Company registration number". N1601058
Charity registration number.. l 01876
Bruiser Theatre Company
(A covnpany limited by guarantee)
Annual Report and Financial Statements
for the Year Ended ) l March 202)

Bruiser Theatre Company
Contents
Reference and Administrative Details
Strategic Report
Trustees, Report
3to 18
Statement of Trustees, Responsibilities
19
Independent Examinerfs Report
20
Statement of Financial Activities
21to22
Balance Sheet
23
Notes to the Financial Statements
24to33

Bruiser Theatre Company
Reference and Administrative Details
Truslees
Miss Rosie Timoney (Resigned 31 December 2022)
Mr Adam Boughton Knight
Mr Joseph Rea
Mr Aidan Kearney
Miss Le-Ann Campbell
Ms Aoife Browne
Miss Laura Johnston
Miss Marie O'Donoghue
Diana McKeown
Miss Ella Griffin (appointed 17 July 2022}
Mr Colin MO￿ Ili (appointed 16 February 2023)
Ms Kirsten mCGa￿lty (appointed 16 February 2023)
Secrelary
Lisa May
Principal Office
83 University Street
Belfast
Antrim
BT71HP
The charity is incorporated in Northern Ireland.
N1601058
Company Regislration Number
Charity Registration Number
101876
Independeni Examiner
Baxtenvorld Ltd
Chartered Management Accountant
Unil J Dargan Induslrial Park
60-84 Dargan Crescent
Belfast
BTJ 9JP
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Bruiser Theatre Company
Strategic Report for the Year Ended 31 March 2023
The trustees. who are directors for the purposes of company law. present their strategic report for the year ended
31 March 202J, in compliance with s414C of ihe Companies Act 2006.
Financial review
Income in the year was £?62,012 and expenditure tolalled £?02.30J giving a surplus of £59,709. Total funds at
the end of March 2J Ii'ere £184.569. Restricted funds totalled £79,456, unrestricted and designated funds
totalled £105,1 IJ at the close of the period.
Policy on reserves
It is the view of the Board of Direclors that Bruiser operate prndently and effectively within the parameters of
the financial resources ￿'hICh were available.
Brulser's Trustees were particularly mindful of the need for efficiencies and financial prudence given the
probability of growing competition in funding rounds. limilalions to box office potential and limited venue
operations. in the Nvake of Covid-19. In 2016117 Bruiser established a policy of building company reserves to a
minimum of three months operating costs and we ivere pleased to achieve this once again in 20?2123. With this
in Mind, the Bruiser Trustees have agreed to increase the designated reserves policy to a minirnum of four and a
half months operating costs going fon¥ard.
Principalfunding sources
Bruiser was supported by Belfast City Council. the Arts Council of Northern Ireland. the National Lottery, the
Paul Hamlyn Foundation, the Future Screens NI fund. Queens University and the Victoria Homes Trust during
the year.
The strategic report was approved by the trustees of the charity on 13 December 2023 and signed on it5 behalf
by:
Mr Joseph Rea
Trustee
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Bruiser Theatre Company
Trustees, Report
The trustees, who are directors for the puryjoses of company law. present the annual report together with the
financial statements of the charitable company for the year ended ) l March 2023.
Truslees
Miss Rosie Timoney (Resigned 31 Decem￿[ 2022)
Mr Adam Boughton Knight
Mr Joseph Rea
Mr Aidan Kearney
Miss Le-Ann Campbell
Ms Aoife BrO￿￿e
Miss Laura Johnston
Miss Marie O'Donoghue
Diana McKeow
Miss Ella Griffin (appointed 17 July 2022)
Mr Colin Morelli (appointed 16 February 202))
Ms Kirsten McGarrity (appointed 16 February 202J)
Objectives and activities
Objects and aims
Founded in 1997, Bruiser aims to produce innovative live perfomlance combining text and physical theatre
techniques.
Bruiser Theatre Company strives to be recognised as Northem Ireland's leading Physical Theatre Company
delivering inspiring and uplifting theatre and equipping the next generation of perforn)ers with the skills and
know-how to work effectively within the industry.
