSiOn therwn. In ¢onD¢rtion with ow audit of the finall¢￿ statrments ow Yesponsibility is to th¢ other ]nforn￿tiOll an<L in doing so. consider whether the other Infonh￿OD is TD•¢rially iDCQDSiStent with the fittancial statements or our knowledge obtaioed in th¢ audit OT othWwi￿ appears to be ￿￿terIallY misststriL Jf we identify such mat¢rial inconsi51¢ncies OT apparent mat¢rial rntsstatement4 we are requirEd io deten￿ whether there is a material misstatrment in the fjnanciai swements or a matertal misstst¢m¢nt of the other inforn7ioo If. b&sed OD the WOTk w¢ have FErform¢4 we Conc1￿J¢ that there is a ttmterial mtss¢aternent of thts other Inform￿ we are reqUi￿d to ffeF￿ the facL We have llothing to report in this regw Opinions other rnlleYs prescribed by tht Comp•Dks Ad 21106 In our opiniow based on the Work underten in the course of the audiL' The inforn7&ioti given in the TnL5tx8' Rem whith includes the directors. rel￿ prepaTed for the purposes of company law. for the financial year which the financial Ststem￿ aTe prepared is consistent whth the financial statements: and The directo￿, report included withiti th¢ Truste¢s' Re￿ Iw prepared in Xc0rd￿ with applicabk legal requir¢ments.

THE PLEASAY4CE THEATRE TRUST A COMPANY LIMrrED BY GUARANTEE INDEPENDENT AUDITORS, REPORT TO THE MEMBERS OF THE PLEASANCE THEATRE TRUST Mt¢ers on whickn we are T¢quired to report by txeeptS0 In light of the knowledge and understanding of the Charity and its enVIr(K￿ent dA81n￿ in the course of th¢ audit, we have noi identified material misstatements iti the Tn￿tee$. IiwTL We have nothing to report in respect of the following mattw5 in rekntion to ￿l¢b the Companies A¢L 2006 and the Charities A￿oUnts (Scotland) Regulations 2(rf)6 (as amen￿) requiT¢5 Ils to Yeport to you if. in ow opinion.. Adequate and proper acc¢)unting records have D¢￿ been kepL or Tetums for ow audit and bave not been received from branches nol visikd by u& or the financial statements are not in a8reerne￿ wRth the accounting TecoTds and retum%" or lain dis¢losur¢s of tru5¢5' remun¢Tation specific by law are not mad¢" or we have rtot Teceived 411 the information attd expiatiatiOTL8 we require for cw audiL RespoDsibilitie$ of trnst¢¢s As explained rnore fidly in the Stat¢m¢nt of th¢ Boarfs r¢5ponSI￿lIitit4 the tnjstees respoDsible for the preparation of the financial ststernenL% attd for being satisfied that they give a true and fair view, and for su¢h internal control as the trustees dettrniine is necessary to er￿lIe the preparation of fina￿191 statements th aTe free fr(Mn material misstatemtsL whether due to fraud or error. In preparing the fjnancial 5tatement& the trustees ar¢ Tesp)TJSi￿1¢ as5¢5sitig thE Charitys ability 10 continue as a going conwn. disclosin& as applithl¢. matter5 related to goiDg conc¢rn and U5iDg the going cow¢rn b￿lS of accounting wiless the trn5tees either In1￿d io liquidate the Charity or cease ts[wati￿ or b&v¢ no realistic alteTnative butto do so. Auditor's responsibilities (or lh¢ Judit of th¢ fjttnei•l sttemtnts Our objectives are to obtsin reasonable a8sur3nce about whether the fiD8ncial $tements as a wlKJl¢ are free from material rnisststement. whether due to fraud or emx. and io issue an audithrfs report that includes our opinion. Re￿nable assurance is a high level of &8surdnce. but it is not a guarantee th an audit cotsducted ill accordattce with ISA5 (UK) WAII alw&y5 detect a mat¢rial Mis#at¢ll￿nI when it exists. FAi5Sthtements can arise frorn fraud or error and 8r¢ onsidered material if, individually or in the aB8regat4 they could TeasoDabty t¢ ex￿tra to intluettce the economic decisions of wers taken OD the basis ofthese fina￿14[ statezn¢D Irregularities, including frau4 are instances of noD•con]pliaDC¢ with laws aDd r¢gu]ations. We de5igtt procedures in line with our r¢sponsibiliti¢5. Outlined aE¥)v¢, to material mi5Stat¢m¢nts in respect of irregularities. I￿luding fr4ud. The exteni to whieb our procedurt% are capable of detecting irregularities. including fraud 15 detsil¢d below: Our approach to identifying and as￿Ssing the ri5k5 of rnat¢tial Tri55ts￿ iti re5P¢¢t of irr¢8ularitie4 including fraud and non compliance with laws and regulation4 w&s as follows: The engagement parth¢r eLwr¢d th th¢ eDgag¢4D¢nt te￿ Collectively h05 the appropriatr cijtnpetence. capabilities and skills to idenlify or Tecognised non compliance with applicable laws and regulations.. We identified the laws and regulatioTh8 applicable th the Chariry through discussi(￿8 with Tn￿te¢S ottd oth¢r managemen( and from our knowl¢dg¢ and ¢xperi¢Dce of the ChaTity 5¢¢tor. We focused on specific laws ¥nd regula11￿ which we considered nlly have a direct nmterial effect on the financial Slatements or operations of the Chari¢y. We assessed the extent of compliance with the hws and Tegulations identified above thTough tnaking enquirie5 of management and inspecting legal documents.. and Identified laws 8nd regulations were Wnllnuni￿cd withiD the audit tratn regularly and th¢ team remained alert to instances of non-cornpliance throughout the wdiL We assessed the susceptibility of the Charitys finaDcial statetnents to Misstate￿ including obtsining a understanding ofhow fraud mi8ht (Kcw. by."

THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUARANTEE INDEPENDENf AUDITORS, REPORT TO THE MEMBERS OF THE PLEASAN E THEAT TR Maktng enqutries of rnanag¢m¢nt as to they cO￿ldettd thue was wertibility to fraud their knowledge of actual, suspeci¢d and alleged fraud: and Considering the internal controls io pl¥¢ to znitigate risks of fraud and non compliance with I#w5 attd rtgulations To address the risk of fraud tbmugh manag¢m¢Dt bi&% aDd ov¢rride of control we perfomied #nalytical PTocedures to identify unusual or relatiothip: te5t¢d journal entried to identify unusual tra1￿¢tiOns. potential bias: and investi8ated the Tationa]e behind Si8Dificant or unwuai trans￿1￿$ In respons¢ to the risk of irregulaTiiies 8ttd tton compliance with laws and regu￿10n w¢ designed procedures which include¢ but were not limited to.. reading the minutes of m¢¢liDgs of cbarged with govenwice ¢nquiring of nwtweot &5 to actual attd Wenlial litigation and Claims. and reviewing torrespondenv with HMRQ rtlevattt re8ulatots incI￿J]ng the Health Safrty Exec￿1ve, and the Charity's legal advisors. from financial transa￿10￿ the les4 likety it is that we would bttome avdre of non-cornpli8nce. Auditing S￿ndardS dso lirnit the audit procedures re(wired to identify noDv¢omplianc¢ 14ws and regulations to eDqUiry of the TftJ5t￿ and other man8gem¢nt and the inSt￿tIOn of regulatory and l¢gal ¢0rrw￿e. if any. Materi&l misststements that arise due to fraud catt be hardtr to detect than those th￿t arise fr03n effor as they may involve d¢liber4te ¢oncealTnent or collu5iO We have been appoinied as audilor under settiott 44(Ic) of th¢ Chariues and TnL#ee Investtnertt (Scotland) Act 2005 and urtder the Compotite5 Act 21XJ6 and rep)st iti accordattce with trguiatiotis made under th05¢ Acts. A further description of our TESP)Lsibilities for the audit of the financial Statem￿ is locatryl on the Financial Reporting Council's websi at Www.fre.o￿uk/￿￿jI¢o[sre￿Dsl￿ll1tiel This desttiptiott fornjs part of the auditofs r¢poEL Use of the udl¢ report This r¢p¢)rt is mad¢ solety to the Ch￿$ memkn as a btyty ID X¢OTdanc¢ wlth Chapw 3 of Part 16 of the Companies Act 2LKJ6. Our audit work h&s been Urthrtak￿ so that we migbt slate to the CbaTitys ￿K￿berS those ffjatters we are required to 51ate to thern in an auditorfs report and for no other purpose. to the fullest extent p¢rniitted by law, we do not cept or assume responsibility to anyone other than the Cbarity and the Cknitys members 8$ a bcty for audii worL Wayman House. 141, Wickham Roa Shirley. CROYDON, Surrey. CRO 8TE 7thA MfrIa Altsnan F.C.A. Senior St•¢utory Auditor forand on bejulf of J¢(fr¢y Ahm￿ & Company Audi rs and

