2024-03-31-accounts

Charlty number: 1203920 ARTS TRUST PRODUCTIONS UNAUDITED TRUSTEES, REPORT AND FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 Doc ID.. a3e921cc61¢2aeccd6e19803a19c81721fca1a88

ARTS TRUST PRODUCTIONS CONTENTS Page R8ferencg and adminlstratlve details of the Charlty, Its Trustèes and advlsers Trustees r9POrt Independent examlnerfs report statement of flnancial activltles 20 21 Balanco $heet 22 Notes to the financial $tst8m9nts 23-34 Doc ID. a3e92fcc61c2aeccd6e19803a19c81721fca1a88

ARTS TRUST PRODUCTIONS Charity Reference and Administration Details Year Ended 31 March 2024 Charity Registration Number 1203920 Trustees Professor Angela Pickard PhD - Chair (Appointed 10th July 2023) Hambel Wallace (Appointed 10th July 20231 Hary MacAuslan {Appointed 28 October 20241 Martin Collins IAppointed 1 Oth July 2023) Registsred Office 108 Dumont Avenue St Osyth Essex C016 8JS Service Office 20 McLeod Road London SE2 OBP Accountants Nyman Libson Paul LLP Chartered Accountants 124 Finchley Road London NWJ 5JS Bankerg Lloyds Bank 120 Lewisham High St. London SE13 6JG Doc ID.. a3e92ft&81c2aeccd6e198Q3a19c81721fca1a88

TRUSTEES, ANNUAL REPORT Year Ended 31 March 2024 The Trustees present their Annual Report together with the financi81 statements of Arts Trust Productions {the"Charity"I for the year ended 31 March 2024. The Trustees confirm that the Annual Report and financial slalemenls comply with the current statutory requirements, the requirements of the Charitable Company's governing document and the provisions of the Statement of Recommended Practice {SORPI, aPpI￿able lo charf(ies preparing their accounts in accordance with the Financial R8POrting Standard applicable in the UK and Republ¢c of Ireland IFRS 1021. SION AND MISSION Arts Trust Productions is dedicated to creating inclusrve, community-led cultural experiences that empower marginalised voices and address systemic barriers to cultural engagement. By focusing on Communities in South East London, Camden, and the Tendring District of Essex - areas often grappling wrth socio-economic challenges such as economic deprivation, social isolation, and limited cuhur21 opportunities - our work prKJrilises individuals from low-income and marginalised backgrounds. Through shared deCiS￿n-MakITrg, collaboration, and equitable access, we strive to transform the cultural sector into a responsive and representstive space deeply rooted in the needs and lived experiences of the communit￿S we serve. In the wake of the COVID-19 pandemic, heightened levels of loneliness and poor mental health have disproportionately impacted depfived communities. Our programmes are designed to address these challenges by fostering connection. resilience, and well-being through accessible cultural experiences. By co-designing events with lo￿1 communities and offering free. inclusive programming, we create spaces that facilitate civic diabgue, build social capital, and promote collective action, underscoring the transformative power of place-based arts initiatives in addressing social inequilies. OBJECTIVES. ACTIVITIES AND PU8LIC BENEFIT The Trustees confirm that, in setting and reviewing the objectives and activities of the Company, they have paid due regard lo the Charity Commission's guKlance on public benefit. Originally established in 2012 and converted to a charity in 2023, Arts Trust Pfoductions is committed to promoting culture and arts in the public realm through eo-designed partnerships th local communities and businesses. In the context of Arts Trust Productions, the term 'public realm, encompasses a Ixoad range of spaces where culture and arts can be experienced by the communty. This include5 not only traditional public areas like parks and open spaces bul also extends to privately owned land that is accessible to the public. diqttal platfomis that reach online audiences. and indoor venues where events are held. By usirlg 'pUbl￿ realm. we highlight our commitment lo making arts and culture accessible in diverse and inclusive settings, Èoth physical and virtual, ensuring that our work reaches as many people as possible. Our primary fccus is on engaging low socio*conomi¢ and marginalised cOmmunit￿s, working towards four key theories of change.. Doc ID.. 83e92fe(fj1e2aeced6e19803a19c81721fca1888

1. Reducing Loneliness and Isolatlon: Through our flagship initiatives like Summer in the Park and King's Cross Summ8r Sounds, we create vibrant. inclusive spaces where people can gather, connect, and part￿iPate in cultural aclivilies. In 2023, each year our events engaged over 25,000 audience members across 25 events. wth signi￿ant participation from local residents and community groups. Vve strategically focus on areas where social isolation is p￿valent, such as rural communities in Tendring, and tailor our events to promote social interactnn and foster friendships.
2. Increa8ing Communities, Sense of 8èlonging and Place-maklng.. Our approach to programming is deeply community-cenlric. We collaborate with local resKlenls' associations and community panels, such as the Wesl Thamesmead Residents AssOci8t￿n and Fr￿ndS of Maryon Park, to co-design events that reflect Ihe specific needs and aspirations of the local population. In 2023, Summer in the Park Included 24 community-led perforynances and 29 participatory workshops, directly involving 136 local communty members. Feedback from participants highlighted the pride and ownership they fell, with one attendee slating, "Il's just what we needed in this area, somewhere the kids can come and have fun. Fun for all the family and dog."
3. Increaslng Health and Emotional Wellbeing: The arts have a profound impact on mental health and wellbeing. and OUT programmes are desKJned to promote both physical and emotional hearth. Events like the Fire Songs performance for audiences with Profound and Multiple Learning Disabilities IPMLDI offered immersive, sensory gxperiences that enhanced emotional wellbeing for Part￿￿PantS. By collaborating with organisations such as Frozen Light, we ensure that our programming is accessible to those with special needs, whKh in tum supports a broader spectrum of health outcomes. One participant from Fire Songs remarked, "We won't evgr foryot today's Show-￿11 was one of the most moving. magical & upllftsng experiences we've had sinc8 my daughter was born."
4. Supporting Individuals, Careers Through Opportunltles and Skill Developmenl: Our commitment lo supporting creative careers is evident in the employment opportunrties we provide and the skills development fostered through our events. In
5. we employed 224 individuals, 62°/0 ofwhom came from BAME backgrounds, reflecting our dedication to diveTsty and inclusion in the creative industries. Additionally. we work closely wrth emerging artists arsd young peop￿, offering them perfomiance platforms at events such as King's Cross Summer Sounds. Our King's Cross Community Choir. for example, brought together 40 local residents for regular rehearsals and performances, helping part￿1pantS develop confidence and vocal skills while fostering communf(y spirit. Through these initiatives, Arts Trust Productions continues to fulfil its charitable mission by promoting public benefrt and ensuring equal access to culluial experiences. Our programmes Doc ID.. a3e92f¢r£1c2aeccd6e19803a19c81721fGg1a88

