Registered number: 03251499
England and Wales
Charity Number: 1064633
THE CLOD ENSEMBLE
(A Charitable Company Limited by Guarantee)
ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2025

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ANNUAL REPORT AND ACCOUNTS
FOR THE YEAR ENDED 31 March 2025
Contents
4-12
13
14
15
16
Legal & Administrative Information
Report of the trustees
Independent examiners report
Accounts comprising:
Statement of financial activities
Balance sheet
Statement of cashflows
17-25
Notes to the accounts

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Legal & Administrative Information
Company number
03251499 (England and Wales)
Charity number
1064633
Trustees/Directors
F I Sweeney
JD Mollica
A Saunders
A Woolf
LJ St Ville
G Heyworth - resigned 10 June 25
R Mondesir-Clarke
M A Wright
Company Secretary
S F Willson
Deerstered address
Bank
C2, 3 Cripps Yard
Soames Walk
Design District
Greenwich
London
SE10 OBQ
The Co-Operative Bank
PO Box 250
Delf House
Southway
Skelmersdale
WN8 6WT
Independent Examiners
Simpson Wreford LLP
Wellesley House
Duke of Wellington Avenue
Royal Arsenal
London
SE18 6SS
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REPORT OF THE TRUSTEES - 31 MARCH 2025
The Trustees are pleased to present their annual directors' report together with the financial statements of the charity for
the year ending 31 March 2025 which are also prepared to meet the requirements for a directors' report and accounts for
Companies Act purposes. 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 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/Charities Act 2011.
Structure, Governance and Management
The Clod Ensemble was formed in September 1996 and is registered with the Charity Commissioners of England and Wales
under registration no. 1064633. It is a company limited by guarantee (Company Registration no. 03251499). The head office
and registered address is currently at C2, 3 Cripps Yard, Soames Walk, Design District, Greenwich Peninsula, London, SE10
OBQ.
The Directors during the period (who are also trustees for the purposes of charity law) were as follows:
F Awan - resigned 3 July 2024
G Heyworth
J Mollica
R Mondesir-Clarke
A Saunders
L J St Ville
F I Sweeney
A Woolf
M A Wright
The Directors did not receive any remuneration or reimbursement for any expenses during the period
The bankers of the charity are The Co-Operative Bank, PO Box 250, Delf House, Southway, WN8 6WT and The Charity Bank
Limited, Fosse House, 182 High Street, Tonbridge, TNg 1BE.
Trustee Appointment & Introduction
Directors of the company are appointed by majority vote after being proposed by another member of the Board. New board
members go through an induction process where they are introduced to the staff, talk through the company systems and
the role and responsibilities of the board are made clear.
When considering appointing new trustees, the Board has regard both to the organisation's need for any specialist skills and
the diversity of board membership.
Objectives
The Clod Ensemble aims to enhance education through the encouragement, performance and promotion of the arts
including drama, mime, dance, singing and music.
The Charity has referred to the guidance contained in the Charity Commission's general guidance on public benefit when
reviewing its aims and objectives and in planning future activities. The Trustees consider how planned activities will
contribute to aims and objectives they have set.
The charitable company intends to achieve this aim by pursuing the following objectives:
1. To produce quality performances, maintaining a high standard of excellence throughout its artistic work. The work
will combine music, movement and drama in such a way as to be represented as an integrated form of artistic
expression. This work will be targeted at a wide and diverse audience throughout the UK and abroad.
2. To present associated public events and participation programmes.
3. To deliver a programme of education programmes and professional development opportunities for students, artists
and healthcare professionals.
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INTRODUCTION FROM THE CHAIR OF THE BOARD OF TRUSTEES
In 2024-25, Clod Ensemble reaffirmed its position as one of the UK's leading creators of bold, interdisciplinary performance.
The charity delivered an ambitious and transformative programme spanning performance, learning, heritage and creative
health. Major funders, including Arts Council England and the National Lottery Heritage Fund, supported impactful
programmes for young people, audiences, artists and healthcare protessionals.
This year marks the 30-year anniversary of the company, a significant milestone for an independent, artist-led charity. Key
achievements include the preservation of the company's rich history of performance-making, which is now widely accessible
through their catalogued archive. The studio on Greenwich Peninsula strengthened its role as a creative hub, hosting
rehearsals, performances and courses. Performing Medicine's strategic impact and innovation in the field of creative health
expanded to include a new skills programme for local artists working in applied health settings.
The charity maintained strong governance and financial resilience. Total income of £620,690 and prudent management
enabled the organisation to grow free reserves to £105,000 and maintain a stable cash position.
With artistic innovation, equitable practice, and social impact at its core, Clod Ensemble continues to model resilience,
creativity, and care across the cultural and health sectors.
Jenny Mollica
Chair of the Board of Trustees
EXECUTIVE SUMMARY
Guided by our vision to connect people through movement, music, and creativity, this has been an extraordinary year of
artistic achievement.
