**Charity number 1151156 Company number 05898510** ## **PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31st August 2025** ## **CONTENTS:** **PAGE 3 .................................................. REPORT OF THE TRUSTEES PAGE 4 .................................................. OUR STRUCTURE, GOVERNANCE AND MANAGEMENT PAGE 6 .................................................. CHAIR’S LETTER PAGE 7 .................................................. ARTISTIC DIRECTOR’S LETTER PAGE 9 .................................................. OUR AIMS & OBJECTIVES PAGE 10 ................................................ OUR ETHOS & PUBLIC BENEFIT PAGE 11 ................................................ OUR REACH PAGE 12 ................................................ OUR PLANS FOR THE FUTURE PAGE 13 ................................................ OUR TRAINING PROGRAMMES PAGE 18 ................................................ OUR TOURING PLAYS PAGE 22 ................................................ OUR OUTREACH PROGRAMMES PAGE 25 ................................................ OUR DIGITAL WORK & OUR FUNDERS PAGE 26 ................................................ FINANCIAL REVIEW PAGE 27 ................................................ STATEMENT OF TRUSTEES RESPONSIBILITIES PAGE 28 ............................................... REPORT OF THE INDEPENDENT EXAMINER PAGE 29 ................................................ STATEMENT OF FINANCIAL ACTIVITIES PAGE 30 ................................................ BALANCE SHEET PAGE 31 ................................................ NOTES TO THE FINANCIAL STATEMENTS** 2 ## **PEER PRODUCTIONS CHARITY COMPANY REPORT OF THE TRUSTEES for the year ended 31st August 2025** **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 2025. 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, Surrey, GU21 6JD Trustees for financial year 2024-25:** **Mohammed Fahim (appointed 15 October 2024) Tim Hargrave (resigned 15 October 2024) Caroline Hoare, Chair Nina Lemon Alison Mathers Erin Skelton (resigned 31 August 2025) James Stirling Shirley Whyte** **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, Surrey, GU22 8EB** 3 ## **OUR 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 & Partnerships 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.** 4 ## **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:** - **Uncertainty of building tenure and increased rent costs. Mitigation by exploring other venue options and securing relationship with new landlords.** - **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.** - **Turnover and increase in staff. Mitigation by strengthening HR and administrative processes to support staff wellbeing and distribution of organisational knowledge and relationships.** - **Safeguarding concerns, particularly the safety online and mental health concerns of learning disabled young people in the PEP cohort. Mitigation by maintaining staff ratio, using CPOMS safeguarding monitoring system, regular PEP staff meetings and communication with learners, parents and carers to address any emerging concerns.** 5 ## **CHAIR’S LETTER** **Young people are the heart of everything we do at Peer Productions. This year we have reached more than ever, using drama rooted in their concerns and anxieties to empower them to overcome obstacles and engage empathetically with others. We believe strongly that artistic excellence and inclusive practice go hand in hand, encapsulated in our rigorous yet supportive actor training programmes. We are proud to play our part in supporting the next generation of creative practitioners to become reflective, empathetic performers who will shape the world for the better.** **2024/25 has been another fruitful year artistically. Nina Lemon’s latest play,** _**Man Up,**_ **was a direct response to the disturbing increase in misogynistic comments experienced by our PAD learners when performing in schools. This powerful play does not flinch from tackling the troubling messages young people receive about what it means to be a man today, and it made a significant impact on school audiences. Our PEP programme has gone from strength to strength, with participants achieving considerable success in RSLaccredited qualifications. We have also continued to see the positive impact of our work with autistic young people through Generation Girls and Guys, alongside our holiday workshops and Project Purple, our drama club for students on free school meals.** **Challenges with our premises have dominated this year. Despite this, the Peer team has worked tirelessly to ensure the smooth operation of the charity, delivering programmes to an exceptionally high standard while managing resources carefully and developing new income streams. Our unrestricted reserves now provide solid foundations as we prepare our next strategic plan and secure a new long-term home. Partnership remains integral to our work, and I am proud of the role we continue to play within the Surrey Wellbeing Partnership.