eer
roductions
ANNUAL
REPORT
202312024
REPORT OF
THE TRUSTEES
AND FINANCIAL
STATEMENTS

## **Peer Productions Charity Company** 

**Report of the trustees and financial statements For the year ended 31[st] August 2024** 

Charity No: 1151156 Company No: 05898510 



## **PEER PRODUCTIONS CHARITY COMPANY** 

**Contents of the Financial Statements for the year ended 31[st] August 2024** 

||**Page**|
|---|---|
|Report of the Trustees|3 - 17|
|Report of the Independent Examiner|18|
|Statement of Financial Activities|19|
|Balance Sheet|20|
|Notes to the Financial Statements|21 - 30|



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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

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 2024 **.** 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 INFORMATION** 

**Charity name:** 

Peer Productions 

**Charity registration Number:** 1151156 **Company registration number:** 05898510 (England and Wales) **Registered Office and Operational Address:** Peer Place The Ypod Centre Chobham Road Woking GU21 6JD 

**Trustees for financial year 2023-24:** 

Tim Hargrave Caroline Hoare, Chair Melanie Laithwaite (resigned 29 February 2024) Nina Lemon Alison Mathers Erin Skelton (appointed 29 March 2024) James Stirling Shirley Whyte (appointed 24 November 2023) 

**Bankers:** Barclays Bank plc Town Gate House Church Street East Woking GU21 6AE 

**Independent Examiner:** Yvette How MAAT (MIP) That’s How Accountancy & Bookkeeping 6 Frailey Close Maybury Woking GU22 8EB 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **STRUCTURE, GOVERNANCE AND MANAGEMENT** 

**Nature of the governing document and constitution of the Charity** 

Peer Productions is constituted as a company limited by guarantee, formed in 2006 and registered as a charity in 2013.   The company is governed by a memorandum, which established the object and powers of the charitable company and is governed under its 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 using 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 appointed to the Board. 

**The policies and procedures adopted for the induction and training of trustees** The new trustee meets key staff and a number of trustees as part of the interview process and following appointment is invited to visit the Charity at its operational base in Woking for more in depth conversation with the Artistic Director and the Strategy & Partnership Director. The new trustee is expected to read the Charity Commission guidelines as well as the Charity’s Key policies and memorandum and articles of association.  Trustees are also encouraged to attend public performances of the Charity’s plays. 

**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 Trustee Board Meetings. This allows them to mitigate against and to identify new risks. The likelihood and impact of every risk is considered. For the relevant period the following significant risks have been identified: 

- Managing a building, particularly one that cannot yet be utilised to full potential while lease negotiations are ongoing.  Mitigation by maximising use of space that is available, developing relationships to secure ongoing lease. 

- Reduction in opportunities for fundraising e.g. fewer grant funders available and lower level of grants offered.  Mitigation by maintaining diverse funding streams e.g. local authority and service contracts. 

- Low level of reserves due to requiring use during Covid-19 pandemic.  Mitigation by developing new fundraising strategy and financial systems, diversifying income streams, developing unrestricted income.  Reserves have been increased in this period. 

- Worsened mental health of young people after Covid-19 pandemic, and cost of providing extra mental health support e.g. to PAD cohort. Mitigation by providing counselling and 1-2 support to PAD cohort, and maintaining budget line for mental health provision in future budgets and funding applications. 

- Safeguarding concerns, particularly the safety online and mental health concerns of learning disabled young people in the PEP cohort. Mitigation by increasing staff ratio, introducing CPOMS safeguarding monitoring system, regular PEP staff meetings and communication with learners, parents and carers to address any emerging concerns. 

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## **PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **CHAIR’S LETTER** 

At the heart of Peer Productions lies an unwavering drive to change the lives of the young people we work with for the better, to open their minds to possibility and their hearts to empathy. We strive to promote both artistic excellence and an inclusive approach, a golden thread that runs through our rigorous yet supportive actor training. 

2023/24 has been an exceptional year artistically. Our performances of Nina Lemon’s latest play, Masking, have received universal praise from school audiences, who found its exploration of neurodiversity and post-Covid anxieties very powerful and pertinent. A new play for year 6 students, The Forest In Between, brilliantly addressed their anxieties about the transition to secondary school and the tour was a sell-out. Our new PEP programme has proved phenomenally successful, expanding in size and culminating in a very moving public performance of The Story of Us, a piece initiated by and co-devised with the young learningdisabled actors, which attracted high praise. Our work with Autistic young learners through our Generation Girls and Generation Guys programmes has continued to be very well received, as have our new holiday workshops for students on free school meals. 

The funding climate has remained extremely challenging this year, but we are immensely proud of everything the team has managed to achieve. We have started to slowly build back our unrestricted reserves post-Covid and streamlined our financial and operational policies and processes to maximise efficiency and make best use of both our people and our financial resources. We have also sought to expand and diversify our funding sources, recognising that we will need to secure and fit out new premises in the next few years. Partnership working has continued to be an important way in which we have delivered our charitable objectives this year, especially through our involvement as part of the Surrey Wellbeing Partnership, and we look forward to developing this strand of our work to help us reach even more young people. I would like to extend our heartfelt thanks to all those who have supported Peer Productions this year. 

We couldn’t do what we do without our hugely talented Artistic Director, Nina Lemon, whose creative vision and seemingly limitless energy ensures the consistently high standard of our work and demonstrable impact on our participants and audiences. I would also like to thank my very committed fellow trustees, the talented staff of Peer Productions and our inspirational young peer educators. We are excited about tackling together the challenges and the joys of making theatre that changes lives over the coming year. 

Caroline Hoare Chair 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **ARTISTIC DIRECTOR’S LETTER** 

This proved to be another extraordinary year for Peer Productions. We continued to offer our unique Peer Actor Development Programme for young people keen to forge professional arts careers achieving a 100% success rate for their desired Drama School and university courses. We expanded our Peer Empowerment Pathway (PEP) for learning disabled young artists, refining our offer to provide more young people with the opportunity to work with us and extending the programme from one to up to three years. This also afforded us the chance to build partnerships with more local authorities and to expand our staff team. We continued to offer our groundbreaking Generation Girls and Guys programmes in SEND schools in Surrey and Berkshire, to deliver holiday activities for young people in receipt of free school meals and we piloted our first Project Purple programme aimed at teenagers who might not otherwise be able to access extra-curricular drama programmes. 

Amongst a busy schedule of touring and participatory work, two projects particularly standout for me personally: The Forest in Between and The Story of Us. The Forest in Between is a new interactive play which we developed by working with 300 year 6 children in four local primary schools, finding out how they felt about transitioning to secondary school. Young actors from our Peer Actor Development Programme then worked with me to develop a brand-new play. Some of the worries year 6 shared with us were those you would expect. They were worried about friendships, bullying, strict teachers and detentions, but they are also worried about losing a loved one, World War 3 and climate change. As well as informing this new play what we learned was shared with partner charities to help shape mental health services for young people in the future. We toured the finished play in summer 2024 and the response could not have been more positive with year 6 audience members describing the play as relatable, helpful and interesting as well as creative, imaginative, exciting and entertaining. Teachers’ feedback was equally encouraging. They were impressed by the standard of the young actors’ performances, the interactive structure, and told us that the issues explored in the play were relevant and important for their students. 

The Story of Us saw our PEP learners sharing their stories, working with a range of artists and developing more ambitious work which was shared with a far wider audience. The PEP ensemble was involved in all aspects of developing the production from recruiting artists to scoping venues and marketing the work. We took the initial production to a local grassroots community venue The Fiery Bird before creating a touring version with a smaller cast which toured to local SEND schools and enjoyed a London premier at Oasis Farm in Waterloo. Significantly, we developed new ways of using technology to empower our PEP artists to be able to independently tell their stories, hardwiring these techniques into the aesthetic fabric of the production. 

Both these projects, together with many others we developed in this period, served to reinforce our commitment to inclusive theatre practice and work which is both aesthetically and creatively exciting and innovative whilst also being grounded in a commitment to activism and social change. 

The year was not without its challenges, with an increasingly competitive funding climate and uncertainty regarding our future residency at Peer Place following the selling of the building to a new landlord. However, the board and executive team responded nimbly to these challenges and we remain committed to our vision of transforming young lives through theatre underpinned by our values of inclusivity, compassion and creativity. 

