2024-03-31-accounts

Report of the Trustees for the year ending 31 March 2024

The Trustees of SCRUM Theatre present their annual report and audited accounts for the year ending 31 March 2024 and confirm they comply with the requirements of the Charities Act 2011, the CIO’s Constitution and the Charities SORP (FRS 102).

OUR AIMS

SCRUM Theatre is a Charitable Incorporated Organisation. The objects of the CIO are:

• to advance the art of drama for the public benefit, including by producing and promoting performance events of an exceptional quality for the public throughout the United Kingdom and abroad, and

• to advance theatre education for the public benefit with a focus on developing the creative skills of participants, including by providing workshops and digital resources in particular but not exclusively for:

• ➔ school age students from Key Stages 1-4;

• ➔ teachers of those students; and

• ➔ emerging artists.

We aim to provide the time, creative space, resources, training opportunities and educational workshops to allow everyone to participate in the theatre, either as audiences or artists. We provide a nurturing environment at our creative hub in Hammersmith, SCRUM Studios, to allow our beneficiaries to build and maintain a lifelong relationship with the arts.

OUR OBJECTIVES

Our objectives are set to help us achieve our aims, while simultaneously reacting and adapting to an environment where public arts funding is consistently being cut, compounding already profound barriers to accessing theatre. In setting our objectives and planning our activities our Trustees have given careful consideration to the Charity Commission’s public benefit guidance.

Our key objectives for our first year included:

• to open a creative hub on a meanwhile space lease as a focus location for the provision of our workshops, educational resources, and performances

• to launch our offer of free and pay-what-you-can artist development workshops

• to begin development on an educational offer for schools, focussed on teacher training, as well as digital resources and live workshops for students

• To develop a sustainable fundraising strategy with a focus on trusts, foundations, private philanthropic giving and corporations that align with the charity’s values

• To develop an excellent, accessible performance of Twelfth Night for an initial run in our new venue, followed by a national tour in Arts Council England’s Priority Places for the Arts

REVIEW OF ACTIVITIES AND ACHIEVEMENTS

➔ Artist Development Programme

From May to July 2023, SCRUM ran its first full season of free creative training for early-career and unsalaried artists. It was split into two parts; “Make: Your Way”, a more traditional masterclass-style workshop series; and “The Co-Lab”, an open-ended structured format where makers of different disciplines could come together for a skill-sharing, problem-solving theatre ‘gym’. Our partner charity Theatre Deli hosted both programmes in their Leadenhall studios, at a heavily subsidised rate.

Over the course of 10 sessions the programme reached approximately 100 beneficiaries. SCRUM partnered with one of UCL’s MASc students who drafted a quantitative and qualitative study evaluating the wellbeing outcomes of SCRUM’s programme, by using a “Well-being Measures Toolkit”. This used an umbrella score sheet where participants were asked to rate how “Open”, “Inspired”, “Empowered”, “Energised”, “Optimistic”, and “Connected” they felt before and after each session on a scale of 1-5. All before and after scores showed positive trends in both co-labs and workshops.

From this study, we were also able to gather data on the demographics of our workshop participants. A sample size of 67 (23 for Co-Labs and 44 for workshops) found that in this first season:

• ➔ Average age range was 31.9 in workshops and 41.5 years old in co-labs.

• ➔ The distribution of gender was mainly female (65.2%) for co-labs, and more evenly split in workshops (40.9% male, 45.5% female), with 13.6% of participants reporting non-binary.

• ➔ While there was some diversity in the ethnic backgrounds of participants, the majority (79.5% in the workshops, 60.9% in the Co-Labs) identified as white.

• ➔ 34.1% of the workshop attendees and 17.4% in Co-Labs self-identified as having disabilities.

• ➔ In terms of artistic disciplines, actors were the largest group taking part (20%). Directors accounted for (18%), writers (10%), performers (6%), and producers (6%). Professions such as clowns (5%), and playwrights (3%) were engaged as well as multidisciplinary theatre makers (2%) and participants who reported as beginners (2%).

Reflecting on this data, the Artist Development team will develop strategies for future seasons to ensure that SCRUM could better engage demographics that are currently underrepresented in the arts. Among this was a realisation that making tickets free when there was a limited number

of spaces was not the most effective model, since while capacity might be filled, the low buy-in from participants meant that there was often a significant number of dropouts on the day, preventing access from otherwise interested participants. This, as well as a more focused marketing strategy, would be changed in subsequent seasons.