** **I am delighted that Nina Lemon’s creative vision and methodology are gaining wider recognition, creating opportunities for Peer to collaborate on research-led projects such as the University of Kent’s Playing A/Part. Nina is a passionate advocate for inclusive theatremaking, and we thank her for her unwavering commitment to maintaining a consistently high standard of work by and for our diverse participants and audiences.** **I would also like to thank my dedicated fellow trustees, the talented staff of Peer Productions, our inspirational young peer educators, and everyone who has supported us financially this year. We look forward to an exciting year ahead as we secure the premises that will enable us to reach even more young people through the transformative power of theatre.** **Caroline Hoare Chair** 6 ## **ARTISTIC DIRECTOR’S LETTER** **This year was another exceptional one for Peer Productions. During this year we have worked tirelessly not only to continue offering groundbreaking inclusive training programmes, participatory projects and touring theatre that tackles the issues most pressing for young people today, but also to secure our future by laying the groundwork for longer-term development and working towards our vision of establishing a permanent home for the organisation.** **One project that particularly stands out for me this year is the development and launch of** _**Man Up**_ **, a new touring play exploring masculinity, friendship and the pressures facing young men in an increasingly complex digital landscape. The production was developed in collaboration with researchers from the University of Kent and University College London, drawing on emerging evidence about the ways algorithm-driven online content can shape attitudes towards gender, relationships and identity. This partnership ensured that the work was not only creatively engaging but also grounded in robust academic research and real-world insight. Throughout the development process, young people were closely involved in shaping the script and themes, enabling the production to reflect their lived experiences with honesty and authenticity. Since its launch,** _**Man Up**_ **has been met with a powerful response from schools and educators. Teachers consistently reported that the play created a safe and engaging space for difficult conversations about masculinity, peer pressure and online influence. Their feedback highlighted the value of the production in helping students to reflect critically on gender expectations and to develop empathy for one another. The success of** _**Man Up**_ **reflects our ongoing commitment to creating theatre that is both artistically ambitious and socially relevant, and to ensuring that our work responds directly to the needs of the communities we serve.** **Alongside this, we continued to refine and strengthen our inclusive practice model, working with learners across the Peer Empowerment Pathway (PEP) and the Peer Actor Development Programme (PAD). Together, we explored how theatre can be accessible and inclusive while maintaining the highest artistic standards. This work remains central to our mission: demonstrating that inclusive practice is not simply about participation, but about excellence, creativity and the belief that every young person deserves the opportunity to develop their creative voice and artistic talents.** **Another particular highlight this year was the remarkable success of our PAD learners in securing places at prestigious drama schools and training programmes. All graduating learners received offers, with several receiving multiple offers from highly competitive institutions.** 7 **These achievements are a testament not only to the dedication and talent of the young people themselves, but also to the strength of Peer’s training model and the unwavering support provided by our staff.** **The year was not without its challenges. We continued to operate within an increasingly competitive funding climate and faced uncertainty regarding our longterm residency at Peer Place following the sale of the building to a new landlord. However, the board and executive team responded with determination and agility. We doubled our efforts to secure a sustainable future for the organisation, undertaking a comprehensive needs assessment, engaging young people and stakeholders through meaningful consultation, and developing a clear vision for a permanent home that reflects the ambitions of our community. I am delighted to report that this work culminated in the submission of a major funding application to Your Fund Surrey, which we have since learned was successful - an important milestone in our journey towards long-term stability.** **Throughout this year, what has remained constant is the extraordinary commitment of our staff, freelancers, trustees and supporters, and above all the creativity, courage and resilience of the young people we serve. Their energy and belief in the power of theatre continue to inspire everything we do.