THE TELLtNG {CHARtFABLE INCORPORATED ORGANISATION) REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 CHARITY COMMISSION REGISTRATION No. 1181802
THETELLING INDEX TO FtNANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 Page No. Trustees. Annual RepKJrt 13 Independent Examiner's Report 14 Statement of Fil1claI Activities (including Incotne and Expenditure Account) 15 Bal8n¢¢ Sheet 16-24 Notes to the Financial Ststements
THE TELLING TRUSTEES. ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2025 The Trustees pres¢nt their report and financial stat¢ment5 of the charity for the year ended 31 March 2025. The Trustees have &dopted the provisions of the Statement of Recommended Pra¢lice (SOIiP) "Accounting and Reporting by Charities" (FRS 102) in preparing the annual report and financial slatements of the charity- The financial statements have been prepared in accordance with the aceoullting policies set out in notes to the a¢counts and comply with the charity's Constitution, the Charities Act 201 l and Accounling and Reporting by Charities.. Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland published in October 2019. Objeelives ondAclivilies The trustees confirn) that they have complied with ihe duty in section 17 of the Charities Act 2011 to have due regard to the Charities Commission's general guidance on public benefit. This is borne out by deliveries of activities outlined in this r¢pori which are in line with the main objectives of The Telling and the activities to deliver against those objtives. Th¢ Telling aims to advance the arts and education for the public benefit. We do this through the promotion, support and encouragement of musi¢ and theatre by presenting perforniances, workshops talks and recordings, often combining music and theatre and taking perfomiances to places to tEach people who do not usually access such perfonnances. a) give high quality perfomianc¢s. fsIng on performances wh¢r¢ music and theatre collid¢ in interesting ways b) work with young people in schools and amateur perfonners. singer5 and instrumentalists from a variety of walks of life, enabling them to develop and improve their creative. dratnatic and musical skills. We perfonn across the UK and, alongsid¢ a series of engagements, run our programme of residencies targeting places where there 15 little Classical or early music touring wliich are currently Liverpool, Barrow Peninsulalsouth Cumbria, Lancaster. Manchester, Colchester, Folk¢stone, Conwy, Cardiff. Bedford and Wolverhampton. We combine theatre, new writing, music (including early musi¢. classical, world music, folk music and music- theatre) to reach people who are not usually attracted to classical concerts - but also io use music to heighten feeling, give insight to the dram4 characters anthor plot or to cut against the plot in interesting ways.
THE TELLtNG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 We perfomi in churches, theatre5, art centres, pubs, Church halls, Community centres, taking perfomance deep into the heart of cotnmunities. We often ornI in and around audi¢n¢¢s and use costume, stage lighting and candlelight. We engage a pool of leading director4 actors, musicians. lighfing designers, composers and costume makers. Our Artistic Director, Clare Norburn has devised a new genre where music and drama collide. concertlplays liave attracted 4-Star revieiys in The Times and The Guardian and perforn)ances at Bridgew#ter HAII, St George's Bristol. St Martin-in-the-Field$ and LSO St Lukes. The stage director we work with, Nicholas Rentoll directed Andrew Davies. BAFTA nominated Mrs Gaskell's ¢Ve$ and Daughters for BBC TV and episodes of Lewis, Mmskdeers, Sileni WilKes3 and George Genlty. We have been on BBC Radio's In Tune, Woman's Hour and Saturday Live and p¢rforn)ed for promoters including Beverley Early Music Festival, Music at Oxford, Buxton International Festival, Lake Di5tritt Summer Music, Brighton Early Music Festival, Newbury Spring Festival, Little Mi55endeD Festival and Keele Arts. We have released three CDS- all on the First Hand Records label. Achievemenls and Performance This is the Trustees sixth report to the Charity Commission. TOURtNG PERFORMANCES AND WORKSHOPS Summa The Telling atteinpts to break rtew Ound, where new writing by Artistic Director Clare Norbum and musi¢ collide. We tour high-qualiry, a¢cessible and affordable productions.- combining engagements by leading promoters with self-proTllOtions in pla¢es that ar¢ often missed out on touring circuits, including building audiences and partnerships in Wolverhampton, South Cumbri& Conwy (Notth Wa]¢s), Bedford and Folkestone. 2024125 saw us give 42 UK perforniances rehIng over 3000 people and 4 workshops/outreach sessions including at Beverley Early Musi¢ Festival, NeTvbury Spring FesÉival, Hallé St Peter's Manehester, Brighton Early Music Festival, Manchester Jewish Museum, Strnrford Playhouse, Silsden Town HalL Arena Theatre Wolverhampton, OSO Arts Centre Barnes, Portico Library I¥tsDchester and Stoke Newington Early Music Festivydl. Alongside paid eiigag¢ments, we are also unusual in the way that w¢ fuiidrdise to take perfomiances to places which "miss out" in acoessing touring circuits.. so our tours are a mixed economy of guaranteed fees, box office splits and self-promotions, backed by reciprocal marketing partners on the ground. In 2024125. we continued to fundraise and tour to our Residency places which otherwise miss out on accessing professional music and tlieatre touring. We also developed a new residency in Lanster and built relationships with repeat venues Silsdell Town HAII who offer us a guaranteed fee, and OSO Arts Centre in Barnes who operate a box oifice split and eii&bled our first week-long run. Particular Achlevements In June 2024. The Telling won the prestigious Audieoce Parti¢ip*tioD of the Year Ajvard organised by the European Early Music orgaDi5ation, REMA for our Songs and Stories project in partnersliip with animateur S&rah Atter and Wolverhampton Refugee and Migrant Centre in January and February 2024. Artistic Director, Clare Norburn travelled to Stockholm to re¢¢ive the award and was invited onto BBC Radio 3.5 The Early Music lo talk about the win (our second time on the show in 2024, following an hour- long feaÉure on our work in March).
