**WWW.WEAREZOOCO.CO.UK** ## **TRUSTEES’** ## **ANNUAL REPORT** **1 APRIL 2024 - 31 MARCH 2025** **CHARITY NUMBER 1186349** **COMPANY NUMBER 12089377** ## **CONTENTS** |**ABOUT ZOO CO**
**CHARITABLE AIMS & MISSION**
**INCLUSIVITY & COMMUNITY**
**LETTER FROM OUR CHAIR**
**FINANCIAL STATS:**
**GRANTS AWARDED**
**DONATIONS & SALES**
**PROJECTS:**
**PERFECT SHOW FOR RACHEL**
**YOUNG COMPANY**
**PLAY & COMMUNITY**
**ACCESS SUPPORT & TRAINING**
**ORGANISATIONAL CHANGES & DEVELOPM**
**OUR WORKFORCE**
**GOVERNANCE**
**TRAINING & DEVELOPMENT**
**SUSTAINABILITY**||**_03_**
**_04_**
**_06_**
**_07_**
**_08_**
**_09_**
**ENT**
**_20_**| |---|---|---| ## **ABOUT ZOOCO** Zoo Co is a multi-award winning theatre company based in Croydon. We’re a Registered Charity, and an Arts Council England National Portfolio Organisation. We make innovative, bold, electric live theatre for audiences across the UK and around the world. At our core, we set out to make theatre which responds to what is alive in us as artists, and in our communities. We use bold, playful, highly visual, ensemble-led and democratic approaches to co-create our shows with the artists and communities involved. Our creative practice includes improvisation, Open Space, devising, and the development of new writing. We share our practice in every creative project, from our professional rehearsal rooms to our community projects. The Zoo Co Young Company is led by the Artistic Director, and co-creates ambitious studio shows alongside professional artists each year. We believe that theatre is better when everyone is invited. We champion creative access, working with deaf and disabled artists as leaders on every project. We create all of our shows ‘Relaxed as Standard’, and our productions strive to deliver creatively integrated access for deaf, disabled, neurodiverse and Visually Impaired audiences using integrated sign language, creative captioning, audio description and other technologies, responding to what is creatively enriching for the story, artists and audiences we are working with on each project. We share our access practice through training, consultancy and advocacy in the industry, in Croydon and nationally. In 24-25, we developed our Neurodiversity Awareness Training, and delivered sessions with Harbottle & Lewis, Barbican, South London Gallery, ThickSkin and Boundless. Zoo Co is generously supported by Arts Council England. We are also proud to have received funding from Esmée Fairbairn Foundation, the Vogue World Fund, and Place Partnerships via Stanley Arts. ## **CHARITABLE AIMS** ## **Our Charitable Aims are to advance public education and appreciation of the arts, in particular but not exclusively:** - Through the presentation of performances and the development of new work - By developing accessibility in the arts through innovative, tailored engagement programmes for marginalised groups or individuals in particular: - Young people aged 7-21 - Deaf and disabled audiences and participants Through the provision of theatre in theatre venues or other performance spaces ## **The Trustees are satisfied that Zoo Co continues to serve these goals to achieve public benefit during this period, in line with guidance from the Charity Commission.** ## **OUR MISSION** ## **RELEVANT PRODUCTIONS:** **To create highly innovative, relevant, ambitious and visual live productions for local and national touring, amplifying stories from marginalised people in our communities, using co-creation and community consultation.** ## **ACCESS CHAMPIONS:** **To champion access across all our activities, celebrating its immense creative and social impact and sharing our creative access methodology with the wider industry.** ## **SERVING CROYDON:** **To empower children, young people and adults in Croydon to be creative, using co-creation and community consultation to build programmes that are impactful, and informed and led by our diverse doorstep community.