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2021-08-31-accounts

CHANGE LIVES

PEER PRODUCTIONS

Annual Report 2020/2021 Report of the trustees and financial statements

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Contents
Chair’s Letter 3
Artistic Director’s Letter 4
Who We Are and What We Do 5
Our Impact in 2020/21 6
Hidden -The Digital Package 10
50 Da s: Alone To ether 12
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Generation Girls 14
PAD - Peer Actor Develo ment Pro ramme 18
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DNA 19
Mind Games 19
Movin Fowards 21
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Surre Wellbein Partnershi 22
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Structure, Governance and Management 24
Notes to the Financial Statements for the ear ended 31st Au ust 2021 29
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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.

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Chair’s Letter

WE’RE PROUD TO MAKE PLAYS AND CHANGE LIVES

We will all remember 2020/21 as a year when young people were amongst those worst impacted by the COVID-19 pandemic, and I am immensely proud of the work which Peer Productions undertook in this period to support all our beneficiaries – from our actors on the Peer Actor Development programme whose experience oscillated through the year from in person training to training fully by Zoom, to the young viewers of our work and participants in our outreach projects who all found themselves trapped in a world of online learning from home, and for whom, we at Peer pivoted to support with digital offerings. We were acutely aware of the challenges and difficulties to wellbeing through such isolation and we strove to play our part in providing support.

I would like to pay testament to the ingenuity and hardwork of our staff and young volunteers who worked tirelessly, constantly innovating and learning new techniques to bring Digital Hidden to life using just 6 iPhone cameras, to make Digital Generation Girls a reality for our outreach participants and to film series 2 of our Online mini-series 50 Days: Alone Together. I couldn’t be prouder that the Children and Young People Now Awards recognised this hardwork and impactful creativity, with Generation Girls winning the The Young Relationship Award and Digital Hidden being shortlisted for the PSHE (Personal, Social and Health Education) Award.

We also worked tenaciously this year to become a founding member of the new Surrey Wellbeing Partnership - a new alliance of providers changing the face of emotional

wellbeing and mental health services for children and young people in Surrey.

This is a new service, which came into effect on 1 April 2021, specifically designed to prevent the development of wellbeing issues and spot them early on when they do emerge.

We are also immensely proud that, in our 15th year, Peer Productions now has a dedicated home in Woking, Peer Place. Our move at the end of summer 2021 opens up a vast array of exciting possibilities for the future which we will be developing further in the coming year.

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. Despite the global challenges, during 2020/21 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 do - our total net asset position remained healthy and we were able to maintain (in fact slightly improve) our reserves.

We can only do what we do thanks to the generosity of those who support us, so however you helped Peer Productions during this year, 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 evolve ever further in this year.

With gratitude to all our funders & supporters.

Best wishes,

MELANIE LAITHWAITE Chair of the Board

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Artistic Director’s Letter

In my role at Peer Productions, I am frequently astonished and humbled by the incredible talent and resilience demonstrated by the young people with whom we work, and never more so than in this second Covid interrupted year.

To this end it was during this turbulent year that we began working towards securing our own designated premises and we were able to sign a tenancy to occupy a large empty building in Woking Town centre at the end of this year.

Most of the actors who trained with us this year took a leap of faith and relocated to join a theatre company with whom they had only met on Zoom. Their opportunities to get to know us and each other and to develop their craft were dramatically impacted by the ever-changing guidelines and restrictions and yet, despite all of this, they came together as an extraordinary ensemble to make some truly inspiring work of which I could not be more proud.

Finding Peer Place, and coming back to Woking, where I started the charity 15 years ago, feels like a new step in the Peer journey which will allow us to train more young people, reach more audiences and crucially transform more young lives. I am so grateful to my colleagues, trustees and young actors for coming with me on this exciting journey.

One of my personal highlights was developing one of our most successful touring plays Hidden into a fully digital experience working with experts from Serpent Films, Outside Broadcast, Camberley Theatre and Overture+ to use 6 iPhones to capture a dynamic and absorbing production that can be streamed to schools internationally. Making Hidden digital, against the odds during the second lockdown, also served to fuel our ambition as a charity to reach further and think bigger.

NINA LEMON FRSA Artistic Director

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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.

WE AIM TO:

Celebrating our 15th year in 2021, 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’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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Our Impact in 2020/21

In 2020/21 we continued with our Three Pillar, young person centred approach using peer education and theatre to empower three separate groups of beneficiaries: young actor peer educators, disadvantaged project participants and young audience members.

Our young actors are always central to everything we do at Peer Productions. In this year, with multiple changes to Covid restrictions which dramatically impacted our ability to reach young audiences with a live theatre offer, we had to be particularly creative and nimble to ensure that the Class of 2021’s year at Peer, whilst like no other, was equally as transformative as for previous cohorts.

The following pages include testimonials from participants on our Peer Actor Development (PAD) course this year, highlighting what they considered to be the most important or rewarding elements of their time with us.

WE DID THIS BY:

I have discovered skills such as improvisation, comedy and character building throughout the course. Through doing a range of different performances, based around who I am as an artist, I found that comedy is a style I like to include in my own life and also in performing. I have learnt to be more instinctual and believe that through improvisation exercises, I have become more naturalistic. I am less afraid of listening to what is happening within the moment; feeling connections with the other actors on stage. I have gained a strong use of techniques that I enjoy using when embodying a character. I resonated with animal studies and found that working from the outside, inwards, helps create a unique energy to the character. I have learned that I enjoy having a good sense of the character, and connecting them to stories when acting.