Nina Lemon, Artistic Director 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **OUR AIMS AND OBJECTIVES** 

_PEER PRODUCTIONS - MAKE PLAYS CHANGE LIVES_ 

## **Purposes, Aims and Values** 

Our vision is to use theatre to transform young people’s lives. 

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. 

## **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. 

## **How Our Activities Deliver Public Benefit** 

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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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **OUR KEY ACHIEVEMENTS AND PLANS FOR THE FUTURE** 

## **Key highlights:** 

- 24 young people with and without learning disabilities trained in acting, theatremaking and facilitating on our PAD and PEP courses. They created and performed their own work, prepared for further training at university or drama school, facilitated workshops for other young people, and performed plays to thousands of children. 

- - The staff team grew to accommodate a larger PEP cohort, and received further training to support learners’ needs. 

- 5 productions were toured to primary and secondary schools in over 100 performances to almost 11,000 young people. These plays explored issues important to young people such as mental health and emotional wellbeing, the experiences of young disabled people, and anxieties around the transition from primary to secondary school. 

- A new play for year 6, _The Forest In Between_ , was developed through workshops with 300 year 6 children and then performed for them and their peers. 

- _The Story of Us_ was a powerful new theatre and activism project, presenting the experiences of young learning-disabled performing artists. 

- Outreach projects were delivered for young people with and without disabilities, and for those facing financial barriers, in and out of school, with over 1900 attendances. 

- Successful diversification of fundraising and income generation across contracts, trusts & foundations and donations. 

- Operating surplus was achieved to contribute to the re-building of unrestricted reserves, despite challenging fundraising environment. 

We would like to express our gratitude to all of our funders and 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. 

Achieving for Children (Royal Borough of Kingston) Active Surrey AKO Foundation Arts Council England Arts Partnership Surrey Berkshire Community Foundation Buckinghamshire County Council Community Foundation for Surrey D’Oyly Carte Charitable Trust Garfield Weston Foundation Greenwich Council Harold Hyam Wingate Foundation Hampshire County Council Heathrow Community Trust Henry Smith Charity Herefordshire Community Foundation High Sheriff Youth Awards Surrey Jancett Childcare & JACE training Ltd London Borough of Lewisham National Lottery Community Fund Pilgrim Trust Rowan Bentall Charitable Trust South Western Railway Customer and Communities Improvement Fund Surrey County Council Surrey Mental Health Investment Fund Surrey Wellbeing Partnership 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **PAD - Peer Actor Development Programme** 

The Peer Actor Development programme offers a free year-long training, development and peer education programme for young people post-18. It is particularly aimed at those who, in their youth, have not had access to the kind of artistic development accessible to young people from more affluent backgrounds. Participants develop their own creativity, are supported with applications to higher education including drama school and university, gain valuable experience of professional standard touring, and contribute their talents to educating school students about issues that are important to talk about such as mental health, healthy relationships, radicalisation and misogyny. 

This year PAD supported 10 young creatives at the very early stages of their careers. 

They worked towards a Level 4 Creative Practitioner Diploma alongside developing the skills needed to go onto work or additional training in the performing arts or creative community work. They undertook significant work experience in the community, touring a series of original educational plays to primary and secondary schools across the South East reaching over 10,000 young audience members aged 7-16, as well as delivering creative projects in schools with disabled and non-disabled students. 

This year 100% of the cohort secured a place for further study including at Manchester Metropolitan University, East 15 Acting School University of Essex, The Oxford School of Drama, Drama Studio London, All In Actors, Italia Conti, and Performance Preparation Academy. 

When asked what the best thing is about training at Peer Productions, the PAD participants said: 

_“The supportive and inspiring environment.” “Encouragement for (my) own creative work.” “The touring and onstage experience.” “The opportunity to perform often and well.” “Learning about facilitating.”_ 

100% said they would recommend Peer Productions to a fellow young actor. 

The PAD participants expressed that the course gave them increased confidence, practical skills, and belief that they can pursue further training and a career in the arts. 

_“My time at peer has greatly improved my self-confidence. I feel a lot more confident being myself around people and acting in general. My self-determination has improved. My competitive nature to win has flared up and been re-awakened and I am more perseverant when it comes to learning lines. I view myself a lot more positively now. I am significantly more confident in my jokes now. I feel like I have become the person I wanted to be without even knowing it.”_ – PAD participant 2023-24 

## **PEP - Peer Employment Pathway** 

The Peer Employment Pathway (PEP) is an alternative learning programme for young people with special educational needs and learning disabilities, preparing for a career in theatre and the creative industries. This year 14 young people took the PEP course, from Surrey, Hampshire, Kingston, Lewisham and Buckinghamshire and Greenwich. 

This was the second year of running PEP, with a 50% larger cohort than the previous year, consisting of some second years and some new first years. 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

The programme was made up of 5 core elements: 

1.  Performing arts skills - PEP participants learned how to use their voices and bodies to express themselves. They learned how to work collaboratively as part of a creative ensemble and how to give and receive feedback. Each morning began with ‘practice’, a time for the PEP and mainstream students to integrate and warm-up for the day. 

2.  Project work - PEP participants had the opportunity to take part in various projects creating work to be shared with the wider community. This builds a range of skills, alongside their abilities as a performer, including communication, working as part of a team and organisation, planning and time management skills. 

3.  Industry Awareness - PEP participants developed the skills they need to better understand the performing arts sector, identify appropriate opportunities, and learn how to stay safe when applying for work or attending auditions and interviews. Through role-play, participants gained confidence working in different environments. 

4.  Health and Wellbeing - Using drama as a tool for education, PEP participants learned how to manage stress in the workplace, how to communicate their needs and reasonable adjustments as well as how to stay safe online, in their personal relationships and in the workplace. 

5.  Work Experience - As a working theatre company Peer Productions offered a range of ‘in house’ opportunities appropriate to the individual learner. These included working as peer educators on our outreach programmes, working as a director’s assistant by keeping notes in rehearsals, and supporting our marketing team with graphic design jobs or filming social media content. 

## **Plays & Projects** 

Our young actor peer educators, from both the PAD and PEP programmes, performed plays to primary and secondary schools including SEN schools across Surrey, Berkshire, Hampshire and greater London. The plays dealt with issues relevant to the lives of young people today, and complemented the PSHE curriculum. Each play was accompanied by a Teachers’ Pack to support lessons after the performances. This year we delivered over 100 performances to an audience of almost 11,000 young people. 

**The Space Between (my head & heart)** is an interactive mental health play utilising puppets and songs which explores wellbeing, perspective and resilience, for ages 7-10 

This year it reached over 3000 children in 32 performances at 22 schools. 

Feedback from young audience members: 

_“What you feel is alright and no matter what you look like you can still make friends with someone.”_ 

_“Sometimes your friends break your trust but it's ok you can forgive them.” “Always be kind to other people - whether they are different or the same as you.” “I learnt about emotions, stars and believing in other people.”_ 

95% of children gave the play 4 or 5 stars out of 5. 

Feedback from teachers: 

_“Super engaging, fun, humorous and pitched perfectly to deliver an important message.” “The production was very inclusive and the message was clear.”_ 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

**Masking** is a play for secondary school students in year 8+ addressing the impact of modern life, and in particular post-pandemic life, on teenagers’ mental health. This was its second year of touring and it reached almost 5400 young people through 25 performances at 20 schools. It was accompanied by a comprehensive teachers’ pack. 

This year the Masking playtext was also published by Salamander Street, and Masking was the featured play for KS4 in Drama Matters magazine. 

Feedback from young audience members: 

_“I have understood more about mental health issues and solutions which has helped me out a lot.”_ 

_“energetic, amazing, entertaining Important, Open-minded, Interesting relatable, useful, interesting”_ 

Feedback from teachers: 

_“The performance kept even the most fidgety and disruptive of children transfixed!” “Great performance, perfect for a secondary school audience.”_ 

## **All Change / The Forest Between** 

This year we delivered a new creative research project exploring emotional resilience in year 6 students, _All Change_ , which then informed the development of a new play for year 6, _The Forest In Between_ . 

The aims of the _All Change_ research project were: 

- To find out what was important to year 6 students. 

