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2025-03-31-accounts

SURFACE AREA DANCE THEATRE

REPORT AND FINANCIAL STATEMENTS For the year ended 31 March 2025

Charity Number 1202467

SURFACE AREA DANCE THEATRE

ANNUAL REPORT AND FINANCIAL STATEMENTS

For the year ended 31 March 2025

Contents Page
Trustees annual report 1 to 26
Independent examiners report 27
Statement of Financial Activities (including 28
income and expenditure account)
Balance sheet 29
Notes to the financial statements 30 to 38

Front cover image: Jesse lies on a grey floor, eyes closed and arms in a Y-shape, with short bleached blond hair and baby blue eyeliner (photography by Paul Miller)

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T rustee A nnual R eport April 202 4 - March 202 5 Charity number: 1202467

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A large group of people is sitting in a circle in a theatre space participating in Vangeline’s Butoh workshop (photography by Paul Miller)

Contents

e group of people is sitting in a circle in a theatre space participating
ography by Paul Miller)
ntents		 in Vangeline’s Butoh worksho
Introductionand Chair’s Report 4
Who we arewhat we dovision mission 6
Public Benefit Statement 7
Staff Team 7
Achievements andperformance 9
Stakeholdersandpartners 15
Evaluation andoutputs 15
Financial review
Plans for futureperiods 17
Structure,governance and management 19
Trusteeteam 22
Statement oftrustee responsibilities 25

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Contact us

Surface Area Dance Theatre CIO, Dance City, Temple Street, Newcastle upon Tyne, NE1 4BR | 0191 261 0505 | www.surfacearea.org.uk | connect@surfacearea.org.uk Nicole Vivien Watson, Chief Executive | nicole@surfacearea.org.uk

Surface Area Dance Theatre’s Annual Report for the year ended 31 March 2025

Introduction

The trustees are pleased to present their annual trustees’ report together with the financial statements of the charity for the period ending 31 March 2024.

The financial statements comply with the Charities Act 2022, the Memorandum and Articles of Association, and Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective October 2019)

Chair’s Report

This report covers what is only the second year of Surface Area Dance Theatre’s operation as a Charitable Incorporated Organisation and ACE National Portfolio Organisation. Emphasis is drawn to this being only the second year of operation because the company has done so well to become established over such a relatively short but testing period, both organisationally and creatively, within the artistic and community landscape.

This success has not been achieved from a standing start in 2023/24; Surface Area had previously operated successfully as a project-based funded Community Interest Company (CIC) before then. However, the strong support of funders and new partners, helped by our recognition as a CIO and NPO, has enabled the consolidation of the organisation and the further growth and reach of its activities.

In a year marked by widespread economic and political uncertainty, including a UK General election and change of Government, Surface Area was pleased to hear that ACE intended to extend the 3 years of NPO funding by a further year. Many organisations were still struggling to recover in the aftermath of COVID, and a planned review of ACE (and potentially the DCMS itself) meant it was not a good time to launch a full-scale review and re-application for NPO funding. Surface Area duly submitted an expression of interest in financing for the further year (to 31 March 2027), which would give us a more extended period of relative financial stability.

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However, in March 2025, ACE announced that the launch of its next portfolio investment process would not go ahead in April 2025 as planned. Instead, they called on the Government to extend the current National Portfolio until the end of March 2028. At the time of writing, we are awaiting the outcome of discussions with DCMS; in the meantime, Surface Area will continue to search for additional and alternative funding sources, whether this materialises through grant or commercially earned income.

In terms of governance and management at Surface Area, board meetings have consistently been quorate and well-attended, typically through a hybrid of online and in-person attendance. The Trustees have been well-informed through regular financial and operational updates, and the quarterly returns to ACE (the principal funder) have all been timely, fully aligned with ACE’s monitoring procedures. They demonstrate our delivery within budget against the key objectives that were agreed upon earlier in the NPO process. Indeed, Surface Area’s outputs have surpassed the expectations of all stakeholders, including the board. We are pleased to note the attainment and maintenance of the Board’s Reserves strategy.

Board membership was strengthened and broadened by the recruitment of new Trustees Joël Daniel and Janet Bosson. Board development and cohesion have been facilitated using an external consultant, Jiten Patel, who is an expert in diversity and inclusion and co-founder of Diversity Market Place. We intend to engage Jiten to work with Trustees and staff again in 2025/26.

The Trustees are pleased to note from these Financial Reports and the regular reporting from the Chief Executive that Surface Area remains in a strong position to continue trading and working towards fulfilling its charitable objectives, as well as meeting the obligations agreed with funders.

Thanks are due to Nicole Vivien Watson for her vision and tenacity in fulfilling the roles of CEO and Artistic Director; to Sara Chezari for ensuring the efficient operation of the office and for providing her personal growth to take on more and wider duties; to our wide family of associates and collaborators for the quality of the work produced; to our funders, supporters, and participants for their enthusiastic and generous support; and to Trustees for giving Surface Area the wherewithal to remain a successful and exciting organisation.

Finally, we were delighted to be told by Nicole, our Chief Executive, that she was expecting a baby and would be taking maternity leave in the 2025/26 year. The board is confident that detailed arrangements have been made to cover her absence, including plans to deliver the programme of work for the year by reallocating her work to the General Manager, Sara Chezari and with additional external support from our long-trusted colleagues and collaborators, Rachel Jean Birch of Moving Art Management and Eliot Smith from Eliot Smith Dance. Rachel and Eliot's induction and handover period as operational manager and producer, and Keep In Touch days with Nicole, will ensure SADT's continuity and development in the next 12 months.

Chair

Jeff Dean

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Who we are

We are an inclusive, disability focused, female-led charity

Surface Area Dance Theatre (SADT) is an award-winning, inclusive arts company based in the North East of England. With a dedicated focus on accessibility and community engagement, SADT plays a vital role in enhancing the cultural landscape in the UK and internationally. As a respected arts and cultural organisation and a Disability Confident Employer, SADT is celebrated for its intersectional approach and distinctive contributions. This recognition inspires us to continue pursuing our mission.

