Charity Registration No. 1166833
Company Registration No. 09952411 (England and Wales)
GOOD
CHANCE
Good Chance Theatre
Trustees, report and financial statements
for the year ended 31 March 2024

Good Chance Theatre
Company Information
Trustees
Mr M Akhondzadeh-Darjazi
Mr J Culpepper
Mr S D Daldry
Miss S Friedman
Ms N Kaliada
Mr A Mathur
Ms P Reith (appointed 09101/24)
Ms T Siddiq (resigned 15/081241
Ms G White
Ms S Witherow
Company number
09952411
Charity number
1166833
Re8iStered office
35-47 Bethnal Green Road
London
EI 6LA
Executlve Team
Co-Artistic Directors
Joe Murphy
Joe Robertson
Naomi Webb
Executive Director
Independent audltors
Azets Audit Serrfices
Regis House
45 King William St
London
EC4R 9AN
Bankers
Coutts
440 Strand
Charin8 Cross
London
WC2R OQ

Good Chance Theatre
Contents
Page
Trustees, report
Independent auditors, report
19
Statement of financial activities
23
Balance sheet
24
Statement of cash flows
25
Notes to the accounts
26

Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
The Trustees {who are also Directors of the Company) present their report, together with the audited
financial statements of the charitable company, for the year ended 31st March 2024.
'The Jungle makes the migrant crisis and the idea of sanctuary real in ways news accounts can't. It'5 a
kind of interactive documentary, a one-of-a-kind opportunity. The payoff is both an immersion in a
humanitarian emergency that otherwise might feel faraway and a great demonstration of theater's
power to build emotional bridges."
Peter Marks, The Washington Post on The Jungle
"For people like me, who have struggled to find a place in the workplace due to their background and
Status and life experiences, being part of the Stage Door programme was a game-changing
opportunity. Every person deserves not only a second chance but also a meaningful Good Chance."
5ule, Stage Door Programme
Good Chance is a leading Theatre of Sanctuary in the UK using the power of theatre and the arts to
change lives and change minds. With displaced artists centre-5tage, we bring people togetherthrough
theatre and art to create surprising stories that spark new conversations and encourage systemic
action on complex urgent 155ues of our time: migration, climate crisis and polarisation.
We began as a voluntary group in the Calais Jungle refugee camp almost ten years ago, where, with
40 displaced people living in the camp, we built the first ever geodesic Good Chance Dome, a town-
hall-style theatre for all kind5 of informal artistic, creative and cultural activities. Over seven months
in Calais we welcomed thousands of displaced people through the doors of our Dome theatre, built a
network of partners from theatres and community organisations across the UK, and spoke at
numerous high-profile global conferences about the role of the arts in humanitarian crises. After the
camp was all but demolished by the French police, we were able to save the Dome and rebuild it in
the Paris suburbs, where many of the camp's residents had moved to, before building it in ten more
locations between 2016 - 2021, involving over 22,500 people and sharing stories of movement,
welcome and hope with a wider public.
Since then, everything we do comes under three strands of Make Theatre, Connect Communities and
Develop Artists.
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Make Theatre - we co-create major theatrical productions with displaced artists.
We work with displaced art15ts to write, create and produce groundbreaking theatre like Kyoto, The
Jungle and The Walk With Amal,. radical stories of hope and humanity that help us navigate the great
challenge of living together now.
Connect Communities we create new kinds of communities, collaborating with artists from across
the world and connecting people, stories and cultures.
Whether we're building temporary Theatres of Hope in the form of large, geodesic domes in areas
with high refugee populations, or co-creating a giant festival of Afghan kite flying, we create
meaningful opportunities for newly arrived and local communities to meet and connect through the
arts. Since our first Dome theatre in Calais in 2015, over I million people have now taken part in our
projects and events.
Develo
Artists - we create opportunities for displaced people to develop as artists.
We provide intensive, long-term artistic and professional support for people who have been displaced.
So far, we have given paid employment to over 750 artists and bespoke 1-2-1 support and
employment to 150 artists with lived experience of displacement and migration.
Our sto
in numbers: 2015-2024
3 theatre productions co-created with and involving refugee artists: The Jungle, Kyoto,
Discretion
3 major public artworks co-created with and involving refugee artists: The Walk. Fly With Me,
From Here On
11 Good Chance Domes led by refugee artists
5 ongoing community and artist development programmes supporting people from refugee
backgrounds: Stage Door, Backstage Door, Behind the Scenes, Change the Word, Good Chance
Socials
255 individual refugee artists supported directly 1-2-1
350 volunteers working across Good Chance projects since 2015
540 strategic partnerships across the arts/theatre/refugee/humanitarian sectors
651 in-person events of the highest artistic quality in UK, Europe and America across all our
productions {includes performances of plays and public artworks}
750+ artists from refugee and migrant backgrounds given paid employment or training across all
our productions
I million+ people reached as in-person audiences across all productions, public artworks,
participatory projects and domes with clear calls to action
Over 500 million people reached globally/digitally/through press and media with clear calls to
action
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Review of the year
April 2023 - March 2024
We began this year with rapturous applause for The Jungle, on stage once again in New York City and
premiering in Washington DC, telling this still-urgent story from our most recent past. We ended the
year in the UK, jumping into the young people's audition workshops for From Here On, our major new
public artwork commemorating the 85th anniversary of the Kindertransport, telling an important,
much older migration story, still as relevant as ever in shaping the British psyche, especially around
questions of migration and welcome. In between, this yearwe developed our urgent new climate crisis
play, Kyoto, securing a co-production with the Royal Shakespeare Company ready to open in summer
2024, and prepared the ground for exciting new work in Algeria, France and the North of England. This
yearwe also welcomed long-time friend and collaborator, and the actor who played Safi in Thejungle,
Ammar Haj Ahmad, as a new member of the official Good Chance team, initially as Associate Artist
and then as Associate Artistic Director. Ammar ran with the opportunity, diving into project
conversations, developing ideas and artist development opportunities with displaced artists and
taking us to Istanbul and Paris to create bold new work.
MAKING THEATRE
"Above all, a work of absorbing theater, which uses the immediacy of that art to conjure the paradoxes
and confusions of a world dealing with an unprecedented flux of uprooted lives."
New York Times
Critics, Pick, Ben Brantley on The Jungle
The Jungle
Thejungle is Good Chance's internationally-acclaimed, multi-award-winning theatre production set in
the Calai5 camp. created byjoe Murphy and Joe Robert50n alongside actors and artists who they met
there and who perform in the show, directed by Stephen Daldry (The Crown} and Justin Martin (Prima
Faciel. The Jungle has been a sell-out hit across the UK and US since 2017, sparking new conversations
with more than 150,0(X) audience members about migration and how we live together now and raising
more than £220,000 for organisations supporting refugees. Having returned to St Ann's Warehouse in
New York by popular demand in February-march 2023, in April 2023 the production transferred to the
Shakespeare Theatre Company in Washington DC in co-production with Woolly Mammoth Theatre
Company, taking this vital story to the heart of power in the US. It won the prestigious Helen Hayes
Award for Best Visiting Production.
There were 59 performances across 8 weeks in New York and Washington DC, playing to over 20,000
audience members. Alongside the performances, in New York the original Good Chance Dome became
an exhibition, event and gathering space. Audiences got to experience the atmosphere of the original
Dome (with original graffiti from its time in the camp) before and after the production, participate in
an exhibition titled Living in Sanctuary, a visual showcase of the experience of seeking sanctuary in the
US, and contribute to a collective poem crafted by audiences across the run based on their response
to The Jungle and then shared across our social channels. In Washington DC, the Aamir VR experience
was watched by 1,625 audience members, an immersive VR experience placing the audience member
in the viewpoint of a 22-year-old Sudanese refugee Aamir as he experienced the Calais camp.
"Every one of your political representatives Should be required to experience The Jungle."
Marks, The Washington Post
Peter
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
'It's difficult to imagine a more vivid telSing of this urgent story than with these characters, with this
cast, and in this dense, immersive environment. From its rich design to its phenomenal ensemble
company, The Jungle is a wrenching, one-of-a-kind performance that shouldn't be missed."
Broadway World
'1 took my students to see The Jungle when we were in London back in 2018 and it literally changed
lives. One of those students just graduated from University with a degree in geo-political studies with
a goal to get in a position specifically to help refugees- and that was from seeing The Jungle all those
years ago. So thank you for the great work you guys do."_Audience member on Facebook
We were keen to act on feedback from previous company members and ensure the team's mental, as
well as physical, wellbeing was robustly supported. We worked with Wellbeing in the Arts, who have
counsellors from a range of diverse backgrounds, to offer anyone working on the production in-person
or online counselling sessions, meaning team members could access professional support to take care
of their mental wellbeing. We are confident that having this foundation in place helped to ensure the
team had a positive, supported and productive experience; a cast member said that Good Chance's
support was: "excellent... never felt any hesitation to ask for something and they created a great
environment for actors to work in." We are now committed to working with Wellbeing in the Arts on
all our productions and projects as well as with our core team throughout the year.
The Jungle in Turkey• Sri Lanka and South Korea
In November 2023, our Associate Artistic Director. Ammar Haj Ahmad, who played Safi in the stage
production, directed a rehearsed reading of The Jungle in Istanbul. It was translated into Turkish by
Ferdi Cetin and performed in Dasdas Arts Centre co-produced by Good Chance as part of Galata
Perform Festival, supported under the British Council's Creative Collaborations Grant Scheme.
In August 2023, The Jungle was performed in Sinhala, Sri Lanka, at Colombo Tower Halland in a new
production by Magma Entertainment, translated by Kaushalya Fernando and directed by Chamila
Priyanka. In November 2023, Thejungle was performed in the Yeonhee Arts Theater in Seoul, directed
by Kim Hye-ri in a production by Eye to Soul Theatre Company in South Korea.
91
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Kyoto
After the award-winning success of Thejungle, we are making our second major play, Kyoto, an urgent
climate crisis play telling the complex story of how agreement was won at the third Conference of the
Parties ICOPI held in 1997 in Kyoto. Kyoto tells the story of the Kyoto Protocol, the first time the whole
world came to a unanimous agreement around the climate crisis. This was the unprecedented result
of an incredibly hard-won act of negotiation between 176 nations. Kyoto tells a Story not only about
the climate crisis, but also a story of the miracle of agreement, what it takes for people to come
together, and what hope can be found for the future.
Kyoto will also be staged around a broader 'Conference' of events and workshops, both to artistically
reflect the nature of the Conference of the Parties (COP) system for climate change negotiations and,
crucially, to inspire audience members into action. This 'Conference' will involve workshops,
assemblies, live performances and interactive events, all designed to inspire conversation and deeper
thinking.
After two years of research, developing and writing, in December 2023 we secured a co-production
for Kyoto with the Royal Shakespeare Company (RSC) for an initial run at the Swan Theatre, Stratford
in June 2024. The co-production partnership allowed us to combine forces with the incredible might
and skill of the RSC across the final development and rehearsal process, marketing, audience
development and of course the physical production. We were especially excited about the RSC'S
commitment to sustainability and their experience of producing in line with the Theatre Green Book
this partnership will enable us to make a truly high-quality, sustainable production that reaches as
many people as possible from regular theatre-goers to new audiences and young people.
For the initial June-july 2024 run at the RSC, we held two more R&D weeks in February and March
2024, with rehearsals set to begin at the end of April 2024 in London for 5 weeks, followed by a final
rehearsal week in Stratford. The first performance was planned forTuesday 18th June and press night
on Tuesday 25th June 2024. The intention is to transfer the production to the West End or regional
UK venues to be followed by an international tour.
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
From Here On
As part of the 85th anniversary of the Kindertransport, we began making a major new public artwork
to commemorate this incredible historic movement of children, acknowledge the adults who
volunteered in the campaign at the time and the ordinary people who welcomed refugee children into
their homes and communities, and invite audiences and participants to reflect on contemporary
migration and take positive action. We are partnering with renowned Gecko Theatre, led by Amit
Lahav, to create a piece of outdoor physical theatre to be performed on beaches, in train stations and
other public spaces in September- October 2024 across Germany, Holland and the UK.
During this year we continued developing and fundraising for this major new public artwork, From
Here On. With a total budget of £705k, in partnership with Gecko we secured significant funding
1£200k+l from the National Lottery Heritage Fund in October 2023 (received by Gecko) and vital
further funds from Arts Council England in February 2024. The preparatory work for From Here On
began in September 2023 with our R&D stage lour first exploratory creative workshops, establishing
our comms/messaging, recruiting key team members, creating the project plan, meeting with
potential partners, young people and Kinder) which then led to production planning between January
and May 2024. During this phase we planned recruitment workshops forthe young people to begin in
April 2024, developed our approach to devising the new piece with the Gecko ensemble of physical
theatre performers, commissioned the music, undertook site visits and confirmed our local directors
in each area.
In January 2024 we also formed our lived experience Advisory Group to support us across
communications and engagement with the young people. This Advisory Group included young people
who have been through the UK asylum system, a Kindertransport refugee, an education specialist, a
communications expert with lived experience of displacement and specialist in messaging around this
area, leaders of Jewish community and arts organisations, theatre directors and practitioners from a
range of heritages and backgrounds, and local community specialists.
'Yhis project not only offers crucial historical insights but also encourages us to think deeply about
our current refugee issues, making it incredibly timely and meaningful. If we did help in the past, we
can now."
Nouralhuda, member of From Here On Advisory Group and Safe Passage Young Leader
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Discretion
Given Good Chance's previous work in both Calais and Paris and our link to migration to and beyond
France, we were delighted to be invited to partner on an innovative performance project that would
explore the history of the movement of people from Algeria to France in the 20th century. This came
in the form of Fa'iza Guène's award-winning novel, Discretion, translated by Sarah Ardizonne, in which
Faiza explores a generation that remained discreet about harrowing experience5. The novel inspired
a new performance marking the French Algerian writer's commitment to leaving traces, defying
erasure and making sense of what we all inherit: Discretion.. a performance in words, live music and
imoges on independence and exile. first performed at Edinburgh International Book Festival in August
2022 in co-production with Good Chance. directed by Good Chance's Creative Producer Dina Mousawi
and funded by the British Council's International Collaboration Grant.
Following this, Good Chance took over lead producing with performances due in Algeria and France in
October
November 2023. These performances were sadly postponed until May 2024 due to
geopolitical events and restrictions.
ru
Paris Peace Forum
2023 is the 75th anniversary of one of the world's most groundbreaking moments of agreement: the
Universal Declaration of Human Rights. And on Saturday Ilth November. Good Chance closed the
2023 Paris Peace Forum with a new performance created and directed by our Associate Artistic
Director, Ammar Haj Ahmad: Promise Me.
Commissioned and supported by Open Society Foundations, the performance asked: How can we
