AnnuAl RepoRt 2012 - Bell Shakespeare down with food poisoning. ... the play as a clear and strong one that cuts ... Bell Shakespeare Annual Report 2012 Bell Shakespeare Annual Report

Bell Shakespeare Annual Report 2012 | 1

AnnuAl RepoRt2012

the Bell ShAkeSpeARe CompAny limitedACN 050 055 251AnnuAl RepoRt foR the yeAR ended 31 deCemBeR 2012

Registered Office and Principal Place of Business

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Cover: The School For Wives 2012

Inside cover: The Duchess Of Malfi 2012

4 | Bell Shakespeare Annual Report 2012 Bell Shakespeare Annual Report 2012 | 5

ContentS

The Duchess Of Malfi 2012

ARtistic RepoRt 6

chAiRmAn’s RepoRt 10

geneRAl mAnAgeR’s RepoRt 13

leARning 14

mARketing & development 18

coRpoRAte goveRnAnce 20

ARtistic selF-Assessment 23

thAnk YoU to oUR donoRs 25

thAnk YoU to oUR pARtneRs 30

FinAnciAl stAtements 34

AdditionAl inFoRmAtion 57


This year saw a marked difference in repertoire: for the first time in our twenty-two year history we presented two non-Shakespeare classics on our main stages. The risk was high and we did in fact lose a handful of subscribers who are Shakespeare die-hards. (Incidentally, those same subscribers have indicated they will be returning to the fold in 2013, when again we present two mainstage Shakespeares.)

But the move was also widely applauded, many audiences welcoming a change in the Company’s image and the chance to see unfamiliar plays.

The year began with Macbeth on the stage of Sydney Opera House Drama Theatre. The production subsequently transferred to the Canberra Theatre Centre and Playhouse of Arts Centre Melbourne.

Macbeth saw the continuation of a number of key collaborations forged on Julius Caesar. Kate Mulvany was again dramaturg and we enjoyed an early development period that included valuable contributions from The Players who are proving to be a wonderful resource in all aspects of the company.

A strong cast was assembled with Dan Spielman in the title role joined by Kate Mulvany, Colin Moody, Lizzie Schebesta, Gareth Reeves, Hazem Shammas, Paul Reichstein, Katie-Jean Harding, Jason Chong and Ivan Donato.

Anna Cordingley created a very beautiful and evocative raked heath with a mirrored ceiling piece that sat ominously above the action. This was lit with great style by Damien Cooper and Kelly Ryall provided a tense and haunting score.

The production continued our exploration of the physical techniques of Vsevolod Meyerhold with Nigel Poulton taking the actors through an intense process that created some striking stage pictures and a true sense of ensemble.

Unfortunately we lost a number of previews as four of our team were struck down with food poisoning. Opening night was postponed but the season quickly found its feet with all departments rallying and with strong and valuable support from Sydney Opera House.

‘These two powerful performances are at the centre of a production that vividly evokes a supernatural world.’ The Australian

‘Dan Spielman’s Macbeth is part-Rasputin and part-panto, but his wild-eyed intensity just works, while Kate Mulvany is exactly what a Lady Macbeth should be, driven, terrifying and still, somehow, naive.’ Sunday Herald Sun

‘And in a time when we are seeing so many radically transformed versions of the classics this is a wonderfully respectful and loving treatment of the text. It is trimmed to make the action urgent: it is theatrically stirring, and it works.’ The Australian

‘But it is possible to see Peter Evans’ take on the play as a clear and strong one that cuts away the sound and fury and leaves something sad and deeply human.’ The Canberra Times

Our second production for the year was an adaption of John Webster’s Jacobean classic, The Duchess Of Malfi. For some years we have been intent on stretching our repertoire to include masterpieces by some of Shakespeare’s contemporaries; The Duchess Of Malfi is certainly one of these, but the size of its cast and its unwieldy plot make it a challenge for a company like ours with a small subscription base. We therefore responded enthusiastically to an adaption of the play by two Australian writers, Ailsa Piper and Hugh Colman. Their version (for a cast of six) was titled Hellbent and was originally performed by Melbourne’s Red Stitch company. It cut away extraneous characters and sub-plot and focused on the central conflict with great intensity.

With the writers we undertook some re-working and fine-tuning of the script and, for marketing reasons, restored the original title.

An exceptionally strong cast of actors was engaged: Sean O’Shea, David Whitney, Matthew Moore, Lucia Mastrantone and Ben Wood, with Lucy Bell in the title role.

Stephen Curtis’ minimalist set conjured up a claustrophobic chamber of horrors, while the music score by Alan John and the moody lighting by Hartley T. A. Kemp reinforced the baroque and sinister language of Webster’s text. Nigel Poulton made his usual valuable contribution in training the actors’ physicality and devising the violent choreography.