THE TELLtNG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 In November 2024, Mie Telling toured our Charles Dickens show (written in 2023), Fyhat ¢he Dickepis,. whicl) starred seven actor-musiciaJ)s who all a¢t¢d, saiig, played instrwnents and danced- 50tnetime5 all at the same timel Tlie show was the vehicle through which Tlie Telling achieved its first week-long riin, at OSO Arts Centre in Barnes, attrdcting three 4-star reviews and a 5-star review. a haiip7tiP7gly brillianl exploralion of one of lilLJrciliire's grealL'si fi{¥5. li ipiuslerfiilly ipilertwi17es ficlii)n upid rgulity. givzpig w)ELe to IhÉ H)f)Inepi overshadomied by DiLken.s 'fame. Pink Prince Theatre. Plus, the whole cast were invited on BBC Radio 3's InTune to perform botii music and dialogue excerpts from the sliow. The Telltng peijormiiiig lfylial Ihe L}icA¥. The hallmark of our work is our distinctive collision of music and drama. Our early progrdmrnes started with early Inusi¢ aiid drama, but we are increasiiigly expandiii&F beyond that remit, whilst keeping our ¢arly music still tn our repertory. The Telling's prourammes are written by Clare Norburn whose latter work takes inspiration from Brecht, often tearing down the fourth wall, and iconoclastic TV playwrigh( Deiinis Potter, exploring the nexus between memory and the chardcters, inner or fa]Itasy lives, and harnessing music's ui1iqU¢ capacity lo trigger memories and feelings. Several are political or provide comim¢nlary oli current issues seen through the ]lS of tli¢ past. For example.. celebrity cultyre and #MeToo a explored in Wha¢ ihe Dickoll$. and Into the Meltipig Pot focuses on religious and culturnl intolerance and the plight of refugees "Clore Norb take.$ momeiiÉs ip7 hisiory 10 make its understand the preseTTt more clearlv" Robin Soans. playwrig]It View a list of Mie Telling's projects here.. li i¥.tIILt¥llinEI.Ll).IILi. riTrik iJ111m¢s
THE TELLtNG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Tourin aims.. While we maintain a commitment to fundraise to take work to places which miss out (whieh meaiis more expensive and higher risk self_promoted events), we will combine that funded work with paid engagements and box office splitlshared risks to create a more sustainable model. In 2024125, this included engagement5 at Beverley Early Music Festival/NCEM. Newbury Spring Festival, Brighton Early Music Fe81ival, Silsden Town Hall (two perfomiances) and multi-date runs at OSO Art5 Centre in Barnes, and retum visits and growin8 partnerships with AreDa theatre, Wolverhampton and St Edwards in Cardiff. Th¢ Telling's pioneering Touring #ttd Proje£t fund is our key overarching programme. Within thi5, our Residen¢y Programme aiins to build audience5 by taking p¢rfoTman¢es to pla¢¢s ihat 'kniss out" We aim to create equal Aece5s for low-engaged communities in areas of economic disadvantage. where other performing arts org2ni$2tion$ dare not tour. In the 2024125 finaiicial year, we grew audiences in the following places, which otherwise receive a limited touring or early tnusic offer.. Manchester (3 perfornian¢¢s), Liverpool {2 Ferformances), Cardiff (3 perforniances), Bedford (2 pKrformances), Colchestsr, Folkestone (2 perforniances). Conwy N Wales. Lancaster (2 perforniances). Wolverhampton (2 perforniances) and South Cumbria (Ulverston)- We ran 5 touring projects which were.. l. Into ihe Meliing Pot.. set in 1492 in a Spanish Christian/MuslittVJewish community, a Jewish woman (played by Suzanne Ahmet {National Theatre, Chester Storyhouse)) is forced to leave. Her story is startlingly contetnporary, with resonances to Windnjsh, Black Lives Matter & recent antisemitism, and is played out to a soundtrack of plainlive Sephardic songs & lively Cantigas which fuse medieval & Arabic instrumei)tslstyles, making early music accessible to a wid¢r &udien¢e. 4performance5 and 1 screening of¢hefilm adaplion.. May 2024. 2. 1, Spie." the story of renaissance composernutenist John Dowland's (played by Dominic Marsh (Kneel)igh Theatre)) brnsh with the Secret Service and how he manages to foil an Italian plot on the life of Qu¢¢n Elizabed) 1. 13performnnces.' June 2024 Fvhat the Dickens. On his final Christmas Eve, Charles Dickens is haiinted" by the women he mistreated.. liis wif¢ and Tnother of his ten childreii, Catl)erine Di¢k¢ns and his se¢r¢t young mistress, Ellen 'Nelly' Teman, who force him to face hi5 past) present and future. Can Dickens leam from them, pent - and be saved, as Scrooge was saved? 11 perforniances.. JVowember/December 2024 4. The Telling Unchained including Christmas mini-series.. Ihe Christmas edition of our popular alternative concert.. a fun, relaxed and informal perforni&nce of early music mixed with folk, improvisation, jatnming and plenty of audience participation- including in a pub, in Liverp(] and at Portico Library in Manchestsr in December 2024 3performances.' December 2024 plus for WalihanLStowMufic IN ihe fillage in Jmfy 2024 rtftdBrighton Early Music Festivalin October 2024 5. Creating Carmen." Prosper Merimée (NiAll Ashdown (Ivhose Line Is Ii Anyway? The CopNeLfy Siore Players. Improbable) has writers block when hi5 leading character, Carnien {Su72nne Ahmet), turns up in liis study? larger than life. with a band of musicians in tow and chaos in her wake... collaborntion project with Carmenco. Ioperformances." JanMary/February 2025. Plus. we brought a one-off perfomiance of our Lullaby Con¢ert to Stoke Newington Festival in July 2024. Into tJFe Meliing Pol, Creafivg Carmen, I. Spie and What the Dickenj.? were directed byNi¢holas Renton {BAFTA-nominated Mrs Gaskells Wives and Daughters, Musketeers. A Roorn With A View. Lewis. Siltni Wifftess) and wrirren by singer/playwright, Clare Norburn.
