IPE?SPEIlEs NEW PERSPECTIVES THEATRE COMPANY (A company limited by guarantee) REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 COMPANY NO.. 3240198 CHARITY NO: 1058309
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES FOR THE YEAR ENDED 31 MARCH 2025 The Trustees are pleased to present their Annual Report together with the financial statements of the charity for the year ended 31 March 2025 which are also prepared to meet the requirements for a Trustees Report and accounts for Companies Act purposes. The financial statements comply with the Charities Act 2011, the Companies Act 2006, the Memorandum and Articles of Association, Accounts and Reporting by Charities.. Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard in the UK and Republic of Ireland {FRS102). Chalr's Statement This year has been a period of creative growth, wider engagement. and strategic development for New Perspectives. Central to our work this year were two major co-productions, Make Good, a new musical exptoring the Post Office scandal, developed with Pentabus Theatre, and (the) Woman, a new play by Jane Upton, co-produced with Royal & Demgate, Northampton. These productions toured extensively across regional venues. reaching over 4,000 audience members and receiving strong critical acdaim and media attention. Both productions also demonstrated our diversity and commitrnent to community involvement, with local choir5 participating in Make Good and a full female and non-binary creative team on (the) Woman. Our 50th anniversary was a key focus, marked by a 50-week social media campaign celebrating our rich history, a podcast series, and community projects that invited audiences and collaborators to share personal stories. These digital initiatives expanded our reach and deepened audience engagement, reinforcing our profile as a leading regional theatre company. We continued to invest in early-career artist development through our New Associates programme and Open Pitch initiative. In 2024-25, 18 artists joined the New Associates cohort, representing diverse backgrounds. with over half identifying as of global majortty heritage and many living with disabilitie5 or neurodivergence. These programmes provide vitsl support through workshops. mentoring, rehearsal spa, and funding opportunities. Several alumni secured significant Arts Council England grants this year, enabling new creative work and tours. Open Pitch has continued to work with, and support first- time artists and underrepresented voices, producing acclaimed projects such as the audio memoir Memoirs of a Little 'Un. On the operational front, we have made important strides in sustainability and cost efficiency. We introduced cloud-based communications, upgraded to energy-saving LED lighting, and aligned production practices with environmental standards. Staff completed Carbon Literacy Training, underscoring our commitment to reducing our environmental impaci. Additionally, archival digilisation projects and anniversary merchandise have both enhanced engagement and generated income. Looking ahead, we are delighted to transfer, to the Park Theatre in London, a re-worked production of (the) Woman and also present a series of test perfomiances of Black Shuck, an innovative immersive production exploring English folklore and personal themes of mortality. Both projects reflect our ongoing ambition to push creative boundaries and increase accessibility. We extend heartfelt thanks to our funders, partners, artists, staff, and audiences. Your continued support is vital as we build on this year's successes and continue to contribute to the shape of future of regional theatre and artist development. Sarah Hall (Chair)
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES Objectlves & Activities New Perspectives is a Nottingham based theatre company touring relevant ambitious productions across the UK Championing underrepresented voices. Through our development programmes including New Associates and Open Pitch, we nurture existing and unearth new talent. Our over-arching aim is to open up cative thought processes, so new perspectNes can emerge through the stories we showcase and the audiences who watch and talk about them. We are groundbreaking in the depth we offer to programmes and to the stories we showcase. Our work is centred around three core values: Ambitlous: We are ambitious in our storytelling, in our production values. in our creativity, in our mission and in our expectations. Relevant: We ensure that the stories we tell are relevant to audiences, that our development programmes are representative of relevant social and cultural issues, that our work systems and processes are relevant and current and that we embrace access to and innovation within storytelling. Transformatlve: That the stories we tell, the experiences we create, the way we interact with one another. are transformative encounters. We strive to diversify income sources to remain resilient and agile and demonstrate robust govemance and effluent use of resources. New Perspectives began in 1973 with a clear objective.. to bring an urgent story to a new audience. Building on our solid foundations, we ensure that all of the aUdIenS and artists we encounter are exposed to a regional company which demonstrates: Greater diversity- advocating for diversity and internationalism in the touring sector through our programming choices are well as through the artists we work with and Ihe audien$ we ach Deeper engagement.. offering longer tem support and developing neorkS for emerging and mid- career talent in our region to have greater impad on their career trajectories Increased resilience: expanding our bas8 of donors and partners through increased ndraising activity and long-temi artistic planning
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES Mission New Perspectives is the leading touring theatre company in the East Midlands, known for its ambitious productions and impactful storyielling. We create new plays that resonate with diverse audiences in both rural and urban settings and through New Associates and Open Pitch we actively support emerging artists throughout the region. Our mission is to enrich the cultural landscape by amplifying unheard voices and diverse perspectives. We aim to create meaningful connections that inspire dialogue and ensure theatre remains accessible and relevant to all. Publlc Beneflt We have a strong ¢ommitrnent to the East Midlands region within Nottinghamshire, Derbyshire, Lincolnshire, Northamptonshire, Leicestershire and Rutland. This is characterised by a diverse landscape, economy and population. including large conurbations and njral areas. Removing barriers of location, age, culture and socio-economic status fuels our ambition to bring audiences into close contact with the highest quality of new work. We develop new plays, new audiences and new artists across the East Midlands and beyond. We make a distinct cultural footprint as rural champion advocating for equal access to theatre and as a vital contributor to the wider national theatre ecology. Creating a diverse brand of live theatre that is recognised as challenging, original and unafraid to take bold creative risks Empowering artists and theatre-makers across the region with knowledge. skills and increasing networks through the development of small-scale and rural touring theatre Engaging regional audiences by widening access to high quality live performance regardless of age, social class. elhnicity, gender, disability or geographic location We maintain the highest levels of artistry and production values in all our work, and deliver a programme of wsder cultural significance and therefore able to advance the arts Ihrough regular critical analysis of the work we create. Our productions are a testament lo the fact that rural theatre is as relevant. challenging and dynamic as theatre made for any other environment. The Trustees have complied with their duties under Section 17{5) of the 2011 Charities Act.
