CAMDEN PEOPLE'S THEATRE
REPORT AND FINANCIAL STATEMENTS
31st March 2024
COMPANY REGISTRATION NUMBER: 3256616
CHARITY REGISTRATION NUMBER IOS8723
Frank S LaGhman
31 Fairview Way
Edgware
Middlesex
HA8 8JE

YEAR ENDED 31ST MARCH 2024
LEGAL AND ADMINISTRATIVE INFORMATION
DIRECTORS & TRUSTEES:
Isobel Colchester
Conrad Murray
Agatha Yerbury
Rachel Bagshaw
Kate Levine
Tim Crocker-Buque
Leanne Cosby
Rupert Jessop
Anthony Gray
Fezzan Ahmed
Paul Cohen
(Chair)
Resigned 26th February 2024
Resigned 11th May 2023
Appointed 9th November 2023
Appointed 26th February 2024
SECRETARY:
Julianne Rodriquez
Kaya Stanley-money
REGISTERED OFFICE:
58-60 Hampstead Road
London
NW12PY
REGISTERED ACCOUNTANTS:
Frank S Lachman
31 Fairview Way
Edgware
Middlesex
HA8 8JE
CHARITY REGISTRATION NUMBEF
1058723
COMPANY REGISTRATION NUMBI
3256616
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CAMDEN PEOPLE'S THEATRE
Directors Report 202312024
Company Law which is also applicable to charitable companies in England and Wales requires the directors, who are
also trustees of the company, to prepare financial statements for each financial year which give a true and fair view of
the state of affairs of the company and of the results of the company for that period.
In preparing those financial statements. the directorsltrustees are required to:
seloct suitable accounting policies and then apply them consistently:
observe the methods and principles in the Charities SORP"
make judgements and estimates that are reasonable and prudent.
state whether applicable UK accounting standards have been followed. subject to any material departures
disclosed and explained in the financial statements.
prepare the financial statements on Ihe going concern basis unless it is inappropriate to presume that the
company will continue in business.
The directorsrtrustees are responsible for keeping proper accounting records which disclose wth reasonable accuracy
at any time the financial position of the company and to enable them to ensure that the financial statements comply with
the Companies Act 2006. They are also responsible for safeguarding the assets of the company and hence for taking
reasonable steps for the prevention and detection of fraud and other irregularities.
The directorsltrustees who served for the year unless indicated were:
Directors & Trustees
IsobeS Colchester (Chair)
Conrad Murray
Agatha Yerbury
Rachel Bagshaw
Anthony Gray
Kate Levine
Leanne Cosby
Rupert Jessop
Tim Cro¢ker-Buque
Resigned 26th February 2024 Fezzan Ahmed
Resigned 11th May 2022
Paul Cohen
Appointed 9th November 2023
Appointed 26th February 2024
SeGretary
Julianne Rodriquez
Kaya Christina Stanley-money
Registered Office
5840 Hampstead Road
London NW12PY
Registered Accountants
Frank S Lachman
31 Fairview Way
Edgware
Middlesex HA8 8JE
Charity Registration Number: 1058723
Company Registration Number: 3256616
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GAMDEN PEOPLE'S THEATRE
Artlstlc and Executive Dlrectors, and Trustees, report
The Artistic and Executive Directors, and the Trustees, present their report and their financial statements for the year
ended 31 March 2024.
Dlreetors. Responsibilities
Appotntment of trustees
As set out in the Memorandum and Articles of Association, and amended by special resolution, the Trustees may from
time to time appoint new trustees who shall serve for a maximum term of terms of three years unless the Trustees
determine it to be in the best interests of the Company for an individual to serve a further term, in which case appointments
may be made and positions held as per the provisions of the Memorandum and Articles of Association.
Trustee induction and tralnlng
New Trustees are invited to a welcome briefing by the Chair of TrLSStees and key members of staff including the executive
director. An information pack is sent to all new Trustees. including the Charity's Memorandum & Articles of Associalion,
recent Reports and accounts, the Business Plan, minutes of recent Board meetings. a full list of the members of the Board,
and the Charity Commission's guidance for new Trustees {CC3-The Essential Trustee: What you need to know).
Trustees keep up to date with regulatory requirements and good practice. The Board undertakes a regular skills audit and
reviews roles and ￿SpOnsIbl11t1eS to maximise its effecliveness.
Principal activlty and charitable objective
The main objectives of the charity are to advance education for the public benefit by the promotion of the arts. in particular
but not exclusively the arts of drama.