- To find out what their worries were. 

- To find out how they were feeling about secondary school. 

- To help year 6 students develop strategies to cope with the transition into secondary school. 

We delivered 36 creative workshops in four primary schools, led by professional practitioners and supported by PAD and PEP facilitators. 300 year 6 students took part. Each workshop included a mixture of individual, small group and whole group activities, games, forum theatre and discussion. 

The young people told us: 

- They are worried about getting lost at secondary school. 

- They are worried about detentions. 

- A large number are worried about bullying. 

- They are worried about exams and increase in work. 

- They are worried about teachers. 

- They are worried about death. 

- They have fear of the future and the unknown. 

- They are excited about new subjects and extra-curricular activities such as football and cooking. 

- They are excited to go out with their friends. 

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## **PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

Practitioners were surprised by the level of maturity of the year 6 learners. Many seemed young for their age, and many also struggled with working in groups, and in presenting in front of their peers. For the majority, they struggled to read nuanced social interactions, and they really needed to be pushed to understand that what people are saying may not be how they are feeling inside. A great deal of their thinking was very black and white. Most found understanding that other people might think differently or feel differently to them very challenging. Most seem to have been very adversely affected by the Covid lockdown years, missing out on vital stages of their social and emotional and verbal development and school staff were in agreement with this assessment. 

This said, all practitioners noted an increase in engagement in all groups over the four sessions, with children better able to speak about their feelings than they were at the beginning of the project. 

Inspired by their experiences working with the year 6 children, the PAD actors developed characters and scenarios for a new touring production, which playwright Nina Lemon developed into a script. The result is _The Forest In Between_ , a captivating interactive play designed to unravel the challenges of transitioning to secondary school, for ages 10 - 11. 

_The Forest In Between_ was performed to 1800 students in 36 performances at 26 schools. 

When asked what they learned from the play, the young audiences said: 

_“That even though we have worries they most likely won’t come true and that you can help others if they are having struggles like them”_ 

_“That secondary school isn’t that scary!” “I learnt that its ok when change happens.”_ 

_“How even if you are getting older you are still you”_ 

90% of the Year 6 pupils rated the play 4 or 5 stars. 

Feedback from teachers: 

_“The whole company are always amazing, they are polite and incredibly professional and we always thoroughly enjoy their wonderful performances. Thank you so much!”_ 

## **The Story of Us** 

The Story of Us was a theatre and activism project exploring the experiences of young learning-disabled performing artists. Ensuring that a greater diversity of perspectives are visible and represented in our shared culture plays an important role in tackling real world negative perceptions of people with SEND. 

External artists were chosen by the company of learning-disabled artists to work with them as skills mentors. These included a disabled theatre maker and a neurodivergent theatre maker with speech and language difficulties, and specialists in puppetry, movement and theatre technology. 

The company then created a piece of activist theatre with the purpose of expressing their personal experiences and speaking truth to power. They created the play _The Story of Us_ , which they performed in 6 performances to audiences of 245 young people in SEN schools and for the public, as well as creating digital resources which were distributed online. 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

_"The story of us was an amazing tour that I had been on, it gave me a lot of confidence and a lot of courage going out to SEND schools showing them what we had been through and telling the story of our lives so they weren’t alone. It made me feel proud and felt like I had achieved something that I hadn’t done before, especially going out and working as a team with other actors and made me feel very accomplished."_ – Story of Us artist 

The play received overwhelmingly positive feedback from audience members including professionals and decision makers in the communities of the PEP ensemble: 

_“A roller coaster of emotions on this amazing production! Some great comedy timing and the messages were LOUD and CLEAR. Such positivity to be drawn, amid deep realisation of the desire to live in a world where our perceptions of 'normal' can totally overlook these amazing people and what they can offer!”_ 

## **Development of new plays** 

This year we started initial R&D for a new play, _Man Up_ , a new play aimed at empowering and uplifting young men, as well as their communities and people of all genders who support them. 

The stimulus to approach this topic in the new work has come from growing evidence showing a notable increase in misogynistic attitudes among young people, as well as the direct experience of an increase in disturbing misogynistic behaviours displayed by some boys and young men during performances of our previous sex education play, _Losing It_ , over the last two years. 

We undertook initial R&D workshops with PAD learners, in advance of planned creation and touring of the play next year. 

## **Learning & Outreach** 

## **Generation Girls** 

Generation Girls is a targeted, drama-based empowerment programme for Autistic girls and girls who have learning disabilities, aged 11- 19 years. 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. 

This year we ran four Generation Girls projects in SEN schools, delivering 40 sessions with up to 18 girls per season, plus a Generation Girls Day bringing together girls from different schools from across the county. 

From taking part in the programme, participants increased their knowledge of what consent was (42% to 85%), understanding their bodies (28% to 85%), what a healthy relationship looks like (40% to 70%), how to look after their mental health and how to ask for help. 

## Feedback from participants: 

_“It’s nice to have a space where we can talk about things.” “I liked learning about the body and how to be a good friend.” “I learnt about healthy relationships.”_ 

_“I liked speaking about my mental health.”_ 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **Generation Guys** 

We also delivered two Generation Guys projects, working with Autistic boys and boys with learning disabilities age 11-16 years in 10-week empowering drama projects exploring issues that matter most to young men, in a safe and supportive environment. Led by male facilitators, topics include self-esteem, body, healthy relationships, and mental health. 

From taking part in the programme, participants said that they knew what being an ally was (57% to 100%), and that they thought mental health was important and were happy to talk about it (28% to 71%). 

## Feedback from participants: 

_"I like being able to talk about hard topics." "My mental health is complex - like a super computer - lots of things to process and store."_ 

## **Holiday Programmes** 

We continued to partner with Active Surrey Club4 to provide free activities specifically tailored to young people (age 12-18) in receipt of free school meals or who have an EHCP. We delivered two weeks of workshops, at Easter and in the summer holiday, for up to 20 young people per day. During the programmes, young people took part in drama activities including improvisation, scriptwriting, acting, directing and designing. They also received a hot meal and healthy snacks each day. Each week was focused around a particular theme such as Fantastic Mr Fox and The Jungle Book, and the young people gave a performance at the end of the week to their friends and family. 

## Feedback from families: 

_“Too often the focus is on her challenges and what she can’t do. This week she’s been able to enjoy and participate in activities. She’s proud of herself and what she’s achieved. She’s had fun, she’s been excited coming in every day, eager to see what the day has in store. She’s shown maturity I’m told she doesn’t have, it’s shown me that in the right environment and with the right support she is capable of so much.”_ 

_"You provide such a wonderful and enjoyable experience where both my children feel safe and can enjoy their drama experience where they may not be able to access it elsewhere."_ 

## **Project Purple** 

We ran a new pilot project - an out of school programme for young people aged 13-18 on Free School Meals or experiencing economic, disability or social barriers to participating in arts projects. This ran for 10 weeks, with up to 10 participants developing performance and devising skills, culminating in a performance for friends and family at the end of the term. 

## Parent feedback: 

_“Peer Productions not only nurtures young talent but also fosters a supportive and inclusive environment. I wholeheartedly recommend this theatre company to anyone looking to encourage their child's passion for drama and performing.”_ 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **Partnerships** 

## **Surrey Wellbeing Partnership** 

Peer Productions is part of the Surrey Wellbeing Partnership (SWP), a third sector consortium of 13 charities providing emotional wellbeing and mental health services for children, young people, parents and carers, and professionals across Surrey alongside the NHS, through Mindworks Surrey. Other partners include Barnardo’s, The East to West Trust, The Eikon Charity, Leatherhead Youth Project, The Matrix Trust, NAS Services Ltd (for National Autistic Society), Relate West Surrey, Step by Step Partnership Ltd, Surrey Care Trust, YMCA East Surrey. 

SWP focuses 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 implements the THRIVE framework, which is designed around putting the wants and needs of young people first and providing a greater choice of support. 

Peer Productions believes that prevention and early intervention is key to helping young people make better choices, improve their mental health, and transform their lives. Our plays and outreach programmes support young people’s mental health and wellbeing by signposting opportunities for clinical and community intervention, teaching about their internal resources for dealing with difficult emotions and situations, and using peer education to help young people make positive life choices. 

