Registered Charity no 1151156 Company number 05898510 PEER PRODUCTIONS SUITE 286 14 CHERTSEY ROAD WOKING SURREY GU21 5AH Tel: 01483476825 Email: admin@peerproductions.co.uk Website: www.peerproductions.co.uk
Annual Report 2019/2020 Report of the trustees and financial statements
**Make Plays Change Lives**
Annual Report 19/20
## Contents
## Chair’s letter
|Chair’s letter||3|
|---|---|---|
|At a Glance: Highlights of a year unlike any other||4|
|Who we are and what we do||5|
|A letter from our Artistic Director||6|
|Our impact in 2019/2020||7|
|Hidden||8|
|Losing It||10|
|Generation Girls||12|
|50 Days: Alone Together||14|
|Motherline
Training the next generation||16
18|
|Moving forwards||20|
|Structure, governance and management||23|
|Independent examiner's report
|25||
|Statement of fnancial activities
|26|With gratitude|
|||to all our funders|
|Balance sheet
|27|& supporters|
|Notes to the fnancial statements
|28|**Thank you to everyone who**
**has supported our work: every**|
With gratitude to all our funders & supporters
**Thank you to everyone who has supported our work: every person, community, company and organisation. We could not help young people transform their lives through theatre without you.**
## Peer Productions – Annual Report
## Chair’s letter
## **We’re proud to make plays and change lives**
**Whilst it seems strange to reflect on a year of work for Peer Productions which started back in September 2019, in a world pre-pandemic, and ended whilst the pandemic was raging, we look back with pride at the resilience shown by Peer Productions and the agility with which the team adapted to emerge today stronger, braver and even more creative. We know that the human experience has changed forever, and we will not understand the full impact of these changes for a long time, but we are confident that Peer Productions is here to stay and ready to make a lasting impact on young people’s lives through making plays that change lives.**
At Peer Productions, despite the sudden halt mid-year in taking our plays and outreach projects direct to our young beneficiaries in person, we got creative producing innovative digital work tackling the challenges for teens of lockdown, starting initial planning to produce a digital version of our mental health play, creating new digital partnerships to ensure we are up-skilled for digital distribution of these new projects, creating digital offerings of our award-winning outreach project, Generation Girls, and all whilst our young actors achieved their qualification and 81% of those who applied secured great drama school and higher education places.
We are incredibly proud of what we were able to achieve and that in taking our work digital we are now able to reach far bigger audiences, whilst still ensuring that what we do is as relevant and important as ever. As just one example of why our work is needed, NHS Digital’s report from July 2020 shows that one in six children aged 5 to 16 years were identified as having a probable mental disorder. This has increased significantly since 2017, where one in nine children were identified as having a probable mental disorder.
We can only do what we do thanks to the generosity of those who support us, so however you helped Peer Productions during 2019 and 2020, thank you. On a personal note, I want to extend my thanks to Peer Productions’ Artistic Director Nina Lemon and Managing Director Ed Simpson, my fellow trustees, the staff of Peer Productions and our young peer educators for their incredible hard work which allowed the charity to thrive in this time when sadly so many charities have not survived.
Over the coming year, we look forward to reaching many more young people and helping them address the challenges of today and strive for the opportunities of tomorrow. We are proud to make plays and change lives.
We hope this annual report helps you better understand who we are and what we do, as well as showcasing some of the highlights from this year like no other. As mentioned above, despite the global challenges, during 2019/20 our financial position was broadly maintained as we delivered new and innovative digital projects and delivered those core projects which we were still able to Best wishes do – our total net asset position remained healthy and we were able to maintain **Melanie Laithwaite** (in fact slightly improve) our reserves.
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Annual Report 19/20
## At a Glance: Highlights of a year unlike any other
## New Innovative Projects
## **Generation Girls Online**
## **50 Days: Alone Together**
A new interactive, improvised mini-series exploring the mental health impact of the pandemic through the story of 10 teens and their first 50 Days of lockdown.
Launched GG – Online on web and social media creating interactive video sessions for Autistic girls and girls who have learning disabilities which supplements our existing award-winning Generation Girls Programme.
## **“The context was pitched perfectly for the covid return and issues that arose” Teacher**
**“This group has got me out of my bubble of anxiety and is helping me make connections with young people” GG participant**
## **Maintaining the quality of actor development training**
## **Motherline**
Launched an online creative collective of emerging female arts leaders during pandemic.
81% success of place at top drama schools for our young actors who applied.
**"I felt as though I had lost momentum and that I couldn't express myself creativity… I found it hard (before Motherline) to not be able to collaborate." Collective participant**
**"My year at Peer Productions gave me the space to grow into the artist I am today." Recent Peer graduate**
## Who we are and what we do Peer Productions – Make Plays Change Lives
**Our vision is to use theatre to transform young people’s lives.**
Founded in 2006, by Artistic Director and playwright Nina Lemon, Peer Productions is an award-winning youth arts charity specialising in combining high quality arts practice with peer education. We have developed a unique approach whereby young people are at the centre of every stage of the creative process.
Our work is made with, by and for young people and focuses on the issues that matter most to young people. These have included eating disorders, homophobia, alcohol misuse, sex and relationships, and mental health issues.
## **We aim to:**
- Create thought provoking, lively, engaging and relevant work • Inspire young audiences
- Empower young people to develop as artists and change makers of the future • Facilitate a creative space for young and emerging artists to develop their work • Reach as many young lives as possible
- Sustain growth for the charity
- Disseminate our expertise in peer education and theatre for young audiences • Lead the development of innovative theatre in education practice in the UK and beyond.
We’re driven to create an inclusive environment for our students, audience, staff, volunteers and supporters that promotes and values diversity. This represents the world in which our young beneficiaries live - diversity of race, gender, sexuality, religion, identity, physical and cognitive ability, experience and perspective enriches our charity and helps us to achieve our mission.
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Annual Report 19/20
## A letter from our Artistic Director
**This year has been unlike any other. Unsurprisingly, our work has been significantly disrupted by the Coronavirus pandemic and we have been forced to reimagine how we can continue to have an impact in young people’s lives in a post covid world.**
We have seen the theatre industry particularly badly affected, the education of our young actors was severely interrupted and, as lockdown continued, reports surfaced of teenage mental health deteriorating.
A large amount of planned work was cancelled without warning including our first international project LBA- Love, Beauty and Attraction which was scheduled for a Mumbai tour in April 2020 as well as schools’ touring work, creative lab and outreach projects.
Despite these setbacks, the Peer team rallied; we used all our creative energy to develop innovative new ideas, learned new skills and reached out to form new partnerships. The ideas and networks created during this challenging time will sustain long after Covid restrictions lift, and I feel sure will continue to enrich our work for many years to come.
During the most challenging months of 2020 we at Peer;
- Migrated our Actor Development Programme online, retaining 100% of learners and delivered a digital showcase.
- Developed a new online mini-series 50 Days: Alone Together telling the story of 10 teens and their first 50 days in lockdown.
- Developed an online resource as part of our Generation Girls programme. • Brought together our first Creative Collective Motherline made up of emerging female creative leaders.
- Strengthened our partnership as members of the Surrey Wellbeing partnership successfully tendering for a contract which provides Peer with much needed long-term funding.
