Charity registration number 1086571 Company registration number 03786895 (England and Wales) TOLD BY AN IDIOT ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025
TOLD BY AN IDIOT LEGAL AND ADMINISTRATIVE INFORMATION Trustees S Burr R Dickinson J Dong C Dubery S Fagon M M Hassall C Huxley H E O'Hanlon Stanish A Paines SKScott Secretary Jennifer Horton Charity number 1086571 Company number 03786895 Registered office Unicorn Theatre 147 Tooley Street London SE12HZ United Kingdom SE12HZ Independent examiner John Howard FCA Azets Audit Services Chartered Accountants 2nd Floor, Regis House 45 King William Street EC4R 9AN United Kingdom Bankers CAF Bank Ltd 25 Kings Hill Avenue Kings Hill, West Mailing Kent ME19 4JQ West Malling Scottish Widows Bank plc 67 Morrison Street Edinburgh EH3 8YJ Edinburgh Nationwide Building Society Pipers Way Swindon SN38 1NW
TOLD BY AN IDIOT CONTENTS Page Trustees, report Independent examinerfs report 12 Statement of financial activities 13 Balance sheet 14 Notes to the financial statements 15-24
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS. REPORT) FOR THE YEAR ENDED 31 MARCH 2025 The Irustees present their annual 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 charitable company's governing documenl, the Companies Act 2006 and "Accounting and Reporting by Charities.. Statement of Recommended Practice applicable to charities preparing their accounts in a¢¢ordan¢e wilh the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102). (effective 1 January 2019)- Objectives and activities The object for which the charity was established is to advance education for the publi¢ benefit by the promotion of the arts, in particular but not exclusively the art of drama. The principle activities of the ¢ompany have continued to be theatrical productions, projects, artist development and educationlparticipation. The company's Values. mission and vlsion is as follows: Our Values Our company values are the beating heart of our organisation.. Revel in the live experience Innovate and provoke Find laughter in unlikely places Include anyone Our Mission Told by an Idiot explores the human condition through theatre that is ambitiOU5 but never pretentious. experimental b(Jt always accessible and we avoid boredom al all costs. We are fascinated by the space beeen laughter and pain, and we consistently experiment with what theatre can be and who gets to make it. In doing so, our work blurs the line between theatre maker, participant and audience. We nurture the skills and talenls of emerging theatre makers, and our work excludes no one. It stimulates and challenges people across the world and we remain committed to making theatre for anyone who breathes. Our Wision "l am a working-class Birmingham boy (Father an electrician, Mother a dinner lady) who had no access to theatre andthe arts, and I felt excluded from that world for n7any years. For me to reach a position of influence in the cultural sector has been quite a joumey, and I see it as my duty to open doors to the disadvantaged that follow. It is imperative that I give then7 access and opportunities to alise their potential and reach positions of powerf Paul Hunter. Told by an Idiot's Artistic Director At Told by an Idiot we have a burning desire and responsibility to make change happen in British Theatre. It is crucial thal we use our public subsidy to give voice to those on the periphery of the story. Told by an idiot operates on the edge of chaos in a constant quest for exploration, and consistently opens the door to risk in order to deliver the best work by continuing to develop and change. Entertainment is from the French word 'entretenir', meaning 'hold together, or 'support'. It was associated with hospitality - when you entertained a guest, you were keeping them happy. These senliments go right to the very heart of our Idiot values. Rather than seeing entertainment as a dirty word, we embrace it fully as the very thing we are trying to achieve. Ultimately at the end of one of our shows, we want the audience to leave the theatre with a smile on their face and remember that Told by an Idiot pul it there. Our vision is to ensure we make a major contribution to the national and international reputation and reach of the cultural sector in England by creating risk-taking, dynamic and critically acclaimed new work which consistently reflects ambition, quality, inclusivity and relevance.
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 The aims of the company are: To make excellent theatre that takes risks To make theatre through unusual provocations and surprising partnerships To make theatre through a process that is collaborative, playful and open lo the public To make theatre rooted in a fundamental belief thal everyone is equal, and to represent and celebrate diversity To nurture the skills and talents of early career theatre artists To deliver innovative. high quality participatory experiences that are made accessible to all, through our Taught by an Idiot programme To effectively reach, engage and grow audiences digitally through our website, productions and social media channels To make theatre that speaks to and exists within the international arena To produce work through a resilient & flexible business model, and from a financially viable and sustainable administrative base. Achievements and performance Review of Charitable Activbties Rising inflation and the Cost-of-living crisis continued to affect company activity in 2024-2025. Like many across the sedor. we observed that audience and participant numbers have yet to return to pre-pandemic levels. While interest in international collaboration began to recovef, the longer planning and lead-in times meant much of this work was scheduled for delivery in 2025 and beyond. As in previous years, our strong fundraising efforts played a vital role in sustaining our Gore creative programme. Between May and June 2024, we undertook a recruitment drive for two new permanent staff members". a newly established General Manager position and an Assistant Producer role. This prOsS was managed in-house with valuable support from our Board of Trustees. Thanks to our resilient business model, careful budget management, successful fundraising, and a significant Theatre Tax Relief claim, we ended the year with a small deficit of just {£847), a notable improvement on the originally projected (£35,258.13) shortfall. This strong financial position enabled us to designate funds to secure upcoming activity and maintain our reserves within target levels.
