2025-03-31-accounts

Company no. 6004929 Charity no. 1176855 Diverse City Report and Unaudited Financial Statements 31 March 2025

Divèrs8 Clty Reference and administrative details For the ear ended 31 March 2025 Company numbor 6004929 Charity number 1176855 R•glstered ¢ffl¢• and op¢ratlonal addr¢ss 3 Manwell Drive Swanage Dorsel BH192RB Trustees Trustees, who are also directors under company law, who served during Ihg year and up to the dale ol this rw were as follows.. Bew Richards (Chairl Ayad Al-Ani Naomi Baldwn Webb Juliette Burton Sophie Collle Emma Hughes Valentina Huxley Ben Johnsen Jvdeline Nicholas Sara Rhodes Joshua Ward lapp)inled 17 Oclober 20241 (appointed 26 March 20251 Irasoned 15 April 20241 (appointed 23 September 20241 18prx)inleé 20 January 20251 Bank•r8 Unty Trust Bank PO Box 7193 Planetary Road Willenhall WV1 9DG Independent examlners Godfrey Wilson Limiled Chartered accouniants and statulory audrtors 5th Floor Mariner House 62 Prince Street 8ristol BS14QO

Dlvors8 Clty Co-chair Report For the ear ended 31 March 2025 This has boen a ytsar of renewal and resilience for Diverse City as we make the Now Now of our imaginations. In 2024-25 we buitt on our reputation as natv)nal leaders in inclusive perfomiance, touring reimagined co-productions, investing in r￿4 work. expbring new partnerships and extending our reach internationally. There is much uncertainty across the Arts sector and bew)nd. Our cuThenl phase of planning and renewal is about ensuring Diverse City is in as strong a position as pjssible to face these challenges with clarity and resilience. We faced the $8m8 finanual pressures as the wider cultural sector.. rising costs. squeezed lourin9 budgets. and uncertainty aboul long-lerm public investment. Yet our team. a￿'stS, and partners responded with creativity, care, and determination. Hlghlights Included the successful ￿%￿rkIng and national lour of Mid Life, which brought audiences to their feel Ililerallyll across the country and reminded u5 of the px)wer of representation and allyship. We deepened our artistic collaborations - from conversations around All We Have in Plymouth, lo nurturing young disabled musicians in Other ￿'le l Lead. to forging inlernats'onal connections through Earth, Wheels, Airwlh P8moja D8nce Kenya. We also invested in the next g6neralion'. From SEN s¢hod workshops to weekly Circus training. disabled and diverse youn9 people were not only participanis, bul emerging leaders. As one artist put °We re notjusl participants anymore- were leaders, Sl￿wing the next generat￿￿ whats possible." This year has reinforced our conviction Ihat diversty in the perfomiing arts is not an optional extra- l is essential lo creating work that reflects and speaks lo our society. We thank our funders, partners, and above all the artists and audiences who conlinue to shape this journey with us. Judeline Nicholas Co Chalrs BerO Richards

Dlvars8 Clty Report of the trustees For the ear ended 31 March 2025 Reference and administrative Informal￿n set out on page 1 fomis part of this report. The financial statements comply with currenl slalutory requirements, Ihe Memorandum and Articles of Association and the Ststemenl of Rg¢ommen(le(J Practi¢e- Accounting arKI Re￿￿tIng by Charib'es leffe¢live from January 20191. Structure. governance and management Diverse City is a company limiled by guarantee and a charity registered wilh the Charity Commission. In 2024-25 11 people served on the board of trustees and the Charity is governed by our Articles of Association, adopted by a special resolutKJn dated 22 Decemb8r 2017. The Board recruits trustees in collaboration with the Executive Team Ihrough Irustee development programmes and sp8¢ialisl agencies, by invilation and open call out. Trustees are appoinlgd according lo identified skill gaps and in line with tsrgets around representslion and equality. Trustees meet al least four tirnes a year online to review quarterfy progress against targets, updated risk register and management accounts and meet once at an annual. in person awayday to review strategic plens and activity. The charity was slrenglhened through increased access sup￿1 lor the board of trustees, and, working with Counterculture, Ihe recruiiment of Co-chairs Judeline Nicholas and BeW Richards, plus Iwo new trustees, Sara Rhrx1es and Juliette 8tJrton. Al brought new expertise, energy and insights. Al the end of 2023-24 our longstanding trustee and yfxjth theatre alvmnus, Dav& Young came lo the end ol his final term ol office and Valenlina Huxley stepped down for personal reasons at the start 012024-25. The demographic breakdown of Diverse City board at the end of 2024.25 was as follows.. 300k of our board are Oldeaf. disabled, or living wth a long-term health Condition,. 30Vo are from the global majority,. 20Ots a￿ LGBTQ*: 40Q/4 are young people between ages of 20-34., 40% are neurodivergenl., 700/0 idenlify as women.. an¢J 30tsA are from lower socio-economic backgrounds. Our brilliant Governance and Compliance Manager Becky Hughes played a critical role throughout the year in inducting Iruslees into the company, ensuring close communication between Co chairs and Executive Team and holding the weight ol Governance adminisiralion and operations. Individual Trustees took responsibility for oversight of the company's compliance wth Arts Council England's investment principles,. thoy fomied task and finish groups for specrfic work or joined action groups to oversee discrete areas of management. Truslees were inwled lo view work in development and the company in action throughout the year. Responsibility for the management ol the charity is delegated to a four-person Joint Chief Exacutive Team, ¢omprised of two Joint Artisti¢ D1￿Clor$, an Executive Direthr and a Finance Dir&¢lor who all report lo the board. The Joint Chief Execulive Team holds resFKJnsibility for strategic artlStic, financial and organisab'onal delivery of the three-year business plan. Financial management is led by the Executive Director and Finance Director.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Diverse City artistic leadership is held by Joinl Artistic Directors, Claire Hodgson and Jamie Beddard. Delivery of Diverse Citls sirategic circus collaix)ralion. Extraordinary Bodies. is shared gqually between the ¢harity and Cirque Bijou Limited. The collaboration emèrgèd out of our work together in 2012 OIyTnPlCS and is governed by an agreement. reviewed annually. In 2024-25, Diverse City employed a distribuled core team of 15 people. Ilargely on part-time contra¢tsl. We do nol have a permanenl volunleer stsff. This year our wot*lorce increased by 54 freelance and Conlraclual profe$sion81 perfom)ers. ¢realiv8 pr9¢ts"t￿ners and pr¢xlu¢ers. Our ¢ore and freelance workforce together represent 35% of Dldeaf or disabled people. or people living with a long-term condition., 17% from the global majorty.. 48% LGBTQ+ people., 29.￿ neurodivergent people,. 68% women., 32% young p80ple aged 2(k34', and 9% identsfy as being from lower socio g¢onomi¢ backgrounds. Strategic areas of acliwty are overseen by the Joint Chief Executive Team. Responsibility for relationship management, and tactical planning is delegated to project producers. managers and creatives lin house and freelance). Project, operatsons and marketing teams are supported by peers and stewarded by the Executive Team. We do nol have a physical office and operate through a shared online platform, alongside meeting face to face al regular Covworking days. The charity is activg in many new and eslablished neNwrks 3NJ continues to have an important slralegic role across the sedor: We are part ol the What Next? Leadership Group, we contributed lo DCMS Roundlables (including the Arts Council Review. and Access lo Work consullationsl. we are connected to a￿'s1 and organisation nets¥orks through Unlimited, Change Creation, the NPO cohort. Jerwood Creatwe Fellowships. Fuel Ba$￿amp Producing and Touring companies. plus festival, lourlng and commercial networks. Jamie Be(l(lard and clai￿ Hodgson work closely with the Clore Leadership Programme and have been part ol the Agents for Change network working al Theatre Royal Plymouth, Bristol Old Vic and New Wolsey, Ipswich. The Executive team also hold chair trustee & Patron roles for a range ol small and medium scale theatre and arts organisations in the southwest and nalionally including Exeter Northwtt Thea¢fe, We The Curious, Level Playin9 Field, Metal Culture Limited, w￿dw00(1 Arts. New Wolsey Theatre. and Face Front. In limes that are challenging for so many, our criijcal advocacy role dovelai15 Wth all other activilies. The charity is a member of the Independent Theatre Council IITCI National Association of Youth Theatres, Living W8ge Foundalion. Signe(I Culture: we are Charter IAembers of PIPA and are registered with the ICO. The Charity is a living wage employer. regislered wlh the Living Wage Foundation and sets rales of pay lor key management personnel based on equivalent sector market rates and level of artists'c and fiscal responsibility. The Charity aims for transparency in pay rates, Clear communication ol criteria for pay differentials, Strong freelance rates and a reduction in differential between the highest and lowest pay rates in the company where possible.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Objectives #nd a¢tivities The charity's objectives Our objectives are. The promotion of equalty and diversty the public benefit. including Ibut not limf(ed lol those with phy3ical impairments, leaming disabilities and others experiencing barriers lo learning, development and inclusion, by Ibut not limited to).. The provision and promolion ol Ihe arts linduding by promoting the wdening of participation in Ibul not limited lol th8 performing arts). The provision of workshops. training programmes and coaching in the arts, in particular Ibul not limited tol ihe performing arts,. and The advancement ol educab'on in the arts and raising awareness in equality and diversity. The promotion ol social inclusion for the publi¢ benefit in parti¢ulaf Ibul not limited lol among individuals who are socially excluded from wciety. or part o150ciety. as a result ol their social position, in particular (but without limrtationl through the promotion of performing arts, including widening participation in perforniing arts. How th• eharlty's alms lurth•r It8 legal purpo8•8 Diverse City is founded on the values of collatr*)ration. justice. crealivty and optimism and our vision is a healthy, just and civil society for all. Our inclusive public. perfom)ing arts practice widens participalion in thg arts and society, incltjding by children and young people, and train$ and promotes lalenled, diverse, independent artists. The charlty'$ 8trat•gl¢s for a¢hl•vlng Its $tat•d alms and oblKtIv•$ Our strategies are to identrfy, support and employ new and underrepresented performing artistic lalenl on stage and off stage,. lo ctrproduce wlh key partners new work roole(l in the human slorles and experiences of real people,. in¢rea5e the engagement of diverse ciwe artists in the evolution and tours of our shows,. and to get the Next Generation of diverse artists into crealive careers and employment. We wanl to see everyone getting into. on in. seen and heard in arts and culture so that gveryone can experience universal stories as part of dN8rse. activated and connected communities. The crlterla the charlty uses to asse$$ su¢¢ess In achlevlng go81s Diverse City values learning. In 2024-25 the charity refreshed our quality evaluation framework to assess success in progressing towards and achieving our goals. We want to know what people think and feel whether they are audiences. venues. artists. or parti¢ip8nls. By evaluating our progress. we learn more about how change happens. There are lour areas ol leaming wthin our Evaluation Framework Ihese are.. Shows and public events,. Artist and Leadership Developmenl,. Cultural Community (including partners)., Sector Change. We use different tools to evaluate both quantitativ8 and qualilab've data.. Culture Counts Insight and Impact T(x)Ikil; Post show or proj8¢1 audience and participant vox pops., Comment collections and interwews.. Case studies and observations.. Sense making and journalling Iqualiiativel,. EDI monitoring,. Illuminate surveyE'. Box Office Reports. and CartrK>n Footprint monitoring Iquantitativel. We judge success on the impaci and reach of our work for all activity incorporating sew and peer assessmenl of change Catslysed by our work. We have annual targets across our planne(l a¢tivity and for ¢ros5 Cutting themes- Humane Culture, Climate Care, Business Innovation and Finan￿al Sustainability- thal map onto Arts Council England's investmenl principles.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Signifi¢ant activities undertaken and their ¢ontribution to the ¢harity's achievement of aims nd oble¢tlv•s 2024-25 marked the se¢ond year of our 2023-26 business plan,"A New Now.. The year was marked by a resel and 8 rethink follovnng the turbulent Covid ye8r5 an¢J 8 penod of high creative oulpul. A5 we watched the ripples of our Extraordinary Bodies collat)oration radiate outward we turned our attention back to the creative output. relationships, strategic drive and profile of Diverse City. All our output was driven by our strategic aim to influence syslemic change on a nalional scale around representslion In the arts. Significant activitses during this period were our national tour of the reimagined production of 'Mid Lrfe,, profiling the lives and power of older women. Originally created in 2020 'Mid Life. was written by Sheila Chapman with dramaturgy and direction by Lucy Richardson. The show marked a return lo Diverse City priyjucing following an almost exclusive three-year focus on Extraordinary Bodies. Development on new works in progress-'AJl We Have. and 'The Other Lrfe l Lead'_ continued with practical explorations with a￿'stS. Our annual programmes for early career artists in¢luded intensive crealivg development residencies to accelerate artistic experience and knowledge. We also focused on developing and showcasing integrated talent through several high profile projects.. 'Earth Wheels ￿'r. R&D grew the crealive leadership and global ￿e￿rkS ol independent artists through inlgrnational exchange wlh Kenya." 'Take Up Space. _ a collaborative digital commission to be launched next year- showcased the artist community built ovèr Ihe18St 10 years by Extraordinary Bodies.. and the broadcast of Channel 4's Paralyrnpic5 homecoming ceremony saw a beautiful new duet from Extraordinary Bodies arlj'sts Jonny Leilch and early career artisl Charfotte Evans performed to 9,000 people at the Bimiingham's Utilita Arena. Given the significant interest in the overall Games, particularly lor live and high-profile moments, a major celebratory event like the homecoming ceremony would likely have drawn a substsntial broadcast audienee for Extraordinary Bodies. "l can honestly $8y I￿e never feft Itk8 such a badass 8nd gfnpow8rnd as a disabled artist. Slill feel like a dream that this even happened?F Getting to WO￿ alongs￿ such experienced incredible artists was beyond an honour, so pmud ofour I￿le team and the magic we cr&Bted." Charfotte Evans How th• ¢harity delivèrs public bènèfit The charity delivers public benefit by miligating barriers to engagement and participation in the perfomiing arts and by working to ensure that the cullural sector is inclusive and reflective ol th& widest number and range of people in our $￿Iety. The Charity's trustees wnfim) that they have had regard lo the Charity Commission's guidan￿ on public benefit. Goals 2024-25 Continued wrth the theme a 'New Now., our goal was to keep the momentum for change around byhose voices and bodies are heaTd 8nd seen on nalion815tsge5. Our goal wa5 to review and reset so that the charity was in a good place to move inlo the future wilh renewed purpose in an ever evolving local and global landscape. Our workforce ¢omprise¢J 15 full and part lime roles wilh a freelan¢e senior producer and lour booker bringing new expertise In the making and touring of complex shows in uncertain times. Our overheads budget increased from approximately £462k to £575k by the end of the same per￿.

