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← Operaupclose Ltd

2025-03-31-accounts

Charity number 1153307 Company number 08613929 (England and Wales)

OperaUpClose Ltd

Report of the Trustees and Unaudited Financial Statement

For the Year ended 31 March 2025

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OperaUpClose Ltd

Contents page

For the year ended 31 March 2025

Charity Information 3 Vy iN BSN 4 Report of the Trustees ; Sy = C< 3 Sy. SN «3[——] 4ENGSS WN Cod2. RS x LS ANN Independent Examiners Report 18 “ieSS . AS

Statement of Financial Activities Statement of Financial Activities Statement of Financial Activities Statement of Financial Activities 20
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Statement of Financial Position Statement of Financial Position Statement of Financial Position Statement of Financial Position : i.BW > SS
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OperaUpClose Ltd

(A company limited by guarantee)

Charity Information

For the year ended 31 March 2025

Charity number 1153307

Company number 08613939 Principal Address Mayflower Studios 142-144 Above Bar Street Southampton SO14 7DU Registered Office Mayflower Studios 142-144 Above Bar Street Southampton SO14 7DU Trustees Hazel Province (Chair, appointed 16th December 2024) John Andrews Amanda Ariss Charith Cabraal Matthew Lyons Joe McFadden Carolyn Ward Clare Williams

Independent Examiner David Mead Tremain House 8 Maple Drive Kings Worthy Winchester Hampshire SO23 7NG

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The Trustees present their annual report and financial statements of the charity for the year ended 31 March 2025. 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.

WHO WE ARE

OperaUpClose is a chamber-scale opera company and arts charity with storytelling, innovation and partnership at its heart, rooted in the Solent region and touring across the UK.

OUR VISION

Opera is embedded in a strong, sustainable cultural sector. Accessible to audiences nationwide; enjoyed, understood and valued as a living, contemporary artform that reflects diverse stories and voices.

i OUR MISSION AND WHAT WE DO } Bringing the power, immediacy and joy of musical storytelling to diverse s audiences across the UK. , From our home at Mayflower Studios, Southampton, we are creating a §|[.] legacy of excellence at a chamber scale, commissioning and producing bold reinterpretations of known operas and stories - alongside coes, created, multi-disciplinary companion pieces - distilling the essence of classics into new contemporary works with their own artistic integrity and identity.

We challenge perceptions of what opera is, who makes it, and who it’s for, broadening access across communities and generations, and making a vital contribution to the evolution and sustainability of the sector.

Intimate in Scale. Mighty in Impact.

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We commission , produce and tour re-imaginings of classics, bringing together contemporary voices and inherited repertoire in new chamber scale operas with their own artistic integrity and excellence.

We build legacy and impact, platforming new work for new audiences, and creating a library of chamber scale reinterpretations that have future value for the sector.

We develop all performers as storytellers with equal agency, extending their creative practise whilst breaking down traditional barriers between pit, stage and audience.

We place partnership at the heart of all our activity, with a growing network of local, national and international collaborators to commission and produce work.

We make new operas for very young children and their families, through a co-creative process in Early Years Foundation Settings (EYFS) with our local community, engaging a new generation in the power of musical storytelling.

We engage local community in our creative process with workshops, focus groups, and platform events, ensuring our work reflects and explores the interests and environment of our audience.

We extend the pipeline into the opera sector with paid opportunities for creatives, producers and technicians from diverse backgrounds.

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2024–25: A Year in Review

This year marked an intense and thrilling period of commissioning, : a We WE 7 los a ae, development and production in the first full stage of Reinventions 202527: 3 one-act classics from the operatic canon radically reimagined within new English words and chamber orchestrations, alongside a brand new co-created opera for 2-5 year olds.

Riders to the Sea a? —_— + a

“ Thank you for keeping this masterpiece alive and giving it a whole new perspective ” Audience member, Hull Truck Theatre

" A hauntingly beautiful text by ArtfulScribe's Community Sirens... contemporary and accessible " View From The Gods

fe> % a } : bi *, =: 2 Scored for four singers, accordion, clarinet, oboe, and pre-recorded choirs – with all performers integrated into the storytelling – the production embodied OperaUpClose’s strategic objectives around audience development through partnership, venue relationships, community engagement in process and production, and a creative approach to access. > ae Be 5. ee oe s hal a .