From the sell-out participatory production of The Black Saint and the Sinner Lady at the Barbican to the intimate reimagining
Zero in our Greenwich studio, each production deepened audience connection and artistic experimentation. TI
noreozone project transformed the company's 30-year archive into a living resource for new creatic
Through Ear Opener, Catalyser, and higher education collaborations, we supported over 300 young people and expanded
equitable access to creative learning and careers in the arts. Performing Medicine reached over 1900 healthcare
professionals and students, improving wellbeing, communication, and leadership across the health sector. These projects
deepened engagement with younger and more diverse audiences, while our Greenwich studio evolved into a vibrant public
and creative hub welcoming over 1,000 visitors.
Operational planning improved efficiency, balancing specialist freelance skills for project delivery with core staffing. A range
of existing and new funders supported impactful programmes with lasting and meaningful public value.
We continue to dissolve the boundaries between artforms and disciplines — creating spaces where people can come
together and find new connections. We aim to exemplify our values through our programme, with respect, rigour, risk-taking
and agility threaded through every strand. We hope the following report demonstrates our ambition to create emotionally
resonant, intellectually rich work, which embeds care, equity, and collaboration.
Suzy Willson
Chief Executive Office, Co-Artistic Director
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REVIEW OF ACTIVITIES APRIL 2024 TO MARCH 2025
In-person Engagement 24-25
Online Engagement 24-25
Audience for Performance
2,470
Views of Ear Opener learning content
Participants for Talent Development & Learning
316
New subscribers to Ear Opener YouTube Channel
Participants for Performing Medicine
1,979
Total Engagement:
4,765
83,747
2,100
Performance
This year, Clod Ensemble delivered an outstanding programme of performances that celebrated artistic excellence,
deepened audience engagement, and reimagined the company's 30-year archive of past productions.
The Black Saint and the Sinner Lady headlined the year with a sell-out three-night transfer run at the Barbican Centre (19-21
September 2024), uniquely transforming the main theatre into a shared space between audience and performers. Retaining
the original cast and creative team, the production drew 898 audience members and continued to achieve critical acclaim,
including 4-5 * reviews across The Stage, The Reviews Hub, and Broadway World
The production was a finalist for the Sky Arts Awards in the Dance category. Workshops and open rehearsals further extended
the project's reach to younger artists and audiences. "I left the show buzzing and filled with pure joy" - Audience Member
The Choreozone project advanced significantly, realising our vision of turning Clod Ensemble's archive into an accessible,
dynamic resource. 18 oral history interviews were conducted with artists from diverse backgrounds, and the digital catalogue
was expanded and made fully accessible online. As part of the programme delivery, we staged four productions, which were
all drawn from archive material:
• Red Ladies was revived at the V&A's Performance Festival in April 2024, which was a high-profile event
celebrating 100 years of the Theatre & Performance collection at the museum.
• Zero (January 2025) transformed the original end-on production into an intimate experience in Clod Ensemble's
Skylight studio. "Astonishingly good event that I will be emotionally and intellectually digesting for some time
to come" - Audience Member
• Performance & Medicine (February 2025) reimagined earlier works through new collaborations with returning
artists, academics and students.
• 'Til All Our Tears Run Dry (March 2025, Manchester) created a hybrid choir installation for a 28-piece choir. The
project showcased how past works from our archive can inspire new works, in this case original student
compositions. "It was incredibly special... What a treat. Stunning. I felt so lucky to be there" - Audience
Member.
We continue to invest in developing new work; primarily a new work inspired by the photography of Karl Blossfeldt; and a
new collaboration with Historic Royal Palaces.
Collectively, these performances reinforced Clod Ensemble's national reputation for creating transformative,
interdisciplinary art that brings people together through joy, movement, and music.
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Talent Development
Talent Development remains central to our mission. The year saw significant progress in nurturing the next generation of
creative talent through education, training, and mentorship.
Ear Opener delivery continued in London schools with long-term partnerships. A successful Paul Hamlyn Foundation award
secured a significant expansion for the programme to be delivered in the coming years, in Manchester, Birmingham
and online. The free YouTube channel continues to grow, with over 450,000 views.
In higher education, we collaborated with the Royal Northern College of Music on 'Til All Our Tears Run Dry; with Rambert
School for The Black Saint and the Sinner Lady; and with Guildhall School of Music and Drama for a production research
and development project. These partnerships provided intensive creative experiences for music, dance and technical
students, and strengthened pathways from training into work.
The Catalyser programme offered a two-week intensive and six-month mentoring scheme for 23 young creatives, most of
whom identified with marginalised groups. Participants received bursaries, free access to performances, mentoring, and
space to develop projects, reporting significant personal and professional growth.
Paid learning opportunities including placements and Fellowships as part of Choreozone and an apprenticeship continued
to support inclusive creative employment practice, alongside mentoring, and studio residencies for alumni and associate
artists.
Overall, the charity's learning and talent programmes embodied our commitment to equitable opportunity, embedding
inclusivity, creativity, and care across all activities. Through structured partnerships, paid learning experiences, and
sustained mentorship, Clod Ensemble continues to build a diverse and resilient artistic community for the future.
Performing Medicine
The programme continued to harness arts-based approaches to help improve ways of working for those in demanding
roles within healthcare, and to nurture self-care and wellbeing among healthcare professionals.
