Registered Company Number: 03508706 CCEW Charity Registration Number: 1070013 OSCR Charity Registration Number: SC053537 Mahogany Opera Group (Company Limited by Guarantee) Trustees, Report and Flnanclal Statements For the year ended 31 March 2025
MAHOGANY OPERA GROUP CONTENTS YEAR ENDED 31 MARCH 2025 Reference and Administration Details Trustees, Report Independent Examiner's Report 16 Statement of Financial Activities 17 Balance Sheet 18 Notes to the Financial Statements 19-30
MAHOGANY OPERA GROUP REFERENCE AND ADMINISTRATION DETAILS FOR THE YEAR ENDED 31 MARCH 2025 Constitution The Company is incorporated under the Companies Act 2006, company number 03508706 and its governing document is its Memorandum and Articles of Association. The Company is a charity registered in England & Wales (number 1070013) and Scotland (number SC053537). Directors and trustees The directors of the Company are its trustees for the purpose of charty law and throughout this report are collectively referred to as the trustees. As set out in the Articles of Association, the trustees are appointed by the trustees or by the Company's members. Policies and procedures adopted for the induction and training of trustees are ongoing and incorporated indirectly into the regular trustee meetings. The trustees during the year were: Katie Bradford Amy Challen lan Hamilton Mary Miller (Chair) Florence Okoye Dwight Pile-Gray Ava Podgorski Helen Thomas Company Secretary Bridget Rennie Artistlc Dlrector Frederic Wake-walker Executlve Director Bridget Rennie Independent Examlner Caroline Clarke, Clarke + Wells, 66 High Street, Lewes, East Sussex, BN7 1XG Bankers Lloyds Bank Plc, Villiers House, 48-49 Strand, London WC2N 5LL. Solicitors Weil, Gotshal & Manges (London) LLP, 110 Fetter Lane, London, EC4A 1AY. Registered offlce Rosehill Theatre, Moresby, 1h1tehaVen, CA28 6SE.
MAHOGANY OPERA GROUP TRUSTEES, REPORT FOR THE YEAR ENDED 31 MARCH 2025 The trustees present their report and financial statements for the year ended 31 March 2025. The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the Company's governing document, the Companies Act 2006 and "Accounting and Reporting by Charities.. Statement of Recommended Practice" applicable to charities preparing their accounts in accordan with the Financial Reporting Slandard applicable in the UK and Republic of Ireland, including the adoption of the amendments issued in December 2017 (FRS 102). The trustees confirm that they complied with the duty in Section 4 of the Charities Act 2011 to have due regard to the Charity Commission's general guidance on public benefit "Charities and Public Benefit" The Trustees, Report clearly sets out the charitable objectives, current activities and how they benefit the public. PRINCIPAL ACTIVITY The charitable objects of Mahogany Opera are: to promote, maintain, improve and advance education, by the encouragement of the arts, but particularly the arts of drama, music, singing, mime, and dance and to formulate, prepare and establish schemes thereof provided that all objects of the Company shall be of a charitable nature. Mahogany Opera is a leading commissioner and producer of new opera and music theatre. We exist to.. Unlock creative expression. Reflect diverse perspectives. Spark human connection. We create opportunities to make and experien boundary-pushing, inclusive new work. Through our work, we aim to.. Share the power and joy of live music and theatre widely. demonstrating that opera can be relevant to and reflective of people's lives. Show that everyone is an artist with the potential to play a creative role in making and performing new opera. Give children and adults the opportunity to experience opera in inclusive environments Support diverse artists to develop their practi, spark new connections and create work on their own terms. Present new work which reflects and amplifies dNerse perspectives and a multiplicty of voices. We achieve our aims through three programmes of work which intersect:
MAHOGANY OPERA GROUP TRUSTEES. REPORT {Continued) FOR THE YEAR ENDED 31 MARCH 2025 Snappy Operas is our award-winning participatory primary schools programme, through which we deliver in-school projects with children, teacher training and performances, and commission new work by professional artists working with young people. New Work encompasses the wide range of work we develop, commission and produce for performance. This activity enables us to partner with artists at all stages of their careers, and in partnership with a wide range of organisations. Meet Me @Mahogany is our invitation to explore, (un)learn and open up the process of making new work, focusing on public discussions and events (online and in-person), participatory workshops, training, research and collaborations with other arts organisations and higher education. These activities are interwoven with our other delivery strands, as we take learning from the work we produce and inform that work with the ideas developed through Meet Me @Mahogany. As a registered charty, Mahogany Opera is immensely grateful for the generous contributions of trusts & foundations and individuals, without whose support its work would not be possible. ACHIEVEMENTS AND PERFORMANCE In 2024-25 Mahogany Opera delivered a rich and substantial programme of work across its three strands. While there were fewer public events than in the previous year, we premiered a major new commission and significant behind-the-scenes work developing commissions, partnerships and fundraising took pla to lay the groundwork for projects in 2025-26. Overall, we worked with 88 artists (2023-24..110), 262 participants (2023-24'.400+) and 32 teachers and school staff (2023-24'.110). We delivered 6 public perfomiances (2023-24.'23) and 36 workshops, rehearsals and public events (2023-24.48), reaching around 1,500 audience members (2023- 24:2,500). Sna A Snappy Opera is a short opera for children to perform which introduces all the essential elements of opera singing, acting and making in fun, colourful and bite-sized chunks. Mahogany Opera has commissioned 15 Snappy Operas, written by some of the UK'S top composers and writers who worked with groups of young people to develop stories and characters that connect directly lo the young people who will perform them. Since we began the programme in 2016, we have engaged around 5,000 primary school children from state schools across the UK with Snappy Operas, working in over 130 schools. In 2022-23 and 2023-24 we developed our first Snappy Opera in partnership with a school for students with Special Educational Needs & Disabilities (SEND), co-creating a piece which responded to the needs and ideas of a range of disabled children. Roll Upl is a totally immersive and inclusive piece of music theatre set in a circus, which involved the whole school communty in its premiere perforManS at Sandgate School, Kendal in summer 2023. In March 2024, we embarked on a new project to pilot Roll Up! at Hadrian School, a SEND school in Newcastle in partnership with Music Partnership North, Newcastle. With Jack McNeill as music director to provide continuity from the first project, we engaged local director Katy Weir to deliver workshops exploring the existing musical material and ideas with new groups of young people. The first week of workshops was delivered in the prior year, and the second week was delivered from 13-17 May 2024 with a team of 5 artists (music director, stage director, viola player, soprano
