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Company registration number 05807318 (England and Wales)
Charity registration number 1129984 (England and Wales)
DANTE OR DIE THEATRE LIMITED
ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2025
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DANTE OR DIE THEATRE LIMITED
CONTENTS
Page
Trustees’ report
Independent examiner's report
Statement of financial activities
Statement of financial position
Notes to the financial statements
1-6
7
8-9
10
11-21
DANTE OR DIE THEATRE LIMITED
TRUSTEES' REPORT (INCLUDING DIRECTOR'S REPORT) FOR THE YEAR ENDED 31 MARCH 2025
Dante or Die Theatre Limited Registered number: 05807318 Trustees Report The directors present their report and accounts for the year ended 31 March 2025. Principal activities The company's principal activity during the year continued to be artistic theatre.
The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the charity's governing document, the Companies Act 2006, FRS 102 "The Financial Reporting Standard applicable in the UK and Republic of Ireland" and the Charities SORP "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 (FRS 102)".
Objectives and activities
To advance education for the public benefit by the promotion of the arts, in particular but not exclusively the art of drama.
About DOD Theatre
Founded in 2006 by Co-Artistic Directors Terry O’Donovan and Daphna Attias, DOD (DOD) is a nationally recognised theatre company making intimate site-specific performances that interrogate contemporary stories and celebrate the human condition. Our work is characterised by humorous and poignant storytelling in everyday locations, encouraging audiences to reframe how they see local spaces. Our productions tour nationally, working in collaboration with community partners. Participation and training are woven into all our projects creating inspiring opportunities for local people - who are often engaging for the first time - to develop skills in performance and producing, and ensuring DOD is supporting emerging professional creatives and producers. To date, we’ve transformed hotel rooms, swimming pools and cafes; Handle with Care explored attachment to personal objects and was performed in self-storage units, and | Do followed 12 cast members in neighbouring hotel rooms as they prepared for a hastily arranged wedding ceremony. Over recent years the company has experimented with digital performance including an award-winning video podcast, interactive narrative film and a documentary. ¢ We present high-quality, accessible performances in familiar spaces ¢ We target areas of low provision and those who may not regularly engage with the arts ¢ We encourage audiences and participants to engage with current social issues ¢ We build participation projects that foster community cohesion and ownership of contemporary issues e¢ We lead inclusive and in-depth community engagement as part of the creation and delivery of our productions ¢ We collaborate with on-the-ground partners to embed authenticity and legacy into our projects ¢ We build academic research into our methodology to enhance the creative process, authenticate our stories and help share the learning ¢ We create paid professional development opportunities for emerging artists and producers ¢ We make all our work accessible to Deaf communities ¢ We explore how technology can engage new audiences and support insightful artistic collaboration By humanising everyday spaces with stories and emotions, we open up imaginations as audiences and participants see beyond the norm of their increasingly homogenised society; spaces become their own characters and audiences are immediately part of the action — as observer and often as participant. We draw communities into our creative processes alongside involving those with lived experience, academic expertise and community leadership who bring a wide spectrum of knowledge and understanding to the creative process. DIRECTOR’S REPORT —- OVERVIEW This year has seen us return to live performance, explore new ways to engage new audiences and continue to strengthen relationships with leading organisations in the industry.
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DANTE OR DIE THEATRE LIMITED
TRUSTEES' REPORT (INCLUDING DIRECTOR'S REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025
2024 was our most ambitious to date with two national tours of site-specific projects both with significant wraparound outreach and community engagement. In addition, a particular highlight from the year was being commissioned by Greenwich + Docklands International Festival to create a large-scale site-responsive piece for Thamesmead.
HIGHLIGHTS OF THE YEAR
Kiss Marry Kill
In April 2024, following a highly successful premiere run at The Dockyard Church on the Isle of Sheppey, Kiss Marry Kill went on to sell out in London before touring to Reading and Manchester (where due to demand additional performances were added), before finishing its tour in Norwich. The show received 4 and 5 star reviews from National press including The Times, Everything Theatre, Queer Guru and Review Hub.