I could not be prouder of what we achieved, and I am grateful to my colleagues, trustees and young actors for their continued hard work.
Best wishes,
## **Nina Lemon FRSA**
## Our impact in 2019/20
**In 2019/2020 we continued with our three pillar young person centred approach using peer education and theatre to empower three separate groups of beneficiaries: young peer educators, disadvantaged project participants and young audience members. We also extended our practice, and with support from Arts Council England, we supported a group of 8 emerging female arts leaders to develop their creative practice during this challenging time.**
We did this by:
- Producing and touring original educational plays about the topics that are most important to young people in the UK. We delivered a tour of Hidden. Our Losing It tour was ended prematurely and our planned new play As I See It was postponed owing to Covid restrictions.
- Creating 50 Days: Alone Together – a new mini-series harnessing innovative prospero technology to tell the story of 10 teens and their first 50 days in lockdown and enable young audience members to access information, advice and guidance to support their mental health and wellbeing.
- Training the next generation of performers and theatre makers seamlessly switching to online delivery and retaining 100% of learners.
- Delivering drama outreach work and digital resources for marginalised and vulnerable young people through our groundbreaking Generation Girls programme. This project uses drama to empower Autistic Girls and Girls with Learning Disabilities improving their confidence and reducing their risk of sexual exploitation.
- Facilitating the Motherline – a creative collective of 8 emerging female arts leaders who came together to develop their practice.
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Annual Report 19/20
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Hidden
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## **Why?**
- Threefold increase in the number of young people self harming in UK (World Health Organisation – WHO).
- One in five 15-year-olds saying they self-harm – NHS reporting a rise of 30% in the number of children (between 10 and 14) being treated by the NHS as a result of self-harm.
- Local teachers tell us that mental health and self-harm is a high priority issue in their schools.
## **What?**
## **Hidden is a play for year 8+ about self-worth, mental health and self-harm.**
When Sophia, Matt and Tash meet at a music festival, they are three very different teenagers. They go to different schools, have different friendship groups and have led very different lives. However, they all have the same problem – they use self-harm as a way to cope with their feelings. Sophia feels stifled by boarding school life, has a poor body image and feels out of control. Matt is consumed with anxiety about his impending GCSE exams. Tash is haunted by memories of a traumatic childhood and feels like the world would be a better place without her. When her only friend suddenly disappears, her self-harming behaviour gets out of control. Hidden tells the story of the recovery of three very different teenagers as they struggle with mental health problems and self-harming behaviour.
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How?
The play and teachers’ pack:
• Explains what self-harm is and what can trigger people to self-harm.
• Debunks some of the unhelpful myths surrounding self-harm.
• Helps young people to find alternative and healthier ways to manage
their emotions.
• Empowers people to be a good friend to someone they suspect is
harming themselves.
• Enables people to get help if they or someone they know is self-harming.
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- Enables people to get help if they or someone they know is self-harming.
## **Feedback**
- **94% of teachers agreed or strongly agreed with the statement 'Our students have gained further knowledge on the issues raised in Hidden as a result of seeing the production.’**
- **After seeing the play 82% of students felt they did understand what mental health and self-harm were and where they could get help**
“I felt happy that the people in the play showed this to us because it really connected with me and what has happened to me in the past such as self harm and mental health such as depression. Thank you for showing this to our school. Thank you.”
“I loved the play so much, I wish it wouldn't end because the actors were really good and it brought an important message to the school and the pupils in it. …I would, a million percent, recommend you to as many people as possible because I loved the experience so much and I wish that other people could have the same experience while learning about problems that don't get touched on in class.”
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Annual Report 19/20
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Losing It
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## **Why?**
- 6 out of 10 teenagers say they have been asked for sexual images or videos.
- 40% have created a sexual image or video.
- 1 in 3 10-year-olds have seen pornography online.
- 1 in 5 women experience some form of sexual violence.
## **What?**
## **Losing It is a musical play for year 9+, offering sex education as you’ve never seen it before – “Because there’s a bit more to it than sperm meets egg”.**
All the boys at school seem to be only interested in one thing, so when naive Charlotte meets an older guy online who promises her a fairytale romance, she is sure it’s true love. It’s up to her friend Ash to try and stop her from making a terrible mistake, but Ash has worries of their own – “Are you a boy or a girl?”. When a drunken year 11 house party gets out of control, Tim makes a decision which will affect both him and Seren for the rest of their lives – “She didn’t say no!”. Meanwhile, Mike’s become hooked on internet pornography, David’s still a virgin and Rob’s fallen in love. We tell the story of a group of 18-year-olds as they look back on their 7 years at secondary school. Developed in partnership with young people from a range of schools, this frank and inclusive, large-scale 90-minute production addresses the questions young people really want answered.
## **How?**
## **Losing It was developed in response to working directly with young people who told us what they felt was missing from their sex education. The play and detailed Teachers’ Pack:**
- Shows both healthy and unhealthy relationships providing a starting point for further discussion.
- Offers an inclusive model of sex education where LGBTQ young people are included, often for the first time.
- Explores the emotional impact of sexting.
- Educates young people about the dangers of online relationships and shows how young people can be groomed.
- Looks at how internet pornography can affect relationships.
- Explores in detail consent and the consequences of rape.
- Supports existing teaching on contraception and the dangers of STIs.
## **Feedback**
- **Before watching the performance 39% of students said they ‘knew a lot’ about sexual consent. After watching the performance this was 82%.**
## • **84% of teachers agree that students have actively engaged in conversation about the issues raised in Losing It after seeing the production.**
“The theatre production has boosted my confidence to speak up in moments where something didn’t feel right. When the characters talked about what they would have done, I think that taught me not to be afraid because it could stop something bad from happening.”
“Well done, probably the best play the school has had by far, it was very well presented with the funny side to things whilst also covering serious matters, it will also help other younger people to understand more about these topics as they are not covered well enough in schools.”
“We got to see what people wanted to happen and how it actually unraveled. It made me realise that you just have to stop sometimes and question what is happening.”
“It was a great play and I believe it changed the way people look at sex and relationships now for the better and it makes us feel more confident in our sexuality, thank you for making us look deeper into the issues and change how we act.”
4.5 stars from pupils 5 stars from teachers
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Annual Report 19/20
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Generation
Girls
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## **What?**
During this year we ran the project in 3 SEN schools in Surrey and developed new online resources which girls can access from home.
**Generation Girls is a targeted, drama-based empowerment programme for Autistic girls and girls who have learning disabilities,**
Translating the learning from Generation Girls into an accessible, inclusive, safe and creative resource was an exciting challenge.
## **aged 11- 19 years.**
It is designed to increase these young women’s confidence talking about themselves, their bodies and their relationships and to ultimately reduce their risk of sexual exploitation. The programme offers sessions on a range of topics relevant to the target group and this includes body image and eating disorders, healthy relationships and consent and all aspects of mental health including anxiety and low mood.
## **To do this we:**
- Developed a new partnership with digital applied theatre specialists C&T upskilling our staff team to use Prospero software to create interactive smartscripts which could be access from home.
- Commissioned freelance, feminist illustrator and chronic illness activist Ananya Rao-Middleton to create a new visual identity for the Generation Girls including three diverse characters; Katy, C.J and Simran.