Medical Education continues to be a core part of our programme, and this year we continued our long-standing delivery at
Queen Mary University of London Medical School and introduced a new selective component at Brunel University's Medical
School. We hosted a staff visit from the Medical School at Javeriana University, Bogotá, as part of a developing
collaboration focussed on community health, arts and medical education in Colombia and the UK. We taught 511 medical
students this year.
This connects with our other long-standing training offer for the NHS workforce, this year supporting surgical nursing
teams at Imperial College Healthcare NHS Trust; and on strategies for self-care and non-verbal communication skills with
trainee NHS GPs and Programme Directors.
Our Creative Health offer expanded with the launch of REACH, a new skills development programme for artists working in
Greenwich. As the NHS shifts towards a neighbourhood model, there is a role for applied practice by artists who need
upskilling to work effectively in this context. Thanks to funding from Greenwich Healthier Communities, we were able to
offer bursary places to creative practitioners from under-represented groups and draw on expertise from across the health
landscape in Greenwich.
"Thank you for such a brilliant course. It has been an absolute privilege to work with, and learn from, such an
inspirational group of people... I am very inspired now too to crack on with making connections in Greenwich." - REACH
Participant
"There was a dramatic shift in the cohort's confidence in communicating the value of their work to different
stakeholders, from 0% of the cohort feeling fairly or very confident pre-course to 100% post-course." - REACH
evaluation report
We continued to deliver training with link workers and social prescribers from Southwark, Bromley and Lewisham through
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our partnership with Dulwich Picture Gallery. Our wider work to develop the skills, understanding and conditions for effective
creative health practice includes teaching on a Creative Newham Cultural Producers course at UEL, and offering mentoring
to artists with demonstrable interest in this area.
Our own research activity led to publication of a chapter entitled 'Creative Approaches to Wellbeing' in the 'Pandemic and
Beyond' series by Manchester University Press. Our AHRC 'Practising Well in Primary Care' event saw senior primary care
educators, practitioners and leaders gather at the British Medical Association to learn about and reflect on the benefits of
arts-based approaches within workforce development and medical education. An article about this work within primary care
appeared on the British Journal of General Practice Life's website which is promoted to a worldwide audience.
"I found it really inspiring hearing about the approaches used by Performing medicine today and how they are
supporting primary care staff at a time where we have really high levels of stress and burnout within the NHS." - NHS
Northeast London Integrated Care Board staff member
Our expertise in Forum allowed us to mobilise others' research findings within clinical practice and patient communities,
reaching 831 audience members. We designed new forums covering wide-ranging subjects - service design within maternity
care; holding effective initial consultations; and behaviours leading to the misinterpretation of clinical research.
A new area of work was piloted with the British Academy, all designed to support balanced and productive careers in
academia across the social sciences, arts and humanities. Sessions in England and Scotland helped 89 early career
researchers to build leadership and communication skills, and this programme will now roll out more widely.
"I enjoyed thinking about my work as embodied - I'd not thought of it in that way before. I have a very sedentary job but
many of the modes, feelings, strategies we discussed are physically manifested too. I will pay more attention to this in
the future." - Workshop Participant
We were called upon to offer consultation and thought leadership, locally and nationally, at a range of high-profile sector
events which convened senior stakeholders.
Studio
We are now in our third year in the Design District on Greenwich Peninsula, and the studio is established as a dedicated
rehearsal and research space; and the base for learning and professional development programmes. Of note, the REACH
creative health programme and Catalyser paid training for young artists were both based in the studio, and which both
focussed on artists based either in or near Greenwich. Our aim is to build a centre for creativity and local place-making,
benefitting the Peninsula, the borough and the creative ecology of South-East London.
We were thrilled to invite audiences to see live performances in our studio for the first time. In January we presented a new
production of Zero, and in February an exploration of our connections with medicine in Performance & Medicine. We
welcomed over 250 people across these events and aim to continue to solidify Clod Ensemble Studios as a place for
Greenwich residents and the wider public to engage in our work. |
"I deeply appreciate the generosity of allowing an audience into their studio space. Thank you thank you thank you!" -
Zero Audience Member
We offer subsidised rates to charities and non-profit organisations, and an allocation of free hours to associates and alumni
from our Talent Development programme. We balance our free and subsidised offers to local and emerging artists, with fee-
paying hires. This year, the space was used by fellow Design District tenants, theatre and dance companies, film and
photography shoots.
184 hours of free or heavily subsidised space to supported artists
• 132 hours at a charity rate to charities and non-profit organisations.
• 7% of our annual income came from studio hire.
1,020 members of the public attended the events in the studio throughout the year.
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Equality, Diversity and Inclusion, including Workforce and Audience Data
Our current staff workforce equates to 5.2 FTE, with the addition of Duty Managers employed on a casual basis and
The creation and presentation of Clod Ensemble's archive, which showcases the diversity of artists, experiences and stories
which have made up Clod's creative programme, was a big success in reviewing and reflecting on our company's foundational
ethos of diversity, inclusion and access. Across the year we employed 33% freelancers from a Global Majority background
(compared with 40% London census 2021, 15% ACE NPO EDI report 22/23). We continue to employ a high number of women
67% of our workforces (compared with 51% London census 2021, 47% ACE NPO EDI report 22/23).