Dlverse Clty Report of the tn15tees For the ear ended 31 March 2025 Grants In 2024-25 the Charily committed to granting approximalely £66.3k pa to Cirque Bijou for the shared managément and dalivery of our partnèrship collaboration- Extraordinary Bodies. The partnèrship fulfils our aim5 and objectives by emiKyJwng our ethos. vision and ffl15sion through creating practical artistic productions that promote equality and diversity and of wcial indusion for the public benefrf(. Volunteers The charity ¢urrenUy has no pemanenl volunteer worl(force bul ocCas￿nallY works with voluntsgrs provided by partner organisalions. 2024-25 Progress towards achievement ol aims strate ic Aim 1: Diversi the national cultural offer Mld Llfe by Shella Chapman In assoclatlon wlth Theatr• R¢y81 Plymouth We continued our focus on new work that centres underrepresented voices and tells less heard stories by reimagining our show'mid Lrfe'_ a vivid, rebellious and I0￿ul exwsé of menopausal life by Sheila Chapman. The new show onginaled in associalion with Theatre Royal Plymouth who provided rehearsal and production space and was supported by investment from our core funds. The major rewrite Iwth dramaturgy from director Lucy Richardson) introduced the framing device of a 50th birthday party, which climaxed in a DJ set, allowing audien¢e$ lo literally paty with us. The new ileralion brought glob81 majority characlers lo the fore and included new film footsge that inlegraled more diverse local women's stories and characters into the show. The press response captures well the tone and content of the show.. "a hll8rlous, polgnanl, show about real women.. aiofvl celebrallon of belng fulty yours8lf.' Brighton Source .8 warm, humorous show aljoul conneclion. forgiveness and discovery... 8JOyOUS C8lebr81ion of the sisterhood." Plyrnoulh Herald -sheila Chapman s plece is cTrmmed with worthy and wognis8ble p￿nIs, humour 8nd rele8se, affecting backstories and counterpoints" Brikn'sh Theatre Guide Mid Life, bubbles 8nd fizz&s wjth wrf. insAght. lOrt￿"ng and kno*." PRSD All We Have by J•rnie 8eddard Research and development for'AII We Hav6. continued through residencies in Bristol. Initially a c production with Ad Infinilum, the project shrfted lo being led by Jamie Beddard after George Mann stepped away. The show explores the lives of three solo sailors, examining the migrant experience, eco-activism, and egtrdriven extreme travel. New collaborations were forggd wilh designers and musicians during R&D. One artist described the development process as.. "a chance to bring together my lived experien￿ with the wAderpOlit￿aI moment- sailing becomes a metaphor forsurrival and rewstance.- Jamie wll now write a first draft of the show with dramaturgical suprM)rt, for autumn 2025 Opportunities with cultural pathers in Ipswch, Hull, Brighton. Bristol and PIyTnoulh are opening up and a partnership round table in PIyTnouth linked us wth key community organisations in PIyTnoulh.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Tha Other Llf8 l Lèad by Ellls Davls Attstic Director (Talent Development) Ellis Davis advanced ihe development of a new venlure for garly ¢areer artists wth The Other Life l Lead. shaped through a series ol ¢rÈative explorations. The new piece explores masking and the liberation of being one's true self. Supported by the Trail Blazer Fund, Ellis collaborated w(th disabled musicians and lyricists EriT) Enfys and Harry Bassett with a view to building a touring band of disabled musicians who will perform in the show. Residencies included short, musi¢ian-lo¢used rehearsals and a dedicaled music residency in aulumn 2024. This gig-Ihealr8 piece provides ￿ltIe41 eady ¢8re8r opportunib.es for talenl Ihat, wilhoul support, may not otherwise be seen. Harry Bassett said ol the process: "Being part of this soundlrack is more Ihan wriling music- ils about showing th81 disabl8d musicians c8n le8d the sound 018 produGtw." Take Up Sp8¢¢ by Extraordlnary B¢dl•s Extraordinary Bodies commissioned 15 artists to collaborate on a new digital piece Take Up Space. The short film by Film maker Stephen Lake celebrates 12 years of Extraordinary B¢yJies a￿sts who filmed themselves creating physic81 work in a natural landscape. The film is set to an original score by John Kelly lor distribution in early 2026. John Kelly explained his approach.. °The soundtrgck had lo hold Ihe wgwhl of wh81 Ihase art￿1$ arg Saying with their t)0d￿S- it's 8boul presenc&, resistanGe, andioy.. The release will highlight the pol￿¢81 context of deepening cuts lo disabled peo￿e'S benefits and the essential role of the Access lo Work scheme. which underpins the careers of many featu￿￿ artists as an anb'dole lo the cuts and prevalenl narralives around disability and disabled people. This theme and the idea of 'taking up space, infornis the broad suite of lorthcoming Extraordinary Bodies projects. Strnt• Ic Alm 2: R• resent res ond to and en o dlverse aud5onc•s Over the course of the year Diverse City reached approximalely 18,233 people through live public performances including 'Mid Lrfe,, 'Earth Wheels R&D', Extraordinary Bodies duet performance at the Paralympi¢ Homecoming and 'Circus Arotjnd And About 2, rural touring partnership project. We reached 1,246,003 people online through s￿181 media. creative digital content and broadcast with m051 being Channel 4 estimated broadcast audience for Ihe Paral￿pIC Homecoming celebrats'on. Mld Llfo on tour A major highlight in 2024-25 VRS the'mvj Lrfe. tour. which reach￿ 1.500 people nationally. The lour of the original show, an Offi&nominaled sell-out at Bristol Old Vic and Ihe Barbican in early spring 2020, was truncated by Covid. We were delighted to be able to tour again during early spring 2025 to small-s¢ale national venues in Brighton, Nottingham, Lee<Js, Famham, Dorset, and Comwall. We often played lo sold-oul houses demonslraling unequtvocally Ihal a m8jority unknown. midlife female performing company can sell tickets. A robust social media carnpaign expanded our online audience with a total srKial media reach of over 33,000. from an oveThthelmingly187°kl female audience bebNeen the ages of 3&55, based in the UK189%1. From the beginning to end of the year we saw a 92010 rise in the number of people we (x)nnecled wlh online. These figures came through Inslagram IReach of 15,7261 and YouTube127,857 wewsl where we made our greatest gains across the year.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 AJI 'Mid Life. shows were relaxed, aud￿ described, captioned and BSL interpreted. Survey responses show that al least 16°/o of audiences were Dldeaf or disabled and 15 /0 neurodivergent. We reached an gstimated 120/0 global majority women (where the UK'S global majority population is 13.8¢AI. which 15 Impressive given the number of predominantly whrte areas lo which we toured IDevon, Comwall and Dorsetl. 18% of respondents to Culture Counts surveys identified as gay, lesbian or queer lin an overall populabon of approximately 3.5% LGBTQ+l. Oldeaf and disabled audiences were also well represented although nol alwayE visible in box office data. Audience members commented.. "On a par with all of the menopausg training I've had as a d￿tor- well done." Another refteGled on the emotmal connectm Greated.. °Thank you for the heads up ofwhal might be lo come and forconnecbng me to my lal8 but greal Mum." 71Yo olaudience survey respondenls Se￿ that th8 show 'Exceeded'or'Somewhat exceeded, their expeclalions 90Yo of respondgnts found Iheir experien¢e of Ihe show Ex¢ellenl'. All in all, feedback Was ovenvhelmingly positive Trfjecling both appreciation of represent81ion and of the shows rol8 in ¢onngcting lived gxperien¢es of m￿life and ageing. Extraordlnary B¢dl•$: Tourfng Dlvom Lad Clr¢u$ Extraordinary Bodies, Touring Diverse Led Circus final report was submitted to Arts Council England In June 2024, with impact and o>evaluats'on ￿pOrts shared wrth Paul H8mlyn Foundation, Ramp8 on the Moon. anLI Fuel Baseeamp lo infom sector leaming aLK)ut diversrfy'ng audiences. Extraordlnary Bodles: Clrcus Around and Alx¥ut 2 Our partnership with c￿n9 Out Loud and Take Art ramped up wlh a menu of circus shows lor rural networks, SUPPOrted by 8 12-month granl from ACE strategic funds to Take Art. We led the 8c¢&ss and support programme lo increase Ihe welcome lo underrepresented audience5 across these ne￿OrkS. We conducted venue access audits, offered online access familiarisation, and access trouble shooting. In Autumn 2024 troubleshooting surgeries with rural venues informed the creation of a suite of resources and ¢ase studies published on Take Art's website that aims lo share the learning across the sector around widening Inclus￿￿. One nJral programmer commented after one online webinar.. "This gave me pr8ctiC81 tools lo make my venue more welcoming- it made inclusivty feelpossiblg ralhgr than intimidating.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Extraordinary Bodies= Splashl Commissioned artist Nikki Chadesworth scor*d out the mechanism for taking her original animated film Splashl _in5pired by Extraordinary B(Klies' 2019 Strw)v￿nIo SEND sclKK>ls with an integrated workshop and film package. Extraordlnary Bodl•$: P•ralympl¢ Hom•¢omlng Show We have always wanted our disabled artists to be integrated into Ihe mainstream. This September, TBI media invited Extraordinary Bodies to create a spectacular aerial piece for the National Lottery s ParalympicsGB Homecoming show. Managed and dirg¢t8d by Cirque Bijou, perfomie(I for a live audience 019,000 at Birmingham's Ulilila Arena. and broadc8sI a few d8ys 18ler on Channel 4. th15 W8s a huge opportunity. W8 invited Jonny Leitch, an incredible performer land musician) who we've worked with for many years. When Jonny's usual aerial partner Tilly was unavailable, he suggested cha￿Otte Evans, a brilliant and crealivg disabled aerialist who has been training with Extraordinary Bodies but nol yet been casl in our shows. The pair followed Cr8ig David on the schedule. The piece perfecuy demonslraled the ski115 of the two artists, including solo and duel moments. To be on such a visible platform, perfomiing to millions of viewers, celebrating the ParalyTnpicsGB leam, 1$ a moment in Extraordinary Bodies, history Ihal none of us will forget. On15ne Audlence8 Audiences online continued to comprise a significant aspect of our reach. We aimed to share online ontent alongside live shows to both expand our reach and mitsgat8 barriers lo access to live performance for so many. Our annual online audience of 1,246,003 was mainly the result of the broadcast ol Extraordinary Bodies. performance at the Paralympic Homewming Ceremony and mirrored public interest in the Paralympic gamgs in August and Seplember of 2024. Followng our lour ol'waldo's Circus of Maglc and Terror in 2023, reduced capacity meant pulling back on Extraordinary Bodies e-News and social media. We switched our altention Irorn Twlter & Facebook over to Instagrarn where we saw 1000 cornbined audiences for'Earlh Wheels Air, digital slories. YouTube gained a modest audience of 1000 ovgr the ygar, wth IAD & non-ADI teasgrs of'Earth, Wheels. Airf attracts'ng 600 wews. Our website worke(J more effecbvely for us, with a sle8dier stream of ￿ntent thank5 10 an exp8nded communications team working together. The impact ol the'mid Life. campaign was seen in the user numbers of 11,176, wlh new audiences reaching over 10K and an almosl 100 /0 improvement on the previous year when site visitors came to just under 6K and new visitors to just under 5K. strat• Sc Alm 3 Create o ortunitios for th8 next eneratlon of artlsts Throughout the year we committed lo fosiering equal represeniation, inclusion and innovation in our workforce. Collaboration with skilled Dldeaf, disabled, and non4isabled diverse perfomiers continues to be a challenge in circus and theatre. Advanced p￿1¢81 skills are a Challenge to the most Seasoned actor rf they haven't started training earfy and the most daring physical performers inevitably struggle wth voice projection and character rf they haven't had access lo actor training. Financial and ph￿ical barriers to training mean Ihat many still do not have universal access, so young people coming from less traditi￿31 backgrounds are still put off from thinking a career in the arts is for them. 10