This year the Generation Girls programme delivered in 3 SEN schools and 34 girls took part. Sadly 2 schools’ projects were cut short as they were interrupted by the Covid-19 restrictions and we were unable to deliver further planned projects. However, the team also created a new online resource GG – Online with a dedicated website, Instagram account and 8 ‘smartscripts’ which used innovative prospero software to create interactive video sessions that girls can access remotely at home.
- Commissioned sensory theatre maker Natalya Martin to create and film some sensory sessions designed to support girls’ mental health and wellbeing especially during the challenging lockdown period.
- Worked with a range of actors and voice over artists including autistic performer Talia Grant and actor Kathleen Humberstone who has Downs Syndrome to voice the characters and express some of the worries or concerns girls might have when accessing the smartscripts.
- Worked with our freelance facilitator team to film and edit a range of accessible content.
## **How?**
- Built a new dedicated accessible web space and Instagram account.
**Specially trained young female creative practitioners, supported by trained peer educators, deliver sessions with girls in their schools with the support of female teachers and teaching assistants.**
## **Why?**
**There are multiple factors which make this group vulnerable to sexual exploitation and domestic abuse:**
The sessions are designed to be fun and engaging but to also tackle those topics which are most important for these vulnerable girls.
## **Feedback and engagement**
**From Philip Southcote School where the full project was delivered before lockdown.**
- I feel confident talking in front of new people - Session 1 (22%), Session 10 (66%)
- I feel confident leading a group - Session 1 (22%), Session 10 (56%)
- I’m happy to ask for help - Session 1 (44%), Session 10 (100%)
them about sex and relationships, meaning they are often more naive than their non disabled counterparts, and less likely to receive education about being LGBTQ.
autistic people were seven times more likely to
be chronically lonely during June and July and six times more likely to have low life satisfaction." (National Autistic Society).
- I like talking about my feelings - Session 1 (11%), Session 10 (56%)
- I feel confident to say “No” to things I don’t want to do - Session 1 (44%), Session 10 (100%)
- As women they are more likely to experience sexual exploitation and domestic abuse than their male peers (with women aged 16-24 years most at risk).
- In the schools in which we currently work up to 20% of the girls come from the traveller community where young women are often culturally discouraged from talking about sex.
"In general, marginalised populations are likely I don’t want to do - Session 1 (44%), to be more heavily impacted by Covid-19, which Session 10 (100%) will in turn affect their participation in education, • I know what consent means - including sexuality education. It may take time for Session 1 (33%), Session 10 (100%) young people to return to full school attendance, • I know what a healthy relationship looks and their family or living situations may have like - Session 1 (44%), Session 10 (100%) changed dramatically in the meantime. Potentially vulnerable young people are the most in need of The group also chose to write a poem sexuality education, which, when taught effectively, about their Generation Girls experience can have a positive impact on attitudes and (see image above). behaviours, including those related to genderbased violence (Haberland, 2015). In the aftermath of Covid-19 it will, therefore, be more important than ever during for schools to recognise the role of sexuality education in meeting their responsibilities in safeguarding all children and young people."[1]
- The behavioural strategies used for well-meant reasons, with children with additional needs can inadvertently reinforce the importance of ‘good’ behaviour which means compliant behaviour. Girls are often unable to protect themselves from abuse as they have been conditioned to do as they are told. One young woman told us, ‘I would not shout out as shouting is against the rules.
- Many attend schools where, because Autism
- and other learning disabilities are more highly diagnosed in males, they are in the minority and can lack a strong female network of friends.
- Many attend schools further away from home than their mainstream counterparts so may lack a local supportive network.
- MLD (moderate learning difficulties) schools are usually small and rarely offer sixth form provision. This means that these young women often attend larger mainstream sixth form colleges and are often ill equipped to cope in this new environment.
**These challenges were exacerbated during the pandemic.**
"Our new findings show that nine out of ten autistic people have worried about their mental health during lockdown. Compared to the general public,
- Young people with disabilities are often infantilised and desexualised and this means that some adults feel uncomfortable talking to
- 1https://www.bera.ac.uk/blog/identifying-the-potential-impacts-ofcovid-19-on-school-based-sexuality-education
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Annual Report 19/20
## **Why?**
## **As the unprecedented first lockdown stretched out before us, we saw first-hand the impact on the mental health of the young actors on our development programme.**
Our partners at other youth charities were reporting similar concerns and there was emerging data from _Young Minds_ which suggested that for young people with existing mental health needs the pandemic was experiencing significant adverse effects with 83% of those surveyed saying their mental health was worse as a result of the pandemic. The continued decline in young people’s mental health has continued during this recent period with NHS digital’s survey finding rates of probable mental disorders have increased since 2017. In 2020, one in six (16.0%) children aged 5 to 16 years were identified as having a probable mental disorder, increasing from one in nine (10.8%) in 2017. In a bid to provide a meaningful, creative opportunity for our young actors and a useful resource for teenagers nationwide the idea of 50 Days: Alone Together was born..
## **What?**
During the first lockdown, actors from our Actor Development Programme worked with Artistic Director Nina Lemon to create a new interactive, improvised miniseries exploring the mental health impact of the pandemic through the story of 10 teens and their first 50 Days of lockdown. This six part drama was filmed entirely using zoom before being edited into prospero smartscripts which allow for information, advice and guidance about specific mental health and wellbeing issues to be blended with the creative content. The story was also shared via Instagram and YouTube and a designated webspace was designed and launched..
## **How?**
We built a new partnership with digital theatre makers C&T and upskilled our staff to learn how to make prospero smartscripts. We then worked with improvisation expert Lucy Fennel to develop the actors’ craft. Nina curated the storyline and directed but the words came from the young actors themselves resulting in a highly engaging and truthful unique piece of digital theatre. We then worked with a professional editor and social media producer.
## **Feedback**
" We used 50 Days at the end of lockdown, after I saw a recommendation for it on a forum. We were struggling to find new content after almost a year of avoiding RSE due to lockdowns/ periods of self-isolation. The videos were fab - easy for students to access on their own or for us to share and great content. The characters were so engaging and the students (Y9) loved trying to guess what the issues would be with each character and where each relationship was going. It covered so many of the RSE topics we wanted to address - from gender identity to controlling relationships, plus mental health topics such as bereavement and eating disorders. The supporting resources online made it really easy to create quick lesson plans and stimulate discussion. It was definitely one of the best resources we found for home learning."
**Kerry Dixon Full-time PHSE teacher at Nunthorpe Academy, Middlesbrough**
"We used 50 days alone together for our PSHE lessons at Firth Park Academy with y8,9 and 10 in September and the context was pitched perfectly for the covid return and issues that arose. It allowed us to discuss a range of issues with our students using characters they could relate to. This was particularly supportive for teaching about bereavement, mental health, friendships and coping mechanisms. The story and supporting resources were excellent and provoked just the right amount of discussion points and asked the questions in a non leading way, which made for some excellent reflection of our students’ experiences during lock down. I cannot recommend the use of these resources enough and made a power point and shared this with our Academy, Academies Enterprise Trust (AET) PSHe teachers. We are very much looking forward to the second series- it was an invaluable teaching tool for our covid recovery plan.