Organisation and Constitution
The company was incorporated on 30th September 1996, and is governed by its Memorandum and Articles of Association.
A Board of Tru5tee5, who meet quarterly. administers the charity. Artistic and Executive Directors are appointed by the
Trustees to manage the day to day operations of the Charity-
The existing trustees are entitled to appoint further trustees in accordance with the Memorandum and Articles of
Association.
The company is limited by guarantee and has no share capital. The guarantees of individual members are limited to £1.
Executive Summary
2023124 has Gontinued to reflect a period of change and adjustment for CPT and the wider theatre sector. Creatively, the
organisation celebratèd a return to pre-pandemic audience numbers that reached 13,500 across the year. Our programme
was peppered with ambitious and exciting new work from 265 artists, including our latest Chrislmas Commission, A They
in a Mang&r. created by the brilliant Wardrobe & Sons. co-produced by CPT and the 1 Oth anniversary iteration of Calm
Down. Dear - our festival of radical feminist performance that was guest-curated by award-winning feminist theatre
company RashDash.
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CAMDEN PEOPLE'S THEATRE
Beyond CPT'S walls, we saw supported artists and shows propelled to mainstream acclaim. demonstrating the impact that
CPT'S support can have on an individual artist or project. This included. Haley McGee's solo show Age Is a Feeling,
Ih
originally commissioned as part of CPT'S 25 anniversary celebrations. selling out its run at the Edinburgh Fringe before
completing sell-out runs at Soho Theatre where it won a Fringe First and was nominated for an Olivier award., HBO
series Rain Dogs, written by Cash Carraway and starring Daisy May Cooper, premiered on the BBC. The screenplay was
developed from Cash's memoir, Skint Estate, which started life as the play Refuge Woman, commissioned and supported
by CPT for our 'No Direction Home, festival in 2018. Nouveau Riche's smash-hit show Queens of Sheba
initiated on our
Starting Blocks scheme in 2018, and already a huge hit UK-wide- transferred off-8roadway as part of the prestigious
'Under the Radarf festival In January (alongside another CPT-initiated show, Rachel Mars, Your Sexts are Shitl Older Better
Letters ): and disabled-led company Flawbored. transferring their Seed Commissioned show to Soho Theatre, New
Diorama Théatre and then to New York for an off-broadway run.
We continued our work to diversify the decision making processes in the organisation, building a strong foundation for our
Local Steering Group- now made up of 15+ volunteers- to design our community engagement programme and to integrate
them into the commissioning process for our artist development schemes. We also expanded the remit of our New
Programmers Scheme to include the programming of a 1-week festival in autumn 2023 before they took on the mammoth
job of programming the 27th iteration of SPRINT Festival in March 2024.
Against the backdrop of a very challenging financial climate for our organisation and the artists and communities that we
work with, CPT Is proud of the work we've presented this year. The detemination of the artists and participants that we
support to continue to create radical, exciting work that unites our collective experiences of the world, inspires us to adapt. It
feels more important than ever that our space remains open lo our artists. our community and our audiences. with a
programme that is reflective of their experiences and celebrates the stories not often heard.
Artistic l Engagement Programme
Our programming and artist support work continued to feel critical in 2023-24, a year of continued sector-wde reduction in
opportunitie5 for early-career artists and available platfomis for their work- not to mention the mounting difficulty of
securing funding for that work. Such was the backdrop to a year in which, despite tighter commissioning budgets than
previously, CPT maintained high levels of artists support. much of it undertaken with support from the Paul Hamlyn
Foundation. and a high volume of programming- i.e. new shows per night by adventurous independent theatre-
makers, most nights of the year.
Throughout the year, our programme gave prominent place to a range of projects and artists supported via our in-house
support schemes. In 2023. we presented successful runs of I m Sorry I'm Not Lucy Liu, about British-Asian representation.
by Eden Jun (outstripped its box office target by 159 % )- of Tobi Bakare's Before l Go {Tobi first started his acting career in
CPT'S in-house show Fog Everywhere back in 2017) . of Peyvand Sadeghian's DUALI ,' and of Hannah Maxwell's
Edinburgh fringe hit Nan, Me and Barbara Pravi. Other highlights of spring '23 included a fortnight's run of Brian Mullin's
Live to Tell.. (A Proposal For) The Madonna Musical, about the realities of living with HIV. and a very popular run for Votive
Theatre's innovative perfoman¢e Choose Your Fighter.