unite around the energy that people all around the world sustain to fight against injustice? Through
the voices of the future, of young people from around the world, Promise Me questioned the path to
equity and unity by insisting on the need to restore the balance of power and on the fundamental
universality of human rights. Long-term Good Chance Ensemble artist Mo Sarrar performed alongside
local storytellers, dancers and a fellow musician in a movement piece devised with the cast.
"Thank you so much for this amazing performance. If that's the new way to do advocacy, we love it."
Paris Peace Forum
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Billy
Billy is our new musical exploring immigration and community in the towns and cities of the North of
England. Good Chance has been given the rights to Billy The Musical based on the novel Billy Liar, and
the original creatives have given, for the first time, permission to rewrite and re-orchestrate the
production to reflect the rich new diversity of these towns and cities now. From bigger cities like Leeds,
Bradford and Sheffield, to smaller towns like Wakefield, Dewsbury and Savile Town - all have seen
their demographics transform as migrants and refugees from all over the world have settled and
created communities there
We will work alongside incredible actors, musicians and performers from across the world based in
Yorkshire, and use this classic British story of the 70s to tell a new story about Britain today. Its themes
of intergenerational tension as young people choose different paths to their parents in a changing
world are as relevant now as they were in the 1970s. As are the tension between individual and
collective identities, and the threats to tradition, local community and history in an increasingly global,
unrooted and financially difficult time.
In February 2024 we held an R&D week with members of the community from across Bradford
originally from all over the world. We began the process of rewriting elements of the script to make it
culturally specific to the community we'll set it in and re-orchestrating the score to infuse it with the
musical styles, traditions and instruments of the many cultures and languages in those areas. We want
the story to depict, truthfully and movingly, communities that are far too rarely featured on our
biggest and most important stages, and particularly absent in musicals. We want to allow the beauty,
comedy and profound tragedy of this musical to find new meaning today. R&D will continue in
2024/25 with a view to production in 2026.
The Walk
Little Amal took to the big screen for her world premiere in November 2023 at DOC NYC Festival in
New York, America's largest documentary festival. The Walk is a feature film produced by Grain Media
and The Walk Productions Ltd about the innocence of childhood and the power of imagination in a
time of crisis, based on the original The Walk public artwork co-produced by Good Chance and The
Walk Productions Ltd in 2021.
Asil is a young Syrian refugee awaiting documents in Turkey while processing the trauma of losing her
home and family. Her storygivesvoice to Little Amal, who represents millions of migrant and displaced
children in a walk from the Syrian border in Turkey all the way across Europe.
The Walk was also selected for Copenhagen'5 CPH:DOX, one of the most prestigious documentary
festivals in Europe, and selected to screen on the opening night of the International Film Festival and
Forum on Human Rights in Geneva, both in March 2024.
ri
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
CONNEcfiNG COMMUNITIES
Fly Wlth Me
Following on from the success of Fly With Me, ourAfghan kite making and flying festival in 47 locations
across the world in 2022, to mark two years since Afghanistan fell to the Taliban in August 2023 we
organised a social media campaign inviting our audiences to make and raise kites. Through these paper
birds of peace and of hope, we continue to remember the humanitarian crisis still happening in
Afghanistan, and show Afghan people still there, those living in the UK or on the move that they are
not alone. Afghan kites filled the skies once again in London, Croydon, the Peak District, Dublin and
Iceland with friends throughout our international community.
Our team member Amir Hussain Ibrahimi was also commissioned by Shambala Festival to deliver a
series of Afghan kite making and flying works duringthe festival as part of Fly With Me and our ongoing
call for solidarity with the people of Afghanistan.
Guidance to the Sector
Ever since we began, we have wanted to share our knowledge, expertise and experience as a
committed member of both the arts and humanitarian sectors. We do so humbly, always wanting to
learn more ourselves, and share what we learn with our wider community. Increasingly, we are being
invited as leaders in the sector to speak about our work, and this year more so than ever:
We were invited by Bradford Producing Hub to h05t a workshop for their International Artist
Exchange programme on building strong and lasting partnerships in the arts industry, led by Good
Chance's Creative Producer Dina Mousawi. "Love the journey you have been on Dina, and also
the totally inspirational work of Good Chance. Such great partnerships and ethical practices
resulting in powerful, unforgettable work." _ Carolyn, member of the Brodford Producing Hub and
Bradford 2025's Internotionol ArtlSt Exchange programme
The Rose Theatre Kingston approached us to provide support for their adaptation of The Boy ot
the Bock of the Class in February 2024 acr055 their outreach and education plans, casting and
trainee roles for young displaced creatives.
Artist Soumik Datta created The Green Room in January 2024, which is a new cohort of migrant
and refugee artists who come together to co-compose, write and devise work that shares their
experiences of home. Soumik reached out to Good Chance directly to gain insight into our
safeguarding and wellbeing practices working with displaced artists, our network of artists and as
a point of general support. Our Producer Emily delivered a safeguarding and wellbeing session for
The Green Room and continued to provide ad hoc advice and support.
And our Stage Door Admin and Communication5 Assistant 5ule joined a panel discussion as guest
speaker during the project's launch in February 2024 at Rich Mix exploring themes of 'Home in
Another Country, (navigating displacement, identity and belonging) and 'Bridging Borders, (the
role of the arts in celebrating diversity, providing refuge, and platforming migrant and refugee
voices).
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Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
DEVELOPING ARTISTS
"The Backstage Door placement opened my eyes to the quality of things people create and what the
industry is like here. From lighting to sound to set building, I was introduced to 50 much. Good Chance
helped me to see my pathway in this industry. And this is just the start."
Rasha, 8ackStoge Door
Programme
Stage Door / Backstage Door
In 2023 we received support from Creative Access for the first time for our paid training programme
for displaced creatives, Stage Door, via the Mo Siewcharran Fund. Creative Access are trailblazers in
increasing access into the arts industry specifically for people from under-represented communities
through apprenticeships, internships, training and career support, so this was an invaluable
opportunity to expand our network of applicants. We worked with them to specifically tailor this
opportunity to people from refugee and asylum seeker backgrounds, the first of it5 kind through their
careers and opportunities portal.
From March to October 2023, 5ule Karakus joined Good
Chance as our new Stage Door Admin and Communications
Assistant. Working alongside our team in the office, Sule
gained unique insight into working behind the scenes in the
theatre / charity industries, and creating a production from
first idea to the rehearsal room through script readings and
assistant directing an R&D workshop alongside Associate
Artistic Director Ammar Haj Ahmad. A5 her Stage Door
placement came to an end, 5ule continued to be such an
outstanding asset to the team that she continued her role at
2 days per week until March 2024, before being offered a
permanent part-time Finance Assistant role.
"Learning and experiencing new things everyday has made
me feel more confident about myself. I proudly carry the
Good Chance flag. and I'll keep holding it high."_5ule, Stage
Door Programme
ye
Behind the Scenes / Largo
In September 2023 our Stage Door programme expanded into film for the first time when we
partnered with Academy Award-winning Slick Film5 and Studio Good Luck to create an apprenticeship
scheme for filmmakers and creatives from the refugee community to break into the UK film industry
through working on their new short film Lorgo. Largo is the story of Musa, a ten-year-old Syrian
refugee living in the UK without his parents, who tries to build a boat and sail home to find them.
Written and directed by Max Moore and Salvatore Scarpa, Lorgo will go to film festivals in 2024125
before touring schools around the UK to educate young people with human stories of people seeking
sanctuary.
An extension of the Stage Door programme, Largo is the pilot project of our Behind the Scenes
programme and the first step in creating a legacy that continues beyond initial production in film and
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Good Chance Theatre
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Our Production and Marketing Assistant Amirjoined the crew as a camera trainee with the DOP team,
alongside two other Behind the Scenes assistants- Comfort Iwhojoined the Art Department) and Alem
(who joined the Camera and Script
Departments) all working on set in Seaford,
UK.
"I learned lots of new things from all those
professional teams
camera setup, lighting
and how to work on a professional UK film set.
And most importantly, I learned that it is not
important how big your boat is. It is important
to follow your dream and make yourself that
strongto get inside the ocean, same as Musa.
- Amir, Behind the Scenes Programme
LKRGO
Yellow
Following its release in January 2023, Yellow - the short film by filmmaker and long term friend and
collaborator of Good Chance Elham Ehsas and produced by Good Chance's Creative Producer Dina
Mousawi - has won multiple awards including the San Sebastian Human Rights Film Festival, and has
been selected for over 40 festivals including Manhattan Shorts Film Festival, where it was watched
across 6 continents, including 198 cities in the US, 39 cities in Europe, 9 cities in Australia and New
Zealand, Canada, South America and South Africa. In December 2023 Yellow was shortlisted for the
Oscars and nominated for the BAFTAS.
Change the Word
We continued with our monthly Change the Word Collective online workshops. The workshops were
led by our Change the Word Coordinator Diyo Mulopo Bopengo, who also encouraged members of
the collective to grow their facilitation skills by leading workshop5 themselves supported by him.
During this year, the collective were also offered a series of guest workshops led by Belinda Zhawi,
Stephanie Sy-Quia {Forward Prize winning poet) and Rachel Bower to introduce them to professional
writers living in their cities and offer specialist tutoring.
We were able to raise funds from Arts Council England for another Arvon week partnership, and took
a group of 14 Change the Word members to The Hurst in Shropshire to write and perform poems, led
by Belinda Zhawi and Keith Jarrett with guest writer Nina Mingya Powles. Our poets experienced l-
to-l bespoke consultations and continual feedback not only from two established contemporary
poets, but also from an incredibly supportive and diverse group of peers from across our Change the
Word programmes- many of whom had not met previously. In cooking, feasting, walking, dancing and
writing together, the group expressed to Us how immensely their confidence and sense of community
grew, as well as their gratitude for dedicated time to read, write and create together,
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Good Chance Theatre
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Diyo wa5 also asked by fellow Theatre of Sanctuary. Stand and be Counted in Sheffield, to lead a series
of poetry and performance workshops for young people producing a film. He also shared his personal
story, his love of poetry and his experience with Change the Word with the Daily Mirror, which
culminated in a photography exhibition at City Hall with special guests including the Mayor of London.
The Change the Word Collective were also invited this year to create a poem for the Red Cross
Christmas Card.
Good Chance Ensemble
This year we continued to offer ongoing support for current members of the Good Chance 'Ensemble',
who are the founding artist members, dating back to Good Chance's time in the Calais Jungle refugee
camp in 2015/16, and our newer Change the Word collective who have been taking part in creative
writing sessions together since 2018. This included signposting opportunities, making introductions to
partner organisations that can offerfurther development for these artists, as well as bespoke support
for specific projects.
Dear Laila
Good Chance Commissioned Artist Basel Zaraa's installation Dear Lailo has continued touring across
2023/4 since its premiere at the Museum of the Home in April 2022 at our Home, Migration, Belonging
exhibition.
A model recreation of his famills destroyed house in Yarmouk Palestinian camp in Damascus, Syria,
and soundscape and narration bringing this lost space vividly to life. Dear Laila continues to captivate
audience5 around the world. From Aua Wir Leben Theaterfestival in Bern, Austria {Mayl to Les
Rencontres a L'echelle in Marseille, France (June), Refugee Week in Leeds at the Tolson Memorial
Museum and Batley Library (June) and Kaserne in Basel, Switzerland {Junel, even receiving the ZKB
Audience Award from Theatre Spektakel Festival in Zurich. Dear Laila also appeared at the
Santarcangelo Festival in Italy (July), Push Festival in Canada (January - February 2024) and Teatro A
Mil Festival in Chile (January - February 20141, with further dates announced across 2024125.
COMPANY DEVELOPMENT
Comic Relief Summlt
In November 2023, our Production and Marketing Assistant Amir Hussain Ibrahimi and General
Manager Melanie Bafitis joined Comic Reliefs Across Borders Summit in Athen5. Through countless
sticky notes. mind maps and enriching conversations they, along with the other organisations funded
by Comic Relief in the Route5 to Safety programme, created a manifesto to Build a Migrant-led
Movement by 2030. Hosted by Comic Relief, it wa5 an inspiring three days sharing ideas and stories
with partners both familiar and new to Good Chance all supporting people on the move through
grassroots approaches, arts-based advocacy projects and large-scale cross-border interventions
including Amna Refugee Healing Network, Choose Love, Counterpoints Arts, IMIX, Refugee Action,
Safe Passage International and Stop the Traffik.
"Good Chance has brought so much heart and soul to the Across Borders programme and we really
are just overwhelmed by everything you've 50 generously shared. It has been such a pleasure for both
of us- and we could go on listing all the things you've brought over the years. But, simply, thank youl"
Jacob Warn and TonyG Murphy, Across Borders Learning Coordinators
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Good Chance Theatre
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Out of the Margins
After 18 months in the planning, we held our first online auction in support of Good Chance's work
from 15th September - 6th October 2023, in partnership with the Auction Collective and Christie's.
The auction brought together over 50 of the world's leading playwrights, who each jotted anecdotes,
memories, reflections and thoughts in the margins of their iconic text. These unique annotated objects
whether rare first edition hardback or special script from the rehearsal room offered each lucky
owner a slice of theatre history, something to treasure forever, while giving the reader a glimpse into
the person behind the play script, standing as an intimate testimony to the artist'5 own journey.
Participating playwrights included David Hare, Anupama Chandrasekhar, Jez Butterworth, V (formerly
Eve Enslerl, Winnie Holzman, Tina Fey, Stewart Lee, Inua Ellams, Jack Thorne, Yael Farber, Tom
Stoppard and Tanika Gupta. We raised just over £IOO,000 unrestricted funds for our core work and
created many new relationships with some of the UK and USA'S leading playwrights, great testimony
from the industry of their support for our work with displaced artists.
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Good Chance Website
Between May - September 2023 we re-designed the Good Chance website, making it easier to find
out who we are. what we do, the ways our audiences and supporters can help us, the causes we fight
for, the artists we work with and our vision of the world we hope to see. We consulted with various
stakeholders to make this vital brand and communication5 upgrade and have had excellent feedback
from the public, who appreciate the new streamlined re5uIt.
Sustainability
We have already shown a commitment to progress towards net zero by making step5 towards
reducing our carbon footprint and creating an Environmental Action Plan. We recognise our
responsibility to protect the planet and whilst we have made changes to our practices and systems,
we know we are not there yet. We also recognise that as theatre makers and storytellers we
potentially have a vital role to play in helping audiences understand the crisis we are in and to use
storytelling to encourage positive climate action. So though we have a carbon footprint which we are
working to reduce, we also have a potentially large brain-print - i.e. the number of people we reach
who can change behaviours or understanding as a result of engaging with our work. This is potentially
huge given our new climate crisis play, Kyoto.
Page 13

Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Previous organisational sustainability actions include:
Naming a designated Sustainability Officer
Staff attending Carbon Literacy training
Encouraging staff to take public transport and to travel by train rather than plane wherever
possible for international work trips
Offering ethical pensions
Using recycled paper and ethical office supplies
Purchasing ethically (for example The Walk, Fly With Me and Kyoto t-shirtsl
New sustainability actions this year include:
All freelance contracts now come with a sustainability rider relevant to their role
We attended the Theatre Green Book conference at the National Theatre
We worked with a sustainability consultant ahead of the Kyoto workshops and used a carbon
footprint tracker for staff travel and food consumption for all those taking part
We committed Kyoto to being made to Theatre Green Book Baseline standard
The Board and staff will continue to meet and review our Environmental Action Plan on an ongoing
basis. We continue to work towards improving these practices and will continue to work towards
becoming a net zero, carbon literate company, in the process of creating work at the intersection of
climate/migration. embedding environmental responsibility into all aspects of our productions and
how the whole company is run, and sharing lessons learned with the sector.
We will continue to prioritise the training requirements we need within our team to ensure we have
all the knowledge and strategic thinking we need to help us get as close to net zero as possible across
the board as an organisation and in relation to particular projects, with Kyoto at the forefront of this.
Diversity, Equity and Inclusion
Good Chance has been all about diversifying theatre, and sharing the stage with under-represented
voices, since we began in the Calais Jungle refugee camp. We have now created a new Diversity
Milestone Plan which the board and staff will continue to review, with long term aims around board
diversity, showing leadership on diversity issues, being a proactive Equal Opportunities employer,
creating high profile and high-quality paid opportunities for diverse artists and prioritising building
diverse partnerships.
Majid Adin who we first met in the Calais Jungle refugee camp and who has had 1-2-1 support
through our Good Chance Ensemble artist development work- sits on our Board as a trustee. Ammar
Haj Ahmad has become our Associate Artistic Director, meaning an artist with lived experience of
displacement is on the Senior Leadership Team, helping to make short term project and organisational
based decisions as well as strategic decisions in terms of Good Chance's long-term direction.
Good Chance is female-led, with a female-majority over its leadership and governance teams and
diversity-majority in its board of Trustees. Four members of our board have lived experience of seeking
asylum. With our Senior Leadership Team, that means we have a 50% lived experience at a senior
level. We know the story only starts here and are working to improve this.
While our track record and our plans for the future show inclusivity firmly embedded in the work we
make, the people we make it with and the audiences we share it with, we know there is work to be
done in the diversity of our leadership and have set targets to address this. Over the coming years we
Page 14

Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
want to see lived experience and multiple cultural perspectives leading Good Chance's vision and
direction, and contributing to the sector.
Our priority in the coming year is to build our new Advisory Board of people with lived experience,
including young people, to help advise us across the organisation and acr055 all projects, from which
we can learn so much, change and adapt, and achieve so much more over the next three years. A
member of the Board of Trustee5 Wlth lived experience will Chair this Advisory Board to make the
direct link to our strategic deci5ion-making body. We will learn from the experience of creating a
project-specific Advisory Board for From Here On and use that as a trial to take to the organisation as
a whole.
Financial Review
Total income for the year was £1,276,361 (2023: £1,750,987). The overall Surplus for the year was
£156,02112023: deficit of £3,856), made up of an unrestricted surplus of £48,93512023: unrestricted
deficit of £35,201) on the unrestricted fund and a surplus on the restricted fund of £107,086 (2023:
surplus of £31,345).
Due to timing differences on the receipt of restricted funds, there are £195,355 of restricted funds
held at year end. This relates to income received in advance and will be applied to programmes and
activities planned in the 2024/2025 financial year.
We continued to work hard to control our costs and reduce overheads as far as possible whilst
continuing to deliver our charitable activities. Funding has been secured going forwards and the
Trustees therefore consider we are a going concern.
Reserves Policy
In a normal year the charity trustees would consider it prudent to hold between 3 and 6 months of
budgeted expenditure in free reseNes in order to cover the future needs of the charity and any delays
in obtaining income. We consider this range to be between £300,0(K) and £600,0￿ currently. At 31
March 2024 the charity had unrestricted funds of £379,943 which would be considered free reserves
under the Charity Commission definition, therefore free reserve5 are within the target range.
Fundraising Policy
The Trustees are aware of their responsibility under the Charities (Protection and Social Investment)
Act 2016 and comply with the guidance issued by the Fundraising Regulator.
Fundraising is led by the Head of Creative Development, but is seen as a shared role that Is also taken
on by the Executive Director and Trustees. All fundraising is carried out in line with the Code of
Fundraising Practice and Good Chance'5 own Ethical Fundraising Policy. No complaints regarding the
charity's approach to fundraising have been received to date.
Page 15

Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
TRUSTEES AND ADMINISTRATIVE DETAILS
Trustees
The Trustees of the charitable company are its trustees for the purpose of charity law and throughout
this report are collectively referred to as the Trustees.
The Trustees who served during the year and since the year-end were as follows:
Mr M Akhondzadeh-Darjazi
Mrj Culpepper
Mr S D Daldry
Miss S Friedman
Ms N Kaliada
Mr A Mathur
Ms P Reith (appointed 09/01/24)
Ms T Siddiq (resigned 15/08/241
Ms G White
Ms S Witherow
Trustees are appointed for their individual skills and knowledge are identified by the existing board.
Prospective new trustees meet with at least one current board member before their first meeting and
with the key management personnel. They are sent previous financial accounts, the Good Chance
Articles of Association and a Trustee Welcome Pack including guidelines from the Charity Commission,
the Good Chance Manifesto and Annual Reports, Organisation Chart and all of Good Chance's policies
including Safeguarding, Equality and Diversity, Privacy, Health & Safety and Conflicts of Interest. When
voted onto the board, new trustees sign the Trustee Declaration and Trustee Terms of Reference
detailing their role, responsibilities and duties. Conflicts of interest are registered when trustees join
the board and are updated at each board meeting. Trustees receive professional safeguarding training
tailored to the specifics of Good Chance's activity from Taye Training, who have selected Good Chance
as their charity partner.
Objectives and activities
The charity's objects are:
l. To promote education in the arts, including the arts of drama, mime, dance and Singing.
particularly by facilitating participation by those who are socially excluded (including but not
limited to refugees and displaced people).
2. To promote equality and diversity for the public benefit by promoting activities to foster
understanding between people from diverse backgrounds and cultivate a sentiment in favour of
equality and diversity.
3. The promotion of human rights la5 set out in the universal declaration of human rights and
subsequent UN conventions and declarations with particular reference to article 271 by-
Promoting respect for human rights among individuals and groups: and
b. Raising awareness of human rights issues within the context of participation in the arts.
For the purposes of this clause 'socially excluded. means being excluded from society, or a part of
Society, as a result of being a member of a socially or economically deprived community.
Page 16

Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
To achieve these aims, Good Chance:
Creates space where people from different background5 and nationalities can come together in
peace and safety to express their creativity;
Bridges the areas of human rights and the arts;
Allows refugees and migrants to reclaim their individual and collective narratives;
Provides a sustainable programme of artistic and participatory activities in these spaces with a
long-term legacv;
Engages With UK destination communities to facilitate the dialogue with refugee and migrant
communities and foster understanding, equality and diversity; and
Helps define the way in which the UK arts sector engages with refugee and migrant communities.
The trustees have paid due regard to the Charity Commission guidance on public benefit in deciding
what activities the charity should undertake.
Trustees, responsibilities in relation to the financial statements
The Trustees (who are also directors of Good Chance Theatre for the purposes of company lawl are
responsible for preparing the Trustee5' Report and the financial statements in accordance with
applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted
Accounting Practice).
Company law requires the trustees to prepare financial statements for each financial year which give
a true and fair view of the state of affairs of the charitable company and of the incoming resources
and application of resources, including the income and expenditure, of the charitable company for
that period. In preparing these financial statements, the trustees are required to:
select suitable accounting policies and then apply them consistently.
observe the methods and principles in the Charities SORP IFRS 102};
make judgements and estimates that are reasonable and prudent;
state whether applicable accounting standards have been followed, subject to any material
departures disclosed and explained in the financial statements; and
prepare the financial statements on the going concern basis unless it is inappropriate to presume
that the charity will continue in business.
The Trustees are responsible for keeping proper accounting records that disclose with reasonable
accuracy at any time the financial position of the charitable company and enable them to ensure that
the financial statements comply with the Companies Act 2CQ6. They are also responsible for
safeguarding the assets of the charitable company and hence for taking reasonable steps for the
prevention and detection of fraud and other irregularities. In so far as the Trustees are aware:
there is no relevant audit information of which the charitable company's auditor is unaware; and
the trustees have taken all steps that they ought to have taken to make themselves aware of any
relevant audit information and to establish that the auditor is aware of that information.
The Trustees are responsible for the maintenance and integrity of the corporate and financial
information included on the charitable company's website. Legislation in the United Kingdom
governing the reparation and dissemination of financial statements may differfrom legislation in other
jurisdictions.
Page 17

Good Chance Theatre
Trustees, Report
For the year ended 31 March 2024
Audltors
Azets LLP have expressed their willingness to continue in office.
BY ORDER OF THE TRUSTEES
Stephen Daldry
18 December 2024
Page 18