Thank you for making it and sharing it for free online."
**Frankie Arundel Associate Assistant Principal, Firth Park Academy, Sheffield**
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Annual Report 19/20
**The Motherline is an online creative collective of eight emerging female arts leaders led by Artistic Director Nina Lemon. We reached out to 8 freelance artists with whom we would have collaborated during this period to offer them a creative and supportive space in which to develop their work.**
## **Why?**
Covid-19 had a devastating impact on the theatre industry and specifically on freelancers. With support from Arts Council England, during the first lockdown we set up a new creative collective to support female freelance artists during this challenging time. These artists told us;
"Before becoming part of this collective I lacked any motivation to work on theatre projects during lockdown. I was distancing myself from the theatre industry because I didn't want to engage with digital theatre. I found it hard to work individually with no time constraints, no collaborators and no feedback on my work."
"The biggest challenge I faced was loss of income and a lack of alternative jobs out there that could support me. What little jobs were available made it very difficult to keep a career in the arts going alongside it. I also don't have much experience and knowledge with online platforms so struggled to find ways of presenting my work through digital mediums."
"I felt as though i had lost momentum and that I couldn't express myself creativity. I love working with people and I found it hard (before motherline) to not be able to collaborate."
## **How?**
Artists were funded to spend dedicated hours each week working on their practice and the group met weekly online to share their work exploring female lineage. The artists also ran online workshops for our young actors and provided feedback on their digital showcase.
As a result of the collective, several new pieces of work have been developed. Kirsty Blewett successfully applied for Arts Council England funding to create a digital Immersive adventure called Blueprints which premieres June 2021 and Holly Taylor-Zuntz and Lydia Markham's short film Don't Forget Us – a letter from my female ancestors received a commission from Arts at the Old Fire Station and was shared online in April 2021.
## **Feedback**
All participants in Motherline strongly agree that the collective allowed them to:
• develop new artistic practice
• develop a completely new idea/project
- develop new skills
All participants in Motherline strongly agree or agree that the collective allowed them to:
• extend their network of artists to whom to go for advice and support
• positively contribute to their mental health during the coronavirus lockdown • improve their confidence as a practitioner
"Financially, Motherline gave me the freedom to dedicate time to my artistic practice. The project gave me the opportunity to work with and not against the challenges of being an artist in lockdown in order to alter my practice for the online sphere. The weekly meetings gave my structure in a time of no structure, which not only motivated me to keep creating but greatly benefited my mental well-being."
"It’s helped me reflect, explore and develop my personal practice. I’ve had the time and feedback to reflect on my strengths and weaknesses. Motherline has empowered me to be confident in my practice and my abilities. I feel I now have the confidence to say that I am a strong collaborator who can contribute valid, relevant and useful feedback."
"Motherline has started a fire in me. I’d like to say has reignited one that has long gone out for creating my own work. When I was part of the Peer Productions company (graduating ten years ago) I felt like I could go on and do anything, tackle anything. Since then I have become more focused on the performance side of things other people’s words, other people’s ideas and it feels like now is the right time for mine. The collective has shown the passion, tenacity and determination that I used to have and I’d like a bit of it back! They remind me of how I used to be and have inspired me."
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## Training the next generation
## One-year, free actor development programme
## **We trained 18 young artists and all completed the programme. Of these:**
- 17 achieved their Level 4 Creative Practitioner Diploma and 1 received an Advanced Level 4 Certificate from RSL with 11 achieving Distinction, 4 achieving Merit and 2 passes.
- Of the 16 who chose to apply for drama school or university, 13 received offers of places and learners have gone on to top drama schools including East15, Guildford School of Acting, Italia Conti, Mountview, Rose Bruford, Lipa, Manchester Theatre School and Royal Welsh Academy.
## **This year the Actor Development Programme was made up of:**
- Masterclasses and skills-based workshops led by industry professionals
- Touring in high quality theatre in education productions
- Developing individual practice and showcasing work
- Working as creative team for creative lab projects, this year this was 50 Days: Alone Together
- Working towards accredited qualifications
- One to one mentoring and support with next stage of areer development
## Testimonies
## **Daniel Johnson Now at Manchester Theatre School**
Peer set me on the career path I’m on now by not only giving me great industry experience in the tours, the showcase, and the masterclasses, but also by allowing me to try new things, like scoring a musical and helping with the production side of the shows. It’s thanks to Peer Productions that I know exactly what I want to do as a career, and have the skills and experience to do so.
## Holistic Support
In recent years we have noticed a marked increase in the amount of mental health challenges reported by young people attending our programme. In response, moving forward:
- We provide all learners with access to Health Assured app which provides access to information, advice and guidance on a range of topics as well as confidential selfreferral for counselling and mental health support.
- We employ an adolescent mental health expert to provide regular sessions on mental resilience and self care.
- Each learner meets with a dedicated staff mentor at least once a month.
## **Lana Leigh**
## **Now at Guildford School of Acting after completing Foundation course at Italia Conti**
My year at Peer Productions gave me the space to grow into the artist I am today. Providing a wide variety of performancebased workshops, I had the opportunity to explore my craft without worrying about ‘getting things right’. Instead, I focused on being present and engaged in the rehearsal room. Similarly, the chance to tour to different schools and use theatre to have a clear impact on people’s lives is an experience that is unique to Peer’s ethos. In addition, I’m pleased that I got to work and collaborate with different age groups in my cohort because each members’ perspective and background in performance was allowed to shine in the company. This has carried on inspiring me even till today.
## Creative Lab
Alongside our touring and outreach work our young actors also engaged in a range of creative lab projects. Sadly, our planned productions of Girls Like That and Women Like Us had to be cancelled, but we were able to deliver a studio production of Wolves Are Coming For You.
- We have continued our learner voice scheme with learner reps elected by their peers.
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Moving
forwards
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## **19/20 Building for the Future in uncertain times**
**In order to drive the ongoing success of our three-pillar approach, through 2019/20 we maintained financial rigour & discipline driving towards our plan, but quickly adapting to the challenges presented by the pandemic.**
## Of particular note:
- Three year plan – we continued to perform against the Three Year Plan, but adopted a more short-term plan to allow flex reacting to the pandemic
- Funding model transition – ongoing successful funding through trust & foundation applications
- and very successful pandemic support funding, including significant support from the Arts Council
- External Recognition – Pre-eminent external funders continue to recognise and support Peer Productions for its work
- Governance & Board - well established annual rhythm of key review of risks, policies & procedures and ongoing commitment to expand Board with open recruitment following key skills-gap analysis. Successfully adopted new Articles of Association allowing future expansion of Peer Productions in line with future ambitions
## **20/21 Moving Forwards**
**In post-pandemic environment we will now prepare & approve next 3 year Strategic Plan (should have been 2021-2024 but delayed due to pandemic), including evolution of Peer Production’s plans building on digital media skills and reach achieved during pandemic.**
projects working internationally with India as our current prototype
- **Funding evolution** – We are proud of the changes already made to our funding pipelines and we would now like to expand this even further with longer term partnerships and community organisation involvement, hoping to move forward with the Surrey Wellbeing Partnership in this year
- **Secure long-term home for charity** – either owning and running premises or signing longer term lease in own space or at established arts venue
- **Governance & Board** – ongoing open recruitment for skills gaps as Peer Productions builds for the future
- **Branding & marketing focus** – ongoing work to evolve a clear articulation for potential young actors & potential funders of each of Peer Productions’ products & brands. Peer Productions has a compelling and proven track record and we will focus on articulating this and having a clearer brand
- **External viewpoints** - Reaching out to more creatives and starting different conversations with alternative view points, by actively engaging in conferences, looking to work in partnerships, meeting with other charities and employing a larger range of people
- **Keeping focus on our mission** - Always making a difference in the lives of our beneficiaries, employees, volunteers and the wider community
- **Growth strategy** – Peer Productions is proud of its products and the proven success of the Three Pillar Strategy, but we seek to make our work accessible to a much wider audience. We are working to develop the strategy for this including considering the viability of
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Annual Report 19/20
## **Registered Charity Number: 1151156**
## **Registered Company Number: 05898510 (England & Wales)**
## Peer Productions
## report of the trustees and financial statements for the year ended 31[st] August 2020
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 Finance Reporting Standard for Smaller Entities (effective January 2015) and the Companies Act 2006.
