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**THEATRE�CENTRE�LIMITED� (A�company�limited�by�guarantee)�** 

**Report�and�Financial�Statements�** 

**For�the�Year�Ended�31�March�2024�** 

**Charity�number�210262� Company�number�0585723�(England�&�Wales)�** 

**Breckman�&�Company�Ltd� Chartered�Certified�Accountants�** 

**49�South�Molton�Street� London�W1K�5LH�** 

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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **CONTENTS�** 

||**Page**|
|---|---|
|ReferenceandAdministrativeDetails|3�4|
|ReportoftheDirectors(Trustees)|4�14|
|IndependentExaminer’sReport|15|
|StatementofFinancialActivities|16|
|BalanceSheet|17|
|NotesformingpartoftheFinancialStatements|18�26|



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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **Reference�and�Administrative�Details** 

## **Constitution** 

The�company�is�incorporated�under�the�Companies�Act,�company�number�0585723�and�its�governing� document�is�its�Memorandum�and�Articles�of�Association.�The�company�is�a�registered�charity,�number� 210262.��� 

## **Directors�and�Trustees** 

The�directors�of�the�charitable�company�("the�charity")�are�its�trustees�for�the�purpose�of�charity�law� and�throughout�this�report�are�collectively�referred�to�as�the�trustees.�� 

As�set�out�in�the�Articles�of�Association�each�trustee�shall�hold�the�office�for�a�term�of�three�years.�A� trustee�is�eligible�for�reappointment�for�a�further�term�of�three�years�upon�the�expiry�of�his�or�her� previous�term�of�office.�A�trustee�who�holds�the�office�for�two�consecutive�terms�shall�not�be� permitted�to�hold�the�office�for�a�further�term�unless�a�period�of�not�less�than�one�year�has�elapsed� from�the�date�of�the�expiry�of�the�previous�term�of�office.�Notwithstanding�the�foregoing,�the�directors� may�by�simple�majority�waive�the�One�Year�Restriction�in�respect�of�any�director�who�has�served�two� consecutive�terms�(and�who�would�therefore�otherwise�be�required�to�retire)�if�they�consider�(acting� reasonably)�that�such�waiver�would�be�in�the�best�interests�of�the�charity.�� 

Policies�and�procedures�adopted�for�the�induction�and�training�of�trustees�are�ongoing�and� incorporated�indirectly�into�the�regular�trustees’�meetings.�� 

The�trustees�throughout�the�year�and�since�the�year�end,�were:�� 

Aleksa�Asme� James�Cooney�� appointed�12[th] �July�2024� Titilola�Dawudu�� Benjamin�Eva�Griffiths�� appointed�12[th] �July�2024� Romana�Flello�� appointed�12[th] �July�2024� Frazer�Flintham� Joanne�Leung�� appointed�12[th] �July�2024� Kieran�Lines� appointed�12[th] �July�2024� David�Richard�Luff� Rebecca�Major�Chair� Karl�Singporewala� appointed�12[th] �July�2024� Caroline�Wilkes�� appointed�12[th] �July�2024� Vanessa�Sauls�Avoilo� resigned�28[th] �October�2023� Tayo�Medupin�� resigned�5[th] �April�2024� 

## **Chief�Executive�** 

Emma�Rees�–�Executive�Director/CEO� 

## **Independent�Examiners** 

Breckman�&�Company�Ltd,�Chartered�Certified�Accountants,�49�South�Molton�Street,�London�W1K� 5LH.�� 

## **Bankers** 

The�Co�operative�Bank�plc,�Skelmersdale�WN8�6WT� 

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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **Solicitors** 

Harbottle�&�Lewis,�7�Savoy�Ct,�London�WC2R�0EX�� 

## **Operation�Address** 

The�Albany,�Douglas�Way,�London,�SE8�4AG�(until�30[th] �June�2023)� 1�Town�Barn�Road,�Crawley,�RH11�7XG�(from�1[st] �July�2023)� 

## **Registered�Office** 

c/o�The�Albany,�Douglas�Way,�London,�SE8�4AG�(until�30[th] �June�2023)� 1�Town�Barn�Road,�Crawley,�RH11�7XG�(from�1[st] �July�2023)� 

## **Trustees’�Report�** 

The�trustees�present�their�annual�report�together�with�the�financial�statements�of�the�charity�for�the� year�ended�31�March�2024,�which�are�also�prepared�to�meet�the�requirements�for�a�directors'�report� and�accounts�for�Companies�Act�purposes.� 

The�reference�and�administrative�details�set�out�on�page�3�and�4�forms�part�of�this�report.�The�financial� statements�comply�with�Charities�Act�2011,�the�Companies�Act�2006,�the�Memorandum�and�Articles� of�Association�and�Accounting�and�Reporting�by�Charities:�Statement�of�Recommended�Practice� applicable�to�charities�preparing�their�accounts�in�accordance�with�the�Financial�Reporting�Standard� applicable�in�the�UK�and�Republic�of�Ireland�(FRS�102).�� 

## **Principal�Activity** 

The�principal�activity�of�the�company�during�the�year�continued�to�be�the�encouragement�of�the�arts� by�the�production�of�educational�plays.�� 

## **Objectives�and�Activities** 

The�purpose�of�the�charity�remains�to�promote,�maintain,�improve�and�advance�education,� particularly�by�the�production�of�plays�made�with�and�for�young�people�and�the�encouragement�of� the�arts.�In�shaping�our�objectives�for�the�year�and�planning�our�activities,�the�trustees�have� considered�the�Charity�Commission's�guidance�on�public�benefit,�including�the�guidance�'public� benefit:�running�a�charity�(PB2)’.�� 

The�principal�strategy�for�achieving�the�stated�objective�is�in�the�commissioning�of�new�plays�to�tour� to�schools�and�theatres,�and�in�running�Future�Makers�year�round�in�locations�across�the�country.� Future�Makers�is�a�fresh�approach�to�empowering�young�people�to�become�artists,�active�members� of�society,�and�influential�leaders�–�while� **helping�us�to�tell�relevant,�authentic�stories.�** Future� Makers�is�at�the�heart�of�our�work,�enabling�us�to�implement�our�youth�focused�approach�in� schools�and�communities.�Our�touring�shows�come�directly�from�Future�Makers�spaces,�the�engine� of�our�‘creative�circular�economy’,�and�connect�all�aspects�of�our�work.� 

We�work�with�innovative�writers,�brilliant�artists�and�dedicated�teachers,�bringing�them�into�the�heart� of�communities�that�are�underserved,�underrepresented�and�under�the�radar.�� 

Our�most�recent�‘About�Us’�explains:�� 

Founded�in�1953�by�Brian�Way�and�Margaret�Faulks,�we've�been�a�vital�catalyst�for�youth� leadership�and�creativity�for�70�years.�In�this�time,�we’ve�commissioned�108�writers�and�produced� 237�plays.�We�have�played�to�audiences�of�over�1�million�in�schools�and�theatres�and�we�have� worked�with�over�250,000�young�people.�Some�of�those�young�people�are�now�working�in�the� arts,�running�companies�of�their�own,�or�in�education�teaching�drama�to�the�next�generations.� 

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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

We�commission�new�writing�from�trailblazing�writers,�touring�our�shows�directly�into�schools�and� theatres��UK�wide,��as��well��as��running��our��year�round��Future��Makers��activities.��Future��Makers�� brings�young�people,�artists,�and�teachers�together�as�creative�collaborators,�making�space�for� young�people�to�have�agency.� 

We�see�access,�equality,�and�representation�as�foundations�of�a�fair�society�and�work�to�dismantle� exclusion��and��systemic��injustice.��We��prioritise��areas��that��are��systemically��underserved��and�� excluded,�removing�economic�and�social�barriers,�and�working�where�young�people�can�benefit� most.�We�celebrate�the�true�creative�diversity�only�the�widest�access�can�bring.� 

## **Structure,�governance�and�management** 

Theatre�Centre�is�governed�by�its�Memorandum�and�Articles�of�Association�dated�16�March�2016.�As� well��as��being��a��Company��Limited��by��Guarantee,��we��are�registered��as��a��charity��with��the��Charity�� Commission,�registration�number�210262.�The�Charity�is�administered�by�a�board�of�twelve�Trustees� currently�elected,�having�recently�completed�a�successful�recruitment�process�to�bring�in�new�Trustees� to�fill�skills�gaps.� 

Our�Board�has�a�strong�track�record�of�inclusivity�and�intersectional�representation�across�age,�class,� disability�and�ethnicity�and�includes�lived�experience�of�the�care�system.�Our�current�Board�of�Trustees� are:�50%�female;�50%�under�35yrs;�50%�non�white�UK;�25%�disabled,�17%�LGBTQ+.�The�Board�has�one� formal�sub�committee:�Finance�&�Operations�(FOSC).� 