THE TELLtNG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Thd Tgllf17¥pErforming ("reariiig CarFnvn photo Robert Pt>*ko LIVE WORKSHOPS.. Wliile on tour, we capitalise on brintring high-quality artists to excluded communities arouiid the county by offering music workshops to local coffitnunities. During the year, we brought our Supigs and Siories project, inspired by Intn ihL) Meliin¥ Pol, to Manchester Jewish Museum in Aprillmay 2024. in collaborntion with acclaimed musicianlanimateur Sarah Atter. The participants recorded th¢ir creations which are available online (www.th¢telling.co.ukJm¢r-songs) and a small exhibition was displayed at the Mancliester performance of Inlo ihe Melring Poi. In November 2024. 40 GCSE English students studying A Christmas Carol froin Our Lady and St Chad Catholic Academy. Wolverliampton and 13 dt2ma students from M05eley Park School, Wolverhampton atteiided Ili¢ dress rehearsal of the sliow at Arena Theatre, Wolverhampton. followed by a Q&A with the playwright, Clare Norburn. We received the following feedback from the leacher at OLSC.. Ii MIQS such a valuable experiepicefor ihe studenls. Ii sparked lols of discussion on ihe back on ihe in1pt ofDickens' life upon ihe text. It helped io bring this limerIOd io lifefor the sthdenls. Then in December, playwright Clare Norburn and animateur Sarah Atter delivered two interactive workshops at OLSC to a further 80 GCSE students studying A Chrislmas CLm)l {different students to those that atteiided thc dress rehearsal), to explore the ¢li&racters of the novel to a deep¢r level dirough a mi.x of dra]na and music. "ii broughi [Ihe characiers] io Ifi e il Showed us 1MI tkey woiildreally acl" student feedback
THETELLING TRUSTEES, AWNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 In addition, Whai ihe Dickens. was selected by EXTANT Theatre (who had partnered with Arena Theatre in Wolverhampton) to receive frec support to make the show a¢¢essible to visually itnpaired audiences. During the rehearsal period, three of our artists (writer/singer Clare Norburn, actorlviolinist Alex Knox and composerlkeyboardist Steven Edis) received tr&ining from EXTANT Theatre's facilitators to present a Touch Tour and programtne notes pr¢s¢ntation ahead of the show. This means ourteam iiow has skills and experience that we can adapt to deliver future Touch Tours for visually impaired audiences. In February 2025, Carnienco (who we partiiered witli to perform Creating Carmen) brought their 'Pocket Opera, perforinaiice and worksliop proj¢¢t to 45 pupils in Year5 10, 1 l and 13 at Cardiff West Community High S¢hool. artistic team.. Our creative team is l¢d by Artistic Director cla Norburll (playwright, producer and former soprano) who won the 2023 Colin Skipp Memorial Radio Playwriiing Competition and was one of 7 writers, selected out of 400, for BBC/ACE-funded Th¢ Spa¢e's Pl Perfect schetne to receive mentoring and be ¢ominissioned to develop a play with music for national BBC radio. Our regular acclaimed director Nieholas Renton cut his teeth in theatre, going on to direct at the RSC and then spent 30 years dIrting for the BBC and ITV. including being BAFTA-nominated for BBC Tv's Mrs Gaskell's Wives and Daughters. Our lighting designer is Natalie RowlAnd. We work with a creative pool of: leading actors including Alec Newman, Raebael Stirling? Danny Webb, DoTninic Marsh, Clive Hayward, Karen Ascoe, Molly Lynch, Susan Tracyj John Sackville, Gerd Kyd, Suzanne Ahmet, Teresa Banh*m, Leila Mimmack and NIAII Ashdown acclaimed musicians including many who are early music ScIalIstS including Emily B4illes, Jean Kelly, Jatnie Aker5, Clemmie Franks, Heloise Bernard, Giles Leivin, Alison Kinder, Avital and MayA ikvy. Audien¢e Feedback We coiitinued to receive moving feedback from workshop participants and the public about our work. This is just some audience f¢edba¢k questionnaire responses we rKeived- Into the Melting Pot "Ii was magnificen( and ihe slory ig af relevant today ay il way in Spain in 1492. "Thank you so much for a deeply emotional. timely body of work I was me5merised by ihe singing and instruments, and by the beautifvlly told bul chilling slory ofpersecuiion. You put your hearts inlo this and conplecled wilh ihe ffl4dience. "Thankyoufor the wonderfvl show ot Otley CoUrthoe last nighi. Ii evoked memories ofan evening concerl in ihe Jewifh Quarler of Girona some ye(Trs ago. Such a rich legacy of wonderfvl music rooted in all the pheL7val andconflict. Thankyou. "We found if mesmerising, The audience was spellbound by the incredibly powerfvl performances thal traptsported us buck over centuries. JustfapzÉaslic. .. Thank9. ' ' FCInating, bÉaulifyl aryd informalive fales like this are wluit W8 need more ofin the Norih. andpleaFe V11 YoTh.hire again soon. I, Spie "Husband, who isn'l into early mwic. loved it" "Ihadnever enjoyed music earlier thaip 1600 biii last night The Telling changedall ihal" "so differenl lo a norpl1 concert" ' Icame to ihe ierrific performance ofl, Spie in Folkesione and we spoke briefiy. Jjust wanted io affirm ihal I'dlove lo help )4)u Myiih othei. [venue] suggEs¢iottf. li's wonderful workN)u're doing- dopuÉ me op7 a mailing
THE TELLtNG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 "Mvpai'tn¥p' aiid Icame Éo.¥ee ikeperfi)rinllpiLe oll. Spte la.ft iiiglif ipi F()IkL).s[Iiiie. Whai u ihrilliiTg cmdJpecTal perff)fnTcTncL? if MYaS - grgal scripl, cuiisiiinii7ale actiipgandsoni MJond¢ifiil repioisfythzcg Miists. Ic) iiTbcHllish ai iiiforni the slorv. "BeL7111ifiil music. exquisile singiiig, cleverplol aeliiig exeLpll#pit" 'ExqLiisitL musical perfc)rmctFiCg broiight to lif¥ brvughi io life 7viih ils ingenioiis drainaliJalion, cle)yer dii1logziL) fflid a.¥pontUllLOiiS iialure "Perfgcl Loiiibination of early ijiusic, draiiia and harlinY TIIL lilliRFsp¥rfurwEn¥ l. Spie-phulo Rubei'l Piii,ko What the Dickens. 'Toiallv L7bsorbed.. loved ihepacv slorylelliiig ai7d ihe historical o¢ciffory" "I really luved ihe 5hoM,. II jniciginalivLJ uiidLJpigaging. Brilliuiii i<l¢o M,hich broiighi togeilKJr Dickgpis life, hi.v w'i)rk mii.fic olihe tim¢ . Rare ro get Jiich origiiilllify thid entertoinine171 in one production . Excelleiit slaiidard of acling aild miisic. Thankyoii 'Brzlliaiil .Yh¢)MJ J If)ved ihe eiFery (IPFd th¥ singiiig. Ipiieresiilig fake on Dicken5, which I dldn i hiomy about bef(yre" "Superb storyliiiL' apicl '¢I1-Crafted&erIPl. An e.rcLptioiial apidgified MirilLr af Miork h(re. 'Tl?e coinbiiialion of ni¥.Yic uiid.fÉorylelliTTg is iinique and beaulifiillv and.¥kTlfvllv execulgd. "It greatfun ¢7PFdsuch a clever idea. 1¢ M?as gxeculed 30 Myell appd all ip7voliicd so¢iKcd iu be rglislii17g if - "DgsÉrs to be c)n Q m&fch biggLr stages (N7dseeii by niany inorepeople. "Luved il. Brillianl ev*ry wuii MdclLi nief¢p¢l vervpleased fo IFOVLJ C(Jme andJeen il. A17d imprcpJ5ed with all your ialeiils.
