Charity number 1153307
Company number 08613929
(England and Wales)
OPERA
UPCLOSE
Intimate in scale. Mighty in impact.
OPERAUPCLOSE LTD
Report of the Trustees and Unaudited
FINANCIAL STATEMENT
For the Year ended 31 March 2024
Operaupclose
CONTENTS PAGE
For the year ended 31 March 2024
Page
Charity Information
Report of the Trustees
4-19
Independent Examiners Report
20
Statement of Financial Activities
21
Statement of Financial Position
22
Notes to the Financial Statements
23-31
Operaupclose Ltd
(A company limited by guarantee)
Charity Information
For the year ended 31 March 2024
Charity number 1153307
Company Number
08613939
Principal Address
MAST Mayflower Studios
Above Bar Street
Southampton
S014 7DU
Reglstered Office
MAST Mayflower Studios
Above Bar Street
Southampton
S014 7DU
Trustees
Abigail Toland (Chair, resigned 10th October 2023)
John Andrews
Amanda Ariss
Charith Cabraal (Acting Chair from 26th June 2023)
Matthew Lyons
Joe McFadden
Gweneth Ann Rand
Carolyn Ward
John Ward (resigned 31st March 2024)
Clare Williams
Independent Examlner
David Mead
Tremain House
8 Maple Drive
Kings Worthy
Winchester
Hampshire
S023 7NG
The Trustees present their annual report and financial statements of the charity
for the year ended 31 March 2024. The financial statements have been prepared
in accordance with the accounting policies set out in note 1 to the accounts and
comply with the Charity's trust deed, the Charities Act 2011, and the Charities
Statement of Recommended Practice (second edition) and Financial Reporting
Standard FRS 102 1A.
REINVENTIONS
PARTNERSHIPS,
COMMUNITY &
CO-CREATION
OPERA FOR THE
VERY YOUNG
TALENT
DEVELOPMENT
DIGITAL
Operaupclose is an award-winning national touring opera company with
storytelling, innovation and partnership at its heart. Proudly female-led, with
a small, diverse team over 500/0 LGBTQ+ and 40 % neurodiverse, we are
committed to diversifying both those who make opera and those who watch
it. Working from Southampton's dynamic cultural hub MAST Mayflower
Studios, we continue to extend the relevance and reach of the artform,
commissioning re-interpretations of known work alongside multi-disciplinary,
co-created companion pieces, that distil the essence of classic operas into
new, contemporary chamber works with their own artistic integrity and
excellence.
The scale of our work is always an active artistic choice, giving all performers
equal agency as storytellers, challenging audience expectations and making
a vital contribution to the accessibility and evolution of the sector across the
UK.
We produce at an intimate scale as an active artistic choice, giving all
performers equal agency as storytellers and breaking down barriers
between pit, stage and audience.
We build legacy and impact by enriching the repertoire with excellent new
work that will last and be of future value for organisations and audiences
across the UK.
We commission new cross-disciplinary companion pieces in partnership
with exceptional arts organisations from across the UK.
We collaborate with partners, local and national, on a co-creative approach
to newly commissioned work that reflects and explores the interests and
environment of our audiences.
We create new operas made with and for 2-5 year olds, inspired by well-
loved children's books, that engage a new generation in the power of
musical storytelling.
We develop material through workshops and engagement activities in
schools, taking our co-creative approach into the classroom.
We contribute to an Early Years music strategy, led by local Music Hubs,
that supports year round teacher led music delivery.
We support new voices within the art-form with paid training programmes
for emerging producers, directors, conductors and performers through our
Early Career Associate Artist Scheme.
We aim to diversify both those who make opera- performers, writers,
designers and directors - and those who watch it by engaging people of all
genders, ethnicities, backgrounds & economic means as audience, as
performers & behind the scenes.
We share both process and performance across our digital platforms with
high-quality f ilmed content, increasing access and widening our reach.
We embed a creative, rnulti-media approach to both sound and visual
design in all our projects, including a developing model for creative
captioning.
KEY ACHIEVEMENTS 2023/2024
Delivering our f irst year of work as part of the Arts Council National
Portfolio, working to embed opera into wider theatrical programming
nationwide.
Successfully touring two major productions -The Flying Dutchman and
Peace at Last- reaching audiences of all ages across the UK, in a wide
variety of settings.
Commissioning and creating The Last Bit of the Moon, a new response
companion piece to Vaughan Williams, Riders to the Sea in partnership
with Artfulscribe and The Sunday Boys; expanding and evolving our co-
creation and community choir models.
Developing new creative relationshipswith multiple partners, and new
work with local communities, ensuring delivery of our strategic and artistic
plans.
Securing a renewed partnership agreement with MAST Mayflower
Studios, Southampton, including plans for co-production in 2024-2026.
Strengthening our connections in the region and developing creative
models that can be replicated nationwide.
Structuring and planning the national launch of a new programme of work
for 2024-27, Reinventions - a series of three one-act operas: Riders to
the Sea, Gianni Schicchi (with a new alternative title Where There's A Will),
and Salome, reimagined for the modern world in a new chamber
orchestrations and English libretti by some of the UK'S most exciting
composers and writers.
Expanding our individual giving, building on the highly successful
syndicate model trialled for The Flying Dutchman.
A highly successful Big Give Match Funding Campaign - raising crucial
funds for the expansion of our community chorus model in Riders to the
Sea.