The�day�to�day�activities�of�Theatre�Centre�are�managed�by�the�Executive�Director/CEO�(f/t)�with�the� Artistic��Director��(f/t),��plus��Programme��&��Admin��Coordinator��(f/t),��Marketing��Manager��(f/t.6)��and�� Finance�Manager�(f/t.2),�plus�a�freelance,�part�time�Touring�Producer�and�other�freelance�specialist� and��producing��staff.��Remuneration�for��all��staff,��employed��and�freelance,�is��discussed��and��agreed�� annually�by�the�board�of�trustees�at�the�point�of�agreeing�the�annual�budget�for�the�forthcoming�year.�� 

## **Staffing�and�operations** 

## **Arts�Council�Transfer�and�relocation�to�Cra�ley�** 

Theatre��Centre��relocated��to��Crawley��in��July��2023��as��the��first��of��the��Arts��Council��NPO��Transfer�� organisations�to�move�out�of�London.�We�took�over�the�lease�of�West�Green�Community�Space,�with� an�ambition��to�create�a��cultural�hub�for�Crawley.��We�are�working�in��partnership�with�arts�charity�� Creative�Crawley,�Arts�Council�funded�Creative�People�&�Places�project�Creative�Playground�and�with� other�arts�and�community�organisations.�Our�shared�aims�are�to�build�the�cultural�infrastructure�in� Crawley,�an�Arts�Council�Priority�Place,�and�to�fill�gaps�in�provision�for�young�people�and�artists�in�the� area.��We��are��a��key��partner��in��Creative��Village,��an��Arts��Council��Project��Grant�funded��workforce�� development��programme��of��creative��activity��focussed��on��supporting��the��talent��pipeline��building� aspiration,�skills�and�awareness.� 

## **Staff�turnover�** 

Following��the��move��to��Crawley,��we��recruited��a��new,��local��Programme��&��Admin��Co�ordinator��in�� summer��2023.��Other��than��that��the��core��team��remained��steady��at��a��full��capacity��of��six,��plus��the� Strategic�Development�Partner�(who’s�title�changed�to�FM�Communities�Partner)�for�half�of�the�year.� Additionally�we�worked�with�a�freelance�Touring�Producer.� 

During��2023/24,��members��of��the��core��team��undertook��formal��and��in�formal��training��and�� development.�The�Artistic�and�Executive�Directors�also�led�external�training�sessions�and�contributed� 

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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

to�panels�and�round�tables,�eg�with�Unlimited�and�working�with�students�at�Central�School�of�Speech� &�Drama�as�part�of�our�ongoing�partnership�with�CSSD.� 

We�also�encouraged�the�team�to�network�widely�and�continue�to�be�active�in�peer�networks�such�as� Arts�Marketing�Association,�Assetij�UK,�Drama�&�Theatre�Education�Alliance,�National�Drama,� Participatory�Arts�London,�PYA�England,�Touring�&�Producing�Companies�Network,�Art�led�Companies� Network.�The�Artistic�Director�is�a�state�secondary�School�Governor�and�is�Chair�of�Savvy�Theatre�and� the�Executive�Director�is�on�the�Board�of�the�Independent�Theatre�Council,�is�Vice�Chair�of�Theatre503� and�a�Trustee�of�Creative�Barking�&�Dagenham�(CPP).� 

We�continued�to�place�emphasis�on�the�delivery�of�actions�surrounding�our�Equal�Opportunities�policy.� As�with�previous�years�we�are�pleased�to�report�that�we�have�exceeded�our�equality�targets�for� Trustees�and�commissioned/engaged�artists.� 

## **Premises�** 

In�July�2023,�Theatre�Centre�relocated�to�Crawley,�as�part�of�the�Arts�Council�NPO�Transfer� programme,�and�took�over�the�lease�of�West�Green�Community�Space,�with�an�ambition�to�create�a� cultural�hub�in�partnership�with�other�Crawley�based�arts�organisations.�We�are�now�generating� income�through�room,�hot�desk�and�store�hires.� 

## **Environmental�Sustainability�** 

We�continued�our�commitment�to�Environmental�Sustainability,�using�our�ES�Policy�to�support�activity� across�all�operational�and�production�areas.�We�used�the�Theatre�Green�Book�and�report�to�Arts� Council�annually.�We�routinely�included�an�Environmental�Sustainability�clause�in�all�employment� contracts,�core�and�freelance�and�ran�regular�in�house�training�sessions�to�introduce�team�members� and�freelance�staff�to�the�Green�Book,�as�well�as�including�ES�as�an�agenda�item�in�all�team�meetings.� Creative�teams�and�the�touring�company�were�briefed�on�the�Theatre�Green�Book�and�our�own�ES� policy�and�sustainability�was�an�agenda�item�in�all�Production�meetings�and�Design�conversations.�In� 2023/24�we�achieved�Theatre�Green�Book�progress�of�Intermediate�on�Productions,�Intermediate�on� Operations�and�Basic�on�Buildings.� 

We�have�been�part�of�the�Sustainability�working�group�of�the�Producing�&�Touring�Companies�Network� since�its�inception,�working�towards�collaborative�actions�and�communications�around�environmental� sustainability,�addressing�climate�change�and�climate�justice.� 

In�2023/24�our�total�emissions�were�3�tonnes�CO2e,�which�is�a�100%�increase�from�2022/23.�The� increase�is�due�to�us�become�the�leaseholders�of�a�building�in�2023/24.�Waste�is�now�the�largest� element�of�TC’s�emissions.�As�we�begin�to�understand�the�running�of�the�building�better,�we�continued� to�work�towards�reducing�our�carbon�footprint�and�to�making�all�procurement�decisions�led�by� sustainability,�eg�recycled�paper�products�and�plant�based�cleaning�materials.� 

2023/24�was�our�third�consecutive�year�at�Net�Zero,�using�offsets�to�bridge�the�gap�between� reduction,�reuse,�recycling�and�zero�emissions.�We�have�recently�entered�a�three�year�energy�contract� with�a�new�supplier�providing�100%�certifiable�electricity�from�renewables�and�carbon�neutral�gas.� 

## **Policies�** 

We�have�a�full�range�of�polices,�including�all�those�required�by�Arts�Council�England�(ACE)�and�maintain� a�Risk�Register�for�all�aspects�of�our�operation.�We�are�a�Disability�Confident�Employer�and�an�ITC� Ethical�Employer,�paying�ITC/Equity�rates�as�a�minimum�and�committed�to�fair�pay.�We�use�the�Theatre� Green�Book,�the�Anti�Racism�Touring�Rider�and�are�signed�up�to�the�Anti�Ableism�Pledge.� 

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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **Creative�programme** 

## **Headline�information:�** 

During�2023/24,�we:� 

- worked�with�three�Resident�Writers� 

- produced�one�national�tour�of� **Wish�You�Weren’t�Here** 

- ran�our�year�round�Future�Makers�activity�with�14�partners�and�7�schools’�residencies� 

- made�Crawley�Stories,�a�six�episode�podcast�with�local�young�people�and�artists� 

- collaborated�with�The�Paper�Birds�on�the�artist�development�program�for�their�show� **Feel� Me** 

## **Resident�Writers�** 

Our�three�Resident�Writers�spent�time�collaborating�with�young�people�in�Future�Makers�sessions�in� Lewisham�and�Sheffield.�From�this�work�we�commissioned� **Wish�You�Weren’t�Here** �from�Katie�Redford� for�spring�2024,� **Dizzy** �from�Mohamad�Zain�Dada�for�autumn�2024.�We�are�exploring�options�for�a� third�commission�from�Lettie�Precious.� 

The�Resident�Writer�programme�was�part�funded�by�generous�support�from�the�Garrick�Trust.�It�has� been�hugely�successful,�as�was�the�previous�cohort�of�Writer�Fellows,�from�which�we�commissioned� Charlie�Josephine�with� **Birds�and�Bees** �and�Ryan�Calais�Cameron�for� **Human�Nurture** .� 

## **Tour�of�Wish�You�Weren’t�Here,�Jan�to�March�2024�** 

A�co�production�with�Sheffield�Theatres�touring�to�schools�and�theatres�across�the�UK.� 

Total�audiences�for�our�touring�work�were�4,193�over�55�performances,�20�of�which�were�presented� in�17�schools�and�35�in�5�theatres,�and�8�workshops.�As�well�as�continuing�our�successful�relationship� with�Sheffield�Theatres,�our�tour�saw�us�returning�for�a�two�week�run�at�Soho�Theatre,�thanks�to� generous�support�from�Cockayne�London�Community�Foundation.�We�also�visited�Newcastle� Northern�Stage,�Brighton�Dome�and�Yvonne�Arnaud�Theatre�for�the�first�time. 

