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2022-03-31-accounts

Registered number: 05371228 Charity number: 1111526

DEAFINITELY THEATRE

(A Charitable Company Limited by Guarantee) ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

DEAFINITELY THEATRE

Legal & Administrative Details

Trustees A Pandya –Chair
M Hopkinson –Vice Chair
P Bellwood – resigned 28 September 2022
R Haines – resigned 28 September 2022
C Heffernan – resigned 28 September 2022
S Iyer
A Kenward – resigned 21 June 2022
L Pukk Lowe – appointed 5 October 2022
T Robbins
L Stephens
K Thomas-Currie
J Yang – appointed 5 October 2022
C Young – appointed 5 October 2022
Company registered number 05371228
Charity registered number 1111526
Registered office PO Box 1160
30 Montpelier Rise
Wembley
HA9 1LQ
Key Management P Garfield – Artistic Director
F George – Executive Director
Independent Examiners Simpson Wreford LLP
Wellesley House
Duke of Wellington Avenue
Royal Arsenal
London SE18 6SS
Bankers The Co-Operative Bank
PO Box 250
WN8 6WT

DEAFINITELY THEATRE

Contents

1-7 Trustee’s report 8 Independent examiners’ report Accounts comprising; 9 Statement of financial activities 10 Balance sheet 11 Statement of cashflows 12-18 Notes to the accounts

DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

The Management Committee submit their Annual Report together with the Accounts for the year ended 31st March 2022.

Objectives aims and principal activities

Deafinitely Theatre was set up in January 2002 by Paula Garfield, Steven Webb and Kate Furby to produce performance ideas by deaf people. Over the past 19 years, our reputation has grown, not only within the deaf community but in the London theatre community in general.

Deafinitely Theatre is the first professional deaf-launched and led theatre company in the UK that provides performances and activities for all ages, from child to adult. Our work empowers deaf BSL users - their culture, identity and pride – through a creative programme accessible to all ages. This has four strands: an annual theatre production; a Youth Drama Programme (including a youth theatre and regional outreach workshops); and a Creative Skills Development Scheme. We also carry out deaf awareness consultancy training with arts organisations across the UK. All Deafinitely Theatre’s work is bilingual, in English and BSL.

In setting objectives and planning for activities the Trustees have given due consideration to general guidance given by the Charity Commission relating to public benefit, including the guidance “Public Benefit: running a charity (PB2)’.

Public Benefit

Deafinitely Theatre aims to benefit the UK's deaf community, both locally and nationally, by providing access to theatre performance, training and employment opportunities, as well as raising awareness of particular issues relevant to the lives of deaf people.

Our primary audience and beneficiaries are deaf BSL users in the UK. We also appeal to hearing audiences, both signers and non-signers.

We offer training opportunities for deaf creative artists (both emerging and professional, as well as young people) and we also attract hearing actors who can sign. Our work appeals to students who are learning BSL so they can test out their own sign skills and socialise with deaf people.

Our users also include children and young people, both deaf and hearing, and the many industry professionals we provide advice to and work with.

Approximately one in a thousand people are deaf and use BSL as their primary language. Their cultural needs are too easily overlooked, but their visual language has so much to offer the wider world.

Our production work represents deaf people and their experiences on stage and aims to attract as wide an audience as possible, both deaf and hearing, to promote deaf awareness. In doing so deaf people are given a voice and essential role models in an arts role. All our work is led in BSL so that deaf sign language users have access to our events and activities; where possible we incorporate projected captions for those deaf people who are oral.

1

DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

Activities for achieving objectives since the company’s foundation

When Deafinitely Theatre launched in 2002 with a short run of a devised theatre piece at London’s Gate Theatre, audiences queued in the street for return tickets to this sold-out premiere. By 2006 we were invited to open our first central London play at Soho Theatre for three weeks, attracting over 1,000 people, both deaf and hearing. In May 2012, our 10th anniversary year, we performed the first ever BSL Shakespeare play at Shakespeare’s Globe Theatre, attracting deaf actors and audiences into the venue for the first time in its entire history. For the first time, audiences and reviewers looked beyond the deafness of the actors and instead judged us on the quality of the experience. In January 2018, our production Contractions won the Off West End Theatre Award for Best Production and in March 2019 our Artistic Director Paula Garfield won a Tonic Award for her energy and unwavering commitment to opening theatre up and the artistic quality of the work she produces as Artistic Director of Deafinitely Theatre. Since then we have produced more than 40 productions in London and nationally.