Governance and Statement of Directors/Trustees’ Responsibilities for the year ended 31[st] August 2020.
The trustees, who are also directors of the charity for the purposes of the Companies Act 2006, present their report with the financial statements of the charity for the year ended 31[st] August 2020.
## **REFERENCE AND ADMINISTRATIVE DETAILS**
**Charity Name** : Peer Productions **Trustees:** Joanna Atkinson Tim Hargrave **Company Registration number:** 05898510 (England Melanie Laithwaite, Chair and Wales) Nina Lemon Edward Simpson – appointed 2.4.21 **Charity Registration number:** 1151156 Daniel Reeves Laura Sercombe **Date of Charity Incorporation:** 8[th] March 2013 Karen Sturgess Roger Whiteman **Date of Company Incorporation:** 7[th] August 2006 **Bankers:** Barclays Bank plc **Registered Office and Operational Address:** Peer Productions Town Gate House Suite 286 Church Street East 14 Chertsey Road Woking Woking GU21 6AE Surrey GU21 5AH **Independent Examiner:** Yvette How MAAT (MIP) That’s How Accountancy & Bookkeeping 6 Frailey Close Maybury Woking GU22 8EB
## Structure, governance and management
## **Nature of the governing document and constitution of the Charity**
## **The organisation structure of the Charity and how decisions are made**
The Charity is constituted as a company limited by guarantee and is therefore governed by a memorandum and articles of association. The directors of the company are also trustees of the Charity. Eligibility for membership of the Charity and membership of the Board of Trustees is governed by the memorandum and articles of association. There are no restrictions in the governing documents on the operation of the Charity or on its investment powers, other than those imposed by general charity law.
The Board of Trustees meet approximately at 2-monthly intervals, to monitor and facilitate the work of the Charity, approve actions and plan for the development of the work. Trustees have the power to call extra meetings in response to any specific concerns.
The Board of Trustees reviews risks on an ongoing basis through our Trustee Board Meetings. This allows us to mitigate against and to identify new risks. We consider the likelihood and impact of every risk. For the relevant period we identified the following significant risks based on our external environment:
## **The methods adopted for the recruitment and appointment of new trustees**
- Managing impact of Covid-19 pandemic to fulfil charitable objects to our students and beneficiaries whilst acknowledging that in person delivery of training and tours was cancelled, and thus needing to maintain financial health of the charity through this challenging period.
Trustees and staff are constantly considering the other skills and expertise that may be required to best support the development of the Charity. The Board seeks new trustees through open recruitment utilizing a variety of web and social media based advertising. Subject to satisfactory interview, and accepting the responsibilities as defined in the Charity Commission guidelines on the responsibilities of charity trustees the new member will be co-opted onto the Board.
- Sales-generated income is falling due to tightened Schools Budgets and due to the ongoing uncertainty of being able to perform in public due to Covid-19 government restrictions to date, we are covering this by gaining an increased mix of grant funding”
## **The policies and procedures adopted for the induction and training of trustees**
- Managing ongoing compliance with all safeguarding requirements for our work with young people – we have undertaken a comprehensive review of our Safeguarding Policies and ensured all training is in place.
The new trustee is invited to visit the Charity at its operational base South Hill Park, Bracknell and interviewed by staff and trustees prior to being invited to join the Board. The new trustee is also invited to a Board meeting and expected to read the Charity Commission guidelines and memorandum and articles of association.
- Creating staff resource plan to provide ongoing support needed for growing workload of charity – we developed comprehensive new structure and job descriptions during this period and commenced a recruitment drive to fill new positions.
- There continues to be continuing uncertainty about the operating environment for Peer Productions as government restrictions are implemented on and off in order to tackle the ongoing threat posed by the Covid-19 pandemic in the UK.
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Annual Report 19/20
## Financial Review
## **Transactions and Financial position**
## **Policy on reserves**
Total incoming resources of £219,621 for the year (2019: £211,932) represented an increase of 4% over the previous year. The unrestricted income of £119,895 is applied in continuing the Charity’s direct work in promoting and furthering its objectives. Successful applications in the year saw grant income increase to £172,978, a decrease of 3% on the previous year (2019: £178,473) with significant projects undertaken with funding from Sridhar Anand ‘India Project’ £35,000, Arts Council England £31,557, Community Foundation Surrey £19,770 and Garfield Weston Foundation £15,000.
Peer Productions is reliant on donations, grants and income from charitable activities (theatre fees and outreach work) to allow it to continue operating over the medium term.
To avoid closure if cash flow reduced materially, the Peer Productions Board is committed to establishing reserves that cover three months core costs. The reserves will allow staff to continue working to deliver both Peer Productions charitable activities and in order to continue further fundraising to allow operations to continue.
During the year the Charity’s expenditure was £202,475 (2019: £174,220), representing an increase of c16%. The restricted income of the Charity is available only for the specific purposes as determined by the sponsors. In the previous year increase in projects undertaken saw a rise in consultancy fees, this year projects have become more self-sustainable £31,231 (2019: £25,462). Permanent staff numbers and costs remained broadly flat, and will be increasing during 2020/21.
Once reserves to cover three months core costs are established, the position will be re-assessed with a view to increase the amount further.
Reserves are built from unrestricted income over a number of years with a target of increasing by up to £10k per annum to meet operating requirements going forward. As at 31st August 2020 reserves stood at £36,000 which was an increase of £12,000 over the previous 12 months.
## **Share capital**
The policy will be reviewed by Peer Productions Board on an annual basis.
The level of reserves will be kept under review and calculated by the Managing Director on a quarterly basis.
The company is limited by guarantee and therefore has no share capital.
## Statement of trustees’ responsibilities
The Charities and the Companies Acts require the Board of Trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity as at the end of the financial year and of the surplus or deficit of the charity. In preparing those financial statements, the Board is required to:
and the responsibility of the independent examiner in relations to the trustees’ report is limited to examining the report and ensuring that, on the face of the report, there are no inconsistencies with the figures disclosed in the financial statements.