The�show�was�incredibly�well�received�by�students,�teachers�and�general�audiences,�and�received� many�4��and�5�star�reviews.�We�also�launched�a�pilot�of� **Explode�the�Show** ,�our�new�approach�to�digital� educational�resources,�which�offer�a�360�look�at�the�process�of�making�a�show,�on�and�off�stage.�The� range�of�resources,�lesson�plans�and�videos�support�the�usual�class�based,�teacher�led�learning�and� are�also�designed�to�enable�independent,�student�led�exploration�of�the�material�and�insights.�This�is� a�strand�of�work�we�will�continue�to�develop�with�teachers�in�our�networks.� 

_“Our�partnership�with�Theatre�Centre�has�been�invaluable�in�bringing�powerful�and�impactful�theatre� to�thousands�of�young�people�across�the�nation.�Together,�we�have�been�able�to�create�transformative� experiences�that�inspire�and�challenge�audiences,�and�we�look�forward�to�continuing�this�important� work.”�_ **��Rob�Hastie,�outgoing�Artistic�Director�of�Sheffield�Theatres** 

_“…penned�after�countless�hours�of�conversations�with�hundreds�of�young�people�in�schools�around�the� country�about�what�matters�to�them�–which�makes�the�play�brilliantly�authentic,�totally�real…both� hilarious�and�heart�rending.”��_ **Sheffield�Star�** 

_“bouncy�dialogue�and�tender�observation”��_ **The�Stage�** 

_“Redford’s�writing�is�brilliant,�witty,�authentic,�heartfelt,�funny�and�moving�…�a�timely�piece�of�theatre,� touching�on�many�key�issues.”�_ **WestEndBestFriend�** 

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**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

**“** _Probably�the�best�two�hander�to�emerge�for�many�a�year_ **” Yorkshire�Post�** *****�� 

“ _All�young�women�and�their�mothers�should�see�this_ ”�� **London�Theatre�Reviews** 

“ _Wish�You�Weren’t�Here�is�a�sensitive�letter�of�love�to�the�complex�relationships�of�mothers�and� daughters._ ”��� **Young�Audience�Member** 

## “ _Honest�relatable�funny_ ”�� **Young�Audience�Member�** 

Students�and�teachers�both�rated�the�performance�very�high�with�96%�of�students�and�99%�of� teachers�giving�a�6�or�5�(out�of�6)�to�the�quality�of�the�show,�performances�and�script.�Most�teachers� said�they�were�planning�to�use�the�production�for�the�Live�Performance�Review�element�of�the�Drama� GCSE�and�that�the�show�was�also�useful�in�terms�of�PSHE�and�Personal�Development.�Most� importantly,�teachers�and�students�talked�about�how�WYWH�and�Theatre�Centre�shows�generally� make�connections�with�and�for�students�and�encourage�them�to�think�about�and�discuss�issues�in�the� wider�world,�both�in�the�classroom,�individually�and�with�friends.�Themes�that�emerged�as�strong� talking�points�for�this�show�included�social�media,�body�image,�the�climate�crisis,�parent/child� dynamics,�single�parenthood�and,�very�strongly,�young�people’s�mental�health.�In�their�feedback,� young�people�stressed�how�relatable�and�relevant�the�characters�and�dialogue�were�and�how� recognizable�the�situations�and�conversations�were,�reflecting�strongly�on�the�power�of�both�the� commitment�to�new�writing�and�the�process�we�go�through�to�make�it,�bringing�writers�in�to� collaborate�with�young�people�through�Future�Makers�before�we�even�reach�the�stage�of� commissioning�a�script.� 

## **Feedback�on�WYWH�from�Students�** 

_“I�thought�that�the�script,�the�writing�in�the�show�was�excellent�and�the�acting�on�top�of�that�was� incredible.�Each�scene�drew�the�audience�in,�wanting�to�know�more.�Some�scenes�making�us�laugh�and� others�making�us�cry.�It�was�a�bit�of�an�emotional�rollercoaster.�I�could�tell�that�a�lot�of�the�sound�in� performance�reflected�the�scene�at�times�as�well.”�_ 

_“Hilarious,�relatable,�emotional”�_ 

_“The�writing�was�the�best�part�full�of�depth�and�interesting�relationships”�_ 

_“I�thought�her�character�was�very�relatable,�this�allows�the�audience�to�empathise�with�her.�I�thought� that�the�events�that�happed�to�her�involving�her�friends�was�very�real�to�teenagers�lives.�I�also�really� liked�how�the�mother�sort�of�exploded�with�how�she�felt�and�the�challenges�that�she�has�had�to�face� because�of�it.”�_ 

_“I�thought�that�it�was�very�realistic�and�relatable,�so�I�really�enjoyed�watching�it,�with�problems�and� things�that�many�young�people�like�me�may�face.”�_ 

_“It�made�me�think�about�the�hidden�meaning�behind�what�people�say”�_ 

_“Watching�Wish�You�Weren't�Here�has�made�me�realise�that�a�lot�of�children�go�through�a�lot�more� than�we�think�that�they�do.�Whether�it's�at�school�or�at�home;�it's�important�to�be�mindful.”�_ 

_“It�changed�the�way�i�think�about�many�things.�For�example,�the�environment�(due�to�Mila's�view�on� that�topic).”�_ 

## **Feedback�on�WYWH�from�Teachers�** 

8� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

_“Superb!�We�really�do�try�to�see�a�range�of�theatre�with�our�students,�but�don't�always�succeed.�Thank� you�so�much�to�the�whole�team�at�Theatre�Centre�for�making�really�important�drama�incredibly�easy� to�access�for�some�of�the�young�people�in�our�school�at�risk�of�missing�out.”�_ 

_“I�loved�everything�about�the�show!�The�organisation�from�Theatre�Centre�was�excellent�and�the� performance�was�extraordinary.�The�students�couldn't�stop�talking�about�it�after�watching�it�and�were� very�complimentary�of�the�whole�production_ .”� 

_“The�main�purpose�remains�Live�Theatre�Review�of�a�show�which�uses�a�range�of�techniques�students� have�learned�about�when�devising.�However,�it�is�really�important�to�me�as�a�model�of�the�many�things� drama�can�be.�Students�who�are�more�familiar�with�film/TV�and�musical�theatre�are�amazed�to�be� drawn�in�by�the�live�experience,�what�was�essentially�two�women�talking�to�each�other�for�an�hour.”�_ 

_“The�performance�was�really�fascinating�and�exciting�for�our�students.�The�quality�of�the�writing�and� performances�was�such�that�a�huge�range�of�issues�could�be�packed�in�without�the�piece�feeling� didactic���I�love�didactic�theatre�but�students�expect�to�be�told�what�to�do�or�think�in�school,�and�the� conversational�tone�of�this�piece,�exploring�without�always�giving�clear�answers�felt�fresh�to�them.� Realistically,�although�it�deals�with�very�immediate�issues�to�them,�including�a�16�year�old�protagonist,� it�was�still�a�challenging�piece.�The�fact�that�most�were�highly�engaged�by�the�end�shows�the�level�of� challenge�was�just�right�in�terms�of�their�development_ .”� 

## **Future�Makers�** 

## **Crawley�&�National:�year�round�creative�activity�for�young�people,�teachers�and�artists,�headline� activity:�** 

- Sheffield�schools�Backstage�Trust�funded�pilot� 

- Lewisham�&�Sheffield�schools�Resident�Writers� 

- Development�of **�Wish�You�Weren’t�Here** �R&D�including�Lewisham�Youth�Theatre,�National� Youth�Theatre�and�schools�in�Crawley� 

- Crawley�Stories�Podcast�recordings� 

- **Dizzy** �development�in�Hazelwick�School,�Crawley�&�Addey�&�Stanhope�School,�Lewisham� 

- Development�of�Artist�in�Residence�pilots�in�Crawley�and�Lewisham� 

## **Total�impact�of�Future�Makers�** 

- 4�seasons�of�Future�Makers�in�Crawley,�Lewisham�and�Sheffield� 

- 73�FM�sessions�with�a�total�of�1,894�interactions� 

- 210�young�Future�Makers� 

- 14�partner�organisations�including�7�schools� 

- 23�Skillshares;�17�Speakeasies;�25�Incubators,�8�Gatherings� 

We�continued�to�develop�and�roll�out�Future�Makers�to�support�young�people�as�creative�thinkers,� artists,�makers,�active�citizens�and�leaders.�It�is�the�core�of�all�our�work�and�is�the�key�to�the�way�we� unlock�our�young�people�centred�practice�in�schools�and�in�our�national�and�local�communities.�� 

_“All�of�this�is�a�big�loop,�where�students�get�the�chance�to�speak�their�mind,�teachers�learn�new� techniques,�and�these�techniques�go�back�into�the�classroom�for�other�students.�This�work�has�a� positive�effect�on�the�whole�student�body.”�_ **Head�of�Drama,�Newfield�School,�Sheffield** 

Future�Makers�sees�us�bringing�young�people,�artists,�teachers�and�practitioners�together�to�develop� skills,�explore�big�ideas�and�to�make�work�together,�share�skills,�explore�big�ideas�and�empower�young� people�as�artists,�creatives,�active�citizens�and�leaders.�Future�Makers�allows�us�to�open�up�creative� spaces�where�everyone�in�the�room�is�valued�for�what�they�bring.�It�enables�us�to�bring�the�touring� work�together�with�the�other�strands�of�work�and�creates�our�‘ **creative�circular�economy** ’:�nothing�is� 

9� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

wasted�and�ideas�shared�in�one�space�can�be�picked�up,�refined�and�developed,�incorporated�into� other�work,�maybe�into�the�new�writing�that�we�tour,�and�young�people’s�ideas,�experience,�questions� and�perspectives�drive�all�of�our�work�forward.� 

In�2023/24�we�ran�Future�Makers�activities�in�schools�in�our�Crawley�home�Hub�as�well�as�the�national� programme,�particularly�in�schools�in�Chesterfield�and�Sheffield,�with�generous�support�from� Backstage�Trust,�and�in�schools�in�Lewisham.�The�activity�included�regular�sessions�with�our�Resident� Writers�as�well�as�year�round�creative�activity�bringing�professional�artists�into�spaces�with�students� and�teachers.� 

## **Feedback�from�Young�Future�Makers�in�schools:�** 

“ _I�shared�things�about�my�world�and�my�thoughts�on�pressure,�which�is�unusual�to�do�in�school._ ”� _Everyone�was�sharing�their�thoughts�without�judgement._ ”� 

“ _Future�Makers�helped�me�be�more�honest�with�myself�and�see�other�people's�perspective. I've�learnt� how�to�listen�to�people�better._ ”� 

“ _I�think�other�people�will�really�benefit�from�Future�Makers,�as�it's�boosted�my�confidence._ ”� 

“ _It�surprised�me�the�amount�of�stories�that�people�shared.�I've�never�really�seen�people�open�up�so�it� was�good�to�see�people�open�up�and�talk�about�their�experiences_ ”� 

“ _I�expected�the�session�to�be�less�interactive,�but�it�was�all�about�teamwork�and�sharing�ideas.�Joining� the�workshop�improved�my�drama�skills_ ”� 

“ _I�learnt�that�I�can�communicate�in�different�ways�and�work�well�in�a�team. I�learnt�not�to�listen�to�the� negative�little�voice�in�my�head._ ”� 

## **Feedback�from�Future�Makers�Teachers:�** 

“ _When�Theatre�Centre�come�in,�these�workshops�also�inspire�us�as�teachers.�So�in�our�lessons�we�try� do�something�a�little�bit�different,�a�bit�more�creative,�and�a�bit�of�a�different�way�of�working._ ”� 

“ _The�argument�exercises�where�they�were�coming�forward�and�speaking,�for�Year�9s�to�do�that,�and� be�able�to�do�that�confidently�for�two�minutes;�that�was�huge.�That�is�a�really�brilliant�thing�for�them� to�do._ ”� 

“ _It's�great�for�the�young�people�to�know�that�what�they're�doing�in�these�sessions�are�going�towards� the�development�of�a�new�show.�I�think�it's�brilliant�for�them�to�see�that�they�had�an�input�into�that._ ”� 

Alongside�work�in�schools,�we�also�ran�the�Crawley�and�National�programmes�in�partnership�with� Creative�Crawley,�CPP�Creative�Playground,�Lewisham�Youth�Theatre�and�National�Youth�Theatre.� 

## **Feedback�from�Young�Future�Makers�from�NYT�&�LYT:�** 

“ _I�feel�like�we�were�genuinely�listened�too. I�loved�the�discussions�and�found�it�very�enriching�both�for� myself�personally�and�for�the�text.”_ 

“ _I�had�never�done�an�R&D�so�did�not�expect�it�to�be�so�enriching�and�interactive.�It�was�so�lovely�to� explore�the�play�but�it�also�I�think�it�made�me�explore�things�within�my�own�life�and�experience.�It� speaks�to�how�much�the�play�speaks�to�all�of�us�in�different�ways.�I�felt�very�inspired�by�the� conversations�we�were�having._ ”� 

“ _I�thought�we�wouldn't�have�had�as�much�freedom�as�we�did…we�have�had�a�massive�influence�in� shaping�the�body�of�the�play�which�I�definitely�did�not�expect.�I�learned�so�much�about�how�to�facilitate�_ 

10� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

_R&D's�in�a�fun,�friendly,�supportive�way�&�building�a�company�FAST!�It�was�a�beautiful�thing�to�be�a� part�off._ ” 

“ _I�learnt�that�listening�can�be�much�more�powerful�than�talking. How�important�it�is�to�create�a�safe� space�that�and�a�fun�one�too�which�is�not�all�work�and�no�play.�Playing�games�is�a�great�way�to�create� unity�and�connections._ ”� 

As�in�previous�years,�sharing�our�practice�with�professional�artists�provided�excellent�artist� development�and�led�to�several�freelance�artists�depending�their�understanding�and�commitment�to� making�high�quality�work�with�and�for�young�people.� 

## **Feedback�from�Future�Makers�Associate�Artists:�** 

“ _People�went�out�of�their�comfort�zones�ALL�THE�TIME!�It�was�amazing�to�see�how�each�group�of�young� people�came�up�with�entirely�different�stories�and�modes�of�storytelling�from�the�same�starting�point._ ”� 

_“What�was�great�about�the�project�was�the�enthusiasm�from�group�leaders�and�staff�(both�at�Theatre� Centre�and�Lewisham�Youth�Theatre).�Flexibility�for�the�young�people���the�lack�of�pressure�to�produce� specific�outcomes�seemed�to�allow�the�young�people�to�explore�their�ideas�with�a�greater�sense�of� playfulness.”�_ 

“ _We�were�all�vulnerable�in�front�of�people�we'd�just�met�(i.e.�acting,�sharing�personal�ideas�and� interpretations�around�clues)��to�be�vulnerable�is�to�be�brave�and�courageous.�Encouraging�young� people�(or�people�of�any�age!)�to�share�their�work�in�an�unfinished�or�'imperfect'�state�also�fosters� courageousness._ ”� 

“ _Through�Crawley�Stories,�I�discovered�there�are�many�ways�of�(making)�participatory�work,�to�create� genuine�connections�and�impact�outside�and�the�traditional�workshop�format.�I'd�like�to�explore�this� more. I�love�to�be�involved�in�these�projects�with�young�people�and�thrive�off�their�excitement._ ”� 

## **The�Paper�Birds���Feel�Me�co�production:** 

This�year,�our�co�production�with�The�Paper�Birds�saw�us�using�the�Future�Makers�process�as�artists� development�and�mentoring�for�a�group�of�eight�early�career�artists.�We�have�gone�on�to�work�with�a� number�of�these�artists�in�other�way�including�engaging�one�as�the�Movement�Director�for� **Wish�You� Weren’t�Here** .� 

## **Continual�Personal�Development�training�(CPD)�for�teachers�** 

As�per�the�previous�year,�we�continued�to�offer�regular�CPD�session�including�Script�Detective,� Directing,�and�“How�To...”�sessions�supporting�teachers�to�get�the�most�out�of�our�touring�work�and� prepare�for�working�with�their�students�on�our�touring�work�and�repertoire�of�scripts.� 

We�continued�to�build�and�strengthen�the�national�community�of�teachers�through�our�existing� networks�and�offered�offer�several�ways�for�teachers�to�move�across�the�different�strands�of�our�work.� We�have�an�open�dialogue�with�teachers�across�the�country�and�design�our�CPD�offer�in�response�to� their�needs,�emphasising�direct�access�to�professional�theatre�makers,�supporting�peer�networks�and� encouraging�Drama�teachers�to�view�themselves�as�artists�with�their�own�creative�practice.� 

**70th�Birthday�Celebrations** 

Theatre�Centre�marked�its�70[th] �birthday�on�12[th] �September�2023,�also�the�centenary�of�Brian�Way,�our� co�founder�with�Margaret�Faulks.�This�was�marked�by�a�Gathering�including�our�current�and�two� former�Artistic�Directors,�Natalie�Wilson�and�Rosamunde�Hutt,�and�saw�us�launching�our�brand�new� website.�� 

11� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

Following�discussion�around�what�being�70�means�for�a�company�that�exists�to�make�work�with�and� for�young�people,�the�Executive�and�Trustees�felt�it�was�more�appropriate�to�take�a�forward�looking� focus�and�use�this�moment�as�a�spring�board�to�looking�at�what�the�next�5�years�might�look�like,�and� develop�the�vision�and�ambitions�Trustees�and�the�Executive�have�for�Theatre�Centre�at�75.� 

## **Financial�Review** 

Having�been�successful�in�our�application�to�the�Arts�Council,�Theatre�Centre�continued�as�a�National� Portfolio�Organisation�in�receipt�of�public�funding�in�the�new�NPO�funding�cycle.�As�an�NPO�Transfer� organisation,�our�funding�is�secure�for�2023�25�and�we�will�apply�to�the�South�East�for�2025�27�for�the� remaining�two�years�of�the�current�funding�cycle.�We�were�also�in�receipt�of�further�grant�support� from�Arts�Council�for�feasibility�work�to�support�our�Transfer�planning�and�strategic�development�of� our�business,�operational�and�financial�model�in�the�context�of�our�relocation.� 