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES Achlevements and Performance In the 2024-25 financial year, New Perspectives focused on co-producing major touring theatre productions.. Make Good, a new musical about the Post Office scandal with Pentabus, and (the) Woman, a new play by Jane Upton with Royal & Derngate - which together reached over 4,000 audien members through extensive regional tours and gamered strong critical acclaim and media attention. Alongside touring activity, the company expanded digital engagement through a 50th anniversary campaign, podcasts, and community projects, increasing our online reach and deepening audience connections. Investment in creative residencies and innovation supported earSywcareer artists and experimental work, while talent development programmes like New Associates and Open Pitch nurtured underrepresented voices, supporting the development of multiple funded projects and professional opportunities. Operational improvements enhanced sustainability and cost efficiency, positioning the company for future growth and continued impact in regional theatre and artist development. Tourlng Theatre In 2024-25, New Perspectives co-produced Make Good, a new musical inspired by the Post Office scandal. in partnership with Pentabus. The project development coincided with heightened national attention following the ITV drama Mr Bates vs The Post Office, which brought widespread awareness to the subject. Written by Jeanie 0'Ha with music and lyrics by Jim Foriune. directed by Pentabus Artistic Director Elle While. the production brought together a higholibre creative team and a cast of four professional actor-musicians. Rehearsals took place at in Ludlow and the production toured rurally between October and December 2024, with 27 perfomiances across more than 20 venues. including Lakeside Arts Nottingham, MAC Bimiingham. and Omnibus Theatre in London reaching over 2,500 audience members. The sell-out tour featured ten local thoirs, contributing to the community engagement focus of the ple. * "Fortune and O'Hare have truly created a masterple¢e" A Younglsh Perspectlve "A beautifulty moving piece wlth a brlght and electnc future" The Review ** "Beautlfully portrayed" West End Wlth M MAKE GOOD - the Post Office Scandal musical Writer (Book): Jeanie O'Hare Composer (Music & Lyrics): Jim Fortune Composer (Additional Music): Maimuna Memon Additional Material: Ed Gaughan Director: Elle While Designer: Carla Goodman Choreographer & Movement Director". Neil Bettles Lighting Deslgner: Jenny Roxburgh Sound Designer: Dan Balfour Musical Director.. Zac Gvi Associats Musical Director: Math Roberts Audlo Description Consultant: FlawBored Production Manager: Tom Robbins Stage Manager: Tallulah Harris Cast: Charlotte Delima, Samuel Gosrani, Victoria Brazier and Ed Gaughan
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES Through 2024-25, New Perspectives advanced the development and staging of (the) Woman, a new play by Jane Upton, co-produced with Royal & Demgate, Northampton. Dramaturgical development, led by Sarah Dickenson, was supported through a week-long R&D residency at the National Theatre Studio as part of the Generate programme. This culminated in an industry sharing, attended by representatives trom key organisations. induding the Royal Court, RSC, Soho Theatre, and the National Theatre New Work team. Following two years in development, the production opened at Royal & Derngate on 13 February 2025 and subsequently toured to major regional venues, including Nottingham Playhouse. Bimingham Rep, Coventry Belgrade, and Oxford's North Wall. As of March 2025, close to 2,000 audience members had attended the tour. The creative team was led by writer Jane Upton and director Angharad Jones, with a full female and non-binary team across design. sound, lighting, and movement. Two of New Perspectives, current New Associates were employed on the production as Assistant Director and Stage Manager, aligning with our commitment to paid development opportunities for early-career artists. A playtext was published by Nick Hern Books and made available to audiences during the tour. *"8old and unapologetic" The Stage "Unmissable" The Revlews Hub ** "Bitterly funny...it challenges your assumptlons" East Midlands Theatre (the) Woman Writer: Jane Upton Director: Angharad Jones Designer: Sara Perks Lighting Designer: Lily Woodford Sound Designer: Bella Kear Dramaturg: Sarah Dickenson Video Designer: Matt Powell Associate Video Designer: Farah Ishaq Movement Director: Lucy Glassbrook Casting Director: Ellie Collyer-Bristow CDG Assistant Dlrector: Jessy Roberts Production Manager: Claire Hardacre stage Manager." Dan Mcvey Assistant Stage Manager: Mi50n Willcox Cast: Lizzy Watts, Jamie-Rose Monk, Clan Barry, André Squire Production practices for both touring productions were aligned with environmental benchmarks and we are proud to report that the Thealre Green Book Advanced stan(fard was met for (the) Woman.