The production was staged in the Playhouse of Sydney Opera House and won plaudits in the press:

‘Truly, theatre doesn’t, if ever, get much better than this.’ Curtain Call

‘Lucy Bell, directed by her father John, is incandescent, nowhere more so than in her death scene, in which she is by turns skittish, playful, desperate and, ultimately transcendent.’ The Australian

‘Trim, taut and thrilling, Bell Shakespeare’s take on John Webster’s The Duchess of Malfi is simply terrific.’ Daily Telegraph

‘Lucy Bell is exquisite as the courageous, strong-willed, sweet-natured Duchess, with compelling performances from Sean O’Shea as the unhinged Judge, David Whitney as the cold-blooded Cardinal, Matthew Moore as the honest Antonio, Lucia Mastrantone as the maid/mistress Julia and Ben Wood as Bosola, whose moral journey is given a sharp focus.’ Sunday Telegraph

Our second non-Shakespeare classic was also our first production of a play by Molière, France’s answer to Shakespeare. The play chosen was a relatively unknown one, The School For Wives, in a brilliant new translation by Australian writer Justin Fleming. It exhibited tremendous wit and ingenuity in its handling of rhyming couplets as well as having a distinctly Australian contemporary flavour.

ARtiStiC RepoRt


John Bell AO Peter Evans

Intimate Letters 2012

The other venture, directed by Peter Evans, was with the Australian Chamber Orchestra. We were delighted to be asked to present Intimate Letters as part of the ACO’s pop-up concert series at Pier 2/3, the site we hope both companies will enjoy as a new home in the future.

Andrea Demetriades and William Zappa read from a selection of letters by Leoš Janáček and his mistress Kamila Stösslová in between movements of Janáček’s String Quartet no 2, Intimate Letters.

The two evening concerts had a wonderful ambience with surprisingly good acoustics and simple lighting taking advantage of the beautiful wooden structure of Pier 2/3.

2012 was a year of remarkable success for our acting ensemble, The Players, who completed 399 performances in schools all over Australia to an audience of 49,544 secondary students with two programmes, Midsummer Madness and Macbeth: Undone.

The standard of the scripts and performances met with great acclaim, as did the workshops and masterclasses for teachers and students.

The Players also performed Damien Ryan’s popular production of Romeo And Juliet at Sydney Opera House Playhouse and the National Theatre in Victoria. The calibre of actors in The Players was remarkably high: four of them have been engaged for our mainstage productions in 2013.

Our Director in Residence, John Kachoyan, had a busy year assisting on all three mainstage shows as well as developing his own Mind’s Eye project based on The Winter’s Tale and directing a production for the Red Stitch Actors Theatre.

James Evans, our Resident Artist in Education, was heavily involved in all the education work, maintaining close contact with The Players. He also delivered the majority of our corporate training programmes and conducted a course of training in Acting Shakespeare for a select group of professionals.

Mind’s Eye enjoyed another busy year of research and development taking a particular turn towards new writing. We had an informal reading of Daniel Keene’s powerful new commission, A Three Legged Stool, that sees Daniel jumping off the mock trial scene in King Lear to create a harrowing yet darkly funny new work. We also had a reading of Alana Valentine’s exploration of cyber bullying through the lens of The Taming Of The Shrew in a new verbatim piece, Tricky Girl. Other writers commissioned include Caleb Lewis, Rita Kalnejais, Peter Houghton, Luke Mullins and Lachlan Philpott and a new collaboration with Chamber Made Opera with writer and performer, Margaret Cameron.

All in all, a year of stimulating and satisfying work exhibiting a wide range of creative talents. In a year in which the Company faced some major changes in structure and personnel, the artistic focus remained sure and steady.

Lee Lewis, having scored such a success with her production of Twelfth Night for Bell Shakespeare’s 2010 national tour, was invited to direct the production and came up with the clever device of treating the play like a 1920s silent movie, with the farcical exaggeration that genre permits. Marg Horwell’s simple, flexible design proved ideal for touring.

Like Twelfth Night (2010) and Julius Caesar (2011), The School For Wives was produced out of Melbourne: rehearsed and built there, using talent that was nearly all from Victoria.

The fine cast consisted of John Adam, Harriet Dyer, Meyne Wyatt, Andrew Johnston, Alexandra Aldrich, Damien Richardson and Jonathan Elsom. Mark Jones doubled as an actor and the musician who delivered Kelly Ryall’s delightful “silent movie” score.

The production proved to be a winner with audiences in all of the 28 venues it played around the country, finishing its tour in Sydney Opera House Playhouse.

‘Justin Fleming’s daring new version, a taut, biting and extremely funny masterpiece of translation.’ The Australian

‘Bell Shakespeare certainly knows how to bring the best out of classic comedy.

The School For Wives was directed with great flair and an eye to utilise all that makes theatre unique ...

With a superb cast, an excellent translation and some of the finest theatre direction seen on a Canberra stage, The School For Wives is a must-see.’ Canberra City News

‘Bell Shakespeare’s new production of Molière’s The School For Wives is a total delight ... In the huge role of Arnolde, John Adam is superb, handling the verse with consummate ease ... In a beautifully judged comic performance, Harriet Dyer is genuinely touching as Agnes.’ Sunday Telegraph

‘Wyatt is superb, acting out every line he delivers in a performance that is testament to a depth we are only beginning to see, adeptly matched by Dyer as his romantic opposite.’ Daily Telegraph

Two other significant co-productions were undertaken in 2012 – both with prestigious music ensembles. The first was a Romeo And Juliet concert with the Melbourne Symphony Orchestra in the recently refurbished Hamer Hall at Arts Centre Melbourne.