THETELLfNG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 "We Éhought ike scripl and Ihe acling Miere excellent. Thv mLisical numbers were also enjr)yable. The Mihole story was ingeniouslypul together apid linked with Dickpis s life. "li wasfabulous. Iloved ih¢ inienveaving ofihe buok iexl wilh ihe siory, the use ofihe live music iha¢ was an equalpartner Éo the words. Such upi oulsi(mdingperformance wilh a small casl. l truly can.! thlnk of anyihing Idisliked. Pfrfeclfor rhe 5ea50n a5 well. The Telling UDcbiiDed at Christmas "Really enjoyed il. Greal range of insÉrumenls and differenl muyic. Audi¥nce participaiion greaifyn undfeli very informal. ConfIden¢plTg andsinging. "I loved ihe skill of ihe perfornlers, Ihe beauty ofrhe music and the engagemenl ofplayers wilh leNce. "Loved all of it. Jntimale and involvingperforAJ7ance" "Réally loved il. Participation wa¥ so uplifting, mfide mefeel happier. Loved the Spanish iiffles especially. "Engaging, enjoyable, enihusiasin shines throiigh. Beaulifvl souKd & inleresling hislorically. Inipressi petformthice - greaifvrt. ' "Absolulely lovely. Clare I5 a beautifyl voice and ihe harpist was superb. Theprogramm¥ was so beaulifiil and interesriFTg. li wa5 un unexpectedprivilege being af Clare s lasl singing conc¥rl- thankyo Creating Carmen "Theplol wos Jo original. The slmidard of mii.ficianship andacfing wasphenomenaL ' "Inspired, enlighiened and IK aw¢ of Éhe incredibly Idlenled cast, bringirig to life a highly original work" "Grealperforniunce. Very enterlaEllllIg" "Fabulous evening. Wonderful enterlainmenl. Thankyou. ' "It wa3 excellenl- Ihe nTUSiC, singing, acling and also the venue- very inliniale andatinospheric. Thorot4ghly enjoyed il" Marketim and ress covera In each of our residency l(Kations we developed partnerships Wlth venues and other arts organisations that helped us reach local audiences. We set up reciprocal marketing partnerships with local arts orwisatioiis at each of our tour Socations, asking for their help li) spreading the word and offering to return the favour. We successfully use Facebook Ad campaigtts- usually the higliest percentage of audience meinbers who fill in our feedback questionnaires say they discovered the event through Facebook. This in combination with reciprocal marketing with partner5 and a flyer distribution plan on the ground worked strongly togetlier. We also worked hard to secure local press coverage and secured locAI BBC Radio interviews with BBC Merseyside and BBC RAdio WM. We mentioned under achievements that the enlire cast of lhftt ihÉ Dickens. was invited on BBC Radio 3's InTune to perfonn both musi¢ and dialogue excerpts from tlie sliow. *** "aplojrful patclnvork of reference.sfrom acraf.¥ the cellrt4rie.s ... .fure-fooled, enlerlaining ihealre ... ap7 engaging Christmas ouling. The Reviews Hub (NovemFKr 2024) on Whai ihe Dickep7s? at OSO Arts Centre. Barnes SHARING OUR LEARNtNG WITH OTHER ENSEMBLES AND COMPANIES Given The Telling has an interesting forn)ula for developing residencies in areas where there is little or no early music touring, we share our learning (boili successes and failures) so others can benefit from our learning and ¢xplore how to tour and develop residencies themselves. We have been working with The Mancunium Coiisort on a project in l&t¢ 2025 h¢lpin£ them develop fundraising and budgeting skills.
THE TELLG TRUSTEES, ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Financial Review Our income continues to grow. from an average of £60-70k up to 2022123. to £136k in 2023124, wid th¢n in the 2024125 year under review, we acl)ieved total income of £201,932. Our reserves as of 31 st March 2025 were £13.49], although £17,783 of thi5 Is restricted funds received in advance of 2025126 financial year towards projects in that period. This was offset by a small deficit of £7,518 on unrestricted funds at the year end. This deficit on unrestricted funds was subsequently elitninated in the subsequent financial year through soine unrestricted donatioiis and a first application for Theatre Tax Relief. Reserves Policy The Trustees are acutely aware that, as a growing organisation, much mor¢ needs to be done in the ensuing years to increase the charity's reserves and have set a target of £20,000, this being roughly equivalent to either 3 months, running costs or the amount considered prudent to mitigate against ]Nitential financial risks (such as the last minute cancellation of a small-m¢dium tour or ¢ngagem¢nt). Th¢ timetable for meeting this updaied reserves target has been set at 3-5 years to allow time to build up ihis amount at a sustainable pace. At the year end the total unr¢strici¢d funds was a d¢ficit of £4.292 (2024- 8 surplus of £3226) which is short of the charity's W)Iicy. Going Concern The Trustees considerthat, at the date of the signing ofthe RerK)rt and Accounts, the Charity is a going concern. bd on their review of existing funds, secured income for future period5 and expected cash flows. This takes into acwunt th¢ impact of the reduced level of grant from Arts Council England and th¢ ongoing evolution of our business model. FUNDERS The model of our woA( is expensive and so, as well as tlie mixed economy of guaranteed fees from festivals and venues, box offi¢¢ splits and self-proinotions. w¢ rely heavily on fundraised in¢om¢. ACE funding h&s proved hard to come by since the pandemic. In 202412025 we were ILicky to secure an ACE grant of £17.777 towards Whal the Dickens? However, our main source of income is from trusts and foundations because, for a small arts organisalion, we have particular skills in fundraising from trusts. The majority are small grants of £1000- £5000. We also run appeals to the public. The Telling is Tnost grateful to the individuals and organisations who supported the charity durin¥ the year. Without them we would have struggled to enable our programme. For a small organisation to have raised £59,160 from trusts in such a Challenging context shows tlie importance and distinctiveness of our work and our ability to articulate that importance and to fundraise effectively. All our funding has been toward aspects of our Touring and Project Fthad to enable us to take perfom]anees, workshops around England, with & focus on places that miss out in being able to access most touring cir¢uits. Since the end of the 20?4125 year, we are now exploiting opportunities, working towards an innovative model, working with partner artistic collaborators (Cam)enCo on tlie project= Creating Carnien and young vocal ensemble Tlie Maiicuniuin Consort on Breaking ¢lpe Rules in Autumn 2025)- This m¢ans that in sotne case5, the partiier cat] front the applications. This has the double benefit that these partner organisations can learn from our expertise, make connections with new funders and learn how to write applications, whilst also eiiabling The Telling to benefit froin graiits froin trusts we ¢ould not approach, du¢ to many of thetn a5kiiig for one. two or tliree-year gap5 before you can reapply.
