Trustees, Annual Report for the period From Period stsrt date T Period end datc JJnum" ikccml¥er Section A Reference and administration details Charity ngme The Other Room Other names charity is known by TOR Theatre Registered chydrity number (if any) 1157886 Charity's principal address The Othcr Room, Porter's Bar. Ilarlech Court, Bule Terrace. Cardiff Postcode CFIO 2FE Names of the chydrity trustee8 w'ho mangge the charity D*¢# i¢ted if aot for whole )t4r Try$i¢e Offlte Ilf illy) N4me of person lor body) tthtltltd io
ppoinl trusttt lif gnyl
l Gareth Lucey 2 1,ouise Price Chair I I're&surer 3 John Wilkins 4 Suzanne Jackson 5 Vivienne Buckley 6 Slmon Hanis 7 Ro8hni Patel Name8 of the trustees for the Charity, if any? (for example, any custodian trustees) NAme Dates acted if Dot for whol¢ '¢ar NIA Names and addresses of advis¢r5 (Optional inforniation) Type of adviser Name Address NIA Name of chief execlltive or names of senior staff member5 (Optional information) Daniel Jone8 (C.hief F,xecutive Officer and Artistic Director) TAR March 2012
Section B Structure, overnance and mana ement Description of the charity's trusts Constitution Type of governing document leg? mist deed. con5ti1Utioii How the charity is constituted Charitable Incorporated Organisation (CIO) Trustee selection methods IL¥. appiiiiiied bi. ilLCl4d bl I Appointed for a tem) of the ycars by a resolution p&ssed at a properly convened m¢¢ting of the charity tntee$. Additional governance iqsues (OptionAI information) The end of Porterfs Lease at Harlech Court and the Relocatlon of the vonue While there were no conslitulional Changes or changes lo the organizalions governance, throughout the yearfrorn January - Bember 2022 The Other Room has begun lo prepare for si9nificant changes that will tske place in 2023 1 2024. You may choose to include additional information, where rclcvant. about.. policies and procedures adopted for the induciion and training of trustees: the charity's organisational struLlure any wider nctwork with which the charity works. relationship with any related Since 2015. The Other Room has held a sulFlease with local independent bar and music venue, Porter's. Porterfs lease with the landlord of Harlech Court came lo an end during 2022. However. 8 new arrangement was agreed lo extend the lease for 6 months, after which the lease would continue on a month- by-nth rolling basis. As of December 2022, Porterfs remains at Harle¢h Court. During this time. Porterfs have located a new City Centre Premises, within the same CF10 postcode area. which they will be moving lo in 2023124. The strategic decision was made by the board of trustees and executive lo pursue a similar model and renew the partnership in the new premises The proposed space Is bigger and will lèad to an Increase in on•costs Irenl, service charges et¢ l. While none of these changes presented direct govemance issues lo the organisabon within this financial year. preparing for the changes in the years to come did account for a large ports.on of our strategic planning in 2022. trustees, consideration of major risks and the system and procedures to manage them. TAR March 2012
Section C Ob"ectives and activities The objects of the CIO are to promote and encourage the arts for the benefit of the public by the development, production and presentation of new writing and introducing international drama to the British stage through both the English and Welsh languages, and the provision of theatre facilities and the advancement of education of young persons and adults by participation in the experience of theatre and drama. Summary of the objects of the charity set out in its gov¢rniDg document Retumin from COVID-19- Revolt She Said Revolt A ain Charitable Object. The provision of theatr8 facilitles and Ihe advancement of educat of young p8Asons and 8dulls by partKipation in th8 experience of theatTr and drna. In the spnng of 2022, The Other Room announced ¢ts first self-produced project since the COVID-19 pandern. In May 2022 we produced the Welsh debut of Revolt She Said Revolt Again by established playwright Alice Birch. The project was directed by out former Arts Intern12018 - 20191 