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“ A multi-media tour de force…

intensifies and enlarges the experience to something that feels personal yet universal. ” Pink Prince Theatre

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Gianni Schicchi (or Where There’s A Will)

dating

The second in OperaUpClose’s Reinventions series, development continued - this reimagining of Puccini’s enduring classic, Gianni Schicchi. A week of workshops was held at Mayflower Studios, with composer Vahan Salorian, writer Hannah Kumari, and director PJ Harris working with a highly skilled group of instrumentalists and opera singers.

With the playful new alternative title ‘or Where There’s A Will’, this Gianni Schicchi, set in a fictional costal town, will take a surreal and satirical look at the challenges of a second home economy, entitlement and class assumptions asking what it means to be complicit and who should be held to account in a world where everyone is out for themselves.

OperaUpClose partnered again with ArtfulScribe to commission five writers from the Solent region to create five short spoken word pieces inspired by and aia) Thy IN et responding to the research and development of Gianni Schicchi, or Where There’s A Will. These were performed in a joyfully tongue in cheek OperaSlam G, /)) = event - a world’s first – at Mayflower Studios and have directly led to our GA commissioning a new spoken-word “overture” that will be performed, recorded and ‘broadcast’ as part of the production’s immersive world-building. This work embodies OperaUpClose’s commitment to partnering across artforms and enhancing existing repertoire with new work inspired by the community voice.

Salome

We began discussions with an exceptional, female creative team – composer Phoenix Rousiamanis, writers Athena Stevens & Toria Banks, and director Anna Morrissey – to commission development work on Strauss and Oscar Wilde’s disturbing masterpiece, taking it through the looking glass in a radical reinterpretation of music and text. With workshops scheduled for 2025 and 2026, y, i and production set for 2027, Salome will be the culmination of the current series of Reinventions.

This project also saw the establishing of new artistic partnerships with Broder, :i Belgium’s experimental musical theatre company and HERA, an ‘intersectional : feminist opera company’ with vast expertise in inclusive storytelling, and Lie - ” creative approaches to access.

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Early Years - Flotsam

The financial year 2024 – 2025 also saw the planning for commissioning a new opera for 2-5 year olds, partnering with Southampton and Isle of WightMusic. Based on David Wiesner’s award-winning wordless picture book, Flotsam, and led by the creative brilliance of composer/writer Dr Kerry Andrew (a “creative force of nature” – BBC Radio 3) and designer/puppet-maker Nikki Charlesworth, this new work will be co-created through a series of holistic performing arts workshops with children on the Isle of Wight, putting their voices at the centre of the creative process.

OperaCocktail

OperaUpClose’s ‘jukebox’ opera, created to develop audiences with venues in areas with limited access to a diverse arts programme, was re-designed by Anna Kelsey and taken back on the road in Flora McIntosh’s refreshed production, building excellent new relationships with venues across the South and South West.

Continuing the highly successful relationship with Cunard UK, OperaCocktail was also programmed on to a seven day transatlantic crossing in December 2024 with a ten day cruise (Japan – America) planned for May 2025.

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Yaz Talent Development

. ~ a =s co Se al This year saw OperaUpClose’s inaugural Trainee Apprentice Producer Scheme, : id a V§ ; . 7 - a run in partnership with Artswork. Abigail Bratcher joined the team in May 2024 - oe “sae a ‘ iH a } ‘ aa and has been developing her skills in all areas of producing, working towards a Level 3 Event Assistant Apprenticeship and making an invaluable contribution to the organisation. u WN) | } : “i. \ ‘ ; 7 4 I -, c . ! os © OperaUpClose continue to champion all creative professionals at the beginning of their careers, offering paid opportunities for Early Career Associates to gain vital professional touring experience and mentorship from the creative team and producers. Working on Riders to the Sea, the exceptional Early Career 4s : a. > - , Associate Artists for 2024/2025 were: Bobbie-Jean Henning – Assistant Director | es Sag — i Robin Simon – Costume Designer