Sophie Frearson

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Peer has allowed me to discover that I can use all my life experiences in a better way. To not shy away from anything, as the difficult stories and the bolder decisions are most likely the things that need to be told.

Grace Pennell

The most important thing I have discovered about myself as an artist is that I want to make movement driven performances about social and political issues I care about. This has really become clear to me thanks to Peer as I feel like I was encouraged to express my full opinion on topics through my art. Exploring social issues like body image, feminism and social injustices, I know now I want to create art including this through the form of physical theatre and really make the audience question their actions and views. I think this is the most important discovery I could have made as I know a strength of mine is movement / physical theatre, and definitely want to pursue this in the future.

Sydnee Roberts

I found exactly what my motivation and passion for being apart of this industry was for. I was able to see that I want to be making sure that the projects that I am taking part in are ones that have a lasting impact on the audience who is watching it. From this I have been able to craft myself into a contemporary artist which means that I want to be looking at issues that are surrounding the modern climate whether that be political or socially driven.

Liam Stone

The most important thing that I have discovered about myself as an artist during this experience is that I want to create art that both educates and helps people, for example I have found that I want to educate people more about mental health and be a representative for so many young people who have struggled like I have. I want to be able to speak out about issues and help people feel confident and comfortable in their own skin.

Caitlin Walmsey

The most important thing I learned is that I am in fact an artist. Whenever someone would refer to acting as an art form I would cringe and think that it was dramatic. Coming here has completely changed my perception of it. I used to think that using the terminology of “art” or “art form” was above me. The most important thing I learned about myself is the concept of creating art or being an artist is not above me, it is me.

Janet Oyewole

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What I discovered about my brand is that my brand is a white, female, gay young actress. Also, an intellectual, flexible and confident actress with a passion for theatre and Shakespeare. I discovered I want to explore the emotional and instinctive side of my acting and can use the rest of this year to do so. Furthermore, I discovered that I want an acting career that allows me to explore roles outside of my gender.

Alicia Newell

The creative practitioner element of the course has helped me to build this clear and structured ‘brand’ for myself, which has consequently given me a clearer idea of who I am as a performer, I have learnt to be less shy around others, especially as Peer has pushed me to explore my own opinions and encouraged me to voice them.

Molly Chartres

I don’t need to separate my actor self from any other aspects of my personality, bringing all of myself makes me a more interesting and engaged performer. I have more diversity of skills than I realise, and other interests I have such as art, puppetry, and writing are compatible with my actor self. I feel that my personality and genuine interests are now more reflected in the way I come across and present myself. This makes me more confident in myself and in interacting with people and working creatively.

Naomi Langford Thimm

The most important thing I have learnt about myself as an artist during my time at peer is that I want to make a change with my work. I want to act and create in order to make change for the greater good of the people. Whether this be for an individual or on a much wider scale. Now moving forward in my training and life in general I have a clear direction of where I want to go as well as what I want to do and why I want to do it.

Abby Doubtfire

Over this year I have discovered that as an artist I enjoyed devising theatre centred around teenagers’ mental health. Researching these issues has been very informative and has allowed me to broaden my knowledge as an artist and given me the chance to portray these struggles through characters so others can be informed and helped.

Rachel Illingworth

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In my Brand Presentation I was able to create an immersive experience for my audience , so they could experience what is was like to be me. I explored the topic of emotional disregulation as I think it’s a significant part of who I am and I also think that it isn’t discussed much at all. I discovered that I enjoy creating sensory experiences for an audience. I also discovered others perception of my brand. For example, in the feedback section I received comments such as my work was eccentric and creatively chaotic and that I was an educator as many people felt they had learnt new things.

Georgia Simpson

I’ve discovered that I often refrain from calling myself an artist; labelling myself as an actor, musician or a songwriter has often made me feel awkward and uncomfortable. In the future I hope to overcome this and be more proud of calling myself an artist.

Sam Latriche

Another important thing I’ve learnt about myself is that I am not just a performer. From my work on the 50 Days: Alone Together project I have found that I am an efficient communicator, and so I am a very valuable asset to a production team even when I am not performing. My experience with working on the production side of projects has given me an insight into what kind of worker I could be when I’m not performing. As I move forward in my career, I am now more aware of my skill set and I know my worth both as a performer and as a part of a production team.

Emma McAllister

One of the most useful projects for my skills that I have done is 403 - Developing the Brand. I found the timing of being set this task in lockdown and the task I chose for myself has been a complete eye opener for me. Creating a short film by myself has given me useful skills that I aim to further in the future.

Roisin Cara

I think a turning point for my sense of confidence was when we were working online, as I really had time to focus on myself as an artist as I was alone in my room working on my own skills, with no distractions or audience. I think the project ‘Hairy Hands’, also really helped this, as we had so much fun and energy and just played our characters however we wanted. Now I feel much more confident as I know that no-one is going to judge me, they will only give useful feedback and support me.

Molly Ettridge

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- Hidden The Digital Package

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.

WHY?

HOW?

This unique digital PSHE and Drama resource designed for teachers and students in Years 8 and above covers self-worth, self-harm and mental health - supporting the national curriculum for England through an engaging story and relatable characters. The package includes a free comprehensive and downloadable Teacher’s pack, complete with a full half-term’s worth of lesson plans and additional resources, as well as interactive student guides for each lesson. Streams of our professionally recorded show are also available to purchase in a range of packages, dependent on the size of your school or institution.