We work in partnership with our local community and beyond

Our team, composed of highly trained and diverse professionals, exemplifies our commitment to inclusivity. By supporting D/deaf and diverse artists and communities, SADT embodies the skills and understanding necessary to harness the transformative power of creativity and representation, particularly for marginalised and underrepresented groups. We strive to create a fairer and inclusive society by investing in the long-term support and well-being of D/deaf, disabled, and marginalised people and communities.

We are a charity

Inclusive: SADT's Board of Trustees is a female-led, diverse, and disabled-majority board. A review of our governance has been essential to support Surface Area Dance Theatre's plans. As a CIO and Arts Council England, National Portfolio Organisation (2023-), and a Disabled Confident Leader, we have invested in robust EDI training and a Trustee peer-to-peer support group to recruit and retain diverse voices leading SADT's governance.

What we do

We host and commission a range of performances and events. SADT is a dynamic team of culturally diverse and highly skilled professionals, proudly trusted by the Deaf and disabled community to spearhead strategic fundraising efforts that elevate Deaf lived experiences and excellence as the foundation of creative and cultural leadership.

Over the past four years, we have partnered with six esteemed D/deaf cultural ambassadors, securing an impressive £236,000 in arts funding. This substantial investment has enabled 12 impactful arts and cultural programmes across North East England, Yorkshire, and South East England. Our commitment to advocating with the D/deaf and disabled community is central to our mission as we pursue a unified vision of long-term structural change, artistic freedom and experimentation.

Our Vision

With fifteen years of experience, we understand how to support D/deaf and disabled leadership effectively, informed by positively challenging mainstream arts programs that adopt a "one-size-fitsall" approach to access and representation, creating significant communication barriers that restrict diverse voices. Over the next five years, SADT will work with our existing and developing community to overcome challenges by dismantling barriers to fair access and participation in arts and culture.

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Our community

We collaborate with a diverse spectrum of organisations at regional, national, and international levels. Our collective ambitions and values define each relationship, which we track using our relationship map.

Equity, Diversity and Inclusion at SADT

Equity, Diversity and Inclusion (EDI) support the range and breadth of our work. They encourage us to be open to other cultures, to challenge our assumptions, biases and prejudices. They are essential for deep, trusting, mutually beneficial relationships. We want everyone coming into contact with us to feel respected and treated with dignity. We strive for alignment between our words and actions. We foster a sense of belonging among our employees and cultivate an environment where individuals feel at ease being themselves at work. The Department of Work and Pensions recognises Surface Area Dance Theatre as a Disability Leader and champion for Disability Confidence within our local and business communities. It is essential to value everyone and to be empathetic, fair, respectful and inclusive. This holds for employees, participants in, or contributors to our work, regardless of their background, characteristics, or attributes.

Public Benefit Statement

The Board of Trustees has referred to the Charity Commission's guidance on public benefit when reviewing the charity's objectives and planning its future activities. This annual report demonstrates the link between our charitable activity and how this benefits our service users. The Trustees understand and have discussed the implications of the provisions of the Charities Act 2006, which state that all charities must meet two key principles and i) demonstrate that they are established for public benefit, and ii) have had due regard to the public benefit guidance issued by the Charity Commission. Surface Area's beneficiaries and its aims are congruent, and the public benefits from its work. Benefits are evidenced and relate directly to its aims. The Trustees do not consider that any detriment or harm flows from its work and, therefore, believe that the charity meets both key principles.

Staff Team

Nicole Vivien Watson, Chief Executive

Nicole has over 15 years’ experience in the arts and is the Chief Executive and founder of Surface Area Dance Theatre, she established in 2007. Under her leadership, the organisation has joined Arts Council England's National Portfolio for 2023-2026. Nicole's collaborative work includes partnerships with The British Council, Arts Council England, and The Barbican, among others. In 2021, she earned an MA scholarship from SOAS, University of London, specialising in East Asian Buddhism and Japanese history. A passionate advocate for British Sign Language (BSL) and D/deaf culture, Nicole completed five years of accredited education in Sign Language and Deaf Culture in 2021. She actively promotes collaboration between D/deaf and hearing communities and fosters international relationships with D/deaf arts ambassadors in the UK, Japan, Greece, and North America.

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Sara Chezari, General Manager

Sara graduated from Loughborough University with a BA (Hons) in History and Politics and has held various roles, including light and sound technician, English language teacher, café manager, and founder of a Persian supper club. Sara worked with local community organisations in building resilience and promoting equity, diversity, and inclusion. She has performed governance reviews, developed training sessions, and worked to make organisations more inclusive for marginalised communities. At Surface Area Dance Theatre, Sara manages administrative operations and artistic activities, collaborating closely with Nicole Vivien Watson to achieve strategic goals and support diverse artists and communities.

Christopher Fonseca, Associate Artist

Christopher Fonseca is a dedicated choreographer, performer, and global D/deaf ambassador active in the UK, Europe and internationally. Notable achievements include his key role in the 2012 London Paralympics opening ceremony, where he showcased his unique talent. In 2017, he became an Associate Artist with Surface Area Dance Theatre, focusing on D/deaf access and inclusion. His ongoing projects involve creative writing, British Sign Language (BSL) poetry, and choreography methodologies.

Paul Miller, Associate Artist

Paul, a native British Sign Language user, works to promote Deaf Culture in mainstream settings. Since being appointed a Director of Surface Area Dance Theatre CIC in 2015, he contributed to the 2017 national tour of Auricular, presented at venues such as CCA in Glasgow and Turner Contemporary. His focus is on creating inclusive opportunities that increase the visibility of the D/deaf community in leadership roles within the arts. Recently, Paul delivered a series of British Sign Language tutorials with support from Arts Council England's Culture Recovery Fund.

Eliot Smith, Producer

Eliot Smith is a critically acclaimed British dancer, choreographer, and the founder and creative director of Eliot Smith Dance, a company renowned for its inclusive and impactful contemporary dance works. Born in 1990 in Newcastle upon Tyne, Eliot's artistic journey has been marked by a deep commitment to creating dynamic, diverse, and socially relevant dance productions. Eliot will be working part-time with SADT to support with producing and digital content creation.

