ANNUAL
REPORT
2024R5
BLACK
COUNtRY
TOURING

_**Top: Flying with Strings by Sarah Vigars at Bear Books Bottom: Beached by Strangeface at West Smethwick Park Pavillion. Both part of Smethwick Puppetry Festival**_ 2 _**Cover: Wild at Brierley Hill Civic**_ 



## **About Us** 

Founded in 1997, **Black Country Touring** (BCT) addresses the historic lack of access to the arts in one of the UK’s most culturally under-served regions. We believe the arts can transform lives - building skills, confidence and connection. 

## Vision 

## Mission 

A Black Country where everyone can To create opportunities for the region’s experience inspiring, high-quality diverse communities to programme, creative work in their community— participate in, and experience theatre, where income, background or age dance and film that is accessible, are never a barrier to access. relevant, and shaped by local voices. 

Cultural inequality contributes to long-term educational and economic disadvantage; 44% of our audiences are from the lowest three income deciles, and 41% from the lowest in educational attainment. 

We’re committed to building a more equitable cultural landscape - one where creativity is powered by the communities we serve. 

## **How we deliver** 

**==> picture [95 x 114] intentionally omitted <==**

## Producing 

## Touring 

Supporting local venues, volunteers and young people to programme professional touring theatre and dance in community venues and schools, 

**==> picture [111 x 102] intentionally omitted <==**

## Developing 

We create and commission theatre, dance and digital projects that reflect the stories, identities and lived experiences of Black Country communities. 

We nurture local artists, strengthen the capacity of community organisations and contribute to regional cultural strategies. 

3 



**2024/25 Impact 38%** 467 Audiences from an ethnically diverse Events background OoSe 17,495 Audience & Participants 

63 VENUES 

**20%** D/deaf or Disabled Audiences & Participants 

Excellent or Good 97% Show Www ww Rating 



## **Co-Chair’s Statement** 

## A Year of Growth, Development & Change 

**In 2024-25, Black Country Touring strengthened cultural provision in our region by improving access and participation in the arts, empowering communities to lead, and securing significant investment for the Black Country.** 

This year also marked the beginning of our shared role as Co-Chairs. We would like to warmly thank our predecessor, Tim Rushby, who served as Chair for seven years and as a trustee since 2006. His leadership and long-standing commitment to BCT have helped it grow its income, reach and impact. 

Our Community Promoter network remained at the heart of our work, with local people programming an incredible 324 performances across 56 venues. 

Through our touring scheme and related projects, BCT built skills, boosted confidence, and supported the freelance artists and touring companies who are vital to England’s cultural life. Rekindle and Libraries Unbound brought powerful performances into public libraries across Sandwell and Wolverhampton. 

## **Working Together for the Black Country** 

## **At the Heart of Communities** 

Our flagship production, Wild, engaged hundreds of people in community gardens, libraries and arts venues and will tour nationally in 2025, sharing Black Country stories across the UK. We were pleased to continue our partnership with Black Country Living Museum, creating a site-specific piece exploring the heritage of the 1960s with the museum’s incredible buildings as a backdrop and stimulus. 

We are grateful to our partners, including Spectra, Parakeet, Multistory, Creative Black Country, Sandwell Cultural Compact, Sandwell Libraries and Museums, and the Black Country Living Museum, whose work and collaborative spirit are driving cultural growth in the Black Country. 

fi 5 wwe 



Finally, we offer our thanks to the BCT team, promoters, stewards and volunteers for their energy, care and commitment, and to our fellow trustees for their time, insight and dedication. We are also grateful to our audience and participants, who so often greet touring theatre companies, our productions and our team with enthusiasm, warmth and applause. 

## **Looking Ahead** 

The achievements of 2024/25 reaffirm our belief that investing in local people and places leads to a fairer, richer and more relevant cultural landscape. Autumn 2025 is a key milestone in BCT's history. CoArtistic Directors, Frances Land and Steve Johnstone, who have led the organisation with integrity, ambition and unwavering passion for more than 28 years, will step down from their shared role. Their connection and commitment to the region is incomparable, and we commend and celebrate their dedication to improving the lives of local people through so many productions, projects and development opportunities. 

We are delighted to welcome Genevieve Say as our new Artistic Director, who, alongside Executive Director Matt Andrews and the Board of Trustees, will lead BCT into its next phase. As the cultural sector continues to navigate change and uncertainty, BCT remains grounded in its values and clear in its purpose. With a new leadership team in place, we are now working together to shape a bold strategy for 2026-29, which builds on our legacy, responds to the needs of our communities, and takes us in new and exciting creative directions. 