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES Dlgltal Broadcast & 50th Anniversary Actlvltles In 2024-25, we continued to expand our digital engagement through a series of initiatives aligned with the company's 50th anniversary celebrations and broader organisational values. To mark the anniversary, a 50-week social media campaign launched in January 2024, sharing archival imagery and key facts from the company's history. This was complemented by a new podcast series, featuring current Artistic Director Angharad Jones in conversation with previous artistic leaders. This engaged audiences in a deeper dialogue about the company's legacy, mission, and the role in developing and touring new writing. culminating with a symposium at Nottingham Playhouse supported by the Writers, Guild of Great Britain. A commemorative 50th anniversary postcard box set was developed. informed by archive material drawn from the company's archives. Alongside the anniversary programme, we presented WheTr l Belong LIVE at Lakeside Arts, Nottingham, in collaboration with Nottingham City of Literature as part of Ihe TRANSFORM initiative led by New Art Exchange. The event featured live readings from Nottingham and Baghdad-based writers, connected via satellite link. celebrating a British Council funded wdcast series released in 2023. It sucssfUllY amplified underrepresented voices and celebrated the internats'onal collaboration. Other digital and outreach activity induded the conlinuats.on of the WheTr l Belong podcast, and a new six-week community theatre project in Alford. Lincolnshire, delivered in partnership with Live & Local, marking the company's first collaboration with the rural touring scheme. These initiatives have contributed to increasing digital reach, deepening audience engagement. and amplifying the company's profile as a regional leader in accessible, community•ntred theatre. "Uplifbng - connecting ideas, Cultu$, plaS and people..."Audience member at Where l Belong LIVE Creative Residencies & Innovation Throughout the year we continued to invest in innovation and the earty development of new work through a dedicated strand of creative residencies, exploratory partnerships, and technology-focused R&D. This strand aims to support the early stages of new storytelling ideas, explore new collaborations without the pressure of public outcomes, and test the potential of emerging technologies in creative practice. We hosted New Associate alumni AK Golding and Gemma Casely Kirk for a short residency to explore the beginnings of a two-hander devised ple. Further artist collaborations induded New Associate alumni Emily Webster and Joe Strickland on the early development of Inheritance Tax, a new play exploring familial and deaf experiences. This workshop formed part of the innovation strand and aligned with our broader ambition to support underrepresented stories and VolS. As part of our exploration into new technologies and working practices, we participated in the cte Growth Immersive Programme, led by the Virtual & Immersive Production Studio at the University of Nottingham. This opportunity enabled actor Michael Lamboume, sound designer Adam Mccready, and Artistic Director Angharad Jones to experiment with immersive tools such as volumetric capture, motion capture, and immersive sound. This R&D phase supported the initial development of a proposed one- person touring piece inspired by the Black Shuck folklore. offering hands-on training in immersive production and culminating in the creation of a recorded concept pitch to infomi fijture fundraising and development.
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES Artlst and Communlty Development The New Associates programme continues to be a cornerstone of New Perspectives, talent development work, supporting early-career artists across the East Midlands and beyond. In 2024-25. we received 76 applications for the scheme, from which 18 artists were selected to join the year-long cohort, representing a range of disciplines, backgrounds and lived experiences. Of the new cohort, 55 % were of global majority heritage, 72ts/0 identified as women. and 67010 identified as having a disability, long-tenn health condition or neurodivergence. One third were aged 35 or over, reflecting our commFtment to supporting artists at all ages. We continue to offer meaningful support beyond the application process, with all unsuccessful applicants offered tailored feedback and mentoring. The programme is designed to provide sector insight, peer support, a'StiC development opportunities, rehearsal space access, and a strong network of professional connections. Many New Associates and alumni have secured significant funding this year. including multiple successful Arts Council England grants ranging from £12,000 Developing Your Cative Practice to £30.000 Project Grants. enabling the creation of new work and national tours. Alumni continue to benefit from light-touch support, with access to rehearsal space, one-to-one mentoring, and help with funding applications and producing strategies. The 2023-24 programme conduded with a final in-person workshop and reflection session facilitated by leadership coach Keilh Jeffrey, grounding participants, development plans in sustainable career pathways. We commissioned Judy Owen to undertake research evaluating the potential for a sustainable New Associates alumni programme: a series of focus groups and surveys indicated strong recognition of New Associates within the national talent development sector. The programme remains a vital part of our mission to nurture and champion underrepresented talent across the region, SpOndIng to the ongoing challenges facing artists in an evolving cultural landscape. °It has made me believe it is possible for me to make theatre my life (and full-time job) again". Serenah Cole "This has been a game changing year for me as a Gfeative - l applied for a DYCP bid to explore Dramaturgy and was awarded the funding. Grace Carter "Being on the NewAssociates programme has been so empowering. It's just the right blend of support, encouragement and inspiration. I'm working things I hadn't even dreamed of a year ago". Helen Crevel NEW ASSOCIATES 2024-25 Grace Carter, Serenah Cole. Sophie Jane Comer, Helen Crevel. Doug Deans, Emma Gray, Hannah Harris, Michelle Mother Hubbard, Meera Joshi, Martha Kent, Ishi Khan, Omar Khan. Daniel Mcvey, Eden Peppercom, Jessy Roberts, Rukus. Esme Sears, Hollie wes00d, Open Pitch continued to champion ordinary people tell extraordinary stories as first-time artists by offering the opportunity to develop new work with professional support. Highlights included the launch of Memoirs of a Little 'Un by Chrissy Payne, a widely praised 10-part audio memoir with international reach; and further development of Lucky Stars by Chris Kealey, culminating in a public presentation at Curve Leicester. Lisa McKenzie began WO on sixT6en, a play inspired by the 1984-85 Miners. Strike, developed with young people in Sutton-in-Ashfield as part of the Ashfield Creates programme. The Songstress, a short film by Open Pitch alumnus Donna Briscoe-Greene, was screened at the International Working Class Storyfest in Leicester. Open Pitch remains a vital strand of New Perspectives, artist development work, by using professional platforms to share powerful. untold stories.
