**Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 Company number 6191989 (England and Wales) Registered charity number 1120667 **REPORT OF THE TRUSTEES AND FINANCIAL STATEMENTS FOR THE YEAR FROM 1 APRIL 2020 – 31 MARCH 2021 FOR FAST FAMILIAR (formerly fanSHEN)** 1 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## Contents |Report of the Trustees|Page 3| |---|---| |Statement of Financial Activities|Page 10| |Balance Sheet|Page 11| |Notes to the Financial Statements|Page 12| |Independent Examiner’s Report|Page 15| 2 ## **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 The Trustees who are also directors of the charitable company for the purposes of the Companies Act 2006, present their report with the Financial Statements of the charitable company for the year ended 31 March 2021. The Trustees have adopted the provisions of the Statement of Recommended Practice (SORP) “Accounting and Reporting by Charities” effective form 1 January 2015. ## **Reference and Administrative Details** ## _Registered name_ Fast Familiar (formerly fanSHEN) ## _Company number_ 6191989 (England and Wales) ## _Registered Charity number_ 1120667 ## The Boathouse, River Gardens, Purley on Thames, Reading, RG8 8BX ## _Trustees/Directors as at time of signing_ A Alston N Azhar A Ferris S Heenan C Twite (Chair) ## _Bankers_ The Co-operative Bank 1 Balloon Street Manchester M60 4EP ## _Independent Examiner_ Johal & Company Spectrum House 2b Suttons Lane Hornchurch Essex RM12 6RJ 3 ## **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 The Board of Trustees presents its report and financial statements for the year from 1 April 2020 to 31 March 2021 and reports on developments since that date and future plans for the charitable company. ## **Structure, Governance and Management** ## _Governing Document_ The organisation is a charitable company limited by guarantee, incorporated on 29 March 2007 and registered as a charity on 24 August 2007. The company was established under a Memorandum of Association which established the objects and powers of the company and is governed under its Articles of Association. In the event of the company being wound up members are required to contribute an amount not exceeding £1. ## _Recruitment and Appointment of New Trustees_ The number of Trustees is limited to a maximum of ten and a minimum of three. Trustees are elected by members of the charitable company. All Trustees are directors of the charitable company. None of the directors have any beneficial interest in the charitable company. On appointment, Trustees are given a copy of the governing document, all policies, including the Equal Opportunities Policy, the Safeguarding Policy for Children, Young People and Vulnerable Adults and Data Protection Policy, with their responsibilities and duties as a Trustee explained to them. ## _Organisational Structure_ The Trustees are responsible for all legal decisions and administer all aspects of compliance and governance. Two Creative Directors, who are not company officers, have been appointed and delegated quotidian administrative powers to manage specific projects and propose artistic strategy and budgets. The Creative Directors report to the Trustees, who have ultimate authority in decision-making and final budgetary control. ## _Risk Management_ The major risks to which the charitable company is exposed have been identified and reviewed, and systems or procedures have been established to manage those risks. The major risks are: - Temporary Cash flow problems. We avoid these problems through applying our reserves policy (see below). - • Injury to a member of the public or an artist during a production or rehearsal. We carefully risk assess and adjust all activities to maximise safety. We also ensure we have public liability insurance and employer’s liability insurance whenever we are undertaking activities. - Reputational damage caused by poor critical or audience response to a production. We work with experienced artists and regularly evaluate the progress of projects to ensure high quality. An advantage of our long track record is that one poor project is unlikely to ruin our reputation. - Organisations who commission us are unhappy with the work we produce. We carefully agree with commissioners what we will produce and engage them in frequent dialogue as a project develops to ensure that we are meeting the agreed targets and producing something they are satisfied with. Through applying our reserves policy (see below) we ensure that we always have enough money to remain solvent if a commissioner withdraws funding for a project. - Failure to engage sufficient members of the public and deliver public benefit. Trustees review projects to ensure that they will deliver public benefit. We invest in marketing and press activities to ensure that our productions will reach good numbers of members of the public. We also believe in the importance of the depth of engagement of audience members beyond simply the