** ## **INCLUSIVITY & COMMUNITY** Founded in 2013 as a company focusing on making visually imaginative work, Zoo Co quickly learnt to blend our theatre practice with the community work we were involved in. In our show Sirens in 2018, we worked with a deaf actor and consultant for the first time, and created our first children’s show, Messy, in partnership with the ADHD Foundation. Since then, our staff, casts and creative teams began to be majority deaf / disabled / neurodiverse. We became a Registered Charity in 2019 to help us better deliver our work. Now, we focus on empowering deaf / disabled/ neurodivergent people, including young people, to become autonomous decision-makers and co-creators of the work they are making. We strive for excellence in access provision, which is at the heart of all of our work. All performances have been Relaxed As Standard since 2016 and had integrated BSL (British Sign Language) since 2018. We strive to serve our local community in Croydon. In 23-24 we were deeply embedded in Croydon’s year as Borough of Culture; our show Night Shift was a programme highlight, and we took the role of Access Lead. ## **This has been followed by a year of legacy building:** - Continued access consultancy for events and organisations - Growing use of our Access Resources Library - Involvement in the formation of the new CIC Croydon Makers and Creators. We’re proud residents of Stanley Arts, alongside fellow NPOs Stanley Arts and Boundless Theatre, the incredible dance company Birdgang, furniture restorers, a graphic novelist, a reiki healer and a personal trainer! Shared space offers all kinds of opportunities; in a tough financial climate, sharing resources, expertise and personnel is key - to survive, and to thrive. It’s incredible to be part of this diverse and bustling cultural hub for Croydon, in a heritage building moving through a beautiful, careful restoration to make it more welcoming and accessible for everyone. ## **LETTER FROM OUR CHAIR** This year marked our second as an Arts Council England National Portfolio Organisation, and it has been one of both celebration and looking to the future. A major highlight was taking Perfect Show for Rachel beyond London for the first time, opening Brighton Festival 2024 under Frank Cottrell-Boyce’s beautifully hopeful theme, Dream Again. It was a milestone moment for Zoo Co and a joyful way to share the show with new audiences. We were also delighted to welcome three new Trustees - Folarin Akinmade, Jen Pearce and Nick Sweeting - whose experience and insight strengthen the board at an exciting moment in Zoo Co’s journey. Perfect Show for Rachel continues to be a wonderful endeavour - Flo often calls it ‘a beautiful inconvenience’ - and holding this colourful, noisy, generous show has shaped much of 24-25. At the same time, the year also needed to mark our turn towards the future. I’m proud of the team for carving out space for slow, quiet, generative R&D periods. In these moments we saw the first sparks of Zoo Co’s next slate of work, and I’m thrilled to watch these ideas grow. We remain deeply grateful to organisations such as the Esmée Fairbairn Foundation, who have enabled us to focus on long term sustainability and who understand that a secure foundation enables us to deliver ambitious projects with care and confidence. We are equally thankful to the individuals who champion Zoo Co - from those whose pledges underpinned a successful Big Give campaign to those who choose to support us monthly. Your belief in our work sustains us and shapes what we can imagine next. ## Ellie Claughton Chair of Trustees November 2025 ## **GRANTS AWARDED** Esmée Fairbairn Foundation (Creative Confident Communities Year 2 of 3) Vogue World Fund Stanley Arts - Place Partnerships Grant (Final Instalment) Stanley Arts - Culture Croydon Grant Anonymous Trust Quartet Community Foundation _**£40,000 £12,262 £5,000 £2,500 £1,000 £500**_ ## **DONATIONS & SALES** Ticket Sales & Producing Fees _**£8,255**_ Access Consultancy _**£7,885**_ Neurodiversity Awareness Training _**£7,362**_ The Big Give Trust (with Gift Aid) _**£5,013**_ Supporters Scheme, Individual Giving & Gift Aid _**£3,016**_ Other Consulting _**£1,100**_ ## **PERFECT SHOW FOR RACHEL BRIGHTON FESTIVAL & BARBICAN** Perfect Show for Rachel enjoyed appearances at two venues - opening up the Brighton Festival, and returning to the Barbican for another sell-out run. Performances were electric, with standing ovations at every single show. We continued to adapt and flex the content of the show, learning from Rachel’s evolving taste and creating new moments in response. We were so delighted to have been able to open Rachel’s world up to new audiences outside London, and to return to the show’s original home. SHOWS IN BRIGHTON _**5**_ SHOWS AT BARBICAN _**15**_ TOTAL AUDIENCE _**3,285**_ AUDIENCE WHO IDENTIFIED AS DEAF OR DISABLED _**19%**_ AUDIENCE WHO IDENTIFIED AS NEURODIVERGENT _**24%**_ ## **AUDIENCE FEEDBACK** Gloriously welcoming and comforting and funny. I felt so