➔ Fundraising

In April of 2023, the SCRUM team organised a “Launch Party” at the Old Queen’s Head pub in Islington with the aim of building the profile of the charity’s work and attracting supporters from the general. Angels Costume Store lent the team costumes from the film Shakespeare in Love, on a pro bono basis. During the night, artists from the SCRUM team performed songs composed for their planned first show, “Twelfth Night”, as well as running a raffle and selling merchandise. Overall, the event raised £2260.29.

After a review of our projected income from grants and foundations in the summer of 2023 was found to be lower than expected, the Trustees recommended that SCRUM focus on a small-scale gala night, themed around Shakespeare, with the view to inviting potential donors to be SCRUM’s first circle of philanthropic supporters. The John Booth Foundation pledged £6000 to underwrite the event. The venue Shoreditch Treehouse was chosen, and chefs from the restaurant Hide devised a five-course meal based on contemporaneous ingredients in Shakespeare’s plays. The SCRUM artists, meanwhile, entertained guests with scenes from Twelfth Night, music and group storytelling. The event was a huge success and raised approximately £100,858.26 before GiftAid, including a three-year rolling grant of £5000 to cover the schools projects.

➔ SCRUM Studios

The team’s year-long search for a creative hub ended in January 2024, when the charity secured a meanwhile lease on an empty commercial site at 191 Talgarth Road, Hammersmith, London through the support of our Charity Lease partners, Hammond Associates. The building was designed by renowned British architect Ralph Erskine as a community building for Hammersmith Council, but had sat largely empty for several years. In the first few months of 2024, the team began transforming the site into a buzzing creative venue, comprising three rehearsal studios, a script library, a playwright’s hub, an audition studio, a blank canvas warehouse performance space, and a community mezzanine. Our aim by the end of the financial year was to focus on making the space safe to use so that we could launch our programmes in the summer of 2024. But even in the first few months of our occupancy, the local community was already turning up in force to help return this lost jewel of British architecture to the public. In the end:

• 150 volunteers would give 1300 hours of time to redecorate the site, including corporate volunteering teams from Disney, Works4U, TodayTix, and 4CAssociates.

• YesColours donated paint, while Crown Workspace and Museum of London agreed to donate furniture

• Nick Hern Books, Esta Charkham Associates, and Stack Magazines would contribute to a reference library for creatives.

• Three artists would create 6 murals pro-bono

• Vaults Festival would donate props and dance flooring

By the end of March, key maintenance work had been undertaken (deep cleaning, water treatment, heating, etc.) which meant that the 2024 Artist Development seasons could be green-lit. But it also set the stage for a full renovation of the building to commence over the first few months of the 2024-5 financial year, with a view to an official opening of the building in September 2024.

➔ Schools Programme

We executed a nation-wide survey of 98 English and Drama teachers to research their needs around supporting the mandatory Shakespeare curriculum for GCSE English. The survey included a range of school types, with the majority (86%) from Academy or Comprehensive settings.

The geography of the survey was widespread across England and Northern Island.

Key findings included:

• 59% of teachers indicated that they had not received any professional training for teaching Shakespeare

• 76% of teachers indicated a desire for in-person CDP training in teaching Shakespeare

• Teachers indicated that cost was the biggest barrier to accessing workshops

• Over 25% of teachers indicated that the biggest barrier to understanding Shakespeare is understanding the language, with reading engagement falling second.

• Key areas that teachers identified as missing in other digital Shakespeare resources from organisations such as the RSC and the Globe were links to video clips, clear connection to the GCSE curriculum and mark schemes, and activities for students

• In a visual summary of ‘what did not work well’ with schools Shakespeare resources they had previously used, they shared the following.

On the basis of this survey, SCRUM determined to use the results and analysis of the 2023 Teacher’s Survey to develop a Digital Education Resource, plan and design workshops for students and teachers, and support the planning of a national tour of Twelfth Night. We have made the following commitments for the project:

1. The teacher training provision delivered by SCRUM Theatre will aim to target the 25% of teachers that indicated they were ‘Not as Confident as I Want To Be’. The training will focus on skilling up, rather than introducing basic techniques. The training will provide a Q&A, as well as a teacher networking, for teachers to ask questions of each other and theatre and education industry experts.