Brulsevs Principal Funder in 2020-21 was Belfast City Council. the National Lottery and the Arts Council of
Northem Ireland and as such contributes to:
- Promoting the Value of the Arts
- Strengthening the Arts
Growing Audiences and Increasing Participation
Bruiser takes a professional and ethical approach to the management and governance of the company to deliver
quality productions, education and training w'ork.
In pursuit of this Bruiser aim5 to-
treat all of its stakeholders with the highest level ol integrity and gain the respect of all those individuals and
organisations with which it interacts
be challenging and courageous in designing and developing the artistic programme
provide an entertaining and enjoyable experience for its audiences
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Bruiser Theatre Company
Trustees, Report
Artistically BruiseV5 aims are to-
- to Use minimal set for maximum itnpact
- to further explore the notion of the actor. enforcing himiher as the central mechanism of perfortnance
to streamline and explore the relationship bet%Yeen the essential dynatnics of theatre. the actor, the space and
the audience
to encourage an environment for the exchange of ideas and collaboration between arts practitioners in
production
make a commitment to touring, workshop development and teaching to encourage a greater access to theatre
to produce a consistently high quality product
Public benefit
The Trustees are committed to providing a public benefit, and have taken into account the Charity Commission's
guidance in this area.
We believe that producing high quality. engaging work that attrdcts traditional and non-traditional theatre-goers,
diverse in age and background: enhances our audiences quality of life, as ivell as fostering a more general
appreciation of the arts.
By working extensively with Northern Ireland's next generation of talenL we are also creating a legacy from
which many other theatres, and the sector at large. will benefit.
Bruiser's Annual Funding was cut by The Arts Council of Northern Ireland by IOO/o in 2018. With a healthy
reserves policy. and strong leadership from the Bruiser Board and Artistic Director, Bruiser continues with
vigor: passion and deterniination
The trustees confirni that they have complied with the requirements of section J of the Charities Act (Northem
Ireland} 2008 to have due regard to the public benefit guidance published by the Charity Commission for
Northern Ireland.
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Bruiser Theatre Company
Trustees, Report
Our work in 2022123 includes:
Productions
Mojo Mickybo by Owen Mccafferty
All Ireland and UK Venue Tour
MarchlApril 2022
In April 20?2, Bruiser completed their UK and Rol venue tour of Mojo Mickybo. This production was funded
by ACNI National Lottery Fund and Culture Ireland. The tour included a one week run in The Union Theatre,
London, before retuming to Northern Ireland for a homecoming run at The MAC, Belfast.
CAST
Michael Condron - Mojo
Terence Keeley - Mickybo
CREATIVE TEAM
Lisa May -Director
Owen Mccafferty -Pla￿VrIght
Stuart Marshall - Set Designer
Garth Mcconaghie -music and Sound Designer
James C McFetridge -Lighting Designer
PRODUCTION TEAM
Produced by Bruiser Theatre Company
Lisa May - Producer
Peter Heenan -Producer
Stephen Quinn -Production Manatrer
Ronan Mcmanus -Assistant Produciion Manager
Anita Gibney -PR & Marketing
Liam McMullan- Tour Booker
JAM Carson -scenic Constructlon
TOUR SCHEDULE
The Garage Theatre. Monaghan
The Old Courthouse, Newtownabbey
Marketplace Theatre, Arniagh
The Playhouse, Derry
Watergate Theatre, Kilkenny
An Tain Arts Centre, Dundalk
The Source Arts Centre, Thurles
Dean Crowe Arts Centre, Westmeath
Union Theatre. Southwark
The MAC, Belfast
Bruiser received excellent critical and audience feedbacL with 4* and 5 reviews across the board.
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Bruiser Theatre Company
Trustees, Report
SAMPLE REVIEW - Everything Theatre - Union Theatre
Mojo (Michael Condron) and Mickybo (Terence Keeley) are nine year-old boys who become friends in Belfast
in the summer of 1970. The setting foretells all you need to know about how this friendship is to be affected by
events, which are totally out of their control.
There is a really clever introduciion to ihe young boys. which gets revisited towards the end= they almost
sing-song their names and change the order to "Mickybo Mojo. or "Mojo Mickybo" For me, this had two
strong aspects. Firsi, it really entwines ihe boys: tooeiher they are Mojo Mick"ybo, and you can imagine them
always both being underfoot. Secondly. it shows that these youngsters are the same. No matter their
background, no matter the tradition in which they have been brought up, they are just two lads growing up in the
same place. interested in the same things- wanling a hut to Ilve in and to eventually grow up to be like Butch
Cassidy and the Sundance Kid. riding off to Ausiralia.