In�addition�to�our�NPO�grant,�Theatre�Centre’s�income�is�supplemented�by�the�generation�of�earned� income�through�touring�performances,�workshops,�paid�panel�and�conference�presentations.� Increasingly,�we�are�developing�more�commercial�approaches�to�income�generation�through�space� hire�in�our�new�building�and�increasing�the�amount�of�training�and�personal�development�we�offer�to� local�businesses.�Alongside�this�we�are�increasing�income�streams�through�philanthropic�channels,� fundraising�from�trusts�and�foundations,�and�donations�from�individuals,�achieving�notable�success�in� March�2024�raising�£5,000�through�The�Big�Give,�our�first�time�as�part�of�this�match�funded�platform.� 

The�Company�had�a�planned�deficit�of�£31,367�for�the�year�(2023:�deficit�£46,987),�as�designated� reserves�were�invested�in�areas�of�artistic�and�organisational�development.�Total�incoming�resources� of�£375,416�represented�a�reduction�of�£3,310�on�the�previous�year�(2023:�£378,726).�Total� expenditure�of�£406,783�was�also�lower�than�in�the�previous�year�(2023:�£425,713),�and�once�again� demonstrates�Theatre�Centre’s�prudent�controls�on�expenditure�in�response�to�the�ongoing� challenging�financial�and�fundraising�environment.�� 

Following�several�years�of�intentionally�investing�the�Company’s�reserves�into�creative�output�and� further�subsidising�fees�for�schools�during�and�post�pandemic,�we�are�aiming�to�achieve�balanced� budgets�in�2024/25�and�going�forward.�This�will�include�increasing�fees�for�schools�in�autumn�2024� from�£300�to�£450,�following�three�years�of�a�50%�reduction�in�fees�for�state�schools,�though�still�not� returning�to�pre�pandemic�fee�levels.�This�is�an�on�going�part�of�our�commitment�to�ensure�that�our� work�is�accessible�for�young�people�in�schools�and�areas�that�would�otherwise�be�excluded�from�seeing� high�quality�theatre.�We�will�continue�to�prioritise�developing�our�diversified�income�streams�rather� than�pricing�the�work�out�of�the�reach�of�our�target�audiences.� 

## **Reserves�Policy��** 

The�Trustees�aim�to�maintain�a�designated�Operational�Fund�at�a�level�which�equates�to�a�minimum� of�six�months�of�operational�costs.�Additionally,�the�Trustees�have�recently�added�a�target�to�build�a� £10,000�designated�Premises�Fund�for�ongoing�repairs�and�end�of�lease�redecorating.� 

As�of�31st�March�2024�total�unrestricted�reserves�were�£131,707�(2023:�£150,035),�of�which�£125,000� has�been�designated�as�an�Operational�Reserve�and�£6,707�as�a�Premises�Reserve,�with�no�General� Fund�remaining.� 

The�Trustees�have�overseen�a�substantial�investment�of�reserves�since�2020/21,�necessitated�by� Theatre�Centre’s�ongoing�commitment�to�be�responsive�to�the�needs�of�schools,�audiences�and�artists� following�the�Covid�pandemic.�Trustees�prioritised�investment�in�making�a�wide�range�of�work�and�in� 

12� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

removing�financial�barriers�to�accessing�the�work,�for�young�people,�schools,�parents�and�carers,�as� well�as�supporting�key�organisational�areas�to�support�capacity�and�artistic�growth.� 

## **Data�management�** 

**GDPR:�** Our�GDPR�systems�continue�to�function�effectively.�In�2023/24,�we�had�no�data�breaches�and� processed�no�requests�for�the�removal�of�images�or�data�records.�GDPR�is�reported�on�each�week�in� team�meetings�and�at�each�Board�meeting,�and�we�delete�stored�data�in�accordance�with�our�Privacy� Policy.� 

## **Risk�Management** 

Trustees�have�systems�to�identify�and�mitigate�any�major�risks�to�which�the�organisation�may�be� exposed.�The�Company�updates�its�Risk�Register�annually,�with�more�regular�review�when� circumstances�require.�This�is�scrutinised�at�Board�meetings�and�monitored�regularly�by�the�Finance� &�Operations�Sub�Committee�(FOSC).�As�in�previous�years,�FOSC�has�identified�the�following�as� key�areas�of�risk:� 

- Financial�(fundraising�including�NPO,�sales,�ethical�investment,�reserves�surplus)�� 

- Reputational�(partnerships,�profile�and�PR)� 

- Organisational�(Staff�recruitment�and�capacity,�staff�and�Board�skills,�retention)�� 

- Legal�(Compliance)�� 

- Physical�(Safeguarding,�Health�&�Safety,�premises)� 

Additionally,�Trustees�and�the�Executive�are�in�active�discussion�regarding�the�current�challenges�to� touring�and�those�in�the�education�sector�and�are�responsive�to�the�changing�landscape.� Financial�and�Reputational�risk�are�highlighted�as�priorities�for�the�Company.�Trustees�regularly� considered�how�these�risks�interrelate�and�monitor�delivery�targets�throughout�the�year,�with� particular�reference�to�progress�against�NPO�Activity�and�Investment�Principles�targets�in�the�Funding� Agreement�with�Arts�Council�England,�which�continues�to�classify�our�risk�as�Minor.� 

## **Future�Plans�2025/26��** 

During�2025/26,�we�will:� 

- continue�to�build�partnerships�and�develop�our�West�Green�space�as�a�cultural�hub� 

- produce�one�national�tour�of�Dizzy�by�Mohamed�Zain�Dada� 

- run�our�year�round�Future�Makers�activity�in�Crawley�and�nationally� 

- be�one�of�three�main�partners�in�Creative�Village�with�Creative�Crawley�and�Audio�Active� 

- pilot�our�Artists�in�Residence�work�in�pilots�two�schools� 

We�maintain�our�focus�on�making�prudent�decisions�while�always�looking�for�how�and�where�we�can� be�most�useful,�valuable�and�impactful.�The�strength�of�the�Company’s�vision�and�values�once�again� gives�us�clarity�as�we�make�plans�and�respond.�Alongside�creating�top�quality�touring�work�for�schools� and�theatres,�consolidating�relationships�and�work�in�our�Crawley�home�and�the�continued�evolution� of�our�Future�Makers�model�for�making�work�with�and�for�young�people�will�be�our�priorities�into� 2025/26.�AS�ever�we�are�committed�to�ensuring�we�meet�the�changing�needs�of�young�people�and� stay�mission�led,�drawing�all�of�the�strands�of�our�practice�together�though�the�powerful,�collaborative� Future�Makers�process.� 

13� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **Statement�of�Trustees'�Responsibilities** 

The�trustees�(who�are�also�directors�of�Theatre�Centre�for�the�purposes�of�company�law)�are� responsible�for�preparing�the�Trustees'�Annual�Report�and�the�financial�statements�in�accordance�with� applicable�law�and�United�Kingdom�Accounting�Standards�(United�Kingdom�Generally�Accepted� Accounting�Practice).� 

Company�law�requires�the�trustees�to�prepare�financial�statements�for�each�financial�year,�which�give� a�true�and�fair�view�of�the�state�of�affairs�of�the�charitable�company�and�of�the�incoming�resources� and�application�of�resources,�including�the�income�and�expenditure,�of�the�charitable�company�for�the� year.�In�preparing�these�financial�statements,�the�trustees�are�required�to:�� 

- select�suitable�accounting�policies�and�then�apply�them�consistently; 

- observe�the�methods�and�principles�in�the�Charities�SORP�2015�(FRS�102); 

- make�judgements�and�estimates�that�are�reasonable�and�prudent; 

- state�whether�applicable�UK�Accounting�Standards�have�been�followed,�subject�to�any material�departures�disclosed�and�explained�in�the�financial�statements; 

- prepare�the�financial�statements�on�the�going�concern�basis�unless�it�is�inappropriate�to presume�that�the�charitable�company�will�continue�in�operation. 