istraiion No.. 3130433 THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUAK4NTEE CONSOLIDATED AND CHARITY BALANCE SHEETS AS AT 30TH NOVEMBE 2023 Gro¥J Chari 2023 2022 202 2022 NOTES FIXEDA Tangibl¢ Assets Investments 113,109 57,486 170,595 135,447 57,486 192.933 42270 97,489 139.759 45.347 97.489 142.836 12 CURRENT ASSFrs st￿ks Debtor5 Cash at Bank Cash in Hand 5.590 163,097 920.478 70 1.089235 3.716 138,282 813.632 136 955.766 13 228,599 759,350 70 988,019 221,856 648.116 136 870,108 LESS.. CURRENT LIABILITIES Creditors- falling due within one ye 14 NETC RRENT AS ET (466,406) (319,888) (399.865) 622,829 635.878 588,1 S4 (268.904) 601,204 TALA SET LIABILITIES LE RRE 793.424 828.811 727,913 744,040 CREDITOR arnounts fhllin afler more than one 15 81.lJX) 131,400 81.0 712,424 £ 697411 £ 646913 £ 131,400 612,640 NET A ET ERV cted Fund nre General funds Restricted Funds Grdnts receivable Charli¢ Hartill fund 17 567,525 473.070 502,014 388,299 18 26,892 118,(M)7 26,892 l(b7,842 118,007 712.424 £ 6117.411 £ 646.913 £ 56,500 167.842 612.640 Approved by the Trustees on 7th 2024 and signed on their behalf by.. R.M. House, Esq. Director and Trustee The annexed notes fmn part of these finan¢i#l strtem¢nts.

TAE PLEAS*2ICETIIE4TPETrusr PANV LtMITED•V G￿A￿APIT￿ CONSOLLDATEDsfATEMEMtOFFJNANC￿LAcIIw[￿% (trICLUDING ￿COMEA￿DEXPE￿OiTURÉACc0u￿D RC£5 17&677 23.7&1 2X4$2 21216 J70.•) I.65&￿5 J7.404 41J14 J9J71 J9J71 385.487 4J4.17F 14Jl6 i.] 15.1tr2 43 lio• 162 2J62 4299.114 17L677 249)6 4J13A97 3Ni147 53.992 4m&.lOZ END 74.771 3.417J17 3?26? .707 JW.910 4026? 372M2 l&l4J 46J9S 1453 74.771 .&81.185 .157ts59 VEMENfiEI FUFID5 149335) {W.457} 12 ￿11> 65 121 473 567J2S I IWI 565WI 167AII £ 697

THE PLEASANCE THEATRE TRUST A COLVIPANY LIMITED BY GUARANTEE STATEMENT OF FINANCIAL AcrtVITIES (iNCLUDtNG ￿COmE AND EXPENDITURE ACCOUNr) FOR THE YEAR ENDED 30TH NoVETr￿BE 2023 Unrestricted RestricteA Funds Funds 2023 2022 Charlie Hartill Fund General Grnits Fund Receivable Tolal Total NOTE INCOMIIYG RESOURCES Donations, legacies and s?milar resources Charit*ble A¢tlvitles Productions Other Charitsble Activities Actlvldes for GeDeratlng FuDds Letting Investment IDcome Inv¢sttnent Income Total Incoming Resources l73.458 178.677 23.750 375.885 502.805 3.698.885 35.745 3.698.885 3.216.773 35.745 37.404 44.314 44.314 39.378 57.429 4,009,831 1,186 58,615 8,769 24,936 4,213.444 3,805,128 178.677 RESOURCES EXPENDED Charitable activities Productions Other c￿￿rItable Activities 3,849.972 46.143 3.896.115 208,033 252 74.771 4.132.776 3.844.910 46,395 40,267 4.179.171 Toul resources expended 208285 74.771 3,885.177 oration T NET MOVEMENT FUNDS 113.716 (29.608) (49,835) 34,273 (80,049) Fund balances at 1st December. 2022 16 & 17 Fwid balances at 30th Nov¢mb¢r. 202-. 388,298 502.014 56,500 26.892 167,842 118.007 612,640 646,913 692,689 612,640

THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUARANTEE CONSOLIDATED CASH FLOW STATEMENT FOR THE YEAR ENDED 30TH N MB 2022 RECONCILIATION OF NET EXPENDJTUPE TO CASH tNFLOW FROM OPERATING ACTIVITIES Net ¢xp¢nd1tt￿c Depreciation Impairn)ent Inierest Received Decreasel(Increase) in debtors De¢reaselUn¢rease) in st￿k {Decreaseylncrease in creditors (Excluding loans and finance lea5es} Net cash inllow from operatlttg atilvliles 15.012 33,062 (99,457) 35,440 12.713 (8,871) (7,177) 2.172 (59,224) {24,815) (1.874) 146.518 47.545 108.679 (17,635) CA FR TfNG ACTIVIT]ES Interest received and other investment activities Payments to acquire langible fixed assets 59.224 (10.723) 8.871 {35.500) 48.501 (26.629) CASH INFL FROM FINANCING ACTIVITIES Loan takeTh out during the year Loan repayments (50.400) (50.400) 50,400 106,780 50,400 (94,664) CHANGE IN CASH AND CASH E UIVALENTS Cash as ai 1st December 2022 Cash as ai 30th November 2023 813.768 £ 920.548 908,432 £ 813.768

THE PLEASANCE THEATRE TRUST A COMPAIYY LIMITED BY GUARANTEE NOTES TO THE ACCOUNTS FOR THE YEA ENDED JOTH N VEMBER 202) I. ACCOUNTING POLICIES The a¢￿￿nting ￿lIcIeS s¢1 out kKlow have been applied consistenily by the Charity in the prepataiion of its Accounts. (a) Basis of Accountin The Accounts have been prepared in accordance with the Statement of Recommended Practi¢e.' Acwunting and Reporting by Chariti¢5 preparing their accounts in ac￿rdar￿ce with the Financial ReFx)rting Standard applicable in ihe UK and Republic of Ireland (FRS 102) issued in Septemkr 2015. the Financial ReForting Standard applicable in the United Kingdom aNJ Republic of Ireland (FRS 1021, The Companies A¢t 2(X16 and UK Generally A￿epted Pra¢ti¢e as it applies from l January 2015 and under the Historical Cost Convention. (b) Public Benefit The Charity consituies a publi¢ benefit Is (kfined by FRS 102. (c) Goin Concern These fjnancial ststemenis have been prepared on a going concern basis. The trustees are ¢onsi5tently r¢viewing the financial forwasts ￿ well as ihe rese.rves KK)Sition of the group and they consider ihat ihe Charity holds sufficient reserves to deem the going coricern basi5 appropriate for th¢ 12 months from the date of sign off of these accounts. is of Con5011 The st8tem¢nt of finan¢ial aciivitie5 and balance sheffl consolidaie rhe financia] statement5 of th¢ Charity. its wholly owned subsidiary- Pl¢asanee Th¢atr¢ F￿tival Limited. The consolidations has been perfomed on a line by line basis. A separate S￿leme￿IL ofFinanchal A¢tivities is pr¢sented for thc Charity. (e) Incomin Grydnts, lega¢i¢s and donati¢)ns - Income is r¢¢ognised when the conditions for receipt have been met and there is reasonable assurance of receipi. Incoming resou￿eS are only deferred if the doncr h&% re5tri¢ted their use until a fuiure accounting )'&qr. Donations and grants for a particular purposes are included i incoming resources ￿ resthaed furids. Resource5 Theatre income declared relates to the Charity's proporfion of Box Office Fees only. Activiti¢s in furtheranc¢ of the Chariiys objeciives- Income is recogni5￿ when a theatri￿[ perfomiance tskes place. All incoming resources are recorded net of"VAT. (fj Grants Received All amounts received or receivable by way of grant have offset against the related expenditure within the Statement of Financial .4Llivities for Revenue items. Grants made 8s a contribution towards specific fixd &8sets are recognised in ihe Siaiement of Financial Activities over the expect￿ useful e¢onomic lives of the Tela*d assets.