Developing and touring Operacocktail, a production created from our
back catalogue of well-known classic operas in new English versions, as
an essential part of our commitment to diversifying and expanding
income streams and helping to develop audiences with venues that have
historically not been able to programme varied classical music and music
theatre.
Expanding our reach nationally and internationally touring Operacocktail
as part of the Cunard Showcases programme.
In Aprll 2023, Operaupclose Jolned the Arts Council England's Natlonal
Portfolio. This powerful endorsement of our work is enabling us to take
forward our ambitious artistic plans, expand our core team, and provide a
stable platform for essential additional fundraising from both Trusts and
Foundations and individuals.
A YEAR OF COLLABORATION AND CREATIVITY-
REINVENTION, CO-CREATION AND PARTNERSHIP
The year end 31 March 2024 saw Operaupclose return to national
touring, producing two full scale productions reaching audiences of all
ages, across the UK. We are proud to have made work that is building
lasting relationships with local communities and a wide range of
extraordinary partners and artists.
THE FLYING DUTCHMAN
In partnership with Manchester Camerata, opened in June 2023 touring
to venues in waterside locations across the UK reaching a total live
audience of 1183.
Directed by Lucy Bradley, this production exemplified our commitment to
innovative performance practice, collaboration and re-invention, with an
internationally recognised cast and creative team bringing Glyn Maxwell,
Laura Bowler and Robin Wallington's take on Wagner's epic masterpiece
viscerally to life as an urgent, contemporary tale for our time.
The Flying Dutchman was also the first iteration of our long-term
commitment to bringing community voices into the heart of our work.
Performing to sell out audiences in both Bristol and London and to new
audiences for Operaupclose's work in locations such as Hull and
Liverpool the production received favorable reviews in both national and
local press and from audiences.
"Powerful and poignant"
The Times
"A fearless, ambitious re-telling of Richard Wagner's epic tale and score,
Stage Talk Magazine
.one of the most amazing, intimate operatic experiences I have seen...
(with) excellenceat the heart of this work"
Darren Henleyy Chief Executive of Arts Council England
*****
WE TWO WERE LOVERS- THE SEA AND I
A staged recital programme of poetry and music, centred around a newly
commissioned contemporary re-telling of Haydn's dramatic cantata
Arianna a Naxos by writer Toria Banks.
Performed by Early Career Associates harpist Nicolette Chin and
soprano Catherine Hooper, thematically linked to The Flying Dutchman
and running adjacent to the national tour, We two were lovers - The Sea
and I further explored issues around the movement of people, an island
mentality and our complex relationship with the sea.
This was a free or 'pay what you can, event, and Operaupclose was
thrilled to collaborate with Ali Ghaderi of Babylon Migrants Project and
journalist/producer Dalia Al-Dujail on a performance and panel
discussion, also live-streamed on our YouTube channel, at Trinity Buoy
Wharf, London as the first event of Refugee Week 2023.
.r
11
Lh
PEACE AT LAST
In October 2023, partnering for the first time with Chickenshed and
Southampton Music Hub, we toured a refreshed and revived version of
our opera for 2 - 5-year olds based on the picture book by Jill Murphy,
Peace At Last. The production toured to studio theatres nationwide and
23 schools and nurseries in Southampton and the Isle of Wight, reaching
audiences of 2,213 with 83 % first time opera goers.
The production engaged an exceptional creative team and cast of
singers Natasha Agarwal, Gemma Morsley and Chuma Sijeqa, clarinettist
Greg Hearle and harpist Nicolette Chin, alongside our specialist creative
partners, to expand participation and to bring the instrumentalists to the
heart of the staging and storytelling.
With a focus on improving accessibility, and in her first experience of
opera, Chickenshed Associate Sarah Driver took on the role of Assistant
Director, integrating a visual vernacular which was partial and
interpretive, into the production. The revival was directed by Becca
Marriott, a performer expanding her practise into directing, with support
from a Develop Your Creative Practice grant from Arts Council England.
Working with Becca on the production exemplifies Operaupclose's
commitment to supporting the development of artists across our
programme, at all levels.
"Exploring opera with some of Chickenshed's 'inclusive theatre for
children, ideas has been a pleasurel It's wonderful to witness children
and their families enjoy a classic story and experience in, what is for
many, their first experience of live opera.
Sarah Driver, Assistant Director
"One of my mum's favourite things was to see her work come to life in a
live theatre setting. I think it was one of the most immediate ways that
she could experience people enjoying her stories, as the act of making
the books was always more solitary. I have no doubt that she'd have
been sat in the front row enjoying this wonderful production, immensely
proud."
Charlie Murphy (Son of author Jill Murphy)
Peace At Last was first created in 2019 working with school children in
Newham, East London. Working with Chickenshed, industry leaders in
inclusive practise, we refreshed and enhanced the production for 2023
to engage, excite and encourage participation.The response was
overwhelmingly positive from children and adults alike.
At a time when arts provision is being squeezed, Operaupclose is
committed to growing a body of work made with and for very young
children, reflecting and expanding the imaginations of young creators
through a collaborative process with writers, composers and
performers. We are delighted to be actively contributing to keeping
music and live performance in the classroom, enabling teachers to use
the power and inclusivity of musical storytelling across the Early Years
curriculum.
"Everything about it was wonderful, how the performers engaged with
the audience, the qbeautiful music and opera singing. What a wonderful
experience.