relaxed and involved. How theatre should be!! Brilliant performers and concept and production. Thanks for bringing this to Brighton. A fantastic night of inclusive theatre and an education in how to see the world through the eyes of others. I laughed, cried, whooped and danced all the way to the deserved standing ovation. An incredible concept, cast and craft. Thank you Zoo CO and thank you for letting us into your world for an evening Rachel! Full of life, silliness and joy, Perfect Show For Rachel also asks some deeper and more challenging questions about the purpose of live theatre, the role of a director, and what we expect from entertainment. Also there’s a good amount of fart jokes, so all the bases are well-covered. In January 2025, we submitted an Expression of Interest for Arts Council England National Lottery funding to support a 7 venue tour of Perfect Show for Rachel. In May 2025, after a full application process, we were delighted to learn we had been successful. In 25-26, the show will tour to Sheffield Theatres, Leeds Playhouse, Oxford Playhouse and Birmingham Rep amongst others. ()()(:() SOME MORE PEEKS INTO RACHEL'S WORLD WATCH NOW PERFECT tr SHf)W never knowing so thrillingL¥ what was coming next "ome on. Wendy.. WATCH NOW Perfect Ilshow for Rachel WATCF4 NOW ## **DIGITAL CULTURE AWARD WIN** We were delighted to be joint winners of the Digital Inclusion Award at the Digital Culture Awards, alongside Extant. We won for the thinking and design behind Rachel’s accessible tech desk, and all the other ways accessibility and inclusion are woven into the fabric of Perfect Show: Digital Culture Awards Winners You can listen to Flo and Amy on a podcast about the award here ## **YOUNG COMPANY** |Co-creation sessions:|**_39_**| |---|---| |Attendances:|**_192_**| |Young people taking part in final show:|**_9 (8 CAST + ASSISTANT DIRECTOR)_**| |YoCo graduates taking on paid roles:|**_1_**| |Number of performances:|**_2_**| ## **ROOTED** After a year of deep work devising and creating, Zoo Co’s Young Company presented Rooted - a new play devised by the company and written by Liv Ello - on 31 July and 1 August. The Company performed the show at the Omnibus Theatre in Clapham to an audience of friends, family, and representatives from Croydon Council, ACE, the Brit School and Company 3. The Company included a cast of 8, as well as a new young person joining us as Assistant Director on work experience from Brit School, which established our new offer of two work experience placements each year for students in Year 10 and 11. We were also delighted to have YoCo graduate Seraphina Denton join the production as Assistant Stage Manager on a paid contract. We’re keen to develop the pipeline into paid professional work for our YoCo members; Seraphina supporting Rooted and coming back to support the YoCo production felt like a homecoming. In January 2025 we also welcomed another YoCo grad, Aïko Foueillis-Mosé, as a Young Associate. She joined us on R&Ds and at our Cabaret night Don’t Feed the Penguin, and we’re proud to support this young artist as she starts her professional career. We continued developing our relationship with Coulsdon College, running 3 workshops there, and were also proud to work with learning disabled students from Orpheus College, St Piers and Access All Areas. ## Demographics 24-25 : **----- Start of picture text -----**
Preferred to self-describe
17%
Mixed Heritage
33% Identified as
neurodivergent.
40%
Asian / Asian British
17%
60%
Didn’t Identify as
neurodivergent
Black / Black British
33%
**----- End of picture text -----**
## **What the young people said:** Performing the show was wonderful - everyone was so committed to what they had to do, and we had each other's backs. It was a lovely, safe, held, supportive feeling we'd created as a young company. It’s a really great opportunity because of how the open space works - I’m so used to being in a high expectations environment but it’s chill and accessible to anyone who is based in and around Croydon. A great way to meet other people my age and make important connections. Everything was so relaxed and chill, they gave you the space you needed and they definitely make you feel protected. I think it's great, because we are such a community. Everyone is accepted, and everyone plays a role, and that enriches our work. ## **CITIES EXCHANGE & YOCO’S 2025 SHOW** We started conversations with Company Three in September 2024 about a partnership project for the year. The Cities Exchange project brought four youth theatres from Croydon, Islington, Liverpool, Plymouth and Exeter together to create four brand new plays. Using ‘Cities' as the starting prompt, the project asked ‘What are young people’s stories, experiences and perspectives about growing up in their city?’ In February, the companies came together for a residential – a chance for them to make connections with young people from other cities and other experiences and to share creative practice. This project will culminate in a sharing of new plays in each city- including the development of our next YoCo production in summer 2025. ## **PLAY & COMMUNITY CREATIVE RESEARCH LAB** ## **BORE PLACE RESIDENTIAL: CREATIVE RESEARCH LAB 16 - 19 SEPT** Zoo Co invited a group of deaf and hearing performers to work with Improbable at Bore Place in Kent, exploring how to make improv practices and instant acting more accessible to deaf creatives. The thinking for the residential came out of the theme for our year- “becoming the nerds of our own process”. The residential aspect mattered; we communed around food, fires and storytelling as well as the work itself. Some strands of our work really benefit from this type of working practice - slowing down, treating people kindly, and building true sense of ‘community’. The work was richer and deeper for it. Learnings from the residential fed into short new work R&Ds that we held through the last half of the year and will continue to be developed. It was liberating to discover that this work translates far beyond the residential into our rehearsal rooms and our working practice. ## **ARTIST FEEDBACK** Thank you for allowing us to have a safe place and not worry about right or wrong because we need to do the wrong things to see if it works or how we can improve, etc. I feel very grateful to be here. It’s been such a relief not to have to talk about access all the time. You’ve taken the burden, the responsibility of the translation work off the shoulders of the deaf actors, and put it in the middle for us all to work on together. Then as we look at the problem in the middle, the answers and the work and the responsibility melts back into all of us, and brings us together. Ess Grange at Improbable produced a **zine** in response to the Bore Place Residential - a reminder that artistic responses are a rich evaluation resource, as well as numbers and percentages ## **DON’T FEED THE PENGUIN** We revived our ‘Cabaret Night Gone Feral’ Don’t Feed the Penguin in the Main Hall at Stanley Arts in November 2025. Hosting a disabled, queer night in Croydon felt beautiful and important - a keystone for community building in our home borough. ## **ARTIST MAKEUP** |**45%**|identified as deaf or disabled| |---|---| |**33%**|identified as neurodivergent| |**22%**|lived in Croydon| |**22%**|were from the global majority| |**45%**|identified as LGBTQI+| ## **ARTIST FEEDBACK** **100%** agreement ‘I felt supported by the organisers’ **96%** agreement ‘this project has contributed to the development of my arts practice’ **92%** agreement ‘this project has helped me to progress my career’ It was one of the most accessible and joyous events I've had the pleasure of being a part of. It was amazing to connect with other excellent deaf and disabled artists. Loved being part of the show. Felt very thoughtful and inclusive of many different people. Was a joyful evening. I had such a fantastic time at this event. Whenever I have worked with this company, they have shown exemplary organisational and communication skills. My access requirements were met at all points and I felt secure throughout the process. ## **AUDIENCE MAKEUP** **50%** of surveyed audience identified as deaf or disabled **64%** of surveyed audience identified as neurodivergent **14%** of respondents identified as being from the global majority **94%** of respondents rated the night excellent **91%** agreement that ‘the artists were not afraid to try new things’ **20%** of respondents were visiting Stanley Arts for the first time ## **ACCESS SUPPORT & TRAINING** ## **WORKPLACE NEURODIVERSITY AWARENESS TRAINING** Our role as Access Leads for Croydon’s year as Borough of Culture gave us valuable insight into where the gaps are in disability awareness. In response, we developed Neurodiversity Awareness Training, which we offer as a commercial product, with Half Day and Full Day sessions available for workplaces. ## **Takeup in cultural organisations was immediate and