2026-03-31-accounts

Charity registration number 1186211 (England and Wales)

ROOTS THEATRE

ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

ROOTS THEATRE

LEGAL AND ADMINISTRATIVE INFORMATION

Trustees Francesca Hutchinson James Drake Elizabeth Vogler Shivaike Shah Priyanka Roy Dr Lel Meleyal Charity number 1186211 Principal address 4-6 Bridge Street Tadcaster LS24 9AL Independent examiner Two Matts LLP 151 Wardour Street London W1F 8WE

ROOTS THEATRE

CONTENTS

	Page
Trustees report	1 - 8
Independent examiner's report	9
Statement of financial activities	10
Balance sheet	11
Notes to the financial statements	12 - 18

ROOTS THEATRE

TRUSTEES REPORT

FOR THE YEAR ENDED 31 MARCH 2026

The trustees present their annual report and financial statements for the year ended 31 March 2026.

The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the charity's governing document, the Charities Act 2011 and "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 (FRS 102)" (effective 1 January 2019).

• 1 -

ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Objectives and activities

Aims and objectives

Roots Theatre (known through the working name Roots) has the following aims and objectives:

Roots is a leading LGBTQIA+ led theatre company that promotes for the public benefit the art of drama and its understanding and appreciation by the public through the delivery of theatre productions.

Founded in 2019, Roots’ mission is to restructure theatre into a queer space that delivers wellbeing for LGBTQIA+ communities through encouraging and producing new writing theatre. From Tadcaster and across North Yorkshire, we deliver creative training that develops the artistry of all members of our community. We produce and tour awardwinning new writing throughout the UK and internationally, created by and for LGBTQIA+ communities.

Our vision is to create a theatre industry that is made by communities from marginalised backgrounds, creating a fairer and ethical environment for all.

Our values are:

• Nothing about us without us.

LGBTQIA+ and intersectional diversity are present throughout our workforce.

• LGBTQIA+ spaces are inclusive spaces.

We produce queer created events that welcome all communities who value equity and empathy.

• Artistry comes from care centred practise.

Our staff, Trustees and associates adapt how we deliver our services to facilitate each user’s needs.

• We are all artists.

Our impact on the theatre sector helps enable LGBTQIA+ creativity to flourish at every level.

Public benefit

In planning the year's activities and setting objectives, the trustees have considered the Charity Commission's guidance on public benefit, including the guidance on public benefit and fee charging. The charity relies on grants and the income from theatres and ticket sales to cover its operating costs. In setting the level of fees, charges and concessions, the trustees give careful consideration to the accessibility of the company's productions and activities for those on low incomes.

The beneficiaries of Roots' work are:

The general public, as all performances are widely distributed and promoted;

Directors, writers, actors, designers and all artistic professionals to whom Roots offers development and employment;

LGBTQIA+, intersectional and allied communities who participate in our educational activities.

Roots' educational work provides participants with valuable practical experience and insight into possibilities of live and digital performance, and provides access to audiences from all backgrounds.

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ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Achievements and performance

Creating Opportunities for LGBTQIA+ Artists

Roots exists to create opportunities for LGBTQIA+ artists who are underrepresented within the theatre industry, enabling them to develop their practice, build professional networks and create ambitious new work. During the year, the beneficiaries of our activities were primarily LGBTQIA+ communities in North Yorkshire, who make up 2% of our region’s adult population (census 2021), well below the national average, and these smaller communities are also geographically spread. Our participants experience isolation, a lack of LGBTQIA+ public spaces, and generally low visibility in community life, which our projects directly tackle.

Across our programme we supported more than one hundred artists through paid creative opportunities, professional mentoring, public performance, research and development activity and one-to-one career support. Rather than offering isolated workshops, Roots continued to develop a distinctive progression model, enabling artists to move from their first professional commission through to working alongside nationally recognised writers, directors and producing theatres.

This approach is central to our charitable purpose. We believe that talented artists should not have to relocate to London or other major cities to access professional opportunities. By working across North Yorkshire (with hubs in Selby, York and Scarborough) and now Liverpool, we have continued creating meaningful artistic pathways rooted within local communities while connecting participants to the wider theatre industry.

Throughout the year, we collaborated with established artists including playwrights Luke Barnes and Max Percy, climate arts producer Amber Massie-Blomfield, directors Nathan Powell and Séan Linnen, producer Laura Collier, dramaturg Tommo Fowler and numerous professional actors. These relationships provide lasting professional networks that continue well beyond the lifetime of individual projects.