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 and baritone) working with the young people to stage their own performan of Roll Upl which was shared with the school community at the end of the week. During the week we delivered 10 workshops with approximately 110 children, and shared the performance with an audience of approximately 50 people. We were not able to gather direct feedback from the young people, many of whom were non- speaking, but we got some excellent responses from the school staff, families and artists.. .1 think the thing that we've enjoyed, more than anyihing. is that there's no expectations [placed] on the children. they just get to come in and enjoy what's a really immersive experience. . What I've really enjoyed about this week is that it hasn't been a case of opera's come to us., our world and the operatic world have kind of collided. It's a really beautiful circle of happy engagement.. Phil Cookson, class teacher & music lead, Hadrian School. "I thought at first the children might have been a bit frightened.. but it all blended in and they just loved it., Grandparent of Hadrian School pupil .1 think the difference between this and other school projects I've done is the... interaction on an individual level... you're catering lo everyone's needs, and that's something I've never experienced before., Themba Mvula, baritone 'Often when we're making art, we consider the big, the spectacle and actually being able to consider the micro moments is a real privilege.. Katy Weir, director We learnt a lot bringing the existing Roll Upl materials to work with new groups of young people, and although the experience was positive, the feedback from the creative team was that it would have been a more rewarding experience to start more 'from scratch, with the co-creation process. This is something we have factored into our planning of future work in special school settings. New Sna era commissions During the year we secured a signrficant grant from Garfield Weston Foundation to commission two new Snappy Operas and develop and update our resources for future Snappy Opera projects. In autumn 2024 we ran an open call to recruit the creative team for one of the Snappies, which was another successful process with 59 artists / artist teams representing 72 individual artists applying for the opportunty. This demonstrates the breadth and depth of people working in new music theatre and opera, as well as our reach as an organisation (see diversity monitoring statistics on p11 below). The process led to the appointment of artist team lona Ramsay (librettist) and Bethany Tennick (composer), Iwo young artists from Glasgow, to co-create a new Snappy Opera for our co- commission with Dunedin Consort, working with young people in a school in Cumbernauld. The brief was to create a piece which could be performed on baroque instruments, aligning with the wider work Dunedin were doing in the school, but flexible enough to be performed on modern instruments for future Snappy Opera projects. We ran two commissioning workshops at Kildrum Primary School, Cumbernauld in January and March 2025, involving 30 P5 pupils aged 8-9. The work was completed, rehearsed and performed by the children after the year-end.
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 The other new commission was to develop a new format for Snappy Operas.. a 'DIY Snappy, designed for schools to be able to deliver themselves without the input of an external delivery artist team. During the year we appointed composer Michael Betteridge and writerldirector Freya nn-Jones to create this commission, which was developed through workshops after the year- end. During the year we also engaged designer Anna Bruder to review all the existing Snappy Opera design packs with the aim of making the designs more environmentally sustainable, eliminating the use of single-use plastics and suggesting the use of more re-used and upcycled malerials in the creation of props, costumes and set items for the Snappy Operas. Sna era artnershi ro ects During 2024-25, we further developed Snappy Opera projects in Aberdeen, Lithuania and Germany.. We extended our partnership with Aberdeen Performing Arts (APA) following their successful Snappy Opera project in 2023. During the year we provided the rights, resources and training for them to deliver their own Snappy Opera performances as part of their young people's 'Light the Blue, festival in June 2025 after the year end. In Lithuania, we continued our partnership with Nida Culture and Tourism Information Centre "Agila" wtth the commissioning of four new Snappy Operas from Lithuanian composers. This was funded by a grant from the John R Murray Charitable Trust. We also continued our partnership with Frequenz_ Festival in Kiel, northern Germany. As the planned symposium in October 2023 had been delivered online rather than in person, there were funds remaining which enabled us to deliver two further schools workshops in th Kiel in June 2024. We worked with 49 children from three 4 grade classes- one of which was a special class for children with migration and PTSD backgrounds in the Muhliusschule Kiel. This project was part of the Cultural Bridge programme (funded by the 4 UK Arts Councils. Fonds Soziokultur and the Goethe Institut to support bilateral UK- Germany projects). This type of project is enabling Mahogany Opera to expand the reach and impact of Snappy Operas without increasing the demands on our own capacity or fundraising resources, and also contributes a modest amount towards our core costs or other Snappy Opera projects to cover our time on training and consultancy. New Works During 2024-25, we premiered or developed four new works: 1. Sky in a Small Cage is conceived as a contemporary staged oratorio by composer Rolf Hind - telling the story of the extraordinary life of Sufi poet, Rumi - and focussing on his relationship with his master, muse and beloved, Shams who was (it is suspected) murdered at the hands of Rumi's brothers. The libretto combines words written specifically by award-winning poet, Dante Micheaux, togetherwith translations of Rumi's own poetry. Directed by Mahogany's Artistic Director, Frederic Wake-walker, an exceptional multi- disciplinary cast and mixed ensemble bring each dramatic tableau to life using song, musical interludes and dance.
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Following a long development process from our Various Stages Festival in 2020, through commissioning and development 2021-2023 and engagement of the cast and creative team in 2023-24, 2024-25 saw us bring Sky in a Small Cage to the stage. The design process continued through spring 2024, and we held sing-through I play-through days in June 2024. Studio rehearsals took pla in London in early August, followed by the creative team and cast travelling to Copenhagen for production rehearsals ahead of the premiere perfomiance as part of the Copenhagen Opera Festival on 25 August 2024, with Athelas Sinfonietta as the onstage musicians. This was followed by the UK premiere at the Barbican on 8 September 2024, with the renowned Riot Ensemble playing onstage for the London performance. Credits.. Composed by Rolf Hind Text for music by Dante Micheaux, with additional text from Jalal al-Din Rumi Dramaturgy and direction Frederic Wake-walker Music Director Aaron Hollowa -Nahum Designer Sasha Balmazi-owen Movement Director Rosabel Hu uet Cast The Narrator- Elaine Mitchener l and You (becoming Rumi) - James Hall Bird of the Sun - Shams e Parande - Yannis Fran ois Shaman of the BirdslKerra, Rumi's wife- Loré Lixenber Ensemble - Siddhii La rutta {soprano), Karima El Demerdasch (alto), Anika Venkatesh (alto), R lan Gleave (tenor). T Bou ue (baritone), Harald Hieron Hein (bass) mus Onstage musicians - Athelas Sinfonietta (Copenhagen) and Riot Ensemble (London) We received warm and enthusiastic feedback from audiences, including the following.. It's very difficult to simultaneously tell the kind of stories you did, between Rumi and Shams, and balan the feeling that this is a story about two queer lovers, this is a spiritual fable/allegory/myth, this is history about a group of believers, and this is a love poem to the poetry of Rumi. All of those came through. The duets between James and Yannis were some of the most achingly beautrful and pitch-perfect duets I've heard. The way that James and Yannis blended was stunning, but also the way their counterpoint delighted and surprised and showed the love, longing, tension, guidance, and desire between YOUA and Shams did what good opera should do.; Reviews were mixed but there were positive notices from the Copenhagen and London perfOrmans.
