CAMDEN PEOPLE'S THEATRE REPORT AND FINANCIAL STATEMENTS 31st March 2025 COMPANY REGISTRATION NUMBER: 3251616 CIlARI REGISTRATION NUMBER IOS8723 Frank S Lachman 31 Falrvlew Way Edgware Mlddlesex HA8 8JE •AEGRLNSIQ* 0511212025 COMPANIES HOUSE A16
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YEAR ENDED 31ST MARCH 2025 LEGAL AND ADMINISTRATIVE INFORMATION DIRECTORS & TRUSTEES.. Isobel Colchester (Chalr) Conrad Murray {Resigned 15th May 2025) Agalha Yerbury Kate Levine TIM Crocker-Buque Leanne Cosby Rupert Jessop Fezzan Ahmed Paul Cohen (Resigned 15th May 2025) David Njoroge (Appointed 24 February 2025> Llza Vallance (Appointed 6 November 2025) SECRETARY: Julianne Rodriquez Kaya Stanley-money REGISTERED OFFICE: 5&60 Hampstead Road London NW12PY REGISTERED ACCOUNTANTS: Frank S Lachman 31 FalNl8w Way Edgware Mlddlesex HA8 8JE CHARITY REGISTRATION NUMBEI 1058723 COMPANY REGISTRATION NUM81 3256616 Pag8 1
CAMDEN PEOPLE'S THEATRE Directors Report 202412025 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 whlch give a true and fair view of Ihe state of affalrs of the company and of the results of the company for that period. In preparing those financial statements. the directorsltrustees are required to.. select suitable accounts'ng policies and then apply them consistently. observe the methods and principles in the Charities SORP: make judgements and estimates that are reasonable and prudent; stste 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 the going concem basis unless it is inappropriate to presume that the company will continue In business. The directorsltrustees a responslble for keeping proper accountlng records which dlsclose with reasonable accuracy at any time the financial posltion 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 taklng reasonable steps for the prevention and detection of fraud and olher irregularities. The directorsArustees who served for the year unless Indlcated were: Dlroctor5 & Trustees Isobel Colchester (Chair) Conrad Murray Agatha Yerbury Leanne Cosby Kale Levine Rupert Jessop Tim Crocker-8uque Fezzan Ahmed Paul Cohen David Njoroge Secretary Julianne Rodriquez Kaya Christina Stanley-money R•gl$t•red Offlce S0 Hampstead Road London NW12PY Registered Accountants Frank S Lachman 31 Fairview Way Edgware Middlesex HA8 8JE Charlty Reglstratlon Number: 1058723 Company Reglstrallon Number: 3256616 Page 2
CAMDEN PEOPLE'S THEATRE Artistic and Executive Directors, and Trustees, report The Artlsllc and Executive Directors. and the Trustees, present their report and their financial statements for the year ended 31 March 2025. Dlrectors. Responslbllltles Appolntment of trustees As set out in the Memorandum and Articles of Association. and amended by special resolution, the Trustees may from lime lo lime appoint new trustees who shall sepie for a maxlmum term of fv40 terms of three years unless the Trustees detennlne it to be In the best interests of the Company for an Individual to serve a further term, In whlch case appolntments rnay be made and posltlons held as per the provisions of the Memorandum and Artides of Assoclalion. Trustee Inductlon and tralning New Trustees are invited to a welcorne brieflng by the Chalr of Trustees and key members of staff Including the execullve director. An Infomiation pack Is sent to all new Truslees, including ihe Charity's Memorandum & Articles of Association, recent Reports and accounts, the Business Plan, mlnutes of recent Board meetings, a full Ilst 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 lo date with regulatory requirements and good practice. The Board undertakes a regular skills audit and revlews roles and responsibilities to maximise its effectlveness. Prlnclpal actlvlty and charltable objoctlvg The main objectives of the charity are to advance education for the public benefrt by Ihe promotion of the arts, in particular but nol exclusively the arts of drama. Organlsatlon and Con8tltutlon The rnPany was Inrporated on 30th Sepiember 1996, and is govemed by its Memorandum and Artlcles of Assoclatlon. A Board of Trustees, who meet quarterly. administers the charity. Artists'c and Executive Directors are appointed by the Truslees to manage the day to day operations of the Charity. The existlng truslees are entitled to appoint further twstees In accordance wlth the Memorandurn and Articles of Assoclatlon. The company is limited by guarantee and has no share caprtal. The guarantee5 of individual members are limited to £1. Executlvo Summary Throughout 2024125 Camden People'B Theatre's celebrated Sts 30th anniversary wlth an extraordinary programme of worK featuring 273 perforniances from 122 artlsts. Across the year we presented three major co*roductions that ran for three weeks. a festlval celebratlng Camden that was programmed by our Local Steering Group and we welcomed the return of CPT'S Assoclate Artists, Shlt Theatre to present a sell out Christmas doubl84Jill. Thls bumper year celebrated polltlcal, new and alternatlve shows, reaching an audience of 15,693. As experts in artist development, CPT is the space that champions bold, inventive theatre that embraces the world's complexities. We take the risks that other organisatlons can't and our support Is In higher demand than èver. Through open calls we recelved 639 applications for 60 commissioning and programming opportunities - 53°/. higher than the previous financlal year. We awarded 33 cornmissions to artists across our Starting Blocks and Seed Commission residencies, and the major commissions for the productions that we co-produced. Page 3