Feedback from our participants consistently highlighted the supportive, collaborative and inclusive environment created through our programmes. Artists particularly valued the individual attention they received, the opportunity to develop work without commercial pressure, and the confidence gained from presenting their writing within respected producing theatres. For many participants, these projects represented their first experience of working professionally within the theatre sector.

Developing Outstanding New Theatre

Alongside artist development, Roots continued investing in the creation of ambitious new theatre that reflects contemporary LGBTQIA+ experiences whilst contributing to the cultural life of Yorkshire and the wider UK.

Our most significant artistic development during the year was Queer Seagull, an innovative reimagining of Chekhov's The Seagull. Rather than producing a traditional adaptation, the project explored how one of theatre's most influential plays could speak directly to contemporary LGBTQIA+ audiences through the form of gig theatre, combining live music, humour and direct audience engagement.

Research and development took place in partnership with Liverpool Everyman & Playhouse under Nathan Powell’s direction, employing seven professional actors and a musician. LGBTQIA+ performers were central to the creative process, ensuring that questions of identity, belonging and artistic change shaped both the production’s development and the wider public engagement programme. We engaged local LGBTQIA+ artists to join the process, observing rehearsals, contributing creative feedback and experiencing first-hand how new theatre is developed within one of the country's leading producing theatres.

Importantly, the project extended far beyond the rehearsal room. Eight emerging LGBTQIA+ artists responded creatively to the themes of the play by writing original monologues imagining more hopeful futures. Each participant received detailed dramaturgical support before presenting their work publicly through Queer Scratch at Unity Theatre in Liverpool.

The response from audiences demonstrated the value of creating work specifically for LGBTQIA+ communities, with the performances generating spontaneous moments of shared recognition in the audiences, reflecting the importance of seeing authentic lived experiences represented on stage. Participants were subsequently invited into the professional research and development process, observing rehearsals, contributing creative feedback and experiencing first-hand how new theatre is developed within one of the country's leading producing theatres.

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ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

We delivered further professional development through masterclasses led by Nathan Powell and Tommo Fowler, alongside individual career mentoring with theatre professionals. These opportunities provided practical advice on writing, directing, commissioning, representation and sustaining a professional career in theatre.

Recognising that access to professional knowledge should not be limited to those able to attend in person, Roots also created a new digital masterclass series on our website and socials channels featuring Luke Barnes, Laura Collier, Nathan Powell and Tommo Fowler. These freely available resources ensure that the project's public benefit extends well beyond its immediate participants and audiences.

Empowering Communities Through Creativity

Responding to the climate emergency through an LGBTQIA+ perspective formed another significant strand of our work during the year.

Climate Pride brought together emerging artists from York, Scarborough and across North Yorkshire to explore the relationship between creativity, environmental responsibility and lived experience. Led by theatremaker Max Percy and climate arts producer Amber Massie-Blomfield (Fern Culture), the project combined workshops in climate-aware artistic practice with intensive script development and individual mentoring.

The monologues created by the participants demonstrated one of the project's most inspiring outcomes. Rather than focusing solely upon environmental anxiety, participants wrote new works characterised by hope, resilience and collective action. This optimistic perspective emerged organically through the creative process and reflected the confidence participants had developed during the programme working with the professional artists.

Public performances at York Theatre Royal and the Stephen Joseph Theatre provided the participants with the opportunity to present their work in two of Yorkshire's most respected producing theatres, following by engaged talkbacks with audiences. Attendance was strong at both venues, audience feedback was consistently positive and participant evaluation overwhelmingly praised the welcoming, supportive atmosphere created throughout the project.

We ensured that Climate Pride’s legacy continued beyond live performance by professionally filming every monologue and making them freely available online, alongside an extended filmed discussion between Max Percy and Amber Massie-Blomfield exploring approaches to climate-conscious artistic practice. By combining live performance with digital resources, Roots expanded access to the work for audiences, artists and participants unable to attend in person.

Perhaps most significantly, the project has generated a new full-length play now being developed by Max Percy, ensuring that ideas first explored by emerging artists continue to shape Roots' future artistic programme.

Building National Partnerships

One of the defining achievements of the year has been the continued strengthening of Roots' relationships with leading cultural organisations across England.