numbers of those engaged. - New lockdowns or prohibition of theatrical performances as part of the COVID 19 crisis. This poses a threat to us both financially and in terms of our ability to deliver public benefit. However, we have developed a number of pieces that can be experienced remotely, which minimises these risks. ## _Reserves Policy_ The Trustees monitor their creditors each year to ensure that they have sufficient reserves to meet their ongoing liabilities. The Trustees keep a minimum of £10,000 in reserve (and normally considerably more) to cover cash flow problems which can be caused by funders who tend to withhold a percentage of funding until an evaluation has been delivered or to allow us to remain solvent in the event that a commissioning organisation does not pay us. We also keep reserves to spend on projects and activities that the Trustees deem important to the delivery of Fast Familiar’s objectives. At the year end we had £87,006 in reserve. ## _Post Balance Sheet Events_ 4 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## _Objectives and Activities_ The objects of the charitable company are: ## **by:** ## **creating experimental and playful theatre, art and performances; developing new modes of communicating with audiences through a range of media; and creating participatory training and education experiences through performance and the arts** ## _Basis and Values_ Fast Familiar make artworks which are participatory, playful and political. We design audience-centric experiences which often utilise ‘digital technology’. We’re fascinated by human psychology in a rapidly changing world. For us, art is a space to explore questions which are too complex for daily life. We think art can be experimental and ambitious without being elitist. The Trustees have regard to the Charity Commission’s published guidance in relation to public benefit when setting, reviewing and assessing aims for the charitable company. Fast Familiar ensure that all public-facing activities are either free or priced in an inclusive way i.e. are economically accessible to a wide range of people. When we are working with partners and venues we negotiate with them to ensure that pricing is inclusive. ## _Name Change_ On 30 April 2020 the charitable company changed its name to Fast Familiar. The reason for this was because fanshen is a Mandarin word. You probably wouldn’t know from how we say it, because we don’t speak Mandarin. We don’t have any links to China. A decade ago when we chose it, we liked the sound of the word and the meaning - a motion of turning. That doesn’t feel right any more. It feels like cultural appropriation. When East Asian artists are still massively underrepresented in UK theatre, what is a company led mainly by white people doing with this name? Fanshen is also the name of a play which created through a process which put a playwright within the devising process. Back in the late 2000s, things felt far more silo-ed than they are now: new writing was incisive and political and devised work was visual and dynamic. We wanted our work to be all those things - giving our company a name with a nod to that felt hopeful and ambitious. The director of that play, _Fanshen_ , was, until recently, one of the most celebrated British directors. In 2017, five women made complaints of sexual harassment. We began to think differently about this process that we’d previously been inspired by. Maybe it hadn’t been a supportive and collaborative atmosphere. Maybe there had been women in that room who had been frightened, or worse. So we are now Fast Familiar. Why? For us, art is a space to ask questions which are too complex or overwhelming for daily life. Often that’s about creating ways of reflecting on things we just don’t have time to think about - because life moves too fast for us to consider, ‘am I ok with that?’ or ‘what am I complicit in if I do this?’ or ‘what do I really think?’ Things are normalised so quickly, without us having had the time to think them through: a lot of our work is about problematising the fast familiar. It’s also a design principle for us. Much of the work we make is audience-centric, it involves people doing stuff or making decisions. This can be exposing for those people. We spend a lot of time thinking about how we can care for our audiences and create environments which feel intuitive quickly. This is especially true of work using technology - which can be intimidating for some people. One of our favourite pieces of feedback about _The Justice Syndicate_ was when a woman told us she’d forgotten she had an iPad - the device through which everything in the show is mediated. 