CAMDEN PEOPLE'S THEATRE Through our free communlty Inltiatives. Includlng community take•over days and Camden Youth Theatre, we reached 775 local resldents. Throughout the spring. our Local Steering Group was mentored to programme our 30th annfversary festival. The Camden Roar, that celebrated the rich culture in our borough. Our Income recovery plan has continued to perforni well wilh eamed Income increasing by 180/0 and conlributing 470A of our totsl income. We ended the year with a surplus of £6,352 which has been allocated to our reserves and brings us to 92Vo of our reserves target. Our new co-produclng model unlocked additional income for CPT and the companies we support, marf(Ing the start of an ambition for CPT to hold more risk for artists and the major projects we commission. The CPT team and trustees are very proud of how the organisation has performed this year.The changes in executive leadership were very carefully managed and It's a testament to Ihe wider CPT team and trustees that the year was so sucGessful, for the artlsts and audiences we work with and from a financlal polnl of view. 2024125 Impa¢t headllnos Of the 122 artist5 programmed, 65 % were in the first 5 years of their Careers (against a target of 600/0), 730/0 were LG8T (against 300/0), 180/0 were deaf or disabled (against 150/0), 31 % were working class (against 250/0). The dlversity of the programme was reflected In the diversoty of our audlenc85 - 49 % of whom identified as LGBT+, 23 % as global majority, 25Yo as working class. 190/0 as deaf or disabled, and 58Vo new bookers to CPT. We commlssloned new projects from 33 artists. The selected artistslcompanies identified as 63 % LGBTQ+, 27 % deaf and disabled, 220/0 Black, 90/0 Asian, 70/0 mixed race and 280/0 working class. Our communlty engagement projects and Camden Youth Theatre reached 750 particlpants across a serles of free events including family takeover days, Tolmer's Square Festival and skills development workshops Artlstlc Programme In 202415. CPT presented shows made by three commissioned artists underrepresented in the wider theatre industry. Each artist was given a £5,000 cash comrnission, free rehearsal space and artistic and producing support to reallse a three-week run of a full productlon at CPT. Engllsh Klngs Kllllng Rir•lgners (June 2024F a comedy written and perfonned by Nina Bowers and Philip Ardittl. The show centres on Iwo actors from mlgrant backgrounds who are rahearslng a contemporary productlon of Henry V. The actors explore the decolonisation of Shakespeare, the bureaucracy of applying for crt12enship and their own historles alongside England's colonial past. 64 /ts of audience members told us that they also work in the theatre industry and that the theme of being an actor from a migrant background and often typecast or restricted in roles strongly resonaled with them: "It spoke to my éxperlence as a Global Majorlty actor- who gets to play who, partlcularly when It ¢omes to trad plays Ilk• Sh8kespear•- and how that Ilts wlth the blgger thlng of belng Brltlsh." The show has since gone on to be programmed for a five week run at Soho in Autumn 2025, demonstrating CPT'S imwrtance and impact on the wider theatre ecology. Reviews can be found here from the Guardian, London Theatre Reviews and On In London. GRILLS (June 2024) - Four self-proclaimed queer nerds are on a mission to unearth a forgotten gem in Camden's LGBTQ+ history. A textured show, weaving the past & the present, the analogue & the digltal, and the joys and frustratlons of queer communty. The show featured a LG8TQ+ cast and creative team. 99•/o of audience members felt that Ihe themes explored in the show were relevant to them, wlh 79Yo Strongly agreeing and 20¥0 agreeing. Whilst the show attracted a lot of new audience members, retuming bookers told us that they had previously enjoyed seeing other performances centering queer Identity at CPT: "I've been comlng to CPT for years,. It's one of th• f•w theatres that regularty makes shows for queer audlences- It's not tokenislic. I'll always keep comlng back., Many had travelled from olher parts of London to see the show. One person had come from Cambridge as they told us that they were not able to see simllar work there.. "As a black queer woman, you don't norn?ally gat to s•• yourself on stag•. There's nothlng Ilk• thls on where I Ilve so I have to go further alleld." Page 4