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES OPEN PITCH Chrissie Payne included employment to 1 Actor and 1 Sound Designer Chris Kealey included employment to 4 Actors STRUCTURE, GOVERNANCE & MANAGEMENT Governlng Document New Perspectives Theatre Company Ltd is a company limited by guarantee, governed by its Memorandum and Articles of Association dated 14 August 1996. It is registered with the Charity Commission. A maximum of 12 Trustees each agree to contribute £1 in the event of the charity winding up. Appolntment of Trustees New Perspectives regularly updates a register of Trustees, knowledgelskillslexperience, regularly monitoring and reviewing the governance of the company aligned to Arts Council England's Creative Case for Diversity. This provides a constantly evolving set of recruitment criteria which the Trustees use when attractinglselecting a suitable candidate for any vacancies. Potential Trustees are identified through individual recommendation by existing Trustees, via targ6ted solicitations. and in response to advertising campaigns. Trustee IndUcon & Training Each potential new Trustee is offered a chance to meet the Chair and observe a full Board meeting prior to taking a decision whether to become involved with the company - they are then matched with a range of induction resourceslopportunities to suit their existing level of knowledgelskillslexperience; these include provision of Memorandum & Articles of Association, most recent Audited Accounts, most recent management accounts, always supported by either a single meeting with the charity's Executive Team to discuss the company's cuffent strategic overview andlor full day meetinglshadowing a number of staff to gain a fuller overview of both strategic and operation issues affecting the charity. Organisation The Board of Trustees. which can have up to 12 Trustees, govem the charity. The Board meets 4 times per year. and there are working subrOupS which meet quarterly to address specific governanceloperational issues including finance, fundraising, risk management and policy groups focussing specific areas including equal opportunities, health and safety, environmental etc. An Executive Team is appointed by the Trustees to manage the day-to-day operations of the charity. To facilitate effective operations the Artistic DirectorlCEO leads on the artistic programme and overall management, working closely with the Executive Director. Related Partlès New Perspectives has a close working relationship with Arts Council England, who provide significant funding to the charity and who monitor our activity against agreed tsrgets through a number of mechanisms, including quarterly financial reporting. annual review and attendan at Board meetings aslwhen required by either party. Risk Management New Perspective tasks a working group of Trustees and senior staff to conduct an annual risk review. and then develops an annual risk mitigation plan in response. Our current risk VIeW/M1tlgaI10n plan focuses on ensuring that we deliver against our Business Plan and remain in step with the strategic objectives of our funding partners.
NEW PERSPECTFVES THEATRE COMPANY REPORT OF THE TRUSTEES {contlnued) Financlal Revlew During 2024125 New Perspectives monitored its reporting mechanisms to allow effective Board scrutiny of financial management and further improve the clarityltransparency of the charity's financial dealings for funding partners. The Trustees report a net trading deficit of £23,675 in the year ended 31 March 2025. The Company had income during the year of £374.711. The Company's Revenue Unrestricted Fund balance is £542,532 as at 31 March 2025 of which £330,060 is designated {Designated Capital Fund £230,060, Speoial Prosects Fund £100,000). The Trustees consider the balance to be adequate for the coming year. The principal funding source for the year were the monies from the Arts Council. The accumulated unrestricted income fund at 31 March 2025 amounted to £542,532. Investment Powers and Policy Under the Memorandum and Articles of Association we have the power to invest any monies not immediately required for our purposes in any way the Trustees think fit. Aside from retaining a prudent amount in reserves each year. most of the charity's funds are to be spent in the short term. so there are few funds for long term investment. Reserves Policy Unrestricted reserves held amount to £542,532 much of which is represented by the freehold property. We aim to maintain the net value of the company. The Trustees have examined the charty's requirement for reserves in the light of the main risks to the organisation. It has estsblished a policy whereby the unrestricted fijnds not committed or invested in tangible fixed assets held by the charity should be between 1 and 3 months of the expendFture. The reserves are needed to meet the working capital requirements of the charity and the Trustees are confident that at this level they would be able to continue the current activities of the charity in the event of a significant drop in funding. The Trustees have adopted the policy that in the event of the charity being wound up due to lack of funding, unrestricted funds held and not committed should wver the cuent noti(*. redundancy pay liability and the equivalent of 3 months running costs {induding salaries and related costs) estimated to total £100,OOO', currently general reserves held are sufficient to cover these costs. The Trustees will aim to ensure the continuation of activities., in the event of a significant drop in income. It would be necessary to consider how the funding would be replaced or the activities changed.
