## **PAPATANGO THEATRE COMPANY LTD** **ANNUAL REPORT AND FINANCIAL STATEMENTS** **FOR THE YEAR ENDING 31 DECEMBER 2021** ## **LEGAL AND ADMINISTRATIVE INFORMATION** On 19 January 2022: TRUSTEES David Bond, Sally Cookson, Rachel De-Lahay, Sam Donovan, Nicholas Rogers David Bond SECRETARY Sam Donovan REGISTERED OFFICE 18 Gloucester Street, Cirencester, GL7 2DG BANKERS HSBC, 16 King Street, Covent Garden, London, WC2E 8JF CHARITY REGISTRATION NUMBER: 1152789 COMPANY REGISTRATION NUMBER: 7365398 ## **DIRECTORS’ AND TRUSTEES’ REPORT** The directors/trustees present their report and the financial statements for the year ended 31 December 2021. The financial statements comply with the Chari]es Act 2011 and the Companies Act 2006, the Memorandum and Ar]cles of Associa]on, and Accoun]ng and Repor]ng by Chari]es: Statement of Recommended Prac]ce applicable to chari]es preparing their accounts in accordance with the Financial Repor]ng Standard applicable in the UK (FRS102) effec]ve 1 January 2015. ## **DIRECTORS’ RESPONSIBILITIES** Company law which is also applicable to charitable companies in England and Wales requires the directors, who are also trustees, to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the company and of the results of the company for that period. In preparing those financial statements, the directors/trustees are required to: - Select suitable accoun]ng policies and then apply them consistently; - Make judgements and es]mates that are reasonable and prudent; State whether applicable UK accoun]ng standards have been followed; and Prepare the financial statements on the going concern basis unless it is inappropriate to presume that the company will con]nue in business. The directors are responsible for keeping proper accoun]ng records which disclose with reasonable accuracy at any ]me the financial posi]on of the 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 charity and hence for taking reasonable steps for the preven]on and detec]on of fraud and other irregulari]es. ## **PRINCIPAL ACTIVITY AND CHARITABLE OBJECTIVE** Papatango Theatre Company Ltd’s principal ac]vity and charitable object is to advance the arts for the public benefit by the promo]on in par]cular, but not exclusively, of the art of drama. ## **PUBLIC BENEFIT** In shaping the Charity, the trustees have considered the Charity Commission’s Guidance Sec]on 4 Chari]es Act 2006 on public benefit. Papatango Theatre Company Ltd meets the defini]on of a public benefit en]ty under FRS102. ## **REVIEW OF DEVELOPMENTS, ACTIVITIES AND ACHIEVEMENTS** ## **Ar?s?c Values** “Remarkable unearthers of new talent.” _The Evening Standard_ Papatango champion extraordinary playwrights who would otherwise have no pathway into professional theatre. Through accessible touring produc]ons and crea]ve learning projects, we inspire grassroots writers and communi]es na]onwide. Our moio is simple: All You Need Is A Story. Our completely free, open access, anonymously assessed opportuni]es help thousands of people to write plays and reap the benefits of crea]ve expression. We showcase our discoveries in high-profile produc]ons, thereby launching careers and reaching diverse audiences, par]cipants and places. These run in tandem with free and accessible crea]ve learning projects, so that anyone, anywhere can share in playwri]ng, enjoy new shows and tell their stories. The success of our discoveries and the transforma]ve impact of our educa]on programme inspire others that they too can break into theatre, empowering people at risk of exclusion from the arts. ## **Achievements and Performance** This year has seen Papatango rebound from the excep]onal challenges of the coronavirus pandemic (which in 2020 forced many projects to be cancelled and led to a devasta]ng 61% drop in income). Despite the ongoing public health emergency, we have rebuilt and expanded our programme, managing to champion new playwrights on more and bigger plakorms, reach a record number of audiences, and provide free and accessible opportuni]es to more people than ever before. We: ## • **Con?nued to support ar?sts through the UK’s leading playwri?ng award** The 2021 Papatango New Wri]ng Prize was a specially reimagined itera]on of the UK’s biggest playwri]ng award. The inevitable postponement of the produc]on of the 2020 winner (Igor Memic’s _Old Bridge_ ) made presen]ng the Prize in its usual format (a stage produc]on and print publica]on) impossible. Determined not to lose this vital opportunity, we adopted a new model. Blending digital plakorms with live, communal experience in a unique hybrid, it supported thousands of grassroots writers and reached communi]es in every UK region. Remaining true to its core values (open to everyone in the UK/Ireland, free to enter with feedback for all, and anonymously assessed), the 2021 Prize expanded to support three winners, awarding each an audio produc]on, digital publica]on and £2000 commission. It thus supported thrice as many crea]ves and casts, recrui]ng directors, sound designers and actors