“.,.an absorbing prison drama...[that] is a valuable springboard for conversation about the systems that help determine human behaviour and choices in and outside of prison.” The Times “ .,.introducing audiences to subject-matter that few theatre-makers would dare to touch elicits a form of gratitude.” The Telegraph “,.an electrifying performance of an exceptional, considered work...utterly riveting, expertly and exhilaratingly executed, that will take your breath away. You may well be kept awake at night pondering the hugely important questions that it raises, but do not miss it!” Everything Theatre Audience feedback demonstrated the impact it had on those that attended, the Company’s ability to reach and engage identified target audiences and the unassuming power that theatre has to challenge perceptions and start conversations: “That is probably the best theatre show | have seen in my life. | was enthralled from start to finish, I'm part of the LGBTQ+ community myself and I just can't believe what an impact that has had on me. It brought tears to my eyes in a good way. Thank you so much for putting this show on.” Norwich audience member “As ever DoD captures life around us, lives hidden & often vulnerable, & transforms their stories for us not only to see but to understand & learn.” London audience member “An incredibly thought-provoking show that really tested your moral compass. | saw it almost a month ago and | still think about it. | still haven't made up my mind about where | stand morally, which I think is testament to how intriguing and thought-provoking it was.” London audience member Kiss Marry Kill was nominated for five Off West End Awards including two for Best Lead Performer: Dauda Ladejobi, and Graham Mackay-Bruce, Best Director: Daphna Attias and Terry O’Donovan, Best Lighting Design: Joshua Gadsby and Best Set Design: Sophie Neil. It also received two Black British Theatre Award nominations: Best Supporting Male Actor in a Play for Frank Skully, and Best Book and Lyrics - which Lady Lykez went on to win. Inside Odds On This year we developed a new venture for our award-winning, interactive film Odds On. Inside Odds On is a unique pop-up immersive experience that took over empty highstreet shop units in five city centres and transformed them into captivating film and exhibition spaces. The tour, which took place between July 2024 and March 2025, was accompanied by significant wrap-around outreach and engagement activity through which we partnered with numerous gambling support charities. This project saw us experiment with a new way to bring our work to audiences and reach new communities by utilising unused units on town centre highstreets and in shopping malls. We developed new partnerships with Harlow Playhouse, Lincoln Arts Centre, Rochdale Development Agency and Camden Council. Inside Odds On succeeded in raising awareness of gambling harm & initiated conversations around prevention.
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DANTE OR DIE THEATRE LIMITED
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TRUSTEES' REPORT (INCLUDING DIRECTOR'S REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025
“This has really opened my eyes to this huge problem. | feel this could be a powerful tool for prevention as well as for users.” Rochdale workshop participant “I’ve come by 3 days in a row but not been able to come in as have lost money on slot machines. | watched the film on my phone and whilst it doesn’t fully connect with my type of gambling it has kept me off slot machines for 3 days now- longest time in a while. | want to come back tomorrow and explore more of the exhibition.” Attendee
“Love the show, this is the fourth show I've seen with the production company. Each one have been really thought provoking. Please keep up with the amazing work” Camden attendee
Everything Theatre gave Inside Odds On 4 stars and called it “a compellingly entertaining and enormously enlightening” event. It was also nominated for Best Creative Exhibition of the Year in the We Are Creative Awards. A Ballad of Thamesmead
This year Dante or Die was commissioned by Greenwich+Docklands International Festival to produce a community led site-specific piece for the festival.
Taking place in Thamesmead Town Centre adjacent to the clock tower, with a mesmerising lighting design the show transformed a familiar public space into a magical destination.
Across several weeks, the creative team took up residence in Thamesmead to gather stories and memories from the local community. These formed a vivid soundscape that framed the production. Featuring live performance by local folk singer and songwriter Marie Bashiru, the production foregrounded local voices in a hopeful exploration of how the architecture around us shapes how we feel about our home. The performances sold out to largely local audiences who responded warmly to the production and theatrical reimagining of familiar landmarks. An illuminated model of the town was built during the show which floated on the Canal.