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES (Continued) Going Concern The financial accounts are set out on pages 14 to 23. The Trustees are satisfied that with considerations made against business risks. the preparation of the financial statements, appropriate accounting policies, methods and principles in place to provide sufficient appropriate evidence, that the company remains a going concern. The Trustees agree that the charity's assets are available and adequate to fulfil the continuation of activities. In the event of a significant drop in income it would be necessary to consider how the funding would be replaced or the activities changed. We look forward to joining the RAMPS Change Partner programme to embed disability equalty across all we do. We have made a pledge to meet the Theatre Green Book basic standard as part of the steps we are taking to redu the impact we have on the environment. Future Plans As we enter the third year of our current public funding cycle. with confirmation of an additional extension year from Arts Council England through its National Portfolio. our hallmark programme continues to thrive. We remain focused on commissioning and touring world-dass new writing, driving cultural exchange and talent development. and fostering learning through creative innovation. In 2025-26. we will present a diverse programme of work that builds on our growing national reputation. Following a successful spring tour, Jane Upton's BrUn00d Prize-shortlisted play (the) Woman will be restaged in a five-week London run at Park Theatre (24 September- 25 October 2025). This marks a major milestone for the company, returning to the capital after rent successes induding The Fishem7en (West End. 2019), We Need Now Names (2023. with Fifth Word and Brixton House). and Make Good- the Post Office Musical Scandal {wilh Pentabus). The production offers a national platfomi for East Midlands new writing and extends our audience reach. We will also test a new immersive production Black Shuck, written and perfomied by Michael Lambourne, in collaboration with sound artist Adam Mccready and directed by Angharad Jones. Drawing on English folk horror and Lambourne's personal experience of cancer, the piece explores mortality through a bold fusion of live theatre and 360° spatial audio. Developed with the Virtual & Immersive Production Studio at the University of Nottingham and supported by Immersive Arts UK, test perforManS are scheduled for Autumn 2025. This marks our first major project under our creative residency innovation strand. Alongside our production work, we will explo the development of an Alumni offer informed by recent research into our New Associates programme. By bringing artists together to share leaming. test new ideas, and innovate, we aim to shape the future of our work through collaboration and continued creative exchange. 10
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES (continued) Summary We continue to develop ambitious new work and support the hotbed of talent across our region. We will explore new ways of working to create. Cowcreate and share unique thealrical encounlers, at the same time demonstrating a commitment to support freelance and under-represented artists and practitioners as we navigate an ever-changing landscape. REFERENCE AND ADMINISTRATIVE DETAILS: Name of Company: NEW PERSPECTIVES THEATRE COMPANY The company is incorporated under the 2006 Companies Act (number 3240198) and is governed by its Memorandum and Articles of Association. New Perspectives Theatre Company is a registered charity (No. 1058309). The company is managed by the Trustees who are appointed at the Annual General Meeting, these Trustees have served during the year and since the year end date. BOARD OF TRUSTEES & DIRECTORS Richard Bond DL (Deputy Chair) Amy Crighton (Appointed 08.04.25) Ravell&Sadé Fairman {Resigned 02.10.25) Jeremy Hague Sarah Hall (Chair) Jane Morgan Gerard Rogers (Company Secretary) Thulani Molrfe Jonathan Saville (Appointed 17.03.25) Johanna Taylor EXECUTIVE TEAM Angharad Jones- Artistic Directorl CEO Sally Anne Tye - Executive Director (responsible for the day to day running of the charity) REGISTERED OFFICE 8 Park Lane Business Centre Park Lane Basford Nottingham NG6 ODW COMPANY REGISTRATION NUMBER 3240198 CHARITY REGISTRATION NUMBER 1058309 BANKERS Unity Trust Bank 9 Brindley Place Bimiingham B12HB
NEW PERSPECTIVES THEATRE COMPANY REPORT OF THE TRUSTEES (continued) INDEPENDENT EXAMINER Matt Brady TC Group Cliffe Hill House 22- 26 Nottingham Road Stapleford. Nottingham NG9 8AA Trustees Responslbllltles in Relatlon to Flnan¢lal Statements Company law requires the Trustees to prepare financial statements that give a true and fair view of the state of affairs of the charity at the end of the financial year and of its surplus or deficit for the financial year. In so doing the Trustees are required to.. Select suitable accounting policies and then apply them nSiStenI1y. Observe the methods and principles in the charilies SORP" Make sound judgements and estimates that are reasonable and prudent: Prepare the financial statements on the going concem basis unless it is appropriate to presume that the charity will not continue in business- and State whether applicable UK accounting standards have been followed; subject to any material departures disclosed and explained in the financial statements. The Trustees are responsible for maintaining proper accounting records which disclose with reasonable accuracy at any time the financial positi( of the charity and enables them to ensure that the financial ststements comply with the Companies Act 2006. The Trustees are also sponSible for safeguarding the assets of the charity and hence for taking reasonable Steps for the prevention and detection of fraud and other irregularities. So far as we are aware, there is no relevant infomiation of which the Independent Examiner is unaware,. As the Board of Trustees of the company we have taken all ihe steps we ought