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 lon*temi 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.
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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
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.)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
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. 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.
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. 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.
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. 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.
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, 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.
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(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 dra*theatre 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.
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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.
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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.
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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.
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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.
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"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
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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
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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.
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"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
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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.
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. 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.
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.'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: 020 7619 6868
4 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 'Ch*ity) 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 $t*tsments (eontlnued)
Making enquiries of man8g¢m¢nt as to where they consid¢r¢d th¢T¢ was sw$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
Nf*l 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
Rot*rtT4aId￿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
MbilibCh*itaNeTn
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 COl*lPAN
NO'fFs'io THE ACCOUNTS FOR THE
ov
R¢stric*d
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