This year we focussed on investing in young people aged 18-25 years, as part of our talent pipeline which addresses systemio
barriers to working in the arts sector. We hosted a 21-month apprenticeship for a Junior Content Creator, Clod Ensemble's
first certified apprenticeship. We were thrilled our apprentice, Shjodi Ison, obtained a distinction for her qualification. We
offered paid casual positions and paid skills development to young people as part of our broader Talent programme.
Compared with last year, we increased our employment of freelancers aged 20 - 34 from 40% to 50% (compared with 26%
in ACE NPO EDI report 22/23).
Core Workforce
We recognise we are a small team so there are limited opportunities for changes in staffing. Our only core recruitment
process in 24/25 was for a new General Manager. The GM role saw two thirds female applicants, one third disabled applicants
and one third applicants from a Global Majority background. We will continue to research a broad range of channels to
disseminate future opportunities to further improve diversity of applicants.
Partnerships and Sector Support
We have cultivated a relationship with Historic Royal Palaces (HRP) who want to engage with Clod Ensemble's experience of
best practices within EDI and be led by our previous experiences working with communities. This is a key marker of our status
as sector-leaders and an opportunity to share our learning within the sector and beyond.
After a few years of inconsistent and incomplete data, we are committed to refining our data collection systems to both
streamline the methodologies behind meaningful analysis and create solid comparable benchmarks each year. As part of
this reporting process, we have created a summary of our 24/25 workforce data, which we capture throughout the year
through an anonymised survey. Our workforce data is based on surveying 46 freelancers, 10 staff members, and 8 trustees.
While we send everyone the survey, it is not mandatory to complete. We had a 100% response rate for staff and trustees,
and 50% response rate from freelancers. Therefore, this data should not be considered a definitive picture of our workforce,
but an accurate marker of our general demographic.
We collect demographic data for all of our Learning, Talent and Performing Medicine activities. As this activity is project-
based and often responding to the different settings we work in (secondary schools, higher education, NHS workplaces
informal learning) the data we collect varies from project to project making it difficult to summarise across a year. We plan
to standardise our systems and include a summary in future years.
Audience Data
"The audience participation enabled us, the audience, to celebrate the joy of being alive in contrast to the routine of daily
living." Black Saint Audience Member
This is the second year we have collected audience data via Arts Council England's portal, Illuminate, and will continue to
use this platform in subsequent years to be able to draw accurate comparisons. Our response rate to audience surveys is
low (5%). A core part of our strategy for next year is to increase responses to surveys to gather more reliable data.
• 63% of respondents were aged between 20-49; vs 42% of arts audiences in England being aged 20 - 44 (age
brackets not exactly comparable)*
• 12% of respondents identified as Disabled or having long-term disability including mental health issues; vs 8% of
arts audiences in England*
• 22% of respondents identified as being neurodivergent*
• 28% of respondents were from a Global Majority background vs 15% of arts audiences in London*
*ACE Equality, Diversity and Inclusion 2021-22; NB no separate figures available for neurodivergence
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Environmental
We use Julie's Bicycle to record our CO2 impact throughout the year. This data solely relates to our activities within the office
and studio, but we acknowledge much of our programme delivery happens off-site. In 24/25 we recorded 4.97 tonnes of
energy usage in our office and studio, 2.2 tonnes of operational materials and waste, and 4.71 tonnes of CO2 attributed to
business travel.
As tenants of the Design District, we are in regular contact with our landlord about energy consumption and the building has
been specifically designed with energy efficiency and environmental impact in mind. 24/25's data will serve as an accurate
benchmark for us to compare against in years to come.
Risk Management
The company's risk register is updated by the board of trustees quarterly, when the risks facing the company and their
appropriate mitigations are considered. Each identified risk is given a score for likelihood (1 to 6) and severity (1 to 6). These
two scores are multiplied to give a final risk score. Any risk scoring over 18 is considered 'high'.
Currently the only risk with a high score is income targets not being achieved within the expected timeframe. This risk is
mitigated by the company's annual budgets being reviewed by the Trustee Financial Subcommittee (FSC) and Board to
ensure the targets set are realistic and achievable, close monitoring of progress against these targets by the FSC quarterly,
developing new income streams including the commercial hiring out of our studio, a focus on fundraising and the building of
relationships with new funders and ongoing contingency planning of how the company would effectively scale down activity
if required.
Financial Review & Reserves
Income
Total income for the year was £620,690; which is lower, but broadly consistent with the last few years (24: £647,840; 23:
£640,871).
• Fundraised income from Donations and Grants was lower than previous years at £300,868 which makes up 48% of
our income (24: £325,973; 23: £450,045). In previous years, we have received money from the ACE Cultural
Recovery Fund and ACE Investment Fund, which explains the significant drop in income from 2022/23's accounts
This year, the majority of our income from Charitable Activities (£247,117) is made up of two main funds - our Arts
Council England NPO and the National Lottery Heritage Fund, which together make up 40% of our income. For
clarity, we have moved our Arts Council England NPO funding from the Donations and Legacies heading, to Income
from Charitable Activities, to better reflect the origins of the grant.