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 .inÈensely beautrful. THE GUARDIAN Hind's music, in an individual strain of minimalism, is haunting... THE TELEGFIAPH 4.,1:::i'- Sky in a Small Cage has integrity and serious intent...intense and powerful. THE TIMES Using westem and eastem instruments, including the pungent nagaswaram, honky-tonk,. piano and gamelan, created a fascinating onginal palette of piquant colours and tuning j blends. THE TIMES If you thought that new opera could only be starkly realistic depictions of the wortds decay, after SKY IN A SMALL CAGE at the Copenhagen Opera Festival, you might think again. The last WO of the festwal pointed in a completely different direction.. mystery. hope. love. SEISMOGRAF Hind's music and Dante Micheaux's libretto tied together this (love-like) story with 8 path towards enlightenment, threading them around each other in both theirjoys and penls. Sky in a Small Cage is one of those woftks (without being too grandiose about it. rt reminded me in this way of Messiaen s St FranGoise) that contained everything of an artist, the thing they have been put on earth to say. THE RAMBLER We also had very positive feedback from the creative team and cast on their experiences of working on this project, testament to the importance of developing new work in creative, supporting working environments: It was huge.. it was amazing.. and the connection between everyone was completely wonderful. Rolfs music sublime and Dante's words just mind-blowing. It was really a great experience. When l in about to peg out I will think of this as a lrfe highlight. Lore Lixenberg, Shaman of the BirdslKerra We are currently exploring possibilities for a tour of Sky in a Small Cage in 2028. 2. Hildegard.. Wisions is an immersive mystery opera by Nwando Ebizie, inspired by the works and life of Hildegard von Bingen. A multisensory experience of sound, movement, scent and taste, tt combines song, electronic soundscapes and ritual traditions from across cultures and eras. The project was developed as part of Mahogany Opera's Various Stages festival in 2019-20 and this research and development (R&D) phase helped to develop an installation (Extreme Unction Vol.2) which was exhibited at East Street Arts, Leeds in June 2021. Ordo Virtutum, the section for performance was commissioned by Mahogany in 2022, and in 2023-24 we delivered a series of R&D phases to develop the piece in partnership with Britten-Pears Arts, Artsadmin and Yorkshire Sculpture Park. In 2024-25 we put together a major bid to Arts Council England to stage the piece at Yorkshire Sculpture Park, which was unfortunately not successful. Feedback suggested thatwe would be unlikely to secure the level offunding required to stage such an ambitious work outdoors, and this together with a change of personnel at YSP led us to decide to
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 scale back our involvement in the project to focus on staging the performance piece we had commissioned only, now titled Ecstasy of the Wirtues. We are now working on staging this piece with a short tour in 2026-27. This experience is testament to the challenges in securing partners and funding for ambitious work in the current climate and to the significant delays to projects that can be occasioned by a major funding bid which is unsuccessful. We are considering these risks in our upcorning strategic plan but remain committed to staging Ecstasy of the Virtues in 2026, with the confidence that focusing on the performance aspect only makes this a more achievable proposition. In the Belly of the Beast is our new co-production with Dunedin Consort and Hera, staging a further three cantatas by Elisabeth Jaquet de la Guerre following the SucsS of our co-production Out of Her Mouth in 2023. In the Belly of the Beast will stage 'Adam', 'Jonah', and 'Jephthah', again in new English translations by Toria Banks. The commissioning of the translation and initial development work took place after the year end. A Christmas Miracle is a new opera by Master of the King's Music, Errollyn Wallen CBE which we are developing with the support of a private commissioner. It is inspired by Benjamin Britten's unrealised plans for A Chnstmas Sequence, using text from the Chester Mystery Plays. It will feature new music by Errollyn interspersed with much-loved Christmas carols. OurArtistic Director Frederic Wake-walker will direct and dramaturg the production. Like Britten's Noye's Fludde- a visionary community opera this production will bring together a magical mix of professional performers with young people and their commun5ties. Following the commission in July 2024, in December 2024 we worked at Snape Maltings in partnership with Britten Pears Arts on workshops exploring initial material and characters in the piece, working with local young people and professional singers. The team had a wonderful time delving into Errollyn's unique sound world and the contemporary resonances of the Christmas story, looking at universal themes of taking refuge in a foreign land, navigating the forces of jealousy and power, and the wonder of birth. We are now developing the piece for premiere performan5 in 2026. Meet Me Maho an During 2024-25 we delivered two 'Virtual Open House, online events and one in-person workshop in our Meet Me @Mahogany strand, where we explore, (un)learn and open up the process of making new work: In November 2024, we held a Virtual Open House on 'Open Call Opera, exploring our distinctive approach to recruitment. Our regular 'Open Calls, aim to diversify the people we reach and engage, and our auditioning process looks to provide a more positive experience for performers interested in working with us. In this discussion we reflected on our approach to Open Calls - how we use these to reach different artists when recruiting for specific projects, how our approach to auditioning might differ from traditional opera companies, and what learning we (and others) could take from this to
MAHOGANY OPERA GROUP TRUSTEES. REPORT (Continuedl FOR THE YEAR ENDED 31 MARCH 2025 improve recruitment in the future. An excerpt from the discussion can be found on our website. In November 2024, we also co-led a workshop with Full of Noises and Pro ellor Ensemble in Barrow, aimed at music workshoplchoir leaders with an interest in shared learning around co-creative community projects. This built on our work developed through The Great Learning project, sharing approaches to improvisation and experimental music making as part of the R&D for Jack McNeill's Air Songs project. In February 2025, we held a Virtual Open House on 'Participation on the Move,. Together with our friends at Hooli an Art Communit we discussed our shared experience and passion for producing touring work that engages local participants actively in each performance. One of the distinctive qualities of many of our productions at Mahogany Opera is how we tour our work, whilst involving local participants in the show (for example, Mozart vs Machine, Brundibar, Sna eras). Our collaboration with Hooligan Art Community Started in 2019 when we supported the R&D of The Hooli an Pro ect, and especially the involvement of young adults as participants. The event took place one week before the third anniversary of the full invasion of Ukraine by Russia, ahead of a series of performances and events presented by Hooligan Art Community to mark the anniversary. VALUES Our values underpin our vision of opera as an inclusive, collaborative and dynamic art form and sustain us in our mission to stretch the boundaries of what opera can be and who it is for. They stem from both the working practices we've developed over the years and our aspirations for the future.. We are artist-led We are guided by artists, by their ideas and their lines of enquiry. We consider everyone who actively participates in our work to be an artist. We create structures that are flexible and responsive to meet the ambitions of our artists while operating on a scale that connects us meaningfully to the communities and contexts within which we work. We aim to be a creative space for sharing knowledge and experiences. We are people-centred Care and inclusivity are key principles for the way we work. We aim to create safe and supportive working environments which enable trust, creativity and fun. We recruit as much as possible by open call and we try to remove barriers for disabled and minoritised artists, as well as making our performances and events as accessible as possible for audiences. We value the process as much as the product. We are transparent about fees and pay people promptly. Our work is a collaborative process We are continually exploring new ways of working and searching for new creative relationships while striving to enrich our existing knowledge and collaborations. We test ourselves with a thoughtful and considered approach, learning from others and sharing our research and discoveries with both rigour and playtulness.