## **Future Plans** 

Next year we will continue to deliver our core training and development work for young people with and without disabilities. We will expand the PEP cohort, and also plan to start offering Level 1, 2 and 3 qualifications to PEP learners. 

We will tour four plays, including developing a new play, _Man Up_ , aimed at empowering and uplifting young men, and developed in response to an increase in misogynistic attitudes among young people. 

We will continue to develop work which addresses our key ambition to create more inclusive spaces and opportunities for young people, including running inclusive out of school drama programmes for young people with and without disabilities. 

We will continue to explore new opportunities for expanding the physical space we occupy, so we can both enhance the environment for the young people who participate in activities here, and also so we can continue to expand our delivery. 

We will continue to deliver preventative mental health services for Mindworks NHS contract through our partnership with SWP, and support the partnership’s aims and objectives. 

We will continue to strengthen our financial position, particularly continuing to build unrestricted reserves which have successfully grown this year. 

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**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **Financial Review** 

## **Policy on reserves** 

Peer Productions is reliant on donations, grants and income from charitable activities (plays 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 continue further fundraising to allow operations to continue. 

Reserves are built from unrestricted income over a number of years, and building back the reserves is a priority of the charity. Once reserves to cover three months’ costs are established, the position will be re-assessed with a view to increasing to support strategic development. The policy will be reviewed by Peer Productions Board on an annual basis. 

As at 31st August 2024 unrestricted funds stood at £79,346 vs £27,885 last year, resulting in an increase of £51,461 (185%) over the previous 12 months, and representing 54% of the target of three months costs based on budgeted expenditure for 2024/25. In addition, £25,263 of restricted reserves are held for future activity. 

The level of reserves will be kept under review and calculated by the Strategy & Partnerships Director on a quarterly basis. 

## **Transactions and Financial position** 

Total incoming resources of £400,313 for the year. This represented a decrease of c6% over the previous year (2023: £424,374).  The reduction in income is mainly due to projects and related funding steams coming to an end. 

Unrestricted income of £285,300 is applied in continuing the charity’s direct work in promoting and furthering its objectives. 

Successful applications in the year saw grant income of £381,791 (2023: £413,276). Funding was obtained to support training programmes, outreach work, plays, digital projects, and core costs. 

During the year, the Charity’s expenditure was £413,665 (2023: £351,810), representing an increase of c17.5%.  This resulted in an overall deficit of (£13,352); made up of restricted funds deficit (£64,813) and an unrestricted surplus of £51,461.  This has helped improve the unrestricted reserves c/fwd to 2024/25 of £79,346 (2023: £27,885). The increase in expenditure is due to restricted funds received in advance in 2022/23 being spent and b/fwd funds being used on completion of projects during the year. 

## **Share capital** 

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

16 



**PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31[st] August 2024** 

## **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: 

- Select suitable accounting policies and then apply them consistently; 

- Observe the methods and principles in the Charity SORP; 

- Make judgements and estimates that are reasonable and prudent; 

- State whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements; 

- 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. 

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. 

The trustees are also responsible for the contents of the trustees’ report, and the responsibility of the independent examiner in relation 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: 

Caroline Hoare – Chair 

Nina Lemon - Trustee 

Date: 29 May 2025 

Date: 29 May 2025 

17 



**PEER PRODUCTIONS CHARITY COMPANY Independent Examiner’s Report to the Trustees on the Financial Statements for the year ended 31st August 2024** 

I report on the accounts of the company for the year ended 31st August 2024, which are set out on pages 19 to 30. 

## **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.  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: 

- 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. 

## **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. 

## **Independent Examiner’s Statement** 

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 

- (i) to keep accounting records in accordance with section 386 of the Companies Act 2006; and 

- (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. 

Yvette How MAAT (MIP), That’s How Accountancy & Bookkeeping, 6 Frailey Close, Maybury, Woking, GU22 8EB 

Date: 29 May 2025 

18 



## **PEER PRODUCTIONS CHARITY COMPANY Statement of Financial Activities for the year ended 31st August 2024** 

||||**&'EA%#EF*#A+**|**/A%#EF*#A+**|**M"#N2-.'+%**|**M"#N2-.'+%**|
|---|---|---|---|---|---|---|
|||**!"#A%**|**-.'+%**|**-.'+%**|**343R**|**3436**|
||||!|!|**T**|!|
|**U'*"9A:;'+"<9A'#%=**|||||||
||"#A%CD#A(%A*+I-%.DI(<br>/<br>01O33<br>4<br>01O33<br>4<br>RS%TDC%8+I%.CD9DCDI(<br>:<br>/;/1<3=<br>00<1>0:<br>:O;1<;;<br>=0=1:;/<br>?A9I(C@IACDA.#@I<br>=<br>4<br>4<br>4<br>ACSIT<br><<br>0>1O;><br>4<br>0>1O;><br>0>1>>/||||||
|**M"#N2U'*"9A**|||**3>?@644**<br>**AA?@4A6**<br>**R44@6A6**<br>**R3R@6BR**||||
|**;CaA'+F#.EA=**|||||||
|B%D(DA-CaA*(<br>3<br>:>1OO=<br>4<br>:>1OO=<br>:=1>b;<br>RS%TDC%8+Ic.CD9DCDI(<br>;<br>/>/1b<<<br>0;b1O/3<br>:O/1;O0<br>:0;1;0:<br>**M"#N2;CaA'+F#.EA**<br>**366@>6E**<br>**ABE@>3c**<br>**RA6@cc?**<br>**6?A@>A4**|||||||
|**!A#U'*"9Ade;CaA'+F#.EAI**|||**?A@RcA**|**ecR@>A6I**|**eA6@6?3I**|**B3@?cR**|
|dT%A(eIT(8ICfIIACaA*(|||4<br>4<br>**g**<br>4||||
|**!A#K"iA9A'#F'-.'+%**|||**?A@RcA**|**ecR@>A6I**|**eA6@6?3I**|**B3@?cR**|
|d#C%+eaA*(%(%C0(CgIhCI@8IT/>/:||/>|/;1OO<<br>b>1>;3<br>00;1b30<br>=<1:b;||||
|**M"#N2-.'+%N%N#6A%#M.N.%#343R**||/>|**BE@6Rc**<br>**3?@3c6**<br>**A4R@c4E**<br>**AAB@EcA**||||



c++FDA.#@IF%A*FINhIA*DCaTIFD(F*ITD9I*FeT#@F.#ACDAaDA-F%.CD9DCDI(M 

dSITIFfITIFA#FTI.#-AD(I*F-%DA(F#TF+#((I(F#CSITFCS%AFCS#(IF(S#fAFDAFCSIFgC%CI@IACF#eFCDA%A.D%+Fc.CD9DCDI(M 

dSIF%..#@h%AiDA-FA#CI(Fe#T@Fh%TCF#eFCSI(IFeDA%A.D%+F(C%CI@IAC(M 

19 



## **CaabMCbFde4!IF?JM4KNbI!iM4FMCN?i** 

## iRCR7gA*MSAA# 

RB*R#*;DB#*?AaAB#*202( 

|||**!"#A%**|**!"#A%**|
|---|---|---|---|
||!"#AB|**CDCE**|**CDCF**|
|||*****|C|
|**HI-.LMNOO.#O**|D(|**P**<br>)||
|**4RSS.T#MNOO.#O**||||
|+A,#"-B|D.|/0N..2*|//ND03*|
|4RBS*R#*,R7U*R79*:7*SR79||D0;N<3.*|<0N=/=*|
|||**U9E:EU9**<br>**U;Y:DY;M**||
|**=IA>I%I#I.O**||||
|4-A9:#"-B>*?@"A7#B*BRCC:7a*9AA*b:#S:7*"7A*cAR-|D3|d3=N<0<e|d(0ND2(e|
|**?.#MNOO.#O**|D/|**UDE:@DAM**|**UU9:A@UM**|
|**HRTLOB**||||
|f7-AB#-:g#A9|20|/=N;(3*|2/N<<.*|
|hAB#-:g#A9|20|2.N23;*|=0N0/3*|
||20|**UDE:@DA**<br>**UU9:A@U**||



The directors are satisfied that for the financial year ended 31[st] August 2024 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 18. 

