Charity registration number: 1188196 **THICKSKIN THEATRE TRUSTEES' REPORT AND UNAUDITED FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026** ## **ThickSkin Theatre Contents** ||**Page**| |---|---| |Trustees' Report|1-11| |Independent Examiner's Report|11| |Statement of Financial Activities|12| |Comparative Statement of Financial Activities|13| |Statement of Financial Position|14| |Statement of Cash Flows|15| |Notes to the Statement of Cash Flows|16| |Notes to the Financial Statements|17-23| Thlckskin Theatre Trustees. Report For The Year Ended 31 March 2026 The trustees present their report and the financial Statements for the year ended 31 March 2026. Obje¢tive$ and Activities Aim$ and Qbjectlve$ INTRODUCTION Thickskin is an award-winning theatre company cre3ting bold, ambitious pmductions from our base in Wigan. Our work is developed and launched at The Engine Room our studio In the heart of the town before touring nationally. We reimagine what theat￿ can be. telling stories through high-quality, future-facing, multi-disciplinary formats. Our work Is fearless. collaborative, and driven by diverse voices. We are cotnmitted to opening doors, inviting people in. and empowering artists to think big, take risk5 and push creative boundaries. Through our year-round artistic programrne, we ignite creativityi raise aspirations, and nurture the next geneTrtion of theatre-mokers. Our aim is to influence the future of theat￿, ensuring it5 relevonce in a fost-changing wodd, whilst creating space for under-represented voices and homegrown talent to be heard and celebrated acmss ihe UK. 2025126 has been a landmark year for Thickskin. Against a backdrop of continued challenge and uncertainty acmss the cultural sector, we continued to grow our impact locally, regionally, and nationally. This ye8r, we reached more audiences across the UK than ever before, deepened our role within Wigan's cultural ecology, 3nd strengthened the foundations needed to support long-term artistic and organisational resilience. Artistically, the year was led by the success of It Walks Around The House At Night by Tirn Foley a bold new production launched at The Engine Room and toured nationally to sold-out audiences, including a four-week London run. Alongside critical acclaim numerous award nominatlOnS, the production marked a significant evolution in Thickskin's producing model. By developing work at The Engine Room, we can support artists in a dedicated creation environment, testing and refining ambitious ide3S Wlth local 3udiences before sharing them nationally. This creates a stronger pathway from early development to touring production. improving artistic quality, reducing risk, and strengthening the long-term sustainability of our work. The success of It Walks Around The House At Night demonstrates the potential of this approach. with future touring opportunities and earned income enabling us to reinvest in artists, audiences. and the next generation of original work. Our commitrnent to acces5, OPPOrtunityi and ￿gIonal talent development also continued to expand. Generator evolved into a paid Young Professionals companyj providing early-career performers with professional experience and t￿￿1￿, while the expansion and evaluation of our Supported Artist programme led to a forthcoming relaunch as The Foundry talent development scheme. Together, these programmes reflect Thickskin's long-term commitment to creating meaningful pathways into the arts, with particular focus on working-class young people and under-represented artists. Strategically, 2025126 tnarked a pivotal period in ThickSkin'5 organi5ational development. Following the branding and launch of The Engine Room, we established a Separate Subsidiary organisation to operate the venue. Engine Room Wigan Itd is a subsidiary of Thickskin Theatre, with a distinct re￿1￿, staffing structure, and funding. The two organisations are strategically aligned, with shared leadership and governance oversight, but distinct brand and opeoting models. This structure allows both organlsatlons to operate independently where beneficial strengthening resllience, supportlng effective risk management, and enabling each organisation ta seize opportunities aligned to its purpose whilst continuing to work in close partnership to deliver greater collective impact across Wigan and beyond. The year also marked the completion of Thickskin's first full National Portfolio Oryanisation funding cycle, alongsid securing extension investment for 2026127 and contributing to raising successful Place Partnership Investment for Wigan Borough through local Consortiu￿ working. The report and financial statements that follow reflect a year of irnpact, growth and renewed ambition for the cornpany. OBJECTIVES AND ACTIVITIES Principal aims and objects The charity's objects, as stated In its governing document, are to advance education for the public benefit through the promotion of the arts in parllcular, but not exclusivelyi the performlng arts via high-ouality productions, educational workshops, and events. Vlslon Extraordinary stories told in unexpected ways. Mlsslon Our Mission is to reinvent theatre for the next generntion. We are reirnagining what theatre can be and sharing human stories through quality, future-facing, rnulti-disciplinary formats. We're developing multi-skilled artist5 of the future for a world where physical and digital collide in more ways than ever before. .CONTINUED Page I Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Alm$ ObJectlve$- Contlnued Strategic Aim$ Stage extraordinary storie5 through high quality. multi-artf0rn7 productiTons. We inspire audiences across the UK and beyond by producing and touring ambitious new work created by world-class. multi-skilled creative tearns. Our work is centred around bold, high-quality live perforrnan￿ that pla￿5 equal ernphasis on design, movement and text, complemented by digital activity that broadens access. Alongside producing and touring new work, we create the conditions for artists to explore, experiment, and take creative risks -cfftating ambitious new productions through extensive research and development. We build partnershlps across the UK io brlng extraordlnary stories to the widest posslble audlence. In doing so, we are helping to shape a future where theatre is more relevant, representative, and exclting than ever before. Advance ond influence the sector by developing multi-dis¢iplirtary artist$ of the ffuture. We seek out nurture new talent, with a comrnitrnent to opening door5 for working class art15ts from the North West. We believe the best form of talent development is paid employment, through opportunities for artists to learn alongside experienced creative teams and professlonal envlronments. Through our multl-llsciplinary approach, we help artlsts develop the skills, confldence, and adaptability needed to sustaln long-term careers In the arts. We encourage artists to be both realists and optimists. dreamers and do-ers ba13ncing creative ambition with the prartical skills needed to navigate a changing cultural landscape. Alongside professional opportunities, we pmvide mentoring. advocacy, networking, and ongoing support to help artists build viable careers beyond their time with Thickskin. In doing so, we're helping to shape the future of theatre. Empower our community through transformative creatiTve experiences. We want The Engine Room buzzing all year mund, contributing to a vibrant and inclusive cultural life in Wigan that helps our community feel wonderful. From our studio In the heart of the town, we empower local people to connect, express thernselves, and take part in transformative creative experiences. Led by experienced pmfessional artists, our participatory offer Is rooted In Thickskin's multi-disciplinary approach, spanning text, movernent, and design, with a strong emphasis on devising and collaboration. Through these experiences, people develop new Skills, build relationships, grow in confidence, and discover new possibilities. For some, this sparks a lifelong engagement with the arts and progression into creative careers., for others, it provides lasting benefits through increased confidence, wellbeingi and a stronger sense Of belonging. Together, these experiences are helping to build a more Creative, connected, and culturally confident future for Wigan. Build a resilien¢ influential and future-facing organisation. Reirnagining what theatre can be requi￿5 a balance between ambition and sU5tainability. Inspired by Wigan's industrial heritage and the entrepreneurial Spirit of our founding Director5, we are building an organisation that 15 resilient, responsive, and ready for what comes next. We embrace new technologles, new ideas, and new ways of worklng. With a dynamic, fleet-of-foot approach, we continually adapt to opportunlties and challenges, balanclng creative risk-taklng with responsible stewardship of our resources. Through strong leadership, govern3nce, and strategic partnerships, we create the conditions for artists, audiences, and communities to thrive. By building a sustainable organisation today, we strengthen our ability to create extraordinary work and lasting irnpact for years to corne. Values Our values underpin our attitude and shape how we approach our work.. MAKE WAVES - inspire and be inspired FLY HIGH the sky s the limit .CONTINUED Page 2 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Aim$ and Objective$ - Continued TEAM UP - reach out and collaborate STAY SLTCK - make work that shines Commitments Our commitments underpin our process. We are committed to.. delivering artistic activities that are relevant inclusive and accessible. experimentation and innovation. • envlronmental sustalnablllty. Public benefit The members of the Board conflrm that they have complled wlth their duty under the Charlties Art 2011 to ensure that the charity delivers public benefit. They have had reg3rd to the guidance published by the Charity Commission and 8re satisfied that the charity's activities during the year have furthered its charitable purposes and provided demonstrable public benefit. Signifi¢•nt Artivities ACHIEVEMENTS AND PERFORMANCE 2025126 was the final year of our current Arts Council NPO cycle, during which Thickskin delivered its most ambitious and largest programme of activity to date. We expanded our national reach through touring, strengthened pathways for artists and young people, launched a successful new production with long-term touring potential. and continued to deepen our Impact within Wigan and acmss the UK. Alongside this, we strengthened our organisation, supported the development of local cultural infrastructure, and continued to play a leadership role in the regional arts ecology. Our irnpact during the year included.. 145 paid freelance engagements across creative. producing, technical and specialist roles. 100 live performances reaching 12,789 audience rnernbers. 406 digital audience rnernLJer5 engoging with Streamed and online content. 79 workshops and Q&A sessions reaching 680 participants. A further 705 participanrs engaging with free digital learning resources. Through this work, we continue to combine artistic ambition with meaningful social impact -creating extraordinary theatre, developlng future talent, and contributlng to a more creatlve, connected and cuirurally confident future for Wlgan and beyond. Productlons: It Walks Around The House At Nlght by TIM Foley A haunted house story for a new era, It Walks Around The House At Night Combined inventive staging, immersive sound, bold visual effects, and Thickskin's distinctive multi-disciplinary style to create a thrilling theatrical experience. Written by Bruntwood Prize-winning playwright rim Foley and directed by Artistic Direttor Neil Bettles, the production premiered at The Engine Room before touring nationally and transferring to London. Part ghost story and p3rt psychological thriller. the production attracted sold-out audiences, widespread critical acclaim, and established itself as one of Thickskin's most ambitlOU5 productions to date. The production represents an important step forward in Thickskin's producing model. creating a scalable mid-scale show with long-terrn touring and Income-generating potential. A new tour is already programtned for autumn 2026. Key achievements included.. .CONTINUED Page 3 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Slgnlll¢ant Artlvltles - contlnued 62 perforrnances across 8 venues. Over 12,000 audien¢e members reached across the UK. 980/0 of available tickets were sold. Four-week London run at Southwark Playhouse. Finalist for two Fringe Theatre Awards. 191 audiences in Wigan were supported through access Initiatives. Auturnn tour programme and further opportunitie5 being explored. ***** 'An unlorgettable spooky story.. Theatre South East **** "A rip-roaring horror adventure~ Time Out Pigeon by Joseph Walsh Pigeon was a co-created production inspired by local folklore, comrnunity stories, and the lived experiences of people fro￿ Leigh, Tyldesley and Atherton. Written by Thickskin supported Artist Joseph Walsh and directed by Neil Bettles, the production was commissioned by the Royal Exchange Theatre as part of the Local Exchange Festival, in association with Thickskin. Developed through conver$3tlons with local communltles and brought to Ilfe through Thickskin's distlnctlve physlcal theatre approach, the production combined professional artists with a specially created Intergeneration31 community ensemble. The project celebrated local identity, amplified under-represented voices, and demonstrated the power of co-created theatr rooted In place. Key achievernent5 included.. 