The�trustees�are�responsible�for�keeping�adequate�accounting�records�that�disclose�with�reasonable� accuracy�at�any�time�the�financial�position�of�the�charitable�company�and�enable�them�to�ensure�that� the��financial��statements��comply��with��the��Companies��Act��2006.��They��are��also��responsible��for�� safeguarding��the��assets��of��the��charitable��company��and��hence��for��taking��reasonable��steps��for��the� prevention�and�detection�of�fraud�and�other�irregularities.�� 

The��trustees��are��responsible��for��the��maintenance��and��integrity��of��the��corporate��and��financial�� information��included��on��the��charitable��company's��website.��Legislation��in��the��United��Kingdom� governing�the�preparation�and�dissemination�of�financial�statements�may�differ�from�legislation�in� other�jurisdictions.�� 

## **Small�Company�Exemptions** 

This�report�is�prepared�in�accordance�with�the�provisions�of�the�Companies�Act�2006�relating�to�small� companies.�� 

This�report�was�approved�by�the�Board�of�Trustees�on����November�2024�and�signed�on�its�behalf�by:�� 


## **Rebecca�Major** 

**Chair�of�the�Board�of�Trustees�** 

14� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **Independent�Examiner’s�Report�to�the�Trustees�of�Theatre�Centre�Limited�** 

I�report�on�the�accounts�of�the�charity�for�the�year�ended�31�March�2024,�which�are�set�out�on� pages�16�to�26.�� 

## **Respective�responsibilities�of�trustees�and�examiner��** 

The�trustees�(who�are�also�the�directors�of�the�company�for�the�purposes�of�company�law)�are� responsible�for�the�preparation�of�the�accounts.�The�trustees�consider�that�an�audit�is�not� required�for�this�year�under�section�144(2)�of�the�Charities�Act�2011�(the�2011�Act)�and�that�an� independent�examination�is�needed.�� 

The�charity's�gross�income�exceeded�£250,000�and�I�am�qualified�to�undertake�the�examination� by�being�a�qualified�member�of�The�Association�of�Chartered�Certified�Accountants.�� 

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

- examine�the�accounts�under�section�145�of�the�2011�Act; 

- follow�the�procedures�laid�down�in�the�general�Directions�given�by�the�Charity Commission�(under�section�145(5)(b)�of�the�2011�Act;�and 

- state�whether�particular�matters�have�come�to�my�attention. 

## **Basis�of�independent�examiner's�statement��** 

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

## **Independent�examiner's�statement��** 

In�connection�with�my�examination,�no�matter�has�come�to�my�attention�� 

1. which�gives�me�reasonable�cause�to�believe�that�in,�any�material�respect,�the�requirements: �to�keep�accounting�records�in�accordance�with�section�386�of�the�Companies�Act�2006;�and �to�prepare�accounts�which�accord�with�the�accounting�records,�comply�with�the�accounting requirements�of�section�396�of�the�Companies�Act�2006�and�with�the�methods�and�principles of�the�Statement�of�Recommended�Practice:�Accounting�and�Reporting�by�Charities�have�not been�met;�or 

2. to�which,�in�my�opinion,�attention�should�be�drawn�in�order�to�enable�a�proper�understanding of�the�accounts�to�be�reached. 


## **Richard�Nelson�FCCA� Breckman�&�Company�Ltd�� Chartered�Certified�Accountants��** 

49�South�Molton�Street�London�W1K�5LH� 

���November�2024� 

15� 



���������������������������������������������������������� 

## **Theatre�Centre�Limited� (Limited�by�Guarantee)�** 

**Statement�of�Financial�Activities�(including�Income�and�Expenditure�Account)� For�the�year�ended�31�March�2024�** 

|||Unrestricted|Restricted|Total|Unrestricted|Restricted||
|---|---|---|---|---|---|---|---|
||Notes|Funds|Funds|2024|Funds|Funds|Total2023|
|||£|£|£|£|£|£|
|**Income**||||||||
|Donations|3|249,416|�|249,416|245,265|�|245,265|
|Incomefromcharitableactivities|4|59,240|32,491|91,731|67,411|39,939|107,350|
|Investments|5|2,340|�|2,340|763|�|763|
|Other|6|31,929|�|31,929|25,348|�|25,348|
|**Totalincomingresources**||**342,925**|**32,491**|**375,416**|**338,787**|**39,939**|**378,726**|
|**Expenditure**||||||||
|RaisingFunds:Fundraisingcosts||14,218|�|14,218|17,568|�|17,568|
|Charitableactivities|7|347,035|45,530|392,565|383,206|24,939|408,145|
|**Totalexpenditure**||**361,253**|**45,530**|**406,783**|**400,774**|**24,939**|**425,713**|
|**NetMovementonfunds**|8|(18,328)|(13,039)|(31,367)|(61,987)|15,000|(46,987)|
|**Reconciliationoffunds:**||||||||
|TotalFundsbroughtforward||150,035|15,000|165,035|212,022|�|212,022|
|**TotalFundscarriedforward**|19|**131,707**|**1,961**|**133,668**|**150,035**|**15,000**|**165,035**|



The�notes�on�pages�18�to�26�form�an�integral�part�of�these�financial�statements.� 

The�statement�of�financial�activities�includes�all�gains�and�losses�recognised�in�the�year.�All�income�and�expenditure�derives�from�continuing�activities.� 

16� 



���������������������������������������������������������� 

## **Theatre�Centre�Limited� (Limited�by�Guarantee)�** 

## **��Balance�Sheet�as�at�31�March�2024�** 

|Notes<br>**FixedAssets**<br>Tangibleassets<br>13<br>**CurrentAssets**<br>Stock<br>14<br>Cashatbankandinhand<br>Debtors<br>15<br>**Liabilities**<br>Creditors:amountsfallingduewithinoneyear<br>16<br>NetCurrentAssets<br>**TotalNetAssets**<br>**Thefundsofthecharity**<br>19<br>Unrestrictedfunds<br>– GeneralFunds<br>– DesignatedFunds<br>Restrictedfunds|2024<br>£<br>619<br>1,704<br>72,631<br>84,426<br>156,761<br>(23,712)<br>133,049<br>£133,668<br>�<br>131,707<br>131,707<br>1,961<br>£133,668|2023<br>£<br>221<br>1,302<br>131,782<br>48,811|
|---|---|---|
|||181,895|
|||(17,081)|
|||164,814|
|||£165,035|
|||35<br>150,000|
|||150,035<br>15,000|
|||£165,035|



The�notes�on�pages�16�to�24�form�an�integral�part�of�these�financial�statements.� 

For�the�year�ending�31�March�2024�the�company�was�entitled�to�exemption�from�audit�under�section�477�of�the� Companies�Act�2006�relating�to�small�companies.�� 

Directors'�responsibilities:�� 

�The�members�have�not�required�the�company�to�obtain�an�audit�of�its�accounts�for�the�year�in�question�in accordance�with�section�476; 

�The�directors�acknowledge�their�responsibilities�for�complying�with�the�requirements�of�the�Act�with�respect�to accounting�records�and�the�preparation�of�accounts. 

These�financial�statements�have�been�prepared�in�accordance�with�the�provisions�of�the�Companies�Act�2006� applicable�to�companies�subject�to�the�small�companies�regime.�� 

The�financial�statements�were�approved�by�the�Board�of�Trustees�on����November�2024�and�signed�on�its� behalf�by:�� 


**Rebecca�Major Chair�of�the�Board�of�Trustees** 

17� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Notes�to�the�Financial�Statements�** 

**for�the�year�ended�31�March�2024�** 

## **1. Accounting�Policies�** 

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

## **a)�Basis�of�preparation�** 

The�financial�statements�have�been�prepared�in�accordance�with�Accounting�and�Reporting�by� Charities:�Statement�of�Recommended�Practice�(issued�in�October�2019)�applicable�to�charities� preparing�their�accounts�in�accordance�with�the�Financial�Reporting�Standard�applicable�in�the�UK�and� Republic�of�Ireland�(FRS102)�(effective�1�January�2019�–�(Charities�SORP�(FRS102))�and�the�Companies� Act�2006.� 

The�charity�meets�the�definition�of�a�public�entity�under�FRS102.�Assets�and�liabilities�are�initially� recognised�at�historical�cost�or�transaction�value�unless�otherwise�stated�in�the�relevant�accounting� policy�note(s).�� 

## **b)�Fund�accounting�** 

Funds�held�by�the�charity�are�either:� 

��Unrestricted�general�funds.�These�are�funds�which�can�be�used�in�accordance�with�the�charitable� objects�at�the�discretion�of�the�trustees.� 

��Designated�funds.�These�are�unrestricted�funds�of�the�charity�which�the�trustees�have�decided�at� their�discretion�to�set�aside�to�use�for�a�specific�purpose.� 

��Restricted�funds.�these�are�funds�that�can�only�be�used�for�particular�restricted�purposes�within�the� objects�of�the�charity.�Restrictions�arise�when�specified�by�the�donor�or�when�funds�are�raised�for� particular�restricted�purposes.�� 

## **c)�Incoming�resources��** 

All�incoming�resources�are�included�in�the�Statement�of�Financial�Activities�when:�� 

��the�charity�is�legally�entitled�to�the�funds� 

��any�performance�conditions�attached�to�the�income�have�been�met�or�are�fully�within�the�control�of� the�charity�� 

��there�is�sufficient�certainty�that�receipt�of�the�income�is�considered�probable��� 

��the�amount�can�be�reliably�measured 

## **��Donations�and�legacies�** 

Grants/donations�are�recognised�in�incoming�resources�in�the�year�in�which�they�are�receivable,�except� as�follows:� 

���when�donors�specify�that�grants/donations�given�to�the�charity�must�be�used�in�future�accounting� periods,�the�income�is�deferred�until�those�periods.� 

���when�donors�impose�conditions�which�have�to�be�fulfilled�before�the�charity�becomes�entitled�to�use� such�income,�the�income�is�deferred�and�not�included�in�incoming�resources�until�the�preconditions� for�use�are�met.� 