5 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## Programme This financial year was dominated globally by the COVID 19 pandemic. Most theatres in the UK were closed for most of the year and it was a very difficult year for the arts. This left Fast Familiar with the challenge of how to continue to deliver public benefit and remain financial stable in this unprecedented situation. We responded initially by running _Smoking Gun,_ a phone based piece we had happened to develop prior to the pandemic which was already designed to be experienced by remote individuals on their mobile phones. We then proceeded to adapt _The Evidence Chamber,_ an interactive performance we had initially created for co-located audiences using iPads to work for remote audiences using computers and laptops. We also developed a new strand of our work which could be experienced remotely, based on combining interactive audio books with online puzzle games. We developed and released two of these: _National Elf Service_ and _Bad Altitude._ A further strand of work we developed that people could experience during lockdowns was _The Window,_ a binaural audio piece created in collaboration with Alzheimer’s Research UK. We also developed some interactive educational experiences _._ With the support of the Paul Hamlin Foundation we ran an online participation programme with young people designed to help us develop a post-pandemic educational programme to accompany our piece _If I Were You._ During the period when lockdown restrictions eased over the summer we ran an outdoor participation programme with children and young people in collaboration with the Natural History Museum. We also undertook significant development work towards projects that are due for public release in the later part of 2021. ## These activities are discussed in more detail below. ## _Smoking Gun_ We were selected for a STARTS VERTIGO EU residency with Data Stories, University of Southampton and this project was the result. _Smoking Gun_ takes a playful approach to exploring the power of data in a post-truth world. It’s a thriller which unfolds via your phone, placing you at the heart of a potential whistleblower scandal. Over five days, you must solve puzzles, scrutinize documents and wrangle datasets to uncover what is really going on at the heart of government. But as your investigations take you deeper, nothing seems as clear-cut as the whistleblower is making out. Maybe it’s time to go back to the data... We did two runs of this 5-day piece – one at the end of May 2020 and one at the end of June 2020, reaching approximately 170 players, each of whom played for 5 days. It was featured as one of the Financial Times’ “top ten dramas to enjoy at home” and in the Guardian’s list of “hottest front room seats.” ## _The Evidence Chamber_ _The Evidence Chamber_ was a collaboration with the Leverhulme Centre for Research in Forensic Science at the University of Dundee. This piece, in which the audience form a jury considering a difficult case where the case for the prosecution rests on forensic evidence, had been performed face to face in 2019. In 2020 we adapted it to create an online version that people could play online from their laptops, featuring an integrated video calling service. We did a (sell out) run of it 24 July to 9 August 2020, including 23 shows experienced by 253 participants and a number of subsequent one-off performances, including for Encounters Film Festival on 24 September. It received positive critical coverage and reviews: - _"an especially successful way for theater to be enjoyed from a laptop."_ New York Times (no star rating) - _"an enlightening experience"_ BBC Scotland (no star rating) - _"Guilty of greatness - The Evidence Chamber uses masterful storytelling, excellent production value, and a slick, user-friendly custom interface to create a believable and immersive environment for its players.”_ No Proscenium (no star rating) - _"tremendously entertaining as well as a fascinating insight into how trials work."_ The Courier (no star rating) - _"The 2020 theatre awards ceremonies have largely been cancelled ... But, if prizes are given for lockdown drama, Fast Familiar should get a trophy for The Evidence Chamber and Smoking Gun – enjoyable but also scholarly entertainments. This is a company to watch, whether digitally or, when it again becomes possible, in person."_ Mark Lawson, The Tablet (no star rating) 6 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 It allowed us to reach more international audiences than with previous project. People played it from South Africa, Nigeria, Singapore, Australia, New Zealand, the U.S, the Netherlands, Germany and Denmark. ## _The Window_ _The Window_ is an immersive audio experience blending story, music and spatial sound. Spanning three generations and 40 years, it asks what we inherit from the past and what control we have over the future. _The Window_ is the recipient of one of Alzheimer’s Research UK’s inaugural Inspire Awards and a collaboration with the MRC Unit for Lifelong Health and Ageing. During the financial year, the script writing, artistic development and socially-distanced recording of the piece took place and it was subsequently performed in April 2021. ## _National Elf Service_ National Elf Service is an interactive