## **Method of preparation of accounts**
- select suitable accounting policies and then apply them consistently;
These financial statements have been prepared in accordance with the Statement of Recommended Practice Accounting and Reporting by Charities (issued 2008) and in accordance with the special provisions of Part 15 of the Companies Act 2006 relating to small companies.
- observe the methods and principles in the Charity SORP;
- 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 not continue on that basis.
This report was approved by the Board of Trustees and signed on their behalf:
The trustees are responsible for maintaining 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.
## **Melanie Laithwaite – Chair**
Date: 20[th] June 2021
## **Nina Lemon – Trustee**
Date: 20[th] June 2021
## August 2020I report on the accounts of the company for the year ended 31st August 2020
## **Independent Examiner’s Statement**
I report on the accounts of the company for the year ended 31 st August 2020, which are set out on pages 26-36.
In connection with my examination, no matter has come to my attention: a) which give me reasonable cause to believe that in any material respect the requirements
## **Respective responsibilities of trustees and examiner**
- (i) to keep accounting records in accordance with section 386 of the Companies Act 2006; and
The charity’s trustees (who are also the directors of the company for the purposes of company law) are responsible for the preparation of the financial statements. The trustees consider that an audit is not required for this year under section 144(2) of the Charities Act 2011 (the 2011 Act) and that an independent examination is needed. The charity’s gross income did not exceed £250,000; however, the trustees elected that the financial statements be subject to an independent examination. I am qualified to undertake the examination by being a qualified member and member in practice of the Association of Accounting Technicians.
- (ii) to prepare accounts which accord with the accounting records, comply with the accounting requirements of section 396 of the Companies Act 2006 and with the methods and principles of the Statement of Recommended Practice Accounting and Reporting by Charities have not been met, or
- b) to which, in my opinion, attention should be drawn in order to enable a proper understanding of the accounts to be reached.
Having satisfied myself that the charity is not subject to audit under company law and is eligible for independent examination, it is my responsibility to:
a) examine the accounts under section 145 of the 2011 Act;
b) to follow the procedures laid down in the general Directions given by
the Charity Commission under section 145(5)(b) of the 2011; and c) to state whether particular matters have come to my attention.
**Yvette How MAAT (MIP)** , That’s How Accountancy & Bookkeeping, 6 Frailey Close, Maybury, Woking, GU22 8EB
Date: 26[th] June 2021
## **Basis of Independent Examiner’s report**
My examination was carried out in accordance with the general directions given by the Charity Commission. An examination includes a review of the accounting records kept by the charity and a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from you as trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit and consequently no opinion is given as to whether the accounts present a ‘true and fair view’, and the report is limited to those matters set out in the statement below.
The trustees are also responsible for the contents of the trustees’ report,
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Annual Report 19/20
## Statement of Financial Activities for the year ended 31[st] August 2020
**----- Start of picture text -----**
Notes Unrestricted Restricted Total Funds Total Funds
Funds Funds 2020 2019
£ £ £ £
Income & Endowments:
Donations and legacies 2 77,916 99,726 177,642 178, 473
Charitable Activities 3 4,078 - 4,078 12, 580
Investment Income 6 6 -
Other 4 37,895 - 37,895 20,879
Total Income 119,895 99,726 219,621 211,932
Expenditure:
Raising Funds 5 18,599 - 18,599 11,812
Charitable Activities 6 60,150 123,726 183,876 162,408
Total Expenditure 78,749 123,726 202,475 174,220
Net Income/(Expenditure) 41,146 (24,000) 17,146 37,712
Transfers between Funds - - - -
Net Movement in Funds 41,146 (24,000) 17,146 37,712
Total funds as at 1 [st ] September 2018 40,264 45,000 85,264 47,552
Total Funds as 2019/2020 81,410 21,000 102,410 85,264
**----- End of picture text -----**
All income and expenditure derives from continuing activities.
There were no recognised gains or losses other than those shown in the Statement of Financial Activities.
The accompanying notes form part of these financial statements.
## Balance Sheet as at 31[st] August 2020
**----- Start of picture text -----**
Notes Total 2020 Total 2019
£ £
Fixed Assets 13 1,498 2,496
Current Assets
Debtors 14 21,553 37,011
Cash at bank and in hand 84,864 48,099
106,417 85,110
Liabilities
Creditors: Amounts falling due within one year 15 (5,505) (2,342)
Net Assets 16 102,410 85,264
Funds:
Unrestricted 19 81,410 40,264
Restricted 19 21,000 45,000
19 102,410 85,264
**----- End of picture text -----**
The directors are satisfied that for the financial year ended 31[st] August 2020 the charitable company was entitled to exemption from the requirement to obtain an audit under section 477 of the Companies Act 2006. The members have not required the company to obtain an audit in accordance with section 476 of the Companies Act 2006 and under section 144 of the Charities Act 2011.
These financial statements have been prepared in accordance with the special provisions of Part 15 of the Companies Act 2006 relating to small charitable companies and with the Financial Reporting Standard for Smaller Entities (effective January 2015).
The financial statements were approved by the Board of Trustees on 20[th] June 2021 and were signed on its behalf by:
Under section 145 of the Charities Act 2011 the accounts have been examined by an independent examiner, whose report appears on page 25.
## **Melanie Laithwaite – Chair**
The notes form part of the financial statements.
The director’s acknowledge their responsibility for complying with the requirements of the Companies Act 2006 with respect of accounting records and for the preparation of accounts.
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Annual Report 19/20
## Notes to the Financial Statements for the year ended 31[st] August 2020
## 1. Accounting policies
## **Basis of Preparation of Accounts**
## **Expenditure**
The financial statements of the Charity, which is a public benefit entity, have been prepared in accordance with the Charities SORP (FRS102) ‘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 Ireland (effective 1[st] January 2015) (the SORP), Financial Reporting Standard 102 (FRS102) and the Charities Act 2011. The financial statements have been prepared under the historical cost convention.
Expenditure is recognised on an accruals basis and allocated to the appropriate heading in the accounts.
Charitable activities expenditure enables Peer Productions to meet its aims and objectives 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.
Expenditure on raising funds includes the direct costs of fundraising activities and freelance fundraiser fees.
## **Exemption from preparing a cash flow statement**
Governance costs are those costs associated with meeting the constitutional and statutory requirements of the Charity and include independent examination fee and costs linked to the strategic management of the Charity.
Exemption has been taken from preparing a cash flow statement on the grounds that the charitable company qualifies as a small charitable company.
Support costs are those costs which enable raising funds and charitable activities to be undertaken. These costs include finance, human resources, premises, IT, legal and governance costs.
## **Fund accounting**
Restricted Funds are those received for undertaking an activity specified by the donor when making the gift. The Charity makes an administrative charge for the operation of some restricted funds, which is included in the cost of raising funds. The amounts for administration are also shown as restricted fund expenditure.
## **Tangible Fixed Assets**
Tangible assets under £1,500 are written off to expenditure in the year of purchase.
General Funds are unrestricted funds given freely to the Charity that can be applied at the discretion of the trustees in accordance with the objectives of the Charity.
## **Debtors**
Debtors are recognised at the settlement amount due after any trade discount offered. Prepayments are valued at the amount prepaid net of any trade discounts due.