enthusiastic. In 24-25, clients included:** - 64 Million Artists - ArtAngel Barbican Centre - Boundless Theatre - Futures Theatre - Jackson’s Lane - South London Gallery - ThickSkin Wiltshire Creative Zoo Nation We also secured our first client outside the culture sector, delivering a suite of training with law firm Harbottle & Lewis LLP. We’d love to grow this offer and to expand our reach into other industries. We continue to offer Access Consultancy to arts organisations across the country. ## **ACCESS LIBRARY:** Now in its second year of operation, the Access Library is in full swing with access equipment being shared out in the Borough and beyond. ## **Every target we set for the Library has been achieved:** - **334** items loaned - **20** different organisations (16 of them Croydon-based) - **63** events - Benefitting at least **2,500** people. - Events produced by or hosted at Stanley used our Access Library kit 12 times in 24-25, borrowing **203** items. We’re thinking through a national roll out of the Access Library, with regional hubs (likely theatres and arts centres) storing and administering their own stock of resources to share locally. We will use the 25-26 national tour of Perfect Show to scope interest and talk through logistics with venues. Frozen Light (Norwich) have already expressed an interest in becoming a hub. We launched the Access Manifesto as part of Croydon’s Borough of Culture in July 2023, and continue to advocate for organisations to sign up to its principles. In 24-25, 47 new organisations signed up. ## **ORGANISATIONAL CHANGES & DEVELOPMENT** ## **OUR WORKFORCE** Our new status as an Arts Council NPO has encouraged greater rigour around our employment data. Zoo Co supports a payroll of 5 people, and freelancers are key contributors to our day-to-day operations, and work with us across Producing, Fundraising and Access Co-ordination. ## Between **1 April 2024 - 31 March 2025:** ## **67 freelancers worked for us (55 in 23-24 - a 22% increase)** - **36%** of these identified as deaf or disabled - **40%** of these identified as being neurodivergent - **31%** of these identified as being from the global majority ## **We had 5 salaried employees:** - **60%** of these identified as deaf or disabled - **60%** of these identified as being neurodivergent - **100%** identified as white ## **We had 8 Trustees** - **13%** of these identified as deaf or disabled - **50%** of these identified as being neurodivergent - **37%** of these identified as being from the global majority Our onstage and backstage presence and our office environment reflects our core value of inclusion and diversity. Emerging creatives with lived experience of deafness and disability can join a safe and welcoming environment, with peers with similar lived experience. Our audiences can see themselves represented onstage, and we welcome new audiences keen to see their stories represented (eg. with integrated BSL). It should be noted, for balance, that our 5 employed staff are all white people (same as 23-24, with one role changing personnel). Our Leadership Team (ED and AD) both identify as disabled. Our employees are 60% disabled, 60% neurodiverse (same levels as 23-24) which progresses our mission to welcome disabled and neurodivergent stakeholders into creative spaces. Over the summer we said goodbye to Alannagh Cooke, Project Administrator, and Maria Laumark, Assistant to the Artistic Director. Ruth Newbery-Payton joined the team as Project Administrator in September 2024, with producing responsibility for the Young Company, delivering on marketing and communications, and project support to other key projects on our slate. After supporting us as Development Director for two years, including through our first year transition to NPO, Tom Ryalls has moved into a consulting capacity; we’ve welcomed Hannah Thomas to the team as freelance Development Associate with responsibilities around fundraising. ## **GOVERNANCE** We gathered in July for a Board and Staff Away Day at Streatham Space Project. We hold these Away Days annually, using Open Space to discuss long-term aims and dreams, and to spend time together building the team. We have a wonderful Board of Trustees who offer equal parts support and challenge and help make our organisation stronger. We undertook a Trustee Skills Audit in the winter, and through this worked out a recruitment strategy for bringing on new Trustees focusing on: - **Expertise** in Fundraising, Marketing and