Company number 1672991
Charlty number 286169
The London Internatlonal Festlval of Theatre Llmlted
(Limited by Guarantee)
Report and Financial Statements
for the year ended 31 March 2022
Breckman & Company Ltd
Chartered Certified Accountants
49 South Molton Street
London W1K 5LH

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Contents
Page
Reference and Administrative Details
Trustees, Report
2-12
Auditors, Report
13-15
Statement ol Financial Activities (including Income and Expenditure Account)
Balance Sheet
17
Cash Flow Stalemenl
Notes lo the Financial Sialements
19-32

The London International Festival of Theatre Limited ILIFTI
IA Company Limited by Guarantee)
Reference and Administrative Details
Constitution
LIFT is incorporated under the Companies Act, company number 01672991, and its governing
document is its Memorandum and Articles of Association. The private company, limited by guarantee,
is a registered charity in EW- England & Wales, number 286169.
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. The number of Trustees shall
not be less than two or more than 30.
The Trustees throughout the year and since the year-end were..
Chair
Bernard Donoghue OBE (resigned 30 November 20211
Rosie Millard OBE (appointed 29 June 2021, Chair from 30
November 20211
Martin Harrison
Malakai Sargeant
Craig Hassall AO
Richard Huntington
Simon London
Hannah Azieb Pool
Anne Pritam Iresigned 31 August 20221
Helen Shute
Alan Strong
Enni-Kukka Tuomala
Aileen Walker OBE
Dan Vo (appointed 21 September 20211
Finance Committee Chair
Tottenham Board Chair
Directors
Finance Committee
Martin Harrison
Alan Strong
Aileen Walker OBE
Bernard Donoghue OBE (resigned 30 November 20211
Rosie Millard OBE
ArtlStic Dirertor/CEO
Executive Director
Kris Nelson
Stella Kanu
Company Secretary
David Lewis Ito 31 December 20211
Noa Bladon (from I january 20221
Operational address
LIFT, Toynbee Studios. 28 Commercial Street. El 6AB
Registered office
7 Savoy Court, London, WC2R OEX
ALJditors
Bankers
Solicitors
Breckman & Company Ltd., 49 South Molton Street, London WIK 5LH
HSBC plc, 16 King Street, London WC2E 8JF
Harbottle & Lewis LLP, 7 Savoy Court, London WC2R OEX
None of the Trustees have any beneficial interest in the company. All Trustees are members of the
company and guarantee to contribute £1 in the event of a winding up.

The London International Festival of Theatre Limited ILIFTI
IA Company Limited by Guarantee)
Trustees, Report
Trustees, Report
The Trustees present their annual report together with the financial statements of the charity for the
year ended 31 March 2022, which are also prepared to meet the requirements for a directors, report
and accounts for Companies Act purposes. 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 IFRS
1021.
l. Introduction
2021122 has been an important milestone year for LIFT. It marks the final transition steps from 2018
and financial recovery from a critically acclaimed but financially unsuccessful festival. 202112 also
marks the long overdue opportunity to showcase the artistic leadership of Artistic Director and CEO
Kris Nelson with his first full festival, after LIFT 2020 was cancelled due to the pandemic. While 2021
would usually be a non-festival year, following the cancellation of LIFT 2020, we opted to create a
small-scale season of digital and live work overthe summerof 2021 to support artists, reach
audiences, contribute to the cultural recovery, and mark our 40th anniversary.
One of LIFT'S biggest artistic developments during the uncertainty of the pandemic has been our pivot
towards investing in remote forms of international collaboration. Worldwide travel-restrictions
brought us interesting Challenges - how could LIFT maintain our internationalism? We aligned this
pivot with the launch of LIFT'S Artist Advancement Programme, an ongoing series of interventions and
initiatives that strengthen ties between UK and international artists, innovate ways of international
collaboration and provide knowledge and resources to the sector's creative workforce.
We embarked on a set of residencies and commissions of existing and new projects to meet these
challenEes and test new ways of working. The activities were incredibly fruitful for the artists and us
as presenters- offering new avenues for collaboration, international interest on LIFT and shoring up
a new branch of artistic creation for LIFT in a pandemic-safe and environmentally friendly format.
Our 2021 season of work, LIFT Loves London, was underpinned by partnerships that amplified public
facing projects. We presented a hybrid programme of online and in-person experiences for audiences
in response to the pandemic and keeping audiences safe, this along with a Pandemic Safety Plan has
influenced all programming decisions. We have taken all this learning into delivering LIF[ 2022 striking
a balance between projerts of scale versus volume of our festival programme, as we work for another
year within a smaller festival budget and a tighter timeline, with limited resources to secure large-
scale international productions being offered or toured to the UK.
We will enter 202213 having built a reasonable level of reserves, stabilising our core team with new
appointments, and refreshing our organisational values. Building on our commitment to generosity,
transparency, quality, and integrity in our approach to our work and connections,. we have reprofiled
our internal monitoring, recruited 3 middle management roles- initiated a post-lockdown back to
office plan,. refocused our approach to trusts and foundations- produced a realistic but still challenging
in-year target breakdown, becoming more able to better foresee ar)d manage creative/ financial risks.
The long-term impact of Brexit, the pandemic and growing support for action on equity and climate
responsibility within the sector tontinue to paint an uncertain immediate future for programming new
work,. touring linternational and otherwise),. London venues, diminished ability to present