230 audience members reached over 3 performances. Cotnmunity ensernble featuring 11 local participant5 and a further 21 taking part in developtnent workshops Co-created with communities fmm Leigh, Tyldesley and Atherton. Development opportunlty for Thickskin Supported Artist, Joseph Walsh. strengthened partnership working with Royal Exchange Theatre and Local Exchange Festival. "An Incredlble project. I loved belng a part of It, It made me very emotlonal whl¢h really surprlse¢l mel Thanks for maklng It h8ppen.- CO-C￿3t10rn p8rticipani response. "It shows people what and who we are- "Llke a taste of home, I really enjoyed the show and the creatlvlty of the wrltlng- Audience ￿SpOnseS New Work In Development Throughout the year, we continued to commlsslon and develop future productions a vltal part of Thickskln's creatlve process that allows artists to explore ideas, test concepts, 8nd refine ambitious pmjects before they reach audiences. Key projects Included Dragons, Asteroid, and The Shellycoat. alongside development workshops for several of our Supported Artists. In total, we delivered 51 development sessions, benefiting 42 artists, writers. creatives, and performers. Thi5 development activity enables Thickskin to nurture new artistic voices, take creative risks, and build sustainable opportunities for future touring and presentation. By investing in ideas at an early stage. we create the conditions for extraordinary theatre to emerge and maintain a strong pipeline of original work for production. Thickskin On Demand .CONTINUED Page 4 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Signifi¢•nt Artivitles - Contlnued Thickskin On Demand continued to provlde audlences, artists, and educators wlth access to streamed productions, behlnd- the-scenes content, and learning resources, extending the reach of our work beyond live performance. During 2025126, 1,111 people engaged with digital content, including 3 new Climate Imp3Ct Senes developed In partnership with PigFoot Theatre. Talent Development: Jerwood Associate Artist Supported by the lerwood Foundation, we launched our flrst-ever Jer¥voo¢ Associate Artist programme, creatlng a paid six- month p13cement for an early to mid-career theatre-maker to be embedded within Thickskin's organisation. Following 3 national recruitment process, Anna Berentzen was appointed to work alongside our Artistic Director and wider team across multiple productions and projects. Designed for future-facing theatre-makers, the programrne combined hands-on experience with mentoring* professional development, and dedicated support for Anna's own creative practice and companyi Hawkseed. Following the placement, Anna joined Thickskin's Supported Artist progratnme, with the experience directly contributing to securing further work. "The professional development time was hugely benefi¢ial - it gave me room for dreaming." Anna Supported Artists Our Supported Art15t programme provide5 tailored support for theatre-rnaker5 developing new work and building Sustainable creative career5. Through ￿entoring1 producing support, seed fundingi rehearsal Space, equipment, and acce55 to Thickskin's networks, we help artists take ambitious ideas from earfy development through to production and touring. During 2025126, we supported 12 artists and companies from across the UK, including four seed-funded commissions and four development residencies at The Engine Room. Artists received hands-on support from Thlckskin's team, alongside opportunities to test ideas, receive audience feedback, and develop their creative practice. We completed a full evaluation of the programme. Artists consistently highlighted the value of Thickskin's holistic approach, combining practical support with long-term relationships, mentorship, and belief in their work. One artist described the programme as.. "Unlike many opportunities. Thickskin didn't just support the projec¢ they sUPPOrted me as an artist." The evaluation has infortned the design of The Foundry. a refreshed programrne launching in 2026/27. The Foundry will create clearer pathways for artlsts to connert, developi and create work with Thickskin, with a particular emphasis on supporting worklng-class and under-represen￿¢ local artlsts. Generator Following a successful pilot in 2024, Generator returned in 2025 as a paid opportunity for early-career performers. Supported through Wigan's Place Partnership programrne, the project brought together young art15ts taking their first Steps into industry. Led by Thickskin's Artistic Director and Jerwood Associate Artist, the programme combined intensive workshops, rehearsal, devlsing, and performance, rooted In Thickskin's disiinctlve multi-disclpllnary approach. Together they created and performed an original production, while gaining professional experience, Industry credits, and training alongside experienced theatre-makers. Evaluation highlighted significant growth in confidence, creative skills, professional networks, and participants, belief that a career In the arts is achievable. Many described the experience as transforrnational, providing both prartical skills and a sense of belonging within the industry. Building on its success, Generator will return in Spring 2027. As Thickskin's participatory programme in Wigan expands, Generator graduates are pmgressing into paid roles as tscilitators. Key achievetnents included.. .CONTINUED Page 5 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Slgnlll¢ant Artlvltles - contlnued 46 young performers attended auditions. 10 paid early-caoer performers engaged. 4 graduates offered further paid work as workshop facilltators for Thickskin's community programme. I x seed commission with space and producing support offe￿d to one graduate. l original production created for four performances at The Engine Room, Wigan. 235 audience members attended performances. "This was my first job post trainin9. 1 feel more confident in my own abilities not just as an actor but also a creative. I have learnt new devising techniques and made networks both personally and professionally that I hope will carry me." "It feels like the door is opening to US to pursue a pmfessional career in the performing arts." Generator performers Rose Bruford College Collaboration Thickskin continued its partnership with Fiose Bruford College Wigan, supporting final-year students to create and present original work inspired by ThickSkin'5 collaborative and multi-disciplinary theatre-making process. Led by Artistic Director Neil Bettles, 29 students developed their own theatre and film projects, exploring new idea5, testing creative forrns, and developing their artistic voices a5 they prePa￿d to enter the industry. The resulting festival, New Work / New Voices, tonsformed The Engine Room into a vibrant showcase of emerging talent, with performances raking place across the Studio, Bar, and Machine Hall. Across three days, audientes experlenced 27 original works for stage and screen, reaching 154 audience members and providing students with valuable experience of creating, producing, and presenting their work in a professional environment. Access & Partlclpatlon Access To Local Theatre Thickskin's Access To Local Theatre progTrmme continued to remove barriers preventlng young people from engaging wlth hlgh-quallty theatre. Worklng with schools, colleges, and youth organisations we provlded free tlckets, travel bursarles, workshops, and learning opportunities, ensuring that cost and transport were not barriers to participation. During 2025126, the programme supported engagement with both It W3lks Around The House At Ivight and Generator In Wigan. with 156 free tickets distributed, significantly exceeding our target of So, alongside three travel bursaries for schools and community groups, and 123 aUdIen￿S benefiting relaxed and captioned accessible perforrnances. We rolled out the offer alongside our national tour, with a programme of workshops and post-show di5CUSsions linked to the It Walks Aroun(l The House At Night tour reaching 355 participants. A further 705 young people and teachers acce55ed digital learning resource5 through Thickskin On De￿Ornd. Feedback from participants was overwhelmingly positive, with 100% reporting that they enjoyed the pmductions, lOO% Saying they would attend similar work again, and an average of 92.5% describing the work as engaging and relevant. Intemationll Re$iden¢y Thickskin delivered an international educational residency in Manila, Philippines, In partnership with the Federation of Britlsh Schools in Asla IFOBISIAI. Led by two Thickskin artists, the project engaged 47 young people and 8 teachers, delivering Interactive workshops Inspired by Thickskin's multi-disciplinary approach to theatre-making and the themes from our 2023 production, Peak Stuff. Alongside the residency, participants were given access to a digital performance of Peak Stuff and accompanying educational resources, extending the ￿ach of ThickSkin'5 work Internationally and supporting creative learning beyond the UK. The Engine Room Thickskin opened The Engine Room in 2025 following extensive research revealing a significant gap In produrtion infrastructure across the North. Our own challenges finding rehearsal and creation Spa￿ were echoed acr05S the independent Sector and confirmed by Wigan Council'5 Creative Industries A55et Strategy. This led to a collaboration with Wigan Council and We Made That on a feasibility study for Trencherfield Mill a5 a production hub. .CONTINUED Page 6 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Signifi¢•nt Artlvltles - Contlnued 2025126 marked a signiflcant mllestone in the development of The Englne Room, with the formal launch of Its new Identity and the establishment of Engine Room Wigan Ltd as a sep3r3te subsidi3ry organisation. Developed by Thickskin 3s part of a long-term commitment to Wigan, The Engine Room is transforming underused industrial space at Trencherfield Mill into a vibrant centre for theatre-rnaking, production. artist developrnent. participation, and perforrnance. While operating independently with its own ￿rnIt, staff tearn, and funding, The Engine Room and Thickskin work in close partnership with shared leadership and governance oversight. Together, helping to build a more ambitious and connected cultural ecO1￿Y ft>r the borough. "I am very pleased to hear about the opening of The Engine Room. 47 new venue for theatre 47nd art in the heart of Wigan. It is a great sign of confidence in our town and its creative talents that oryanisations like Thickskin wlsh to base themselves here." Lisa Nandy, MP for Wigan and Secretary of State for Culture, Media & Sport Wlgan's Cultural Partnershlp Thickskin continued to play an active leadership role within Wigan's cultural sector during 2025126. Through membership of both the Wigan Cultural Partnership and the Wigan Place Partnership Consortium, we contributed to the delivery of The Fire Within.. The Forge cultural strategy, supported workforce developrnent initiatives, and helped shape the borough's long-term cultural ambitions. During the year, Thickskin presented an extract of Pigeon at the launch of the strategy alongside key local national stakeholders, and played a key role in securing th￿e year5 of Arts Council England Place Partnership investrnent for Wigon. Thmugh this work, we continue to champion cultufft as a driver tsf creativityi OPPOrtunityi and civic pride 3cross the borough. "Thlckskln Theatre Company Is a drlvlng lorce In Wlgan Borough's growlng cultural ecology... ensurlng that Wigan is 8 place where world-class theatre is not just made but where the next generation of bold fearless creatives can shape the future.