**Carla Priddon & Imtiaz Dungarwalla** Co-Chairs of the Board 

_**The Wild cast and creative team in rehearsals.**_ 

_**Wild - a BCT Production**_ 

_**Laika the Space Dog by Lori Hopkins**_ 

_**Hello Birds by Jasmine Cole Productions at Thimblemill Library**_ 

6 



## Financial Performance 

Black Country Touring ended the 2024/25 financial year in a financially resilient position, with growing capacity and reach supported by the current Arts Council England NPO investment. The uplift in our core funding has strengthened the organisation’s ability to plan, deliver and develop ambitious work across the region, while maintaining healthy reserves and supporting a sustainable team structure. 

Total income for the year rose to £680,499, compared with £550,576 in 2023/24 and £474,708 in 2022/23 – a 43% increase over two years. This growth reflects the increased capacity provided by greater NPO funding and the success of targeted fundraising efforts, which have expanded our reach and deepened community engagement. 

During the year, BCT secured a £74,500 grant from the Inclusive Communities Fund to support the Smethwick Arts Collective, a further year of flexible funding of £75,000 from The Players of the People’s Postcode Lottery, and a £10,000 grant from the West Midlands Combined Authority for the Smethwick Puppetry Festival. 

At year end, BCT held a higher than usual level of carried-forward funds. This reflects the timing of multi-year grants and planned investment in programme delivery and organisational development. These funds will support continued delivery, maintain core capacity, and underpin the transition into our 2026–29 Strategy period. 

These projects and their impact are only possible thanks to the belief and support of our funders, including: 

Arts Council England The Players of the People’s Postcode Lottery The Heart of England Community Foundation United by 2022 Film Hub Midlands Sandwell Council 

West Midlands Combined Authority Wolverhampton City Council The Commonwealth Games Legacy Investment Fund 

We are deeply grateful for their investment and confidence in our work. 

We also received £10,000 from the Wolverhampton Cultural Compact and the Commonwealth Games Legacy Enhancement Fund for work with Wolverhampton Libraries, and worked closely with Sandwell Council to bring additional theatre and dance performances to local libraries and museums as part of their festival programming. 

_**Flying with Strings by Sarah Vigars**_ 

7 



IhllL
Ir*_
A Black Country Touring Production

## **Wild - A BCT Production** 

‘Wild’ was informed by conversations and stories that we collected from over 70 people across rural, urban and seaside locations about what wild means to them. The production wove these stories together with immersive music and soundscapes, and invited the audience to reflect on their own definitions of Wild, fostering a deeper appreciation of both nature and human nature. 

These gardens provided contact with most of the people interviewed for the production. Our aim was to use the experiences of the people of the Black Country to create a touring show which would feel as immersive as possible. The piece toured the original four community gardens and various other venues, including libraries, community and art spaces and a civic hall, 

Wild was the second part of a two-phase project that involved working with four community gardens across the Black Country. 

in October 2024. 9 performances took place across 8 venues, with a total of 581 audience members. There were over 70 participants involved in the research phase, and 11 artists were employed as part of the production. 

_**Audience feedback:**_ “Awesome, intense, real, honest, gripping, brave, fun, moving, shocking, memorable, vivid, vibrant!” “I really enjoyed the way the scenes wove between stories, anecdotes and journeys, it was great.” “Triggered visceral emotion and reminded me how wonderful it is to be alive and to be a creature in such a powerful world!” 7 . fay 

part of the production. Following its successful tour of the Black Country, Wild will be touring in community venues across the country this Autumn. fay ‘ te 



## **Community Promoters** 

The **Community Promoters** scheme enables local people to take the lead in bringing professional theatre and performances and film screenings, and arts events to their neighbourhoods. Our Promoters are based in local venues such as community centres, libraries and schools, where they select shows, market events, and host performances with support and guidance from BCT. 

This year, we worked closely with our Community Promoters to programme 324 performances in 56 venues as well as 64 screenings. 

**==> picture [108 x 15] intentionally omitted <==**

**----- Start of picture text -----**<br>
“Alice and the Library Tree” by ea<br>**----- End of picture text -----**<br>


## **Highlights included:** 

- Our Promoter’s busiest year ever, with over 324 performances and 13,072 attending in community venues. We worked with Sandwell Council to programme 24 performances as part of the Sandwell Arts Festival. With free theatre events for all ages this was a jampacked summer offer! 