The London International Festival of Theatre Limited ILIFTI
IA Company Limited by Guarantee)
Trustees, Report
international work and how all of this will translate into new priorities for larger trusts and
foundations. potential sponsors, and access to public/ international funds.
We will continue to be flexible, entrepreneurial, and responsive in meeting these new challenges,
making good use of our networks to identify and share learning, while remaining ambitious about
emerging opportunities in a changing landscape. We also developed a board plan to engage with and
set a path for the Arts Council 10-year strategy Lets Create.
Finally, during this period LIFT has recruited Rosie Millard as our new Chair of the Board, as Bernard
Donoghue steps down in Autumn 2021 after 15 extraordinary years leading the board and steering
LIFT through five exciting festival cycles as Chair. His impact on LIFT cannot be underestimated, he has
overseen 3 leadership teams, 5 biennial festivals.
Bernard's time with LIFT has seen performances by aerialists dangling from the London Eye, Haircuts
by Children in a barbershop in Tottenham, pigeons soaring over Thamesmead, a dog ballet, and a Tofu
fight in the Barbican. We've had our West End debut alongside countless and unforgettable
performances in car parks and cemeteries. Through it all, Bernard has been there, steering LIFT
through the highs and lows of the last 15 years. We can't thank him enough for all that he has given
us. His leadership, advocacy and vision has been the heart and soul of this organisation. He's been an
ardent supporter of LIFT, promoting and advancing our vision of an international festival that is deeply
London, supporting LIFT'S leadership and team with empathy and devotion.
It is the end of an era for LIFT- and the start of a new one. We are delighted to welcome Rosie Millard
OBE. Rosie has been a journalist and broadcaster in the arts for over 30 years, is currently chair of BBC
Children in Need, Firstsite Arts Centre and Deputy Chair of Opera North, and led Hull 2017 City of
Culture as Chair of the Board for four years prior to that. Rosie has demonstrated tremendous
leadership in the cultural and civic spheres, lending her expertise and passion to some of the country's
most dynamic and vital charities. Her passion for ambitious ideas, civic leadership and cultural
democracy have found a good home at LIFT.
2. ObJertlves and actlvltles
LIFT'S mission is to create extraordinary, unforgettable cultural events, festivals, and experiences for
London. Every two years, we present a festival which connects London audiences with leading
international artists, brave ideas, and unforgettable cultural experiences. We bring audiences to the
city's most iconic venues, landmarks, and unusual corners, celebrating the character of London and
calling Londoners to gather for incredible art.
LIFT has been at the forefront of ground-breaking international theatre for 40 years, making and
supporting radically engaged performances that disrupt convention, celebrate our shared humanity,
and burst open the political and social urgencies of our times. We work with leading national and
international artists to create and present performances that question the nature of theatre, unite
strangers, and reveal the stories and communities of our incredibly diverse city.
Alongside an acclaimed biennial London-wide festival sits a programme of interventions that includes
artist residencies, national touring, large scale projects and our celebrated participatory initiative, LIFT
Tottenham.
"LIFT brings the best of the world s theotre to London...it confirms more unites us than divides us
Slr Nicholas Hytner. LIFT Patron

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Trustees, Report
3. Achlevements and Performance - Artlstlc and Partlclpatory Artivltles
Placemaking
Our place-based work in Tottenham continues to find new ways to operate in these new contexts.
Building on the work with commissioned artist Potent Whisper and their work creating the Young
Person's Guide to Advocacy,. the growing partnership with Advocacy Academy kick started in 2021
with a second project focused on young people and intergenerational campaigning on local issues.
Part of the year long programme commemorating the 1981 Brixton riots, 81 Acts of Exuberant
Defiance, 81 Minutes saw UpLIFTers curate a series of short films created by Advocacy Academy
alumni. The jury panel selected from 30 films covering topics like School exclusions, mental wellbeing,
and air pollLJtion, scr3eneed during the LIFT Loves London season detailed below.
Digital
LIFT created new contextual and artistic digital content, collaborating with artists/ activists Maryan
Abdulkarim and Sonya Lindfors and producers Satu Herrala and Danai Anagnostou to create a digital
publication in the frame of Finnish Institute's AISTIT"Coming To Our Senses" Programme. The project,
We Should All Be Dreaming, focuses on the radical potential of decolonial dreaming as a restorative
and subversive practice for black, brown, indigenous people of colour.
The online launch event of the publication We Should All Be Dreaming.. Words Make Worlds on 9
December took the form of a panel discussion and included an Afrofuturistic sound meditation
session. Hosted and facilitated by Sonya and Maryan launch event panellists included Tamara Al-
Mashouk, Adelaide Bannerman, P. Sam Kessie and Suhaiymah M3nzoor-Khan. The printed and digital
publication featured contributions by Maryan Abdulkarim, Tamara Al-mashouk, Ranya Al-mashouk,
Adelaide Bannerman, Ama Josephine Budge, Sarah Devi Chander, Ndéla Faye, claire gilder, Justina
Kehinde, P. Sam Kessie, Sonya Lindfors, Suhaiymah Manzoor-Kh3n, Veronic3 McKenzie, Minna S31ami,
Vidha Saumya and SERAFINE1369.
Concept Touring- new ways of working internationally without travel.
One of LIFT'S biggest artistic developments during the uncertainty of the pandemic has been our pivot
towards investing in remote forms of international collaboration. Worldwide travel-restrictions
brought us interesting challenges
how could LIFT maintain our internationalism? We aligned this
pivot with the launch of LIFT'S Artist Advancement Programme, an ongoing series of interventions and
initiatives that strengthen ties between UK and international artists, innovate ways of international
collaboration and provide knowledge and resources to the sector's creative workforce.
We embarked on a set of residencies and commissions of existing and new projects to meet these
ch311enges and test new ways of working. The activities were incredibly fruitful for the artists and us
as presenters- offering new avenues for collaboration, international interest in LIFT and shoring up a
new branch of artistic creation for LIFT which is more pandemic-safe and environmentally friendly.
UK Artists Touring in Europe Guide
Recognising that independent touring theatre artlsts were facing real confusion and a raft of difficult
and expensive new rules to tour in Europe, commissioned by Arts Council England, LIFT, along with
ArtsAdmin an touring company 1927 produced a country-by-country touring guide explaining the

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Trustees, Report
rules (permits, freight, cabotage, etcl post Brexit. It was extremely well received by artists and
producers across the UK and from presenters in Europe who are welcoming UK artists.
LI￿ Lite- a pandemic proof offering
Amid an increasingly xenophobic and socially frartious environment and with a global population
committed to openness, London needs LIFT more than ever. LIFT presented a summer season of work
in 2021 called LIFT Loves London to mark and celebrate our 40, anniversary. In a year of restricted
international travel, the season featured projects focusing on participation, young people, interesting
use of civic sites and collaborations where international artists work remotely with Londoners.
Produdions and Artists: LIFT Loves London
The season marked LIFT'S 40 anniversary as an organisation. The projects aimed to give audiences
access to international creators and reinvigorate their connection with the city and each other.
ThematlC311y, they explored activism, ownership of public space and celebrations of the city. Several
of the projects place Londoners directly in the role of artist, performer, or creator, be they members
of a certain community like young people in Tottenham or dog walkers Eathered by the pandemic.
Our 2021 season of work, LIFT Loves London, was underpinned by new partnerships (notably Queen
Elizabeth Olympic Park, 81 Acts of Exuberant Defiance, Royal Docks, Urbanapa (Finlandl and ICA
Isouth Africal to share costs and amplify public facing projerts. We presented a hybrid programme of
online and in-person experiences for audiences in response to the pandemic and keeping audiences
safe, this along with a Pandemic Safety Plan has influenced all programming decisions.
We will be taking all this learning into delivering LIFT 2022 to strike a balance between projects of
scale versus volume of our festival programme, as we work for another year within a reduced festival
budget and a tighter timeline, with limited resources to secure large-scale international productions
being offered or toured to the UK during the global pandemic and subsequent lockdowns.
The LIFT Loves Programme included-
Pluns For the Future
A serie5 of podcasts hosted by LIFT artistic director Kris Nelson where he interviews leading
internation31 artists 2nd presenters to uncover what's pressing where they are and how are they
making plans for the future. Featuring artists Dr Njoki Ngumi INairobil, Giorgia Ohanesian Nardin
Imilanl and Mariano Pensotti (Buenos Aires) and presenters juliet Knapp IKyoto Experiment) and
Meiyin Wang (Perelmann Center for the Arts, New York).
81 Minutes.. Acts of Exuben7ntly Defiant Young Activists
Tottenham's UpLIFTers (Londonl curated a series of films by Brixton's The Advocacy Academy
connecting young people. using their Creativity to explore activism and civic engagement on issues
important to their generation. Part of 81 Acts of Defiance, a year-long programme marking the 40,
anniversary of the Brixton riots.
1Am From Reykjavik
An artist rocks up, builds a shelter and declares herself free.