Our ongoing experiment with inviting new programming voices to take the reins at CPT continued with our New Adventures
festival in September. when the participants on our pilot New Programmers Scheme curated and presented their own
week's worth of contemporary performance. (They later contributed substantially to Ihe programming of our annual Sprint
festival, in March '24.) Another example- our annual 'Calm Down, Dear, feslival of innovative feminist theatre was this year
guestacurated by the fantastic performance duo RashDash (aka Helen Goalen and Abbi Greenland} and marked their first
experience of programming.
As in the previous year. our programme was vulnerable to late cancellations when artists failed to secure funding - or, on
olher occasions. to poor artist wellbeing in a very challenging professional climate. Two major events fell through in 2023.
although the second of those- our Home Run commission English Kings Killing Foreigners by Philip Arditti and Nina
Bowers- was re-scheduled to great success in the spring of 2024. Other prominent projects in 2023-24 were Antisemitism
a musical, which opened at CPT for a fortnight's run just as conflict broke out again in IsraellPalestine, which added
significantly to the challenge of presenting this bold and provocative work. That show ran in an unusual (for us) but popular
musical double-bill that included Dora Colquhoun's ADHD the Musical.
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CAMDEN PEOPLE'S THEATRE
In early 2024, we presented a two-week festival, 'More Ihan Human, exploring animals, people, Al - and the intersections
be￿een. This included the work-in-progress premiere of CPT'S own production, The Mirror Test, directed by our Artistic
Director, Brian Logan. with a company of CPT artists, and exploring animal cognition and human exceptionalism. In that
same period. we welcomed 6 new artists onto our prestigious Slarting Blocks support scheme: Eloise Heath: Jim Osman.
Michelle Hudson. pisslCARNATION' Sara Amini. and Kathrine Payne. (It's worth noting we received vastly more
applications than usual, totalling 330.) Several of these artistslprojects went on to great things- pisslCARNATION's show
Ugly Sisters won the Underbelly Untapped Award and will transfer to the Edinburgh fringe,. Kathrine's Plewds won the
Mary Dick award, which supports marginalised artists to perform at Summerhall, also at the Edinburgh fringe. Sara Amini
graduated from Starting Blocks straight into an assistant directing role at the Royal Shakespeare Company.
We offered seed commissions to a new. nine-strong cohort of artists from backgrounds marginalised in the arts. after an
application and interview process in which (as with Starting Blocks) our local steering group of Camden residents were
closely involved. These artists were: Obadiah- Habebe Fazel & Cemile Ahmet., Eleanor Hill., Naz Simgek aka Laz Lightning,.
Sammy Trotman,. Kc Gardiner. Maya Williams; Tatum Swithenbank. and Simeon Campbell. Of last year's seed
commissioned artists. we supported Sierra Sevilla to develop her project For the Love of Spam to fruition, including an
international tour and imminent Edinburgh fringe run. Other recipients of our artist support continued to flourish, including
Flawbored, whose 2022 CPT seed commission Its a Mothertcking Pleasure transferred to Off-Broadway, New York. and
The Mosin8e Project by Counterfactual, another winner of the Underbelly Untapped Award.
Among the other artists we supported to make new work in 2023-24, Emergency Chorus were assisted via our 'Developed
on Drummond Street. scheme (co-run with our neighbours Old Diorama) to make Town Criers, an experimental outdoor
performance made with local residents, and performed - to great acclaim - at our Tolmers Square Variety Spectacular
event in July. We also shepherded I￿9 Home Run commissions towards Go-production in 2024 (English Kings and
GRILLS). commissioned and co-produced (with Wardrobe & Sons) a popular queer Christmas show, A They in a Manger,
which played lo enthusiastic audiences throughout December, and commissioned a major new project co-created with
community members, Kelly Green's MILF- the Musical.
This year, across our programme and commissioning call outs we received and read applications from 853
artistslcompanies (up 28 % 22-23>- Of our programmed artists this year, 26 % identified as male, 550/0 as female. and 120/
as trans or non-binary. (Two-thirds of our commissions again went to artists identifying as female.) More than half of
programmed or commissioned artists, and 60+ % of applicants to our call-outs identified as LGBTQ+ 20°/o of our
programmed artists identified as deafldisabled. Of our Commissioned artists, 220/0 identified as Black African Caribbean I
Black British, 9 % Asian or Asian British, 7°/0 mixed racelmixed heritage and 590/0 White I White British - very closely in
line with 2022-23 figures. 28 % of programmed artists identified as working-class. 19 % as migrants.