THE TELLtNG TRUSTEES. AKNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 ASSESSMENT OF MAJOR RISKS Th¢ Trusfres have considered risks to which The Tellin8 is exposed and have established appropriate procedures to mitigat¢ the impact of those risks. The outlook continues to b¢ a challenging one. Th¢ main difficulties faced by The Telling and all other arts organisations is a perfect storm of rising costs, combined with the eost-of-living also impacting significantly on ticket sale income and making promoters risk-averse. However. we have learnt much about the challenges ahead which are likely to remain.. a) A need for enhanced funding to mitigate losses due to fewer promoter engagements, reduced f¢¢5 from promoters and reduced li¢kel income from self-proTnoted events b) A climate in which competition for funds (including from trusts and foundations) is fiercer than ever Our future plans above detail how we have already made changes to the model of our work to involve mo paid engagements alongside fundraising for our more risky re5idencies/self-prownotions, which depend on ticket incotne and also an in¢rease in working in partnership to share risk and fundraising. The increase in paid engagements will mitigate the risk, alongside plans to continue to build our fundraising, which continues to illcrea5e significantly year on year. d¢spit¢ these challenges. S¢ruclure. Governance and Managemen¢ Governing Docupnent The Telling is a charitable in¢orporat¢d organisation and has no share capital. It registerd with the Charity Commission on 30 January 2019 is governed by ils constitution. In the event of a winding up, while a member or within one year of ceasin8 to be a member, th¢ member's liability 15 limited to £5. Management Managerially, Clar¢ Norbum continued in her role as Artislic Director on a pro bono basi% supported by our General Manager Stephanie Pillinger. Thi5 management team, together with a focused and dedicated Board of Trustees, has continued the strengthening of the organisation with tight controls over all aspects of planning, including d¢¢iding on repertoire for programmes. scheduling. budgeting. and monitoring of financial forecasts. Clare Norburn (who is also our playwright, producer and was a singer unlil h¢r tIrement in Decemb¢T 2024) ov¢rse¢s strategic and artistic planning, budgeting, fundrdisino and partnerships. Clare works approx. 2 days & week for The Telling on a pro-bono basis. She is paid for singing, producing and ThTiting projects. She eanis her living mostly from freelance fundraising. Stephanie Pillinger, General Manager, has work¢d for The Telling since 2018, significanlly increasing her skills each year. Steph oversees project management, logistics, marketing, press and works with Clar¢ to suprA)n on fundraising aiid finan¢es. She also attends some of the live shows. She works for The Telling 3 days a week. The Telling engages freelance musicians, actors, directors, ligliting designers. costume makers and other creatives on a project-by-project basis. All are paid on a freelance rehearsal and project-by-project basis, and none is a permanent employee of the cliarity. Recruitment andAppoinlmenl olTrwiees The Bourd of Trustees is responsible for the overall governance of the charity. The Trustees are not artists involved in the charity's work. 10
THE TELLtNG TRUSTEES, AWNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 The Trustees undertake a skills audit to d¢tern)in¢ the skills to best support the object5 of the charity. Trustees are recruited via an open recruitment proce55 which 15 advertised in the arts and charity presOwebsites and through the charity's own website. social media and mailing list. A full Trustee pack is provided outlining the landscape in whicli we operate. our history and business plans. The Trustees may be appointed at the discretion, and with the approval, of the existing Trustees. New Truslees are briefed of their duties by existing Trustees and by the Artistic DitOr aiid General Manager who discuss the training needs of the new Trustee. New Trustees are encouraged io attend trainin8 on the responsibilities and role of a Trustee. Reference and Administrative Delails Chariry regisiralion number.- 1181802 Principal gjfice.. 168 Percy Road Twickenham TW2 6JF Tru.stees The trustees serving during the year and since the year end were as follows.. Catherine Magdalen Edis (Chair) (resigned l O January 2025) Elizabeth Davies (Chair from l O January 2025) Joann¢ Mclnlosh Chung Hin Chloe Lam (appointed 10 January 2025) No trustee received any remuneration for services during the period, other than those disclosed in note 7, nor did they have any beneficial interest in any contract with the charity. Banker.. HSBC 312 Seven Sisters Road Finsbury Park London N4 2AW Independeni Examiner.. Barcant Beardon Limited Ch&rtered Accountants 8 Blackstock Mews Islington London N4 2BT
TRUSTEES. ANNUAL REPORT (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Th¢ Truses arc reSWi]e for wepfir1 the Trust$, A) R¢wt and the fmancial statements io accordall with applicabk law ODd UDit¢d Kin8dLxn Accounting Standards (Unit¢d Kingdom Cyenettlly Accep1 AceL)untin8 Prnctice). The ]aw applicable to charities in Ell81ar & Wales wuires the Trustees to prEp4re finaDcial at¢m¢nts for h financid period which show a tNe and fair view of the state of affairs of th¢ charity alld of the incomi resources and application of resources of the cbarity that wiod. se]t suitsble accounting lIcI¢S th¢n appty them consistrntty. 4)bserve the methcd5 and principles in the CILaritics SORP 2019 {FRS 102). make judgements and estimates that are onable and prndent state wh#ber applicable aU(ing standards bave been follow4 SUbit to any Materi departur¢g disclosed explained in the finaociat statementy and prepar¢ th¢ fitwicial st8t¢tneDts ou the goia8 oon¢ern EL8is unless Èt is inappropriate to presttyne that the The T resps]le for keeping accounting record5 vthich disclose with r¢asonable accuracy at any time the financial N)sitioD ofthe charityand to enable them to ensurethattbe fman¢ial ststements CA)mpty with the chariti Act 2011, the Charity (Acc(Junts and RepoTts) Regulations 2W8 and the trovisions of the tr d1. Th¢y atE r¢spoDSI]c for 5afeguarth8 tbe a55¢ts of the clwity aod h¢n¢¢ for tsking reasonable *5 for th¢ prevention and detection of fiaud and other iTre8ularitie& Thig ryrr wa5 apwovedby the trustees co Is J4K144 20 26 and si8oed on their behalf. Elizab&h Davies Cbair of Tn 12