Dlverse Clty Report of the tn15tees For the ear ended 31 March 2025 We created space for new people, new ideas arKI new stories to come into the company. Our sights remained firmly on building the workforce that the arts and culture needs if it is lo remain relevant. radical and rèsour¢eful. In 202*25 we Èmployed 54 ￿ntraCtual and freelancè staff. 310/0 of thes8 were 8rt15ts and 27¢A were Specialist stsff. We employe(130% Dldeaf. disabled people. or people living with a long-lerm cond((ion', we employed 22% people from the global majority.. 50.10 LGBTQ+; 33°k Young people121>341', 28¥0 Neurodivergent.. Women- 63%.. 4 /• of people who identified as being from Lower Socioe¢onomi¢ groups. Earth. Wha•ls, Alr by Extraordlnary Bodlès Our international R&D circus practice exchange 'Earth, Wheels, Air. took off funded by an Unlimited International Open Award 2024. 11 brought Kenyan Dance Company. Pamoja Dance together wlh Extraordinary Bodies artists, Tilly Lee Kronick and Jonny Le1￿h. The exchange aimed lo share inlegraled circu5 practice and lo develop the creative leadership of independent disabled arb"sts. 11 provided an opportunity for the two companies to share creative skills. adaptive circus techniques and cullural practice in a collaboration that sowed the seeds for a possible future Extraordinary Bodles show. The project gained a strong resonanca and sunrficance sirKe il evolved 81 a moment when.. °Theiourngy and devglopmenl Ofd￿)1￿d art￿1$ and leaders is undersevere th￿01 in the UK &s cuts and dangerous narratives lake hold...Againsl this backdrop. making brilliant art and collaborations like 'Earth, Wheels, Air'are just the fillips needed, and a timely reminder of why this work is so important. the different contexts in whlch disabled artists oper8le intern8t￿n￿llY 8nd how our collective strengths can indeed create better wortds." Jamie 8eddard, Creative Mentor, 'Earth, Wheels, ￿'r, Online and face lo lace planning, remote collaboral￿n and mentorship. preceded a journey by artists Jonny and Tilly to Nairobi Kenya in October 2024. Our Kenyan partners then came to Plymouth UK in February 2025 Hosted by Theatre Royal Plymouth at TR2. Jonny Leilch took the lead in Kenya and Joseph Kayenje Muriithi, Artistic Director of Pamoja Dance Group, led Ihe artisbc direction in Plymouth. Circus support from Billy Alwen and rigger Saul Baum let to memorable moments such as a fl￿n9 bicycle seqtjence and aerial ¢nJtch dancing. We opened the door lo a 10181 of over 200 invrted audiences through this process and 18cilil8le(J one partl¢lP810ry workshop in the UK. Events included a sharing lor artists and industry professionals at Wi)odland Star Intemational School and a sharing for children and families in Kenya., a sharing plus Q&A lor industry partners, artists, friendsmamily, community groups and colleagues in Plymouth,. and a Dance Maslerclass led by Joseph Kanyenje Murirthi for 18 disabled and neurodivtrrgenl dan¢ers Aged 18-55 years run by Far Flung C.l.C. in partnership with Theatre Royal PIyTnouth. One participant described the exchange as.. .8 magical Collision ofcuttuffjs andbOd￿S- swng Beatiice dance 4vith her cnrtches alongside UK artists was unft)rgettable." This exch8nge, initiated by Sgnior Producer Alice Chutter. exgmplifies how inlemab"on81 collaboration can share and strengthen practi￿. build resilience. an¢J longevity for disabled 8rt15ts. The project also built on our relationship wilh Unlimited, a key national and intemational commissioning and advocacy organisation for disabled-led work. Overall the project brought about significant artisti¢ and produ¢er development outcomes for both UK and Kenyan artists.