Our audience data for the year suggests that 53°/o of respondents were first-time visltors. 510/0 were female, compared to
28010 male and 6 % non-binary, genderfluid or trans. 450/0 {up from 290/0) identified as LGBTQ+. 25 % of our audience
identified as deaf andlor disabled, 17 % identified as working-class. 220/0 as migrant. and 300/0 as Global Majority. Over the
year, 91 % of our audience agreed with the statement "It made me feel more closely engaged wth the world I live in" after
seeing shows at CPT.
CPT rethought this year how we structured our community engagement work. as part of which we discontinued our in-
house Community Engagement Manager role and explored more specialist freelance roles to deliver our activity.
Alongside Kell￿S project and fown Criers, though, w8 did engage with local communities in a wide range of ways,
including our Tolmers Square festival. the free oral history workshops we offered in Gollaboration wth Star Creative
Heritage. and the ongoing Camden Youth Theatre offer we make available to local young people in collaboration with New
Diorama Theatre. CYT performed their new show And The Stars Were Burning Brightly by Danielle Jawando at CPT and
New Diorama in May 2023. We also continued to meet monthly with our Local Steering Group. whose involvement in our
work grew to encompass a regular presence on selection and interview panels for commissioning and recruitment. The
steering group also curated quarterly Gommunity takeover days, with free activities for local residents and families. while at
the end of the year, one of their number. Kara Cole-Rajotte, was recruited to our new Community Coordinator role.
Page 5

CAMDEN PEOPLE'S THEATRE
Funding
CPT is incredibly grateful for the support of our funders in 2023124. This year proved to be particularly challenging in terms
of competition for funds from Trusts & Foundations. Despite this, we were able to secure tW(Fyears of funding from the City
Bridge Trust to drastically improve our accessibility and the number of access performances that we present at the theatre.
In the first six months of the project we saw 145 access tickets, up from 79 in the previous financial year. This funding also
led to a new partnership with Extant's Enhance programme that will see three CPT companies trained to make their work
accessible to audiences with Visual Impairments. We're excited to continue this transformalional work over the next two
years.
We entered into the se¢ond year of funding from the Paul Hamlyn Foundation, with major commissions such as A They in a
Mang8r, comlng to fruition and the groun(￿Ork laid for three further Home Run commissions to take place in 24125. That
being said, we continued to be heavily impacted by the competition for Arts Council Project Grants, which resulted in a
number of significant runs being cancelled. The wider impact of these cancellations, across bar income, individual giving
Income and ticket sales cannot be understated. As a result we have opted to tske a more hands on approach wilh our major
commissions. ctrproducing them to reduce projèct delivery risk for funders and unlock the capacity to apply for Theatre Tax
Relief.
Desptte our indivldual giving Strategy being disrupted by the cancellation of major runs, our donation Income increased by
37°/o in 23124, proving the impact of the slrategy refresh that we conducted in late 22123.
By the end of the financlal year,. our robust fundraising strategy had delivered 900kn of our frjndraising target for the 24125
financial year. A significant increase when compared to the previous year when just 600/0 of this target had been achieved
by the same point. Our ambilion is now to sustain this trajectory of fO￿ard fundraising to future proof the organisation and
move towards a longer-term delivèry model lor our business plan.
Flnanclal Revlew
Acknowledging the challenges we were facing in securing funds from the Trust and Foundation sector. and the impact of
inflation on our costs and salaries, CPT has focussed on driving forward our income recovery strategy. This included th6
creation of a number of new income streams and revenue genérating initiatives. such as a new corporale workshop and
events offer. Whilst the broader impad of this has led to a small d&ficil of £10.000 in this financial year, our work to increase
our eamed income has shown significant progress.
Our end of year accounts show that earned income in 23124 represented 490/0 of our annual turnover (up from 42Yo in
22123), with Trusts and Foundations income representing 30Yo (down from 380/0 in 22123). Across our main areas of income
generation we saw ticket sales increase by 5 % , bar income increase by 170/0 and hires income increase by 33 % on the
pr8vious financial year. This demonstrates a strong recovery and rebalancing with CPT'S reliance on trusts and foundation
income reducing.
Rèserves pollcy
Rèserves ar8 provided to ensure the financial stability of the charty and the abillty for it to meat its charitable objectives for
the foreseeable fLJture.
CPT aims to mainiain reserves at a level that is at least eqLsivalent to three months. operational expenditure, this year, in
line wth our new staffing structure. This has been increased to £70,000. Totsl general funds stand at £56,355 at 31 March
2024, not including fixed assets. We aim to rebuild our minimum reserves in the 24125 financial year.