Earned income decreased slightly to £270,618 which comprises 44% of our income, (24: £277,415; 23: £148,756).
This income includes performance fees and box office income, Performing Medicine fees, learning, participation
and higher education income, and space hire.
Expenditure
£621,223, 23: £710,412).
Total expenditure for the year was £679,647. This sits in the middle of the two previous years, and is broadly consistent (24:
• Expenditure considers a large carry forward from 23/24 for restricted and designated activities.
• Expenditure on salaries was £275,100, which is 40% of all expenditure. This is 15% lower than previous year (24:
£324,306; 23: £329,187). This is mostly due to changing team infrastructure and using freelance support to deliver
project management and communications functions.
• Freelance fees were £212,373 which is 31% of total expenditure. This is an increase of 54% on the previous year (24:
£137,641; 23: £150,525). In particular, the National Lottery Heritage Fund grant has meant we've employed a large
number of freelancers - 79% of Freelance fees were engaged under the Performance programme.
• Property overhead is lower than previous years at £67,463, due to rebate following negotiations with the landlord
(24: £72,250; 23: £70,540).
• We continue to depreciate the costs of the studio building works across the length of the lease.
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At the year end, unrestricted funds (free reserves) have been increased by £5,000, increasing the total fund from £100,000
to £105,000. Adding to our free reserves by £5,000 per year is included in our finance policy and will remain our aim in
25/26. We aim to accumulate a level of free reserves where the charity could continue for 3 months without major grant
funders, giving the company time to reorganise and make redundancies if required. This figure would be in the region of
£130,000.
We will carry forward £20,182 in restricted funds for next year. Much of this relates to multi-year projects or funding
agreements that run to different dates than our financial year. £48,053 of designated funds will be carried forward for specific
projects. We also carry forward our designated capital fund at £39,069. Details can be found in note 14 in the accounts.
Trustees' Responsibilities
The trustees (who are also directors of the charity for the purposes of company law) are responsible for preparing the
Trustees' Annual Report and the financial statements in accordance with FRS 102 "The Financial Reporting Standard
applicable in the UK and Republic of Ireland".
Company law requires the trustees to prepare financial statements for each financial year which give a true and fair view of
the state of affairs of the charitable company and of the incoming resources and application of resources, including the
income and expenditure, of the charitable company for that period. In preparing these financial statements, the trustees are
required to:
select 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; and
• prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable
company will continue in business.
The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any
time the financial position of the charitable company and enable them to ensure that the financial statements comply
with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company
[and the group] and hence for taking reasonable steps for the prevention and detection of fraud and other
In so far as the trustees are aware:
there is no relevant information of which the charitable company's independent examiner is unaware; and
• the trustees have taken all steps that they ought to have taken to make themselves aware of any relevant information
and to establish that the independent examiner is aware of that information.
The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the
charitable company's website. Legislation in the United Kingdom governing the preparation and dissemination of financial
statements may differ from legislation in other jurisdictions.
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Independent Examiners
Simpson Wreford LLP were appointed as Independent examiners and have expressed their willingness to continue in that
capacity.
The above report has been prepared in accordance with the special provisions of Section 419(2) of the Companies Act 2006
relating to small companies.
Signed on behalf of the board of trustees/directors on 18 December 2025.
JD Mollica
9:30 GMT)
JD Mollica
Trustee
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INDEPENDENT EXAMINERS' REPORT TO THE MEMBERS OF THE CLOD ENSEMBLE FOR THE YEAR ENDED 31
MARCH 2025
I report to the charity trustees on my examination of the financial statements of Clod Enesemble for the year ended
31 March 2025, which are set out on pages 14 to 25.
Responsibilities and basis of report
s the charity's trustees of the company (and also its directors for the purposes of company law) you are responsib
or the preparation of the accounts in accordance with the requirements of the Companies Act 2006 ('the 2006 Act
Having satisfied myself that the accounts of the company are not required to be audited under Part 16 of the 2006 Act
and are eligible for independent examination, I report in respect of my examination of your charity's accounts as
carried out under section 145 of the Charities Act 2011 (the '2011 Act'). In carrying out my examination I have followed
the Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.
Independent examiner's report
Since the company's gross income exceeded £250,000 your examiner must be a member of a body listed in section
145 of the 2011 Act. I confirm that I am qualified to undertake the examination because l am a member of the Institute
of Chartered Accountants in England and Wales, which is one of the listed bodies.
I have completed my examination. I confirm that no matters have come to my attention in connection with the
examination giving me cause to believe:
(1) accounting records were not kept in respect of the company as required by section 386 of the 2006 Act; or
(2) the accounts do not accord with those accounting records; or
(3) the accounts do not comply with the accounting requirements of section 396 of the 2006 Act other than any
requirement that the accounts give a 'true and fair' view which is not a matter considered as part of an
independent examination; or
(4) the accounts have not been prepared in accordance with the methods and principles of the Statement of
Recommended practice for accounting and reporting by charities applicable to charities preparing their
accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland
(FRS 102).
