## **MIDLAND ACTORS THEATRE** - A N N U A L R E P O R T , 2 0 2 1 2 MAT 25 Merrishaw Road Northfield Birmingham B31 3SL Telephone: 0121 608 7144 or 07946 006511 Email: david@midlandactorstheatre.com Website: www.midlandactorstheatre.com ``` 1 ``` ## **MIDLAND ACTORS THEATRE** - A N N U A L R E P O R T 2 0 2 1 2 T A B L E O F C O N T E N T S |**1**|**Introduction**|**3**| |---|---|---| |**2**|**Descent**|**5**| |**3**|**Erasmus Plus**|**8**| |**4**|**Dorothy Heathcote Now**|**8**| |**5**|**“Dreaming Museums”**|**10**| |**6**|**Future Plans**|**12**| |**7**|**Funding**|**12**| |**Appendices**||| |A|**Artistic Policy**|**13**| |B|**Company Members, 2021-2**|**13**| ``` 2 ``` ## **`1 Introduction`** ``` In the summer of 2021, MAT staged the world premiere of a new play, Descent by David Calcutt and Sarah Sayeed. The play was scheduled for the previous year, but had been delayed due to the pandemic. The production was given a two-week run in a site- specific venue, the Lampworks, a former factory in Birmingham’s Jewellery Quarter. ``` ``` The audience & critical response to the production was overwhelmingly positive. Elise Evans (Radio WM) described it as a “brilliant piece of theatre.” In an extended review for “IAMBIRMINGHAM,” Rangzeb Hussain praised this "stark and daring new drama ... a unique theatrical journey." A number of audience members posted reviews online; comments included: “…the setting was darkly haunting and amazing and the use of the space extremely imaginative.” ``` ``` “Dark, tough, but wonderful to be part of. … Like theatre should be.” ``` ``` “HIGHLY RECOMMENDED. Incredible setting … VERY emotional and an absolute must see.” ``` ``` “A theatre piece for our times. Outstanding cast … One of the best theatrical experiences I've seen.” ``` ``` The company has continued its work in different fields, including two Erasmus Plus projects, on the Commission Model of Teaching, and Rolling Role. MAT is lead partner in both projects, with partners in Turkey, Portugal, Germany, Poland, Spain and the UK. In November 2021, we were able to resume “in person” meetings, with a three-day event in Porto. A significant development has been the creation of the Facebook group, The Commission Model of Teaching. First launched in July 2020, it features daily posts on the work of Dorothy Heathcote, and has grown to 1200+ members. The success of the FB group has raised our profile, and we have developed new contacts in Europe, India, Singapore, Hong Kong, and elsewhere. ``` ``` The Erasmus Plus project outcomes are published on the website www.mantlenetwork.com. In 2021, the number of visits was 2073 – an increase of 237% on the previous year; and in 2022, there has been another increase, of 15%. The MAT youtube channel has also grown significantly, in subscribers and number of views. ``` ``` 3 ``` ``` In October 2021, we co-organised a 3-day conference with Birmingham City University, called Dorothy Heathcote Now. 80 delegates attend in person and another 45 online. A special issue of The Journal for Drama in Education, published by the National Association for the Teaching of Drama, was issued to coincide with the conference, and included articles about the Erasmus Plus projects. Another Dorothy Heathcote Now conference is planned for November 2022. ``` ``` We have undertaken two projects with funding from Birmingham City Council, called “Dreaming Museums.” We worked with school- based groups in several venues; participants created art work inspired by local heritage sites, such as Sarehole Mill and Soho House. The results were published on the project website, www.dreamingmuseums.com. In these projects, we continued our working relationship with Professor Carl Chinn. ``` ``` We can celebrate a year of great success in our educational and our theatrical work, which has raised our profile as a company, both nationally and internationally. ``` ``` 4 ``` ## **`2`** _**`Descent`**_ ``` In the summer of 2021, we staged the world premiere of a new play, Descent by David Calcutt and Sarah Sayeed. The play was scheduled for the previous year, but had been delayed due to the pandemic. The production was given a two-week run in a site- specific venue, the Lampworks, a former factory in Birmingham’s Jewellery Quarter. ``` ``` The audience & critical response to the production was overwhelmingly positive. Elise Evans (Radio WM) described it as a “brilliant piece of theatre.” In an extended review for “IAMBIRMINGHAM,” Rangzeb Hussain praised this "stark and daring new drama ... a unique theatrical journey." A number of audience members posted reviews online; comments included: ``` - `“…the setting was darkly haunting and amazing and the use of the space extremely imaginative.”