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 th￿e ycars by a resolution p&ssed at a properly
convened m¢¢ting of the charity tn￿tee$.
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 - Be￿mber 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 d￿rna.
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-prodU￿d 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 be￿een 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 aUdIen￿S 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 L￿1
{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• N￿rest£
Al Recèlpts
Arts Council of Waits grants
Trvsts & tound31ions orants
Othfrr funder¥
Tickel saks
Co.produt8rn
EaM￿ Income
¢Jhef donolian&l ￿￿bu￿rI
Spowr8hip
GIIiAid daimy to HMRC
The8tr8 fax Reliel
63.5CiI
8J.500
30,00fy
64,284
5.000
875
95
I1￿17
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
3￿71
0,732
90
6,876
46.J6J
63.902
67.080
1S,43S
5,878
17.853
39.676
ts46
Joo
P￿￿UL*lon colts
Earn¢d In¢))Me
OVert￿d 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 eouiw*nl
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 e￿U￿￿t{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 cOn￿mS 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.