2024-11-30-accounts

Company No: 3130433 Charity Commission England and Wales: 1051>944 oiriee of the Scottish Charity Regulator: SC043237 THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUARANTEE ACCOUNTS FOR THE YEAR ENDED 30TH NOVEMBE 2024

THE PLFASANCE THEATRE TRUST A COMPANY LIMITED BY GUARAIYTEE CONTENTS Page Company Infomyation tndependent Auditors, Report 24 Consolidated and Charity Balance Sheets Consolidated Statement of Financial Activities Statement of Financial ActivAties Consolidated Cash Flow Statement Notes to the Financial Statements 9-18

THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY GUARANTEE EGAL AND ADMINISTRATIVE INFORMATION CHARITY NUMBER: 1050944 (Charity Commission England and Wales) SC043237 (Office of the Scottish Charity Regulator) COMPANYNUMBER: 3130433 DIRECTORS AND TRUSTEES: ILM. House. Esq Ms D Williams Ms S Lloyd-Barnes Ms N Karla Ms J. Boyd (resigned 19 January 2025) COMPANY SECRETARY: J.R. Faulliner, Esq REGISTERED OFFICE: Carpenters Mews, North Road. LONDON, N79E rtORS: Messrs. Jefftey Altman & Company, Chartered Ae￿untantS, Wayman House, 141, Wi¢kham Road. Shirley, CROYDON, Surrey, CRO 8TE. BANKERS: The Royal Bank of Scotland Edinbllrgh St Andrew Square, 36 St Andrew Square, Edinburgh, EH2 2YB

,'PLEASANCE; TNÉA T(IE IAUST Annual Report- Year Endlng 30th November 2024 Our Misslon Statement The Pleasance Is 8 space for the talent of the future. A festSval, a platform, a launchpad, a foundation for authentic theatrlcal practice. Introduction The year ending 30th November 2024 marked anolhersuccessful and forward-looklng chapter for The Pleasance Theatre Trust (the Ywsf, Ihe "Pleasance., or the °ChariW), with strong perfon￿an￿ both artistically and operationalty. A full and varied programme in Pleasance London. coupled with a vibrant and expansive season at the Edinburgh Festival Fringe, celebrating 40 Yea￿ of the Pleasance in Edinburgh, has allowed the Trust to continue its Journey of creatlve ambition. During the 2024 Edinburgh Festival Fringe, th8 Trust presented a vibrant programme consistent with its pr&pandemlc scale. operating across Ihree maln sites and showcasing work in 29 theatre spaces. The season featured 286 productions, with over 150 being feslival premieres. demonstrating again Ihe Trusl's ongoing dedication to emerging talent and original work. The programme once again attracted critical pralse, received numerous award nominations, and recorded over 495,000 ticket saleHp 2% from the previous year, continuing a trend of positive audience growth. The Trust was diligent in maintaining its policy of affordable ticket prices. Average ticket prlces increased from £12.71 in 2023 to £13.69 In 2024. a 7% rise aligned with infiation. The Pleasance programme accounted for 8.5% of all shows registered with the Edinburgh Festival Fringe Society and contributed 23% of Ihe fringe festival's total ticket sales. reaffirming its role as a key part of the fests'val landscape. Pleasance London continued to delNer a bold and varied programme that championed new voices. supported rntive exp8rimentation, and responded to evolving audience demand. The venue hosted over 281 productlons, covering comedy, theatre, cabaret. sp)ken word, and scratch nights. Throughout the year, the Trust maintained ts popular programming model, featuring weekly rotstions and double-bill schedules, which increased efficiency and audience accessibilty. The venue also hosted lry-outs and one-night specials, along with professlonal broadcasts for Comedy Central and several recorded specials by well-knovffl comedians. The Pleasance in London sold 30,760 tickets, compared to 13.900 tickets the previous year. Despite the closure of the temporary 'Downstairs' theatre space, Pleasance London remained a thriving hub for creatlve developmen( community engagement, and boundary-pushing live perfomiance. The Dolvnstairs temporary theatre space, designed by the Pleasance to be environmentally low impact, has been sold to its third home at The Chichester Festival Theatre, where it opened as The Nesf in summer 2025, providing space for young artists and communty groups. The Pleasance production of Dark Noon. the standout hit of the Frlnge Festival 2023, continued to make a remarkable impact intemationally. with perfonnances at the Sw)leto Festival in South Carolina and a six-week run at St Ann's Warehouse, New York Audiences responded with standing ovations. and the critical response confimied jusl how vital and globally resonant this prthjudion has become. The Trust Is dellghted to see thls work reaching new parts of the world, and it remains an excellent example of the boundary-pushing theatre that the Pleasance is proud to produce. The show is also scheduled to Perform at the Sydney Intematlonal Festival In 2025. The production of G￿neth Goes Skiing was presented for the Pagell

. PLEASANCE: TFI£A Tk£ Ifiiisl second consecutive year at Pleasance L￿don in December 2023 and completed a three week run at the Pharoah Theatre in Utah. Through P188S8nce Futures, the Trust directly supported 18 productions, including those under the Charlie Hartill Fund, the Young Pleasance. and the Edlnburgh National Partnershlp. The Trust also expanded its industry and press engagement, issuing 4,100 press lid(ets and over 10,000 arts industry tickets, cernenting its status as one of the UICS rnost significant marketplaces for new theatrical work. Heasance Scratch continued as a vltal platform for earty￿ge work. offering emerging artlsts the opportunity lo test new material and refine their craft. The curated seleclion of work4n-progress performances and short runs ensured a dynamlc programme wrth fresh content week-to-week. Accessibilty remalned a core prloiity for the Trust throughout 2024, wlth contlnued efforts to improve access for both audiences and perfornie￿ - particularfy those with disabilities and those facing financial barriers. The Trust expanded its programme of accessible perfom)ances, induding relaxed environrnents, &?ptioning, BSL interpretation, and audio description, and invested in infrastructure improvements to support physical accessibilty across its sttes. More than 1,000 schoolchildren received free transport and tlckets, and a cohort of school leavers was supported to explore the festival and potential careers in the performlng arts. The Trust upheld lis commitment to fair tid(et pricing. maintaining an average ticket price of £13.69, with a significant number of tickets available at £10 or less. Staff and volunteer development remained a focus. with festival workshops, producer se&sions. and mentoring programmes delivered to improve access to the industy. The Trust also formalised its welfare programme to help ensure the wellbeing and safeguarding of all partldpants. Together. these initiatives refiect the Trusfs ongoing cornmitment lo indusion and its determinalion to remove barriers to participation across its Edinburgh and London programmes. Environmental sustainability remains a key priority for the Tntst. with continued efforts to reduce its environmental Smpact across all areas of operatlon. In 2024, the Trust was awarded 8 £150.1)00 grdnt from the City Bridg8 Trust to support major improvements at its London base. This fundlng will enable the Trust to significantly reduce its dependence on fossll fuels by upgrading the building's energy systems and improving insulation. A key component of the projecl is a transttion to LED lighting In both public and perfomiance spaces. which will markedty reduce power consumptlon. These changes represent an Important step in the Trust's lontemi emiironmental strategy and are supported by the ongoing work of the Tmst's Sustainability Steering Group, whith continues to review and guide the T￿￿￿S environmental practices and commitments. The 2024 season continued to present challenges. especially regarding the rising costs of showcasing work at the Edinburgh Festival Fringe. Increasing accommodation, travel, and production expenses have added financial strain on both perfomiers and venues. For many artists - particularly those at the beginning of their careers - these obstades pose a serious threat to participation and ongoing sustainabilty. The Trust continues to support artists with better deals and transparent financial arrangements, greater access to funding, and stronger local partnerships, ensuring that the Fringe remains a vital platform for emerging and independent voices. The year endSng November 2024 was flnanclally challenglng for the Trust. and it recorded a financial loss of £61,311- partially due to a marked reduction in the grants and donatlons that the Trust received. Pag¢12

PLEASANCE, T*4£A TIIE TRUS T. More infomiation on all our activtties In the Finandal Year ending 30th November, 202418 contalned in the Artistic Report withln The Trust's Charitable Objectives The Pleasance Theatre Trust (the Yrust.) Is a charity registsred in both Scolland and England & Wales. The objective of the Trust, as enshrined In Its Memorandum of A&souatlon, is to advance the education of the public in the arts, and in particular the dramatlc arts. The Trust makes a positive contribution to culture, communities, and our wider society with the followin9 aims: to offer to the public the opportunity to experience new trends In perfomlance, alongside outstanding examples of more traditional practice; to foster Innovation In perf0mlan￿ across a wide spectrum of artistlc enterprlse; to offer opportunities to young and emerglng people both on and off stage; and lo encourage indusion and diversity in productions, slaff and audiences. Specific activities to support our Objective The Trust supports its Objedive through a wide range of activities, which can be summarised as: production of a season of performances at Pleasance Edlnburgh, at the Edinburgh Feslival Fringe; provision of a year-round programme of performances at the Pleasance London theatre Sp￿S. provision of rehearsal, pr(Kluction and developmenl facilities at Pleasance London; artistlc devebpment and support through Pleasance Futures (including The Young Pleasance. The Charlie Hartill Special ReseNe Fund. Th8 Ple&8an Nalional Partnership programme arKI other associats schemes and devebpment activilies); development of initiatlves to extend Ihe reach of Pleasance aclivtty on live and digital platforn￿. development of initiatlves to support the career development of individuals in Industry related activltles induding, technlcal skills, marketing, customer servlce and theatrical management; aiming to entsrtain and excite. to preserve the opportunity of live performance; development of initiatNes to support creative associales In Industy-related aclivities e.g. photography. film-making, Journalism and production; and supporting artistic endeavour through the provision of production and techntcal services. What we do and why we do It. The Pleasance is 'a platfomi, for both established and emerging artisls across multiple perfomiance disciplines. At the Pleasance. we believe it is essential to provide all indivlduals with affordable Spa￿ and the freedom to take rlsks, both on and off stsge. From thls platform of innovatlon and education sprlngs personal confidence, allowing great careers lo flourfsh from their respective stages. Providing our audiences with the widest possible diversity of Pag¢13

PLEASANCE: THEA TIE TftUST perforynances from across the cultural spectrum is also central to the charity's aims. This spirit has embodied the Pleasance for the past four decades, durlng which we have gained worldwide recognition for showcasing some of the entertainment industys finest talent, both on and off stage. Building a community that encourages and develops the brightest new ideas and careers-one that inspires raw talent and nurtures skill, excitement, and we11be1n￿S why we exist. Our alm. through our plaffonns in both Edinburgh and London and In partnershlp with numerous arts organisations in the UK and abroad, remains consistenL" to create a collegiate, dlverse, and mutually supportive envlronment vh)ere the financial risk of presenting work is transparent, and Ihe artlsllc rlsk Is underpinned, shared. and enabled by a knowledgeable arKI Imaginative core tsam. This Is delSvered In the context of a cohort of Pleasance artists at various stages of their careers. Our objective is for those who have spent time at the Pleasance to leave with a broader perspeclive, significantty more knowledge. greater confidence, and a bolder, more productive sense of purpose. We hope that some will retum to support others in time. The Pleasance is a place for the experimental and new. It Is where perfomwrs, wrlters, directors, designers. technicians, producers, and others can take risks, develop ideas, and feel fully supported and nurtured. Not every project will succeed, but look closely, as our history shows Ihat a great many wlll. Since 1985, th8 Heasance has presented a programrne of new theatrical work at the Edinburgh Festival Fringe in various perfomiance spaces. Additionalty, since 1995, when the Pleasance became a charity, it has also showcased work at the Pleasance Thealre in Lonth)n, which currently features two perfonnance spaces. In 1995, alongside Ihe programmes of the Edinburgh Festival Fringe and London theatre. the Trust launched ts first distinct educational initiative, the Young Pleasance, to provide opportunities for young perfomiers. In 2004, the Charlle Hartlll Fund was gstablished to support new work and r*w artlsts in both theatrical and comedy productions. The fund supports work through three strands: The Comedy Reserve, The Early Ensemble Fund, and The Generale Fund for UK4)ased Black, Asian, and Global Majority Artists. Since then, several other educational or support programmes have been launched, and in 2014, the majorty of these programmes were consolidated under Pleasance Futures, an umbrella Initlatlve designed to improve focus, fundlng, and Coordination among all the dedicated support strands of Ihe Trusfs activities. In 2018, the Trust launched ts Edinburgh Natlonal Partnershlp Programme to collaborale with leading national producing theatres and to idenlify and support exceptional emerging artists and companies local to them who wish to take work to the Fringe. The Trust annually l)ouses a number of Assoclate Artlsls and perfomiers and regularly presents wOrk￿1n%)rogresS and development sessions with emerging artists and producers. For the third year. the Trust showcased a season of new work during its London Futures Festlval. and in 2021. the Trust launched a prlmary schools initiative that provkles free tickets and transport for over a thousand primary school children to attend the Edinburgh Festival Frinp. with over 1.000 children attending the 2024 festNal. The Charity has a lonwtablished position in the perfomiance sector. grounded in the successful development of the Edinburgh and London programmes. Its strategy focuses on sustaining and enhancing this position by employing an effective and innovative professional operational team, supervised by a board of trustees. The Trustees believe that these objectives align with the charlvs mission of delivering public b8nefrt. The Pleasance's operations in London and Edinburgh are entirely symbiotic, with each providing the other with mutual benefiL The London theatre houses the full-time staffing operation for both locations- the same team rnar￿geS both operatlons. Crucialty, London serves as a hub and offers Page14