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THIS PACKAGE:

FEEDBACK

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50 Days: Alone Together

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 young people with existing mental health needs were experiencing significant adverse effects. 83% of those surveyed said their mental health was worse as a result of the pandemic. The 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 for the first Season of 50 Days: Alone Together was born which we filmed entirely on Zoom and rolled out using pioneering Prospero technology. Having seen how well received Season 1 was, we partnered with other mental health charities through the Surrey Wellbeing Partnership to shape Season 2.

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.

With Covid restrictions lifting at the end of the summer term, we were able to film on location and to utilise our new skills and knowledge gathered when making Hidden digital. Season 2 follows a group of students in their first 50 Days at university during the Autumn 2021 lockdown. We follow 7 housemates and their high and lows as they navigate living away from home for the first time. At the centre of the narrative, 6 of the housemates have an ill-advised party which the audience sees from their multiple perspectives and then can choose whose narrative they want to follow. Season 2 again tackles a range of topics including anxiety, borderline personality disorder, friendship,

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neurodiversity, bereavement and grief, radicalisation and racism, domestic abuse and post traumatic stress disorder. Unique to this Season, we see some of the characters interacting with real life mental health professionals and this is designed to reduce the stigma associated with asking for help making the prospect of getting support more accessible and less daunting.

HOW?

As with Season 1, our Artistic Director, Nina Lemon, and the young actors from the Peer Actor Development programme, supported by professional actors and mental health professionals, improvised together to create a gripping and engaging story line. Again we have upskilled our staff utlising the most up to date technology to make the content as accessible as possible for the widest number of young people and we are working with our partners at SWP to disseminate the work in Surrey and beyond.

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Generation Girls

THIS YEAR, WE HAVE :

WHAT?

Generation Girls is a targeted, drama-based empowerment programme for Autistic girls and girls who have learning disabilities, aged 11- 19 years. This year we won the Youth Relationship Award from Children and Young People Now and were also finalists for Brook’s Sexual Health Awards. It is a 10-week project delivered in SEN schools and is designed to increase 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 topics including body image and eating disorders, healthy relationships and consent and all aspects of mental health and wellbeing. Despite Covid interruptions, this year the Generation Girls programme delivered in 5 SEN schools providing 75 hours of workshops with 70 young people taking part.

Read about some of our highlights in the purple box opposite.

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HOW?

Specially trained female creative practitioners, supported by trained peer educators, deliver sessions with girls in their schools with the support of female teachers and teaching assistants. The sessions are designed to be fun and engaging but also tackle those topics which are most important for these vulnerable girls. During this year we ran the project in 5 SEN schools in Surrey and Berkshire and worked with 6 Female identifying facilitators, 1 Non-binary and 2 Trans identifying facilitators. This expansion of our team has enriched our offer and allowing us to increase the quality and diversity of our project. Our annual training event focussed on the GG approach, safeguarding, accessibility, inclusive practice for Trans and Non-Binary students and evaluation processes. This training day gave the team the opportunity to share experiences and resources before delivering the projects simultaneously across the summer term.

WHY?

Multiple factors make this group particularly vulnerable and at risk.

As women they are more likely to experience sexual exploitation and domestic abuse than men. Women aged 16-24 years are most at risk.

Disabled women are more than twice as likely to have experienced domestic abuse than non-disabled women, and almost twice as likely than disabled men

Young people with disabilities are often infantilised and desexualised. Some adults feel uncomfortable talking to them about sex which can make them more naive and less likely to receive adequate sex education.

Many participants 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 participants 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 ill-equipped to cope in this new environment.

7 in 10 Autistic children have a mental health condition. 4 in 10 Autistic children have more than one.

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FEEDBACK AND ENGAGEMENT

During this year we focused on our key learning objectives including consent and body autonomy. In session 1 only 23% of the young people we worked with could accurately describe what consent meant, by session 10 this was increased to 85% agreeing or strongly agreeing that they knew what consent means.

2/3 of the girls who said at the start that they didn’t feel confident saying no to things they didn’t want to do then went on to agree or strongly agree that they do now feel confident saying no.

From our participant feedback, the largest areas of improvement were that overall they felt more confident leading a group and that they not only knew what consent was but also knew how to apply it in real life scenarios.

Feedback from a teacher “ Every single one of the team were brilliant but especially Lydia and Phoebe. It was so inclusive and current and the respect, even from some of our more challenging students was evident. All of the topics were so useful and thought provoking, even for adults and the safe space coupled with the brilliant team worked so well. I think, and I know my colleagues did too, that the sessions are so beneficial to our young people … long may they continue”

One student said “I was worried about saying something I like about myself and then I did! And you know what, I thought, I’m actually great!

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GENERATION GIRLS: TEACHER’S FEEDBACK LETTER

“I wanted to take a moment to give you my feedback about Generation Girls. I’ve had the opportunity to join most sessions and watch our students grow in confidence and maturity each week. All the sessions were relevant and perfectly adapted to our student’s needs. They were very well organised, interactive, positive and educational.

In independence, our whole focus is preparing each student with the skills they will need to survive and thrive in “the big world” outside our school, and the skills covered in GG are ones that they will use throughout their lives. I was amazed to witness that even the students who really struggle to open up, speak up or share their thoughts in the beginning were open and had grown in confidence by the last sessions.