The play tears along, thanks in no small part lo the sharp direction of Lisa May. and also the sheer energy
coming from the two actors. Each of ihem plays muliiple roles- scenes and characters change with a literal twirl.
An exaggeration of body language works to great effect. showing the small young lads cornpared to the bigger,
older bullies (well named as Gank the Wank and Fuckface). and this culrninates in a spectacular fighL where it's
hard to believe there are only tsvo actors on stage. The physical theatre. the comic timing. the choreography
behind this is absolutely top notch. On top of that. the ease with which Keeley transfonns into Mojo's mother
and Condron into Mickybo's father is hugely impressive. moving from childhood innocence and games into
world
and specifically Northern Ireland - weary adulthood. Suffice it to say. both Condron and Keeley are
superb.
From the start it is clear that the actors are going to take us on a journey, and we need to pay attention to their
physicality and their language- to learn some Northern ITlSh dialect as we go along. The play, direction and
delivery all help. but it's clear that an audience prepared to put in a small aTnount of work will get a little more
from the shoM', and the produciion trusts and respecis its audience to go ￿'1th this. I felt very invested, and found
myself getting really tense as the play went along. Even as I laughed (and boy did I lau￿ a lot - the play is
genuinely funny). there was a troubling sense of dread throughout. and then sadness when the inevitable result
of sectarianism finally occurred.
Stuart Marshall's set design is deceptively simple. Before the show begins, it evokes menace from a barricade
constructed on the streets of Belfast, the design wordlessly and effeciively setting the scene. Garth
Mcconaghie's sound is used to great effect throuohoul. but in partlcular as the boys play-act as cowboys.
Additlonally, the show offers a really slick digital programme. avallable through scanning a QR code, and
delivered by email shortly aftenvards. It is one of the belter programmes I've seen in a while, providing a lot
more than a listing of cast and crew. It includes sections about the theatre company. about the play itself and a
really interesting Director's Note.
This play is an enjoyable, thoughtful production: smarl funny and ultimately sad, with superb acting. I loved
every minute spent with Mojo Mickybo. *****

Bruiser Theatre Company
Trustees, Report
AWARDS
Bruiser received two nominations from the Irish Times Irish Theatre Awards for their production of Mojo
Mickybo..
l ) Best Director- Lisa May
2) Best Ensemble
The judges cited their criteria as:
"Excellence.. brilliance, superiority, dlslinclion. quality and merii. Innovalion and risk must come into the
equation as theatre is all about creaiivity and therefore inventiveness, resourcefulness, vision, imagination,
inspiration and originality.,
very high bar. These nominations put Brniser in the company of Ireland's very best theatre despite the
unprecedented times for the industry and the challenges Bruiser itself has faced. Bruiser subsequently won the
Best Ensemble Award which was the only am'ard given to a Northern Irish Company in 2022.
Friel Reimagined
April 2022- March 2023
Throughout the year, Bruiser worked in partnership with Queen's University, Belfast on Friel Reimagined.
Supported by the National Lottery Heritaue Fund and The Steel Charitable Trust. this 15 a unique drama research
and engagement project based on the work of acclaimed Irish pla￿right Brian Friel (1929-2015).
Led by Dr Paul Murphy, the project worked to di(Fitise a selection ol Friel's papers held at the National Library
of Ireland, and open them up to connect diverse audiences with the legacy and WTltinus of Friel. The project was
based at the School of Arts, English and Languages at Queen's University, who worked with Bruiser in the
design and delivery of the outreach aspect of the project.
Over the course olthe year we:
brought participatory drama workshops and courses to the folloivino
post-primary schools across Northem
Ireland.. Sacred Heart Grammar School. Newry: Hazelwo(Kl Integraied College, Belfast; Dominican College,
Portstewart; Coleraine Grammar School: St Joseph's College. Belfast; Belfast Boys Model School; and local
schools in Derry as part of a public exhibition of archival papers at The Gulldhall. Derry.