.)PLEASANCE. T14EA I AE ¥f U£Y perfonnance opportunilies for artists before and after the annual Edlnburgh Festival Fringe, and It indudes essential development and rehearsal space for the varlous strands of Pleasanc8 Futures. The Ple&8ance celebrated 29 years at its London base in 2024. The pleasan￿ Theatre Trust is a company limited by guarantee, registered as a charity in England and Wales with the Charity Commission (CC) and In Scodand with the Office of the Scottish Charlty Regulator (OSCR). There are no shareholders. the tnjstee drrectors are volunteers who recelve no payment OT dlvidends. A fvlktime management team, along with supporting staff, creates and manages the festlval programme and operates the London theatre. The Trustees would like to thank all those who have supported the charity durSng this period. This support from various trusts. foundations. and individual donors has enabled Trust to achteve its aims, thereby supportlng the broader theatrical arts community. Our Values Creativlty We seek to uncover and nurture fresh, representstive voices, providing a platfonn for 8merging artists. dlrectors, writers, technicians and theatrfrmakers. Leamlng We embrace change and champion the brightest new ideas. We want to push boundaries, drive new developments and b8 bold In our choices. We create space for others to discover and we refiect and leam from our mlstakes. Opportunity We are committed to fostering an environment that encourages imagination and entrepreneurialism. Our goal is to empower individuals to achieve thelr aspiratlons. Peace We actively thoose kindness and indusion. We are a place where p80ple can feel w￿l¢ome and safe. We listen and make space for others. We build equitable relationships based on empathy, trust and mutual respecL Love We work with energy and passion. We work with integrity, respect and professionalism. We are a charity for the benefit of the publi& We work for the benefit of the artists, audiences and staff we erKJage with. Understandlng We want lo make a positive difference. setting high standards for the work we present. We will make bold, brave choices and seek constantly to evolve and adapt our working practices to meet the needs of artists, audiences and communities. Learnlng We embrace change and champion the brightest new ideas. We want to push boundaries, drive new developments and be bold in our choices. We create space for oth8rs to dIp￿er and we rell&ct and learn frorn our mlstakes. Iqt£ zo2r Rlchard House Chalrnian Date Page15

. PLEASANCE THLA TRE TItsSY 1. Artistic Report 1.1 Edlnburgh Festlval Frlnge 2024: A Season of Innovation, Impact, and Imagln8tlon Edlnburyh Theatre 2024 marked an exciting and dlverse season for The Pleasanc8 al the Edint)urgh Festival Fringe. This year's programme celebrated both the return of established names and the emergenc8 of exciting new talent. ￿rnenting Pleasance's reputation as a hub for worfd-class theatre, famity entertainment. and l)oundary-pushing new writing. The children's programmlng featured an Impresslve Ilneup of perfomiances for young audiences. Olivier-nominated theatre company Tall S1017es made a triumphant retum with The Smeds and The Smoos, bringing Julla Donaldson's much-loved story to Ilfe wlth wannth and humour. Feslival favourite Gany Starr debuted his firsl show for children with Monkeys EverywheTr. a playful exploration of mental health through downing that resonated across all age group&-and wenl on to win Besue.. The Klds Award, alongside nominatlons for a Wow Award and The List's Best Show. North Wall Theatre delighted families with a new musi(xl featuring the songs of Nick Cope, while Dr Kal)oom retumed with electrrfying science experiments that wowed audiences and fimily established him as a Frfnge favourite for young minds. Intemational acclaim met Fringe feplour viith Gwyneth Goes Skiing, arriving at the feslival fresh from iwo sold￿Out London runs and a US tour. Its bold, satlrlcal storytellSng eamed a 4- starreview from The Scotsman and captivated audiences throughout the run. Also making a splash VIFS Ginger Johnson. in her highty anticipated first solo show since winning Drag Race UK Ginger Johnson Blows Off ex￿oded onto the stage with slgnature wit and flair, eamlng a 4st8r rek7ew from The Stage. Award-winning puppetry company Blind Summit retumed to the festival with The Sex Lives of Puppets. bringing Iheir signature irreverent style to a packedwout run and uitical acdaim. Musical theatre thrived at Pleasance in 2024. Gigglemug Theatre's A Jaffa Cake Musicalwas a runaway hit, selling out its run and garnering ov8r 30 four- and five-star reviews-including 4 stsrs from The Stage. This success firmly establlshed Pleasance Two as a vlbrant hub for new musicals, alongside standout productions such as The Emu War A New MU￿Cal (winner of Musical Theatre Review's Best Mu&'cal Award) and The Greatest Musical the Wortd Has Ever Seen. The Pleasance continued its long-slandlng commltment to new wrltlng, champSoning bold, original voices across the programme. Yilong Liu's The Book of Mountains and Seas was named runner-up for the prestigious Popcom Award. joined on the shortlist by Squidge by riggy Bailey (later awarded 5 stars by Re￿8w8 Hub) and In the Lady Garden. Page16

. PLEASANCE. .T14£AIPE Tf4VSI.. Other standout new works Snduded Isley Lynn's powerful Jobsworth. Jaisal Marmion's Boy In Da Konna4resh from a Sold￿Ut Jemiyn Street run￿nd Davld Flnnlgan's 44 Sex Acts in One Week, further strengthening our reputation for platfonnlng contemporary, challenging theatre. The critically acdalmed The Border by Theatre Uncut was another major success, earning a Fringe First Award and 4 stars from The Scotsman. Intemational theatre contlnu6d to shine at Pleasance, wlth global work of exceptlonal quality. Highlights induded: Fool's Paradise, hot from a selkout Adelaide Fringe Nn {Th8 LlstAward forBest Show from Adelaide) All the Fraudulent Horse Girls by Brooklyn Rep (wlnner of Theatre weekl￿S Best Ensen7ble Perfomiance) Ni Mi Madre by Obie-winning Arturo Lulz S￿la {4 Stars fmm The Scotsman) Fringe legend Guy Masterson made his Pleasance debut with a critically acclaimed double bill of Under Milkwood arKI Animal Farm, marking a significant moment in our 2024 season. Celebrating Excellence: Awards and Acclalm The Seas￿ was met with resounding critical praise and an aw of av4prd nominations: Award Wlns Bestse {￿'dS Award)- Monkeys Everywhere Bestie (DebutAward)- Oran Scotsman Fringe Fl￿- The Border Theatre Weekly (Best Play)- Sisyphean Quick Theatre Weekly (Best Family sl￿w)- Rosie and Hugh's Great Big Adventure Theatre Weekly (Best Ensemble Perfom?ance) - All the Fraudulent Horse Girts Award Nomlnatlons Wow Award- Monkeys Everywhere Brighton Fringe A￿￿rd for Excellence- In the Lady Garden, The Border Mental Health Foundation Award - Flicker Holden Street Theatre Award- Th8 Long Run. Shellshocked The List Best Show- Monkeys Everywhere Popcorn Award- In the Lady Garden, Squidge. The Book of Mountains and Seas Musical Theatre Review Best Muslcal - The Emu War.. A New Music81 Crltlcal R•vl•ws Showstopper- * Daity Express. Edlnburgh Festivals Magazine Monkeys Everywh8re- Scotsman The Emu War- Theatre and Tonlc Squidge- Reviews Hub The Big Blte Slze Breakfast- Brftlsh Theatre Guide Numerous other shows re￿iVed ** acclaim from The Scotsman, The Stage, The Tlmes, and other major outlets. Page17

. PLEASANCE. Edlnburyh Comedy 2024 V4QS another outslanding year for comedy at the Pleasance, wlth five of The Guardian's top comedy shows of the Fringe taking place across our venues. Among them were Gary Starr, Kemah Bob, Rose Matafeo, and Jordan BrookeAopped off by Flo & Joan's One Man Musical. ￿lch dalmed the numb8r one spot. It was a remarkable year In the Edinburgh Comedy Awards. Vhth four of the five nominees for Best Newcomer performing at the Pteasance: DemiAdejuyigbe, Jack Skipper, and two fomier Pleasance Comedy Reserva members, Jin Hao Ll andAbby Wambaugh. Abby Wambaugh went on to win Best Newcomer at the ISH Edinburgh Comedy Awards. with Pleasance favourlte Elf Lyons taking home Best Show. Longtime regular Colin Houftwas also celebrated, winning the Nextup Biggest Award In Comedy. The Pleasance once again welcomed back some of the biggest names in the industy. Induding Sue Perklns, Nina Conti, Rosle Jones, NathlAbdulrashid, Paul Merton, Ivo Graham, and th8 8ver-chaotic St8mptown. A strong lineup of Tetuming and rising Star￿OphIe Duker. rim Key, Nish Kumar, Riki Lindhome. Ania Magliano, VirD8S, and Tarot-delivered exceptional shows and drew sell-out audiences. The Trust was proud to continue supwrting new l*nt through The Pleasance Comedy Reserve. showcasing four emerging stand-ups: Maty Gleeson. Rohan Shanna. Sam Iliam4 and Sharon Wanjohi, all of whom brought fresh and exciting energy to the Fringe. Looknng Ahead The Pleasance's 2024 season showcased the spirit of the Fringe at its best-innovative. inclusive. and inspiring. We celebrated the retum of beloved collaborators. welcomed bold new voices, and fostered creativity across generations and genres. With critical acdaim. sold- out runs, and major award recognition, 2024 was a landmarf( year that reaffirmed our position at the heart of the Edinburgh Festival Frin9e. We look forward to building on this momentum in 2025 and beyond. 1.2 Pleasance London Since opening its doors in 1995. Pleasance London has been a vital creative home in Carpenters Mews, Islington. Here. some of the most exciting voices in theatre have found a platfomi to experiment, develop bold new work. and connect wilh ever4Jrowing audiences. The artlstlc programme works in tandem wlth Pleasance Edlnburgh while malntalnlng a unlque Year-rOur￿ idenlity that r8sonates directty with London audiences. The Trust present a series of curated seasons, induding Work in Progress. Edinburgh Pra￿eWS. and Best of Edinburgh transfers, showcasing bold new work and productions that have captivated audiences at the Fringe and beyond. Additionally. Pleasance London offers a vibrant programme of woTk- from daring new writing and boundary-pushing theatre to comedy from headline acls and emerging tslents. as well as special events and showcases from dlstlngulshed local Institutlons such as ArtsEd, Seedtime, and University College London. Page18

, PLEASANCE. THtIA TAE TgUSI Beyond the stage, the Trust optimise every comer of our buildlng to support emerging artists. Vacant spaces are offeTed elther iTrkind or al subsidised rates for rehearsals, scrlpt readlngs, R&D w88ks, and more, ensuring the next generation of tslent has access to the resources they need to thrive. We also provide a limited number of commercial hires to help sustaln thls vltal support. Pleasance London hosts a variety of artlst development inillallves under the Plfrasance Futures umbrella - from A Pleasance Scratch nights and our twice-yearly Futures Festlval to our Associats Artlsts and Young Pleasance programmes. It is also the heartbeat of Ihe organisation throughout the year, housing our adminislrative team. box office, and acting as the nerve centre for our Edinburgh operallon. The two performance spaces - the Main House and th8 Studio - have 199 and 54 seats respectivety. with adaptable Conr￿uratK1nS that make them suitable for a wide variety of productlons. The Main House al Pl8asance London, with its 199-seat capacity and unique cabaret-styl8 layouL offers a llexible and distinctive setting that truly distinguishes it within London's off- West End scene. The Trust has continued to capitalise on this USP, programmi￿ a diverse mix of productions that thrived in the space's intimate. lively atrnospheTe. 2024 focused on transfers from the 2023 Edinburgh Fringe and early previews and transfers from the upcoming 2024 Fringe programme. Our annual Best of Edinburgh season retumed in October. welcoming over 20 productions that had captivated audiences in Edinburgh to our Main House stage. Highlights included: Gwyneth Goes Skiing by Awkward Productions - a hit dark comedy that extended its inrtial run by three v￿ekS into January and February 2024 due to phenomenal demand. The show received widespread praise, described as'a riotous, razor-sharp satire" (Th8 Guardian *) and "a must-see piece of fringe-bom brilliance. (Time Out ). Giselle.. Remix - a bold, contemporary reimagining of the dassic ballet, praised as Ihrillingly inventive and emotionally charged. (The Stage ). JeezusJ (A New Musical) by Sergio Antonio Maggiolo & Guido Garcia Lueches - an irreverent new musical d&8cribed as 'Yearfess, funny and gloriously queeff {Everything Theatre ). Blootymary.. LIVEI by Olivta Millertransferred to us in SPTing fdlowing its hit Edinburgh run; The Reviews Hub called it"uproariously funny and wickedty deverf (). Polty (The Heartbreak Opera) a striking reinvention of John Gay's sequel to The Beggarfs Opera, praised as 'a funny show full of excellent singing that will make you think and tap your toes while you do so. {Musical Theatre Review ). with North West End UK describing it as "confident, potent and heady. filled with sharp wlt and powerful songs" {). Comlng Out Of My Cage - a partlcipatory gig-theatre show Insplred by Mr Brightside, transferred from Fringe 2023 to rave reviews, including 'an exhllaraling, feel-good IAast° {Fest ). Pitch by November Theatre - pr8vlous Charlie Hartill Fund wlnners r8tumlng wlth a show halled as Yiercely origlnal and beautrfully performed" (The Stage ***). Nine Slxteenths by Assoclate Artist Paula Variad( - blendlng spoken word,1Sve music and film In a powerful exploration of Identlty, described as °a work not to be mlssed. Page19