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Rachel Jean Birch, associate and Operational Manager

Rachel Jean Birch is an experienced producer and arts leader, currently serving part-time as Operational Manager for Surface Area Dance Theatre, where she is responsible for the company’s dynamic programme of inclusive dance activity and represents SADT within the wider sector, both in the UK and internationally. Rachel is also the co-founder and Director of Moving Art Management, an independent producing company she has successfully led for over a decade. With a background as a trained dance artist, Rachel’s career spans roles as a performer, lecturer, teacher, and programmer across dance, music, theatre and comedy. Her expertise is rooted in producing and championing ambitious creative work, supporting artists and communities to co-create high-quality projects for stage and screen. A Clore Emerging Leader alumni and experienced fundraiser, she has actively secured millions of pounds of investment for arts activity across England. Rachel is passionate about organisational development and leadership in the arts and is proud to support Surface Area Dance Theatre’s inclusive mission.

Louise Stern, Associate Artist

Born 1978 in California, London-based artist and writer Louise Stern uses various forms of language to explore communication and isolation. Attending the California School for the Deaf, Fremont, Stern grew up in an exclusively deaf community (fourth-generation deaf on her father’s side, and third generation on her mother’s side), and saw in literature and visual language a way to investigate and liberate. As an artist Stern’s works have been exhibited in Geneva, Madrid, Barcelona, Istanbul, Paris, and London, and as a writer, she was the founder and publisher of Maurice 2002-2009, a contemporary art magazine for children.

Tom White, Associate Artist

Past projects include commissions and appearances for Radiophrenia, Glasgow (CCA); BRAUBLFF (KRAAK & De Player); Whitechapel Gallery, London & Colour out of Space Festival, Brighton. Collaborators include Maya Dunietz, Kieron Piercy, Ben Knight, Stuart Chalmers, and most recently in Al Fresco with Lia Mazzari & Sholto Dobie. He won the British Composer Award in 2014 (Sonic Art) for Public Address, commissioned by South London Gallery. In 2016 he founded Apologies in Advance; a platform for artists presenting work in progress performances.

Achievements and Performance

In a year when many arts organisations have faced closure due to external pressures, Surface Area has remained resilient and focused. Our small core team has met every deadline and delivery target for essential reporting, without complacency. This achievement reflects our collective endeavour and strong organisational discipline—qualities that will be vital in the year ahead.

The external climate is unlikely to improve in 2025/26, and we anticipate further pressures on finance, people, and energy. We will not be distracted by this, and our work will be grounded by keeping focus on the three core values that we re-affirmed in 2024 - Inclusive, Influential, Innovative .

Our success is not measured solely by compliance with our business plan, pledges to our funders, but by the quality and significance of what we deliver and the relationships we nurture. The following highlights include: performing at Bowes Museum, bringing Butoh to the NE community for the first

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time, a recent Laing Art Gallery commission, an invitation to Queer Butoh Festival 2025, our Athens partnership leading to our successful DeafVest project, creating a dance-for-camera film in Harewood house, hosting the first NE Deaf Rave, developing our collaborations with Newcastle Contemporary Art, and Fuse Theatre. We are grateful to Arts Council England, the Community Foundation, Henry Moore Foundation and LNER for their offers of funding.

BSL and Deaf Awareness

Our training delivery, in partnership with Paul Miller, artist and founder of Rory Studio CIC , continues to be popular and well-received, while also generating welcome income. Clients have included Tyne & Wear Museums & Archives, Newcastle City Council, The North East Inclusive Dance Network, Northern Stage, and Curious Arts. In addition, Bare Toed commissioned training for 20 artists in their Arts Connect network.

This training receives consistent positive feedback and forms part of Surface Area’s pledge to make the arts sector more accessible and inclusive. It is currently undergoing development to ensure a wider and broader reach across the sector.

Developing Partnerships

We have developed a new partnership with the Newcastle Deaf Centre to enhance creativity and inclusion, supported by a grant from the Community Foundation Newcastle Art Investment Fund. The project engages with 150 participants, some from families with a mix of hearing and non-hearing members, and will culminate in two live performances.

These performances will be a commission for Fuse Theatre CIC , bringing A Night in Sign—a BSL-led cabaret of music, dance, comedy, and poetry—to Alphabetti Theatre in Newcastle in summer 2025. This also forms part of our newly formed partnership with Alphabetti Theatre CIO.

We continue to establish international partnerships with the New York Butoh Festival, which has grown significantly. We are also eager to explore and develop an exciting new partnership with Dance Limerick.

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Butoh and Vangeline

Our relationship with Vangeline and the New York Butoh Institute continues to flourish. Vangeline visited the UK to deliver popular and well-received workshops in Newcastle and Sunderland, as well as an outstanding performance at the Blue Gallery in the Bowes Museum.

The Slowest Wave was performed on Saturday 23rd November, followed by a BSL-interpreted postshow discussion. The performance was supported by Eliot Smith, Surface Area’s new producer and General Manager, Sara Chezari.

Audience Feedback Highlight:

"I was at the performance at the Bowes Museum last night, and I'd like to give you a heartfelt thank you. I'm not any kind of dancer and, though I enjoy watching dance very much, I don't generally feel a strong body-to-body connection with it. But last night, for the first time I can remember, it seemed that the performer's body was speaking a kind of truth on behalf of my own, in a way I could recognise within myself. It was, on so many levels, extraordinary."

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We also created a word cloud from audience responses to visually showcase the diversity of experiences, highlighting the work’s immersive and meditative qualities.

Looking ahead, plans are in place for a Surface Area group to attend the Institute’s Queer Butoh Festival in New York in summer 2025 (its ninth year). This will build on our Dance for Camera piece, choreographed by Vangeline and performed by Ashling McCann, Christopher Fonseca, Annie Dearnley, and Jesse Salaman. The film will be displayed in the Watercolour Gallery at Laing Art Museum from December 2024 for a year.

In preparation, the group visited the Nerys Johnson Archive (led by PhD researcher Rachel Boyd) and filmed in the Great Hall, projecting digitised versions of Nerys Johnson’s watercolours onto dancers performing Butoh techniques. This work grew from multiple R&D projects and may be performed in New York as part of the 2025 festival.

International Work

In addition to our New York connection—and previous work in Japan and Italy—development activities continued in Athens with Deaf and hard-of-hearing groups. Long-term artistic associates Tom White (sound/vibration) and Christopher Fonseca (dance) have remained key contributors in both the UK and Greece during 2024/25.

Haptic workshops , delivered by Nicole Vivien Watson and Christopher Fonseca, have taken place both at home and abroad.