TOLD BY AN IDIOT TRUSTEES, REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Revlew of Charitable Actlvities (continued) Throughout the year, we continued to deliver high-quality creative work and cultural content to the public in a variety of formats, while prioritising the wellbeing of our core staff and freelance team during a time of ongoing uncertainty. Our 2024-2025 programme included: Leap Before You Look - an improvisation laboratory and performance with perfomers with and without learning disabilities, delivered in partnership with Open Theatre and Birmingham Rep. A four-week run of Carl Grose's adaptation of The Cat and the Canary at Chichester Festival Theatre, playing to 97 % capacity and enjoying mulliple sold-out performances. A nine-venue UK tour of The Intrusion, complete with workshop programme,. our co-production with new associate Gompany Bric a Brac Theatre. The show was a comic exploration of climate chang8 Staged in both major regional theatres and community spaces. A three-day residency with Burnley Youth Theatre, resulting in the horror-comedy inspired short film Nothing Is What It Seems. 17 workshops with schools, universities, Community centres and theatres, reaching 250 participants including 103 children and young people aged 0-19. Four research and development periods exploring future projects to ensure continued creative innovation. A Fun Palace at Peterborough Central Library, delivered with Bric a Brac, offering a free performance of The Intrusion and drama workshops for local lamilies. A series of five In-person professional development workshop5. engaging 41 intemational theatre- makers. We awarded 12 free bursaries to disabled participants and those from low-income or underrepresented backgrounds. The launch of Start Your Day the Idiot Way - three energising morning sessions featuring playful exercises from The Cat and the Canary rehearsal room, offered to 27 theatre-makers. 40 free Doctor's Surgery appointments, offering one-lo-one producing and devising advice to freelance artists both in person and online. Production of our podcast Regrets, I've Had a Few, with 10 new episodes featuring guests such as Jesse Jones (Artistic Director, Royal & Demgate), members of Brrc a Brac Theatre, and performer Audrey Brisson. The year was bookended by two major Creative highlights.. Leap Before You Look, Celebrating inclusive improvisation, and The Intrusion. a touring co-production delivered in partnership with Bric a Brac. Midway Ihrough the year, our mid-scale staging of The Cat and the Canary further showcased our commitment to bold, theatrical storytelling. In total, 10,521 people attended our performances over the year. We continued to grow our digital presence through pod¢ast episodes, livestreamed content, and the creation of short film Nothing Is What it Seems, alongside extensive community and educalional outreach. These activities reflect our mission to create work with and for"anyone who breathes.- Our integrated improvisation laboratory, Leap Before You Look, marked a highly successful start to the year's performance activity. Following an intensive open audition process, we brought togelher an ensemble of learning disabled and non-leaming disabled performers to collaboratively explore the improvisatory traditions of Commedia dell'Arte. The project was led by Artistic Director Paul Hunter, supported by two company practitioners, and delivered in partnership with Open Theatre's Director, Richard Hayhow. The week-long residency fostere(f an environment of creative risk-taking and exploration, provoking and challenging participants in new and transformative ways. Their response was remarkable, demonstrating deep engagement, artistic growth, and ensemble cohesion.
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Review of Charitable Activities (continued) The process culminated in a sold-out, fully improvised performance in The Door at Birmingham Rep. The audience response was overwhelmingly positive. and feedback from our key funders reflected strong support for the project's ambition, quality, and impact. Leap Before You Look exemplified true integration of our company values and stood out as a powerful and joyful opening project for the year. 1000/0 of surveyed performers said they enjoyed the project a lot 1000/0 of surveyed performers said the project made them more excited and confident to create their own perfomiance work 85°/o of perfomiers said the project developed their skills in comedy 100'k of surveyed audiences gave the showing 515 1000/0 of surveyed audiences said they were more likely to seek out more work by integrated ensembles Perfomier feedback included: "It was great to work with people with all different kinds of access needs and to work with people fhat I ordinarily wouldn't get to work withl The amount of support and kiTndness felt in the rehearsal room towards each other was something really special." "I think the main surprise for me was how the performance ended up looking - I didn't have any particular expectations, but I felt the final showing made so much sense to cater to the various access needs of the ensemble and created a very supportive performance environment- nobody was alone on that stage." "Thank you. I loved it and would be up for doing morel" Audience feedback included-. "Such a brilliant concept- simple but so effective laughed so much. I worked at Nottingham Playhouse we used to have the Comedy Store players and your production was next level. So clever I hope the young people get to do more work with you" "Hilarious, refreshing, inclusive" "Life affirming and joyful- my cheeks ache from laughing" "Different qualities enriched and demonstrated the power of embodied communication and human connection" "Great to see everybody collaborating from all diversities" "Very forward thinking - brilliant" One of our standout achievements of the year was our co-production of The Cat and the Canary with Chichester Festival Theatre, adapted by Cart Grose from John Willard's original play. Directed by Told by an Idiot Artistic Director Paul Hunter and designed by long-time collaborator Angela Davies (The Dark Philosophers, The Mouse and his Child), the show was met with strong reviews and near sell-out audiences. The cast brought together established Idiot performers, including Told by an Idiot co-founder Hayley Carmichael, and exciting first time Told by an Idiot actors, including Lucy Mccormick and Tarinn Callender, in a vibrant and haunting reimagining of the classic thriller.