- The Forge Cultural Strategy for Wigan 2025-2030 Organisational Development Thi5 year, Thickskin continued to deliver against its 2023-2028 strategic plan, strengthening the organisation to SUPPOrt a growing artistic progratntne. We invested in specialist expert15e through short-terrn appointments in facilitie5 managetnent and marketingi helping to establish The Engine Roorn, grow audiences, and inforrn the development of our long-terrn staffing strutture. This investment has contributed to increased earned and fundraised income, while enabling us to continue operating as a lean and agile organisation. We also refined our producing and administrative structure, promoting existing staff Into programme lead mles across our talent development and partlClP3tion activity, while continuing to draw on freelance expertise In senior level producing, fundraisingi COm￿unICatiOnS, and public relation5. Alongside the establishment of Engine Room Wigan Ltd, staff responsibilities across the two organisations were clarified, creating stronger operational struttures while maintaining shared leadership and governance oversight. The year also saw a planned transltion at Board level. Followlng a year of co-chalring, Elizabeth Plckering succeeded founding Chair, Inga Hlrst - ensuring a smooth transfer of leadership. We also thanked founding trustee George Danczak for his service following the completion of two terms of office and began recruiting new trustees to strengthen the Board's legal and artistic expertise. Public Benefit The trustees confirm that they have complied with the requirements of Section 17 of the Charities Act 2011 to have due gard to the Charity Commission's guidance on public benefit. Financial Review Fin)n¢ial Position Income Turnover for the year was £693,670 12025: £558,785), comprising.. £418,150 in fundraised income 12025.. £415,508) £267,833 from charitable attivities 12025.. £141,344) £6,474 from other activities12025.. £1,649) £1,213 in bank interest12025= £2841 .CONTINUED Page 7 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Fln•n¢lal Po$ltlon - continued This includes £59,560 of theatre tax credlts claimed agalnst ellgible productions. Notsbly, 76% of Income was unreSt￿Cted, which supports a nlmble operating model. WÈ are extremely gnteful to all our funders Ilisted In Note 3 of the accounts), as well as those who support us through partnerships, prograrnming, and ticket sales. In particular, we acknowledge continued multi-year support frorn Arts Council England, Wigan Council (via Place Partnership investment) and John Ellerman Foundation. along with a major donation from Backstage Trust. Expenditure Total expenditure was £681,803 12025.. £458,880), including- £674,188 on charitable activitie512025.. £447,962). £7,615 on fundraising 12025.. £10,9181 The rnajority of spend was on production activity 1£488.7931. Other programrne strands include.. Talent development 1£85,9221, Access & Participation 1£12,2101, Place Partnership activities 1£56,3191, and other miscellaneous artistic actlvitie$ 1£30,9441. Funds Held at Year End At year-end, the charity held total Funds of £168,414 12025.. £156,5471, comprising: £39,551 In restrlcted funds £128,863 in general unrestricted funds Of the general funds, trustees have designated £70,000 for the followlng purposes.. £30,000.. Productlon Fund (to support cashflow and rlsk management of produced workl £40,000.. Artistic Progr3mme Fund (for activities being delivered In 20261271 The remainlng £58,863 Is held as free reserves in Ilne wlth the reserves pollcv. The year-end funds are sirnilar to the previous year, as a result of advanced fundraising for future year activities, demonstrating strong financial management and a design3ted funds strategy that helps to mitig3te cashflow risks and external pressures. Reserves Pollcv Reser¥e$ Poll¢v Trustees have set a target for free unrestricted reserves equivalent to three months of operating costs, currently estimated at £58,000. The charity's free ￿serveS meet this target. Treasury Pollcv Cash assets exceeding day-to-day working capital a￿ Invested in fixed-term or notice-period deposit accounts offering higher returns than instant access. This policy is reviewed by trustees in line with detailed cashflow forecasts and grant payment schedules. Risk Management ThickSkin'5 Trustees have undertaken a review of the principal risks facing Trickskin Theatre. A formal risk register is maintained and reviewed ouartedy by the Board of Trustees, with finan¢ial risks receiving additional scrutiny from the Finance & Risk Committee. Appropriate systems, contmls, and procedures are in place to mitigate identified risks. It is encouraging to report that two significant risks identified in previous years have reduced during 2025126.. Cashflow has improved through the growth of unrestrlcted funds. Production infrastructure for both Thickskin and the wider sector has been strengthened through the successful launch of The Engine Room. The principal risks facing the organisation are outlined below. l. Rlsk: oVe￿relIanCe on statutory fundlng wlth short term cycles Impact.- This coulcl affect our ability to make long-term commitments 3nd strategic plans. .CONTINUED Page 8 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Rl$k Management- ¢ontlnued Mitigation.. Strategic decision to separate Thickskin and The Engine Roorn as two entitie5 to protect Thickskin's core purpose as a mid-scale touring company (core revenue funded), while also unlocking opportunity for a much needed creation space in Wigan Iprojeci funded). Decisions from Arts Council and Wigan Council about extension funding beyond 2027 will be confirmed soon, along with guidance over the next funding cycle which is expected to cover a three-to-five-year period, providing clarity over mid-terrn plans. We are seeking opportunities to grow earned income through increased touring to mitigate risks. Our Free reserves and designated funds help to mitigate risk. Leadership team and key trustees malntain proartlve relationships with major funders. 2. Risk: Delays in developing a pipeline of future productions due to funds being prioritised for realising current touring work. Impact.- This coul¢1 limit our artistic output or stall profile building with regional audiences artd partners. Mitigation.. Executive Director to lead on income generation, working in close consultation with the Artistic Director and reporting to the Finance coM￿l￿tee. Artistic Dlrertor to seek out and secure ambitious co-production relationshlps. staff team to contribute to short term fundraising for research and development. Continue to build designated funds to Invest In future work. 3. Rlsk: Managlng the opportunltles and challenges assoelated wlth capltal development and stewardshlp Impact.- Expansion of physical infraStryctU￿ coul& expose tl)e organisation to inc￿8$e& financial, operational an governance demand5. Mitigation.. Capital development plans are being progressed gradually and in close partnership with Wigan Council, which continue5 to be a strong advocate and sUPPOrter of the projert. Our leadership team and trustees bring relevant experience in managing organisational growth, capital projects, and operatlonal change. The establishment of Engine Room Wigan Ltd as a separate subsidiary organisation helps ringfence risk, clarify responsibilities, and maximise opportunities for both oryanisations. We continue to operate with a lean staffing structure and low fixed-cost base, enabling us to retnain agile and re5pon5ive as development progre55e5. Healthy reserves, designated funds, and an opeotional contingency budget provide additional financial resilience during this period OF growth. Structure, Governance and Management Goveming Document Thickskin operates under the name of Thickskin Theatre, formally constituted as a Charitable Incorporated Organisation (Registered Charity no.. 11881961 on 26 February 2020. In accordance with the charity's constitution, the Board must comprise a minimum of three trustees. Should the number fall below this, the remaining trusteelsl may only act to appoint a new trustee or convene a meeting of the Board. The maximum number of trustees Is ten, and no appointments may be made that would exceed this limit. Trustees (other than the founding members) are appointed for a term of three year5 by resolution at a pmperly convened meeting. In appointing new trustees, the Board considers the skills, knowledge and experience required for the effertive governance of the CIO. We operate an inclusive trustee induction and onboarding proce55, aligned with sector best practice. This includes meeting access participation costs le.g. travel, earing responsibilitiesl, allocating a training budget for truS￿e5, and providing a Board Buddy for mentoring and support. .CONTINUED Page 9 ## **ThickSkin Theatre Trustees' Report (continued) For The Year Ended 31 March 2026** ## **Governing Document - continued** The Board is chaired by Elizabeth Pickering and meets quarterly, with an additional annual review and planning day. Financial scrutiny is delegated to the Finance and Risk Sub-Committee, currently comprising four trustees. This sub­ committee meets ahead of each Board meeting and plays a key role in the annual audit process. The Board operates within an agreed governance framework, including the Constitution, Board Terms of Reference, and a Register of Responsibilities outlining the division of authority between the Board and Executive. We manage conflicts of interest in line with our Conflicts of Interest Policy. This includes annual (or ad-hoc) updates to individual Conflict of Interest forms, a combined Register of Interests covering trustees and executive staff, and a standing item on Declarations of Interest at every Board meeting. The Artistic and Executive Directors are independent of the Board but accountable to it. They report at Board meetings and undergo an annual appraisal with the Chair, which includes setting objectives, agreeing professional development plans, and ensuring wellbeing and access needs are met. The staff team drafts all key organisational policies, ensuring legal compliance and alignment with sector good practice. These are reviewed and approved by the Board on a scheduled cycle. Regular reports on areas such as health and safety and safeguarding enable trustees to fulfil their legal responsibilities. Safeguarding concerns or disclosures are managed by the Associate Producer (Designated Safeguarding Officer), with Board-level oversight provided by Elizabeth Pickering (Chair). Any actions taken follow the Wigan Safeguarding Children's Board Needs and Response Assessment Framework. Reports to the Board are anonymised to protect individuals at risk. Our Board members bring expertise across theatre (including artists, producers and venue managers), Arts Council England NPO funding, communications, business law, finance and risk management. A skills audit and succession plan are in place, with two new trustees joining the Board in July 2026 and further recruitment planned for late 2026. The recruitment process will prioritise community representation, refreshed skills, and governance continuity. We are committed to open and transparent recruitment, advertising widely through sector networks, partners, and communities. This approach builds on our growing profile and ensures a fair and inclusive selection process. ## **Reference and Administrative Details** ## **Trustees** Elizabeth Pickering (Chair) Alison Porter Yusuf Khamisa Verity Overs-Morrell Michelle Nicholson Matthew Eames Gurjinder Kang ## **Charity Number** 1188196 ## **Principal Address** The Engine Room Trencherfield Mill Heritage Way Wigan WN3 4BL ## **Independent Examiner** Caroline Clarke ACA Counterculture Partnership LLP 23 St Leonards Road Bexhill East Sussex TN40 lHH The trustees' report was approved by the board of trustees and signed on its behalf by: Elizabeth Pickering (Chair) Trustee 16/07/2026 Page 10 **ThickSkin Theatre Independent Examiner's Report to the Trustees of ThickSkin Theatre For The Year Ended 31 March 2026** I report to the trustees on my examination of the accounts of ThickSkin Theatre (the Trust) for the year ended 31 March 2026. ## **Responsibilities and Basis of Report** As the charity trustees of the Trust you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ("the Act"). I report in respect of my examination of the Trust's accounts carried out under section 145 of the 2011 Act and in carrying out my examination, I have followed the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act. ## **Independent Examiner's Statement** Since the Trust's gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of The Institute of Chartered Accountants in England and Wales, which is one of the listed bodies. I have completed my examination. I confirm that no material 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 Trust as required by section 130 of the Act; or 2. the accounts do not accord with those records; or 3. the accounts do not comply with the applicable requirements concerning the form and contents of accounts set 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 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 accounts to be reached. Caroline Clarke ACA 17/07/2026 Counterculture Partnership LLP 23 St Leonards Road Bexhill East Sussex TN40 lHH Page 11 ## **ThickSkin Theatre Statement of Financial Activities For The Year Ended 31 March 2026** |||||**2026**|**2025**| |---|---|---|---|---|---| |||**Unrestricted**|**Restricted**|**Total**|**Total**| |||**funds**|**funds**|**funds**|**funds**| ||**Notes**|£|£|£|£| |**INCOME AND ENDOWMENTS FROM:**|||||| |Donations and legacies|**3**|254,343|163,807|418,150|415,508| |Charitable activities:|||||| |Productions||250,462||250,462|131,412| |Other Artistic Activities||2,632||2,632|| |Tlent Development||9,439||9,439|9,624| |Access & Participation||5,300||5,300|308| |Other trading activities|**4**|6,474||6,474|1,649| |Investments|**5**|1,213||1,213|284| |||529,863|163,807|693,670|558,785| |**EXPENDITURE ON:**|||||| |Raising funds|**7**|(7,615)||(7,615)|(10,918)| |Charitable activities:|**7**||||| |Productions||(476,480)|(12,313)|(488,793)|(360,647)| |Other Artistic Activities||(30,944)||(30,944)|(10,700)| |Tlent Development||(35,922)|(50,000)|(85,922)|(66,249)| |Access & Participation||(11,210)|(1,000)|(12,210)|(10,366)| |Place Partnership|||(56,319)|(56,319)|| |||(562,171)|(119,632)|(681,803)|(458,880)| |**NET INCOME**||(32,308)|44,175|11,867|99,905| |Transfers between funds|**13**|35,892|(35,892)||| |**NET MOVEMENT IN FUNDS**||3,584|8,283|11,867|99,905| |**RECONCILIATION OF FUNDS:**|||||| |Ttal funds brought forward||125,279|31,268|156,547|56,642| |**TOTAL FUNDS CARRIED