GOLIVE Go Live Theatre Projects Ltd {previously registered as The Mousetrap Foundation for the Arts and known as Mousetrap Theatre Pmjectsl THEATRE PROJECTS Annual Report and Financial Statements (unaudited) Unlockingtho powor of theatr• foryounz people 31 August 2022 Company Limited by Cuaranle8 Registration Number 3162429 IEngland and Waksl Charity Regi8tration Number 1053434
CONTENTS Reports Reference and adminislralive information Chief Executive's statement Trustees, report Independent examiner's report 23 Financial statements Statement of financial activities 24 Balance sheet 25 Statement of cash flows 26 Principal accounting policies 27 Notes to the financial statements 31 Go Live Theatre Projects
REFERENCE AND ADMINISTRATIVE INFORMATION Trustees Sir Stephen Waley-cohen Bt Ichairmanl (resigned 27 February 20231 Charles Prideaux (Chairl lappoinled 27 February 20231 Jonathan Burke Robert Davis MBE DL Mary Hammond (resigned 31 December 20211 Ashley Herman Adam Kenwright Phyllida Lloyd CBE Karen Napier Sarah Richardson (resigned 3 August 20221 Clifford Siegel Andrea Sullivan Christopher Tabor Roy Williams OBE Chief Executive Susan Vvhiddington CBE Deputy Director Gayle Bryans Company Secretary Susan Vvhiddington Charity registration number 1053434 Company registration number 3162429 Registered address 33 Shaftesbury Avenue London W1D 7EH Independent Examlner Buzzacott LLP 130 Wood Street London EC2V 6DL Bankers Royal Bank of Scotland PLC 49 Charing Cross Road London SVV1A2DX Go Live Theatre Pmjects 1
TRUSTEES. REPORT 31 August 2022 CHIEF EXECUTIVE'S STATEMENT The Financial Year, 1 st September 2021 31 st August 2022, was a busy and productive year for Mousetrap Theatre Projects, now registered as"Go Live Theatre Pmjects Ltd" Highlights included a relaxed performance of New Adventure's Nulcrackerl at Sadler's Wells in January, a very special 25th Anniversary Gala in May and ending the Financial Year in excellent financial shape. In this year's report, I hope you will find il heartening lo read that although we may have served fewer students and families than pre-pandemic, the charity was definitely back on form, offering all of the programmes and projects that had been severely curtailed or not offered in 2020-2021. A good example of this is the Family First Nights programme, where this past summer we were able to send 295 families lo the theatre with all tickets al £8 offering them 30 productions whereas in 2021, we were only able to accommodate 110 families. This past year we significantly expanded our work in the community setting, providing opportunities for carers, care leavers, young refugees, asylum seekers and young people with SEND (Special Education Needs & Disabilities) lo participate in a range of drama-based projects, all of which included a theatre visit. We also offered our Change Your Tune Creative Learning project in Sl George's Academy, Westminsler, where a composer and book writer work with students to create a mini-musical based on a social issue the students are experiencing. The musical is performed by a core group of students lo the whole of Key Stage 3 and parents, plus we provide training and educational resources lo teachers on creative ways to explore the chosen issue in the classroom with their students after seeing the production. Other areas of endeavour included the launch of a corporate fundraising initiative, the development of consultancy services through creating educational resource packs for four West End shows as well as offering consultancy on relaxed performances lo a Wesl End production. We also conducted research on developing a new project for children of prisoners., which we hope lo pilot in 2023. On the governance front, the Board's Governance Committee revised the terms and conditions of office for Trustees and began the search for a new Chair. We also initiated a search for new Trustees with specific skillslexperience in the areas of community arts, stsle education and SEND. We hope lo have our new Chair in place in early 2023 and new Trustees by spring 2023. The Board and the Youth Forum also held ils annual get together so Youth Forum members could meet Trustees and Trustees could hear directly from young people about their issues, concerns and importantly their suggestions and hopes for our charity going foard. As noted above, we marked our 25th anniversary with a celebratory Gala on 25th May at the Underglobe at Shakespeare's Globe. This successful SoldUt fundraiser featured a cabaret performed by West End stars, a live and silent auction, strolling artists and a moving tribute lo our outgoing Chair and Founder Sir Stephen Waley-cohen, delivered by our Patron Sir David Suchet. We are proud to have served some 250,000 young people over the past 25 years and our work continues lo grow and develop in new directions. By listening to the concems and needs of young people, lea¢hers, families and youth leaders, we endeavour lo create projects that directly address those needs. We then strive to keep these projects flexible and supple so we can make the required changes easily from valued feedback and extensive evaluations. We believe this mode of operation keeps our work fresh, innovative and responsive and is a proud hallmark of our charity. Susan Vvhiddington CBE, Chief Executive Go Live Theatre Pmjects 2
TRUSTEES. REPORT 31 August 2022 The Trustees present their report and financial statements for the year ended 31 August 2022. Unb'l 12 January 2023, Go Live Theatre Projects Ltd" was registered under the name of The Mousetrap Foundation for the Arts" The financial ststemenls have been prepared in accordance with the accounting policies sel out on pages 27 to 30 therein and comply with the Charity's Memorandum and Articles of Association, applicable laws and Accounting and Reporting by Charities.. Statement of Recommended Practice applicable lo ¢harilies preparing their accounts in accordance with the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland IFRS 1021. OBJECTIVES The charitable company's objects are lo promote, maintain, improve and advance education by the encouragement of the participation in the Arts. Specific objectives are". + to open the doors of London's world-class theatre to children and young people, especially those with limited resourTrs, support or a disability., to use theatre as an educational tool lo develop skills, educate, engage and inspire., + to encourage a legacy of theatregoing by reducing barriers and enhancing an appreciation of theatre., + to develop and nurture collabotionS with young people, teachers, artists, arts organisations and the theatre industry. ACTIVITIES, ACHIEVEMENTS AND PERFORMANCE THEATRE ACCESS As the pandemic eased, we were able to re-start our thealregoing schemes, although at a lower level than in pre-pandemic years. This was due both lo funding and, al the lime of planning for the year, being cautious about the appelile from schools to start bringing groups lo the theatre again. THEATRE OPENERS- theatre trips, insight sessions and workshops for mainstream and special schools Over the year we took 2,739 students to see lop London shows ranging from hard hitting drama and Shakespeare to musical comedy.. The Play That Goes Wrong, Fantastically Great Women, Legally Blonde, The Crucible, Life ofPi, Wicked, The Curious Incidgnt of the Dog in the Night-time, The Lion King, Gr&nf&ll.' Value Enginegring, The Comedy of Errors, The Prince of Egypt, Cirqug du Soleil, The Book of Dust, The Ocean at the End of the Lane, Back to the Future, Gulliver's Travels The average percentage of students eligible for Free School Meals IFSMI al participating mainstream schools was 29°/o IUK average for 2021122 was 20.9 /ol, and over half the participating schools were above the UK average. We are also aware that Many of the schools have a much higher number of students living in poverty, but are ineligible for FSM because their parents don't qLJalify for Universal Credit, Income Support etc. Al special schools the FSM figures are much higher, with most of the schools we worked with having 40_500/0 of students eligible for FSM. Go Live Theatre Pmjects 3
TRUSTEES. REPORT 31 August 2022 For mainstream schools, we offered a 90-minule Insight session each term where students work directly with the production team to learn more about the show they are attending. Insight sessions were held for Grenfell.. Value Engineering, WiGked and Life of Pi. For special schools, each term we offered three in-school workshops led by theatre practitioners, focussing on the production the students saw. We conducted post-visil surveys with teachers and these were the results. In over half of the schools, teachers reported that 40 -1000/0 of the students had never been to the theatre before and more than 600/0 had never been lo a West End show. Theatre Openers is therefore key to giving young people a first-lime theatre experience. Nearly half the teachers said they wouldn't be likely lo lake their students to the theatre without the support of Mousetrap Theatre Projects with another 21019 saying they only 'maybe' would. We asked the teachers to ask their students if their trip had made them want lo go to the theatre again", 850/0 of the responding teachers said 80_1 OOO/D of their students said 'yes'. Teachers commented.. "Opportunities like this are a lrfeline to getting pupils interested in the theatre" 'We wish we could put into words how Ihanlrful our students were for this opportunity. As teaching staff, we saw even some of our most challenging students, in a new light." TALKING THEATRE During the summer term, we brought back our education project, Talking Theatre, which we launched the previous summer term during the pandemic. Our Head of Access, Elaine Grant, interviewed five top theatre industry professionals.. Sonia Friedman - producer, Inau Ellams- playwright, Clint Dyer- director, Paule Constable- lighting designer, Christina Blanco- actor. Imth last year's Talking Theatre videos, (Lolita Chakrabarti playwright,. Kenny Wax - producer., Jamie Lloyd director,. Jamal Westman actor and Natalie Pryce - designer Isel & coslumel, we now have 10 videoed sessions of leading theatre industry practitioners. FAMILY FIRST NIGHTS IFFNF making London's theatre accessible lo families on low incomes and in other challenging circumstances This year we were able lo increase the number of families we look through our FFN summer Iheatregoing scheme, lo 295, which was still less than the 500 we had accommodated pre-pandemic, but 3 times the number we had been able to lake in 2021. This represented 1,139 individuals of whom 629 were children and young people aged 3 - 17. Families came from 32 London boroughs as well as a range of counties outside London. They were referred lo FFN by 46 community organisalions, charities, housing associations and social service organisalions. We gave families a choice of 30 West End and London productions, including 4 access performances. Shows ranged from big musicals lo children's shows. We also offered the families 3 free family creative workshops based on 3 of the productions on offer, Th8 Tiger Who Came to T8a, The Jungle Book and Wicked. We asked families to complete a feedback sutvey and 250/0 did so. 860/0 of the respondents said the theatre trip improved their childlchildren's wellbeing. 97 /0 said the experience made them more likely to attend theatre as a family together in future. 920A rated the trip the top score in terms of value of having a positive family experience after the difficult pandemic period. Go Live Theatre Pmjects 4
TRUSTEES. REPORT 31 August 2022 "I cannot stress enough the value of an experience like this for a vulnerable child. It opens a world for them that they did not comprehend before. I have had children want lo leam to sing /dance lact atter a show. All the friendships and skills and confidence this brings them. The bonding of sharing the actual experience and the sharing of it with others after is priceless. Foster Parent Throughout the year we also sent all the families on our FFN database of past participants ticket offers to see a wide range of theatre, dance, opera and other cultural events, helping and encouraging them lo continue attending as a family. RELAXED PERFORMANCE - we buy out a performance and fill il with families with children with autism, sensory or behavioural issues and other disabilities. Small adjustments are made lo the show's lighting and sound and usual theatre etiquette is not required. In January we look over a performance of Matthew Bourne's Nutcrackerl al Sadler's Wells, subsidising the tickets lo £5 £10 for children and £10 £20 for adults. 163 families attended of which 364 were children and young people. The families came from 30 London boroughs and 30 of them were from other English counties, with the furthest Iravelling from Northamplonshire. Working closely with New Adventures, we provided the families with supporting resour$ lo help them prepare fortheir visit. Dance-thealre practitioners from New Adventures also led 3 pre-show workshops, giving families the chance lo lake part in fun, informative group activities based around the themes of the show. 49 /0 of the attending families filled in our post-event feedback survey. 90 /0 of them said their reason for allending was the relaxed and non-judgemenlal atmosphere. Well over half also cited the discounted ticket pri, the opportunity lo attend as a family unil and wanting to see the show itself as reasons they came. Just under 90 /0 said that having attended this relaxed performan, they would now feel confident to attend the theatre or other cultural events with their family again. "Days out like this for families with sp&Gial needs children ar8 very rare. To be able lo watch a perfom)ance in a relaxed non-judgemental setting is such a treat.. Thank you forreally special day that we won t forget." Parent GO LIVE- a free-to-join theatregoing club f()r 15-24 year olds, and Go Live Grad$- ft)r 25-29 year olds who pay £10 a year. Monthly organised trips plus members receive regular extra ticket offers lo book for other productions themselves. This year there were 2.169 theatre attendances by Go Live members. These included the regular trips organised by us throughout the year, charyed at £7 for 15-18 year olds and £12 for 19-24 year olds, plus the ft)Ilowing special aclivilies..