Audience member, Mansfield Library
yy
OPERACOCKTAIL
A production created from our back catalogue of well-known classic
operas in new English versions, Operacocktail is helping to develop
audiences with arts venues that have historically not been able to
programme varied classical music and music theatre. The production
premiered at Mansfield Theatre in September 2023 as part of their
wider classical music strategy, with further performances in early 2024
in Peterborough, Oxford and Southampton.
Operacocktail is also an essential part of our commitment to
diversifying and expanding income streams through private/corporate
events and the creation of a wider international profile for
Operaupclose with Cunard UK. To date Operacocktail has performed
on two Cunard voyages to an overwhelmingly positive reception with
further dates planned for 24/25 and beyond.
"The concept was ingenious and staging slick and imaginative...singers,
a pianist and clarinet integrated perfectly, and to encounter pieces
from e.g. Traviata and Carmen in such a radically different musical and
dramatic setting was revelatory. No praise is too high for the
performers" Audience Member, MAST Southampton
•* •¥
10
AA
RIDERS TO THE SEA
2023 saw the development of a new version of Vaughan Williams, 1-act gem
Riders to the Sea, with composer Michael Betteridge commissioned to develop
both a new choral prologue (The Last Bit of Moon) and chamber orchestration.
We were delighted to engage Cheng Keng to begin work creating a bold visual
aesthetic for a studio production in 2025 that will be led by projection and light.
Partnering with Southampton based Artfulscribe and their Community Sirens
Collective (led by Antosh Wojcik), alongside the open access LGBTQ+ low voice
choir The Sunday Boys, The Last Bit of the Moon was created through a series
of community focused, open access singing and writing workshops in Spring
2023 led by Michael Betteridge and Antosh Wojcik. These workshops explored
the epic themes of Riders to the Sea, generating musical and dramatic
responses that were woven into a remarkable poetic text that has now taken the
form of a dramatic cantata for low voices, baritone and counter-tenor. This
project marked a significant expansion of our commitment to a co-creative,
workshop-led commissioning process.
In line with our ambition to develop a national network of community singing
groups, and expanding the model created in The Flying Dutchman, the choral
elements will bring together voices from the burgeoning LGBTQ+ choral
scene and traditional male voice choirs from across the UK, with multiple
recordings mixed to create a national coastal chorus that will feature in the
touring production. The Last Bit of the Moon will initially be previewed as a
stand-alone film, thematically linked to the full production, made in collaboration
with City Eye Southampton and premiered at Southampton Film Week 2024.
"Genuinely one of the highlights of my career"
Ri Baroche, Community Siren
"Wonderful experience. Count me in for the long haul.
Community singer, The Sunday Boys
11
TALENT DEVELOPMENT
Operaupclose are committed to embedding talent development into all our
activity. In 2023 we expanded our paid Trainee Associate Director scheme
into a wider Early Career Associate programme, using The Flying
Dutchman and We two were lovers- The Sea and l as a platform to give
opportunities to an emerging conductor/music director, four singers,
harpist and director. Associate artists were: Assistant Conductor and
Composer Robin Wallington, Assistant Director Jennifer Lane, Associate
Artist singers Annie George (mezzo soprano), Toki Hamano (baritone),
Catherine Hopper (soprano) and Masimba Ushe (bass), and harpist
Nicolette Chin.
"Pushing the boundaries of what it means to be a musician" Nicolette Chin,
Harpist
"Liberating to encounter the fluid approach to opera-making of
Operaupclose and see an opportunity to develop my skills beyond label"
Robin Wallington, Conductor/Composer
Open general auditions were held in November 2023, in Manchester and
Southampton, to ensure we remain aware of the depth and diversity of
talent. We met and heard 60 artists; the panel of Flora Mclntosh, Michael
Betteridge, Kelvin Lim and Jonathan Fisher were overwhelmed by, and
enormously grateful for, the commitment of everyone who attended.
Operaupclose are committed to creating a positive and enabling process
of auditioning based on mutual professional respect.
.by far the most enjoyable during this year's 'audition season, _ it was fun
and I felt like I was given the time to showcase myself. The panel seemed
genuinely invested in truly listening and watching my audition."
Southampton auditionee
12
STAFFING & ORGANISATIONAL DEVELOPMENT
This year has been a period of intense recruitment to restructure, build
and strengthen our core team in Southampton as a new publicly funded
organisation.
Executive Producer Alison Rosser went on maternity leave in August
2023. Following a successful recruitment process we were delighted to
appoint a maternity cover in Bridget Floyer, a highly experienced theatre
and community arts producer and consultant- her insight, expertise and
local knowledge have and continue to be a great asset to Operaupclose.
Alison returned to her position in May 2024, Bridget remains with the
organisation one day per week in an Associate Executive capacity until
the end of the calendar year leading on business planning and f inancial
policy.
Company Manager Jane Ryan left us in November 2023 to take on a new
role at international touring theatre compnay Complicité. We saw this
further change in personnel as an opportunity to take a creative and
dynamic approach to organisational restructuring and recruitment,
reflecting and evaluating both what was needed for the organisation, and
what was most attractive to potential candidates. We worked with highly
experienced f reelance specialists, Jennifer Le Roux (Marketing) and
Rebecca Redclift (Fundraising), alongside experienced arts administrator
Laura Burnett on a short term contract, to support this period of re-
structure and began recruitment for new positions in November 2023.