- Worked with four groups from Hydebank Wood College and Women's Prlson on themes and issues relevant to
them, explored in the works of Brian Friel.
Held a series of public workshop courses in Belfast, Deny, Portstewart and with immigrantlmigrant
communities in Dungannon.
Delivered a Summer intensive exploring five Friel plays in five days. for young people at The Brian Friel
Theatre at Queen s University.. Belfast.
Developed a series of video resources to help teachers and community leaders explore the works of Brian Friel
practically, beyond the lifetime of the project.
In our practical workshop sessions, participants got to try out physical theatre (often for the first time), explore
the themes of Friel's play5, devise their 0￿1 creative ideas and share their work with the group. Bruiser's
approach involves everyone, so participants didn't need Prior acting experience or knowledge of drama to enjoy
the workshops.
Feedback from workshoplcourse participants included-
"I lean)ed how sitting down doing a play can be $0 fun & funny. I got confidence to act and read in front of
people. I couldn't ask for better teachers... l am going to miss the class and people. We had a good group. Thank
you so so much. I hope to be part of another class."
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Bruiser Theatre Company
Trustees, Report
"Enjoyed thi5 much more than what I thought I would. Got to know other people better and it boosted my
confidence."
'1 wasn't sure about joining though once I did I really enjoyed learning about the play and I had a great lau
with the guy5: great people.
'A fantastic four weeks - Delving into the themes of the play and the 'red thread, that connects us all was
insightful and at times very emoiional.,
Commission.. Die Hard
December 2022 - March 202J
In December 2022, Bruiser secured funding from ACNI National Lottery's Commissioning Programme to
develop a stage adaptation of the culi classic 'Die Hard,. Bruiser commissioned playwright Gary Mitchell to
work alongside Bruiser's Artistic Direclor Lisa May in the development of this new piece of work. The research
and development of this pr(Kluction is scheduled to conlinue into 202J124, with plans to programme the show
once complete.

Bruiser Theatre Company
Trustees, Report
Arts Academy
July- August 2022
The Bruiser Art5 Academy, our annual 5ertes ol Professional development course5 for young people and
.h this project. Bruiser delivered three course5 for
emerging artists retumed for Summer 2022. Throu(p
participants of different ages and abilities:
START Academy
a week-long entry level course is desioJed for young people who love the idea of
performing, biit may not have had ihe chance to be on stage before. This course aiins lo build confidence
through performance and is open to referrals from teachers and community leaders to help reach young people
who would most benefit.
Summer School -an intensive ten-day professional training course for young people with a passion for the
perfonning arts. This course is designed to inspire and challenge young actors, providing them with the building
blocks required to further pursue their actin£ ambilions. The Brniser team are joined by a range of local induslry
professionals to coach and guide panlclpanls. holding them to a high standard of practice and providing
essential experience and insight into the working world.
Graduate Academy -an intensive tw'elve-day training course for young adults with a passion for the
performing arts, Nvho are serious about their career. The Graduate Academy is aimed at actors aged 18+ who are
preparing for Drama School, are attending further education. have graduated or are professional actors wanting
to enhance their skills. The course culminates in a shoivcase perfonnance for local industry professionals.
The Bruiser Arts Academy wa5 delivered in partnership with Queen's University, Belfast who provided in-kind
space for both course delivery and showcase perfonnances. Further collaboration with Queen's University
included the engagement of their undergraduate Drama students a5 project intern5
students of QUB gained
hands-on experience in workshop facilitation and project planning/management.
Participants worked with local professional theatre practitioners on actin& singing and
dancing -delivered as a 'crash course, aimed at boosting confidence/self esteem. as well as developing their
performance skills.
We specifically targeted participants from areas of disadvantage and those who may experience barriers to arts
engagemen¢ in an effort to improve access and diversify our audiencelparticipant base. In doing so, we
delivered drama ￿'OrkshopS to schoolslcommunity centres to aid recruitment and encourage participatioi) from
young people with little-no previous experience. Bursary places were also offered to young people through
schools, community groups and charities working with young people. These included Action Deaf Youth
Northem Ireland, Cara Friend (LGB TQ+) and local schools: community centres and youth groups. This helped
raise our profile, developing new relationships within the wider charity sector.