ACHIEVEMENTS AND PERFORMANCES FESTIVAL PROGRAMMES 1> King's Cross Summer Sounds NGS UMMER ng s Croas Svmmwsounds. Photo &Jon s￿rn￿(k King's Cross Slbmmer Sounds IKCSSI, a partnership be￿een Arts Trust Productions and King's Cross, is dedicated lo presenting world-class music and art in the heart of Camden. The festival showcases renowned artists such as Soumik Datta, Joe Stilgoe, and Cigdem AsLan. while also offering a diverse array of interactive workshops and performance opportunities for young people and community groups. Highlights for 2023 included the National Youth Folk Ensemble. Bellow Fellows, and workshops like Folk Dance Remix and sessions led by Tim Casson. KCSS is committed to engaging the entire Camden community, with a part￿ular focus on supporting its marginalised groups. Each year, festival programming is shaped through discussions with local residents, ensuring thal events are designed by, for, and with communities facing systemic inequalities. In 2023, the festtval emphasised supporting individuals experiencing loneliness and isolation, specifically focusing on the LGBTQ+ communty and those wrth Profound Murtiple Learning Disabilities IPMLD}. By providing inclusive. accessible, and meaningful artistic experiences, KCSS fosters a sense of belonging and connect*)n among Camden's underserved residents. enriching the cultural landscape of the borough. Doc ID.. a3e92fce61c2aeeed6e19803a19c81721fea1888

kn4 Klng'8 Crou SummerSounds.Photo @Jon Sturnc* This year, the festival reached an estimated audience of 21,287 people a¢ro$s perfoman¢e$. including Slack Voic8s, 5rass Rascals, Folk Family Sunday. and English National Opera. Audience development and future retention was strong, with 28'/o of attendees visiting Coal Drops Yard and the festival for the first time. and 1000/0 of those expressing their intention lo retum. The festival also created significant employment opportunitbes. engaging 113 freelancers. Wlth 680/0 coming from a global majority background, Tefwing our commitment lo dNersity both on stage and behind the scenes. Community engagement was central to the festival, with 310 local residents involved in choirs and performances, and 550 people participating in workshops, including the ever-popular Folk Maypole and Ceilidh Jam. These events offefed meaningful opportunities for paIt￿lp31Ion, not just as spectators but as active contributors to the festival's artistic output Audience feedback was overwhelmingly positlve. with 99.9 % rating the event as"ExrEllent" or "Good., Many attendees expressed gratitude for an accessible and free event that brought together people of all backgrounds to experience a wide range of rnuS￿ and performances. Comments such as"Amazlng the best ever community event I have been to" and "A beautiful event that is bringing people outside and Into a social onvironmont. Serotonin and dopaminè is oozing." reflected the impact of KCSS in creating an inclusive, lo￿1 atmosphere. Furthermore, appToximalely 6.10 of the audience identified as Dldeaf, with certain performances attracting as much as 1 OQ/o of Dldeaf attendees. demonstrating oui ongoing commitment to accessibility. Do¢ ID.. a3e92rcc61c2aett￿e1g8O3819e8172lfeala8s

"Absolutgly brflllant. Rèally well set up, the perfomiances are all brilllant (been 3x so far). and as a resuft the atmosphere ljas been wonderful. A rèally upliftlng Ct>mmunlty enhanclng experlence, I have been sin￿ng and dancing alongsldé strangers. all having the best time. Just as good as any music fostlval and aljove all, freel What a giftl'Audience Member 2023 For the first time, KCSS also extended ils programming beyond King's Cros$ and into one of our partner venues Kings Place with the FITr Songs performan¢e, engaging the PMLD communrty. The impact of this inrtialive was profound, wlh one participant describing it as 't)ne of the most moving. magiTcal & upllftlng experfences" they had experienced since their child was bom. Feedback from partners such as Kings and the ENO affirmed the value of working with clusive performance Companies like Frozen Light, which made a deep impression on both performers and audiences alike., please see our EDI Seclion for more details. re Songs- Photo@ Frozw ￿￿t KCSS remalns a vital plafform for celebratlng diversty, encouraging creative expression, and building stronger, more inclusive communities in Camden. By continuing to focus on underrepresented groups. such as the LGBTQ+ community and individuals wf(h PMLD, we aim to enhance access to the arts for all, fostering a sense of Community and belonging through music and creativty. Doc ID.. a3e92fcc61c2aetcd6e19803a19c81721f¢a1a88

21 Summer in The Park Ih*P•rf¢.Photo ¢h¢¥lw Summer in the Park ISITPI, originally a partnership be￿een Arts Trust Productions and Greenwich Dance, became fully owned and managed by Arts Trust in 2024 after Greenwich Dance closed at the end of 2023. This flagship initiative brought together ten vibrant musi¢ and dance festivals across the Royal Borough of Greenwich, designed to foster communrty engagement and address pressing social issues such as loneliness and isolation. SITP created inclusive spaces for people lo connect, form new friendships, and experience the transformative power of the arts in a safe and welcoming environment. Across these ten events, SITP employed 113 individuals and worked closely wtth 56 communtty parlners, including Utopia Cheer, School of SOS, Baal Instiluto for Music and Fine Arts, and the UK Latin Community. Lrxal residents, associations and community panels, such as the West Thamegmead Residents Association and Friends of Maryon Park, co4esigned the festival programme, ensuring they reflected the unique needs of the communities. In total, SITP featured 18 professional shows, 24 communily-led perfomiances, and 29 participatory workshops, with 136 comrnunity members actively taking part on stage. These events welcomed 3.153 audience members across the festivals. Key partners included The National Lottery Community Fund. our principal funder, abng with support from The Royal Borough of Greenwich and Peabody (this ftjnding was managed by Greenwich Dance until the end of 20231- This collaborative effort helped to enhance ￿noMiC Doc ID.. 03e92f¢c61e2aeccd6e19803a19e81721Yca1a88