- Supporting the Big Kids Theatre Weekend at West Smethwick Park, which saw over 600 people decend on the Park and Pavillion to enjoy a weekend of fun! 

- Continuing to support Wednesbury Day with high quality walkabout acts such as The Wrong Brothers and a performance of Laika The Space Dog. Bringing together the people of Wednesbury to celebrate the historical town through the arts. 

The scheme not only broadens access to arts experiences, but also empowers residents to shape their local cultural offer, helping them grow in confidence, develop valuable skills, and build stronger connections within their communities. 



## **Rekindle** 

Rekindle, a three-year project funded by Arts Council England and led by Creative Arts East, is a nationwide initiative pairing five arts organisations with their local library services. 

BCT are collaborating with Sandwell Library Service to bring more creativity and culture into five Sandwell Libraries: Smethwick Library, Central Library, Wednesbury Library, Tipton Library and Blackheath Library. We are also working with library staff to build their skills and confidence in making exciting events happen in their library. 

In 2024-25, Rekindle delivered 37 shows, workshops and cinema events, with performances aimed at both adult and family audiences. A significant highlight was that the entirety of the programme was hand-picked by the library staff themselves. The project helped foster long-term relationships between libraries and their audiences. 

## **Libraries Unbound** 

Libraries Unbound, a 5-month project funded by the Commonwealth Games Legacy Enhancement Fund, allowed us to develop a new programme with local libraries to Wolverhampton, based on Rekindle. 

We collaborated with Wolverhampton Library Service and Gazebo Theatre to bring high quality theatre and workshops to 4 library spaces: Bilston Library, Bob Jones Community Hub, Central Library and Whitmore Reans Library. 

The project delivered 24 family focused events across the 4 libraries, at no cost to audiences. It allowed us to develop our relationship with Wolverhampton Libraries, and allowed them to programme events that they would not otherwise have had the capacity or funds to programme. 

11 



## **Spotlight on Smethwick** 

**Our partnership work in Smethwick continues to grow in scale, ambition and reach, supporting local creativity while improving access to the arts for children, families and communities.** 

In 2024-25, we delivered two major strands of work in the town: the **Smethwick Puppetry Festival** and the **Smethwick Arts Collective** . Together, they **reached over 3,400 people through more than 130 free or Pay What You Can events** across local community venues. 

**The Smethwick Puppetry Festival** , now in its second year, took place during February half term and expanded significantly from its 2024 debut. With strong support from our Community Promoters and a focus on familyfriendly, low-cost activities, the festival welcomed 1,410 attendees – with many events selling out in advance.The programme featured 26 performances, 9 creative workshops, Q&A panels, a short film night, and an automata exhibition across 11 venues. 

The **Smethwick Arts Collective** , a new partnership between Black Country Touring, Spectra, Parakeet and local venues, offered an extended programme of 96 theatre events, workshops and early years stay & play sessions over a 6 month pilot phase. These activities reached 2,026 participants and were designed in collaboration with local venues and community organisations to ensure accessibility and relevance. 

We received overwhelmingly positive feedback for both projects, highlighting what an incredibly creative place Smethwick is. Looking ahead, we plan to grow both strands: building the festival into a flagship event for Smethwick and developing the Collective as a model for deeper, long-term community engagement. 

_Thanks to The Players of the People’s Postcode Lottery, West Midlands Combined Authority, Sandwell Council and Arts Council England for supporting the Puppetry Festival, and to The WMCA Commonwealth Games Legacy Fund, The Heart of England Community Foundation, United by 2022 and Arts Council England for supporting Smethwick Arts Collective._ 

12 



**==> picture [114 x 23] intentionally omitted <==**

**----- Start of picture text -----**<br>
Smethwick Puppetry Festival<br>: af<br>**----- End of picture text -----**<br>


**“Really great program, with some brilliant family events, good timing over Feb half term.”** 

**“Absolute pure magic that you can't experience anywhere else.”** 

**“Such a brilliant event and beautiful puppetry.”** 

_- Audience feedback from Smethwick Puppetry Festival_ 

**“Being able to offer accessible performances means that we can share the experience of live theatre with people who may not usually have the opportunity.”** 

**“Working with Smethwick Arts has enabled us to further foster a sense of community while promoting engagement and cultural enrichment.”** 

_- Christina from Dorothy Parkes Centre_ 

**==> picture [217 x 52] intentionally omitted <==**

**----- Start of picture text -----**<br>
“Flying With Strings” by Sarah Vigars at Bear Bookshop, yraieEP Asien.- Pg; x ot<br>part of Smethwick Puppetry Festival<br>pp:<br>**----- End of picture text -----**<br>


**==> picture [128 x 24] intentionally omitted <==**

**----- Start of picture text -----**<br>
Stay & Play session by Parakeet,<br>part of Smethwick Arts Collective<br>=<br>**----- End of picture text -----**<br>




**Audience feedback:** 

“Nice to see cultural diversity and representation in history. Would like to see more of this.” 