Virginie Taylor – Creative Captions Designer

“ “ ae i bh of — 1 is B..7! A significant step up for me in the areas of From a personal point of view, professionalism, quality and responsibility…a the significance of this project fantastic opportunity ” can't be underestimated ” Bobbie Jean Henning | || 2 _ + Robin Simon In partnership with CityEye, OperaUpClose also commissioned early career _—H vei Dy > >»; . Ss. = “Ie | director Aaron West to create a film to The Last Bit of the Moon, now released across our digital platforms, using evocative visuals to explore the psychological \ Pl j a. ‘ pa depth and haunting power of this companion piece, integrating the aesthetic and creative captions from the stage production. 7 ) — >. F

“ Inspired by director Flora McIntosh's “ OperaUpClose gave me a chance compelling vision, the film challenged me to build skills across disciplines to find a cinematic language that could and see a pathway into opera I complement the operatic form ” didn’t think was possible. ” Aaron West Early Career Associate

Riders to the Sea also saw the development of our ensemble approach, putting the instrumental players at the heart of the action and offering significant professional practise development to all performers. This approach was further expanded in the Gianni Schicchi workshops, with the new score giving named roles, spoken dialogue and shared storytelling responsibility to both players and ‘ ee fw singers; this ‘actor-musician’ aesthetic will be central to the production in 2026. 10

Organisational Development

In the financial year 2024 – 2025 OperaUpClose continued to build and strengthen its core team in Southampton. Two new positions, Trusts and Foundations Manager and Creative Campaigns Producer, both recruited for in the final quarter of financial year 2023 – 2024 and supported by the John Ellerman Foundation, brought invaluable new capacity to the team. 7 th Executive Producer Alison Rosser returned from her maternity leave in May 2024 with Bridget Floyer remaining with the organisation one day per week in an Associate Executive capacity leading on business planning and financial policy; and Abigail Bratcher joined in May 2024 as Apprentice Trainee Producer, adding further capacity to a strengthening team. = 7| APod [SS (cpt

From this increasingly stable position, OperaUpClose continues to invest in the personal and professional development of all staff.

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Governance i

The Executive Team at OperaUpClose continues to be supported by an excellent, skilled and highly engaged Board of Trustees with separate Finance and HR committees that meet regularly and are delegated with clear Terms of Reference.

OperaUpClose remains very grateful to excellent vice-Chair Charith Cabraal for taking the position of Acting Chair, following the departure of Abigail Toland in 2023.

Following a rigorous recruitment process, OperaUpClose was delighted to appoint Hazel Province the new Chair of Trustees in December 2024. Based in the South West, Hazel brings a wealth of knowledge and experience in arts leadership, governance, and strategic development, with a strong background in both the public and private sectors at local, national and international level. She has enjoyed an extensive career in the classical music industry as a violinist, artists’ manager, executive and non-executive director, including significant tenures at RB&O, Covent Garden as Orchestra Director and, later, Director of Planning.

Financial Stability and Resilience

OperaUpClose continued to rebuild its reserves, finishing the year 31 March 2025 with £163,596 to carry forwards, of which £9,031 is restricted for future productions and £32,000 is designated to support the delivery of the Reinventions programme in the year ending 31 March 2026. ~) ~» aa

In response to the current economic climate and budgetary restraints on programming departments at venues, OperaUpClose retains its designated fund to help share financial risk on box office income with venues. This is an investment that supports future programming, and the commitment to building and maintaining venue relationships in key areas taking a shared 8 ~ approach to long-term audience development. a S sath>

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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 from Arts Council England (ACE), trusts and foundation grants, donations and ticket sales, all of which can show 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.

The organisation’s current level of unrestricted reserves, £122,565, is a risk fund of general, free reserves — the equivalent of 6.5 months’ running costs.