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 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 29 May 2025 and were signed on its behalf by: 

**Caroline Hoare Nina Lemon Chair Trustee** Date: 29 May 2025 Date: 29 May 2025 

20 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **1. ACCOUNTING POLICIES** 

## **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 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. 

## **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. 

21 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

_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. 

## **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 1[st] 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.  Costs recognised are equivalent to the contributions in the period on an accruals basis and any unsettled amounts are included in other creditors. 

## **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 fund holder’s permission, the Trustees have the authority to make transfers from one restricted fund to another. 

## **2. Donations & Legacies** 

|!"#$%&"#D<br>.L0$1&LD|**!"#$%&#'(&$F**<br>**G$%&#'(&$F**<br>**+,&-.**<br>**+,&-.**<br>**/$"$#-.12"F**<br>**12"F%**<br>**343R**<br>**3436**|
|---|---|
||**T**<br>**T**<br>**T**<br>**T**<br>()*++<br>-<br>()*++<br>-|
||-<br>-<br>-<br>-<br>**U9:;;**<br>**<**<br>**U9:;;**<br>**<**|



22 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **3. Income from charitable activities** 

|**!"#$%&#'(&$F**<br>**G$%&#'(&$F**<br>**+,&-.**<br>**+,&-.**<br>**/$"$#-.12"F**<br>**12"F%**<br>**343R**<br>**3436**<br>**T**<br>**T**<br>**T**<br>!"#BCDEFGHICE<br>J<br>KLMLLL<br>KLMLLL<br>NOMLLL<br>!PH4RCDESITUEVTGEFW;HCPYC=>4W<br>J<br>J<br>J<br>K?M@LL<br>!PH4AGPHEBP4CIa;DPPBYWBCPB4HW<br>J<br>?LMLLL<br>?LMLLL<br>J<br>bBPc4CIPBRCddDEIHYBCDEFGHICEWeBEBPGHICEeIPT4feDY4W<br>J<br>@MLLL<br>@MLLL<br>J<br>bDScIEVCGd4IPBRCDEHYRCDESITWAUAW<br>gMgLL<br>J<br>gMgLL<br>gMLLL|**!"#$%&#'(&$F**<br>**G$%&#'(&$F**<br>**+,&-.**<br>**+,&-.**<br>**/$"$#-.12"F**<br>**12"F%**<br>**343R**<br>**3436**<br>**T**<br>**T**<br>**T**<br>!"#BCDEFGHICE<br>J<br>KLMLLL<br>KLMLLL<br>NOMLLL<br>!PH4RCDESITUEVTGEFW;HCPYC=>4W<br>J<br>J<br>J<br>K?M@LL<br>!PH4AGPHEBP4CIa;DPPBYWBCPB4HW<br>J<br>?LMLLL<br>?LMLLL<br>J<br>bBPc4CIPBRCddDEIHYBCDEFGHICEWeBEBPGHICEeIPT4feDY4W<br>J<br>@MLLL<br>@MLLL<br>J<br>bDScIEVCGd4IPBRCDEHYRCDESITWAUAW<br>gMgLL<br>J<br>gMgLL<br>gMLLL|
|---|---|
|RCddDEIHYBCDEFGHICE=CP;DPPBYWAPChBSHADPaTBW<br>J<br>J<br>J<br>iMLLL<br>RCddDEIHYBCDEFGHICE=CP;DPPBYWBBG4IjITIHY;HDFYW<br>J<br>J<br>J<br>?@MLLL<br>RCddDEIHYBCDEFGHICE=CP;DPPBYW;HPGHBVIS#PVGEI4GHICEGT<br>kBlBTCadBEHW<br>J<br>J<br>J<br>?iMN@i<br>RDdjBPBGdITYRCGPIHGjTBmPD4HWeBEBPGHICEeIPT4W<br>J<br>J<br>J<br>?MLLL<br>kW#YTYRGPHBRCGPIHGjTBmPD4HWA!kW<br>J<br>J<br>J<br>OMLLL<br>BGPECGdnE4HIHDBRCGPIHYWoG4cIEVWfWpC4IEVnHW<br>J<br>J<br>J<br>?MLLL<br>eGP=IBTFqB4HCEBCDEFGHICEW!4n;BBnHWfWpC4IEVnHWfWoG4cIEVW<br>J<br>J<br>J<br>?@MLLL<br>ePBErISCRCDESITWAUAW<br>??MLLL<br>J<br>??MLLL<br>J<br>sGda4CIPBRCDEHYRCDESITWAUAW<br>OOMNgg<br>OOMNgg<br>gMLLL<br>sBGHCPCrRCddDEIHYmPD4HWoGE>aW<br>J<br>NMOtK<br>NMOtK<br>?MN@L<br>sBEPY;dIHCRCGPIHYlIGRCddDEIHYBCDEFGHICE=CP;DPPBY<br>WeBEBPGHICEeDY4W<br>J<br>J<br>J<br>?LMLLL||
|sBPB=CPF4CIPBRCddDEIHYBCDEFGHICEWA!kW<br>J<br>NMLLL<br>NMLLL<br>?MLLL||
|sIVC;CBPI==uCDHC!rGPF4WpC4IEVnHW<br>J<br>J<br>J<br>@MLLL<br>vGESBHHRCITFSGPBwv!RUmPGIEIEV<br>NKMi?i<br>J<br>NKMi?i<br>?iMNOt<br>"IEV4HCERCDESIT!SCIBlIEV=CPRCITFPBEWAUAW<br>??MLLL<br>??MLLL<br>gMLLL<br>pCEFCEbCPCDVCC=pBrI4CGdWAUAW<br>J<br>J<br>J<br>OM?t[<br>yGHICEGTpCHHBPYRCddDEIHYBDEF]!rGPF4=CP!TT^W;CDEFU_DIadBEH<br>??MOtN<br>??MOtN<br>?LMLLL<br>AITVPIdmPD4HWeBEBPGHICEeIPT4W<br>J<br>[MLLL<br>[MLLL<br>[MLLL<br>`CrGEbBEHGTTRCGPIHGjTBmPD4HWoG4cIEVW<br>J<br>J<br>J<br>N@L<br>;CDHCqB4HBPE`GITrGYRD4HCdBPGEFRCddDEIHIB4<br>ndaPClBdBEHBDEFWeBEBPGHICEeIPT4W<br>J<br>J<br>J<br>gMOLL||
|;DPPBYRCDEHYRCDESITJRCITFPBEMBGdITIB4MpI=BTCEV<br>pBGPEIEVwRDTHDPBWAUAW<br>O[Mtt[<br>J<br>O[Mtt[<br>ttMLLi||
|!SHIlB;DPPBY];DPPBYRCDEHYRCDESIT^WsCTIFGY<br>APCVPGddB4W<br>J<br>?[MLii<br>?[MLii<br>NOMKiN||
|;DPPBYRCDEHYRCDESITMoBEHGTsBGTHCnElB4HdBEHBDEF<br>WoG4cIEVWfW;aGSBbBHrBBEW<br>J<br>KLMLLL<br>KLMLLL<br>KLMLLL<br>;DPPBYUFDSGHICEGTmPD4HW;aGSBbBHrBBEW<br>J<br>J<br>J<br>N?MKOL<br>mCBsGPCTFsYGdqIEVGHBBCDEFGHICEWA!kW<br>J<br>J<br>J<br>@MLLL||
|;DPPBYuCDHCBCSD4W>ECBGPFaCISB4W<br>O[[<br>J<br>O[[<br>J<br>;DHHCERCDESITWAUAW<br>?iMKKK<br>J<br>?iMKKK<br>J||
|mCB;DPPBYqBTTjBIEVAGPHEBP4CIa<br>**+,&-.**|?LLMNiO<br>?LLMNiO<br>@@MO[@|
||**3UU9::;**<br>**<<=94<6**<br>**6;<9:><**<br>**R<693:U**|
|||



#=AHCBAbO?KMN[tAPBSBIlBFAIEANLNKMAbN?KM?@OArG4ADEPB4HPISHBFA=DEF4AGEFAbNLLM?NNArG4APB4HPISHBFA=DEF4c 

23 



## **PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **3. Income from charitable activities** 

||**!"#$%&#'(&$F**|**G$%&#'(&$F**|**+,&-.**|**+,&-.**|
|---|---|---|---|---|
||**/$"$#-.12"F**|**12"F%**|**343R**|**3436**|
||**T**|**T**|**T**|**T**|
|!"#A%&'E)*",&-"*<br>./M<br>1<br>./M<br>1<br>OP4#"&A%5S#7<br>1<br>1<br>1<br>.89MW<br>;-&<*<br>M8.M=<br>1<br>M8.M=<br>>9<br>;#)?&4"@P'E)'AB;C;B<br>a8W99<br>a8W99<br>1<br>**U9:;<**<br>**=**<br>**U9:;<**<br>**>94?U**|||||
||||||



E--+S@+4%"+c.89dW+#"A")?"E+)'+M9Ma+e&*+P'#"*4#)A4"E+@P'E* 

## **4. Investment income** 

There was no bank interest received during this year of the previous year. 