** **As we look ahead, we remain steadfast in our mission to transform young lives through theatre, underpinned by our core values of inclusivity, compassion and creativity. With renewed momentum, strong partnerships and an ambitious vision for the future, Peer Productions is well placed to continue growing and deepening its impact in the years to come.** **Nina Lemon Artistic Director** 8 ## **OUR AIMS & OBJECTIVES** ## _**Peer Productions - Make Plays Change Lives**_ ## **VISION** **Our vision is to use theatre to transform young people's lives.** ## - **Create thought provoking, lively, engaging & relevant theatre. Inspire young audiences.** - **Empower young people to develop as artists and changemakers of the future.** - **Facilitate a creative space for young & 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 & beyond** ## **VALUES** - **Creativity Inclusivity Compassion** - **Transformation** 9 ## **OUR ETHOS & PUBLIC BENEFIT** ## **HOW OUR ACTIVITIES DELIVER PUBLIC BENEFIT** **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, mental health, and disability.** **We’re driven to create an inclusive environment for our learners, 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.** 10 11 ## **OUR REACH** **This year we reached a total of young people (30%19,208 increase on last year) through live interactions as audience members and participants:** **11,746** **young people watched live performances of our plays.** ## **944** **young people took part in our outreach programmes in 1,047 engagements.** ## **6,487** **young people took part in lessons led using our teachers’ packs.** **31** **young people trained with us on our intensive year-long and multi-year programmes.** ## **OUR PLANS FOR THE FUTURE** **Next year we will continue this impactful activity. In addition, we are preparing a move to a new, bespoke space which will be our long-term home. This significant milestone in Peer’s history will provide us with a long-term home that is properly fit for purpose, and will give us more space to be able to expand our programmes, introduce new ones, work more in partnership with other organisations who also put young people’s wellbeing and mental health at the heart of their mission, and also open out more to the local community. This is a large scale project for 2025-26 and 2026-27, and we intend to move in to this new space in September 2027.** 12 ## **OUR TRAINING PROGRAMMES** ## **Peer Actor Development (PAD)** **This year our Peer Actor Development (PAD) programme offered an intensive, inclusive pathway into professional training for emerging performers aged 18-25. We had a cohort of 10 young people, who achieved outstanding outcomes:** **All learners passed their qualification units, and all learners received at least one offer from an accredited drama school or conservatoire, including from Bristol Old Vic Theatre School, Royal Conservatoire of Scotland, Guildford School of Acting, Rose Bruford, Trinity Laban, East 15, Italia Conti, Leeds Conservatoire and Drama Studio London.** **Learners completed units focused on developing and presenting their professional brand, culminating in a public Showcase in June 2025. The work presented included monologues, scenes, new writing, song and dance, and was praised for its range, professionalism and individuality.** **PAD learners also contributed to the wider organisation, performing in touring productions, supporting outreach delivery, and acting as assistants on inclusive projects, developing leadership and facilitation skills alongside their performance training.** 13 ## **PAD IMPACT** **“** _**Peer has encouraged me to trust myself and my dream. I feel more confident in my choice to be an actor as I have loved my time at Peer so much and this motivates me to continue working towards my goal. Working with my peers also motivates me as their drive inspires and encourages me. I started the year thinking I didn’t have an opinion on things but being encouraged to consistently give and receive feedback has shown me I often have thoughts and enjoy discussing them with others. This has made me more assertive in voicing my opinions and sharing them with others constructively. I see myself as an actor now. I see myself as someone who writes and creates. This was always what I wanted to be doing but didn’t feel like it was accessible for me. I feel braver and bolder from being at Peer because I feel more confident in my ability and potential. I came to Peer willing to go back to healthcare if I didn’t think it was meant for me long term. But being at Peer and being creative every day has brought me so much joy and I feel very excited about my future.”**_ **Nina Friis (PAD Actor - Now training at Bristol Old Vic)** _**“Before starting at Peer I was uncertain of what I wanted to do and what the right choices were for me. Attending this course has helped me to find a career path I am passionate and excited about following. The 401 coursework in the first term had me deconstructing my brand as an actor musician, helping me to realise that this is what I wanted to pursue and that the best way forward for me was to apply for drama schools to attend an actor musician course. This gave me an informed and autonomous path in life, and I feel I am fully in control of this decision. I was fortunate that I received several offers from drama schools, which gave me an extremely tough decision to make as there were two schools I was torn between.