2. English teachers indicated that they would like resources including activities engaging students in language, understanding interpretations, metre and developing personal responses in the SCRUM Digital Education Resource, we will provide this.

3. SCRUM will ensure that the range of needs indicated by drama teachers is represented in the Digital Education resource, ensuring that there are performative elements, and material relating to the span of the GCSE Drama curriculum, including technical support.

4. SCRUM will ensure that the developed Digital Education Resource will prioritise the breakdown of language in Shakespeare, using resources that appeal to a variety of learning methods, especially videos and audios.

5. SCRUM will incorporate engaging and performance-focussed exercises into student interventions and provide teachers with lesson plans that address the highlighted challenges in the Digital Education Resource.

6. In delivering teacher CPD workshops, SCRUM will use practical techniques, and equip teachers with a practical understanding and toolkit for Shakespeare.

7. SCRUM will be hosting in-school interventions and teacher training in venues across the country, responding to the ACE Priority Places and the areas with the highest response rates in our 2023 Teachers Survey.

8. SCRUM will endeavour to organise training on INSET days, during paid, working hours for teachers, to ensure that the most teachers are able to access the opportunity. SCRUM will offer hybrid training, with learners in the room and on Zoom. SCRUM will also record the training, where appropriate, and with permission from participants, and will hold footage of key exercises to distribute to teachers that are unable to attend training.

9. SCRUM recognises that we have an opportunity to provide a Digital Education Resource for schools that do not currently access any other. We will also recommend that schools utilise existing resources, especially recommending the most popular as above.

10. SCRUM will ensure that our Digital Education Resource incorporates videos from our rehearsal room and footage of industry professionals exploring Shakespeare. We will also provide activities for students to engage with, as well as lesson plans for teachers. SCRUM will highlight connections to the GCSE Drama and English Literature curriculum through the Digital Education Resource and will embed key development skills into our in-school intervention workshops, for example supporting students with their public speaking and confidence.

11. SCRUM will endeavour for our Digital Education Resource to be accessible through the indicated sites for teachers, especially social media platforms and educational and theatrical networks.

12. SCRUM will ensure that workshops are designed and delivered with practical engagement at the heart of learning.

13. SCRUM will create channels of communication with teachers ahead of, and post, practical interventions. Teachers will have access to resources ahead of student workshops and will be provided with resources for continuing educational engagement.

14. SCRUM will ensure that there is an academic element to the workshops, which will be achieved through engagement with the curriculum.

15. SCRUM will explore the optimal group size for each teacher, as varying responses have been shared regarding classroom sizes.

16. SCRUM will ensure that workshops are designed to fit required elements from teachers, especially offering exercises to students that support them in understanding the story of Twelfth Night and exploring how the play still resonates today.

17. SCRUM will explore running workshops in the preferred Autumn Term.

18. SCRUM will design workshops that are 1 or 2 hours long, communicating with teachers on a case by case basis to suit the time slots available.

19. SCRUM are planning on providing workshops either free of charge or at a highly discounted rate.

20. SCRUM will develop workshop plans and the Digital Education Resource to fit to access needs and requests from teachers, especially making adaptive and visually accessible resources.

21. SCRUM will use the results and analysis of the 2023 Teacher’s Survey to develop a Digital Education Resource, plan and design workshops for students and teachers, and support the planning of a schools tour of Twelfth Night.

22. SCRUM will be running a series of teacher’s focus groups on Zoom, which 83% of teachers completing the survey indicated they would be interested in.

In March of 2024, SCRUM secured a three-year rolling grant from the Three Monkies Trust, to support the execution of these commitments. The Shakespeare Schools Foundation and the Donmar Theatre Education Department provided our Education team with advice and mentoring.

➔ Creative Development

SCRUM’s core company of artists held 6 research and development sessions towards the production of Shakespeare’s Twelfth Night, which resulted in the composition of 4 of the central pieces of missing music to accompany the lyrics in Shakespeare’s script. A sharing of this music was central to both fundraising events, and particularly to the success of the gala in October 2023.