“Great use of authentic space and mix of people. I did not know that about Oldbury! Thank you!” 

## **Crossing The Line at Black Country Living Museum** 

_It’s 1958 in a drop forge in Oldbury. A wild cat strike is in progress. A faulty machine has injured a worker and it has brought the factory to a halt. The cleaner is looking for the resulting mess to clear up and an irate businessman turns up looking for his missing consignment of hammers. There’s more going on here than meets the eye…_ 

Based on research and original interviews, ‘Crossing the Line’ was performed over five Friday evenings in August 2024 as a part of Summer Lates at the Black Country Living Museum. 

The performance was a continuation of our ongoing relationship with the Black Country Living Museum, where we explore together the telling of local stories in and around the 

“Loved the names and diverse actors... it brought hidden history to life.” 

museum’s site. It follows on from many years of collaboration and directly from the success of the previous year’s show, ‘A Spanner in the Works’. 

Using the Joe’s Tools drop forge as its setting, ‘Crossing the Line’ brought together three Black Country Touring performers - Elexi Walker, Jack Trow and Vimal Korpal - with historic characters from the Museum to create a rich and entertaining 20 minute performance, which repeated several times over each Friday evening. 

Our collaboration with the Black Country Living Museum will continue in 2025, which will see BCT collaborate with Jaivant Patel Dance Company as part of South Asian Heritage Month in the Black Country. 

14 



## **Stories of Sandwell** 

## **This year, we developed two powerful digital projects that platform underrepresented voices and use film and audio to deepen public understanding and empathy.** 

In partnership with **The Space, Bearwood Community Hub** and **Borough of Sanctuary Sandwell** , we produced Sanctuary in Sandwell, a series of four short films sharing the lived experiences of people who’ve sought refuge in Sandwell. Each film features award-winning poet Bohdan Piasecki in conversation with a local sanctuary seeker, culminating in a bespoke poem performed within 24 hours. The resulting films challenge negative migration narratives and celebrate human resilience and hope. 

Our collaboration with **Sandwell Visually Impaired** (SVI) and artist **Graeme Rose** resulted in Blathering with SVI, a three-part podcast exploring the daily experiences of visually impaired people - the highs and the lows - in their own words. 

Conversations range from perceptions of colour and dreams to water and memory, revealing nuanced reflections rarely heard in mainstream media. The episodes are enriched by evocative soundscapes from **Think/ Write/ Fly** (artist **Adrian B. Earle** ). 



## **Funders & Supporters** 

Black Country Touring relies on the dedication of our local volunteers and venues. Without their endless enthusiasm for their communities and the arts, our work would not be possible. We are also grateful to all of the individual donors who have supported our work this year. 

_Cover image, Wild photos and Crossing the Line photos © Anand Chhabra Smethwick Puppetry Festival and Smethwick Arts Collective photos © Photography by Fernando_ 

**Black Country Touring** c/o Thimblemill Library Thimblemill Road Smethwick West Midlands B67 5RJ 

**Charity No:** 1080608 **Company No:** 3446320 

Black Country Touring is an Arts Council England National Portfolio Organisation. 

**www.bctouring.org.uk** 



Company registration number: 3446320
Charity registration nLunber: 1080608
Black County Touring
(A company limited by guarantee)
Annual Report and Financial Statements
for the Year Ended 31 March 2025
Bissell & Brown Midlands Ltd
Chart¢r House
56 High Street
Sutton Coldfield
B72 IUJ

Black Country Touring
Contents
Trustees, Report
I to3
Statement of Responsibilities
Independent Examiner's Report
Statement of Financial Activities
Balance Sheet
Notes to the Financial Statements
8t0 14

