| Objec | ti | ves and | Activiti | es | ||
|---|---|---|---|---|---|---|
| SORP reference | ||||||
| Summary | ofthe purposes of | Para 1.17 | The purposes of KDC Theatre are to | |||
| the charily as set out | in its | advance the arts for the public benefit, | in | |||
| governing | document | particular by the production and |
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| presentation ofamateur theatre |
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| performances in Greater London. |
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| Summary activities purposes |
ofthe main in relation iothose for the public |
Para 1.17and 1.19 |
During the year the charity produced two radio plays, "The Mistress ofthe Irma and "Seeds"by rehearsing online and then |
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| benefit, | in particular, | the | recording in atheatre, converted into a |
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| activities, | projects or | services | sound stage during the brief lockdown | |||
| identified | in the accounts. | lifting in December 2020.These plays |
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| were aired to the public online. | ||||||
| The charity developed online courses to |
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| feed into its arts offering, including a |
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| programme for amateur playwrights, |
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| 'KDC's New Writing Programme' which |
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| ran as monthly online educational |
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| sessions for writers. At the end ofthe | ||||||
| New Writing Programme, each writer |
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| produced short scripts which were then | ||||||
| performed by KDC members for the |
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| public in two nights of'Rehearsed | ||||||
| Readings'. | ||||||
| The charity also ran an online 'Intro to | ||||||
| Devising' course online for its members | ||||||
| ofits acting community. This was |
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| intended to engage our members, and |
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| provide opportunities during lockdowns |
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| for actors to hone their skills with view |
to | |||||
| improving the quality ofacting in KDC |
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| public performances. The course ran for |
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| several weeks. |
| Finally, before the end oflockdown, | the | ||||
|---|---|---|---|---|---|
| charity streamed aseries ofextracts of |
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| previous works performed by KDC.These |
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| performances were combined as a |
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| production titled aZoomed Out", which |
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| performed live via zoom and aired |
live | ||||
| online tothe public. | |||||
| Returning to in person theatre |
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| performances in the summer, KDC |
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| produced our annual 'Full Stack' |
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| production, which selects winning |
scripts | ||||
| from our New Writing Competition | and | ||||
| compiles these into an anthology show. |
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| This show, titled "Obsession" was | |||||
| performed to the public for five nights at |
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| the Lion &Unicorn Theatre in Kentlsh |
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| Town. | |||||
| Statement | confirming | Para 1.18 | The trustees have had regard to the |
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| whether the trustees | have | guidance issued by the Charity |
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| had regard | to the guidance | Commission on public benefit. |
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| issued by the Charity | |||||
| Commission | on public | ||||
| benefit |
| Achiev | eme | nts and Pe |
rformance | |
|---|---|---|---|---|
| SORP reference | ||||
| Through all ofour productions, we noted |
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| that the opportunity to create theatre was |
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| appreciated by our members, and |
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| Summary ofthe main achievements ofthe charity, |
Para 1.20 | through public attendance at each show, we believe we have provided a benefit to |
||
| identifying | the | difference the | attendees. | |
| chadity's | work | has made to | ||
| the circumstances ofits |
Our autumn season 2020 was run as a | |||
| beneficiaries and any wider |
radio-play season, with directing pitches |
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| benefits to society as a | invited for that. Rehearsals were carried |
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| whole. | out online and we hired the Lion & | |||
| Unicorn theatre and converted it into a |
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| recording studio for 2days to bring | ||||
| everyone together during the brief | ||||
| non-locked down period in December. |
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| Both shows were published online and |
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| were made fully available without cost. |
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| That some audience members chose to | ||||
| make donations indicates the value to |
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| them ofthis work. | ||||
| The autumn season also saw our | ||||
| devising course and New Writing | ||||
| Programme, both ofwhich are |
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| ion er-runnin courses that were new |
| territory for KDC. Feedback has been |
|---|
| great, and the New Writing Programme |
| performance oftheir work in the summer |
| was well received by the audience. |
| While waiting for the lifting oflockdown, |
| we organised aspring show called |
| 'Zoomed Out' that allowed previous casts |
| to reunite In a "greatest hits" type show, |
| the conceit being that their scenes had to |
| be converted to embrace the fact they |
| were being performed on Zoom. The |
| number ofaudience members watching |
| the live performance was greater than our |
| average In+erson audience on asingle |
| night, allowing us to reach more people |
| through this virtual production. |
| Our summer season was a new writing |
| anthology called Obsession, which |
| started online, making use ofonline |
| auditions and rehearsals but transitioned |
| to in-person rehearsals and performance |
| as rules allowed. |
| We worked also to reschedule our spring |
| 2020shows which had been postponed |
| due Covid-19. 'Pomona' was rescheduled |
| for August 2021 and we intended to |