'A$sisted visits, lo target those who had taken part in other Go Live Theatre programmes and needed some support before having the confidence to allend independently rather than as part of an organised group outing. We sent the young people and their parents information about the theatre visit, invited them to attend a drop-in Q&A zoom meeting and offered the option to be met at the nearest tube stations by Youth Forum volunteers who would walk them lo the Ihealre. 'Go Live Fortnight,, a major campaign to encourage young people to return to the theatre in the autumn for £10 per lickel. We were able lo gel around 50 tickets from 10 top shows and 501 young people attended the theatre from 27th September 8th October. We initially tsrgeted Go Live members who had not been to the theatre with us in a long time before we opened the offer to the rest Go Live Theatre Pmjects S
TRUSTEES. REPORT 31 August 2022
of the membership. We also offered a number of exto events." 3 post-show talks, a backstage tour of
Shakespeare's Globe and a walking tour of the West End.
The productions attended over the year were.. Hamlet (Young Vicl., Six (Vaudeville) & Juliet Ishaftesburyl.,
The P12y that Goes Wrong (Duchessl,. Creature (Sadler's Wells)., Romeo and Juliet Ishakespeare's Globel..
Princ8 of Egypt (Dominionl., Wicked (Apollo Victorial,. Mamma Mial (Novellol., BaGk to the Future {Adelphil,
Hairspray Icoliseuml, The Lion King {Lyceuml, Cinderella {Gillian Lynnel, Ocean at the End of the Lane
(Duchessl, Come from Away IPhoenixl, Ballet Boyz (Sadler's Wells), Life of Pi Iwyndham'sl, The Mousetrap
ISI Martin's), Frozen (Theatre Royal Drury Lane), Dear Evan Hansen (Noel Cowardl, Grease (Dominion),
Jemsalem (Apollol, Moulin Rouge (Piccadillyl, The Glass Menagerie (Duke of York).
"Being a massive musical theatre fan.. Mousetrap has made theatre going accessible. Being in the
middle of exam season but having the opportunity to relax by going to the theatre was really great
and I will always be grateful lo Mousetrap for Ihisl All I can say is thank youl" Go Live member
ENVISION- theatre days for blind and partially sighted young people
In March we ran two Envision days al Sack to the Future, attended by 86 visually Impaired young people fomi
8 schools and sensory support servIs. They took part in a pre-show workshop and louch-tour before
attending an audio-described matinee performance. The majority of attendees had never been to the theatre
before.
In the feedback survey, all respondents scored the day 5 out of 5 for meeting the communication needs of
their young people, having a positive impact on their communication, encouraging participation, raising
confidence and encouraging creativity.
'My son's confidence really soad. He navigated the theatre with a lot of Confiden. More
than I had &ver seen before" Parent
"
TRUSTEES. REPORT 31 August 2022
"The show and workshop has definitely contributed to oursludents, understanding of Macbeth, it has been
well worth every bit ofhard work you all do." Teacher
In May, we look 11 deaf children and their families to see Life of Pi, with a pre-show workshop exploring
through puppetry the play's themes of family, luck, imagination and story-telling, followed by a meet and greet
with the whole cast and the goat puppet.
The feedback from parents was superb, with nearly all giving the top scores against all our aims- lo meet the
children's communication needs, pitch the day at the right level, provide an educational opportunity, enhance
understsnding of the play, and increase confidence around theatre.
"This w8S $0 8m8zing.... 81most makes me cry to have her so included" Parent
"
TRUSTEES. REPORT 31 August 2022 and the fact that il wasn't 'sit down writing, had engaged their students, especially those who had been reluclanl writers in the past. The teachers in the SCLN & Deaf units rated their students in 5 skill area5 before and after the project on a scale of 1-10. All teachers gave ratings of 3 10 7 points higher in their end of project assessment relative lo the ratings they had given al the start. We recognise that these baseline and endline surveys assessing each grouplclass as a whole are a useful measure of overall project impact, bul that progress will vary for individual students. Much more comprehensive data could be gained by asking teachers to assess each child individually, but teachers have stated they would not have lime to complete this. For the deaf schools, project, we ensured 1 of the 2 practitioners delivering the workshops and a couple of the actors performing the plays were deaf, to provide positive deaf role models for the children. 'Most of the children at Gateway have not had any inleraclion with the wortd of theatr8. They have now had the most incredible taste of 8 magic81 world.... This project helped many develop their confidence in standing up in front of others bul also Confiden in their ideas and written work. It was just brilliant, thank you lo all al Mousetrap for making it possible. (Teacher, Gateway Academy Primary) CHANGE YOUR TUNE - uses the creation of a new musical to address a pertinent theme or issue chosen by the school's senior leadership team. Participants.. We partnered with Sl George's Catholic School in Westminsler, where 34.3 % of students speak English as a second language, a large proportion137.1 /0} of students are eligible for free school meals and a large population of the school has SEN support124.101ol. A core group of 21 students from years 7, 8 & 9 took part in the musical and the entire Key Stsge 3 engaged with the project, tolalling 570 students. Aims". The school ehose the theme 'How human conneetion can improve a young person's mental health & wellbeing,, in response lo two disrupted years of online education due to the Covid-19 lockdowns. The aims were.. To introduce and expose pupils to theatre as an art form To foster a sense of pride in producing and performing an original musical For the pupils to be able lo express themselves creatively To foster an ethos of positive attitudes lo the project theme within the student cohort To improve performan skills Activities.. We began with two days of focus group activity with a variety of Key Stage 3 students so that their thoughts and ideas were woven into the musical, subsequently written by a professional composer and a writer commissioned for the project. The students in the cast commented that they would have liked the opportunity to have more input in the finished script, rather than just provide ideas at the start. We will lake this feedback on board for next year. The core group rehearsed and performed the show to the entire Key Stage 3 cohort, who then look part in post-show workshops exploring the theme further in class. Teachers were supported in doing this by educational resources we had specially written for the project and a training session on how lo use them. Go Live Theatre Pmjects
TRUSTEES. REPORT 31 August 2022 Outcomes". The feedback from the school was exceptional, with the Head Teacher and Head of Music giving 5 out of 5 scores for meeting each of the aims listed above, stating that this was achieved to'lhe highest level.. The detailed feedback they gave was superlative and the students gave hugely positive feedback loo. The core group particularly grew in confidence al trying new things, performing and expressing themselves creabvely. '1 alised that I'm capable of more than I thought I was and that I could show my full polenlial., Student in cast "The students have had a fantastic experience. The numbers taking GCSE music in Year 9-10 has increased for next year. They're still talking about it 3 weeks later with the same level of enthusiasm and passion. A large number ofstudenls have been asking about projects andperfom7anGes next year." Teacher SKILL UP In-school theatre workshops designed to encourage Key Stage 3 students to choose DramalPerforming Arts for GCSE. Participants.. We ran Skill Up in 10 schools with 500 students in total from Alec Reed Academy, St Augustine's CE School, Lady Margaret School, Ark Burlington Danes Academy, The Chelsea Academy, Ellen Wilkinson School for Gids, Capital City Academy, Featherslone High School, The Compton School and Hammersmilh Academy. Aims: The aim of Skill Up Is lo encourage students to select Drama al GCSE by engaging them in the subject through varied, fun, theatre skills workshops, and lo help improve the reputation of Drama within schools as valuable subject. Activities: We offered each school the option of 4 weekly workshops or one full day of 3 workshops run in rotation. They had the choice of Stage Combat, Contemporary Acting, Comedy Improvisation, SFX Make Up, Acting for Camera, Clowning. We created short videos on each of these skills, which were originally intended to help the teachers select their workshops and for sludenl recruilmenl. However liming meant the videos were created once most schools had been offered their place on the project, so some teachers used them as lesson starters and as insights to alternative Careers within the theatre industry. We also now have them for future use. Outcomes: At the end of Skill Up, we asked the students Has the project encouraged you lo think of choosing Drama as a GCSE option? At 4 of the 10 schools, 90 /0 or more students said yes, al 5 schools 70-80 /0 said yes, al one school, 50Q/o said yes. We followed up with teachers at the end of the summer term to ask if students did follow through on this expressed intention. 7 of the teachers responded, of which half showed marked increased in take up of GCSE Drama (the other 3 teachers had healthy tske up, but did not give us comparative or conlexlual figures lo assess the impact of Skill Up on this}. Al Lady Margaret School, the teacher noted that not only had all bul 2 of the Skill Up students selected Drama, this was 250/0 up on the previous year and more students from disadvantsged backgrounds had chosen the subject. Student feedback included.. 'We were able lo leam so much MO about theatre than what we gel a usual classes, 'The workshops have made me realise how many things you can do in Drama and all the different skills involved, '1 now understand so much more about what theatre has to offer, rather than just focusing on the acting skills, Go Live Theatre Pmjects
TRUSTEES. REPORT 31 August 2022 NEXTSTAGE - A 6-week course for students with learning disabilities attending Further Education College, using drama techniques to improve their employability skills and self-confidence. Participants.. 42 students aged 16 - 22 years old, all with moderate leaming disabilities, from Bexley College, Bromley College and Westminster Kingsway College look part. All the students were on employment preparation courses or supported internship schemes. Aims: to build the self-eonfidence of the participants, in particular in social interaction and verbal communication as the foundation for interview performan,. lo develop with empathy skills., lo help them pinpoint their strengths and potential career paths. Actlvltles.. each group had 12 hours of session time, delivered in weekly or ce weekly sessions, or intensively over one week. The sessions used drama techniques such as improvisation, role-play, presenting, trust games, thinking on your feel, with all activities steeped in creativity and group learning. Outcomes: Shared Intelligence, a company which specialises in evaluation and impact measurement, conducted an evaluation of this project. It concluded that that Nextstage benefits young people with SEND by helping them develop soft skills which are essential for getting a job, in particular interpersonal and communication skills needed for a successful job interview and then lo perform well once in work. Specifically, the researchers felt we achieved our aims around building confidence and empathy. They felt the group learning model is an essential element and that the creative aspect makes il feels different to 'normal' college and so paradoxically relates better to real life. The college teachers and parents fed back that Nextstage increased their students, motivation lo pursue their career goals and made a lasting impression. Unfortunately, due lo the pandemic, elements of their college employment prep courses were disrupted or postponed, which meant we could not evidence the Impact on real life interviews and internships. 