Blaek Country Touring
Trustees, Report
The trustees, who are directors for the purposes of company law, present the annual report together with the financial
statements of the charitable company for the year ended 31 March 2025.
Structure? governance and management
Nalure ofgovernlng documenl
The company is limited by guarantee and does not have a share capital. It is governed by Memorandum and Articles of
Association and was incorporated on 8th October 1997. It was registered as a Charity on 8th May 2000.
Organlsallonal slruclmre
Chief Executives & Co-Artistic directors '. Steve Johnstone & Frances Johnstone (retired August 2025)
Artistic Director.. Genevieve Say (appointed June 2025)
Company Secretary: Matthew Andrews
Executive Director: Matthew Andrews
General Manager: Corinne Morris
Promotion Manager: Natalie Kidman
Creaiive Producer.. Sampira Al-Fihri (resigned April 2025)
Marketing Co-ordinator: Amrit Kaur Juss
Community Programme Coordinators.. Donna Clarkson, Suki Sohi
Administrator: Laura Leech
Recruilmenl and appolnlpnent of truslees
Recruitment and Appointment of New Trustees
l Members of the Committee will be invited on the basis of their working expertise and experience, andlor their background
and other experiences and skills. The committee as a whole will aim to reflect the broad make-up and cultural diversity of the
Black County and the West Midlands.
2 As a general rule, there should be a relationship between the Company and a person proposed for Committee membership.
The person proposed should know something of Black Country Touring's work, This criterion does not apply to people
offering specific skills.
3 The time limits for membership laid down in the constitution should be applied consciously* rather than renewing
aulomatically.
4 There should be a provision for new mernbers to be brought on for a fixed term of one or two years in the fIr5t instance, with
the possibility of extension to full membership. after review. (Co-options for specific project5 or developments are already laid
down in the constitution)
In applying these criteria Black County Touring will take a Pro-active approach in fully operating its policy of equal
opportunities.
Induction andtralnlng of Iruslees
All proposed new members must be provtded with an induction pack and have a fornial discussion with a member of the
Company's staff, before their final approval by the Committee.
These guidelines run alongside the ternis of Black County Touring's Articles of Association.
Page I

Black Country Touring
Trustees, Report
Objectives and activities
Public benefit
In the exercise of their powers as charity trustees, they have had due regard to the published guidance from the Charity
Commission on the operation of the public benefit requirement, and the aims of the charity are carried out for the public
benefit.
The trustees confirn) that they have complied with ihe requirements of section 17 of the Charities Act 201 I to have due regard
to the public benefit guidance published by the Charity Commission for England and Wales.
Objects and aims
The objects of the Company are to promote, maintain, improve and advance the ¢du¢ation of the public by the encouragement
and practice of the arts, by fostering and promoting for the b¢nefi¢ of the publi¢ the improvement and d¢velopment of artistic
knowledge, taste, understanding. and application of ihe arts and in particular but not exclusively. to provid¢ arts based
activities and encourage participation by all sections of the Con￿nunIty in such activities in the Wolverhampton, Walsall,
Dudley and Sandwell Metropolitan Boroughs and their environs.
Tru51ees and officers
The trustees and officers serving during the year and since the year end were as follows:
Trustees:
Imtiaz Dungarwalla
Carla Priddon
Julie McKirdy
Akila Mclean
Rachael Magson
Rupinder Sandhu
Michelle Bould
Anna Webster
Emma Worrall
Other oificers:
Timothy Rushby (resigned l November 2025)
Achievements and performance
Review of charitable activities undertaken is included in the attached Annual Report.
Financial review
Review of financial position 15 included in the attached Annual Report.
Poliey on reserves
The income and expenditure of the charity fluctuates according to the pattern of grant and project income secured. As the
Charity employs a number of staff, the Management Committee (Trustees) consider that reserves are needed to provide for an
orderly wind-down in the event of an unexpected reduction in the ￿ndS secured. The Charity is also required on occasion to
incur the costs of developing and researching work before the grants which have been awarded, and other income, are actually
received. The Charity therefore needs a level of reserves for cash flow reasons. In the opinion of the Management Committee
the reserves of the Charity are appropriate for its scale of operation.
Page 2

Black Country Touring
Trustees, Report
Reference and Administr¥dtive Details
Charity Registration Number".
1080608
Company Registration Number:
3446320
The charity is incorporated in England and Wales.
Thimblemill Library
Thimblemill Rd
Smethwick
B67 51U
Registered oifice:
Principal Office:
Thimblemill Library
Thimblemill Rd
Smethwick
B67 5RJ
Independent Examiner:
Bissell & Brown Midlands Ltd
Charter House
56 High Street
Sutton Coldfield
B72 IUJ
Barthers:
The Co-operative Bank
The annual report was approved by the trustees of the charity on 28 October 2025 and signed on its behalf by:
f)
Carla Priddon
Trustee
Page 3