DEPENDENf EXAMtNER'S REPORT TO THE TRUSTEES OF THE TELLNG I report to the charity trustees on my examination of the &ccoutits of the charity for the year ended 31 March 2025, which are set out on pages 14 to 24. Responsibiliiies andbasiF of report As the charity's trustees you are responsible for the preparation of the accounts in aordance with the requirements of the Charities Act 2011 ('th¢ Aot"). I report in respect of my examination of the charity's OUnts carried out under section 145 of the Act and in Carrying out my examination I have followed all the applicable Directions giyen by the Charity Commission under section 145(5)(b) of the Act. Independent examiner's stalenwnl I have completed my examination. I confirni that no material mattet3 h&ve come to my attention in connection with the ¢xamination giving me cause to believe that in any material r¢spect: accounting records were not kept in respect of the charity as required by section 130 of the Act- or the accounts do not accord with those records. or the accounts do not comply with the applicable requirements concerning the forn) and content of accounts sel out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the accounts give a 'true and fair view, which is not a matter considered as part of an independent ¢X8mination. I have no concerns and have wme across no other matters in connectton with the ex8min&tion to whieh attenlion should be drawn in this report in order to enable a proper understanding of the accounts to be reached. £01 Shu Fen Chung FCCA ACA BARCANT BEARDON LIMITED Chartered Accountants 8 Blackstock Mews Islington London N4 2BT 13
THE TELLTNG STATEMENT OF FINANCIAL ACTtvtTIES (fNcLUDtNG INCOME AND EXPENDITURE ACCOUNT) FOR THE YEAR ENDED 31 MARCH 2025 Notes Restricted Unrestricted Funds Funds 2025 2025 Total Funds 2025 Totsl Funds 2024 Income und endowmenlsfvm." Donations and legacies Charitable activities 59,160 91.906 50,866 151,066 50,866 96,647 39.420 Total income and endowments 59,160 142,772 201,932 136.067 Erpendilure on.. Charitable a¢tiviti¢s 41.377 150,290 191.667 143.930 Total expenditure 41.377 150,290 191,667 143,930 Nei income/(expendih4re)for theyear 17.783 {7.518) 10,265 (7,863) Transfers between funds Nel lncome/(expepIlUye) ondnei movepnent in fimd¥for theyear 17.783 (7,518) 10265 {7.863) Total funds brought fonvard 3,2?6 3226 11.089 Total funds Caled fonv8rd 17.783 13,491 3,226 The statement of financial activities includes all gain5 and losses recognised during the year. All income and expenditure derive from continuing tIvItIes. 14
AS AT 31 MARCH 2025 2025 2024 creAsSets 4,624 11.945 5.780 8J80 16.569 14.060 Crediiors: amounts fallin8 within on¢ y .078) {10.834) CwrentANsets/lZlablliliaJ 13.491 3.226 NetAsseiWllabllhieJ 13,491 3226 Rtstricte4J FuAd$ li 17.783 (4,292) 3226 l3,49l 3226 Approved by the truths on 131&JAN4 10¥ ond sign&J ott its h&If. Elizabeth Davies Chair of Trustee5 Il n(e5 on pages 16 to 24 forni prt ofthe8¢ stAtement 15
THE TELLtNG NOTES TO THE FfNANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2025 1.0 Accowiling Policies The principal aOUnting poli¢ies adopted. judgements and key sourc¢s of estimation un¢¢rtainty in the preparntion of the financial stAtements are as follows.. 1.1 Basis ofPreparation The Telling is a eharitsble incorporntion organisation. In the event of the charity being wound up, the liability in SpeCt of the guarantee is limited to £5 per member of the charity. The registered office is 168 Percy Road. Twick¢nham TW2 6JF. The Charity constitutes a public benefit entity as defined by FRS 102. The financial statements hav¢ been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland issu¢d in October 2019, the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Charities Act 2011. The financial statements are prepared under the historic cost convention. The financial statements are prepared in sterling, which is the functional currency of the company. Monetary amount5 in these financial statements are rounded to the nearest £. Th¢ financial statements have been prepared to give a 'true and fair. view and have departed from the Charities (Accounts and Reports) Regulations 2008 only to the extent r¢quired io provide a'true and fair view,. This departure has involved following the Accounling and Reporting by Charities.. Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) issued on 16 July 2014 rather than the Accountin8 and Reporting by Charities= Statement of Recommended Praclice effe¢tiv¢ from l April 2005 which has since been withdrawn. 1.2 Gog Concern The Trustses consider that there are no material un¢¢rtainties regarding the Charity's ability to continue as a going concern and have prepared these financial statements on this basis. 1.3 FundAccounting Unreslricted funds are available for use at the discrelion of the trustees in furtheran¢e of the g¢ner objectives of the charity and which have not been designated for other purposes. Designatd funds are unrestricted funds earniarked by the trustees for particular purposes. Restricted funds are subject to restrictions on their expenditure impKJsed by the donor. 1.4 Income Recognilion All incoming resources are included in the Statement of Financial A¢tivities (SOFA) when the charity is legally entitled to the income after any perfomiance conditions have been mel the amount can be measured reliably and it is probable that the income will b¢ rrfeived. Donated services and facilities, including gifts in kind, are included &t the value to the charity where this ¢an be quantified and a third party is bearing the cost. Noamounts are in¢lud¢d in the finala] statements for services donated by volunteers. 16