Producing - **Lived experience** of deafness, disability and neurodivergence, and life as an artist working in UK theatre. In Spring we met a wide range of candidates, were delighted to welcome Folarin Akinmade, Jen Pearce and Nick Sweeting to the Board. We also brought Emily Norris into the team as our Board Support Worker. Emily joined all Board meetings and the Away Day, providing access support during meetings, and in particular establishing body doubling sessions to read through Board papers in advance of meetings. ## **TRAINING & DEVELOPMENT** We made Training and Development a priority for the year, and were proud to have been able to support our team to improve their knowledge and skills. We offered BSL training and ran a Neurodiversity Awareness training session for core employees, freelancers and Trustees. We also provided core staff members with an individual training budget to use freely; the range of training undertaken included classes in improv, economics, and BSL. ## _**BSL (British Sign Language)**_ - Our Artistic Director and Creative Access Director sign to about Level 3 Exec is learning Level 2 - 1 staff member and 1 Trustee achieved Level 1 - 1 staff member and 3 freelancers working towards Level 1 ## **ASSOCIATESHIPS** We created Associate positions in 2024 in response to recent discussions from freelancers in the industry around the problems barriers they experience: financial precarity, lack of training opportunities, lack of support and little sense of belonging. We offered two key freelancers a retainer equivalent to one day’s work a month, and they spent time with us in R&Ds, pre-production show prep, and training days. These Associate positions also de-risk us in some key areas: artistic burnout, and difficulties sourcing freelance workers for projects. We look forward to an annual programme of Associateships. ## **VOLUNTEERING DAYS** Core staff are granted Volunteering Days each year. In 2024-25, these were used to help out on School trips, and volunteer singing in Frozen Light’s show Fire Songs. ## **MENTORING** In 24-25, we offered 157 hours of free mentoring and shadowing to a wide range of artists and theatre workers. We welcomed observers into the Perfect Show rehearsal room, and undertook mentoring with people who work for Spare Tyre, Croydonites Festival, Piss Carnation, Blink Dance, Access All Areas and Lyric Hammersmith, as well as dozens of freelance theatre makers and students. Staff are also offered a paid hour a month to be mentored themselves. Finally, we launched our innovative Introduction to Trusteeship programme, where deaf and disabled people interested in learning more about becoming a Trustee are paid for their time to observe Board meetings. You can read about the experience of Alison France, one of our Board Observers, **here.** ## **SUSTAINABILITY** We achieved a substantial sustainability goal in 24-25 when we switched banking providers. None of Zoo Co’s money is now held with banks that invest in fossil fuels, arms, tobacco, or gambling. This is a hugely impactful action, and one of the most important things that a small organisation can do to reduce carbon emissions. ## **SET REUSE & CIRCULARITY** We’ve also been actively engaging in reusing items, and the circular economy. In Jan 2024, we took inventory of our set and props in storage, and decided on what could go. ## **We donated items to:** - Other theatre companies like Company Three, to use in their shows - Local schools (gardening equipment for forest school sessions, stationery, arts and crafts) Local people via giveaway sites like Olio as well as charity shops - Some items were sold, generating a small amount of income. We developed an agreement with our home venue Stanley Arts to use a basement room for temporary storage of set items; this allows a ‘little and often’ approach, where items can be stored temporarily as they’re processed. We sift through these items and gradually donate or sell them, rather than having to skip them all of a sudden. Having nearby, accessible space in which to store items has been crucial to our changed mindset in this area. We’re also keen to keep our carbon footprint low on tour; Perfect Show for Rachel’s set was a pre-existing build brought out of storage. A few paint touch ups were needed after an encounter with a hornet’s nest (maybe adding to the green credentials of the show..?) but being able to store and reuse set for remounting the show is another win for sustainability. ## **WEBSITE AND DIGITAL** After taking Carbon Literacy Training, our Project Administrator Alannagh Cooke made a commitment to make carbon reducing improvements to our website. As an arts organisation with an image-heavy web presence, it’s inevitable that we will have a higher carbon footprint than a simple text-based site; but Al worked hard to improve website structure and metadata, and to take some weight out of pages to improve efficiency. ## _**Chosen for ACE Environmental Report**_ ACE and Julie’s Bicycle chose our Access Library for a case study in their Annual Reports. Read the full report here, and see an extract below. ## **Thank You!