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Noxt Generation Diverse City models indusive practi￿ and provides accessible ways for people lo get into the ¢roativa sector. It aims to equip the Next GenÈrab"on of integrated ¢reative pra¢titionèrs for a range of professional roles on stage and off it. In 2024-25 our aim was to scaffold p8lhw8ys for young disabled musicians. Early career artists worked on a music residency for 20 participants as part of the Dorset County Council HAFS programme. Then in December 2024, we workshopped the songs and soundtrack for 'The Other Lrfe l Lead, wlh some of the same a￿Sts. In between we made a trip lo Madrid for the European Youth Fests"val ForlWiUVBy in July 2024. where we ran workshops and deepened relationships across Europe. Uplift Inclusive Circus Aerial Th8 charity continued to work in partnership between Extraordinary B￿J18S and Dorset based Gems Circu5 School on weekly sessions offering training and progression routes for dis8t￿ed and non- disabled young people aged 1>30. Aspirational workshops in SEND schools were delivered by young artists Harry Bassett and Dave Young, bolh alumni of Diverse City's talent development progr8mmes. Un•xpoct•d L¢¥ders 'Being Disabled you face a lot of barriers. And lo nogotiate the barriers you're a leader &lready...an implicit leader. You might nol call yourself a leader bul every day lo surnive, you need lo be 8 188d8r because you're negoli81ing barriers... People come onlo the course and theyre already leaders. bul they dony know that they are. So, part of the Unexpected Leaders programme is telling Iheml" Jamie 8eddard Our 2023-24 Unexpected Leaders cohort celebrate(I Iheir achievements w4th 8 graduation ceremony in April 2024. marking the end ol this Ir8nslormalive Ihre&year programme supported by the National Lotlery. These leaders wll conlinue lo be part of our wder nehvork, further strengthening the impact of Diverse Citys work and making recommendations to the charity for the future ol th8 programme. The reflections of the cohort are captured below.. "I lell really supported, I was really, really nemus and I felt supported by the people around me and gently encouraged by the peoplg around me-. "Being valued. Being listened to and asked to lead things and make things. Being trusted to do this and support&d when rf went wrong and when rt went ri9ht.' °Il was IAke bein9 're-Stocked"... my confidence has been boost8d'. People felt supported and enlTanchi5ed by the pr(KJramme. They found much needed community and creative resource. Aitsl developmenl programmes like Unexpected Leaders Ihat priorilise accessibility and offer long term suptx)rt are rare. Disabled people moving into leadership need more time and things take longer. The programme wll move forward wth a Critical question at the Core". Does Unexpected Leadership mean wnanaging an exisb.ng system, leaming ils codes and rhythms, working at its pace, and spending time fighting Ihis onslaughl whilst being tokenised and feeling guilty...or is there a belter wa 12

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 So¢ial Media Meltdown Diverse City's Artistic Leadership conknnued to support independent disabled artists and emerging Companigs through rghearsal visits, online mentoring. and a¢¢ess guidan¢e. This year, Ellis Davis and Claire Hodgson were seconded to The Shoubng Mute (Dave Young's new company) lo direct 'Social Media Mettdown. and mentor Dave respectively. The process is critical to positioning Dave Young and collatrx)rators as leaders in crealing new disabled-led work. Dave Young reflected on the support he received.. "Having Diverse Cty along8￿ me in launGhing The SIKJUting Mute has been Iransfonnalive- they undefrEtand access, but more Imi￿an1￿, Ihey bel￿¥6 in my V￿CO." Support for now companles The Extraordinary Bodie5 artistic team also 5UPPOrted arb.sts Tilly Lee Kronick and Jonny Leilch in setting up their new integrated company'Head over Wheels. and artists Ryan Murphy and Maia Ayling wth their integrated company'Tit For Tat.. Ellis Davis acled as outside eye and critical friend lo disabled artist Hugh Malyon and his ￿MpanY'SQueeze Box Theatre,. Diverse City also supported integrated 'F8r Flung Dance Company, and acted as Creatsve Access Collaborator lor writer, spoken word artist and actsvisl Oneness Sankara on Ihe developmenl ol her new one woman show about parenting a child with Down Syndrome. Consultancy Diverse City and Extraordinary 8odies continued lo deliver infomal and fomal sector learning and consultancy during the year to over 3(￿ people online and face to face. A small team of artists and core Creatives were invited to present at Galway Community Cir¢us' Culture Night in autumn 2024 and share Inclusive circus practice thr￿gh part￿Ipatory workshops with circus trainers nationally. Consultancy included sessions with Emerald Anl (made accessible Ihrough sessions led by Dave Young and Harry Bassettl,The Royal Opera House, PIPA, Notts'ngham City Arts, People Make it Work Ramps on the Moon, Arts Council England. Ga￿aY Community Circus, People Make11 Work, Figurative, What's Nex17 The senior management and wider le8m contributed to the Sector through trusteeships, Co-chairing responsibilities, and What Next? Our focus continued to be on relationships that build the impact of our creaiive output, wth clear strategic benefits. trato Ic Alm 4: ustalnabll We turned our attention lowards the future direction of Oiverse City as an organisation. To ensure we are well-placed for the next phase, we continued to work wrth consultants Pèter Coxon and Counterculture lo guide our organisab"M81, exe¢ubve, and personal development. Becky Hughes successfully bedded into the company in the new role of Governance and Compliance Manager, and mid-year we welcomed Georgie White Winter into the new role of Development Manager. Bolh roles have alleviated the pressures on and ensured the sustsinability of the Exe¢ukn've Team. A somewhat chequered experience wlh ¢)ulsouTcing fundraising task5. means that we are optimistic that the apF¥)intmenl of a Development Manager will reap rewards long-term. 13

Dlverse Clty Report of the tn15tees For the ear ended 31 March 2025 Ajice Chutter, our experienced Sen1￿ Producer cOntinl￿ to Work remotely from Nairobi Kenya for another 12 monihs enabling Ihe instsgation ol our significant inlemational exchange wih Pamoja Dan¢e. Eilis Davis- ￿tistIC Dirè¢tor Talènt Developrnent- was relèased part time to follow hgr Senior Leader ApprenliGe5hip IArt5 8 Cullurel MBA course at The University of Wolverhampton and was successful in securiThJ access suppcwt through the govemment's Access to Work scheme. We empk)yed Jodie Mundy with IT agent Cyan to oversee and manage the successful wholesale migration ol our online systems to Mi¢rosoft Shar8poinl lo strengthen our data $8¢urity and improve operational efficiency. Circus Aerialist Saskia Collyns replaced Alex Ford as pt arts administrator, freelancers Paula Hammond and Laura Dickens. 'Mid Life. prodLKer and tour booker respectively, h8ld tight io Ihg rgin$ of 'm￿ Lrfe,. 2024-25 was as busy and challenging as ever. Arts Council England continued to recognise the charity's strong leadership Irom the Execulive leam. supported by clear partnership arrangements. strong planning, good financial reporb'ng lo the board. Our progress towards our charity's mission demonstrated a reslllence founded on a deep optimism and shared bellef. Flnanclal r•vl•w 2024-25 was the second year of our 202>26 business plan 'A New Novf, the seventh year of Diverse City opgraling as a charity and receiving ftjnding as part ol Arts Council England's National Portfolio Investment Programme. The hIgh1￿h¢S of a¢twity funded during the year include.. The successful productson and lour ol the Diverse City'mid Life. show., Development of our Diverse City shows 'AII We Have. and 'The Other Life l Lead,: An international Extra(ydinary Bodies exchange. run in conjunction with Pamoja Dance in Kenya,. Next Generation Extraordinary Bodies Young Artists attending the ForWithlBy Festival in Madrid,. and The creation of a digital commission from Extraordinary Bodies artists called 'Take up Space,. In 24-25 income de￿eased by approx £0.1m compared lo the previous year. The principal funding source for the charity was grant income from the Arts Council England £536k164'10 of total incomel as part of the National Portfolio Investment Programme. Oiher income received flexes to support our planned activity and is mainly derived from grants from Tnjsts and Foundations, Commissions and Access lo Work. Grant income supports the ¢harty's objects of'the promotion ol equ81ily and diversity and ol social inclusion for the public benefit through.. the provision and promotion of the arts, workshops, training programmes and coaching: ihe advancement of educalion in (he arts and raising awareness in equality and diversity., and the ￿denIng of participation in performing arts,. Grant inwme was supplemented by income generale(I from 'Mid Lrfe, perfom)an¢e and co producer funds lin cash and in kin¢Jl plus in(x)me from the ch8riWs consultancy services. 14