'Whereas in eduGation we don't always have the freedon7 to deliver that level of creativity.. but with mousetrap it enables education lo unlock that creative cupboard and use those tools in theatre and adapt them to people with learning difficulties to be more creative" FE Course Leader AFTER SCHOOL DRAMA CLUB - helps children, who are new lo drama, to develop their confidence, communication and creativity, through a lermly series of drama games and aclivilies. Participants.. We ran two drama clubs this year, one at Gateway Academy in Westminster for the full academic year, serving 15 - 17 students each term, and a second starting in the spring term al Brillania Village School in Newham with 20 students each term. At Gateway, 98010 of the pupils have English as an additional language and many also have refugee status, 570A are eligible for free school meals IFSMI. At Brittania, around 113 are eligible for Pupil Premium fvjnding, it is a very culturally diverse community, and 213 speak English as an additional language. Aims.. To introduce and expose pupils lo thealreldrama as an art form., To build confidence through drama activity,. For the pupils lo be able to express themselves creatively., To foster an ethos of equality and respect within the student cohort," To improve speaking clarity and listening skills. Activities.. through weekly sessions delivered in 12-week blocks, we used the mantle of the expert IMofEI teaching technique. This involves a fictional world where students assume the roles of experts in a designated field, based on the premise that treating children as responsible experts increases their engagement and confidence. The children worked with an artist lo develop a response to various themeslstimulus.. the Imagination Emporium, The Lion King's Circle of Life, and Mythical Creatures, Lost & Found and Journeys. The participants also allended one theatre trip each term.. Th& Lion King, The Prince of Egypt and Wick&d. Go Live Theatre Projects 10
TRUSTEES. REPORT 31 August 2022 Outcomes". 1 OOO/D of the teachers at both schools scored the project as 'Outstsnding' and slated the children's enjoyment as 515. We asked the Assistant Head at each school and another teacher or teaching assistant to score out of 5 the degree lo which we met the 5 core aims. All 4 teachers gave scores of 4 or 5 against each aim, with most scored at 5. "I leaml new skills I didn t know I had" Pupil at Brittania Village "It is an 8m8zing opportunity they wouldn t othenvise receive. It is a positive w8y to show them drfferent experiences in life." Teacher at Gateway YOUTH GROUPS - bespoke drama projects for pla-baSed youth groups and those serving a particular community ofcommon circumstance. Participants.. North London YMCA (care leavers and others experiencing homelessness),. 3 organisations serving young refugees - Refugee Council Children's Services., Young Roots Croydon and Paiwand., Caxton Youth lyoung people with autism, learning disabilities, Down's Syndrome and various other additional needs)., and 4 young carer groups in Harrow, Barnel, Bromley and Tower Hamlets. Participant numbers varied across the sessions bul in all approximately 180 young people engaged with the projects. Aims: projects are tailored lo meet the specific aims of each participating group, bul overall we aim lo develop the personal, social and creative skills of the participants, improve their well-being and introduce them to London's world-class cultural seene. Some aims are specific to the particular type of young people, for example the social, fun aspect of our sessions are very important when working with refugees, many of whom are traumatised and socially isolated, likewise with young carers who need respite from their caring responsibilities. Activities.. we ran 12 projects, each one involving weekly, early evening sessions for a period of 6-12 weeks, or in the case of 3 of the young carer groups delivered over 3 full days during a half term. Some included a taster inlroduclory workshop before the full project began. We engaged drama practitioners to deliver the sessions, who ran drama games and exercises that built trust, explored body language, improvisation, puppetry, storytelling, devising, and other creative skills. All groups also went to the theatre lo see a top London show. Outcomes: North London YMCA Vlthen asked lo reflect on the programme and list what they fell they gol out of it, the participants said. leamt new things., ngw knowledge. and "confidgnce" and meeting new people. The YMCA co-ordinator and our practitioner both noted that improved teamwork and confidence were the big success of the project. "I definitely noticed more confidencg in the people who were a lol more shy and loved seeing them come out of their bubble." Young YMCA resident Refu ee Council Children's Services & Youn Roots oint ro ects We ran two projects for their girls, group aged 16-21. One of the biggest outcomes was the friendships the girls made, as described by the youth leader who said that by the end of the project, the girls greeted each other with hugs and physical contact, which she fell shows comfort, confidence, and joy to be with one another. For these troubled girls, it also had a positive impact on their mental health. .1 can make 8asier new friends. l always speak without any problem, like fr&e. Thgy mak8 me to have more confidence. I was so shy, I have learnt so many things here." Young refugee Go Live Theatre Projects 11
TRUSTEES. REPORT 31 August 2022 Youn Roots Cro don 11 proved difficult lo measure outcomes for this project with their Youth Hub because the group was so transient, with the majority of participants being different every week. However, confidence and communication skills were the key theme in the feedback. "I build up my confidence and I can talk in front ofsomeone and I think maybe l am gelling good with my communication skills with other country and other nation. Young refugee Paiwand We ran projects as part of their Saturday school for 8-12 year-olds. The biggest improvements seen were in their confidence to share their ideas and speak in front of a group, to try something new and to work with others. Nearly 50'/o of the children also said that taking part made them feel their volS were more listened to and teachers noted that this gave them the confidence to participate in group discussions. "This experience has been absolutely wonderful.. The girls have not only become better al communicating their ideas, but also beller at listening and collaborating.. I think the sessions have become a solace for some of our more troubled children. Teacher Caxton Youth We ran two projects with different cohorts of young people with SEND. The most notable outcomes were around social skills and confidence in communication, creative expression and in trying new things. At the start of the project only 30Q of the young people said they were very happy to work with people they don't know well, but al the end this had increased to 700/0. The youth workers gave high scores and superb anecdotal evidence and case studies on the progress the young people made. "The mousetrap drama sessions have had a massivg impact on Caxton mgmbers confidence and support8d them to build relationships and feel socially confident at Caxton with peers and s12ff. The sessions have been transformative." Youth Worker Harrow Youn Carers Al the end of the project the youth worker noted that she had seen progress across all of the following areas., working together, engagement in activities, understanding of performing arts, confidence il to express themselves, ill In communication, iiil general self-confiden¢e. "They are now more e8ger to engage when asked to and have a new found confidence that h8$ been brought about by drama. We have seen ouryoung people able to articulate themselves and think on the spot... public speaking.... Vast improvements havg been mad8~ Youth worker Barnet Youn Carers Bromle Youn Carers Tower Hamlets Youn Carers The 4 youth workers from Barnel and Bromley groups unanimously reported that the experience had 'exceeded expectations,. All 4 agreed that they had seen progress in the following 6 aaS.. group working, engagement in activities, understanding of the performing arts, confidence il lo express themselves, ill in communication, iiil general self-confidence. vlIe we did not have formal feedback from the Tower Hamlets group youth workers, we had some informal anecdotal feedback. 2 of the young people arrived early on the 2nd and 3rd day and didn't want to go home after the day had finished. The youth worker reported that 'this was unheard of. 'This was the first theatre experience for all ouryoung carers who attended and they had an amazing time and were really blown away by the experience." Youth Worker Go Live Theatre Projects 12
TRUSTEES. REPORT 31 August 2022 YOUTH FORUM-a group ofyoung people 16- 23 years old, who keep MTP connected towhatyoung people need and want, influence our programmes and theatre choices, volunteer at our events and develop leadership skills through running their own events. Membership of the Youth Forum IYFI and active engagement had waned somewhat over the last year, due to the pandemic and members being at university, plus staff changes al our charity meant management of the YF wasn't consistent. In order to allract new members, the YF updated the webpage lo better reflect what they do and encourage interested young people lo gel in touch. At events the YF advocated for others to apply to join the YF and supported the Programme Manager lo offer informal chats online with anyone who expressed an interest. Activities- The YF met monthty, a mixture of online and in person meetings, then shifting to hybrid meetings for the long-lerm. Two YF reps attended all Go Live Theatre trips lo assist our staff and host any post-show talks. Volunteered at our Nutcracker! relaxed performance, our 21st Anniversary Gala and Theatrecraft (see page 151, plus one member spoke al our inaugural Dress Circle Club event for corporate supporters. Instigated a getting to know you" event with MTP'S Board, which will be an annual event Began working on producing a new Welcome Pack for new YF members Attended First Aid Training alongside MTP staff Decided to postpone the annual Youth leadership in the Arts conferen until the following year, and also the annual Mousetrap Awards (their theatre awards iniliativel. This was due to stsff changes at the charity meaning there was less support for the YF, the small number of highly engaged members ofthe YF and with no specific funding for these I0 projects, there was no obligation to run them within a sel timeframe. We offered paid employment to YF members to act as building supervisors for hires of MTP'S studio space outside ofoffice hours. Outcomes: One member who had been a valued part ofthe YF for a number ofyears aged out and went on to secure a permanent role at Sadler's Wells. SUMMERSTAGE 2-week performing arts summer school for young people from disadvantaged backgrounds and with additional needs. Week 1 Participants: This first week is for young people with no experience of drama and who have mild - moderate learning needs and those who would benefit from a supportive environment. There were 12 young people, aged 13 - 17, with additional needs and disabilities including autism, language and learning delay, sensory disorder, depression, anxiety- Three young people acted as volunteer assistants for the week. Week 2 Participants- the second week is a more mainstream group, aimed at those what have had some experience of drama and want to learn more. We accommodated 19 young people aged 13-16 years, a few ofwhom had anxiety, autism and ADHD. Aims.. To increase the young people's confidence, communication skills and ability lo express themselves To build friendships with like-minded peers Go Live Theatre Projects 13