## **5. Other income** 

|**6.**<br>**Cost of raising funds**<br>**!"#$%&#'(&$F**<br>**G$%&#'(&$F**<br>**+,&-.**<br>**+,&-.**<br>**/$"$#-.12"F**<br>**12"F%**<br>**343R**<br>**3436**<br>**T**<br>**T**<br>**T**<br>**T**<br>!"#$C'()*'HI-')*C'I).#'/M'1O3-'4'H<br>RST899<br>:<br>RST899<br>;T<RS<br>=*-'C>?3@4'<br>RA<<br>:<br>RA<<br>B;A<br>**U49:;4**<br>**<**<br>**U49:;4**<br>**U49443**<br>**!"#$%C**<br>**D())*#C**<br>**+*C,-**<br>**+*C,-**<br>**.*/C/**<br>**.*/C/**<br>**0102**<br>**0103**<br>**4**<br>**4**<br>**4**<br>**4**<br>!"#AAC'("(<br>F*+,--<br>.<br>F*+,--<br>F*+,/0<br>12P45#S(SP7C'P(28"#P9:1;;(<br>.<br>**5**<br>.<br><+0,F|**6.**<br>**Cost of raising funds**<br>**!"#$%&#'(&$F**<br>**G$%&#'(&$F**<br>**+,&-.**<br>**+,&-.**<br>**/$"$#-.12"F**<br>**12"F%**<br>**343R**<br>**3436**<br>**T**<br>**T**<br>**T**<br>**T**<br>!"#$C'()*'HI-')*C'I).#'/M'1O3-'4'H<br>RST899<br>:<br>RST899<br>;T<RS<br>=*-'C>?3@4'<br>RA<<br>:<br>RA<<br>B;A<br>**U49:;4**<br>**<**<br>**U49:;4**<br>**U49443**<br>**!"#$%C**<br>**D())*#C**<br>**+*C,-**<br>**+*C,-**<br>**.*/C/**<br>**.*/C/**<br>**0102**<br>**0103**<br>**4**<br>**4**<br>**4**<br>**4**<br>!"#AAC'("(<br>F*+,--<br>.<br>F*+,--<br>F*+,/0<br>12P45#S(SP7C'P(28"#P9:1;;(<br>.<br>**5**<br>.<br><+0,F|
|---|---|
|=5SP"SP7+=2>8S9S":?@4A;5"S(SP7|B+CB,<br>.<br>B+CB,<br>/0F<br>**31T882**<br>**5**<br>**31T882**<br>**32T198**|
|||



**6. Cost of raising funds** 

@88%'A%"a;%b<0+C*,%;cd;P4;4%SP%FCF<%e#(%2P5;("5S9";4%A2P4(f%% 

## **7. Expenditure on charitable activities** 

|**!"#$%C**<br>**D())*#C**<br>**,*C-.**<br>**,*C-.**<br>**/*0C0**<br>**/*0C0**<br>**1213**<br>**1214**<br>**5**<br>**5**<br>**5**<br>**5**|**!"#$%C**<br>**D())*#C**<br>**,*C-.**<br>**,*C-.**<br>**/*0C0**<br>**/*0C0**<br>**1213**<br>**1214**<br>**5**<br>**5**<br>**5**<br>**5**|
|---|---|
|!""#!#%CDE)*%+,-%#"."#/*E",<br>01OP45<br>45O5SS<br>T0O180<br>91O49P||
|:CDE;)*%+<=#;*+*+>?"/"@%AB"+)<br>S85OCP8<br>4TO8SP<br>SP4O4TC<br>9PO190<br>aD)#";EEc!#%d"E),<br>PTOCP9<br>TOSPS<br>T0OS4C<br>TPO400||
|!@;e,<br>P8OT04<br>PO09P<br>T1O889<br>T0O19T||
|||
||**4ST842T**<br>**9:83T3**<br>**4;18T;S**<br>**4ST8TS4**|



24 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **8. Analysis of direct costs** 

||**!"#A#%C**|**(F"*#+",-.**|**/0+"-**|**/0+"-**|
|---|---|---|---|---|
||**12%3A**|**4R+#6#+#.A**|**T8T9**|**T8T:**|
|**;**<br>**;**<br>**;**<br>!"#AAC'E"E<br>F*+,--<br>F./+M,/<br>FN/+/.-<br>FMM+/-*<br>C'2EP4"#2RST88E9T#RW4W"#"';E<br><<br>==+FNM<br>==+FNM<br>./+/M-<br>>8R;PW"?82"<br><<br>M+MNN<br>M+MNN<br>.*N<br>@;"WE"WRC'2EP?#A48E<br><<br>F.+BNF<br>F.+BNF<br>F.+/./<br>C'2C#aW"W4WE8bcdPWa?82"<br><<br>F+*.-<br>F+*.-<br>M+F.B<br>@be8;"WEW2f9g#;K8"W2f<br>M+/M,<br>M+M*M<br>F+F/*<br>F+BNF<br>!"#AAi;#W2W2f<br><<br>BBM<br>BBM<br>M+/N/<br>!"Pb82"i;#W2W2f<br><<br>-.B<br>-.B<br>F+B/.<br>!"#AAi;#e849@RR'?'b#"W'29M#;KW2f<br><<br>.+M/B<br>.+M/B<br>N*,<br>!"Pb82"i;#e849@RR'?'b#"W'2<br><<br>M+B=,<br>M+B=,<br>F+=MN<br>g'b8;#"W'2T88E<br><<br>B+B.M<br>B+B.M<br>F+BM.<br>k8AEW"89M;'?'"W'2<br><<br>F-B<br>F-B<br>FB=<br>!PAER;Wa"W'2E<br><<br>M+/,F<br>M+/,F<br>NB-<br>!"#"W'28;S<br><<br>F.B<br>F.B<br>,M/<br>**:8<==9**<br>**:>?<:8?**<br>**:9=<>@>**<br>**T@8<9A>**|||||
|**9.**<br>**Analysis of support costs**|||||
||**!"#A#%C**|**(F"*#+",-.**|**/0+"-**|**/0+"-**|
||**12%3A**|**4R+#6#+#.A**|**T8T9**|**T8T:**|
|||!"#ABC(FGHI#-#AH.|||
||**;**|**;**|**;**|**;**|
|/M-112FPMP<br>4RST8V<br>4RST8V<br>4WS;8<<br>/M-11=I-"#"#><br>VSR;<<br>VSR;<<br>VSRVR<br>/M-11=I-GHB<br>TT?<br>TT?<br>W4@<br>/M-11AHB1-IH<br>VSW@?<br>VSW@?<br>VS@?R<br>BH#MCB-MHP<br>4WSW<<<br>4WSW<<<br>4WSW<<<br>2BH-#"#>CA-PMHa"PbFP-B<br>4<S<?V<br>4<S<?V<br>?SW<4<br>BHb-"IPCBH#Hc-BPF1bIHd"PHP<br>8S<WV<br>8S<WV<br>VS<T?<br>e#PfI-#AH<br>VS4T?<br>VS4T?<br>4S8R<<br>gAAFf#M-#Ah<br>VST8;<br>VST8;<br>?@V<br>/fiPAI"bM"F#P<br>@T<br>@T<br>W48<br>e=/F1Mc-IHMk-Ilc-IH<br>WS44?<br>WS44?<br>RSR@W<br>mIF1HPP"F#-BnHHP<br>W?<br>W?<br>4SWW<<br>mFPM->H<br>VW<br>VW<br>4T<br>=HBHboF#H<br>4S4VR<br>4S4VR<br>@4V<br>/M-M"F#HIh<br>4<W<br>4<W<br>V@<br>mI"#M"#><br>?R@<br>?R@<br>W@@<br>p-#T2o-I>HP<br>@?<br>@?<br>4<;<br>(FGHI#-#AH2FPMP!PHH#FMH4<.<br>4SW@T<br>4SW@T<br>?S<??<br>r-#s-"#MH#-#AH"#ABM-tC"#PfI-#AH<br>4S<?<<br>4S<?<<br>T?;<br>**<**<br>**=>?9@9**<br>**=>?9@9**<br>**=A?:>8**|||||