**_ _**It was a huge decision that will have a significant impact on my future, and I had to choose by the UCAS deadline. After lots of consideration I eventually accepted a place on the Rose Bruford Actor Musicianship course. This is arguably the most important life choice I have ever made, so I can safely say that this was a massive improvement in my decision making. The most important thing I have learned about myself during Peer is that I care deeply about living in the present and enjoying the journey rather than waiting for the destination. What is happening right now matters to me most.”**_ 14 **Louis Hayes (PAD Actor - Now training at Rose Bruford College)** ## **OUR TRAINING PROGRAMMES** ## **Peer Empowerment Pathway (PEP)** **The Peer Empowerment Programme (PEP) supported 20 learners aged 16-25 across three year groups, funded primarily through Education, Health and Care Plans (EHCPs), Adult Social Care and private funding. Learners came from 11 local authorities, reflecting the growing recognition of PEP as a specialist provision for neurodivergent young people and young people with additional needs.** **2024-25 marked the introduction of RSL-accredited qualifications at Levels 1, 2 and 3, representing a significant development for the programme. Learners successfully completed modules in Live Performance and Work of a Specified Playwright. For the playwright module, learners studied Shakespeare, developing monologues and duologues from Romeo and Juliet and A Midsummer Night’s Dream. As part of the live performance module, learners devised their own original performances inspired by Norse mythology. All learners who completed their qualifications passed, with strong results across all levels.** **These qualifications form one strand of a broader, holistic programme designed to support the development of confidence, communication, independence and employability. Alongside accredited learning, learners engaged in a range of complementary strands including performance skills training, project work and outreach, industry awareness, work experience opportunities, health and wellbeing, and life skills development.** 15 ## **OUR TRAINING PROGRAMMES** **PEP learners also worked with their peers from the PAD Programme to develop Story of Us: The Next Chapter, a continuation of Peer’s established work exploring empathy, relationships and communication. Learners developed the piece collaboratively and delivered inclusive workshops in local SEND schools, sharing both their creative work and lived experience with younger students.** **A continued focus this year has been on supporting learners to plan their next steps as they move towards greater independence. Outcomes for learners leaving the programme have been varied and reflect the complex needs of the cohort. Destinations have included supported internships, further training, alternative provision and community-based opportunities.** **Notably, two learners successfully auditioned for Access All Areas, a specialist organisation supporting learning disabled actors to progress into professional creative work. This represents a significant achievement and a strong indicator of the confidence and skills developed through the programme.** **Transition planning remains a core priority, with ongoing work to secure appropriate funding and pathways for learners as they move into adulthood.** 16 ## **PEP IMPACT** _**“I love coming to Peer everyday, making people smile and laugh, meeting new people and faces which helps me to build up my confidence. I like doing Sex and Relationships because it helps me to understand things I didn’t understand before, and I realise I still have more to learn! It’s helpful to have a mentor to talk to if I’m worried about life, they help me to understand my feelings. I love performance skills and using dance, makaton, and signing to show people what I do best. I can be my funny self in comedy lessons, which I really enjoy. Getting to do tech and behind the scenes builds my confidence in lots of different areas and prepares me for my goal of working in a theatre in the future.”**_ **Millie Seymour-Hignett (PEP learner)** _**“Peer has made me feel free to express myself. I don't ever feel anxious about going into Peer because it’s really fun and you never get bored. I love the fact that I never feel unsupported. There’s always that support there. Peer has helped me in so many different ways: my confidence, facilitation skills and sense of self worth. Peer has really helped improve the way I write things and taught me so much about writing academically that I didn’t know. Peer has also given me lots of experience in being on stage and being in a professional rehearsal room. They have given me the tools and techniques that now apply to my performances and facilitation outside of Peer.”