Generation Girls’ managed to successfully tackle heavy subjects, that can be very triggering for some of our students, with games, acting and sensory features. The

balance between encouraging them to open up but also offering them time & space was spot on.

Their style of teaching and values perfectly align with those of Manor Green, and the topics covered are included in the

government guidance on SRE.

It worked very well to combine GG with our own SRE lessons.

Rosie, Lucy, Georgie and Naomi were excellent communicators and role models. They were always respectful, fun, caring and professional, setting up clear boundaries. Our students took no time to warm up to each one of them and feel safe enough to take part in the sessions. I know this has had a big positive impact for the students as I got to see first hand how my students have transferred the skills learned across other contexts. The girls became more vocal and confident in other lessons, more equipped to manage their own emotions independently and form stronger friendships. It has also impacted my own relationship with them as it has helped the students to feel safe enough to speak and open up to staff when they need support.

After the hard year the students had, GG was exactly what they needed and has certainly helped them be more aware of their mental health and how to look after it. The students have had a great term and have shown huge improvements, and this is partly thanks to Generation Girls.

I really wish I’d had a group like this when I was younger!”

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PAD - Peer Actor Development Programme TRAINING THE NEXT GENERATION

We trained 14 young artists and all completed the programme. Of these: 12 achieved their Level 4 Creative Practitioner Diploma and 2 received an Advanced Level 4 Certificate from RSL with 9 achieving Distinction, 6 achieving Merit and 1 pass.

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 will be:

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Mind Games

DNA

WHY?

WHY?

With mental health and wellbeing concerns increasing during the pandemic for pre-teens too, we wanted to research and develop a new creative practice targeting a younger audience.

WHAT?

Mind Games was a research and development project using drama and interactive Prospero software to develop digital workshops for young people in years 5 and 6 exploring mental health and wellbeing in the pandemic.

WHAT?

We chose the award winning play DNA for young people by Dennis Kelly

A play about a group of teenagers who do something bad, really bad, then panic and cover the whole thing up. When they find that their cover-up unites them and brings harmony to their once fractious lives, where is the incentive to put things right? What's more important; the individual or the group?

HOW?

Working with Peer aluma and experienced creative practitioner, Kirsty Blewett, and Royal Central School of Speech and Drama third year placement student, Rebeckah Turbett, actors from our Peer Actor Development programme, researched, workshopped and devised a story which they then filmed and used Prospero software to make interactive.

HOW?

Peer Productions created a site-specific promenade performance of DNA in the scenic grounds of South Hill Park. Set in three locations the audience moved with the action of the play. Peer was able to do two public performances and one schools performance and workshop of DNA during the challenging time of the COVID pandemic.

LEARNING OPPORTUNITIES

Ongoing changes to Covid regulations made it very difficult to work with schools to fully test out this project. However, learning from this research has been reimagined into an interactive touring play for primary school students in years 4 and 5 called the Space Between my Head and Heart which toured with great success in Autumn 2021.

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Creative Labs

STAYING CREATIVE IN LOCKDOWN Faced with an indefinite period of lockdown, we again migrated learning online. During this time as well as developing their online showcases, students also contributed to the creative development of 50 Days: Alone Together and took part in two smaller Creative Lab Projects: Pool No Water and Hairy Hands.

POOL NO WATER

Pool No Water was written by Mark Ravenhill. A prose poem for seven voices about friendship and professional envy. Dropped into an unexpected lockdown at the beginning of the spring term, Peer chose to do this play with the actors on the Peer Actor Development programme for its adaptability to be performed as a radio play over Zoom. They rehearsed online with resident director, Valentina Rosati, for seven weeks. Then when return to in person learning was announced the cast came back to South Hill Park and in a week created an immersive live performance of the play with live streamed projections, original music and visually stunning lighting.

HAIRY HANDS

This project was created in collaboration with playwright Rebeckah Turbett who joined us as a placement student from the Royal Central School of Speech and Drama this year. Of the project, and her time with Peer, Rebeckah said

“Being at Peer really reinvigorated my love for theatre and education which had been lost during my degree. It gave me renewed confidence and gave me so many more skills than I bargained for. I left Peer with a longing to remain, and I believe that is true for everyone who has the joy of being part of the family. It gave me the renewed motivation and confidence, especially through the ‘Hairy Hands’ project, to make my own work to the point that I now started my very own theatre company and with that, I try to foster the ideology and environment that I experienced in my time with Peer.”

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Moving Fowards

LEARNING TO THRIVE IN UNCERTAIN TIMES

In order to drive the ongoing success of our Three Pillar approach, through 2020/21 we maintained financial rigour & discipline, but we had to adapt and stay agile considering the evolving challenges presented by the pandemic. Of particular note:

EXTERNAL RECOGNITION:

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.

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REACHING FURTHER

As we as a charity continue to grow we also began planning strategically to expand our future outreach offer to include:

Surrey Wellbeing Partnership

Transforming emotional wellbeing and mental health support for Surrey’s children and young people.

Peer Productions is very excited to be a part of the Surrey Wellbeing Partnership, which provides emotional wellbeing and mental health services for children, young people, parents and carers, and professionals across Surrey. This new venture brings together 13 charities to deliver the work, alongside the NHS, as MindWorks Surrey- including Barnardo’s, The East to West Trust, The Eikon Charity, Emerge, Learning Space, Leatherhead Youth Project, The Matrix Trust, The National Autistic Society, Peer Productions, Relate West Surrey, Step by Step Partnership Ltd, Surrey Care Trust and YMCA East Surrey.

