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 be￿een 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.

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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 prO￿sS 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.

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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.

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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.

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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.

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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 ca￿righYS
adaptation of Little Red Riding Hood, The Werewolf.

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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.

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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 f￿e 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. I￿e 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 Pro￿dureS 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 reSoUr￿S 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 reSe￿eS, 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 balan￿S 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-