resdience by supporting local businesses and engaging communrties who had previously been disconnected from ¢ullural activities. Summ•rln th8 P•rtt-Pho¢o QRo$wllhA Chesher The feedback from part￿1pants reflects the positive social inpact SITP had across London neighbourhoods. Residents expressed their joy al seeing their local parks transformed into lively cultural hubs. One attendee noted, "It was absolutely wonderful. We were so imprèssod by the National Youth Folk Orchestra. Thoy wère amaziTng andmy daughter was transfixed.. Another commented on the sense of pride and inclusivity.. "It's a fantasdc experience every summer. We live locally and we are véry thankful forlt. We take the opportunity to visit the shops and bars In the area and it's nice to seg so many young families coming to enjoy the festival., Feedback like this underscores the festival's success in addressing local needs and creating a sense of belonging. In addition lo fostering social cohesion, SITP'S bespoke marketing approach was desvJned lo create a sense of place. Each park was aftistically drawn and featured on flyers and posters. which helped residents connect with the festThial and encouraged attendance. This strategy enhanced the community's sense of ownership and pride. reinforcing the idea that these parks were not just spaces for recreation but vibrant cultural venues. The festivals also played a vital role in tackling social issues such as lonelines$ and isloation. By creating safe, vibrant spaces for people to gather, SITP helped reduce isolation and fostered a sense of security in areas previously impaded by crime. These events not only encouraged Doc ID.. a3e92fcc61¢2aeccdee19803a19c81721fcala88

communty members to come together but also buitt Lasting friendships and strengthened the social fabric of the local areas. EQUALITY, DIVERSITY AND INCLUSION PROGRAMME Vtyrt•x forthe BBC. Photo @ Ro$with• Ch•sh 31 Fire Songs - Profound and Multipl¢ Learning Dlsabllltles IPMLDI This year, we launched a transformatwe partnership with Frozen Light, embarking on a three- year collaboration to deliver the immeTsive sensory sound exFerience, Fire Songs, at the King's CTOSS Summer Sounds Festival. Hosted at our partner venue, lfjngs Place, Fire Songs is specifically crafted for audiences with profound and multiple learning disabilities. Led by Frozen Light and the King's Cross Community Choir, this production invites audiences on a joyful sensory journey. blending choral harmonies and celestial music into an hour of original composrtions by Thomas Johnson. PremEring at the Norfolk and Norwich Festival in May 2022. Fire Songs is designed to lour arts festivals. engaging local community choirs at each location, and enriching the sensory experiences for all. 4) Dance Mama Live, 2023 In 2023, we continued our commitment lo supporting creatwe communities by partnering wrth Dance MamaTrA Together, we ediled their latest series of broadcast shows, which advocate for professional dancers who are also parents, 'Dancing Parents,. Dance Mamalm founded by TEDX Speaker Lucy M¢Crudden, is dedicated to addressing the unique challenges faced by dancing parents. Through resources such a$ podcasts, a mentoring programme, and Dance 10 Doc ID.. a3e92fcc61c2aeccd8619803a19¢81721fca1a88

Mama Live! they provide inspiration, information, and support. Our collaboration, backed by Arts Council England and partners like Sadlerfs Wells and One Danee UK. aims to empower parents to pursue their passion for dance while balancing their caring responsibilities, 5hinirsg a ght on their resilience and creativity. Sl Fllming of Vortex for BBC This year, we proudly partnered with the Russell Maliphant Dance Company to film their critically acclaimed producÈion. Vortex, live al Sadlels Wells Theatre, commissioned by BBC Arts. Our commitment to ensullng equal access to the arts drives our decision lo broadcast this production, breaking down barriers for those unable to attend in person. By filming and airing Vortex, we not only extend the life of the produckn'on bul ssgnificanlly increase ils reach, bringing rt lo a wider and more diverse audience. The broadcast. now available on BBC iPlayer for the next three years. rea¢hed 250,000 viewers during its first transmission alone. This initrdtive demonstrates our dedication to inclusivty, ensuring that everyone-regardless of geographical. physical. or financial constrainls-can experience the Iransft)rmative power of live performance. Vortex. inspired by AbstTact Expressionism and Jackson Pollock's work, is a visually captivating piece, combining movement, music, light. and shadow to create an unforgettable experience. Featuring lighting design by Ryan Slafford, music by Katja Richardson. costumes by Stevie Stewart, and perfomiances by the RMDC dancers, the broad¢a$t exemplifies how technology and the arts can WO￿ togethei to increase accessibility and Cultural engagement. 6) Klng's Cro83 Communlty Choir As part of our broadef community engagement efforts, Arts Trust Productions established the King's Cross Communf(y Choir. bringing together 40 loeal residents for an inclusive musical experience. Over a period of eight weeks, the choir participated in regular rehearsals and social sessions, fostering a strong sense of community and connection. Their efforts culminated in four perfomances as part of Fire Songs. a special event ft)r the PMLD community at Kings Cross Summer Sounds, held al Kings Place. Choir members spoke huhly of the experience, with one Participant saying, 'It's been such a joy to sing w(th my neighbours and feel a real sense of belonging." Another added. "Performing at Kings Place was an incredibk opportunty-seeing the smiles on the audience's faces made all the rehearsals worth it., The choir's success in uniting the community through music was echoed in the positive feedback from both participants and the wi(ler public. 11 Doc IO.. 33e92f¢e61e2aeccd6e19803019¢817211rA1a88

71 Fractured.. A Multisensory Musical Experience Brldging Comrnunities FraGlurnd C•stln¥aqe This year, we proudly commissioned Fractured, an innovative new production by renowned ¢omposer Jill Jarman. Featuring extraordinary performers Dame Evglyn Glennie, Catrin Finch, and Hugo Ticciati wrth O/Modernt, 'Fractured' is a powerful exploration of the fractures belween people, communities, and the environment, using music as a medium for healing and unty. At its core, the production seeks to bridge the gap between the hearing, hard of hearing, and DldeaflF communrties, ￿hOing Evelyn Glennie's mission lo 'teach the world to listen.. Inspired by Jarman's research work 'resonance' wlih Laura Rit¢hie for solo cello, Fractured evolves into a bold exploration of multisensory music experiences, blending the scieftee of Cymatics with stunning performances. This project is part of Jarman's Across the Divide series, which aims to challenge inequalities in the music industy by featuring diverse and often underrepresented artists. Currentty in its research stage. Fractured is embarking on a groundbreaking collaboration with Sean Chandler to develop a new syntax for the BSL community. Thi5 effort aims to deepen the onnection with DldeaflF audiences. creating a more immersive and engaging experience. Over the next year, this new BSL syntax will be carefully devek)ped and integrated into the production, ensuring that'Fractured" not only unites audiences through ils music but also through innovative communication that resonates across all communities. Scheduled lo lour in 2025. Fra¢tured wll continue to challenge conventional boundaries in musie and aecessibilty, making it a transformative experience for audiences everywhere. We bok forward lo seeing how Ihis ambitious project will inspire and connect people from diverse 12 Doe ID". a3e92fCC£1￿aecCd6e19803d19c8l721f¢ala88