` - `“Dark, tough, but wonderful to be part of. … Like theatre should be.”` - `“HIGHLY RECOMMENDED. Incredible setting … VERY emotional and an absolute must see.”` - `“A theatre piece for our times. Outstanding cast … One of the best theatrical experiences I've seen.”` ``` 5 ``` ``` We made increased use of social media in promoting the production, including youtube, Instagram, and Facebook. Facebook posts alone reached over 31,000 people. We organised an innovative online “seminar” series in the run-up to the production, attracting an impressive line-up of speakers including academics and practitioners; topics covered different aspects of the play, such as: “Myths of Descent” and “The Drama of the Word.” This helped to raise awareness of the production, but its impact was wider, in raising our profile, and informing our own thinking about our work, through dialogue with specialists in other fields. One of the speakers, Professor Gwenyth Hood of Marshall University, wrote an extended review and analysis of the play, which has been published on our website. ``` ``` The project enabled us to experiment with form, in particular: the creation of work that is site-specific; the development of immersive experiences for the audience; the integration of different artistic elements and art forms, and the combination of sound, word, image, and space. Descent has increased our reputation for innovative work. We are hoping to tour the production in the future. ``` ``` 7 ``` ## **`3 Erasmus Plus`** ``` In October 2019, we began an Erasmus Plus project on Dorothy Heathcote’s Commission Model of Teaching. MAT is lead partner, working with a range of other partners in Turkey, Portugal, Germany, Poland and the UK. We were able to resume in-person meetings, with an event in Porto in November 2021. ``` ``` In 2020, we began another Erasmus Plus project, this time looking at Dorothy’s Rolling Role system, with partners in Spain, Italy, Poland and the UK. ``` ``` We have continued to promote both projects through the Facebook group, The Commission Model of Teaching, first launched in July 2020. it features daily posts on Dorothy’s work of Dorothy’s work, and has grown to 1200+ members. The success of the FB group has raised our profile, and we have developed new contacts in Europe, India, Singapore, Hong Kong, and elsewhere. ``` ``` The Erasmus Plus project outcomes are published on the website www.mantlenetwork.com. In 2021, the number of visits was 2073 – an increase of 237% on the previous year; and in 2022, there has been another increase, of 15%. The MAT youtube channel has also grown significantly, in subscribers and number of views. In part, this is a result of the synergy between the different internet platforms, and also our involvement in activities and events such as the Dorothy Heathcote Now conference. We have played a significant role in reawakening interest in Dorothy’s work. ``` ## **`4`** _**`Dorothy Heathcote Now`**_ ``` MAT was co-organiser with Birmingham City University of the 3- day Dorothy Heathcote Now conference, held at BCU. 80 delegates attended in person, and another 45 online. 11 videos of the event have been published on the MAT youtube channel; they have reached up to 350 views. ``` ``` The National Association for the Teaching of Drama (NATD) produced a special “Dorothy Heathcote” issue of the organisation’s Journal, to coincide with the conference. It included an article by David Allen. ``` ``` 8 ``` ``` David was also interviewed about the conference by Tom Craig, for the “Applied Theatre” podcast: ``` ``` -- https://tcapplied.squarespace.com/appliedtheatre - podcast/davidallen-dorothy-heathcote-now-international- conference ``` ``` Another Dorothy Heathcote Now conference is planned for November 2022. ``` ``` David was invited by London Drama / National Drama to present an online talk on “Mantle of the Expert”; and he also gave a talk