to have taken in order to make ourselves aware of any relevant Infomiation an¢J to establish that the chariws Independent Examiner is aware of that infonnation. The Trustees are responsible for the maintenance and integrity of the corporate and financial infomiation included on the Charity's website. Legislation in the United Kingdom goveming preparation and dissemination of the financial statements may differ from legislation in other jurisdictions. Members of the Board of Trustees Trustees, who are Directors for the purpose of the company law and Tfustees for the purpose of Charity law, who served during the year and up to the date of this report are set out on page 11. Trustees of the charitable company guarantee to contribute an amount not exceeding £1 to the assets of the charitable company in the event of winding up. The total number of Trustees at 31 March 2025 was 10 (10 in 2024}. This report has been prepared in accordance with the Statement of Recommended Practice.. Accounting and Reporting by Charities and in accordance with the special provisions of Part 15 of the Companies A 2006 relating to small entities. Approved by the Board of Trustees on ..afJ I i (J laoas...... and signed on its behaK by: (Trustee) 12
NEW PERSPECTNES THEATRE COMPANY- COMPANY NUMBER 3240198 Independent Examiner's report to the Trustees of New Perspectives Theatre Company I report on the charity Trustees on my examination of the accounts of the company for the year ended 31 March 2025. Responsiblllties and Basis of Report As the charity's Trustees (and also its directors for the purpose of company law) you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 {'the 2006 Act,) and Charities Act 2011. Having satisfsed myself that the accounts of the Company are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of your charity's accounts as carried out under section 145 of the Charities Act 2011 ('the 2011 Act,). In carrying out my examination I have followed the directions given by the Charity Commission under section 145(5)(b} of the 2011 Act. sin the company's gross income exeded £250,000 your examiner must 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 Association of Chartered Certffied Accountants, which is one of the listed bodies. Independent Examiner's Statement I have completed my examination. I confimi that no matters have come to my attention in connection with the examination giving me cause to believe:_ Accounting records were not kept in respect of the Company as required by section 386 of the 2006 Act., or The accounts do not accord with those records. or The accounts do not comply with the accounting requirements of section 396 of the 2006 Act other than any requirements that the accounts give a 'true and fair view. which is not matter considered as part of an independent examination: or The accounts have not been prepared in accordance with the methods and principles of the Statement of recommended Practice for accounting and reporting by charities (applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland {FRS102)). I have no COnmS 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. Dated.31 Matt Brady FCCA TC Group Cliffe Hill Hous6 22-26 Nottingham Road Stapleford Nottingham NG9 8AA 13
NEW PERSPECTIVES THEATRE COMPANY STATEMENT OF FINANCIAL ACTIVITIES (INCLUDING INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 31 MARCH 2025 Noto Unrestricted Ro$trlcted Funds Funds Total 2025 Unr•$trictod Re$trlcted 31 March Funds Funds 2024 INCOME Investment Ineome: Bank Interest Incoming resources from charitable adlvlties TOTAL INCOMING RESOURCES 2,820 2,820 1,934 1,934 362.633 9,258 371,891 421988 30.400 452.388 365,453 9,258 374,711 423.922 30,400 454,322 EXPENDITURE Charitable actlvltles: Expenditure on Charitable Activities 466,451 9,258 475,709 508,445 30,400 538.845 Support Costs 8,623 8,623 9,454 9.454 TOTAL EXPENDITURE 475,074 9,258 484.332 517,899 30,400 548.299 NET INCOMEI(OUTGOING} RESOURCES BEFORE TRANSFERS (109,621) {109,621 } (93,977) (93,977) THEATRE TAX RELIEF 13 85,946 85.946 94,509 94.509 NET MOVEMENT IN FUNDS - NET INCOME FOR THE YEAR 23.675 23.675 532 532 TOTAL FUND AT 31 MARCH 2024 566.207 566.207 565.675 565.675 Transfer Between Funds 11 TOTAL FUND AT 31 MARCH 2025 10 542.532 542,532 566.207 566.207 The statement of financial activities includes all gains and losses recognised in the year. AEI incoming resources and resources expended arise from continuing activities. The notes on pages 16 to 23 form part of these a¢counts 14
NEW PERSPECTIVES THEATRE COMPANY- COMPANY NUMBER 3240198 BALANCE SHEET AS AT 31 MARCH 2025 Notes 2025 2024 FIXED ASSETS Tangible assets 233.326 232,741 CURRENT ASSETS Debtors Cash at bank and in hand 113,864 279,159 393,023 138,269 243,839 382.108 CURRENT LIABILITIES CREDITORS: AMOUNTS FALLING DUE WITHIN ONE YEAR 83.817 48,642 NEf CURRENT ASSETS 309.206 333,466 NET ASSETS 542,532 566,207 REPRESENTED BY: UNRESTRICTED FUNDS General Fund 10 212,472 236.147 Special Productions Fund Designated Capital Fund RESTRICTED FUNDS TOTAL CHARITY FUNDS 542,532 £ 566,207 The Company is entitled to exemption from audit under Section 477 of the Companies Act 2006 for the year ending 31 March 2025. 100,000 230,060 100,000 230.060 10 The members have not required the company to obtain an audit of its financial statements for the year ended 31 March 2025 in accordance wtth Section 476 of the Companies Act 2006. The Trustees acknowledge their responsibilities for: Ensuring the company keeps accounting records which comply with Sections 386 and 387 of the Companies Act 2006, and Preparing financial statements which give a true and fair view of the state of affairs of the company a5 at the end of each financial year in accordance with the requirements of Sections 394 and 395 and which otherwise comply wwth the requirements of the Companies Act 2006 relating to the financial statements. so far as applicable to the company and with the Financial Reporting Standard (issued January 2022). These accounts are prepared in accordance with the special provisions of Part 15 of the Companies Act 2006 relating to small entities. Approved by the Board of Trustees on 3J.l ! rJ.la.g . and signed on i behalf by: TRUSTEE Sarah Hall TRUSTEE Rlchard Bond The notes on pages 16 to 23 foryn part of these accounts 15