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Review of Charitable Activities {continued) Press reviews included.. * * * * Hunter Is a master of ¢omlc buslness andphysical nonsense. He brllliantly creates atmosphere and absurdity, Whatsonstage * * * * 'An absolute Joy... ltre not laughed more at a play this year'The Times 'Stuffed with preposterous pleasures'The Guardian 'Unmlssable. An exceptional ensemble deliverlng a delirious twist on a tale that truly deserves it. Fringe Review Astonishing... the cast are simply phenomenal. Portsmouth News A great couple of hours of fun. Sussex World Audience responses included: "I came to see the show on Monday. It was one of the best shows I have seenlll Loved it" ' The best production I have seen In the Minen•a Theatre wlthout exception. Loved itll ft reminded me of the silliness of old Mel Brooks movies. Great fun" "Bravo Told by an Idiot. Carl Gmse and company. "The Cat and the Canary" is a triumph. Grand Guignol. high camp, Pythonesque silliness... all performed wlth such amazing energy. I really hope it tours, so I can see It again." In March 2025. our associate company Bric a Brac ¢ompleted a successful nirtre-venue UK tour, produced by Told by an Idiot and supported by an Arts Council England touring grant and donations from Unity Theatre Trust and the Frank Litchfield Charitable Trust. The collaboration has been rewarding -Bric a Brac's playful wit, inventive energy, and Lecoq-trained ensemble dynamic made for a slimulating creative exchange with Told by an Idiot. Their response to our provocation., creating a comic take on climate change, was both bold and entertaining, garnering strong audience feedback across theatre and community venues, alongside a serFes of 4- and 5-slar reviews. While the artistic outcomes were strong, the realities of touring proved challenging. This was our first major tour since Charlie and Stan (2023}. and it quickly became clear that the touring landscape remains challenging to navigate. Venue teams are under significant pressure. particularly in terms of marketing capacity. In response. our in-house team played a far more aclive role in audience development, leading grassroots Campaigns and local outreach efforts that would previously have been shared. Touring remains essential for emerging Gompanies to hone their practice and build national venue partnerships. Yet. they are rarely afforded multi-night runs, which are essential for building audiences and momentum. To mitigate this, we worked closely with venues to avoid cancellations and instead invested in targeted local marketing and made the case for 0- and three-night runs. Support from key partners such as Bimingham Rep and Unity Liverpool was instrumental in securing stronger audience figures. Despite unexpected setbacks, including serious illness affecting key team members, both wmpanies demonstrated impressive adaptability and resilience. The Bric a Brac team managed last-minute personnel changes and sustained the tour's momentum with professionalism and composure. We are proud to have supported Bric a Brac on their first national tour. Their creativity, commitment, and collaborative spirit were evident throughout, and we look forward to seeing their continued development within the UK touring landscape.
TOLD BY AN IDIOT TRUSTEES, REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Revlew of Charitable Activities (continued) Press reviews included
Review .bold. pmvocatlve. and heartbreakingly relevant, this is an absolute must-see... - Northern Arts * * * Thls production is a prime example of how theatre can embrace accessibility. making it more Inclusive and setting a standard for future performances'west End Best Friend Y'll certainly be looklng out for future work by Brlc a Brac. British Theatre Guide Audience feedback.. "That could actually happen. That's what I Ilked about it so much" "I thought it was so creative and funny and had such an important message. ft was brilliantj" "I loved itl I loved the storytelling, the songs, the giant and small pmps. I had a great time and thought a lot about the envimnment- and cockroaches. Everyone should come and see itj" The international market for touring thèatre began to pick up in 2024-2025, making fvture planning more realistic. As a result, conversations were initiated with various international partners regarding activity from 2025 onwards. 2024-2025 was a stmng year frjr the company s digital output. Our podcast, Regrets. ltre Had A Few. continued to grow in popularity, attracting nearty 28,000 listens across ten episodes featuring guests from across the industry. We also maintained our commitment to transparency and accessibility by livestreaming rehearsal and research and developmènt periods, offering audiences a behind-the-scenes view of our creative process. These included content from the development of The Cat and the Canary, as well as rehearsals and tech week for The Intrusion. reaching a total of 13,823 viewers. Audiences shared." "This is wonderful. Two legends" "Exciting stuff is happeningl" and "enjoyable as ever" Throughout 2024-2025, we continued our Gommitment to transparency through in-person open rehearsals. These included a session for The Cat and the Canary, offered to participants from Chichester Festival Theatre's Youth Theatre and West Sussex's Young Carers Activity Programme. Eight young people aged 14-21 attended from Chichester Festival Theatre. In addition, three college-aged young carers from Worthing attended with their Programme Organiser. The group leader described it as a rare and exciting opportunity for the young people, many of whom had never seen a professional rehearsal before. Thank you again for having us It was bn"Iliant and the young people thomughly enjoyed themselves." In 2024-2025, research and development remained a pivotal focus as we explored new ideas for upcoming productions. Time was dedicated to the development of a new high profile upcoming co-production, alongside The Intrusion with Bric a Brac Theatre, and two week-long development phases for a new, third collaboration with Kathryn Hunter, following the critically acclaimed My Perfect Mind (2012-2015} and Napoleon Disrobed {2018) which we hope to tske into production in 2027. Our impactful education and participation initiatives continued to thrive in 2024-2025, organised into five distinct categories.. 1) Professional Development workshops, 2) Academic and Community workshops, 3} International engagements, 4) Projects. and 5) Doctor's Surgeries. A highlight of this period was Nothing Is What It Seems, a three-day project with Bumley Youth Theatre which coincided with The Cat and The Canary. The project involved fourteen 11+ year olds from Burnley Youth Theatre who worked together to devise and produce a short horrorlcomedy film taking inspiration from Angela carighYS adaptation of Little Red Riding Hood, The Werewolf.