The trustees review the amount of reserves that are required to ensure that they are adequate to fulFIl Ihe ¢hariWs
continuing obligations on an annual basis at their board meeting.
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CAMDEN PEOPLE'S THEATRE
Going Concern
We have set out above a review of CPT'S financial performance and the general reserves position. Our planning
processes, including financial projections. have taken into consideration the Current economic climate and its potential
impact on the various sources of income and planned expenditure. The trustees consider that there are no material
uncertainties about the charitrfs ability to continue as a going concern. In fomiing this opinion, they have considered the
impa¢t of the Covid-19 pandemic and cost-of-living crisis on both its income and expenditure for at least a period of I￿e1ve
months from the date of approval of these financial statements.
Future Actlvlty
2024125 marks CPT'S 30th anniversary and we've launched an incredibly exciling programme of work to celebrate the
brilliant work of the artists that we support. This includes major runs from CPT Home Run commissioned projects including
English Kings Killing Foreigners (by RealFake Theatre) and GRILLS by Mirrorball that unearthed the history of the Camden
Lesbian Centre and Black Lesbian Group that existed in the 80's.
GRILLS is set to headline The Camden Roar Festival, a three-week celebration of Camden's heritage and culture.
Signrficantly this festival is curated by our Local Steering Group who have programmed all of the events and a community
takeover day following an open call. The festival also features a work in progress performance of CPT'S next major in-
house show. Bengali Boys, created by Jonny Khan that digs into the history of social organising that has emanated from
our building.
We've also launched a 301h anniversary fundraising campaign that seeks to raise significant funds to secure the future of
our artist development programme and a new partnership wth Camden Market to bring CPT artists and our festivals to the
amaang spaces around Hawiey Wharf.
In early 2024125 it was announced that CPT'S long-standing Artistic Director, Brian Logan, would be stepping down from
the organisation after 13-years in post. The trustees launched an open recruitment process, which involved our wider staff
team and local community members, to find our new Artistic Director - Rio Matchett. Rio joins CPT having led the studio
programme and artist development scheme (Furnace) at Leeds Playhouse for the last five years. She is a dramaturg and
artist development specialist and the trustees are delighted to welcome her onto the team.
Whilst we continue to navigate a very challenging financial climate. CPT is utilising its resourcefulness and flexibility to
adapt our organisation and business model and respond quickly and effectively to the landscape that we are operating in.
We're confident that if we continue on this trajectory our business model and income streams will be more robust and
provide u5 with the foundation for longer temi planning as we enter an exciting phase for the theatre under new leadership.
Public Benefit
The Trustees confirm that in compiling this report they have had due ￿gard to the guidance on public benefit issued by
thecharity Commission in compliance with the duty set out in section 4 of the Charities Act 2006.
This report has been prepared in accordance wth the provisions in Part 15 of the Companies Act 2006 applicable
tocompanies subject to the small companies regime.
This report was approved by the board on 7th November 2024
and signed on its behalf by Isobel Colchester
Isobel Colchester
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CAMDEN PEOPLE'S THEATRE
Independent Examinerfs Report on the Accounts
I report to the charity trustees on my examination of the accounts of the company for the year ended 31 st March
2024 which are set out on pages g to 15 .
Respective responsibilities of trustees and examiner
The trustees (who are also the directors of the charitable company for the purposes of company law) are
responsible for the preparation of the accounts. The trusteès consider that an audit is not required for this year
under section 144{2) of the Charities Act 2011 (the 2011 Act) and that an independent examination is needed.
The charity's gross income exceeded £250,000 and l am qualified to undertake the examination by being a
qualified member of The Association of Chartered Certified Accountants.
examine the accounts under section 145 of the 2011 Act.
follow the procedures laid down in the general Directions given by the Charity Commission (under section
145(5){b) of the 2011 Act. and
state whether particular matter5 have come to my attention.
Basis of independent examinefs statement
My examination was carried out in accordance with General Directions given by the Charity Commission.
An examination includes a review of the accounting records kept by the charity and a comparison of the accounts
presented with those records.
It also includes consideration of any unusual items or disclosures in the accounts. and seeking explanation5 from
you as trustees concerning any such matters. The procedures undertaken do not provide all the evidence that
would be required in an audit. and Consequently no opinion is given as to whether the accounls present a "true and
fair view" and the report is limited to those matters set out in the statement below.