Peer Productions is a key part of this new service as it is through our work that many young people will first find out about, and learn how to navigate, the new service.

Peer Production believes that prevention and early intervention is key to helping young people make better choices and transform their lives. The SWP shares this belief and will play a key role in early support. It will focus on building relationships with children, young people and families, and strengthening links with the wider community to ensure that the emotional wellbeing and mental health needs of young people are met. The

partnership will implement the THRIVE framework, which is designed around putting the wants and needs of young people first and providing a greater choice of support available.

A young person, aged 17, who currently accesses emotional wellbeing and mental health support in Surrey said: “This is great news. I think young people will now, hopefully, feel more confident in coming forward and asking for support knowing that they will be put first and listened to.”

Peer’s founder and Artistic Director Nina Lemon said, “We are delighted to be included in this new alliance which will allow us to continue to develop innovative work to support young people’s mental health. This has been an important part of our work since we started in 2006 and, with the recent pandemic, young people’s need for support with mental health continues to escalate. We are excited to help to develop prevention and support services to meaningfully transform young people’s lives.”

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Peer Productions report of the trustees and financial statements for the ear ended 31st Au ust 2021 y g

Registered Charity Number: 1151156

Registered Company Number: 05898510 (England & Wales)

Governance and Statement of Directors/Trustees’ Responsibilities for the year ended 31st August 2021.

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 31st August 2021.

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.

REFERENCE AND ADMINISTRATIVE DETAILS

Charity Name: Peer Productions Trustees: Joanna Atkinson
Tim Hargrave
Melanie Laithwaite, Chair
Nina Lemon
Company Registration 05898510 (England and Wales) Edward Simpson -appointed 2.4.21
number: Daniel Reeves
Laura Sercombe
Karen Sturgess
Roger Whiteman
Charity Registration number: 1151156 Bankers: Barclays Bank plc
Town Gate House
Church Street
East Woking
GU21 6AE
Date of Charity Incorporation: 8th March 2013
Date of Company 7th August 2006 Independent Yvette How MAAT (MIP)
Incorporation: Examiner: That’s How Accountancy &
Bookkeeping
Registered Offce and
Operational Address:		 PEER PLACE
THE YPOD CENTRE		 6 Frailey Close
Maybury
CHOBHAM ROAD Woking
WOKING
GU22 8EB
GU21 6JD

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Structure, Governance and Management

Nature of the governing document and constitution of the Charity

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 methods adopted for the recruitment and appointment of new trustees

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.

The policies and procedures adopted for the induction and training of trustees

The new trustee is invited to visit the Charity at its operational base and interviewed by staff and trustees prior to being invited to join the Board. The charity’s previous base was South Hill Park, Bracknell, and it moved to Peer Place on 1.08.2021. The new trustee is also invited to a Board meeting and expected to read the Charity Commission guidelines and memorandum and articles of association.

The organisation structure of the Charity and how decisions are made

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:

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Financial Review

Policy on reserves

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.

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 2021 unrestricted funds stood at £96,420, which was an increase of £15,010 over the previous 12 months.

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.

Transactions and Financial position

Total incoming resources of £269,602 for the year This represented an increase of c23% over the previous year, (2020: £219,621). The unrestricted income of £193,028 is applied in continuing the charity’s direct work in promoting and furthering its objectives. Successful application in the year saw grant income increase to £192,944 - an increase of c11% on the previous year (2020: £172,978) with significant projects undertaken with funding from AKO Foundation (£17,675), Children in Need (£15,000), Postcode Society (£10,000), Jancett Childcare & JACE Training (£31,663) and The Surrey Wellbeing Partnership (£56,159).

During the year, the Charity’s expenditure was £265,592 (2019: £202,475), representing an increase of c31%. The restricted income of the Charity is available only for the specific purposes as determined by the sponsors. The increase in projects undertake saw a rise in consultancy fees £40,041 (2020: £31,231). Permanent staff numbers remained broadly flat, and will be increasing during 2021/22.

Statement of trustees’ res onsibilities p

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:

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 of safeguarding the assets of the charitable company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

The trustees are also responsible for the contents of the trustees’ report, 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

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.

This report was approved by the Board of Trustees and signed on their behalf:

Melanie Laithwaite – Chair

Date: 16th June, 2022

Share capital

The company is limited by guarantee and therefore has no share capital.

Nina Lemon – Trustee

Date: 16th June, 2022

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Report on the accounts of the company for the year ended 31st Au ust 2021 g

I report on the accounts of the company for the year ended 31 st August 2021, which are set out on pages 26-39.

Respective responsibilities of trustees and examiner

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.

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:

Independent Examiner’s Statement

In connection with my examination, no matter has come to my attention:

Yvette How MAAT (MIP) ,

That’s How Accountancy & Bookkeeping, 6 Frailey Close, Maybury, Woking, GU22 8EB Date: 16th June, 2022

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.