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Grant income of £714k was £90k lower than the previous year. This was predominantly due to the end of the National Lottery funded Connecting Communities 3-year programme. Major grants receivèd in the ygar in¢ludèd the Asts Council England NPO grant of £536k, £SOk from the Esmee Fairbairn foundation IsupFK>rting core costs). a £45k Unlimileil Intemab"on81 Open Award 2024 funding the R&D circus practice exchange 'Earth, Wheels, Air., the final Pa￿lent of £35k from the ACE Project of Nab'onal Imtx)rtance Grant supporting Touring Diverse Led Circus, £1 Sk received from the Youth Music Trust.. Trailblazer fund supporting music residencies lor young a￿Sts, the final P8ymenl of £16k from the N81ion81 Lottery supporting Connecting Communities, A¢cgss lo Work grants of £14k, and £3k from Chalk Hill Trust supporting the making of the 'Mid Life, community film. Partnership and performance income of £28k was £89k lower than the previous year, due to the 'Mid Lrfe, show being on a smaller scale than the'waldo's Circus ol Magic and Terror, show in the previou5 year. Income wa5 received Irom our 'Mid Life. partner5 and performance venues including Theatre Royal Plymouth. Brighton Dome. University of Nottingham, Farnham Maltings, The Mowlem Theatre, Sterts Arts & Environmenl Cenlre, and 'Leeds Playhouse.. Partner income was also recelved from Take Art Ltd for'circus Aroun(l and AtK)Ut 2.. Other income received in the year included Donations and In kind income1£18kl, Training & consultancy income1£24kl, bank interest1£15k} arKI estimated Theatre Tax relief income relating to 'Mid Life'1£42kl. The expenditure decreased by £0.2m wlh project expenditure reducing by £0.3m and overhead expenditure increasing by £0.1 m. The year-on-year proSect expendItU￿ decre8se of £0.3m relaled lo the Tourfng Dlverse Led Clrcus 3- year touring projeel coming to an end in the previous financial year, and the end of the National Lottery funded Connecling Communitses project. Expenditure in the year related to the tour of 'Mid Lrfe, la smaller and financially lighter show than the prewous year's shows). 'Earth, Wheels, Air, international gxchange project, Rural Touring, Training and Consultancy and the wrap-up and evaluation of the Touring Diverse Led Circus project, Connecling Commvnilies and Unexpected Leaders programmes. Research and developmenl costs were incurred on the next Diverse City shows 'AII We Have, and 'The Other Lrfe l Lead,. Overhead expenditure increase(J slighdy by £0.1m due to the ne￿Y appointed Data and Compliance Manager and Developrnent Manager roles. the overhaul and modemisation of our IT systems and a cost of living pay rise lor all employees. The Development Manager will expand our in-house fundraising expertise. To increase our resilience in Ihe challenging financial arts landscape we wrnpleted a cost review of our planned overhead expendilure. We have subsequenuy implemented cuts to travel, meetings. training, consultancy and venue hire. 15

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 The funds position at the end of the year was £0.6m. a decrease of £0.1m. This decrease was expected due lo Ihe utilisation of restricted and designaled funds thal had been re￿IVed, but not s￿nt. in previous years. Thgse funds have been allocated against proie¢t ath'vity and overheads in the upcoming years. The Charity takes the followiThJ actions to mitigate these risks-. develops a long-temi funding strategy, employE independent advisors, provides intemal fundraising training. invests in relationships with funders.. keeps an op8n ¢onv8rsalion wilh louring partners about the markol and future risks and plans.. and collaborates with training partners. and other perforrning companies, lo cast our talent net as widely as possible and to work nationally to identify new talenl. Trustees have created a reserves policy that aims lo buikl a building resilience reserve that is gquivalenl to 4 months overheads expenditure. Tnjslees track cashflow and forecasts on a regular basis lo highlighl any polents.al low points and plan this. The rovlow of tho resorves The total funds held by the charity at the end of the repcffting peri￿ was £0.6m. The breakdown of the funds was 8$ follows.. Restricled funds £12k- where Ihe donor has specified the funds are to be spent on a particular actiwly. These funds rglale lo the Yotjlh Music Trtjst.. Trailblazef 2-year project1£11kl and the National Lollery funded Connecting Communities Project imp8¢1 reporting1£1 kl., Designated project activity lund5 £102k designated to support creative activity relating lo the shows'AII We Have. and ' The Other Lrfe l Lead. and Next Generation activity., Designated oryanisational support fund £323k - designated to support essential organisational expenditure in the next three financial years, reflects.ng the extension of the Arts Council England National Portfolio Investment Programme; Designated Cultural Recovery Fund £1k- supporting IT business support costs., and General reserves £190k- this is in line wth the reserves policy to support the long-temi rgsilignce of the charity. The aim is lo achieve 4 months overheads buffer. This is tracking as planned. Development and Marketing In 2024-25 we navigated another change of ACE Relationship Manager, welcoming back Ruth Kap8dia, who previously supported the charity before 2018. In 2024-25 Arts Council England IACEI granted annual NPO funding of £536k pa and extended the current NPO funding period lo 202￿27, requiring the submission ol an exlension budgel by the end of 2024. We had an active dialogue with ACE about gaps in our current funding model, particulady around the posiiion of Extraordinary Boditrs wthin our strategic business plan. Disappointingly. ACE could not in¢￿aSe support to sustain Extraordinary Bodies as a strategic collaboration with Cirque Bijou. leading to a reset of our relationship with Cirque Bijou. We know that Ihis work increases ihe sense that a career on and off stage is possible for Dldeaf and disabled people. However, to find and train Dldeaf and disabled talent, pa￿CUladY in circus skills requi￿$ a 10-year commitment and a pathway into performance. Without strategic inve51menl in the long-lerrrb sustsinability of our flagship. inlegraleil circus company, we had to pull back from developing strategic talent development programmes long term. 16

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 We increased our fundraising capacity through workiThJ with exlemal bid WTiters with limited success. However, a new permanent Development Manager joined us to grow Ihe company fundraising ¢ulturg and kick start a new individual giwng sttalegy. 9￿￿ed by th& expert philanthropy consultant Lottie Donovan. We were successful in an approach lo Esmée F8irbaim for Mu￿-year core funtling of £50k. This investment is vital is supporting our work to diversify the arts workforce to ensure that people of intersectional identities who are excluded from. or at Ihe mar9ins of, careers in the arts, find their place to work, create and inlluence. Worf( with Galway Community Circus led to Iheir successful bid to Rethink Ireland1£142kl, to share Extraordinary Bodies, inclusive circus wa¢lice acxoss Ihe ¢ir¢us sector in Ifeland in 2025-26. We were a150 delighted to receive £3k I(￿al support frorn Chalk Clrff Tru51 for local Brighton based community engagement around Mid Life. While Talbot Village Trust generously supported the next years of work with emerging artists wrth a £40k grant lthe first Iranche to be received Spring 20251. Thg Potential for growing individual donalions was demonslraled by small donations from supporters ol'mid Life, and'Earth Wheels Air.. alongside an unexpected first schtY)I tlonatson. 2024-2S was 8 dem8nding bul ullim8lely Iruitful year lor income ￿neratIon. Thè external environment has been challenging. with increased competition and shifting priorities across trusts and foundations. Diverse City has voluntsrily subscribed to the FurKJraising Regulator. Payment ol the Lovy signals our commitment to fundraising best practice, posrtively c£Jnlribuling to ACE Dynamism Investment Principle. No complaints have been received by the charity or by a ￿r$On acting on our behalf for the purposes of fundraising abotjt fundraising actmty. The charity Is regislered wth the ICO. has an up lo dale, GDPR compliant privacy policy and regul8rfy reviewed procedures. The charity lollows the Fundraising Regulator's Collè of Practice and fundraising activity does not include asks io an individual person unless ihey have explicitly consented to be conlacted for Ihis purpose. General asks lor individual donalions are currently limited to occasional Crowdfunder Campaigns lor our work Children and Young Pgople or through specific, identified fundr8ising events. We produced comprehensive suiles of marketiro assels to support'mid Life's. tour, including digital teasers and dance tutorials for social media. Despite shrNt runs that challenged word-of-mouth promotion, the show reache<l substsnlial audiences 8cros$ 14 perfomiances and ￿8¢he￿ 28k online. In 2024-25 we invested in the Teshaping of how we COmTnunicate who we are and why we matter. Wilh guidance from Counterculiure and The Space in Between, we started to refine our sion, mission, and impact objectives, and began reslructuring our strategic plan and embedding it in our ¢ommuni¢ations strategy. Our next stsps are to ￿￿o$￿n ￿r wobsile lo bgttgr support donor journeys and showcase our impact through case studies. 17

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Going ¢on¢ern The tnjstees consider thal ihe charity will conlinue as a going concem for a period of at least ￿e1ve months from the dato on which these finanoal statements are approved for the following reasons.. The charity holds reserves of £0.6m al Ihe end of 2024-25. Thi5 coris15ts of reslricled funds of £12k, designated lunds of £426k and general reserves of £190k lapprox. 4 months running costs)., The budget for 202&26 includes income iargeis of £0.7m. 90% of this income is already Confirmed. The fun(Is forecast al the end of March 26 are £616k Idesignale(1 £426k, general £188kl', The net cash reserves forecast al the end of March 26 are £677k (restricted £6k, designated £481k, general £190kl,' and The charity has no debt. The Iruslees therefore consider il appropriate to adopt the going concern basis for the preparation of the accounts, as detailed in note 1 lo the financial statements. Plans for future p•rlods Our lulure direction is articulated in our 202&26 business plan. A New Now. and 2025-26 will see the evolution of a new plan for 202&31. We wll refine our strategic aims wth a stronger focus on 9g11ing peoplg into, on in and seen and heard in the perfomin9 arts and will slreamline activity plans lo ensure that eVer￿bing 81igns to our purpose and sits wthin our resources of time and money. Diverse City's belief is that the arts are powerful when they are for everybody. Our vision is a world where what is on stage, off stage and in the audience reflects our infinite difference and galvanises positive change. We remain committed lo fostering equal represenlalion, inclusion and innovation In a changing perfoming arts seetor. Our work. rooted in partnership and Community, will continue to break new ground, reimagining the people, ideas and slories thal shape the arts. Looking forward, we will be pr￿jreSsing the development of'AII We Have, and 'The Olher Life I Leacl, alongside other artistic project proposals for a new lamily show. We a￿ also ILx)king 81 way8 of embedding communily and leadership work more direcljy. to suppori Ihe creative evolution, audience development and resourcing of sh)ws. We will wden the talent net to ensure that we are finding and supporting the best of Dldeaf and disabled a￿'sts for the fulure. The touring landscape remains challenging. with economic pressures limiting venues, ability to take risks or commit to co-productions. In 202&26 we wll explore new m￿Je1$ to make and tour work more sustsinably, explore new cross sector partnerships lo reach more people in traditional and non- traditional settings and discuss ways in which Ihis work might be supForted by ACE strategic investmenl. We have ambitions lo broaden and reframe the scope of the Diverse Ctty websi(e and expan(J tho public's awareness of our charity stalus. We will see new digital content in 2026-27 and the development of a specific projecl to bring all our existing digital back caialogue togelher in a form that is accessible and polentially income generating. We will push hard to maintain momentum in growing online audiences and by this time in 2026 we p￿dICt a 30Vo In¢￿aSe in visitors, and a 20% increase in the time they spend on our website. 18