Independent examineVs statement In connection with my examination. no matter has come to my attention:
1. which gives me reasonable cause to believe that in. any material respect, the requirements..
to keep accounting re¢ords in accordance with section 386 of the Companies Act 2006. and
to prepare accounts which accord with the accounting records, comply wth the accounting requirements
of section 396 of the Companies Act 2006 and with the methods and principles of the Statement of
Recommended Practice: Accounting and Reporting by Charities have not been met;
or 2. to which, in my opinion. attention should be drawn in order to enable a proper understsnding of the accounts
to be reached
Frank S Lachman
Chartered Accountant
Independent Examiner
31 Fairview Way
Edgware
Middlesex HA8 8JE
7th November 2024
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CAMDEN PEOPLE'S THEATRE
Statement of Finan¢lal A¢tlvltlgs
For th8 Year Ended 31st March 2024
Restricted Restricted
Funds
Funds
Notes Incoma
Capital
Unrn8tri¢ted
Funds
DesSgnated General
Total
Funds
2024
R•strtcted Restrlctad
Funds
Funds
Incomè
Capltal
Unr•stricted
Funds
Dèslgnat•d G•n•ral
Total
Funds
2023
Income
Legacles and donations
Bank Interest
182.590
98.857
1.734
281.447
1,734
125.276
159,035 284.311
3g8
Chariiable activities
289.192
289.192
217.245 217,245
Total Incomo
182.590
389,783
572,373
125,276
376.678 501.954
Expenditure
Charltabl8 Actlvity Costs
182,590
55.038
400.973
638.601
126,238
61,599
398,194 586.031
Total oxp•ndltur•
182,590
55,038
400.973
638.601
126,238
61.599
398,194 586.031
Roconciliatlon of Funds
Net IncomellExpenditurel
{55.0381
111,190} 166,2281
{962)
161.5991
(21,5161 184.0771
Funds brought fward
518,062
67.435
585.497
573,100
96,474 669.574
Transfers betsveen funds
6,561
17.523)
Funds carrled fonvard
463.024
56,245
519,269
518,062
67,435 585,497
The ststement of Financtal Activities reflects the Te5ulls of ¢onllnuln9 aclivSties lor the year.
There were no reo)gniseA gains or losses other than the net oulwlng resources for the year.
The net outgoing resources for the year have been calculated on the hSstorlcal ojst basis.
The notes on pages 11 to 15 fomi part of these accounts.
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GAMDEN PEOPLE'S THEATRE
Balance Sheet at 31st March 2024
Notes
2024
2023
Fixed assets
Tangible assets
463.024
518.062
Current assets
Debtors
Cash at bank and in hand
43.226
198.825
35,586
146,416
Total current assets
242,051
182.002
Creditors due wlthin one year
8 185,716
114,567
Net current assets
56,335
67,435
Net assets
519,359
585,497
The Funds of the Charity
Restricted Funds
463,024
518,062
Unrestricted Funds
56.245
67.435
Total Charity Funds
519,269
585.497
For the year ended 31 March 2024 the company was entitled to exemption under section 477(2} of the Companies
Act 2006.
No members have required the company to obtain an audit of its accounls for the year in question in accordance
with section 476 of the Companies Act 2006.
The directors acknowledge their responsibility for..
i. ensuring the company keeps accounting records which comply with section 386,. and
ii. preparing accounts which give a true and fair view of the state of affairs of the company as at the end of the
financial year and of its profit and loss for the financial year in accordance with the section 393, and which othe￿iSe
comply with the requirements of the Companies Act relating to accounts. so far as applicable to the company.
The accounts have been p￿pared in accordance with the special provisions applicable to companies subject to the
small companies, regime under Companies Act 2006.
Approved by the directors on 7th November 2024. and signed on their behalf by Isobel Colchester
Isobel Colchesler
Page 10

CAMDEN PEQPLE'S THEATRE
Notes to the Financlal Statements
For the Year Ended 31st March 2024
1 Accountlng Polices
(a) The financial statements have been prepared in accordance with Accounting and Reporting by Charities:
Statement of Recommended Practits applicable to charities preparing their accounts in accordance with the
Financial Reporting Standard applicable in the UK and Republic of Ireland {FRS 102) (effective 1 January
2019)- (Charities SORP {FRS 102>). the Financial Reporting Standard applicable in the UK and Republic of
Ireland (FRS 102) and the Companies Act 2006.
Camden People's Theatre meets the definition of a public benefit entity under FRS 102.
Assets and liabilities are initially recognised at historical cost or transaction value unless Othe￿ISe stated in
the relevant accounting policy note(s).
{b) Tanglble Fixed Assets
Depreciation is provided at rates calculated to write off the cost of each asset over its
expected useful life, as follows..