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Review of Charitable Activities (continued) The project offered the young participants an in-depth experience of collaborating and devising their own work, taking inspiration from the world of theatre and illusion and taking on different roles within a film production team - from acting, to filming, sourcing props and managing sound. Fully embracing Told by an Idiot's playful approach to making work, these young people created their own f51m with professional Idiot Director Joe Gilmour and Filmmaker Nick Farrimond, with support from the Burnley Youth Theatre and Told by an Idiot teams. The results were screened online, as part of Burnley Youth Theatre events and ahead of a performance of The Cat and The Canary at Chich8Ster F@stival Theatre. to a total audien of 4321. Participant feedback included: "Thls pmject taught me to be confident even when It seems silly." "I loved seeing what goes on behlnd the scenes and how to act on screen.- "My favourite thing was getting to try behind the scenes stuff and meeting new people." 'When I looked around I could see people who came here with not much confidence and now they are speaking on camera, moving around the space in a different way than beft+re" "It's really exciting to work with all the equipment, because they all really know what they are doing and It s like being on a proper film set. I really want to try something like this again" Other notable activities included workshops to welcome new students to Warwick University during Freshers, Week, workshops in partnership wilh Impact Theatre Company for disabled adults. a session with emerging directors in partnership with the National Theatre and a series of 10 workshop centred on making theatre about the climate emergency before and durrng the tour of The Intnision with various UK wide community groups. Feedback from these workshops included: "It was well attended and realty enjoyable. I felt better connected when seeing the perfomiance later the same day and hope there will be further opportunities for events such as this" 'The students really enjoyed the workshop and are looking fonvard to seeing the perfonnance on Friday. They said the facilitator was very positive and encouraging." "IOO'/o of the directors gave Paul's session the top grade of 'Super Useful. and Inspiring. Of the sessions that took place over the week, his was the highest ratedl" "I liked the workshop, I liked working as a team. (the workshop leader} was nice, she was very friendly and helpful. We played games and listened to music. You should come back again soon." Throughout 2024-2025, we continued our acclaimed series of professional development workshops while expanding the programme with fresh offerings. Highlights included The Essence of an Idiot led by Artistic Director Paul Hunter, Going Beyond Yourself with co-founder John Wright, and a new addition to the series - Laugh, led by intemational theatremaker Jos Houben. Feedback included- Make 'Em "The workshop was so much fun. So much work was done to make the space feel communal, accessible and exciting. I learnt so much and met lots of great people. Ilie been recommending TBAI workshops to my friends. "Brilliant workshop. Jos packed in two-week worth of exercises into two daysl Huge amount of physical comedy skills and tools taught by an expert. Would highly recommend." "I cannot tell how grateful l am for this workshop.1 Dlscoverlng the world of Mask with John Wright was absolutely brilllant.
TOLD BY AN IDIOT TRUSTEES, REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Revlew of Charitable Activities {continued) In 2024-2025, we mainlained our commitment to inclusivity by providing bursary opportunities. This enabled 12 Deaf andlor disabled participants and those from low-income or underrepresented backgrounds to a¢¢ess our workshops free of charge. This was made possible through a generous donation from The Thistle Trust and also supported in part through our reserves. Our fe Doctors Surgeries remained popular this year, giving 40 theatre makers the chance to talk through devising ideas and creative projects with the Told by an Idiot team, who offer a sounding board for ideas, advice, guidance and fresh perspectives. Feedback included.. "The Doctors Surgery session was a supportive environment allowing me to think critically and creatively through my artistic dilemmas, with Paul Hunters years of expertise. I left feeling inspired and reinvigoratedl" "My meeting wlth Jen was great, she really helped me to understand how to look at the blg plcture and break It down into achievable and much less scary chunks. Having the opportunity to ask the silly questions to someone with so much experlence was invaluable and boosted my confidence." "The opportunity to talk thmugh an idea and receive advice on practlcal matters such as finding a director that fits our Style was invaluable. Ie not come aGross something like this surgery before so I believe it is a rare gem of support for artists." Fundraising Activities As a result of SUGGessful fundraising campaigns in 2024-2025, we received a total of £92,601 in Trust and Foundation. and Arts Council Touring Grant income. We are grateful to the following funders for their support throughout 2024-2025- Arts Council England Frank Litchfield Charitable Trust Unity Theatre Trust Charles Mason and Naomi Wilkinson Foundation AHAAgency Covid 19 The Trustees have reviewed the risks posed by the ongoing impact of Covid-19 on businesses globally and within the UK. The cultural sector, in particular, continues to face significant challenges, as highlighted in industry reports suggesting that a full recovery may take years or even decades. Theatres have not recovered from closures during the pandemic and audiences have not retumed to pre-pandemic levels. Venues both in the UK and intemationally continue to largely opt for 'safe' programming choices such as small-cast shows, beloved classics, and musical revivals to mitigate risks. Despite these challenges, Told by an Idiot maintains an optimistic outlook and has a strong track record of producing innovative new work and proje¢ts. However, navigating this new landscape in the coming years requires careful consideration of the best path fomard.