The impact our work has had on how mainstream theatre views deaf artists cannot be underestimated. Our work has placed deaf artists centre stage and many actors, writers and directors currently working in the industry gained their first training and employment opportunity with us, a track record we’re extremely proud of.

Achievements and Performance

2021-22 continued to be a challenging year across the world, given the continued COVID-19 pandemic as reported in our last annual report. Ongoing lockdowns and social distancing meant huge difficulties across the Arts Sector and wider. The year saw our primary engagement with deaf continue to be online rather than in person and successfully complete the move to become a fully remote working organisation.

The year saw us begin our Research and Development for our new production Everyday , a World Premiere of true stories of deaf women and non-binary people’s experience of surviving abuse. The project was timely in that the pandemic has seen domestic abuse in the deaf community double compared to mainstream society. In April our Artistic Director Paula Garfield conducted 8 interviews online with survivors. The challenge was that these needed to be online rather than in person due to the ongoing pandemic. We then held three further Research and Development sessions which were fantastically able to go ahead in person in June, July 2021 and January 2022, workshopping ideas and working with our Dramaturg Lakesha ArieAngelo on developing the script for the production. We also offered observational placements as part of our mentoring scheme to young deaf artists and our youth group as well as worked with our consultant researcher and independent Domestic Violence Advisor, Clare Chilton to develop the project further. In early 2022 we contracted our partner venues for the touring project, New Diorama Theatre London, Birmingham Rep, York Theatre Royal and Northern Stage Newcastle, meaning our activity around the show will not only be London based but able to now cover 4 regions and expand our reach and engagement, to spread awareness on this vital topic of deaf domestic violence even further afield.

2021-22 excitingly saw us work in association with Paines Plough to present Talking Hands , three bold new films directed by our Artistic Director Paula Garfield. Online rehearsals and filming took place in June and July 2021 with the films released on 8th December 2021. Stage two of the project began in February and March 2022 with online rehearsals for a further two films being created with plans to release at the end of the year for free online. The short films each performed in BSL were created as a response to the deaf experience of the COVID-19 pandemic, extending Deafinitely Theatre’s commitment to providing opportunities to deaf artists at a time when creative live theatre has not been possible and we are incredibly proud to have had 18 deaf artists and creatives working on the project.

2

DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

The year also saw us commit to an exciting new project funded by our Arts Council England Culture Recovery Fund grant, again, devised in response to the pandemic. Deafinitely Theatre has awarded bursaries to 26 deaf freelance theatre practitioners and performers in two rounds of funding to support their work and creative development during the pandemic. We are proud to showcase the work they have been developing since 2021 on our website and across our social platforms and channels. Examples of our artists work include using their bursaries to develop their BSL performance skills, expanding their experience in script translation, to research and develop their own production ideas, hiring playwrights to work with for the first time in their developmental process and to present workshop sessions.

Our online film projects during this challenging lockdown period have been a huge success generating over 28, 000 views online, a large engagement for both our Talking Hands and Bursary project films, expanding on a core aim, to release more digital work, making online accessible creative art that our beneficiaries can watch anywhere and at any time.

“I am so thrilled to have received a Bursary from Deafinitely Theatre which was instrumental in setting up my website CreativeCaptioning.com, to promote my work with captions that are integrated into set design and are included as part of a creative process.

Since receiving the bursary, I have worked on a Digital Fellowship with the Royal Shakespeare Company to continue research and development on creative captioning and have designed creative captions for several productions this year including Deafinitely Theatre on their latest production “Everyday”. I am so grateful to Deafinitely for all the support they have given me and hope to work with them again in the future.” – Ben Glover, Bursary recipient, Deaf Freelancer project.

2021-22 saw us work for the first time in collaboration with Toucan Theatre to excitingly develop and tour a schools production of GETTING THERE, a deaf integrated production about a carer, with the action taking place and audience seated onboard a bus, supported by Oxford Bus Company. The fun paced show was presented in a journey of audience participation, with BSL and karaoke. The tour had 16 performances with a total audience of 296 young people. It is estimated that two children in every class in Oxfordshire are young carers, yet fewer than 20% are identified. Post COVID-19 lockdown, The Carers Trust has highlighted the even greater need to bring awareness to the situation of these marginalised children. We were delighted for our organisations to join forces to bring this project to life and raise awareness around such an important topic.