. PLEASANCE. T￿LA,,8[ IRUST (All That Dazzles) with The Reviews Hub noting its ￿1vId, powerful staglng and deeply personal narratEve". The &mple Life and Death by AssoGiato Artist Shayshay - a Joyous fusion of theatre and cabaret praised as.the murder-speckled drag parody of the ¢enturf (The Revlews Hub *}, °a delighttully silly evening packed wlth Jokes, physieAI comedy arKI Iconic pop culture references" (Theatre and Tonlc), and °a show with a definlte future. (All That Dazzles). The Trust continued to champion associate artists at the heart of the Maln House programme. offering them a high-profile platform to develop and showcase their work. Alongside thls, the Trust hosted our annual Wrestival in May 2024, blending Iheatre and wrestling in high-energy performances. and wel¢omed previous assodate artlst Glnger Johnson back for the preview of Glnger Johnson Blows Off ahead of Edlnburgh. PleasanGe Downstai￿ provided a home for emerging companies, debut playwrights and new voices, with a particular focus on development work. It was used as a vital incubator for creative explordtion, hosting associate artists and supporting companies for R&D, sharings, script readlngs and work-ln-progress showlngs. Among Ihose who made use of the space were Katie Amstein. Awkward Productions, Sweet Beef, Tomyumsim, Don One, Lagahoo 8nd Worfdight Theatre. A progamme highlight was Drag Baby by Grace Carnll. a bold new dratheatre hybrid that played to packed houses over a threeThweek run. The show was praised as "as joyous and uplifting as it is emolionally moving. (West End Best Friend ). °a guaranteed crowd- pleaseff (The Reviews Hub). and °a production that had it all. and a Ilttle blt more. (A Young(ish) Perspective ***). London Comedy Throughout lh8 year. Pleasance London continued to serve as a vibrant hub for comedy. welcoming an impressive roster of talent. Highlights Included perfomiances from Th8 Fast Show Live, Alan Davies, Joe Thomas, Fem Brady, Anla Magllano, Rob NeMnan, Jln Hao Li, Emma Sidi, and Ed Gamble. Comedy Central retumed to the Pleasan￿ for the thlrd seascm of their flagshlp comedy showcase, taklng over the building for four nights of live recordings and cementing our role as a key partner in developing broadcast comedy. Our Studio remained a core space for developlng new comlc vokes. hosllng three key seasons across the year: Work In Progress Season featured exciting new material from Chloe Petts, Daliso Chaponda, Jordan Brookes, Susie Mccabe, and Celya AB. Edlnburyh Prevlew Season supported artists Including Spring Day. Lou Wall. Abi Clarke, Kemah Bob, and Alice Snedden as they refined their slK)ws ahead of the Fringe. PoSt￿dInburgh Season brought a selectlon of stsndout acts back to London, wlth perfomiances from Laura Daws, YuiFko Kotani, Dee Allum, and R8chel Fairbum. pteasance London also remalned a destlnatlon for comedy spedals. with perfomian¢es by Micky OvemTrn, Daffan Griffrths, lan Smith, Stuart Laws, Esther Manlto, and Shaparak Khorsandi. Page 110

. PLEASANCE: I I.ML IRU%.T ' 2. Pleasance Futures - Artlst Development and Support Pleasance Futures Is the artlst development strand of tha Pleasanca Theatre Trust, actlng as an Incubator for bold new artists to make thelr mark. Pleasanee Futures is committed to discovering and supporting the most exciting new voices, nurturing th8 development of emerging companies. young perfonners and new writers. The trust continues to support artists, performers, and behind4he-scenes staff by successfully guiding career paths that might otheThvise never develop without assistance. All work undertaken by Pleasance Futures is furKled directly through donations from trusts, foundations, individuals. and buslnesses, together wlth any suryAus from the Pleasance's annual revenue, which is reinvested into these valuable programmes. Pleasance Futures is overseen by a subcommittee of the trust. which indudes Deborah Williams (Chair), Sharon Lloyd-Bames, Nikita Kana and Rithard House. During the 2024 Fringe. the Pleasance produced a programme of supported Futures work to date. collaborating with new organisations from across Ihe UK and investing in a diverse range of producllons and artists under both new and existing initiatives that enable companies with limited resources to showcase their work at the Fringe. Productions received over £100,000 in direct financial support, alongside invaluable mentoring from the Pleasance team. "A lot of theatr•s talk about encouraglng new WO￿ and new talent but tho Pleasance realty does IL" Daifjd Mitchell, Actorand Writer 2.1 The Charlie Hartlll Speclal Reserve The Charfie Hartill Special Reserve Fund was established in 2005 by Pleasance Founder Christopher Richardson. Thls Is a designated. rolling fund for the production costs of selected projects at the Edinburgh Festival Fringe. The Fund was created in memory of Charfie Hartill - writer. performer, former President of the Cambridge Footlights. eight-year director of the Festival Fringe Society. and the Pleasance's man of the computer - who died in January of that year. The Fund is managed by the Pleasance Futures subcommittee, with Christopher Richardson seNing as the Chaimian. It is divlded into three strands: The Comedy Reserve. The Theatre Reserve, and The Generate Fund, the latter of which specifically supports UK-based Black, Asian, and Global Majority artists. The Trust Is exceedingly grateful to Ellie and Duncan Macklnnon for their signfficant finandal contributions to the fund over the years. 2.1.1 The Comedy Reserve Established in 2005. the Comedy Reserve fosters new comlc talent at the Fringe by sdecting four emerging comedians and shOW￿S1ng them in a nlghtty mixed bill show in Edinburgh. Each act receives financial support during the Festival, and the full production costs are covered by the fund. Pagelll

PLEASANCE: .J14LA IkÉ IRUSI,. Followlng In the footsteps of an illustrious list of Reserve alumni, induding 8rett G￿dSteln, Jack Whttehall, Jamall Maddlx, Holly Walsh, Daniel Rigby, Rolsln Conaty, and Joe Lycett, the 2024 recipients were Marty Gleeson, Rohan Sham78, Sam l•lYlliams, and Sharon Wanjohi. We also welcomed back several past R&serve alumnl, hosting their debut actors: Abby Wambaugh (winning the Best Newcomer ISH Edinburgh Comedy Award and the European Comedy Awards Best Show) and Jln Hao ￿n. The Pleasance's 2024 comedy programme showcased several Comedy ReseNe alumni, with sold-out performanc8s from Sophie Duker 8nd Chloe Petts and also fealuring Jln Hao Lln, Abby Wambaugh, Abl Clarke, and Dee Allum. "I was 18 when l flrst perfomied at th• Pleasance, slx months Into becomlng a comedlan andtheygave me a break through the Charfle Hartlll Comedy Reserv•. thout the Pleasance findlng ways to Ixlng new comk talent to Edlnburgh the Frfnge wouldn't be qulte the same" Jad( Whitehall Comedian Charlie Hartsll Special R&seno, 2007 2.1.2 The Theatre Rese The recipients of the Charfie Hartill Theatre R&8eTve were Sweet Beef, a queer artists, collective that creates work about soci¢&politi¢al issues. blending comedy, dance, and drag. In 2024. we ObS￿d a 200A increase in submissions for the programme, demonslrating a significant need ft>r financial and mentoring support now more than ever. Sweet Beefs show. c￿ng Shame (described as"hEgh camp cabaret from Sweet Beef Ihat unearths genuine pain" by Lyn Gardner, gamering multiple 5 star reviews), brought audiences into the dreamy Club Fragilé, where washed-up cabaret acts celebrated queer culture as they untangled the complex nathre of lonellness. The Theatre Reserve is our flagship fund and received over 140 applications. As part of the Fund. the Pleasance provided direct financial support. covering adminislralive. marketing, accommodation, and technical costs for Ihe productions. 'We couldny have done It wl¢hout the Charlle Hartlll award and the support of the Pleasance. Their cash support advice and esteem means we can sharn Sweet Beefs glltry and wlld style.- Sweet Beef. Crying Shame, Charlie Hartill ReseThffj Recipienls 2024 2.1.3 The Generate Fund for UK￿aSed Black, Asian and Global Majority Artists Now in its fouth year, the newly renamed Generate Fund for UK-based Black, Aslan and Global Majority Artists specifically supports work by artists from ts Global Majority and provides finance. mentorship, and programming opportunities to help bring Iheir work to the Edinburgh Festtval Fringe. This fund results from consultation wlth a wide cross•section of independent artists, ¢ompanles, and organlsations experienced in presenting work at the Fringe and responds to specific barriers that Global Majority artists face when wishing to ShoW￿se their work at the festival. There were two recipients of the GM Strand for 2024: For the Love of Spam by ChamorulFlllplna artlst Sierra Sevilla. which explored canned meat and colonialism. combining a mult sensory and participatory expertence. and DUCK by playwright maabn, uncoverlng the challenges of adolescence, the pressures of sporting competition, and what it means lo establish one's own id8ntity. Page112

PLEASANCE. IHIAI FI& ¥RU$I The Trust made £10,000 avallable, with each production re¢elving an investment of up to £S.000 81ong viith in4(Ind mentorship and support from the Pleasance team. During the selection process, we gathered a panel that included Ameena Hamid, Ple&sance Associate Shayshay Konno, and Nikita Kaiia, all of wl)om have experience producing and presenting al the Fringe or off West End, and in developlng work by dlverse 8rtlsts as suppjrtlng partners. "The Fund is pivotal at the Fnnge, provlding cruclal support to emerglng and undeftreprnsented artlsts. Beyond financial ald, it serves as a catatyst for creatlve freedom, offen.ng mentorshlp from the Pleasance team and networklng wlth Industy pmfessionals." Caleb Lee, P￿dUcer, For the Love of Spam 2.2 Young Pleasance The Pleasance's youth theatre company, The Young Pl8asance ("YV), r6tumed to the Frrnge to unite a group of young performers and celebrate their 291h year on the Fringe with their unique, critically acdaimed style of largwcale ensemble theatre. Past membets include Nicholas GalilJne (Mary & George, The Idea ofYou}, Angus Imrie (The Archers). Joanna van Kanwen (rhe Archers), Laurie Davidson (Masters of the Air. Guilty Paty, Cats, The Good Liar), Angus Alderson {Qne Day) and Ella Balinska (Charlie's Angels). 2024 saw YP present Alice Diamond and the Foty Elephants. a Peaky Bllnders-style romp, through East End gangsters in WWII. The company comprised 25 participants, eath aged between 16 and 21 years. The participants were selected from a series of public auditions. YP successfully secured funding bids from Hays Travel Foundation, Kirsten Scott Memorial Trust, The Thistle Trust, and HDH Wills Charitable Trust, enabling the company to offer bursaries to financially support means- tested participants. The funds were designaled for use over iwo years, meaning some will also contribute to bursaries in 2025. Pleasance subsidises each participanys roles, and we also raise money for bursaries; over the last 30 years. we have supported approximately 1.200 young people to attend the Edinburgh Fringe. "It mlght Just be the best thlng a young pe￿n could do wlth thelr Summer. I￿0 seen frlends of mlne - who perhaps were not so confldent but who had brllllant, creative min(ts - give incredible performances by the end of the Edinburgh run. Wlthout Young Pleasance. I don't thlnk I would have decldod to traln as an actor and wlthout bursary support fmm Pleasance as well I would not have been able to take part." lQ"8hore Thiagaraian-walker, Young Heasance Participant 2.3 Chlldren's Inltlatives and School Leavers Programme Over the past decade, the Pleasan￿ has cemented its posltlon as the Flace to see the world's finest children's and family-friendly shows at the Edinburgh Festival Fring8, with over 40.000 tickets sold to families each year. Each year, the programme features adaptations of beloved chiklren's stories alongside brilliantly original work from exciting new artists. The Kidzone, our dedScat8d family area at the heart of the Courtyard, off8rs a faMIl￿frIer￿1IY space for arts and crafts activities- the only venue on the Fringe that has one. Pagel 13

. PLEASANCE ..J14EA ! RI TRiISY Our annual Prfmary School outreach initiative also occurs at the Pleasan¢e Courtyard, where over 1,0￿ schoolchildren and aceompanylng adutts from some of Edinburgh's most SOCi08conomicalty disadvantaged primary schools are transported to the Pleasance to see show, meet the performers, and spend time in the Kidzone Art and Craft Tents. 2.4 Edlnburyh Natlonal Partnershlps Now in its fourth year, the Edinburgh Natlonal Partnership Programme retumed with support from the Behrens Foundation and Popcorn Group. The Pleasance has collaborated with seven regional partner theatres across the UK lo identify and support exceptional local artists and companies eager to take their WOTk to the festival. Each partner. a leading national producing house. Is committed to supporting arKI developlng new artists. The continuatlon of thls programme acknowledges the extraordinary work beSng created outside of London arKI aims to provide tangible support for these companies to present at the feslival. Together. the Pleasance and its partner organisations hope to make a substantial contribulion lo developing the next generatlon of leading Iheatre-makers and companles. Notably, thk was the first year that Ihe Pleasance collaborated with the Lyric Belfasl, maklng the programme enlirely inclusive of the British Isles for the first time. Shows from the ENP scheme have gone onto: Win Fringe First Awards Win the Philippa Braganca Award for Solo female artists. Win Ihe David Johnson Award Win the Mental Health Foundatlon Avrfard Become Popcom Writing Award Finalists {In associatlon with BBC Wrilers) Gone onto UK and Intemational Transfers The 2024 Edinburgh National Parinershlp theatres, companies and productions were: In the Lady Garden by Babs Horton (Theatre Royal Plymouth): a ri￿￿TOaring feminist comedy Mthere Alice tries to shake off the shaddes of the patriarchy and live out the rest of her days with outrageous abandon. The production was shortlisted for the Popcom Writing Awards in association with BBC Writers. This Town by Rory Aaron (Lekester CuNe) which pushed Ihe boundaries of spoken word, storytelling and theatre, dropping the audience into the centre of a small midlands town. reflecting on the importance of friendship and dose knit comrnunities. The Daughtern of Roisln by Aoibh Johnson (Lyric Belfast)." a raltying cry for women everywhere. exploring the harrowing hSstory of d)urch and state abuse agalnst pregnant women out of wedlock in Ireland over the last 100 years. Oran by Wonderfools (Pitlochry Festival Theatre)." Combining spoken word, lyrical storytelling and a pulsaling electronic live score, Oran is an urgent and entertaining modem retelling of the classic Orpheus and Eurydice myth. The show won Best Debut at The Skinny and Fest Mag Bestle Awards. Polly & Esther by Polly Amomus & Esther Parade (Sherman Theatr8, Wal8s)." a high camp chaotic drag cabaret, written and perfonned by tconic Welsh mother and daughter drag duo Polly Amorous & Esther Parade in this celebration of self- expression. Scaffolding by Documental Theatre (Bristol Old Vic): life-affinning interrogation of hope and community in the most unique of IwTrhanders. l Really Do Think This Will Change Your Life by (Mercury Theatre Colchester): A finalist for The Stage Innovalion Award. l Really Do Think This VWIll Change Your Life Is a hair-pulling, fake•naS1 scratching. cat-fight against what it means to be a Girf BossTM. Page114