Good Chance Theatre
Statement of financial activities
For the year ended 31 March 2024
Opinion
We have audited the financial statements of Good Chance Theatre (the 'charitable company'l for the
year ended 31 March 2024 which comprise the Statement of Financial Activities, the Balance Sheet,
the Statement of Cash Flows and notes to the financial statements, including significant accounting
policies. The financial reporting framework that has been applied in their preparation is applicable
law and United Kingdom Accounting Standards, including Financial Reporting Standard 102 The
Financial Reporting Standard applicable in the UK and Republic of Ireland l United Kingdom Generallv
Accepted Accounting Practice).
In our opinion the financial statements:
give a true and fair view of the state of the charitable companvs affairs as at 31 March 2024,
and of its incoming resources and application of resources, including its income and
expenditure, for the year then ended,.
have been properly prepared in accordance with United Kingdom Generally Accepted
Accounting Practice; and
have been prepared in accordance with the requirements of the Companies Act 2006.
Basis for opinion
We conducted our audit in accordance with International Standards on Auditing IUKI (ISAS {UKII and
applicable law. Our responsibilities under those standards are further described in the auditor
responsibilities for the audit of the financial statements section of our report. We are independent
of the charitable company in accordance with the ethical requirements that are relevant to our audit
of the financial statements in the UK, including the FRC'S Ethical Standard, and we have fulfilled our
other ethical responsibilities in accordance with these requirement5. We believe that the audit
evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
Conclusions relating to going concern
In auditing the financial statements, we have concluded that the trustees, use of the going concern
basis of accounting in the preparation of the financial statements is appropriate.
Based on the work we have performed, we have not identified any material uncertainties relating to
events or condition5 that, individually or collectively, may cast significant doubt on the charitable
company's ability to continue as a going concern for a period of at least twelve months from when
the financial statements are authorised for issue.
Our responsibilities and the responsibilities of the trustees with respect to going concern are
described in the relevant sections of thi5 report.
Other infomiation
The other information comprises the information included in the trustees, annual report other than
the financial statements and our auditor's report thereon. The trustees are responsible for the other
information. Our opinion on the financial statements does not cover the other information and,
except to the extent otherwise explicitly stated in our report, we do not expre55 any form of
assurance conclusion thereon. Our responsibility is to read the other information and, in doing so,
Page 19

Good Chance Theatre
Statement of financial activities
For the year ended 31 March 2024
consider whether the other information is materially inconsistent with the financial statements or
our knowledge obtained in the course of the audit or otherwise appears to be materially misstated.
If we identify such material inconsistencies or apparent material misstatements, we are required to
determine whether thi5 gives rise to a material misstatement in the financial statements themselves.
If, based on the work we have performed, we conclude that there is a material mi55tatement of this
other information, we are required to report that fact.
We have nothing to report in this regard.
Opinions on other matters prescribed by the Companles Act 2006
In our opinion, based on the work undertaken in the course of the audit:
the information given in the trustees, report, which includes the directors, report prepared
for the purposes of company law, for the financial year for which the financial statements
are prepared is consistent with the financial statements; and
the directors, report included within the trustees, report has been prepared in accordance
with applicable legal requirements.
Matters on which we are required to report by exception
In the light of the knowledge and understanding of the charitable company and its environment
obtained in the course of the audit, we have not identified material misstatements in the directors,
report included within the trustees, report.
We have nothing to report in respect of the following matters in relation to which the Companies
Act 2006 requires us to report to you if, in our opinion:
adequate accounting records have not been kept, or returns adequate for our audit have not
been received from branches not visited by us; or
the financial statements are not in agreement with the accounting records and returns; or
certain disclosures of trustees, remuneration specified by law are not made; or
we have not received all the information and explanations we require for our audit; or
the trustees were not entitled to prepare the financial statements in accordance with the
small companies, regime and take advantage of the small companies, exemptions in
preparing the directors, report and from the requirement to prepare a strategic report.
Responsibilities of trustees
As explained more fully in the trustees, responsibilities statement set out on page 17. the trustees
(who are also the directors of the charitable company for the purposes of company law) are
responsible for the preparation of the financial statements and for being satisfied that they give a
true and fair view, and for such internal control as the trustees determine is necessary to enable the
preparation of financial statements that are free from material misstatement, whether due to fraud
or error.
In preparing the financial statements, the trustees are responsible for assessing the charitable
company's ability to continue as a going concern, disc105ing, as applicable, matters related to going
Page 20

Good Chance Theatre
Statement of financlal actlvltles
For the year ended 31 March 2024
concern and using the going concern basis of accounting unless the trustees either intend to
liquidate the charitable company or to cease operations, or have no realistic alternative but to do so.
Audltor responslbllftles for the audlt of the financial statements
Our objectives are to obtain reasonable assurance about whether the financial statements as a
whole are free from material misstatement, whether due to fraud or error, and to issue an auditorfs
report that includes our opinion. Reasonable assurance 15 a high level of assurance, but is not a
guarantee that an audit conducted in accordance with ISAS IUKI will always detect a material
misstatement when it exists. Misstatements can arise from fraud or error and are considered
material if, individually or in the aggregate, they could reasonably be expected to influence the
economic decisions of users taken on the basis of these financial statements.
Irregularities, including fraud, are instances of non-compliance with laws and regulations. We design
procedures in line with our responsibilities, Outlined above, to detect material misstatements in
respect of irregularitie5, including fraud. The extent to which our procedures are capable of
detecting irregularities, including fraud is detailed below:
Enquiry of management and those charged with governance around actual and potential
litigation and claims as well as actual, suspected and alleged fraud;
Reviewing minutes of meetings of those charged with governance;
Assessing the extent of compliance with the laws and regulations considered to have a direct
material effect on the financial statements or the operations of the company through enquiry
and inspection;
Reviewing financial statement disclosures and testing to supporting documentation to assess
compliance with applicable laws and regulations;
Performing audit work over the risk of management bias and override of controls, including
testing of journal entries and other adjustments for appropriatenes5, evaluating the business
rationale of significant transactions outside the normal course of business and reviewing
accounting estimates for indicators of potential bias.
Because of the inherent limitations of an audit, there is a risk that we will not detect all irregularities,
including those leading to a material misstatement in the financial statements or non-compliance
with regulation. This risk increases the more that compliance with a law or regulation is removed
from the events and transactions reflected in the financial statements, as we will be less likely to
become aware of instances of non-compliance. The risk is also greater regarding irregularities
occurring due to fraud rather than error, as fraud involves intentional concealment, forgery,
collusion, omission or misrepresentation.
A further description of our responsibilitie5 15 available on the FRC'S website
at: htt
www.frc.or
auditors
audit-assurance
auditor-s-res
onsibilities-for-the-audit-of-the-
descri
tion-of-the-auditorYoE2Yo80Yo99s-res
onsibilities-for
This description forms part of our auditorfs report.
Page 21

Good Chance Theatre
Statement of flnanclal activities
For the year ended 31 March 2024
Use of our report
This report is made solely to the charitable company's members, as a body, in accordance with
Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we
might state to the charitable company's members those matters we are required to state to them in
an auditor's report and for no other purpose. To the fullest extent permitted by law, we do not
accept or assume responsibility to anyone other than the charitable company and the charitable
company's members as a body, for our audit work, for this report, or for the opinions we have
formed.
John Howard (Senior Statutory Auditor)
For and on behalf of Azets Audit SeNices
ststutory Auditor, Chartered Accountants
nd
2 Floor, Regis House
45 King William Street
London
EC4R 9AN
Date: I g zi 2
Page 22