The year was a challenging one for our HUB project, launched back in 2018 as a forum for emerging deaf artists to gain accessible professional theatre training. Offering mentoring taster sessions, and structured courses in acting and writing. Much of our outputs unfortunately had to be postponed or cancelled due to continuing social distancing and online only events this year. We were happy to be able to deliver some actor workshops with our partner RADA in May and June on Shakespeare and modern text.

We did experience similar challenges around our youth project with online fatigue resulting in low uptake causing us to cancel our acting workshops for our summer school in August. However our autumn and spring youth programme was able to go ahead in person from October 2021 to February 2022, culminating in our deaf youth group devising and performing their own production of Death in the Theatre to an invited audience of family and friends at Shoreditch Town Hall in the February. We delivered two performances with a total audience of 130 people attending. Additionally we were so delighted to be able to present a workshop for our youth group with our alumni Rose Ayling-Ellis, having won Strictly Come Dancing and starred in Eastenders, she is a deaf role model and currently in discussion with us to become patron for our youth group, something she is incredibly passionate about having started her theatre and arts career with us in our youth group herself. We delivered 13 youth workshops in total this year, engaging 167 participants, and additionally delivered 3 enrichment visits including to the Young Vic and Hackney Empire. We were delighted that 3 of our young people passed their Bronze Arts Award, an equivalent to GCSE Level qualification.

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DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

The year saw us deliver 3 panel events online, again increasing our digital output and online accessible engagement with our beneficiaries. In July 2021 we delivered the first of these panel events on the topic of Writers Focus hosted by Charlie Swinbourne from The Limping Chicken. September saw our panel on Actors vs Directors . These two panels were a way for us to mitigate our earlier cancelled Hub activity, and provide some online support and training for deaf adults. We also presented our World Café event in partnership with Improbable Theatre, this was the second event of this kind for us, and a first having to move the event online due to the ongoing pandemic challenges and inability for us to do in person activity, called The Future of Deaf Theatre . The three events saw us reach and engage with 776 deaf participants from across the UK with all 3 events being online live streamed across our website and social platforms.

Deaf Awareness Training and Consultancy has continued to include local, national and international theatre companies, freelance directors, youth and festivals as well as corporate chains. The main USP of our consultancy packages, Deaf Awareness Training (DAT) was offered to venues and theatre companies across London. We have delivered consultancy and training this year to organisations including BBC, RSC and National Theatre as well as larger consultancy projects with Hackney Empire and National Youth Theatre on their Hunchback of Notre Dame production. Our continued aim for future years is to offer consultancy more widely in the UK, and to continue to develop the offer via our associates, adopting a more business-driven approach from 2022.

Despite the continued ongoing challenges presented to Deafinitely Theatre due to the ongoing COVID-19 pandemic this year, the year has been an achievement, in delivering our projects, broadening our geographical reach through our national collaboration and partnership work and increasing our online activity and content. We have continued with our successful measured return to face to face content and are looking forward to a year ahead with a higher level return to in person working across all our projects.

Future Developments

Going Concern

With the COVID-19 pandemic continuing to have a significant impact on our industry, we have worked hard as a team to ensure that Deafinitely continues to remain a robust charity, we have mitigated risk with cut budget scenarios Board approved in advance of financial year activity.

Reserves Policy

The Trustees determine the level of reserves to be held. Trustees determine free reserves should be equivalent to six months' operating costs and not less than three months’ operating costs. This is calculated based on budgets submitted as part of Deafinitely Theatre’s ACE NPO application for 2018-22.

4

DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

Finance Review

Deafinitely Theatre has worked hard to remain robust and to mitigate the challenges resulting from the continuing pandemic. Predominately due to reductions on direct project costs and our successful achievement of our Arts Council England Culture Recovery Fund grant and Esmeé Fairbairn Reinvent funding, the financial year has remained healthy for the organisation.