MAHOGANY OPERA GROUP TRUSTEES. REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 We actively seek to break down barriers We push against traditional norms, often working outside conventional constructs, opening up access to our work, offering space for diverse perspectives and a multiplicity of voices and collaborating across borders. We stand up against racism and all forms of discrimination. We are committed to sustalnabillty Awareness of and efforts to reduce our environmental impact is embedded in everything we do. We take a responsible approach to our income streams, considering artistic, ethical, financial, and reputational factors in a manner the Trustees believe best allows us to fulfil our charitable purpose. We favour purpose-based relationships over transactional ones and develop on-going relationships with our partners. We strive to take a long view on our collaborations, outcomes and impact. Our values are open and responsive We stay true to ourselves, while being open to challenge and change. We question ourselves, listen to others and reflect on our experiences in order to improve our practice and slay connected with the most recent developments. We are in a continual state of renewal, always full of potential, searching for new means of expression and new visions of the future. EQUALITY, DIVERSITY AND INCLUSION We believe that opera is a form of culture that can challenge rather than uphold systemic injustices. We are committed to eliminating discrimination and aim to diversify who makes, performs and sees opera. Since 2017 we have encouraged diversity across all areas of our work through inclusive open calls for artists, staff and trustees,. training,. and improving accessibility to our activities and opportunities (British Sign Language interpretation and captioning are now standard at our events and we offertailored support for disabled artists). Our partnerships in areas not typically well-served by opera companies enable us to reach people from a broad range of socio-economic backgrounds. We aim for at least 50 % of our commissioned artists to be women, which we have achieved through our Snappy Opera programme and our current commissioning activity, and we are developing our expertise in supporting disabled creatives through two of our urrent commissions. In 2023124 we reviewed our Equality, Diversity and Inclusion policy with the input of the trustees, updating various aspects to strengthen our commitments, reflect our new practices and make our complaints procedures more transparent. We set an aim to improve the diversity monitoring of the artists we engage to enable us lo set targets, noting that response rates from artists had been too low to create meaningful statistics. In 2023-24 we increased the proportion of artists completing diversity monitoring from 100/0 to 270/0. In 2024-25, we doubled the number of artists responding from 11 to 22, although the percentage response rate remained similar at 25Q/o, since we had directly engaged more than twice the number of artists in the year (88 vs 41 directly engaged). Below we report the diversity monitoring statistics of the artists who responded, with 2023-24 figures in brackets for comparison. 10
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Artists en ed in 2024-25 EthTrlclty: 55%146¥0} white British Socloconomi¢ background1: 23 /• (36%) other white background 55% {9%1 modem professional occupations 9010190A) mixed white and black African 90A190hl clerical and interrnediate occupations Black British 14%118ttAI senior managers and adrninistrators Asian.. Chinese (.4,, OYo118Yol technical and craft occupations Any other ethnic background 5%19%1 routine manual and seN occupations Other Asian bad(ground 0%19%1 middle orjunior managers 5%118%) tradrtional professional occupations 0%19¢AI long-term unemployed 5% IOYO) self-employed 9°/010 /0) prefer nol to say 50h IO¥o) 5%10%) 0% (9%) Age: 230A118%1 20-34 73% 1641JA) 3549 5°h 118%) 5044 sexual orfontstlon.. 68 /o1739/tsl heterosexual I stravJht 14%118Yo} queer 9¥919°h} bisexual 5% {OQk) gay man 5%109/0} prefer not to say Sex: 55%173¢A) female 41 % 127%} male 50/0 IOYo} prefer not to say Gender Identity: 550h164%} women 36 /0127Vol men 9/0 (0%) non-binary 0%19°/o) identify in another way Dl8abllity: 5(1/0 (180/0) Dldeaf or disabled 95/0182%) not Dldeaf or disabled Neurodivernity.. 73% (730/0) neurotypical 14% (27D/o) neurodiver9ent 13%10%) prefer not to Say We did not collect diversty monitoring statistics from our Snappy Opera creative team open call, so we do not have any applicant data for 2024-25. Conclusions The data from the diversity monitoring survey of artists engaged in the year shows we continued to reach a relatively diverse range of artists in terms of gender, sexual orientation, and neurodivergence. We increased the proportion of younger and middle-aged artists we worked with, while the number of older artists decreased. We increased the proportion of artists we engaged from global majority ethnic backgrounds from 18/0 to 22%. However, we note a Conrning decrease in the proportion of artists identifying as Dldeaf or disabled. We will continue to review our practices as well as the accessibility of the diversity monitoring survey itself. There is less diversity in the socio-economic backgrounds of the artists we engaged in 2024-25 than in the prior, potentially a reflection of the broader challenges artists from working class backgrounds face in maintaining careers in the sector. We will consider what action we can take on these points when we review our Equality, Diversity, and Inclusion policy in 2025126. FINANCIAL REVIEW The Statement of Financial Activities (including Income and Expenditure Account) and Balance l The respondent is asked to select the category of easy to understand. applicable to people of all ages the highest income earner in their household when and countries, and has high response rates in they were 14 years old. This is considered to be the testing. best way to assess people's background. It's also 11
MAHOGANY OPERA GROUP TRUSTEES. REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Sheet, together with the notes thereon, are set out on pages 19 to 30. The Statement covers the 12 months from 1 April 2024 to 31 March 2025. Total income forthe year amounted to £356,517 (2023124 £258,496) of which £155,372 (2023124.. £104,735 was restricted. Total expenditure for the year was £376,840 (2023124.. £289,202), of which £133,577 (2023124.. £100.157) was restricted. The Company's income and expenditure for the 2024125 financial year were both significantly higher (38 % increase in income and 300/0 increase in expenditure), due to major productions including the premiere performances of Rolf Hind's Sky in a Small Cage and the commission and initial R&D workshops on Errollyn Wallen's A Christmas Miracle. There was overall deficit in 2024125 of £20,323 (2023124 deficit of £30,706). The Trustees planned for a deficit having agreed the strategic investment of resenies for key projects and core costs during the year. The Company maintains a strong reseprfes position, with unrestricted funds of £279,088 at 31 March 2025 (2023124 £321,206). The Company saw a continued reduction in support from trusts and foundations, with grants totalling £98,053 (2023124.. £128,012 and 2022123.. £188,465). This reflects broader trends in the sector, but the Company remains grateful for significant support including a core costs grant from Vaulkhard Douglas-Hume Music Trust and project grants from Garfield Weston Foundalion and John R Murray Charitable Trust (for Snappy Operas) and Jerwood Foundation (for a new Opera Designers award supporting designer's fees and production costs for three upcoming projects). Meanwhile the Company secured a notable increase in individual giving, chiefly through a major donation funding the commission of A Christmas Miracle. Mahogany Opera continues to focus on increasing its philanthropic fundraising, cultivating individual donors and regional trusts in the UK areas where it works. Offsetting the reduction in trusts income, the Company was able to claim a significantly higher amount of Theatre Tax Relief against its expenditure on new productions, totalling £100,750 (2023124.. £76,221). Earned income from partnerships and venue fees was also significantly increased from the previous year at £52,800 (2023124.. £33,001), chiefly generated from performan fees for Sky in a Small Cage along with partnership fees for other projects. The Company also generated income of £5,639 (2023124.. £6,915) from bank interest, the decrease reflecting reducing interest rates and slightly lower cash balances during the year. The Company maintains a lean operating model, with one employee supported by a core team of three freelancers who all work remotely. Despite this, fundraising for core costs remains ever more challenging year-on-year. Coupled with the broader economic outlook, there are few certainties in planning for the coming years but, given the Company's strong balance sheet and with the ongoing support of a range of organisations and individuals, the trustees are confident in the Company's future ability to continue to meet its artistic goals. Reserves The unrestricted reseples of the Company comprise a General Fund and two Designated Funds. One of the Designated Funds is a Contingency Fund which the trustees consider it prudent to maintain to meet the eventual costs of winding down the Company over a period of six months, including core operating costs, redundancy, legal and accounting costs. This reflects the challenge of funding within the present economic climate and ensures that this reserve is not made available for other purposes. 12
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 The other is the John Hughes Innovation Fund, which is the combination of a legacy received in 2017118 and the previous Future Commissions Fund. This is used for the development of new ideas across the Company's artistic programme. This fund also allows the Company to respond to opportunities, the scheduling of which may be beyond the Company's control. The balance of unrestricted funds is held in the General Fund which can be accessed by the Company as necessary. Investments The Company maintains savings accounts for managing cash reserves and any grants awarded for future projects. These funds are currently split between 32-day and 95-day noti accounts. The remaining funds are kept in a current account with Lloyds Bank. RISK MANAGEMENT All significant activities undertaken are subject to a risk review as part of the initial project assessment and implementation. Major risks are identified and ranked in terms of their potential impact and likelihood. Major risks, for this purpose, are those that may have a significant effect on.. Operational performance, including risks to staff, volunteers and visitors Achievement of aims and objectives Meeting the expectations of beneficiaries or supporters The trustees review these risks on an ongoing basis and satisfy themselves that adequate systems and procedures are in place to manage the risks identified. Where appropriate, risks are covered by insurance. The following framework is central to ensuring adequate risk management: Regular monitoring of major risks Embedding risk identification and assessment within operating procedures A clear structure of delegated authority and control Maintaining reserves in line with set policies In assessing risk, the trustees recognise that some areas of work require the acceptance and management of risk if key objectives are to be achieved. The trustees have reviewed the major risks to which the Company is exposed and identified control and mitigation procedures, under the headings of.. Governance Operational Financial External Complian STRUCTURE, GOVERNANCE AND MANAGEMENT At year end, there were eight trustees (directors) on the board, who have overall fiduciary responsibility for the supep4ision of Ihe activities of the Company. Day-to-day management of the Company is delegated to the Executive Director, Bridget Rennie, 13
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 and Artistic Director, Frederic Wake-walker, who works internationally as a freelance director alongside his work with Mahogany Opera. They are supported by a freelan core team comprising an Associate Producer, Fundraising Manager and Finance Manager each working part-time. In addition, the Company works with a range of specialist freelan staff to deliver additional functions when appropriate. Mahogany Opera's trustees and staff reflect and champion the communities and artists with whom they work. Registered in West Cumbria, we deliver work across the country, with strong relationships and partnerships in key areas across the North of England and Scotland. The trustees meet at least four times a year and are available for consultation and advice on an ad hoc basis. The Finance Committee meets in advance of each quarterly Board meeting to monitor the Company's financial posilion and management. Statement of trustees. responsibilities The trustees (who are directors of Mahogany Opera for the purposes of company law) are responsible for preparing the Trustees, Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). 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 the year. 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 prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in operation 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 hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. Disclosure of inforniation to the independent examiner Each of the persons who are trustees at the time when this trustees, report is approved has confirmed that.. so far as that trustee is aware, there is no relevant information of which the charitable company's independent examiner is unaware that trustee has taken all the steps that ought to have been taken as a trustee in order to be aware of any infomiation needed by the charitable company's independent examiner 14
MAHOGANY OPERA GROUP TRUSTEES, REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 in connection with preparing their report and to estsblish that the charitable company's independent examiner is aware of that information In preparing this report, the trustees have taken advantage of the small companies exemptions provided by section 415A of the Companies Act 2006. This report was approved by the Board of trustees on 11 December 2025 and signed on its behalf by Mary Miller Chair of trustees 15