As a small independent charity, partnership working enables Roots to create opportunities that would otherwise be beyond our organisational capacity. During the year we collaborated with York Theatre Royal, Liverpool Everyman & Playhouse, Unity Theatre, Fern Culture, Stephen Joseph Theatre, Theatre Green Book, Royal Court Theatre, Four Wheel Drive Theatre, and the Belgrade Theatre, alongside numerous freelance artists and producers, and LGBTQIA+ support charities and businesses in North Yorkshire.

These partnerships hugely benefit both participants and audiences. Emerging artists gain direct access to artistic directors, literary departments, producers and nationally recognised practitioners, whilst partner organisations benefit from Roots' expertise in LGBTQIA+ engagement, artist development and community-led theatre making. The year also saw the continued strengthening of long-term creative relationships, particularly with playwrights including Frazer Flintham, Tabby Lamb and Luke Barnes. Rather than commissioning isolated productions, Roots is investing in sustained artistic partnerships that allow writers to develop ambitious projects over several years, increasing the likelihood of future national productions.

We believe this long-term approach distinguishes Roots from many small theatre companies and demonstrates our commitment to developing artists, participants and audiences rather than simply delivering projects.

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ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Reaching Audiences

Public engagement remains fundamental to our charitable purpose. Throughout the year Roots continued presenting new work within welcoming, inclusive environments where LGBTQIA+ audiences could see their own experiences reflected on stage.

Our Scratch Night programme has become an increasingly important platform for both emerging artists and audiences seeking contemporary LGBTQIA+ theatre. York Theatre Royal hosted our most successful Scratch event to date, demonstrating the value of maintaining a consistent artistic presence within the city. Audience demand exceeded available capacity, providing encouraging evidence that Roots is continuing to build loyal and engaged audiences.

Beyond live performance, our growing collection of professionally filmed performances, recorded discussions and digital masterclasses significantly extends the public benefit created through each project. These resources continue supporting artists, participants and audiences long after performances have concluded, increasing the accessibility and longevity of our work.

Organisational Resilience and Sustainability

The wider theatre sector continued to face significant financial pressures throughout the year. Increased competition for public funding, temporary changes to Arts Council England's National Lottery Project Grants programme and wider economic uncertainty created a particularly challenging operating environment.

Despite these external pressures, Roots demonstrated considerable resilience, and the Trustee’s would like to express their heartfelt thanks to our supporters Backstage Trust, Postcode Neighbourhood Trust and Arts Council England.

Planned use of reserves to catalyse future artistic projects, and careful financial management enabled the charity to conclude the year in a stronger position than anticipated despite the challenging funding landscape.

This commitment reflects the values of the organisation: placing LGBTQIA+ artists and public benefit at the centre of every decision.

Looking Forward

The achievements of the year have established a strong platform for our future development. Roots now has an expanding portfolio of ambitious commissions, established partnerships with nationally recognised theatres, an increasingly successful programme of artist development and growing recognition as a specialist organisation supporting LGBTQIA+ artists in the North of England.

Our future projects Coming Out, Die Disko, Bron(të) and the continued expansion of our Scratch Night programme demonstrate a clear strategic vision for the year ahead. Together they represent an investment not only in new plays, but in new artists, new audiences and new opportunities for communities whose stories remain underrepresented within British theatre.

As Trustees, we are proud of what has been achieved during the year. Despite a challenging environment for the cultural sector, Roots has continued to grow in ambition, deepen its partnerships and deliver meaningful public benefit. We remain committed to creating opportunities for LGBTQIA+ artists, nurturing exceptional new writing and ensuring that theatre continues to be a place where diverse voices are heard, celebrated and supported.

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ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Financial review

The trustees have examined the requirement for free reserves i.e. those unrestricted funds not designated for specific purposes or otherwise committed. The trustees consider that, given the nature of the charitable company's work, the level of free reserves should be approximately six months' annual expenditure for overheads, governance, fees and theatre development costs. This threshold has been reached, and the trustees will designate any future, additional reserves to an Artistic Fund intended to capitalise on opportunities to deliver the charity’s aims and objectives.

In addition to the supporters already mentioned, the trustees would like to acknowledge and thank Tadcaster Business Centre and all of our individual supporters

Structure, governance and management

Governing document

The charity is controlled by its governing document, a deed of trust and constitutes an unincorporated charity.