I have no concerns and have come across no other matters in connection with the examination to which attention
should be drawn in this report in order to enable a proper understanding of the accounts to be reached.
taster.
K Taylor FCA
for and on behalf of Simpson Wreford LLP, Chartered Accountants
Institute of Chartered Accounts in England and Wales
Wellesley House
Duke of Wellington Avenue
London SE18 6SS
Dated: 18 December 2025
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STATEMENT OF FINANCIAL ACTIVITIES
(including statement of income and expenditure)
FOR THE YEAR ENDED 31 MARCH 2025
Unrestricted
INCOME FROM:
Donations and legacies
Charitable activities
Investment income
Other
Total income
EXPENDITURE ON:
Charitable activities
Total expenditure
TRANSFERS
let income/(expenditure) and ne
lovement in funds for the ye
Reconciliation of funds
Total funds brought forward
Total funds carried forward
6
9,568
394,035
387
48,817
452,807
506,864
506,864
59,057
5,000
100,000
105,000
Restined
167,883
167,883
167,201
167,201
682
Deserted
Designated
capital fund
(59,057)
(59,057)
5,582
5,582
(5,582)
2025 Total
9,568
561,918
387
48,817
620,690
679,647
679,647
(58,957)
2024 Total
129,233
474,155
1,427
43,025
647,840
621,223
621,223
26,617
19,500
20,182
107,921
48,864
44,651
39,069
213,115
245,455
272,072
The results for the year derive from continuing activities, and there are no other gains or losses other than those
shown above.
The notes on pages 17 to 25 form part of these financial statements.
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CLOD
ENSEMBLE
BALANCE SHEET AT 31 MARCH 2025
Fixed assets
Tangible fixed assets
Current assets
Debtors
Cash at bank and in hand
Notes
11
12
2025
52,203
2024
€
53,895
212,058
42,129
254,187
179,080
99,113
278,193
Creditors:
Amounts falling due within one year
13
93,275
60,016
Net current assets
Net assets
160,912
213,115
218,177
272,072
The funds of the charity
Unrestricted income funds
Restricted income funds
Designated funds
Designated capital fund
Total charity funds
105,000
20,182
48,864
39,069
213,115
100,000
19,500
107,921
44,651
272,072
For the year ending 31 March 2025 the company was entitled to exemption from audit under section 477 of the
Companies Act 2006 relating to small companies.
The directors acknowledge their responsibilities for complying with the requirements of the Act with respect to
accounting records and the preparation of financial statements.
The trustees have not required the company to obtain an audit of its financial statements for the year in question in
accordance with section 476
These financial statements have been prepared in accordance with the provisions applicable to companies subject to
the small companies' regimes
The financial statements on pages 14 to 25 were approved by the Trustees on 18 December 2025 and signed on their
behalf by:
JD Mollica
JD Mollica
15

CLOD
ENSEMBLE
Company number: 03251499 (England & Wales)
STATEMENT OF CASHFLOWS
FOR THE YEAR ENDING 31 MARCH 2025
Cash (used in) operating activities
Cash flows from investing activities
Interest income
Purchase of tangible assets
Proceeds from sale of tangible assets
Cash (used in) investing activities
(Decrease) in cash and cash equivalents in
the year
Cash and cash equivalents at the beginning
of the year
Total cash and cash equivalents at the end of
the year
Notes
17
2025
(50,677)
387
(7,194)
500
(6,307)
(56,984)
99,113
42,129
2024
€
(47,413)
1,427
(5,395)
(3,969)
(51,382)
150,495
99,113
16

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
1. ACCOUNTING POLICIES
The principal accounting policies are summarised below. The accounting policies have been applied consistently
throughout the year and in the preceding year.
The Clod Ensemble is a company limited by guarantee, incorporated in England and Wales and registered as a charity
with the Charities Commission. The registered office is C2, 3 Cripps Yard, Soames Walk, Design District, Greenwich
Peninsula, London, SE10 0BQ.
(a) Basis of accounting
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 with the Financial Reporting
Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019) - (Charities SORP (FRS 102
and the Companies Act 2006)).
The Clod Ensemble meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially
recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy note(s).
The financial statements are prepared in sterling, which is the functional currency of the charity. Monetary amounts in
these financial statements are rounded to the nearest f.
(b) Going concern
At the time of approving the financial statements, the trustees have a reasonable expectation that the charity has
adequate resources to continue in operational existence for the foreseeable future. Thus, the trustees continue to
adopt the going concern basis of accounting in preparing the financial statements.
(c) Income
Income represents grants and sponsorships, donations receivable, investment income and fundraising receivable in the
year under review net of VAT. Income is recognised when the charity becomes entitled to the resources, when the
trustees are virtually certain they will receive the resources and when the monetary value can be measured with
sufficient reliability.
(d) Interest
Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity;
this is normally upon notification of the interest paid or payable by the Bank.