“It was a fantastic tribute to the town. | loved the music, the narration from local voices made it feel real, and the construction of Thamesmead with models that were recognisable as local landmarks was breath taking. | hope you can repeat the performances so that even more people from the area are able to attend. Absolutely brilliant.” Audience member feedback ENGAGEMENT and PARTICIPATION
Across the year we have:
¢ Worked with 481 participants: 40 through Kiss Marry Kill, 283 through Inside Odds On and 158 through A Ballad of Thamesmead. ¢ Engaged a wide range of groups with our work and collaborated with schools, universities, police teams, community choirs, and ex-prisoners. ¢ Achieved a live audience of 8697 across our productions that visited 11 UK boroughs including Norwich, Rochdale, Sheppey, Lincoln and Camden. ¢ Partnered with over 50 organisations that ranged from theatre venues to prisons, including: The Lowry, Derby Theatre, GamCare, Peabody, Synergy Theatre Group, HMP Swaleside, Harlow Playhouse, Rochdale Development Agency and Camden Council. Higher Education:
DOD continued to work with universities to provide in-depth knowledge and practice development opportunities to theatre students across the country. This incorporates both delivering workshops and the provision of placements for students on projects. This year we had one creative producer placement student supporting Inside Odds On. We also hosted an apprentice through the Independent Producer Residencies programme, co-produced by In Good Company and Derby Theatre. Mentoring and Consultancy: Co-Artistic Director Terry has continued to act as a Site-Specific Consultant on Connie, a production happening in Ireland produced by Joanne Ryan. This is a new site-specific production that will be presented in an old cinema in Limerick in October 2025.
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$
DANTE OR DIE THEATRE LIMITED
TRUSTEES' REPORT (INCLUDING DIRECTOR'S REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025
Structure, governance and management
Governing document The charity is controlled by its governing document, the Memorandum and Articles of Association, and constitutes a limited company, limited by guarantee, as defined by the Companies Act 2006.
Organisational structure Established as a private limited company by guarantee and registered as a charity in June 2009.
Governance and Management In 2024-25 DOD was governed by: Miss Ranjit Atwal Ms Vijaya Fatimathas (Chair) (Resigned 29 April 2025) Ms Helen Hughes Dr Lisa Woynarski Ms Lucy Atkinson (Appointed 15 January 2025) Kirsten Burrows (Appointed 9 September 2024) Mr lan Pope (Appointed 15 January 2025) Jack Finch-Harding (Appointed 9 October 2024)
Recruitment and appointment of trustees This year saw a number of new appointees to our Board, many of these were due to existing Trustees reaching the end of their terms towards the end of the 23/24 Financial year. Key changes include:
¢ Due to personal circumstances Vijaya Fathimas, resigned from being Chair of our Board. Lucy Atkinson, previous Executive Producer for Dante or Die (2022) joined our Board in January and was immediately appointed Chair. Lucy understands the Company from inside and comes with a wealth of executive level experience in growth and strategy.
¢ lan Pope is a HR specialist and joins our Board to fill a knowledge gap left by the sad passing of longstanding Board member Gareth James. lan brings a wealth of experience in all aspects of HR and as an avid immersive theatre fan has an understanding of the industry and the challenges the company faces. ¢ Kirsten Burrows joined our Board in September 2024, she is a Producer and Arts Manager who has an indepth knowledge and understanding of the theatre industry who can support the company with strategic planning.