.'PLEASANCE. "IV$ brflllant to partner with an organlsatlon Ilk• the Pleasance. The support of v•nu•s and organlsatlons to help the very bast •merglng work flnd a plaffomi on th1$ amazlng Interna(lonal stage Is vital." Ben Atterbury, Producer Bristol Old VIG F8mi8nl 2.5 Tralnlng Opportunltles As part of Its commitment to artlsts. th8 Pleasance contlnued Its Plèasance Producers workshops in 2024, this tSme taking them online and openlng Ihem up to the entire programme. Originally aimed at emerging producers and artists, the Pleasance felt that. post-pandemic, artists needed as much support as the Trust could provide. The sessions were designed for artists and prOdU￿rS whose work was included in the Pleasance's Edinburgh programme. inviting them to participate in a series of tailored sessions from March to Juty. The initiative aims to support productions on their joumey towards the Fringe, leaving Ihem inspired and empowered. In 2024, attendance increased, with at least 50-75 participanls attending each workshop, and many following up for noles should they be unable to attend. The sessions offered insights into the responsibilities of PToducirvJ theatre, practical approaches for a&sembling and managing a production, and provided an open platfom) to ask questions and discuss their projects directy with the Pleasance team. Pleasance Producers sessions continued into the Fringe itself. offeriry free training, outreach, and networking opportunities to artists and volunteers working wilhin Ihe Pleasance's Festival programme. For 2024, initiatives induded a Stage to Screen workshop vAth Simon Nelson from BBC Wrilers, Demystifying IP and Ihe next stages of writers, ownership wRh B8nlj8y and GTrinne McKenna, and Breaking Down US Touring with Soho Playhouse. 2.6 Artlst Support London As the Trust's year-round development hub, Pleasance London plays a crucial role in nurturing talent and providing opportunities, much of which ultimately ¢]￿tributeS to the dislinguished productions in the Edinburgh programme. 2.7 London Associate Artlst Programme In 202>24. the Trust continu8d to support Its resident artists at Its London theatre through the London Associale Artist Programme, whlch aims to asslst companies and artlsts presenting excellent and innovative work based in the capital in taking the next steps in their careers. Following an open applicAtion process in 2021, six new artists and companies were welcomed Into the Pleasan￿ Futures famlly as part of a IW￿year support programme. Over 160 artists applled. 2023-25 London Associate Artisls Louise Omn Don On8 Sweet Beef FlawBored Pap8rgang Awkward Pmductlons 2022-24 London Assoclate Artists Voloz Collective Pagel 15

. PLEASANCE. Y14EII NE TRIJS! Loma-Rose Treen & Jon8th8n Oldfield The Enby Show Lula Mebrahtu Joe Boylan & Ellice Stevens Wortdlght Theatre Tho Trust offers London Assodates fulty subsldlsed rehearsal space, flnandal asslstance, programmlng opportunitles, and work and meeting space, along with practical mentoring In artistiq technical, and produdng asp8Cts. 2.8 Futures Festlval . London Retuming for its fourlh year, Futures Festival 2024 showcased new productions from leading independent performance makers. FF24 was curated by three Plthgsance Assoclate Artlsts, and each week featured three distinct shows exploring a theme relevant to our current times. Each year, Pleasance commits to supporting SIX London-based theatre makers and writers for a two-year residency, providing them with the transfomiative tods to elevate their V￿rk and craft to the next level. We asked them to curate a festival centred around themes of their choosing that refiect the questions they wish to explore in the y￿r1d. The Futures Festival 2024 occurred throughout May. Following an open call facilitated by the Pleasance. which received over 100 submissions, each week was curated by one of the Pleasance's London associate artlsts or companles. centred arourKJ a spedfic theme: Week 1- The Future Is Trans with The Enby Show A week of perfomiances that platfomied positive and active representations of trans people. Week 2 - The Future Is Booming? with Worklight Theatre A week of perfonnance which explor8d economics. in8qualty. greed andlor the cost- of-living crisis. Week 3 - The Future is Ea81 Afvcan with OommoO.XYZ A week of perfomiances that platformed AfroFuturism through an East African Lens. Crucially. FF24 provided the selected performing artists with an essential opportunity to bring their work to life and receive valuable feedback from audiences and industry speclalists at a critical point in their V￿rk'S iJevelopmenL The selected artists recelved 100% of thelr box office takings, greatly reducSng thelr financSal risk. while also gaining access to rehearsal space, feedback, and technical and producing support from the Pleasance team. The original festival was a response to the limited opportunities for presenting work-in-progress theatre during and after the Covid-19 pandemic. aimed at showcasing the future of the fringe. "Futures Festlval was an amazing opportunity ftir us to network with and introduce ourselves to loads of queer artists in London through the Open Call. Programming work alongslde our own made us more aware of the queer theatre landscape and has led to creatlve collalx)radons between Sweet Beef and other artlsts and companles." Sweet Beef, Pleasance Associates 2023-2025 "I would Ilke to express my gratitude ftiryour support wlth Aslan Plrate Muslcal, Wolet and For the Love of Spam and overall. ftlr your understanding." our assoclate Page116

. PLEASANCE. I HLA IRI TKUST time was not as straighrfonvard as some, and The Pleasance Team has been Incredlbty kind and supportlve throughout." Clarissa Widya. Papergang Theatre, 2023-2025 2.9 Ploasance Scratch Nlghts - London A Pleasance Scratch has been running since 2015, offering artists a platfonn to showcase bold, new work in its early stages of development. Since Its Inceptlon, A P188sance Scratch has supported the grovth of numerous artists, wrfters. and theatre makers throughout the year. As of thls year, we now run three dlfferent s(xatch nights throughout the year ineludlng: 2.9.1 A Pleasance Scratch The Pleasance holds bi4nnual s(xatch nights to support nurnerous developing artists at the early slages of their careers, offerlng audIen￿s a glimpse Into what Ihese lalenled individuals are V￿rkIng on and the chance to participate in the (Yeative conversation by providing feedbaclL The participating artists are invited to share a ten-minute snapshot of their work wilh the Pleasan￿ programming team and audiences, providing them the opportunity to ty out their work in front of live viewers. The open recruitment prO￿s$ is organised by Ihe Pleasance programming team alongside iwo programmers. who are also emerging creatives at the early stages of their careers. These iwo programmers have the chance to experience what it means to curate a diverse and well-balanced programme. The selected artists exh recewed: Free rehearsal space, Mentoring and Support from the producers at the Pleasance. A slot al the scratch in our Main House space, a 20(>seater venue complete with a venue technician and assistance from our Technical Manager. Professional photos of their perfonnance that they can use for promotion in th8 future or for future development of their v￿rk. and Feedback from the audiences and full-time team al Ihe Plea&qnce. The Trust used this opportunity to give an emerging member of our casual lechnical staff more experience of running a technical rehearsal and stage managing an evening of performances. They installed the cues for each show and then operated them. W8 are building on a community that we connected with through the Cameron Mackintosh Fund this year. "ft was so lovety to be a part of the scratch - what a wonderfully encouraglng atmospher4 I loved itl- Gaia Mondadori, A Pleasance Scratch PartiGipant 2.9.2 A Pleasance Comedy Scratch This ￿retth nlght V4Ias 8Stablished thls year to give comics th8 Opportunity to explore something entirely drfferent, Instead of stand-up and sketth, we invite applicalions from comlcs who are intrigued by the prospeGI of moving into a more theatrical presentations. Page | 17

PLEASANCE; lJalAlk¢ IkVSI "I loved th• idea behind the scratch nlghÉ It was so nlce to see dlfferent thlngs from comedlans that they wouldn't othoThvls• have tho $pg¢6 or opportunlty to showcase." BBC Wnters 2.9.3 A Pleasanc• Staff Scrat¢h The Trust also Nns a bbannual staff scratch nlghl for members of our box offlce, bar, and front of house teams, providing Ihem with a space to try out new material on our maln house stage. Th5s scratch nlght has now stsrted being replicated at several theatres across the UK. 3. Festival Partnerships 3.1 Edlnburyh Unlverslty Students Assoclatlon Since the very firsl season In 1985, the Pleasance has operated at the Edinburgh Festival Fringe. and the Trust has enjoyed a mutually beneficHI partnership with the Edinburgh Uni￿rSty Sludents, Association (EUSA). whlch manages many of the spaces the Trust occupies at the Pleasance Courtyard and t)ome. While the scale of the operation has grown since then. the principal relalionship has remained unchanged - the Pleasan￿ sets up the venues and creates the programme, ￿118 EUSA manages all food and beverage services. Their catering operation is primarlly staffed by students at the University. fostering a dose working relationship beiween the student body and the Fringe, often their first Job. Festival staff from EUSA are pemiitted access to shows when tid(8ts are available. As part of the festlval deal, the Pleasance Theatre Festlval Ltd, a wholly-owned subsldlary of the Trust. re(￿1Ved a corrtractual share of the bars and catering income generated by EUSA at the Courtyard and Dome. Allhough theatre and catering operations are managed largely independently. the two organisations collaborate dosely to provide a seamless festival experience for visitors lo the Pleasance Courtyard and Dome. The Trust appreciates the ongoing partnership with EUSA and looks forward to working together again in 2024 when a full festival operation returns. 32 Other University of Edinburgh Partners and Royal Medical Society The sites at the Pleasance Courtyard and the Pleasance Dome also include buildings belonging to various Universty of Edinburgh departments. forwhich the Trust pays rent. These indude The Centre for Sports and Exercise, through which the Plea&ince rents the rooms used forlhe Grand, Bunkers, Forth, Beneath and Beyond venues. as well as the land on whSch Baby Grand is situated. The Chaplaincy Centre at tha Pleasance Dome provides the space used for the Queen Dome. whilsl the Royal Medical Society houses Brooke's Club, the Press Office, and Jack Dome venue. The Trust is very grateful to The University of Edinburgh and The Royal Medical Society for allowing the use of these spaces once agaln for the Festival Fringe in 2024. 33 Edlnburyh International Conference Centre Since 2016. the Trust has maintained a programming partnership with the Edinburgh Intemational Conference Centre (EICC). The EICC venue features some of the most tethnologically advanced multi-purpose auditoriums in Edinburgh, whith operate year-round for various conferences and events. During the Festival Fringe, the Pleasance takes Page118

. PLEASANCE, ljiAAIME. TRUSY- responsibility for programming thelr performance spaces, and the two organisations collaborate to manage the programme. The Pleasance and EICC share the Box Office revenue remaining after perfonning companles have received their contractual share, with the Pleasance receiving a smaller portion of the remaining balance. The "Pleasance at EICC. programme and audience have steadlly grown each year, wlth site offering opportunities for a range of large, technically complex productions that might not otherwise fft wlthin the Fringe's temporary venues. The Trust Is extremely grateful to the staff at EICC. 3A Waverley Carn For 32 year8, th8 Pleasance has proudty supported the vital work of Scotland's HIV and Hepatitis C charity. Waverley Care. Every year, Waverley Care's dedicated team of volunteers can be found collectlng donations around the Pleasance's venues, and the annual comedy benefrt. The Tartan Ribbon, has become a fixiure on the Fringe calendar. This unique partnership between iwo charities has raised over £700.000 to furKI life-changing services and alter public perceptions of people across Scotland affected by HIV, Hepatitls C, and these diseases, impacts. Perfomers across the Pleasance programme are encouraged to make live or recorded announcements at the end of their shows to promote Waverfey Care's work. 3.5 Accesslblllty The Trust is dedicated to developing a programme that is accessible to everyone and continues to proactively work on increasing awareness and participation in a¢￿SSIble performances. The Trust pleased to maintain its highesl Level 3 Award as part of the Fringe Soclety's Venue Access Toolklt. which recognises proactive efforts in creating universally accessible venues and participant experien￿$. Achieving this level involved enhanced disablllty awareness training across festival teams and site improvements, including further inveslment in the 'Acce5s Highway. over the Pleasance Courtyard's cobblestones for those with limited mobility. Additionally, there has been an expanslon of our accessible perfomiances, induding elements such as relaxed environments, BSL. captions, audio description, touch tours, or a combination. While the Pleasance is proud to continue improving its accessibility services, it remains committed to taking the positive actions necessary to make further progress towards universal accessibility in festival operations, facilities. and progrdmming. 3.6 Sustainablllty The Trust continuously assesses its impact on the environment, and in response to the climate crisis, concerted efforts were made again this year to enhance the sustainability of the Trust's operations. This included changes to our daily activities. our artistic programme. Improvements to our year-round London premises. and operations at the Edinburgh festival through the Green Venues initiative. In London. supported by signifiGant capital funding from the City Bridge Trust. the Trust will upgrade our London premises and head office to significantly improve energy efficiency and reduce our carbon footprint. including removing reliance on fossil fue15 as a building. The upgrade will also involve moving the lighting rig in both spaces to full LED operation and better insulating public areas. Now in its second year. the Trust's Sustainability Steering Group has continued enhancing the Trusfs operations and advocacy, and has recently published 8n updated Environmental Policy outlining the Trust's long-temi green ambltlons and roadmap for realisation. Pag¢119