Due to less direct project activity caused by postponement and cancellations relating to the pandemic, we have generated a reduction in In Kind Support, with it totalling £4,727 for the year on our Youth and film projects.

We raised a total of £77,787 from Trusts and Foundations towards our main production and Youth project with grants received from GLA Young Londoners fund, Garfield Weston Fundation, Esmeé Fairbairn Foundation and the Worshipful Company of Grocers. Additionally to mitigate financial challenges caused by the ongoing pandemic we were able to achieve £74,077, with grants received from Arts Council England Culture Recovery Fund, Esmeé Fairbairn Funding Plus and Reinvent funds, towards core and project costs

Our unrestricted income generated via our consultancy work, supporters scheme and Theatre Tax Relief totalled £50,724.

Our total surplus for the year is £58,249 but it should be noted that this surplus is in fact due to our main production Everyday , being postponed into our next financial year due to COVID-19.

Free reserves are healthy at £120,749 which is the top end of our reserve policy of £60,000-£120,000. In addition, the Charity holds designated reserves of £259,028. This includes £219,009 towards future main productions, £25,000 towards required operational investment, and £15,000 towards our move to becoming a fully remote working organisation. Restricted funds decreased to £40,000 (2021 £48,309).

Threats to the Organisation

Threats and mitigation to the organisation, as reported last year continue in a similar pace as previous year’s report:

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DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

Mitigation

Principal Funding

Deafinitely Theatre is core funded by Arts Council England NPO funding, our grant this year totalled £216,013. We have been successful in receiving a grant for the second round of Culture Recovery Grant funding also from Arts Council England at £25,097.

Structure, Governance and Management

Constitution

Deafinitely Theatre was incorporated as a company limited by guarantee on 21 February 2005 and its objects and regulations are governed by its memorandum and articles of association, as amended by special resolution on 14 March 2016. The objects for which the Charity was formed are to advance education for the public benefit by the promotion of the arts, in particular but not exclusively the art of drama. In carrying out its objects the Trustees have given due consideration to the Charity Commission published guidance on the operation of the public benefit requirement. There have been no changes in the objects since the last annual report.

Method of appointment or election of Trustees

The management of the Charity is the responsibility of the Trustees who are elected and co-opted under the terms of the Articles of Association. The recruitment and appointment of new Trustees is made by the Board, recruiting from both the deaf and hearing communities.

Organisational structure and decision-making

The Board of Trustees manage the Charity and meet quarterly. This year we introduced four Trustee Subcommittees, meeting regularly throughout the year on Finance, Governance, Artistic Direction and Equality, Diversity and Inclusion, to support our Senior Management Team further. The maximum number of Trustees is 20, as agreed by special resolution in March 2016. Paula Garfield, the Artistic Director, and Frankie George, the Executive Director, attend all Board meetings as senior staff representatives responsible for the day- to-day running of the Charity.

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DEAFINITELY THEATRE

TRUSTEES REPORT FOR THE YEAR ENDED 31 MARCH 2022

Related party relationships

The Charity has worked with:

Risk management and duty of care

The Trustees have a duty to identify and review the risks to which the Charity is exposed and to ensure appropriate controls are in place to provide reasonable assurance against fraud and error. Employer’s Liability Insurance and a Trustee Indemnity policy are in place to mitigate certain risks. The Board designates a Trustee to work closely with the Executive Director on financial management and funding strategy, as well as this year introducing our Trustee Finance Subcommittee, meeting with our Executive Director quarterly prior to each Board Meeting. The Board approves an Annual Operating Budget consistent with the Charity's strategic objectives and reserves policy. A Financial Protocols Policy is approved by the Board. Monthly salaries are signed off by the Executive Director and Artistic Director.

Members’ liability

Every member of the Charity undertakes to contribute an amount not exceeding £1 to the assets of the charity in the event of winding up.

The trustees have complied with their duty in section 17 of the Charities Act 2011 to have due regard to the public benefit guidance published by the Charity Commission.

Signed on behalf of the board of Trustees on 16 December 2022

…………………………….

A Pandya

7

INDEPENDENT EXAMINERS REPORT TO THE TRUSTEES OF DEAFINITELY THEATRE FOR THE YEAR ENDED 31 MARCH 2022

I report to the charity trustees of the company for the year ended 31 March 2022, which are set out on pages 9 to 18.