Welcoming new members to our Board has provided a renewed energy and the opportunity to further diversify the company’s leadership and broaden our contacts and potential opportunities. In 2024 - 25 DOD was managed by: Terry O’Donovan (Co-Artistic Director, Executive Director, Part time) Daphna Attias (Co-Artistic Director, Executive Director, Part time) Katherine Webb (Producer, Full time) Lucy Dear (Participation Producer, moved from Freelance part-time to PAYE part-time) Sophie Hack (Project Producer, full-time for 6 months and then part-time for a further 6 months) Fiona Watson (Associate Artist & Bookkeeper, Freelance)
DOD worked with seventy-two freelance artists on different projects throughout this year including performers, designers, animators, writers, stage managers, web developers and workshop facilitators. The team is highly skilled in successfully managing the logistics of such a large and diverse group of artists. We are proud that many artists are long-term collaborators.
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DANTE OR DIE THEATRE LIMITED
TRUSTEES' REPORT (INCLUDING DIRECTOR'S REPORT) (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025
The trustees’ report was approved by the Board of Trustees.
Chair
Date: betteeee
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| $%$' | $%$' | $%$' | $%$' | |
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| Notes | ( | ( | ( | ( |
| + | 3,114 | - | - | 3,114 |
| + | 35,000 | - | 234,291 | 269,291 |
| ' | 74,112 | - | - | 74,112 |
| & | 443 | - | - | 443 |
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3
25
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DANTE OR DIE THEATRE LIMITED
NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025
1 Accounting policies
Charity information DOD is a private company limited by guarantee incorporated in England and Wales. The registered office is 136 Shaftsbury Avenue, London, W1D 5EZ.
1.1.
Basis of preparation The financial statements have been prepared in accordance with the charity's Memorandum of Association, the Companies Act 2006, FRS 102 “The Financial Reporting Standard applicable in the UK and Republic of Ireland” (“FRS 102”) and the Charities SORP "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 (FRS 102)" (effective 1 January 2019). The charity is a Public Benefit Entity as defined by FRS 102. The charity has taken advantage of the provisions in the SORP for charities not to prepare a Statement of Cash Flows.
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 pound.
The financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.
1.2 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.
1.3. Charitable funds Unrestricted funds are available for use at the discretion of the trustees in furtherance of their charitable objectives.
Restricted funds are subject to specific conditions by donors or grantors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.
Endowment funds are subject to specific conditions by donors that the capital must be maintained by the charity.
1.4 Income Income is recognised when the charity is legally entitled to it after any performance conditions have been met, the amounts can be measured reliably, and it is probable that income will be received.
Cash donations are recognised on receipt. Other donations are recognised once the charity has been notified of the donation, unless performance conditions require deferral of the amount. Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.
Legacies are recognised on receipt or otherwise if the charity has been notified of an impending distribution, the amount is known, and receipt is expected. If the amount is not known, the legacy is treated as a contingent asset.
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DANTE OR DIE THEATRE LIMITED
NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025
1 Accounting policies
(Continued)
1.5 Expenditure
Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party, it is probable that a transfer of economic benefits will be required in settlement, and the amount of the obligation can be measured reliably.
Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff costs are allocated on the basis of time spent, and depreciation charges are allocated on the portion of the asset’s use.
1.6 Tangible fixed assets Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.
Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:
Plant and machinery depreciated over 2 years
The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities.
1.7 Cash and cash equivalents Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.
1.8 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 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.