(e) Fund accounting
Unrestricted funds are donations and other incoming resources receivable or generated for the objects of the charity
without further specified purpose and are available as general funds.
Restricted funds are to be used for specific purposes as lay down by the donor. Expenditure which meets these criteria
is charged to the fund.
(f) Expenditure
Expenditure is recognised once there is a legal or constructive obligation to make a payment to a third party, it is
probable that settlement will be required and the amount of the obligation can be measured reliably. Expenditure is
classified under the following activity headings:
17

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
• Costs of raising funds comprise mainly of wages costs of employee time spent and their associated support costs.
• Expenditure on charitable activities includes the costs of running projects, exhibitions, tours, mentoring and
other educational activities undertaken to further the purposes of the charity and their associated support costs.
(g) Allocation of support costs
Support costs which are attributable to more than one activity, are apportioned across projects as seen in Note 5.
(h) Leases
Rentals payable under operating leases are charged against income on a straight line basis over the lease term.
(i) Tangible fixed assets
It is the policy of the company to provide depreciation at the following annual rate in order to write off each asset over
its estimated useful economic life.
Computer equipment
Office equipment
Fixtures and fittings
Leasehold improvements
25% on net book value
25% on net book value
over the lifetime of lease
over the lifetime of lease
(J) 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.
(k) Cash at bank and in hand
Cash and cash equivalents include cash equal to cash in hand only.
(I) Creditors and provisions
Creditors and provisions are recognised where the charity has a present obligation resulting from a past event that will
probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or
estimated reliably. Creditors and provisions are normally recognised at their settlement amount after allowing for any
trade discounts due
(m) Financial instruments
The charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic
financial instruments are initially recognised at transaction value and subsequently measured at their settlement value.
(n) Legal status of the Trust
The Trust is a company limited by guarantee and has no share capital.

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
2.
INCOME FROM DONATIONS AND LEGACIES
Donations
3.
INCOME FROM CHARITABLE ACTIVITIES
Grants
Arts Council of England - Investment Fund (Newham)
Arts Council of England - National portfolio
Ginger Nut Training
Greenwich Healthier Communities
Imperial Health Charity
L& Q Place Makers
Postcode Society Trust
Queen Mary University
Queer Circle
The Harold Hyam Wingate Foundation
The Hinrichsen Foundation
The National Lottery Heritage Fund
Fees and box office income
Fees and sale of product income
Learning & Participation
Other income
Space hire
4.
INCOME FROM INVESTMENTS
Bank Interest
5.
INCOME FROM OTHER
Theatre Tax Relief
Unrestricted
Restricted
€
9,568
Unrestricted
Restricted
€
122,917
500
:
23,056
19,602
1,025
123,417
76,005
108,173
43,440
43,000
270,618
124,200
167,883
:
403,603
167,883
Unrestricted Restricted
€
387
Unrestricted Restricted
48,817
-
2025
Total
9,568
2025
Total
122,917
500
23,056
19,602
1,025
124,200
291,300
76,005
108,173
43,440
43,000
270,618
571,486
2025
Total
387
2025
Total
€
48,817
2024
Total
5,816
2024
Total
37,000
123,417
:
10,000
6,211
19,793
35,812
4,000
500
83,424
320,157
85,223
128,344
147
63,701
277,415
603,388
2024
Total
1,427
2024
Total
43,025
19

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
6.
ANALYSIS OF EXPENDITURE OF CHARITABLE ACTIVITIES
Salaries
Other staff costs
Freelance fees
Other direct costs
Production costs
Marketing
Fundraising
Property overhead
Administration
Depreciation
Direct activities
Support costs 2025 Total 2024 Total
275,100
275,100
324,306
1,328
1,328
212,373
212,373
3,590
137,641
13,811
13,811
52,639
52,639
5,038
5,534
5,534
29,940
7,176
4,000
4,000
4,000
67,463
67,463
72,250
39,058
39,058
28,626
8,341
612,184
67,463
8,341
8,656
679,647
621,223
Support costs are allocated to projects on a staff apportionment basis. In the case of salaries support costs are
allocated on a time spent basis
Property overhead
67,463
679,647
(67,463)
679,647
621,223
6.1.
PROJECTS ANALYSED BY ACTIVITES
Salaries
Other staff costs
Freelance fees
Other direct costs
Production costs
Marketing
Fundraising
Property overhead
Administration
Depreciation
Core
275,054
1,228
1,303
3,497
3,963
558
67,463
34,004
8,341
395,411
Participation
€
11,902
7,000
1,154
180
-
291
20,527
Performance
46
100
169,432
322
38,743
4,000
4,000
4,302
220,944
Performing
Medicine
€
:
29,737
2,992
8,779
795
461
42,764
Total
€
275,100
1,328
212,373
13,811
52,639
5,534
4,000
67,463
39,058
8,341
679,647

-LOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
STAFF COSTS
Staff costs were as follows:
Salaries and wages
Social security costs
2025
€
240,233
34,867
275,100
2024
291,520
32,786
324,306
The average number of staff employed during the year, was as follows:-
Projects
Administration
9
1
10
12
1
13
There were no employees with emoluments above £60,000.