on “The Iconic, Symbolic, and Expressive Modes in Language Learning” as part of the “Drama Days” event organised by the German drama association, dramapaedagokik.de. He has also convened monthly online Dorothy Heathcote seminars. ``` ``` In April 2021, a group was formed to develop the Dorothy Heathcote Archive, currently housed in Manchester Metropolitan University. A new home needs to be found for the Archive in a library; and materials need to be digitised. The group is led by David Allen; it includes leading members of the drama in education world, including the Chairs of the two UK drama associations, NATD and National Drama. ``` ``` 9 ``` ## **`5 “Dreaming Museums”`** ``` We undertook two projects funded by Birmingham City Council, with the title Dreaming Museums. We worked with groups in six different schools. There was a history and an arts focus: each group focused on a local museum or heritage site (such as Sarehole Mill, Soho House and the Pen Museum). Carl Chinn acted as historical consultant. Participants produced artwork inspired by the heritage site, through drama, music, prop-making, story writing, etc. Their work is featured in an online “exhibition,” as a kind of “virtual museum,” on the website www.dreamingmuseums.com. (The image above was produced by a student at George Dixon Academy.) ``` ``` 10 ``` ``` The second project culminated in an event at George Dixon Academy, where groups came together, to share their work. ``` ``` 11 ``` ## **`6 Future Plans`** ``` Our future plans include: ``` - `continuing the Erasmus Plus projects on Dorothy Heathcote’s “Commission Model” and “Rolling Role”` - `new local history projects for schools, funded by Birmingham City Council and the National Lottery Heritage Fund` - `a new play commission` ## **`7 Funding`** ``` In 2021-2, we received funding from National Lottery Heritage Fund, Arts Council England, the British Council (Erasmus Plus), and Birmingham City Council. ``` ``` A full breakdown of income and expenditure for 2021-2 can be found in our Financial Statements. ``` ``` 12 ``` ## **`Appendix A`** ``` Artistic Policy ``` ``` MAT is a ‘learning theatre’ company. We are dedicated to: ``` - `using drama and theatre as a way to help people learn` - `breaking down the barriers that exist between different communities, cultures and traditions; and encouraging processes of dialogue, exchange, and learning` - `helping disadvantaged groups` - `developing our own understanding and expertise` ``` There are three main strands to our work: ``` - `Theatre productions` - `Education` - `Research and Communication` ## **`Appendix B`** ``` Company Members, 2021-2 ``` ``` Artistic Director ``` ``` David Allen ``` ``` Secretary ``` ``` Maretha Wallace ``` ``` Boardof Directors ``` ``` Gill Adamson Iris Bertz Zak Hamza Yi Ann Kok George Pearce Jo Thackwray (Vice-Chair) Iona Towler-Evans Jon Trevor (Chair) ``` ``` Consultantto Board ``` ``` Carol Meekins ``` ``` 13 ``` ``` Writers David Calcutt Sarah Sayeed ``` ``` Filming Zak Hamza Matt Kowalczuk Rachel Gillies ``` ``` Designer John Bell ``` ``` Artist Lilith Piper ``` ``` Accountant Barry Matthews (Bissell & Brown Ltd.) ``` ``` Historical Consultant Professor Carl Chinn ``` ``` Workshop Facilitators ``` ``` David Allen Yi Ann Kok ``` ``` Costume Jo Thackwray ``` ``` Music Alicia Gardener-Trejo Josh Herring ``` ``` Choreography ``` ``` Helen Calcutt ``` ``` Company Members ``` ``` Caroline Cooke Harriet Ellis Shelley Eva Haden Alex Kapila Vimal Korpal Sarah Macqueen Dominic Thompson ``` ``` 14 ``` ``` Stage Management ``` ``` Rachel Barnes ``` ``` - Makeup Erin Connolly ``` ``` Setconstruction Jack Barnes ``` ``` Lightingandsound Liam Walsh ``` ``` Erasmus Plus Team Claire Armstrong Mills Iris Bertz Iona Towler Evans ``` ``` 15 ``` Company registrdtion number.. 43?241 j Charity registration number. 1091498 Midland Actors Theatre (A ¢ompany limited by guarantee) Annual Report and Financial Stalenients for tlie Year Ended 31 March 2022 Bissell & Brown Binningham Ltd Chartered Accountants 12 Portinan Rd Birmingham B130SL Midland Actors Theatre Contents R¢ference and Administrative Details Trustees, Report 2104 Ind¢pendent Examiner's Report Statement of financial Activities Balance Sheet Notes to the Financial Sratements 8t012 Midland Actors Theatre Reference and Administrative DetaiIs Trustees Jon Trevor Zak Hamza Joanne Thackwray lona Towler Evans Marerha Wallace Yi Ann Kok Gillian Adamson George Pearce 1091498 Charity RcgTStration Number Company Registration Number 4J22413 The ¢harity is ineorporateil in England & Wales. 