backgrounds, fostering greater understanding and inClus￿n through the universal language of music. Environmental and Sustainability Commitment Arts Trust Productions is deeply committed lo minimising the environmental impael of our events while fostering a sense of community and inclusion. Al the heart of our sustainability strategy ig the use of renewable enefgy and efficient waste management practi¢es. We afe proud lo utilise solaT-powered generators at our events. ensuring that our energy consumption is as green as possible. Where available, we also rely on energy-efficient on-site power sources. Additional￿, all rubbish from our events is recycled, supporting our goal of reducing waste and promoting sustainability at every opportunity. As part of our partnership with King's Cross, a leading example of sustainable development in the UK, we benefit from a neighbourhood that is carbon-neutral. This Temarkable achievement is the result of using 100% renewable energy, energy-efficient buikling designs, and carbon offsetting. Powered entirely by green gas and electr¢city, King's Cross avoid$ 19,729 lonnes of C02 emissions annually. OUT festivals, hosted in this eco-conscious setting, reflect our shared commitment to creating a long-lerm future with a minimal environmental footprint. In addith)n to energy efficiency, we actively encourage sustainable transport to our events. Audience members are encouraged to walk or use public transport to Teach our festival locations, and we have implemented a caT ride-sharing programme for artists, further reducing the ¢arbon emissions associated with travel. This not only alijns wth our sustainability goals but also enhances a￿essIbIlity for attendees. We also prioritise Social sustsinabilty through our partnership with Connection Crew. an organisalion that employs people experiencing homelessness. This year alone, we generated 101 hours of work for individuals in need, while also offsetting 207 kilos of carbon. This partnership highlights our commitment lo both environmental stewardship and social responsibility, ensuring that our events contribute positwety to the community in multiple ways. Looking ahead, we will continue lo integrato sustsinable practices into all aspects of our programming, from reducing waste lo supporting green transport and energy-efficient solution$. Our goal is to continue fostering community engagement while minimising our environmental impact. ensuring a positive legacy for both people and the planet. FINANCIAL REVIEW Our financial operations are underpinned by systems and procedures designed to mainlain internal control and secure optimum value for money. A working Cash Flow, and individual project budgets are produced at the start of each financial year. Throughout the year the working budget is revised on a regular basis by the D￿ectOr, for Board of Trustee meeting. management process and fvnder requirement$. 13 Doc ID.. 83e92fec61c2aeccd6e19803a19e87721fca1a88

Restrictions placed on donated income are identified 2nd observed. All expenditure is aulhorised by the relevant staff member befole commitment is made. Suth commitment is made in the context of the budgeting process. All invoices are appioved by the appropriate staff member and passed to the Director for final spJning off and payment. Docijmentation 1$ held electronically on Quickbook for all payments made. Golng concern After making appropriate er¢quiries, the Trustees have a reasonable expectation thal the Charity has adequate resources to continue in operational existence for the foreseeable future. For this reason, they continue lo adopt the going concefn basis in preparing the financial statements. Principal Funding Sources and Reserves. Arts TrLtst is proud to be the recipient of long term funding from the National Lottery Community Fund of £141,501 for 2024125 and 2025126. This funding contributes towards the cost of Summer in the Park. Further support from major partners such as Kings Cross, Arts Counul England and Peabody enable the org8nisalion to deliver additional programmes such as King's Cross Summer Sounds and Fire Songs. The organisalion also benefits fiom Ouf commissions such as the filming and broadcast work, to extend reach and access to cultural activity and discourse. As at 31 March 2024 lotal reseTves were £210,271 12023.. £46.9981, of which £177,75812023.' £nill are restricted to Equality Diversity and Inclusion activrties as per note 14 of the financial stslements. Income for the period totalled £493,990 {2023= £221,477) and ¢harilable expenditure was £330,71712023.. 251,0901. Al the year end the charity held fixed assets of £31,725. ¢ash of £296,390 and amounts included in credilors were £101.845. Unreslrtied fvnds total £32,513 (2023.. £46,998} of which free ieserves are £78812023.. £4,646). The Board are aiming lo continue building their reserves and have a target of £50.000, which is equivalent to around 2 months expenditure. PLANS FOR THE FUTURE Looking ahead, Arts Trust Productions is commrtted to building on the success of Summer in the Park {SITPI by expanding the formal and reach of our festivals and responding to external tsctors. For example. in Tesponse to the upcoming Olympic Ggmes, we have adjusted the dales of King's Cross Summer Sounds to take advantage ofthe gap b￿een the Olympics and Paralympics, creating an opportunity lo extend our programming and introduce a special Bank Holiday event. A key part of our strategy is lo ensure that our festivals continue to resportd to the needs of the communrties we serve, makn'ng them as re￿vant and inclusive as possible. For example, we are transfofming the popular Skate Jam into a Silent Oisco Skate Jam, offering free skates and safety equipment to remove barriers to participation and Create a safe, welcorning environment 14 Doc ID.. a3e92fc¢61c2aeccd6e19803a19c817211ca1a88

for all. We are also working closely with CC Events lo introduce a world-class famers markel at our festivals, strengthening community connections and providing a valuable platform for local vendors. These initiatives are designed to enhance accessibility, encourage broader community engagement, and ensure our events remain vibrant, inclusive spaces that reflect and celebrate local culture. Deepening our connection wrth the Tendring area is a core focus of our future plans. We are particularly excited about our new partnership with St Osyth Priory. which marks the first lime SITP will be brought to Tendring. This collaboration represents a long-lem commitment lo strengthening our presence in the regK)n. By ¢realing tailored cultural initiatives and engaging with local stakeholders, we aim to build meaningful relationships, ensuring our events resonate deply with the Tendring eommunity. This approach will allow us to better understand and meet tocal needs, paving the way for future festivals and collaborative projects across the area. To ensure long-term financial suslainabilily. we are diversifying our revenue streams through partnerships that focus on youth and sports eng￿ement and by implementing a donation system via TiGkelSource to Capture Gift Aid, creating a steady funding souice. In 2024, we will also be investing in a development specialist lo build organisalional skills and capacity, enabling us to strengthen our funding base and expand our cultural offerings. By extending Summer in the Park (SITP} into new areas and deepening our existing connections, we aim to reach more people, promote social CL)hesion, and enhance cultural engagement across a wider region, incTeasing the overall impact of our programming. PRINCIPAL RISKS AND UNCERTAINTIES Arts Trust Productions operates in a dynamic and evofving cultural landscape. which presents both opportunities and challenges. As we continue lo expand oui Programming and exlend our reach, particularly through initiatives like Summerin the Park and knng's Cross Summer Sounds, the following risks and uncertainties are critical to our slralegi¢ planning.. 1. Fundlng Stability Atthough we have secured flrnding for the Summer in the Park programme for the 202412025 period. maintaining financial sustainability remains a key risk. As we plan to expand into new areas such as St Osyth and increase our programming in Greenwich, securing ongoing fvnding will be essential. Our current plans, including the addition of new programming on Bank Holidays, come with increased operational costs wrthout guaranteed additional funding. A failure to secure further grants OT alternative income streams Could impact the scale and scope of our activities. Diversifying our funding base, including incieasing engagement with private donors and corporate sponsors, is a Pr￿rity lo mitigate this risk. We have already started conversation with the Royal 8orough of Greenwich about our progiammes and raising our public profile with detailed PR campayn in 2024, 2. Capacity and Resource Constraints As we grow, the demands on our team and resources increase. The planned 15 Ooc ID.. a3e92fcc61e28eccd6e19803a19e81721fea1a88