Responsibilities and basis of report

As the charity’s trustees of the company (and also its directors for the purposes of company law) you are responsible for the preparation of the accounts in accordance with the requirements of the Companies Act 2006 (‘the 2006 Act’).

Having satisfied myself that the accounts of the company are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of your charity’s accounts as carried out under section 145 of the Charities Act 2011 (the ‘2011 Act’). In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.

Independent examiner’s report

Since the 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 I am qualified to undertake the examination because I am a member of the Institute of Chartered Accountants in England and Wales, 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 examination giving me cause to believe:

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the accounts to be reached.

Kate Taylor FCA (Senior Statutory Auditor) for and on behalf of Simpson Wreford LLP, Statutory Auditor Wellesley House Duke of Wellington Avenue Royal Arsenal London SE18 6SS Dated: 19 December 2022

8

DEAFINITELY THEATRE

STATEMENT OF FINANCIAL ACTIVITIES (INCORPORATING INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 31 MARCH 2022

Note
Income from:
Grants and donations
3.1
Charitable activities
3.2
Theatre Tax Relief
Investment income
Total Income
Expenditure on:
Raising funds
Charitable activities
Total Expenditure
5
Transfer between funds
13
Net Movement of Funds
Reconciliation of funds
Funds at 1 April 2021
Funds at 31 March 2022		 Unrestricted
2022
Restricted
2022
Total 2022
Total 2021
£
£
£
£
298,911
77,787
376,698
385,407
12,285
-
12,285
7,886
34,676
-
34,676
-
149
-
149
136
346,021
77,787
423,808
393,429
6,738
-
6,738
7,503
312,725
46,096
358,821
276,566
319,463
46,096
365,559
284,069
40,000
(40,000)
-
-
66,558
(8,309)
58,249
109,360
313,219
48,309
361,528
252,168
379,777
40,000
419,777
361,528

The Statement of Financial Activities includes all gains and losses in the year. All income and expenditure derive from continuing activities.

The notes on pages 12 to 18 form part of these financial statements.

9

DEAFINITELY THEATRE

BALANCE SHEET AS AT 31 MARCH 2022

Note
CURRENT ASSETS
Debtors
8
Cash at bank and in hand
9
NET ASSETS
CHARITY FUNDS
Restricted funds
13
Unrestricted funds
13
TOTAL FUNDS
CREDITORS:amounts falling due
within one year		 47,810
411,093		 2022
2021
£
£
44,374
344,928
389,302
(27,774)
419,777
361,528
40,000
48,309
379,777
313,219
419,777
361,528
458,903
(39,126)

For the year ending 31 March 2022 the company was entitled to exemption from audit under section 477 of the Companies Act 2006 relating to small companies.

The directors acknowledge their responsibilities for complying with the requirements of the Act with respect to accounting records and the preparation of financial statements.

The trustees 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 financial statements on pages 9 to 18 were approved by the Trustees on 16 December 2022. and signed on their behalf by

A Pandya, Chair

Company Number: 01903408 (England & Wales)

10

DEAFINITELY THEATRE

STATEMENT OF CASHFLOWS FOR THE YEAR ENDED 31 MARCH 2022

Notes
Cash flows from operating activities:
Net cash provided by (used in) operating activities
17
Cash flows from investing activities:
Interest received
Net cash provided by (used in) investing activities
Change in cash and cash equivalents in the reporting period
Cash and cash equivalents at the beginning of the reporting period
Cash and cash equivalents at the end of the reporting period		 2022
2021
Funds
Funds
£
£
66,055
122,584
149
136
149
136
66,204
122,720
344,887
222,167
411,091
344,887

11

DEAFINITELY THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

1. Accounting Policies

1.1 Accounting convention

The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland issued in October 2019, the Financial Reporting Standard applicable in the United Kingdom and Republic of Ireland (FRS 102), the Charities Act 2011, the Companies Act 2006 and UK Generally Accepted Accounting Practice.

Deafinitely Theatre meets the definition of a public benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless otherwise stated in the relevant accounting policy notes. The Trustees consider there are no material uncertainties about the Charity's ability to continue as a going concern.

1.2 Charity information

Deafinitely Theatre is a registered charity, registration number 1111526 and in consequence is exempt from taxation on income arising from and expended on its charitable activities.