25 Merrishaw Rd Northfield Birmingham B313SL Registered Office Independent Examiner Bissell & Brown Birmingham Lid Chartered Accountants 12 Portman Rd Birminsjham B13 OSL Page I Midland Actors Theatr¢ Trustees, Report The trustees. who are directOTS for the purposes of company law, present the annual report togeiheT Wlth the financial statements of the charitable company for the year ended 31 March 2022. Objectives and activities Objec15 ftiid ainis To advance education for the public benefit by tlie promotion of th¢ arEs. in particular but not exclusively. the art of drama. ObJeLilves, SIT￿legIt& aitilueiivili In tlie sumiller of 20? I, MAT staged the world pi'emiere of a iiew play, De5ceni by David Calcutt and Sarah Sayeed. The play was sclieduled for the previous year. but liad been delayed due to the pandemic. Tlie production wa5 given a two-week run in a 51te-specific venue, the Lampworks, a fornier factory in Birniingham's Jewellery Quarter. The audience & critical response to the production was overwhelmingly positive. Elise Evans (Radio WM) described it as 'brilliant piece of theatre.. In an exiended review for "IAMBIRMINGHAM.. Rangzeb Hussain praised tlTris "stark and daring new drama a unique tlieairical joumey." A number of audience members posted reviews online: comments included.. .the setring was darkly haunting and amazing and the use of the space extremely imaginative." 'Dark, tough, but wonder￿] to be part of. Like theatre should be." 'FIIGHLY RECOMMENDED. Incredible setting . VERY einotional and an absolute must see." 'A theatre piece for our limes. Outsianding cast One of the besi iheatrical experiences I've seen. The company has coiitinued lis work in different fields. including two Erasmus Plus proje¢ts, on tlie Commission Model of Teaching, and Rolling Role. MA T is lead partner in botli project& with panners iii Turkey, Portugal, Gerniany, Poland. Spyin and the UK. In November 2021. we were able to resume "in person" meetings, wilh a tliree-day evept in Porto. A significgnt development has been the creaiion of the Facebook group, Tlie Commission Model of Teaching. First launclied ii) July 2020, it features daily posts on the ivork of Dorothy Heathcore. and lias grown ro 1200+ meinbers. The succes5 of the FB group has raised our profil4 and we have developed new contacts in Europe. India, Singapore. Hong Kong, and elsewhere. The Ei'asmus Plus projec( outcomes are published on the website www.mantlenetwork.¢oni. In 2021, the number of visits was 2073 an InCre￿e of 237V/ts on (l)e previous year: and in 2022. there has beeii another increase, of 15010. The MAT youtube cliannel Ilas also grown significantly. in subscribers and number of views. In October 2021, we co-organised a i4ay conference with Birininghain City University, Called t)orotl)y Heathcote Now. 80 delegates attend in person and another 45 online. A special issue of The Jouriial for Draina in Education, published by the National Associaiion foi" the Teaching of Drama. was issued to coiiicide %vitli the conference, and ii)cluded article5 about tlie Erasmus Plus projecis. Another Dorothy Heathcote Now conference is planned for Novembei. 2022. We liave undertaken two pi"ojecis with funding froin Birmingham City Council, called "Dreaming Museum5.' We worked witli scliool-based groups in several venues- Pdrticipants created art work inspired by local heTltage 51tes, such as Sarehole Mill and Solio House. The results were publislied on the project website. www.dTeamingEnuseurns.com. these projects, we Continued our working relationsliip with Professor Carl Cliinn. We can celebrdte a year of great success in our educational and our theatrical worK which has rnised our profile as a company, both nationally and internationally. Ptsblle beftefirf Activities undertaken ioJf Jrther u_blicl¢n¢fit Tlie trustees confinn that they have complied witli the requirements of section 17 of the Charities Act 2011 to have due regard to tl)e public benefit guidance published by the Cl)ai'ity con11￿]Ssion foi. England ai)d Wales. Page 2 