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Statement of Financial Activities for the ear ended 31st Au ust 2021 y g

----- Start of picture text -----
Total Total
Unrestricted Restricted Funds Funds
Funds Funds 2021 2020
Notes £ £ £ £
Income & Endowments:
Donations and legacies 2 4,204 - 4,204 4,664
Charitable activities 3 120,241 76,574 196,815 177,056
Investment income 4 1 1 6
Other 5 68,582 - 68,582 37,895
Total Income
193,028 76,574 269,602 219,621
Expenditure:
Raising Funds 5 27,190 - 27,190 18,599
Charitable Activities 6 150,828 87,574 238,402 183,876
Total Expenditure
178,018 87,574 265,592 202,475
Net Income/(Expenditure)
15,010 (11,000) 4,010 17,146
Transfers between Funds
- - - -
Net Movement in Funds
15,010 (11,000) 4,010 17,146
Total funds as at 1st September 2020
81,410 21,000 102,410 85,264
Total Funds as at
31st August 2021 96,420 10,000 106,420 102,410
----- End of picture text -----

All income and expenditure is derived from continuing activities.

The accompanying notes form part of these financial statements.

There were no recognised gains or losses other than those shown in the Statement of Financial Activities.

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Balance Sheet as at 31st Au ust 2021 g

----- Start of picture text -----
Notes Total 2021 (£) Total 2022 (£)
Fixed Assets 13 499 1,498
Current Assets
Debtors 14 60,846 21,553
Cash at bank and in hand 66,687 84,864
127,532 106,417
Liabilities
Creditors: Amounts falling due within one year 15 (21,611) (5,505)
Net Assets 16 106,420 102,410
Funds:
Unrestricted 19 96,420 81,410
Restricted 19 10,000 21,000
19 106,420 102,410
----- End of picture text -----

The directors are satisfied that for the financial year ended 31st August 2021 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.

Under section 145 of the Charities Act 2011 the accounts have been examined by an independent examiner, whose report appears on page 26.

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 20th June 2021 and were signed on its behalf by:

Melanie Laithwaite – Chair

The notes form part of the financial statements.

The directors acknowledge their responsibility for complying with the requirements of the Companies Act 2006 with respect of accounting records and for the preparation of accounts.

These financial statements have been

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Notes to the Financial Statements for the year ended 31st August 2021

1. Accountin Policies g

Basis of Preparation of Accounts

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 1st 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.

Exemption from preparing a cash flow statement

Exemption has been taken from preparing a cash flow statement on the grounds that the charitable company qualifies as a small charitable company.

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.

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.

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.

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.

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.

Expenditure

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.

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.

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.

Tangible Fixed Assets

Tangible assets under £1,500 are written off to expenditure in the year of purchase.

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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.

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.

Taxation

The Charity is exempt from corporation tax on its charitable activities under Part 1 Schedule 6 Finance Act 2010.

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 are in line with current legislation; 3% Employer’s and 5% Employee’s during 2020/21.

Deferred grants

Grants which relate to a specific time period are recognised evenly over the relevant years.

Transfer between funds

Trustees have the authority to transfer monies out of the general funds into the restricted funds when required. With the fundholder’s permission, the trustees have the authority to make transfers from one restricted fund to another.

2. Donations

----- Start of picture text -----
Unrestricted General Fund Restricted Funds Total 2021 Total 2020
£ £ £ £
Donal Forrester Trust 4,000 - 4,000 -
Just Giving 10 - 10 -
Local Giving 48 - 48 14
Paypal 146 - 146 2,500
Wokingham Tangent - - - 2,150
4,204 - 4,204 4,664
----- End of picture text -----

All of the £4,664 received in 2020 was unrestricted funds.

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----- Start of picture text -----
Unrestricted Restricted
3. Grants
General Fund Funds Total 2021 Total 2020
£ £ £ £
AKO Foundation 17,675 - 17,675 -
Arts Council England 3,448 - 3,448 31,557
Beacon Lodge Trust ‘As I See IT’ - 6,000 6,000 -
Berkshire Community Foundation - 3,500 3,500 2,300
Berkshire County Council - - - 4,770
Britford Bridge Trust - 5,000 5,000 -
Children in Need ‘Generation Girls’ - 10,000 10,000 10,000
Children in Need ‘Generation Girls Online’ - 3,000 3,000 -
Community Foundation for Surrey ‘Mind Games’ - 7,000 7,000 19,770
D’Oyly Carte Charitable Trust - - - 4,000
Englefield Trust - - - 2,000
Enterprise Development Fund - 7,285 7,285 -
Epsom College ‘Gender Day’ - 3,000 3,000 -
Garfield Weston ‘Alone Together/Hidden/As I See It’ - - - 15,000
Groundwork - Equipment - 946 946 -
Groundwork ‘Mind Games’ - 2,000 2,000 -
Harold Hyam Wingate Foundation - 5,000 5,000 -
Heathrow Community Fund - 2,500 2,500 -
Heathrow Community Trust ‘Hidden’ - 4,343 4,343 9,650
Herefordshire Community Foundation - 1,500 1,500 -
High Sheriff Youth Awards ‘Together Alone’ - 1,000 1,000 -
Jancett Childcare & JACE Training 31,663 31,663 24,961
National Heritage - - - 4,970
Phase 4 Peer Planet Res & Dev (Asura FZE) ‘India Project’ - - - 35,000
Postcode Society - 10,000 10,000 -
Surrey Chambers ‘Kickstar’ & IT/Training 7,425 1,500 8,925 -
Surrey County Council - - - 5,000
Syder Foundation - 2,000 2,000 -
Sylivia Waddilove ‘As I See It’ - 1,000 1,000 -
The Shanley Foundation ‘Equipment Fund’ - - - 3,000
The Surrey Wellbeing Partnership 56,159 - 56,159 -
Wellington College - - - 1,000
Total Grants 116,371 76,574 192,944 172,978
----- End of picture text -----

Of the £172,978 received in 2020, £73,252 was unrestricted funds and £99,726 was restricted funds.