Black Country Touring
Statement of Trustees, Responsibilities
The trustees (who are also the directors of Black Country Touring for the pu￿OseS of company law) are responsible for
preparing the trustees, report and the flnancial statements in accordance with applicable law and United Kingdom Accounting
Standards (United Kingdom Generally Accepted Accounting Practice), including 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. Under company law the trustees
must not approve the financial statements unless they are satisfied that they 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 its income and expenditure, of
the charitable company for that period. In preparing these financial statements, the trnstees are required to:
select suitable accounting policies and apply them consistently.
observe the methods and principles in the Charities SORP.
make judgements and estimates that are reasonable and prudent.
state whether applicable accounting standards, comprising FRS 102 have been followed, subject to any material departures
disclosed and explained in the financial statements. and
prepare the financial stalements on the going ¢oncern b&sis unless it is inappropriate to presume that the charitable
company will Continue in business.
The truslees are responsible for keeping proper accounting records that can disclose wilh 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.
The trustees are responsible for the maintenance and integrTty of the corporate and financial infornlation included on the
charitable company's website. Legislation governing the preparation and dissemlnation of financial statements may differ from
legislation in other jurisdictions.
Approved by the trustees of the charity on 28 October 2025 and signed on its behalf by:
Carla Priddon
Trustee
Page 4

Black Country Touring
Independent Examiner's Report to the trustees of Black Country Touring ('the Company,)
I report to the charity trustees on my examination of the accounts of the Company for the year ended 31 March 2025.
Responsibilities and basis of report
As the charity's trustees of the Company (and also its direclors for the purposes of company law) you are responsible for 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 Directtons given
by the Charity Commission under section 145(5)(b) of the 201 l Act.
Independent examiner's $tatement
Since the Company's gross in¢om¢ exceeded £250,000 your examiner must be a member of a body listed in seetion 145 of the
201 l Act. l confirm that l arn qualified to undertake the examination b¢¢ause l am a member of Bissell & Brown Midlands
Ltd, which is one of the listed bodies.
I have Completed my examination. I confirni that no matters have come to my attention in connection with the examination
giving me cause to believe:
accounting records were not kept in respect of Black Country Touring as required by section 386 of the 2006 Act; or
2. the accounts do not accord with those 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 account5 have not been prepared in accordance with the methods and principles of the Statement of Recommended
Practice for accounting and reporting by charitie5 [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.
Paul Matthews FCCA
Bissell & Brown Midlands Ltd
Charter House
56 High Street
Sutton Coldfield
B72 IUJ
28 October 2025
Page 5

Black Country Touring
Statement of Financial Activities for the Year Ended 31 March 2025
ncluding Income and Expenditure Aeeount and Statement of Total Reeognised Gains and Losses)
Total
2025
Total
2024
Unrestricted
Restricted
Note
Income and Endowments from:
Donations and legacies
Charitable activities
Other income
3,247
414,595
759
3,247
676,493
759
659
549,163
754
io
261,898
Total Income
418,601
261,898
680,499
550.576
Expenditure on:
Charitabl¢ activities
(394,555)
(222,429)
(616,984)
(556,261)
Total Expenditure
(394,555)
(222,429)
(616,984)
(556.261)
Net in¢omel{expenditure)
24,046
39,469
63,515
(5,685)
Net mov¢m¢nt in funds
24,046
39,469
63,515
(5,685)
Reconciliation of funds
Total funds brought forward
Total fijnds carried forward
115,755
70,000
185.755
191,440
139,801
109,469
249,270
185,755
All of the charity's activities derive from continuing operntions during the above two periods.
The notes on pages 8 to 14 forni an integral part of these financial statements.
Page 6

Black Country Touring
(Registration number: 3446320)
Balance Sheet as at 31 March 2025
2025
2024
Note
Current assets
Debtors
Cash at bank and in hand
50,012
213,791
16,651
176,319
192,970
263,803
Creditors: Amounts falling due within one year
(14,533
(7,215)
Net assets
249,270
185,755
Funds of the Charity:
Restrleted Ineome funds
Restricted funds
109,469
70,000
Unrestrlcted Income funds
Unrestricted funds
139,801
115,755
Total funds
249,270
185,755
For the flnancial year ending 31 March 2025 the charity was entitled to exemption from audit under section 477 of the
Companies Act 2006 relating to small companies.
Directors, responsibilities:
The members have not required the charity to obtain an audit of its accounts for the year in question in accordance with
section 476. and
The directors acknowledge their responsibilities for complying with the requirements of the Act with respect to accounting
records and the preparation of a¢counts.
The financial statements on pages 6 to 14 were approved by the trust¢¢s, and authori5¢d for issu¢ on 28 October 2025 and
signed on their behalf by:
Carla Priddon
Trustee
The notes on pages 8 to 14 form an integral part of these financial statements.
Page 7