empkjyment of a community producer for Summer in the pa￿ is a step towards addressing capacity, bul the scale of our opeiats"ons, including managing multiple festivals across London and Tendring, may put pressure on our team. Ensuring that we have the necessary human and material resources to delwer high-quality programming and community engagement without overt)urdening staff is cystical. This requires caTeful Workforce planning, the management of freelance teams, and maintaining strong partnerships to share opeTatKinal responsibililies. 3. Economic Pressures and Cost of Living CrisFs The current economic climate, ir¢cluding Tising living eosts, may impact both our audience numbers and the financial SLtstainability of the communit￿S we serve. Many of our events are free lo attend, and Whi￿ this increases 8ccessibility. it also places financial strain on the organisation. Additionally, the communities we engage wrth, especially in rural and socio-economically disadvantaged area$, are likely to face gro￿ng challenges, which could reduce participation or create new baTrierg to engagement. This context reinforces the importance of maintaining funding streams and exploring cost-effeclive delivery methods. Vve will also look lo develop a festival that people pay for in 3-5 years time. as a way of diversifying our income. 4. Communlty Engagement and Social Impact Ensuring that our events and initiatives continue to deliver meaningful social impact remains a core objective. However, expanding into new geographical afeas, such as St Osyth Priory. and deepening Ouf relationship with existing communities like those in Tendring, presents challenges aroLsnd effectivety engaging new aLtdiences. Understanding and responding lo the unique needs of these communities 1$ critical. There is a risk that insufficient local kno￿edge or misalignment with community priorrties could reduce the effectiveness of our soc￿1 impact, particularty in addressing issues like bneliness and social isolation. S. Operational Disruplion Due to Extemal Factors The uncertainty of external factors, such as the 2024 Olympic and Paralympic Games. creates potential risks for operational planning. Shifting the dates for the King's Cmss Summer Sounds festival lo avoid a cL4sh with the Otympics is a necessary adjustment, but the additional programming Tequired foT the exlended festival could strain resouices. Similarly, unforeseen disruptions. such as extreme weather Of public health concerns, could affect outdoor events like Summer in the Park. Mitigating these risks will require iobust contingency planning and flexibility in programming. 6. Partnership Oependencies Many of our initiatives, such as Summer in the Park and King's Cross Summer Sounds, rely heavily on collat#)rations with local partners, including community groups, councils, and corporate sponsors. While these partnerships have been instrumental to our success. they also present a risk if relationships break down OT if partners experience financial or operational challenges. Maintaining strong, transparent relationships and 16 Doc ID.. a3e92fcc61c2aeccd8e19803a19c81721fca1a88

ensuring clear communication with partners will be essential to sustaining our collaborative efforts. Despite these risks, Arts Trust Producaions remains resilient and 8d2plive. Our commitment to inclusivity, comniunity engagemenl, and the transfom)ative power of the arts will guide our efforts to navigate these uncertainties. We are confident that with careful planning and continued community collaboration. we can mitigate these risks and continue lo dellver impactlul cultural PTogrammes. STRUCTURE, GOVERNANCE AND MANAGEMENT Governing Document Arts Trust Productions is registered as a Charitable Incorporated OrganisalK)n (CIO), on the 1 Oth Juty 2023, operating under the foundation model, where the onty voting members are the charty trustees. This governance structure ensures that decision-making remains within the board of trustees, who are responsible for overseeing the strategic direction, oreralions, and fin8ncial management of the organisation. The CIO'S principal office is located in England, and its objects are lo promote the arts, wth a particular focus on drama. mus(c. opera, and dance. Previously operaling as Artslrust Productions12012-20231 as a Communty Interest Company ICIC), the organisation transitioned to a Charitable Incorporated Organisation {CIOI under the name Arts Trust Productions on 10 July 2023. While these are our first charitable accounts. the organisation has been active since 2012. The chairty trustees manage the day-to4ay affairs of Arts Trust Productions and are ￿qUired to act in the best interests of the organisation, ensuring that all activit￿9 further the charity's objeGts. Trustees are appointed based on their skills, knO￿edge, and experience, with a minimum of three trustees TequiTed to serve at any gwen time. In addil¥)n to attending regular meetings, trustees reV￿W operational and financial reports, ensuring compliance with the Charities Act 2011 and other legal oblwJations. dilionally. Arts Trust Productions is Committed to maintaining strong financial governance, with trustees responsible for overseeing the preparation of annu818ccounts, financial reporting. and compliance with statulory requirements. The board also maintains a clear delegation of authority. empowering staff to manage the charity's operations while fetaining overall accountability. The Trustees of the Company {Ihe Members} are the members of the Board of Trustees who are the Directors for the purposes of Company Law. In the event of the company being wound up. the Members are required to contribute an amount not exCe￿lIng £1. To support the continued growth and development of Arts Trusl Productions. we are actively seeking to expand our board gf trustee$. As our organisation continues to grow, tt is essential that our governance structure reflects this expansion. We aim lo increase the number of 17 Ooc ID.. a3e92f¢c81c2aeccd6e19803a19c817211ca1a88

