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
#225

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
S￿0 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 In￿rporated 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."
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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 pa￿1 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-t￿daY 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. s￿Ing the artlsts who ar• at home In Camden and maklng work her• In my
I￿rn•...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.
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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 Chari￿s 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.
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CANDEN PEOPLE'S THEATRE
Based on Ihese forecasts, and after considering the principal risks and uncertainties facing the charity. the
Trustees have a reasonable expeCta￿On that the charity has adequate resources to continue in operdtional
exlstence. Accordingly, the financial statements have been prepared on a going con￿rn 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
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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,$96
2,058
182,590
98.857 281,447
1.734
1.734
2.058
Chothabl• odlvbtl•s
341,765
341.765
289.192 289,192
Tot•1 Income
220,928
715419
389 783 572 373
Exp•ndlturn
Ch•rlt•bh Acllvlty c￿1¥ 5 220,928
55,038
486,081
762.047
182,S
55,038
400,973 638,601
Tthl •xpondltur•
400 973 638 601
R•Mnclllatlon ol Fund•
N•1 In¢om•llExp•ndllur•l
(55,0381
6.352
2.058
140,628)
155.038)
111.190) 116.228
FuThJ$ 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 I0￿1rd
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 reS￿rC￿ for the ye8r.
Th• nel oulgoin9 ra￿UrceS 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 acC￿nts.
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 reqU1￿ments 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