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Haptic, Deaf Vest, and Vibro-acoustic Music

Wearable haptic technology—enabling deaf and hearing performers to share the same sensory experience through sound and vibration—remains integral to our programmes. Following contact at our Full of Noises workshop, we appointed Janet Bosson as a Board Member.

DeafVest

Alt text: A diverse group of people stands with their arms raised high in joyful poses. They are positioned at different heights (photography by Bonelli Arte).

In November 2024, we completed DeafVest , a transformative two-year project funded by the Latsis Foundation and Arts Council England.

This project began with a six-month consultation between Surface Area and fifteen members of the Athens Deaf community, shaping DeafVest’s framework and name. Using Woojer vests, which translate sound into vibrations, DeafVest empowered participants to experience rhythm and music in immersive new ways.

The project launched an accessible website—available in Greek, Sign Language, and with closed captions—offering guidance on vest activation and venue setup, plus a user-friendly booking system for independent management.

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To mark the project’s conclusion, Deaf dance artist Christopher Fonseca led workshops in Athens to deepen participants’ connection to haptic technology and community confidence. The project aims to broaden its reach, fostering conversations that promote long-term inclusion and cultural awareness in the arts.

Long-term collaborator Tom White also presented at a Henry Moore Institute symposium on expanding artistic approaches through sensory experiences. We are also pleased to be associated with Tim Baker , whose Arts Council DYCP Vibroacoustic Music project uses Surface Area’s sub-pacs.

DeafRave

In partnership with Newcastle Contemporary Art (NCA) , we brought DeafRave to Newcastle for the first time—a celebration of deaf and disabled talent in club culture, fostering links between deaf and hearing communities through shared sensory experiences and haptics. This was the first event of its kind in the North East.

Community Workshops:

In partnership with DeafRave and supported by NCA, we delivered inclusive community events on 8 March 2025, including two DJ workshops for ages 7+ and 12+, plus a DeafRave enhanced by haptic technology.

The evening featured:

Videographer Elijah captured the event, which was also covered by ITV3 on the following day’s news.

Internal Development and Learning

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Film and Theatre

Anthos

Anthos, a dance-for-camera film, was made at Harewood House in summer and screened there on a continuous loop until March. It launched at the Henry Moore Institute in Leeds and is now appearing at film festivals.

Inspired by the 1938 Jacob Epstein sculpture Adam, Anthos was filmed in the house and Himalayan Gardens. Thanks to Arts Council England, the Henry Moore Institute and the Harewood House Trust for their support and inspiration. We anticipate this short film will go onto receive awards.

The Gingerbread Witch project school workshops

We supported Rory Studio’s ACE-funded theatre and animation project The Gingerbread Witch to reach young people through 19 workshops (December 2023 – August 2024) in Sunderland and across Durham. These reached 155 children, including deaf, disabled, and neurodivergent participants aged 5–15.

Stakeholders and partners

Bowes Museum Laing Art Gallery Newcastle Contemporary Art Baltic Contemporary Centre, Southpaw Dance Studio Newcastle Deaf Centre Dance City Northern Stage Alnwick Playhouse Ushaw College Bede College (Sunderland) Durham University Gilesgate Primary School Thorney Close Primary School Jesmond Park Academy Muckle LLP Henry Moore Insitutue Harewood House Lowry Centre South Bank Centre The Hepworth Wakefield Barbican Limerick Dance Roche Court Sculpture Park Stop Gap DC Fuse Theatre CIC Rory Studios CIC Digital Culture Network New York Butoh Insitutue DeafRave British Council (Japan, Athens) Latsis Foundation Oriente Occidente Christopher Fonseca Tom White Nicolas Singleton Louise Stern Paul Miller Cara Mcwilliam Tim Baker Toi Guy Annie Dearnley Bold Melon Collective Nat Sharp

Evaluation and outputs

Monitoring and evaluation by the board, including social accounting methodologies, will consider impact across project work, utilising digital software (such as Views) to process and analyse all data collected. Quantitative data such as engagement and performance attendance, artists involved, employment opportunities, growth of followers and interaction on social media, qualitative data such as performance impact, skills development, improvement to wellbeing, happiness at work, and progress towards mission and purpose will be used.

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Culture Counts and Illuminate, ACE’s recommended data analysis tool, will be used. Data to be reviewed regularly by the Board of Trustees. Evaluating against ACE Let’s Create Investment Principles and Outcomes, and our proposed activity, to ensure they are being met to strengthen the management structure and ensure the leadership team is inclusive to D/deaf, disabled and marginalised.

Started to develop a CRM system where all SADT forms, audience interactions, SADT work, documents and data can be stored in one place and accessed securely by the SADT.

Financial review

Review of the year

The results for the year and the charity's financial position at the end of the year are shown in the attached financial statements.

During the year the Charity had income of £251,334 (2024: £208,596) and expenditure of £237,175 (2024: £106,707). There was an operating surplus of £14,159 (2024: £101,889).

At 31 March 2025 the Charity had net assets of £122,048 (2024: £107,889).

Reserves policy

The Trustees consider the level of reserves, £122,048 (2024: £107,889), prudent for the Charity at this time taking into account potential liabilities in the event that the charity ceased. Our Reserves Policy is reviewed annually.

Reserves

Target:

Surface Area Dance Theatre aims to maintain unrestricted funds equivalent to 3-6 months of the charity’s annual expenditure. For the fiscal year 2025-2026, with a budgeted expenditure of £300,000, the reserves target is set between £37,000 and £42,000.

Current Reserves:

As of the end of March 2025, SADT holds reserves of £122,048, equivalent to 6 months of the target level. These reserves are critical for meeting the working capital needs of the charity and ensuring its ability to sustain activities in the event of a significant drop in funding.

Risk Management

Surface Area’s senior management team has conducted its own review of the major risks to which the charity is exposed, and systems have been established to mitigate those risks. Internal risks are minimised by the implementation of procedures for the authorisation of all transactions and projects and for ensuring the consistent quality of the delivery of all operational aspects of the charitable company.

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These procedures are periodically reviewed to ensure that they still meet the needs of the charity. As part of its annual business planning process, the charity Trustees regularly review the charity's major governance, operational and financial risks and confirm that systems have been established to mitigate these risks. Surface Area has a risk management strategy in place which comprises an annual review of the strategic risks the charity may face via the business plan, the establishment of systems and procedures to mitigate those risks identified, the implementation of procedures designed to minimise any potential impact on the charity should those risks materialise.