CAMDEN PEOPLE'S THEATRE Why A Black Woman Wlll Never Be Prlme Mlnlster (October 2024)- Set over nine months, the piece delved into interseclionality. British politics. and Black women's rnatemal health. Fusing satire. spoken word. and narrative, Zakiyyah Deen's debut play directly addressed the real reasons.. Why A Black Woman Never Be Prime Minister. The show was dlrected by actor and influencer, Kelechi Okafor. Most audience members who we interviewed at CPT were Black wornen and had booked to see the show because it explored a Black female narrative: .1 wanted to see a show about a Black lemah uperlenc• andpollllcs. There's not much out th•r• Ilk• thls.. CPT'S work contlnued to be crrtlcal In term3 of worklng to remove barrlers to artlsts marglnallsed across the sector, and this was another area In whlch annual targets were largely exceeded. Of tha artlsts programmed, 650A wor• In the flrst 5 years of thelr careers (agaln81 a tsrget of 60 /•), 73°/o were LGBT (agalnst 30•A). 18•h were deaf or dlsabled (agalnst 15Y•>. 31% were worklng class (against 250/0). The one area for continued developrnent here is for global majority artists. of those who supplied evaluation data, 260/0 Identtfied as global majority against a target of 30•/0. CPT also monitors sustsinabilty across its programme, with a target of no more than 100A of prograrnmed artists using significant consumables or needing to dispose of set after a run. and actuals of lust 60A. Our 'soft' data also continues to be exemplary. with 86°/0 of artists offering positlve feedback around their experience of making or presenting work at CPT. The free artist development workshops and training offered to our Q4 artists was well received, and this is another area we Sntend lo expand in 202516. As for the last few years. our programrne was vulnerable to late cancellations when artists failed to secure fundin9, or due to poor artlst wellbeing In a continually dlfficult professlonal climate. This impact was partlcularfy felt in Q1, a situation which may have been further impacted by the Interlrn period without an Artistic Director to support on funding applications and pastoral support. Several of the Q1 show did cancel on an already reduced programme, but Ihe team rallied together to fill these gaps. with the season finishing on 60Yo of its financial tsrget. A particular success In Ihe Artistlc Programme was the 2025 SPRINT, three weeks of densely packed programming on a fesilval model. The festival reached 117% of Its financlal target, with 50 perfomances and 1476 audience members. Beyond Ihls, we reworked the selectlon crlterla lo provlde further training and guldance to the selection panel, the success of which can be seen In the amount of SPRINT shovps whlch have gone on to success - the long Ilst includes The City for Incurable Women, Pat Rasc81.. Space Gravy and Were you in terror? Which all went on to great success at the Edinburgh Fringe festival, and multiple shows including Dolmus Minibus and Just the Two of Us going on to be programmed for further shows al CPT. Due to the artlslic and financlal success of the festival. we will be expanding il to 4 weeks In 2026. Applications for the 2026 festival more Ihan doubled to 352 from the 2025 application figure, demonstrating the vital urgency of opportunities like this, and their sad decline across the sector. Flnally. we contlnued our fiagshlp residency Stsrtlng Blocks programme to great success this year, wlth artists Nomakhwezl Bekker, Matthew schwa and Cecllla. Sam Rees, Martln Morlaty and Tim Nopwood selected from over 200 appllcants. Matthew and Cecllla will be presentlng their developed show, Court of Paper. at CPT in Autumn 2025. Court of Paper is a formally experlmental show exploring their family history. complicity with and Ihe fight against the Nazis, and the contemporary resurgence of fasasm. Sam Rees has since been programmed at Jermyn Street Theatre, the Pleasance, and the Barbican, and we are exploring the possibility of co-producing his developed piece Gameplay in 2026. Conversations conts'nue with Nomakhwezi, Martin and Tim about th8 future of their shows, all of which we hope to programme at CPT. Communlty engagemont In partnershlp wlth New Dlorama Theatre we contlnued to run Camden Youth Theatre. the only free youlh theatre In the borough. Across the year we delivered 44 sesslons to 52 young people, Including two sharlngs of new work and vlsftlng artlsts delSver6ng guest workshops. In December 2024. we launched an in depth evaluation of the programme in collaboration with our participants. This led to a restruclure of the pro9ramme vthich was launched in summer 2025 and brings our cyr Director onto pa1 and the sessions into CPT'S rehearsal space to better connect the yDung people wlth our space. Thls yeafs evaluation report demonstrates the powerful impact of cyr as a safe and affirniing space - one where young people can build self-esteem. forni positive relationships. and develop coping strategies for challenges they may be facing In other areas of their lives. 88Q/o of cyr members reported improved well-being and daY-tdaY enjoyment of life 950/0 reported that increased personal confidence 55 % were able to identify which skills were most valuable, such as communication, teamwork and problem-solving Page 5