Two new positions Trusts and Foundations Manager (0.2 FTE) and
Creative Campaigns Producer (0.8 FTE), both supported by a grant from
the John Ellerman Foundation, and Company Administrator (0.8 FTE)
were advertised with all appointments made during Q4. Partnering with
fellow Mast partners Artswork, plans were also put in place to recruit a
Creative Apprentice in a Trainee Producer role, adding extra capacity to
the organisation whilst delivering on our commitment to expanding the
pipeline into the industry in Southampton and the SW.
13
At time of writing, we have an excellent new core team onboarded with
over 50 0/0 recruited locally including an apprentice Trainee Producer.
From this increasingly stable position, Operaupclose continue to invest in
the personal and professional development of all staff.
In Q1, Elizabeth Beroud, a highly experienced consultant, coach, and
long-time supporter of Operaupclose, delivered a series of team
coaching sessions on a Pro Bono basis as part of her training in the
Clifton Strengths approach to coaching. The cash equivalent of £12,290
of in-kind training for the team and organisation.
With a focus on 'establishing a framework for collaboration,, the core
team were given space and time to consider and understand individual
and group strengths, how we see the company, how others see the
company and, crucially, how we would like it to be seen in 2026.
This was an invaluable investment of company time, that included our
Chair Abigail Toland, helping us identify key skills and approaches, and to
consider priorities and management/leadership style in preparation for
expanding the core team. Feedback reflected this as an exceptionally
insightful, confidence building and strengthening programme.
At time of writing our Creative Campaigns Producer and Company
Administrator are taking part in the Audience Agency's, Let's Get Real,
action research programme.
Let's Get Real focuses on ways cultural organisations can use digital to
add value for audiences, communities and organisations, supporting
positive internal change and deepening engagement. This hybrid
programme is run in partnership with the Institute for Digital Culture at
the University of Leicester and runs February- September 2024 with a
cohort of 19 organisations.
The investment of £1,860 covers the cost of two staff members to
participate in a process involving multiple workshops, mentoring and
expert guidance. We are using the opportunity to learn how we can
develop and expand how we use digital content to reach and engage the
widest possible audience.
14
GOVERNANCE
The Executive at Operaupclose continue to be supported by an
excellent, skilled and highly engaged Board of Trustees. The Board
meets every three months, with two meetings per year taking place in
person at MAST Mayflower Studios. Finance sub-committee and HR
sub-committee meetings are held quarterly following monthly reporting.
Sadly, our Chair of Trustees Abigail Toland stepped down at short notice
in September 2023 for personal reasons. We would like to take this
opportunity to thank Abigail for her insight, expertise and commitment,
and for guiding the organisation through a crucial point of transition. We
remain very grateful to our excellent vice-chair Charith Cabraal for
taking the position of Acting Chair whilst a recruitment process is in
process.
FINANCIAL STABILITY AND RESILIENCE
We continued to rebuild our reserves, finishing the year 31 March 2024
with £137,848 to carry forwards, of which £15,180 is restricted for future
productions and £32,000 is designated to support the delivery of
Operacocktail and Riders to the Sea in yearend 31 March 2025.
In response to the current economic climate and budgetary restraints on
programming departments at venues, we have created a designated fund
of £32,000 to support the tour of Operacocktail and Riders to the Sea in
the next financial year. The designated f und will underpin the tours of
Operacocktail and Riders to the Sea by helping us to share the financial
risk on box office income with venues. This is an investment that supports
our future programme, and the commitment to building and maintaining
venue relationships in key areas taking a shared approach to long-term
audience development.
Operaupclose requires reserves to plan its future work and provide for
unforeseen contingencies as they may arise. The nature of the company's
operation requires reliance on significant income f rom ACE, trusts and
foundation grants, donations and ticket sales, all of which can show
15
substantial variation due to the economic climate, government policy and
exceptional events. Consequently, the company aims to retain general,
unrestricted reserves sufficient so that the company can operate
successfully and fulfil its mission, provide liquidity in case of unexpected
variation in revenue and other risks, and act as a contingency against
winding up the company should the need arise.
RISK MANAGEMENT
Our governance and financial and risk management are robust; we have
separate Finance and HR committees that meet regularly and are
delegated with clear Terms of Reference. We have a Risk Register which
is reviewed monthly by the Executive Team and quarterly by our Board of
Trustees and major funder, Arts Council England.
Operaupclose's Articles (dated 8 July 2013) detail all necessary
mechanisms for the Board to have full oversight and responsibility; set
reserves; engage and pay employees- elect new Trustees and refresh the
Board. delegate to committees and manage conflicts of interest.
Operaupclose, its Board, staff and committees operate under a Scheme
of Delegation and Codes of Conduct.
The HR Committee has responsibility for recruitment, employment & HR
policies; pay reviews; and ensuring that Operaupclose's EDI policy &
Code of Conduct are observed & embedded. Since the end of the last
financial year, Operaupclose is proud to have become a Living Wage
Employer accredited by the Living Wage Foundation.
The Finance Committee has responsibility for financial risk management,
reviewing management accounts monthly and holding the executive to
account vs budget.
16
PRIORITIES FOR THE FUTURE
ORGANISATION AND DEVELOPMENT
Recruitment of a new Chair of Trustees
Generation of a robust business plan for the next 5 years
Evolving a strategic approach to fundraising:
Continuing to work with like-minded Trusts and Foundations
willing to support us at core, while cultivating new opportunities
and partnerships to support our future sustainability.