Plans for future periods

Surface Area Dance Theatre is committed to the ambitious scale and quality of our activities while recognising the wider impact of our consistent growth on capacity and team well-being.

These may need to be amended/updated/revised Future plans include:

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Structure, governance and management

Structure:

The Chief Executive manages the charity’s day-to-day operations, supported by the General Manager and producer Eliot Smith.

Governance

Type of Governing Document - Surface Area Dance Theatre is registered with the Charity Commission in March 2023 under the terms of the Charities Act 2011, having converted from its former status as a Community Interest Company. The importance of appropriate governance arrangements to empower and lead the organisation are well understood. The board challenges and holds the organisation accountable to its core mission and purpose, including its obligations as a Charitable Incorporated Organisation, and particularly as an Arts Council England National Portfolio Organisation, for SADT's outcomes, proposed activities and agreed expenditure.

Engaging currently seven Trustee Board members with leadership, disability and governance experience to strengthen the resilience of SADT – Jeff Dean has been appointed Chair, with trustees Liz Pavey, Val Milnes, Dave Sharp, Carole Blyth, Rachel Boyd and Fusako Innami and newly appointed Trustee Janet Bosson and Joel Daniels.

Surface Area Dance Theatre’s board is representative of Disability, D/deaf & HOH, and diverse cultural heritage.

Under its Founding Constitution, there must be at least three charity Trustees and a maximum of nine. The Trustees are also the only Members of the charity, and consequentially, in the absence of a general Membership, there is no requirement to call a separate Annual General Meeting although the annual business of the organisation may be conducted a meeting with a separate agenda from the ordinary business.

Trustees are required to declare at board meetings if they, their families, or close associates might have a financial interest in a decision to be made at the meeting, and to withdraw from the meeting if this appears to be the case. They are also asked to declare if there is any possible conflict of interest either personally or organisationally with their other business activities.

The Board meets a minimum of four times per year and receives detailed written Board reports and oral presentations in connection with an agenda prepared by the Chief Executive Officer, agreed with the Chair, and circulated in advance of meetings.

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Trustee Operations

Recruitment and Appointment of the Board

The Board meets a minimum of four times per year. Detailed written Board reports and an agenda are prepared by the Chief Executive Officer and circulated in advance of meetings. Potential Trustees are identified through discussions and recommendations offered by existing Trustees and outside advisors to the organisation, as well as, through the formal advertisement of vacancies through arts and charitable networks. Trustee applicants complete an application process and undergo an interview with a trustee recruitment panel, including the Chair and the Artistic Director, before being recommended to the full Board. Trustees are appointed once the Board has authorised the selection, and on completion of the necessary registration paperwork. New Trustees are offered induction and guidance and required to attend Trustee and Staff away day activities to ensure familiarisation with the charity, its work, finances and their legal duties as Trustees. New Trustees are inducted by the Chair of the Board, other Trustees and the staff team. They are provided with a range of resources to support their understanding of Surface Area’s activities. From time to time, the Trustees elect a Chair and determine for what period the Chair is to hold office.

Board Induction and Training

New Board Members are introduced to the work of the organisation and informed of their legal roles and responsibilities at an induction meeting. The induction and training programme for new Board Members includes:

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Trustees

Surface Area Dance Theatre’s board is representative of Disability, D/deaf & HOH, and diverse cultural heritage. There are currently eight, soon to be nine, Trustee Board members with leadership, disability and governance experience to strengthen the resilience of SADT:

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Trustee team

Carol Blythe

Carol brings a wealth of experience in championing diversity, equality, and inclusion (DEI). Over the past 20 years she has worked with organisations of all sizes, helping them understand the true essence of DEI and implementing practical strategies to create inclusive cultures. Carol is a magistrate and is committed to justice and community work.

Janet Bosson

With over 30 years of teaching experience and 55 years in dance, Janet is a dedicated instructor for dancers of all levels. Growing up in a dance family in Liverpool, Janet has lived and breathed dance her entire life. Qualifications include Ballroom and Theatre Examiner, Fellow of the UKAPTD, Fellow of the IDTA, trustee at Surface Area Dance, Principal at The Bosson School of Dance. Her personalised teaching approach, shaped by 15 years working alongside former world champion Eric Lashbrook, ensures that every student thrives in a supportive environment.

Rachel Boyd

Rachel is a second-year PhD student at Northumbria University. Her writing has appeared in publications such as the Scottish Society for the History of Photography, MAP Magazine, and New Internationalist. Her research examines the intersection of co-production, care, and community in artistic practices supported by women. Her PhD, funded by a Northern Bridge AHRC Collaborative Doctoral Award, focuses on the Laing Art Gallery’s recent acquisition of the archive of disabled artist-curator Nerys Johnson (1942-2001). This work will contribute to a retrospective of Johnson’s life and art, which Rachel is curating at the Laing’s Watercolour Gallery in January 2025.

She has also served on the editorial team for Disability Arts Online, an arts journal highlighting the work of disabled artists in the UK.

Joêl Daniel

After graduating from the Northern School of Contemporary Dance, Joêl became involved in various performance genres, focusing on movement direction and choreography. In 2019, he retrained as a primary school teacher but returned to the world of movement at the Bristol Old Vic Theatre School. Currently Joêl teaches actors' movement and co-teaches an

embodied voice class. He has also served as the anti-racism advocate for the past two years, facilitating transparency and student-led initiatives and co-chairing the anti-racism working group.

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Fusako Innami

Fusako Innami is an associate professor in Japanese and Performance Studies at Durham University and the author of Touching the Unreachable: Writing, Skinship, Modern Japan (2021). Her research focuses on the body, senses, intimacy, and sleep. She has contributed articles on the performing arts and created works for notable organizations, including the Bunkamura cultural complex in Tokyo and Glyndebourne Opera.

Val Milnes

Val is a trustee of several organisations and has been a school governor since 1988, now a member of Ascent Academies Trust. Val is a director of Grace House in Sunderland, director of Difference (a small disability charity) and have been a trustee of Pine Tree (another disability charity) and has sat on numerous other government boards in the past. As Finance Manager at the National Glass Centre Val was involved with the Arts Council, the Crafts Council and other associated boards previously.