Good Chance Theatre
Statement of financial actlvitles
For the year ended 31 March 2024
Unrestrlrted
Funds
Restrlcted
Funds
2024 Total
2023 Total
Notes
Income and endowments
from:
Grants and donations
Charitable activities
Merchandise and other sales
Investment income
379,609
474.308
ioi
2,932
302,940
116.471
682,549
590.779
ioi
2.932
525,124
1,224.857
610
396
Total Income
856,950
419,411
1,276,361
1,750,987
Expenditure on:
Raisin8 funds
Charitable activities
14,390
808,787
14,390
1,105,950
5.671
1,749,172
297.163
Total expendlture
823,177
297,163
1,120,340
1,754,843
Net (expendlture) I Income
for the year before transfers
Transfers between funds
33,773
122.248
156,021
13,8561
15.162
(15.1621
Net mov•ment In funds after
transfers
48.935
107.086
156,021
(3,856)
Fund balances at l April 2023
331,008
88.269
419,277
423,133
Funds carrled forward at
31 March 2024
13
379,943
195,355
575,298
419,277
The Statement of Financial Activities contains all reco8nised gains and losses in the year.
All activities relate to continuing operations.
The notes on pages 26 to 35 form part of these financial statements.
Page 23

Good Chance Theatre
Balance Sheet
For the year ended 31 March 2024
2024
2023
Notes
Fixed assets
Tangible assets
io
Current assets
Debtors
Cash at bank and In hand
li
1.406.599
339,293
1,038,409
134,746
1.745.892
1,173,155
Credltors: amounts falllng
due in less than one year
12
{1.170,5941
{753,878}
Net current assets
575.298
419,277
Net asset$
57S,298
419,277
Funds
Unrestricted
Restricted
14
14
379,943
195,355
331,008
88.269
575,298
419,277
The notes on pages 26 to 35 form part of these financial statements
The financial statements were approved by the Board and authorlsed for issue on 18 December 2024 and
signed on its behalf by
Stephen Daldry
Company Registration No. 09952411 (England and Wales)
Page 24

Good Chance Theatre
ststement of cash flows
For the year ended 31 March 2024
Note
2024
2023
Cash flows from operatlng actlvltles
Net cash provlded by/lused inl operating artivltles
204,547
{268,331)
Change In cash and cash equlvalents In the period
Cash and cash equivalents at the beginning of the year
204,547
134,746
1268,3311
403,077
Cash and cash equivalents at the end of the year
339,293
134,746
Notes
a) Reconclllatlon of net Income to net ￿$h flow from operatln8 artivitles
2024
2023
Net income/lexpenditurel for the reportin8 period
las per the statement of financial activities)
Decrease in debtors
Increase in creditors
156,021
13,856)
1368,190)
416,716
1976,6901
712,215
Net cash provided byl(used In} operatlng artlvities
204,547
(268,331)
b) Analysls of changes In net debt
Other
non-cash
changes
Asat31
March 2024
l April 2023
Cash flows
Cash and Cash equlvalents
Cash
Cash equivalent5
134,746
204,547
339,293
Total
134,746
204.547
339,293
Page 25

Good Chance Theatre
Notes to the financial statements
For the year ended 31 March 2024
Accounting policles
Charity information
Good Chance Theatre is a private company limited by guarantee incorporated in England
and Wales. The registered office is 35-37 Bethnal Green Road, London, England, El 6LA.
Accounting convention
The financial statements of the charity, which is a public benefit entity under FRS 102, have
been prepared under the historical cost convention in accordance with the Financial
Reporting Standard applicable in the UK and Republic of Ireland IFRS 102) and the
Companies Act 2006. The financial statements have been prepared in accordance with the
Statement of Recommended Practice applicable to charities preparing their accounts in
accordance with the Financial Reporting Standard applicable in the UK and Republic of
Ireland IFRS 102} (Charities SORP {FRS 102){second editionll.
The charity is a public benefit entity as defined by FRS102 and the functional currency is
pound sterling.
The trustees consider the charity to be a going concern and consequently the accounts are
drawn up on that basis. In forming their assessment they have made certain judgements
concerning the timing of future funding and have concluded there are no material
uncertainties regarding the charity's ability to continue as a going concern for at least 12
months from the date of approval of the balance sheet.
Incoming resources
Income is recognised when the charity is legally entitled to it after any performance
conditions have been met, the amounts can be measured reliably and it is probable that
income will be received.
Production income is recognised in line with performance dates. Any associated
commercial income is recognised as it is earned.
Income from donation5 is recognised when there is entitlement, the amount can be reliably
measured and the economic benefit to the charity is considered probable.
Grants receivable are recognised in accordance with the terms of the agreements.
Donations and grants for a particular purpose are included in incoming resource5 as
restricted funds.
Page 26

Good Chance Theatre
Notes to the financial statements
For the year ended 31 March 2024
Resources expended
Expenditure 15 included in the Statement of Financial Activities on an accruals basis,
inclusive of any VAT where it cannot be recovered.
Costs of raising funds relate to events and other activities through which the charity raises
its profile and costs of applying for grants and donations.
Costs of charitable activities relate to the furtherance of the charit¢s objectives through
production5 and other events.
Support costs are those incurred directly in support of expenditure on the objects of the
charity and area allocated on the basis of time spent on different activities. Support costs
also include Governance costs. Governance costs include those incurred in the governance
of the charity and its assets and are primarily associated with constitutional and statutory
requirements.
Tangible fixed assets and depreciation
Assets are capitalised when they cost over £750 and are expected to have an ongoing value
in use to the charity. Tangible fixed assets are stated at cost less depreciation.
Depreciation is provided at rates calculated to write off the cost less estimated residual
value of each asset over its expected useful life, once brought into use, as follows:
Fixtures, fittings and equipment 20% on cost per annum
Debtors
Debtors are recognised at their settlement amount, less any provision for non-recoverability.
Prepayments are valued at the amount prepaid.
Cash and cash equivalents
Cash and cash equivalents includes cash in hand.
Creditors and provisions
Creditors and provisions are recognised when there is an obligation at the balance sheet
date arising as a result of a past event, it is probable that a transfer of economic benefit will
be required in settlement, and the amount of the settlement can be estimated reliably.
Pensions
Staff are automatically enrolled in a pension scheme managed by NEST. Contributions in
respect the scheme are charged to the statement of financial activities in the year in which
they are payable.
Fund accountlng
Funds received for a purpose specified by the donor are credited to restricted funds.
Expenditure incurred on these purposes is then charged to the funds as it is incurred.
Restricted funds represent voluntary income or grants which have been received for the
purposes as set out in Note 11. The application of these funds is restricted by the expressed
wishes of the donor or the terms of the grant. All other income is treated as unrestricted
funds.
Page 27

Good Chance Theatre
Notes to the financlal statements
For the year ended 31 March 2024
Critical accounting judgements and key sources of estimation uncertainty
In the application of the company's accounting policies, the directors are required to make
judgements, estimates and assumptions about the carrying amount of assets and liabilities
that are not readily apparent from other sources. The estimates and a55ociated
assumptions are based on historical experience and other factors that are considered to be
relevant. Actual results may differ from these estimates.
The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to
accounting estimates are recognised in the period in which the estimate is revised where
the revision affects only that period, or in the period of the revision and future periods
where the revision affects both current and future periods.
The directors do not believe that there is a significant risk of a material adjustment being
made to the carrying amounts of assets and liabilities included in these financial statements
within the next financial year.
Income from donations and legacies
Unrestrirted
Restricted
Total
2024
Donations and gifts
Grant receivable
139,779
239,830
59,600
243.340
199,379
483,170
379,609
302,940
682,549
Unrestricted
Restricted
Total
2023
Donations and gifts
Grant receivable
47.588
208,234
23,649
245,653
71.237
453,887
255,822
269.302
525.124
Significant funders in the year include..
Restricted Grants:
British Council
Comic Relief
Crucible Foundation
Esmeé Fairbairn Foundation
John Lyons Charity
Linbury Trust
Nommontu Foundation
Rothschild Foundation
Unrestrirted grants:
Comic Relief
Community Arts Lab
Crucible Foundation
Sigrid Rausing Trust
Page 28