** **Office address: Stanley Arts, 12 South Norwood Hill, Croydon SE25 6AB Instagram / Facebook: @wearezooco Artistic Director Flo O'Mahony: flo@wearezooco.co.uk Executive Director Amy Smith: amy@wearezooco.co.uk General Manager Michelle Hudson: michelle@wearezooco.co.uk** _Photo Credits: Nika Rosenfeld, Henri T, Fiona Winning, Ikin Yum, Zoo Co staff_ ZOO CO CREATIVE LTD TRUSTEES. 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Report (continued) For The Year Ended 31 March 2025 Stsndards {United ￿"T¥jd0rn Gene￿ty Accer*ed Accounb"ng Practice). the charitrbte ci)mpany and of the incorThrKJ resources and appltcalion of res￿r￿s. Énduding the MKorne and exrEndikn￿. of the tharitable t￿MpanY for that penod. In preparry the financial the tr￿teeS a￿ wuirtd to: • ob5erye the methtyts aftd prrncrple5 in the Charty SORP.. • make jwtrJmerts accounting estima￿ that are ¢paSonal￿e wdent: and will continue in busb)ess. The Irustees are res￿￿*￿e for keeF*ng adequatÈ accounting records whth disdose wth ￿sonable Kcuwacy at anybme the fiTr•n¢iol pp5tb¢in rfthe chaTitrtAe a>mpany and to thern ￿ eTh￿re thtt the xcDunts £offlp￿ fmrth the C(xnp)nies Art 2CM)6. They are also res￿N￿lbIe for safeguaydlng the assets of the company aThJ I￿￿e for takirwj teasonth sty for the Sma4 Comp•ffiy Rules rwjime within Port 15 rfthE cw)ari￿ 21X6. N4cho 1911212 25 Zoo Co Creative Ltd . Independent Examiner's Report to the Trustees of z￿￿ Co Cve*ive Ltd For The Year Ended 31 March 2025 I rekbyt to Ihe tharity trusts on my eXamina￿On d the ac£rwJnts ofthe c￿nY for the year ended 31 Maw¢h 2025. As the charity tru5tÈes of the CoM￿nY {arKI atso its di￿(￿rS for Ihe purr*>se5 of company Law). Y￿ are vesrnrsib52 for the prepardtion of the accowits Sn accordan￿ wjfh the of the Cfyiwie5 Act 20D6 fthe 20[￿ Aifl. trtaving satisfied myself Ihat the accounts <1 the Compw aTe not ￿l￿red to under Part 16 cl the 2006 Act and a￿ ellglble for Independent examination, I in rtspect c* my examination of your tharivs accounts as caffied out under stttion 145 of the Charities kt 2011 Cty* 2011 Acy). Sn cawryiTrJ rojt exafflirth I have fDlh)wed the 01￿CtI￿￿ given by the Ch3rity comm1￿ ￿lder sth 145(5) (bl ofthe 2011 ACL the 2011 Att. I confirn that l am qualifie(I to undertske the examination bo3￿ l am a memiw e* The Insiiiu of Management Accounrants, whKh is of ￿ lthj tKrfle5. l. accounting reCo￿S were ￿t kept in resrect rf the Company as requlr•J ty sectb)n 386 of the 2CIJ6 Act: or 2. the accounts do not accord with those recMJ5: or examination- Or 4. the acttjunts have not tjeen ryepaytd in ￿(OTdanc* with ￿ methots aThJ principks of the StstemÈnt of R￿r￿mended practi￿ ￿]Unting and ¥etyNtiThJ by d￿ritieS a￿licable to chatlties preparing their ac£ounts In accO[dar￿ *rth the Fina￿la[ ￿e￿rt￿l9 StarthTrE ap￿[ca￿e in the UK and RerAbblic of I￿and IFRS 102). 1911212025 Zoo Co Creatlve Ltd Staten￿t al Finan¢ial Activlties (including In¢*me and ExpeTrthtu￿ Accourt) For The Year Ended 31 March 2025 2025 2024 Donations arAI ftyxtes Charitsble ath¥ities'. 3.015 IAIZ 270.530 270,530 338,982 13.500 125.446 22.908 19.157 2.022 13.50 Other tTrdin9 aCti¥ib"es 22. 2.022 39.694 77 338,169 13.500 351,669 563,197 Raisin9 fwK15 Chariiable activitie5: Charitsble attfvities- unresitthd (9.782) (9.782) (319.217) (319.217) {331.757) (23.S63) (23.563) {128.727) (328.999) {23.563) {352.5621 1460.484} 9.170 (10.063) (8931 102.713 NET MOVEMEMT IN FU14DS 9.170 (lo.