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 March 2025
l Aeeounting policies
Summary o(significant accounting policies and key aceounting estimates
The principal accounting policies applied il) the preparation of these financial statements are set out below. These policies
have been consistently applied to all the years presented, unless otherwise stated.
Statement of compliante
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)) (issued in October 2019) - (Charities SORP (FRS 102)), the
Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Companies Act 2006.
Basis of preparatlon
Black Country Touring rneets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially
recognised at historical cost or transaction value unle55 Otherwise stated in the relevant accounting policy notes.
Going concern
The Trustees have considered budgets and cash flow forecasts through to November 2025, and the level of post year-end
support received from Arts Council England. On this basis, the trustees consider that there are no material uncertainties about
the charity's ability to continue as a going concern nor any significant areas of uncertainty that affect the carrying value of
assets held by the charity.
Income and endowments
All income is recognised once the charity has entitlement to the income, it is probable that the income will be received and the
amount of the income receivable can be measured reliably.
Donalions and legacles
Donations are recognised when the charity has been notified in MTiting of both the arnount and settlement date. In the event
that a donation is subject to conditions that require a level of perfomance by the charity before the charity is entitled to the
funds, the income is deferred and not recognised until either those conditions are fvlly met, or the ￿lfIlment of those
conditions is wholly within the control of the charity and it is probable that these conditions will be fulfilled in the reporting
period.
Expendlture
All expenditure is recognised once there is a legal or ¢onstru¢tive obligation to that expenditure, it is probable settlement is
required and the amount can be measured reliably. All costs are allocated to the applicable expenditure heading thal aggregate
similar costs to that rategory. Where cos15 cannot be directly attributed to particular heading5 they have been allocated on a
basis consistent with the use of resources, with central staff costs allocated on the basi5 of time spent. and depreciation charges
allocated on the portion of the asset's use. Other support costs are allocated based on the spread of staff costs.
Cliarllable acllvilles
Charitable expenditure comprises those costs incurred by the Charity in the delivery of it5 activities and services for its
beneficiaries. It includes both Costs that ran be allocated directly to such activities and those costs of an indirect nature
necessary to support them.
Page 8

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 March 2025
Taxation
The charity is considered to pass the tests set out in Paragraph I Schedule 6 of the Finance Act 2010 and therefore it meets the
definition of a charitable company for UK corporation tsx purposes. Accordingly, the charity is potentially exempt from
taxation in respect of income or capital gains received within categories covered by Chapter 3 Part I l of the Corporation Tax
Act 2010 or Section 256 of the Taxation of Chargeable Gains Act 1992, to the extent that such income or gains are applied
exclusively to charitable purposes.
Tangible fixed assets
Individual fixed assets costing £500.00 or more are initially recorded at cost, less any subsequent accumulated depreciation
and subsequent accumulatcd impaimient losses.
Depretlation and amortisatlon
Depreciation is provided on tangible fixed assets so as to write off the cost or valuation, less any estimated residual value. over
their expected useful economic life as follows.,
Asset class
Equipment
Depreciation method and rate
33.33 % straight-line
Trade creditors
Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of business from
suppliers. Accounts payable are classified as cu￿ent liabilities if the charity does not have an unconditional right, at the end of
the reporting period, to defer settlement of the creditor for at least twelve months after the reporting date. If there is an
unconditional right to defer settlement for at least twelve months after the reporting date, they are presented as non-current
liabtlities.
Trade creditors are recognised initially at the transaction price and subsequently measured at amortised cost using the effective
Tnterest method.
Fund structure
Unrestricted income funds are general funds that are available for use at the trustees, discretion in furtherance of the objectives
of the charity.
Restricted income funds are those donated for use in a particular area or for specific purpose5, the use of which is restri¢ted to
that area or purpose.
2 Income from donations and legacles
Unrestricted
funds
General
Total
2025
Total
2024
Donations and leg￿les.
Donations from individua15
Trusts and foundations
3,247
3,247
259
400
3,247
3.247
659
Page 9