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 Our review of our longstsnding collaboratK)n with Cirque Bijou. 'Extraordinary Bodios, has tsvolved. Our approach and leaming in this partnership have been captured in a 'Business Innovation Podcast. and Toolkit exploring partnership working. alongside national peers, which will be released in 2025. In 202&26 Cirque Bijou and Diverse City will move lo a responsive. project to project 8pproa¢h, adopting a simple strategi¢ Iramework for de¢ision-making to sift through and select collaboration offers. Our collaiK>ralion has a profile and track record that forms a solid foundation for the next steps in ((S journey, but our work together will be at a slower pace. We are already in conversation with Greenwch and Docklands Feslival about an Extraordinary Bodies outdoor show commission and Ga￿aY Communily Circus has invited us back to continue the circus sector change work $18rted this year. We want lo see what the ongoing appeb.le for Extraordinary Bodies. commissions might be and whether the collaboration is commercially sustainable without strategic Support. We hope that our short film 'Take Up Space.. commissioned from 15 Extraordinary Bodies. artists wll act as our calling card over the nexl eighleen months. We are confident in our sustsinabilty and impad. We a￿ ￿$•lIent and experienced arts managers slowly building our influence with the cultural sector. Truslee recruitment wll continue to be a focus and we will recruit into identified gaps ol sector. legal anij development eX￿rtr"se. We wll continue 10 create the conditions for a working practice fourKled on values of justice and inclusion, anti- oppressive practice, and generosity. 2025-26 w8 will enter year three ol our current NPO perithj and will work to secure the ￿SourCeS lo move forward in a sound, careful and financially responsible way. Our creative projec15 wll embody our ethos and values and showcase talenis of our incredible artists. They will be made and offered in drfferent configurations to ensure that communities and pla￿$ are receiving work that is surprising, relevant, and engaging. We look forwar(J lo buil¢Jing on established, and finding new. partnerships that will make the 'New Now. we imagine. Statornent of rosponslbllitles of the trustees The Iruslees (who are also directors of the ¢harity lor the purposes of company lawl are responsible for preparing the tru51ees' report 8nd the fin8nci81 $18lemenls in accordance with applicable law and United Kingdom Accounting Siandards. induding Financial Reporiing Standard 102.. The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice). Company law require5 the tnjstees to prepare financial stalements for each financial year, which give a true and lair view of the stale of affairs ol the charity and of ihe income and expenditure of the charity for that period. In preparing thos6 financial statements the trustees are requirèd to.. Strled suitable a￿UntIng wlicies and then appty them consistenlly, Observe the rnethods and principles in the Charitses SORP- Make judgements and accounling estimates thal are reasonable and prudenl., State whether applicable UK accounting standards and statements of recommended practice have been followed, subject to any material departu￿$ disclosed and explained in the financial 51aternenls', and Prepare the financial statements on the going COr￿ern basis unless il is inappropriate lo presume that the charity wll conljnue in operation. 19

Dlvers8 Clty Report of the tn15tees For the ear ended 31 March 2025 The trustees are responsible for keepiThJ proper accounting records vthich disclose with reasonable accuracy at any time the financial posilion of the charity and which enable them to ensure that the finan¢ial statements ¢omply with the Companies Act 2006. The trustees are also responsible for safeguarding the assets of the Gharity and hence for taking rea50n8ble steps for the prevention and detection of fraud and other irregularitie5. The trustees are responsible for the maintenance and integrity of the corporate and financial infomialion in¢lud8d on the charitable companys website. Legislation in Ihtr Unil8d Kingdom goveming the preparation and dissemination of financial statements may differ from legislation in other jurisdictsons. Members of the charity guarantse to conlribute an am¢xJnt not exceeding £10 to the assets of the charity in the event of winding up. The trustees are members of the charity bul this enlilles them only to voting rights. The trustees have no beneficial interest in the charity. Independent Examiners Godfrey Wilson Limited were re-appointed as independent examiners to the charitable company during the year and have expressed their wllingness to continue in that capacity. Approved by the trustees on 2 December 2025 and signed on their bghalf by Judellne Nlchol88- Co ChaSr Be￿ Richards- Co Chalr 20

Indèpèndènt 8xamln8r's rnport To the trustees of Dlverse Cl I report to the trustees on my examination of the accounts of Diverse City {the charitable companyl for the year ended 31 March 2025, which are set out on pages 23 to 38. R8sponslbllltl8s and basls of raport As the trustees of the charitable company land also its directors for the purposes of company lawl you are responsible for the preparation of the accounts in accordance vhth the requiremenis of the Companies Act 20061.the 2006 Act'l. Having satisfied myself that the accounts of the charitable company are not required lo be audited under Part 16 of the 2006 Act and are eligible for independenl examination, I report in respect of my 8xamination of the charitable companls accounis as carried oul under section 145 of the Charities Act 2011 I'lhe 2011 A¢l'l. In car￿ng out my examination I have followed the Directions 9iven by the Charity Commission under sectv)n 145151 Ibl of Ihe 2011 Act. Independent exarnln•r'8 ¥t•tement Since the charitable company's gross income exceeded £250,000 your examiner musl be a member of 8 body listed in section 145 01 the 2011 Act. I confimi that l am qualified to undertakè tha examination because l am a member of the Institute of Chartered Accountsnts in England and Wales IICAEWI, which is on8 of the listed bc¥Ji8s. Godfrey Wilson Limited also provides bookkeepinglp8yToII services lo the ¢haritable company. I confirrn that as a member of Ihe ICAEW l am subject lo the FRC'S Revised Ethical Standard 2024, which I have applied with respect to this engagement. I have CoMp￿ted my examination. I confim) th81 no material matters have come to my attention In connection with the examination giving me cause lo believe th81 in any material respeel.. 111 accounting records were not kept in respect of the charitable company as require(I by section 386 ol the 2006 Act., or 121 the accounts do not accord wlh those records., or 131 the accounts do not comply wth the accounting requiremenis of soction 396 of thè 2006 Act olher than any requirement Ihal the accounts give a 'lrue and lair view, which is not a matter considered as part of an independent examinalion. or 141 the accounts have not been prepared in accordance wth the methods and principles of the Statement of Recommended Practice for accounbng and repo￿.n9 by charities applicable to charities preparing their 8ccounts in accordance with Ihe Financlal Rep￿ing Standard applicable in the UK and Republic of Ireland IFRS 1021. 21

Indèpèndènt 8xamln8r's rnport To the trustees of Dlverse Cl I have no cOn￿mS and have come across no other matters in connection with the exarnination to which attention should be drawn in this repx)rt in order to enable a proper understanding of the accounts lo be rea¢hed. )e¥AL H2wrtr Dale.. 2 De¢&mber 2025 Dougal Howard ACA Member of the ICAEW Godfrey Wilson Limited Charterèd accountants and sialulory audit￿S 5th Floor Mariner House 62 Prince Street Bristol BS14QD 22

Dlverse Clty stst¥m•nt of flnan¢lal a¢tlvltl¢s fincorpoTrting an income and &xpendrfuTr account) For the ear ended 31 March 2025 202$ Total 2024 Total Restricted Unreslricled Note Incomè from: Donations Chartsble activities other trading activities Investment income 49 66,105 18,415 717.293 23,559 15,034 18.464 783.398 23.559 15,034 2,008 921.072 8,218 8.662 Total Incom¢ 66.154 774.301 840.455 939.960 Exp•nditure on: Raising funds Charitable actsvits.es 169,119 688,649 169,119 767,277 94.676 1,020,138 78,628 Total oxpendlture 78,628 857,768 936,396 1,114,814 Not oxpondlture and n•t movomtnt In fundi 7 {12.4741 183.467 195,9411 1174,8541 Raconclllatlon af funds: Total funds brought fofward 24,258 699,619 723,877 898.731 Total lunds ¢arrl¢d foThvard 11,784 616,152 627.936 723,877 AJI ol the above results are derived from continuing activiknes. There were no other recognised gains or losses other than those stsled above. Movements in lunds are disclosed in note 15 to the accounts. 23

Dlvers8 Clty Balance sheet As at 31 March 2025 2025 2024 Note Flxè(l assèts Tangible assets 3,831 7,208 Current assets Debtors Cash at bank and in hand 12 70,209 625.908 27,770 728,186 696.117 755,956 Llabllltlès Creditors.. amounts falling due wthin I ￿ar 13 72,012 39,287 Net current assets 624,105 716,669 Nat ass•t8 14 627,936 723,877 Funds Reslricled funds Unrestricled funds Dèsignalad fund$ General funds 15 11,784 24,258 426,216 189,936 509,683 189,936 Total charlty funds 627,936 723,877 The directors are sats'slied that the company is entitled to exemption from the prowsions of the Companies Act 2006 (the Acll relatsng lo the audit of the financial slalements for the year by virtue of section 477, and that no member or members have requested an audit pursuant lo section 476 of the The directors acknowledge their responsibilrtses for= lil ensuring that the company keeps proper acLxJunb'ng re￿rdS vthich comply with sectwjn 386 of the Act., and {iil preparing financial siatemenls which give a true and fair view of the state of affairs of the company as at the end of the financial year anij of its profit or loss for the financial year in accordance with the requirements of section 393. and vthich otherwise comply with the requirements of the Act relating to financial statemenls. so far as applicable lo the company. Thesè accounts have b88n pr8parÈd in accordanc8 Wth the special provisions applicabl8 to companies subject lo the small companies, regime. Approved by the trustees on 2 D￿mber 2025 and signed on their behalf by Judeline Nicholas- Co Chair Be￿ Richards- Co Chair 24