Designated Funds are funds set aside by the trustees out of the unrestricted funds for specific purposes. The trustees can un-designate such funds at their discretion.
## **Creditors**
Creditors are recognised where the Charity has a present obligation resulting from a past event that will probably result in the transfer of funds to a third party and the amount due to settle the obligation can be measured or estimated reliably. Creditors are recognised at their settlement amount after allowing for any trade discounts due.
## **Income**
All income, including donations, is included in the Statement of Financial Activities where the Charity is entitled to the income and the amount can be quantified with reasonable accuracy.
All grants and contractual payments are included on a receivable basis. Contractual income is recognised as performance obligations are satisfied. Grant income with performance-related conditions received in advance of delivering specified services, or income with a time restriction placed on it by the donor, is deferred until the donor stipulated criteria are met. Income is also deferred if it is probable it could become refundable or if it is received in advance for a future accounting period.
## **Taxation**
The Charity is exempt from corporation tax on its charitable activities under Part 1 Schedule 6 Finance Act 2010.
No amount has been included for services donated by volunteers. Where out-of-pocket travel and other expenses have been reimbursed to volunteers, these costs are included in the accounts.
## **Transfer between funds**
## **Pension costs**
Since 1st May 2017 The Charity has incurred costs in relation to the defined contribution scheme, operated by NEST, which are included in staff pension costs. The contributions arein line with current legislation; 3% Employer’s and 5% Employee’s during 2019/20.
Trustees have the authority to transfer monies out of the general funds into the restricted funds when required. With the fund holder’s permission, the trustees have the authority to make transfers from one restricted fund to another.
## **Deferred grants**
Grants which relate to a specific time period are recognised evenly over
the relevant years.
## Notes to the Financial Statements for the year ended 31[st] August 2020
## **2. Donations**
||**Unrestricted General Fund £**|**Restricted Funds £**|**Total 2020 £**|**Total 2019 £**|
|---|---|---|---|---|
|**Local Giving.com**|14|-|14|-|
|**Ako Foundation**|2,500|-|2,500|-|
|**Wokingham Tangent**|2,150|-|2,150|-|
||**4,664**|**-**|**4,664**|**-**|
There were no donations received in the year ending 2019.
**----- Start of picture text -----**
Unrestricted General Restricted Total Total
3. Grants Fund £ Funds £ 2020 £ 2019 £
Arbonne Charitable Foundation - - - 5,050
Arts Council England - Motherline COVID Grant 6,291 25,266 31,557 -
Berkshire Community Foundation 2,300 2,300
Berkshire County Council 4,770 4,770
Children in Need ‘Generation Girls‘ - 10,000 10,000 10,000
Community Foundation for Surrey - 19,770 19,770 19,800
D'Oyly Carte Charitable Trust 4,000 4,000
DM Thomas Foundation - - - 5,000
Englefield Trust 2,000 2,000 -
Foyle Foundation - - - 10,000
Garfield Weston Foundation - 15,000 15,000 10,000
‘Alone Together/Hidden/As I See It‘
Heathrow Community Trust - 9,650 9,650 483
Heathrow Community Trust “Hidden” Tour - - - 4,825
Heritage Fund - 4,970 4,970 19,880
High Sheriff Youth Awards ‘That Guy‘ - - - 1,950
Jancett Childcare & JACE Training 24,961 24,061 38,485
Phase 4 Peer Planet Res & Dev (Asura FZE) 'India Project' 35,000 - 35,000 22,500
St James' Trust - - - 7,500
Surrey County Council 5,000 5,000
Surrey Education Trust - - - 20,000
The Shanly Foundation ‘Equipment Fund’ - 3,000 3,000 -
Thomas Flack Foundation via Mole Valley District Council - - - 3,000
Wellington College 1,000 1,000
Total Grants 73,252 99,726 172,978 178,473
**----- End of picture text -----**
Of the £178,473 received in 2019, £60,985 was unrestricted funds and £117,488 was restricted funds.
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Annual Report 19/20
## **3. Income resources from charitable activities**
||**Unrestricted General Fund**
**£**|**Restricted Funds**
**£**|**Total 2020**
**£**|**Total 2019**
**£**|
|---|---|---|---|---|
|**Theatre Fees & Shows**|3,678|-|3,678|9,300|
|**Outreach Work**|400|-|400|3,280|
||**4,078**|**-**|**4,078**|**12,580**|
All of the £12,580 received in 2019 was unrestricted funds
## **4. Other income**
Included in other income is accrued income for a claim made to HMRC under the Theatre Tax Relief scheme. A total of £8,500 has been accrued for 2019/20.
The HMRC Coronovirus Job Retention Scheme includes claims made from April to August 2020.
**----- Start of picture text -----**
Direct Costs Support Costs Total 2020 Total 2019
£ £ £ £
HMRC rebate 'Theatre Tax Relief 8,500 - 8,500 20,500
Scheme'
HMRC Coronovirus 28,441 - 28,441 -
Job Retention Scheme
Other Income 954 - 954 379
37,895 - 37,895 20,879
**----- End of picture text -----**
## **5. Cost of raising funds**
**----- Start of picture text -----**
Direct Costs Support Costs Total 2020 Total 2019
£ £ £ £
Staff Costs 10,438 - 10,438 6,093
Fundraising Consultancy Fees 7,617 - 7,617 3,950
Printing, Publicity & Advertising 544 - 544 1,769
18,599 - 18,599 11,812
**----- End of picture text -----**
All of the £11,812 expended in 2019 was unrestricted funds
## **6. Expenditure on charitable activities**
**----- Start of picture text -----**
Direct Costs Support Costs Total 2020 Total 2019
£ £ £ £
Peer Productions Core Services 39,335 39,414 78,749 55,655
Outreach Work/Shows 63,512 2,672 66,184 68,686
Theatre Shows 52,975 4,567 57,542 38,067
155,822 46,653 202,475 162,408
**----- End of picture text -----**
## **7. Analysis of direct costs**
**----- Start of picture text -----**
Raising Funds £ Charitable Activities £ Total 2020 £ Total 2019 £
Staff Costs 10,438 94,747 105,185 79,418
Consultancy Fees 7,617 23,615 31,231 25,462
Recruitment - 995 995 -
Artistic Consumables - 6,244 6,244 2,954
Non Capatilised Equipment - 675 675 3,520
Advertising 544 - 544 1,769
Staff Training - 594 594 1,579
Student Training - 900 900 2,757
Staff Travel - 189 189 2,252
Student Travel/Mileage - 730 730 256
Volunteer Travel/Mileage - 747 747 2,262
Van Fuel - 177 177 389
Moderation Fees - 702 702 3,472
Website/Promotion - 459 459 3,228
Subscriptions - 5,167 5,167 -
Telephone - - - 123
Stationery - 1,281 1,281 155
18,599 137,223 155,341 129,596
**----- End of picture text -----**
## **8. Analysis of support costs**
**----- Start of picture text -----**
Raising Funds Charitable Activities (incl. Governance) Total 2020 Total 2019