CAMDEN PEOPLE'S THEATRE 85% 01 cyr members reported that they had developed new creative skllls (e.g. devislng. beatboxing. physical ttteat, acting for ¢amera) 680/0 found these skills helpful In wider lile and school 650kn of members had attended or planned to attend cultural events beyond cyr 70% are actively pursuing further training or opportunits'es in the creative tor "1*1 more confident In belng mysell- leellng less anxlous- - Participant. aged 19 "CYT h•lp•d wlth $g•lng what l am good at and what I need to Improve" cyr Participant. aged 17 "I love the people and worklng as team" . Participant. aged 15 "Iwe be•n •ccepted Into a p•rfomilng arts colkg8 and l am startlng a film programme" _ cyr Participant, aged 16 cyr'g Impact oxtends beyond the duratlon of the programfflg. In the post ar. we hav• supported two alumnl to 8ocure pald placements or tralnee roles in the cuhural 8gCtor: one Is now worklng as a tralnee facllltator with cyr; ono Is undertaking a paSd placoment at CPT. These opportunities refleGt our commitment to creating progresslon routes for the young people we work with - routes grounded In Ihe shared 8thos of our partner organisations. and our belief in the potential of every young person we engage. As part of CPT'S alm lo democratls8 programmlng and decisSonwmaklng pr¢x•8sos, In 2024 tho theatre expandod Iho refflll of th•lr Local St¢erlng Group's. In Sprlng 2024 the 9roup was glvon a budgot of £2,000 and support from staff to deslgn and produce olernents of Tho Camden Roar Fo$tlval. This included curating parts of the festival's progr8mme through shortlisting and interviewing artists. and helping to promote show5 to the wider community. The Camden Roar festival culminaled wrth an outdoor free family festival held in Tolmerfs Square, a residential square next to CPT. The event engaged 250 peopl8, many of whom are local residents from the squar8 and Ihe wider Somers Town area, as well as visitors from all over London. Performances and activitses included.. communlty dance groups, beatboxing. CITCUS, lace palnling and Craft. Feedback from the Local Steering Group included: 'Belnq Involved In the progrnmmlng has helped m• to use skllls that arn dfflerent frnm my dayjob. I lov• seelng the relatlonshlp bohvwn my area and the arts. sIng the artlsts who ar• at home In Camden and maklng work her• In my Irn•...and that CPT Is a place th•t artlstj trust and rnlalo to., . Georgia. steering group mernber .1 studled Iheatre at unl but never understood before how to apply for fundlng. brlefs, Ihe whole artlstlc process., steerlng group member Kara, 'Maklng lh• d•clslon8 and thon se•lnq It com• to Ilfe. havlnq th• chance to nM•t the artlsts and understand what it means to Ihm. lhat ft•r m• Is rnally $p•clal.' . Marle. Steerlng Group member Following Ihe success of the Steering Group's Involvement in the Camden Roar Festival, the group curated and helped to deliver a Halloween event lor IcKal families with primary school aged children on 2nd November. The day featured a sharing of films and scenes from Camden Youth Theatre. bealboxing workshop5. craft activities, biscuit decorating and mask making. 120 people attended. The Steering Group went on to deliver another community day on 9th March. this time for adults, giving them an opportunity lo play through Improvisation, music. (xafting and making workshops. which 60 members ol the public attending. The Steering Group members also played a crucial part in cprs interview panels for new staff members. In summer 2024 group members, Georgia and Ali, were part of the Q&A session and collaboratlv8 discussion with candidates for CPT'S Artistic Director role. helping to decide vtho would go on to take over the leadershw of CPT. Page 6
CAMDEN PEOPLE'S THEATRE Fundlng Camden People's Thealre is inuedibly grateful for the support of our funders in 2024125. We entered the financial year with 92% of our fundraising tsrget secured. Grants from The Foyle Foundation, Garfield Weston Foundation, Camden Council, HS2 Community Funds and 8ackstage Trust were fundamentsl to enabling the delivery of our ypar long programme of performance and community activity centred around our 30th birthday. 202415 marked the final year of our Ihree-year granl from the Paul Hamlyn Foundation, which supported our artists development schemes and saw 33 commlsslons and resldencies being offered to artists from backgrounds that often find themselves marginallsed in the arts. This year also saw us complete a significant evaluation of our community acts'vity. specifically our Local Steering Group and Camden Youth Theatre to evaluate our impact on our participants and outline our ambition for their future activity. We compleled the second year of our funding from the City Bridge Foundation to transform the way we work wilh and support disabled artists and audlences. % part of our Incoma recovery strategy. CPT built on the momentum of our 30th anniversary to launch a new campaign to ralse funds for our artist development work. Thi5, alongslde a successful fundraising event, led to individual donations Increasing by 28Vo on 23124. representlng 5Vo