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$#% #$#% #$#% #$#& #$#& #$#&
' ' ' ' ' '
2,825 - 2,825 1,905 - 1,905
2,379 - 2,379 1,209 - 1,209
5,204 - 5,204 3,114 - 3,114
Total Total
#$#% #$#&
' '
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%
| funds | funds |
|---|---|
| 2025 | !"!# |
| $ | $ |
| 491 | 443 |
| Total | Total |
| 2025 | !"!# |
| $ | $ |
/
| 8 | Support costs allocated to activities | ||
|---|---|---|---|
| !"!# | !"!$ | ||
| % | % | ||
| Staff costs | 29,104 | 12,124 | |
| Travel and subsistence | 128 | 30 | |
| Entertaining and Hospitality | 1,769 | 1,230 | |
| Sundry office costs | 2,638 | 1,598 | |
| Subscriptions | 1,044 | 1,481 | |
| Bank charges | 83 | 81 | |
| Insurance | 1,099 | 1,496 | |
| Software | 313 | 949 | |
| Advertising & PR |
953 | 474 | |
| Consultancy fees | 6,847 | 5,441 | |
| Storage costs | 6,036 | 1,248 | |
| Governance costs | 5,825 | 7,060 | |
| 55,839 | 33,212 | ||
| Analysed between: | |||
| Total | 55,839 | 33,212 | |
| + | Net movement in funds | !"!# | !"!$ |
| % | % | ||
| The net movement in funds is stated after charging/(crediting): | |||
| Fees payable for the independent examination of the charity's financial | |||
| statements | 2,160 | 1,638 | |
| ." | Trustees | ||
| None of the trustees (or any persons connected with them) received any remuneration or benefits | from the | ||
| charity during the year. | |||
| .. | Employees | ||
| The average monthly number ofemployees during the yearwas: | |||
| !"!# | !"!$ |
| Employees | (Continued) | ||
|---|---|---|---|
| .. | Employees | (Continued) | |
| Employment costs | !"!# | !"!$ | |
| % | % | ||
| Wages and salaries | 22,266 | 7,883 | |
| Social security costs | 4,651 | 2,453 | |
| Other pension costs | 2,187 | 1,788 | |
| 29,104 | 12,124 | ||
| There were no employees whose annual remuneration was more than £60,000. | |||
| .! | Taxation | ||
| The charity is exempt from taxation on its activities because all its income is applied for charitable | purposes. | ||
| .0 | Debtors | ||
| !"!# | !"!$ | ||
| Amounts falling due within one year: | % | % | |
| Trade debtors | 200 | 18,349 | |
| .$ | Creditors: amounts falling due within one year | ||
| !"!# | !"!$ | ||
| % | % | ||
| Trade creditors | 3,770 | 2,131 | |
| Other creditors | 459 | 369 | |
| Accruals and deferred income | 2,160 | 1,638 | |
| 6,389 | 4,138 | ||
| .# | Retirement benefit schemes | ||
| !"!# | !"!$ | ||
| Defined contribution schemes | % | % |
| !"!# | resources | expended | !"!+ | ||
|---|---|---|---|---|---|
| , | , | , | , | , | |
| *+ ,-. | 21,418 | (96,648) | - | - | |
| - | 72,109 | (72,109) | - | - | |
| - | - | 0,+.3 | ,+. | - | |
| - | +1 ... | (16,966) | - | /, .-/ | |
| *+ ,-. | 152,527 | (185,973) | ,+. | /, .-/ | |
| 1 April | Incoming | Resources | Transfers | At31 March | |
| !"!) | resources | expended | !"!# | ||
| , | , | , | , | , | |
| - | / -+. | (401) | 0- 1/13 | - | |
| 1 ... | 189,766 | (127,256) | - *,. | *+ ,-. | |
| 4,820 | - | - | (4,820) | - | |
| ,1 /1* | 40,175 | 0-1 ---3 | 0-. --13 | - | |
| 43,317 | 234,291 | (166,990) | (35,388) | *+ ,-. |
DANTE OR DIE THEATRE LIMITED
NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2025
16 Restricted funds
(Continued)
Kiss Marry Kill: Kiss Marry Kill is The Company's latest production that is inspired by the true story of the first same-sex marriage to take place in a UK prison - which was between two men both serving life sentence for homophobic murders. The piece premiered in March 2024, at The Dockyard Church on the Isle of Sheppey, before then touring to London, Reading, Manchester and Norwich. Inside Odds On This project was a new venture for our award-winning, interactive film Odds On. Utilising the film we created a theatrical experience in empty shop units that encompassed an exhibition and enabled us to continue raising awareness of gambling harm and initiating conversations around prevention and support for both those struggling with addiction and affected others. | Do 2026 In 2026 Dante or Die (DOD) will celebrate 20 years of making bold, ambitious