Mahogany Opera Group Independent Examiners Report to the Trustees For the year ended 31 March 2025 I report lo the Iruslees on my examination of the accounts of the charitable company for the year ended 31 March 2025. RgsponsibiSities and basis of report As the charity Iruslees of the Company land also ils directors for the purposes of company lawl. you are responsible for the preparation of the accounts in accordan with the qUirements of the Ctl8rities and Trustee Investment (Scollandl Acl 20051'lhe 2005Act'i the Charities Accounts (Scollandl Regulations 2006las amended) and the Companies Act 2006{'the 2006Acl'l. You are satisfied that the accounts of the Company are not required by charity or company law lo be audited and have chosen instead to have an Independent examination. Having satisfied myself that the accounts of the Company are not required lo be audited under Part 16 of the 2006Act and are eligible for independent examination, I report in respect of my examination of your charity's accounts s carried out under section 4411llcl of the 2005Acl and section 145 of the Charities Ad 2011 I'lhe 2011 Acl'l. In carrying out my examination I have followed the requirements of Regulation 11 of the Charities Accounts (Scollandl Regulations 2006las amended) and the Direcb'ons given by the Charity Commission under section 14515llbl of the 2011 Act. IndgP9ndent examiners ststgment Since the Company is required by law to prepare ils accounts on an accruals basis and is registered in Scotland, your examiner must be a member of a body listed in Regulation 11121 of the Charities Accounts (Scollandl Regulations 2006 las amended). I CL)nfirm that l am qualified lo undertake the examination by virtue of my membership of Institute of Chartered A¢¢ountsnl$ in England and Wales, which is one of the listed bodie$. I have completed my examination, I confim) that no m8tter5 have Gome to my attention in connection with the examination giving me Cause lo believe that in any material respect. 1. accounting records were not kept in respect of the Company as required by Section 386 of the 2006 Act and Regulation 4 of the Charities Accounts (Scollandl Regulations 2006 las amended)., or 2. the accounts do not accord with those records with the accounting requirements of Regulation 8 of the Charities Accounts (Scollandl Regulations 2006., or 3. the occounls do not comply with the a¢untIng requirements of section 396 of the 2006 Act other than any requirement that the accounts give a 'lrue and fair view,, whith is not a matter considered as part of an independent examination., or 4. the accounts have not been prepared in accordan with the methods and principles of the Slalement ot Recommended Practice for accounting and reporting by charities applicable lo charities preparing their accoun15 in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021. I have no concern5 and have come across no other matters in connection with the examination lo which attention should be drawn in this report in order lo enable a proper understanding of the accounts lo be reached. Caroline Clarke ACA 66 High Street Lewes East Sussex BN7 1XG l 6iiL/v)- 16
Mahogany Opera Group Statement of Financial Activities (including Income and Expenditure Account) For the year ended 31 March 2025 Noto3 Unrestricted fund8 Restricted funds 2025 2024 Income and endowments from: Donations and legacies Charitable activities Investments Other income 41,829 52.800 5,639 100,877 155,372 197,201 52.800 5,639 100.877 141,917 33,001 6,91 S 76,663 Total 201.145 155,372 356,517 258.496 Expendlture on: Raising funds Charitable 8¢tivilies Total 123,306} 1219,9571 1243.2631 123,306) 1353,5341 1370,8401 112,171) 1277,0311 1289.2021 718 1133,5771 1133.5771 Net Incom•lexpondlturg Roconclliatlon of fund8 Total funds brought forward Total funds carrlod forward 142.1181 21,796 120,3231 {30,706) 321,206 279,088 18,064 39.869 339,270 318.947 369,976 339,270 17
Registered Number '. 03508706 Mahogany Opera Group Statement of Financial Position As at 31 March 2025 Notes 2025 2024 Current assets Debtors Cash al bank and in hand 14 198,794 152,190 350,984 132,037} 112.297 236.821 349,118 {9,848} Creditors: amounts falling due wlthln one y•ar 15 Net current assets 318.947 318.947 339,270 339,270 Total as80ts le•$ ¢urrgnt Ilabllltles Net asuts 318,947 339,270 Th¥ lund$ of tho charlty Restricted in¢ome fund5 Unrestricted income fvnds 16 39,859 279,088 18,064 321.206 16 Total fund• 318,947 339,270 For the year ended 31 March 20251he company was enlilled to exemption from audit under section 477of the Companie8 Act 2006 r&lating lo small companies. The members have not reqLsired the company to obtain an audit of ils accounts for the year in question In accordanr with section 476, The Iruslees acknowledge their rssponsibililies for Mmplying with the requirements of the Act with respect to accounting records and the preparation of accounts. These accounts have b¢en prepared in accordance with the provisions applicabte lo Companies Subject to the small companies, gIme. The financial statements were approved and authorisod for issue by the Board and signed on ils behalf by.. Mary Miller Chair of trustees 11 th December 2025 18
Mahogany Opera Group Notes to the Financlal Statements For tho year ended 31 March 2025 1. Accounting Policles Basls of accounting The financial slalemenls have been prepared un(Ser the historical cost convention. except for investmen15 which are included al market value and the revaluation of certain fixed assets and in a¢cordance with the Charities SORP IFRS 1021 'Accounling and Reporting by Charities.. Slalemenl of Recommended Practice applicable lo charities preparing their accounts in accordance with the Financial Reporting Siand8rd applicable in the UK and Republic of Ireland IFRS 102) (effective 1 January 20191., Finanaal Reporting Standard 102 the Financ¢al Reporting Standard applicable in the UK and Republic of Ireland IFRS 102), and the Cornpanies Act 2006. Mahogany Opèra Group meets the definition of a public benefit entity under FRS 102. Assets 8nd liabilities arg initialty Tecognis¢d al historical cost or transaction value unles$ olhemise slated in the relevant accountin9 policy nolelsl, Golng concern The finan¢i81 slalemenl8 are prepared, on a going concAqrn basis, under the historical cost convention. Fund• Tho charity maintains a general unrestricted fund which repSents funds which are expendable al the discrfrlion of the Iruslees in furtherance of the objects of the ch8rity. Such funds may be held in order to finance both working ¢apital and capital investment. Design8led funds comprise of unrestricted funds that have been $818side by the Trustees for particular purposes. Reslriclad funds have been provided lo the charity for particular purposes, and it is the policy of the board of Iru81ees lo carefully monitor the application of those funds in accordanrA with the restrith'ons p18ced upon them. There is no formal policy of transfer been funds or on the allocation of funds lo designated funds. other than that d•3cribed above Incomlng re•ourco8 All income is recognisod in the Statement of Financial Activities ISOFAI when the charity 18 legally enlilled lo the income and the amount can be quantified with reason8ble certainty. Income 18 not shown nel of axpenditurg. Th• following specific policies are applied lo