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West Yorkshire artist Sonia Hughes's installation about race, hospitality and belonging pops up at
iconic sites in the City of London and in the Royal Docks. This LIFT 2020, Royal Docks Team and City of
London commission was reworked to premiere in 2021.
Dog Ballet
Iconoclast artists Nigel and Lovise (London) created a public art piece, audio commission and
playground for dog walkers celebrating London's the connections between people and their pets. The
project was awarded a film commission from British Council China to reach Chinese audience. Dog
Ballet was co-produced with ArtsAdmin and supported by Queen Elizabeth Olympic Park.
We ShouldAII Be Dreaming
Finnish artists Maryan Abdulkarim and Sonya Lindfors (Helsinkil interacted virtually with Londoners
to create an online publication, connecting ideas around Black activism, Afro-Europeanism and other
vital intellectual, artistic and community movements. The project was produced by the Finnish
Institute UK + Ireland as part of a Europe-wide series Urban Apa and was supported by LIFT.
4. Principal funding sources and partnerships
We are particularly grateful for the continued support of Arts Council England as a National Portfolio
Organisation. The Trustees are also grateful for the support of the following individua15 and
organisations in this year..
Principal Supporter
Arts Council Eng13nd
Commissioning Partners
British CoLJncil
City of London
Goethe Institut
Goethe Institute
Royal Docks Team IGLAI
Project Supporters and Partners
Arts Council Eng13nd Cultur31 Recovery Fund
British Council
City of London Corporation
Esmee Fairbairn Foundation
Finnish Institute of UK + Ireland
Presenting & Producing Partners
81 Acts of Exuberant Defiance
ArtsAdmin
Advocacy Academy
Queen Elizabeth Olympic Park
Commissioning Partners
British Council
City of London
Goethe Institut
Institute for Creative Arts, University of Cape Town
Corporate Partners
Omega Sound, Lighting and AV
Artists & Local, National and International Supporters:
81 Acts of Exuberant Defiance (London)
Sonia Hughes
Sonya Lindfors & Maryan Abdulkarim
Louise Mari and Nigel Barrett
The Advocacy Academy (London)
The Nest Collective IKenyal
Flanders Arts Institute
Julie's Bicycle

The London International Festival of Theatre Limited ILIFTI
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Trustees, Report
We maintained ambitious partnerships with British Council, City of London, Royal Docks, and The
Advocacy Academy in the UK. International partnerships with festivals and venues in Chile, Kenya,
South Africa, Brazil, Scotland, Brussels, Switzerland, Canada, Korea, Germany, Sweden, Denmark, and
Ireland. With special thanks to the members of LIFT'S Membership Programme, LIFT'S Trustees and
Patrons.
5. Artlstlc Plans for Flnanclal Year 2022123: LIFT 2022: Unexpected Perspertlves
LIFT 2022.. Unexpected Perspectives will be the first full festival to be presented by Artistic Director
and CEO Kris Nelson and Executive Director Stella Kanu following the cance113tion of LIFT 2020 due to
the pandemic.
Our festlV31-making strategy engages artists via commissioning and presentation. Festival
commissions include a core project postponed from 2020 and our Concept Touring Commissions
developed during the pandemic with support of Cultural Recovery Funding.
Presentations of exemplary international and UK works further LIFT'S goals of introducing audiences
to audacious, inspiring, and relevant international theatre artists and their works. The programme will
explore how the current global tensions including international conflict, ecological disaster and
political turmoil imparts us all on a personal level. Pandemic-hardiness and carbon and environmental
impact are considerations in our programming. Some projects will be adaptable considering potential
coronavirus restrictions and the impact of plane travel is offset by the benefits to audiences in terms
of scale of work, reach, topics explored or the ability to offer ancillary events.
The first LIF[ edition post-Brexit and post-pandemic offers audiences access to international theatre
throughout the city from Islington to Ilford and Deptford to Wood Green. All LIFT 2022 shows have an
allocation of £5 tickets available or are pay-what-you- can.
Commissions
The Feminine und the Foreign- The Nest Collective (Kenya)
LIFT'S 2020 commission of The Nest Collective receives its world premiere. Evocative film portraits
featuring Black activists based in London and Cape Town. In partnership with Lewisham London
Borough of Culture. we will commission further film portraits of Lewisham residents and the work will
have its world premiere as an exhibition and screening augmented by a live series of lectures and
happenings with the artists and their London counterparts.
Gi5her- Giorgia Ohanesian Nardin {Italy/Armenia}
Ohanesian Nardin is a non-binary choreographer and live artist of Armenian descent living in Italy. Set
in a gallery and then around a fire, Gisher explores the ongoing Armenian-Azerbaijani conflict in two
parts- audiences view a captivating film work and then hear stories responding to the film by South-
West Asian and North African ISWANAI creatives and participants. One of LIFT'S Concept Touring
projects, we will develop a model for remote participatory arts residency whereby 9 England-based
locals of SWANA backgrounds develop a London version of the piece.