Income

At year end 31 March 2025, OperaUpClose continued its return to mid-scale touring, generating unrestricted income through box office sales for both Riders + | to the Sea and OperaCocktail, and through the ongoing relationship with Carnival UK (Cunard Cruises).

The company received unrestricted income from Arts Council England (£195k) and is extremely grateful for ongoing support from Grove End Housing (£20k), International Music and Art Foundation (£10k) and the John Ellerman Foundation (£30k); as well as relationships with new trusts and foundations including the Laidlaw Opera Trust (£10k) and The Marchus Trust (£3k). << vey OperaUpClose was again able to take advantage of the Government’s Theatre Tax Relief scheme, receiving £88,450 of unrestricted funds against capitalisation costs for activity in the year ending 31 March 2024.

The new Reinventions Circle was launched, designed to support the development of the next three years of Reinventions — Riders to the Sea, Gianni Schicchi (or Where There’s A Will) and Salome — through unrestricted donations. This presented opportunities for building relationships with new funders and maintaining relationships with individual donors.

The organisation was once again successful in a campaign through The Big Give Christmas Challenge, securing restricted funds to support development work in schools for new early years opera, Flotsam, in the year ending 31 March 2026.

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Risk Management

OperaUpClose’s governance and financial and risk management are robust. The company has a Risk Register which is reviewed monthly by the Executive Team and quarterly by the 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. The Finance Committee has responsibility for financial risk management, reviewing management accounts monthly and holding the executive to account versus budget.

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| | _ se Priorities for the 2025-26 period

OperaUpClose is operating in a sector still grappling with the aftershocks of ( pandemic-era disruption, shifting audience behaviours, declining public .' é investment, and structural inequalities. Yet there is evidence of fresh appetite for opera — especially in smaller-scale formats, amongst younger and culturally curious audiences, and for works that centre exceptional live . performance. 4

The touring climate remains challenging, with increasing cost pressures reducing some venue capacity, and national and local policy changes — including evolving public funding models and regional devolution — likely to reshape how the business operates over the coming years and require a continued to strengthening of financial resilience.

OperaUpClose stands ready to respond to this complex and fast-changing environment with agility and ambition, and sees the challenges of this landscape as an opportunity to demonstrate strength through partnership, innovation and flexibility.

In the next financial year, this ambition will be underscored by the completion of a Business Plan 2025–2030, which will demonstrate the organisation’s commitment to evolving a sustainable touring model, on-going high-quality artistic co-creation, and an inclusive talent development programme.

OperaUpClose’s ongoing aim is to strengthen the cultural fabric of the country by delivering high-quality opera and music theatre at a chamber scale, connecting audiences with the power, relevance and immediacy of the artform. 1

In 2025–26 we will deliver:

A national tour of Gianni Schicchi (or Where There’s a Will)

Workshops and development of Flotsam

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Gianni Schicchi (or Where There’s A Will)

The second in OperaUpClose’s series of Reinventions will open in partnership with Mayflower Studios in March 2026 before a national tour to mid-scale theatres.

The project embodies OperaUpClose’s commitment to innovation, creative access and environmental responsibility, aiming to deliver our first Theatre Green Book Basic show, while continuing to pioneer approaches to creative captioning.

Flotsam

Beginning in July 2025, Flotsam will be developed over the next financial year in “ partnership with Southampton and Isle of Wight Music Hub. Through three sets ® 2 of workshops in schools on the Isle of Wight, tracking children's’ journey through f , f . q Year 1, this project aims to generate original material through music-making, yi £ poetry and visual art. i

The project also aims to support specific curriculum outcomes in the classroom with the creation of specialist resource material for teachers, and mi sedi ' zi pilot a best-practise model for co-creation in Early Years setting. i ay. hy OperaUpClose will invest in a comprehensive evaluation of the project, commissioning an external evaluator to collaborate closely with the hub, schools and creative practitioners.

At time of writing OperaUpClose has a new partnership in place with Half Moon Theatre, London to support a full theatrical production that will also extend our o.@|'}-? Vee creative approach to access by integrating visual vernacular throughout. a) = ey 6 i Flotsam will tour both schools and theatres in Autumn 2026.