from open-applica]on processes, giving a plakorm to those who would benefit most from the opportunity. ## The Prize: - produced three world premieres from early-stage writers (Nkenna Akunna, Tajinder Singh Hayer and Tom Powell) to cri]cal acclaim; - airacted 1410 entries, meaning it con]nues to average more submissions than any other playwri]ng scheme; as significantly, writers are a diverse cohort, being: 37% under-30 and 23% over-60; 26% people of colour; 15% without higher educa]on; 12% non-binary and 3% trans; 14% disabled; 28% LGBTQ+, all receiving feedback; - drew applica]ons from 81 crea]ves, with feedback for all; - employed 19 ar]sts: 47% under-30; 68% people of colour; 11% non-binary; 16% disabled; 37% LGBTQ+. ★★★★★ “A modest masterpiece.” _The Stage_ on _The Silence and The Noise_ by Tom Powell ★★★★ "A deep and moving explora]on of brotherhood." _The Stage_ on _Ghost Stories From An Old Country_ by Tajinder Singh Hayer ★★★★ _“_ Emo]onally rewarding, refreshing and relevant all at once.” _West End Best Friend_ on _Some Of Us Exist In The Future_ by Nkenna Akunna The 2021 Prize thus launched the careers of three brilliant new writers, at a ]me when geqng work produced was nigh on impossible for unknown ar]sts, and nurtured hundreds of new plays from a truly diverse cohort of writers across the country. “I have had some theatrical feedback from established London fringe theatres, but your report beats them all. I really am very grateful.” Prize Entrant “Thank you for such valuable feedback - very suppor]ve and helpful. We all totally love Papatango and your whole ethos and approach - seriously - nobody does what you do!” Prize Entrant “May I thank the person who gave the very construc]ve feedback. I will revisit it. Thanks again for giving the opportunity to have my work looked at. If it doesn’t sound contradictory, winning would have been great, but to have been given the opportunity was even beier.” Prize Entrant • **Embarked on our biggest ever tour, sharing free work with audiences in every region** The 2021 Prize-winning audio plays were presented in a completely free tour spanning every region of the UK. Available via in-person ‘listening sta]ons’ (tablets with headsets) or remotely through QR codes, the tour is a unique hybrid, offering audiences an experience that is communal or private, according to their needs. Cap]oned and with braille scripts, the audio plays are truly accessible. The tour is in co-produc]on with English Touring Theatre (ETT), and our venue partners are: Bush Theatre (London) Liverpool Everyman & Playhouse Theatr Clwyd (Mold) Leeds Playhouse Laurels (Newcastle upon Tyne) Stephen Joseph Theatre (Scarborough) Chichester Fes]val Theatre An Tobar and Mull Theatre Plymouth Theatre Royal Bristol Old Vic Southwark Playhouse Oldham Coliseum Norwich Theatre Royal Trinity Theatre, Tunbridge Wells Lyric Theatre Belfast Collabora]ng with so many leading organisa]ons reflects the growing stature of Papatango and our place at the forefront of the new wri]ng industry. The tour runs to 28 February 2022, but having visited London, Liverpool, Mold, Leeds, Newcastle upon Tyne, Scarborough, Chichester and Mull so far, 374 people have listened to the audio plays. ## • **Produced a world premiere on our first main stage** The postponed produc]on of the winner of the 2020 Papatango New Wri]ng Prize, _Old Bridge_ by debut playwright and refugee Igor Memic, was staged at the Bush Theatre for 5 weeks in November. This was Papatango’s longest run, and our first on a main stage, marking a significant step up. The produc]on earned enormous cri]cal acclaim, being named in both the Evening Standard and WhatsOnStage 'best of year' lists. It is currently nominated for OffWestEnd Awards for Most Promising Playwright, Best Ensemble and Best Sound as well as the WhatsOnStage Award for Best OffWestEnd Produc]on. Mul]ple interna]onal transfers or revivals are already in the pipeline and Igor is poised for a career as a professional playwright, his life transformed. ★★★★ “A remarkably assured debut, shot through with ardour.” _Evening Standard_ ★★★★ “Turns recent history into startling truth… made all the more remarkable by the fact that _Old Bridge_ is Memic's debut.” _WhatsOnStage_ ★★★★ “A cracking produc]on… a profound piece of wri]ng — I loved it.” _The Arts Desk_ “A promising debut… Memic can really write.” _The Times_ “Affec]ng and vivid… crackling with youthful charm, wit and sexual energy.” _The Guardian_ _Old Bridge_ employed 22 ar]sts who were: 61% female; 56% under-30; 22% people of colour; and 28% LGBTQ+. It thus gave a plakorm to diverse young ar]sts at a cri]cal ]me. 3,364 people saw the show live, a record for Papatango – and especially impressive given the general trend to low audience numbers in the pandemic. ## • **Expanded into digital, screen and audio produc?on** With theatres con]nuing to endure forced closures and restricted capaci]es, we embraced the opportunity to explore new ways of making work and reaching audiences. First, we made