## **��Charitable�activities�** 

Theatre�income:�income�from�box�office,�performance�fees�and�sundry�other�theatrical�income�is� included�in�incoming�resources�in�the�period�in�which�the�relevant�show�takes�place.� 

Project�specific�funding:�when�donors�specify�that�donations�and�grants�are�for�particular�restricted� purposes,�which�do�not�amount�to�pre�conditions�regarding�entitlement,�this�income�is�included�in� incoming�resources�of�restricted�funds�when�receivable.� 

## **��Donated�services�and�facilities** 

Donated�services�or�facilities�are�recognised�as�income�when�the�charity�has�control�over�the�item,�any� conditions�associated�with�the�donated�item�have�been�met,�the�receipt�of�economic�benefit�from�the�� 

18� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts�** 

**For�the�Year�Ending�31�March�2024�** 

## **1. Accounting�Policies�(continued)** 

use�by�the�charity�of�the�item�is�probable�and�that�economic�benefit�can�be�measured�reliably.�On� receipt,�donated�services�and�facilities�are�recognised�on�the�basis�of�the�value�of�the�gift�to�the�charity� which�is�the�amount�the�charity�would�have�been�willing�to�pay�to�obtain�services�or�facilities�of� equivalent�economic�benefit�on�the�open�market;�a�corresponding�amount�is�then�recognised�in� expenditure�in�the�period�of�receipt.�� 

## **��Investment�income** 

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

## **d)�Expenditure�** 

All�expenditure�is�included�on�an�accruals�basis�inclusive�of�any�VAT�which�cannot�be�recovered�and�is� recognised�when:� 

���there�is�a�legal�or�constructive�obligation�to�make�a�payment�� 

��it�is�probable�that�settlement�will�be�required ��the�amount�of�the�obligation�can�be�measured�reliably� 

## **��Costs�of�raising�funds�** 

Costs�incurred�in�attracting�donations,�and�those�incurred�in�trading�activities�that�raise�funds.� 

## **��Charitable�activities** 

Production/project�costs:�costs�incurred�in�the�production�and�running�of�productions�toured�in�the� year.� 

## **��Support�costs�** 

The�administrative�and�overhead�costs�associated�with�running�the�office�from�which�the�company� operates�as�well�as�governance�costs.�Support�costs�are�wholly�attributable�to�theatre�production� costs.� 

## **��Governance�costs** 

�Costs�associated�with�the�constitutional�and�statutory�requirements�of�the�charity.� 

## **e)�Fixed�assets�and�depreciation�** 

Individual�fixed�assets�costing�£500�or�more�are�capitalised�at�cost.�Depreciation/amortisation�is� provided�at�annual�rates�calculated�to�write�off�costs�less�residual�value�over�their�estimated�useful� economic�lives�as�follows:� 

Website� 33%�on�cost�� Motor�vehicles� 25%�on�cost� Production/Office�equipment�33%�on�cost� Computer�equipment�� 33%�on�cost� 

## **f)�Stock�** 

Stock�is�valued�at�the�lower�of�cost�and�net�realisable�value.� 

## **g)�Debtors�** 

Trade�and�other�debtors�are�recognised�at�the�settlement�amount�due�after�any�trade�discount� offered.�Prepayments�are�valued�at�the�amount�prepaid�after�taking�into�account�any�trade�discounts� due.� 

19� 



���������������������������������������������������������� 

**THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

## **1.���Accounting�Policies�(continued)** 

## **h)�Cash�at�bank�and�in�hand��** 

Cash�at�bank�and�cash�in�hand�includes�cash�and�short�term�highly�liquid�investments�with�a�short�� maturity�of�three�months�or�less�from�the�date�of�acquisition�or�opening�of�the�deposit�or�similar� account.� 

## **i)�Creditors�and�provisions�** 

Creditors�and�provisions�are�recognised�where�the�charity�has�a�present�obligation�resulting�from�a� past�event�that�will�probably�result�in�the�transfer�of�funds�to�a�third�party�and�the�amount�due�to� settle�the�obligation�can�be�measured�or�estimated�reliably.�Creditors�and�provisions�are�normally� recognised�at�their�settlement�amount�after�allowing�for�any�trade�discounts�due.� 

## **j)�Financial�instruments�** 

The�charity�only�has�financial�assets�and�financial�liabilities�of�a�kind�that�qualify�as�basic�financial� instruments.�Basic�financial�instruments�are�initially�recognised�at�transaction�value,�and�subsequently� measured�at�their�settlement�value.� 

## **k)�Leasing�** 

Rentals�payable�under�operating�leases�are�charged�to�the�income�and�expenditure�account�on�a� straight�line�basis�over�the�lease�term.�� 

## **l)�Pensions�** 

The�company�operates�a�defined�contribution�scheme�and�the�pension�charge�represents�the�amount� payable�by�the�company�to�the�fund�in�respect�of�the�year.� 

## **m)�Significant�Accounting�Estimates�and�Judgements��** 

In�determining�the�carrying�amounts�of�certain�assets�and�liabilities,�the�charity�makes�assumptions�of� the�effects�of�uncertain�future�events�on�those�assets�and�liabilities�at�the�balance�sheet�date.�The� charity's�estimates�and�assumptions�are�based�on�historical�experience�and�expectation�of�future� events�and�are�reviewed�annually.� 

## **2. Incoming�resources�** 

The�total�incoming�resources�for�the�year�have�been�derived�from�the�principal�activity�undertaken� wholly�in�the�UK.� 

|whollyintheUK.|||
|---|---|---|
||2024|2023|
||£|£|
|**3.IncomefromDonations**|||
|**Grants**|||
|ArtsCouncilEngland�NationalPortfoliofunding|244,416|244,416|
||244,416|244,416|
|**Donations**|||
|Individualgiving|5,000|849|
||£249,416|£245,265|
|**4.Incomefromcharitableactivities**|||
|**Earnedincome(unrestricted)**|||
|Performances&workshops|19,999|40,609|
|Co�productions|30,000|25,000|
|Spacehire|8,660|�|
|Otherincome|581|1,802|
||£59,240|£67,411|



20� 



���������������������������������������������������������� 

## **THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

|**4.Incomefromcharitableactivities(continued)**|2024|2023|
|---|---|---|
|**Projectspecificfunding(restricted)**|£|£|
|**Grants**|||
|ArtsCouncilEngland–Transferfeasibilitystudy|22,491|�|
|BackstageTrust|10,000|15,000|
|TheLondonCommunityFoundation–CockayneGrantsfor|||
|theArts|�|24,939|
||£32,491|£39,939|
|**5.Investmentincome**|||
|Bankinterest|£2,340|£763|
|**6.Otherincome**|||
|TheatreTaxRelief|£31,929|£25,348|
|**7.Expenditureoncharitableactivities**|||
|**Production&projectcosts**|||
|Productioncosts|17,057|32,880|
|Salaries|73,949|66,452|
|Fees|48,437|88,271|
|Socialsecuritycosts|5,037|4,243|
|Pensioncosts|4,045|5,344|
|FutureMakersprogramme|17,578|17,319|
|Royalties&writers’fees|9,303|14,800|
|Touringallowances&subsistence|17,271|11,074|
|Travel&transportation|6,798|6,552|
|Marketing|10,252|6,726|
|Educationalresources|�|78|
||209,727|253,739|
|Supportcosts–pages21�22|178,004|149,423|
|Governancecosts–page22|4,834|4,983|
||£392,565|£408,145|
|**Supportcosts**|||
|**Officeoverheads**|||
|Officerent&storage|25,416|19,048|
|Telephone&internet|938|1,543|
|Insurance|3,916|2,020|
|Repairs,renewals&cleaning|3,212|251|
|Computer&equipmentmaintenance|5,038|6,525|
|Depreciationofequipment|364|110|
||38,884|29,497|



21� 



���������������������������������������������������������� 

## **THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts� For�the�Year�Ending�31�March�2024�** 

|**7.**|**Expenditureoncharitableactivities(continued)**|2024||2023|
|---|---|---|---|---|
|||£||£|
||**Administrationcosts**||||
||Salaries&wages|105,467||93,044|
||Fees/services|3,850||8,221|
||Socialsecuritycosts|7,190||6,157|
||Staffpensioncosts|4,985||4,652|
||Stafftraining&welfare|404||491|
||Staffrecruitment|�||1,199|
||Accommodation&subsistence|�||1,471|
||Travel|1,730||1,164|
||Premisescosts|6,571||�|
||Relocationcosts|5,891||�|
||Printing,postage&stationery|675||1,286|
||Conferences|�||158|
||Theatretickets|146||133|
||Subscriptions&memberships|1,115||926|
||Sundries|1,096||866|
|||139,120||119,768|
||**Professional&financial**||||
||Bankcharges|�||158|
||**TotalSupportcosts**|£178,004||£149,423|
||**Governancecosts**||||
||Boardexpenses|234||100|
||Legal&professional|�||13|
||Bookkeeping|�||520|
||Accountancy|4,600||4,350|
|||£4,834||£4,983|
|**8.**|**Netexpenditurefortheyear**||||
|||2024||2023|
|||£||£|
||**Thisisstatedaftercharging:**||||
||Depreciationoftangiblefixedassets|364||110|
||IndependentExaminer'sremuneration:||||
||IndependentExamination|4,000||3,750|
||Otherservices|600||600|
|**9.**|**Analysisofstaffcosts,trusteeremunerationandexpenses,andthecostofkey**||||
||**managementpersonnel**||||
|||2024||2023|
|||£||£|
||Salariesandwages|185,609||168,715|
||Socialsecuritycosts|12,600||10,771|
||Pensioncosts|9,073||8,436|
|||£207,282|£187,922||