FORWARD**|**13**|128,863|39,551|168,414|156,547| The notes on pages 16 to 23 form part of these financial statements. Page 12 ## **ThickSkin Theatre Comparative Statement of Financial Activities For The Year Ended 31 March 2026** |||||**2025**| |---|---|---|---|---| |||**Unrestricted**|**Restricted**|**Total**| |||**funds**|**funds**|**funds**| ||**Notes**|**£**|**£**|**£**| |**INCOME AND ENDOWMENTS FROM:**||||| |Donations and legacies|**3**|278,609|136,899|415,508| |Charitable activities:||||| |Productions||131,412||131,412| |Tlent Development||9,624||9,624| |Access & Participation||308||308| |Other trading activities|**4**|1,649||1,649| |Investments|**5**|284||284| |||421,886|136,899|558,785| |**EXPENDITURE ON:**||||| |Raising funds|**7**|(10,918)||(10,918)| |Charitable activities:|**7**|||| |Productions||(245,765)|(114,882)|(360,647)| |Other Artistic Activities||(10,700)||(10,700)| |Tlent Development||(66,249)||(66,249)| |Access & Participation||(10,366)||(10,366)| |||(343,998)|(114,882)|(458,880)| |**NET INCOME**||77,888|22,017|99,905| |**NET MOVEMENT IN FUNDS**||77,888|22,017|99,905| |**RECONCILIATION OF FUNDS:**||||| |Ttal funds brought forward||47,391|9,251|56,642| |**TOTAL FUNDS CARRIED FORWARD**|**13**|125,279|31,268|156,547| The notes on pages 16 to 23 form part of these financial statements. Page 13 ## **ThickSkin Theatre Statement of Financial Position As At 31 March 2026** |||||**2026**|**2025**| |---|---|---|---|---|---| |||**Unrestricted**|**Restricted**|**Total**|**Total**| |||**funds**|**funds**|**funds**|**funds**| ||**Notes**|£|£|£|£| |**FIXED ASSETS**|||||| |Tngible Assets|**10**|65,384||65,384|39,697| |||65,384||65,384|39,697| |**CURRENT ASSETS**|||||| |Stocks|||||730| |Debtors|**11**|151,332||151,332|37,412| |Cash at bank and in hand||10,417|39,551|49,968|119,838| |||161,749|39,551|201,300|157,980| |**Creditors: Amounts Falling Due Within One Year**|**12**|(98,270)||(98,270)|(41,130)| |**NET CURRENT ASSETS (LIABILITIES)**||63,479|39,551|103,030|116,850| |**TOTAL ASSETS LESS CURRENT LIABILITIES**||128,863|39,551|168,414|156,547| |**NET ASSETS**||128,863|39,551|168,414|156,547| |**FUNDS OF THE CHARITY**|||||| |Restricted Funds||||39,551|31,268| |Unrestricted Funds||||128,863|125,279| |**TOTAL FUNDS**|**13**|||168,414|156,547| On behalf of the board Elizabeth Pickering (Chair) Trustee 16/07/2026 The notes on pages 13 to 23 form part of these financial statements. Page 14 ## **ThickSkin Theatre Statement of Cash Flows For The Year Ended 31 March 2026** |||**2026**|**2025**| |---|---|---|---| ||**Notes**|£|£| |**Cash flows from operating activities**|||| |Net cash (used in)/generated from operations|**1**|(30,205)|147,082| |Net cash (used in)/generated from operating activities||(30,205)|147,082| |**Cash flows from investing activities**|||| |Purchase of tangible assets||(40,878)|(28,683)| |Interest received||1,213|284| |Net cash used in investing activities||(39,665)|(28,399)| |(Decrease)/increase in cash and cash equivalents||(69,870)|118,683| |Cash and cash equivalents at beginning of year|**2**|119,838|1,255| |Cash and cash equivalents at end of year|**2**|49,968|119,938| Page 15 ## **ThickSkin Theatre Notes to the Statement of Cash Flows For The Year Ended 31 March 2026** ## 1. **Reconciliation of income to cash (used in)/generated from operations** ||**2026**|**2025**| |---|---|---| ||£|£| |Net income|11,867|99,905| |_Adjustment for:_||| |Interest income|(1,213)|(284)| |Depreciation of tangible assets|15,191|10,129| |_Movement in woring capital:_||| |Decrease/(increase) in stocks|730|(730)| |(Increase)/decrease in trade and other debtors|(113,920)|47,440| |Increase/(decrease) in trade and other creditors|57,140|(9,378)| |Net cash (used in)/generated from operations|(30,205)|147,082| ## **2. Cash and cash equivalents** Cash and cash equivalents, as stated in the Statement of Cash Flows, relates to the following items in the Balance Sheet: ||||**2026**|**2025**| |---|---|---|---|---| ||||**£**|**£**| |Cash at bank and in hand|||49,968|119,838| |3.|**Analysis of changes in net funds**|||| |||**As at 1 April**|**Cash flows**|**As at 31**| |||**2025**||**March 2026**| |||**£**|**£**|**£**| |Cash at bank and in hand||119,838|(69,870)|49,968| Page 16 **ThickSkin Theatre Notes to the Financial Statements For The Year Ended 31 March 2026** ## 1. **General Information** ThickSkin Theatre is a charitable incorporated organisation registered with the Charity Commission, registered charity number 1188196. The principal address is The Engine Room, Trencherfield Mill, Heritage Way, Wigan, WN3 4BL. ## 2. **Accounting Policies** ## 2.1. **Basis of Preparation of Financial Statements** The financial statements have been prepared in accordance with the Charities SORP (FRS 102) "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)", Financial Reporting Standard 102 "The Financial Reporting Standard applicable in the UK and Republic of Ireland" and the Charities Act 2011. The charity is a Public Benefit Entity as defined by FRS 102. ## 2.2. **Incoming Resources** All incoming resources are included in the statement of financial activities when the Charity is entitled to the income and the amount can be quantified with reasonable accuracy. ## 2.3. **Resources Expended** Resources expended are recognised in the year in which they are incurred inclusive of irrecoverable VAT and are allocated to the headings in the Statement of Financial Activities based on their nature. Costs have been pportioned on the basis of time spent by individuals on the relevant costs and usage of resources. Costs of generating voluntary income includes expenditure relating to the raising of funds. Expenditure relating to charitable activities includes all the costs relating to the delivery of its activities and services to its beneficiaries. Support costs are overheads with the allocation of support salary costs and other administration costs. Governance costs are those incurred in connection with administration of the charity and compliance with constitutional and statutory requirements. ## **Allocation and appointment of costs** Support costs are those functions that assist the work of the charity but do not directly undertake charitable activities. Support costs may include any back office costs, finance, personnel, payroll and governance costs which support the charities programmes and activities. ## 2.4. **Tangible Fixed Assets and Depreciation** Tangible fixed assets are measured at cost less accumulated depreciation and any accumulated impairment losses. Depreciation is provided at rates calculated to write _off_ the cost of the fixed assets, less their estimated residual value, over their expected useful lives on the following bases: Plant & Machinery 20% Straight Line Fixtures & Fittings 20% Straight Line ## 2.5. **Stocks and Work in Progress** Stocks and work in progress are valued at the lower of cost and net realisable value after making due allowance for obsolete and slow-moving stocks. Cost is determined using the first-in, first-out method. Cost includes all direct costs and an appropriate proportion of fixed and variable overheads. Work in progress is reflected in the accounts on a contract by contract basis by recording turnover and related costs as contract activity progresses. At the end of each reporting period stocks are assessed for impairment. If an item of stock is impaired, the identified stock is reduced to its selling price less costs to complete and sell and an impairment charge is recognised in the statement of financial activities. Where a reversal of the impairment is required the impairment charge is reversed, up to the original impairment loss, and is recognised as a credit in the statement of financial activities. Page 17 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## 2.6. **Cash and Cash Equivalents** Cash and cash equivalents are basic financial assets and include cash in hand and deposits held at call with banks, other short-term highly liquid investments that mature in no more than three months from the date of acquisition and are readily convertible to a known amount of cash with insignificant risk of change in value, and bank overdrafts. ## 2. 7. **Taxation** The charity is exempt from tax as all its income is charitable and applied for charitable purposes. ## 3. **Income from Donations and Legacies** |.**Income from Donations and Legacies**|||| |---|---|---|---| ||||**2026**| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||**_E_**|**_E_**|**_E_**| |Donations and gifs|1,445||1,445| |Grants|252,898|163,807|416,705| ||254,343|163,807|418,150| ||||**2025**| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||**_E_**|**_E_**|**_E_**| |Donations and gifts|1,109||1,109| |Grants|277,500|136,899|414,399| ||278,609|136,899|415,508| The following grants are included within the total income from donations and legacies above: ||||**2026**| |---|---|---|---| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||**_E_**|**_E_**|**_E_**| |Artist Funds||12,957|12,957| |Arts Council England|182,898||182,898| |Chance to See Fund|||| |Duchy of Lancaster Benevolent Fund|||| |Foyle Foundation|||| |Garfield Weston Foundation|||| |Granada Foundation||3,000|3,000| |John Ellerman Foundation|35,000||35,000| |Oglesby Charitable Trust|||| |Three Monkies Tust|||| |Backstage Tust|35,000||35,000| |Equity Charitable Trust||3,500|3,500| |Jerwood Foundation||40,000|40,000| |Wigan Council||104,350|104,350| ||252,898|163,807|416,705| Page 18 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ||||**2025**| |---|---|---|---| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||£|£|£| |Artist Funds||39,899|39,899| |Arts Council England|180,000|62,000|242,000| |Chance to See Fund||2,000|2,000| |Duchy of Lancaster Benevolent Fund||1,000|1,000| |Foyle Foundation||25,000|25,000| |Garfield Weston Foundation|30,000||30,000| |Granada Foundation||2,000|2,000| |John Ellerman Foundation|35,000||35,000| |Oglesby Charitable Trust|32,500||32,500| |Three Monkies Trust||5,000|5,000| |Backstage Tust|||| |Equity Charitable Trust|||| |Jerwood Foundation|||| |Wigan Council|||| ||277,500|136,899|414,399| |4.
**Income from Other Trading Activities**|||| |||**2026**|**2025**| |||**Unrestricted**|**Unrestricted**| |||**funds**|**funds**| |||£|£| |Income from other trading activities||6,474|1,649| |5.
**Investment Income**|||| |||**2026**|**2025**| |||**Unrestricted**|**Unrestricted**| |||**funds**|**funds**| |||£|£| |Bank interest receivable||1,213|284| |6.
**Net Income/(Expenditure)**|||| |The net income is stated after charging/(crediting):|||| |||**2026**|**2025**| |||£|£| |Depreciation of tangible fixed assets - owned||15,191|10,129| Page 19 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## 7. **Analysis of Expenditure** |.
**Analysis of Expenditure**|||| |---|---|---|---| ||||**2026**| ||**Activities**|**Support**|| ||**undertaken**|**costs**|| ||**directly**|(see note 8)|**Total**| ||£|£|£| |Raising funds|7,615||7,615| |Productions|431,311|57,482|488,793| |Other Artistic Activities|27,448|3,496|30,944| |Talent Development|75,144|10,778|85,922| |Access & Participation|10,414|1,796|12,210| |Place Partnership|56,319||56,319| ||608,251|73,552|681,803| ||||**2025**| ||**Activities**|**Support**|| ||**undertaken**|**costs**|| ||**directly**|(see note 8)|**Total**| ||£|£|£| |Raising funds|10,918||10,918| |Productions|306,787|53,860|360,647| |Other Artistic Activities|7,000|3,700|10,700| |Tlent Development|58,345|7,904|66,249| |Access & Participation|8,785|1,581|10,366| ||391,835|67,045|458,880| ## 8. **Support Costs** |.
**Support Costs**|||||| |---|---|---|---|---|---| ||||||**2026**| |||**Other**|||| |||**Artistic**|**Talent**|**Access &**|| ||**Productions**|**Activities**|**Development**|**Participation**|**Total**| ||£|£|£|£|£| |General administration|57,482|1,796|10,778|1,796|71,852| |Governance costs||1,700|||1,700| ||57,482|3,496|10,778|1,796|73,552| ||||||**2025**| |||**Other**|||| |||**Artistic**|**Talent**|**Access &**|| ||**Productions**|**Activities**|**Development**|**Participation**|**Total**| ||£|£|£|£|£| |General administration|53,860|2,000|7,904|1,581|65,345| |Governance costs||1,700|||1,700| ||53,860|3,700|7,904|1,581|67,045| Page 20 **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## **9. Average Number of Employees** Average number of employees during the year was: 5 (2025: 3) ## 10. **Tangible Assets** |10.
**Tangible Assets**||| |---|---|---| |||**Plant &**| |||**Machinery**| |||£| |**Cost**||| |As at 1 April 2025||68,763| |Additions||40,878| |As at 31 March 2026||109,641| |**Depreciation**||| |As at 1 April 2025||29,066| |Provided during the period||15,191| |As at 31 March 2026||44,257| |**Net Book Value**||| |As at 31 March 2026||65,384| |As at 1 April 2025||39,697| |11.
**Debtors**||| ||**2026**|**2025**| ||£|£| |**Due within one year**||| |Trade debtors|138,832|26,094| |Other debtors|12,500|11,318| ||151,332|37,412| Included in debtors is an amount of £111,699 in relation to touring activity that concluded at the end of March. The balance outstanding has been fully paid in April 2026. ## 12. **Creditors: Amounts Falling Due Within One Year** |2.
**Creditors: Amounts Falling Due Within One Year**||| |---|---|---| ||**2026**|**2025**| ||£|£| |Trade creditors|40,245|5,009| |Other creditors|15,064|3,003| |Accruals and deferred income|42,961|33,118| ||98,270|41,130| ## 13. **Movement in Funds** |3.