In delivering the project we were able to offer training opportunities for entry-level young professionals, as well
as involve volunteer intems in our work. This enabled young people to gain work experience in workshop
facilitation and project management -two areas of the arts that are hard to break into without prior credits or a
high profile amongst the sector.
Participant feedback from The Bruiser Arts Academy 2022 included:
"(My favourite part wa5) getting to perfortn in a real theatre and have such a dwamic range of piece5 to learn;
even pushing myself out of my comfort zone with dancing and singing ha5 been a real great opportunity."
"Thank you so much for giving me this incredible opportunity and being so friendly and kind. I've loved
every second of ihis experience and hope I'll be able to do ihings like this in future too.
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Bruiser Theatre Company
Trustees, Report
"I've learned more in the past two weeks aEK)Ut acting and the industry than I have in tny life... l am
immensely grateful for everything I have learned and feel vnore confident in where I can go from here to
continue learning and improving."
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Trustees, Report
Vitsl Connect
September 2022- March 2023
With the support of the Paul Hamlyn Foundation. BTUi5er launched a )'ear-long pilot of Vital Connect in
September 2022 -our m05t ambitious education project to date. Vital Connect offered four partner schoo15 a
physical theatre "shot in the arn), aiming to boost resilience and liberate the imaginations of young people in
disadvantaged areas.
Over the course of the year we delivered bespoke workshops. inler-school engagement, mentoring, in-school
performances and access to on-demand digital educational resources. The resul1= high quality arts provision
across Northern Ireland.
For the year-long pilot, we partnered with: Si. Catherine's College. Annagh; Limavady High School, Limavady;
Glastry College, Newtownards; and St. Ronan's College, Lurgan.
"The Arts & Education panel members are particularly pleased to support this work because of Bruiser's track
record of working with schools, and the potential for this project to have a w ide and positive impact on drama
education in Northern Irish secondary schools."
-The Paul HarnlJTr Foundation
Feedback from participating schools included=
"A wonderful experience. It has enriched the learning of the students beyond anjthing I thought P055ible.
They are more engage(L committed and enthused by the experience. I could not recommend Bruiser highly
enough." . St. Catherine's Colleue. Armagh
'Working with Bruiser has uiven pupils the opportunity to see that performance work is made and produced
here... Working with Nl practilioners shom's ihem that these roles are possible for them and gives them
achievable aspirations. The facilitators have all engaged and enthused our pupils... I can see this in practice in
class already. This has been such a worthwhile experience."
Limavady High School. Limavady
"Vilal is such an apt name as you have been a brilliant support to our drama department."
Newtownards
Glastry College,
"I have worked in Northern Ireland as a drama teacher for 17 years and the constsnt creative support provided
by Bruiser has been invaluable to the teaching of Drdma for my GCSE and A-Level students."
St. Ronan s
College, Lurgan
Through Vitsl Connect, Bruiser onboarded a full-lime Ediica(ion Officer. The increased capacity puts us in a
strong position to continue our long standing reputation as Northern Ireland's leading theatre company working
within the education sector.
Bruiser in a Box - Teechers by John Godber
September - October 2022
In October 2022, we delivered a 'Brui5er in a Box, tour ol Teechers by Joh1] Godber to fifteen post-primary
schools across Nl. Bruiser has a lonu.5tanding commitment to arts education, and this project is crucial for
promoting the engagement of young people in the arts.
CAST
Nuala McGowan - Lillian 'Hobby' Hobson
Cairiona McFeely - Gail Saunders
Eugene Evans - lan 'Salty' Salt
Pagell

Bruiser Theatre Company
Trustees, Report
CREATIVE TEAM
Lisa May- Director
Emma Copland -Assistant DirectorlEducation Advisor
James C McFetridge -Lighting Designer
Louise Dunne -set & Costume Designer
Katie Richardson -music and Sound Designer
PRODUCTIOIN TEAM
Produced by Bruiser Theatre Company
Lisa May -Producer
Peter Heenan - Producer
Ronan Mcmanus - Production Manager
Anna Royle -Arts Administration
Noora Helin -Development Officer
Cheryl 0'D￿￿er -_ Education Olficer
Robert Crawford -Drama Facilitator
Emma Copland -Education Advisor
Fast-moving, inventive and highly entertaining.. Teechers is John Godber's brilliant take on life at a modern
Comprehensive. Through their hilarious end-of-temi play, three Year I Is exuberantly sketch the new drama
teacher's progress through two ternis of recalcitrant classes. cvnical colleagues and obstructive caretak'ers.