Liz Pavey

Liz has lectured in dance and performance at Northumbria University since 2004, where she is also the Programme Leader for the Arts Foundation Year. She teaches in the BA and MA programs in Theatre and Performance and serves as the external examiner for dance programs at UCLan and the University of Bedfordshire. Qualified in business coaching, Liz is a founding member of d.i.n.e., a north-east dance improvisation collective. Her sitespecific practice, influenced by somatic movement and her Shiatsu background, includes recent projects like Take Your Seats and Green Grass, which explore our connection to place. Currently, she is collaborating with Dr Laura Fish on The Other Side of Me, investigating the intersection of language, movement, and narratives related to indigeneity and the criminal justice system, and working on community performance projects in Eyemouth, Scotland, with theatre director Fiona MacPherson and musician Ellie Logan.

Dave Sharp

Dave has 30 years’ experience within software development covering a multitude of sectors and applications. He is currently the founder of digital think-tank Binary Asylum as well as the CTO of a number of start-ups across the UK. Dave also specialises in IT due diligence for venture capitalists and investors.

23

Jeff Dean, Chair

Jeff has held senior management roles in both the public and private sectors. Most recently, he was the Director of Human Resources and Organisational Development at Gateshead Council, where he also served as Director of Corporate Services. His responsibilities included HR strategy, policy development, operational support, health and safety, and occupational health. He has participated in numerous cross-functional boards and was the HR Adviser to the former Northumbria Police Authority. Jeff founded and chaired the Public Service Academy, promoting training collaboration among public sector organisations in Tyneside, and also chaired the North East Region Strategic HR Forum. In financial services, he worked on mergers and acquisitions, focusing on senior appointments and internal communications for companies like General Accident and Norwich Union Life. He has extensive experience in HR roles at Water Companies and in the electricity generation sector.

A member of the Chartered Institute for Personnel and Development and a Fellow of the Royal Society of Arts, Jeff has served as chair for organisations such as Dance City in Newcastle and Phoenix Dance Theatre in Leeds. He is currently the chair of Gateway Studio in Gateshead and an Associate Artist of the Geraldine Connor Foundation.

Reference and Administrative details

Charityname Surface Area Dance Theatre CIO
Other name the charityuses
Registered charitynumber 1202467
Charity’s principal address 2 Crossgate Rd
Hetton-le-Hole,
Houghton le Spring
DH5 0EN
Office Address Dance City,
Temple Street,
Newcastle upon Tyne,
NE1 4BR(UK)

Name of chief executive or names of senior staff members

Nicole Vivien Watson, CEO

Sara Chezari, GM

24

Statement of Trustee Responsibilities

The trustees are responsible for preparing the Trustees’ Annual Report and the Financial Statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).

Charity SORP requires the trustees to prepare financial statements for each financial year, which give a true and fair view of the state of affairs of the charity and of incoming resources and application of resources, including the receipts and payments of the charity for that year. In preparing those financial statements, the trustees are required to:

The trustees are responsible for keeping accounting records that disclose with reasonable accuracy at any time the financial position of the charity. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Approved by the Trustees on 16/10/25 and signed on their behalf by:

Jeff Dean

Chair

25

Declarations

The trustees declare that they have approved the trustees’ report above.

Signed on behalf of the charity’s trustees

Signature(s) Full name(s) Jeff Dean Position (eg Secretary, Chair of the Board Chair, etc) Date 16/10/25

26

SURFACE AREA DANCE THEATRE

INDEPENDENT EXAMINER'S REPORT TO THE TRUSTEES

For the year ended 31 March 2025

I report on the financial statements of Surface Area Dance Theatre for the year ended 31 March 2025, which are set out on pages 28 to 38.

Respective responsibilities of trustees and examiner

The charity's trustees are responsible for the preparation of the accounts. The charity's trustees consider that an audit is not required for this year under section 144 of the Charities Act 2022 ("the Charities Act) and that an independent examination is needed.

Having satisfied myself that the charity is not subject to audit under company law and is eligible for independent examination, it is my responsibility to:

Basis of independent examiner's statement

My examination was carried out in accordance with general Directions given by the Charity Commission. An examination includes a review of the accounting records kept by the charity and a comparison of the accounts presented with those records. It also includes consideration of any unusual items or disclosures in the accounts, and seeking explanations from the trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit, and consequently no opinion is given as to whether the accounts present a ‘true and fair view’ and the report is limited to those matters set out in the statement below.

Independent examiner's statement

In connection with my examination, no material matters have come to my attention which gives me cause to believe that in, any material respect:

I�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.

Doug Maltman FMAAT D G Maltman Fellow Member of the Association of Accountancy Technicians Connected Voice Charity Business Services One Strawberry Lane Newcastle upon Tyne NE1 4BX Date: 13.11.2025

27

SURFACE AREA DANCE THEATRE

STATEMENT OF FINANCIAL ACTIVITIES

For the year ended 31 March 2025

----- Start of picture text -----
Unrestricted Restricted Total Total
Funds Funds 2025 to
£ £ £ £
Income from:
Charitable activities
Grants and contracts 6 222,999 - 222,999 195,841
Other trading activities 7 28,335 - 28,335 12,755
-
Total income 251,334 251,334 208,596
Expenditure on:
Charitable activities
Operation of the charity 8 237,175 - 237,175 106,707
-
Total expenditure 237,175 237,175 106,707
-
Net income/(expenditure) 14,159 14,159 101,889
Exceptional item 9 - - - 6,000
Net income/(expenditure) and net -
14,159 14,159 107,889
movement of funds
Reconciliation of funds
- -
Total funds brought forward 107,889 107,889
-
Total funds carried forward 122,048 122,048 107,889
Notes
----- End of picture text -----

The Statement of Financial Activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities

The notes on pages 30 to 38 form an integral part of these accounts.