and Trainee Director12019- 20201, Nerida Bradley and produced by former Trainee Dire¢lor. Ben Clark. Nerida and Ben were both former participant in The Other Room's Professional Pathway Programme, or PPP la year-ktrng work-based development programme for producers and directors that run from 2018 10 20201. PPP was cul short due lo the COVID-19 pandemie in 2020, where Nenda was due lo direct the gradale showcase in the fomi of a producbon of Revolt She Said Revolt Again with the Royal Welsh College of music an drama. As we were confident that as of April 2022 we would be able lo reopen lo public facing performances, and that we had a duty of care to NerKla and Ben. we decided il would be a real 51atemenl of intent by The Other Roorn lo lead with such a bold play lead by relatively new and untested talent, as this producb.on was both of their debut professional productsons Thematically the play Is about gender roles and politics within the scciety. especially for women. It was notous, colourful, playful and harrowing, and was well attended and re¢eTved by audiences. Summary of the main ctivities undertakcn for the publie henefit in relation to these objee¢,4 (include within this section the statutory declaration that tru4¢ees have had regard to the guidance issued hy the Charity Commission on public benefit) Chan In the Pro rammln Model- Writin s on th8 Wall Chari18bl& Object." The development. production and presentation of new writing and introducing intern8tion81 drama lo the B17tish stage Ihmugh both the English and Welsh languages The aforementioned production of Revolt She Said Revolt Again was the first instslment in an Arts Council Wales National Lottery Grant funded project entitled Writings on the Wall en onginally applied for. the Writings on the Wall programme followed the same pattem as all previous ln -house seasons- plays united by a themes Iwrilings on the wall) that was intended to presented back to back. However, as we are a 47-seat theatre, and while COVID-19 festrictions had eased enough for us lo reopen, it was still prevalent and posing risk lo theatre making in Wales. In betsveen designing the programme and beginning pre-productions, we witnessed arts venues 10 times our size, cancel. delay and re-cast pToducbons because of COVID-19 outbreaks in the company. Addrtionally. in 2021 TOR had conducted our Audience Impact Report. 490/0 of the 402 respondents said The Other Rooffl's self-prodUd content was the most crucial part of our creative programme, evidencing an overwhelming appetite for us to continue our work as a producing house. However, 51 OA considered collaborations. curation. and enrichment WO lo be the most crucial. From these results we understand that there is a clear divide in opinion on the role The Other Room plays. Some view The Other Room as a home for bigger risk taking, smaller scale Curated work, and being all logelher less 'slick'. while others appear to want productson value, scale and 'slickness'. In essence, what is being described here Is the enb.re spectrum of fn.nge theatre. The Other Room has afvdays presented work with1n sel seasons. for example, fr]'nge theatre in the spring and a season of self- produced work in the autumn. The undesired effect of this is that Il drtves a wedge beeen both strands of our ro ramme. Mn more wei ht to our own work and inevitsbl comin across a5 March 2012 TAR
elitist. In the pasL our curated work was given a weeklong slot, that included between 3- 6 performances. We have found though that there isn't the market lo support this length of run for non-local or new artists. Faced with both Ihis insight from the survey, and the strategic risk COVID-19 continued to F)ose, we therefore decided to trial a new model of programming. This model involved us splitting up the Writings on the Wall season of 3 plays and martoet them as individual producb'on, one by one over a longer period. These seemingly stsnd-alone producb'on will then be aceompanied with a diverse programme of small-scale curated work. Givin9 the overall programme a more organic. eclectsc and less slruclured feel- all while giving us the flexibility to respond effecbvely to possible