a film capture of our acclaimed 2019 produc]on of _Shook_ by Samuel Bailey and presented this digitally in over 20 countries. A{er enormous cri]cal success, it was broadcast on Sky Arts – our debut television produc]on – with Samuel Bailey profiled on the South Bank Show. The digital and TV distribu]on reached 7,954 people – a record for a single Papatango show. “Samuel Bailey’s knockout professional debut rings with fresh truth.” _New York Times (CriHc’s Pick)_ ★★★★ “A voice to be reckoned with.” _Evening Standard_ ★★★★ “Compelling viewing with astute performances.” _The Times_ ★★★★ “Bailey has a great gift for characters whom we come to love.” _Daily Mail_ ★★★★ “Pacy, darkly funny and harrowing, with fleeting instants of startling sweetness.” _The I_ ★★★★ “The last few moments may well crack you open.” _The Stage_ ★★★★ "Startlingly funny...raw and profoundly touching. It's available for just £10, a small price to pay for so thought-provoking and compassionate a piece." _WhatsOnStage_ Capitalising on this success, we followed up by digitally streaming the world premiere of _Old Bridge_ by Igor Memic. This proved equally worthwhile, airac]ng audiences in Bosnia, Croa]a and Serbia (as well as other countries), who would not otherwise have been able to see this acclaimed new play by a Bosnian refugee set in the former Yugoslavia. 165 people watched online. These complemented our branch into audio produc]on via the remodelled 2021 Papatango New Wri]ng Prize. Our work has been made significantly more accessible through such digital distribu]on – with streams priced at just £10 per household and audio recordings free – and we have been able to support ar]sts and freelancers, overcoming theatre closures and lockdowns. ## • **Announced our first interna?onal transfer** Marking its huge success, our produc]on of _Old Bridge_ is due to transfer to Amsterdam's 600-seat DeLaMar Theatre in 2022. Equally, theatres in Turkey, Greece and Canada have applied to mount the play in new produc]ons. These will showcase homegrown new wri]ng on major interna]onal stages, forging new opportuni]es for Papatango and UK ar]sts and plays as a whole. ## • **Expanded our educa?on projects** Our GoWrite programme gave free, personal training, performances and publica]on to **706** individuals, with strong representa]on of marginalised or under-represented communi]es. ## _Adults_ - Delivered an online playwri]ng course – a crucial offering during lockdown – for **16** par]cipants based in Dorset or Wiltshire. Par]cipants were 79% female-iden]fying; 21% disabled; 71% under-30. Over 33% had not previously had work produced. - Delivered **10** mentoring sessions for **22** par]cipants, providing guidance on all aspects of theatre and new wri]ng. The service engaged some of our key target groups: par]cipants were 46% female-iden]fying, 14% people of colour, 27% unemployed and 64% under-30. - Established new partnerships with Leeds Playhouse and Crea]ve Darlington to deliver our playwri]ng and producing courses to emerging crea]ves in the region in 2022. - Ran **8** free masterclasses in playwri]ng in London, Liverpool, Leeds, Chichester and Scarborough for **292** aspiring writers. ## _Impact_ - 100% of playwri]ng course par]cipants reported a notable increase in their confidence across the key elements of playwri]ng – construc]ng a play, wri]ng scenes, developing characters, redra{ing and edi]ng work – on comple]on of the course. - 100% of playwri]ng course par]cipants indicated that they would be likely to write a fulllength play and submit work for produc]on or awards following par]cipa]on in the course. “Thanks for a wonderful, transforma]ve experience! My notes from the course are going to become my wri]ng Bible…!” (Playwri]ng course par]cipant) “I have really loved having these sessions every week! I have learned a lot. It has been so nice to have something to look forward to, despite being in lockdown.” (Playwri]ng course par]cipant) ## _Schools & Young People_ - Delivered playwri]ng workshops to **349** young people at **14** state schools and youth groups across London, the South West and the North West of England, resul]ng in **166** new scripts which were performed and published. - Adapted our schools programme to work with some of the most vulnerable young people, including a Pupil Referral Unit for 11-18 year olds facing severe mental health challenges and a support group for young carers. - Engaged some of our key target groups: 70% of par]cipa]ng students were female; 46% were people of colour; 20% had English as an addi]onal language; 27% of students qualified for free school meals; 13% had special educa]onal needs. - Launched a Young Playwright’s Award to iden]fy and celebrate some of the UK’s most promising young writers, suppor]ng them on their playwri]ng journey through a showcase of their work, mentoring from industry professionals and theatre book tokens. - Provided free ]ckets to **27** young people from **2** colleges to aiend _Old Bridge_ . ## _Impact_ - 100% of teachers