Expanding the Reinventions Donor Circle to strengthen support for
our work, focusing on regular giving, generating unrestricted
income, and engaging potential supporters in Southampton and
the wider Solent region.
Extending our national and international reach through corporate
partnerships using our collaboration with the Cunard Showcases
Programme to generate income and act as a partnership model to
replicate across different companies / industries.
DIGITAL PLATFORMS
Evolve the way we use digital platforms to broaden our impact.
Invest in digital skills development and audience engagement
programs to continue refining our data evaluation matrix and enhance
capabilities and effectiveness.
Expand our reach and audience base through engagement across
social platforms
Complete Let's Get Real with the audience agency to understand our
reach through digital engagement
Incorporate digital design in all upcoming productions
17
PROGRAMMING
The national launch of a new programme of work for 2024-27,
Reinventions- a series of three one-act operas: Riders to the
Sea, Gianni Schicchi (with a new alternative title Where There's a Will),
and Salome, reimagined for the modern world in a new chamber
orchestrations and English libretti.
Touring our highly anticipated production of Riders to the Sea at a
national level as part of the Reinventions programme, establishing and
evolving long-term relationships with venues to reach broader and
more diverse audiences.
Evolving our approach to inclusivity and access, developing a model
for creative captioning beginning with Riders to the Sea.
Continuing to develop Opera for the Very Young - Stories through
Sound in collaboration with South Coast Music Partnership in the
Solent region, making work locally to then tour nationwide. This project
involves co-creating new material with children aged 3-5, through
holistic creative arts workshops in schools, for an Early Years opera
inspired by the award-winning book Flotsam.
Championing the classics (music and literature) through reinvention,
bringing new audiences to the art form through diversity of scale,
creatives and narrative, and bringing established audiences to new
music by introducing them to contemporary writing through the lens of
established repertoire.
Bringing Operacocktail to venues across the UK that have limited
access to live cultural experiences, creating new opportunities for
collaboration and ensuring that opera is accessible to everyone,
regardless of geographic location.
18
Operaupclose Ltd, is a company limited by guarantee which is also
registered as a charity. For the purposes of the Companies Act 2006,
the members of the board of trustees are also the directors of the
company. Name of charity Operaupclose Ltd Charity registration
number 1153307. Company registration number 08613929.
Trustees serving during the year and since the year end:
Abigail Toland (Chair, resigned 10th October 2023)
John Andrews
Amanda Ariss
Charith Cabraal (Acting Chair from 26th June 2023)
Matthew Lyons
Joe McFadden
Gweneth Ann Rand
Carolyn Ward
John Ward (resigned 31st March 2024)
Clare Williams
The Trustees have considered how the charity's activities create
public benefit. They have concluded that Operaupclose's activities
are entirely for public benefit because they are undertaken solely for
the charitable purpose of the advancement of the arts.
Charith Cabraal (Acting Chair)
Date 25/11/2024
19
OFfRAUPCLOSE LTD
INDEFfNDENT EXAMINERS REPIIIT
YEAR ENDED 31 MARCH 2024
I report to the trustees on my examination of the accounts of the charitable company for the
year ended 31 March 2024
Responsibilities and the basis of the report
As the charity Trustees, who are also directors for the purposes of company law, are
responsible for the preparation of the accounts in accordance with the provisions of the
Companies Act 2006 ('the 2006 Act,)
Having satisfied myself that the accounts of the company are not required to be audited
under Part16 of the 2006 Act and are eligible for independent examination, I report in respect
of my examination of your charity's accounts carried out under section 145 of the Charities
Act 2011 ('the 2011 Act,). In carrying out my examination I have followed the directions given
by the Charity Commission under section 145(5) (b) of the 2011 Act.
Independent examiners statement
Since the Charitable company's gross income exceeded £250,000, your examiner must be a
member of a body listed in section 145 of the 2011 Act. I confirm that l am qualified to
undertake the examination by virtue of my membership of the Institute of Chartered
Accountants in England and Wales, which is one of the listed bodies.
I have completed my examination. I confirm that no matters have come to my attention in
connection with the examination giving me cause to believe that in any material respect:
1.Accounting records were not kept in respect of the Company as required by section 386
of the 2006 Act: or
2.The accounts do not accord with those records; or
3.The accounts do not comply with the requirements of 396 of 2006 Act other than any
requirement that the accounts give a'true and fair view, which is not a matter considered
as part of the independent examination: or
4.The accounts have not been prepared in accordance with the methods and principles of
the Statement of Recommended Practice for accounting and reporting by charities
applicable to charities preparing their accounts in accordance with Financial Reporting
Standard applicable in the UK and the Republic of Ireland (FRS102)
I have no concerns and have come across no other matters in connection with the
examination to which attention should be drawn in this report to enable a proper
understanding of the accounts to be reached.