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Rudio Ghost- ZU-UK (England)
Radio Ghost is a 3-player augmented audio locative urban game that uses binaural sound to transform
shopping malls into fantastical spaces. Radio Ghost wants to promote a safe land playfull post-
pandemic return to shopping malls
respecting social distancinE
and encouraEing ethical
consumption and circular economy, through the frame of a Ghost-Hunt. Also developed via LIFT'S
Concept Touring commission platform, for Rodio Gh05t we will explore how the project can be played
across multiple sites involving partners in other countries.
UPLIFTERS LIFT Tottenham - UPLIFTED (England)
The UpLIFTers are LIFT'S cohort of young people from Tottenham and cross-London engaged in a long-
term partlClP3tory arts project based on originating works for the festival. Departing from their role
as creators of work for the LIFT editions, in 2022, the UpLIFTers curate and produce a mini festival for
the 2022 festival. Supported by ProEramme leaders, guest speakers, mentors, and team-buddies, this
12-week training programme will give practical skills, link the next generation of young creators and
producers to LIFT 2022 and will take the Uplifters programme London wide.
Presentations
Sun & Seo {MorinuJ
Lina Lapelyté with a libretto by Vaiva Grainyté and directed by Rugilé
Barzdziukaitè (Vilnius, Lithuanial. The 2019 Golden Lion-award winning opera, set on a faux beach
indoors, where 24 performers partake in commonplace beach activities while singing about the causes
and physical impacts of climate change in solo arias and group harmonies. This sensational piece is
the anchor of the 2022 programme, offering audiences a large-scale work that has inspired people
around the world. LIFT'S potential co-presenters of this landmark work include Serpentine Gallery and
London Borough of Culture.
The Making of Pinocchio- Cade & MacAskill (Scotland)
Artists and lovers Rosana Cade and Ivor MacAskill have been making The Moking of Pinocchio since
2018, alongside and in response to Ivor's gender transition. Glimpsed through a fictionalised creation
process, and a cinematic and theatrical hybrid style, the artists, real autobiographical experience
meets the magical story of the little lying puppet who wants to be a real boy.
Underpinning all this activity, is our artist advancement programme. This professional development
series is aimed at bolstering connections between UK artists and their international counterparts and,
increasingly, ensuring that theatre producing and presenting Post-pandemic is equitable, inclusive,
and environmentally sustainable.
6. Organlsatlon & Declslon Maklng
LIFT is led by Artistic Director and CEO Kris Nelson and Executive Director Stella Kanu. They are
supported by a core team of 7 in a mix of full time and part time roles. Freelance Festival Team was
recruited and embedded during Spring 2022. Given the changes in society because of COVID 19- we
will continue to adapt and explore future models for office-based working - including those in and
outside of London lone team member works part time from Spain). LIF[ strives to develop committed
and motivated staff and has put measures in place to support this, including identifying staff
development opportunities, and offering competitive salaries within the sector.
During this period there is a 6-month handover between the outgoing chair Bernard Donoghue OBE
and the incoming Rosie Millard OBE. The Board currently comprises of 12 trustees and from 2022 is

The London International Festival of Theatre Limited ILIFTI
IA Company Limited by Guarantee)
Trustees, Report
to be led by Rosie Millard.The Board of Trustees remained responsible for governance, overseeing the
strategic and financial direction of the organisation. The board meet quarterly and review and approve
the decision making of the executive team. The Annual General Meeting continues to approve the
annual trustee report and accounts.
There are currently three active subcommittees (Finance Committee, Anti-Racism Action Group and
Fundraising Committee). The Finance committee reviews in detail the budget setting process,
Management accounts, payroll, pensions, and risk management. This committee then makes
recommendations for approval at the full board of trustee meeting. The Finance Committee reviews
progress of financial plans across a 2-year festival bLJdget period. The Executive review and monitor
progress against financial plans monthly, including progress against fundraising targets, and budget
holders meet monthly with the Head of Finance. Individual productions are subject to a rigorous
formally documented 'green lighting, financial and operational appraisal process before commitment
of resources. The Tottenham Board is to be reactivated during this upcoming period.
7. Financial Review
Following the 2018 festival, which posed significant financial challenges to the organisation, LIFT
undertook an independently led review of its business model, financial systems. and project risk
assessment processes. This led to the successful implementation of a new financial strategy which
eliminated the deficit in unrestricted funds by March 2020. This represented the first time in over 10
years that LIFT had held positive unrestricted reserves and placed the organisation in a relatively
healthy place to weather the impact of the Covid-19 pandemic including honouring fees payable to
artists and freelancers engaged for the planned festival.
In addition to cancellation costs the financial impact of the pandemic meant freezing the recruitment
of 3 vacant posts and accessing the Job Retention Scheme through placing the remaining staff team
on a rolling furlough programme. Two Cultural Recovery Fund ICRFI grants enabled us to instigate
several international collaborative digital projects to develop artistic practice in the Covid world,
relaunch our festival fundraising efforts, invest in operational infrastructure to enable longer-term
remote working and recruit the 3 positions previously frozen. This latter was key in our ability to
fundraise for and deliver our LIF[ Loves London programme in 2021 and to progress plans for the 2022
festival. LIFT entered the 2021/22 budget cycle with unrestricted reserves of £106,980 and Designated
Funds of £44K to deliver LIFT Loves London in what would usually be a non-programming year. At 31,
March 2022 the General Fund balance had increased to £181,716 providing a firm financial base for
delivering LIFT 2022.
8. Rese￿eS policy
The Board's longer-term aim is to build unrestricted reserves of £150,000 to mitigate against financial
risks and provide an enhanced level of financial resilience. The Board recognises that this is likely to
be achieved through generating modest incremental surpluses over a few festival cycles.
9. Principal Activity
The principal activity of the company during the year was the promotion of the arts and education. The
Trustees confirm that they have complied with the duty in section 4 of the Charities Act 2006 and have
considered the Charity Commission's guidance on public benefit, including the guidance 'Public
benefit.. running a charity IP821' in shaping our objectives for the year and planning our activities.
10. Public Benefit
LIFT provides exceptional public benefit through all the activity outlined above in this report. From