PLEASANCE. 4. The Trust The Trustees (also referred to as dIrecto￿ for Ihe purposes of company law) present their report with the finandal statements of the charlty for the year ended 30 November 2024. The financial statements have been prepared in accordance with the accounting policies set out in the notes lo the financial staternents and comply with the charity's trust deed. applicable law and the requirements of the Statement of Recommended Practir*, 'Accountlng and Reporting by Charittes" 2005. FRS102. 1 Reference and Admlnistratlve Detalls The Charlty was founded on 21 November 1995 and reglslered In England and Wales as a company limited by guarantee, with company no. 201304. It 15 registered by the Charity Commissioners in England and Wales as The pleasan￿ Theatre Trust under the number 1050944 and by The Office of the Scottish ChaTity Registrar under the number SC043237. 42 Trustees The Trustees who served during the year were as follows: R M House J Boyd (Reslgned 1￿ JanLRry 2025) S Lloyd-Barnes N Karla D Williams Secretary to the Twst: John Faulkner. 3 Structure. Govèrnance and Management The operation ofthe Charity ts govemed by its Memorandum and Artides of Association. It is company limited by guarantee. In the event of winding up, the members wlll be liable to contribute a maximum of £10 each. The charitable status has been approved by HM Revenue and Customs. Since the charity uses its funds solely for charIta￿e purposes, no taxation is payable on the income or gains. The Trustees hold overall responslbillty for the Charlvs operations and finan￿S. however, the day-l(￿aY administration and financial duties are delegated to the Trust Director. Mr Anthony Alderson, who is appointed by the Trustees. The Trustees convene several times a year. either in person or via online conference. The Trustee body is compact, and there are two operational suWmmittees: Pleasance Futures and Finance, Audit, and Risk. The Trustees collaborate dosely wlth the appolnted Dlrector to develop, while maintaining overall control of, the Trust's policy, programme, finances. and fijture plans. Each year, the Trustees allocate one meetlng, free from the usual agenda. for a risk review and long-term strategy exercise, with briefing papers contributed by both the Truslees and appointed staff. The Finance, Audit, and Risk Committae {"FAR")reviews finanaal statements and projections, detennlning the best risk strategy for the Trust. This process infonned the subsequent budgel cycle and serves as general guidan￿ for structuring public perfomance programmes and developing Pleasance Futures. emerging companies, digital inlliatives, and other cornmunity activities. Page120

. PLEASANCE: 114£0. I,#£ YRts'S 1 The Trustees appoint the Dlrector and participate in the appolntment of other key staff. The Director appolnts all other staff wlthSn the Truste&approved budget and organlsational structure, managing all staff and reporting directly to the Trustees at Ihelr regular meetings. Trustees consider and sel the overall remuneralion pattern annually. The Trust is advised on personnel matters by Alcumus Group Llmlted, and there Is a comprehenslve staff handbook alongside an agreed grievance procedure. wlth the Trustees as the final intemal arbiters. The Director has delegated authority to expend the agreed budget within the organlsational structure and reports to the Trustees through financial informationpresented at regular FAR meetings and full Trust meetings. Given the rapid pace and fluidty of theatrical business, the Trustees have established a system for swift variance approval, outside of the rneeling cycle, through the Chalrman and via electronic consultalion wlth the small Trustee body. The Trustees have agreed on the outllnes of the various contractual instruments necessary to secure venue spaces in Edinburgh and to regulate the relationship belween the T￿￿t and the companies that perform at the Pleasance venues. The Director is responsible for the detailed negotiation and execution of these Contracts within the budget, delegating tasks to other staff as necessary. With regard to capital expenditure, aside from the nomial repairs, renewals. and maintenance induded in the agreed budget, Trust retains all decision￿MakIng authority, seeking professional advice as needed. The appointed staff develop and structure the programmes and budgels for the Edinburgh Festival season, alongside the operation of the London Pleasan￿ Main House {variable from 180 to 280 seats) and Ihe 50-seat studio. These actmties proceed subject to ts approval of Trustees at their regular meetings. The Trust has developed rehearsal and development facilities that operate alongside the public perfomiance programme. The Charity has a subsidiary company, Pleasance Theatre Festival Limited. Trading activities not pemiitted within the Charity are conducted in the company on behalf of the charity. Profits eX￿dIng operating requirements are donated to the Charty under gift aid. 4.4 Appolntment of Trustees Membership of the Trust is by invitation from th8 Trustees, laking inlo account the need to maintain a div8rse range of experience and interests. as well as the exp8Ctalion that the Trustees will be actively involved in the specialist supervision of the Charity's activities. Upon appointment, a Twstee receives an induction pad( that includes the principal constitutional and policy documents of the Trust, along with current ftnancial infonnatlon, forward planning details, and a briefing document such as Good Govemance issued by the National Hub of Expertise in Govemance. The Chaimian, Secretsry. and Trustees with legal training are avallable to address any querles. Each Trustee is required to give a written assurance about status in relation to previous service as a dSreclor or Trustee (bankNptcy, financial propriety. disqualification) In the event of slgnSflcant changes in the legal framework governing the responsibllities of Twstees. the Trust will provide appropriate training or infonnation. Page121

.'PLEASANCE, IlaLA J.f4L 741VS ¥ 4.5 Rlsk revlew The Trustees regularly review major risks to the organisation and establish systems and procedures to mitigate identified risks. P8rfomwnce against the plan Is evalualed at the Trustees. regular meetings, covering aspects such as budg8tlng, tlnanclal control, artlsllc programming, public benefit. health and safety. safeguarding, data protection, equality, diversty and indusion, sustainability, and aC￿Ssibl11ty. The Trustees believe that the principa] risks and uncertaintics CU￿entlY faciDg the organisation include th¢ rising cost of living and infiation, most notably the significant incr&ys¢ in accommodation costs for artisty production staff. volunteers and audicnccs in Edinburgh during the festival period, which has in turn impacted production values across th¢ programmc. Alongside this genernl wsts in Edinburgh continue to rise for both the Pl¢asancc and participating artists, compoundcd by an inC￿a5¢ in artist commission and a reduction in the Fcstival rcbatc from th¢ Fringe Soci¢ty. Th¢ Pleasance's share of box office income is also straincd as improved deals r¢quircd to maintain a high-quality programme. In addition, community initiativc budgets are not being fully supNirt¢d through Trnsts and Foundations or Patrons. Although many suppliers look to increasc priccs year, the Trust maintains affordability and accessibility by limiting ticket pricc in¢￿Se5 to small inflationary adjustments. The Trust is activ¢ly reviewing booking handling charges exploring cffici¢ncics in the costs of nmning both London and Edinburg￿ and continu¢s to explore sponsorship relationships across th¢ city to unlock larger partnership opportunitie4 including in partn¢rship with the Edinburgh Fringe Society. To further Sllp￿)rt growth and resili¢nc¢. thc Trust￿ have also prioritised the appointment of a full time Development Manager to replace the current part-time fi￿￿aISing ¢onsultanL The Trustees have reviewed the tharlty's actlvltles and considered these to be consistentwith providing public benefit. 5. Achievements and Performance The Trustees consider that the outcome of the work presented in London, at the Edinburgh Festtval Fringe and online achleved the aims and objectlves set out al)ove. having due regard to the responsibility to deliver public benefrt. The Festival and London operations have v8ry much thrived over the past iwelve months. The Trust intends to maintain its operattonal goal of presenllng a more varied programme year on year. increasing overall attendance while managing costs in such a way that the Edinburgh and London Pleasance seasons provide complementary financial and operational benefits. as well as ongoing support to Pleasance Futures. In all its public programmes. the Trust strives to balance the legttlmate Interests of artlsts in receiving a fair retum from tlcket revenue for thelr artlstic contributions, the necessity of balancing the operational budget to ensure continued activity, and the aim of maintaining a pricing structure thal offers affordable tlckets for the general audience. conc&8sionary access for specific economic and social groups, and targeted lid(et sthemes designed to make the programme accessible to all. Page122

.'PLEASANCE. 6. Flnancial Revlew The Trust suc¢¢ssfvlly delivered a full festival at the Edinburgh Festival Fringe and a comprehensive programme at th¢ Pleasance in London. This helpd to stabilisc its fmances following the significant impact of th¢ pandemic, although these still remain very ¢hall¢nging. While the wider arts sector continues on a path to recovery, the operating landscape remains very difficuh. In Edinburg￿ attendances rose by l.P/o compared with 2023. Combined with a forced increase in ticket prices, this resulted in a 9.60/0 growth in total box oificc income. How¢Y¢r, the Trnst's ov¢rall share of the box office deGr¢ased in order to prioritise and sustain th¢ artistic programmc. A key fa¢tor in maintsinftng financial stability during the pandemic was the receipt of a £250,000 CBILS loa￿ repaym¢nts for which bcgan in September 202]. While the balan¢¢ continues to r¢duce. it remains on th¢ Trust's books as a capital liability, standlng at £81,000 at th¢ end of the financial year. Th¢ Trust W&8 also su¢ce&sful in s¢curing grants to support progrnmm¢ activity within Pleasance Futures. Pleasance Futures restricted totall￿ £23.440, and in totaL rcstricted funds receivcd amounted to £81,325. The Trust is extremely grat¢ful to th¢ Trusts and Foundations whose ongoing support enables it to develop and sustain new artistic enterprises. Despit¢ incrcases An ticket pri¢cs and the increascd footfall in both London and Edinburgh, at year en￿ the Pleasan¢c Thcatre Trust Ltd and subsidiary Pleas&nc¢ Theatre Festival as a group rq)orted a deficit of £61.311. Looking ah¢ad, the Trust is focused on diversifying ￿venlle streams. This includes expanding ev¢nt hire following thc reconfiguration of the Main Housc in London, alongsid¢ in¢￿ased facility fees for broadcast in Edinburgh during the Fcstival. Wod( also ¢ontinuv8 to identify funding for Capital infrastru¢tur¢ projects, including a successful City Bridg¢ Trust award of £149,000 to support environmcntal improvem¢nts at the London thcatrc. These funds are not Includ￿ in these a￿0llnts as they came aftw th¢ financial ycar-cnd. In addition, the Trust continues to explore n¢w ways of generating revenue through onlinc and broadcast perforniance. While these remain modest in scalc, reflecting the stronger dcmand for livc perforniance, the Trust will continue to develop this area. 6.1 Pleasance Theatre Festlval Limited The Pleasance Theatre Festival Ltd. a wholly owned subsidiary of the TrusL received a contractual share of the catering income generated by Edinburgh University Students Association EUSA at the festival's Coutyard and Dome venues. pleasan￿ Theatre Festival also runs the bar operation at the London Thealre. Pleasance Theatre Festival Ltd recorded loss of £(19,261). 6.2 Reserves pollcy The Trustees consider that the funds received each year Sh¢￿Id be fully utlllsed to meet the objectives of the Charity as ststed above. However, the Trustees also conslder that it is prudent to hold a minimum of £250,000 of unrestricted funds to meel on￿OIng contractual Page123

PLEASANCE. T&t4A TkE YRUSI cornmitments and moments of financial stress. These funds equate to approximately four months of head office running costs. The Board recognlse that the requlred level of reserves may need to be reviewed to keep pace wlth increasing costs. The negative effects of the Covid pandemic still require the Trust to utilise cash reserves, however the stated reseNeS level was maintained throughout the financaal year. The Trust now has several deslgn8ted funds wlthln Pl8asanc8 Firtures, funded by trusts and foundations, including: Arts Council England, Bruce Wake Charltable Trusl, Charles S French Charitable Trusl. Dr S Guthrie, Edinburgh Alrport, Popcorn Group, Jan Michalski FoundatK)n, JTH Charitable Trust, Teale Charitable Trust. Mbili Charitable Trust. The Wiggin Charitable Foundation, The Backstage Trust, The Ulverscroft Foundation, The Mackintosh Foundation, The Mbili Foundalion, The Mulbery Trust, The Noel Coward Foundation, The Robert Haldane Smith Charitable Foundation, The Teale Foundation, The Stafford Tnjst, Thisde Trust, Walter Scott & Partners, WCH Trust for Children 7. Plans for the Future Throughout the year, each activty and programme is planned wilh new budgets. refiecting the Trust's experience in developing them over three decad8s. Th8 Trust pres8nls productions by others alongside a smaller number that it facilitales or cfrproduces, aiming to respond to the dynamism of live perfomiance while S￿Unr0 a tM)sitive financial outcome through ticket sales, which serye as the Trust's major source of income. The Trust has not sought regular revenue funds through dlrect subsidy from any public sector source. It Is therefore reliant on the entrepreneurial spirit of its management team and TNstee bcxly to ensure that income is maintained and, where possible. increased. To this end. it upholds a high level of experience within the entertalnment sector in both the Trustee body and management team, and will continue to do so. securing additional expertise as appropriate. 8. Statsment of Trustees, responslbllltles Charity law requires the Trustees to prepare ac￿Unts that give a twe and fair view of the stale of affairs of the Ch￿lty and of its income and expenditure for the finandal year. In doing so. the Tntstees are required to: setect suitable accounting policies and th￿ apply them conslstenlly; make jUdge￿nts and estimates that are reasonable and prudent; state whether applicable accounting standards have been followed subject to any material departures disclosed and explained in the financial statements: and prepare the financial statements on the going concem basis unless it is inappropriate to presume that the tharity will continue in busin&8s. The Trustees are responsible for malntaSnlng accurate accountlng records Ihat reasonably disdose the charitys financial position at any time and allow them to ensure compliance with the Charities Act 2011. They are also tasked wlth safeguarding the charltys assets and taklng reasonable steps to prevent and detect fraud and other irregularities. Amounts ar8 prosented within items in the consolidated ststement of flnancSal actlvltles and balance sheet. The Trustees have considered the substance of the reported transactton or arrangement. in accordance with generally accepted accounting principles or Practices. In the case of each person who is a Trustee at Ihe time when the Truslees, report Is approved: so far as the Trustee are aware, there is no relevant audit infomiation (infomiation needed by the chartys audltors In ¢onne¢tlon wlth preparing their report) of whlch the Page | 24