Disillusioned: he departs for the safe waters of a private school. and leaves behind his student5, whose youthful
irreverence gives wa). to despair. Brought to the stage by Bruiser Theatre Company with high energy,
break-neck comedy and breathtaking ensemble perforn]ances, Teechers is a vnodern classic with 50Tnething vital
to say about education for the 'haves' and 'have nots
Teacher Feedback
100 % of teachers rated the perfomlance and post-show elements 515.
500/0 of the teachers raied the cosi 515 (The oiher 500/0 rated the cost 415).
100 % of teachers reported that the event fully met their requirements/expectaiions.
900/0 of teachers reported thal they would be interesied in booking a Bruiser workshop again in the future.
IOO/o reported that they mighi. 00/0 reporled thai they would not.
Teacher Comments
'Absolutely brilliant choice of play.
'Difficult to teach transitions but my class just got it after your work. Great to have live theatre back."
"Showing the students w'hat they can achieve in their own perforniance space was a great eye opener for
them."
Student Feedbaek
fv1.5 /0 of students rated the show 515 stars.
30.30/0 of students rated the show 41 5 5tar5.
54.5 /0 of students 5urve)'ed had not previously seen a Bruiser show before.
980/0 of students surveyed reported that they would see a Bruiser show again.
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Bruiser Theatre Company
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Further Feedbaek
"Congratulations to all at Bruiser on the production of Teecher5
it wa5 like a Inasterclass in physical
theatre. Brilliant directing. acting. and production made it all the more authentic in the school a55embly hall
setting." .FloM'erfield Arts Centre
"Many thanks for such an enjoyable perfom)an¢e. a mosl relevant piece which was funny and real. A strong
cast who energetically moved effortlessly through a series of characters, their pace. timing aT]d delivery were
excelleni. Congratulations io evervone. Marie O"Donoghue. Education Authority
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A Day With Bruiser
January- February 2023
In January 2023, we returned ivith our annual Nl tour OI'A Day With Bruiser,
a full-day crash course for
Drama students acr055 Northern Ireland. This 15 an opportunity for students of GCSE. AS. A2 Level and B TEC
Drama. Perfomiing Arts and Theatre courses to get to grips with Bruisevs unique physical theatre style.
A Day With Bruiser consists of three ivorkshops delivered by Bruiser's team of expert facililalors, and a
showcase perforniance/Q&A session at ihe end of ihe day to bring all the learning together. Course content is
specifically tailored to the requirements of all major exam boards and devised according to consultation with
post-primary school teachers across Northem Ireland.
TOUR SCHEDULE
The MAC. Belfast
The Playhouse, Deny - Londonderry
The Market Place Theatre, Arniagh
Strule, Omagh
Down Arts Centre
Island Arts Centre, Lisburn
Royal Grammar School. Enniskillen
NeNsry TowTr Hall
FEEDBACK
100 % of teachers said they would be interested in attending another day hosted by Bruiser.
75070 of teachers said that the course completely met the expectations.
I OOO/o of ￿'orkshOp facilitators said thai they received ihe necessary inforniation.
I OOO/o of workshop facilitators said thai they would wani to work with Bruiser again.
'All i sessions and their practical naiure were engaging and very interactive.,
'Every workshop ￿'aS linked and valuable towards perfomlance. The exercises were focused and provided
pupils with starting points (something that they really needed).,
"The Bruiser team had a fant&slic relationship with the students working to make them feel comfortable in the
space."
'Excellent energetic facililators who handled the different group dynamics with confidence and
professionalism. Adding perfomiance at the end of the day to show how techniques are used by the
professionals was very valuable."
"All the facilitators Th'ere excellenl. Full of ener_oy and positivitv! The siudents responded so well to the
planned workshops and became increasingly confident in the ensemble as a result."
Digital Educational Resources
April 2022- March 2023
Bruiser continued to develop their range of digital education resources on offer to post-primary schools
throughout 2022123. As of J I st March 2023, OUT Portfolio included..