## **9. Analysis of support costs** 

25 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **10. Governance costs** 

|**10.**<br>**Governance costs**|||||
|---|---|---|---|---|
||**!"#$%&#'(&$F**|***$%&#'(&$F**|**+,&-.**|**+,&-.**|
||**/0"F%**|**/0"F%**|**1213**|**1214**|
||**R**|**R**|**R**|**R**|
|!"#$B$"#$"&EF*+I"$-.L$$ 011<br>011<br>2P451<br>6$7*89:-;<$..I;"*8L$$.<br>=4<br>=4<br>2P>?1<br>@;*-#EFB$".$.<br>5=0<br>5=0<br>2P>?4|||||
|**+,&-.**|**6T3U9**<br>**;**<br>**6T3U9**<br>**<T2<<**||||



## **11. Net income/(expenditure)** 

|!"#%&'E)"*+"I-"&.%#/0"N2E0#3"4"R0%66#R#".R2#"0'3R07%&78<br>9&."-"&."&#:IR)%&"06;<")/&"0R#%E&|**!"!#**<br>**!"!$**<br>**%""**<br>**!'()"**|
|---|---|



## **12. Trustees’ remuneration and benefits** 

## **Trustees remuneration** 

Trustees neither received nor waived any emoluments during the year (2023: £NIL) 

## **Trustees expenses** 

No trustees were reimbursed during the year (2023: £Nil). 

## **13. Staff costs** 

|**13.**<br>**Staff costs**|||
|---|---|---|
||**!"!#**|**!"!$**|
||**%**|**%**|
|!"#$%'E")"*+$%<br>I--.//0<br>IN2.33-<br>45S)78$*9%W;<7%=%<br>IN.32N<br>>>.03/<br>45S)78$*9%S$?%+7?<7%=%<br>@.I-I<br>-.---<br>**!&$'(!&**<br>**!!*'+#,**|||



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

Increase in salaries due to two part-time new members of staff recruited, increase in hours for two members of staff, and cost of living salary increase in September 2023. 

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

|$B&D()(+,&B),-.D,()B/B)BDM<br>3,BMB4R6T48M<br>;,4,RD<D4)=,8<B4BM)&,)B"4|**!"!#**<br>**!"!$**<br>!"#<br>!"#<br>N<br>2<br>9#:<br>9#:<br>9#><br>9#><br>99#?<br>9@#?|
|---|---|



One employee was a volunteer on the Board of Trustees 

26 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **14. Tangible fixed assets** 

|**!"#$**<br>)*,-".*"/0"12P24<br>**CD()D*+,$+"-**<br>)*4,)V:V'*2P24<br>;&V'<".1"%A=*A>?@>1*#"A"=1<br>)*4,)V:V'*2P2S|!"#A%&"'<br>(<br>45S78|
|---|---|
||45S78<br>B|
||45S78|



- **.D$B/""0BN,23D** )*+4,+)V:V'*+2P24 )*+4,+)V:V'*+2P2S 

B 

**4** 

## **15. Debtors** 

|!"#A%D%()*"+<br>4"%5#6T%8)+#8A9::";%A<8:*T%|**!"!#**<br>**!"!$**<br>**%**<br>**%**<br>,-./01<br>22.-P1<br>=/.>?=<br>=>./=2<br>**&"'((!**<br>**&&'*"+**|
|---|---|



## **16. Creditors:  Amounts falling due within one year** 

||**!"!#**||**!"!$**|
|---|---|---|---|
||**%**||**%**|
|!"#A%D"%A()*"+<br>II-<br>.<br>/)0%"D"%A()*"+<br>1O33I<br>.||||
|455"S#T+#8A9%:%""%A;85*<%<br>=1O>==<br>?=O-=-<br>@*5(#T@%5S"()A5*+)+<br>?O3BI<br>**C**O-=C<br>**&'()")**<br>**#"(+!#**||||



27 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **17. Analysis of net assets between funds** 

||**!"#$%&#D(&$F **|**G$%D+",&$F**|**.$%&#D(&$F**|**/0&,1**|
|---|---|---|---|---|
||**2$"$#,134"F**|**34"F%**|**34"F%**|**R6RT**|
|**R6RT**|**U**|**U**|**U**||
|!"#A%'((AF(<br>*<br>*<br>*<br>*<br>+,--A.F'((AF(<br>L012L30<br>*<br>432456<br>L7020L7<br>+,--A.F8"9:";"F"A(<br><512=>=?<br><512=>=?|||||
||712605|*<br>432456||L>025>1|



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

||**!"#$%&#D(&$F **|**G$%D+",&$F**|**.$%&#D(&$F**|**/0&,1**|
|---|---|---|---|---|
||**2$"$#,134"F**|**34"F%**|**34"F%**|**R6RT**|
|**R6RT**|**U**|**U**|**U**||
|!"#A%'((AF(<br>*<br>*<br>*<br>*<br>+,--A.F'((AF(<br>L01223<br>*<br>32124L<br>5601206<br>+,--A.F7"89":"F"A(<br>;<215=<><br>*<br>*<br>;<215=<>|||||
||=41006|*<br>32124L||55413L5|



## **18. Related party transaction** 

There were no related party transactions during the year or the previous year. 

## **19. Capital commitments** 

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

## **20. Contingent assets** 

!"#$%"&'()*$"&+$,##-$&.&'/#/$+01#$123)(4*#&'$5'&-)+$.()"$+6#%(T(#/$0'$(163(#/$)(1#T'&1#+ ."(%"$6'#%2/#$'#%05-()(0-$0T$)"#$T233$&102-)8$$!"#$&102-)$0T$+2%"$%0-)(-5#-)$&++#)+$(+ 9:;<=>:?$)0$,#$'#%#(@#/$T'01$A>A:BAC8 

28 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **20. Movement in funds** 

