IPE?SPEIl￿Es
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 c￿ative 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 aUdIen￿S 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 ne￿orkS 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
suc￿ssfUllY 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￿$, pla￿S 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 Vol￿S.
As part of our exploration into new technologies and working practices, we participated in the c￿￿te
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
C￿ative 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 wes￿00d,
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 IndUc￿on & 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 sub￿rOupS 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 cu￿ent 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 BrUn￿00d 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 re￿nt 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
perforMan￿S 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 ex￿eded £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 COn￿mS 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 eX￿eding £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 fO￿ard £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