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS, REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Financlal revlew Prlnciple Funding Sources Told by an Idiot continLres to be revenue funded by Arts Council England as a National Portfolio Organisation INPO). The company also works in financial partnerships with other organisationslvenues to create its productions and relies on Trust and Foundation funding for most of its projects. Reserves Pollcy It is the trustees. policy to hold a sum not less than six months administration and overheads costs as a reserve. The trustees consider that this sum is sufficient to ensure that the company can meet financial obligations. Funds at 31 March 2025 The 2024-2025 annual budget was well managed and management accounts were submitted to the board quarterly for scrutiny. We successfully delivered activity across the year despite the continued after-effects of the pandemic making activity (tOL¢rtng in particular) extremely financially challenging. The year-end shows a deficit of (£1,797) as opposed to an approved budget forecast deficit of (£35,258.13) (a £33,461 improvement against budget). A significant contributor to this included the Theatre Tax Relief claim at the higher rate of 25 % , which was higher than budgeted (£38.847 as opposed to £12,000). We have maintained our reserves this year whilst being able to implement the industry standard inflationary rise on staff wages and freelance fees. We continue to pay artists and praclilioners fairly, ensuring we remain a recognised Living Wage Employer and we continue to follow and at times exceed Ihe ITCIEquity guidelines. The Garried forward fund at 31 March 2025 is £267,201 (2024.. £268 998 of which £164,522 is designated funds. £9,562 is restricted funds for the completion of projects started in 2024125, and £94,067 is free reserves. Restricted Funds At the end of 2024-2025 we hold £9,561 restricted fvnds, for projects to be delivered in 2025-2026. Th8 trustees have assessed the major risks to which the charitsble company is exposed, and are satisfied that syst8ms are in place to mitigate exposure to the major risks. Structure, governance and management The Trustees, who are also Directors of the charity for the purposes of the Companies Act 2006, present their report together with the financial statements of the charity for the year ended 31 March 2025. The Trustees have followed the requirements of the Statement of R6¢0mmended Practice (SORP) issued 2015.
TOLD BY AN IDIOT TRUSTEES, REPORT (INCLUDING DIRECTORS. REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 The trustees, who are also the directors for Ihe purpose of company law. and who served during the year and up to the date of signature of the financial statements were.. S Burr R Dickinson (appointed 7 October 20241 J Dong C Duberry {appointed 7 Odober 2024) S Fagon M M Hassall (Dep Chair) C Huxley {appointed 19 December 2024) H E O'Hanlon Stanish A Paines S K Scott {Chair) S J Woolley (resigned 24 August 2024) 10
TOLD BY AN IDIOT TRUSTEES. REPORT (INCLUDING DIRECTORS. REPORT) {CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Recrultment and appointment of trustees Constltution The charity was incorporated on 10 June 1999 as a company limited by guarantee and is governed by its Memorandum and Articles of Association as amended by Special Resolution on 21 July 2009, 26 Oct 2018 and 18 Dec 2019. The company was registered as a charity by the Charity Commission in England and Wales on 14 May 2001. Recruilment and appolntment of trustees The management of the company is the responsibility of the Trustees, who are appointed under the terms of the Articles of Association. All members of the Board of Directors who have served for three years from the date of their most recent election must retire, however they will be eligible for reappointment by resolution of the directors. New Trustees are proposed by seNing Trustees or the company's executive team and elected with a majority vote by the Trustees. Induction and Training of trustees An induction process has been established for new Twstees. Separate meetlngs are arranged with the Chair and executive team. In addition. Trustees are presented with a welcome pack, including Charity Commission guidelines, a list of board roles and responsibilities, the company business plan. and Memorandum and Articles of Associalion. Trustees are also offered the opportunity lo attend training for board development. Oryanisational Structure An Artislic Director (part-time), an Executive Director (full-time}. a General Manager (part-time). an Assistant Producer (part-time), and a Finance Manager (part-time) manage the everyday operations of the company. The executive team, made up of the Artistic Director and the Executive Director. report to the Trustees at quarterly board meetings. The Executive Director acts as Company Secretary to the board. Risk Management The Trustees have assessed the major risks to which the charity is exposed. in particular those related to the operations and finances of the charity and are satisfied that systems and ProdureS are in place to mitigate our exposure to the major risks. Members Liability Every member of the charity undertakes to contribule to an amount not exceeding £1 to the assets of the charity in the event of winding up. The trustees, report was approved by the Board of Trustees. Mr S Burr Trustee 08 October 2025 11