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3. Income resources from charitable activities

----- Start of picture text -----
Unrestricted Restricted
General Fund Funds Total 2021 Total 2020
£ £ £ £
Theatre Fees & Shows 3,750 - 3,750 3,678
Outreach Work 120 - 120 400
3,870 - 3,870 4,078
----- End of picture text -----

All of the £4,078 received in 2020 was unrestricted funds.

4. Other Income

----- Start of picture text -----
Unrestricted Restricted
General Fund Funds Total 2021 Total 2020
£ £ £ £
HMRC rebate ‘Theatre Tax Relief Scheme’ 10,339 - 10,339 8,500
HMRC Coronovirus Job Retention Scheme 58,243 58,243 28,441
Other Income
- - - 954
68,582 - 68,582 37,895
----- End of picture text -----

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 2020/21.

The HMRC Coronovirus Job Retention Scheme includes claims made from September 2020 to August 2021.

5. Cost of Raisin Funds g

----- Start of picture text -----
Direct Costs Support Costs Total 2021 Total 2020
£ £ £ £
Staff Costs 20,518 - 20,518 10,438
Fundraising Consultancy Fees 3,255 - 3,255 7,617
Printing, Publicity & Advertising 3,416 - 3,416 544
27,190 - 27,190 18,599
----- End of picture text -----

All of the £18,599 expended in 2020 was unrestricted funds

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6. Ex enditure on Charitable Activities p

----- Start of picture text -----
Direct Costs Support Costs Total 2021 Total 2020
£ £ £ £
Peer Production Core Services 35,251 37,514 72,765 78,749
Cohort - Education/Training Development 55,920 2,939 58,860 -
Outreach Work/Shows 44,691 2,255 46,946 66,184
Theatre Shows 57,577 2,255 59,832 57,542
193,440 44,963 238,403 202,475
----- End of picture text -----

During this year there was a shift to focus on our cohort and not tours.

7. Anal sis of Direct Costs y

----- Start of picture text -----
Raising Charitable
Funds Activities Total 2021 Total 2020
£ £ £
Staff Costs 20,518 116,206 136,723 105,185
Consultancy Fees 3,255 36,787 40,041 31,231
Recruitment - 579 579 995
Artistic Consumables - 21,873 21,873 6,244
Non Capatilised Equipment - 1,527 1,527 675
Advertising 3,416 - 3,416 544
Staff Training - 857 857 594
Student Training - 3,729 3,729 900
Staff Travel - 144 144 189
Student travel/mileage 433 433 730
Volunteer Travel/Mileage - - - 747
Van Fuel - 51 51 177
Moderation Fees - 4,418 4,418 702
Website/Promotion 29 29 459
Subscriptions - 5,968 5,968 5,167
Stationery - 838 838 1,281
27,190 193,440 220,629 155,820
----- End of picture text -----

During this year there was a shift to focus on our cohort and not tours.

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8. Analysis of Supporting Costs

----- Start of picture text -----
Supporting
Charitable Activities
Costs Raising Funds (incl. Governance) Total 2021 Total 2020
£ £ £ £
Staff Costs - 14,752 14,752 20,039
Staff Travel - 79 79 316
Staff Welfare - 942 942 1,014
Volunteer Travel/Mileage - - - 253
Rent & Rates - 7,500 7,500 9,870
Insurance - 2,835 2,835 2,301
Accountancy - 932 932 624
Subscriptions - 521 521 1,070
IT - 7,665 7,665 487
Professional Fees - 1,560 1,560 1,380
Web Design/hosting - 256 256 391
Meeting Expenses - - - 100
Non capitalised Equipment - - - 785
Postage - 771 771 615
Telephone - 1,292 1,292 1,626
Stationery - - - 203
Printing - 101 101 747
Bank Charges - 71 71 64
Board Expenses - - - 47
Governance Costs (see note 9) - 2,549 2,549 2,013
Van Maintenance incl tax & insurance - 2,138 2,138 1,634
Van Fuel - - 75
Van depreciation 999 999 999
- 44,963 44,963 46,653
----- End of picture text -----

During this very unique year, we had several delayed projects, which led to subsequent delays with both creditors and debtors.

----- Start of picture text -----
9. Governance Costs Unrestricted Restricted
General Fund Funds Total 2021 Total 2020
£ £ £ £
Independent Examiners Fee 2,100 - 2,100 2,000
Legal & Professional Fees 13 - 13 13
Annual Report 436 - 436 -
Total 2,549 - 2,549 2,013
----- End of picture text -----

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10. Net Income/(Ex enditure) p

----- Start of picture text -----
2021 2020
Net income/(expenditure) for the year is stated after charging:
Independent Examiners’ Remuneration 2,100 2000
----- End of picture text -----

11. Trustees Remuneration

The trustees neither received nor waived any emoluments during the year (2020: £Nil).

Trustees Expenses

No trustees were reimbursed during the year 2020/21. (2019/20: £Nil).

12. Staff Costs

----- Start of picture text -----
2021 2020
£ £
Wages & Salaries 142,785 113,989
Employer’s NI Costs 6,199 8,508
Staff pension Costs 2,493 2,728
151,477 125,225
----- End of picture text -----

There was no employee whose emoluments as defined for taxation purposes amounted to over £60,000 in either year.