PLEASANCE: IHk"A TA¥ [:. .. charity's audltors are unaware. and each Trustee has laken all steps that they ought and themselves aware to have taken as a Trustee In order to make himself awa￿ of any relevant audit infomiallon and to establish that the Charitys audltors are aware of that informalS0n. 9. Appolntment of Audltors Tha auditors, Jeffrey Altman & Compary, will bè proposed for re-appolntment at tha forthcomlng Annual General Meetlng. Approved by the Trustees and slgned on thelr behalf by: Rlchard House Trustee Date: i A a- ID2 Princlpal and Reglstsred Offlce Reglstsred Office In Scotland Pleasance Theatre Carpenters Mews North Road London N7 9EF Tel: [phone] East Brighton Crescent Edinburgh EH15 1LR Professlonal Advlsors The following professional advisors have been used where appropriate. Auditors Bankers Jeffrey Altman & Company Wayman House. 141 Wickham Road Shirley, Croydon. Su￿8y. CRO 8TE The Royal Bank of Scodand Edinburgh St Andrew Square 36 St Andrew Square. EH2 2YB Page125

THE PLEASANCE THEATRE TRUST A COMPANY LI INDEPENDENT AUDITORS, REPORT TO THE MEMBERS OF THE PLEASANCE THEATRE TRUS Opfinlon We have audited the Financial Sthtements of The Pleasance Theatre Thist (the 'Chity) for the year ended 10th November, 2024. which comprise Consolidated Statement of Financial Activiiies, Ihe Consolidated and Charity Balan Sheets, the Consolidated Statement of Cash Flows and notes to the financial statements. including a summary of significant accounting poli¢i¢s. The financial reponing framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including FRS102 'The Financial Reporting Standard appli¢able in the UK and Republic of Ireland, (Unifrd Kingdom Generally Accepted Accounting Practi¢¢). In our opinion the financial statements: Give a Érne and fair view of the state of the Charity and the Group's affairs as at 30 November. 2024 and of the Group's in¢omc and expeThdtture for the year then ended. Have been properly pr¢￿ed in ac¢ordan¢¢ with United Kingdom Generally Accepted Aecouting Practice. Have been properly prepared in accordance wilh the Charities and TTUStee Investment (Scotland) Act 2005 2nd regulation 8 of the Charities Accounts (Scotland) Regulati(ms 2006 (as amended). Hav¢ b¢¢n pr¢par¢d in acCorda￿e with the ￿quirements of the Companies Act 2006. B$l$ for oplnio We conducted our audit in accordance with Int&mational Standards on Auditing (UK) (ISAS (UK)) and appli¢able law. Our responsil)ilitTes under th09¢ Sthndards are further described in the auditovs reS￿nSibilitIeS for the audit of the financial statwnents se¢tion of our report. W¢ #r¢ iTHIcpend¢nt of th¢ Pare7rt Ch4ritabl¢ Company and its Subsidiary in accordance with the ethical r¢quir¢ments that are relevant to ow audit of th¢ filla￿la1 statements in the UK including th¢ FKiC's Ethi¢al Standard, and we have fvlfilled our other ethical reswnsibilities in accordance with these requiremepts. We believe that the audit evid¢n¢¢ w¢ hav¢ olAain¢d is suffici¢nt and appropriate to provide ts basis for our opinion. Conclu$lon$ Tejating to going concern In auditing the financial slatemen￿ we have concluded that the trustecs, us¢ of th¢ going concern b&sis of accounting in the pr¢p&ration of th¢ finwicial $tat¢me¥ts t5 approprtate. Based on the WO￿ that we have perforn]ed, w¢ have not ilkntified any ma1￿1&1 un¢ertainti¢s relating to eY¢nts i)r conditions tha¢ individualty or Colle￿1ve]y, may cast significant doubt on the group's abilty to continue as a going con¢¢m for a period of at least 12 months from when the financial staements A￿ authorised for issue. Our responsibilities and the responsibilities of the trustees with respect to going ¢on¢¢m ar¢ described in the relevant sections of this report. Other informatlOD The trnstees are responsible for the other inforniation. The other infomwtion eomprises the inforn]ation included in the Annu&l Report. including the trustees report otheT ihan th¢ finw]cial statemenL8 and our auditorfs Yeport thereon. Our opinion on the financial ststemenls does not ¢ov¢r the other infOrn￿tIon and except to the extenl otherwise explicitly stated in our report we do not express any forn) of assurance conclusion thereon. In connection with our audit of the financial $￿ernents our responsibility is to read the oth¢r infomlation 8n¢ in doing so, consider whether the other inforn]ation is inaterially inconsistent with the financial statements or our kftowledge obtained in the audit or otherwise appeats to ix materially misstated. If w¢ id¢ntify such material in¢onsistencies or apparent materia] misst&tementy we are required to determine whether there is a material misstat¢m¢nt in the financial siat¢m¢nts or a material misstafrment of the oth¢r inforniation. 1£ based on the work we have perfornied. we conclude that there Is a material misstatement of this other infornMtion. we are F¢quired tt) Teport the frdct. We have nothing to rewrt in Éhis regard. Opinions on other rnatters pre5cribgd by the Comp&nies Aet 2006 In our opinion. based on the work undertaken in ihe ¢ourse of the audit- The infom)atiot) given in the Trust¢es' ReporL which in¢lud¢s the directors, report prepared for the purposes of company law. for the financial year for which the fmancial statements are prep￿ed is consistent with ihe financial statements. and The directors, report included within the Trust¢es' Report has been prepared in accordance with applicable le8al requir¢m¢T)ts.

THE PLEASANCE THEATRE TRUST ACO PANY LI TEDB GUARANTEE INDEPENDENT AUDITORS, REPORT TO THE MEMBERS OF EASAN EATRE RUST Matters on whlch we are requlred to report by exeeplio In light of the knowledge and und¢tsÉanding of th¢ Charty and its ￿)VIr01￿nent obtsined in th¢ course of the ￿dI1, we have not identified material mlsstatements in th¢ Tn￿, ReporL We have nothing to report in respect of the following matt¢rs tn relation to which the Companies ACL 2006 the Charities Accounts (Scotland) Regulations 21106 (as amended) wuires us to report to you if. in our opinion: Adequate and prow accounting reeords have noi b¢¢n kepl or retun15 adequat¢ for our audit and have not been received from bran¢hes no¢ visited by us, or the financial statsments are nol in agreem¢Jt with the accounting records and returns. or tertain disclosufts of trustees, remuneration specifi¢ by law are not made; or we have not received all the infonnation artd explanations we r¢quir¢ for our audit. ResponslbiliÉits of trustees As explained more fvlly in the Statement of the Board's responsibilitiA the trnstees are respon$ibl¢ for the preparation of the finaD¢ial statements and for being satisfied that they give a true and fair view, and for such int¢rnd wntrol as the trustees d¢terniine is n¢¢essary to enabl¢ the preparation of fjnancial statements that are free fiDm material misstat¢menL whether due to fraud or error. In preparing the financial statements. the trust¢¢s are respons￿1 le for assessiyjg the Charitys ability to ￿￿tillue as a going concern. disclosing. as appli¢able, matteTS related to going concern and using the going concern basts of accounting unless the trustees either int¢nd to liquidate th¢ ChaTity or cease op¢ralion4 or hav¢ no r¢￿IStiC alt¢mative but to do so. Auditor's Tesponslbllltles for th¢ audlt ofthe fm*n¢lxl statements Our objectives are to obtain Feasonabl¢ assurance about whether the financial statements as & whole are free fri>m Inaterial misstatemenL whether due to fraud or error. and to issue an auditorfs report that includes our opinion. Reas¢xwbl¢ assurance is a high level of assuraJ)ce, but it is not a guardntee that an audit conducted in a¢¢othn¢e with ISAS (UK) will always detect a material missiat¢m¢nt when it ex1￿$. Misstatcments can arise from fraud or em)r and are considered matrrial if, individually or in the aggregaK they could r¢osonably.be expected kn influence the ¢¢onomic decisi¢)rts of users taken on the basis of these financial statsments. IFregulArities. including frdud. are instance5 of non-complian¢e with laws and regulations. We design procedures in line with our responsibilities, outlined abov< to detect rnaterial misstatanents in respect of irregularitie& incmding fraud. The extent to which our procedures are capable of detecting irr" -gularities. including fraud is det&il¢d below: Our approach to identifying and assessing the risks of matertal misstatement in respect of irregularitie4 including fraud and non complian¢e with laws and regulattons, w8$ as follows: Th¢ engagement partner ensured that the engagement team collecttvely has th¢ appropriale ￿MpetenCe, Capabilities and skills to identify or reco￿ls¢d non cornplian¢¢ with applicable laws and regulations: We identified the laws and regulations appli(2bl¢ to the Charity through di￿us$10lls wilh Trustees and other manag¢m¢nt. and from our knowledge and experi¢nce ofthe Charity sector. We focused on specifi¢ laws and regulations which w¢ wnsid¢red may have a direct material effect on th¢ financial statements or operations of the Charty. We assessed the ext¢nt of compliance with the laws and r¢gulations identified above throu￿7 making enquiries of management and inspecting l¢gal di)cuments". and Identified laws and regulations were Communicat￿ within the audit t¢am regularly and th¢ t¢am remained alert to Instances of non-compliance throughout the audit. W¢ assessed the susceptibility of the Charitys financial ststements to material misstatement including obtiining an und¢rstsnding of how fraud might occur, by:

THE PLEASANCE THEATRE TRUST A COMPANY LIMITED BY CUARANTF JNDEPENDENT AUDITORS, REPORT TO THE MEMBERS OF THE PLEASANCE THEATRE TR Auditor's wponslbllltles for the tsf the fihancffial $ttsments (eontlnued) Making enquiries of man8g¢m¢nt as to where they consid¢r¢d th¢T¢ was sw$pe￿IbIlity to frau¢ their knowledge of acbjal, su$pxt¢d and alleged fraud: and Con$lderTng the internal controls in place w mitigate rlskg of fraud and non compliAn¢e with laws and Tegulations To address the risk of fraud through management biag and oveTride of controls, we perfornied ana]ytical procedures to iitentify any wusual or unexpected relationship: te$ied jownal entried to id¢ntify unusual tran$￿tIOnS. assessed whether judgements And dssun)ptions were Jnade in detennining the ac¢ountRng estimates w¢r¢ indicative of pot¢ntial bias.. and investigated the rationale behind significant or wiu5ual trdnsactions In response to the risk of i￿egular1tles and non wmpliance with laws and re8ulations, we d¢sign¢d pro￿aUr¢S Twhich included, but were not limited to: agreeing financial stat¢m¢nt dis¢losures to wxlerlying supporting documentation. reading the rniT]Utes of meetings of those charged with governance enquiring of managemeTkt as to actual alld witential litig&lion and claims: and reviewing correspond¢nc¢ with HMRC, relevant regulators including ihe Health and Safety Executiv4 and the Charity's legal advisors. There are inherent Ilmiiaiions in our audit procedures described above. The mor¢ removed that laws and r¢gulations are from fmancial iraT]sactions. the less lknly tt is that we would become aware of Thon-compliance. Auditing stsndards also limit the audit procedures required to id¢nlify non-¢ompliance with laws and regulations to enquiry of the Trustees and other management and the insp￿10￿ of ￿gulatOry and It￿1 conrswndence, if any. Material misstat¢DM￿ that arise due to fraud can Ix harder to detect than those that arise from ¢￿ir as they may involve d¢libeT2te ¢oncealn]ent or collusion. We have been aprM)inted as auditor under section 44(Ic) of the Charities and Trust¢¢ Inv¢stmenl (Scotland) Act 2005 and under the Companies Act 2006 and repost in ￿e0￿lance with regulattons made underthose A¢ts. A further description of OUT responsibilities for the audit of the financial statements is located on th¢ Financial Reporting Council's websi at ￿vw.frc.Org.uklaudIto￿reSpo￿SlbIEltle$. This description fornis part of the a¥JditoVs report. Use of the audit report This report is made solety to the Charity's memb¢rs as a body in 8￿rdance with Chaptsr 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might slat¢ to the Ch&ity's members those matters we arc required to stste Éo them in an auditor¥ report and for no other purpose. to the ￿lIest extent pemiitted by law. we do not accept or Lssum¢ r¢sponsibility to anyone other than the Charity and the Chariws members as a body for our audit work, for this repoit or for the opinions we have fornied. Waymart Hous¢. 141, Wickham Road, Shirley. CROYDON, Suffey. CRO 8TE Mikaela Altman F.C.A. Senior Ststutory Audltor for 8nd on behalf of Jefftey Altman & Company Auditors and Chartered

istrati . 3130433 THE PLEASANCE THEATRE TRUST A COMP YLIM DBY UARANTEE CONS IDATED AND CH ITY BALANCE SH AT 30TH NOV Grou Char 2024 2023 2024 2023 OTES FIXED ASSE Tangible Assets Investments 90.666 57,486 148,152 113,109 57,486 170,595 39.088 97,489 136,577 42.270 97,489 139,759 12 RRENT Stocks Debtors Cash at Bank Cash in Hand ETS 5,466 499,905 651,417 2,736 1,159.524 5,590 163,097 920.478 70 1,089.235 13 387,262 639.048 1.143 1,027,453 228,599 759JS0 70 98&019 ESS.. CURRENT LIABILITIES Creditors - falling due within one year ETC 14 625,963) (528.568) 466,406 533.561 622,829 498,885 {399.865) 588.154 RRENT ASSETS TOTAL A LIABILITIES S CURRENT 681,713 793,424 635,462 727.913 CREDITORS- amounts falli mor¢ thatt one due after 15 30,600 81,000 30,600 651,113 £ 712.424 £ 604,862 £ 81.000 646,913 NETA SET RVE Unrestricted Funds General funds Restricted Funds Grants receivable Charlie Hartill fund 17 526.088 567,525 479,837 502.014 16 26.892 26,892 26.892 98,133 118,007 98,133 651,113 £ 712,424 £ 604,862 £ 26,892 118,(K17 646,913 Approved by the Trustees on 19th AugusL 2025 and signed on their behalf by: R.M. House, Esq. Director and Trustee The annexed notes fomi part of these financial statements.