The charity is a company limited by guarantee, incorporated in England and Wales. The registered office is PO Box 1160, 30 Montpelier Rise, Wembley, HA9 1LQ.

The financial statements are prepared in sterling, which is the functional currency of the charity. Monetary amounts in these financial statements are rounded to the nearest £.

During the year, the affairs of the Association were managed by the Committee of Management who constitute Directors for the purposes of the Companies Act 2006. In the event of the charity being wound up, the liability in respect of the guarantee is limited to £1 per member of the charity.

The financial statements are prepared under historical cost convention. The principal accounting policies, all of which have been applied consistently throughout the year.

1.3 Going Concern

At the time of approving the financial statements the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements. There are no material uncertainties about the charity's ability to continue.

1.4 Income & Expenditure recognition and Support Costs allocations

Income is recognised when the charity has entitlement to the funds, any performance conditions attached to the items of income have been met, it is probable that the income will be received and the amount can be measured reliably.

Grants are included in the statement of financial activities on a receivable basis. Income is deferred where there is no entitlement for the funds as at the balance sheet date. Where entitlement occurs before income is received, the income is accrued. Other income, such as bank interest, is accounted for when receivable and the amount can be measured reliably by the charity; this is normally upon notification of interest paid or payable by the bank.

12

DEAFINITELY THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

All expenditure is accounted for on accruals basis. Support costs are those that assist the work of the charity but do not directly represent charitable activities and include office costs, governance costs, administrative payroll costs. They are incurred directly in support of expenditure on the objects of the charity and include project management carried out at both centres. 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.

1.5 Debtors and creditors receivable/ payable within one year

Debtors and creditors with no stated interest rate and receivable or payable within one year are recorded at transaction price. Any losses arising from impairment are recognised in expenditure.

1.6 Charitable funds

General funds are unrestricted funds which are available for use at the discretion of the Trustees in furtherance of the general objectives of the Charity and which have not been designated for other purposes.

Designated funds comprise unrestricted funds that have been set aside by the Trustees for particular purposes. The aim and use of each designated fund is set out in the notes to the financial statements.

Restricted funds are funds which are to be used in accordance with specific restrictions imposed by donors or which have been raised by the Charity for particular purposes. The costs of raising and administering such funds are charged against the specific fund. The aim and use of each restricted fund is set out in the notes to the financial statements.

1.7 Financial instruments

The charity has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the charity’s balance sheet when the charity becomes party to the contractual provisions of the instrument.

Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.

Basic financial liabilities, including creditors and accruals are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.

13

DEAFINITELY THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

1.8 Retirement benefits

Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.

2. Critical accounting estimates and judgements

In the application of the charity’s accounting policies, the trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and future periods.

3.1 Grants and donations

Grants and Donations
Donations
Grant income
Arts Council England - NPO
Arts Council England - NPO uplift
Arts Council England - Cultural Recovery Fund
City Bridge Trust
Esmee Fairbairn Foundation
Greater London Authority Young Londoners Fund
Garfield Weston Foundation
Joseph Levy Foundation
The Worshipful Company of Grocers
Wellcome Trust
Other Trusts and Foundations
Southwark Council		 Unrestricted
2022
Restricted
2022
Total 2022
Total 2021
£
£
£
£
8,821
-
8,821
3,759
216,013
-
216,013
166,013
-
-
-
50,000
25,097
-
25,097
95,830
-
30,000
30,000
10,000
48,980
20,000
68,980
-
-
22,787
22,787
23,522
-
-
-
15,000
-
-
-
9,866
-
5,000
5,000
-
-
-
-
1,046
-
-
-
371
-
-
-
10,000
298,911
77,787
376,698
385,407
3.2 Charitable income
Charitable activities
Box office, fees and similar
Donations in kind
Other Income		 Unrestricted
2022
Restricted
2022
Total 2022
Total 2021
£
£
£
£
7,227
-
7,227
2,118
4,727
-
4,727
5,768
331
-
331
-
12,285
-
12,285
7,886

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DEAFINITELY THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