audio adventure puzzle game for anyone who feels low low low on the ‘ho ho ho’. Playable online with friends/ family you can’t meet up with, it was Fast Familiar’s contribution to a merry 2020 Christmas. We created a new online platform to host this piece, which we then went on to also use for the subsequent piece _Bad Altitude_ . Aimed a families, it got positive reviews by the Escape Room press -a new market for us- and was played by 600+ people over the 2020-21 festive period. ## _Bad Altitude_ _A puzzle game with a sense of humour, set aboard the world’s most underprepared airline. Help flight attendant Rhys as he wrangles over-demanding VIP passengers, escaped anxiety pets and his own luckless love life. Can you be his wingman? Work with your friends to solve puzzles, crack codes and avert death by discount airline._ _Bad Altitude_ was the second online puzzle game we released, this time for adults. Again, it was very well received by the escape room press and was played by considerable numbers of people during lockdowns as a way of connecting online with friends and family in a fun way. One review (from The Escape Roomer) wrote: “the biggest absolute gem for me is the diversity of cast and the normalisation of same-sex relationships. Anybody (and yes I mean ANYBODY) who creates any kind of media has a huge responsibility to champion representation. It’s important to see yourself reflected in a positive light within the characters, accents and dialogue you’re consuming. So a huge 10/10 to Fast Familiar for once again being a shining light in the industry.” _Bad Altitude_ was released in January 2021 and between then and the end of March was experienced by approximately 35 groups, reaching approximately 200 people. ## _Natural History Museum project_ When lockdown measures were temporarily lifted in the summer of 2020, the Natural History Museum asked us to run a programme of participatory activities for young people. Following strict COVID prevention measures , these workshops engaged young people in creative activities incorporating real science about wildlife. ## _If I Were You_ _If I Were You_ is a piece that we created for year 9/10 pupils in schools using iPads.. The class splits into two groups and each accesses the same story but one group will experience the story from the perspective of one character and the other group will access the story from a different character’s perspective. The piece is followed by a debrief that unpicks ideas about perspective taking and how valuable that can be in understanding other people. During the pandemic, we received funding from the Paul Hamlyn foundation to develop a programme of wrap around activities to accompany the piece, ready for when we could perform it live again. To achieve this we undertook a series of online workshops with a diverse group of young people to inform the development of that programme. ## _Data Dialogues_ _Data Dialogues_ was a project to find out what the Scottish public's views on sharing health data were. Our particular investigation explored how this was affected by attitudes to Scottish independence. In light of the continuing COVID-crisis and the return to the agenda of IndyRef2, the commissioners put this project on pause. During the financial year we undertook development work on this project, before the decision to pause it was taken. 7 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## _The Doctor’s Assistant_ _The Doctor’s Assistant_ is a public engagement scenario game exploring near futures of data-driven healthcare. It helps researchers inform their work with public perceptions around artificial intelligence. The Doctor’s Assistant was commissioned by Wellcome / EPSRC Centre for Interventional and Surgical Sciences and University College London Hospitals Biomedical Research Centre. It facilitates a small group of participants to learn about data and privacy in healthcare settings. It was developed partly through workshops with diverse groups of young people from London. It was first performed in March 2021. ## _The Acquisitions Panel_ _The Acquisitions Panel_ is a participatory artwork about the legacies of European colonialism and who gets to choose the stories we tell. We undertook research and development and ideation processes, including workshops exploring colonialism and it’s legacies during the financial year ending March 2021, before going on to finish and perform the piece in the following financial year. ## _Organisational mentoring_ As a piece of follow-on support from _If I Were You, the_ Paul Hamlyn Foundation, paid for a series of strategic planning development sessions with various mentors to help us improve our strategic planning and organisational structures, which have proved useful. ## _The Networked Condition_ At the start of 2020, Fast Familiar, Abandon Normal Devices and Arts Catalyst began _The Networked Condition: Environmental Impacts of Digital Cultural Production,_ a collaborative research project exploring