Date 25111/25
David Mead FCA
Tremain House
Maple Drive
Winchester
Hampshire
S0237NG
20
## **OperaUpClose Ltd**
## **Statement of Financial Activities (including Income and Expenditure Account) For the year ended 31 March 2024**
|**Notes**
**Income and endowments from:**
Donations and legacies
2
Charitable activities
3
Investments
4
Other income
5
**Expenditure on;**
Raising funds
6
Charitable activities
7/8
**Net income**
**Reconciliation of funds**
Total funds brought forward
**Total funds carried forward**|**Unrestricted**
275,596
46,772
633
78,684
401,685
11,875
325,879
337,754
63,931
58,737
122,668|**Restricted**
53,159
-
-
-
53,159
-
123,467
123,467
(70,308)
85,488
15,180|**2024**
328,755
46,772
633
78,684
454,844
11,875
449,346
461,221
(6,377)
144,225
137,848|**2023**
224,151
4,500
95
21,593
250,339
21,276
184,442
205,718
44,621
99,604
144,225|
|---|---|---|---|---|
21
## **OperaUpClose Ltd Statement of Financial Position As at 31 March 2024**
||**Notes**|**2024**|**2023**|
|---|---|---|---|
|**Current assets**||||
|Debtors|14|12,240|28,251|
|Cash at bank and in hand||142,514|133,859|
|**Creditors: amounts falling due within one year**||154,754
(16906)|162,110
(17,885)|
|**Net current assets**||137,848|144,225|
|**Total Assets less current liabilities**||137,848|144,225|
|**Creditors: amounts due after more than one year**||-|-|
|**Net Assets**||137,848|144,225|
|**The funds of the charity**||||
|Restricted income funds||15,180|85,488|
|Unrestricted income funds
**Total funds**||122,668
137,848|58,737
144,225|
For the year ended 31 March 2024 the company was entitled to exemption from audit under section 477 of the companies Act 2006 relating to small companies.
The members have not required the company to obtain an audit of its accounts for the year in question in accordance with section 476.
The trustees acknowledge their responsibilities for complying with the requirements of the Act with respect to accounting records and the preparation of accounts. These accounts have been prepared in accordance with theprovisions applicable to companies subject to the small companies' regime.
The financial statements were approved and authorised for issue by the Board and signed on its behalf by:
Nov 25 2024 __________________________________________ Charith Cabraal
Acting Chair and Trustee
22
**OperaUpClose Ltd Notes to the Financial Statements For the year to 31 March 2024**
## **1. Accounting Policies Basis of accounting**
The financial statements have been prepared under the historical cost convention except for investments which are included at market value and the revaluation of certain fixed assets and 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 Republic of Ireland (FRS102) (effective 1[st] January 2019)’, Financial Reporting Standard 102 the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) and the Companies Act 2006.
UpClose Productions meets the definition of a public benefit entity under FRS102. Assets and liabilities are initially recognised at historic cost or transaction value unless otherwise stated in the appropriate accounting policy note(s).
## **Going concern**
The financial statements have been prepared on a going concern basis which is, in the view of the trustees, the appropriate basis to be applied.
## **Incoming resources**
Gross income represents the value, net of VAT and discounts, of goods and services provided to customers and work carried out in respect of services provided to customers.
## _Categories of income_
Income is categorised as income from exchange transactions (contract income) and income from non- exchange transactions (gifts), investment income and other income.
Income for exchange transactions is received by the charity for goods and services supplied under contract or here entitlement is subject to fulfilling certain performance related conditions. The income the charity receives is approximately equal in value to to the goods or services supplied by the charity to the purchaser.
Income for non-exchange transactions is where the charity receives value from the donor without providing equal value in exchange and includes donations of money, goods and services freely given without giving equal value in exchange.
## _Income recognition_
Income, whether from exchange or non-exchange transactions, is recognised in the Statement of Financial Activities (SOFA) on a receivable basis, when a transaction or other event results in an increase in the charity’s assets or a reduction in its liabilit ies and only when the charity has legal entitlement, the income is probable and can be measured reliably.
23
**OperaUpClose Ltd Notes to the Financial Statements For the year to 31 March 2024**
Income subject to terms and conditions which must be met before the charity is entitled to the resources is not recognised until the conditions have been met.
All income is accounted for gross, before deduction of any fees and costs.
## _Deferred income and income received in advance_
Where terms and conditions for relating to income have not been met or uncertainty exists as to whether the charity can meet any terms or conditions otherwise within its control, income is not recognised but is deferred as a liability until it is probable that the terms or conditions can be met.
Any grant that is subject to performance related criteria conditions received in advance of delivering the goods and services required by that condition or is subject to unmet conditions wholly outside control of the recipient charity, it is accounted for as a liability and shown on the face of the balance sheet as deferred income. Deferred income is released to income in the reporting period in which the performance related or other conditions that limit recognition are met.
When income from a grant or donation has not been recognised due to the conditions applying to the gift not being wholly within the control of the recipient charity, it is disclosed as a contingent asset if receipt of the grant or donation is probable once those conditions have been met.
Where time related conditions are imposed or implied by a funder, then the income is apportioned to the time periods concerned and, where applicable, it is accounted for as a liability and shown on the balance sheet as deferred income. When grants are received in advance of the expenditure on the activity funded by them but there are no specific time periods, then the income is not deferred.
Any condition that allows for the recovery by the donor of any unexpected part of the grant does not prevent recognition of the income concerned but a liability to any payment is recognised when repayment become probable.
_Supporter (friends and Patrons) subscriptions_
The income and any associated Gift Aid or other tax refund from a supporter subscription received by the charity in the nature of a gift, is accounted for on the same basis as a donation.
The income from a membership subscription purchases the right to services or benefits is recognised as income from charitable activities.