TRUSTEES. REPORT 31 August 2022 To build an inclusive and supportive environment for young people to express themselves, devise, play and have fun To build and develop performance skills in drama, performing arts and movement For everybody lo perform in and feel ownership over their devised piece of theatre Activities.. Each week ran daily from 1 Oam lo 3.45pm, plus for week 1 participants there was a welcome workshop the weekend before. During the week the young people had a series of workshops on drama, music and movement lo create their own devised piece, which they performed in a final 'sharing' on Friday afternoon for friends and family. Participants attended Wesl End musicals - The Lion. the Witch and the Wardrobe. Gillian Lynn Theatre, for Week 1 participants and Com6 From Away, Phoenix Theatre for Week 2 participants. Outcomes: We asked the participants al the start and at the end of the week about how confident they fell in a number of areas, such as performing, meeting new people, sharing ideas, working as a team. We also asked parents what they noticed about their child during the week. Increased confidence, motivation, engagement and improved working with others and communication skills were the benefits that were most cited across this feedback. From the young people in particular, the overwhelming feedback on how they felt they benefitled was in making new friends with similar interests. Being taken out of their comfort zone and learning independence skills also featured strongly in their feedback. "It has been grgat lo push myselfoul and meet new people. I feel more confident now and . <itr was a good experien for me lo become more independent. This was an experien that will have a lasting effect in my life as a positive" Week 1 participant .1 made new friends and improved my drama skills along the way, it was really funl" Week 2 participant CREATIVE ASSOCIATES - a core group of our freelance drama practitioners for whom we pmvide training, project rese8rch and development opportunib"es, and in turn they mentor aspiring drama practitioners from underrepresented groups. Trainin - Due lo the nature of freelancers, working patterns, it has been a challenge to find dates to organise training sessions that suit enough of the Creative Associates to make the sessions viable. Therefore, we have switched the model lo offering a bursary to contribute to training the Creative Associate wants lo book themselves onto independently. R&D Grant - Creative Associate Rachael Black received funding from us to support the research and development of a theatre project using the production of Wicked to explore the notion of fake news and how this can impact the lives of young people across London. The project was designed for Level 1 and Level 2 Students at Further Education Colleges. in recognition that these students are often ovedooked by external providers. Rachel produced a report and proposal which is currently being considered by marketing colleagues al Wicked as a potential project to fund in future. Menlorin - Our Mentoring Progmmme is designed to give under-represented young people a supportive environment lo start their career as a participatory Arts Practitioner. Our aim is lo bridge the gap between ear training and the skills they need to become a SUCssful freelance practitioner. This year our I0 menlees were Princess Bestman and Esther Rennae-walker, mentored by Creative Associates Leralo Islam and Tash Marks. Over the year, Princess and Esther met regularly with their mentors, observed them in action and undertook paid workshop assistant roles on various of our projects including the After School Drama Club. Go Live Theatre Projects 14
TRUSTEES. REPORT 31 August 2022 THEATRECRAFT- an annual careers fair for young people interested in off-stage theatre careers This year was a hybrid event, in person al the Royal Opera House and online on a platform called v0V8. MTP was one of the partners delivering the event along with Maslerclass, Royal Opera House, Society of London Theatre and UK Theatre. 2,050 young people signed up to attend and of these, 1,014 downloaded the app (meaning there were 1,014+ views online minimum). 105 young people allended in person. In person at the Royal Opera House there were seven panel talks about careers in the industry". technical theatre, stage craft, writing and directing, education and participation, producing, arts management and theatre marketing. Each talk was live streamed across the Whova app and on YouTube. and hosted by 2 members of our Youth Forum. In preparation for the event, the Youth Forum attended training in how to host a panel. This was the first year that all the panels were hosted by Youth Forum members (apart trom the Super Panel, which was hosted by Backstage Niche). In addits'on, there were 58 virtual exhibitors in the online marketplace lon the Whova appl. Throughout the day there were over 80 workshops taking place online for attendees to lake part in. We hosted 10 drop in a&A's with our staff on our virtual sland. OPERATIONAL REVIEW FUNDRAISING We abide by the Code of Fundraising Practice which stipulates that all moneys raised musl be used for the purposes of the slated objects of our charity. We agree lo treat donors fairly, enabling them lo make informed decisions about any donation and not take advantage of individuals in vulnerable circumstances. We ensure that we do not cause an unreasonable intrusion on a person's privacy and that we abide by GDPR in protecting donor's privacy. There were no complaints registered regarding our fundraising. Vvhere benefits are offered following a donation, we ensure that they are appropriate and proportionate to the syze of the gift. We make Gift Aid claims only on donations where all of the Gift Aid conditions are met. We ensure that all reporting requirements and conditions allached lo donations are mel in a timely fashion. We hold an annually reviewed Complaints Procedure which requires us lo respond to any complaints about our fundraising In a timely, respectful, honest way and the learning from any complaints will be acted on. Vvhere we enter into'commereial participalor, fundraising relationships, a contract is signed between MTP and the company, staling the terms of the relationships, including the length of term, notice of termination, payment schedule and where applicable slates the am0unVpernIage ofthe sales of a staled item that will be donated. We raised 104'/0 of our fundraising target of £800,000. Income from donations and grants broke down as follows.. 290/0 trusts and foundations, 230/0 corporate donations, 310/0 events & community fundraising, 130/0 donations from individuals, and 40/0 other sources. Trusts & Corporate Support We had about the same number of funders as last year, with 29 funders giving grant5 or donations of £2,000+12021- 311 and 13 funders giving £10,000+ {2021 15}. We have continued to allracl new funders as well maintain relationships with previous and long- standing ones. Of particular note is our new relationship with C Supplies, which came on board lo support Family First Nights. Go Live Theatre Projects 15
TRUSTEES. REPORT 31 August 2022 We launched the Dress Circle Club - 8 low level giving club for businesses, starting mainly with the property sector. One of the aims in our last 3-year plan was to secure more multi-year grants and we have achieved this. Currently City Bridge Trust, John Lyon's Charity, The Linbury Trust, Shaftesbury PLC, Lehman Brothers Foundation Europe, Colwinston Charitable Trust, Sobell Foundation and Garrick Charitable Trust are all in multi-year grant agreements with us. We also have long-temi relationships with other significant funders which do not make formal multi-year agreements, only annual commitments, but we are confident of them continuing. Individual Donors We successftjlly participated in large match funding initiatives, The Big Give Christmas Challenge and the Summer Champions for Children. Although we had fewer donationsldonors (excluding those relating to our Gala event), 199 (comparison.. 247 in 20211, average gift size was higher. Events and Communlty Fundralslng We held our 25th Anniversary Gala which was a big success and exceeded the fundraising target. We had a disappointing response lo our sponsorship packages, with only 3 companies taking the Bronze level and none taking Silver or Gold. However, the aurtions went well and donations were higher than planned, which more than compensated for this. In 2021, we began a new relationship with philanthropists Mark and Sue Catlon, and this year they underwrote the cost lo host a fundraising evening al Life of PA. This not only raised money, it also introduced us lo new potential future supporters. We received much more income than ever previously from community fundraisers, including marathon, cabaretlmusical evenings, quiz nights, birthday collections elc. Income Generatin Initiatives In addition lo our philanthropic fundraising, we undertook the following activities to generate unreslricled income. Studio hire - short term rentals of our studio space have not picked up since the pandemi¢ and this generated a low income ofjust under £3,000, compared lo £15,000 - £20,000 pre-pandemic Paid-for show promotions to our mailing lists- this is a newer area of income that we plan to grow. Commissioned Education Resource Packs this is a brand new income stream, where West End productions commission MTP lo write an education pack for use by schools groups attending their show, downloadable from their website. We wrote packs for Back to The Future, Get Up Stand Up, To Kill a Mockingbird and Life of Pi. Began a consultancy Servi for relaxed performances, offering the first consultsncy for 101 Dalmatians at the Open Air Theatre in Regent's Park in August. Investments- the nel investment income was £3,527. COMMUNICATIONS. PRESS & MARKETING We re-started the re-branding project, which had been put on hold due lo the pandemic, beginning with a session with staff members, Trustees and Youth Forum members to work on a new name. With Go Live Theatre Projects 16
TRUSTEES. REPORT 31 August 2022 pro bono branding support from Why Projects and paid for PR support from TMPR, the project is now progressing. We sent regular newsletters lo our Theatre Guardian supporters and a large general mailing list, updating them on our activities and news. We also send regular newsletters lo schools, our FFN families and families interested in relaxed performances with theatre offers and information of other cultural events. We created a digital Advent Calendar for the second year running featuring various Patrons, West End performers and young participants. PATRONS There were no new Patrons invited to join this year. We had active participation from some current Patrons in our Digital Christmas Advent Calendar, and our 25th Anniversary Gala as perfomiers and offering auction prizes. HUMAN RESOURCES Staff, Students and Volunteers We had many stsff Changes over the year. Layne Harrod joined as Community Projects Manager,. Robyn Wilson left and her job was split into new positions- Development Officer and Marketing and Communications Offi'cer, the latter being filled by Millie Vvhillam (the former not being recruited until September 2022, outside of this reporting periodl., our SEND Programmes Manager of 19 years left and was replaced by Hayley Wareham,. part-lime Marketing and Communications Manager Dulcie Ball left and was replaced by Ed Baker-cowell in a full-lime position,. our long-standing Office Manager Tracy Burke left and was replaced on temporary freelance basis by Richard Speir,. finally our Creative Learning Manager Patrick O'sullivan left and was replaced by Heather Newstead. We contracted a number of freelance administrators lo support our SEND and education work. We hosted five students on placement working on a range of practical and research projects. Melanie Lewis, our long-term volunteer, supported us with captioning of our videos on YouTube, and various other projects. Training & Conferences Staff members look advantage of opportunities lo participate in free online training, discussion groups, seminars and eonferences on topics including mentoring, remote working, instilling youth voice, dealing with difficult behaviours, safeguarding, inclusion, equality and diversity, Irans awareness, impact measurement, recruitment, accounting for non-accountants, fire marshalling and online safely. BOARD OF TRUSTEES During the year, the charity held quarterly Board meetings, some in person, some online. Mary Hammond and Sarah Richardson stepped down from the Board. Trustees Karen Napier, Ashley Herman, Youth Rep Zeynep Gunaydin and CEO Susan Vvhiddington, interviewed candidates for the new Youth Rep on the Board and selected Nadia Musah. Go Live Theatre Projects 17