TOLD BY AN IDIOT INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF TOLD BY AN IDIOT I report to the trustees on my examination of the financial statements of Told by an Idiot (the charitable company) for the year ended 31 March 2025. Responsibilities and basis of report As the trustees of the charitable company (and also its directors for the purposes of company law) you are responsible for the preparation of the financial statements in accordance with the requirements of the Companies Act 2006 (the 2006 Act). Having satisfied myself that the financial statements of the charitable 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 the charitable mpanY'S financial statements carried out under section 145 of the Charities Act 2011 (the 2011 Act). In carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 145(5}(b} of the 2011 Act. Independent examinerfs statement Since the charitable company's gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that l am qualified to undertake the examination because l am a member of , which is one of the listed bodies. I have completed my examination. I confirm that no matters have come to my attention in connection with the examinalion giving me cause to believe that in any material respect.. accounting records were not kept in respect of the charitable company as required by section 386 of the 2006 Act., or the financial statements do not accord with those records. or the financial statements do not Gomply with the accounting requirements of section 396 of the 2006 Act other than any requirement thal the accounts give a true and fair view which is nol a matter considered as part of an independent examination.. or the financial statements have not been prepared in accordance with the methods and principles of the ststement of Recommended Practice for accounting and reporting by charities applicable to charities preparing their accounts in accordance with the Financial Reporting Standard appli¢able in the UK and Republic of Ireland (FRS 102). I have no concerns and have come across no other malters in connection with the examination to which attention should be drawn in this report in order to enable a proper understsnding of the financial statements to be reached. John Howard FCA Azets Audit Services 2nd Floor Regis House 45 King William Street London EC4R 9AN United Kingdom Dated: 08 October 2025 12-
TOLD BY AN IDIOT STATEMENT OF FINANCIAL ACTIVITIES INCLUDING INCOME AND EXPENDITURE ACCOUNT FOR THE YEAR ENDED 31 MARCH 2025 Unrestricted Restricted funds funds 2025 2025 Total Unrestricted Restricted funds funds 2024 2024 Total 2025 Notes 2024 Income from: Donations and legacies Charitable activities InvestTnents 174,644 156,675 5,097 16,108 190,750 156,675 5,097 181,701 122.237 3.959 9,750 191.451 122,237 3,959 Total income 336,416 16,106 352,522 307.897 9.750 317,647 enditure on: Raising funds 36,040 36,040 27,623 27,623 Charitable activities 301.985 16,294 318,279 233,614 6,270 239,884 Total expenditure 338.025 16,294 354,319 261,237 6,270 267,507 Net (expenditure}lincome for the yearl Net movement in funds {1,609) {188) (1,797) 46.660 3.480 50,140 Fund balances at 1 April 2024 259,248 9.750 268,998 212,588 6,270 218,858 Fund balances at 31 March 2025 257,639 9,562 267.201 259,248 9,750 268,998 The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from Continuing activities. The statement of financial activities also complies with the requirements for an income and expenditure account under the Companies Act 2006. 13-
TOLD BY AN IDIOT BALANCE SHEET ASAT 31 MARCH 2025 2025 2024 Notes Current assets Debtors Cash at bank and in hand 14 48,700 249,652 52,396 272,414 298,352 324,810 Creditors: amounts falling due Wbthin one year 15 (31,151} (55,812) Net current assets 267,201 268,998 Income funds Restricted funds Unrestricted funds Designated funds General unrestricted funds 17 9.562 9,750 18 164,522 94,067 157,575 101,673 257,639 259,248 267,201 268,998 The Gompany is entitled to the exemption from the audit requirement contained in section 477 of the Companies Act 2006. for the year ended 31 March 2025. The directors acknowledge their responsibilities for complying with the requirements of the Companies Act 2006 with respecl to accounting records and the preparation of financial stalements. The members have not required the company to obtain an audit of its financial statements for the year in question in accordance with section 476. These financial statements have been prepared in accordance with the provisions applicable to companies subject to the small companies regime. The finan¢ial statements were approved by the Trustees on 08 October 2025 Mr S Burr Trustee Company reglstratlon number 03786895 14
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 Accounting policies Charity information Told by an Idiot is a private company limited by guarantee incorporated in England and Wales. The registered office is Unicorn Theatre, 147 Tooley Street, London, SE12HZ, United Kingdom. 1.1 Accountlng convention The financial statements have been prepared in accordance with the charitable company's governing documents. the Companies Act 2006 and 'Ac¢ounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019). The Charitable company is a Public Benefit Entity as defined by FRS 102. The ¢haritable company has taken advantage of the provisions in the SORP for ¢harities apptying FRS 102 Update Bulletin 1 not to prepare a Statement of Cash Flows. The financial statements are prepared in sterfing, which is the ftjnctional currency of the charitable company. Monetary amounts in these financial statements are rounded to the nearest £. The financial statements have been prepared under the historical cost convenÉion.The principal accounting policies adopted are set oul below. 