COVID-19 outbreaks. This did mean however, that the third production was not produced until 2023. While the success of the fomier is harder to determine at thi5 point, the latter did indeed prove useful. Hun b Tamar Vtilliams The second production from the Wrib'ngs on the Wall project was a new bilingual play called Huno, by Tamar Wlliams. Originally commissioned as a part of our 2021 Writer Commissions & PartlClP8tion Model Research las reported In our 2021 annual report). The play was an adaptation of the Mabinogion sel in the context of the War in Ukraine, the re-emergence of violence In the North of I Northern Ireland, and the Welsh independence movement 11 would be the playwnghling debut of Tamar- containing our tradition on taking risks on new lalenl other venues and pri)dvcers In Wales cannot. The gained critical success, especialty for it sophisticated attitude towards Welsh Language access, and for it's ambibous design - where we created fully waterlogged set that flooded throughout the durabon of the play, continuing our Iraditson of ambitious and brave designs Unfortunatety, the project was delayed because of series of COVID-19 infectr'ons lo both Cfealive team and cast This meant we had lo delay the project by a week, and take additional fundraising steps to employ an under-study la first for The Other Room). This fiexibility would not have been achievable if we had Contsnued with the same pre-pandemic model of in-house season production. T YourArt Out Ch8nlable Obpcl.. The development. production and pres8nt8ts.on ofn8w writing and introducing international drama to the 8ntish stag8 through both th8 English and Welsh 18ngu8g6s As mentioned above, knowing that 2022 may well be the final year in The Other Rotsm al Harlech Court, and having been absent in the hearts and minds of many audiences and artj.sls because of the COVID-19 pandemic, when we looked lo address how we would Introduce small-s¢ale curated work lo Interlink with the Writings on the Wall season, we once again looked lo our Avdience Survey. lthile our enrichment ath'vity h8s had many su¢¢esses, there is still a gap, both In our programme and the sector. which Is limiting disadvantaged artists lo pursue a career as theatre Maker. The gap is that artists must work for free in the eaty stsges of their career lo build a track record and get a fool on the art5 subsidy ladder This is the biggest access barrier to under-privileged artists. One solution has been our Try Your Art Out Programme, introduced in 2022. which offers the widest spectrum of arb'sls the opportunity Iproviding rt's not halefull to present their work as a part of The Other Room'5 programme on a box office- split. Try Your Art out was an open c811 lo perform al The Other Room. We invite any arb.sts (over the age of 181 to submit an idea to us and a5 long as the dales work, and the woik isn't hateful or problematic, we will gNe you a slot in The Other Room programme on a box Offi split. Simple. Faced with the theatres c5osure in 2022, we wanted to do something that celebrated the resilience of theatre makers and artists in Wales. We know so many have never had the opportunty lo present work al The Other Room. Seeing as we had just come through the other side of COVID, we also wanted to recaptLJre lost aUdIenS and develo brand new audiences throu h allowin un recedented access to our TAR March 2012
platfom. It was a resounding success and will continue to run Try Your Art Out as a rolling feature in our programme. We curated 15 productions. with between 1 and 3 performances each selling at 32% in the space of 3 months. Mill Liu b Francois Pandolfo Charitable Object.. The development, production and presentation ofnew writing and intmducing international drama to the British stage through both the English and Welsh 18ngu8ges Immediatety after Huno by Tamar Wlliams, we then collaborated with local theatre company difficuh stsge for the first time since 2016 on their production of An Audien With Milly Lui. The project was onginally developed at The Other Room in December 2019 and was being supported by the Sherman Theatre and Pleasance to attend the Edinburgh Fringe festival in