OperaCocktail he ‘oy, e .

OperaUpClose will continue developing and touring OperaCocktail to smaller tae, 1° > : ’ * venues and arts centres with limited access to a diverse programme of ee creative arts, focusing on the South and South West.

“OperaUpClose is bringing musical giants down from their perches and making e@ them face up to their contextual roots” Leftlion.co.uk

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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 yearend: Hazel Province (Chair from 16th December 2024) John Andrews Amanda Ariss Charith Cabraal Matthew Lyons Joe McFadden Carolyn Ward 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.

Hazel Province (Chair)

Date: 28/10/2025

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OperaUpClose Ltd Independent Examiners Report Year ended 31 March 2025

I report to the trustees on my examination of the accounts of the charitable company for the year ended 31 March 2025

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 I 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)

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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.

David Mead FCA Tremain House Maple Drive Winchester Hampshire SO237NG

Date: 28/10/2025

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OperaUpCIose Ltd Statement of Financial Activities (including Income and Expenditure Account) For the year ended 31 March 2025 Notes Unrestrirted Restrirted 202S 2024 Income and endowments from: Donations and legacies 2 Charitable activities Investments Other income 305,742 33,328 12,500 318,242 33,328 328,755 46,772 633 78,684 92,386 92,386 431.460 12,$00 443,960 454,844 Expendlture on; Raising funds Charitable activities 15,063 385.SOO 15,063 404,149 11,875 449,346 718 18,649 41)0,563 18,649 419,212 461.221 Net income 30,897 (6,149) 24,748 (6,3771 Reconclllatlon of funds Total funds brought forward 122,668 15,180 137,848 144,225 Total funds carrled forward 153,565 9,031 162,596 137,848 20

Operaupclose Ltd Statement of Financial Position As at 31 March 2025 Notes 2025 2024 Current assets Debtors Cash at bank and in hand 14 18,701 169,966 12,240 142,514 188,667 154,754 Credltors.. amounts fallln8 due wlthln one year <26,071) (16.906) Net current assets 162,596 137,848 Total Assets le$5 current Ilabilitles 162,596 137,848 Credltors.. amounts due after more than one year Net Assets 162,596 137,848 The funds of the charlty Restricted income funds 9,031 153,565 15,180 122,668 Unrestricted income funds Total funds 162,596 137,848 For the year ended 31 March 2025 the company was entitled to exemption from audit under section 477 of the companies Act 2006 relating to small companies. The member5 have not required the cornpany 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 accountin8 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: Chair and Trustee Date: 2811012025 21

  1. Income from Donatlons and legacies Unrestrirted Rostrlcted nds nds 2025 2024 Donations received Grants received Subscriptions received 11,340 291,000 3.402 12,5(X) 23,840 291,CMJO 3.402 32,675 291,771 4,309 305,742 12,500 318,242 328,755 Analysis ot grants recelved 2025 2024 Arts Council England John Ellerman Foundation Grove End Housing Back Stage Trust International Music and Art Foundation Laidlaw Foundation Vaughan Williams Foundation Marchus Trust 195,000 30,000 20,000 13,500 10,000 10,000 3.000 229,605 30,000 16,666 10,000 4,000 3000 Golsoncott Trust Garrick Charitable Trust The Hinrlchson Foundation CIO The Firizi trust 2,100 400 2024 grants not repeated in 2025 6,229 299,500 291,000
  2. Income from charltable art5vftles 2025 2024 Unrestrlrted funds Income from charitable activities 33.328 46,772

  3. Investment Income 2025 2024 Unrestrlcted funds Bank interest receivable 633 S. Other income 2025 2024 Unrestrlcted Funds Miscellaneous income 30,546 48,138 Theatre Tax Relief Gift Aid 88.450 1.936 92.386 78.684 22

  4. Expenditure on other trading activities 202S 2024 Unrestrlcted funds Raising funds and costs of Investment rnana8ements 15,063 11.875