Dlvers8 Clty ststernent of cash flows For the ear ended 31 March 2025 2025 2024 Cash flows from op8ratlng actlvltl•s: Not movement In funds Adjustments for.. Depreciation charges Dividends, interesl and rents from inveslments Ilncreasel I decrease In debtors Increase I Idecreasel in credrtors 195.941) 1174,8541 4,526 115.0341 142.4391 32,725 4,394 18,6621 426.602 200,570 Not ¢a$h lu$•d Inyprovlded by 0￿ratIng a¢tl¥ltl¢s 116,163 46,910 Cash flows Irom Inv•stlng actlvltlès: Dividends, interest and rents from investments Purchase of tsngible fixed assets 15,034 1.149 8,662 1,102 N•t Cash provld•d by Inv•#tlng ¢tlvltlo8 13,885 7.560 ID•cr•as•l I Iner•as• In cash and cash •qulval•nt8 In th• yaar 1102.278) 54,470 Cash and cash equivalents al the beginning ol the year 728,186 673,716 Cash and csh equlvalents at tho end ol the ye*T 625,908 728,186 The charity has not provided an analysis of changes in nel debt as il does not have èny long term finan¢ing arrangements. 25

Dlvers8 Clty Notes to the financial statements For the ear ended 31 March 2025 A¢¢ounting policies al Basi5 of preparation and general inlormation Diversg City is a ¢haritsble ¢ompany limited by guarantee registered in England and Wales. The registered office address is 3 hAanwell Drive. Swarhage. Dorset. BH19 2RB. The financial statements have been prepared in accordance with Accounting and Reporting by Charities". Stalement of Recommended Praclice applicable to charities in preparing their accounts in accordance with the Financial Reporting Standard applicabltr in the UK and R8public of Ireland IFRS 1021 leffective 1 January 20191- ICharits"es SORP IFRS 10211. the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021 and the Companies Act 2006. Diverse City meets the definition of a put￿lC benefit entity under FRS 102. Assets and liabilities are initially recognised at historical cost or transaction value unless othe￿iSe staled in the relevant accounting policy note. bl Golng concern basls ol accountlng The accounts have been prepared on the assumption that the charity is able to continue as a going concem. which the trustees consider appropriate hawng regard to the current level of unreslricted rgservgs and confimied fulure lunding. There are no material uncgrtaintie$ about the charilrfs ability lo continue as a going concem. cl In¢om• In￿me is recognised when the charity has entitlement to the funds, any perfomiance conditions attached lo the Item of income have been mel. il is probable that the income wll be recelved and the amount can be me8sure¢J reliably. Income from the govemmenl and 0th8r grants, whethar'capital. grants or'revenue. grants, is recognised when the charity has entstlemenl lo the funds. any perfomance conditions attached lo the grants have been met, il is probable that the In(￿Me will be received and the amount can be measured reliably and is not delerred. Income received in advance of pwsion of perforniances or training and consultancy is deferred until criteria for income re¢tyJnrtion are mel. dl Donated services and facilities Donated professional services and donaled lacilitiès are recognised as income when the charty has control over the item, any conditions a$s(￿lated wlh the donated item have been mel, the receipt of economic benefft from the use by ihe charity of the ilem, is probable and the economic benefit can be measured reliably. In accordance ￿th the Charities SORP {FRS 1021, general volunteer time is not recognised. On ￿Ceipt, donated professional serw¢e5 8nd donated facilib.es are recogni5ed on the basis of the value of the gift to the charity which is the amount Ihe charity would have been willing to pay to obtain services or facililies of equivalent economic benefrt on the open market., a corresponding amount is then recognised in expendilure in the pericxl of receipt. 26

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 A¢¢ounting poll¢i•s (continu￿) el Interest receivable Interèst on funds h&￿ on deposit is included when re¢eivable and the amount ¢an be measured reli8bly by the charity.. this 15 norrnally upon nolrfiGation of the interest pai¢J or payable by the bank. fj Funds accounting Unraslricled funds are available to spend on activities Ihal further any of the purposes of tho charity. Designated funds are unresth.ctsd funds of the charity which the trustees have decided 81 their discretion to sel aside to use for a specffic purpose. Restricted funds are donations which the donor has specified are to be solely used for particular areas of the ¢haritys work or for spg¢ili¢ projects being undertaken by th8 charity. gl Exp•ndlture and Srr¢¢ov•rabl• VAT Expenditure is recognised once there is a legal or conslw¢tl￿ obligation to make a payrnent to a third party, il is probable that setuemenl wll be required and the amounl ol the obligation can be measured reliably. Irrecoverable VAT is charged as a cost against the activity for which the expenditure wa$ incurred. h) Allocatlon of support and goveman¢• costs Support costs are those lunctjons ihat assisl Ihe work of the charity but do not directly undertake charitable activities. Governance Costs are the costs associated wth the governance arrangements of the charity, including Ihe costs of complwng with conslilutional and slalulory requirements and any Costs associated with the strategic management of the charity's aclivilies. These costs have been allocaled belween cost of raising funds and expenditure on charitable activities on the following basis. being the proporti'on of total costs.. 2025 2024 Raising funds Charitable activities 18.1% 81.9% 8.5% 91.5% 11 Tangibl• fixèd assèts Depreciation is provided al rates calculated lo write down Ihe cost of each asset to its esbmated residual value over its expected useful1rf6. The d6preciation rales in use are as follows.. Computer equipment 4 years slraighl line Items of equipment are cap￿aliSed where Ihe purchase price exceeds £1.000. Jl Debtors Trade and other debtors are recconised at the setilernent amount due after any trade discount offered. PrepayTnents are valued al Ihe amount prepaid net of any trade discounis due. kl Cash at bank and in hand Cash al bank and cash in hand includes cash and sl¥)rt term highly liquid investments wlh a short maturity of three months or ￿sS from the date of acquisition or opening of the deposit or similar accounL 27

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 A¢¢ounting policies Icontinuedl 11 Creditors Crgditors and provisions are re¢ognrsed where the charity has a present obligation resulting from a past event that wll probably resutt in the tran51er of funds to a third party and the amount due lo settle the obligab'on can be measured or estsmated reliably. Credrtors ar)d prowsions are normally recognised at their setdement amount after allowing for any trade discounts due. ml Financial instruments The charitable company only has financial assets and financial liabilities of a kind that qualify as basic financial instruments. Basic financial instruments are initially recognised at transaction value and subsequendy measured at their settlement value wilh the exception of bank loans which are subsequenuy recognised al amortised Cost using Ihe effective interest mtsthod. n) Grants payable Grants payable are re￿niSed in the year in which the offer is conveyed to the rKipient, except in those Cases where the offer is conditional. such grants being recoJnised in expenditure when the conditions allache(J lo the grant have been fulfilled. ol Penslon costs The company opgrales a defined contribution pgnsion scheme for its employges. There are no further liabilities other than Ihal al￿adY recognised in the SOFA. pl For•lgn ¢urr•ncy transa¢tlon$ Transactions in foreign currencies are translated at rates prevailing at the date of the transaction. Balances denominated in foreign currencies are Iranslaled al the iale ol ex¢han9e prevalllng al the year end. ql Accountlng estlmates and koy ludgements In the application of the ¢harills a¢¢ounling tK>licies, the Iruslees are required lo make jutlgements, e51imale5 8n¢J assumpt￿n5 8LN)ul the carwng values of assets and liabilities that are not readily apparent Irom other sources. The eslimales and undedying assumptions are based on historical experience and other faclors that are considered to be relevant. Actual results may differ from these estimates. The eslimales and underlying assumptions are reviewed on an ongoing basis. Revisions lo accounb'ng estimates are recognised in the Per￿ in which the eslimate is revised if the revision affects only that perirx1, or in the period of the remsion and future periods if tha revision affects both current and futu￿ perKxIs. The key sources of eslimabon uncertainty thal have a significant effect on Ihe amounts recognised in the financial statements are depreaation. as described in note 11 above. 28

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 Prior p¢riod ¢0M￿ratIV0- $tat¥mont of ffinan¢ial •¢tivrti•$ 2024 Total Restricted Unreslricled In¢om• from.. Donations Charitable activities Other trading activities Investments 2.008 760,724 8,218 8,662 2,008 921,072 8,218 8,662 160.348 Total income 160.348 779,612 939,960 Expèndltur• on.. Raising funds Charitable activities 94,676 94,676 629,573 1,020,138 390.565 Total •xp•ndltur• 390.565 724,249 1.114,814 Net income I lexpenditurel and net movem8nt In funds 230,217 55,363 174.854 Incom8 from charftable act5vbtles 2025 Total Restricted Unreslricled Grants Theatre tsx rel*f Performance income Partnership income 66.105 647,568 41,906 15.507 12,312 713,673 41,906 15,507 12,312 Total 5ncome from charltablo actlv6tie8 66.105 717,293 783,398 Prlor p•rlod ¢omparatlv•: 2024 Total Reslricled Unrestricted Grants Performance income Partnership income 160,348 643.917 93,000 23,807 804,265 93,000 23,807 Total income from charitable activities 160,348 760,724 921,072 29

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 In¢om¢ from other trading a¢tivitiO$ 2025 Total 2024 Total Training and consUlts￿Y 23,559 8,218 Income from other trading actimbes was unrestricle(I for both the current and prior year. Government grants The charitable company receives govemment grants. defined as funding from Arts Council England, Local Authorities. Access to Work funding and the National Lottery Community Fund to fund chariiablè acts'vities. The lolal value of such grants in the year ending 31 March 2025 was £566,12912024". £731,565). There are no vnluifilled condit￿n$ or conlingen¢ies attaching lo these grants.