£ £ £ £
Staff Costs - 20,039 20,039 12,686
Staff Travel - 316 316 139
Staff Welfare - 1,014 1,014 509
Volunteer Travel/Mileage - 253 253 -
Rent & Rates - 9,870 9,870 12,600
Insurance - 2,301 2,301 1,339
Accountancy - 624 624 553
Subscriptions - 1,070 1,070 418
IT - 487 487 2,908
Professional Fees - 1,380 1,380 5,350
Web Design/hosting - 391 391 103
Meeting Expenses - 100 100 -
Non capitalised Equipment - 785 785 -
Postage - 615 615 371
Telephone - 1,626 1,626 965
Stationery - 203 203 307
Printing - 747 747 721
Bank Charges - 64 64 96
Board Expenses - 47 47 297
Governance Costs (see note 9) - 2,013 2,013 2,013
Van Maintenance inc Tax & insurance - 1,634 1,634 1,399
Van Fuel - 75 75 22
Van Depreciation - 999 999 999
Van Hire - - - 833
- 46,653 46,653 44,624
**----- End of picture text -----**
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## **9. Governance costs**
**----- Start of picture text -----**
Unrestricted General Fund Restricted Funds Total 2020 Total 2019
£ £ £ £
Independent Examiners Fee 2,000 2,000 2,000
Legal & Professional Fees 13 13 13
Trustees Expenses - - -
Total 2,013 - 2,013 2,013
**----- End of picture text -----**
## **10. Net income/(expenditure)**
**----- Start of picture text -----**
2020 2019
Net income/(expenditure) for the year is stated after charging:
Independent Examiners’ Remuneration 2,000 2,000
**----- End of picture text -----**
## **13. Tangible Fixed Assets**
**----- Start of picture text -----**
Vehicles
£
Cost
At 1 September 2019 and at 31 August 2020 3,495
Depreciation
At 31 August 2019 999
Plus depreciation for the year 999
At 31 August 2020 1,998
Net Book Value
At 31 August 2019 2,496
At 31 August 2020 1,498
**----- End of picture text -----**
## **14. Debtors**
## **11. Trustees’ remuneration and benefits**
The trustees neither received nor waived any emoluments during the year (2019: £Nil)
## **Trustees’ Expenses**
No trustees were reimbursed during the year 2019/20. (£Nil 2018/19)
## **12. Staff Costs**
**----- Start of picture text -----**
2020 2019
£ £
Wages & Salaries 113,989 83,387
Employer’s NI Costs 8,508 7,207
Staff pension Costs 2,728 1,510
125,225 92,104
**----- End of picture text -----**
There was no employee whose emoluments as defined for taxation purposes amounted to over £60,000 in either year.
**----- Start of picture text -----**
2020 2019
£ £
Trade Debtors 3,065 3,415
Other Debtors 4,306 -
Prepayments and Accrued income 14,182 33,596
21,553 37,011
**----- End of picture text -----**
## **15. Creditors: Amounts falling due within one year**
**----- Start of picture text -----**
2020 2019
£ £
Trade Creditors 3,505 2,340
Accruals and Deferred Income 2,000 2
Social Security costs - -
5,505 2,342
**----- End of picture text -----**
Since 1st May 2017 the Charity has incurred costs in relation to the defined contribution scheme, operated by NEST, which are included in staff pension costs. The contributions are in line with current legislation, 3% Employer and 5% Employee.
Two employees are also volunteer trustees on the Board.
The average number of employees, calculated on a part-time and full-time basis, analysed by function was:
**----- Start of picture text -----**
2020 2019
No. No.
Direct charitable activities 4.75 3.75
Raising funds 0.2 0.2
Management & administration 1.5 1.25
6.45 5.2
**----- End of picture text -----**
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## **16. Analysis of Net Assets between Funds**
**----- Start of picture text -----**
Unrestricted General Fund Designated Funds Restricted Funds Total 2020
£ £ £ £
2020
Fixed Assets 1,498 - - 1,498
Current Assets 85,417 - 21,000 106,417
Current Liabilities (5,505) - - (5,505)
81,410 - 21,000 102,410
**----- End of picture text -----**
Comparative information for the analysis of net assets between funds in the previous year is follows
**----- Start of picture text -----**
Unrestricted General Fund Designated Funds Restricted Funds Total 2019
£ £ £ £
2019
Fixed Assets 2,496 - - 2,496
Current Assets 40,110 - 45,000 85,110
Current Liabilities (2,342) - - (2,342)
40,264 - 45,000 85,264
**----- End of picture text -----**
## **17. Related party transactions**
During the year there were no related party transactions. Previous year 2018/19 one employee who is also a volunteer Trustee worked on the India project as an artistic consultant and was paid £2,000. Expenses were also reimbursed totalling £250.
## **18. Capital commitments**
There were no capital commitments at the year-end or the previous year.
## **19. Movement in Funds 2020**
**----- Start of picture text -----**
Balance 01-Sep-19 Incoming Resources Outgoing Resources Transfers Balance 31.08.20
£ £ £ £
2020
Unrestricted Funds:
General Fund 40,264 119,895 78,749 - 81,410
Restricted Funds:
Arts Council England - - 25,266 25,266 - -
Motherline COVID Grant
Berkshire Community - 2,300 2,300 - -
Foundation
Berkshire County Council - 4,770 4,770 - -
Children in Need 'Generation 10,000 10,000 20,000 - -
Girls'
Community Foundation for 10,000 19,770 23,770 - 6,000
Surrey
Garfield Weston 'Hidden/ - 15,000 12,000 - 3,000
Losing It/That Guy'
Heathrow Community Trust - 9,650 9,650 - -
National Heritage 5,000 4,970 9,970 - -
Surrey County Council - 5,000 5,000 -
Surrey Education Trust 20,000 8,000 12,000
The Shanley Foundation - 3,000 3,000 - -
'Equipment Fund'
Sub Total Restricted Funds 45,000 99,726 123,726 - 21,000
Total All Funds 85,264 219,621 202,475 - 102,410
**----- End of picture text -----**
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## **19. Movement in Funds 2019**
**----- Start of picture text -----**
Balance 01-Sep-18 Incoming Resources Outgoing Resources Transfers Balance 31-Aug-19
£ £ £ £
2019
Unrestricted Funds:
General Fund 32,802 94,444 86,982 - 40,264
Restricted Funds:
Arts Council England 2,000 - 2,000 - -
Children in Need - 10,000 - - -
'Generation Girls'
Community Foundation for - 19,800 9,800 - 10,000
Surrey
DM Thomas Foundation - 5,000 5,000 - 10,000
Foyle Foundation - 10,000 10,000 - -
Garfield Weston 'Hidden/ - 10,000 10,000 - -
Losing It/That Guy'
Heathrow Community Fund - 483 483 - -
'Losing It' project
Heathrow Community Fund - 4,825 4,825 - -
'Hidden' tour
High Sheriff Youth Awards - 1,950 1,950 - -
Heritage Fund 12,000 19,880 26,880 - -
National Lottery Awards for - - - - 5,000
All - 'Losing It' project
St James' Trust ' - 7,500 7,500 - -
Losing It/That Guy'
Surrey Education Trust 750 20,000 750 - -
Thomas Flack Foundation via - 3,000 3,000 - 20,000
Mole Valley District Council
Sub Total Restricted Funds 14,750 117,488 87,238 - 45,000
Total All Funds 47,552 211,933 174,221 - 85,264
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