TRUSTEES. REPORT 31 August 2022 The Board's Finance Committee mel regulady throughout the year to support the Chief Executive and Deputy Director in developing the Budget and to examine the accounts and financial forecasts. We established a Governance Committee principally to revise MTP'S Articles, re-start the Trustee skills audit and decide on other committees required. The Governance Committee, supported by Susan Whiddinglon, began working with search firm Nurole to find a new Chair and new Trustees. A Nomination committee was established to lake this search land any fvture searches) forward, interview candidates and make recommendations to the Board. LOOKING AHEAD There's much lo look forward lo in the next Financial Year. We are planning to resume many of our programmes at pre-pandemic levels of participants as well as launch additional projects as new staff members find their feet and use their creativity to chart exciting new directions. The most sweeping change of the new Financial Year will be acting upon the decision taken several years ago Idelayed by the pandemic), to rename and rebrand our charity. The new brand will be launched in February 2023 with an industry-wide theatre event and will affect all aspects of our internal and external work for a major part of the year. Additionally, after a thorough and extensive search, the Board of Trustees will be appointing a new Chair which will be followed by interviewing and selecting new Trustees lo add specific expertise on the Board. In closing, I want lo recognise our current and founding chair, Sir Stephen Waley-cohen, who has served our charity in an exemplary fashion over the past 25 years. Not only is Sir Stephen responsible for establishing the charity in 1997, but over the many years of service, he has been a IhoLJghtful, caring, supportive. resourTrful and enlhusiaslic advocate for our work. Wth his extensive knowledge and personal experience of the theatre industry and charities, he has provided us with sage and much valued guidance. We will miss Sir Stephen and thank him sincerely for all he has given to our charity on so many fronts in the most selfless and understated way. We look forward to his continued involvement in an honorary capacity. Susan Vvhiddington CBE, Chief Executive STRUCTURE, GOVERNANCE AND MANAGEMENT Structure Go Live Theatre Projects is a registered charity and a company limited by guarantee, registered in England and Wales, and governed by a Memorandum and Articles of Association. In the event of the company being wound up the maximum amount which each Trustee (Direclorl is liable to conlribLJte is £10. Governance and management The governance of the charitable company is the responsibility of the Trustees (also known as Direclorsl who are elected and co-opted under the terms of the Articles of Association. None of the Trustees has any beneficial interest in the company. The Ttustees of the charitable company (the charity) are its Directors for the purpose of company law and throughout this report are collectively referred to as the Trustees. The Trustees who served during the period and on the date the report was approved are listed on page 1. Go Live Theatre Projects 18
TRUSTEES. REPORT 31 August 2022 Recruitment of Trustees Go Live Theatre Projects selects Trustees with a range of relevant skills, knowledge, experience and networks needed for the effective oversight and support of the charity including business, legal, fundraising, marketing and PR, education, theatre. We are also making a concerted effort to diversify our Board so it more clearly reflects the young people we serve. The Charity has a Nomination Committee which identifies potential new Trustees to fill vacant places and any gaps in skills or knowledge amongst the existing Board. The Committee may choose lo work with an external agency lo find new Trustees as well as introduce potential candidates known lo them. The Committee oversees the writing of Trustee job descriptions, interviews potential candidates and makes recommendations to the Board. Once the potential new Trustee has been interviewed and approved by the Nomination Committee, hislher CVlbiraphY is sent lo all Trustees and helshe is invited lo observe the next Board meeting. If the Trustee candidate wishes to progress to becoming a Trustee, the Board must approve the new Trustee appointment by ordinary resolution or by a decision of the Trustees. Induction and training of new Trustees Once an individual has become a Trustee, the Chief Executive meets with himlher to give a more in-depth understanding of the charity's a¢livilies. New Trustees receive a comprehensive information pack which includes the mission statement, various literature, most recent Annual Reviews and Accounts. Trustees are then encouraged to see Go Live Theatre Projecls'in action" by attending programmes and events. Structure and decision making The charity's employees manage Go Live Theatre Projects, programming under the supervision of the Chief Executive. Thus day-to-day decisions are made by the Chief Executive without the need for further referral to the Board. Any decision which may impact More seriously upon the charity is referred to a Board member, usually lo the Chairman. Sir Stephen Waley-cohen, who is in regular Contact by telephone and in person. There are a minimum of four regular formal Board meetings each year as well as regular subcommittee meetings. Prior lo board meetings, the Chief Executive sends an in4epth quarterly report of projects and activities and the Deputy Director provides LJP-104ale fundraising and bLJdget reports, all of which are discussed al the quarterly meetings. In beleen board meetings, the Chief Executive and Deputy Director maintain frequent email, telephone and VVhalsApp contact with Trustees. Key management personnel The Trustees consider that they, together with the Chief Executive and the Deputy Director, comprise the key management personnel in charge of directing and controlling, running and operating the charity on a day lo day basis. The Chief Executive Meets with each member of staff including the Deputy Director in the summer months. Following those meetings. the Chief Executive meets with the Chairman lo discuss salaries and potential salary rises which are given annually in September. All salaries are set with reference lo industry stsndards, workload, quality ofwork and length of service. The Chief Executive's salary is set by the Chairman. PUBLIC BENEFIT The objectives and activities and achievement and performance sections of this report clearly set out the activities which the charity undertakes for the public benefit. The Trustees confirm that they have complied with the duty in Section 17 of the Charities Act 2011 to have due regard lo public benefit guidance published by the Commission in determining the activities undertaken by the charity. Go Live Theatre Projects 19
TRUSTEES. REPORT 31 August 2022 RISK MANAGEMENT AND PRINCIPAL RISKS AND UNCERTAINTIES The Trustees have a risk management strategy which has been reviewed and comprises.. an annual review of the risks the charity may face., the establishment of systems and procedures lo mitigate those risks identified in the plan", and the implementation of procedures designed to minimise any potential impact on the charity should those risks materialise. The Trustees have reviewed and revised the risk register and consider the key risks and uncertainties lo be.. Downturn in income if we anticipate a loss of funding, the Chief Executive and Deputy Director scrutinise the budget to identify where we can cut costs. This can lead to sealing down programmes, so that our budget expenses meet projected Income. Loss of Key Managemont staff - as a small organisation with less than 15 employees, the loss of key staff members poses concern. From September 2022, we have extended the notice departure for all long- serving staff members when issuing new employment contracts. Free Reserves are not sufficient- as a portion of the charity's free reserves were used to support it through the pandemic, fundraising unrestricted donations and insligaling other unrestricted income streams has been a priority, and successful, and will continue to be a priority over the next few years. As the Covid-19 pandemic has eased our activities are no longer adversely affected. We are working lo increase our free reserves lo pre-pandemic levels so that should the need arise, we can support ourselves through such circumstances again. We also now have robust online delivery models in place should we need to switch back to virtual delivery al any point in the future. FINANCIAL REVIEW The financial position at the period end was considered satisfactory by the Trustees. During the year, Go Live Theatre Projects received income lotalling £968,01212021- £712,935). Expenditure lolalled £956,22612021 £688,947). The nel movement in funds for the year before gains on listed investments was a surplus of £11,78612021 a surplus of £23,988). After realised and unrealised gains on listed investments of £3,118 12021 - £8331, this resulted in total funds at 31 August 2022 of £490,277 {2021 - £475,373). Included in total funds is an amount of £130,406 12021 £196,215) which is restricted. Full details of these restricted funds can be found in note 17 to the financial stalemenls, together with an analysis of movements during the year. Unrestricted funds of the eharity al 31 August 2022 totalled £359,871 12021 £279, 1581. Funds representing the net book value of tangible fixed assets at 31 August 2022 stood al £17,62312021 £21,525) and therefore free reserves amounted to £342,24812021- £257,633). As such, free reserves at the year-end fell below the parameters stipulated by the Trustees in the reserves F)olicy set out below. The Trustees are satisfied that there Is no immediate concern as a result of this and their strategy for managing free resetwes is detailed below. Due to the substantial increase in unrestricted funds achieved in the year, the large amount of restricted funds already received and pledged for 2022-23, and the extra staff in place to support fundraising and other income generation, the Trustees have concluded that the charity remains a going a concern. Go Live Theatre Projects 20
TRUSTEES. REPORT 31 August 2022 Investment pollcy The Trustees, investment powers are governed by ils constitution which permits the funds available to be invested in a wide range of securities and assets. With a cautious responsibility to raise additional revenue to support the work of the charity, the Trustees agreed to dedicate no more than 25010 of our reserves to be invested. The overall financial objective is to at least maintain the real value of the sums invested," to generate sustainable return lo support charitable activities and lo reduce inflation erosion. Investments will be in line with the charity's overall aims and in support of our objectives lo improve the health, welfare and well-being of young people. The charity aims lo produce a total return on investments of at least RPI plus 40/0 over the long term. The performance of the Investments is reviewed against market benchmarks agreed by the Finan Committee and the investment objectives on a quarterly basis. The Investment Policy is reviewed annually by the Trustees and sets out the level of risk aeceplable to the charity when making investment decisions. The Trustees approved the continued investment of £75,000. At year end, the majority was held in equities and other assets by Lombard Odier, the investment manager. As the market became less volatile than during the pandemic, the Trustees no longer fell the need to keep the majority of the funds in cash as had been done the previous year. Reserves policy Go Live Theatre Projects, general reserves represent funds of the charity that are freely available, excluding designated funds and reslricled funds. In order to provide a quality, effective and efficient Servi to its beneficiaries, the Trustees have set a reserves level that in the event of funding not being SLJfficient lo cover expenses in the ftjture, a smooth transition can be made to a lower level of service. The Trustees have a reserves target of approximately six months of budgeted operating expenses, being £513,746 12021 £499,988). Free reserves at 31 August 2022 are £342,24812021- £257,633). The level of free reserves is still below the desired level of six months of budgeted operating expenses, having had to use a portion of our free reserves to pay for costs not covered by other grants and donations during the pandemic. However, it is considerably higher than the previous year thanks to a very successful year of fundoising and reducing expenditure. For 2022123, we plan lo focus on generating more unrestricted income streams. We planned to build our free reserves back up over a 5-year period,. at the end of year one, we have made excellent progress. Go Live Theatre Projects 21