of our fundraislng target. It is our ambition to increase this contributlon to 20Yo over the next hvo years, supported by a new individual glvlng strategy and a repurposing of staff resource away from Trusts and Foundations Income given the competitlon for funds we are now seeing in that sector. Flnanclal Revlew In 2024125 our tumover increased to £714,419. up 25% on the previous year. Thls Is largely due to the new co-producing projects and stron9 progress being made on our income recovery strategy. Since 2022 income from ticket sales have Increased by 27%, bar sales by 24% and hires by 52%. Alongside Income from other sources. such as Birkbeck, earned Income now represents 53% of our Sncome, projected lo Sncrease to 59 % In 26127. We ended the year wlth a surplus of £6,352 which has been allocated to our reserves and brings us to 92Vo of our reserves tsrget. ReseThes Pollcy ReseNes are provlded to ensure the flnanclal stablllty of the charlty and the ability for It to meet Its charitable objectlves. CPT alms to malntain reserves at a level that Is at least equlvalent to three months, operatlonal expendlture. In 2023124 thls was reviewed and sel at £70,000. Total general funds stand at £64,655 at 31 March 2025, not Including flxed assets. We aim to meet ourr minimum reseNes by 2026127 financial year. The trustees revlew the amount of reserves that are required to ensure Ihat they are adequale to fulfil the Charity's conlinuing obligations on an annual basis at their board meeting. Golng Concern The TNstees h8ve considered the charlty's financial position and future plans In assesslng the charity's abillty to continue as a golng concern. Having successfully secured 92% of the Income from Trusts & Foundatlons before the start of 24125 financial year, CPT entered 25126 with Just 25• of this income confirmed. This is a result of a series of unsuccessful applications, and a growing trend of Trusts and Foundations making individual changes to their grant giving processes, or priority areas. which, when considered as a whole, has significantly reduced our Trusts & Foundation pipeline. Given this situation. the charity has prepared and launched an emergency fundraising campaign in 2025126 to address the expected shortfall in this area and to secure funds to malntain its core services. The campaign has been conceived to create a strong foundation of Individual donors who will support the organisation going forward. At the time of writing, the campaign has recelved a very positive response from supporters and, as of the date of approval of these financial staternents, is on track to generate pledges and donations sufficient to cover the Charis immediate operational mMItMents for the next &12 months. The Trustees have prepared forecasts and cash flow projections for a period of at least twelve months from the date of signing the financial statements. These projections take into accounl expected income from the emergency appeal, ongoing grant funding, and cost management plans. Page 7
CANDEN PEOPLE'S THEATRE Based on Ihese forecasts, and after considering the principal risks and uncertainties facing the charity. the Trustees have a reasonable expeCtaOn that the charity has adequate resources to continue in operdtional exlstence. Accordingly, the financial statements have been prepared on a going conrn basis. Should the emergency campaign not reach its anlicipated targets, the Trustees have identified contingency measures, induding further cost savings and the deferral of nonossential projects. to ensure the ongoing viabililv of the charity. Future Acllvlty 2025126 is seeing the exciting implementation of our new Artistic Vlsion. with a renewed focus on supporting artists to tske risks, dramalurgScal rigour, and clear communicatlon with audiences. Our particular aims for this year include developing a returning deaf and disabled audience base. a radically different programming model. Thus far, we have realised the EveryBody Festival. Iwo weeks of deaf, disabled and accesslble theatre co- curated by FUSE (a deaf led company). The festival saw a huge range of sharings, workshop5, training and performances. wlth artists travelllng from across the UK to participate. We've also worked closely wlth the companies programmed across our Autumn season to ensure every show has access inbuilt, whether that's 8SL, audio description, captioning or a relaxed performance. This has seen a marked uplift in the diversity of both artists and audiences. and has also benefitted our hires income, as our reputation as an accessible space We've also designed and implemented a radical new programming model, where companies and artists are paid a guaranteed fee instead of a box office split. This praxis received national press attention, wilh great feedback from the sector for how this relieves emerging and marglnalised artists from financial pressure. Knowing how much we're paylng out ahead of time also benefits us as an organisation, with increased abllity to forecast and us as 8 prograrnmer holdlng the benefit from shovrfs whlch do overshoot thelr financial