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opportunities to enable more people to experience and engage with the work through free
performances and installations, to participation and creative development of public shows at the
heart of the festival, to bespoke audience engagement strategies to enable those least engaged in the
arts to access and take part.
LIFT has a continuous offer of a diverse programme of rich, international, and accessible work
including free performances for local communities and young people and numerous opportunities to
participate in workshops and work for public audiences.
LIFT'S work continues to benefit organisations, artists, and audiences out of London both nationally
through tours and presentations and in sharing our knowledge through training partnerships with
organisations such as the British Council and international theatre presenters.
11. Methods Adopted for Appointment of New Trustees
New Trustees are appointed following best practice which includes an assessment of needs of the
Board in terms of skills, knowledge, and diversity, led by the organisational business strategy.
Upon appointment, a new Trustee completes a Register of Interests and shall hold office only until the
following Annual General Meeting, when they shall be eligible for re-election. As part of the induction
process, new Trustees receive an induction pack and have an initial meeting with the Chair and Artistic
Director/Chief Executive.
The Chair conducts annual board appraisals, and an annual audit is completed for each trustee.
12. Statement Regarding Major Risks
Day to day responsibility for the management of risks lies with the Executive Dirertor and the plan for
the management and mitigation of risks is laid out in the Risk Policy and risk register, together with
arrangements for delegation, supervision, and monitoring. The Executive report to the Trustees and
delegate to the wider team. The Finance Committee meets regularly to review management accounts,
budgets, forecasts, fundraising plans, risk management strategies and policies. When activity is
deemed a day-to-day risk by the Executive or Board, a sub-group is created to review and advise.
As outlined above a few important new controls have been implemented including a project
greenlighting and risk assessment process to manage project risk more effectively. The Finance
Committee also implemented a review of the risk register to ensure it captures both financial and
other risks in the most effective way possible and that risk assessment plays a key role in operational
as well as strategic decision making.
We have identified the following as significant risks..
Funding and etonomic risks
LIFT is dependent on the continued SLJpport of grant aiding bodies, sponsorship and individual and
corporate donations, the level of which cannot be predicted with any certainty. Competition is greater
for less funds across the cultural and charitable sector. If funding targets are not met both in terms of
generating income and managing expenditure, LIFT risks Ljndoing the work to create improved
reserves during 2019 - March 2022. Core funding from the Arts Council of England has been
indicatively confirmed until April 2026 and negotiations are continuing with several potential funding
partners to deliver the company's future artivities. We have achieved a reasonable reserves position
for the year and are mitigating funding and economic risks by reinstating a contingency line,
maintaining an overdraft facility, and monitoring cash flow at board level. We will continue to
io

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IA Company Limited by Guarantee)
Trustees, Report
prioritise our financial stability through sustained earned income, grants from a range of sources and
reserve buildinE.
Ongoing challenges with post Brexit touring and its impact on increases on costs remains an emerging
area of risk. These include, but not limited to, costs relating to,. currency conversion costs, freight,
travel, diminishment of donations, artists refusing to be paid in sterling, visa and permissions, the
attractiveness of the UK as a destination for international artists, sudden cancellations and myriad
other factors that may be faced by our potential partners, co-presenters, and co-commissioners.
The 'cost of living, crisis and its impact on the sector, our partners, and the priorities of our funders,
especially trusts and foundations, continues to be an unknown risk factor in future planninE.
Ongoing Impact of Pandemic
The impact of the global pandemic is also reshaping programming decisions, it is still uncertain how
paying audiences will return to theatre/ festivals and cultural experiences. Ahead of launching LIFT
2022, we have improved our website accessibility and our digital infrastructure to better enable LIFT
to deliver digital programming and maximise its impact for audience and donor/ sponsorship
communications.
13. Policies
LIFT has a rolling programme of reviewing policies over 2-3-year cycles, and has the following
policies in place or 'pending renew31:
Anti-Racism Action Plan
Whistleblowing
Privacy
Staff Appraisal
Professional and Personal Development
Wellbeing Action Planning
Volunteers and Placements
LIFT Hosting.. The Artist Welcome
Covid Action
Travel and Flights
Flexible Working
Family Related Leave
*Health and Safety
Equal Opportunities Policy and Equ31ity Action Plan
'SafeguardinE of Children, Young People and Vulnerable Adults Policy
Environmental
Grievance and Disciplinary
'Sickness
li

The London International Festival of Theatre Limited ILIFTI
IA Company Limited by Guarantee)
Trustees. Report
14. Statement of TTUStees Responsibllltles
The Trustees (who are also directors of LIFT for the purposes of company lawl are responsible for
preparing the Trustee5' Report and the financial statements irb accordance with applicable law and
United Kingdom Accounting Standards Iunited Kingdom Generally Accepted Accounting Practice).
Company law requires the Trustees to prepare financial Statements for each frn8ncial year. which give
true and fair view of the state of affairs of the £h3ritable company and of the incomin8 resources
and application of resources, inclLJding the income and expendlture. 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 con515tently,'
observe the methods and principles in the Charities SORP 2015 IFRS 1021,.
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 r( is inappropriate to
presume that the charitable company will continue in operation.
The Tnjstees are responsible for keeping adequate accounting records that disclose wlth reasonable
accuracy at any time the financial position of the charitable company and enablè them to ensure that
the financial statements comply with the Companies Act 2006. They are also responsible for
safeguarding the assets of the tharitable company and hence for taking reasonable steps for the
prevention and detection of fraud and other irregularities.
In so far as the Trustees are aware..
there is no relevant audlt information of which the charitable companV5 auditor 15 unaware,.
and
the Trustees have taken all steps that they ought to have taken to make themselves aware of
any relevant audit infom)ation and to establish that the auditor is aware of that information.
The Trustees are responsible for the maintenance and integrity of the corporate and financial
information included on the charitable COmpan￿S website. Legislation in the united Krngdom
governing the preparation and dissemination of financial statement5 may differ from legislation in
other jurisdictions.
15. 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 23 November 2022 and signed on
Its b half by
Rosle Millard OBE
Chair of Trustees
12

Independent Auditors. Report to the Members of The London International Festival of Theatre Limited
Opinion
We have audited the financial statements of The London International Festival of Theatre Limited Ilhe
'charilable company'l for the year ended 31 March 2022 which comprise the Slalemenl ol Financial
Activities, the Balance Sheet, the Cash Flow Statement and notes lo the financial slalemenls, including a
summary ol significant accounting policies. The financial reporting framework that has been applied in their
preparation is applicable law and United Kingdom Accounting Standards, including Financial Reporting
Standard 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United
Kingdom Generally Accepted Accounting Practicel.
In our oplnlon the flnanclal statements-
give a true and lair view of the slate ol the charitable companls allairs as al 31 March 2022, and of its
incoming resources and application ol resources, including ils income and expenditure, for the year then
ended.,
have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice:
and
have been prepared in accordance with the requirements of the Companies Act 2006.
Basis for opinion
We conducted our aLJdil in accordance with International Standards on Auditing IUKI IISAS IUKII and
applicable law. Our responsibilities under those standards are further described in the Auditor's
responsibilities lor the audit ol the financial slalemenls section ol our report. We are independent ol the
charitable company in accordance with the ethical requirements that are relevant lo our audit of the financial
statements in the UK, including the FRC'S Ethical Standard, and we have fulfilled our other ethical
responsibilities in accordance with these requirements. We believe that the audit evidence we have
obtained is sullicienl and appropriate to provide a basis for our opinion.
Conclusions relating to going concern
In auditing the financial stalemenls, we have concluded that the trustees, use of the going concern basis ol
accounting in the preparation of the financial slalements is appropriate.
Based on the work we have performed, we have not identified any material uncertainties relating lo events
or conditions that, individually or collectively, may cast significant doubt on the charitable company's ability to
continue as a going concern for a period ol at least twelve months from when the financial slalements are
authorised lor issue.
Our responsibilities and the responsibilities ol the trustees with respect lo going concem are described in the
relevant sections of this report.
Other information
The other information comprises the information included in the trustees annual report, other than the
financial statements and our auditor's report thereon. The Iruslees are responsible lor the other information
contained within the annual report. Our opinion on the financial statements does not cover the other
information and, except lo the exlenl otheNise explicitly slated in our report, we do not express any form ol
assurance conclusion thereon. Our responsibility is to read the other information and, in doing so, consider
whether the olher information is materially inconsislenl with the financial statements or our knowledge
obtained in the course of the audit or otherwise appears to be rnalerially misstated. If we identify such
material inconsistencies or apparent material misslalements, we are required lo determine whether this
gives rise lo a material misslatemenl in the financial statements themselves. 11, based on the work we have
performed, we conclude that there is a material misslalemenl of this other information, we are required lo
report that fact.
We have nothing to report in this regard.