TRUSTEES. REPORT 31 August 2022 STATEMENT OF TRUSTEES, RESPONSIBILITIES The Trustees (who are also Directors of the charity for the purposes of company lawl are responsible for preparing the Trustees, report and financial statements in accordanTr with applicable law and United Kingdom Accounting Standards Iuniled Kingdom Generally Accepted Accounting Practi1. Company and charity law requires the Trustees to prepare financial statements for each financial year which give a true and fair view of the stale of affairs of the charitable company and of the income and expenditure of the charitable company for that period. In preparing these financial stalemenls, the Trustees are required to.. select suitable accounting policies and then apply them consistently., observe the methods and principles of Accounting and Reporting by Charities.. Slalement of Recommended Practice applicable lo charities preparing their financial statements in accordance with the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland IFRS 1021", make judgements and estimates that are reasonable and prudent., stale whether applicable United Kingdom Accounting Standards have been followed, subject to any material departures., and prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitsble company will continue in operation. The Trustees are also responsible for keeping proper accounting records that disclose with reasonable accuracy at any lime the financial position of the charitable company and enable them lo ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and delecb.on of fraud and other irregularities. Each of the Iruslees confirms that. so far as the trustee Is aware, there is no relevant audit information of which the charitable company's auditor is unaware., and the Iruslee has taken all the steps that helshe ought lo have taken as a trustee in order lo make himseKlherself aware of any relevant audit information and lo establish that the charitable company's auditor is aware of that information. This confirmation is given and should be interpreted In accordance with the provisions of s418 of the Companies Act 2006. The Trustees are responsible for the maintenance and integrity of the charity and financial information included on the charity's website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions. The above report has been prepared in accordance with the special provisions of Part 15 of the Companies Act 2006 relating to small companies. This report was approved by the Trustees and signed on their behalf by.. Trustee Dale.. Apr3. 2023 Go Live Theatre Projects 22
Independent examiner's report 31 August 2022 Independent examiner's report to the Trustees of Go Live Theatre Projects I report lo the Charity Trustees on my examination of the accounts of the Charity for the year ended 31 August 2022. Responsibilities and basis of report As the Trustees of the charitable company land also ils directors for the purposes of company lawl you are responsible for the preparation of the financial statements in accordance with the requirements of the Companies Act 20061'lhe 2006 Act'i. Having satisfied myself that the financial statements of the charitable company are not required lo be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of yOLJr Charity's financial statements as carried out under section 145 of the Charities Act 2011 I'lhe 2011 Act'l. In carying out my examination I have followed the Directions given by the Charity Commission under section 14515llbl of the 2011 Act. Independent examiner's statement Since the Company's gross income exceeded £250,000 your examiner musl be a member of a body listed in section 145 of the 2011 Act. I confirm that l am qualified to undertake the examination because l am a member of the Institute of Chartered Accountants in England and Wales, which is one of the listed bodies. I have completed my examination. I confim that no material matters have come to my attention in connection with my examination giving me cause lo believe that in any material respect.. accounting records were not kept in respect of the charitable company as required by section 386 of the Act., or the financial statements do not accord with those records., or • the financial statements do not comply with the accounting requirements of section 396 of the 2006 Act other than any requirement that the accounts give a 'true and fair view, which is not a matter considered as part of an independent examination. • The financial statements have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for Accounting and Reporting by Charities lapplicable to charities preparing their accounts in accordance with the financial reporting standard applicable in the UK and Republic of Irelandl. I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached. 4LÈr LLA Catherine Biscoe for Buzzacott LLP Chartered Accountants 130 Wood Street London EC2V 6DL Date.. 21 April 2023 Go Live Theatre Projects 23
Statement of financial activities (including an income and expenditure account) Year to 31 Augu512022 Totsl fundB 2022 Total funds 2021 Unrestricted Funds Restricted Funds Notes Income from.. Donations and gifts Fundraising events Charitable activities Grants receivable Theatre tickets Prograrnme fees and workshops Studio rental Investments Other income Total income 206,540 258,880 206.540 258,880 185,301 120,544 353.238 353,238 104,983 36,532 2,920 3,527 1,392 968,012 347,912 4,145 6.652 104,983 36,532 2,92Q 3,527 1,392 614,774 2,829 45,552 712,935 353.238 Expenditure on.. Raising funds Fundraising Studio rental Fundraising events Investment management costs Charitable activities . Theatre Access Creative Leaming & Participation Other expenditure Total expenditure 185,242 2,039 73,890 370 185,242 2,039 73,890 370 175,048 671 10,167 734 156,712 117,534 1,392 537.179 179,510 239,537 336,222 357.071 1,392 956,226 127,166 317,788 57,373 e88.947 419.047 Net income lexpenditurel before investment gains Net gains on listed investments 77,595 3,118 165,8091 11,786 3,118 23,988 833 Net incoma lèxpènditurèl and nèt movement in fundB 80,713 165,8091 14,904 24,821 Reconciliation of funds.. Balances brought fOard at 1 September 2021 Balances carried forward at 31 August 2022 279,158 196,215 47S,373 450,552 359,871 130,406 490,277 475,373 All of the charity's activities derived from continuing activities during the above financial years. A comparative Statement of Financial Activities is presented in note 22 to these financial slatemenls. Go Live Theatre Projects 24
Balance sheet 31 August 2022 2022 2022 2021 2021 Notes Flxed assets Tangible fixed assets Investments 10 17,623 84,162 101,785 21.525 77,876 99,201 Current assets Debtors Cash at bank and in hand 12 118,630 306.720 425,350 55,552 402,481 458,033 Liabilitigs Creditors.. amounts falling due within one year Net current a8sets 13 136,8581 136,8611 388,492 421.172 Ci8ditors'. amounts falling due in gr88ter than one year 14 145.0001 Net a¥¥ets 490,277 475.373 The funds of the charity= Restricted funds Unrestricted funds Totsl funds 17 130,406 359,871 490,277 196,215 279.158 475,373 17 The financial statements have been prepared in accordance with the special provisions of part 1 S of the Companies Act 2006 relating lo small companies. The charitable company Is entitled lo exemption from audit under Section 477 of the Companies Act 2006 for the year ended 31 August 2022. No notice has been deposited under Section 476 of the Act. The members have not required the company lo obtsin an audit of its financial statements for the year ended 31 August 2022 in accordance with Section 476 of the Companies Act 2006. The Trustees, as directors of the charitable company, acknowledge their responsibilits.es for.. lal ensuring that the charitable company keeps accounting records that comply with Sections 386 and 387 of the Companies Act 2006 and Ibl preparing financial statements which give a true and fair view of the stale of affairs of the charitable company as at the end of each financial year and of its surplus or deficit for each financial year in accordance with the requirements of Sections 394 and 395 and which otherwise comply with the requirements of the Companies Act 2006 relating to financial slatemenls, so far as applicable lo the charitable company. The financial statements were approved by the board of Go Live Theatre Projects Ltd, Company Regislrats'on No. 3162429 (England and Wales) and signed on its behalf by.. Trustee Date". Apr3. 2023 Go Live Theatre Projects 25
Statement of cash flows Year lo 31 August 2022 2022 2021 Note Cash flows from operatlng actlvltSes Nel cash (used inl provided by operating activities 193,0461 50.586 Cash flows from investing activities Dividends from investments Purchase of tangible fixed assets Inole 101 Proceeds from the disposal of listed investments Purchase of listed inve$lrnen15 Nat cash providèd by lus•d inl in¥&sting activitiès 3,527 12,8741 2,829 11,437 176,2021 175,5491 14,266 Change in ca8h and cash equivalents in the year 1168,5951 64,852 Cash and cash equival8nts at 1 Sèpternb8r 2021 480.157 415,305 Cash and cash equivalents at 31 August 2022 311,562 480,157 A Reconciliation of net (expenditure) income to net cash provided by operating activities 2022 2021 Net incomè for the year las pèr th& ststamènt of financial activities) Adjustments for.. Depreciation (note 101 Gains on listed investments Dividends frotn listed investtnents Increase in debtors (Decieasel increase in creditr)rs Net cash (used inl provided by operating activities 14,904 24.821 6,776 13,1181 13,5271 163,0781 145,0031 193,0461 7.026 18331 12,8291 115.3041 37,705 50,586 B Anatysis of changes in net debt 1 September 2021 31 August 2022 Cash flows Cash at bank and in hand Cash held by inveslrnenl managers Total eash and eash equivalents 402,481 77.676 480,157 195,7611 172.8341 1168,5951 306,720 4,842 311,562 Go Live Theatre Projects 26
Principal accounting policies Year to 31 August 2022 The principal accounting policies adopted, judgements and key sources of estimation uncertainty in the preparation of the financial statements are laid out below. Basis of preparation These financial statements have been prepared for the year to 31 August 2022. The financial statements have been prepared under the historical cost convention with items recognised at Cost or transaction value unless othetwise stated in the relevant accounting policies below or the notes lo these financial slalements. The financial slalemenls have been prepared in accordance with Accounting and Reporting by Charities.. Statement of Recommended Practice applicable lo charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland IFRS 1021 Icharities SORP FRS 1021, the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021 and the Charities Act 2011. The charity constitutes a public benefit entity as defined by FRS 102. The financial statements are presented in sterling and are rounded to the nearest pound. Critical accounting estimates and areas of judgement Preparation of the financial statements requires the Trustees and management lo make significanljudgements and estimates. The areas in the financial statements where these judgements and estimates have been made Include.. the allocation of support costs., the estimation of the useful economic life of tangible fixed assets., and the estimation of future income and expenditure for the purpose of assessing going concern. Assessment of going concern The Trustees have assessed whether the use of the going concern assumption is appropriate in preparing these financial stslemenls. The Trustees have made this assessment in respect to a period of one year from the date of approval of these accounts. Free reserves at 31 August 2022 stood at £342,24812021- £257.6331. The level of free reserves is still below the desired level of six months of budgeted operating expenses, having had to use a portion of our free reserves to pay for costs not covered by other grants and donations during the pandemic. However, il is considerably higher than the previous year thanks to a very successful year of fundraising and reducing expenditure. For 2022123, we plan lo focus on generating more unrestricted income streams. We planned to build our free reserves back up over a 5-year period," at the end of year 1, we have made excellent progress. The Trustees have concluded, in the light of our healthy bank balance, that the charity is not in any financial jeopardy and remains a going concern. Due to the subslanlial increase in unrestricted funds achieved in the last year, the large amount of reslricled funds already received and pledged for 2022-23, the extra staff in place to support fundraising and other income generab'on and having reviewed the available evidence, the Trustees are of the opinion that the charity will have sufficient resources to meet its liabilities as they fall due. Go Live Theatre Projects 27