August 2022. This marked the first direct collaborabon The Other Room has had with local producing house the Shem)an. and our first Projecl in the Edinburgh Fringe Festival since 2017. The play would go on to win the David Johnson Emerging Talent Award, and would later fetum to The Other Room as a Christmas Special in December 2022. Youn Artlg Festlval Charitable Object." The 8dv8ncement of 8duc8tion ofyoung persons and 8dults byparticipation in Ihe experienc8 of theatre and dr8ma Due lo restrictions. once again oui annual Young Artists Festival was cancelled in 2020 and 2021 because of the COVID-19 pandemic. however our annual young person's programme was reintrc*Juced in 2022. The Young Artists Festwal, or YAF, is a weeklong programme offering dedicated training strands In acting, writjng, direth'ng and stage management. Developed to provide an experience of working on the fnnge, the festival offers a fresh perspective on rehearsing. fvndraising, professional production management, dramaturgy working with an agent and starting your own company Participants fom companies to pr¢)duGe specially commissioned len-minule plays as well as attending maslerclasses by fnends of the theatre. Previous workshops leaders have included Stefan Rhodri. Gary Owen, Suzanne Packer, Tamara Harvey, Equity. Fran¢oir Pandotfo, Kerion Self, Adele Thomas and Arts Council of Wales. Writers attached to each company have a week to write a len-minule play of their own which is then read by the actors in that company lo an audience of festival participants. Companies are mentored in rehears81 by friends of the theatre and the TOR team The festival ends with 3 nights of public performances and our Inspired parti¢ipanls split the box office profits. Industry attendance is high and participants are encouraged and helped lo meet estsblished artists in the bar after performances YAF graduates are kept engaged through regular workshops. invitations to events and social activities. Many form companies and go on to be mentored by TOR. In 2022, onty 25 young arb.sts went through the Fesb"val programme, which is 10 les5 young artists than the pre-pandemic average. We are confident, this number will return lo pre-pandemic numbers given tsme. The 2022 commissioned writers were.. Francois Pandolfo, Alexandria Riley, Kerion Self, Tom Wentworth and Durre Shahwar. Additional details of objgctives and actlvltles Ioptlonal Inforniationl You may choose to include further ststements, where relevant, about.. policy on grant-making" programme related investment. NIA contribution by volunteers. TAR NlarLh 2012
Section D Achievements and performance Summary of the main achievement5 of the charity during the year Revolt She Said Revolt A Summory of OUEPliI." Performancu.. J3 Beneficiaries." 425 Arlisls 13.. Atrdign¢o 402,- Community Par1ipaF.. 10 ain b Alice Bircb Huno b Tam*r Williams Summary ofoulpul.. Performances.. 13 Beneficiaries.. 20] Artixls 18,. A¥diencu 183 T Your Art Out Summdry ofoulPUI." Performanc.. 43 Benefieiaries.. 604 Arti&is (appx) SO.. ANdiences 548 An Audience wilh Mill L1 {DA TA PLNDINGJ Youn Art15ts Festival Stsmmary ofoulpul.. Performanc.. 4 Beneficiori¢¥.' IJI Arlisis 29,. 82 Section E Financial review Brief statement of the ¢harity's policy re.erVeS The Other Room endeavours to build reserveq up over the nexl 5 years that arc cquivalcnt to at least 3 months operating costs. This will be monitored on an ongoing process as overheads bccome clear. Progress on the growth ot. our unrestricted reserves continues to be affected in 2022 by the COVID-19 Pandemic. For example, due to ihe lack of publicly facing presenlalion in 2021, we did not receive any 11)eatre Tax Reliet. We anticipate this will only be remedied by 2023 because of the increasL' in the TTR rale in which you can apply for being rais¢d from 20 % to 40Q/o for work produced in 2022. as we began to produce again in 2022. Details nf any funds materially in defiLit There were no fimds in deficit &s at the end of Deccmber 2022. Further financial review delails {Optiong1 information) NIA You may choose to include &dditiona] inforn)ation, where relevanl about: the charity'q principal sources of funds (including any fundraising); TAR March 2012