reported a notable increase in their students’ confidence. - 88% of teachers reported a significant posi]ve impact on their students’ wri]ng skills. - 88% of teachers reported that students expressed an interest in con]nuing to write plays or take part in other drama ac]vi]es. One class is wri]ng a play for entry into a compe]]on while two students from another school developed their own plays for performance. “The students really enjoyed watching their plays. They were not completely confident in their wri]ng but having the actors take their plays so seriously gave them a real boost.” (Teacher) “The session was fab, simply fab! The facilitator was great, in balancing both the areas to cover and then giving the students ]me to develop ideas and write responses accordingly.” (Teacher) “The recordings are great, and we all look forward to seeing the books. Thanks again for organising these great sessions for our young carers.” (Carers Ac]vi]es and Projects Manager) ## • **Won or were nominated for mul?ple awards** Tes]fying to the remarkable impact of our work were accolades including: Winning a place in _The Stage_ 25 for Chris Foxon and George Turvey. Our joint CEOs were named in the 25 most promising theatre-makers in the country, most likely to lead theatre in the future; Winning _The Times_ Breakthrough Award for Samuel Bailey ( _Shook_ ), presented at the South Bank Sky Arts Awards. This award named Samuel as the UK’s most promising emerging ar]st in any discipline; A nomina]on for Samuel Bailey for Writers’ Guild of Great Britain Award for Best New Play ( _Shook_ ) A nomina]on for the _WhatsOnStage_ Award for Best OffWestEnd Produc]on ( _Old Bridge_ ); Nomina]ons for OffWestEnd Awards for Most Promising Playwright, Best Ensemble and Best Sound Design ( _Old Bridge_ ). ## **In total, during 2021 Papatango:** - Produced and published **5** world premieres in stage, screen and audio formats to huge acclaim - Reached **11,857** audience members, many via free and accessible schemes, in **27** countries - Nurtured **2,116** aspiring, diverse writers with free feedback and tailored playwri]ng training - Won or were nominated for **8** awards ## **FINANCIAL REVIEW** This was a very encouraging and construc]ve year, with the charity rebounding from the steep decline in income inflicted by the pandemic in 2020 to record the best financial performance in its history. This reflects impressive fiscal management on behalf of the execu]ve team, all the more so as it has been achieved without a penny of Culture Recovery Funding. It demonstrates that the charity has adapted to the changed cultural landscape and is securely posi]oned for the future. Income rose to the charity’s highest ever level of £303,266.73 – an increase of 173% on 2020. This is chiefly due to the welcome return of earned income from box office and other sales (including coproduc]ons and commissions), which disappeared en]rely in 2020 with the closure of theatres. Both the digital stream of _Shook_ and the stage produc]on of _Old Bridge_ exceeded sales projec]ons, testament to their cri]cal and popular success and no mean feat under public health restric]ons. This suggests audience appe]te for Papatango’s work remains undimmed, and validates the expansion to producing on bigger stages with greater financial capacity, which should further increase the charity’s long-term resilience and sustainability. The return to produc]on ac]vity correlated with a strong increase in fundraising; our new projects proved very airac]ve to funders. Expenditure naturally also increased significantly, rising by 101% to £214,200.96, with the charity both able to realise several projects postponed from 2020 and to invest in new projects. The vast majority of spending (70%) went directly on ar]s]c and educa]on projects and associated labour or audience development, with staffing costs accoun]ng for most of the remainder (26%). Overheads were minimal at just 4% of expenditure; the charity con]nues to offer excellent value for money. Expenditure was reduced by reclaiming a por]on of staffing costs through the Job Reten]on Scheme, with both execu]ves on part-]me furlough. This gradually decreased as we built back towards full]me opera]ons, and ceased en]rely in September. Consequently, staffing costs will increase next year. The charity is more than adequately prepared to absorb this. There was no unforeseen outlay and the charity thus ends the year with a no]onal surplus of £89,065.77. This is, however, slightly misleading: because some projects (e.g. 2021 Papatango New Wri]ng Prize; 2021-22 GoWrite) straddle the old and new financial years, some expenditure we an]cipated falling in 2021 has been slightly delayed and will now be discharged in early 2022. The actual surplus a{er accoun]ng for these imminent costs is rela]vely modest, at £52,291.19. This will help to cover the increase in staffing costs, and the forecast rise in infla]on, due to fall in 2022. Taking all this into considera]on, the charity has recorded an