4. Income by activity

Activity
Artistic Programme
Community & Education
Theatre Tax Relief
Invesment income		 Unrestricted
2022
Restricted
2022
Total 2022
Total 2021
£
£
£
£
-
25,000
25,000
16,046
311,196
52,787
363,983
377,247
34,676
-
34,676
-
149
-
149
136
346,021
77,787
423,808
393,429

5. Total expenditure

Charitable activities
Project costs
Direct costs
Premises costs
Publicity and promotion
Staff costs
Support costs
Support costs
Staff training and recruitment
Office expenses
Travel and subsistence
Bad debts
Independent examination
Consultancy and training
Bank charges		 2022 Total
2021 Total
91,634
39,582
37,147
50,569
12,908
18,639
7,010
5,977
190,291
147,242
26,569
22,060
365,559
284,069
1,937
3,575
11,391
11,819
1,633
879
555
-
6,391
4,800
4,660
985
2
2
26,569
22,060

6. Expenditure by activity


Activity
Artistic Programme
Community & Education		 Unrestricted Restricted Total 2022
Total 2021
£
£
£
£
23,913
-
23,913
613
295,550
46,096
341,646
283,456
319,463
46,096
365,559
284,069

15

DEAFINITELY THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

7. Staff costs

Staff costs for the year were as follows:
Wages and salaries
Social security costs
Other pension costs		 2022
2021
£
£
178,234
136,515
4,683
6,393
7,374
4,334
190,291
147,242
The average number of employees during the year, calculated on the basis of full time staff, was as follows: The average number of employees during the year, calculated on the basis of full time staff, was as follows:
2022 2021
Creative 2 2
Management and administration 6 5
8 7

No employee was paid a salary greater than £60,000.

8. Debtors

9. Creditors
Trade debtors
Accrued income
Prepayments and other debtors
Trade creditors
Accruals and other creditors
Deferred income
Taxation and social security, pension		 2022
2021
£
£
10,210
730
35,319
37,854
2,281
5,790
47,810
44,374
2022
2021
£
£
8,309
13,039
17,609
11,317
9,600
-
3,608
3,418
39,126
27,774

10. Taxation status

The charitable company is exempt from corporation tax as all its income is charitable and is applied for charitable purposes.

11. Related party transactions

There have been no related party transactions during the period.

16

DEAFINITELY THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

12. Trustees expenses

None of the trustees (or any persons connected with them) received any remuneration or benefits from the charity during the year (2021: £Nil).

13. Reconciliation of funds

----- Start of picture text -----
Balance at 1 Balance at 31
April 2021 Income Expenditure Transfers March 2022
£ £ £ £ £
Restricted funds
Main Production 15,000 25,000 - - 40,000
- -
Youth Programme 23,309 22,787 (46,096)
City Bridge Trust 10,000 30,000 - (40,000) -
48,309 77,787 (46,096) (40,000) 40,000
Designated
- - -
Cultural Recovery Fund 1 20,833 (20,833)
- - -
Move to Hybrid Working 15,000 15,000
- - -
Deafinitely Theatre Creative 33,169 (33,169)
Main Productions 119,352 34,676 - 65,000 219,028
Human Resources 25,000 - - - 25,000
213,354 34,676 (54,002) 65,000 259,028
Unrestricted
General Funds 99,865 311,345 (265,461) (25,000) 120,749
313,219 346,021 (319,463) 40,000 379,777
361,528 423,808 (365,559) - 419,777
----- End of picture text -----

14 Restricted funds

Main Production – this fund made up of money from The Worshipful Company of Grocers and Esmee Fairbain Foundation for main productions due to take place in 2022/23.

15 Funds Transfers

The following fund transfers have been made during the year:

17

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2022

DEAFINITELY THEATRE

16. Deferred income

Income of £9,600 (2021: £nil) has been deferred either to match the period of terms on the grant documentation or the terms of the invoices, for the following:

2022 Diorama Theatre - £9,600

Income of £nil was released in the current period.

17. Reconciliation of net income/(expenditure) to net cash flow from operating activities

Net income/(expenditure) for the reporting period
Adjustments for:
Deduct interest received
(Increase)/decrease in debtors
Increase/(decrease) in creditors
Net cash provided by (used in) operating activities		 2022
2021
£
£
58,249
109,360
(110)
(136)
(3,436)
(1,078)
11,352
14,438
66,055
122,584

18