Principal accounting policies Year to 31 August 2022 Income recognition Income is recognised in the period in which the charity has entillemenl lo the income, the amount of income ean be measured reliably and il is probable that the income will be received. Income comprises donations, grants, receipts from charitable activities {including discounted ticket sales, programme fees and workshop fees), rental income, and income trom fundraising events such as gala evenings. Donations received under Gift Aid, including Theatre Guardians, donations, are recognised when the charity has confirmation of both the amount and settlement date. In the event of donations pledged bul not received, the amount is accrued for where the receipt is considered probable. In the event that a donation is subject lo conditions that require a level of performance before the charity is entitled to the funds, the income is deferred and not recognised until either those conditions are fully met, or the fulfilment of those conditions is wholly within the control of the charity and it is probable that those conditions will be fulfilled in the reporting period. Grants have been included as income from charitable activities where these amount to a contract for services, but as donations where the Money is given in response to an appeal or with greater freedom of use, for example monies for core funding. Income from the sale of discounted theatre lickels is recognised on the dale of the perf0rrnan lo which the tickets relate. Fees receivable for programmes and workshops are recognised on the date the workshop or programme event occurs. Studio rental income is recognised on the provision of the rental space. Ticket and auction income from gala evenings is recognised on the dale the event takes pla. Gifts in kind Subslanlial contributions are made lo the charity by theatres and producers through the supply of tickets al a discounted price. The fair value of a ticket is considered lo be the average open market price, which will not necessarily equate lo the ticket's face value and is impossible to reliably esb'male due lo the variety of ticket vendors in operation. As such, the discount to the charity from the fair value of the tickets cannot be reliably estimated and is not included within income as a gift in kind in the statement of financial activities. Many items generously donated lo the Charity lo be auctioned at the bi-annual Cabaret gala event include a 'money-can'l-buy element, such as meeting the cast of a show, and therefore no commercial value has been placed on these gifts in kind in the financial statements. Servlces provlded by volunteers For the purposes ofthese financial statements, no value has been placed on administrative and other services provided by volunteers in accordan with the Charities SORP FRS 102. Expenditure recognition Liabilities are recognised as expenditure as soon as there is a legal or constructive obligation committing the charity to make a payment to a third paty, it is probable that a transfer of economic benefits will be required in selllemenl and the amount of the obligation can be measured reliably. Go Live Theatre Projects 28
Principal accounting policies Year to 31 August 2022 All expenditure is accounted for on an accruals basis. Expenditure comprises direct costs and support costs. All expenses, including support costs, are allocated or apportioned lo the applicable expenditure headings as deseribed below. The classification between activities is as follows." + Expenditure on raising funds includes all expenditure associated with raising funds for the charity. This includes staff costs associated with fvjndraising (including lime spent by the director on fundraising acliviliesl and the rental of the third floor studio, all direct costs associated with fundraising and allocated SUPPOrt costs. + Expenditure on charitsble activities includes all costs associated with furthering the charitable purposes of the charity through the provision of its charitable activities. These costs include all expenditure directly attributable to programmes, such as directly allributable stsff costs, the cost ofworkshop practitioners and the cost of theatre lickels, as well as allocated support costs. All expenditure is slated inclusive of irrecoverable VAT. Allocatlon of support and governance costs Support costs represent indire¢l charitable expenditure. In order lo cary out the primary purposes of the charity, it is necessary lo provide support in the form of personnel development, financial procedures, PR and marketing, provision of office services and equipment, and a suitable working environment. Governance costs comprise the costs involving the public aceounlability of the charity (including audit costs) and costs in respect to Ils compliance with regulation and good practice. Support costs and governance costs are apportioned based on the ratio of time spent working on the charity's various programmes by stsff. Expenditure on staff furloughed under the Coronavirus Job Retention Scheme has not been apF)Ortioned between costs headings on the basis that such an apportionment would be distortive and therefore not present a true and fair view of the cost of the organisalion's charitable and fundraising activities during the year. Tangible fixed assets Tangible fixed assets are staled al cost less depreciation. All assets costing more than £1,000 and with an expected useful life exceeding one year are capilalised. Depreciation is provided at rates calculated lo write off the cost less estimated residual value of each asset over its expected useful economic life as follows". Leasehold improvements Over the temi of the lease + Computer equipment 250/0 per annum on a reducing balance basis Investments Listed investments are a form of basic financial instrument and are initially recognised al their transaction value and subsequently measured at their fair value as at the balance sheet date using the closing quoted market pri. Realised and unrealised gains lor losses) are credited lor debiledl lo the statement of financial activities in the year in which they arise. The charity does not acquire put options, derivatives or other complex financial instruments. Go Live Theatre Projects 29
Principal accounting policies Year to 31 August 2022 Realised gains lor losses) on investment assets are calculated as the difference beeen disposal prOedS and their opening carrying value or their purchase value if acquired subsequent to the first day of the financial year. Unrealised gains lor losses) are calculated as the difference between the fair value al the year end and their carrying value at that date. Realised and unrealised Investment gains lor losses) are combined in the ststement of financial activities and are credited lor debiledl in the year in which they arise. The main form of financial risk faced by the charity is that of volatility in equity markets and investment markets due lo wider economic conditions, the attitude of Investors lo investment risk, and changes In sentiment concerning equities within particular sectors or sub sectors. Debtors Debtors are recognised at their settlement amount, less any provision for non-recoverability. Prepayments are valued al the amount prepaid. They have been discounted lo the present value of the future cash receipt where such discounting is material. Cash at bank and in hand Cash at bank and in hand represents such accounts and instruments that are available on demand or have a maturity of less than three months from the dale of acquisition. Deposits for more than three months but less than one year have been disclosed as short term deposits. Cash placed on deposit for more than one year is disclosed as a fixed asset investment. Creditors and provisions Creditors and provisions are recognised when there is an obligation al the balance sheet date as a result of a past event, it is probable that a transfer of economic benefit will be required in settlement, and the amount of the settlement can be estimated reliably. Creditors and provisions are recognised at the amount the charity anlicipales il will pay to settle the debt. They have been discounted lo the present value of the future cash payment where such discounting is material. Fund structure Unrestricted general funds represent those monies which are freely available for application towards achieving any charitable purpose that falls within the charity's charitable objects at the discretion of the Ttustees. Restricted funds comprise monies raised for, or restricted by donor imposed conditions lo a specific purpose. Leased assets Rentals applicable to operating leases where substsntially all of the benefits and risks of ownership remain with the lessor are charged lo the statement of financial activities on a straight-line basis over the term of the lease. Pension Contributions Contributions lo the personal pension schemes of the charity's employees and the charity's defined contribution employer pension scheme are charged to the statement of financial activities when they are payable lo the scheme. The charity's contributions are restricted to the contributions disclosed in the staff costs note. The charity has no liability beyond making ils contributions and paying across the deductions for the employees, contributions. Go Live Theatre Projects 30
Notes to the Flnanelal Statements Year lo 31 August 2022 1 Donations and gifts Unreslried Funds Restricted Totsl Funds Funds 2022 Theatre Guardians and major individual donors The Childhood Trust Raise Your Hands St Martin's Theatre Ltd Mousetrap Dress Circle Club Percent Donations < £5,000 and Gift Aid Less.. Gift Aid not able to be daimed from Life ol Pi fundraiser Total funds 81,241 45,000 21,700 12,500 13,100 8,590 32,586 18.1771 206,540 81,241 45,000 21,700 12,500 13,100 8,590 32,586 18,1771 206,540 Unr8Stric18d Funds R8stftFCt8d To181 Funds Funds 2021 The8tre Guardians and major individual donors Garfield Weston Foundation The Childhood Trust Raise Your Hands Sl Martin'5 Theatre Ltd Donations < £5,000 and Gift Aid Less". Jacada Travel donation from 2020 not reiVed Total funds 9Q.686 25,000 20.() t5,000 12.5QO 26,820 (4,705) 185.301 90,686 25,000 20.000 15,000 12.500 26,820 (4, 705) 185.301 During the years to 31 August 2022 and 31 August 2021, contributions were made to the charity by theatres and producers through the supply of tickets al a discounted price. The discount has not been recognised in the financial statements- please see the accounting policy for Gifts in Kind on page 28 for further details. Go Live Theatre Projects 31