categories of income. Voluntary income is received by way of grants, donations and gifts and is included in the SOFA when reeeivable. Grants, where entillemenl is not conditional on.the delivery of a specific perfomianGp by the charity, are recognised when the Charity becomes unconditionally entitled lo the grant. Investment income is included when re1Vable. Income from grants where re181ed lo perfoimance and specifi¢ deliverables, a a¢¢ounted for as tho charity earns the right lo consideration by ils perforrn8n¢e. Theatre income is included in inmme in the period in which the leVant activity look place Project specific funding. when donors specify that donations and grants are lor particular restricted purposes, which do not amount lo pre-conditions regarding enlillemenl. is included in the income of reslricled funds when receivable Resources expended All expenditure is accounlad for on an accruals basis and 15 Staled nel of VAT. Costs of generating funds are Ih08e costs incurred in attracting voluntary incomè. Charitable 8xp8ndilure comprises those costs ineurrod by the charity in the delivery of ils activities and servic*s for its beneficiaries. 11 includes both costs which can be directly allocated lo activities and those costs of an indirect nature ness•ry to support them, GovernancE costs are those incurred in connection with compliance with constitutional and 51alulory requirements. Costs are allocated beeen the expenditure categories of the SOFA based on usage of the resource. Where ¢osl$ cannot be directly allocatod they are apportioned on an appropriata basis and recognisgd in SOFA, Allocatlon and appolntment ol costs Support costs are those functions that assist the work of the charity but do not directly undertake charitable acliviltes. Support cost5 may include any back office costs, finan, personnel, payroll and governants costs whith support the charities pro9rammes and aclivilies. These cos15 hav8 been 311ocated betrfftn cost ol raising funds and expendilure on charitable activities where applicable. 19
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 Taxatlon As a registered charity, the company is exempt from income and corporation tax lo the extent that ils income and gains are applicable lo charitable purposes only. Pensions The company operates a defined contribution pension scheme in respect of ils employees. The scheme and ils assets are held by independent managers. Pension costs are allocated lo reslricled funds 8$ part of gro55 salary costs where fL*nds cover salaried posts. 2. Income from donatlons and legaGles Unrestricted fund$ Restrictsd fund$ 202$ 2024 Donations received 7.329 34,500 91.819 99,148 98,053 13.905 Grants ceiVed 63.553 128,012 41,829 155.372 197.201 141,917 Analys1$ of grants received 202S 2024 Arts Couneil England Comelius Cardew Concerts Trust Creative Scotland 32.050 100 8,500 3.480 Cumbria Community Foundation Garfield Weston Foundation Goethe-lnslitul London {Cullur81 Bridge) Hadfield Charitable Tru51 30,000 553 4,982 1.400 2,500 Harold Hyam Wingate Foundation Jerwood Foundation Katie Bradford Arts Trust Nicholas Berwin Charitable Trust Scops Arts Trust The Golsoncott Foundation The Hinrichsen Foundation The INing Memorial Trust The John R Murray Charitable Trust The Kobler Trust 20.000 4,000 30,000 6,000 1,500 2,000 3,000 8,000 3,000 30,000 The Vaulkhard Douglas-Home Music Trust Three Monkies Trust 30,000 5.000 98,053 128.012 20
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 3. Income from charitable actlvltles 2025 2024 Unrestricted lunds Artists /produclion /touring / prep8r8tion /educalion Income from ¢harilable adivilies 52,800 33,001 4. Investment incomè 2025 2024 Unrestricted funds Bank interest receivable 5,639 6.915 5,639 6,915 S. Other Income 2025 2024 Unrestri¢t8d funds Other income 127 442 Thealrt Tax Relief 100,750 76,221 100,877 76,663 6. Expenditure on generatlng donatlonB and legacies 2025 2024 Unr95tricted funds Donations 22.113 1,193 11,217 954 Support eosl$ 23,306 12.171 21
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 7. Costs of charitsble activities by fund ty Unrestrlcted funds Restricted funds 2025 2024 Artists I prodLtclion I touring I preparation l education Marketing Support costs 194,923 133.577 328,500 250,805 6,928 18,106 6.928 4,498 21,728 18,106 219,957 133.577 353,534 277.031 8. Costs of charitable activitie$ by actlvlty typp Activities undortakèn directly Support costs 2025 2024 Support costs Artists I production I touring I preparation l education Marketing 328,500 17.732 346,232 272.150 6,928 374 7.302 4,881 335,428 18,106 353.534 277,031 9. Analysis of support costs Ralsing funds Artists I production I touring I preparation I odu¢ation Marketing 2025 2024 offi Costs 1,193 8,7SO 3,538 374 10,317 3,538 16.774 Finance and Bookkeepin9 Bank Charges Govemance costs 3,512 303 303 171 5,141 5,141 2.225 1,193 17.732 374 19.299 22,682 22
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 10. Net incomollexp9nditurel for the year This is slated after charging11d1IIrngl'. 2025 2024 AccountanGy fees 1,200 1,200 11. Staff costs and emoluments Total 51aff costs for the year ended 37 March 2025 were.. 2025 2024 Salaries and wages Pension cos15 43,680 1,539 42,000 1,073 45,219 43,073 The were no employees12024.' £Nill who reiVed emolunients lexdyding employer pension costs) of more than £60,000. The key management personnel of the Charity. comprise the Iruslees. Executive Director lemployee} and Artistic Director Ifreelancel. The total employee benefits of the key management personnel of the charity were £71,94312024.. £69,169). 2025 2024 Produ¢lion Staff 12. Trustee rèmuneration and relatsd party transactions The Charity trustees were not paid or received any other benefits from employment with the Charity in the year12024'. £nill. One Iruslee was reirnbursed expenses lolalling £66.33 during the year12024.' Two trustees £284.88). No charity Iruslee received payment for professional or other serviee5 supplied lo the charity12024.. £nill. 23
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 13. Comparative for the Statement of Flnancial Activitlgs Unrg$tri¢ted funds Rgstricted funds 2024 Income and gndowmgnts from: Donation5 and legacies Charitable activities 37.182 33.001 6.915 76,663 153.761 104,735 141,917 33,001 6,915 76,663 Investments Other income Totsl 104,735 258.496 Expendlture on: Raising funds Charitable activities (12,1711 1176,875} 1188,0461 112,171) 1277,031} 1289.2021 1100,156) 1100,1 $6) Total Net incomelexpenditure Reconclliatlon of funds Total funds brought fOard Total funds carrled forward {35,285} 4.579 130.7061 356.491 321,206 13,485 18,064 369,976 339,270 14. Debtors 2025 2024 Amounts due within one year: Trade debtors 6,000 192,168 626 3,600 108,318 379 Prepayments and accrued income Other debtors 198.794 112,297 15. Creditors.. amounts falling due within one year 2025 2024 Trade CditOrS 27,269 218 5,728 Other creditors Accruals and defvrred income 4,550 4.120 32,037 9.848 24