THE TELLNG NOTES TO THE FINANCIAL STATEMENTS (Continued) FOR THE YEAR ENDED 31 MARCH 2025 For donations to be recognised th¢ charity will have been notified of the amounts and th¢ settlem¢nt date in writing. If there are conditions attached to the donation and this requires a level of perfornianc¢ beftJr¢ entitlem¢nt Can be obtained then income is deferred until those conditions are fvlly met or the fulfilment of those conditions is within the conlrol of the charity and it is probable that they will be fulfilled. Donations received with imp)sed restrictions are classified as restricted thnds. Revenue grants are credited as incoming resources when they are re¢¢ivabl¢ provided conditions for receipt have been complied with. Where grants awarded for specific concerts or events are received in advanc¢ of th¢ p¢rformance, they are deferred so that concert and ¢vent Costs align with relat¢d income. P¢rfornian¢e and outreach income is recognised in the period in which the activity takes place. 1.5 Expendithye Recognition Expenditure is recognised i)nce there is & legal or constructiye obligation to transfer ¢¢onomi¢ benefit to third party, it is probable that a transfer of economic benefits will be required in settlement and the amount of the obligation can be measured reliably. Expenditure is ¢lassifi¢d by activity. The costs of each activity are made up of the total of direct costs and shared costs. including support costs involved in undertaking each activity. Direct Costs attributable to a single activity ar¢ allocafrd directly to that activity. Shared costs which contribute to morc than on¢ activity and supwrt costs which are not attributable to a single activity are apportioned between those activities on a b]$ consislent with the use of resources. Support costs are those costs incurred directly in supw)rt of expenditure on the objects of the charity. Governance costs are those incurred in connection with administration of the charity and compliance with constitutional and statutory requirements and are included in support wsts. Costs of rdiSing funds are costs incurred in attracting voluntary income. and those incurred in trading activities that rdise funds. J.6 Siock Stocks ar¢ CDS for sal¢ and are slated at th¢ lower of cost and estimated selling pri¢¢. 1. 7 Debtors Trade and other debiors recognised at the settlement amount. Prepayments are valued at the amount prepaid. 1.8 Crediiors and Provisions Credilors and provisions are recognised where the charity has a present obligation r¢sulting frorn a past event that will probably result in the transfer of fijnds to a third party and the amount due to s¢ttle the obligation can be measured or estimated reliably. Creditors and provisions are nonnally recognised at their sertlement amount. 17
THE TELLING NOTES TO THE FINANCIAL STATEMENTS (Continued) FOR THE YEAR ENDED 31 MARCH 2025 2.11 CrilicalAccounling Estimates andjUdgenllts In the application of the charity's accounting policies, the trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities thal are not readily apparent froTll other Sources. The estiTnates and associated as5UTnptions are based on historical ¢xp¢ri¢n¢¢ and other factors that are considered to be relevant. Actual results may differ from these estimates. The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the riod in which the estimate is revis¢d where the revision affects only that period, or in the period of the revision and future riodS where the revision affe¢ls tM)th ¢unEnt and future periods. 3.0 Incomefrom Donations andLegacies R¢stri¢t¢d Unr¢stri¢ted funds funds 2025 2025 Totsl funds 2025 Total funds 2024 Donations and gifts Gift Aid Grants 74,968 16,938 74.968 16,938 59,160 19,444 3,705 73,498 59.160 59.160 91,906 151.066 96,647 3. 1 Income from donation and legacies was £151,066 (2024 - £96,647) of whi¢h £59,160 (2024 - £73.498) was attributable to restricted funds and £91,906 (2024- £23,149) was attributable to unrestricted funds. 18
THE TELLING NOTES TO THE FtNANCIAL STATEMENTS (Continued) FOR THE YEAR ENDED 31 MARCH 2025 3.2 Analysis of Grants 2025 2024 Angel Early Music Arts Council En8land Cockayne Fund Colwinston Charitable Trust Continuo Foundation Gale Family Trust Grimmitt Trust Scop5 Art5 Trust Shoresh Charitable Trust Sir John Fisher Foundation The Darkley Trust The Golsoncott Foundation The Gwendoline and Niargaret Davies Charity The Hadfield Tmst The Harold Hyam Wingate Foundation The Hugh Fraser Foundation The James Beattie Charit&ble Trnst The JTH Charitable Trust Th¢ Marchus Trust The Pear Tree Fund for Music The Radclifft Trust The Souter Charity The Victoria Wood Foundation The W M Mann Foundation Unity Theatre Trust WE Dunn Trust 3.000 17,777 5,000 8,000 4,000 1,000 1,200 3.000 25,195 6,000 5,000 ,000 7,500 1.983 7,000 1.983 1.000 ,200 2,000 1,000 1.500 2.000 2.000 1.000 500 870 5.000 2,000 2,000 3,000 2.450 3,000 1,000 500 1,000 1.000 59,160 73.498 4.0 Incomefrom Chan'¢ableAdivili Restricted Unrestricted funds funds 2025 2025 Total funds 2025 Total funds 2024 Promotets. fees Box office and CD sales 11,014 39,852 11.014 39.852 9.640 29,780 50,866 50,866 39,420 4.1 Income from charitable activities was £50,866 {2024 - £39.420} of which £nil (2024 - £nil) was attributable to restricted funds and £50.866 (2024- £39,420) was attributable to unrestricted funds. 19