AIMS FOR 24/25

➔ Expansion of workshop programme and workshop demographic

• We aim to double the number of workshop seasons, with an increased offering for up to 350 emerging theatre makers, kept accessible through a pay-what-you-can ticketing scheme

• We aim to partner with charity Compass Collective to provide space for displaced young people to theatre masterclasses in our building around Refugee Week 2024.

• We aim seek partnerships with other charities serving under-represented demographics in the theatre to provide supported places on our training courses

• We aim to develop digital artefacts from the workshops so that practitioners beyond London can access our training resources

➔ Connecting with the Hammersmith local community

• We aim to develop education programmes specifically targeted at giving young people in Hammersmith increased access to the arts

• We aim to partner with Hammersmith and Fulham Council in the delivery of those projects, and to support the council’s Culture Forum projects

• We aim to work with Compass Collective’s young people and the artist Murugiah to design a 16 metre square mural to hang in our open community space. The final artwork will be unveiled in Refugee Week 2025, as a major new piece of public art for Hammersmith.

➔ Artistic development of Twelfth Night

• We aim to hold a full Research and Development series of workshops for the development of the Twelfth Night performance, building on the music created in the 23/24 year

• We aim to use this development to onboard at least 5 new artist members of the CIO

➔ Expansion of the Education projects

• We aim to develop our offering for a digital and in-person Shakespeare offering for schools based on the findings of this year’s survey

➔ Creative Space

• We aim to make the rehearsal studios accessible at heavily subsidised rates to emerging theatre makers to support the development of new work, while deriving an income stream from the commercial hire of the space that will cover the core staffing costs of the organisation

➔ Staff Team Expansion

• We aim to recruit a new Executive Director, Development Assistant, General Manager, and Schools Officer to expand our programme delivery.

REFERENCE AND ADMINISTRATIVE DETAILS

Charity number 1201124

Office Address 191 Talgarth Road, London, SW2 3RR

Auditors Grosvenor Partners LLP, 80 Coleman Street, London, EC2R 5BJ Solicitors Womble, Bond and Dickinson, 4 More London Pl, London SE1 2AU Bankers Lloyds Bank

STRUCTURE, GOVERNANCE AND MANAGEMENT

SCRUM Theatre is a CIO operating under a Constitution dated 18/11/2022. It is registered as a Charity under the Charity Commission, and has ten members, of which seven were employed under freelance service agreements at the period end 31 March 2024.

APPOINTMENT OF TRUSTEES

New Trustees are appointed at the discretion of the current Board of Trustees, who in addition to holding the power to recruit new Trustees by open application, also have the power to co-opt candidates to fill specialist roles in support of the advancement of the CIO’s objectives. The membership can nominate potential candidates and advise the Board of Trustees on areas of need in recruitment.

On selection of nominees, their proposal for their candidacy is circulated to the Board of Trustees and to the members at the nearest possible meeting. A majority vote in each case is required to extend an offer to the nominee in question.

INDUCTION OF TRUSTEES

New Trustees attend an induction meeting with the Chair of the Board of Trustees and the Charity’s Executive Team, at which they are briefed on their legal requirements to the CIO, the Charity Commission’s guidance on public benefit, the CIO’s Constitution and the financial health of the CIO.

ORGANISATION OF THE CHARITY

The Trustees administer the work of the CIO by means of quarterly meetings. Sub-committees for Recruitment, Finance, and Development hold additional meetings outside full Board meetings. The Trustees have appointed two Executives from among the members (known as the Co-Leads) to administer the day to day tasks of running the CIO, including financial management, artistic programming, educational programming, and development activities.

RELATED PARTIES

None of our Trustees receive remuneration or benefit from their work with SCRUM Theatre. Any connection between a Trustee and a production company, performer, or contracted freelancer must be disclosed in a meeting of the Board of Trustees. No such disclosures were made in the year 22-24.