The Bruiser Cinema Club
acce55 to educational resources from past Bruiser Production5. Selected titles
include a student resource pack on the plav: a podcast interview with a tnember of the creative/production team
and archival footage to aid the study of each play.
The Bruiser Digital Handbook - a selection of pre-recorded lectures and workshops to aid the study of Bruiser
Theatre Company as a chosen practitioner, as well as a host of additional educational resources {Worksheets,
lesson plans, schemes of work) on offer through ihree tiered packages= Excite, Engage and Inspire.
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How To Demo Videos - a selection ol videos giving students an insight into the wider roles within theatre.
Each topic contains a series of educational vide05 on a range of areas: Set Design; Costume Design;
Multimedia: Sound Design; Theatrical Make-up; and Lighting Design.
Brave & Bold - Monologue and Duologue Competilion
April- May 2022
Monologue and Duologue competitions for ages l9_18. All applicants received personalised feedback and the
winners received a full bursary place on the 202? Arts Academy.
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Bruiser Development Ambassadors Programme
April 2022- March 2023
Bruiser's Young Development Ambassadors Programme engaged in analysis and discussion to generate creative
ideas and help shape the future of Bruiser's educational. community engagetnent and profe55ional development
activities. The Bruiser Development Ambassadors Programme was developed as a method of communicating
with our key stakeholders on a personal basis. We wanted to know what more we can be doing to ensure that
Bruiser can Continue to provide the young people ol Northern Ireland wiih relevant, high-qualily training and
development programmes.
The project was open to anyone over the age of 16 - innovalive and crealive thinkers whose experience and
understanding of the Northern Irish Arts industrv had prepared them lo comment on future project proposals and
offer insight and suggestions for funher development in the key areas of education and professional
development.
Bespoke Workshops
Bruiser continued to offer bespoke workshops to schools and community groups across Northern Ireland
throughout 2022-202). Infomied by our expansion into digital delivery during the Covid-19 pandemic, we
continued to offer onlinelvirtual Q&As and workshops to broaden our reach and connect with new audiences.
Faeilitator Training
Bruiser continued to offer free quality training and developvnent opportunitie5 IT] all areas of our creative work.
In January ¥?3 we hosted a full day ol practical training in drama facilitation, led by our Artistic Director, with
the aim to increase skills, expand our own pool of facilitators and ultimately, job Creation.
Operational Groi*th and Development
April 2022- March 2023
Belfast City Council.. Cultural Multi-annual Grant Scheme - In March 2022 Bruiser was successful in securing
Cultural Multi-annual Grant Arts & Heritage funding from Belfast City Council for a period of two years.
Bruiser benefited from the support of ihis grani throughout 2022-202).
JobSTART - Committed to professional developmenl. Bruiser successfully applied to the JobSTART Scheme,
to employ and train an Arts Administration Assislant to support the dell very of our annual programme and offer
an entry level opportunity to a young professional interesied in a career in arts management. The part-time Arts
Administration Assislant came onboard in June 2022 and worked with Bruiser for a period of six months.
Artwork Scheme - In March 2022, Bruiser was awarded funding from Future Screens Nl and the Department
for Communities Nl through the Art Work Scheme. The grant of £60:J26.16 over a period of three years will be
used to employ an entry level Development oificer to work across Bruiser's annual programme in 2022-2023.
Blueprint - Bruiser continued to participate in Blueprint with Arts & Business Nl up until the end of June
2022. Blueprint is a pioneering financial growth programme enabling small to medium- sized cultural
organisations in Northern Ireland to take a more long-term approach to income generation. Blueprint is about
investment in long-tenn gromth and finding the route to greater financial security and artistic freedom. A5
participants of Blueprint we benefited from three full-day training se55ions and bespoke mentorship 5UPPOrt in
the 2022-2023 financial j'ear.
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Bruiser Theatre Company
Trustees, Report
Structurej governance and management
Nulure ofgoverning documen¢
Bruiser is a company limited by Guarantee governed by its Memorandum and Articles of Association dated 9th
August 2011 (amended). It is registered as a charity with the Charities Comrnission for Northern Ireland
(CCNI).
Reeruilmenl and appoinlmenl oflruslees
Directors are elected at the AGM by the Members present. A Director shall hold olTJce until the next AGM
follom'ing hislher appointment at which point they must retire. A retiring Director shall be eligible for
re-election.