**Movement in Funds**|||||| |---|---|---|---|---|---| ||**As at 1 April**||||**As at 31**| ||**2025**|**Income**|**Expenditure**|**Transfers**|**March 2026**| ||£|£|£|£|£| |**Unrestricted funds**|||||| |General:|||||| |General unrestricted fund|50,279|529,863|(562,171)|40,892|58,863| |Designated:|||||| |General Designated fund|75,000|||(5,000)|70,000| |**Total unrestricted funds**|125,279|529,863|(562,171)|35,892|128,863| **Total unrestricted funds** Page 21 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ||**As at 1**|**April**||||**As at 31**| |---|---|---|---|---|---|---| ||**2025**||**Income**|**Expenditure**|**Transfers**|**March 2026**| ||£||£|£|£|£| |**Restricted funds**||||||| |Access & Participation||1,000||(1,000)||| |Other programme activities|18,000||||(18,000)|| |Core||7,268|3,500|(1,983)||8,785| |Productions|||12,957|(10,330)|(1,983)|644| |Tlent Development||5,000|43,000|(50,000)|30,000|28,000| |Place Partnership|||104,350|(56,319)|(45,909)|2,122| |**Total restricted funds**|31,268||163,807|(119,632)|(35,892)|39,551| |**Total funds**|156,547||693,670|(681,803)||168,414| ||**As at 1 April**|||||**As at 31**| ||**2024**||**Income**|**Expenditure**|**Transfers**|**March 2025**| ||£||£|£|£|£| |**Unrestricted funds**||||||| |General:||||||| |General unrestricted fund|43,076||421,886|(343,998)|(70,685)|50,279| |Designated:||||||| |General Designated fund||4,315|||70,685|75,000| |**Total unrestricted funds**|47,391||421,886|(343,998)||125,279| |**Restricted funds**||||||| |Access & Participation|||3,000|(2,000)||1,000| |Other programme activities|||25,000|(7,000)||18,000| |Core||9,251||(1,983)||7,268| |Productions|||101,899|(101,899)||| |Tlent Development|||7,000|(2,000)||5,000| |**Total restricted funds**||9,251|136,899|(114,882)||31,268| |**Total funds**|56,642||558,785|(458,880)||156,547| Page 22 **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## 14. **Transactions with Trustees** No trustee expenses have been incurred. ## 15. **Related Party Disclosures** Key management personnel (including directors) received compensation of £92,877 (2025: £81,458) Charity registration number: 1188196 **THICKSKIN THEATRE TRUSTEES' REPORT AND UNAUDITED FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2026** ## **ThickSkin Theatre Contents** ||**Page**| |---|---| |Trustees' Report|1-11| |Independent Examiner's Report|11| |Statement of Financial Activities|12| |Comparative Statement of Financial Activities|13| |Statement of Financial Position|14| |Statement of Cash Flows|15| |Notes to the Statement of Cash Flows|16| |Notes to the Financial Statements|17-23| Thlckskin Theatre Trustees. Report For The Year Ended 31 March 2026 The trustees present their report and the financial Statements for the year ended 31 March 2026. Obje¢tive$ and Activities Aim$ and Qbjectlve$ INTRODUCTION Thickskin is an award-winning theatre company cre3ting bold, ambitious pmductions from our base in Wigan. Our work is developed and launched at The Engine Room our studio In the heart of the town before touring nationally. We reimagine what theat￿ can be. telling stories through high-quality, future-facing, multi-disciplinary formats. Our work Is fearless. collaborative, and driven by diverse voices. We are cotnmitted to opening doors, inviting people in. and empowering artists to think big, take risk5 and push creative boundaries. Through our year-round artistic programrne, we ignite creativityi raise aspirations, and nurture the next geneTrtion of theatre-mokers. Our aim is to influence the future of theat￿, ensuring it5 relevonce in a fost-changing wodd, whilst creating space for under-represented voices and homegrown talent to be heard and celebrated acmss ihe UK. 2025126 has been a landmark year for Thickskin. Against a backdrop of continued challenge and uncertainty acmss the cultural sector, we continued to grow our impact locally, regionally, and nationally. This ye8r, we reached more audiences across the UK than ever before, deepened our role within Wigan's cultural ecology, 3nd strengthened the foundations needed to support long-term artistic and organisational resilience. Artistically, the year was led by the success of It Walks Around The House At Night by Tirn Foley a bold new production launched at The Engine Room and toured nationally to sold-out audiences, including a four-week London run. Alongside critical acclaim numerous award nominatlOnS, the production marked a significant evolution in Thickskin's producing model. By developing work at The Engine Room, we can support artists in a dedicated creation environment, testing and refining ambitious ide3S Wlth local 3udiences before sharing them nationally. This creates a stronger pathway from early development to touring production. improving artistic quality, reducing risk, and strengthening the long-term sustainability of our work. The success of It Walks Around The House At Night demonstrates the potential of this approach. with future touring opportunities and earned income enabling us to reinvest in artists, audiences. and the next generation of original work. Our commitrnent to acces5, OPPOrtunityi and ￿gIonal talent development also continued to expand. Generator evolved into a paid Young Professionals companyj providing early-career performers with professional experience and t￿￿1￿, while the expansion and evaluation of our Supported Artist programme led to a forthcoming relaunch as The Foundry talent development scheme. Together, these programmes reflect Thickskin's long-term commitment to creating meaningful pathways into the arts, with particular focus on working-class young people and under-represented artists. Strategically, 2025126 tnarked a pivotal period in ThickSkin'5 organi5ational development. Following the branding and launch of The Engine Room, we established a Separate Subsidiary organisation to operate the venue. Engine Room Wigan Itd is a subsidiary of Thickskin Theatre, with a distinct re￿1￿, staffing structure, and funding. The two organisations are strategically aligned, with shared leadership and governance oversight, but distinct brand and opeoting models. This structure allows both organlsatlons to operate independently where beneficial strengthening resllience, supportlng effective risk management, and enabling each organisation ta seize opportunities aligned to its purpose whilst continuing to work in close partnership to deliver greater collective impact across Wigan and beyond. The year also marked the completion of Thickskin's first full National Portfolio Oryanisation funding cycle, alongsid securing extension investment for 2026127 and contributing to raising successful Place Partnership Investment for Wigan Borough through local Consortiu￿ working. The report and financial statements that follow reflect a year of irnpact, growth and renewed ambition for the cornpany. OBJECTIVES AND ACTIVITIES Principal aims and objects The charity's objects, as stated In its governing document, are to advance education for the public benefit through the promotion of the arts in parllcular, but not exclusivelyi the performlng arts via high-ouality productions, educational workshops, and events. Vlslon Extraordinary stories told in unexpected ways. Mlsslon Our Mission is to reinvent theatre for the next generntion. We are reirnagining what theatre can be and sharing human stories through quality, future-facing, rnulti-disciplinary formats. We're developing multi-skilled artist5 of the future for a world where physical and digital collide in more ways than ever before. .CONTINUED Page I Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Alm$ ObJectlve$- Contlnued Strategic Aim$ Stage extraordinary storie5 through high quality. multi-artf0rn7 productiTons. We inspire audiences across the UK and beyond by producing and touring ambitious new work created by world-class. multi-skilled creative tearns. Our work is centred around bold, high-quality live perforrnan￿ that pla￿5 equal ernphasis on design, movement and text, complemented by digital activity that broadens access. Alongside producing and touring new work, we create the conditions for artists to explore, experiment, and take creative risks -cfftating ambitious new productions through extensive research and development. We build partnershlps across the UK io brlng extraordlnary stories to the widest posslble audlence. In doing so, we are helping to shape a future where theatre is more relevant, representative, and exclting than ever before. Advance ond influence the sector by developing multi-dis¢iplirtary artist$ of the ffuture. We seek out nurture new talent, with a comrnitrnent to opening door5 for working class art15ts from the North West. We believe the best form of talent development is paid employment, through opportunities for artists to learn alongside experienced creative teams and professlonal envlronments. Through our multl-llsciplinary approach, we help artlsts develop the skills, confldence, and adaptability needed to sustaln long-term careers In the arts. We encourage artists to be both realists and optimists. dreamers and do-ers ba13ncing creative ambition with the prartical skills needed to navigate a changing cultural landscape. Alongside professional opportunities, we pmvide mentoring. advocacy, networking, and ongoing support to help artists build viable careers beyond their time with Thickskin. In doing so, we're helping to shape the future of theatre. Empower our community through transformative creatiTve experiences. We want The Engine Room buzzing all year mund, contributing to a vibrant and inclusive cultural life in Wigan that helps our community feel wonderful. From our studio In the heart of the town, we empower local people to connect, express thernselves, and take part in transformative creative experiences. Led by experienced pmfessional artists, our participatory offer Is rooted In Thickskin's multi-disciplinary approach, spanning text, movernent, and design, with a strong emphasis on devising and collaboration. Through these experiences, people develop new Skills, build relationships, grow in confidence, and discover new possibilities. For some, this sparks a lifelong engagement with the arts and progression into creative careers., for others, it provides lasting benefits through increased confidence, wellbeingi and a stronger sense Of belonging. Together, these experiences are helping to build a more Creative, connected, and culturally confident future for Wigan. Build a resilien¢ influential and future-facing organisation. Reirnagining what theatre can be requi￿5 a balance between ambition and sU5tainability. Inspired by Wigan's industrial heritage and the entrepreneurial Spirit of our founding Director5, we are building an organisation that 15 resilient, responsive, and ready for what comes next. We embrace new technologles, new ideas, and new ways of worklng. With a dynamic, fleet-of-foot approach, we continually adapt to opportunlties and challenges, balanclng creative risk-taklng with responsible stewardship of our resources. Through strong leadership, govern3nce, and strategic partnerships, we create the conditions for artists, audiences, and communities to thrive. By building a sustainable organisation today, we strengthen our ability to create extraordinary work and lasting irnpact for years to corne. Values Our values underpin our attitude and shape how we approach our work.. MAKE WAVES - inspire and be inspired FLY HIGH the sky s the limit .CONTINUED Page 2 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Aim$ and Objective$ - Continued TEAM UP - reach out and collaborate STAY SLTCK - make work that shines Commitments Our commitments underpin our process. We are committed to.. delivering artistic activities that are relevant inclusive and accessible. experimentation and innovation. • envlronmental sustalnablllty. Public benefit The members of the Board conflrm that they have complled wlth their duty under the Charlties Art 2011 to ensure that the charity delivers public benefit. They have had reg3rd to the guidance published by the Charity Commission and 8re satisfied that the charity's activities during the year have furthered its charitable purposes and provided demonstrable public benefit. Signifi¢•nt Artivities ACHIEVEMENTS AND PERFORMANCE 2025126 was the final year of our current Arts Council NPO cycle, during which Thickskin delivered its most ambitious and largest programme of activity to date. We expanded our national reach through touring, strengthened pathways for artists and young people, launched a successful new production with long-term touring potential. and continued to deepen our Impact within Wigan and acmss the UK. Alongside this, we strengthened our organisation, supported the development of local cultural infrastructure, and continued to play a leadership role in the regional arts ecology. Our irnpact during the year included.. 145 paid freelance engagements across creative. producing, technical and specialist roles. 100 live performances reaching 12,789 audience rnernbers. 406 digital audience rnernLJer5 engoging with Streamed and online content. 79 workshops and Q&A sessions reaching 680 participants. A further 705 participanrs engaging with free digital learning resources. Through this work, we continue to combine artistic ambition with meaningful social impact -creating extraordinary theatre, developlng future talent, and contributlng to a more creatlve, connected and cuirurally confident future for Wlgan and beyond. Productlons: It Walks Around The House At Nlght by TIM Foley A haunted house story for a new era, It Walks Around The House At Night Combined inventive staging, immersive sound, bold visual effects, and Thickskin's distinctive multi-disciplinary style to create a thrilling theatrical experience. Written by Bruntwood Prize-winning playwright rim Foley and directed by Artistic Direttor Neil Bettles, the production premiered at The Engine Room before touring nationally and transferring to London. Part ghost story and p3rt psychological thriller. the production attracted sold-out audiences, widespread critical acclaim, and established itself as one of Thickskin's most ambitlOU5 productions to date. The production represents an important step forward in Thickskin's producing model. creating a scalable mid-scale show with long-terrn touring and Income-generating potential. A new tour is already programtned for autumn 2026. Key achievements included.. .CONTINUED Page 3 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Slgnlll¢ant Artlvltles - contlnued 62 perforrnances across 8 venues. Over 12,000 audien¢e members reached across the UK. 980/0 of available tickets were sold. Four-week London run at Southwark Playhouse. Finalist for two Fringe Theatre Awards. 