trustees proportionately to ensure we have the capacity, skims, and pefspeclives r¢eeded to guide our strategic direction effectively. Additionally. we are committed lo reflecting the diverse communrties we serve across the Royal Borough of Greenwich and Tendring. We will prioiilise the recruitment of trustees from various backgrounds, experien¢e$. and skill sets to enhance our ability lo address the needs of marginalised communities and ensure OUT program$ remain inclusive, relevant. and impactful. Recrultment and Appolntment of the Board The eligibility Criteria for becoming a trustee of Arts Trust Productions are outlined in the charrty's constitlrtion. Only natural persons who are over 18 years of age and not disqualified under sections 178-180 of the Charities Act 2011 are eligible lo serve as Iruslees. Before taking up their role, trustees musl formally acknO￿edge their ac¢eptance of the positi'on. The selection process for new trustees 1$ guided by the board's assessment of the skills, knowledge, and experience required for the effective governance of the chafity. This ensures that new ITUStees complement the existing board and bring relevant expertise lo support the charty's strategic oty'ectives. Trustees are appointed through a resolution passed at a properfy convened l)oaTd meeting, with each trustee serving a standard leTm of four years. Prior lo their appointment, new trustees receive key documents. including the charity's constitution, the latest Trustees, Annual Report, and the accounts, ensuring they are well-informed about the organisation's operations and governance framework. Arts Tiust Productions provides an onboarding process for new trustees. wh￿h includes training and access to important documents such as the eonstitution. strategic plans, and operational tNocedures. Ongoing training is also offered lo ensure that trustees are kept informed of any changes in charity law, governance, or the charity's operatsn9 environment. At the end of their term, trustees may be reappointed following approval by the board. Trustees also have the optiors to resign at any lime by notrfying the board in writing, provided that sufficient number of trustees remain in office lo maintain a quorum for board meetings. Risk Management The Board of Trustees has ¢ondu¢ted a review of the major risks lo which the charity is exposed-, this review is Presented to the Board. A iisk register has been established and 1$ upjaled annually. Where appropriate. systems or procedures have been established to mitigate the risks. Organisational Structure The Board meets al least four times per year and is responsible for the organisation's policies including the company's Equality, Oiversity and Inclusion Action Plan. Board membeTS have a h¥Jh degree of relevant knowledge and experience across a wde range of areas of expertise. 18 t)oc ID". a3e92fcG61c2aeccd6e19803a19c81721fca1a88

The Board delegates responsibilrty for the implementation of rts strategy and policy to the Executive Director. He is responsible for ensuring that the organisation delivers the programmes and activities agreed by the Board, and for ensuring that key performance indicalois are met. The Executive Director is supported by a small core freelance staff, supplemented by temporary staff where appropriate. Statement of Trustees, responsibilities The Trustees are responsible for preparin9 the Trustees, report and the financial statements in accordance with applicable law and United Kingdom AccoLsnting Standards Iunited Kingdom Generally Accepted Accounting Pract￿@1. The law applicable lo charities in England & Wabs require$ Ihe Trustees to prepare financial statements for each financial period wh￿h give a true and fair view of the state of affairs of the Charty and of its incoming resources and application of resources, including rts income and expenditure. for thal peiiod. In preparing these financial statements, the Trustees are required $e*t suitable accounting policies and then apply them eonsistently.. observe the methods and principles of the Charities SORP IFRS 1021-, make judgments and accounting estimates that are reasonable and prudent.. state whether applicable UK Accounting Standards (FRS 1021 have been followed, subject to any material departures disclosed and explained in the financial $tatemenls: prepare the financial statements on the going concern basis unless it is inappropTiate to presume that the Charity will continue in business. The Trustees a￿ responsible for keeping adequate accounting records that are sufficent to show and explain the Charity's transactions and disck)se with reasonable accuracy 8t any time the financial position of the Charity and enable them to ensure that the financial slalements comply with the Charities Act 2011, the Charity (Accounts and Reports) Regulations 2008 and the provisions of the Trust deed. They are also responsible for safeguarding the assets of the Charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities. Approved by order of the members of the board of Trustees on and signed on their behalf by.. 19J.ii.1.2024 Martin Collins ITrusteel 19 Doo ID.. a3e92fee61c2aeced6e19803a19c81721fca1a88

ARTS TRUST PRODUCTIONS INDEPENDENT EXAMINER'S REPORT FOR THE YEAR ENDED 31 MARCH 2024 Independent examlnerf$ report to the Trustees of Arts Trust Productlons Ilhe Charity'l I report lo the charity Trustees on my examination of the accounts of the Charty for the year ended 31 March 2024. Re$ponslbllities and ba$1$ of report As the Trustees of the Charity you a￿ responsible for the preparation of the account$ in accordan￿ with the requirements of the Charities Act 20111'lhe 2011 Act'l. I report in respect of my examination of the Charitys accounts carried out under section 145 of the 2011 Act and in carrying out my examination I have foll¢)wed the applicable Directions given by the Charity Commission under seelion 14515llb} of the 2011 Act. Independent examinerfs statement Since the Charity's gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I c(hnfirm that l am qualified to undertake the examination because l am a member of ICAEW. which is one of the listed bodies. Your attention is drawn to the fact that the Charity has prepa￿d the accounts in a¢￿dance with A¢counting and Reporting by Charities." Slalemenl of Recommended Practice applicable to charities preparing their accounts in accordance wth the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021 in preference lo the Accounting and Reporting by Charities". Stslemenl of Recommendgd Practi¢0 issued on 1 April 2005 which is referred to in the extant regulations bul has been withdrawn. l understand that this has been done in OTtler for the accounts to provide a true and fair view in accordance wth the Generally Accepted Accounting Piactice effectsve for reports.ng periods beginning on or after 1 January 2019. I have completed my examination. I confirm that no matters have come lo my attention in connection with the examination givin9 me cause to believe that in any material respect: accounting records were not kept in respect of the Charity as required by seCt￿n 130 of the 2011 Act., or the accounts do not aecord wth those records,. or the accounts do not comply with the applicable iequiremenls concerning the form and conlenl of aceounts set out in the Charities (Aeeounls and Reports) Regulations 2008 other than any Tequirement that the accounts give a 'lrue and fairf view ￿1¢￿ is not a matter considered as part of an independent examination. I have con¢¢rns and have come across no other matters in connection with the examination lo which attanlion should be drawn in this report in order to enab￿ a proper understanding of the ￿cOUnt$ to be Teached. Signed., Dated.. ts t4th￿ £olLt Andrew Tho ACA 124 Finchley Road London NW3 5JS Page 20 Doc ID.. 83e92fcc61c2aeccd6e19803a19¢817211ca1a88

ARTS TRUST PRODUCTIONS STATEMENT OF FINANCIAL ACTIVITIES FOR THE YEAR ENDED 31 MARCH 2024 Reslricted funds 2024 Unreslricled funds 2024 Tota funds 2024 Total funds 2023 Note Income from: Donations and legaLies Charitable activities 200,000 200.000 292.475 1.515 33,962 187,428 87 292,475 1,515 Investments Totsl Sncome 200,000 293,990 493,990 221,477 Expèndlture on: Raising funds Charitable activities 410 129 539 330.178 21,832 308,346 251.090 Totsl 8xp8ndltur• 22,242 308,475 330.717 251.090 Net Income I lexpendlturel for the year 177,758 114,4851 163,273 129,6131 Reconclliation of funds: Total funds brought forward Nel movement in fursds 46.998 114.4851 46,998 163,273 76,611 129.6131 177,758 Total fund$ carrled forlvard 177,758 32,513 210.271 46.998 The notes on pages 23 to 34 fom part of these financial statements. Page 21 Doc ID.. a3e92fcc61c2aec¢d6e19803a19c81721fc81888