THE TELLING NOTES TO THE FINANCIAL STATEMENTS (Continued) FOR THE YEAR ENDED 31 MARCH 2025 5.0 Anafysis of Eypendilure on Charilable Aelivilies Charitable Activities 2025 Activities undertaken directly 2025 Support Governance Costs Costs Total 2025 2025 2025 Artists Venues Lighting Travel and subsistence Marketing Film and CD production Project administration Sundry expenses Bank charges Accountancy 95.095 8,856 15,541 29,488 13,929 59 6,432 2,237 95.095 8,856 15.541 29.488 13.930 59 22.883 2,237 578 3,000 16.451 578 3.000 171.637 17,030 3,000 191,667 5. J Ch8ritable Activities 2024 Activities undertaken directly 2024 Support Governance costs costs Total 2024 2024 2024 Artists Venues Lighting Travel and subsistence Marketing Film and CD prcduction Project administration Sundry expenses Bank charges Accountancy 64,430 7.036 12,324 14,422 9,763 342 27,850 2,359 64.430 7.036 12.324 14.422 10.113 342 27.850 2,359 614 4,440 350 614 4.440 138,526 964 4.440 143,93Q 5.2 Of the £191,667 expenditure in 2025 (2024 - £143,930). £41,377 (2024 - £110,676) was attribut&ble to restricted funds and £150.290 {2024 - £33.254) was attributable to unrestricted funds. 20
THE TELLtNG NOTES TO THE FINANCIAL STATEMENTS (Conlinued) FOR THE YEAR ENDED 31 MARCH 2025 O Net Income/(Erpendilure)for ihe Year 2025 2024 This is $taledaJier charging Independent examiner's fee 3,000 4,440 7.0 Truslees Remuneralion andErpenses Clare Norburn resigned as a tNstee on 21 September 2023. The following payments w¢re made to her up the dale of her resignation. These payments were made in respect of servi¢¢s provided to the charity as a perfornier and writer, and as authorised by the governing document and the Trustees- 2025 2024 Perfornlinglwriting fees Expenses reclaimed 6,140 35 6,175 No other tn¢mbers of the Board of Trustees rtteived any remuneration or expenses during the year. No trustee orother person related to the Charity had any personal interest in any contract ortransaction ent¢rd into by the charity during the year (2024- nil). &0 Debtors 2025 2024 PpaYmeTrts ACced income 714 3,910 2.139 3.641 4,624 5,780 9.0 Creditors.. Amounts Falling Due Iyithin One Year 2025 2024 Aceruals D¢f¢rred income 3,000 78 4.440 6,394 3.078 10,834 21
THE TELLNG NOTES TO THE FINANCIAL STATEMENTS (Conlinued) FOR THE YEAR ENDED 31 MARCH 2025 10.0 Delerredlncome Defe]r¢d income comprises of tnonies received in advanc¢ for perforniC¢S and events occurring after the year end. Total Balance as &t l April 2024 Amount released to income earned from charitsble activities Amount defeed in year 6,394 (6,394) 78 Balance as at 31 March 2025 78 11.0 Art1$ of Chariidble Fundv Unrestricied Funds- Curreni Year Balance Incoming Outgoing Transfers l Apr 24 Resources Resources Balance 31 Mar25 General funds 3,226 142,772 (150,290) {4,292) Unrestricled Ft4nds- Previous Year Balance Incotning Outgoing l Apr 23 Resources Resources Transfers Balan¢¢ 31 Mar24 General funds 10,870 62,569 (33,254) {36.959) 3,226 Name of unrestrictedfund Descnpfton, nalwe apulpurposes oflhefynd General funds The"fre¢ reserves" after allowing for any designated nds. 11.1 ReslrictedFunds- Cwrent Year Balance Incoming Outgoing Transfers l Apr 24 Resources Resources Balan¢¢ 31 Mar25 Touring and project fund 59,160 (41,377) 17,783 ReslrEcledFunds- Previous Year Balance Incoming Outgoing Transfers l Apr 23 Resources Resources Balanc¢ 31 Mar24 Touring and project fund 219 73,498 (110.676) 36.959 22
THE TELLING NOTES TO THE FINANCIAL STATEMENTS (Continued) FOR THE YEAR ENDED 31 MARCH 2025 Name 0frestrtedfUnd Descriplior4 naiure andpurposes of Ihefvpttl Touring and project fund Funds raised specifically to deliver projects to rehearse and tour those projects including developing audiences in places which do not otherwise access any or much tourin8 perforniances. At the year end the following funds are carried forward to be used in a future year. Purpose Colwinston Charitable Trust Gale Family Trust 5.000 500 Welsh residency.. May-Nov 2025 Breaking the Rules perforniance in Bedford in Nov 2025 Into the Melting Pot perfomiances in May 2025 Into the Melting Pot perfomiance in Wales in May 2025 Into the Melting Pot perfoTman¢e in Wales in May 2025 Into the Melting Pot tour & outrea¢h: May 2025 Scottish performances.. May 2025 Feb 2026 Scottish p¢rfornYdnces.' May 2025 Feb 2026 Refugee outreach project: May 2025 & Hildegard tour- Sep 2025 Shoresh Charttable Trust 1,983 The Darkley Trust 300 The Gwendoline and Margaret Davies Charity 1.000 The Harold Hyam Wingate Foundation 2,000 The Hugh Frasv Foundation 2,000 The Pear Tree Fund for Music 2.000 Th¢ Souter Charity 3,000 17.783 11.2 The net Iransfer of£nil (2024- £36,959) from general funds to the restricted funds represents additional funding towards the projects. 23
THE TELLtNG NOTES TO THE FINANCIAL STATEMENTS (Continued) FOR THE YEAR ENDED 31 MARCH 2025 12.11 Analysiv ofNeiAssets Behveen Funds- Curreni Year Restricted Unrtstricted Funds Funds 2025 2025 Totsl 2025 Cash at bank and in hand Other net current assets/(liabilities) 17,069 714 (5,124) 832 11.945 1.546 17,783 (4292) 13,491 Analysis ofNetAssels Behveen Fllll- Previous Year Restricted Unrestri¢ted Funds Funds 2024 Total 2024 2024 Cash at bank and in hand Other net current assetsl(liabilitie5) 8280 (5,054) 8.280 {5,054) 3,226 13.0 Re1edPaTty Transactio Aside from trustee remuneration and expenses disclosed in note 7, one trustee had & close family member who had transactions with the charity during the year. The trustee's family member was paid £4,421 to provide musical service5 to the charity which includes being a ¢omposer. arranger and perforn)ing at shows. In the previous year a trustee's family member was paid £1,681 for designing costumes for the perforniers and relaled expenses. For each nSaCtion, the trustees specifically met to discuss the engagement and payment to the family member, at which relevant trustee was not present. The remaining trustees felt that appointin8 this family memberwould save the charity money in compari50tI with going to a composer who did not know the Telling's work.. and therefore, agreeing this limited period of work was to the benefit of the charity and its Work. 24