| reschedule 'Rules for Living' in early |
| 2022. |
| The charity trustees are pleased with how |
| the challenges ofthis year have been |
| navigated. The charity has constantly |
| adapted to the changing environment, |
| tried new things and evolved. Despite the |
| headwinds, artistically it has been a very |
| good year. |
| Even though theatre was hard or |
| impossible to do at many points, the |
| charity has continued to provide |
| opportunities for theatre practitioners, |
| and in some challenging and new areas |
| too (e.g.radio plays), and in doing so has |
| increased the diversity ofits offering for |
| audience members and its reach, through |
| allowing online audiences. |
| Achievements against |
|
|---|---|
| objectives set | |
| Performance offundraising |
|
| activities against objectives | Para 1A1 |
| set | |
| Investment performance |
Para 1.41 |
| against objectives |
| Review | ofthe charity's | ofthe charity's | ofthe charity's | ofthe charity's | Para 1.21 | KDC Theatre was greatly assisted this | |||
|---|---|---|---|---|---|---|---|---|---|
| financial | position at the end | year by a large legacy donation. Even |
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| ofthe period | without accounting forthis donation, |
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| although itwas still avery hard year for |
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| theatres in general, we would have made |
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| a very minimal loss by minimising our |
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| outgoings as far as possible, and utilising | |||||||||
| credit from theatres that we were sadly | |||||||||
| unable to use due to Covid-19 in the | |||||||||
| 2019-2020 eriod. |
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| Statement | explaining | the | Para 1.22 | KDC Theatre deems it important to have | |||||
| policy for holding reserves | reserves for cash-flow purposes. As | ||||||||
| stating why | they are held | income Is primarily received at set times |
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| ofthe year, due to production schedules, |
|||||||||
| itissensible to have reserves ready to | |||||||||
| outlay deposits on future venues, | |||||||||
| production costs, as well as protect us in |
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| the case ofunexpected cancellations, |
or | ||||||||
| other emergencies. We will also be |
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| considering whether to allocate some |
of | ||||||||
| our legacy donation to use for special | |||||||||
| ro'ects to aid with our outreach. | |||||||||
| Amount | of | reserves held | f:48,635.35 | ||||||
| Reasons for holding zero | Para 1.22 | n/a | |||||||
| reserves | |||||||||
| Details | offund materially | in | Para 1.24 | none | |||||
| deficit | |||||||||
| Explanation | ofany | Para 1.23 | none | ||||||
| uncertainties | about the | ||||||||
| charity | continuing | as | a going | ||||||
| concern |
| KDC Theatre's primary source offunds |
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|---|---|---|---|---|---|
| usually comes from public ticket sales for | |||||
| The charity's principal sources offunds (including |
Pars 1.47 | the productions put on by its members and volunteers, with additional income |
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| any fundraising) | from membership subscriptions and |
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| donations. This year, as stated, our | |||||
| primary source offunding came from a | |||||
| sin le donation. |
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| The charity does not invest its cash | |||||
| Investment | policy and | reserves at present and does not have a | |||
| objectives including any social investment policy |
Para 1.46 | social investment objective. |
|||
| adopted | |||||
| Year on year, the greatest financial risk to |
|||||
| the charity is the lack ofpermanent, | |||||
| A description | ofthe | principal | Para 1.46 | low-cost rehearsal space. The lessons | |
| risks facing | the charity | learned through two years offinding |
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| ways to continue rehearsing while social |
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| distance restrictions have been in place |
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| has given us many more optlons- | |||||
| including the ability to use online |
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| platforms for part ofthe audition and |
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| rehearsal process, thereby reducing the | |||||
| overall costtothe charity. We will be | |||||
| continually looking for ways to keep |
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| rehearsal costs to a minimum, while |
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| considering developing asteady and |
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| regular flow ofdonations to offset | |||||
| rehearsal costs further. |
| Structure, Govern |
ance | and Ma | nag | ement | |
|---|---|---|---|---|---|
| Descdiption ofcharity's | |||||
| trusts: | |||||
| Type of governing document |
Para 1.25 | Constitution (Charity constitution |
|||
| trust deed, royal charter | adopted 13September 2018 | ||||
| How is the charity | Pa a 1.25 | Unincorporated Association |
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| constituted? | |||||
| (e.g unincorporated | |||||
| association, CIO |
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| Trustee selection methods | Para 1.25 | The charity in general meeting shall elect | |||
| including details ofany |
the officers and the other trustees. | ||||
| constitutional provisions |
e.g. | ||||
| election to post or name | of | Trustees may appoint any person who | is | ||
| any person or body entitled | willing to act as atrustee. | ||||
| to appoint one or more | |||||
| trustees | |||||
| Additional information |
(optional) | ||||
| You ma choose to include further statements |
where relevant about: | ||||
| The induction oftrustees includes |
|||||
| reading The Essential Trustee Guidance | |||||
| Policies and procedures adopted for the induction |
and | Para 1.51 | produced by the Charity Commission meetings with the chair to discuss the |
and | |
| training oftrustees |
guidance -including what's required ofa |
||||
| charity trustee and their responsibilities | |||||
| tothe charl | |||||
| The charity is managed by its volunteer |
|||||
| trustees. Trustees are assisted by | |||||
| The charity's organisational structure and any wider |
Para 1.51 | volunteer members who sit on an organising committee. These members |
|||
| network with which the | support the running ofthe charity by |
||||
| charity works | supporting the delivering speciTic |
||||
| projects and productions. | |||||
| n/a | |||||
| Relationship with any related |
Para 1.51 | ||||
| parties | |||||
| Other | |||||
| Reference and Administrative | details | ||||
| Charit name |
KDC Theatre | ||||
| Other name the charity | uses | ||||
| Registered chadity number |
1179970 |