There were no Trustees who received remuneration during the year.
8. TRUSTEE EXPENSES
Trustees were reimbursed for their travel to board meetings. The total trustee expenses for the year were Enil
(2024: Enil).
9.
NET INCOME FOR THE YEAR
This is stated after charging:
Independent examiners fee
Depreciation of owned assets
2025
€
2,600
8,341
10,941
2024
€
2,600
8,656
11,256
10.
TAXATION
The company is exempt from tax as a result of its registered charity status.
21

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
11. TANGIBLE FIXED ASSETS
Computer
Cost
At 1 April 2024
Additions
Disposals
At 31 March 2025
Depreciation
At 1 April 2024
Charge for the year
Adjustment on disposals
At 31 March 2025
Net book value
At 31 March 2025
At 31 March 2024
12. DEBTORS
121,261
121,261
76,611
5,581
82,192
20,388
791
(2,482)
18,697
16,708
982
(1,938)
15,752
39,069
44,650
2,945
3,680
Trade debtors and accrued income
Other debtors
Prepayments
VAT refund
13.
CREDITORS
Trade creditors
Other creditors
PAYE
Credit card
Accruals
Fixtures &
6,927
6,403
13,330
2,706
1,442
4,148
9,182
4,221
Office
2,555
2,555
1,212
336
1,548
1,007
1,343
2025
€
184,853
844
16,824
9,537
212,058
2025
€
51,355
11,464
6,233
3,611
20,612
93,275
Total
151,131
7,194
(2,482)
155,843
97,237
8,341
(1,938)
103,640
52,203
53,894
2024
€
156,766
1,642
20,671
179,080
2024
€
40,636
4,592
1
1,542
13,245
60,016
22

[LOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
14.
ANALYSIS OF UNRESTRICTED AND RESTRICTED FUNDS
Balance
B/fwd
Restricted funds
Greenwich Healthier Communities
Imperial Health Charity
Queen Mary University
Queer Circle
The Harold Hyam Wingate Foundation
The National Lottery Heritage Fund
10,000
6,000
Incoming
resources
23,056
19,602
1,025
124,200
167,883
452,807
Resources
expended
(16,456)
(5,000)
(17,020)
(1,025)
(3,500)
(124,200)
(167,201)
(506,864)
(5,582)
Transfers
Balance
C/fwd
6,600
5,000
8,582
:
20,182
105,000
39,069
48,864
213,115
19,500
Unrestricted Funds
100,000
59,057
Designated Capital Fund
44,651
Designated Funds
107,921
(59,057)
TOTAL
272,072
620,690
(679,647)
Purpose of Restricted Funds
Greenwich Healthier Communities - funding to complete delivery of the REACH professional development programme
for creative health practitioners. The six-month programme will end in summer 2025, followed by completion of the
evaluation.
Imperial Health - funds to support Performing Medicine workshop delivery with surgical theatre teams scheduled in
advance for 25/26.
Queen Mary University - funding to document our collaborative AHRC project in primary care settings through the
production of a film to illustrate the work
Purpose of Designated Funds
£39,069 - Designated Capital Fund
This is the designated fund for leasehold improvement works at the Design District. The balance agrees to the net book
value on the leasehold improvements, which are being depreciated over the term of the lease. The designated fund is
unrestricted funds that have been spent but have been capitalised. This fund is designated for future depreciation
charges.
£10,000 - Archive Exhibition
These funds will be used to deliver an exhibition project to showcase our archive, celebrating Clod Ensemble's 30th year
in 2025.
23

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
£3,000 - IT Upgrade and Refresh of IT Hardware
These funds will be allocated to support the necessary upgrade of our IT hardware for our office to ensure the most up
to date security software is integrated into our systems.
£14,500 - Research and Development of New Works
These funds will be used to allow Clod Ensemble's artist directors to spend time working in collaboration with other
artists and associates in the development of new performance work.
£14,804 - Investment in Producing Support
These funds will be used to increase the producing provision within the team, specifically to support the launch of new
learning and participation programmes.
£6,560 - Investment in Fundraising and Marketing
These funds will be used to invest in additional support in both fundraising and marketing for the company.
24

CLOD
ENSEMBLE
NOTES TO THE ACCOUNTS - 31 MARCH 2025
15.
FINANCIAL COMMITMENTS
Lease payments recognised as an expense in the year £19,445 (2024: £19,445)
At 31 March 2025, the company was committed to making the following annual payments under
non-cancellable operating leases as follows:
2025
€
137,735
2024
€
157,180
16.
RELATED PARTY TRANSACTIONS
There have been no related party transactions during the period.
RECONCILIATION OF NET MOVEMENT IN FUNDS TO NET CASH FLOW FROM
OPERATING ACTIVITIES
Net movement in funds
Add back: depreciation charge
Add back: loss on disposal
Deduct: interest income
(Increase) in debtors
Increase in creditors
2025
€
(58,957)
8,341
45
(387)
(32,978)
33,259
(50,677)
2024
26,617
8,656
(1,427)
(114,156)
32,896
(47,413)
25