The trustees who served during the year and up to the date of signature of the financial statements were:

Francesca Hutchinson James Drake Elizabeth Vogler Shivaike Shah Priyanka Roy Dr Lel Meleyal

Recruitment and appointment of new trustees

Trustees of the charity are appointed by a Board majority vote, after first being identified and formally proposed by the Board's Nominations Committee. On appointment trustees are provided with a Board induction pack, which outlines the function of the Board, the company's financial position and future programme. Trustees are also supplied with a copy of the company's memorandum and articles of association. Trustees are offered training appropriate to their roles on the Board.

.

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ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Organisational structure

The board of trustees are the non-executive and unpaid governing body of Roots Theatre. The trustees have the responsibility of appointing the Producer/CEO, who leads the day-to-day operations and appoints all other freelance artists and support staff. The Producer develops the artistic vision for the company by planning the artistic programme, along with preparing annual budgets for the company's operations which are presented to the board of trustees for approval.

Decision making

Trustees devolve day-to-day responsibility for the running of the charity to the key management personnel. During the year, the key management personnel comprised the Producer who is also the Chief Executive Officer.

Related parties

Roots’ administrative base is donated in-kind by Tadcaster Business Centre as part of their CSR contribution to local charities in Selby. We are also Resident Company in our local producing theatre, York Theatre Royal, who support our artistic and educational activities through donating in-kind rehearsal facilities, artistic collaboration and marketing support.

Risk management

The trustees have a duty to identify and review the risks to which the charity is exposed and to ensure appropriate controls are in place to provide reasonable assurance against fraud and error. The trustees carry out an annual review of the company's activities and annually update the following policies:

• Complaints - Conflict of Interests - Digital Safeguarding and GDPR Policy

• Investment Policy - Managing Volunteers - Payment of Staff

• Risk Management

• Safeguarding Vulnerable Beneficiaries - Equality, diversity and inclusion

• Health and Safety

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ROOTS THEATRE

TRUSTEES REPORT (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

Diversity, Inclusion and Equality

Our Working Strategy, updated in FY 2025/2026, fully embeds LGBTQIA+ and intersectional diversity throughout our workforce.

Users of Roots’ services are present in our trustees, staff and artists. Our workforce reflects the diversity of the communities we work with and develops with our activities such that we are a dynamic, changing collective.

Roots' target audience encompasses LGBTQIA+ communities in Selby and York, as well as the local queer communities near the theatres where we partner, such as in Coventry, Scarborough and London.

Our current focus within the LGBTQIA+ community is to collaborate with trans and non-binary individuals, as well as gay men and lesbians. We strive to create inclusive spaces for all communities who value equity and empathy.

At Roots, we embrace intersectional diversity by actively engaging with LGBTQIA+ individuals who also identify as part of the global majority, disabled, and those facing socio-economic disadvantages.

To ensure accessibility, our engagement activities are provided free of charge for LGBTQIA+ participants. In terms of ticket prices for our theatre productions, we aim to keep them affordable, with most seats priced around £20.

Statement of Trustees' Responsibilities

The trustees are responsible for preparing the Report of the Trustees and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

The law applicable to charities in England and Wales, the Charities Act 2011, Charity (Accounts and Reports) Regulations 2008 and the provisions of the trust deed requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources, including the income and expenditure, of the charity for that period. In preparing those financial statements, the trustees are required to:

• select suitable accounting policies and then apply them consistently;

• observe the methods and principles in the Charity SORP;

• make judgements and estimates that are reasonable and prudent;

• prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business.

The trustees are responsible for keeping proper accounting records which disclose with reasonable accuracy at any time the financial position of the charity and to enable them to ensure that the financial statements comply with the Charities Act 2011, the Charity (Accounts and Reports) Regulations 2008 and the provisions of the trust deed. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

The trustees report was approved by the Board of Trustees.

.............................. Elizabeth Vogler Trustee

Date: .............................................

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ROOTS THEATRE

INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES OF ROOTS THEATRE

I report to the trustees on my examination of the financial statements of Roots Theatre (the charity) for the year ended 31 March 2026.

Responsibilities and basis of report

As the trustees of the charity you are responsible for the preparation of the financial statements in accordance with the requirements of the Charities Act 2011.

I report in respect of my examination of the charity’s financial statements carried out under section 145 of the Charities Act 2011. In carrying out my examination I have followed the Directions given by the Charity Commission under section 145(5)(b) of the Charities Act 2011.