28

Charity Number 1202467

SURFACE AREA DANCE THEATRE

BALANCE SHEET

As at 31 March 2025

----- Start of picture text -----
Total Total
2025 0
£ £ £ £
Fixed assets
Tangible assets 16 799 1,199
Total fixed assets 799 1,199
Current assets
Cash at bank and in hand 17 121,669 108,245
Total current assets 121,669 108,245
Creditors: amounts falling due within
one year 18 ( 420 ) ( 1,555 )
Net current assets 121,249 106,690
Total net assets or liabilities 122,048 107,889
Funds of the charity
Unrestricted income funds 122,048 107,889
Restricted income funds - -
Total funds 122,048 107,889
The notes on pages 30 to 38 form an integral part of these accounts.
These financial statements were approved by the Board on:
and are signed on its behalf by: Jeff Dean 16.10.25
Chair
Notes
----- End of picture text -----

29

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

1 Accounting Policies

The principal accounting policies adopted, judgements and key sources of estimation uncertainty in the preparation of the financial statements are as follows:

2 Basis of accounting

2.1 Basis of preparation

These accounts have been prepared under the historical cost convention with items recognised at cost or transaction value unless otherwise stated in the relevant note(s) to these accounts.

The accounts have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective October 2019) – Charities SORP (FRS 102), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) and the Charities Act 2022.

Surface Area Dance Theatre meets the definition of a public benefit entity under FRS 102.

2.2 Preparation of the accounts on a going concern basis

The charity reported total unrestricted funds at the year end of £14,159 and has already secured a significant amount of funding for the current year. The trustees are of the view that the immediate future of the charity for the next 12 to 18 months is secure and that on this basis the charity is a going concern.

3 Income

3.1 Recognition of income

Income is recognised when the charity has entitlement to the resources, any performance conditions attached to the item(s) of income have been met, it is more likely than not that the resources will be received and the monetary value can be measured with sufficient reliability

3.2 Offsetting

There has been no offsetting of assets and liabilities, or income and expenses, unless required or permitted by FRS102 SORP or FRS102.

3.3 Grants and donations

Income from government and other grants, whether ‘capital’ grants or ‘revenue’ grants, is recognised when the charity has entitlement to the funds, any performance conditions attached to the grants have been met, it is probable that the income will be received and the amount can be measured reliably and is not deferred.

Income received in advance of the provision of a specified service is deferred until the criteria of income recognition are met.

30

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

3.4 Donated goods and services

Donated goods are measured at fair value (the amount for which the asset could be exchanged) unless impractical to do so.

Donated services and facilities are included in the SoFA when received at the value of the gift to the charity provided that the value of the gift can be measured reliably. Donated services and facilities that are consumed immediately are recognised as income with the equivalent amount recognised as an expense under the appropriate heading in the SoFA.

3.5 Volunteer help

The value of volunteer help received is not included in the accounts but is described in the trustees' annual report.

3.6 Interest receivable

Interest on funds held on deposit is included when receivable and the amount can be measured reliably by the charity; this is normally upon notification of the interest paid or payable by the bank.

3.7 Income from membership subscriptions

Membership subscriptions received in the nature of a gift are recognised in donations and legacies.

Membership subscriptions which gives a member the right to buy services or other benefits are recognised as income earned from the provision of goods and services as income from charitable activities.

3.8 Investment gains and losses

This includes any realised or unrealised gains or losses on the sale of investments and any gain or loss resulting from revaluing investments to market value at the end of the year.

3.9 Fund accounting

Unrestricted funds are available to spend on activities that further any of the purposes of the charity. Designated funds are unrestricted funds of the charity which the trustees have decided at their discretion to set aside to use for a specific purpose. Restricted funds are donations which the donor has specified are to be solely used for particular areas of the charity's work or for specific projects being undertaken by the

4 Expenditure and liabilities

4.1 Liability recognition

Liabilities are recognised when it is more likely than not that there is a legal or constructive obligation committing the charity to pay out resources and the amount of the obligation can be measured with reasonable certainty.

4.2 Charitable activities

Expenditure on charitable activities includes the costs of work and other activities undertaken to further the purposes of the charity and their associated support costs.

31

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

4.3 Governance and support costs

Support costs have been allocated between governance cost and other support. Governance costs comprise all costs involving public accountability of the charity and its compliance with regulation and good practice.

Support costs are those functions that assist the work of the charity but do not directly undertake charitable activities. Support costs include central functions and have been allocated to activity cost categories on a basis consistent with the use of resources.

4.4 Irrecoverable VAT

Irrecoverable VAT is charged as a cost against the activity for which the expenditure was incurred.

4.5 Creditors

The charity has creditors which are measured at settlement amounts less any trade discounts.

4.6 Provisions for liabilities

A liability is measured on recognition at its historical cost and then subsequently measured at the best estimate of the amount required to settle the obligation at the reporting date.

5 Assets

5.1 Tangible fixed assets for use by the charity

Individual fixed assets costing £1,000 or more are capitalised at cost and are depreciated over their estimated useful economic lives on a straight line basis, the charity does not currently have any tangible fixed

Leasehold property improvements Straight line over life of lease Office and computer equipment Straight line over four years

5.2 Heritage assets

The charity has heritage assets, that is, non-monetary assets with historic, artistic, scientific, technological, geophysical or environmental qualities that are held and maintained principally for their contribution to knowledge and culture.

5.3 Investments

Fixed asset investments in quoted shares, traded bonds and similar investments are valued at initially at cost and subsequently at fair value (their market value) at the year end. The same treatment is applied to unlisted investments unless fair value cannot be measured reliably in which case it is measured at cost less impairment.

Investments held for resale or pending their sale and cash and cash equivalents with a maturity date of less than 1 year are treated as current asset investments.