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 16. Movement in funds Unr98trlcted Funds Balance at 0110412024 Incoming re$ource$ Outgolng resources Transfera Balance at 3110312025 DeSn8(8d Contingency Reserve Following Year Projects Designation John Hughgs Innov81ion Fund 98.038 178,1001 98,038 18,100 227,429 198.0381 129,391 General G8nerRI 75,677 201,145 1243,263) 18,100 51,659 321.206 201.145 1243,2631 279.088 Unreitrlctod Fund8- Prevlous y•ar Balancè at 0110412023 Incomlng resources Outgolnq rosource• Transfor• 8alancg at 3110312024 Designoled Following Year Projgcls Designation John Hughes Innovation Fund 47,620 147,620} 18.100 18,100 245,529 118,700) 227,429 General General 63,342 153,761 1141,4281 75,677 356,491 153,761 1189,0481 321,206 25
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 Purpose of unrestrlcted Funds Contingency Reserve The Contingency Fund has been designated lo meet the eventual cos15 of winding down the Company over a period of six months, including core operating cos15. redundancy, legal and accounting costs. The Iruslees consider it prudent to maintsin this fund, reflecting the challenge of funding within the present economic climate and ensuring that this reserve is not made available for other PL*rpose$. Following Year Projects Designation The Following Year Projects Designation was allocated by the Iruslees for 9xisling projects which weie undeway and which the Charity wanted to support with ils own resources. The level of this reserve fluctuated accordin9 to the pallern of funding and the Charity's production schedules. John Hughes Innovation Fund The John Hughes Innovation Fund is the combination of a legacy received in 2017118 and the previou5 Future Commissions Fund. This is used for the development of new ideas across the Company's artisbc programme. This fund also allows the Company lo respond to opportunities, the scheduling of which may be beyond the Company, control. General The balan of unrestricted funds is held in the General Fund which can be accessed by the Company as necessary. Restrlcted Funds Balance at 0110412024 Incomlng resources Outgolng resources Balance at 3110312025 A Christmas Mir8cIt 78.676 5,000 5,000 (73,6761 Is,0001 5,000 Core Activities Hildegard Hooligan Project 2024 In the Belly of the Beast 5,000 671 7,500 16,8291 5,000 5,000 SEND Snappy Opera- Roll Upl Newcastle Sky in a Small Cage Snappy Opera- Frequenz Festival Snappy Opera Lithuania Snappy Operas New Commissions 1,991 3,000 14,9911 6.813 1,760 20,143 553 126,956) 12.3131 8,000 18.000} 20.540 11,7071 18,833 Snappy Operas Rights & Resources 9.460 14.1051 5,355 18,064 155,372 {133,5771 39,8S9 26
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 RgStri¢tsd Funds - Prevlous year Balance at 0110412023 Incomlng rgsources Outgolng resourc85 8alanc8 at 3110312024 Hildegard.. Visions Hooligan Art Community Bunker Cabaret lour Hooligan Project 2024 Out of Her Mouth 32.050 473 132.0501 12,553> 2,080 8,500 6,250 7,000 11,0001 {6,2501 15.0091 7,500 SEND Snappy Opera- Roll Upl Newcastle SEND Snappy Opera- Roll Upl Sandg81e Sky in a Small Cage Snappy Opera - FquenZ Festival The Gfeal Learning 1.991 7,980 17.980} 11,405 30,000 4,982 134,5921 13,2221 8,813 1.760 7.500 17,5001 13,485 104,735 (100.1561 18,084 27
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 Purpose of restricted funds Hildegard.. Visions A project grant from Arts Council England supported the R&D of Nwando Ebizie's Hildegard.. Visions in 2023124 lin 2022123 grants from The Marchus Trust and PRS for MLtsic Foundation supported the commissioning costs). Hooligan Art Community Bunker Cabaret tour The final performan$ of the lour in 2023124 attracted a small amount of reslricled individual donations. In 2022123 grants from British Counal Ukraine, The Foyle Foundation and Paul Hamtyn Foundation supported the tour. Sky in a Small Cage Nicholas Berwin Charitable Trust supported the commissioning costs of this production in 2023124. Cockayne Grants for the Arts supported initial production costs in 2022123. Out of Her Mouth In 2023124 we secured significant donations from individuals lo support the production. In 2022123 we had reiVed grants from Fidelio Charitable Trust, The Golsoncott Foundation and Ambache Charitsble Trust towards the production. The Great Leaming Scops Arts Trust and Hadfield Trust awarded grants to support the development of this collaboratively composed choral project. Hooligan Project 2024 Creative Scotland awarded a grant from their Four Nations intemalional fund to support a partnership project beeen Mahogany Opera, Hooligan Art Comn7unity (Ukrainel and Findhorn Bay Arts (Scolland). SEND Snappy Opera - Roll Upl Newcastie Three Monkies Tnjsl and Katie Bradford Arts Trust 8warded grants lo support the deliver of Roll Up! in a SEND school in Newcastle. Snappy Opera - Frequenz Festival The Cultur81 Bridge programme via Goethe Inslitul London awarded a grant to support a partnership project wlh Frequenz Festival in Kiel. Gemiany. SEND Snappy Opera - Roll Upl Sandgale Katie Bradford Arts Trust. Cumbria Community Foundation and Harold Hyam Wingate Foundation awarded grants in 2023124 towards the final phase of this pfojecl developing a new Snappy Opera al a SEND school in Kendal. In 2022123 the project was supported by Finn Family Fund, Frieda Scoll Charitable TrLtsl, Granada Foundation. Katie Bradford Arts Trust, The Raddiffe Trust and Harold Hyam Wingate Foundation. Core Activities Part of a grant from Jeood Foundation supported CL)re Costs underpinning the delivery of three funded projects (Hildegard, A Christmas Miocle and In the Belly of the Beasll. Hildegard Part of a grant from Jerwood Foun¢Jalion 5UPPOrted design costs for Hildegard.. Vision5 Ilhis was carried forward as slricled fund into 20251261. In the Belly of the Beast Part of a grant from Jerwood Foundation supported design costs for In the Belly of the Beast Ilhis was carried forward as a reslricled fund into 20251261. A Christmas Miracle Part of a grant from Jerwood Foundation 5UPPOrted design costs for A Christmas Miracle Ilhis was carr*ed fOard a5 a reslricled fund into 20251261. 28
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 Snappy Opera Lithuania A grant from the John R Murray Trust supported the commissioning of new Snappy Operas with our partners in Lilhuania. Snappy Operas Rights & Resources A grant from Garfield We51on Foundation supported the creation of new and updates lo existing Snappy Opera resour¢es. Snappy Operas New Commissions The grant from Garfield Weston Foundation also supported the commis8ioning of tsvo new Snappy Operas Isome ol which was carried foMard as a restricted fvnd into 20251261. 17. Analy$l8 of net assets betwegn fund• N•t curront a•8et• I N•t A•••t• Unre8trlcted funds G•ngral Gener81 51,859 51.659 Deswnoled Conlin9ency Reserve John Hughes Innovation Fund 98,038 129,391 98.038 129,391 R•8trlctod fund• A Christmas Miracla Hildegard Hooligan Project 2024 In the Belly of the Beast Snappy Operas New Commissions Snappy Operas Rights & Resources 5.000 5,000 671 5,000 s,000 671 5,000 18,833 5,000 18,833 5,355 5,355 318,947 318,947 29
Mahogany Opera Group Notes to the Financial Statements Continued For the year ended 31 March 2025 Previous yoar N•t curr•nt ass•t$ I Net Assets Unrestrlcted lund8 Gen8ral General 75,677 75,677 Deswnoled Following Year Projects D6signalion John Hughes Innovation Fund 18,100 18,100 227,429 227,429 RotstrlGtod funds Hooligan Project 2024 SEND Snappy Opera- Roll Upl Newc8slle Sky in a Small Cage Snappy Opera - Frequenz Festiv81 7,500 1,991 7,500 1.991 6,813 1,760 6,813 1,760 339,270 339,270 30