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.

The average number of employees, calculated on a part-time and full-time basis, analysed by function was:

----- Start of picture text -----
2021 2020
No. No.
Direct charitable activities 5 4.75
Raising funds 1.2 0.2
Management & administration 1.5 1.5
7.7 6.45
----- End of picture text -----

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13. Tan ible Fixed Assets g

----- Start of picture text -----
Vehicles
Cost £
At 1 September 2020 3,495
Depreciation
At 31 August 2020 1,998
Plus depreciation for the year 999
At 31 August 2021 2,997
Net Book Value
At 31 August 2020 1,498
At 31 August 2021 498
----- End of picture text -----

----- Start of picture text -----
2021 2020
14. Debtors
£ £
Trade Debtors 33,851 3,065
Other Debtors 15,614 4,306
Prepayments and Accrued income 11,381 14,182
60,846 21,553
----- End of picture text -----

During this very unique year, we had several delayed projects, which led to subsequent delays with both creditors and debtors.

15. Creditors : Amounts fallin due within one ear g y

----- Start of picture text -----
2021 2020
£ £
Trade Creditors 10,666 3,505
Accruals and Deferred Income 10,945 2,000
Social Security costs - -
21,611 5,505
----- End of picture text -----

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16. Anal sis of Net Assets Between Funds y

----- Start of picture text -----
Unrestricted
General Fund Designated Funds Restricted Funds Total 2021
2020 £ £ £ £
Fixed Assets 499 - - 499
Current Assets 117,532 - 10,000 127,532
Current Liabilities (21,611) - - (21,611)
96,420 - 10,000 106,420
----- End of picture text -----

Comparative information for the analysis of net assets between funds in the previous year is as follows:

----- Start of picture text -----
Unrestricted
General Fund Designated Funds Restricted Funds Total 2020
2019 £ £ £ £
Fixed Assets 1,498 - - 1,498
Current Assets 85,417 - 21,000 106,417
Current Liabilities (5,505) - - (5,505)
81,411 - 21,000 102,410
----- End of picture text -----

17. Related art transactions p y

During the year there were no related party transactions.

18. Ca ital commitments p

There were no capital commitments at the year end or in the previous year.

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19. Movement In Funds 2021

----- Start of picture text -----
Balance Incoming Outgoing Balance
1-Sep-20 Resources Resources Transfers 31-Aug-21
£ £ £ £ £
Unrestricted Funds:
General Fund 81,410 193,028 178,018 - 96,420
Restricted Funds:
Beacon Lodge Trust ‘As I See It’ - 6,000 6,000 - -
Berkshire Community Foundation - 3,500 3,500 - -
Britford Bridge Trust - 5,000 5,000 - -
Children in Need ‘Generation Girls’ - 10,000 10,000 - -
Children in Need ‘Generation Girls
Online’ - 3,000 3,000 - -
Community Foundation for Surrey 6,000 7,000 13,000 - -
Enterprise Development Fund - 7,285 7,285 - -
Epsom College ‘Gender Day’ - 3,000 3,000 - -
Garfield Weston ‘Hidden/Losing It/That
Guy’ 3,000 - 3,000 - -
Groundwork - Equipment - 946 946 - -
Groundwork ‘Mind Games’ - 2,000 2,000 - -
Harold Hyam Wingate Foundation - 5,000 5,000 - -
Heathrow Community Fund - 2,500 2,500 - -
Heathrow Community Trust ‘Hidden’ - 4,343 4,343 - -
Herefordshire Community Foundation - 1,500 1,500 - -
High Sheriff Youth Awards ‘Together
Alone’ - 1,000 1,000 - -
Postcode Scoiety - 10,000 - - 10,000
Surrey Chambers ‘Kickstar’ & IT/Training - 1,500 1,500 - -
Surrey Education Trust 12,000 12,000 - -
Syder Foundation - 2,000 2,000 - -
Sylivia Waddilove ‘As I See It’ - 1,000 1,000 - -
Sub Total Restricted Funds 21,000 76,574 87,574 - 10,000
Total All Funds 102,410 269,602 265,592 - 106,420
----- End of picture text -----

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19. Movement In Funds 2020

----- Start of picture text -----
Balance Incoming Outgoing Balance
1-Sep-19 Resources Resources Transfers 31-Aug-20
£ £ £ £ £
Unrestricted Funds:
General Fund 40,264 119,895 78,749 - 81,410
Restricted Funds:
Arts Council England -
Motherline COVID Grant - 25,266 25,266 - -
Berkshire Community
Foundation - 2,300 2,300 - -
Berkshire County Council - 4,770 4,770 - -
Children in Need
‘Generation Girls’ 10,000 10,000 20,000 - -
Community Foundation
for Surrey 10,000 19,770 23,770 - 6,000
Garfield Weston ‘Hidden/
Losing It/That Guy’ - 15,000 12,000 - 3,000
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
‘Equipment Fund’ - 3,000 3,000 - -
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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Registered Charity no 1151156 Company number 05898510 PEER PRODUCTIONS PEER PLACE

THE YPOD CENTRE CHOBHAM ROAD

WOKING

GU21 6JD Tel: 01483 921473 Email: admin@peerproductions.co.uk ~~Web~~ site: www.peerproductions.co.uk 40