ARTS TRUST PRODUCTIONS BALANCE SHEET AS AT 31 MARCH 2024 2024 2023 Note Flxad assets Tangible assets 10 31,725 42,352 31.725 42,352 Current assets Debtors Cash al bank and in hand 2,004 294,386 892 48,021 296,390 48,913 Creditors.. amounts falling due within one year 12 1101,8451 120,2681 Net current assets 194,545 28,645 Total assets less current liabilities 226,270 70.997 Creditors.. amounts falling due after more than one year 13 115,9991 123,9991 Total net assets 210,271 46.998 Charfty funds Reslricled funds Unrestricted funds 14 14 177,758 32,513 46,998 Total fvnds 210.271 46,998 The financlal stslements were approved and authorised for issue by the Trustees and signed on their behalf by.. Professor Ang8la Plckard Chair The notes on pages 23 10 34 frjrm part of these financial stalemenls. Page 22 Doc ID.. a3e92fcc61c2aeccd6e1980381*81721frA1888

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 General Informatlon Arts Trust Productions is a charitable Organisalion. limited by shares, incorporated in England & Wales. The registered office Is 108 Dumonl Avenue, Sl. 05th, Clacton-on-sea, Essex, C016 8JS. Accountlng poll¢les 2.1 Basls of preparatlon of flnanclal statemonts The financial statem8nts have been prepared in accordance with the Charities SORP IFRS 1021 Accounting and Reporting by Charities.. Statement of Recommended Praetice applicable lo charkts.es preparing their accounts in accordance with the Financial Reporting Standard app5icable in the UK and Republic of Ireland IFRS 1021 (effective 7 January 20191, the Financial Reporting Standard applicable in the UK and Republic of Ireland IFRS 1021 and the Charitlgs Act 2011. The financial 5t8lements have been p￿pared to give a true and fair, view and have departed from the Charities lAc￿unIS and Reports) Regulations 2008 only lo the extent required to provide a 'true and fairf view. This departure has involved folk)wing the Charities SORP IFRS 1021 published in October 2019 rather than the Aceounling and Reporting by Charities." Statemanl of Recommended PTaclice effective from 1 Aprtl 2005 which has since been wthdrawn. Arts Tiust Productions meets the definition of a public benefit entity undef FRS 102. Assets and liabilities are initially recognised at historical cost or 1ran8acts.on value unless olherwse staled in the relevant accounting policy. 2.2 Golng concem The Trustees have reviewed the circumstances of the company and considef that adequats resources continue lo be available lo fund the acliviles of the company for the forseeable future. For this reason the Trustees continue lo adopt the going concern basis in preparing the financial slalemersts. 2.3 Income All income is r¢cognised once the Charity has enlitlemenl lo the incomo, it is probable that tho income will bo received and the amount of income reeeivable can be measured reliably. Grants are recognised in the Slalement of financial acti￿lieS in accordance wth the grant agreement. Donations are recognised on receipt. Other income is recognised in the period in which il is receivable. 2.4 Expendlture Expenditure is recognised once there is a legal or conslrudive obligation lo transfer economic benefit lo a third paty, it is probable that a transfer of economic benefits wll be required in sethement and the amount of the obligation can be measured reliably. Support costs are those costs incurred directly in support of expenditure on the objects of the company. Pagè 23 Doc ID". a3e92fcc61c2aewd6e19803a19c81721fca1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 Accountlng pollcles Icontlnuedl 2.4 Expenditure Icontlnuedl Expenditure on raising funds includes all expenditure incurred by the Charity lo raise funds for ils charitable purposes and includes costs of all fundraising activities events and non-charilable trading. Expenditure on ¢harilable activities is incurred on directly undertaking the activities which further the Chariws objectives, as well as any associated support costs. 2.5 Tanglble fixed assets and depreclatlon Tangible fixed assets under the cost model are slated at historical cost less accumulal8d depreciation and any accurnulaled impairment losse5. Historical cost includes expenditure that is directly attributable lo bringing the asset to the location and condition necessary for it to be capable of operating in the manner intended by management. Depreciation is charged so as lo all¢xale the cost ol tangible fixed assets tess their residual value over their eslimaled usefvl lives, on a rgducing balance basis. Depreciation is provided on the following bo$is'. Motor vehicles Fixtures and fitb'ngs offi￿ equipment 25% reducing balan¢e 25% reducing balance 25% reducing balance The assets, residual values, useful lives and depreciatson methods are reviewed, and adjusted prospectively if appropriate, or if there is an indication of a significant change since the last reporting date. 2.6 Debtors Trade and other debtors are recognised at the settlement amount after any trade dlscount offered. Prepayments are valued at the amount prepaid net of any trade di%ounts due. 2.7 Cash at bank and in hand Cash at bank and In hand Includes cash and short-term highly liquid investments wth a short maturity of three months Dr less from the dale of acquisition or opening of the deposit or similar acwunl. 2.8 Liabllities and provisions Liabilities are recognised when the￿ is an oblig81ion al the Balance sheet dale as a result of a past event, il is probable that a transfer of economic benefit will be required in settlement. and the amount of the settlement Can bg e$limaled ieliably. Liabilitses are recognised at the amount that the Charty anlicipales f( will pay lo settle the debt or the amount 1t has received as adva￿ed payments for the goods or serviees it musl provide. Page 24 Doc ID.. a3e92f¢c6lc2aeccd6819803a19c81721fca1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 Accountlng pollcle$ Icontlnuedl 2.9 Flnan¢lal instruments The Charity only has finanoal assets and financial liabilities of a kind that qualify as basic financial inslrumenls. Basic financial instruments are inilialty recognised al transaction value and subsequently measured at their settlement value with the exception of bank loans which are subsequenuy easured al amortised cost using the effective interest method. 2.10 Penslons 2.11 Fund accountlng General funds aro unrestricted funds which arg available for use al the discretion of the Trustee5 in furtherance of the general objectr'ves of the Charity and which have not been designated for other purposes. Restricted funds are fvnds which are lo be used in accordance with spocific reslriclions imposed by donors or which have been raised by the Charity for particular purposes. The Costs of Trising and adrninistering such funds are charged again51 the specific fund. The aim and use of eath restricted fund is sel DUI in the notes lo the financial slalemenls. Investment income, gains and10sses are allocated to the appropriate fund. 2.12 Conversion to CIO Arts Trust Productions was converted from a CIC (previous name Arts Trust Community Inte￿st Company) lo a CIO on 27 April 2023 using the exi51iTrg legal entity. Income from donatSons and logacles Restn'cted Unreslricled funds fijnds 2024 2024 Total funds 2024 Grants 200,000 200,000 Page 25 Doc ID.. a3e92fce61c2aeccd6e19803a19c81721fea1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 Income from charitable activltles Unrestricted funds 2024 Toial funds 2024 Total funds 2023 Production income 292,475 292,475 187,428 Total 2023 187,428 187,428 Invgstment In¢omg Unreslricled fvnds 2024 Total funds 2024 Totsl funds 2023 Investment income 1.515 1,515 87 Total 2023 87 87 Analy$l$ of expendFturg by actlvltl8s Activities undertaken directly 2024 Support eos15 2024 Total funds 2024 Totsl funds 2023 Charitable ath'wlies 209,319 120,859 330,178 251.090 Total 2023 152,133 98.957 251,090 Page 2e Doc ID." a3e92fec61c2aeccd6e19803al￿172lIeala88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 Analysls of expendlture by actlvltles l¢ontlnu8dl Analysls of dlrect costs Total funds 2024 Total funds 2023 Artistic fees Filming costs Technical costs Touring Costs Event costs 66.962 26.668 79.994 25.791 9.904 59,145 3,240 60,037 29,711 209.319 152,133 Page 27 Doc ID.. a3e92fcc61c2aeccd6e19803a19c81721fca1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 Analysls of expendlturg by xtlyltles Icontlnu8d) Analysis of support costs Total funds 2024 Total funds 2023 Staff costs Legal and Professional Interest 72,805 1,480 776 58,535 75 947 E li Vehide costs 3,277 7,759 10,493 4,179 280 10,627 6,339 2,844 2,282 3,754 6,636 4,726 305 Office and admin Marketing and promotion Accountancy Bank charges Depreciation Insurance and telephone Computer costs 14,117 5,567 2,013 120,859 98,957 Independent examinels remuneratlon 2024 2023 Fees payable lo the Charitys independent examiner for the independent examination of the Charitys annual accounts Fees parable to the Charitys independent èxaminer in respect of.. All other services not included above 4,250 3,700 Page 28 Doc ID.. a3e92fcc61¢2aeccd6e19803a19¢81721fca1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 staff costs 2024 2023 Wages and salaries Social security costs Contribution to defined contribution pension schemes 65.000 7,606 199 52,000 6.352 183 72,805 58,535 The average number of persons employe(I by the Charity during the year was as follows.. 2024 No. 2023 No. Office and adminislralion The number of empk)yees whose employee benefits {excluding employer pgnsion cos151 exceeded £60.000 was. 2024 No. 2023 No. In the band £60,001- £70,000 Remuneration paid to key management personnel totalled £72,49712023.' £58.3521. Trustees, r&muneratlon and gxpgnses During the year, one or more Trustees has been paKI remuneration or has ￿ceiVed other benefits from an employment wrth the Charity. The value ol Trustees, rernuneration and other benefits was as follows". 2024 2023 Martin John Collins Remunerab'on 65,000 During the year ended 31 March 2024, no Trustee expenses have been incurred (2023- £NILI. Page 29 Doc ID.. a3e92fc¢61c2a￿cd6e19ao3a19¢8172Ilea18e8