1.2 Going concern After reviewing the charity's forecasts and projections and taking into account the economic conditions and possible changes in trading performance, the trustees have a reasonable expectation that the Gharity has adequate reSoUrS to continue in operational existence for the foreseeable future. The charity therefore continues to adopt the going concern basis in preparing the financial statements. The trustees have also considered the impact of the COVID-19 pandemic lockdown on the future viability of the chartty. Although there has been some recovery within the industry, the impact on touring is still apparent. Both international and UK venues are taking a much more cautious approach to programming than pre- pandemic. Budgets for the coming year have been prepared which support the view thal the financial statements should be prepared on a going concern basis. Consequently. the trustees have a reasonable expectation that the charity will have sufficient funds to continue to meet its liabilities as they fall due for the foreseeable future and therefore have prepared the financial statements on a going concem basis. 1.3 Fund accounting UnrestriGted funds ar8 available for use at the discretion of the trustees in fvrtherance of their charitable objectives. Restricted funds are subject to specific conditions by donors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the finan¢ial statements. Endowment funds are subject to specific Conditions by donors that the Capital must be maintalned by the charitable company. 15-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Accountlng pollcles (Continued) 1.4 Income All income, including grant, is recognised once the Gharity has entitlement to the income, it is probable that Ihe income will be received and the amount of income receivable can be measured reliably. Donated facilities are included at the value to the charity where this can be quantified and a third party is bearing the cost. No amounts are included in the financial slatements for services donated by volunteers. Income tax recoverable in relation to donations received under Gift Aid is recognised at the time of the donation. 1.5 Expenditure Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit lo a third party, it is probable that a transfer of economic benefits will be required in settlement, and the amount of the obligation can be measured reliably. Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff costs are allocated on the basis of time spent. and depreciation charges are allocated on the portion of the asset's use. Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party. it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably. Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff are allocated on the basis of time spènt. and depreciation charges allocated on the portion of the asset's use. All assets costing more than £500 are capitalised. 1.6 Interest receivable Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity, this is normally upon notificalion of the interest paid or payable by the Bank. 1.7 Taxation The charity is exempt from corporation tax in respect of income to the extent that such income is appli8d exclusively to charitable purposes. 1.8 Tangible fixed assets Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation. net of depreciation and any impairment losses. Depreciation is recognised so as to write off the cost or valuation of assets l&ss their residual values over their useful lives on the following bases- Fixtures and fittings straight line over three years The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities. 16-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Accounting policies (Continued) 1.9 Debtors Trade and other debtors are recognised at the settlement amount after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due. 1.10 Cash and cash equfvalents Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown wilhin borrowings in current liabilities. 1.11 Liabilities and provisions Liabilities are recognised when there is an obligation at the balance sheet date as a result of a past event. it is probable that a transfer of economic benefit will be required in settlement, and the amount of the settlement can be estimated reliably. Liabilities are recognised at the amount that the charity anticipates it will pay to settle the debt or the amount il has received as advanced payments for the goods or services it must provide. Provisions are measured at the best estimate of the amounts required to settle the obligation. Where the effect of the time value of money is material, the provision is based on the present value of those amounts, discounted at the pre-tax discount rate that reflects the risks specific to the liability. The unwinding of the discount is recognised within interest payable and similar charges. 1.12 Financial instruments The charity only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are recognised at transaction value and subsequently measLfred at their settlement value. 1.13 Retirement beneflts The charity contributes to personal pension plans and the pension charge represents the amounts payable by the charity to the fund in respect of the year. Donations and legacies Unrestricted Restrlcted funds funds Total Unrestricted Restricted funds fvnds Total 2025 2025 2025 2024 2024 2024 Grants Donations 171,309 3,335 16,106 187,415 3,335 179,310 2,391 9,750 189,060 2,391 174,644 16,106 190,750 181,701 9,750 191,451 17-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Charitable activities Theatrl¢al Eduutlonl Productlons partlclpation 2025 2025 Total Theatrlul Edu¢atlonl 2025 Productlons partlclpatlon 2024 2024 Total 2024 Sales within charitable activities 145,174 11,501 156,675 96.733 25,504 122,237 Investments Unrestricted Unrestricted funds funds 2025 2024 Bank deposit interest 5,097 3,959 Raising funds Unrestricted Unrestricled funds funds 2025 2024 Fundraisin Direct costs Support costs and ublici 63 35,977 258 27,365 Fundraising and publicity 36,040 27,623 36,040 27,623 18-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Charitable activities Programme Programme Costs Costs 2025 2024 Theatre R&D Education 102,391 11,645 15,027 38,471 