  5. Costs of charltable actlvltles by fund type 2025 2024 Funds Funds Opera productions and learning and participation costs Support costs 258,696 18,649 277.345 300,294 126,804 126,804 149,052 385.500 18.649 404.149 449.346
  6. Costs of charltsble artlv5tles by artlvity type Actl¥ltl•s Supp 2025 2024 undert•ken Costs dlrectty Support costs Opera productions and Learning and participation Activities 83.215 126,804 210,019 184,442
  7. Analysis of support costs 2025 2024 Opera productions and Learning and participation Activities Employee costs not included in direct costs 77,307 65,796 Administrative overheads 46,851 77.602 Financial costs 5,517 5,654 Governance costs 129,675 149,052

  8. Net income after charging 2025 2024 Accountancy fees 5,517 5.654 23

  9. Staff costs 2025 2024 Total staff costs for the year ended 31 March 2024 were.. Salaries and wages Social security costs Pension costs 160,909 8.303 3,501 103,974 4,819 2.404 172.713 85,612

  10. Employee numbers by activity 2025 2024 Administration Charitible activities Fundraising The Full Time Equivalent for the staff complement is 2.112024 - 2.11

  11. Comparative for the Statement of Financial Activities Unrèstricted Restricièd 2024 funds fund5 Incorne and endowment5 from: Oonations and legacies Charitable activities 275.596 46,772 633 53.159 328.7SS 46,772 633 Investment5 Other income Total 78,684 401,685 78,684 454,844 53,159 Expenditure on: Raising funds Charitable activities 11.875 325.879 337,754 11,875 449,346 461,221 123,467 123,467 Total Net expenditure/(Income) 63.931 {70.3081 16,3771 Reconciliation of funds Total funds brought forward Total funds carried forward 58,737 122.668 85,488 15,180 144,225 137,848 14 Debtors 2025 2024 Amounts being due in one year: Trade debtors 5.446 2,160 10,080 Other debtors 24 VAT 5,003

  12. Credltors: amounts falllng due wlthln one year 2025 2024 Trade creditofs Other creditors 6,471 1.723 S.263 12,614 4,982 1,704 4,343 5,877 National Insurance Accruals and deferred income 26,071 16.906

  13. Movement In Funds Imxnl (Walni Soutt•s 311031202S B•lanee •t 0110112024 Unrestrlrted Funds General Unrestricted revenue accumulated funds 122,668 431.460 {400,563) 153,565 Ir•comln8 (Wolni B•l•nce •t 0110412023 Soufc 3V0312024 Unrestrlcted Funds- Prevlous year General 58,737 401,685 (337,754) 122,668 Purpose of unrestrlcted 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. l•n¢e •t Intoml (M¢olni 5owc•s JU0312025 0110412024 5ourc•s Restrfrted Funds Production fund 15,180 12.SOO 118,6491 9,031 Training and development BalaA¢e •t In¢omln¢ Sources Outeolni Sources Balance ai 0110412023 3110312024 Restricted Funds Production fund 85.488 53,159 1123,4671 15.180 Training and development 85,488 53,159 1123,4671 15.180 25

Purpose of restrlcted funds Produttion 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 or8anisational and fund raising functions 17. Analysls of the assets between funds Net ¢yrrenl fJedltors > M•t •n• ye*r Year ended 31 March 2025 Ntjes Unrestrlrted funds General Unrestrirted revenue accumulated funds 153,565 153,565 Restrlcted funds Training fund Production fund 9,031 9,031 162,596 162,596 Net current Credltors > Net A55etsl one year Previous year - 31 March 2024 Il•bllltles Unrestricted funds General Unrestricted revenue accumulated funds 122.668 122,668 Restrirted fund5 Training fund Production fund 15,180 15,180 137.848 137,848 26

Signatures

Oct 28 2025 Date: ________

Oct 29 2025 Date: ________

Signature: ________ a David Mead

Signature: ________

Hazel Province

Audit Trail

Document Details

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Trustees Report 2025.pdf		 Title
Trustees Report 2025.pdf
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Trustees Report 2025.pdf
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