target. The programme has also been given a new structure, to more clearly communicate with both artists and audiences, The programme now consists of Work Sn Progress on Tuesdays, plays at 7pm, cornedylalternative vnrk at 9pm, and a weekly 'takeover' slot programmed by strategically selecled volces. This managing of expectatlons has both drSven more retuming 8udiences, and manifested as a kind of quality control, where audiences understand what kind of event th8Vre attending. This has also allowed us lo price tickgts more dynarnically, ralsing the income on higher value shows whilst keeplng some events accessibly priced. Beyond this, we've Increased our free tralnlng workshops for artlsts to 12 a year, Introduced our first ever famlly programrnlng for school holldays, restructured our Youth Theatre team. and transformed our co-produclng model to enhance our ThR claims for both the organisation itself, and our visiting companies. Publlc 8eneflt Th8 Trustees confirm that In compiling this report they have had due regard lo the guidance on public benefit issued by the Charity Commlssion in compliance with the duty set out In section 4 of the Charities Act 2006. Thls report has been prepared in accordance with the provisions In Part 15 of the Companies Acl 2006 appllcable tocompanies subject to the small companies regime. Thls report was approved by the board on and signed on Its behalf by Isobel Colchesler Isobel Colchester Page 8
CAMDEN PEOPLE'S THEATRE Independent Examinefs Report on the Accounts I report to the charity truslees on my examination of Ihe accounts of the company for the year ended 31st March 2025 which are set out on pages 10 to 16 . Respective responsibilities of trustees and examiner The trustees (who are also the direclors of the charitable company for the purposes of company law) are responsible for the preparation of the accounts. The trustees consider that an audit is not required for this year under section 144(2) of the Charltles Act 2011 (the 2011 Act) and Ihat an Independent examination is needed. The charilvs gross Income exceeded £250.000 and l am qualified to undertake thè examination by being a quallfied member of The Association of Chartered Certified Accountants. Having examlne the accounts under section 145 of the 2011 Act; fdlow the procedures lald down In the general Directlons glven by the Charlty Commlsslon (under sectlon 14515)(b) of the 2011 Act; and state whether particular matters have come to my attentlon. Basis of independent examiner's statement My examlnallon was carrled out In accordance wllh General Olrections glven by the Charity Commlsslon, An examination includes a review of the accountlng records kept by the charity and a comparison of the accounts presented with those records. It also Includes consideratlon of any unusual items or disclosures in tho accounts, and seeking explanations from you as trustees concerning any such matters. The procedures undertaken do not provlde all Ihe evldence that would be requlred In an audlt. and consequently no opinion Is glven as to whether the accounts present a "true and falr VIe and the report is limlted to those matters sat out in the statement below. Independent exarninerfs ststement In connection with my ex8rnination. no matter has come to my attention: 1. whlch glves me reasonable cause lo belleve that In, any material r8spect. the requirements.. to keep accountlng records in accordance with sectlon 386 of the Companies Act 2006., and to prepare accounts which accord with the accounting records. comply with the accounting requirements of section 396 of the Companies Act 2006 and with the methods and prlnciples ol the Statement of Recommended Practice: Accountlng and Reporting by Charities have not been met; or 2. to whlch, In my oplnlon, attentlon should be drawn In order to enable a proper understandlng of the accounts to bg reached Frank S Lachm8n Chartered Accountant Independent Examlner 31 Fairview Way Edgware Middlesex HA8 8JE Page 9
CAMOEM PEOPLE'S THEATRE Sl•¢•ment ol Fln4n¢l•l Actlvltl•• For thè Y•4r Ended 318t M•r¢h 202S R•strictsd Restrlctsd UnTvstrld•d Funds Funds Funds Not•8 Income Cap#•l Deslgn•t•d G•n•rnl Total .Fund• 2025 Ro$lrld•d Re$trl¢tsd Funds Funds In¢om• Caplt•l Vnrostrlct•d Funds O••lgn•tgd G•n•rnl Total Funds 2024 Lrfactes and donaitons Bank inlorost 2 220.928 150.668 371,$96 2,058 182,590 98.857 281,447 1.734 1.734 2.058 Chothabl• odlvbtl•s 341,765 341.765 289.192 289,192 Tot•1 Income 220,928 715419 389 783 572 373 Exp•ndlturn Ch•rlt•bh Acllvlty c1¥ 5 220,928 55,038 486,081 762.047 182,S 55,038 400,973 638,601 Tthl •xpondltur• 400 973 638 601 R•Mnclllatlon ol Fund• N•1 In¢om•llExp•ndllur•l (55,0381 6.352 2.058 140,628) 155.038) 111.190) 116.228 FuThJ$ brought forwa 463.024 56,245 519,269 518,062 67,435 585,497 Trnn8lern betrwoen fund8 16,352.00) 6,352 Ftsnds cavrl•d I01rd 64,6SS 463,024 56 245 $19 269 Tho Bt#lem8nt ol Fln•ncOèl Actlvltloj reftect8 tho ro8uts of conllnulw atalvlllos lor the y•8r. Th•r• woro no r•cognls•d galns or fosso$ 0th8r than U* not outgojng reSrC for the ye8r. Th• nel oulgoin9 raUrceS for Iho yoar havg be•n l¢Jalatsd on the histodcal cost bam. Tr• note$ on p•g•8 12 to 16 lomi part of these acCnts. Pagg 10