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 March 2025
3 Tangible fixed assets
Furniture and
equipment
TotAI
Cost
At l April 2024
Disposals
24,105
5,903}
24,105
(5,903)
At 31 March 2025
18,202
18202
Depreelatlon
At l April 2024
Eliminated on disposals
24,105
5,903
24,105
5,903)
At 31 March 2025
18,202
18,202
Net book value
At 31 March 2025
At 31 March 2024
4 Debtor5
2025
2024
Trade debtors
50,012
16,651
S Cash and cash equivalents
2025
2024
Cash at bank
213,791
176,319
6 Creditors: amounts falllng due wlthin one year
2025
2024
Trade creditors
Other taxation and social security
Accruals
538
7,295
6.700
5,515
1,700
14.533
7,215
Page 10

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 Mareh 2025
7 Funds
Balance at I
April 2024
Incoming
resources
Resources
expended
Balance at 31
Mareh 2025
Transfers
Unrestricted funds
General
General unrestricted
95,755
418,601
(394,555)
(30,000)
89,801
Daigmaled
Arts Council NPO Projects
20,000
30,000
50,000
Total unrestricted funds
115,755
418.601
(394,555)
139,801
Restricted funds
Heart of England
Community Foundation
Wolverhampton CC
Creative Arts East
Film Hub Midlands
The Space
West Midlands Combined
Authority
The Peoples Postcode
Lottery
73,569
10,000
63,033
15,000
6,797
(73,569)
( i 0,000)
(34,423)
(10,141)
(6,797)
28,610
4,859
18,499
(18,499)
70,000
75,000
69,000)
76,000
Total restricted funds
70,000
261,898
(222,429)
109,469
Totgl funds
185,755
680,499
(616,984)
249,270
The increase in the designated fund will be used for making a new production in 2026127 and supporting some of our costs as
we exit the £75k peryear fi￿dIng from PPL.
8 Staff costs
The monthly average number of persons (including senior management I leadership team) employed by the charity during the
year expressed as full time equivalents was as follows:
2025
2024
No
Staff
10
No employee received emoluments of more than £60,000 during the year.
Page 11

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 March 2025
9 Trustees remuneration and expenses
No trustees, nor any persons connected with them, have received any remuneration from the charity during the year.
No trustees have received any reimbursed expenses from the charity during the year.
Page 12

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 March 2025
10 Income from charitable activities
Unrestricted
funds
General
Restricted
funds
Total
2025
Tolal
2024
Fees and shows
Arts Council core grant
Programme projects and production income
Black County Living Museum
Local authorities project income
Post Code Lott¢ry
Heart of England Community Foundation
Creative Arts East
Film Hub
The Sp￿¢
West Midlands Combined Authority
64,432
307,225
6,100
15,000
21,838
64,432
307,225
6,100
15.000
31,838
75,000
73,569
63,033
15,000
6,797
18,499
99,709
307,225
20,057
22,948
24,224
75,000
io,000
75,000
73,569
63,033
15.000
6,797
18,499
414,595
261.898
676,493
549,163
l Expenditure on charitable activitle5
Unrestricted
funds
General
Restricted
funds
Total
2025
Total
2024
Black County Cinema cost
Productions & projects
Shows & perforniances
Artislic directors
Marketing & publicity
Trav¢lling & subsistence
Salaries & employers Nl & pension
Doubtful debts
Trnining
Insurance
Rent
Computerl network
Independent examination
Subscriptions
Equipment & replacements
Other costs
Bank charges
Depreciation
10,127
70,820
52,777
49,230
16,024
5,800
226,120
(2,680)
3,876
1,208
9,0(K)
1,747
1,837
1,242
10,127
187,261
52,777
49,230
16,024
5,800
263,108
(2,680)
3,876
1,208
9,000
1,747
1,837
1,242
23,649
152,067
19,701
48,252
15,194
2.979
242,226
12,976
3.886
1,162
9,000
784
1,7(M)
2,103
10,760
8,855
85
882
116,441
36,988
15,510
67
15,510
67
462,705
Page 13
153,429
616,134
556,261

Black Country Touring
Notes to the Financial Statements for the Year Ended 31 March 2025
12 Taxation
The charity is a registered charity and is therefore exempt from taxation.
13 Charity status
The charity is limited by guarantee, incorporated in England and Wales, and consequently does not have share capital. Each of
the trustees is liable to contribute an amount not exc¢eding £1 towards the assets of the charity in the event of liquidation.
The principal place of business is:
Thilnblemill Library
Thimblemill Rd
Slnethwick
B67 5RJ
Page 14