## **Resources expended**
A liability and the related expenditure is recognised when a legal or constructive obligation exists as a result of a past event, and when it is more likely than not that a transfer of the economic benefits will be required in settlement, and when the amount of the obligation can be measured or reliably estimated.
24
**OperaUpClose Ltd Notes to the Financial Statements For the year to 31 March 2024**
Liabilities arising from future funding commitments and constructive obligations, including performance related grants, where the timing or the amount of future expenditure are uncertain, give rise to a provision in the accounts that is reviewed at the accounting year end. The provision is increased to reflect any increase in liabilities and is decreased by the utilisation of any provision within the period and reversed if any provision is no longer required. These movements are charged or credited to the respective funds and activities to which the provision relates.
## **Allocation and apportionment of costs**
Direct costs that relate specifically to an activity are allocated to that activity. Shared direct costs and support costs are apportioned between activities.
The basis for apportionment, which is consistently applied, and proportionate to the circumstances, is.
– Staffing on the basis of the time spent in connection with any particular activity.
Premises related costs – on the proportion of the floor area occupied by a particular activity.
– Non-specific support costs on the basis of the usage of resources
## **Taxation**
As a registered charity, the organisation is exempt from income and corporation tax to the extent that its income and gains are applied toward the charitable objects of the charity and for no other purpose. Value Added Tax is included in the relevant costs in the Statement of Financial Activities to the extent that it is not recoverable by the charity.
## **Winding up or dissolution of the charity**
If upon winding up or dissolution of the charity any assets remain after the satisfaction of all debts and liabilities, the assets represented by the accumulated fund shall be transferred to some other charitable body or bodies having similar objects to the charity.
## **Debtors**
Debtors are measured at their recoverable amounts at the balance sheet date.
## **Creditors and provisions**
Creditors are stated at the amount considered payable at the balance sheet date.
25
## **2. Income from Donations and legacies**
|Donations received
Grants received
Subscriptions received
**Analysis of grants received**
Arts Council England
John Ellerman Foundation
Grove End Housing
International Music and Art Foundation
The D'Oyly Carte Charitable Trust
Trinity Buoy Wharf Trust
Vaughan Williams Foundation
The Big Give
2023 grants not repeated in 2024
**3. Income from charitable activities**
**Unrestricted funds**
Income from charitable activities
**4. Investment income**
**Unrestricted funds**
Bank interest receivable
**5. Other income**
**Unrestricted Funds**
Miscellaneous income
Theatre Tax Relief|**Unrestricted**
**Funds**
**£**
14,121
257,166
4,309
275,596|**Restricted**
**Funds**
**£**
18,554
34,605
-
53,159|**2024**
**£**
32,675
291,771
4,309
328,755
**2024**
**£**
229,605
30,000
16,666
10,000
4,000
3,729
3,000
2,500
299,500
**2024**
**£**
46,772
**2024**
**£**
633
**2024**
**£**
30,546
48,138
78,684|**2023**
**£**
37,777
175,183
11,191
224,151
**2023**
**£**
37,183
30,000
-
10,000
3,000
-
-
-
95,000
175,183
**2023**
**£**
4,500
**2023**
**£**
95
**2023**
**£**
-
21,593
21,593|
|---|---|---|---|---|
26
|**6. Expenditure on other trading activities**
**Unrestricted funds**
Raising funds and costs of Investment managements
**7. Costs of charitable activities by fund type**
**Unrestricted**
**Funds**
**£**
Opera productions and learning and
222,228
participation costs
Support costs
103,651
325,879
**8. Costs of charitable activities by activity type**
**Activities**
**undertaken**
**directly**
**£**
**Support costs**
Opera productions and Learning and
participation Activities
103,651
**9. Analysis of support costs**
**Opera productions and Learning and participation Activities**
Employee costs not included in direct costs
Administrative overheads
Financial costs
Governance costs
**10. Net income after charging**|**Restricted**
**Funds**
**£**
78,066
45,401
123,467
**Support**
**Costs**
**£**
45,401|**2024**
**£**
11,875
**2024**
**£**
300,294
149,052
449,346
**2024**
**£**
149,052
**2024**
**£**
65,796
77,602
5,654
-
149,052|**2023**
**£**
21,276
**2023**
**£**
107,453
76,989
184,442
**2023**
**£**
184,442
**2023**
**£**
60,110
14,543
2,336
-
76,989|
|---|---|---|---|
**2024**
**2023**
27
|Accountancy fees
**11. Staff costs**
Total staff costs for the year ended 31 March 2024 were:
Salaries and wages
Social security costs
Pension costs
**12. Employee numbers by activity**
Administration
Charitible activities
Fundraising
The Full Time Equivalent for the staff complement is 2.1 (20223 - 2.1)
**13. Comparative for the Statement of Financial Activities**
**Unrestricted**
**funds**
**£**
**Income and endowments from:**
Donations and legacies
95,243
Charitable activities
4,500
Investments
95
Other income
21,593
Total
121,431
**Expenditure on:**
Raising funds
21,276
Charitable activities
103,669
Total
124,945
**Net expenditure/(income)**
(3,514)
**Reconciliation of funds**
Total funds brought forward
62,251
**Total funds carried forward**
58,737|**£**
5,654
**2024**
**£**
103,974
4,819
2,404
111,197
**2024**
1
3
1
5
**Restricted**
**funds**
**£**
128,908
-
-
128,908
-
80,773
80,773
48135
37,353
85,488|**£**
2,336
**2023**
**£**
86,790
-
(1,148)
85,612
**2023**
1
3
1
5
**2023**
**£**
224,151
4,500
95
21,593
250,339
21,276
184,442
205,718
44,621
99,604
144,225|
|---|---|---|
28
## **14 Debtors**
|**Amounts being due in one year:**
Trade debtors
Other debtors
**15. Creditors: amounts falling due within one year**
Trade creditors
Other creditors
PAYE and NI
Accruals and deferred income
**16. Movement in Funds**
**Unrestricted Funds**
General
Unrestricted revenue accumulated funds
**Unrestricted Funds - Previous year**
General|**Balance at**
**01/04/2023**
58,737
**Balance at**
**01/04/2022**
62,251|**Incoming**
**Sources**
401,685
**Incoming**
**Sources**
121,431|**2024**
**£**
2,160
10,080
12,240
**2024**
**£**
4,982
1,704
4,343
5,877
16,906
**Outgoing**
**Sources**
(337,754)
**Outgoing**
**Sources**
(124,945)|**2023**
**£**
344
27,907
28,251
**2023**
**£**
11,882
1,394
2,535
2,074
17,885
**Balance at**
**31/03/2024**
122,668
**Balance at**
**31/03/2023**
58,737|
|---|---|---|---|---|
## **Purpose of unrestricted funds**
## Unrestricted revenue accumulated funds
These funds are held for the the meeting of the objectives of the charity and to provide reserves for future activities and, subject to charity legislation, are free from all restrictions on their use.