191 audiences in Wigan were supported through access Initiatives. Auturnn tour programme and further opportunitie5 being explored. ***** 'An unlorgettable spooky story.. Theatre South East **** "A rip-roaring horror adventure~ Time Out Pigeon by Joseph Walsh Pigeon was a co-created production inspired by local folklore, comrnunity stories, and the lived experiences of people fro￿ Leigh, Tyldesley and Atherton. Written by Thickskin supported Artist Joseph Walsh and directed by Neil Bettles, the production was commissioned by the Royal Exchange Theatre as part of the Local Exchange Festival, in association with Thickskin. Developed through conver$3tlons with local communltles and brought to Ilfe through Thickskin's distlnctlve physlcal theatre approach, the production combined professional artists with a specially created Intergeneration31 community ensemble. The project celebrated local identity, amplified under-represented voices, and demonstrated the power of co-created theatr rooted In place. Key achievernent5 included.. 230 audience members reached over 3 performances. Cotnmunity ensernble featuring 11 local participant5 and a further 21 taking part in developtnent workshops Co-created with communities fmm Leigh, Tyldesley and Atherton. Development opportunlty for Thickskin Supported Artist, Joseph Walsh. strengthened partnership working with Royal Exchange Theatre and Local Exchange Festival. "An Incredlble project. I loved belng a part of It, It made me very emotlonal whl¢h really surprlse¢l mel Thanks for maklng It h8ppen.- CO-C￿3t10rn p8rticipani response. "It shows people what and who we are- "Llke a taste of home, I really enjoyed the show and the creatlvlty of the wrltlng- Audience ￿SpOnseS New Work In Development Throughout the year, we continued to commlsslon and develop future productions a vltal part of Thickskln's creatlve process that allows artists to explore ideas, test concepts, 8nd refine ambitious pmjects before they reach audiences. Key projects Included Dragons, Asteroid, and The Shellycoat. alongside development workshops for several of our Supported Artists. In total, we delivered 51 development sessions, benefiting 42 artists, writers. creatives, and performers. Thi5 development activity enables Thickskin to nurture new artistic voices, take creative risks, and build sustainable opportunities for future touring and presentation. By investing in ideas at an early stage. we create the conditions for extraordinary theatre to emerge and maintain a strong pipeline of original work for production. Thickskin On Demand .CONTINUED Page 4 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Signifi¢•nt Artivitles - Contlnued Thickskin On Demand continued to provlde audlences, artists, and educators wlth access to streamed productions, behlnd- the-scenes content, and learning resources, extending the reach of our work beyond live performance. During 2025126, 1,111 people engaged with digital content, including 3 new Climate Imp3Ct Senes developed In partnership with PigFoot Theatre. Talent Development: Jerwood Associate Artist Supported by the lerwood Foundation, we launched our flrst-ever Jer¥voo¢ Associate Artist programme, creatlng a paid six- month p13cement for an early to mid-career theatre-maker to be embedded within Thickskin's organisation. Following 3 national recruitment process, Anna Berentzen was appointed to work alongside our Artistic Director and wider team across multiple productions and projects. Designed for future-facing theatre-makers, the programrne combined hands-on experience with mentoring* professional development, and dedicated support for Anna's own creative practice and companyi Hawkseed. Following the placement, Anna joined Thickskin's Supported Artist progratnme, with the experience directly contributing to securing further work. "The professional development time was hugely benefi¢ial - it gave me room for dreaming." Anna Supported Artists Our Supported Art15t programme provide5 tailored support for theatre-rnaker5 developing new work and building Sustainable creative career5. Through ￿entoring1 producing support, seed fundingi rehearsal Space, equipment, and acce55 to Thickskin's networks, we help artists take ambitious ideas from earfy development through to production and touring. During 2025126, we supported 12 artists and companies from across the UK, including four seed-funded commissions and four development residencies at The Engine Room. Artists received hands-on support from Thlckskin's team, alongside opportunities to test ideas, receive audience feedback, and develop their creative practice. We completed a full evaluation of the programme. Artists consistently highlighted the value of Thickskin's holistic approach, combining practical support with long-term relationships, mentorship, and belief in their work. One artist described the programme as.. "Unlike many opportunities. Thickskin didn't just support the projec¢ they sUPPOrted me as an artist." The evaluation has infortned the design of The Foundry. a refreshed programrne launching in 2026/27. The Foundry will create clearer pathways for artlsts to connert, developi and create work with Thickskin, with a particular emphasis on supporting worklng-class and under-represen￿¢ local artlsts. Generator Following a successful pilot in 2024, Generator returned in 2025 as a paid opportunity for early-career performers. Supported through Wigan's Place Partnership programrne, the project brought together young art15ts taking their first Steps into industry. Led by Thickskin's Artistic Director and Jerwood Associate Artist, the programme combined intensive workshops, rehearsal, devlsing, and performance, rooted In Thickskin's disiinctlve multi-disclpllnary approach. Together they created and performed an original production, while gaining professional experience, Industry credits, and training alongside experienced theatre-makers. Evaluation highlighted significant growth in confidence, creative skills, professional networks, and participants, belief that a career In the arts is achievable. Many described the experience as transforrnational, providing both prartical skills and a sense of belonging within the industry. Building on its success, Generator will return in Spring 2027. As Thickskin's participatory programme in Wigan expands, Generator graduates are pmgressing into paid roles as tscilitators. Key achievetnents included.. .CONTINUED Page 5 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Slgnlll¢ant Artlvltles - contlnued 46 young performers attended auditions. 10 paid early-caoer performers engaged. 4 graduates offered further paid work as workshop facilltators for Thickskin's community programme. I x seed commission with space and producing support offe￿d to one graduate. l original production created for four performances at The Engine Room, Wigan. 235 audience members attended performances. "This was my first job post trainin9. 1 feel more confident in my own abilities not just as an actor but also a creative. I have learnt new devising techniques and made networks both personally and professionally that I hope will carry me." "It feels like the door is opening to US to pursue a pmfessional career in the performing arts." Generator performers Rose Bruford College Collaboration Thickskin continued its partnership with Fiose Bruford College Wigan, supporting final-year students to create and present original work inspired by ThickSkin'5 collaborative and multi-disciplinary theatre-making process. Led by Artistic Director Neil Bettles, 29 students developed their own theatre and film projects, exploring new idea5, testing creative forrns, and developing their artistic voices a5 they prePa￿d to enter the industry. The resulting festival, New Work / New Voices, tonsformed The Engine Room into a vibrant showcase of emerging talent, with performances raking place across the Studio, Bar, and Machine Hall. Across three days, audientes experlenced 27 original works for stage and screen, reaching 154 audience members and providing students with valuable experience of creating, producing, and presenting their work in a professional environment. Access & Partlclpatlon Access To Local Theatre Thickskin's Access To Local Theatre progTrmme continued to remove barriers preventlng young people from engaging wlth hlgh-quallty theatre. Worklng with schools, colleges, and youth organisations we provlded free tlckets, travel bursarles, workshops, and learning opportunities, ensuring that cost and transport were not barriers to participation. During 2025126, the programme supported engagement with both It W3lks Around The House At Ivight and Generator In Wigan. with 156 free tickets distributed, significantly exceeding our target of So, alongside three travel bursaries for schools and community groups, and 123 aUdIen￿S benefiting relaxed and captioned accessible perforrnances. We rolled out the offer alongside our national tour, with a programme of workshops and post-show di5CUSsions linked to the It Walks Aroun(l The House At Night tour reaching 355 participants. A further 705 young people and teachers acce55ed digital learning resource5 through Thickskin On De￿Ornd. Feedback from participants was overwhelmingly positive, with 100% reporting that they enjoyed the pmductions, lOO% Saying they would attend similar work again, and an average of 92.5% describing the work as engaging and relevant. Intemationll Re$iden¢y Thickskin delivered an international educational residency in Manila, Philippines, In partnership with the Federation of Britlsh Schools in Asla IFOBISIAI. Led by two Thickskin artists, the project engaged 47 young people and 8 teachers, delivering Interactive workshops Inspired by Thickskin's multi-disciplinary approach to theatre-making and the themes from our 2023 production, Peak Stuff. Alongside the residency, participants were given access to a digital performance of Peak Stuff and accompanying educational resources, extending the ￿ach of ThickSkin'5 work Internationally and supporting creative learning beyond the UK. The Engine Room Thickskin opened The Engine Room in 2025 following extensive research revealing a significant gap In produrtion infrastructure across the North. Our own challenges finding rehearsal and creation Spa￿ were echoed acr05S the independent Sector and confirmed by Wigan Council'5 Creative Industries A55et Strategy. This led to a collaboration with Wigan Council and We Made That on a feasibility study for Trencherfield Mill a5 a production hub. .CONTINUED Page 6 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Signifi¢•nt Artlvltles - Contlnued 2025126 marked a signiflcant mllestone in the development of The Englne Room, with the formal launch of Its new Identity and the establishment of Engine Room Wigan Ltd as a sep3r3te subsidi3ry organisation. Developed by Thickskin 3s part of a long-term commitment to Wigan, The Engine Room is transforming underused industrial space at Trencherfield Mill into a vibrant centre for theatre-rnaking, production. artist developrnent. participation, and perforrnance. While operating independently with its own ￿rnIt, staff tearn, and funding, The Engine Room and Thickskin work in close partnership with shared leadership and governance oversight. Together, helping to build a more ambitious and connected cultural ecO1￿Y ft>r the borough. "I am very pleased to hear about the opening of The Engine Room. 47 new venue for theatre 47nd art in the heart of Wigan. It is a great sign of confidence in our town and its creative talents that oryanisations like Thickskin wlsh to base themselves here." Lisa Nandy, MP for Wigan and Secretary of State for Culture, Media & Sport Wlgan's Cultural Partnershlp Thickskin continued to play an active leadership role within Wigan's cultural sector during 2025126. Through membership of both the Wigan Cultural Partnership and the Wigan Place Partnership Consortium, we contributed to the delivery of The Fire Within.. The Forge cultural strategy, supported workforce developrnent initiatives, and helped shape the borough's long-term cultural ambitions. During the year, Thickskin presented an extract of Pigeon at the launch of the strategy alongside key local national stakeholders, and played a key role in securing th￿e year5 of Arts Council England Place Partnership investrnent for Wigon. Thmugh this work, we continue to champion cultufft as a driver tsf creativityi OPPOrtunityi and civic pride 3cross the borough. "Thlckskln Theatre Company Is a drlvlng lorce In Wlgan Borough's growlng cultural ecology... ensurlng that Wigan is 8 place where world-class theatre is not just made but where the next generation of bold fearless creatives can shape the future.