work. To start our 20th anniversary year we will revive our sell-out, innovative, profound production, / Do.This unique, joyous show exemplifies DOD’s logistical site-based approach to performance, matching it with bittersweet dialogue & intensely intimate performances. Prison workshops: Following a successful pilot scheme in Autumn 2023 at HMP Swaleside, Dante or Die designed a more indepth and impactful workshop programme, expanding the delivery time and offering a variety of objectives, to run at both HMP Swaleside (a mens category B security prison on the Isle of Sheppey) and at HMP Standford Hill (a mens category D security prison on the Isle of Sheppey). The workshops would explore the themes of family, relationships and environment, and participants would work towards producing a piece of creative writing through a multitude of mediums: rap, poetry, literature, prose, and creative reflections. These would also be recorded and fully sound designed and mastered audio pieces produced. In addition, all writing created will be compiled into a published zine for the participants to keep. Odds On (Full Creation & Tour): Odds On is an interactive film that explored the impact of gambling harm. The piece was created in association with a group of participants who had lived experience of gambling harm. The film was produced and digitally toured in the Autumn of 2022. The piece received critical acclaim and specialists, including NHS National Problem Gambling Clinic are now using it as a tool to support recovery. FY 23 - 24 saw us receive our final instalment of our grant from ACE - this money had already been spent to settle final project invoices. Digital Sites: Digital Sites was a year long programme of activity that saw DOD diversify their output and expand their digital remit, developing technologies that broke the fourth wall. This work spanned three projects including the development of Odds On, the filming of Skin Hunger and the production of a five episode podcast series. FY 23 - 24 saw us receive our final instalment of our grant from ACE - this money had already been spent to settle final project invoices. Odds On with Gordon Moody: Odds On with Gordon Moody was an opportunity for us to take our interactive film Odds On into recovery settings and explore how it could assist people in recovery from gambling harm. The project was run in partnership with Gordon Moody (a company that specialise in gambling harm recovery).
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| At 1 April | Transfers | At31 | March | ||
|---|---|---|---|---|---|
| $%$& | $%$) | ||||
| * | * | * | |||
| 10,000 | (9,220) | @A$ | |||
| 10,745 | (10,000) | @%B | |||
| 10,745 | (10,000) | @%B | |||
| #B&/%% | - | #B&/%% | |||
| 57,134 | (29,220) | 27,914 | |||
| At 1 April | Transfers | At31 | March | ||
| $%$' | $%$& | ||||
| * | * | * | |||
| - | 10,000 | 10,000 | |||
| - | 10,745 | 10,745 | |||
| - | 10,745 | 10,745 | |||
| - | #B&/%% | #B&/%% | |||
| - | 57,134 | 57,134 | |||
| cover restricted funds cash | flow and are | expected to be replenished in | |||
| received by the Company. | |||||
| comprise the | unexpended balances ofdonations and grants which | are | |||
| donors and grantors as to how | they may be | used. These include | |||
| aside out of unrestricted funds by the trustees for specific purposes. | |||||
| offunds for cashflow contingency. | |||||
| 1 April | Incoming | Resources | Transfers | At31 | March |
| $%$& | resources | expended | $%$) | ||
| * | * | * | * | * | |
| 15,000 | 150,901 | (194,871) | 28,970 | - | |
| 1 April | Incoming | Resources | Transfers | At31 | March |
| $%$' | resources | expended | $%$& | ||
| * | * | * | * | * | |
| #A&B/B | 112,669 | (104,488) | (21,746) | 15,000 |
| general | Designated | ||
|---|---|---|---|
| &'&( | &'&( | &'&( | &'&( |
| ) | ) | ) | ) |
| - | 27,914 | 42,034 | 69,948 |
| - | 27,914 | 42,034 | 69,948 |
| Unrestricted | Unrestricted | Restricted | Total |
| funds | funds | funds | |
| general | Designated | ||
| &'&- | &'&- | &'&- | &'&- |
| ) | ) | ) | ) |
&'