Charlty number: 1203920
ARTS TRUST PRODUCTIONS
UNAUDITED
TRUSTEES, REPORT AND FINANCIAL STATEMENTS
FOR THE YEAR ENDED 31 MARCH 2024
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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
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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
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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..
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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
2023. 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
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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.
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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.
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"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.
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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
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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
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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
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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.
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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
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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$.
Our goal is to continue fostering community engagement while minimising our environmental
impact. ensuring a positive legacy for both people and the planet.
FINANCIAL REVIEW
Our financial operations are underpinned by systems and procedures designed to mainlain
internal control and secure optimum value for money. A working Cash Flow, and individual
project budgets are produced at the start of each financial year. Throughout the year the
working budget is revised on a regular basis by the D￿ectOr, for Board of Trustee meeting.
management process and fvnder requirement$.
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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
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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
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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
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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$. As our organisation continues to grow, tt is essential
that our governance structure reflects this expansion. We aim lo increase the number of
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trustees proportionately to ensure we have the capacity, skims, and pefspeclives r¢eeded to
guide our strategic direction effectively. Additionally. we are committed lo reflecting the diverse
communrties we serve across the Royal Borough of Greenwich and Tendring. We will prioiilise
the recruitment of trustees from various backgrounds, experien¢e$. 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.
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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 $tatemenls:
prepare the financial statements on the going concern basis unless it is inappropTiate to
presume that the Charity will continue in business.
The Trustees a￿ responsible for keeping adequate accounting records that are sufficent to
show and explain the Charity's transactions and disck)se with reasonable accuracy 8t any time
the financial position of the Charity and enable them to ensure that the financial slalements
comply with the Charities Act 2011, the Charity (Accounts and Reports) Regulations 2008 and
the provisions of the Trust deed. They are also responsible for safeguarding the assets of the
Charity and hence for taking reasonable steps for the prevention and detection of fraud and
other irregularities.
Approved by order of the members of the board of Trustees on
and signed on their behalf by..
19J.ii.1.2024
Martin Collins ITrusteel
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ARTS TRUST PRODUCTIONS
INDEPENDENT EXAMINER'S REPORT
FOR THE YEAR ENDED 31 MARCH 2024
Independent examlnerf$ 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
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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.
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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.
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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.
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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.
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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
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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
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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
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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
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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.
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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
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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
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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.
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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
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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.
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