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 

1 



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|
|---|---|---|---|---|---|---|
|||||S|Fa||
|Statement of Financial Position|Statement of Financial Position|Statement of Financial Position|Statement of Financial Position|:|i.BW > SS<br>+S|21|



2 



## 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 

3 



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.** 

4 



**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. 

5 



## **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 

- Ke...elSa=| i.la ‘, = ae" 4Fe"eh Pn = - -_a The first production in OperaUpClose’s Reinventions series, Riders to the Sea was created in association with Mayflower Studios and toured to eight venues across England in February 2025, receiving widespread critical acclaim and reaching a live audience of 1,482. : i , . ‘i A bold new chamber orchestration by award-winning composer Michael Betteridge, with a powerful new prologue The Last Bit of the Moon cocreated with Antosh Wojcik and ArtfulScribe’s Community SirensCollective, reframed Vaughan Williams’ opera as a timeless exploration of I ” = _ >» + iL m ; vi a family, memory and loss. ae if[2] .-,. n , oe % 

“ _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 . 

6 



“ _A multi-media tour de force…_ 

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

   - “ _OperaUpClose have been ambitious and modern in their approach,_ 

   - _putting community at the heart of the creative process._ ” 

   - Michael Betteridge, composer 

- 8 venues toured nationwide 

- 1,482 audience members attended live performances 

- 160 community singers from schools in the SW and choirs across the UK engaged in the process 

- Creatively captioned – captions embedded into the design and central to the narrative experience 

- Full evaluation and impact report created and published here 

7 



## 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. 

8 



## 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. 

9 



## 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. 

- Oxford Cultural Leaders – accrued for in the financial year 2024 – 2025, Artistic Director and CEO, Flora McIntosh will join the prestigious Oxford Cultural Leaders Programme in May 2025, with associated 1-2-1 coaching on-going. 

- ITC Leadership Support Programme – to further support on-going strongand creative leadership throughout OperaUpClose, the CEO and Deputy _ — mS Ee i. = ment ’ Sic CEO engaged in the new ITC Leadership Support Programme, designed toenable leaders to support and mentor each other, creating a safe, \ npAE SE RO evereR SSAA 

- gieer Wh eS es onSe: ia 

- collegiate environment for knowledge sharing, problem solving and - i ohReus Sacha scull i 

- strategy development through the principles of action learning (peer coaching). be [i FBI IGS ee 

- Staff and Board Away Days – experienced coach and business i Age eee ae P a i "= = development consultant, Bridget Floyer, brought her extensive knowledge of fi ig = eb fy 6 ; i, ry \ \ ; the organisation to deliver a series of collaborative team and Board ' sessions to guide and facilitate the production of a comprehensive Se A 

- Business Plan (2025 – 2030). The process designed to ensure that staff and trustees are actively involved in shaping OperaUpClose’s future, and that the resulting plan is genuinely understood, embraced, and owned by all ny) —— ate WESNG AT C 

- stakeholders. . 

11 



## **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. 

13 



## 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. 

14 



## | | _ 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_ 

- Commission the first stages of research and development for _Salome_ s 7.) 

- Extended tour of _OperaCocktail_ Summer 2025 

15 



## 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 

16 



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 

17 



## 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 

19 



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

2. 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
3. Income from charltable art5vftles
2025
2024
Unrestrlrted funds
Income from charitable activities
33.328
46,772
4. 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

6. Expenditure on other trading activities
202S
2024
Unrestrlcted funds
Raising funds and costs of Investment rnana8ements
15,063
11.875
7. 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
8. 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
9. 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
10. Net income after charging
2025
2024
Accountancy fees
5,517
5.654 23

11. 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
12. Employee numbers by activity
2025
2024
Administration
Charitible activities
Fundraising
The Full Time Equivalent for the staff complement is 2.112024 - 2.11
13. 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

15. 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
16. 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** 

|**Title**<br>Trustees Report 2025.pdf|**Title**<br>Trustees Report 2025.pdf||
|---|---|---|
|**File Name**<br>Trustees Report 2025.pdf|||
|**Document ID**<br>5fa30931f4de49fa9573e41e5942a361|||
|**Fingerprint**<br>d34d80dbf76e050b4c3387f0f348688e|||
|**Status**<br>Completed<br>Ld|||
|**Document History**|||
|**Document Created**<br>Document Created by Steve Phillips (steve@operaupclose.com)<br>Fingerprint: 93edfe61ddfd6ff8c730fa6214087856||Oct 28 2025<br>04:17PM UTC|
|**Document Sent**<br>Document Sent to David Mead (davidmead@pmawin.com)||Oct 28 2025<br>04:17PM UTC|
|**Document Sent**<br>Document Sent to Hazel Province (hazelprovince@outlook.com)||Oct 28 2025<br>04:17PM UTC|
|**Document Viewed**<br>Document Viewed by David Mead (davidmead@pmawin.com)<br>IP: 86.152.237.107||Oct 28 2025<br>04:18PM UTC|
|**Document Viewed**<br>Document Viewed by David Mead (davidmead@pmawin.com)<br>IP: 86.152.237.107||Oct 28 2025<br>04:34PM UTC|
|Document Signed by David Mead (davidmead@pmawin.com)|||
|IP: 86.152.237.107|||
|**Document Signed**<br>Vit|Ind|Oct 28 2025<br>04:35PM UTC|
|a|||
|**Document Viewed**<br>Document Viewed by Hazel Province (hazelprovince@outlook.com)<br>IP: 52.102.18.37||Oct 29 2025<br>10:15AM UTC|
|**Document Viewed**<br>Document Viewed by Hazel Province (hazelprovince@outlook.com)<br>IP: 86.159.158.51||Oct 29 2025<br>10:15AM UTC|
|**Document Viewed**<br>Document Viewed by Hazel Province (hazelprovince@outlook.com)<br>IP: 72.153.231.69||Oct 29 2025<br>10:15AM UTC|
|**Document Viewed**<br>Document Viewed by Hazel Province (hazelprovince@outlook.com)<br>IP: 66.249.91.198||Oct 29 2025<br>10:15AM UTC|





|**Document Viewed**|Document Viewed by Hazel Province (hazelprovince@outlook.com)<br>IP: 66.249.91.192|Oct 29 2025<br>10:16AM UTC|
|---|---|---|
||Document Signed by Hazel Province (hazelprovince@outlook.com)||
||IP: 86.159.158.51||
|**Document Signed**|fle|Oct 29 2025<br>10:16AM UTC|
||S/||
|**Document**|This document has been completed.|Oct 29 2025|
|**Completed**|Fingerprint: d34d80dbf76e050b4c3387f0f348688e|10:16AM UTC|