**_ **Jay Haines (PEP learner)** 17 ## **OUR TOURING PLAYS** ## **THE SPACE BETWEEN (MY HEAD & HEART)** _**The Space Between (my head & heart)**_ **explored primary school children’s emotional worlds, focusing on anxiety, decision-making, friendship and self-belief during times of change, the play aimed to support young people with emotional resilience and managing and speaking about their emotions.** **27 performances at different schools20** **children watched the play and 2,547 500 children engaged in follow-up lessons using our Teachers’ Packs** **Audience feedback was consistently positive, with teachers praising the clarity and accessibility of the storytelling, and pupils articulating strong emotional takeaways.** **[I learnt] "** _**That all feelings are okay but how you act about them sometimes is not okay."**_ _**"That if you meet someone you and they have a different culture you shouldn’t expect something bad from them. It’s sort of trying to tell you that you shouldn’t be mean to someone."**_ _**"If you need to find out something you can ask someone."**_ _**"You should always say sorry if you hurt someone, or their feelings."**_ _**“I like how it’s entertaining but it’s also teaching you something about friendship."**_ **Of survey responders:** **of children in the audience gave the play 4 or 5 stars. 90%** **of teachers in the audience gave the play 4 or 5 stars. 100%** **91%** **of children said that they would like us to visit their school again.** **of teachers agreed that the play supported their school to talk about mental health and wellbeing with pupils.** **95%** 18 ## **OUR TOURING PLAYS** ## **MASKING** _**Masking**_ **is a play for Year 9+ that explores the pressures and complexities of growing up. It invites audiences to step inside the minds of its characters, exploring identity, neurodiversity, and the hidden struggles young people face. With honesty and warmth, the play encourages empathy, self-reflection, and conversations about mental health, connection, and knowing when to reach out for support.** ## **19 performances at different schools15** **young people watched the play and 3,336 3267 young people engaged in follow-up lessons using our Teachers’ Packs** **Young people who watched the play said:** _**“It showed that you could look okay to others but be struggling.”**_ _**“It was very relatable as my brother is autistic so it helped me understand how he could possibly feel.”**_ _**“It shows just how scarily good some people are at hiding their own thoughts and feelings behind a giggly smile.”**_ **Teachers who watched the play said:** _**“The use of technology was engaging and had the audience captivated”**_ _**“It was so powerful and pitched perfectly”**_ _**“Students had a good reaction to it. Some felt the messages deeply and were very moved.”**_ ## **Of survey responders:** **of students agreed or strongly agreed they understood more about how 85% people's mental health can be affected by different factors** **58% of students agreed or strongly agreed they were more likely to speak up if they are worried about a friend/peer** **70% of teachers agreed or strongly agreed that students were actively engaging and talking about the issues it raised** 19 ## **OUR TOURING PLAYS** ## **MAN UP** _**Man Up**_ **is a research-informed production exploring masculinity, friendship and empathy, and challenging harmful gender stereotypes. Developed in response to growing concerns from schools, the work tackles issues such as misogyny, consent and the influence of online culture on young people’s attitudes and relationships.** ## **23 performances different schools17 young people watched the play and 4,469 young people engaged in follow-up lessons using our Teachers’ Packs 2,500** ## **Young people who watched the play said:** **[I learnt]** _**“That women are not the only gender facing struggles from society.”**_ _**“The play changed my opinion on how people handle emotions. I used to think teachers were always in control, but this scene showed that they can also be affected by stress and frustration. It made me realise how emotions can be unfairly passed on.”**_ ## **Teachers who watched the play said:** _**“The play was appropriate as the actors appeared to be of a similar age to the audience so they bought into them straight away. The topics were all covered sensitively and it was interesting to watch the faces of students who have experienced some of the issues and this has opened up meaningful conversations with them following the play.”**_ _**“I loved this piece. There were so many wonderful moments which were relevant and identifiable for the age group… In the post-show discussion sessions, I believe there were some insightful points raised, and it started to get the students talking about the nature of gender stereotyping.”**_ ## **Of survey responders:** **of students agreed or strongly agreed they had a better understanding of 71% the negative effects of misogynistic behaviour after watching the play.