18.584 10,545 129.063 67,600 Share of support costs (see note 8) Share of governance costs (see note 8) 183,692 6.074 167,155 5,129 189.766 172,284 Analysis by fund Unrestricted funds Restricted funds 301,985 16,294 233,614 6,270 318,279 239,884 Independent Examiner's remuneration Legal and Professional costs include Independent Examiner's remuneration which amounts to a fee of £2,750 {2024.' £2,700} 19-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 Support Costs Support Governance costs Costs 2025Support costs Governance costs 2024 Staff costs Depreciation Other Costs Rent Website Insurance Storage Bank Charges l.C.T Travel Postage and Stationary Legal and professional Board Costs 172,225 172,225 149,863 149,863 344 9,448 12,000 5,798 2,218 10,123 225 2,818 529 1,154 5.065 178 8,915 12,000 7,372 3,009 11,605 226 3.351 38 928 8,915 12.000 7,372 3,009 11.605 226 3.351 38 928 5,940 134 9,448 12,000 5,798 2,218 10,123 225 2,818 529 1,154 5,940 134 5,065 178 219,669 6,074 225,743 194,520 5,243 199.763 Analysed between Fundraising Charitable activities 35,977 183,692 35,977 189,766 27,365 167,155 27,365 172,398 6,074 5,243 219,669 6.074 225,743 194,520 5,243 199,763 Net movement in funds 2025 2024 Net movement in funds is stated after chargingl(crediting) Depreciation of owned tangible fixed assets 344 During the year, no trustees received any remuneration {2024.' £nil). During the year, no trustees received any benefits in kind (2024.. £nil}. During the year, no trustees received any reimbursement of expenses (2024: £nil). 10 Trustees None of the trustees (or any persons connected with them) receiv8d any remuneration or benefits from the Charitsble company during the year. -20-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 11 Employees The average monthly nL¢mber of employees during the year was: 2025 Number 2024 Number Production Artistic directors Total Employment costs 2025 2024 Wages and salaries Social security costs Other pension costs 165,566 3.675 2,984 143,842 3,332 2,689 172,225 149,863 No employee recetved remuneration amounting to more than £60.000 in either year. In the year ended 31 March 2025, staff costs included sums paid to actors and technical personnel engage for specific productions. The key management personnel of the charity are the Artistic Director and Executive Director. Remuneration and benefits received by key management personnel amounted to £77,807 (2024: £79,305). There were no employees whose annual remuneration was more than £60,000. 12 Taxatjon The charity is exempt from tax on income and gains falling within section 505 of the Taxes Act 1988 or section 252 of the Taxationof Chargeable Gains Act 1992 to the extent that these are applied to its charitable objects. 13 Tangible fixed assets Flxtur•$ and flttlng$ Cost At 1 April 2024 8,866 At 31 March 2025 8,866 Depreciation and impalrment At 1 April 2024 8,866 At 31 March 2025 8,866 Carrying amount 21
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 14 Debtors 2025 2024 Amounts falling due withln one year: Trade debtors Prepayments and accrued income 7,192 41.508 21,351 31,045 48.700 52,396 15 Credltors: amounts falling due within one year 2025 2024 Other taxation and social security Trade creditors Other creditors Accruals and deferred income 2,373 19.051 434 9.293 469 37,665 633 17.045 31,151 55.812 16 Retirement benefit schemes Defined contribution schemes The charitable company operates a defined contribution pension scheme for all qualifying employees. The assets of the scheme are held separately from those of the charitable company in an independently administered fund. The charge to profit or loss in respect of defined contribution schemes was £2.984 {2024: £2,689). 17 Restricted funds The income funds of the charity include restricted funds comprising the following unexpended balances- £9.562 for the delivery of the Naomi Wilkinson Award for Stage Design in 25126. Movement in funds In¢omlng resources Movement In funds Balance at 1 Aprll 2023 Balance at 1 Aprll 2024 Incomin9 resources Resour¢e$ Balance at expended 31 March 2025 Project Grants 99,558 9,750 16,106 (16,294) 9,562 The funds are held in accordance with the chariws poli¢y on reSeeS, as set out in the Trustees. Report. -22-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 18 Designated funds The income funds of the charity include the followlng d@slgnated funds which have been set aside out of unrestricted fijr Movement In funds Re$our¢es Transfers Rgvaluatlon5. expended gains and losses Balance al 1 April 2023 In¢omlng resources Balance at 1 April 2024 Incoming rgsaurces Rf Administration and Overhead Creative Resilien Digital income generating initiative Leap before you look R&D Bursary places Digital Creation of Drama Online Content 92,000 10,840 102,840 30,000 30,000 10,000 10.000 2,000 4.735 8,000 2,000 4,735 8,000 122,000 35,575 157,575 The above funds are held in accordance with the charity's policy on reserves, as set out in the Trustees. Report. -23-
TOLD BY AN IDIOT NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025 19 Analysls of net assets belAveen funds Unrestrlcted Restrl¢ted funds funds 2025 2025 Total Unrestricted Restrlcted funds funds 2024 2024 Total 2025 2024 Fund balanS at 31 March 2025 are represented by.. Current assetsl(liabilities) 257.639 9,562 267,201 259,248 9,750 268.998 257,639 9,562 267.201 259.248 9,750 268,998 20 Related party transactions There were no disclosable related party transactions during the year {2024- none). 21 Members Liabillty Each member of the charitable company undertakes to contrFbute to the assets of the company in the event of it being wound up while helshe ceased to be a member, such amount as may be required, not exceeding £1 for the debts and liabilities contracted before helshe ceases to be a member. -24-