Independent examiner's statement

Your attention is drawn to the fact that the charity has prepared the financial statements in accordance with the relevant version of the Statement of Recommended Practice applicable to charities preparing their financial statements in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) in preference to the Accounting and Reporting by Charities: Statement of Recommended Practice issued on 1 April 2005 which is referred to in the extant regulations but has now been withdrawn. I understand that this has been done in order for the financial statements to provide a true and fair view in accordance with UK Generally Accepted Accounting Practice.

I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:

• 1 accounting records were not kept in respect of the charity as required by section 130 of the Charities Act 2011.

• 2 the financial statements do not accord with those records; or

• 3 the financial statements do not comply with the applicable requirements concerning the form and content of financial statements set out in the Charities (Accounts and Reports) Regulations 2008 other than any requirement that the financial statements give a true and fair view, which is not a matter considered as part of an independent examination.

I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the financial statements to be reached.

Two Matts LLP

151 Wardour Street London W1F 8WE Date: ............................11 August 2026

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ROOTS THEATRE

STATEMENT OF FINANCIAL ACTIVITIES

(INCLUDING INCOME AND EXPENDITURE ACCOUNT)

FOR THE YEAR ENDED 31 MARCH 2026

		Unrestricted	Unrestricted
		funds	funds
		2026	2025
	Notes	£	£
Income and endowments from:
Donations and legacies	3	51,957	76,091
Charitable activities	4	323	3,404
Other income	5	20,738	9,742
Total income		73,018	89,237
Expenditure on:
Charitable activities	6	85,380	78,259
Other expenditure	10	154	282
Total expenditure		85,534	78,541
Net income/(expenditure) and movement in funds		(12,516)	10,696
Reconciliation of funds:
Fund balances at 1 April 2025		87,100	76,404
Fund balances at 31 March 2026		74,584	87,100

The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities.

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ROOTS THEATRE

BALANCE SHEET

AS AT 31 MARCH 2026

Notes Fixed assets Tangible assets 12 Current assets Debtors 13 Cash at bank and in hand Creditors: amounts falling due within one year 15 Net current assets Total assets less current liabilities Creditors: amounts falling due after more than one year 16 Net assets The funds of the charity Unrestricted funds 17	2026 £ 21,650 58,572 80,222 (6,716)	£ 1,078 73,506 74,584 - 74,584 74,584 74,584	2025 £ 9,753 88,141 97,894 (8,371)	£ 1,094 89,523 90,617 (3,517) 87,100 87,100 87,100

The financial statements were approved by the trustees on .........................

.............................. Elizabeth Vogler Trustee

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026

1 Accounting policies

1.1 Accounting convention

The financial statements have been prepared in accordance with the charity's governing document, the Charities Act 2011, FRS 102 "The Financial Reporting Standard applicable in the UK and Republic of Ireland" and the Charities SORP "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 (FRS 102)". The charity is a Public Benefit Entity as defined by FRS 102.

The charity has taken advantage of the provisions in the SORP for charities not to prepare a statement of cash flows.

The financial statements have departed from the Charities (Accounts and Reports) Regulations 2008 only to the extent required to provide a true and fair view. This departure has involved following the Statement of Recommended Practice for charities applying FRS 102 rather than the version of the Statement of Recommended Practice which is referred to in the Regulations but which has since been withdrawn.

The financial statements are prepared in sterling, which is the functional currency of the charity. Monetary amounts in these financial statements are rounded to the nearest £.

The financial statements have been prepared under the historical cost convention, [modified to include the revaluation of freehold properties and to include investment properties and certain financial instruments at fair value]. The principal accounting policies adopted are set out below.

1.2 Going concern

At the time of approving the financial statements, the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements.

1.3 Charitable funds

Unrestricted funds are available for use at the discretion of the trustees in furtherance of their charitable objectives.

Restricted funds are subject to specific conditions by donors or grantors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.

Endowment funds are subject to specific conditions by donors that the capital must be maintained by the charity.

1.4 Income

Income is recognised when the charity is legally entitled to it after any performance conditions have been met, the amounts can be measured reliably, and it is probable that income will be received.

Cash donations are recognised on receipt. Other donations are recognised once the charity has been notified of the donation, unless performance conditions require deferral of the amount. Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.