excellent financial performance, recovering from the severe setbacks of the pandemic with aplomb and indeed emerging with a more sustainable opera]ng model and its long-term future greatly strengthened. The charity’s financial posi]on at the end of the period is shown in the aiached statements. ## **Reserves Policy** In April 2021 the Board of Trustees revised its reserves policy, deciding that the charity’s unrestricted funds should cover a minimum of six months’ core running costs (£54,000). This increase from the previous term of three months reflects the con]nuing uncertainty posed by the coronavirus pandemic. If the charity were to suffer a significant loss, this reserve would enable a review of its ac]vi]es and the means of suppor]ng them in future. These reserves are held in a bank account, designated for this purpose, which is independent of the charity’s main business account. ## **STRUCTURE, GOVERNANCE AND MANAGEMENT** Papatango Theatre Company Ltd was incorporated on 3 September 2010 and is governed by its Memorandum and Ar]cles of Associa]on. Papatango Theatre Company Ltd is limited by guarantee and has no share capital. The guarantees of individual members are limited to £1. Papatango Theatre Company Ltd is a registered charity, number 1152789. ## **Management and Governance** The Board of Trustees administers the charity and meets quarterly. The number of the Board of Trustees shall never be less than 3 and shall not be more than 7. Trustees are recruited through an open applica]on process and appointed following interviews with the Board of Trustees, who must unanimously approve the appointment. New trustees are inducted into the charity’s processes by the secretary of the Board of Trustees, and complete individual mee]ngs with the execu]ve team prior to their first aiendance of a formal board mee]ng. Day-to-day management is delegated to an execu]ve team comprising an ar]s]c director and an execu]ve director, within terms of delega]on approved by the trustees. The execu]ve team manage junior staff including a part-]me educa]on officer as well as freelance contractors. ## **Directors/Trustees** The directors/trustees set out below have held office during the whole year of this report unless stated otherwise: David Bond Sally Cookson Rachel De-Lahay Sam Donovan Nicholas Rogers ## **Staff** There were no changes to the staff team or structure. ## **INVESTMENT POWERS AND POLICY** ## **Investments** Most of the charity’s funds are spent in the short term. There are no major funds for long-term investment so all funds are held in bank accounts. ## **Assets** The movement in fixed assets is shown in Note 6 to the accounts. ## **Related Par?es** Whilst the charity has no formal rela]onship with ‘related par]es’, it values collabora]on with fellow arts and community organisa]ons and exchanges mutual support and assistance wherever possible. This includes partnerships within projects. None of the trustees receives remunera]on or other benefit from work with the charity. Any connec]on between a trustee or senior manager of the charity with any poten]al business or ar]s]c partner must be disclosed to the full board of trustees in the same way as any other contractual rela]onship with a related party. ## **Risk Management** The charity undertakes periodic reviews for different areas of risk including insurance cover, health and safety in the workplace and whilst performing, safeguarding, financial affairs, ethical fundraising, data protec]on, complaints and grievance procedures, personnel prac]ces, IT and reputa]on. These are recorded in a risk register. This report was approved by the Board of Trustees on 19 January 2022. Signed on behalf of the Board of Trustees by ……………………………………………………. Sam Donovan Secretary ## **INDEPENDENT ASSESSMENT** The regula]ons under SORP (Statement of Recommended Prac]ce for Chari]es) require an independent assessment of the charity’s affairs when the turnover is more than £25,000 and less than £1,000,000 per annum. I hold a Diploma in Accoun]ng from the Associa]on of Accoun]ng Technicians, a qualifica]on which is regarded by the Chari]es Commission as a recognised one for carrying out independent assessments. I have examined the accounts of the charity and in my opinion the financial statements give a true and fair view of the charitable company’s affairs at 31 December 2021 and of its incoming resources and applica]on of resources including its income and expenditure for the year then ended. In my opinion the informa]on given in the Trustees’ Annual Report for the financial year for which the financial statements are prepared is consistent with the financial statements. I have examined the Statement of Financial Ac]vi]es, the Summary Income and Expenditure Accounts, the Balance Sheet and the related notes. I have also examined the recording of financial informa]on on the accounts package MYOB and checked the payroll records. I have nothing to report in respect of the following maiers where the Companies Act 2006 and the SORP Regula]ons 2015 require me to report if in my opinion: - The charitable company has not kept proper and adequate accoun]ng records; or - The financial statements are not in agreement with the accoun]ng records and returns; or - Certain disclosures of trustees’ remunera]on specified by law are not made; or • I have not received all the informa]on and explana]ons I would require or the trustees were not en]tled to prepare the financial statements in accordance with the small companies regime and take advantage of the small companies exemp]on in preparing the directors’ report. Penelope Easton AAT ## **PAPATANGO THEATRE COMPANY LTD.