Iii tf> QP < L) oz

THF PLEASANCE THEATRE TRugr A COMPANY LIMITED BY UARANTEE STATEMENT OF FNANCIAL ACI'IVITIES (INCLUDfNG iNCOME AND EXPENDITURE ACCOUNT) FORT YEAR ED 30TH NOVEMBER 2024 Unrestrithd Restrieted unds nds 2024 2023 Charlie GenernI Grants Hartill eceivabl Fund ￿ E￿d OTE NCOMING RESOi)RCES Donalion4 lega¢ies and similar resources Charitabl¢ Activities Productions Other Charitable Activities Aetivities for Generaling Funds Letting Iweslment In¢ome Inveslment Income Total Incoming Resources 215,106 70.832 9250 295,188 375,885 4.116,435 27,760 4,116,435 3,698.885 27,760 35,745 49,060 49.060 44,314 81,530 4,489,891 1.243 81773 58.615 10,493 4,571,216 4213,444 70.832 ESOURCES EXPENDED Charitable aetivities Productions Other Charitable Activities 4,488.093 23,975 4,512,068 70,832 70,832 30.367 4,589,292 4.132.776 23.975 46,395 30.367 4.613,267 4.179.171 'rotal resources expended Cor ion Tax NET MOVEMENT IN FUNDS (21177) (19.874) (42,051) 34,273 Fund balances at I st December, 2023 16 & 17 Fund balances at 30th November, 2024 502,014 26,892 479.837 26.892 118.(K)7 98.133 646.913 604.862 612,640 646,913

THE PLEASANCE THEATRE TRUST MPANY ITED BY GUAR EE CONSOLIDATED CASH FLOW STATEMENT FOR THE DED 30TH VEMBER 2 024 2023 RECONC CA OF NET DITURE TO W FROM OPEIL4TING A expenditure Depr¢ciation Interest Rec£iv¢d DecTeasel(Incr¢ase) in debtors De¢we/{Increase) in sto¢k (Decre&seYlncrease in Creditors (Excluding loans and fiTJance leases) Net eash (outllowyinllow from oper*ting actSvhies (61,311) 31,135 (83.436) (336,808) 15,012 33.062 {59.224) (24.815) (1,874) 159.557 146,518 (290.739) 108,679 CASH INF WS FROM INVESTING AcfiviTIE Interest received and other investm¢Tht activities Payments to acquire langible f￿ed assets 83.436 (8,692 59224 10,723 74,744 48.501 CASH INFLOWS FROM rNANCING ACTIVITIES L(Jan tsken out durinLY the y¢ar Loan repayments 50.400 50.400) (50,400) 266,395 (50.400) 106,780 CHANGE IN CASH AND CASH UIVALENTS Cash as at lst December 2023 Casb as at 30th November 2024 920,548 654.153 813.7ti8 £ 920,548

THE PLEASANCE THEATRE TRUST OMP MITKD B ARANT NOTES TO THE ACCOUNTS FOR THE YEA NDED 30T NOVEMB 24 CCOUN Ll The accounting p)licies set out below have been ￿pIled consistently by the Charity in the pr¢poration of its Accounts. &8is ofA The Accounts have been prepared in accordance wtth the Statement of Re¢ornmend￿ Practice: AccoLtnting and Reporting by Charities preparing their accounts in accordance with the Finan¢ial Reporting Stsndard applicable in the UK and Republic of Irel￿d (FRS 102) issued Tn S¢iA¢mbeT 2015, the Financia] Re￿rtIng Standard applicable in the United Krngdom and Republic of Irelanil (FRS 102), The Companies Act 2006 and UK Gencrally Ae(Ypted PTactÉce as it applies from l January 2015 and under th¢ Historical Cost Convention. (b) Public B¢n¢fit The Charity ¢onsitutes a public benefit a5 (kfined by FRS 102. (c) Goi Concern These financial statements have been prepared on a going concern basis. The Irustees are consistently reviewing the financial for￿•Sts as well as the reser￿ tK)sition of the gmup and they consider thaÉ the Charity holds sufficient reserves to deem Éhe going concern basis appropriate for the 12 months fJy)m the date of sign off of these accounts. (d) Basis of Consolidation The statement of financial activities and balance sheet consolidate th¢ financial statements of th¢ Charity. its v4holly owned subsidiary; Ple&sance Theatre Festival Limited. The consolidations has been perfomied on a line by line b&8is. A separnte Stat¢m¢nt ofFinancial Activities 15 prc5ented for the Charity. (e) Incomin Grants, legacies and donations - Income is recogniseil when the conditions for receipt have been met and there is Teasonable assuranc£ of receipi. Inwming resources are only deferred if the donor has restricied their use until a future acubunting year. Donations and grants for & particular purposes are included in in¢oming resouTC¢S as restrtcted fund5. Resources Theatre income d￿lared relates to the Charfjtys proportion of Box Office Fees only. Activili¢s in furtherdnce of the ch￿Ity'S objecÉives- In(x)me is ￿]sed when a theatri￿1 I￿￿ornIan¢t takes place. All incoming resources aT¢ recorded net ofvAT. All amounts r¢¢eived or receivable by way of grant have been offset against the relatrd expenditure within the Statement of Financial Activities for Rev¢nu¢ items. Granis made a ¢oniribution towards specific fixed assets are recognised in the Statement of Financial Adivities over the expected useful economlc liv¢s of the related assets.

THE PLEASANCE THEATRE TRUST PANY LIMITED BY GUARAN NOTES TO THE AccouKfs FOR THE YE MBE 2024 I. ACCOUWING POLICIES (Continu￿) Resources expended Att Included in the Statement of Financial Activities on an ￿rualS basis. Costs of generating funds - This category covers all fund-raisffing C4)Sts and all related exFtnditutt, Costs of activities in ￿rther4nC¢ of th¢ Charity's objects - these costs are wholly or mainly incurred dir¢¢tly in support of expendituff on the objects of the Charity. Support costs include Central ￿nCtionS and ￿ve been allocated to activity costs on a b&8is wnsi5tene¢ with the use of resources. This is frequently on the basis of staff time spent in each Are& Support costs also include Governance Costs. Expendilure on management and administration- this includes both direct and indirect costs. Where performan￿ of a production straddle the balance sh¢et dat< the production wsts are apportioned in rejation to the number of perfomwices falling within each period and the amount rel￿1￿£ to perforniances after the balance sheet date arc treated as debtors. Depreciation of Property and Equipment and Property RuEmtng Costs have ken charg¢d as a cost of generating funds. A small proportiom relatss to expenditur¢ on Manag￿ne0t arjd adminislrntion but is not considered mateTial in th¢ ￿￿teXt of thc Financial Ststements. Liabilities are recognised when incurred. (g) Website Develo ent Costs Website Development Costs are ¢apitalised where they create an enduring &sset. They are written off ov¢y their estimated useful economi¢ life of3 Y￿$. eciation of Fixed A￿ets Depreciation has been compuled to write off the cost of fixed assets over their expected useful lives at Ihe following rates: ImpTov¢ments to Le￿h0]d Theatre Evenly over the periTrl of the Lease Fixtures and Fittings IOYO per annum on cost Ci)mputer Equipment and Software A full year's depre¢iation is Gharged in the year of &¢quisition of an asset, but none in the year of dispDS&1. 33 /0 per annum on (x)st (i) Ca itslisation of Fi All id¢ntifAable assets providing enduring benefit to the Charity are capitalised o)7 the Ba18nce Sheet. Impainnent reviews are performed periodi¢ally to ensur¢ th¢ net book value of an &5set is higher than its recov¢rdble amount. (i) Fund Acco ti Funds held by the Charity ar¢ ¢ither: Unrestricted Genera] Fund - This fund ¢an be used in ewrdan¢e with the tharttable objects at the discretion of the Trustees. ed Assets . Designat¢d Funds - These are funds sct aside by the Trustee5 Out of unr¢strirt¢d g¢n¢rn] funds for spe¢ific future purposes or proj¢rts. . Reslrirted funds - These are funds that can only be used for particular restrictrd purposes within the objeth of the Charity. Restrictions aris¢ when specified by the donor or when funds are raised for P8rticular restricted Purposes. io

THE PLEASANCE THEATRE TRUST MPANY LI ITED BY ARANTE NOTES TO THE ACCOUNTS FOR THE EARE DED3 OVEMB 2024 I. ACCOUNTING POLICIES (Continued) Grants receivable - These funds represent grants received for specific purposs They are recognised in the ststement of financial activity as the conditions for re¢ognition are mrt Charlie Hartill fi]nd - a rolling fund towards production ￿$ts of sele¢ted theatre projects in which there are more than four people or more on stage arKI 40Q/o of the comrany (whatever their job) are within five years of full time education. Pleasance FuturesTh A restricted fund designed to invest in the futuK of young perfomws. st￿ks and work in progress are valued consistently at th¢ lower of cost (on a first ilk, first out basis) or net ￿alIsable va]ue. Cost, wherc wropriat4 includes a proportion of directly athibutable overhead& biors Debtors have iKen shown after PToviding for any amounts whi¢h the Trustees ¢onsid¢r may not be ¢oll¢cted in full. Investments which have been cl&ssified as Fixed Assets are included at cost, less alry ffductions in the value of th(￿ investments as a result of Im￿lMI¢nt. Financial &wts are assessed for indicators of impairnient at the erMI of each re￿rtIng period. Financial assets are ci)nsid¢fft1 to be impaired when tb¢re is obj¢¢tive evidence thaL &s a result of one or more events that occurred after the initial recognition of the financial asset, the estimated future ¢￿h flows of the investhient have been affe¢ted. Objective evidence of impaimient could includ • significant finallcial difficulty of the issuer or ¢ounterpaty it i￿Oming probable that the borrower will enter bankruptcy or financial re-orgaDisatiw or the disappearan¢e of an active market for that financia] asset because of financial difficulties. For financial assets carried at cost. the amount of the impYAirnient loss is measured as th¢ difference i*ween th¢ asset's canying amount and the present value of the estimated future cash flows. Leasing rentals Wdyable on agreements which transfer substantially all the risks and rewards associated with ownership to the lessee (finance leases) are capitalised within Fixed As5et4 and the obligation to pt¢y future ￿ttalS included in creditors as a liability. (p) Irrecoverable VAT Inecovcrablc VAT is allocated to the category of expenditu￿ to which it Tclates. (q) Statu5 of he Com The Company is a Tegist¢red ChaTity. Limited by Guarantee. As at 30th November. 2024, the Company had 5 members who are also Directors. The m¢mbers of the Charity are not entitled to receiv¢ dividends out of the surplus funds of the Charity whether on the winding up of th¢ Charity or otherwise. In the event of the Charity Ixing wound up and there beirtg a shortage of funds available to meet its liabilities, then the members will be liabl¢ to conttibute a M￿lmuM of £10 each to reduce or eliminale ihe deficiency. Any SEwpIu5 a windin8 up has to be donated to a char&ty wlth a similar purpose. (r) Re iste ceAd The Registered Offic¢ is Carpenter Mei¥s. North Road. Londo￿ N7 9EF. Th¢ Cornpany registration number is 313043J. The Charity is ￿lStered at the Charities Commission Engla1￿ Wales 1050944 and at the Office of Scottish Charity R¢gulator SC043237