THE PLEASANCE THEATRE TRUST MPANY LIMITED BY GUARANTEE NOTES TO THE ACCOUNTS FOR THE YEAR ENDED JOTH NOVEMBER 202i ACCOLfNTING POLICIES (ContiE]ued) urce Ex nded and Liabilities Resources expended are included in ihe Ststement of Financial Activlties on an accruals basis. Costs of generating fvnds- This Calegory cov¢rs all fvnd-rdising costs and all relat¢d ¢xpenditure. Costs of activities in furtherdnce of the Charitys objects - Ihese ¢osts are wholly or mainly incurr¢d directly in supFKJn of expenditure on the objects of the Charity. Support Costs include central functiOT)s and have been alloc*ed io a¢tivity ¢osts on A ba9is ¢onsistrnce with ihe use of ￿SoUrCes. This is fr¢4￿n11Y on the b￿lS of staff lim¢ S￿nt in each area. Support Costs also include Govemance costs. Expenditure on management and administraiion - this include5 1%)th direct and indirect Costs. Where perfoTmanots of a production straddle the balance sheet dale. the production costs are apportioned in relation io the numttr of ￿rf0m1anCcs falling within each periixl and the amount relating to perforniance5 after the balan¢¢ sheet dafr are trewed as debtors. Depreciation of Property and Equipment and Pro￿rtY Running Costs have tten charg¢d as a ¢OSi of generating funds. A srnall prowrtion relaies to eX￿nditUre on management and adminisrrdtion but is noi considered material in the context of the Financial Sratrments. Liabiliti¢s are recognised when incurred. (g) Website Develo Website Development Costs are capitali5cd where ihey create an enduring ￿et. They are written off over their estimated useful economic life of J year5. ment Costs reciaiion of Fixed Assets Depreciation has been computed io ￿lte off the wst oÉfixed &%sets ov¢r their expected useful lives at the following rates=_ Improvem¢nts to tkasehold Theatre Evenly over the period of the Lease Fixtures and Fittings Computer Equipment and SoftwaTe ))% per annum on cosi A full yearfs depreciation is ¢harged in th¢ yeAr of acquisition of an 18set. but none in the year. of disrA)sal. IIY/o per annum on cost italisation of Fixed Assets All identifiable as5¢ts providing enduring Ixnefil 10 the Charity are capitali5ed on the Balance Sheet. Impaimjent reviews are perfomied periodically to ensure the net iKJok value of an &8sei is higher ihan its recoverable amount.

THE PLEASANCE THEATRE TRUST I￿PANy LIMITED BY GUARANfE NOTES TO IHE AccouNfs FOR THE YEAR ENDED 301H NOVEMB I. ACCOUNllNG PoLIC￿s (Coaiinuedl (i) Fund A¢¢outtiin Funds held by the Charityare either.- UtireStri￿ed General Fund - This fimd w be used ih a¢¢ordanr¢ with thc Ch￿l￿bk objxts at th¢ dimion ofthe Truye¢s. Designated Funds - These are hJDds Set aside by the Trllstees out of uwestricted generdl fvnds for specific furnre pul￿e5 or projects. Rcstrirted funds . Th¢s¢ arc fillmts Can only be used for pgrtRcul•r resTricted purpose5 within the objeci of the Cbarity. Restri¢tiOllS aTise wben specified by the donor or when fi]nds are raised for parti¢ular restriued puvposes. {ki R¢styi¢ted Fwnds Grants receivable. These reweseJLt 8rnnts Feceived foT Stttific putposes. They are T￿o￿nISed in the statement of fiDanciai aaivityas the CODdirioDS for recogDition are meL e n￿re thou five people 00 stste and 4(N of the company {whateveT theiT job) att within five years of fi￿] tim¢ edu¢atioD. Pleasan¢e Futtues. A Testri¢i>J fiw)d a￿"éDed to invest in the fuwr¢ of young Stocks and work in progress are valued cotLSiStently at the lower of cost {on a first in, r￿St out basis} or nct realisable value. Cosu whue aPPToprialc. includes a proportion of directly atiributable overheads. (m) Debtors Debtors bave been showm after providtng for any asnounts which the Tnwees Consider may not be collected in full. Investments which hav¢ been c]￿lfiel as Fix¢d Asxts are includ￿1 at less any r¢du¢tions in th¢ valuc of those invcslrncnts a5 a result of impainnEni. Financial a55ets are a55CS5ed for indicator5 of impairment at the end of each Teporting peTiod Finan¢ia] assets arc considered to be impaired when there is obje¢tive ¢￿dence thaL as • wwlt of ￿¢ or mw¢ ¢v¢nts thai ￿CUrred aft¢r th¢ initial recognition of the financial the estimated flows of the investment have been affected. Objective evidence of impaimKnt could includc.. %ignifi¢an¢ finaJ)¢ial difficulty of the issueror ¢ounteTparty "it becornins ptobablc that the borrowcr will etktCT bankruptty or financial rc-organisation,. or •the disappearni¢¢ of an a¢4ive market for that f]Danci￿ assd be¢ause of fin8ncial diffi¢ultLes. For fina￿la1 assets catri¢d at ¢os( tbe atnount of the impainnent los$ is measured 15 the differ¢nce between tht aSsel'$ callyiD8 amoLmi and the present value of the estimated future c￿h flows. Lea5in8 rentals payable on aS￿EMEnts ￿1¢￿ traSL%fer substantially all the risks Ind rewards associated with ownership lo the It5sce (financc Icases) art capitslised within Fixed A5sew and the obligation to Poy futt]re ytntals includcd in (￿"10r5 as a ljability. (p) Inecovera le VAT I￿0verable VAT 15 8ll¢xattd (o the cate80ry of expenditsJTf to vknith it relate& (q) Slatus of the Com