Midland Actors Theatre Trustees, Report Trustees and officer5 Th¢ ti'ustees and o(fic¢TS servino during the year and since the year end were as follows.. Trustees.. Jon Trevor Z2k Hamza Joanne Thackwrdy lona Towler Evans Maretha Wallace Yi Ann Kok Gillian Adamson George Pearce Structure. governance and management NiiliirÉ ofgoveriiiiig dociinieiit Memorandutn and Ajticles of Assocation , incorporated 14th November 2001, as amended by special resolution dated 18th Septejnber 2002. The company was registered a5 a chai'ity on 2nd April 2002. Recruilnieiil filld￿Ppo1l￿lNj£•I10fÉrusleÈS Trustees retire by totation every three years and are eligible for re-appoiiitment. Statement of Trustees, Responsibilities The trL)Stees (who are also the directors of Midland Actors Theatre for the purposes of company lawl are responsible for preparing the trusiees, report and the financial statements in accordance with the United Kingdom Accounting Staiidards (Uni(ed Kingdom Generally Accepted Accounting Practice) and applicable law and regulations. Coinpany law requires tlie trustee5 to PTepaTe fjnancial statements for each finanLial year. Under company law the trustees musi not approve ihe financial stateinents unless tliey ale satisfied that they give a true and fair view of Ili¢ state of affairs of the chariiable company and of its incoming re50urce5 and application of resources. including tis income and expenditure. for that period. In PTeparing these finai)cial statetnentS, the trustees are required to.. sele¢t suitabl¢ accounting poli¢ie5 and apply them consistently; observe the methods and principles in the Charities SORP- make judgements and estimates that are reasonable and prudent,. state whether applicable UK Accounting Standard5 have been followed. subject to aTty material departures disclosed d explained in the financial statements; and PTepare the financial statements on the going concern basis unless it is inappropriate io presume that the chariiable cornpany will continue in biisiness. The trustees are responsible for keepiiig adequat¢ a¢counting records that are sutTicient to sliow and explain the chaTitable company'5 Iransactions and disc105e with reasonable accuracy at any time the financial position of th¢ cliaritable company and enable Ihem to ensure that the financial stat¢incnts comply with the Companies Act 2006. TlTrey ar¢ a150 responsible for safeguarding the assets of th¢ charitabl¢ company and hence for takiiig reasonable steps for the prevention and dete¢tion of fraud and othcr irr¢gul8Tlties. Page 3 Midland Actors Theatre Trustees, Report Tlie annual report ￿'aS approved b> Ihe ti'ustees of rhe chariti on lid si17ned on its behaifbK': I I'usteL Midland Actors Theatre ndependent Examiner's Report to Éhe trustee5 of Midland Actors Theatre ("the Company" ) I iepoii 10 the Cl]arit￿ trusiees 011 n7k ex2nTrination of the dccounrs ol'tlie Coiiipaiii for Iht jear tyiided i l Mi arch ?02? Re%punsibilitie5 and b2sts of report .Is Ihe cliaritv's Irustees of Ihe Company (and also its directo￿ for Ilie purposes of ¢oinpanv law} }iOU are ie5ponsible foi- Ilie pieparation oFthe accounES in aecordan¢e with the requirements of the Compl￿7t$ Act 7006 {-Ilie ?006 Act'l. Ha*ing satisfied iiil'self that Ihe accounts of Midland Aciors Tlieati'c ale noi iequired to b£ audited iindei. Part 16 of tlie ?006 Aci and are eli￿lbIe fÉ)r indepeiident exaiiiinaiion. I report in iespeci of ill) e.xaminarion of ! oui- cliarit!, s acLounts as Cal'i'￿ed out undei. section l Ji of the fhai'ilies Act ?0 I I l-rl)e ?0 I l Aci-l. Iii cari)-ing out Inj. e.kaii)Ination I liave FOllo￿,¢J Ilie Direciions ￿1ven b). Ehe Charity Coiiimis5ion under section 14i{iKbl of the ?0 I l Act_ llldepend¢nt eiaminer's statement I Ii(Li.e coniplered my eAamination. I confinn that iTro Inairers have coine ro aiteiilion iii conncciion ii'ith the aiiiiiiation me cause to believe-. accountiiig records ki'ere not kept iii respect of Imidlaiid Aciois TlieaiTe as I'equii'cd bi. section i86 of ihe ?006 Act; or Ilie accounts do nor accord i*Tih rliose records.. oi. the accounis do not coinplv with the accountino I'Lquireiiieiits ol- seciioii i96 ot Ihe •006 .4ct oiher than aiiy rcqiiirenient thai the accounts (Jive a '-true and lair vieiv, Ki.Iiic17 is not a tnattei. cot15idered as pan of an iiidependent exaniinaiion-. or 4. the accounts have Iiot been prepaTed in accordance i¥itli the Inethods and principle5 of tlie Siaternent of Recotnmended Praciiee for accountino and rep011ing bj chai-ities lapplicable io cliai'itTes preparino tlieir accounrs in 3ccordance witli the Financial Reporting Standaid applicable in the tiK and Republic of Ireland IFRS 10?)]