** ## **STATEMENT OF FINANCIAL ACTIVITIES** **(incorpora=ng an Income and Expenditure Account) For the year ending 31 December 2021** The notes to the accounts form part of the accounts |**INCOME**||||| |---|---|---|---|---| ||**Restricted**||**Unrestricted**|**Total**
**Total**| |||||**2021**
**2020**| |Dona1ons and legacies|||705.16|705.16
763.26| |||||| |Incoming resources from||||| |Charitable ac1vi1es:||||| |Support from grants and sponsorship
**2**|40500||188624.66|229124.66
90899.01| |Opera1on of touring theatre company
**2**|||71417.71|71417.71
2008.99| |Other income
**3**|||2019.2|2019.2
17218.15| |**Total Incoming Resources**|**40500**||**262766.73**|**303266.73**
**110889.41**| |||||| |**EXPENDITURE**||||| |Cost of genera1ng funds||||| |Expenditure on charitable ac1vi1es
**5**||||| |Produc1on and touring|39728.07||109795.85|149523.92
56958.11| |Support costs
**6**|771.93||62513.86|63285.79
48334.49| |Governance costs
**6**|||1391.25|1391.25
1318.14| |**Total Expenditure**|**40500**||**173700.96**|**214200.96**
**106610.74**| |||||| |||||| |**Net income/ expenditure for the year and net**|**0**||**89065.77**|**89065.77**
**4278.67**| |**movement in funds for the year**||||| |||||| |**Reconcilia=on of funds**||||| |Total funds brought forward||||137522.16
133243.49| |**Total funds carried forward**||||**226587.93**
**137522.16**| |||||| |||||| |**PAPATANGO THEATRE COMPANY LTD**||||| |**Notes to the Financial Statements**||||| |**for the Year Ended 31st December 2021**||||| |||||| |**2. INCOME FROM CHARITABLE ACTIVITIES**||||| ||**Restricted**||**Unrestricted**|**Total**
**Total**| |**Support from Grants and Sponsorship**|**Funds**||**Funds**|**2021**
**2020**| |Arts Council Grants|||31500|31500
7649| |Coronavirus Grant||||0
10000| |Boris Karlof Charitable Founda1on|3500||0|3500
0| |Backstage Trust|||109166.66|109166.66
58333.34| |John Lyons Charity|||25000|25000
10416.67| |GolsconcoV Founda1on|2000||0|2000
0| |Cockayne Grants for the Arts|11000||0|11000
0| |The Harold Hyam Wingate Founda1on|1500||0|1500
4500| |Garfeld Weston|||15000|15000
0| |Foyle Founda1on|11000||0|11000
0| |Ashley Family Founda1on|||7958|7958
0| |Royal Victoria Hall Founda1on|1500||0|1500| |Amazon Literary Partnership|10000|||10000| ||**40500**||**188624.66**|**229124.66**
**90899.01**| |**Income from Opera=on of Touring Company**||||| ||**Restricted**||**Unrestricted**|**Total**
**Total**| ||**Funds**||**Funds**|**2021**
**2020**| |Performance income|||46046.31|46046.31
1834.6| |Commissions Received|||24873.4|24873.4| |Merchandise (playtexts)|||98|98
174.39| |Educa1on income|||400|400
0| ||||**71417.71**|**71417.71**
**2008.99**| |**3. OTHER INCOME**||||| |Theatre Tax Relief|||1288.8|1288.8
16470.9| |Interest on rent deposit & rent received||||0
11.71| |Bank interest|||730.4|730.4
735.54| ||||**2019.2**|**2019.2**
**17218.15**| |**4. NET (OUTGOING)/INCOMING RESOURCES**||||| |Net (outgoing)/incoming resources are stated acer charging||||| |Audit and accountancy fees
1391.25||||| |||||| |**EXPENDITURE**||||| |||||| |**5.ANALYSIS OF EXPENDITURE ON CHARITABLE ACTIVITIES**||||| ||**Cost of**|**Cost of**|**Charitable**|**Charitable**| ||**Genera=ng**|**Genera=ng**|**Ac=vity**|**Ac=vity**| ||**Funds**|**Funds**|**Cost**|**Costs**
**Total**
**Total**| |**Produc=on and Touring**||||| ||**Restricted**|**Unrestricted**|**Restricted**|**Unrestricted**
**2021**
**2020**| |Director|||2910.67|8461.33
11372| |Assistant Producer|||0|4674.1
4674.1
0| |Commissions||||5750
5750
0| |Writers' fees and royal1es|||0|1152.84
1152.84
5210| |Cas1ng|||0|474
474| |Ligh1ng Designer|||4630.67|0
4630.67
600| |Set & Costume Designer|||4781|0
4781
400| |Sound Designer|||2373.2|3000
5373.2
650| |Movement & In1macy Directors|||2295.1|0
2295.1
0| |Cultural Advisor, Dialect Coach, chaperones etc|||0|102.9
102.9
0| |Rehearsal space hire|||0|610
610
0| |Set|Set||0|2633.26|2633.26|88.22| |---|---|---|---|---|---|---| |Ligh1ng hires|||||0|1613.85| |Sound hires & purchases|||||0|635.8| |Costumes|||0|1250|1250|0| |Props, hair and makeup|||0|2478.82|2478.82|54.93| |Performers' fees|||15115.36|15999.28|31114.64|3335.2| |Stage Manager|||0|5204.16|5204.16|0| |Per diems on tour|||||0|155.76| |Produc1on Manager|||0|3650|3650|1281.76| |DBS|||||0|-87| |Technical crew|||0|1230|1230|0| |Writewest Project|||||0|20021.75| |Venue hire|||||0|0| |Tour travel transport & accommoda1on|||||0|0| |Contras|||||0|0| |Playtexts/Scripts||||1380|1380|0| |Papatango New Wri1ng Prize|||7622.07|5095.35|12717.42|5821.61| |Outreach & engagement||||26650.97|26650.97|8228.09| |Isolated but Open|||||0|2539.94| |Storage||||912|912|390.47| |Audience Development, Marke1ng &website||||8174.57|8174.57|969.82| |Film Capture||||10912.27|10912.27|| |Cancelled co-produc1on costs of Shook|||||0|5047.91| |**Total produc=on and touring costs**