** **46% of students reported that they felt more confident speaking out when witnessing misogynistic behaviour** **of teachers agreed or strongly agreed that the Teachers’ Pack enabled 88%** 20 **them to continue the conversation in the classroom.** ## **OUR TOURING PLAYS** ## **THE FOREST IN BETWEEN** _**The Forest In Between**_ **is a play for 11-12 year-olds which explores change, uncertainty and personal growth through a fantastical narrative, aimed at Year 6 audiences preparing for transition to secondary school.** **This play addresses the issues that matter most to young people, including friendships and bullying, the pain of losing a loved one, concerns about climate change, fears related to detention and strict teachers, and the universal theme of growing up.** **20 performances at different schools (25% new bookers) 20** **1,124 children watched the play** **Children who saw the play said that they learned:** _**“It’s ok when change happens.”**_ _**“How even if you are getting older you are still you.”**_ ## **Teachers who saw the play said:** _**"It encouraged our learners to think about their anxieties with their next steps."**_ _**"An alternative way to address these issues rather than our usual PSHE curriculum."**_ _**"A relevant and powerful performance to support Year 7 transition and open up conversations back in class."**_ ## **Of survey responders:** **of children in the audience gave the play 4 or 5 stars. 90%** **of pupils agreed or strongly agreed that the play made them feel more confident about moving to secondary school.** **45%** **of teachers said the play was beneficial for students’ 100% understanding of the transition to secondary school.** 21 ## **OUR OUTREACH PROGRAMMES** ## **GENERATION PROJECTS** **Our Generation Projects are targeted, drama-based programmes designed to support Autistic young people and those with learning disabilities to develop confidence, knowledge and positive relationships. Delivered in partnership with schools and facilitated by trained practitioners and peer educators, these programmes provide structured, creative spaces in which young people can explore identity, communication, mental health and social understanding.** **They are part of the portfolio of preventative and early intervention mental health services offered by the Surrey Wellbeing Partnership - part of Mindworks, which delivers the NHS emotional wellbeing and mental health services for children and young people in Surrey.** **Recognising that boys and girls often face different social pressures and developmental challenges, the programmes are delivered through gender-specific groups. This approach enables honest discussion, age-appropriate learning and the development of peer support networks in environments where participants feel safe and understood.** ## **GENERATION GIRLS** **Generation Girls is a 10-week empowerment programme for Autistic girls and girls with learning disabilities aged 11–18. Through drama activities, discussion and creative exploration, participants build confidence while learning about self-esteem, body image, friendships, relationships and mental health. This year, we delivered Generation Girls programmes across four schools: Carwarden House, Philip Southcote, Gosden House and Hopescourt, working with young people with diverse and complex needs. The programme continues to demonstrate strong impact, with participants showing clear increases in both knowledge and confidence. We also hosted Generation Girls Day, bringing together 30 students from four schools for creative workshops, peer connection and a live performance. Participants reported increased confidence, enjoyment of creative expression and the formation of new friendships.** ## **GENERATION GUYS** **Generation Guys is a parallel programme designed for Autistic boys and boys with learning disabilities. Using drama, structured discussion and peer learning, the programme explores relationships, identity, online behaviour and wellbeing, while supporting the development of confidence, communication and social skills. This year, we delivered the Generation Guys programme at four schools: Manor Green, Philip Southcote, Carwarden House and Gosden House.** 22 ## **GENERATION GROUPS IMPACT** ## **GIRLS** > **In one group, understanding healthy relationships increased from 40% to 70%** > **In another group, understanding of consent increased from 25% to 75%** **Overall by the end of the projects, reported feeling more comfortable talking about60% their feelings, said they knew how to look after their mental health and felt able to70% ask for help.** **Feedback from participants:** _**“I learnt more about healthy relationships.” “I liked speaking about my mental health.” “This is a bit like therapy and is really good for me.”**_ _**“I enjoyed meeting different people and learning new things.”**_ ## **GUYS** **In one group, understanding of allyship increased from 57% to 100%** **and those who said they recognised the importance of mental health increased from 28% to 71%** **53% to 100% In one group, confidence understanding online safety increased from Overall by the end of the projects, reported improved self esteem and 75% 100% reported that they understood consent** ## **Feedback from participants:** _**“At the beginning I thought I was going to hate it but I actually really enjoyed it.” “I enjoyed talking about good role models.” “I am proud of being myself.”