The Company is a ￿gis*¢Ie4I Charity. Limired by GUarnn￿. As al 30th November. 2023. the Company has 5 members who are also th"￿tOrS. The members of the Charity are not eniitled to Ye¢eive dividends out of the surplus funds of the Chariry whether on the winding up of the Charity or otherwise. Tn the event of the Charity bein8 wound up aT￿ there bein8 a sknrta8e of fund5 available to meet ils liabiliti¢5. IbeD the members will be liable to contribute a maximuDI of £10 each io reduce or elirniDaie the defi¢iency. Any surplus oo a windthg up bas lo be dotsaf¢d to a ¢harity with a $imilarpuryJose. The RegiS￿red Office is Ca￿t￿ter Mews. North Road Londots. N7 9EF. The Company r¢gi$tration number is 3130433. The Chan"ty Is yegsiiere4J a¢ the chan.tses Conllnission Eng]and and Wal¢s IQ50944 and at the Offi¢e of S¢otush Charity Regulator SC043237

NOTES TOIHE ACeOUtrITS FOR TII 2021 FUD Fmnth 21m5 StsJS0 )75 2&226 126.917 In.r •J42 2.5 1$6. Friry¢S ISK, io.otyj 17 Art4c•¥￿1I 14J46 The&¢￿[T￿ 29AII 2•Jli WiltAth Syw Ini.427 E 230 4$2 £ JIR.2M £ 37n,49Th 2Tr2J Tothl FLffids Ediftbur￿ BoxUIfic¢ 81143 101042 14.(KN) 3h9B.585 E JJ82.143 102.042 3m$JO? 146$41 33.XYI 3.O62J32 146.941 3.692JBS £ 3.182.941 { 33.8M t 32l6.7rJ Totsl F*ts ERCHARrrA Yo¥PkaKarttFe 35.745 35.74$ £ J?AN £ 37.404 ¥¥uiii 2)5.357 IY.093 164.137 1•7JfrJ IcooD Tthl 1.447 4.162 T￿LRI￿rf 4Jm2 4Jin 15.402 59324 £ 3¥.03¥ 1.1¥6E b.7OP £ 9.97¥ 9.500 2.050 35.440 33.￿1

THE PLEASANCE THEATRE TRusr MIAPIY IMITÉ NOTESTOTHE ACCOUNTS FOR THE DiTect COAS Suppom Cos COA5 Yo1 CHARITABLEACTIVITJES Ij￿,171 3,484 2D3JS8 17242 2&614 IJ40J59 I1￿5.691 5th1726 475.534 66J264 0fi43Q 13258 ij.K 321156 650 1,389￿47 471184 Ditt¢T Staff Coms Wake5AthJ Sa￿1￿¥ Ernpl0￿rn NIC 66.430 132S8 13,8fpJ 65.X l23lS 15,633 12.713 65,708 12215 DE￿ErLI00D ofFAJ stttvallcrypndP4xr Ttltthne4nd F 3.421 9251 385 10.662 3C6.163 J.421 9251 385 10.0 418 8574 232.7S9 8J62 7,431 lo.(￿$ Iwerest 8.574 232.759 ¥￿61 7.438 163 9,788 15.123 Tr4VElandSu&s 12J41 37.794 1.￿1 24J79 37.459 77.373 22.303 11,3 37.459 ??J7J 22J03 11,380 139,84S 36.153 15.097 4￿[￿j 79,871 24J79 13,851 138, 67.889 29.937 4.750 l1>r￿dHeaI 154.158 67.889 29.937 4.750 9.978 57J.I 617.130 £ 4 149.037 I 3 477.%17 £ 36.153 15.097 iictDCL54rd ts8•l Fv4 ALlit Fet Irrw¢rnbl¢ VAT £31J&X35 E 9J7S 357 9.W £aJ £ £ SM491 YouTh8HtwnctFtY4 40.14J £ 252 £ 4bJ95 £ 37.267 £ 40267 r ExpEDYts 158.059 15&059 079 49.695 161293 2&125 168293 26.825 W8wartdSthrKS P¢osioD Cowribiofi5 DEwe¢iLion 49.695 19261 19261 59 19J07 1gJ07 23J15 551 23J85 551 lit nOH¢•T B•ok Ctso¢s ¥￿1 kni¢reit Lw Intere51 Rep￿5 (I sEell•ntO￿S Audit Fe￿￿th￿ 167 iojoi 267 21.189 2￿15 979 2,015 £ 292.4SJ £ 291453 £ 272.082 £ £ 272 682 S•14riCs￿1 W rL%ion Co￿rI￿U￿0 ill SrcutityCoAts 741.lJJ¥ 657.¥09 12215 £ 821.187 £ 7JS.732 Thc nu￿￿rI￿al￿tT￿KetblD8*￿l1ryOKyE￿￿j 70.W%79.99Y P¢0S¢￿￿n￿IbUl1c￿Q(E1 J201202L£IJ2D)Arrtm•& NoTThiic(i fQrcLPL￿J¥knI Lk)4x12022". £Nal

THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUARANfEE NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 30TH NOVEMB 2023 10. STAFF NU The average nwnb¢r of fi￿l-tirn¢ equivalent employees, including ca5yai and part4ime 5tsff. 2023 No. 41 2022 No. 42 Martagemeni and administraiion 11. FIXED ASSETS Tangible Group Leasehold Plant Fixknlres Bull Machin Balance as at l D¢¢¢mber, 2022 Additions DisFW)sals Balance as at 30 Novemb￿. 2023 DEPRECIATION Balartce as ai l December. 2022 Charge for the year Estimated on Disposal ofA&8et Balan¢e as at 30 Novtrnber. 2023 NETB K VALUE As at 30 November, 2023 As at 30 Noventhr. 2022 411,636 193.072 410,355 10.723 1,015,063 10,723 411,636 193,072 421,078 1,025,786 411.636 102.972 19.261 365.008 13,8(Ml 879,616 33.061 411,636 122,233 378.808 912,677 90.1(KI £ 70,839 £ 45,347 £ 42.270 £ 135,447 113,109 ChaEity L¢asehold Land and Buildin Fixlur¢s Fittin Totsl COST OR VALUATION Balance as at l De¢emkn. 2022 Additions Disposals Baiance as at 30 Novemb¢T. 2023 DEPRE IATI 411.636 401.306 10,723 812.942 10.723 411,636 £ 412.029 823.665 Balance as ai l Demnber. 2￿22 Charge for the year Estimated on Disposal of Asset Balance as at 30 November. 2023 NET BOOK VALUE 411,636 355,959 13.800 767,595 13,800 411.636 £ 369.759 781.395 As at 30 November, 2022 45,347 £ 45,347 As at 30 November. 2023 42.270 £ 42.270

THE PLEASANCE THEATRE TRUST A COl￿PANy LIMITED BY NOTES TO THE AccoifNTS FOR THE YEAR ENDED 30TH NOVEMBER 2023 12. tXE Chari Subsidiary U￿15[¢d Undertakings Investsnents Totsl COST Balance as at l December. 2022 Additions Balanee as ai 30 November. 2023 IMPAIRMENT Balance as at l Decenkn. 2022 ImpairnMt Balancd¢ as at 30 November. 2023 40,003 70,199 110202 40.003 £ 70.199 £ 110.202 12.713 12.713 £ 12,713 12.713 NET BOOK VALUE As at 30 November, 2022 40.003 £ 70.199 £ 110.202 As at 30 Noveother. 2023 40.003 £ 57.486 £ 97,489 As at the Balance Sheet Dat< the Cbarity held l(IY/(* of the Ordinary Sbare Capital and IOOO/¢J of the Preferertce Share Capitsl of Pleasance Theatre Fesiival Limiied. a Conjpany Regjsiered in England and Wal¢s (Company Numb¢r 2013041). RegLMeied Office address C￿llter Mews. North Road. London, N7 9EF. The Prinicipal Activity of the CoJDpaDy is operdtitig a Bar and R&%taurnn(. The Con4)any had A turnover of £434.877 (2022: £385.487} and Nei Loss of £19.261 (2022.. Net L￿sS £19,409) for the year ended 30tb NovfflDber. 2023. The ShaTebolders' Futth at thai date were £105.5I3 (2022.. £124.774}. The accounts for the years ended 30th November, 2023 and 30th Novertther. 2022 wer¢ Una￿j1t¢d. The Board of TTUStees bave assessed the cynying vaiues of th¢ir Inv¢stments at tb¢ y¢ar ¢nd and have taken the decision to malntsin the value oftheir Unlisted Ioveslmeni. This is due io the currenl ecollomic ¢lirDaie wb¢r¢by th¢ Board of Trnmees fe¢] That b&8ed on infoTmation provided. there is no reduction in the estimation of fijture cash flows io the value as staled in th¢ Balan￿ Sh￿L Gmu Chari 2023 2022 2023 2022 13. DEBTORS . amounts falling due within one year Trade deb￿￿5 79,174 Anh)uni owed by group utidertakings Other debtors Prepayments and accnKd inwme 106.083 76,721 70.433 23.869 57,576 228.599 £ 59,675 132,315 22.538 7,328 221.856 23,869 ,054 163,097 £ 22,538 9,661 138.282 £

E PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GL'ARANfEE NOTES TO THE ACCOUXTS FOR THE YEAR ENDED 30TH NOVEMBE 2023 21Y23 2022 2023 2022 E4. CREDrroRS. amounts falling dve within ODe year Trad¢ ¢r¢ditors 126.055 Director's Loan Account Taxation and social 5¢cI]rity COSLS Accnjals and def￿r¢d Erant income Other er¢ditors Bank Lo#n 35,781 115253 28209 71.474 175.590 42,887 50,4(KI 466,406 £ 49,025 139,186 45,496 50,4(KJ 319.888 £ 18.863 172,462 42,887 50.41)0 399.865 £ 15,662 130.153 44.480 50,400 268.904 2023 2022 20 15. ￿l￿ORs. amounts falliDg due aft¢r llN)re than one year Coronavirus B¥Jsiness lDteTTuption L Scheme 81,( 131.400 81.( 131,400 131.400 81,(KlO £ 131,400 £ 81.000 £ Balance due ￿ than 5 y¢ar5 £Nil (2022:£Nil) 16. REsThJcfED FLfNDS TraDsfer Balance BeNieen 30th November Funds 2023 2022 Charli¢ Hartdl Fund Produ¢tiotLS Edinburgh F&stival Heating and Cooling Fun( )ndon Fund Plr4saDc¢ Futyr¢s 167.842 24.936 22.0(K) 49,666 74,771 22.(KK) 49.666 10.( 12.( 114.619 118.007 12.0 90,011 51,500 26.892 224,342 £ 203,61J £ 283.056 £ 144.899 Charlie Hartill provide5 funding to bring [￿ornerS WIKJ would not nornmlly be able to afford to do so, to the Edinburgb Fesuval Producikons are rtstrictrd whtch are allocaied ro specific productions The Edinburgh Festiv¥l re5trcit¢d fund relates solely for eXpendiD￿e in putting on the Festival. Healing and ¢oolin8 tund relaks to funding for new air eondiiioning

London Fund Telat¢s to ryits to the Imdon Th¢atr¢ and Offi¢es. PleasaDce Futur¢5 provides (SlWTtywti¢s for FKrfoIll￿ and futu￿ wfornws Chari and Gro R¢wUr￿5 TraD5f¢r Used Berween Funds 1st December R￿oU[C¢S 2022 30th Nov¢mb¢r 2023 Genetal Funds 473,070 4,299.884 4,205.429 567,525 THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUARA￿EE NOTES m THE Accou￿rS FOR THE YEAR ENDED 30TH NOVEMBER 2023 Ig. ALYSIS OF ss Unt&Stric*4J Restncted Fund Futtds Generni Grants Fund Reeeivable Charlie Hartill Fund Total Futtds Improvements ts Leasehold Fixbjres and Fitiings Investtnents Srock% Debtors 113,109 70,199 5,590 163,097 827.391 (547.406) 631,986 £ 113,109 70,199 5,590 163,097 920,548 (547,406) 725,137 Cash ￿ Bank and itt Hand Credilors Balance &8 at 30 November 2023 93,151 93.151 £ 19. RELATED PARTY TRANSACTIONS There were no related party transactiODS during the year. 20. The Chan"ry is under the control of the Tnjslees. There is no one overall controlling parry.