**0**||**0**|**39728.07**|**109795.85**|**149523.92**|**56958.11**| |||||||| |**6. ANALYSIS OF GOVERNANCE AND SUPPORT COSTS**||||||| |||||||| |**Governance Costs**||||||| |Companies House||||||13| |Accountancy||||1391.25|1391.25|1305.14| |Board expenses||||||0| |||||**1391.25**|**1391.25**|**1318.14**| |**Support Costs**
**7**||||||| |Staf fees & salaries||||70999.98|70999.98|65255.84| |Employer's NI||||4172.51|4172.51|2879.6| |Employer's pensions||||5177.25|5177.25|2798.61| |Less Job Reten1on Scheme||||-25030.72|-25030.72|-29896.98| |Funding Development Manager
771.93|||||771.93|0| |Rent|||||0|4559.28| |Heat Light and Power|||||0|129.83| |Travel||||1480.75|1480.75|323.87| |Sta1onery & Postage||||373.6|373.6|1.64| |Telephone & computer||||1687.18|1687.18|466.44| |Bank charges and interest||||84|84|84.37| |Insurance||||2935.62|2935.62|1402.73| |Deprecia1on
**8**|||||0|329.26| |Hospitality||||633.69|633.69|0| |**Total support costs**
**771.93**||**0**|**0**|**62513.86**|**63285.79**|**48334.49**| |**Total Expenditure in 2021**
**771.93**||**0**|**39728.07**|**173700.96**|**214200.96**|**106610.74**| |||||||| |||||||| |**2021**
**2020**||||||| |**7. STAFF COSTS**||||||| |||||||| |Director 1 salary from January 2021
35499.99
32483.32||||||| |Director 2 salary from January 2021
35499.99
32483.32||||||| |Employer's NI (net of allowance)
4172.51
2879.6||||||| |The company received £4000 in employment||||||| |allowance in 2021 against £8172.51 owing in||||||| |Employer's NI||||||| |The company received Job Reten1on Scheme
25030.72
29896.98||||||| |Employer's pension contribu1on
5177.25
2472||||||| |No employee received remunera1on in excess of £60000 in the year||||||| |The salaries were reduced in 2020 as the JRS calculated gross salaries on an earlier salary||||||| |||||||| |**8. TANGIBLE FIXED ASSETS**||||||| |All assets fully depreciated in 2020||||||| |||||||| |**9. DEBTORS**|**Total**|**Total**||||| ||**2021**|**2020**||||| |Arts Council Grant carried forward (Outreach)|9000|13500||||| |Other grants c/f||||||| |Ashley Family Founda1on||7958||||| |John Lyons Charity (O & R)|14583.33|14583.33||||| |Backstage Trust||29166.56||||| |Harold Hyam Wingate||1500||||| ||23583.33|66707.89||||| |||||||| |||||||| |**11. LEGAL STATUS**||||||| The charity is limited by guarantee and therefore has no share capital. In the event of the company being wound up every member undertakes to contribute to the assets of the company during the 1me he is a member or one year acerwards, such amounts as may be required not exceeding £1. The company does not pay corpora1on tax on account of its charitable status. ## **12.TRUSTEES/DIRECTORS** The board of trustees do not receive any remunera1on from the company other than reimbursement of their expenses incurred during the business of the company. The two execu1ves receive a salary from the company in their capaci1es as Ar1s1c Director and Execu1ve Director. They are reimbursed for expenses incurred during the business of the company. Balance Sheet at 31 December 2021 ## **PAPATANGO THEATRE COMPANY LTD** |**2021**|**2020**|| |---|---|---| |Fixed Assets||| |||| |Current Assets
Cash at bank
258479.66
Prepayments||| ||207043.1|| |||| ||258479.66|207043.1| |Current Liabili1es
Accruals
Prepayments
PAYE due
2151.49
Pension fund due
874.97
Wages due
5281.94
Other grants carried forward
23583.33||| |||| |||| ||2053.3
759.65|| |||| |||| ||31891.73
66707.99|69520.94| |||| |Current Assets less
Current Liabili1es||| ||226587.93
0|137522.16| |||| |Total Assets less Current
Liabili1es||| ||**226587.93**
**0**|**137522.16**| |||| |Financed by:
Reserves brought forward
137522.16
Proft and Loss for the year
89065.77||| ||133243.49
**226587.93**
4278.67|| |||**137522.16**| |||| |(a) For the year ended 31 December 2021 the company was en1tled to exemp1on from audit under sec1on 477(2) of the
Companies Act 2006
(b) No members have required the company to obtain an audit of its accounts for the year in ques1on in accordance
with sec1on 476 of the Companies Act 2006
(c )the directors acknowledge their responsibility for:
i. Ensuring the company keeps accoun1ng records which comply with sec1on 386; and
ii. Preparing accounts which give a true and fair view of the state of afairs of the company as at the end of the
fnancial year in accordance with sec1on 393, and which otherwise comply with the requirements of the
Companies Act rela1ng to accounts, so far as applicable to the company
(d) The accounts have been prepared in accordance with the special provisions applicable to companies subject
to the small companies' regime under Sec1on 419(2) of the Companies Act 2006.