Fixtures, fittings and equipment
Leasehold improvements
25 % straight line
Over the life of the lease
(c) Income
Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the
items of income have been met, it is probable that the income will be received and the amount can be measured
reliably. Income from grants, whether capital or revenue grants, is recognised when the charity has entitlement to
the funds, any performance conditions attached to the grants has been met. it is probable that the income will be
received and the amount can be measured reliably and is not deferred.
{d) Expenditure
l expenditure is accounted for on an accruals basis. Expenditure is recognised once ther8 is a legal or
constructive obligation to make a payment to a third party. It is probable that settlement wll be required and the
amount of the obligation can be measured reliably.
Costs are allocated to a category either because such costs are directly incurred in relation to such category. or
because they are support costs in respect of which an apportionment has been made be￿een the categories.
Support Costs consist of infrastructure costs for salaries. premises. office administration. Such costs are
apportioned on a reasonable and consistent basis to the various categories wth a view to determining. as
accurately as possible. the total resources expended for each category. The basis of apportionment used is eilher
a fijnction of staff time applied to a given activity, or an estimate of the proportion of costs associated with the
same, or a combination of both.
Direct and Support costs are separately shown by natural classification in Note 5 to these accounts for each
category of cost.
(e) Taxatlon
The company as a registered charity ( number 1058723) is exempt from taxation on most investment income
insofar income insofar as it is applied for charitable purposes. The company is also exempt from tsxation on capital
gains.
(fj Debtors
Trade and other debtors are recognised at the settlement amount due after any trade discount offered.
Prepayments are valued at the amount prepaid net of any trade discounts due.
Page11

CAMDEN PEOPLE'S THEATRE
Notes to the Flnanclal Statements
For the Year Ended 31st March 2024
(g) Creditors and provlslons
Creditors and provisions are recognlsed where Ihe charity 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 Gan be
measured or estimated reliably. Creditors and provlsions are normally recognised at their settlement amount after
allowing for any trade discounts due.
2 Grants and donations
Unrestrlcted Restrlcted Restricted
Funds
Funds
Funds
Income
Capital
Unrgstri¢tsd RÈ8tri¢tsd Restrictsd
Funds
Funds
Funds
Income
Capitsl
2024
2023
Grants for Specifi¢ Purposes
Arts Council England
Arts Council England - GRILLS
Philip Arditti
Paul Hamlyn Foundation
Backstage Trust
Camden Giving Fund
Camden Collective
Camden Events
City of London
London Borough of Camden
Euston Tower
Garrick Charitable Trust
Garfield Weston
Robert Gavron
Individual donation
Lablech Tech London
Access to Work
71,288
71,288
26,998
26,360
95,700
14,400
71.288
71.288
26,998
26,360
95,700
14,400
95,700
95,700
3,754
3.988
3,754
3.988
850
30,375
29,200
4.500
2,000
850
30,375
29,200
4.500
2.000
15.000
5,000
14.569
18,650
15.200
33.850
15,000
25.000
25,000
5,000
14.569
10.338
10,338
1,000
2.460
1,000
2.460
Deferred Grants brought foThvard
Deferred Grants carried forward
79.605
(2.000) (132.398)
79,605
(134.398)
116.538
{79,605)
116.538
{79,605)
98,857 182,590
281,447
125.276 159.035
284,311
3 Charitable activitles
Unrestrlcted Restrlcted Restrlcted
Funds
Funds
Funds
Income
Capital
Unrestrictsd Restricted Restrl¢ted
Funds
Funds
Funds
Income
Capital
2024
2023
Box Otfice
131.655
44,774
54,119
10,695
47,949
131.655
44.774
54.119
10.695
47,949
123.101
37.391
36.573
123.101
37.391
36,573
Cafe and Bars
Hires and fees
Theatre Tax Relief
Sundries and reimbursem8nts
20.180
20.180
289.192
289.192
217,245
217,245
4 Net Incomel{Expenditure>
2024
2023
Net Incomel(Expendilure) is stated after charging:
Independent Examlner's fee
Depreaation of tangible assets
2.200
55,038
2.200
55,038
Page 12

CAMDEN PEOPLE'S THEATRE
Notes to the Financial Statements
For the Year Ended 31st March 2024
5 Charitable actbvlty costs
Charitablo
Charitable
Capital
Charltable
Support
Activity
Activity
Activity
Costs
Costs
Costs
Costs
Unrestricted Restricted Restricted Unrestricted
Governance
Costs
Total
2024
Dirèct costs
Staff fees and salaries (see below)
Recruitment, volunteer costs.