RISK MANAGEMENT

The Trustees manage and mitigate risks to the CIO through the following processes

• ➔ A yearly review of an organisation-wide risk register

• ➔ Setting in place procedures and risk mitigation measures in response to that risk register

The Trustees have identified the core risks to the CIO as financial stability in a hostile arts funding environment, and longevity of the meanwhile lease at 191 Talgarth Road. The mitigating measures in place for 24-25 involve:

• ➔ Building and maintaining a reserves policy of 3 months core operational costs in unrestricted reserves

• ➔ Diversification of income streams through space hire, Theatre Tax Relief, private donors, Trusts and Foundations, and corporate support

• ➔ Negotiating to extend the meanwhile lease at 191 Talgarth Road to 2030

TRUSTEES’ RESPONSIBILITIES IN RESPECT OF THE FINANCIAL STATEMENTS

The Trustees are responsible for preparing the Trustees’ annual report and financial statements in accordance with the relevant laws and with UK Generally Accepted Accounting Practice. The Trustees are required to provide the Charity Commission with a true and fair review of the CIO’s financial health, income, and application of resources, including income and expenditure. The Trustees are obliged to:

• select and apply suitable accounting policies

• review the reserves position quarterly

• make reasonable and well informed financial judgements and estimates

• prepare financial statements on a going concern basis until such point as they judge the CIO will not continue in its work

The Trustees are responsible for keeping accounting records that reasonably illustrate at any given moment the financial position of the CIO, and to ensure the financial statements are in compliance with the Companies Act 1985, the Charities Act 1993 and the Charity (Accounts and

Reports) Regulations 2008, and the provisions of SCRUM Theatre’s Constitution. They are responsible for safeguarding the assets of the organisation against fraud and other irregularities.

By order of the Trustees,

Ramin Sabi (Chair)

4 February 2024

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scAum SCRUM Tltre leontlnuedl Y•rwrfl•d 31•1 Il¥eh 2724 We have rnlhkw10 rw w¥d. M•tt•Y¥ on whleh w• arn r•wSr•d lo r•wt ty •xe• W8 have nothing 10 report In resped of th• lO•j￿ mattfAs tw• A¢1 2￿ rowlru us to report kn yw If. In our o￿nI￿.. . ad8quai8 accountlr¥J i￿ordS rnl be￿ ar r•lTh ow wjt hav• Th)1 liom branches wsn•J by ￿.. . the15nanc￿l $tai8ment$ we in awoemert Iho aThl th• r0￿mI,. lv Certain d18clo&ures c4 InJsMe&' remurnr8iw spKif•J IV kn 8r• rnl mth.. . Wo havo rKst recew Iho i14¢Thati￿ aTrJ 0¥A￿at￿ r•wn fw ￿ wjl. R••pon•lblltths of IN•lM• As explained rnore lulty in the tru8t805' respy￿￿ st•nert ts Irust•Os we r05ponsiNe for the pieparalion of the fina￿1￿ 51atements ￿ lor * 5th1i•J that aTra Iwr ¥￿. lor such Inlernal control 8s the tru5108s thtermir ￿ rttes5ary to th• W8Fwation al finar￿￿ st818menls th&1 are fr88 Irom rnaterial Misstat￿?rrt. lo 6Yror. Audllorfs r•¥pon•lWlttk••lorth• •Jdtt ol lh• •t•lwn• Our objectives ale lo obian reaS￿ab￿ assurarte atoJl tslh8r Ihe linarYi￿ 5tal8ffnts as a whoK8 are free Irorn malerial mi5slalement. thet￿r due 10 Irathj crf 8￿¢￿. Lssue an authtor's reptyt that irrludes our pinion. Reason&¥e assurance i4 a assJrwK•. t5 rKl a guarantee thai an a￿111 cM(kncl8d in accordance with ISAS IUKI wll atray5 detect a Malw￿ rntsstat￿errt exists. Misstalemenls can ari58 Irorn fraud or error aTrJ are cor6thr•J matrt rt. Ir￿N￿j￿ or In the 4gregat8. they cwld reasonably be expected lo influer￿8 lh8 of ws iak80 on th8 ol Ihese financd stalernenls. Irr6¥Uladt￿S. fra￿J. are ￿￿tarreS ol ith &ws aTrJ r8guLqtions. We deslgn procedur￿ in Une wr res￿nt4rt￿5. atm. lo ¢tect rnate￿ mLsstaiemwts in resrect ol Iriegularilh88. br￿lUdiryJ Ira￿￿. The exl8nl to ￿t￿h ol d￿tir￿j Yr8guLqriti88, IrLIL￿1Thj fraud is detwK8d bpky•.' As part ol an a￿lit In xcwdwce ith I￿. w• •xwrAW Iwlgmnl mainlaln prol888bnal Sc80￿ lh8 we akn.. Id8nllty ar￿ 985888 the rb5ks ol rnaten￿ mtystthnw¢ ol staternwts. whethw due to Iraud or error. ￿5¥n grd pertorm a￿$rt r8SFWW trj rth. otrtdn I￿11 that 1$ Bull￿18n1 and lo a b#Bty ky (¥Ji wion. Tr rok of rKJt deloclr¥ w mated ml$s18lemenl re¥uftiry fmm IrgL#J is ftyty Irom wrN. ￿ IraL#J may irr40￿# collu￿on, forg0ry. Intontion￿ omWi, rN•r¥l• CA•rtrd. . Obt4in an urKl•Trivélr¢ of ctyffjl r•I•¥￿t i) tr aL411 to #l￿11 mdurtt that ar• lh• Intornal ¢¢)nird. . Evalua1• th• L•J tr• r•1•or￿ ￿ •x¢urfng J r•lat¢d dls¢losur•s m¥0• ty tr• tNss. condu￿ on Ihe of the ¢4 th• b•sis ol ¥¢Y)unJng arnl, based on Ihe audtt ¢￿en￿ (tarnd, • m•tiyi •yists r￿[0d k¥ •Ven￿ ¢ Cond￿0￿ thai may $kJnilicani on th• ¢tiwit￿$ to •$ • kTr)wYJ ¢ty￿7. If * ¢onclwlè thw a matar1￿ uncèrtainty exi%ts, ¥è trj ¢kni 10 Ihè relaied dlsck)suw in thè linart￿ w, e wuaie. to our (4)inlon. O ¢ondusk)rts ar8 based on thè c+*amd tste of aLAiitorfs report. H(A¥wr,