- The Forge Cultural Strategy for Wigan 2025-2030 Organisational Development Thi5 year, Thickskin continued to deliver against its 2023-2028 strategic plan, strengthening the organisation to SUPPOrt a growing artistic progratntne. We invested in specialist expert15e through short-terrn appointments in facilitie5 managetnent and marketingi helping to establish The Engine Roorn, grow audiences, and inforrn the development of our long-terrn staffing strutture. This investment has contributed to increased earned and fundraised income, while enabling us to continue operating as a lean and agile organisation. We also refined our producing and administrative structure, promoting existing staff Into programme lead mles across our talent development and partlClP3tion activity, while continuing to draw on freelance expertise In senior level producing, fundraisingi COm￿unICatiOnS, and public relation5. Alongside the establishment of Engine Room Wigan Ltd, staff responsibilities across the two organisations were clarified, creating stronger operational struttures while maintaining shared leadership and governance oversight. The year also saw a planned transltion at Board level. Followlng a year of co-chalring, Elizabeth Plckering succeeded founding Chair, Inga Hlrst - ensuring a smooth transfer of leadership. We also thanked founding trustee George Danczak for his service following the completion of two terms of office and began recruiting new trustees to strengthen the Board's legal and artistic expertise. Public Benefit The trustees confirm that they have complied with the requirements of Section 17 of the Charities Act 2011 to have due gard to the Charity Commission's guidance on public benefit. Financial Review Fin)n¢ial Position Income Turnover for the year was £693,670 12025: £558,785), comprising.. £418,150 in fundraised income 12025.. £415,508) £267,833 from charitable attivities 12025.. £141,344) £6,474 from other activities12025.. £1,649) £1,213 in bank interest12025= £2841 .CONTINUED Page 7 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Fln•n¢lal Po$ltlon - continued This includes £59,560 of theatre tax credlts claimed agalnst ellgible productions. Notsbly, 76% of Income was unreSt￿Cted, which supports a nlmble operating model. WÈ are extremely gnteful to all our funders Ilisted In Note 3 of the accounts), as well as those who support us through partnerships, prograrnming, and ticket sales. In particular, we acknowledge continued multi-year support frorn Arts Council England, Wigan Council (via Place Partnership investment) and John Ellerman Foundation. along with a major donation from Backstage Trust. Expenditure Total expenditure was £681,803 12025.. £458,880), including- £674,188 on charitable activitie512025.. £447,962). £7,615 on fundraising 12025.. £10,9181 The rnajority of spend was on production activity 1£488.7931. Other programrne strands include.. Talent development 1£85,9221, Access & Participation 1£12,2101, Place Partnership activities 1£56,3191, and other miscellaneous artistic actlvitie$ 1£30,9441. Funds Held at Year End At year-end, the charity held total Funds of £168,414 12025.. £156,5471, comprising: £39,551 In restrlcted funds £128,863 in general unrestricted funds Of the general funds, trustees have designated £70,000 for the followlng purposes.. £30,000.. Productlon Fund (to support cashflow and rlsk management of produced workl £40,000.. Artistic Progr3mme Fund (for activities being delivered In 20261271 The remainlng £58,863 Is held as free reserves in Ilne wlth the reserves pollcv. The year-end funds are sirnilar to the previous year, as a result of advanced fundraising for future year activities, demonstrating strong financial management and a design3ted funds strategy that helps to mitig3te cashflow risks and external pressures. Reserves Pollcv Reser¥e$ Poll¢v Trustees have set a target for free unrestricted reserves equivalent to three months of operating costs, currently estimated at £58,000. The charity's free ￿serveS meet this target. Treasury Pollcv Cash assets exceeding day-to-day working capital a￿ Invested in fixed-term or notice-period deposit accounts offering higher returns than instant access. This policy is reviewed by trustees in line with detailed cashflow forecasts and grant payment schedules. Risk Management ThickSkin'5 Trustees have undertaken a review of the principal risks facing Trickskin Theatre. A formal risk register is maintained and reviewed ouartedy by the Board of Trustees, with finan¢ial risks receiving additional scrutiny from the Finance & Risk Committee. Appropriate systems, contmls, and procedures are in place to mitigate identified risks. It is encouraging to report that two significant risks identified in previous years have reduced during 2025126.. Cashflow has improved through the growth of unrestrlcted funds. Production infrastructure for both Thickskin and the wider sector has been strengthened through the successful launch of The Engine Room. The principal risks facing the organisation are outlined below. l. Rlsk: oVe￿relIanCe on statutory fundlng wlth short term cycles Impact.- This coulcl affect our ability to make long-term commitments 3nd strategic plans. .CONTINUED Page 8 Thlckskln Theatre Trustees. Report (continued) For The Year Ended 31 March 2026 Rl$k Management- ¢ontlnued Mitigation.. Strategic decision to separate Thickskin and The Engine Roorn as two entitie5 to protect Thickskin's core purpose as a mid-scale touring company (core revenue funded), while also unlocking opportunity for a much needed creation space in Wigan Iprojeci funded). Decisions from Arts Council and Wigan Council about extension funding beyond 2027 will be confirmed soon, along with guidance over the next funding cycle which is expected to cover a three-to-five-year period, providing clarity over mid-terrn plans. We are seeking opportunities to grow earned income through increased touring to mitigate risks. Our Free reserves and designated funds help to mitigate risk. Leadership team and key trustees malntain proartlve relationships with major funders. 2. Risk: Delays in developing a pipeline of future productions due to funds being prioritised for realising current touring work. Impact.- This coul¢1 limit our artistic output or stall profile building with regional audiences artd partners. Mitigation.. Executive Director to lead on income generation, working in close consultation with the Artistic Director and reporting to the Finance coM￿l￿tee. Artistic Dlrertor to seek out and secure ambitious co-production relationshlps. staff team to contribute to short term fundraising for research and development. Continue to build designated funds to Invest In future work. 3. Rlsk: Managlng the opportunltles and challenges assoelated wlth capltal development and stewardshlp Impact.- Expansion of physical infraStryctU￿ coul& expose tl)e organisation to inc￿8$e& financial, operational an governance demand5. Mitigation.. Capital development plans are being progressed gradually and in close partnership with Wigan Council, which continue5 to be a strong advocate and sUPPOrter of the projert. Our leadership team and trustees bring relevant experience in managing organisational growth, capital projects, and operatlonal change. The establishment of Engine Room Wigan Ltd as a separate subsidiary organisation helps ringfence risk, clarify responsibilities, and maximise opportunities for both oryanisations. We continue to operate with a lean staffing structure and low fixed-cost base, enabling us to retnain agile and re5pon5ive as development progre55e5. Healthy reserves, designated funds, and an opeotional contingency budget provide additional financial resilience during this period OF growth. Structure, Governance and Management Goveming Document Thickskin operates under the name of Thickskin Theatre, formally constituted as a Charitable Incorporated Organisation (Registered Charity no.. 11881961 on 26 February 2020. In accordance with the charity's constitution, the Board must comprise a minimum of three trustees. Should the number fall below this, the remaining trusteelsl may only act to appoint a new trustee or convene a meeting of the Board. The maximum number of trustees Is ten, and no appointments may be made that would exceed this limit. Trustees (other than the founding members) are appointed for a term of three year5 by resolution at a pmperly convened meeting. In appointing new trustees, the Board considers the skills, knowledge and experience required for the effertive governance of the CIO. We operate an inclusive trustee induction and onboarding proce55, aligned with sector best practice. This includes meeting access participation costs le.g. travel, earing responsibilitiesl, allocating a training budget for truS￿e5, and providing a Board Buddy for mentoring and support. .CONTINUED Page 9 ## **ThickSkin Theatre Trustees' Report (continued) For The Year Ended 31 March 2026** ## **Governing Document - continued** The Board is chaired by Elizabeth Pickering and meets quarterly, with an additional annual review and planning day. Financial scrutiny is delegated to the Finance and Risk Sub-Committee, currently comprising four trustees. This sub­ committee meets ahead of each Board meeting and plays a key role in the annual audit process. The Board operates within an agreed governance framework, including the Constitution, Board Terms of Reference, and a Register of Responsibilities outlining the division of authority between the Board and Executive. We manage conflicts of interest in line with our Conflicts of Interest Policy. This includes annual (or ad-hoc) updates to individual Conflict of Interest forms, a combined Register of Interests covering trustees and executive staff, and a standing item on Declarations of Interest at every Board meeting. The Artistic and Executive Directors are independent of the Board but accountable to it. They report at Board meetings and undergo an annual appraisal with the Chair, which includes setting objectives, agreeing professional development plans, and ensuring wellbeing and access needs are met. The staff team drafts all key organisational policies, ensuring legal compliance and alignment with sector good practice. These are reviewed and approved by the Board on a scheduled cycle. Regular reports on areas such as health and safety and safeguarding enable trustees to fulfil their legal responsibilities. Safeguarding concerns or disclosures are managed by the Associate Producer (Designated Safeguarding Officer), with Board-level oversight provided by Elizabeth Pickering (Chair). Any actions taken follow the Wigan Safeguarding Children's Board Needs and Response Assessment Framework. Reports to the Board are anonymised to protect individuals at risk. Our Board members bring expertise across theatre (including artists, producers and venue managers), Arts Council England NPO funding, communications, business law, finance and risk management. A skills audit and succession plan are in place, with two new trustees joining the Board in July 2026 and further recruitment planned for late 2026. The recruitment process will prioritise community representation, refreshed skills, and governance continuity. We are committed to open and transparent recruitment, advertising widely through sector networks, partners, and communities. This approach builds on our growing profile and ensures a fair and inclusive selection process. ## **Reference and Administrative Details** ## **Trustees** Elizabeth Pickering (Chair) Alison Porter Yusuf Khamisa Verity Overs-Morrell Michelle Nicholson Matthew Eames Gurjinder Kang ## **Charity Number** 1188196 ## **Principal Address** The Engine Room Trencherfield Mill Heritage Way Wigan WN3 4BL ## **Independent Examiner** Caroline Clarke ACA Counterculture Partnership LLP 23 St Leonards Road Bexhill East Sussex TN40 lHH The trustees' report was approved by the board of trustees and signed on its behalf by: Elizabeth Pickering (Chair) Trustee 16/07/2026 Page 10 **ThickSkin Theatre Independent Examiner's Report to the Trustees of ThickSkin Theatre For The Year Ended 31 March 2026** I report to the trustees on my examination of the accounts of ThickSkin Theatre (the Trust) for the year ended 31 March 2026. ## **Responsibilities and Basis of Report** As the charity trustees of the Trust you are responsible for the preparation of the accounts in accordance with the requirements of the Charities Act 2011 ("the Act"). I report in respect of my examination of the Trust's accounts carried out under section 145 of the 2011 Act and in carrying out my examination, I have followed the applicable Directions given by the Charity Commission under section 145(5)(b) of the Act. ## **Independent Examiner's Statement** Since the Trust's gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of The Institute of Chartered Accountants in England and Wales, which is one of the listed bodies. I have completed my examination. I confirm that no material 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 Trust as required by section 130 of the Act; or 2. the accounts do not accord with those records; or 3. the accounts do not comply with the applicable requirements concerning the form and contents of accounts set 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 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 accounts to be reached. Caroline Clarke ACA 17/07/2026 Counterculture Partnership LLP 23 St Leonards Road Bexhill East Sussex TN40 lHH Page 11 ## **ThickSkin Theatre Statement of Financial Activities For The Year Ended 31 March 2026** |||||**2026**|**2025**| |---|---|---|---|---|---| |||**Unrestricted**|**Restricted**|**Total**|**Total**| |||**funds**|**funds**|**funds**|**funds**| ||**Notes**|£|£|£|£| |**INCOME AND ENDOWMENTS FROM:**|||||| |Donations and legacies|**3**|254,343|163,807|418,150|415,508| |Charitable activities:|||||| |Productions||250,462||250,462|131,412| |Other Artistic Activities||2,632||2,632|| |Tlent Development||9,439||9,439|9,624| |Access & Participation||5,300||5,300|308| |Other trading activities|**4**|6,474||6,474|1,649| |Investments|**5**|1,213||1,213|284| |||529,863|163,807|693,670|558,785| |**EXPENDITURE ON:**|||||| |Raising funds|**7**|(7,615)||(7,615)|(10,918)| |Charitable activities:|**7**||||| |Productions||(476,480)|(12,313)|(488,793)|(360,647)| |Other Artistic Activities||(30,944)||(30,944)|(10,700)| |Tlent Development||(35,922)|(50,000)|(85,922)|(66,249)| |Access & Participation||(11,210)|(1,000)|(12,210)|(10,366)| |Place Partnership|||(56,319)|(56,319)|| |||(562,171)|(119,632)|(681,803)|(458,880)| |**NET INCOME**||(32,308)|44,175|11,867|99,905| |Transfers between funds|**13**|35,892|(35,892)||| |**NET MOVEMENT IN FUNDS**||3,584|8,283|11,867|99,905| |**RECONCILIATION OF FUNDS:**|||||| |Ttal funds brought forward||125,279|31,268|156,547|56,642| |**TOTAL FUNDS CARRIED FORWARD**|**13**|128,863|39,551|168,414|156,547| The notes on pages 16 to 23 form part of these financial statements. Page 12 ## **ThickSkin Theatre Comparative Statement of Financial Activities For The Year Ended 31 March 2026** |||||**2025**| |---|---|---|---|---| |||**Unrestricted**|**Restricted**|**Total**| |||**funds**|**funds**|**funds**| ||**Notes**|**£**|**£**|**£**| |**INCOME AND ENDOWMENTS FROM:**||||| |Donations and legacies|**3**|278,609|136,899|415,508| |Charitable activities:||||| |Productions||131,412||131,412| |Tlent Development||9,624||9,624| |Access & Participation||308||308| |Other trading activities|**4**|1,649||1,649| |Investments|**5**|284||284| |||421,886|136,899|558,785| |**EXPENDITURE ON:**||||| |Raising funds|**7**|(10,918)||(10,918)| |Charitable activities:|**7**|||| |Productions||(245,765)|(114,882)|(360,647)| |Other Artistic Activities||(10,700)||(10,700)| |Tlent Development||(66,249)||(66,249)| |Access & Participation||(10,366)||(10,366)| |||(343,998)|(114,882)|(458,880)| |**NET INCOME**||77,888|22,017|99,905| |**NET MOVEMENT IN