CAMDEN PEOPLE'S THEATRE Balan¢9 Sheet at 31st March 2025 Notes 2025 2024 Flxed assets Tangible assets 407,986 463.024 Current assets Oebtors Cash at bank and In hand 58.586 114,000 43.226 198,825 Totsl current assets 172,586 242,051 Crodltor$ due wlthln one year 8 107 931 185.716 Not current Sets 64,655 56.335 Net a$t8 472 641 519,359 The Fund8 of the Charlty Reslrlcted Funds 407.986 463,024 Unrestricted Funds 64.655 56,245 Total Charlty Fund• 472,641 519,269 For the year ended 31 March 2025 the company was entitled to exemption under section 477(2) of the Companies Act 2006. No mernbers have fequlred the company to obLqln an audlt of its accounts for the year In question In accordance with sectlon 476 of the Companies Act 2006. The directors acknowledge thelr responsibilty for: l. ensuring the company keeps accountlng records whlch comply wllh section 386: and 11. preparing accounts whlch give a true and fair view of the stste of affairs of the company as at the end of the financial year and of its profit and loss for the ffinancial year in accordance with the section 393. and which othep•vise cornply viith the reqU1ments of the Companies Act relating to accounts, so far as applicable to the company. The accounls have been prepared in accordance with the special provlsions appllcable to companles subject to the small companies. reglme under Companies Act 2006. Approved by the directors on and signed on their beh f by Isobel Colchester Isobel Colchester Page11
CAMDEN PEOPLE'S THEATRE Notss to the Flnanclal Statements For the Year Ended 31st MarGh 2025 1 Accountlng Pollces (a) The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance wilh the Financial Reporting Stsndard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2022) - (Charities SORP (FRS 102)), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Cornpanie5 Act 2006. Camden People's Theatre rne8ts the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognlsed at historical cost or transaction value unless other4vise ststed In the relevant accounting policy note(s). (b) Tanglble Flxed Assets Depreciation is provided at rates calculated to write off the cost of each asset over its expected useful Ilfe, as follows.. Flxtures, fittings and equlpment Leasehold Improvements 25Yo Straight line Over the life of the lease (c) Income Income is recognlsed when the charity has entitlement to the funds, any perfonnance condltions attached to the items of Income have been met, It Is probable that the income will be received and the amount can be measurad reliably. Income from grants, whether capital or revenue grants, Is recognised when the charity has entitlement to the funds, any perfomance conditions attached to the grants hes been met, it is probable that lh8 income will be received and the amount can be measured reliably and is not deferred. (d) Expendlture All expendItu Is accounted for on an accruals basis. Expenditure is recognlsed once there is a legal or onstructive obligatlon to make a payment to a third party. It Is probable that settlemenl wll be required and the amount of the obligatlon can be measured reliably. Costs are allocaled to a category elther because such costs are direclly incurred In relation to such category. or because they are support costs In respect of which an apportionment has been made between the categories. Support cx)sts consist of Infrastructure costs for salaries, premises, office administration. Such costs are apportioned on a reasonable and consistent basis to the various categories with a view to determining. as accurately as possible, the total resources expended for each category. The basis of apportionment used is elther a function of staff time applled to a glven activity. or an estimate of the proportion of costs associated wilh the same, or a cornblnation 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 taxalion on capital gains. {Q 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. Page 12
CAMDEN PEOPLE'S THEATRE Notes to the Flnan¢lal Stal•ment• For th• Yaar Endod 31st March 2025 (gl Credltor8 and provlslon8 Cr8dilors and provbsions aré recognised where the charity has a present obligation resulting from a past event Ihat will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be rneasured or estimated reliably. Creditor5 and provisions are nomally recognlsed 31 their settlement amount after allowing for ony trade discounts due, 2 Grant8 and donations Unr•strlct•d Restrlct•d Rostrlcted Funds Funds Funds Income Capitsl Unrestrictod Restrlcled Restrfcted Funds Fund5 Fund3 Incom• Capital 2025 2024 Grants for Spè¢lfic Purposes Arts Councll En9land Arts Councll England- GRILLS Arts Council England - WA8W Philip Ardlttl Paul Hamlyn Foundation Backstage TTUSt Camden Evenls City of London London Borough ol Camden LabTech London Euslon Tower Garfield Weslon Groundwork - HS2 Funds The Foyle Foundation Tolmer8' Square Festival Fund Robert Gavron Individual donation Access lo Work {DWP> 71.288 71,288 71,288 71,288 26,998 