Dlvers8 Clty Notes to the financial statements For the ear ended 31 March 2025 6. Totsl ¢xp¢nditur• Support and Charitable govemance activities Costs Raising funds 2025 Total Fundraising Project costs Grants payable (nots 10) Staff costs Inole 81 Freelance Staff training Travel and subsistence Governance Insurance Subscriptions Other adminislralive costs Accountancy Legal and professional lees IT and design Depreciab'on 27.758 27,758 317,006 68,684 426,932 29,395 2,674 13,573 6,919 3,935 2,161 21,882 3,980 1,192 5,779 317,01 68,684 155.041 29,395 2,674 98,495 173.396 13,573 6.919 3,935 2,161 21,882 3,980 1,192 5,779 4,526 Sub-total 126,253 572,8 237,343 936,396 Allocation of support and govemance costs 42,866 194,477 237,343 Total •xp¢nd5tur• 169,119 767,277 936,396 Total governance costs were £10,89912024.. £11,423). 31

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 6. Total exp¢nditur• {¢ontinued} Prior period comparative- Support and Charitsble govemance actiwties Raising funds 2024 Total Fundraising Project costs Grants payable (note 10} Staff costs Inole 81 Freelance Staff training Travel and subsistence Governance Insurance Subscriptions Other administrative costs Accountsncy Legal and professional fees DeprecIa￿On 13,404 13,404 539,868 84,490 380.813 19.452 10.445 15,600 8.623 6.504 2.896 16.777 5.580 5.968 4,394 539,868 84,49) 179.893 9.378 10,445 63,076 137.844 10.074 15,600 8,623 6.504 2,896 16,777 5,580 5.968 4,394 Sub-total 76.480 824,074 214,260 1,114.814 location of 5UPPOrt arKI govemance costs 18.1 214,260 Total •xp•ndltur• 94,676 1.020,138 1,114.814

Dlvers8 Clty Notes to the financial statements For the ear ended 31 March 2025 7. Nèt mov•m¢nt in lunds This is staled after charging= 2025 2024 Oeprecialion Trustees, remunera￿.On Trustees, reimburse(l expenses Auditors, remuneration lex VATI.. Independent examination . Other services 4.526 4,394 1.038 797 2,900 soo 2.800 350 3 trustees were reimbursed for travel expenses during the year12024.' 41. In ￿MmOn wth oth8r charities of our size and nature we use our audilors to assist with the preparation of the financial slalements and lo prepare and submit relums to Ihe lax aulhorilies. 8. Staff costs and numb8rs Slafl costs were as follows.. 2025 2024 Salarigs and wages Social security Costs Pension costs 386,999 31,612 8,321 347,680 25.747 7,386 Subtotal 426,932 380.813 Freelance staff 29.395 19,452 456,327 400,265 Redundancy pay 642 No employee earned more than £80.CW during the current or prior year. The key management personnel ol the chariiable company comprise the trLJStees, Artistic Directors, Executive Director and Finan¢e Managgr. The total employ09 benefits of thg key management personnel were £214.81612024.. £192.2031. 2025 No. 2024 No. Average head ¢ounl 15.0 15.7 Average FTE

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 9. Taxation The charity is exempt from corporation tax as all ils irthme is charitable and is applied for charitable purposes. 10. Grnnts payablè 2025 2024 Grants to institutions.. Cirque Bijou 66.324 74.440 Grants to 7 individuals12024.. 171 2,360 10,050 Total grants award 68,684 84,490 There are no Supp￿ costs incurred which direcuy relale lo grants payable. Grants awarded to Cirque Bijou are in relation to their joint project Extraordinary Bodie5 which Is funded by Arts Council England. 11. Tanglblt flxèd a##èts Computer oqulpment Cost Al 1 April 2024 Additions in year Disposals in year 22,495 1,149 3,397 Al 31 March 2025 20,247 Dèpr•elatlon Al 1 April 2024 Charge lor the year Disposals in year 15,287 4,526 3,397 At 31 March 2025 16,416 Net book value At 31 March 2025 3,831 At 31 Mar¢h 2024 7,208

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 12. Dèbtors 2025 2024 Trade debtors Accrued Income other debtors 18,888 51,132 189 8,112 18,687 971 70,209 27,770 13. Cr•dltors: amounts duo whhln 1 yoar 2025 2024 Trade ¢redilors Accruals Other laxalion and social security other creditors 33,8S9 33.857 2,389 1,907 19,374 10,394 8,369 1,150 72,012 39,287 14. Analy$l$ of net a$$ets betwtèn funds Restrictfjd funds Dosignated funds General funds Total funds Tangible fixed assets Current assets Current liabilitses 3,831 186,105 3,831 696,117 72.012 11.784 498,228 72,012 Net assets Ot 31 Ma￿h 2025 11.784 426.216 189.936 627,938 Restricled funds Designaled fvnds General funds Prior period comparative Total funds Tangible fixe¢J assets Current assets Current liabilitses 7.208 182,728 7,208 755,956 39,287 24.258 548,970 39,287 Nel assets at 31 March 2024 24,258 509,683 189,936 723,877

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 15. Mov¢monts in funds Transfers be￿en funds At31 March 2025 At 1 April 2024 Income Expenditure Restricted funds Community engagement Next Gen T(AJring diverse le(J drcus 20.704 16.561 14.937 34.656 136.422} 13.996} 38.210 843 10.941 3.554 Total restricted funds 24,258 66.154 78.628 11,784 Unr¥strl¢t•d funds Design8l8d funds.. Designated accesslrehearsals Designaled project funds Organisation81 support Cultural recovery fund 9,147 182,937 313,249 4.350 19,1471 {330.765} 22,522 1523.442} 113,3751 3.561 227.784 546,517 102,478 322.949 789 Tot81 designated fvnds 509,683 774,301 857.768 426,216 General funds 189,936 189,936 Total unrostrlcted funds 699,619 774,301 857.768 616,1 S2 Total funds 723,877 840,455 936.396 627,938 Purposes of re$trfcted funds Communit en ement The funds ￿late to a National Lottery Community Grant used to lund a three year Community Engagement project. The final grant payment of £17k was receive(I during the year with related expenditure of £36k. The total granl was £197k over three years. The activity finished within the rinancal year and the remaining lunds of £0.8k wll be used for reporting the projecl activity and impact. Tourin diverse led circus The final payment of £35k relating to a Project of National Importance grant received frorn the Arts Council of England was received during the financial year. These funds were received to support a three year Extraordinary Bodies touring programme In partnership wrth seven theatre venues. The touring programme finished in June 2023. The final grant was used lo wrap up the project and create a film containing Exiraordinary t¥)dies artists, this will be released in the next rinanical year. The income and expenditure is now complete and the reserves are zero.

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 Next Generation - Trailblazer Funds of £15k were received during the year as the first grant payThent from the Youth Music Trust.. Trailblazer Fund. The relaled expenditure was £4k. This grant supports a 2-year programme ol inclusive music training, collaborative composikn'on, and mentoring to talented emerging Dldeaf, disabled, and neurodiverse young artists from across England. The total grant lor the two year peri(KJ is £30k. 15. Movements in funds {continuedl Purpos8s of dèslgnatèd funds Desi naled accesslrehearsals The accesslrehearsal reserves of £9k were transferred lo the designated project reserve and spent on the production cost of the Mid Life show that toured Feblmarch 2025. Oesi naled ro ect ftjnds The project reserves relate lo funds that have been allocated lo $pe¢ifi¢ a¢liviliès in linè wth organisational budgets. A transfer of £13k was received from Organisalional Support funds and £9k from A¢cesslrehearsal lunds to support Mid Lrfe prrx1u¢tion and touring costs. The fund has reduced due lo expenditure relaling lo the Mid Life show, Next Generation activity 8nd lh8 Earth, Wheels Air project (Extraordinary Bodies work in Keny8 In p8rtnership with P8moj8 Dantè). The desi9naled funds will support development of the shows'MI We Have. and ' The Other Life I Lead. and Next Gengration activily. anisalional SU The organisational support reserves were designated lo support essential organisational expenditure including salaries and infraslnJcture costs. The reserve has increased in order to support required expendittjre in the next three financial years, in line with the Arts Council England National Portfolio Inveslmenl Programme extension years. A transfer of £13k was made lo the project reserve 10 5UPPOrt Mid Life Production and Tour eosl5. Cultural r8cove fund The funds ￿late to the rem8iniNJ expenditure from 9rants received for the Cvllural Recovery Fund. These funds continue 10 5UPPOrt depreciation on assets I)L￿ght with Ihe fund. The fund will be fully spent in the next firbanaal yeai. G•n•ral funds The general reserves support buildiNJ resilience and amount 10 8pprox 4 months running costs. 37

Dlvers8 Clty Note5 to the financial statements For the ear ended 31 March 2025 15. Mov¢monts in funds l¢ontinuodl Prior period comparative Transfers be￿een funds At31 March 2024 At 1 April 2023 Iro)me Expendtiur8 Restricted funds Community engagement Touring diverse le<1 clrcus {49,051} 303.526 160.348 {90,593} 299.972 20,704 3,554 Total restricted funds 254.475 160,348 390.565 24,258 Unr¥strl¢t•d funds Design8l8d funds.. Designated accesslrehearsals Designaled project funds Organisation81 support Cultural recovery fund 10,856 212,242 223,247 7,975 1,442 300.611 477,559 12.7891 1331.136} 1386.780} 13621 1,220 17971 61 9,147 182,937 313,249 4,350 Tot81 designated fvnds 454,320 779,612 724,249 509,683 General lunds 189,936 189,936 Total unrostrlcted funds 644,256 779,612 724.249 699,619 Total funds 898,731 939.960 1,114.814 723,877 16. R•l4ted party tran$actlon$ There were no related party transackn'ons in the current or prior year.