Independent Auditors. Report to the Members of The London International Festival of Theatre Limited
Opinions on other matters prescribed by the Companies Act 2006
In our opinion, based on the work undertaken in the course ol the audit..
the information given in the Iruslees, report lincorporating the directors, report) lor the financial year for
which the financial slalements are prepared is consislenl with the financial stalemenls., and
the directors, report has been prepared in accordance with applicable legal requirements.
Matters on which we are required to report by exception
In the light of our knowledge and understanding ol the charitable company and ils environment obtained in
the course of the audit, we have not identified material misslalements in the directors, retx)rt.
We have nothing to report in respect of the following mallers in relation lo which the Companies Acl 2006
requires us lo report lo you il, in our opinion-.
adequate accounting records have not been kept, or returns adequate for our audit have not been received
from branches not visited by us., or
the financial statements are not in agreement with the accounting records and returns,. or
certain disclosures ol directors, remuneration specified by law are not made,. or
we have not received all the information and explanations we require for our audit., or
the Iruslees were not entitled to prepare the financial statements in accordance with the small companies,
regime and lake advantage ol the small companies, exemptions in preparing the directors, report and from
the requirement to prepare a strategic report.
Responslbllltles of trustees
As explained more lully in the Iruslees, responsibilities statement sel out on page 12, the Iruslees (who are
also the directors ol the charitable company lor the purposes ol company lawl are responsible for the
preparation of the financial statements and for being satisfied that they give a true and lair view, and for
such internal control as the Iruslees determine is necessary to enable the preparation of financial
statements that are free from material misslalement, whether due to fraud or error.
In preparing the financial slatemenls. the trustees are responsible for assessing the charitable companls
ability lo continue as a going concern, disclosing, as applicable, matters related lo going concern and using
the going concern basis ol accounting unless the Iruslees either intend to liquidate the charitable company
or lo cease operations, or have no realistic allernalive bul to do so.
Auditor's responsibilities for the audit ot the financial statements
Our objectives are lo obtain reasonable assurance about whether the financial statements as a whole are
free from material misstalemenl, whether due lo fraud or error, and lo issue an auditor's report that includes
our opinion. Reasonable assurance is a high level ol assurance. bul is not a guarantee that an audit
conducted in accordance with ISAS IUKI will always delecl a material misstalemenl when it exists.
Misslalemenls can arise from fraud or error and are considered material il, individually or in the aggregate,
they could reasonably be expected to influence the economic decisions of users taken on the basis of these
financial statements.

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The London International Festival of Theatre Limited
{Llmtted by Guarantee)
Balance Sheet
31 March 2022
2022
2021
Notes
Fixed assets
Tangible assets
14
24,143
11,192
Current assets
Deblors
Cash at bank and in hand
15
30,668
295,385
30,785
311,772
326,053
342,557
Liabilities
Creditors.. amounts falling
due within one year
152,1601
1144,8001
Net current assets
273,893
197,757
Total assets less current
over total asset$
298,036
208,949
The funds ol the charity:
General fund
Designated funds
21
181,716
106,980
44.000
181,716
150.980
Restricted funds
116.320
57,969
Total charity funds
298.036
208,949
The Iruslees have prepared these accounts in accordance with section 398 ot the Companies Act 2006 and
section 138 of the Charities Act 2011. These accounts are prepared in a¢cordan¢e with the special
provisions ol Part 15 ol the Companies Act relating to small companies and conslilule the annual accounts
required by th8 Companies Act 2006 and are for cir¢ulalion to members ol the company.
The financial statements were approved by the Board ol Trustees on 23 November 2022 and signed on ils
behalf by
dNfv
Martin Harrlson
Trustee
Flo$ie Mlllard OBE- Chair
Trustee
The notes on pages 19 to 32 form an integral part ol these financial statements.
17

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Cash Flow Statement
for the year ended 31 March 2022
2022
2021
Notes
Cash flows from operating activities
24
8,600
293,433
Cash flows from Investlng actlvltles:
Dividends, interest and rents from investments
Purchase ol property, plant and equipment
15
125,0021
113,8891
Net cash provided by investment activities
124,9871
113,8831
Cash flows from tinancing activities:
Repayments ol borrowing
Cash inflows from new borrowing
130,0001
30,000
Net cash provlded by tlnanclng actlvltles
Change in cash al bank and in hand in the reporting period
Cash al bank and in hand at the beginning ol Ihe reporting
period
116,3871
279,550
311,772
32,222
Cash at bank and in hand at the end ot the reporting
period
295,385
311,772

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
A¢¢ountlng poll¢les
Basis of preparing the financial statements
The financial statements have been prepared in accordance with Accounting and Reporting by
Charities.. Slalemenl ol Recommended Practice (issued October 20191 applicable lo charities
preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK
and Republic ol Ireland IFRS 1021 lelleclive 1 January 20191 Icharities SORP IFRS 10211, and the
Companies Act 2006.
The charity meets the definition ol a public benefit entity under FRS 102. Assets and liabilities are
initially recognised at historical cost or transaction value unless otherwise slated in the relevant
accounting policy notelsl.
1.2. Fund accounting
Funds held by the charity are either..
Unreslricled general funds these are funds which can be used in accordance with the charitable
objects al the discretion ol the Iruslees.
Designated funds these are funds sel aside by the trustees out of unrestricted general funds for
specific future purposes or projects.
Restricted funds - these are funds that can only be used lor particular restricted purposes within the
objects of the charity. Reslriclions arise when specified by the donor or when funds are raised lor
particular restricted purposes.
Further explanation of the nature and purpose of each fund is included in the notes to the financial
gtalemenls.

