## ## ## |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|| ||||||presentation
ofamateur theatre|| ||||||performances
in Greater London.|| |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|| |benefit,|in particular,||the||recording
in atheatre, converted
into a|| |activities,||projects or|services||sound stage during the brief lockdown|| |identified||in the accounts.|||lifting
in December 2020.These plays|| ||||||were aired to the public online.|| ||||||The charity developed
online courses to|| ||||||feed into its arts offering, including
a|| ||||||programme
for amateur
playwrights,|| ||||||'KDC's New Writing Programme'
which|| ||||||ran as monthly
online educational|| ||||||sessions for writers. At the end ofthe|| ||||||New Writing Programme,
each writer|| ||||||produced short scripts which were then|| ||||||performed
by KDC members for the|| ||||||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|| ||||||intended to engage our members,
and|| ||||||provide opportunities
during lockdowns|| ||||||for actors to hone their skills with
view|to| ||||||improving
the quality ofacting in KDC|| ||||||public performances.
The course ran for|| ||||||several weeks.|| |||||Finally, before the end oflockdown,|the| |---|---|---|---|---|---| |||||charity streamed
aseries ofextracts of|| |||||previous works performed
by KDC.These|| |||||performances
were combined as a|| |||||production
titled aZoomed Out", which|| |||||performed
live via zoom and aired|live| |||||online tothe public.|| |||||Returning
to in person theatre|| |||||performances
in the summer,
KDC|| |||||produced
our annual
'Full Stack'|| |||||production,
which selects winning|scripts| |||||from our New Writing Competition|and| |||||compiles these into an anthology
show.|| |||||This show, titled "Obsession" was|| |||||performed
to the public for five nights at|| |||||the Lion &Unicorn Theatre
in Kentlsh|| |||||Town.|| |Statement|confirming||Para 1.18|The trustees
have had regard to the|| |whether the trustees||have||guidance
issued by the Charity|| |had regard|to the guidance|||Commission
on public benefit.|| |issued by the Charity|||||| |Commission|on public||||| |benefit|||||| ## |Achiev|eme|nts
and Pe|rformance|| |---|---|---|---|---| ||||SORP reference|| |||||Through
all ofour productions,
we noted| |||||that the opportunity
to create theatre was| |||||appreciated
by our members,
and| |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| |benefits to society as a||||invited for that. Rehearsals
were carried| |whole.||||out online and we hired the Lion &| |||||Unicorn theatre and converted
it into a| |||||recording studio for 2days to bring| |||||everyone together during the brief| |||||non-locked
down period
in December.| |||||Both shows were published
online and| |||||were made fully available
without cost.| |||||That some audience members chose to| |||||make donations
indicates the value to| |||||them ofthis work.| |||||The autumn season also saw our| |||||devising course and New Writing| |||||Programme,
both ofwhich are| |||||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|| |ofthe period||||||||without accounting
forthis donation,|| |||||||||although
itwas still avery hard year for|| |||||||||theatres
in general, we would have made|| |||||||||a very minimal
loss by minimising
our|| |||||||||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.|| |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|| |||||||||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|| |||||||||the case ofunexpected
cancellations,|or| |||||||||other emergencies.
We will also be|| |||||||||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| |---|---|---|---|---|---| ||||||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| |any fundraising)|||||from membership
subscriptions
and| ||||||donations. This year, as stated, our| ||||||primary source offunding came from a| ||||||sin
le donation.| ||||||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| ||||||ways to continue rehearsing
while social| ||||||distance restrictions
have been in place| ||||||has given us many more optlons-| ||||||including
the ability to use online| ||||||platforms for part ofthe audition
and| ||||||rehearsal process, thereby reducing the| ||||||overall costtothe charity. We will be| ||||||continually
looking for ways to keep| ||||||rehearsal costs to a minimum,
while| ||||||considering
developing
asteady and| ||||||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|| |constituted?|||||| |(e.g unincorporated|||||| |association,
CIO|||||| |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|||| ## ## ## ##