The Directors shall-
Have the power at any time and from time to time to appoint any person to be a Director to fill a casual vacancy.
Any Director so appointed shall hold oifice only until the next lolloii'ing Annual General Meeting and shall then
be eligible for re-election. Have the pow'er at any time to appoint a5 additional Directors up to but not exceeding
a number equivalent to one third of the elected Directors for the time being. Director5 50 appointed shall hold
office only until the next following Annual General Meeting and shall then be eligible for re-appoinlment.
Induclion and iraining of Iruslees
All newly appointed Directors Tneet with the Chair aTJd Art15tic Director to discuss the roles and responsibilities
of a Director and also to audit specific skills and areas of inierest they may be able to bring to the role, as well as
any relevant areas of training they may be interested in undertaking. They are also presented with an
inforn)ation pack on the Company.
The Board of Directors, which has no maximum number but shall not be less than 5 Directors. administrates the
charitv. The board meets quarterly. An Artistic Director is appointed by the Directors to manage the day to day
operations of the charity. To facililale effective operaiions the Artisiic Director has delegated authority.. within
the ternis of delegation approved by the Directors. for operational matters including finance and employment.
The Artistic Director has delegated authority for artislic perfonnance relaled aciivity.
Financial instruments
Objeclives andpolicies
Risk manamgement and Internal Controls
The Board of Directors ha5 established a system on internal controls, designed to provide reasonable, but not
ab501iite, assurance against material mi55tatetnent or loss. They include-
Regular consideration of the financial position of Bruiser by the Directors
Ensuring at least one Director has ihe ne¢esary skills to interpret and analyse Bruisers financial records and
reports
Delegation of authorit}, and segregation of duties
The contract of an exiemal compan). to prepare financial statements
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Bruiser Theatre Company
Trustees, Report
Credit risk
The charity's principal financial assets are bank balances and cash. trade and other receivables. and Investi￿entS.
The charity's credit risk is primarily attributable to its trade receivables. The amounts presented in the balance
sheet are net of allowances for doubtful receivables. An allowance for impairnlent is made where there is an
identified loss event which, based on previous experience, is evidence of a reduction in the recoverability of the
cash flows.
The credit risk on liquid funds and derivative financial inslruments is limited because the counterparties are
banks with high credit-ratings assigned by inlemaiional credil-raling agencies.
The charity has no significant concentration of credit risk, with exposure spread over a large number of
counterparties and customers.
Liquidity risk
In order to maintain liquidity to ensure that sufficient funds are available for ongoing operations and future
developments, the charity uses a mixture of long-lenn and short-terni debt fmance.
Further details regarding liquidity risk can be found in the Statement of accounting policies in the financial
statements.
The annual report was approved by the truslees of the charity on IJ December 2023 and signed on its behalf by:
Mr Joseph Rea
Trustee
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Bruiser Theatre Company
Statement of Trustees, Responsibilities
The trustees (who are also the director5 of Bruiser Theatre Company lor the purpose5 of company law) are
responsible for preparing the trustee5' report and the fiT]ancial statements in accordance with the United
.dom Generally Accepted Accounting Practice) and applicable law
Kingdom Accounting Standards (United Kin(p
and regulations.
Company law requires the trustees to prepare financial statements for each financial year. Under company law
the trustees must not approve the financial statements unless they are satisfied that they give a true and fair view
of the state of affairs of the charitable company and of its incoming resources and application of resources,
including its income and expenditure. for that period. In preparing these financial statements, the trustees are
required to-
select suitable accounling policies and apply them consistently-
observe the methods and principles in the Charities SORP:
make judgements and estimates that are reasonable and prudent-
state whether applicable UK Accounting Siandards have been followed, subject to any material departures
disclosed and explained in the financial statements- and
prepare the financial statements on the going concern basis unless it is inappropriate to presume that the
charitable company will continue in busine55.
The trustees are responsible for keepino adequate accounting records that are sufficient to show and explain the
charitable company's transactions and 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 step5 for the prevention and detection of fraud and other irregularities.
Approved by the trustees of the charity on 13 December 2023 and signed on its behalf by:
Jfjrf
Mr Joseph Rea
Trustee
Page 19