Legacies are recognised on receipt or otherwise if the charity has been notified of an impending distribution, the amount is known, and receipt is expected. If the amount is not known, the legacy is treated as a contingent asset.

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

1 Accounting policies

(Continued)

1.5 Expenditure

Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a 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 classified 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 are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff costs are allocated on the basis of time spent, and depreciation charges are allocated on the portion of the asset’s use.

1.6 Tangible fixed assets

Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.

Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:

Computers 20% straight line

The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities.

1.7 Impairment of fixed assets

At each reporting end date, the charity reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any).

1.8 Cash and cash equivalents

Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.

1.9 Financial instruments

The charity has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the charity's balance sheet when the charity becomes party to the contractual provisions of the instrument.

Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.

Basic financial assets

Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

1 Accounting policies

(Continued)

Basic financial liabilities

Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.

Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.

Derecognition of financial liabilities

Financial liabilities are derecognised when the charity’s contractual obligations expire or are discharged or cancelled.

3 Donations and legacies

	Unrestricted	Unrestricted
	funds	funds
	2026	2025
	£	£
Donations	466	16,667
Grants	51,491	59,424
	51,957	76,091

4 Income from charitable activities

	Unrestricted	Unrestricted
	funds	funds
	2026	2025
	£	£
Charitable Activities	323	3,404

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

5 Other income

		Unrestricted		Unrestricted	Unrestricted
		funds		funds
		2026		2025
		£		£
	Theatre Tax Relief	20,738		9,742
6	Charitable activities
		Charitable		Charitable
		activities		activities
		2026		2025
		£		£
	Depreciation and impairment	883		1,008
	Production costs	36,979		35,179
	Staffing	6,004		-
	Travel and subsistence	1,933		1,517
	Research	373		256
	Artistic development	34,799		34,438
	Subscriptions	500		-
		81,471		72,398
	Support costs	1,259		2,316
	Governance costs	2,650		3,545
		85,380		78,259
7	Net movement in funds	2026		2025
		£		£
	The net movement in funds is stated after charging/(crediting):
	Fees payable for the independent examination of the charity's financial
	statements	1,000		-
	Depreciation of owned tangible fixed assets	883		1,008

8 Trustees

None of the trustees (or any persons connected with them) received any remuneration or benefits from the charity during the year.

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

9	Employees
	The average monthly number of employees during the year was:
		2026	2025
		Number	Number
	Total	-	-
10	Other
		Unrestricted	Unrestricted
		funds	funds
		2026	2025
	Financing costs	154	282
		154	282
11	Taxation
	The charity is exempt from taxation on its activities because all its income is applied for charitable		purposes.
12	Tangible fixed assets
			Computers
			£
	Cost
	At 1 April 2025		4,917
	Additions		868
	At 31 March 2026		5,785
	Depreciation and impairment
	At 1 April 2025		3,824
	Depreciation charged in the year		883
	At 31 March 2026		4,707
	Carrying amount
	At 31 March 2026		1,078
	At 31 March 2025		1,094

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

13 Debtors Amounts falling due within one year: Corporation tax recoverable VAT recoverable 14 Loans and overdrafts Bank loans Payable within one year Payable after one year 15 Creditors: amounts falling due within one year Notes Bank loans 14 Accruals and deferred income 16 Creditors: amounts falling due after more than one year Notes Bank loans 14 17 Unrestricted funds	2026 £ 20,738 912 21,650 2026 £ 3,517 3,517 - 2026 £ 3,517 3,199 6,716 2026 £ -	2025 £ 9,743 10
		9,753
		2025 £ 8,687
		5,170 3,517
		2025 £ 5,170 3,201
		8,371
		2025 £ 3,517

The unrestricted funds of the charity comprise the unexpended balances of donations and grants which are not subject to specific conditions by donors and grantors as to how they may be used. These include designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes.

	At	1 April	Incoming	Resources	At	31 March
		2025	resources	expended		2026
		£	£	£		£
General funds		87,100	73,018	(85,534)		74,584

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ROOTS THEATRE

NOTES TO THE FINANCIAL STATEMENTS (CONTINUED) FOR THE YEAR ENDED 31 MARCH 2026

17	Unrestricted funds				(Continued)
	Previous year:	At 1 April	Incoming	Resources	At 31 March
		2024	resources	expended	2025
		£	£	£	£
	General funds	76,404	89,237	(78,541)	87,100

18 Related party transactions

There were no disclosable related party transactions during the year.

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