scAum SCRUM Th•kn SCRUM Th￿tr¢I¢•￿tI￿￿dl Y••rwthd 31st Ilw¢h a124 and lirniFwJ of the awlit arwj ￿l￿r￿lI fMk4s, aty siorMfi¢ant ¢ontrd that we during tyjr UM of r•wl Th1$ reKKJrt Is m1e 10 lh• ¢harW$ trww•s, 0$ 8 x¢tyd•K• ith Chapter 3 of P•rt 16 01 Ihe compan￿5 AL% 2006. Thjr atht has $0 thai MWJPI $we 10 th• ¢h¥iVs tru$iee8 those mamers ￿ are reqll￿ 10 51atg to I￿rn in an aLxlitor5 reFOrt a￿th lry Th) ottw purp￿￿. To the fullest extent permrtted ty law. ￿ ¢SJ rJt accerA ty aswe resF• lo an￿r other than the charty and the ch8rlty¥ lrnste88 a8 a lorw llis rw. or lor lh8 cyr)￿ ￿ hav8 lonn•J. J•rn￿ H¢YT FCA Au(¥l For and M t•W ol Gr05v8w Partr8rs LLP ChBrter8d Nttountants & PrfHitsr8d Cc4eman Street Lon(%)n EC2R 5 5th ￿)VeMb￿ 2024

scAum SCRUM I1 Y•w•nd•d 31t >)24 130,548 19.4531 39.917) 17,76n Stall costs 15.3841 11.3461 Pvofft 83,411 16,270

scAum 31¥1 Mw¢h 2Q4 èJ23 Curnent 880•18 67.S81 31.IAS 18.270 98.076 16,270 96.676 18,270 Totsl ••••l• IM•¢uffw* i•bM 96M78 18,270 118.9951 N•1 ••￿1 79,681 16,270 79.681 16,270 NotMto Ih•fln•nEW sl•lwn 2024 and are swd cffl ol Ihe b]ty Ramln S•bl Tru•t••

scAum Y•w •nd•d 31•t hlwch 2024 2Q24 10,539 Grant irKtMno 117.$56 130.548 11.16S1 18,2881 19,4531 139,91TJ 5341 139,917) (Sa841 Aerrt aTrJ 1&8S Insui Piimng. p*xlwJ• •tstW4 192831 11941 12401 1312) 1231 14001 11091 14281 11,4401 1449) Slorag• 12.6241 11.6961 14921 131 117,767) 11y81

scAum SCRUM Th•kn 2023 Ac¢ruel Iwne 31,095 31,095 Totsl 31.095 P•0• 10