|**20.**<br>**Movement in funds**||
|---|---|
|**!"#"AB&**<br>**'AB(F*A+**<br>**I-.+(*A+ 01"AO3&1O**<br>**!"#"AB&**<br>**4R4S**<br>**RTU9&:U4; <&O(-1B&O <&O(-1B&O**<br>**;TU=-+U4S**<br>!<br>!<br>!<br>!<br>!<br>**>A1&O.1*B.&?@-A?OA**<br>"#A#BCDFGAH<br>I-KLLM<br>ILMKNOO<br>INNKLNP<br>4<br>-PKNRS<br>**<&O.1*B.&?@-A?OA**<br>TU9FWGAHC;<WA<br>4<br>NOKOOO<br>NOKOOO<br>4<br>4<br>TB;=>WGA?<D@AADCAHBC;WBaWbc=B<br>IOKPOL<br>4<br>IOKPOL<br>4<br>4<br>TB;=dCB;A#B=e<fCGBB#aBge#FWB#=;<Ah#;i##AB<br>4<br>jOKOOO<br>jOKOOO<br>4<br>4<br>h#Bk=e<B#>WllGA<;aFWGAHC;<WAB"#A#BC;<WA"<BD=B<br>4<br>MKOOO<br>MKOOO<br>4<br>4<br>>WllGA<;aFWGAHC;<WAbWBCGBB#aBdBWm#?;dGBfD#B<br>LKOOO<br>4<br>LKOOO<br>4<br>4|**!"#"AB&**<br>**'AB(F*A+**<br>**I-.+(*A+ 01"AO3&1O**<br>**!"#"AB&**<br>**RTU9&:U4; <&O(-1B&O <&O(-1B&O**<br>**;TU=-+U4S**<br>!<br>!<br>!<br>!<br>!<br>I-KLLM<br>ILMKNOO<br>INNKLNP<br>4<br>-PKNRS|
|>WllGA<;aFWGAHC;<WAbWBCGBB#aBF#C=<n<D<;aC;GHaB<br>LKISL<br>4<br>LKISL<br>4<br>4<br>oB9aDa>CB;#>eCB<;CnD#gBG=;BdToB<br>IKOOO<br>4<br>IKOOO<br>4<br>4<br>"CBb<#DHp#=;WAFWGAHC;<WABT=qC##q;BrBsW=<AAq;BrBtC=k<AAB<br>jMKOOO<br>4<br>jMKOOO<br>4<br>4||
|u#C;eBWi>WllGA<;agBG=;BtCAcfB<br>4<br>IKRSN<br>4<br>4<br>IKRSN||
|RKIOO<br>4<br>RKIOO<br>4<br>4<br>u#B#bWBH=e<B#>WllGA<;aFWGAHC;<WABdToB<br>4<br>IKOOO<br>IKOOO<br>4<br>4<br>u#ABaCl<;e>eCB<;av<C>WllGA<;aFWGAHC;<WAbWBCGBB#a<br>B"#A#BC;<WA"Ga=B||
|4<br>jjKRSI<br>jjKRSI<br>4<br>4<br>d<DAB<lgBG=;B"#A#BC;<WA"<BD=B<br>4<br>-KOOO<br>-KOOO<br>4<br>4<br>NKPOO<br>4<br>NKPOO<br>4<br>4<br>CWG;ep#=;#BAyC<DiCa>G=;Wl#BCAH>WllGA<;<#=<br>qlfBWv#l#A;FGAHB"#A#BC;<WA"<BD=B<br>]C;<WACDsW;;#Ba>WllGA<;aFGAHwTiCBH=bWBTDD[BCWGAH<br>@^G<fl#A;B||
|T?;<v#CGBB#awCGBB#a>WGA;a>WGA?<D[BuWD<HCadBWABCll#=B<br>4<br>j-KOLL<br>j-KOLL<br>4<br>4<br>IIKLOO<br>NOKOOO<br>NOKOOO<br>4<br>IIKLOO<br>MKOOO<br>4<br>MKOOO<br>4<br>4<br>ge#uCBWDHuaClp<AAC;#FWGAHC;<WABdToB<br>CGBB#a>WGA;a>WGA?<DKt#A;CDu#CD;eqAv#=;l#A;FGAH<br>BtC=k<AABrBCfC?#h#;i##AB<br>||
|**9-B0(."#<&O.1*B.&?@-A?O**|**CRaRbc**<br>**TTdaRT;**<br>**TbCae4c**<br>**U**<br>**4da4c;**|
|||
|**0(."#=##@-A?O**|**TTbaCcT**<br>**SRRa;T;**<br>**ST;accd**<br>**U**<br>**TRSacRC**|



The purpose of each restricted fund is as described above and individual projects and shows are set out in the Trustees’ report. 

29 



**PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2024** 

## **20. Movement in funds cont’d** 

## Comparative movement in funds for 2023 

|**!"#"AB&**<br>**'AB(F*A+**<br>**I-.+(*A+ 01"AO3&1O**<br>**!"#"AB&**<br>**4R4S**<br>**RTU9&:U44 ;&O(-1B&O ;&O(-1B&O**<br>**STU<-+U4S**<br>!<br>!<br>!<br>!<br>!<br>**=A1&O.1*B.&>?-A>O@**<br>"#A#BCDFGAH<br>I-.LMN<br>IIO.IP4<br>I4R.NRP<br>S<br>IN.TTP<br>**;&O.1*B.&>?-A>O@**<br>UB9W;YGA=>D?A@DCAHAB9YBCYabWA<br>S<br>L4.P--<br>4-.PMI<br>S<br>I-.M-T<br>cd#eC9>YACDfY99#BC;YggGA>9CFGAHABYGAH?hG>ig#A9A<br>S<br>4-.---<br>4-.---<br>S<br>j#BkWd>B#;YggGA>9CFYGAHC9>YAA"#A#BC9>YA">BDWA<br>P.---<br>S<br>P.---<br>S<br>S<br>;YggGA>9CFYGAHC9>YAaYBBGBB#CAlBYm#=9lGBiD#A<br>S<br>T.---<br>S<br>S<br>T.---|**!"#"AB&**<br>**'AB(F*A+**<br>**I-.+(*A+ 01"AO3&1O**<br>**!"#"AB&**<br>**RTU9&:U44 ;&O(-1B&O ;&O(-1B&O**<br>**STU<-+U4S**<br>!<br>!<br>!<br>!<br>!<br>I-.LMN<br>IIO.IP4<br>I4R.NRP<br>S<br>IN.TTP|
|---|---|
|;YggGA>9CFYGAHC9>YAaYBBGBB#CAF#CW>n>D>9CB9GHCA<br>S<br>4P.---<br>R.NLI<br>S<br>T.IRT||
|;Ggn#BFCg>DC;dCB>9CnD#cBGW9A"#A#BC9>YA">BDWA<br>S<br>4.---<br>4.---<br>S<br>S<br>oApCDC;CB9#;dCB>9CnD#cBGW9AlUoA<br>S<br>O.---<br>I.---<br>S<br>I.---<br>FCBAdCgqAW9>9G#;dCB>9CArCWk>A@AsAfYW>A@q9A<br>S<br>4.---<br>4.---<br>S<br>S<br>"CBa>#DHt#W9YAFYGAHC9>YAAUWqB##q9AsAfYW>A@q9AsArCWk>A@A<br>4P.---<br>4P.---<br>4P.---<br>4P.---<br>u#C9dBYv;YggGA>9CcBGW9Au>HH#AAsA"#A#BC9>YA">BDWA<br>S<br>4.IP-<br>4.IP-<br>S<br>S||
|P.---<br>4-.---<br>4-.T--<br>S<br>O.I--<br>u#B#aYBHWd>B#;YggGA>9CFYGAHC9>YAAlUoA<br>S<br>4.---<br>4.---<br>S<br>S<br>u#ABCBg>9d;dCB>9Cy>C;YggGA>9CFYGAHC9>YAaYBBGBB#C<br>A"#A#BC9>YA"GCWA||
|u>@dBd#B>aawYG9dUvCBHWAfYW>A@q9A<br>S<br>P.---<br>P.---<br>S<br>S<br>l>D@B>gcBGW9A"#A#BC9>YA">BDWA<br>S<br>N.---<br>N.---<br>S<br>S<br>[YvCAj#A9CDD;dCB>9CnD#cBGW9ArCWk>A@A<br>S<br>IP-<br>IP-<br>S<br>S<br>S<br>M.O--<br>P.P--<br>S<br>L.M--<br>BYG9dt#W9#BA[C>DvCC;GW9Yg#BCAH;YggGA>9>#W<br>qgiBYy#g#A9FGAHA"#A#BC9>YA">BDWA||
|U=9>y#BGBB#C]BGBB#C;YGA9C;YGA=>D^AuYD>HCClBY@BCgg#WA<br>S<br>IO.LTI<br>IO.LTI<br>S<br>S<br>S<br>L-.---<br>N.I--<br>S<br>II.T--<br>S<br>I4.LO-<br>I4.LO-<br>S<br>S<br>P.---<br>S<br>S<br>P.---<br>BGBB#C;YGA9C;YGA=>D.r#A9CDu#CD9dqAy#W9g#A9FGAH<br>ArCWk>A@AsABiC=#j#9v##AA<br>BGBB#C?HG=C9>YACDcBGW9ABiC=#j#9v##AA<br>cd#uCBYDHuCCgt>A@C9#FYGAHC9>YAAlUoA<br>||
|**9-A0(."#;&O.1*B.&>?-A>O**|**4BCRRR**<br>**4RRCT44**<br>**TSBCRab**<br>**U**<br>**cRCRdb**|
|||
|**0(."#<##?-A>O**|**aBCScd**<br>**a4aCSdS**<br>**SBTCeT4**<br>**U**<br>**TTdCcbT**|



30