32

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

Analysis of income

6
7		 Charitable activities
Income from grants
National Lottery Community
Foundation
Other trading activities
Community workshop
Fees
Exhibitions by TWA
DWP
Training
ACE
Hadrian Trust
Unity Theatre Trust
John S Latsis
Community Foundation		 Unrestricted
Funds
£
209,636
-
-
-
-
11,350
2,013
222,999
1,200
5,026
20,459
1,650
28,335		 Restricted
Funds
£
-
-
-
-
-
-
-
-
-
-
-
-
-		 Total
2025
£
209,636
-
-
-
-
11,350
2,013
222,999
1,200
5,026
20,459
1,650
28,335		 Total
23.03.2023
to
31.03.2024
£
162,086
1,000
1,000
16,845
14,910
-
-
195,841
2,191
6,764
3,800
-
12,755

Income was £251,334 (23.03.2023 to 31.03.2024: £208,596) of which £251,334 was unrestricted or designated (23.03.2023 to 31.03.2024: £208,596) and £0 was restricted (23.03.2023 to 31.03.2024: £0)

33

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

Analysis of expenditure on charitable activities

8 Charitable activities
Direct costs
Support costs
Governance costs
Office equipment costs
Independent examiner's fees for reporting on
the accounts
Bank charges
Subscriptions
Consultancy fees
Staff salaries
Depreciation
Donations made
Accountancy fees
Payroll fees
Training
Artist fees
Interpreter fees
Travel and accommodation
Rent
Marketing
Production costs
Insurance
IT software		 Unrestricted
Funds
£
72,850
27,457
15,031
44,739
3,518
6,287
32,614
11,707
2,926
1,764
3,909
-
400
2,384
6,016
2,067
1,148
1,938
420
237,175		 Restricted
Funds
£
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-
-		 Total
2025
£
72,850
27,457
15,031
44,739
3,518
6,287
32,614
11,707
2,926
1,764
3,909
-
400
2,384
6,016
2,067
1,148
1,938
420
237,175		 Total
23.03.2023
to
31.03.2024
£
57,639
7,914
7,513
22,990
635
525
4,517
1,263
127
1,960
600
264
400
-
-
-
-
-
360
106,707

Expenditure on charitable activities was £237,175 (23.03.2023 to 31.03.2024: £106,707) of which £237,175 was unrestricted or designated (23.03.2023 to 31.03.2024: £106,707) and £0 was restricted (23.03.2023 to

9 Exceptional item

Funds held prior to Charity
Commission registration.		 Unrestricted
Funds
£
-
-		 Restricted
Funds
£
-
-		 Total
2025
£
-
-		 Total
23.03.2023
to
31.03.2024
£
6,000
6,000

34

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

10 Fees for examination of the accounts

Independent examiner's fees for reporting on the accounts
There were no other fees paid to the examiner (23.03.2023 to 31.03.2024: £nil)		 2025
£
420
420		 23.03.2023
to
31.03.2024
£
360
360

11 Analysis of staff costs and the cost of key management personnel

Salaries and wages
Social security costs
Pension costs (defined contribution pension plan)
Other employee benefits		 2025
£
66,813
1,968
4,069
-
72,850		 23.03.2023
to
31.03.2024
£
52,899
1,565
3,175
-
57,639

No employee received remuneration above £60,000 (23.03.2023 to 31.03.2024: £nil)

The key management personnel of the charity, comprise the trustees and the Executive Director . The total employee benefits of the key management personnel of the charity were £39,598 (2024 £39,482).

12 Staff numbers

The average monthly head count was 2 staff (23.03.2023 to 31.03.2024: 2 staff) and the average monthly number of full-time equivalent employees during the year were as follows:

13 Transactions with trustees

None of the trustees have been paid any remuneration or received any other benefits from an employment with their charity or a related entity.

Trustees' expenses

The following detail the expenses incurred by the trustees.

Travel 2025
£
3,105
3,105		 23.03.2023
to
31.03.2024
£
-
-

35

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

Transaction(s) with related parties

The following detail the related party transactions in the reporting period.

Name of the trustee or related
party
Description
of the
transaction
NV Watson
Executive
Director
Consultancy
Relationship
to charity		 Amount
£
9,000		 Balance at
period end
£
9,000		 Amounts
written off
£
-

14 Defined contribution pension scheme

The charity operates a defined contribution pension scheme. The assets of the scheme are held separately from those of the charity in an independently administered fund.

The employer's pension costs represent contributions payable by the charity to the fund and amount to £4,069 (23.03.2023 to 31.03.2024: £3,175). There was £0 outstanding as at 31 March 2025 (23.03.2023 to

15 Corporation Taxation

The charity is exempt from tax on income and gains falling within section 505 of the Taxes Act 1988 or section 252 of the Taxation of Chargeable Gains Act 1992 to the extent that these are applied to its charitable objectives.

16 Tangible fixed assets
Cost
Balance brought forward
Additions
Revaluations
Disposals
Transfers
Balance carried forward
Depreciation
Basis
Rate
Balance brought forward
Disposals
Depreciation charge for year
Impairement
Transfers
Balance carried forward
Net book value
Brought forward
Carried forward		 Office and
computer
equipment
£
1,599
-
-
-
-
1,599
SL
25%
400
-
400
-
-
800
1,199
799		 Total
£
1,599
-
-
-
-
1,599
400
-
400
-
-
800
1,199
799

36

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

17 Cash at bank and in hand

Cash at bank and in hand
18 Creditors and accruals (payable within 1 year)
Taxation and social security
Accruals
Independent examination of accounts		 2025
£
121,669
121,669
2025
£
-
420
420		 23.03.2023
to
31.03.2024
£
108,245
108,245
23.03.2023
to
31.03.2024
£
1,195
360
1,555

19 Events after the end of the repo Unrestricted Funds

No events (not requiring adjustment to the accounts) have occurred after the end of the reporting period but before the accounts are authorised which relate to conditions that arose after the end of the reporting period.

20 Analysis of charitable funds

Analysis of movements in unrestricted funds

Unrestricted funds
General unrestricted fund
Totals
Purpose of unrestricted funds
General unrestricted fund		 Fund
balances
brought
Incoming
Resources
forward
resources
expended
£
£
£
107,889
251,334
( 237,175 )
107,889
251,334
( 237,175 )
The 'free reserves' of the charity		 Transfers
£
-
-		 Fund
balances
carried
forward
£
122,048
122,048

21 Capital commitments

As at 31 March 2025, the charity had no capital commitments (23.03.2023 to 31.03.2024 -£nil)

37

SURFACE AREA DANCE THEATRE

NOTES TO THE FINANCIAL STATEMENTS

For the year ended 31 March 2025

22 Analysis of net assets between funds

Tangible fixed assets
Cash at bank and in hand
Other net current assets/(liabilities)		 Unrestricted
Funds
£
799
121,669
( 420 )
122,048		 Restricted
Funds
£
-
-
-
-		 Total
2025
£
799
121,669
( 420 )
122,048		 Total
23.03.2023
to
31.03.2024
£
1,199
108,245
( 1,555 )
107,889

38