THE PLEASAP4CE THEATRE TRUST NO'I'IS TO THE ACCOUNTS FOR TIIE Uoresiri¢tcd Funds Ra8trided Funds F¥Md$ tA)n￿l0￿$ R¢ttived tirants Re(v¢ 64.900 11,850 10,000 76.750 iQ.(KX) 28,025 50J50 10.o&) 10,000 78J75 10,(KK) 10.(K)o St BernardAhd lady S¢hrigr foundatio Nfl cow￿dFoUrthi rh s Guttwi¢ The MackiDtC6h Foundation ctwle5 S French ChwitabjeT¥￿5t IsltngtonGiwin8 T¢￿Ty￿St B￿￿RadiO 151 2,SOO 2.400 s,000 2JOO 2.51XJ 2.000 2.000 I,(x)o 3.000 3,000 3.0(X) 5.QOO io.ooo 3.000 5.000 Cwicorn EneT8y PLC Wi8w Clwitable Ftythdstion Tbis¢ltTTth The RobTnLSt Jan Miclta15ki JTH Charirable TnLSt Arts Council Ufvetston Fojtnthi M¥lbtrryTn Stafford I'rt8t Btwe Wake RotrtT4aId￿Cbg￿th￿e Trusi WahtrSeott& ParttKr5 M and Grsllt WCH TTUSt TheSo¢iety of Wril¢ES Ediuburgh Airyort DaTridfwnily FouDdati Srotti5h Chil(ITcnlM TheCrttorTrust Royal Victoria HaIl Found&tion Th¢RussdlGrnJt s.ooo 2.000 500 5.000 500 3,1M)O 2326 2M6 3.000 2,300 1.000 5.000 1,000 iooo i.000 ,000 S,(X)O 2.000 500 s.(N)o 500 3.000 2J26 27.(X)O 27.000 3.000 2.500 i.000 5.ofK) i.o(x> io(M) 1.0 iooo 14.846 5,000 iooo i(M)o 14,846 s,￿0 2.000 2,000 5.0(10 500 1.820 29.411 5,000 5(x) 1,820 29.411 UkityThtatre Trusl Jobn Ellmna MbilibChitaNeTn Christitia Stllith FouDdatio EquitablechwitsblcT¥￿st 04JTidLCharitablellvst N￿cY M&8Sty RoseFout)dBtion Trs 1.000 5.IK)O 5,(KJO 2.￿0 3.(X)O 5.000 202.427 £ 5,(X)O 5,ODO 1000 3.000 5,000 230.4.$2 64.900 £ 80.Q82 £ 144.982 £ 28.025 £ 12

THE PLEASANCE THEATHE TRUST (A COllPAN NO'fFs'io THE ACCOUNTS FOR THE ov R¢stricd Unr¢stri£ttd R¥tsicted Furlds Fut)d% T¢Aal Funds Ldihbur8lL Box Office LondoL Box Offi¢¢ 3,857,159 248J09 3,857.159 248JO9 10,967 4116435£ 3,5¥2.843 I02,IM2 14,(h)O 3 698.885 £ 3.S81843 102,042 7.500 4.) 16.435 £ Total Funds Fun Young Ple￿Thee F¢¢$ 27.760 £ 27.760 £ 35.745 £ 35.745 TRADI Ldinbu]Bh B8r IA)Ddon Bar It￿ome 257.685 183.962 235.357 184.093 Rehesawl Roo]R Rrntsl I¥￿￿me 6,85 44&497 £ .527 434.877 Unrestricted Fund5 Total u￿￿trICt￿ R&%trided knd4 Total NTIN Fut￿8 PrufIt recei￿1 on Venture I￿V￿tment 'ITh￿treTaK Relief ￿￿?k Interesr Recetved 63,125 19.068 2,193 £ 63.125 20JT I 83.436 £ 43.822 14216 5&038 £ 43.822 15,402 59.224 1,243 1,243 £ 1.1¥6 1.186 £ 7. NF.T I MFJ TURE Net Inwn*1lExFThditu￿) ss 5tateda)lertlLtiryng Aniounis p8yabl¢kn auditor-audÉt A￿lovE￿ pa￿￿bI¢￿ auditor-Noft audit Dcprttiation IL950 2300 31,135 9.978 1220 33,061 13

THE PLEASANCE TJIEATRETRUST ACOMPANY NO'I'ES IDTHEACLOiINTS FORTHE 24 Dired Sw Dwe Cosis Dire Support Costs Supwt Yo￿1 CHARrrABLEACTJvmES Production LNPEnses Dir¢u &a(fc*ts Wage$ar￿ Sal8Yi¢S Ernplo>eTS NIC C•thribuliOhS DepTeciaiion 1.656.836 516,458 62&17 73.764 23.056 11.874 7,059 4.105 17,819 51561 1.709,397 1.336.871 516,458 483.484 663.170 634.6S 73.764 66.430 23.056 13.258 11.874 13,800 7.059 4.los 17.819 203,388 17242 2$￿[4 1,540,259 5QO.726 35,000 66.430 13.8(K> St&liortryand Pw Ttlephonc and F&x Bsnk CPAwand IDtuest 3.421 9351 385 10.6&2 306.163 9.788 12541 1421 385 (681 377.034 1SJ34 11.579 Ac¢ammththtio Travel and Sub5iStence Mi5cellaneou5 P￿￿1$¢$ R¢￿1￿$￿￿1 377.034 19_ 21259 306.103 9.788 15M23 3.958 9.680 3282 49,533 75J73 29573 23,694 79.871 24J79 13.851 13&680 67.889 29.¥37 4.750 14.IlX) 37.794 79,871 24J79 75.373 29573 5.QlO 188J65 49.716 Advertisi￿% Computerservices IALwcesandLe8al Fet5 Stuc￿1￿1 Fce5 AudiiFcB ITte¢o%Yrsblt VAT IS4,858 67,889 49.716 31234 4,750 9.978 57i.liX> £ 4 149th)7 12,950 681 l2.950 681 9.978 £ 101199 £ £ 3 L&SA55 £ 9978 £ 211104 £ YoynpPJ¢isanrE Ftt5 23.975 £ 2Y2 £ 46J95 159.870 29.520 69￿00 837 19261 527 I1￿73 159.870 29520 158.059 28.079 49.695 158,059 28.079 49,695 I)tTeCtor5 RununeiÈti(ift Wya￿ls￿l￿nes 837 19261 527 21.073 59 23.OJ4 ?67 10,201 Rent Li¥hi and Hc&t BaDkCh8Tg¢54na Inlvt(%( LoBn InteY¢st Rtr4itsathdFi104 Mi5ce51aYrtOU5 A￿JIL F£￿)1￿r 23.034 267 10.201 10.850 lQ850 173 1,701 138 138 979 I,yoi £ 31 £ 318214 £ 292.433 £ % 2￿43) SalaTie5and W& P¥l￿Onc0￿￿1b￿1Oll5 Social SerJJrityeostJ 76?,490 23P3 71?.4?4 13.719 * ￿.147 £￿$?3 '¥henumE¢Tof staff [eceivÈn8a5￿BryDvtr￿.l￿)0W￿s.' £7O.￿￿£79.999 £8O.￿￿£89.999 PcDsioneoMributionsof£l.32012o23..£1,320IMrytemad20nbewfofhi￿Cr￿id emplowduringthe year No T5￿$￿¥5 Feilnbu￿j forBXPell5esduri￿llth¢y￿r(192J.. £Nill

THE PLEASANCE THEATRE TRUST A COMPANY L ITED BY GUARANTEE NOTES TO THE ACCOUNTS FOR THE AR ENDED 3 OVE 24 10. FFN MBERS The average number of full-time equivalent employe4 including casual and part-time staff, during the year was:. 23 Management and administrntion I I. FIXED ASSET Tangible Group 38 41 Le&sehold Land and Buildin Plant FixtutEs Fittin Total COST OR VALUATION Balance as at l December. 2023 Additions Disposa]s 411,636 193.072 421,078 8.692 1,025,786 8,692 Balance as at 30 November. 2024 DEPRECIATION Balance as at l December. 2023 Charge for the year Estimated on Diswsal of Asset BaIance as at 30 November, 2024 NET BOOK VALUE 411.636 193.072 429,770 1,034,478 411,636 122.233 19,261 378,808 11,874 912.677 31,135 411,636 141,494 390,682 943,812 As at 30 November, 2023 As at 30 November, 2024 70,839 £ 51,578 £ 42,270 £ 39,088 £ 113,109 90,666 Charity LLa5ehold Land and Buildin Fixtures Fittin COST OR VALUATION Balance as at l December, 2023 Additions Disposals Balance as at 30 November, 2024 DEPRECIATION Balance as at l December, 2023 Charge for the year Estimated on Di5P05al of Asset Balance as at 30 November, 2024 NET B￿K VAL As At 30 November, 2023 As ai 30 November, 2024 411.636 412,029 8,692 823.665 8.692 411,636 £ 420,721 832.357 411,636 369,759 11,874 781,395 11.874 411,636 £ 381,633 793,269 42,270 £ 42.270 39,088 £ 39,088 15

THE PLEASANCE THEATRE TRUST MP V LIMITED BY GUARA EE NOTES TO THE ACCOIJNTS FOR THE OTHN 12. FIX Chari ET INVE Subsidiary Unlisted Undertaklngs Investmcnts Totsl COST Balance as at l Deeember. 2023 Addilions B&18n¢e as at 30 November, 2024 IMPAIRMENT Balance as at l December, 2023 Impairnient Balancde as at 30 November. 2024 40,003 70,199 110202 40.003 £ 70.199 £ 110.202 NETB UE As at 30 November. 2023 40,003 £ 70.199 £ 110,202 As at 30 Novernl￿. 2024 40.003 £ 70.199 £ 110,202 As at th¢ Balanc¢ Sheet Date, the Charity held lo￿/* of the OrdiJ)ary Share C2pitsI and lo￿1& of the Preference Shar¢ Capit&l of Pleasancc Theatr¢ Fe￿iVal Limit¢4 a Company Registered in England and Wal¢s (Company NuTnber 2013041). Regist¢r¢d Office addr￿ Carwt¢r Mew& North Road. London, N7 9EF. The Prinicipal A¢tivity of the Company is operating a Bar and RestauranL The Company had a tumover of £448.497 (2023: £434.877) and Net Loss of £19.261 (2023: Net LA)SS £19,261) for the year cnded 30th November. 2024. The Shar¢holders' Funds at that date were £86,252 (2023.. £105,513). The accounts for the years ended 30th November. 2024 and 30th November. 2023 were unaudited. The Board of Trustees have 8SS¢S5¢d the carrying vahKs of their Investments at the yw end and have taken th¢ decision to nthintain the value of their Unlisted Inveslment. This is due to the current economic climate whereby the Board of Trnstees feel that based on inforniation provided. there 15 no reduction in the estimation of future ￿$h flows to the value as stated in the Balance SheeL 21Y24 2023 2024 2023 13. DEB TORS- amoullts falling due within one year Trad¢ d¢￿OIS 340,830 Amount OW￿ by group undertakings Oth¢r debtors Prepayments and accrned income 79,174 27,212 203.607 101245 55,198 387,262 £ 76.721 70,433 23,869 57,576 228,599 101245 57,830 499,905 £ 23,869 60,054 163,097 £ 16

THE PLEASANCE THEATRE TRUST ACOM NY LIMITF.DB UARA NOTES TO THE ACCOUNTS FOR THE YEAR ENDED 3 OVE 24 TEE 24 202 14. CRED Trade credito Director's Loan A￿Outrt Taxation and social seority costs A￿￿alS and defeTr¢d grant in¢ome Other creditors Bank Loan - amounts fallin8 due within otte year 209,356 126,055 19&738 115.253 104,233 65.016 196,958 50.400 71.474 175,590 42,887 50,400 44.869 65.016 169,545 50,400 18,863 171462 42.887 50,400 625.963 £ 466.406 £ 528.568 £ 399.865 Chari 023 2024 202 15. CREDITORS- amounts falling due after more than one year Coronavirus Business Intemiption Loan Scheme 30.600 30.600 £ 8L.(M)O 81.000 £ 30.600 30,600 £ 81,000 81,000 Balance due grea*r than 5 years £Nil (2023.'£Nil) 16. RE TRICTED FUNDS Chari and Grou Balan¢e Incoming 1st December Resour¢¢s 2023 Transfer B¢twe¢n Funds Balance 30th November 2023 Used Charlie Hartill Fund Productions Edinburgh FestivaI London Fund Pleasan¢e Futures 118,007 10,493 16.400 28,666 2,326 23.440 30.367 16.4(KJ 28.666 2,326 23,440 101.199 £ 98.133 26,892 26.892 1È14.899 £ 81.325 £ 125.025 Charlie Hartill provides fimding to bTing perfomers wl)o would not nornMIty Ee able to afford to do so, to the Edinburglj Festival Productions are restricted fimds which are all￿ted to specifI¢ productions The Edinburgh Fesiiwdl restr¢it¢d thnd rel8t¢s solety for ¢xpendithr¢ in putting on th¢ Festival. lJ)ndon Fund relates to repa7rs to the Lo])don Theatre and OtTices. Pleasan¢¢ futures provides opportunities for perforniers and perfonn¢r5 17

THE PLEASANCE THEATRE TRUST COMPANY LIMITE BY GUA NTEE NOTES TO THE ACCOUNTS FOR THE ND TH NOV 17. UNRE TRJCTED ou Balanc¢ In¢omittg Ist December Resources 2023 ResouTC¢S Used Transfer Balance Between 30thNov¢mber Funds 2024 General Funds 567,525 4,788.845 4,830282 526,088 18. ANALY OFN Chari and Grou SE EN FUND Ul￿estrI￿¢d Restricted Fund Funds General Gtants Fund Receivablc Charlie Hartill Fund Total Funds Impmements to Ltasehold FixtLwes and Fittings Investhients Sto¢ks DebtQTS Cash at Bank and Èn Hand cr￿ltorS 90.666 57.486 90.666 57.486 5.466 499.905 654,153 (656.563) 651.113 499,905 588,509 (656.563) 585,469 £ 65,644 Balance as * 30 NovemE*r 2024 65.644 £ 19. RELA D PARTY TRANSAcfioNS There were no related party transactions duringth¢ year. 20. ULTIMATE C NTROLLING PARTY The Charity is under the control of the Trust¢es. There is no one overall c4>ntrolling party. 18