|**Balance at**|**Incoming**|**Outgoing**|**Balance at**|
|---|---|---|---|
|**01/04/2023**|**Sources**|**Sources**|**31/03/2024**|
## **Restricted Funds**
29
|Production fund
Training and development
**Restricted Funds**
Production fund
Training and development|85,488
-
85,488
**Balance at**
**01/04/2022**
37,353
37,353|53159
-
53,159
**Incoming**
**Sources**
128,908
-
128,908|(123,467)
-
(123,467)
**Outgoing**
**Sources**
(80,773)
-
(80,773)|15,180
-
15,180
**Balance at**
**31/03/2023**
85,488
-
85,488|
|---|---|---|---|---|
## **Purpose of restricted funds**
## Production fund
These funds are held for current and future productions and learning and participation programmes.
## Training and development
To develop the charity by training staff and developing organisational and fund raising functions
## **17. Analysis of the assets between funds**
|**Year ended 31 March 2024**
**Unrestricted funds**
General
Unrestricted revenue accumulated funds
**Restricted funds**
Training fund
Production fund
**Previous year - 31 March 2023**
**Unrestricted funds**|**Net current**
**Assets/**
**liabilities**
**£**
122,668
-
15,180
137,848
**Net current**
**Assets/**
**liabilities**
**£**|**Creditors >**
**one year**
**£**
-
-
-
**Creditors >**
**one year**
**£**|**Net**
**Asets**
**£**
122,668
-
15,180
137,848
**Net**
**Asets**
**£**|
|---|---|---|---|
30
|General
Unrestricted revenue accumulated funds
**Restricted funds**
Training fund
Production fund|58,737
-
85,488
144,225|-
-
-|58,737
-
84,588
144,225|
|---|---|---|---|
31
Audit Trail
|**7LWOH**|Yearend accounts|Yearend accounts||
|---|---|---|---|
|File Name|OperaUpClose yearend 2324 FINAL compressed to sign.pdf|||
|Document ID|03d65a310d224fd898fcd887333ce88e|||
|**)LQJHUSULQW**|0830d93c934fe09cb4d0c885ec213632|||
|**6WDWXV**|Completed|||
|Document Created||Document Created by Allison Rosser (allison@operaupclose.com)
Fingerprint: 6d96942236a73ca1404d519a109efccd|Nov 25 2024
03:47PM UTC|
|Document Sent||Document Sent to David Mead (davidmead@pmawin.com)|Nov 25 2024
03:47PM UTC|
|Document Sent||Document Sent to Charith Cabraal (charithcabraal@gmail.com)|Nov 25 2024
03:47PM UTC|
|Document Viewed||Document Viewed by David Mead (davidmead@pmawin.com)
IP: 86.149.159.139|Nov 25 2024
04:15PM UTC|
|||Document Signed by David Mead (davidmead@pmawin.com)||
|||IP: 86.149.159.139||
|DocumentSigned||D
-
7
/|Nov 25 2024
04:16PM UTC|
|Document Viewed||Document Viewed by Charith Cabraal (charithcabraal@gmail.com)
IP: 92.40.169.75|Nov 25 2024
04:51PM UTC|
|Document Viewed||Document Viewed by Charith Cabraal (charithcabraal@gmail.com)
IP: 82.32.168.232|Nov 25 2024
04:58PM UTC|
|||Document Signed by Charith Cabraal (charithcabraal@gmail.com)||
|||IP: 82.32.168.232||
|DocumentSigned||CG 2D|Nov 25 2024
05:00PM UTC|
|**'RFXPHQW**||This document has been completed.|Nov 25 2024|
|**&RPSOHWHG**||Fingerprint: 0830d93c934fe09cb4d0c885ec213632|05:01PM UTC|
**'RFXPHQW** This document has been completed. **&RPSOHWHG** Fingerprint: 0830d93c934fe09cb4d0c885ec213632
Processed by xodo sign