. I hatre no concems and ha￿e come aciass no orlier matters in connection iiirli Ilie e.¥aininaiioii 10 which atreniion should be draivn in ihis report in order to enable a propel- understanding of tlie accouiits 10 be reaclied. lattlieivs FCA Cliai'tered Accuunianis Bissell & Brom'ii Bii'minohaTh Lid ~)L_ L-U l ? Poriinan Rd Birminoham BIJOSL Dale.. Pa i-ecords and the preparation of accounts. The fiiiaiicial stalenients 011 pa> es 6 to l ? Nveie appi'oved the (i-ustees. and auihorised foi. issue on sitjntd on their belialf b).: and TI'u5tLe The notes on pages 8 to 12 fortn an Inittstal part of rliese financial statenitnts. Mldland Aetors Theatre Not¢$ to the Financial Statements for the Year Ended 31 March 2022 Charity 5tatU5 The charity is limited by guarantee, in¢orporated in England & Wales. and consequently does not hav¢ share capital. Each gf the trustees is liable to contribute an amount not ex¢eeding £1 towards the asseis of the charity in the event of liquidalion. Tl)¢ address of its registered office is= 25 Merrishaw Rd Northfield Biriningham B313SL Allthorised for issue date 2 Aeeounting policies Surnrnary of significant 8ecounting policie5 and key accounting estimale5 Tlie principal accounling policie5 applied in the preparation of these financial statements are set out below. These policies have been con5islently applied to all the years presented. unless otherwise stated. Statement of Complia￿Ce Tlie financial slateiiients have been prepared in accordance with Accounting and Reporting by Cliaritie5'. Statem¢nt of RecomTnended Practice (applicable to charities prepariftbi their accounts in accordance with th¢ Financial Reporting Standard applicable in the UK and Republic of Ireland {FRS 102)) (issued in OctobeT 2019) - (Charities SORP (FRS 1021), tlie Financial Reporting Standard applicable in the UK and Republic of li'eland (FRS 102) and the Companies Act 2006. Basis of preparation Midland Actols Theatre meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical ¢05t or transaction value unless otherwise stated in the relevant accounting polity notes. Exemption from preparing A Cash flow staternent The charity opted to early adopi Bulletin I published on 2 Fetwuary 2016 and have therefore nol included a cash flow statement in thesc financial statements. Income and endOw￿eNts Dividend5 are recognised once the dividend has been declaied and ntstification has been reteived of tlie dividend due. Expenditure All expenditure is recognised onte there is a legal OT COllStTUCtive obligation to that expenditllre, it is probable settlement IS Tequired and the amount can be measuFed reliably. All costs are allocated to the applicable expenditure heading that aggre(yate similar costs to thai catetsory. Wl)ere costs eannot be directly atti'ibuted 10 particulaT headings they have been allocated on a basis consistent with the use of resources. with central staff costs allocated on the basis of time 5penl, and depreciation charges allocated on the portion of the asset's use. Other support costs are allocated based on the spread of staff costs. Page 8 Midland Actors Theatre Notes to the Financial Statements for the Year Ended 31 March 2022 Chllriloble acllvliles Charitable expenditui'e comprises those costs incurred by the charity in the delivery of its activities and services for its beneficiaries. li includes both c051S that can be allocaied dire¢ily to such activities and those costs of an indirect nature necessary to support them. Taxation Tlie cliariiy is considered to pass tlie tests se( out in Paragraph I Schedule 6 of the Finance Act 201 O and therefore it meets the definition of a charitable company for UK COTporation tax purposes. Accordingly, the charity is potentially exeimpi from taxation in respect of income or capital gain5 Teceived within categories covered by Chapter 3 Part I l of the Corporation Tax Act 201 O or Section 256 of the Taxation of Chargeable Gains Act 1992. to the extent that such income