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 1. ACCOUNTING POLICIES The principal accounting policies adopted, judgements and key sources of estimation uncertainty in the preparation of the financial statements are as follows: . BASIS OF PREPARATION The financial statements have been prepared in accordance with the Accounting and Reporting by Charities; Ststement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland {FRS102) (effective 1 January 2019)- (Charities SORP (FRS102)). The Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) the Charities Act 2011 and the Companies Act 2006. Assets and liabilities are initially recognised at historical cost or transaction value unless othetwise stated iri the relevant accounting policy note(s). The charity constitutes a public benefit entity as defined by FRS102. The financial statements are presented in sterling (£). The financial statements have been prepared on the going concern basis. The Trustees assessment of going concern is contained within the Report of the Trustees. INCOMING RESOURCES Grants and donations are accounted for as soon as their amount and receipt are certain. In the case of donations this is usually only when they are received. All other income is accounted for under the accruals concept. Gifts in kind are valued at their estimated value to the charity. RESOURCES EXPENDED Expenditure is recognised when a liability is incurred. Costs of generating funds are those costs incurred in attracting voluntary income and those incurred in trading activities that raise funds. Charitable activities include expenditure associated with the staging of dramatic productions and related activities and include both the direct costs and support costs relating to these activities. Governance costs indude those incurred in the governance of the charity and its assets and are primarily associated with constitutional and statutory requirements. Support costs include central functions and premises costs and have been allocated to activty cost categories on a basis consistent with the use of resources, but do not directly undertake charitable activities. 16
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 {CONTINUED) FUND ACCOUNTING Unrestricted funds are available for use at the discretion of the Trustees in furtherance of the general objectives of the charity. Designated funds are unrestricted funds eamarked by the Board of Trustees for particular purposes. Restricted funds are subjected to restrictions on their expenditure imposed by the donor or through the terms of an appeal. FIXED ASSErs Fixed assets are included in the balance sheet at cost less accumulated depreciation. Depreciation is provided to write off the cost of fixed assets over their estimated useful lives at the following rates per annum: Equipment Motor vehicles Fixtures and fittings 250/0 25% straight line straight line straight line Freehold premises have not been depreciated as the residual value is believed to be higher than historical cost. Individual assets costing less than £300 are not usually capitalised. LIMITED BY GUARANTEE The charity is limited by guarantee and in the event of it being wound up, every member is liable to contribute a sum not eXeding £1. LEASE COMMITMENTS Existing rentals paid under operating leases are charged to profit and loss account on a straight- line basis over the period of the lease. New rentals are capitalised as a "right of use. asset and subsequently depreciated over the period of the lease. Debtors Debtors with no stated interest rate and receivabEe or payable within one year are recorded at transaction price. Creditors Creditors and provisions are recognised where the Charty has a present obligation resulting from a past event that will probably result in the transfer of funds to a third paty, and the amount due to settle the obligation can be measured or estimated reliably. Creditors and provisions are normally recognised at their settlement amount. Flnanclal Instruments The Charity has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequently measured at their settlement value. 17
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 {CONTINUED) Judgement and Key Sources of Estimation Uncertainty The preparation of accounts using generally accepted accounting principles requires management to make estimates and assumptions that affect the reported amounts of assets and liabilities at the date of the accounts and the reported amounts of revenues and expenses during the reporting period. The key estimates and assumptions used in the Financial Statements are detailed in the accounting policies. Pensions The Charity operates a defined contribution pension scheme. The assets of the scheme are held separately from those of the Charity in an independently administered fund. Contributions payable for the year are shown in the statement of financial activities. 2. INCOMING RESOURCES FROM CHARITABLE ACTIVITIES Unrestricted Funds Restricted Funds Total 2025 Total 2024 Grants and production contrfbutlons: Arts Council England Others 308,616 797 309,413 308,616 7.847 316463 308.631 69.680 378,311 7.050 7.050 Perfomiance and venue fees Other income Fundraising 17,394 33,027 2,799 2.208 19.602 33.027 2.799 55.428 46,025 26,637 1,415 74,077 2.208 Total 362,633 9.258 371,891 452.388 3. RESOURCES EXPENDED Total 2025 Total 2024 Expendlture on Charitable Actlvltles (Production and Project Costs) Research and Development Costs Direct production costs Salaries and payroll costs Premises costs Administration Costs Marketing and Communications Travelling Professional fees Equipment and Other Repairs Depreciation Total 11,635 247,650 151,939 14,496 16.534 14,540 2,180 11,291 4.355 1,089 475,709 4.306 301,532 153,130 12.049 34,690 15,207 1,367 6,450 5,232 4.882 538.845 18