22� 



���������������������������������������������������������� 

## **THEATRE�CENTRE�LIMITED�** 

## **Annual�Report�and�Accounts�** 

## **For�the�Year�Ending�31�March�2024�** 

## **9.�Analysis�of�staff�costs,�trustee�remuneration�and�expenses,�and�the�cost�of�key� management�personnel�(continued)�** 

The�average�number�of�employees,�including�casual�and�part�time�staff,�during�the�year�were:� 

|Producing&productionstaff<br>Supportstaff|2024<br>2023<br>2<br>2<br>3<br>3<br>5<br>5|2024<br>2023<br>2<br>2<br>3<br>3<br>5<br>5|
|---|---|---|
|||5|



No�employee�received�employee�benefits�in�excess�of�£60,000�during�the�year�(2023:�nil).�� 

The�key�management�personnel�of�the�charity�comprise�the�Trustees�and�the�Senior�Management�Team.� The�total�employee�benefits�of�the�key�management�personnel�of�the�charity�were�£102,441.�(2023:� £93,382).� 

No�trustees�received�remuneration�during�the�year�(2023:�£nil).� 

The�aggregated�amount�reimbursed�to�trustees�during�the�year�was�£nil�(2023:�£nil).� 

## **10.��Pension�costs�** 

The�company�operates�a�defined�contribution�pension�scheme�in�respect�of�its�employees.�The�scheme�and� its�assets�are�held�by�independent�managers.�The�pension�charge�represents�contributions�due�from�the� company�and�amounted�to�£9,073�(2023:�£8,436).����� 

## **11.���Corporation�Taxation�** 

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

## **12.���Fixed�Assets�–�intangible�assets��** 

||Website|
|---|---|
||Costs|
||£|
|**Cost**||
|1April2023|7,110|
|Eliminatedondisposal|(7,110)|
|31March2024|�|
|**Provisionfordiminutioninvalue**||
|1April2023|7,110|
|Eliminatedondisposal|(7,110)|
|31March2024|�|
|**NetBookValue**||
|31March2024|£�|
|31March2023|£�|



23� 



���������������������������������������������������������� 

## **THEATRE�CENTRE�LIMITED�** 

## **Annual�Report�and�Accounts�** 

## **For�the�Year�Ending�31�March�2024�** 

## **13.�Fixed�Assets�–�tangible�assets�** 

|**13.FixedAssets–tangibleassets**|||||
|---|---|---|---|---|
||Office|Motor|Computer||
||Equipment|Vehicles|Equipment|Total|
|**Cost**|£|£|£|£|
|1April2023|16,298|27,700|19,135|63,133|
|Additions|533|�|229|762|
|Disposals|(9,266)|�|(18,804)|(28,070)|
|31March2024|7,565|27,700|560|35,825|
|**Depreciation**|||||
|1April2023|16,298|27,700|18,914|62,912|
|ChargeforYear|178|�|186|364|
|Eliminatedondisposal|(9,266)|�|(18,804)|(28,070)|
|31March2024|7,210|27,700|296|35,206|
|**NetBookValues**|||||
|31March2024|£355|£�|£264|£619|
|31March2023|£�|£�|£221|£221|
|**14.Stock**||2024||2023|
|||£||£|
|Playtexts||1,704||1,302|
|**15.Debtors**||2024||2023|
|||£||£|
|Tradedebtors||11,443||7,830|
|Otherdebtors||13,250||7,723|
|Prepayments&accruedincome||47,938||33,258|
|||£72,631||£48,811|
|**16.Creditors:Amountsfallingduewithinoneyear**||2024||2023|
|||£||£|
|Tradecreditors||8,776||3,120|
|Accruals||5,702||5,679|
|Othercreditors||1,842||4,115|
|Socialsecurity&othertax||6,982||4,169|
|Deferredincome(note17)||410||�|
|||£23,712||£17,081|
|**17.Deferredincome**|||||
|||||£|
|Balanceat1April2023||||�|
|Amountreleasedtoincomingresources||||�|
|Amountdeferredintheyear||||410|
|Balanceat31March2024||||£410|
||||||



Deferred�income�represents�space�hire�fees�received�in�advance.� 

24� 



���������������������������������������������������������� 

## **THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts�** 

## **For�the�Year�Ending�31�March�2024�** 

## **18.�Limited�by�Guarantee�** 

**��** 

The�company�is�limited�by�guarantee�and�does�not�have�share�capital.�Each�member�gives�a�guarantee�to� contribute�a�sum,�not�exceeding�£1,�to�the�company�should�it�be�wound�up.�At�31�March�2024�there� were�5�members.� 


**----- Start of picture text -----**<br>
|||||||
|---|---|---|---|---|---|
|��|
|19.���Analysis�of�charitable�funds|Balance�|Transfers�|Funds�|
|1�April�|between�|31�March�|
|2023�|Income�|Expenditure�|Funds�|2024�|
|£�|£�|£�|£�|£�|
|Analysis�of�movements�in�unrestricted�funds�|
|General�Fund�|�35��|�342,925��|(361,253)�|18,293�|����|
|Designated�funds:�|
|Operational�fund�|�150,000��|�����|�����|(25,000)���|�125,000��|
|Premises�fund�|��|��|��|6,707�|6,707�|
|Total�unrestricted�funds�|£�150,035��|�£�342,925��|£�(361,253)�|�£����������������|�£�131,707�|
|Analysis�of�movements�in�restricted�funds�|
|Arts�Council�England�(transfer�feasibility)�|������������������������������22,491��|(20,530)�|�����|1,961���|
|Backstage�Trust�(Future�Makers)�|������������������������������10,000��|(10,000)�|�����|�����|
|The�London�Community�Foundation�–�|���|
|15,000��|��������������|(15,000)�|��|
|Cockayne�Grants�for�the�Arts�|
|Total�restricted�funds�|£���15,000�|�£���32,491��|£��(45,530)�|£����������������|£���1,961��|
|Total�Funds�|£�165,035��|�£�375,416���|£(406,783)|£����������������|£�133,668��|

**----- End of picture text -----**<br>


## **Designated�Funds�** 

The� _Operational�fund_ �is�to�cover�six�months�of�core�operational�activity�in�the�event�of�any�unforeseen� direct�charitable�and�administrative�costs,�which�may�be�incurred�through�the�loss�or�reduction�of�a�major� income�stream.� 

The� _Premises�fund_ �is�to�cover�any�significant�repairs�and�end�of�lease�redecorating�of�our�premises.� 

## **Restricted�Funds** 

_Arts�Council�England�(Transfer�feasibility)_ .�This�grant�is�to�support�Transfer�recipients�in�assessing�options� and�planning�for�relocation�outside�of�London.� 

_Backstage�Trust�(Future�Makers).�_ This�grant�supported�the�pilot�of�a�new�Future�Makers�hub�in�Sheffield.� _The�London�Community�Foundation�–�Cockayne�Grants�for�the�Arts.�_ This�grant�is�in�support�of�the�London� run�of�our�Spring�2024�production.� 

## **20.�Analysis�of�net�assets�between�funds�** 


**----- Start of picture text -----**<br>
||||||
|---|---|---|---|---|
|General�|Designated�|Restricted�|
|Funds�|Funds�|Funds�|Total�|
|Fund�balances�at�31�March�2024�are�|£�|£�|£�|£�|
|represented�by:�|
|Fixed�assets�|619�|��|���|619��|
|Net�current�assets/(liabilities)�|(619)�|131,707�|1,961��|133,049��|
|�£�����������|£131,707�|£�1,961��|£�133,668��|

**----- End of picture text -----**<br>


25� 



���������������������������������������������������������� 

**For�the�Year�Ending�31�March�2024�** 

## **THEATRE�CENTRE�LIMITED� Annual�Report�and�Accounts�** 

## **21. Financial�Commitments** 

At�31�March�2024�the�company�had�total�future�commitments�under�non�cancellable operating�leases�as�follows: 

|**Due:**<br>Withinoneyear|2024<br>2023<br>£<br>£<br>26,500<br>�|
|---|---|



## **22. Related�Party�Transactions** 

During�the�year�the�company�had�no�related�party�transactions�that�require�disclosure. 

26� 