26.998 20,700 3,040 20,700 3,040 26,360 95.700 14,400 850 30,375 29.200 26,360 95.700 14,400 850 30,375 29,200 40,500 44,400 40.500 57,212 1,000 12,812 1,000 4,500 4,500 15,000 15,000 13,541 13,541 40,000 800 40,000 800 2,000 5,000 2,000 5,000 14,569 18.722 4.846 18,722 4,846 14,569 Delerred Grants brought lorw8rd Delerred Grants carrled forward 2,000 132.398 (34,451) 134,398 (34,451) 79,605 <2,000> 1132.398) 79,605 (134.398) 150 668 220 928 371596 98 857 182 590 3 Charllable actlvltles Unrnstrl¢l•d Restrf¢ted Ro•trlcl•d Fund8 Fundg Funds Incom• Caplt•l Unr•slrlctgd ReJtrlct•d Restrlctod Fund• Fund• Funds In¢omo Capllal 2025 2024 Box Office 156.522 46,680 57,707 35,599 45,257 156,522 46,680 57,707 35,599 45,257 131.655 44.774 54,119 10,695 47,949 131,655 44,774 54,119 10,695 47,949 Cafe and Bars Hires and fees Thealre Tax R81ief Sundrfes and rèimbursemgnts 341.765 289 192 289 192 4 Not In¢omel{Expendilure) 2025 2024 Net Incomel(Expenditure) is stated after charging.. Indepondenl Examinefs fee Depreciation of tangible assets 2.500 55.038 2,200 55,038 Page 13
CAMDEN PEOPLE'S THEATRE Notss to the Flnanclal Statements For the Year Ended 31st March 2025 5 Charitable actlvlty costs Charitsble Charttable Capital Charitable Support Actlvlty Actlvlty Actlvlty Governance Costs Costs Costs Costs Costs Unrestrlcted Restricted Restrlcted Unreslricted Total 2025 Direct costs Staff fees and salaries (see below) Recrullment, volunteer costs, training, travel and hospitality Artlstlc expenditure, freelance fees and production costs Tidceting and merchant Servlces Box Office Remittance Publlcity and marketing PRS and Ilcenslng fees Café costs Telephone and IT costs Maintenance, repalrs and utilities Support costs Independent Examinerfs fee and accountsncy Depreciation Bank charges Insurance Health and Safety Legal, professlonal and consultancy fees Premlses and office costs 28.115 19,210 223,968 271.293 10,588 10,588 201,718 49,908 15.600 76.688 13.184 883 16,230 251,626 15.600 76,688 13,184 883 16,230 2.979 11,715 2,979 11.715 4,436 4,436 55.038 96 6,699 587 69 24.336 55,038 96 6,699 587 69 24,336 Total 2025 220.928 55,038 418 764 4 532 762 047 2024 Comparatbv•• Dlrect costs Stsff fees and salaries (see below) Recruitment. volunteer costs, tralning, travel and hospitality Artistic expendlture, freelance fees and producllon costs Ticketing and merchant Services Box Office Remittance Publicity and marketing PRS and Ilcenslng fees Cafè costs Telephone and IT costs Malntenance. repairs and utiiitles Support costs Independent Examinerfs fee and accountancy Depreclats'on Bank charges Insurance Health and Safety Legal, professional and consultancy fees Premlses 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 95 4.671 2,568 48 16,901 11,500 28.401 Tolal 2024 52,788 182.590 55.038 343,940 4,155 638,511 Page 14
CAMOEN PEOPLE'S THEATRE Notes to the Flnanclal Statements For the Yèar Ended 31 st March 2025 Staff foes and salarles 2025 2024 Salaries Penslons Social Security cosrts 254,208 3,792 13,293 271293 238.303 3.721 12.348 254.372 Number of Staff No employees recelved remuneratlon In excess of £60,000 In the year. {2024 none) 6 Tanglble Flxed assets Leasehold Improvements Flxtures flttlngs & equlpmont Total Cost At 1st Aprll 2024 Dlsposals Additions 543,097 108.528 651,625 At 31st March 2025 108 528 651625 Depreclatlon At 1 st Aprll 2024 Dlsposals Charge for the year 104,893 83,708 188,601 30,218 24,820 55.038 At 31 sl March 2025 135.111 108.528 243.639 Net Book valu•• At 31 sl Marth 2025 407,986 At 31 st March 2024 438,204 24,820 463,024 7 Dèbtors 2025 2024 Trade debtors Other debtors Prepayments and accrued income 11.364 63 47.159 16,344 262 26,620 $8,$86 43,226 Page 15
CAMDEN PEOPLE'S THEATRE Notes to the Flnancial Statements For Ihe Year Ended 31st March 2025 8 Credltors due wlthln one year 2025 2024 Trade creditors Deferred Grants Deferred Income Other Taxation Accruals 25.608 34.451 35.070 4,530 8,272 107 931 18,139 134.398 25.568 5,026 2,585 185,716 9 Roconclllatlon of movements In Funds Balance at 1 Aprll 2024 Income Balance at 31 Transfers March 2025 Exp•ndlturo Restricted Funds General - Capital 220,928 {220,928) (55.038) 463.024 407.986 Unrestrlcted Funds General - Designated 56,245 2,058 492,433 715,419 6.352 6,352 64.655 486,081 762.047 519.269 472,641 The above funds comprlsa: Re8lrl¢ted Funds: are monies held for use In specific activities. General Fund: are money3 which can be used by the Trustees at their dlscretion for any purpose and whlch have nol been designated by Ihem previously. These rflect three months running costs. Transfers between Funds: translers between unrestricted and restrfcted funds represent the compan$ contribution to restricted projects. 10 Analy818 of net a880ts between Fund• Tanglble Flxed Assets Net Current Assets Total 2025 Total 2024 Restrlcted Funds 407,986 407.986 463,024 Unrestricted Funds: - General - Designated 64.655 64,655 56,335 64,655 472,641 519,359 11 Trustees During the year, none of the trustees received any remuneralion from the twst and no expenses were reimbursed to any of thern. Page 16