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 (CONTINUED) 4. SUPPORT COSTS Total 2025 Total 2024 Salaries and payroll costs Accountancy and Independent Examination Fee Bank charges Confirmation Statement Fee Payroll Processing 3.969 2,465 854 75 1,260 8,623 5,294 2,250 877 13 1,020 9,454 5. NET INCOMING RESOURCES FOR THE YEAR This Is stated after charglng: 2025 2024 Operating leases - equipment Independent Examiners services 926 2,465 926 2,250 6. STAFF COSTS AND NUMBERS Staff costs were as follows: 2025 2024 Salaries and wages Social security costs Pension costs 180.352 13,081 4.425 197,858 180.582 12,544 4,325 197.451 The average number of employees during the year was made up as follows: 2025 2024 Touring. production and related support No employee eamed more than £60,000 per annum. The remuneration paid to key personnel in the year totalled £91,048 (2024: £87,441). Trustee Remuneration and Rèlated Party Transa¢tSon The Trustees receive no remuneration. No Trustees were reimbursed expenses in 2025 or 2024. There are no other related party transactions. 19
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 (CONTINUED) 7. TANGIBLE FIXED ASSETS Freehold Premises Motor Vehicles Equlpment Flxtures Total Flttlngs COST At l April 2024 Additions Disposal 230.060 68,254 98.549 1,674 4.479 401,342 1,674 At 31 March 2025 230,060 68,254 100.223 4,479 403,016 DEPRECIATION At 1 April 2024 Charge for period Eliminated on disposal 68.254 97,321 725 3.026 364 168.601 1.089 At 31 March 2025 68,254 98,046 3,390 169.690 NET BOOK VALUE At 31 March 2025 230.060 2.177 1,089 233,326 At 31 March 2024 230,060 1,228 1,453 232,741 8. DEBTORS 2025 2024 Trade debtors Prepayments and Accrued Income Other debtors Theatre Tax Relief (note 13) Taxation and social security debtor 12.631 7.439 5.485 85.946 2.363 113.864 1,200 8,101 8.795 118,412 1,761 138 269 9. CREDITORS Amounts falling due withln one year 2025 2024 Trade creditors Taxation and social security creditor Accruals and deferred income 45,884 133 37.800 83.817 5,840 42,802 48,642 20
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 (CONTINUED) 10. ANALYSIS OF NET ASSETS BETWEEN FUNDS Year Ended 31 March 2025 Tangible fixed asséts Net current assets Total 2025 Total 2024 Unrestricted funds Restricted funds Designated funds 3,266 209,206 212,472 236.147 230,060 233,326 100,000 309.206 330.060 542.532 330,060 566,207 Year Ended 31 March 2024 Tangible fixed assets Net current assets Total 2024 Total 2023 Unrestricted funds Restricted funds Designated funds 2,681 233,466 236,147 235.615 230,060 232,741 100,000 333,466 330,060 566.207 330,060 565,675 11. MOVEMENT IN FUNDS Year Ended 31 March 2025 Out9olng Resource At31 March 2025 At 1 Aprll 2024 Incomlng Resources Theatr• Tax Rell&f Unrestrlcted Fund: General Fund Spectfied productions Fund Designated Fund 236,147 100,000 230,060 566,207 365.453 475,074 85,946 212.472 100,000 230,060 542.532 365,453 475.074 85,946 Restricted Fund D'oyly Theatre Trust Nottingham City of Literature Garrick Charitable Trust WGGB Financial Contribution National Theatre Ramps on the Moon 4.000 800 2,000 250 408 1,800 9.258 4,000 800 2,000 250 408 1,800 9.258 566 207 374,711 484.332 542,532 21
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 (CONTINUED) Year Ended 31 March 2024 At1 Aprll 2023 Theatre At31 March 2024 Incomlng Resources Outgoing Resources Relief Unrestrlcted Fund General Fund Specified productions Fund Designated Fund 235,615 100,000 230,060 565,675 423,922 517,899 94.509 236,147 100,000 230,060 566,207 423 922 517,899 94,509 Restricted Fund lan McKellen Producer Grant Unity Theatre Trust D'oyly Carte Charitable Trust Peter Sowerby Foundation The British Council 25,000 1,400 4,000 25,000 1,400 4,000 30,400 30,400 565,675 454,322 548,299 94,509 566,207 D'O I Carte Charitable Trust - Funds brought forward £NIL, funds used to support a show project called 'Model Village,, all spent in 2024125. Nottin ham Cit of Literature - Funds brought for4vard £NIL. funds used to support a podcast project called 'Where l Belong.. all spent in 2024125. Garrick Charitable Trust - Funds brought forward £NIL, funds used to support the new Associates Programme. all spent in 2024125. WGGB - Funds brought forward £NIL. funds used to support a symposium event, all spent in 2024125. National Theatre - Funds brought fOard £NIL, funds used to support the development of a production called '(the) Woman,. all spent in 2024125. Ram s on the Moon - Funds brought forward £NIL. funds used to support embedding access across our work, all spent in 2024125. 22
NEW PERSPECTIVES THEATRE COMPANY NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 (CONTINUED) 12. RESERVE CAPITAL The company is limited by guarantee with no authorised or issued share capital. The amounts guaranteed in the nature of reserve capital are £1. These amounts are only capable of being called up for the purpose of the winding up of the company. 13. TAXATION The charitsble company is exempt from Corporation Tax on its charitable activities. A Government initiative, 'Theatre Tax Relief, commenced on 1 September 2014 - this gives rise in the period to a claim for Theatre Tax Relief to total £85,946 in 2025 (2024: £94,509). 14. FINANCIAL COMMITMENTS The charity had an annual commitment to pay quarterly £232 net of VAT for a phone system held on lease which commenced in June 2019 for a five-year period. 15. PENSION COMMITMENTS The charity operates a defined contribution pension scheme. The assets are held separately from those of the charity in an independently administered fund. The pension costs charge represents contributions payable by the charity to the fund and amounted to £4,425 {2024: £4,325). 16. RESOURCES EXPENSED INCREASES The increases in expenditure are directly linked to the increase in touring activity during the period. 17. TRADE CREDITORS Due to the nature of the industry, it is common for trade creditors to fluctuate. 23