digital arts through an environmental lens. The project is part of The Accelerator Programme (led by Julie’s Bicycle and Arts Council England), which helps artists to advance their sustainable practice and share insights with their peers and the wider sector. As part of the project, we undertook a series of case study interviews with artists exploring the environmental impact of digital cultural production, which we published on our websites and also undertook our own research, documenting the process of lowering the carbon footprint of our own projects and sharing that documentation online. We also gave a presentation at an online Julie’s Bicycle and Arts Council event for a large number of cultural institutions. This project continues into the following financial year. ## _Financial Review_ Total income for the year was £146,580. This was our largest annual income to date and reflects the increasing number of artworks we are creating. Total expenditure for the year was £130,084. Restricted funds of £13,261 remained at the year end, ear marked for creating _The Curse of the Burial_ Dagger. This left an unrestricted surplus of £73,745. ## The Trustees are satisfied that the performances of _Smoking Gun, The Evidence Chamber, The Window, National Elf Service, Bad Altitude_ and _The Doctor’s Assistant_ provided considerable public benefit. In doing so, the Trustees feel that the objective to advance education for the public benefit by the promotion of the arts was achieved by the activities carried out in the year. The workshops at the Natural History Museum were free for participants, as were performances of _The Doctor’s Assistant._ All other performances were priced inclusively. 8 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## _Plans for the Future_ We have 8 key aims for the year ahead: - To extend our commitment to environmental responsibility by creating and performing _Policy Pathfinder,_ an interactive piece about finding the most effective policies to combat climate change, scheduled to be performed online as part of COP26. - To perform _Do What You Must,_ an interactive experience about how best to make complex decisions in the context of climate change, in person at COP26. - To continue our commitment to creating excellent educational experiences for young people by creating and running _The Curse of the Burial Dagger_ , an interactive online experience to help young people learn about forensic science. - To create and perform _Social Sandwich,_ a free relational artwork disrupting the omnipresence of online conflict and digital disinformation, experienced via your mobile phone. - To create and perform _A Walk in the Park,_ a binaural audio experience created to be experienced in public space, about how it feels to be in public space. - To create and perform _David’s Bad Day,_ an interactive digital artwork for a co-located audience about the data we leak and the unintended consequences that might have. - To reach wider audiences with our innovative digital artistic experiences by performing _The Acquisitions Panel, The Doctor’s Assistant and The Window_ to reach more audiences with these projects. - To continue the work we are doing with _The Networked Condition_ to encourage environmental responsibility among digital artists, including undertaking and publishing more case studies, speaking at more events and creating an online tool to help people measure the carbon footprint of digital cultural production and plan projects in such a way as to minimise their impact. ## _Statement of Trustees’ Responsibilities_ The Trustees are responsible for preparing the financial statements in accordance with applicable law and United Kingdom Generally Accepted Accounting Practice. Company law requires the Trustees (as directors of Fast Familiar) to prepare Financial Statements for each financial year which give a true and fair view of the state of affairs of the charitable company and of the surplus or deficit of the charitable company for that year. In preparing those Financial Statements, the Trustees are required to: - Select suitable accounting policies and then apply them consistently. - Make judgements and estimates that are reasonable and prudent. - Prepare the Financial Statements on the going concern basis unless it is inappropriate to presume that the charitable company will continue in business. The Trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the charitable company and to enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. Trustees are also responsible for keeping adequate reserves. On behalf of the Board C Twite - Chair/ Trustee Date: Sunday, 19 December 2021 9 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## **Fast Familiar** ## **Statement of Financial Activities** (Including Income and Expenditure Account) Year ended 31 March 2021 Company number: 06191989 Registered Charity Number: 1120667 The statement of financial activities also complies with the requirements for an income and expenditure account under the Companies Act 2006. All activities are classed as continuing. There are no recognised gains or losses other than those reported on the Statement of Financial Activities. The notes on pages 12 to 14 form part of these Financial Statements. ||Notes|Unrestricted
Funds|Restricted