Notes to the Flnanelal Statements Year lo 31 August 2022 2 Grants receivable unres1ried funds Reslrided funds Totsl funds 2022 John Lyon's Charity C Supplies Ltd Society of London Theatre through the Theatie Development Trust Bank ofAmerica Lehman Brothers Foundation Europe City Bridge Trust, the City of London Corporation's Charity Colwnston CharitableTrust The Sobell Foundation Shaftesbury PLC Westminster Amalgatnated Charities Westminster Foundation Guildford School for the Arts Barings Ned's Fund Brown Rudnick Charitable Foundation Corp. Investec Birkdale Trust for Hearing Impaired Noèl Coward Foundation Derwent London The Garrick Charitable Trust Other grants < £5,(XJO Total funds 52,500 40,000 37,500 36,337 35,000 28,200 20,000 10,000 10,000 9,807 9,000 8,000 7,593 7,000 6.509 6,000 5.000 5,000 5,000 5,000 9,792 353,238 52,500 40,000 37,500 36,337 35,000 28,200 20,000 10,000 10,000 9,807 9,000 8,000 7,593 7,000 6,509 6,000 5,000 s,000 5,000 5,000 9,792 353,238 Unreslricled funds Restricted fun(ts Total fvnds 2021 City Bridge Trust, the City of London Corporation's Charity Lehman Brothers Foundation Europe John Lyon's Charity Bank ofAmerica The Linbury Trust Masonic Charitable Foundation The Childhood Trust Anonyrnous donor Society of London Theatre through the Theatre Development Trust Sh8ftesbury PLG The Ovingdean Hall Foundation The Victoii8 Wood Foundation St Giles & St George Education Charity Investec The Peter Slebbings Memorial Charity Brown Rudnick Charitable Foundation Corp. Derwent London Garrick Charitable Trust Aberde8n Standard InvestrnentS Noel Coward Foundation Hyde Paik Place Estate Charity Other grants < £5,(X)O Total funds 56.822 50,OQO 30.000 28,596 25.000 20,OQO 15,029 13.OQO 12,5QO 10.000 10,OQO 56.822 50,000 30.000 28,596 25,000 20,OOQ 15,029 13.000 12,500 10.000 io,ooo 9,500 8,803 6,000 6,OOQ 5,274 5,OOQ 5,000 5,000 5,OOQ 4,948 16,50Q 34T,9t2 8,803 5,214 4,948 16,500 347,912 Go Live Theatre Projects 32
Notes to the Flnanelal Statements Year lo 31 August 2022 Other income unres1ried funds Reslrided funds Totsl funds 2022 Coronavirus Job Retention Scheme 1.392 1,392 1,392 1,392 Unrestrict8d funds RestiFCted furjds Total funds 2021 CororJ8vNrus Job R8t8ntion Sch8lTie 45,552 45,552 45,552 45,552 During the year, three members of the charity's staff were placed on furlough12021 nine members of stsffj, as discussed in More detail in the trustees, report and note 4. The charity applied to the Government's Coronavirus Job Retention Scheme to cover the costs of furloughed staff and received £1,392 from the scheme12021- £45,552). 4 Expenditure Direct staff costs Support staff costs Support costs {note 51 Direct costs 2022 Raising funds Fundraising Studio rental Fundraising events Investment m8n8geTnenl wsts Charitable activities . Access Creative Leaming and Youth Engagement Fudough staff costs covered by CJRS 115,076 956 2,925 481 73,890 370 19,151 226 48,090 376 185,242 2,039 73,890 370 122,147 128.940 1,392 368,511 136,442 143,229 23,024 24.255 54.610 60,646 336,223 357,070 1,392 956,226 357,337 66,656 163,722 Di1 staff costs Support staff costs Support costs (note 5) Direct costs 2021 Raising funds . Fundraising StudNo 181 Fundraising events Investment management Costs Charitable activities . Access calIve Leaming and Youth Engagement Futlough stèff ct)sts cove1 by CJRS Furfough staff Gosts bome by the cljarity 7QO,695 1,510 671 10,768 734 25,020 47,823 175,048 671 10, 168 734 69,527 142,540 45,552 11,827 370, 129 71,736 77,512 16,403 36,119 29,506 67,616 127,166 317,787 45,552 11,821 688,947 96,331 77.542 144,945 The Chief Executive's salary has been allocated to Support Staff Costs and across expenditure on raising funds and charitable activities to reflect the relative proportion of her time spent working on each of these areas. Go Live Theatre Projects 33
Notes to the Flnanelal Statements Year lo 31 August 2022 S Support costs 2022 2021 Property C05t5 IT development and support Phone and Inteinet Printing, postage and stationery Training costs Payments and donations pro$$ing fees Marketing activities Sundry Depreciation Health and Safety Subscriptions and membership Governance 92,208 22,098 6,718 83,764 15,488 5,308 6,681 99 1,760 - 11 5,439 684 12,851 6,776 3,334 1,121 8,289 163.722 3,608 10,540 4,120 7,02e 829 1,081 6,401 144,945 6 Movement in funds This is slated after charging.. 2022 2021 Auditorfs remuneration Current year- independent examination Prior year- audit fees Depreciation (note 101 6,170 5,500 888 7,026 6,776 7 Staff costs 2022 2021 Wages and salaries Employer's National Insurance other pension cost5 379,302 34,934 20,930 435,166 3.359 34,716 22.596 447,671 The average monthly number of employees, calculated on an average headcounl basis, during the period was.. 2022 No. 2021 No. Full time Parttim$ Full time Part time Total There was one employee who earned beeen £70,000 and £80,000 (excluding employer's pension contributions bul including benefits) during the year12021 one). £7,020 was paid in employer's pension contributions for this employee12021- £7,020). The key management personnel of the charity in charge of directing and controlling, running and operating the charity on a day-lo-day basis comprise the Chief Executive and the Deputy Director. The total remuneration (including taxable benefits, employer's pension contributions and employer's national insurance conlributionsl of the key management personnel for the year was £140,788 {2021- £136,257). Go Live Theatre Projects 34
Notes to the Flnanelal Statements Year lo 31 August 2022 8 Trustee remuneration and reimbursed expenses No Trustee received remuneration or reimbursed expenses during either the year ended 31 August 2022 or the year ended 31 August 2021. 9 Taxation Go Live Theatre Projects Ltd is a registered charity and, therefore, is not liable to income tax or corporation tax on income derived from ils charitable activities, as il falls within the various exemptions available to registered charities. 10 Tangible fixed assets Leasehold improve- ments Computer equipment Total Cost Al 1 September 2021 Additions Al 31 August 2022 30.786 57.505 2,874 60,379 88,291 2,874 91,165 30.786 Depreciation At 1 September 2021 Charge for the year At 31 August 2022 21,386 3,390 24,776 45,380 3,386 48,766 66,766 6.776 73,542 Nat book valuè Al 31 August 2022 At 31 August 2021 6.010 9,400 11,613 12,125 17,623 21.525 11 Investments Movements in listed investments during the year were as follows.. 2022 2021 Market value al 1 September 2021 Additions at cost Disposals 81 book value12021'. proceeds £11,437,. ie81ised gains.. £8331 Net unrealised investment gain Market value at 31 August 2022 10,604 76,202 {10,6041 3,118 79,320 Cash held by investrnent managers Total investments 4,842 84,162 77,676 77,676 Cost of listed investments at 31 August 2022 76,202 The total unrealised gains as al 31 August 2022 relate solely to the annual revaluation of the portfolio.. 2022 2021 Unrealised Ilossesl at 1 September 2021 Add.. Net gains arising in respect of disp05a15 in the year Less.. Net gains arising on revaluation arising in the year Total unrealised gains at 31 August 2022 11771 177 3,118 3,118 Go Live Theatre Projects 35
Notes to the Flnanelal Statements Year lo 31 August 2022 12 Debtors 2022 2021 Debtor5 Prepayments and accrued income 36,523 82,107 118,630 2,969 52,583 55,552 13 Credltors: Amounts falllng due wlthln one year 2022 2021 Payroll taxes and soaal security Trade ¢iedilor$ Covid-19 Bounceback Loan Acciuals and defeired incotne Funds held as agent 9,32S 12,742 10,525 8.164 5,000 9,672 3,500 36.861 11,291 3,500 36,858 14 Creditors: amounts falling due after one year 2022 2021 Covid-19 Bounback Loan 45.000 45,(XJO Loan Maturlty Debt due in one year or less Inole 131 In more than one year but not more than two years In more than two years bul not rnore than five years In more than five years 5.000 10,000 30.000 5,000 50,000 15 Opgrating leaso commitmonts Al 31 August 2022, the charity's future minimum lease payments under non-cancellable operating leases were as follows.. Land and buildings 2022 2021 Arlloun13 due.. thin one year Beeen one and two years Between two and five years 57.875 57,875 57,875 57.875 43,406 159.156 115,750 Other Equipment 2022 2021 thin one year 1.160 1,160 Go Live Theatre Projects 36
Notes to the Flnanelal Statements Year lo 31 August 2022 16 Pension costs The company makes contributions lo the personal pension schemes of its employees as well as its own defined contribution employer pension scheme. The assets of the schemes are held separately from those of the company in independently administered funds. The pension cost charge represents contributions by the company to the funds and amounted lo £20,93012021- £22,596). At 31 August 2022, nil conlributions12021 £1,427) were outstanding. 17 Restricted funds The income funds of the charity include reslricled funds comprising the following unexpended balances of donations and grants to be applied ft)r specific purposes.. Balance at 1 September 2021 Balance at 31 August 2022 Income Expenditure Transfers Access Ci88tiv8 L88rning & Participation 31,64e 164,569 196,215 158,665 194,573 353,238 1179,5101 1239,5371 1419,0471 10,801 119,605 130,406 Balance èt 7 September 2020 Balance at 31 August 2021 Income Expenditure Transfers Access GreatAve Leaming & P9rtNGIpaln 7,510 122,640 130, 750 43,500 304.412 341,912 (t9,364J (262.4831 (281,847) 31,646 164,569 196,275 Access To enable young people with limited resources, support or a disability the opportunity to attend London theatre, often as a first lime experien and encourage further thealregoing. Creative learning & Participation To use theatre as an educational resource in and out of the classroom lo." stimulate creative work and lo develop theatre related and personallsocial skills., reduce barriers and enhance knowledge of the theatre,. and provide leadership and career development opportunities for young people. Go Live Theatre Projects 37
Notes to the Financial Statements Year lo 31 August 2022 17 Analysis of net assets between funds Total funds 2022 Restricted funds Unrestricted funds Fixed assets Investments Current assets 17,623 84,162 294.944 136,8581 359,871 17.623 84.162 425,350 136.8581 490,277 130,406 130,406 Total funds 2021 Restricted funds nstricted funds Fixed assets Inv8slments Cunpnt assets 21,525 77,676 261,818 (87,8611 279, 158 21,525 77,676 458,033 (87,8611 475,375 196,215 t96,215 18 Company limited by guarantee The charity is limited by guarantee and accordingly has no share capital. The liability guaranteed by each member is £10. The authorised membership of the company is unlimited. At 31 August 2022 the membership was 1212021 131. 19 Related parties During the year, the charity received donats'ons of £12,500 12021 £12,500) from SM Theatre Limited. Sir Stephen Waley-cohen is a Director of this company. Additionally, the charity received two donations tolalling £5,00012021 £nill from TMCT Associates and Palmer Tabor Properties. Christopher Tabor is a Director of these companies. During the year, donations lotalling £23,05012021- £27,180) were received from 912021 131 Trustees. Al the end of the year, there were no amounts outstanding in respect of any of the above transactions. 20 Funds held as an agent The Charity acts as an agent in dislribuling the annual Michael Northen bursary for lighting design. As a result, grant payments of £50012021 £5001, have been excluded from the statement of financial activities as the charitable company does not have control over the application of the funds. Al 31 August 2022 the Charity held funds amounting to £3,500 {2021- £3,500) on behalf of the late Robert Camac for distribution in respect of future bursaries. Go Live Theatre Projects 38
Notes to the Financial Statements Year lo 31 August 2022 21 Comparative statement of financial activities for the year ended 31 August 2021 Total funds 2021 Unstricted Funds Restricted Funds Notes Income from.. Donations and gifts FundréisNng events Charitable aclivibes Grants receivable The01 tickets . Programme fees and wortshops Sfvdio rental Investments Otherincome Total income 185,301 120,544 185,301 120,544 347,912 347,912 4,145 6,652 4. 145 6,652 2,829 45,552 365,023 2,829 45,552 T12,935 347,912 Expenditure on.. Raising funds Fuftdraising Sfvdio r8ntsl Fundmising events Investmentm8nag8m81Jt f88S ChaiFtable activities . ACCESS C31{ve Leaming & Youth Engagement OtherexpendNture Total expenditure 175,048 671 10,767 734 175,048 671 70, 167 734 107,802 55,305 51,373 407, 700 79,364 262,483 127, 766 377,788 57,373 688,947 281,847 Net (expenditu? income before investment gains Nel gains on listed invesln7ents (42,077) 833 66,065 25,988 833 Nel (expenditure) income tser transfe (41,244) 66,Q65 24,821 Transfers belween fvnds 16 Net movement in funds 11 (41,244) 66,Q65 24,821 ReeoneilialFon of funds." Balances brought foward at I September2020 Balances carried fonvard 0131 August 2021 320,402 130, 150 450,552 279. 758 196.215 475.373 Go Live Theatre Projects 39