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
1.3. Incomlng resources
All incoming resources are included in the Sialement of Financial Activities when..
the charity is legally entitled to the funds
any performance conditions allached lo the income have been mel or are lully within the control ol
the charity
there is sullicienl certainly that receipt of the income is considered probable
the amount can be reliably measured
Donations and legacies
Granlsldonalions are recognised in incoming resources in the year in which they are receivable,
except as follows..
when donors specify that grantsldonalions 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 lo use
such income, the income is deferred and not included in incoming resources until the preconditions
for use are met.
20

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
Charltable actlvltles
Theatre income. Income from box ollice, performance fees and sundry other theatrical income is
included in incoming resources in the period in which the relevant show lakes place.
Project specific funding. When donors specify that donations and grants are for particular reslricled
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 mel, the receipt ol economic benefit from
the use by the charity ol 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 lo the
charity which is the amount the Charity would have been willing lo pay lo obtain services or facilities ol
equivalent economic benefit on the open market., a corresponding amount is then recognised in
expenditure in the period ol 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 nolilicalion of the interest paid or payable by the Bank.
1.4. 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 conslruclive obligation to make a payment
il is probable that settlement will be required
the amount ol the obligation can be measured reliably
Costs of ralslng funds
Costs incurred in allracting donations, and those incurred in trading activities that raise funds.
Charitable activities
Theatre production costs - costs incurred in production and running of productions toured in the year.
- Support costs
The administrative and overhead costs associated with running the ollice from which the company
operates as well as governance costs. Support costs are wholly allributable lo theatre production
costs.
Governance costs
Costs associated with the conslitulional and statutory requirements of the charity-
21

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
1.5. Tanglble flxed assets and depreclatlon
Individual fixed assets costing £500 or more are capilalised at cost.
Depreciation is provided al annual rates calculated lo write oll the cost less residual value ol each
asset over ils expected useful life, as follows..
Website
Office equipment
Production equipment
33.33¢/o on cost
25Q/o on cost
250/0 on cost
1.6. Debtors
Trade and other debtors are recognised al the selllemenl amount due aller any trade discount
offered. Prepayments are valued at the amount prepaid after taking account ol any trade discounts
due.
1.7. Cash at bank and in hand
Cash at bank and in hand includes cash and short term highly liquid investments with a short malurily
of three months or less from the dale of acquisition or opening of the deposit or similar account.
1.8. 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 ol funds lo a third party and the amount due to sellle
the obligation can be measured or eslimaled reliably. Creditors and provisions are normally
recognised at their settlement amount after allowing for any trade discounts due.
1.9. Leasing
Rentals payable under operating leases are Charged lo the income and expenditure account on a
gtraight line basis over the lease term.
1.10. Pen$lons
The company operates a defined contribution scheme for the benefit of ils employees. Contributions
payable are recognised as expenditure when due.
1.11. 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 al transaction value, and
subsequently measured at their settlement valLJe.
1.12. Slgnificant Accounting Estimates and Judgements
In determining the carrying amounts ol certain assets and liabilities, the charity makes assumptions ol
the ellecls ol uncertain future events on Ihose assets and liabilities al the balance sheet dale. The
charity's eslimales and assumptions are based on historical experience and expectation ol future
events and are reviewed annually.
22

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
In¢omlng resour¢e$
The total Ihealrical income for the year has been derived from the principal activity. The proportion of
income resources derived from outside the UK amounted lo 201.12021 10/.1.
Income from donatlons and legacles
2022
2021
Grants
COVID-19 Emergency funding
ACE Culure Recovery Fund
Esmee Fairbairn Foundation
HMRC Coronavirus Job Retention Scheme
88,379
9,320
20,000
38,166
Arts Council England National Portfolio funding
Esmee Fairbairn Foundation
350,936
60,000
400,936
499,315
468,422
Oonatlons
General - individual and corporate
17,950
10,415
517,265
478,837
23

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
In¢ome from ¢harltable a¢tlvltle$
2022
2021
la) Theatre incorne
Box ollicellees
Co-production contributions
Consultancyllraining Courses
Sundry income
243
10,000
6,814
9,938
6,000
7,714
76
26,995
13,790
Ib) Project specific funding
Grantsldonatlons
British Council
Goelhe-lnslilul
Greater London Authority
Sackler Trust
Esmee Fairbairn Foundation
Lithuanian Embassy
The Ubele Initiative
66,665
9,000
3,400
15,000
50,000
40,000
15,000
40,000
8,536
4,000
134,201
117,400
161,196
131,190
Other income
2022
2021
Theatre lax relief ITTRI
16,0001
3,711
Expendlture on ralslng funds
2022
2021
Salariesllees
Social security costs
Profile developmenucullivalion
79,735
6,673
1,865
62,950
3,736
3,510
88,273
70,196
24

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
Expendlture on ¢harltable a¢tlvltle$
2022
2021
Lift projects
Salariesllees
ProdLJCtionlleehnical costs
50,588
11,230
99,604
32,472
61,818
132,076
Marketing
Festival campaign costs
30,190
27,377
30,190
27,377
Artistic direction
Salariesllees
Social security costs
Programme research
130,446
10,068
6,107
69,964
6,275
1,511
146,621
77,750
Community engagement
Salariesllees
Socal security costs
Research
Activity costs
87,172
4,635
59,841
4,250
35
65
2,647
94,454
64,191
333.083
301,394
Support costs - page 25
141.508
144,395
Governance cosls- page 25
20,525
6,887
495,116
452,676
25

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
2022
2021
Support costs
Overheads
Depreciation ol fixed assets
Isurplusl on distx)sal of fixed assets
Staff costs
Administration
Professional and finance
25,554
12,291
12401
84,076
17,088
2,739
28,665
7,924
91,526
12,543
3,737
Total support costs
141,508
144,395
Governance tosts
Board meeting expenses
Consultancy
Audivaccountancy
725
12,450
7,350
37
6,850
Total governance costs
20,525
6,887
Net in¢oMellexpenditu￿I for the year is
stated after charging:
2022
2021
Deprèciation ol tangible fixed assets
Auditors, remuneration
external audit
other services
12,291
7,924
3,250
4,100
3,250
3,600
and aller crediting:
Surplus on disposal of tangible fixed assets
240
Trustees. emoluments and reimbursed expenses
The trustees received no remuneration during the year12021 nill.
The aggregated amount reimbursed lo Iruslees during the year was £nil12021 £nill.
10. Related party transactions
There were no related paty transactions during the year.
26