training. travel and hospitality
Artistic expenditure, freelance fees and
production costs
Ticketing and merchant Services
Box Office Remittance
Publicity and marketing
PRS and licensing fees
Café costs
Telephone and IT costs
Maintenance, repairs and utilities
Support costs
Independent Examinels fee and
accountancy
Depreciation
Bank charges
Insurance
Health and Safety
Legal, professional and consultancy fees
Premise5 and office costs
25.500
66,678
162,194
254,372
11.134
11,134
100.297
76.049
13.119
47.920
6,459
830
15,932
176.346
13,119
47,920
10,574
1,031
15,932
2,899
10.303
4.115
201
2.899
10.303
4.060
4,060
55,038
95
4,671
2,568
55,038
4.671
2.568
48
16,901
11,500
28,401
Total 2024
52,788
182,590
55.038
343.940
4,155 638,511
2023 Comparatives
Direct Costs
Staff fees and salaries (see below)
Recruitment, volunteer costs.
training, travel and hospitality
Artistic expenditure, freelance fees and
production costs
Ticketing and merchant Services
Box Office Remittance
Publicity and marketing
PRS and licensing fees
Café costs
Telephone and IT costs
Maintenance, repairs and utilities
Support costs
Independent Examinerfs fee and
accountancy
Depreciation
Bank charges
Insurance
Health and Safety
Legal, professional and consultancy fees
Premises and office costs
26.000
78.730
160,533
265,263
3,099
3,099
47.568
54.309
13.390
71.909
10.863
101.877
13.390
71,909
10,863
336
14,487
2,608
12,580
336
14.487
2,608
6,561
6,019
4,800
4,800
55,038
82
3,702
811
144
25,102
55,038
82
3.702
811
144
25.102
Total 2023
58,703
126,298
61,599
334,609
4,882 586,091
Page13

CAMDEN PEOPLE'S THEATRE
Notes to the Financial Statements
For the Year Ended 31st March 2024
Staff fees and salariès
2024
2023
Salaries
Pensions
Social Security cosrts
238.303
3,721
12.348
254,372
247,350
3.944
13,969
265,263
Number of Staff
32
33
No employees received remuneration in excess of £60.000 in the year. (2023 none)
6 Tangible Flxed assets
Leasehold
Improvements
Flxtures
fittings &
equipment
Total
Cost
At 1 st April 2023
Disposals
Additions
543,097
108,528
651,625
At 31 st March 2024
543,097
108,528
651,625
Depreciation
At 1st April 2023
Disposals
Charge for the year
74.674
58,889
133,563
55,038
55,038
At 31 st March 2024
129,712
58.889
188,601
Net Book values
At 31st March 2024
413,385
49,639
463,024
At 31st March 2023
468,423
49,639
518,062
7 Debtors
2024
2023
Trade debtors
Other debtors
Prepayments and accrued income
16,344
262
26,620
17,119
200
18,267
43,226
35,586
Page 14

CAMDEN PEOPLE'S THEATRE
Notes to the Financial Statements
For the Year Ended 31st March 2024
8 Creditors due within one year
2024
2023
Trade creditors
Deferred Grants
Deferred income
Other Taxation
Accruals
18,139
134,398
25,568
5,026
2,585
185,716
12,016
79,605
18,145
541
4,260
114,567
9 Reconciliation of movements in Funds
Balance at
1 April 2023 Income
Balance at 31
Transfers March 2024
Expenditure
Restricted Funds
- General
- Capital
182.590
(182,590)
(55.038}
518.062
463,024
Unrestricted Funds - General
- Designated
67,435
389.783
(400,973)
56,245
585,497
572,373
638,601
519,269
The above funds comprise:
Restricted Funds: are monies held for use in specific activities.
General Fund: are moneys which can be used by the Trustees at their discretion for any purpose and
which have not been designated by Ihem previously. These rflect three months running costs.
Transfers between Funds: transfers be￿een unrestricted and restricted funds represent the companrfs
contribution to restricted projects.
10 Analysis of net assets between Funds
Tangible
Fixed
Assets
Net
Current
Assets
Total 2024 Total 2023
Restricted Funds
463,024
463,024
518,062
Unrestricted Funds-
General
Designated
56,335
56,335
67,435
463,024
56,335
519,359
585.497
11 Trustees
During the year. none of the trustees received any remuneration from the trust and no expenses were
reimbursed to any of them.
Page 15