or gains are applied exclusively io charitable purpose5. Foreign exchange Transactions in foieign cutTen¢ies are recoTded at the raie of exchange at the date of the hznsa¢tioii. Monetary assets 8nd liabilities denominated IJJ foreign ¢urren¢ie5 at the balance sheet date are reported at th¢ rates of exchange prevailing at that date. The results of overseas operatitsns are translated at the average rates of exchantse during the period and their balance sheets at the rates ruling at ihe balan¢e sheet date. Exchange ditTerences arisints on translation of th¢ opening net assets and results of overseas operations aTe reported in other comprehensive income and 2ccumulat¢d in equity {attributed to non-controlling int¢r¢5ts as appropriale). Other exchange diffe￿￿¢¢5 are re¢ognised in ihe Siatemeni of Financial Activities in the period in which they arise except ror.. l ) excliange diffe￿nCeS on transactions entered in(0 to hedge certain foreign currency risks (see above)- 2) exchange differences arising on gains or losses on non-monetary iterns wht¢h ar¢ re¢ogni5ed in other comprehensive income: and 3) in the case of (he ¢onsolidat¢d financial statements, exchange differences on monetary iterns Teceivable from or payable to a foreign operdtion for which settlemeni is neiiher planned nor likely to occur (IhcrefoTe forming part of the net investment in the foreign operation), which are recognised in other comprehensive income and Teported under equity. 3 Income from charltable activities Unrestrleted funds Ceneral Restrt¢ted funds Total funds Heritage Lottery Fund Aits Council 20,703 4,970 15,710 20,703 4,970 15,710 8,742 351 BlmiM￿￿M City Council Educational projects Book sales 8,742 351 Total for 2022 9,093 41,383 50,476 Total for 2021 653 76,574 77.227 Page 9 Midland Aetors Theatre Notes to the Financial Statements for the Year Ended 31 March 2022 4 Investment income Ursrestricted runds General Total funds Interest receivable and similar income. Interest re¢eiYable on bank deposits Total for 2022 Total for 2021 29 5 Expenditure on charitable activities Unrestricted funds General Restricted funds Total 2022 Total 2021 Project purchases Research Birmingham CiÉy Council AFA & ACE PTQj¢Ct costs Erasmu5 direct cosls Admin Heritage Lottery Fund costs Insurance Independent examination P&L on exchangye Bank charges 1,224 206 1,224 206 20.902 16,413 56,605 2,985 1.203 1,406 780 3,996 1,656 20,902 16.413 56.605 8.840 18.9?9 1,203 12,150 998 780 2.640 60 1.406 780 i.996 6,606 99,119 105,7?5 46,053 2022 2021 6 Trustee5 remuneration and expenses No trustees, nor any pei'sons connected with them, have Teceived any remuneration ftom the charity during the year. No trllstee5 have received any reimbursed expenses from the charity during the yeaT. 7 Taxation The charity is a registered charity and is therefore exetnpt from taxation. Page 10 Midland Actor5 Theatre Notes to Éhe FinAneial Statements for thc Year Ended 31 March 2022 8 Dcbtors 2022 21121 Accrued income 5,756 158 9 Cash and Cash equivalents 2022 2021 Cas1Tr at baiik Sliort-term dep051t5 85.903 26 145.96i 26 85,929 145,989 10 Creditors: amounts falling due withtn one year 2022 2021 Accruals 1.560 780 I l Funds Balanec at I April 2021 Incoming resources Resources expended Balance at 31 March 2022 Unrestricted funds Geiiernl Uni'estricled fund5 3,124 9,100 (6,606) 5,618 Restricted funds Hcritage Lottery Fund Bi'itisli cou￿¢11 l Erasinus 3 British Council l Erasmus 4 Arts Council Bham City Council 12) 49,687 55,694 29,565 7.299 20,703 (1,203) (33,680) {26.9?1) (16,413} {20,902) 19,498 16.007 4.970 15,710 18,122 2.107 Total restricted funds 142,24J 41,383 (99,119) 84.507 Total funds 145.367 50,483 1105,725 90,125 Pagell Midland A¢tors Theatre Notes to Ihe Financial Statements for the Year Ended 31 March 2022 Balgnee at I April 2020 Incoming resource5 Resources cxpeNded Balance at 31 March 2021 Unrestri¢ted funds Geiiertsl Uiiresti'icted fvnds 682 (1.8371 3,124 Restricted Hcritage Lottery Fund Big Lottery Arts For All British Couttcil / Erasmus 3 Brilisl) Council / ETasrnus 4 Arts Council Bham City Council 8.418 i,730 (12.150) (2,516) (13,373) (8.195) (6,325) {1.656) {2) 63,060 49,687 55.694 ?9.565 63.889 35,890 8.955 Tot81 restricttd funds 109.884 76.574 (44,215} 142.243 Total funds 114,163 77,?56 (46,05? 145.367 Page 12