The accounts are prepared in accordance with the Chari1es Act 2011 and SORP 2016
The notes to these accounts form part of the accounts|audit under sec1on 477(2) of the|| |||| ||ar in ques1on in accordance|| |||| |||| |||| ||y as at the end of the
|| |||| |||| |||| |||| |||| |||| |||| |Approved by the directors on
19-Jan-22||| |||| |||| |||| |||| |And signed on their behalf by
Christopher Foxon
George Turvey||| |||| ## **PAPATANGO THEATRE COMPANY LTD Notes to the Financial Statements For the Year Ended 31 December 2021** ## **Note 1 ACCOUNTING POLICIES** The principal accoun]ng policies are summarised below. The accoun]ng policies have been applied consistently throughout this and the preceding year. The charity is a going concern. ## **Basis of accoun?ng** The final statements have been prepared under the historical cost conven]on and in accordance with United Kingdom Financial Repor]ng Standard, Accoun]ng and Repor]ng for Chari]es: the Statement of Recommended Prac]ce effec]ve 1 January 2015 (SORP) and the Companies Act 2006. ## **Cash Flow Statement** The trustees have taken advantage of the exemp]on in Financial Repor]ng Standard No. 1 (revised) from including a cash flow statement on the grounds that the charity is small. ## **Project Income** Project income consists of amounts invoiced in the year for various projects and events held. Income which is invoiced in advance of events not yet held at the year end is included as deferred income. ## **Gibs/Intangible Income** Gi{s in kind and intangible income are included in the accounts where they are capable of financial measurement. ## **Grants** Revenue grants are treated as income and included in the Statement of Financial Ac]vi]es in the year to which they relate. Grants received for general purposes are treated as unrestricted funds; grants received that are specified by the donor are treated as restricted funds. Project grants received but not spent at the year end are included in income and carried forward as part of the restricted funds. ## **Fund accoun?ng** Unrestricted funds are available for use at the discre]on of the trustees in furtherance of the general objec]ves of the charity. Restricted funds are subjected to restric]ons on their expenditure imposed by the donor or through the terms of an appeal. ## **Income** All incoming resources are included in the Statement of Financial Ac]vi]es when the charity is en]tled to the income and the amount can be quan]fied with reasonable accuracy. ## **Expenditure** All expenditure is accounted for on an accruals basis as a liability has been incurred. Expenditure includes any VAT that cannot be fully recovered and is reported as part of the expenditure to which it relates. Charitable expenditure comprises those costs incurred by the charity in deliverance of its ac]vi]es and services for its beneficiaries. It includes both costs than can be allocated directly to such ac]vi]es and those costs of an indirect nature necessary to support them. Governance costs include those costs associated with mee]ng the cons]tu]onal and statutory management of the charity. ## **Designated Funds** Designated funds are set up by decision of the trustees when income, which has been received but not spent, is carried forward to cover costs in future years. ## **Deprecia?on** Deprecia]on is calculated so as to write off the cost of an asset, less its es]mated residual value, over the useful life of that asset as follows: equipment – 25% straight line; computers – 33.33% straight line. ## **Fixed Assets** Tangible fixed assets are stated at cost, or if donated, at their es]mated value at the date of dona]on, less deprecia]on. ## **Opera?ng Lease Agreements** Rentals applicable to opera]ng leases where substan]ally all of the benefits and risks of ownership remain with the lessor are charged against profits on a straight-line basis over the period of the lease.