**_ _**“I would like to be an entrepreneur in the future.”**_ 23 ## **HOLIDAY PROGRAMMES** **Our Holiday Club provision, delivered through the Holiday Activities and Food (HAF) programme, continues to provide vital creative opportunities during school holidays.** **Summer and Easter programmes engaged young people in drama-based activities, culminating in performances of The Jungle Book and The Wizard of Oz.** **Families consistently report high levels of satisfaction, valuing the safe, inclusive environment and the opportunity for their children to access activities they may not find elsewhere.** **Young people who attended said:** **Their parents said:** **"So much fun"** **"Great" "Funny" "This feels like home."** **"She has come back tired every night but loves it." "Thank you - you guys are doing amazing work." "It has been really good for him."** ## **PROJECT PURPLE** **We were able to run one Project Purple this year - our inclusive drama club for young people with and without learning disabilities. We had both returning participants and those new to Peer, with positive feedback:** **“** _**This is my happy place.”**_ _**“I have made lots of new friends.”**_ _**“I love it here.”**_ **A summer term performance, attended by families, showcased participants’ creativity, confidence and teamwork.** **Parents praised the inclusive and supportive environment, with one describing the project as “nothing short of amazing.”** 24 ## **OUR DIGITAL WORK** **This year we created filmed versions of our plays** _**The Space Between (my Head & Heart)**_ **and** _**Man Up**_ **and an interactive filmed version of** _**The Forest In Between.**_ **These projects add to our existing portfolio of digital theatre work which includes full productions of** _**Masking, Losing It**_ **and** _**Hidden,**_ **and our interactive mini-series** _**50 Days - Alone Together**_ **. These resources increase our impact beyond our local area, enabling more young people to benefit from our work** **We also continued to update our digital Teachers’ Packs which are designed to be used either by PSHE teachers or Drama Teachers to prepare the students for the production they are about to watch as well as providing follow up lessons. All our packs offer a one off lesson, covering the main teaching points of the play for those with less time, as well as 5 - 8 follow up lesson plans.** **In addition, we partnered with the University of Kent on their AHRC funded** _**Playing A/Part**_ **project which explores the experiences of neurodivergent young people through creative research. We were commissioned to complete the final phase of the project, developing accessible digital resources to support creative expression for a wider audience, including those outside mainstream education.** ## **OUR FUNDERS** **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.** **Active Surrey AKO Foundation Arts Council England Baily Thomas Charitable Fund Berkshire Community Foundation Buckinghamshire County Council Chapman Charitable Trust Community Foundation for Surrey Foyle Foundation Gatwick Community Trust Hampshire County Council Heathrow Community Trust High Sheriff Youth Awards Surrey Ironmongers Company Jancett Childcare & JACE training Ltd** **Kent County Council London Borough of Richmond upon Thames London Borough of Sutton Royal Borough of Kingston upon Thames Royal Borough of Windsor and Maidenhead Shanley Foundation Surrey County Council Surrey Mental Health Investment Fund Surrey Wellbeing Partnership Surrey Youth Focus Sylvia Waddilove Foundation UK The Big Give University of Kent West Sussex County Council Wokingham Borough Council Fees and donations from schools and individuals.**[25] ## **SURREY WELLBEING PARTNERSHIP (SWP)** **TRANSFORMING EMOTIONAL WELLBEING AND MENTAL HEALTH SUPPORT FOR SURREY’S CHILDREN AND YOUNG PEOPLE.** **We are proud to continue to be a partner within the Surrey Wellbeing Partnership, delivering emotional wellbeing and mental health support for children and young people across Surrey.** **The Surrey Wellbeing Partnership is a voluntary sector alliance and a key delivery partner within the wider Mindworks Surrey system, working alongside NHS services to provide integrated emotional wellbeing, mental health and neurodevelopmental support for children, young people and families across the county. The partnership plays a critical role in delivering early intervention and prevention-based support within a whole-system approach, ensuring children and young people can access help earlier, closer to home, and in ways that are more flexible and responsive to need.** **SWP brings together a diverse group of specialist charities:** _**Barnardo’s, East to West, The Eikon Charity, Emerge Advocacy, Learning Space, Leatherhead Youth Project, The Matrix Trust, The National Autistic Society, Peer Productions, SearchLight Counselling & Therapy (formerly Relate West Surrey), Step by Step, Surrey Care Trust,**_ **and** _**YMCA East Surrey**_ **.