Good Chance Theatre
Notes to the flnancial statements
For the year ended 31 March 2024
Income from charitable artivities
Unrestrlrted
2024
Restricted
2024
Total
2024
Fees
Project delivery:
The Jungle USA tour
other projects
3.119
3,119
465,317
5,872
116.471
581,788
5,872
474,308
116,471
590,779
Unrestrlcted
2023
Restrl¢ted
2023
Total
2023
Fees
Project delivery:
The Jungle USA tour
other projects
Other income
125
4.046
4,171
993,406
218.152
7,753
1,211,S58
7,753
1,375
1,375
994,906
229,951
1,224,857
Expenditure on ralslng funds
Total Funds
2024
Total Funds
2023
Direct costs
14,390
5,671
14,390
5,671
Page 29

Good Chance Theatre
Notes to the financial ststefflents
For the year ended 31 March 2024
Expenditure on charitsble artivities
The charity's activity comprises of the production and performance of theatrical productions
and the creation of artistic projects across a range of art forms. The costs summarised below
are those relating to this activity.
Ralslng
funds
Charltable
activities
Total
2024
Staff costs (note 81
Direct costs:
The Jungle USA 2023
other projects
Grants paid
Support costs (note 71
Governance costs (note 7}
232,161
232,161
383,581
348,612
10,400
110,056
21,140
383.581
363,002
10.400
110,056
21.140
14,390
Total
14,390
1,105,9SO
1,120,340
Ralslng
funds
Charftable
actlvltles
Total
2023
Staff costs (note 81
Direct costs..
The Jungle USA 2023
other projects
Support costs Inote 71
Governance costs {note 71
214,765
214,765
1.211,558
189,889
113,853
19,107
1,211,558
195,560
113,853
19,107
5,671
Total
5.671
1,749,172
1,754.843
Support and governance costs
2024
2023
Support Costs
Website
Bank charges
Training
Rent
Administration
io
1.971
250
1,105
loo
16.229
96,169
21,684
86,391
110,056
113,853
Governonce costs
Audit fees
Accountancy and tax advice
11,675
9,465
11,125
7,982
21,140
19,107
Page 30

Good Chance Theatre
Notes to the financial statsments
For the year ended 31 March 2024
5tsff costs
2024
2023
Employment costs
Wages and salaries
Social security costs
Pension contributions
212,811
14,548
4,802
197.689
13,217
3,859
232.161
214,765
Number of employees
The average number of employees during the year was 8 (2023: 91. No employee received more than
£60,000 in the year {2023: ni5).
No Directors of the company were employed or received any remuneration. No trustees received any
remuneratlon for their work in the current or previous year.
There were 3 key management personnel in 2024 (2023: 31, as defined as those with strategic
influence, comprising the artistic directors and executive director.
Total remuneration of key management personnel in the period was:
2024
2023
Total remuneration of key management personnel In the period
72.614
79,775
Government grants
Durin8 the year the charity received no government funding (2023: £11,691 from the Kickstart
scheme).
10.
Flxed assets
Fixtures and
Flttln8S
Totsl
Cost
At 31 March 2023 and 31 March 2024
15,325
15.325
Depre¢iatlon
At 31 March 2023 and 31 March 2024
15,325
15,325
Net Bookvalue
At 31 March 2023 and 31 March 2024
Page 31

Good Chance Theatre
Notes to the financial statements
For the year ended 31 March 2024
11.
Debtors
2024
2023
Trade debtors
Other debtors
Accrued Income
8,021
1,210
1,397,368
244,655
1,385
792,369
1,406,599
1,038,409
12.
Credltors
2024
2023
Other creditors
Taxation and social security
Accruals
12,247
729
1,157,618
14,090
739,788
1,170,594
753,878
13.
Funds
Balance at
l Aprll
2023
Balance at
31 March
2024
Incomlng
Resources
Outgoin8
Resources
Transfers
Restrlcted Funds
Change the Word
Good Chance Ensemble
Mexico
Productions- The Jungle
USA 2023
Productions- Other
4,056
21,073
15,162
9,390
28,101
113.446)
{25,936)
23,238
115,162)
116.471
1116,4711
47.978
265.449
1141,3101
172,117
Total Restrlcted Funds
88,269
419,411
(297,163)
(15,162)
195,355
Unrestrlcted Funds
331.008
856.950
1823.1771
15.162
379,943
Total
419,277
1,276,361
11,120.340)
575.298
Page 32

Good Chance Theatre
Notes to the flnancial statements
For the year ended 31 March 2024
Balance at
l Aprll
2022
Balance at
31 March
2023
Incoming
Resources
Outgoing
Resources
Transfer5
Restricted Funds
Change the Word
Good Chance Ensemble
Mexico
Productions - The Jungle
USA 2023
Productions- other
Kickstart
Creative Producer fund
15,492
21,893
15,162
27,356
25,882
138,7921
126,7021
4,056
21,073
15,162
218.152
191,172
11,691
25,000
{218,1521
1147,5711
111,6911
125,0001
4.377
47,978
Total Restricted Funds
56,924
499,253
(467.908)
88,269
Unrestricted Funds
366,209
1,251,734
{l.Z86,935)
331,008
Total
423,133
1,750.987
(1,754,843)
419,277
Restricted funds were received to support specific projects carried out in the year. Funds with balances
carried forward are projects that continue in 2024/25.
Transfers into restricted funds are made to cover any overspends on projects. Transfers out of
estricted funds would only be made when a project has been completed and the donor has agreed
that the funds can be transferred to future projects.
14.
Analysis of net assets between funds
Restricted
funds
Unrestricted
funds
Total
2024:
Current assets
Current liabilities
378,588
1183,233)
1,367,304
1987,3611
1,745,892
11,170,594)
Net assets at 31 March 2024
195.355
379,943
575.298
Restricted
funds
Unrestricted
funds
Total
2023:
Current asset5
Current liabilities
189,827
{101,5581
983.328
{652,3201
1,173,155
1753,8781
Net assets at 31 March 2023
88,269
331,008
419,277
Page 33

Good Chance Theatre
Notes to the financial statements
For the year ended 31 March 2024
15.
Commitments under operating leases
At 31 March 2024 the company had future minimum lease payments under non-cancellable
operating leases as follows:
2024
2023
Land and bulldin85
Less than one year
Later than one and not later than five years
Greater than five years
8.210
10.630
8,210
8,210
18.840
16.
Related party transactlons
Transa
tion
with Trustees
No trustees received any remuneration for their work in the current or previous year.
No travel and accommodation expenses were paid on behalf trustees during the year (2023: £66 on
behalf of I trustee).
Donations of £3,100 were made by trustees during the year12023: £20,000}.
Other related
transactions
Good Chance Theatre is a member of Grand Livre Global, a not for profit organisation registered in
France with similar aims. No grants were made durin8 the year or prior year. Good Chance Theatre
does not control the organisation and so it is considered to be a connected entity rather than
subsidiary operation.
Page 34

Good Chance Theatre
Notes to the flnancial statements
For the year ended 31 March 2024
17.
Comparatlve statement of financial activ5tles
Unrestrlrted
funds
Restrlrted funds
2023
Total
Income and endowments from:
Grants and donations
Charitable attivities
Merchandise and other sales
Investment income
255,822
994,906
610
396
269,302
229,951
525,124
1,224,857
610
396
Total Income
1,251,734
499,253
1,750,987
Expendlture on:
Raisin8 fund5
Charitable activities
5,671
1,281,264
5.671
1,749,172
467,908
Total expendfture
1,286,935
467,908
1.754,843
Net Income / (expendlture) for the
year before transfers
135,2011
31,345
{3,856}
Transfers between funds
Net movement In funds after
Iransfers
135.201)
31,345
13A561
Funds balances at l April 2022
366,209
56,924
423,133
Funds urrled forward at 31 March
2023
331.008
88,269
419,277
Page 35