how cxpcnditure has supported the key objectives of the charity. investment policy and objectives including any ethical investment policy adopted. Section F Other optional information NIA Section G Declaration Th¢ trui•tLLtr* declarL tliat th¢y approved ihe IruJlttJ r¢purl #buv¥. Signed on behalf of the ¢harity's trustees Si%nature Full name Gareth Lucey Position (¢.g. Secretary? Chair. ele.) Chair & Treasurer Date 2£7Jl 2623 TAR March 2012
Receipts and payments accounts CC16a For the pÈrlod fmm Section A Receipts and payments Unrestrictsd funds R88tricted funds Endowrnent fund$ Totsi fund8 Last ytrar to nearMt£ ioth8 ntrarprtÉ to the nurejtf b)th• Nrest£ Al Recèlpts Arts Council of Waits grants Trvsts & tound31ions orants Othfrr funder¥ Tickel saks Co.produt8rn EaM Income ¢Jhef donolian&l burI Spowr8hip GIIiAid daimy to HMRC The8tr8 fax Reliel 63.5CiI 8J.500 30,00fy 64,284 5.000 875 95 I117 11.517 2,1 62,095 2.10D 63.699 11TrJ 2,041 7,W7 ank Inthie4tlrofvnd¥ 106.270 8S,000 171,270 94,343 A2 A85et and Inve•tm•nt 8alo$.18•0 tabl¢l. ne IQ6,2TO 171.270 A3Pa mènts Core 3tsff 47,021 2Q,S17 ISN35 371 0,732 90 6,876 46.J6J 63.902 67.080 1S,43S 5,878 17.853 39.676 ts46 Joo PULlon colts Earn¢d In¢))Me OVertd wsts PrDle¢i ¢o&ts J,619 36.896 82,735 9.121 Sub total 62.65B 158,148 A4 Asset and Invo8trnont purcha808. see table Pur¢h8ses of eouiwnl Sub total $1558 42.73$ Net of reGeipts/(payments) A5 Transf•r# betrwegn funds A6 Cash funds last y8ar an Cash funds thls year end 13,12 11,62 11.62 9.601 24,654 37,776 37 41
Section B Statement of assets and liabilities at the end of the period Un¢te funds Re$tAeted fund8 to nFareJt£ Endowment funds to near0£ Categoriès Detsils 81 Cash funds Cath at 37.359 Total cash funds J7,359 Unre5trictsd fund8 to nearestf ReBtri¢t•d fund$ Endowmènt fund5 io neareit£ D•tsi18 n¢•r••t E B2 Othor mon•tary assèts Fundto Corf IWn•l) Currentvalu• on D•lails Nr 83 Invostment a8Bets Fundto avJet be D•talls o•t IlWlDnall Curr•ntvalu• 84 A$$ots r•tsSned for tho ¢harlty's own us 14.894 1.741 2,621 1,746 Pui¢h8aqd e4uyThnt{20151 Purrhw WUlPT*)t120151 Purthiaqd eUt{2018l Fund to whkh Amountdu• on•1 D•tsll• Wh•n du• lopt1r•tl BS Llabllltbos Signed by one or Iru$ie•• on 811 Irujlees SvJnalure Print N8rn0 Date ol approvol G•r•th Luety 16
CHARITY COMMISSION FOR ENGLAND AND WALES Independent examiner's report on the accounts Section A Independent Examinerfs Report Report lo the trusteesl members of The Other Room On accounts for the year ended 31 December 2022 Charity no lif any) 1157886 Set out on pages 1and2 I report to the trustees on my examination of the accounts of the above harity for the year ended 31 December 2022. Responsibilrtias and As the charity trustees, you are responsible for the preparation of the basis of report accounts in accordan with the Charrties Act 2011 {"the Act.). I report in respect of my examination of the ¢h8rity's accounts carried out under section 145 of Ihe 2011 Act and in ¢arryin9 Out my examination, I have followed all Ihe applicable Directions given by the Charity Commission under section 145(5)(b} of the Act. Independent I have completed my examination. I confim that no material matters have examlner's Ststement Gome to my attention in connection with the examination which gives me cause to believe that in, any material respect.. accounting records wère not kept in accordance with section 130 of the Act, or the accounts did not accord with the accounting records. I have no cOnmS and have come across no other matters in connection wrth the examination lo which attention should be drawn in this report in order lo enable a proper understanding of the accounts to be reached. Slgned: Dats: Name: James Ashley Powell Relevant professional qualificatlonls} or body (if anyl: InstitLrte of Chartered Accountanls in England and Wales (ICAEW) Address: 17 St. Asaph Close Heath Cardiff CF14 4LD
Section 8 Disclosure Only complete If the examiner needs to highlight matters of concern (see CC32, Independent examination of charity accounls". directions and guidance for examiners). Give here details of any items that the examiner wishes to disclosè.