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
11.
Staff costs and numbers
2022
2021
Staff costs
Salaries and wages
Social security costs
Pension costs
314,715
26,819
31,477
243,378
20,935
26,522
373,011
290,835
One employee earned between £60,000 and £70,000 during the year12021 onel.
The key managemenl personnel ol the charity comprise the Iruslees and the senior management
team. The total èmployee benefits of the key management personnel ol the charity were £138.504
12021 £130,662).
Staff numbers
Thè average number8 ol full-lime equivalent employees lincluding casual and part lime slaffl during
the year was made up as follows..
2022
Number
2021
Number
Productionlrunning
Support
12.
Pension costs
The company operates a defined contribution pension scheme in resped ol its employees. The
scheme and 118 assets are held by independent managers. The pension charge represents
contributions due from the company and amounted lo £31,47712021 £26.5221.
13. Corporatlon taxatlon
The charity is exempl from lax on income and gains falling within section 505 of the Taxes Act 1988
or section 252 01 the Taxation of Chargeable Gains Act 1992 to the exlenl that these are applied to its
charitable objects.
27

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
14.
Flxed assets- tanglble assets
Office
equipment
Production
equipment
Total
Website
Cost
1 April 2021
Additions
Disposals
10,950
25,000
110,9501
26,327
960
114,9821
4,793
42,070
25,960
125,9321
31 March 2022
25,000
12,305
4,793
42,098
Depreciation
1 April 2021
Disposals
Charge lor year
10,950
110,9501
8,333
18,730
114,2641
2,759
1,198
30,878
125,2141
12,291
1,199
31 March 2022
8,333
7,225
2,397
17,955
Net book values
31 March 2022
16,667
5,080
2,396
24,143
31 March 2021
7,597
3,595
11,192
15. Debtorg
2022
2021
Trade debtors
Other debtors
Prepayments and accrued income
4,664
8,882
17,122
3,043
8,444
19,298
30,668
30,785
16. Creditors: amounts talling due
wlthln one year
2022
2021
Trade creditors
Other laxationlsocial security
Other creditors
Accruals
Deferred income Inole 171
12,479
8,260
1,971
29,450
54,604
9,194
10,089
14,450
56,463
52,160
144,800
28

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
17.
Deferred In¢ome
Balance at 1 April 2021
56,463
Amount released lo incoming resources
156,4631
Balance al 31 March 2022
Deferred income relates lo Arts Council Culture Recovery Fund, co-production lees and box ollice
income received in advance.
18. Llmlted by guarantee
The private company is limited by guarantee, registered in EW - England & Wales, and does not have
a share capital. Each member gives a guarantee to contribute a sum, not exceeding £1, to the
company should il be wound up. Al 31 March 2022 there were 13 members.
19.
Financial commitments
Al 31 March 2022 the company had future minimum lease payments under non-cancellable operating
leases, with payments falling due as follows..
2022
2021
Due:
Within one year
Between two and five years
1,370
1,028
1,370
2,398
2,398
3,768
20.
Analysis of net assets betwe8n funds
General
funds
Restricted
funds
Total
Fund balances at 31 March 2022
are represented by..
Tangible fixed assets
Nel current assets
24,143
157,573
24,143
273,893
116,320
181,716
116,320
298,036
29

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
21.
Unrestrl¢ted tunds
Brought
forward
In¢omlng
resources
Outgolng
resources
Carrled
forward
General fund
LIFT Loves London
106,980
44,000
538,275
1463,5391
144,0001
181,716
150,980
538,275
1507,5391
181,716
LI￿ Loves London
This fund was set up lo support exceptional 2021 activity posl-lockdown.
30

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
22. Restrl¢ted tunds
Brought
forward
In¢omlng
resources
Outgolng
resources
Carrled
forward
Transfers
BAT Banquet
LIFT 2020 - The Feminine & The
Foreign
LIFT 2021 Dog Ballet
LIFT 2022- Sun & Sea
UpLIFTers
LIFT 2020 - Night Shill
LIFT Loves London - l am from
Reykjavik
55,665
55,665
21,644
9,000
16501
13,294
11,000
8,536
44,000
111,0001
8,536
30,475
15,675
13,294
20,000
129,2001
113,2941
15,000
135,0001
57,969
134,201
175,8501
116,320
BAT Banquet
British Council funding for Taiwanese production Bat Banquet, lo be presented al the LIFT2024 festival.
LIFT 2020- The Femlnlne & The Forelgn
British Council grant lo support the commissioning and digital presentation ol a 'The Feminine & The
Foreign. by Kenya's Nest Collective.
LIFT 2021 Dog Ballet
LIFT2021 presentation of Dog Ballet funded by British Council China.
LIFT 2022- Sun & Sea
LIFT2022 presentation of Sun & Sea partially funded by the Lithuanian Embassy.
UpLIFTers
8Funding from the Esmee Fairt)airn Foundation and the Heritage Lottery Fund lo support our
community engagement work and our UpLIFTers presentations al the LIFT2022 festival.
LIFT 2020 - Night Shift
Goethe Institut grants lo support the development and documentation of 'Nighl Shift, for LIFT2020.
LIFT Loves London - l arn from Reykjavik
Grants from The London Community Foundation.. Cockayne - Grants for the Arts & Greater London
Authority lo support the commissioning and presentation ol '1 Am From Reykjavik, by Sonia Hughes as
part ol LIFT Loves London.
31

The London International Festival of Theatre Limited
(Llmlted by Guarantee)
Note$ to the Flnan¢lal Statement$
for the year ended 31 March 2022
23. Gro$s Ca$h Flow$
2022
2021
Returns on investments and servicing of finance
Interest received
15
Capltal expendlture
Payments lo acquire tangible assets
Receipts from sales of tangible assets
125,9601
958
113,8891
125,0021
113,8891
24.
Reconciliation of net incomel{expenditure) to net cashtlow from operating activities
2022
2021
Nel incomellexpendilurel lor the reporting
period las per the statement ol financial
acliviliesl
Depreciation
Dividends, interest and rents from investments
Delicil on disposal of fixed assets
Decrease in debtors
IDecreasel l increase in creditors
89,087
90,872
12,291
1151
240
117
192,6401
7,924
161
133,405
61,238
Net cash inflow Irom operating activities
8,600
293,433
32