￿3> 1893) 102.713 Total fvnds brought forward 137.335 14.163 151.498 48.785 146.S05 4,100 150.605 151.498 Zoo Co Creative Ltd Account) For The Year Ended 31 14arch 2025 2024 fvnds funds 1.812 1.812 CharitatrAe 3Ctivibes: 338.982 338.982 125,446 125.446 19.157 77.800 Other t￿￿1￿9 actlvstte5 other 19.157 77,8rMI 437.751 125.446 563,197 CharIta￿e acti¥ifies.' (331.757) (331.757) (iZ8.7271 (128.727) Charf13b￿ aai¥iries- restric (331.757) (128.727) (460.484) MEf IMCOME 105.994 13.281) 102.713 IIEf MOVEMEln 111 AINDS RECONCZUAT1014 OF FUNDS: Totsi fvnds brought lorward 10S,9 {3.281) 102.713 31.341 17.444 48.785 137.335 14,163 151.498 As At 31 Marth 2025 2025 2024 funds 33 132,625 33296 109.275 132,625 108.487 Cash at bank and In haThl 165.921 165,921 217.762 14 {15.316) (15.316) (66.264) 150.605 150.605 151.498 150A)5 I50￿05 151.498 150.605 150.605 151.498 4,1(￿1 146.5ri5 150.605 14.163 137.335 151.498 For ts year endtng 31 Marth 2025 the thaiitsb* coryny ¥¥a5 e¥ernrtity) fmm audit VI￿ 477 of the Companie5 Att 2LI)6 relating tsl smoH companie5. Act 2006. reglme. dthe Nr Ich)bas 1911212025 Zoo Co Creative Ltd Notes to the Financial Statements For The Year Ended 31 llarch 2025 The fivwn¢i31 #atements ha¥e been ryep3roJ ￿ ￿￿rda￿e wilh the Charitie5 SORP (FRS 102) 'A(rwntsThJ and Re￿￿1￿9 tty Financial Re[￿￿9 StsThlard applkaye in ￿ 10¢ and of IrelaTrJ (FPS 102) (eff￿lIVe l January 2019).. Finantial RekKirring Stsndard 102 Tr finarKial Re￿till9 SiaTrJaol ap¥Axai* in U* UK and P•wtAic of IrelwK1' and the Companles t2rth. financial slatements have been prepar•l undtr the histri￿1 o)st l￿Vent60n. 3.2. Zncoffl•n9 Re50urres ProJKbon Income bs to the st*en￿t of finaftciol ativilits for the pw1￿1 in which the ￿lat All ots*r I1￿￿e when it is veLEivai*. Thrmt>ver is measured at the fatr value of ¢￿nSderdt￿ T￿e1¥•I or rxeiwdwe and artk)unts and other sales tax other sh(xt.tvm hffjhly liquid in¥&tsMnts Ma￿re than ￿)nthS from the date of Kqulsltion and a￿ feadity IxThertitAe to a kno*n L* (ash with iwnh3rt r6sk of dwnge in value, and bank o¥enlraft5. Z025 2024 funds Donations and 9 3.015 1.812 2025 2024 fund$ 22.908 19.157 Zoo Co Creatbve Ltd P4otes to the financial Ststements (continued) For The Year Ended 31 Marth 2025 X125 2024 2.022 20 2014 nds 39. 2025 (see note 91 Raising fv¥MIs 9.782 319.217 23.563 Charitable athvitie5- resirKtsJ 352.562 z024 Swport (sez note 9) 331.7S7 .727 2025 Employee ts)sts 211,116 21.071 es.714 1.316 23.563 243.759 21.071 86.416 1.316 General administrtlion 702 9.782 319.217 23.563 352,562 Notes to the financial Statements (c0fttiTr4￿1} For The Year Ended 31 March 2025 1024 Ch*rikbl* Char¥tsble 212.X 9,854 108.517 1.078 23.563 235,871 9,854 213.681 1.078 Genernl administrab.on 105,164 331.757 L28.727 2015 2024 1,316 1.078 Tax advi50ry serytees 1,316 1.078 2025 2•24 Wages and sakiries Sooal ¢￿$ 161.125 11.012 3.814 131,277 9,411 3.409 175.9SI 144.097 12. Average Numbw of Émployees Avet7ge numi%r of dwing ye)r VAOS: 5 (2024: 51 2015 Trade debtors 22,795 10,501 31,475 77.800 1119,275 Paw io Zoo Co Cr&itive Ltd 114>tes to the Financial Statements (continued) For The Year Enqled 31 March 2025 2024 9,293 4.707 1.316 15,808 12,185 38271 Taxation and SLKial stturity 15,316 66,264 As•tiAwH 2024 Asat31 137.335 338,169 (328.999) 146,505 PPAL 8,TJ3 1,719 {IOh52) (4,4LW)I 18,711) Esmee Faiwi*im Yoco 4.1Tr1 .711 (3.281) 3.281 14.163 135iXI {23,563) 4.100 151.498 351.669 [352.562) 150.605 satiAw 2023 Asat31 (kneral.. 31J41 437.751 (331.757) 137J35 PPAL 8.733 .711 8.733 8.711 (3,281) Yi)Co 125,446 (128.727) 17.444 125.4 (128.727) 14.163 Totsl fundl 48.785 563.197 (460.484) 151,498 durin9 the we¥vJus Y￿r. Pag? 11 Zoo Co Creative Ltd Notes to the Financial Statements (u)ntinued) For The Year Ended 31 Ma¢rh 2025 T￿￿ctIOnS vlith T￿￿tee$ n¢rte. 18. Ctyttp•ny lifflited by 12 Zoo Co Creative Ltd Detalled Statement of Financial Activities (tnduding Intome and Expend•ture Account) For The Year Ended 31 March 2025 2015 1014 Totsl funds Toi*l Donatlons and gifts 3.ols 1.812 3.015 1,812 70,530 2LKI.000 134.359 204,623 Grants 270.530 338.982 13.500 125A46 13.5LYI I25￿46 IrKome frDm other trndirwj aLthiiies 19.157 19.157 2.022 39.694 77.800 39.694 351.669 563.197 ExpeNDrnJRE ON: 19.080) (702) 19.782) {137.562) 111,012} (3.814) (47.447) (7.3391 (3.942) (2A.0711 12.012) 12.707) (553) {1.2611 (6381 {107.714) {9,411) {3.409) (74.212} (6.664) {10￿98) (9.854) {6.0881 {1.4071 (n41 (11.996) Employe￿ NI Staff tralnlng Rent Insurar Prfnting. P)stage and slation Adverbyng and rnarkering costs Pa92 13 Zoo Co Crthitive Ltd (continued) For The Year Ended 31 14arch 2025 Bank charges 5uThlry ex￿￿5 (1.524) (3.245) (1.347) (25.756) {23.3681 (37.8311 {13.n41 (60.0001 (1.316) Co.pmdudlon conlritmrttons In¢JepeftdÉnt oxamlnefs le*. {1.078> 1319.217) (331.757) Wages and gl*ies A￿VIty cosrs (23.563 (23.5631 (105.164) {23.563) (128.727) {352,562) {460,4841 (893) 102,713 Page 14