Funds|**2021 Total**||2020 Total| |---|---|---|---|---|---|---| |||||||| |**Income and endowments from:**||||||| |Donations and legacies||-|-|-||-| |Charitable activities||72,173|74,406|||132,101| |||||||| |**Total Income**|2|72,173|74,406|**146,580**||132,101| |||||||| |**Expenditure on:**||||||| |Charitable activities||55,624|74,087|129,711||106,006| |Other (governance costs)||373|-|373||363| |**Total Expenditure**|3|55,997|74,087|||106,369| |||||||| |Net gains on investments||-|-|-||-| |||||||| |**Net income/ expenditure**||16,177|319|**16,496**||25,732| |||||||| |**Transfers between funds**||-|-|-||-| |||||||| |**Other recognised gains**||-|-|-||-| |||||||| |**Net movement in funds**||16,177|319|16,496||25,732| |||||||| |**Reconciliation of funds**||||||| |Total funds brought forward||57,568|12,942|70,510||44,778| |**Total funds carried forward**||73,745|13,261|**87,006**||70,510| |||||||| 10 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## **Fast Familiar** ## **Balance Sheet at 31 March 2021** Company Number: 06191989 Registered Charity Number: 1120667 |**Fast Familiar**
**Balance Sheet at 31 March 2021**
Company Number: 06191989
Registered Charity Number: 1120667|||| |---|---|---|---| |||**2021**|**2020**| ||**Notes**|**Total Funds**|**Total Funds**| |**Current Assets:**|||| |Prepayments||-|-| |Cash at bank and in hand||87,366|71,160| |**Total Current Assets**||**87,366**|71,160| ||||| |**Liabilities:**|||| |Creditors: Amounts falling due within one year|5|360|650| |Deferred income||-|-| |**Total Liabilities**||**360**|650| ||||| |**Net Assets**||87,006|70,510| ||||| |**The Funds of the Charity:**|||| |Restricted Income Funds||13,261|12,942| |Unrestricted Income Funds||73,745|57,568| ||||| |**Total Charity Funds**|6|**87,006**|70,510| The company is entitled to exemption from audit under Section 477 of the Companies Act 2006 for the year ended 31 March 2021. The members have not required the company to obtain an audit of its financial statements for the year ended 31 March 2021 in accordance with Section 476 of the Companies Act 2006. The directors acknowledge their responsibilities for: (a) ensuring that the company keeps accounting records which comply with Sections 386 and 387 of the Companies Act 2006 and (b) preparing financial statements which give a true and fair view of the state of affairs of the company as at the end of each financial year and of its financial activities during each financial year in accordance with the requirements of Sections 394 and 395 and which otherwise comply with the requirements of the Companies Act 2006 relating to financial statements, so far as applicable to the company. The financial statements have been prepared in accordance with the provisions of Part 15 of the Companies Act 2006 relating financial statements, so far as applicable to the charitable company. C Twite - Chair/ Trustee 11 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## **Notes to the Financial Statements** ## 1) Accounting Policies ## _1.1 Basis of preparation_ The accounts have been prepared under the historical cost convention. The accounts have been prepared in accordance with applicable accounting standards, the Statement of Recommended Practice, "Accounting and Reporting by Charities" (FRS102), effective from 2015 and the Companies Act 2006. ## _1.2 Incoming resources_ Donations, grants and other forms of voluntary income are recognised as incoming resources on a receipts basis. Investment income is accounted for on a receivable basis. ## _1.3 Resources expended_ Resources expended are included in the Statement of Financial Activities on an actual basis, with irrecoverable Value Added Tax included with the item of expenditure to which it relates. Charitable expenditure comprises those costs incurred by the charity in the delivery of its activities and services for its beneficiaries. It includes both costs that can be allocated directly to such activities and those costs of an indirect nature necessary to support them. These include those costs associated with meeting the constitutional and statutory requirements of the charity and include independent examination fees and costs linked to the strategic management of the charity. ## 1.4 Fixed assets are capitalised only when their cost is greater than £500. No items have yet been capitalised. ## _1.5 Fund accounting_ Unrestricted funds are funds which can be used in accordance with the charitable objects at the discretion of the Trustees. Restricted funds are to be used for particular restricted purposes within the objectives of the charity. Restrictions arise when specified by the donor or when funds are raised for particular restricted purposes. ## _1.6 Going Concern_ It is the Trustees’ responsibility to prepare the Financial Statements on the going concern basis unless it is inappropriate to presume that the Charity will continue in business. Fast Familiar is currently a going concern and there are no plans to wind down the charitable company. ## 12 ## **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## 2) Income from charitable activities ||**Unrestricted**