FUNDS**||77,888|22,017|99,905| |**RECONCILIATION OF FUNDS:**||||| |Ttal funds brought forward||47,391|9,251|56,642| |**TOTAL FUNDS CARRIED FORWARD**|**13**|125,279|31,268|156,547| The notes on pages 16 to 23 form part of these financial statements. Page 13 ## **ThickSkin Theatre Statement of Financial Position As At 31 March 2026** |||||**2026**|**2025**| |---|---|---|---|---|---| |||**Unrestricted**|**Restricted**|**Total**|**Total**| |||**funds**|**funds**|**funds**|**funds**| ||**Notes**|£|£|£|£| |**FIXED ASSETS**|||||| |Tngible Assets|**10**|65,384||65,384|39,697| |||65,384||65,384|39,697| |**CURRENT ASSETS**|||||| |Stocks|||||730| |Debtors|**11**|151,332||151,332|37,412| |Cash at bank and in hand||10,417|39,551|49,968|119,838| |||161,749|39,551|201,300|157,980| |**Creditors: Amounts Falling Due Within One Year**|**12**|(98,270)||(98,270)|(41,130)| |**NET CURRENT ASSETS (LIABILITIES)**||63,479|39,551|103,030|116,850| |**TOTAL ASSETS LESS CURRENT LIABILITIES**||128,863|39,551|168,414|156,547| |**NET ASSETS**||128,863|39,551|168,414|156,547| |**FUNDS OF THE CHARITY**|||||| |Restricted Funds||||39,551|31,268| |Unrestricted Funds||||128,863|125,279| |**TOTAL FUNDS**|**13**|||168,414|156,547| On behalf of the board Elizabeth Pickering (Chair) Trustee 16/07/2026 The notes on pages 13 to 23 form part of these financial statements. Page 14 ## **ThickSkin Theatre Statement of Cash Flows For The Year Ended 31 March 2026** |||**2026**|**2025**| |---|---|---|---| ||**Notes**|£|£| |**Cash flows from operating activities**|||| |Net cash (used in)/generated from operations|**1**|(30,205)|147,082| |Net cash (used in)/generated from operating activities||(30,205)|147,082| |**Cash flows from investing activities**|||| |Purchase of tangible assets||(40,878)|(28,683)| |Interest received||1,213|284| |Net cash used in investing activities||(39,665)|(28,399)| |(Decrease)/increase in cash and cash equivalents||(69,870)|118,683| |Cash and cash equivalents at beginning of year|**2**|119,838|1,255| |Cash and cash equivalents at end of year|**2**|49,968|119,938| Page 15 ## **ThickSkin Theatre Notes to the Statement of Cash Flows For The Year Ended 31 March 2026** ## 1. **Reconciliation of income to cash (used in)/generated from operations** ||**2026**|**2025**| |---|---|---| ||£|£| |Net income|11,867|99,905| |_Adjustment for:_||| |Interest income|(1,213)|(284)| |Depreciation of tangible assets|15,191|10,129| |_Movement in woring capital:_||| |Decrease/(increase) in stocks|730|(730)| |(Increase)/decrease in trade and other debtors|(113,920)|47,440| |Increase/(decrease) in trade and other creditors|57,140|(9,378)| |Net cash (used in)/generated from operations|(30,205)|147,082| ## **2. Cash and cash equivalents** Cash and cash equivalents, as stated in the Statement of Cash Flows, relates to the following items in the Balance Sheet: ||||**2026**|**2025**| |---|---|---|---|---| ||||**£**|**£**| |Cash at bank and in hand|||49,968|119,838| |3.|**Analysis of changes in net funds**|||| |||**As at 1 April**|**Cash flows**|**As at 31**| |||**2025**||**March 2026**| |||**£**|**£**|**£**| |Cash at bank and in hand||119,838|(69,870)|49,968| Page 16 **ThickSkin Theatre Notes to the Financial Statements For The Year Ended 31 March 2026** ## 1. **General Information** ThickSkin Theatre is a charitable incorporated organisation registered with the Charity Commission, registered charity number 1188196. The principal address is The Engine Room, Trencherfield Mill, Heritage Way, Wigan, WN3 4BL. ## 2. **Accounting Policies** ## 2.1. **Basis of Preparation of Financial Statements** The financial statements have been prepared in accordance with the Charities SORP (FRS 102) "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)", Financial Reporting Standard 102 "The Financial Reporting Standard applicable in the UK and Republic of Ireland" and the Charities Act 2011. The charity is a Public Benefit Entity as defined by FRS 102. ## 2.2. **Incoming Resources** All incoming resources are included in the statement of financial activities when the Charity is entitled to the income and the amount can be quantified with reasonable accuracy. ## 2.3. **Resources Expended** Resources expended are recognised in the year in which they are incurred inclusive of irrecoverable VAT and are allocated to the headings in the Statement of Financial Activities based on their nature. Costs have been pportioned on the basis of time spent by individuals on the relevant costs and usage of resources. Costs of generating voluntary income includes expenditure relating to the raising of funds. Expenditure relating to charitable activities includes all the costs relating to the delivery of its activities and services to its beneficiaries. Support costs are overheads with the allocation of support salary costs and other administration costs. Governance costs are those incurred in connection with administration of the charity and compliance with constitutional and statutory requirements. ## **Allocation and appointment of costs** Support costs are those functions that assist the work of the charity but do not directly undertake charitable activities. Support costs may include any back office costs, finance, personnel, payroll and governance costs which support the charities programmes and activities. ## 2.4. **Tangible Fixed Assets and Depreciation** Tangible fixed assets are measured at cost less accumulated depreciation and any accumulated impairment losses. Depreciation is provided at rates calculated to write _off_ the cost of the fixed assets, less their estimated residual value, over their expected useful lives on the following bases: Plant & Machinery 20% Straight Line Fixtures & Fittings 20% Straight Line ## 2.5. **Stocks and Work in Progress** Stocks and work in progress are valued at the lower of cost and net realisable value after making due allowance for obsolete and slow-moving stocks. Cost is determined using the first-in, first-out method. Cost includes all direct costs and an appropriate proportion of fixed and variable overheads. Work in progress is reflected in the accounts on a contract by contract basis by recording turnover and related costs as contract activity progresses. At the end of each reporting period stocks are assessed for impairment. If an item of stock is impaired, the identified stock is reduced to its selling price less costs to complete and sell and an impairment charge is recognised in the statement of financial activities. Where a reversal of the impairment is required the impairment charge is reversed, up to the original impairment loss, and is recognised as a credit in the statement of financial activities. Page 17 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## 2.6. **Cash and Cash Equivalents** Cash and cash equivalents are basic financial assets and include cash in hand and deposits held at call with banks, other short-term highly liquid investments that mature in no more than three months from the date of acquisition and are readily convertible to a known amount of cash with insignificant risk of change in value, and bank overdrafts. ## 2. 7. **Taxation** The charity is exempt from tax as all its income is charitable and applied for charitable purposes. ## 3. **Income from Donations and Legacies** |.**Income from Donations and Legacies**|||| |---|---|---|---| ||||**2026**| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||**_E_**|**_E_**|**_E_**| |Donations and gifs|1,445||1,445| |Grants|252,898|163,807|416,705| ||254,343|163,807|418,150| ||||**2025**| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||**_E_**|**_E_**|**_E_**| |Donations and gifts|1,109||1,109| |Grants|277,500|136,899|414,399| ||278,609|136,899|415,508| The following grants are included within the total income from donations and legacies above: ||||**2026**| |---|---|---|---| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||**_E_**|**_E_**|**_E_**| |Artist Funds||12,957|12,957| |Arts Council England|182,898||182,898| |Chance to See Fund|||| |Duchy of Lancaster Benevolent Fund|||| |Foyle Foundation|||| |Garfield Weston Foundation|||| |Granada Foundation||3,000|3,000| |John Ellerman Foundation|35,000||35,000| |Oglesby Charitable Trust|||| |Three Monkies Tust|||| |Backstage Tust|35,000||35,000| |Equity Charitable Trust||3,500|3,500| |Jerwood Foundation||40,000|40,000| |Wigan Council||104,350|104,350| ||252,898|163,807|416,705| Page 18 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ||||**2025**| |---|---|---|---| ||**Unrestricted**|**Restricted**|**Total**| ||**funds**|**funds**|**funds**| ||£|£|£| |Artist Funds||39,899|39,899| |Arts Council England|180,000|62,000|242,000| |Chance to See Fund||2,000|2,000| |Duchy of Lancaster Benevolent Fund||1,000|1,000| |Foyle Foundation||25,000|25,000| |Garfield Weston Foundation|30,000||30,000| |Granada Foundation||2,000|2,000| |John Ellerman Foundation|35,000||35,000| |Oglesby Charitable Trust|32,500||32,500| |Three Monkies Trust||5,000|5,000| |Backstage Tust|||| |Equity Charitable Trust|||| |Jerwood Foundation|||| |Wigan Council|||| ||277,500|136,899|414,399| |4.
**Income from Other Trading Activities**|||| |||**2026**|**2025**| |||**Unrestricted**|**Unrestricted**| |||**funds**|**funds**| |||£|£| |Income from other trading activities||6,474|1,649| |5.
**Investment Income**|||| |||**2026**|**2025**| |||**Unrestricted**|**Unrestricted**| |||**funds**|**funds**| |||£|£| |Bank interest receivable||1,213|284| |6.
**Net Income/(Expenditure)**|||| |The net income is stated after charging/(crediting):|||| |||**2026**|**2025**| |||£|£| |Depreciation of tangible fixed assets - owned||15,191|10,129| Page 19 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## 7. **Analysis of Expenditure** |.
**Analysis of Expenditure**|||| |---|---|---|---| ||||**2026**| ||**Activities**|**Support**|| ||**undertaken**|**costs**|| ||**directly**|(see note 8)|**Total**| ||£|£|£| |Raising funds|7,615||7,615| |Productions|431,311|57,482|488,793| |Other Artistic Activities|27,448|3,496|30,944| |Talent Development|75,144|10,778|85,922| |Access & Participation|10,414|1,796|12,210| |Place Partnership|56,319||56,319| ||608,251|73,552|681,803| ||||**2025**| ||**Activities**|**Support**|| ||**undertaken**|**costs**|| ||**directly**|(see note 8)|**Total**| ||£|£|£| |Raising funds|10,918||10,918| |Productions|306,787|53,860|360,647| |Other Artistic Activities|7,000|3,700|10,700| |Tlent Development|58,345|7,904|66,249| |Access & Participation|8,785|1,581|10,366| ||391,835|67,045|458,880| ## 8. **Support Costs** |.
**Support Costs**|||||| |---|---|---|---|---|---| ||||||**2026**| |||**Other**|||| |||**Artistic**|**Talent**|**Access &**|| ||**Productions**|**Activities**|**Development**|**Participation**|**Total**| ||£|£|£|£|£| |General administration|57,482|1,796|10,778|1,796|71,852| |Governance costs||1,700|||1,700| ||57,482|3,496|10,778|1,796|73,552| ||||||**2025**| |||**Other**|||| |||**Artistic**|**Talent**|**Access &**|| ||**Productions**|**Activities**|**Development**|**Participation**|**Total**| ||£|£|£|£|£| |General administration|53,860|2,000|7,904|1,581|65,345| |Governance costs||1,700|||1,700| ||53,860|3,700|7,904|1,581|67,045| Page 20 **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## **9. Average Number of Employees** Average number of employees during the year was: 5 (2025: 3) ## 10. **Tangible Assets** |10.
**Tangible Assets**||| |---|---|---| |||**Plant &**| |||**Machinery**| |||£| |**Cost**||| |As at 1 April 2025||68,763| |Additions||40,878| |As at 31 March 2026||109,641| |**Depreciation**||| |As at 1 April 2025||29,066| |Provided during the period||15,191| |As at 31 March 2026||44,257| |**Net Book Value**||| |As at 31 March 2026||65,384| |As at 1 April 2025||39,697| |11.
**Debtors**||| ||**2026**|**2025**| ||£|£| |**Due within one year**||| |Trade debtors|138,832|26,094| |Other debtors|12,500|11,318| ||151,332|37,412| Included in debtors is an amount of £111,699 in relation to touring activity that concluded at the end of March. The balance outstanding has been fully paid in April 2026. ## 12. **Creditors: Amounts Falling Due Within One Year** |2.
**Creditors: Amounts Falling Due Within One Year**||| |---|---|---| ||**2026**|**2025**| ||£|£| |Trade creditors|40,245|5,009| |Other creditors|15,064|3,003| |Accruals and deferred income|42,961|33,118| ||98,270|41,130| ## 13. **Movement in Funds** |3.
**Movement in Funds**|||||| |---|---|---|---|---|---| ||**As at 1 April**||||**As at 31**| ||**2025**|**Income**|**Expenditure**|**Transfers**|**March 2026**| ||£|£|£|£|£| |**Unrestricted funds**|||||| |General:|||||| |General unrestricted fund|50,279|529,863|(562,171)|40,892|58,863| |Designated:|||||| |General Designated fund|75,000|||(5,000)|70,000| |**Total unrestricted funds**|125,279|529,863|(562,171)|35,892|128,863| **Total unrestricted funds** Page 21 ## **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ||**As at 1**|**April**||||**As at 31**| |---|---|---|---|---|---|---| ||**2025**||**Income**|**Expenditure**|**Transfers**|**March 2026**| ||£||£|£|£|£| |**Restricted funds**||||||| |Access & Participation||1,000||(1,000)||| |Other programme activities|18,000||||(18,000)|| |Core||7,268|3,500|(1,983)||8,785| |Productions|||12,957|(10,330)|(1,983)|644| |Tlent Development||5,000|43,000|(50,000)|30,000|28,000| |Place Partnership|||104,350|(56,319)|(45,909)|2,122| |**Total restricted funds**|31,268||163,807|(119,632)|(35,892)|39,551| |**Total funds**|156,547||693,670|(681,803)||168,414| ||**As at 1 April**|||||**As at 31**| ||**2024**||**Income**|**Expenditure**|**Transfers**|**March 2025**| ||£||£|£|£|£| |**Unrestricted funds**||||||| |General:||||||| |General unrestricted fund|43,076||421,886|(343,998)|(70,685)|50,279| |Designated:||||||| |General Designated fund||4,315|||70,685|75,000| |**Total unrestricted funds**|47,391||421,886|(343,998)||125,279| |**Restricted funds**||||||| |Access & Participation|||3,000|(2,000)||1,000| |Other programme activities|||25,000|(7,000)||18,000| |Core||9,251||(1,983)||7,268| |Productions|||101,899|(101,899)||| |Tlent Development|||7,000|(2,000)||5,000| |**Total restricted funds**||9,251|136,899|(114,882)||31,268| |**Total funds**|56,642||558,785|(458,880)||156,547| Page 22 **ThickSkin Theatre Notes to the Financial Statements (continued) For The Year Ended 31 March 2026** ## 14. **Transactions with Trustees** No trustee expenses have been incurred. ## 15. **Related Party Disclosures** Key management personnel (including directors) received compensation of £92,877 (2025: £81,458)