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIPL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 10. Tangible fixed assets Motor Fixtures and vehicles fittings Office equipment Totsl Cost or valuatl¢n Al 1 April 2023 62,287 217 8,582 71,086 At 31 March 2024 62,287 217 8,582 71,086 Depreclatlon Al 1 April 2023 Charge for the year 22.657 9,907 165 52 5,912 668 28,734 10,627 Al 31 March 2024 32,564 217 6,580 39,361 Net book value Al 31 March 2024 29,723 2,002 31,725 At 31 March 2023 39.630 52 2,670 42,352 11. Dobtors 2024 2023 Due wlthln one year Trade debtors Othèr debtors 2,004 892 2,004 692 Page 30 Doc ID.. a3e92fcc61c2aeccd6e19803a19c81721fca1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 12. Creditors: Amounts falling due within one year 2024 2023 Bounce Back Loan Other taxakn'on and social security Other creditors Accruals and deferred income 15.482 2.782 4.549 79.032 11.556 3.561 651 4,500 101.845 20,268 13. Credltors: Amounts falllng due after more than one year 2024 2023 Bounce Back Loan 15.999 23,999 The bank loan is se¢ured by the UK Government in accordance wlh the terms of the Coronavirus Bounce Back Loan Scheme. The loan is repayable by 60 monthly inslallments of £666.67 which began in April 2022. Interest is charged on a daily basis al 2.5% and is payable monthly. Included wthin the above are amounts falling due as follows.. 2024 2023 Between one and two yea Bounce Bank Loan 15,999 8.000 Botween two and Ilve years Bounce Back Loan 15.999 Page 31 Doc ID.. a3e921cc61¢2aewd6e19803a1*81721fca1888

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 14. Statement of funds Statemgnt of funds - current year Balance at 31 March 2024 Balance at 1 April 2023 Income Expendiluie Unrestrlctgd funds General funds 46,998 293,990 1308,4751 32,513 Restricted funds EDI Restricted Funds 200,000 122,2421 177.758 Total of funds 46,998 493.990 1330,7171 210,271 The EDI fund relates to Equalty, Divefsity and Inclusion acliwties. Page 32 Doc ID.. 83e92f¢¢61¢2a8ced6è19803a19e81721f¢a1888

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 14. Statement of funds Iconllnugdl Statement of fundy- prior year Balance al 31 March 2023 Balance al 1 April 2022 Income Expenditure Unr8strlctsd fund$ General Funds 76.611 221,390 1251,0031 46,998 15. Analysls of net assets between funds Analysis of net assets between funds - current Pgrlod Restricted Unfestrfcted fvnds fund5 2024 2024 Totsl funds 2024 Tangible fixed assets Current assets Creditors due wlhin one year Creditors due in more than one year 31,725 118,632 {101,8451 115,9991 31,725 296.390 {101.8451 115.9991 177.758 Total 177,758 32,513 210.271 ADalysl$ of n•t assets between funds - prior perlod Unrestricted funds 2023 Totsl funds 2023 Tangible fixed assets Current assets Creditors due wthin onè year Creditors due in more than one year 42.352 48,913 120.2681 123.9991 42,352 48,913 120,2681 123,9991 Totsl 46,998 46,998 Page 33 Doc ID.. a3e92fcc61c2ae¢cd6e19803819¢81721fca1a88

ARTS TRUST PRODUCTIONS NOTES TO THE FINANCIAL STATEMENTS FOR THE YEAR ENDED 31 MARCH 2024 16. Relatsd party transactlons During the year the charity received donations of £200,000 12023.. £Nill from Russell Maliph8nt Dance Company IRMDCI. One of the Trustees of Arts Trust Productions was also the Executive Director of RMDC during the period. Page 34 Doc ID.. a3e92f¢e61c2aec¢dee19803819c81721fta1a88