**Funds**|**Restricted**
**Funds**|**2021**
**Total**||**2020**
**Total**| |---|---|---|---|---|---| ||£|£|£||£| |**Income from charitable activities:**|||||| |Primary Purpose Trading (Ticket sales,
fees, commissions)|72,173||73,173||53,409| |Local Authority|-|-|-||10,000| |Other Public Grants||48,006|48,006||58,292| |Trusts and Foundations||26,400|26,400||10,400| |**Total Income from Charitable Activities**|**72,173**|**74,406**|**146,580**||132,101| ## 3) Total resources expended ||**Staff Costs**|**Other Costs**|**Total 2021**|**Total 2020**| |---|---|---|---|---| ||**£**|**£**|**£**|**£**| |**Cost of Charitable Activities**|-|129,711|129,711|106,006| |**Governance Costs**|-|373|373|363| |**Total Expenditure**|-|**130,084**|**130,084**|106,369| ## No remuneration was paid to any trustee during the year nor were any expenses reimbursed. In terms of the members of the company, Dan Barnard was paid £15,630 in fees for his artistic and producing work on Fast Familiar’s projects and Rachel Briscoe was paid £28,739 in fees for her artistic and lead producing work on Fast Familiar’s projects. ## 5) Creditors: amounts falling due within one year ||**Total 2021**|**Total 2020**| |---|---|---| ||£|£| |Accruals|360|650| |Deferred Income|-|-| ||360|650| 13 **Fast Familiar | Report of the Trustees** Year from 1 April 2020 – 31 March 2021 ## 6) Funds ||**Balance at 1**
**April 2020**|**Incoming**
**resources**|**Resources**
**expended**|**Transfers**|**Balance at 31**
**March 2021**| |---|---|---|---|---|---| ||£|£|£|£|£| |**Unrestricted funds**|57,568|72,173|55,997|-|73,745| ||||||| |**Restricted funds**|||||| |Arts Council|12,942|45,431|45,112|-|13,261| |EU Vertigo STARTS|-|2,575|2,575|-|-| |School for Social Entrepreneurs|-|6,400|6,400|-|-| |Paul Hamlyn Foundation|-|20,000|20,000|-|-| The Arts Council grants were spent on developing _The Acquisitions Panel_ and adapting _The Evidence Chamber_ to an online format. Near the year end, we were awarded an Arts Council grant to create a new piece _The Curse of the Burial Dagger_ and undertake organisational development, which will be delivered in the next financial year. ## 7) Uncertainties There are no material uncertainties about the charity’s ability to continue. ## 8) Assets The charitable company has no material assets other than cash and no investments. 14 Fs$t Famlli4r | Report of the Trnstees Year from l April 2020- 31st March 2021 Independent ezamlner's report to the trusteeg of Fast Fan￿lIar I report to the charity trustees on my exaIlli￿ts0n of the accounts of Fast Familiar for the yeAr ended 31 March2021. Responslbllltles 2nd b#sls of report As the charity's trustees of the Company (and 81so its directors for tbe purposes of tbe conwy law) you ar¢ r¢5ponsible for the preparation of the accounts ill accordance with tbe requirements of the Clwities Act 2011 Ilbe Act,). HaVll￿ satisfied myself tbat the ac¢Lllnts of the Company are not required to be audited under Part 16 of the 2006 Act and are eligible for indepeDdeDt ¢xamitiatioll, I report in respect of my ¢x8mination of your dJaTity's a¢¢ounLS as camed out under se¢tion 145 of the Charities Act 2011 ('tbe 101 l Act,). In carryitig out my examination, I have ftsllowed the direrfions gNen by ihe Charsry Commission wider section 145{5)(b) of tht Act. ndepeDdent exAmlner's 8t%tsment I hav¢ completed my ¢xaminatioL I confimi that no n)aterial nmtrers have cotne to my attention in CODnection with the examillation gkving me cawe io belteve: ACCOU￿ting re￿rdS w¢r¢ notkept in ¥¢spect of the company as required by stttion 386 of th¢ 2006 A¢i' or 2. The accounts do ntst aecoTd with thos¢ r¢cords' or 3. The aecounts do not comply with th¢ accounting requirements of section 396 of the 2006 A¢t other than any requirement that the accounts give a true attd fair view which is not & matter considered &$ part of an independent examination 4. The aceout)ts have noi been prepared in accordan¢e with the methods principles of the Ststemtnt ofRecom]Dended PE2Ctice for accountln8 and reporting by charities lapplicable to chariue5 preparin8 their accounts in a¢¢ordan¢e with the Finattcial Reporting Stsndard applicable io the UK and Republic of Ireland IFRS 102)] I have nocon¢erns and have COTne acros5 no other matters in connectionwith ihe examination to which attentson should be dr8wn in this report in order to enable a properunderstattding of the accounts to b¢ reached. Jlsv IFCCA) Association of Ch8rtered Certified Accountallts (ACCA) Johal & Co￿panY Spectru￿ Hou5¢ 2B Suttons 12ll¢ Homchurcb Ess¢x BM12 6RJ Date".