** **Collectively, these organisations provide a broad continuum of support ranging from early emotional wellbeing interventions and school-based programmes through to targeted counselling, crisis support, neurodevelopmental support, and family-based work.** **The partnership continues to play a key role in widening access and improving engagement with support, particularly through community-based delivery, school partnerships, and creative and relational approaches that reduce stigma and build trust with young people. In a context of rising demand and increasingly complex needs, SWP continues to demonstrate the value of collaborative, place-based working across the voluntary sector. Through strong partnership delivery and shared commitment to prevention and early intervention, SWP contributes to a more connected and resilient system of support - helping children and young people across Surrey to feel heard, supported and better able to thrive.** 26 ## **FINANCIAL REVIEW** ## **POLICY ON RESERVES** **Peer Productions is reliant on donations, grants and income from charitable activities (training, plays and outreach work) to allow it to continue operating over the medium term.** **To avoid closure if cashflow reduced materially, the Peer Productions Board is committed to establishing and retaining reserves that cover three to six 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.** **As at 31st August 2025 unrestricted funds stood at £217,569 vs £79,346 last year, resulting in an increase of £138,223 (c.174%) over the previous 12 months, mainly due to additional income from historic Theatre Tax Relief and core and contract funding. This represents 130% (3.9 months) of the target of three months costs based on budgeted expenditure for 2025/26 . In addition, £18,369 of restricted reserves are held for future activity.** **The reserves policy was re-assessed by the Board of Trustees during the year. The Board agreed to increase the level of reserves from three months to three-to -six months, due to the upcoming capital project, move to a new building, and organisational growth. The policy will be reviewed by the Peer Productions Board on an annual basis. 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 £624,924 for the year. This represented an increase of c.56% over the previous year (2024: £400,313). The increase in income is mainly due to fundraising success, and the increase in learners on the PEP programme, funded by Local Authority contracts.** **Unrestricted income of £471,299 is applied in continuing the charity’s direct work in promoting and furthering its objectives.** **Successful applications in the year saw grant income of £555,666 (2024: £381,791). Funding was obtained to support training programmes, outreach work, plays, digital projects, and core costs.** **During the year, the Charity’s expenditure was £493,595 (2024: £413,665), representing an increase of 19%. This resulted in an overall surplus of £131,329; made up of restricted funds deficit (£6,894) and an unrestricted surplus of £138,223. This has helped improve the unrestricted reserves c/fwd to 2025/26 of £217,569 (2024: £79,346). The increase in expenditure is in line with the increased income for the year. The Board of Trustees agreed to designate £40,000 to a capital project, due to commence during 2025-26.** ## **SHARE CAPITAL** **The company is limited by guarantee and therefore has no share capital.** 27 ## **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 10 June 2026** **Nina Lemon – Trustee 10 June 2026** 28 ## **PEER PRODUCTIONS CHARITY COMPANY Independent Examiner’s Report to the Trustees on the Financial Statements for the year ended 31st August 2025** I report on the accounts of the company for the year ended 31st August 2025, which are set out on pages 28-40. ## **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: 10 June 2026 28 ## **PEER PRODUCTIONS CHARITY COMPANY Statement of Financial Activities for the year ended 31[st] August 2025** |||**'EFA%#F*+#AI**|**/A%#F*+#AI**|**M"#N2-.EI%**|**M"#N2-.EI%**| |---|---|---|---|---|---| ||**!"#A%**|**-.EI%**|**-.EI%**|**343R**|**3436**| |||!|!|**T**|!| |**UE+"9A:;EI"<9AE#%=**|||||| |"#A%CD#A(%A*+I-%.DI(
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**:'F9A'?**|| The directors are satisfied that for the financial year ended 31[st] August 2025 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 10 June 2026 and were signed on its behalf by: **Caroline Hoare Chair** Date: 10 June 2026 **Nina Lemon Trustee** Date: 10 June 2026 30 ## **PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2025** ## **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. 31 ## **PEER PRODUCTIONS CHARITY COMPANY Notes to the Financial Statements for the year ended 31[st] August 2025** ## **Governance costs** _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** |!"#A%&"#D
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