Two sold-out concerts featured the MSO playing excerpts from Shakespeare’s play performed by John Bell, Andrea Demetriades, Kane Felsinger and Nicholas Masters. Rachel Burke’s lighting was highly sympathetic to the many moods suggested by the music, performed with great vitality under the direction of Benjamin Northey.

It is anticipated that this adaptation by John Bell will have performances with other orchestras in the future.


ChAiRmAn’S RepoRtThe School For Wives 2012

During 2012 we reinforced our position as Australia’s national theatre company specialising in Shakespeare and the classics. We firmly believe that these works, in our hands, will stir emotions, ignite curiosity and explore contemporary life in a way that is meaningful and accessible to all Australians, no matter who they are or where they live.

The landscape of Australian theatre, and Bell Shakespeare’s role within it, continued to evolve in 2012. The choice available to audiences continues to grow in quantity, diversity and quality and our long-term aim is to consolidate our unique position in that landscape. In response to this changing environment, we are changing too.

In its 22nd year, the Company appointed Peter Evans as Co-Artistic Director alongside John Bell, its founder. The appointment was a profound statement of intent; demonstrating our desire to grow with our audiences and supporters, and continue to flourish. John and Peter are a formidable creative force and this clearly tells the world: Bell Shakespeare is here for the long haul. I thank them both for their inspirational contribution in 2012.

There were also significant changes at our executive level, as we bade farewell to General Manager Chris Tooher after eight fantastic years with us (four as General Manager). During our national search to fill the role, Michelle Gortan did an exceptional job as Acting General Manager. I’m tremendously grateful for the contributions that both Chris and Michelle made during their time with us.

We were delighted to secure the expertise of Bronwyn Edinger as our new General Manager. With extensive experience across a range of arts organisations, Bronwyn is ideally equipped to guide the Bell Shakespeare management team and provide inspirational leadership.

But the change didn’t stop there.

We increased our presence in Melbourne in 2012, showcasing more of our productions and reaching out further to audiences there. This was an important step towards our long-term strategic goal to expand further nationally. And speaking of our productions, we delivered on our strategic aim to present a diverse theatre programme by exploring

not one, but two non-Shakespeare classics in our mainstage calendar.

The Company’s touring production was Molière’s The School For Wives, brilliantly translated for 2012 by Justin Fleming. Lee Lewis’ production was perfectly pitched for the array of regional centres and capital cities the play visited.

The Duchess Of Malfi gave John Bell and his daughter, Lucy, the opportunity to work together. Ailsa Piper and Hugh Colman’s clever adaptation of John Webster’s dark and complex story was masterfully brought to life by John and the talented cast.

While we broadened our dramatic palate in 2012, the work of William Shakespeare remained central to our repertoire too. Macbeth shook off a cursed birth with its delayed opening night and showcased Peter Evans’ fascinating interpretation of a couple’s descent into madness. We also staged an audacious collaboration with Melbourne Symphony Orchestra, presenting the narrative and dramatic highlights of Romeo And Juliet, directed by John Bell, to the music of Tchaikovsky, Delius and Prokofiev.

Away from the mainstage, our Learning Programme saw our ensemble of eight young actors, The Players, perform adaptations of Macbeth and A Midsummer Night’s Dream to almost 50,000 students in schools up and down the country. The Players also performed Romeo And Juliet for students in theatres in Sydney and Melbourne. In many cases, The Players’ performances are complemented by school masterclasses or workshops with our educators.

Five regional and remote residencies were presented this year, including the Company’s fourth visit to Tennant Creek, NT, which expanded to include visits to the surrounding towns and communities of Canteen Creek, Renner Springs, Elliot and Ali Curung. Regional and remote students and teachers were also supported with three students winning the Regional Performance Scholarship, and twelve teachers receiving the Regional Teacher Scholarship.

All this work contributed to our strategic aim to expand our Learning Programme nationally and increase our profile in

educational institutions and the community. Enormous thanks must go to all involved, including our Head of Education, Joanna Erskine, our inspirational Resident Artist in Education, James Evans, and of course our talented and tireless Players.

In 2012, we also focused on another strategic pillar of the Company: creative development. We continued to develop Mind’s Eye into an established engine room, driving ideas and creativity through the organisation and broader industry. And in John Kachoyan, we had a remarkable Director in Residence who made an outstanding contribution to the creative output of the Company.

As our supporters know, the Company is reliant on significant generosity to continue its work. Thank you to you all. Particular thanks go to our long-term corporate partners BHP Billiton, Wesfarmers Arts, J. P. Morgan, Australian Unity and Sofitel Melbourne. We are grateful for the generosity of all of the trusts and foundations who support us, especially the Ian Potter Foundation, the Vincent Fairfax Family Foundation, the Scully Fund and the Macquarie Group Foundation who have been with us for many years. We also appreciate government funding for the Arts and Bell Shakespeare in particular, through the Australia Council and Arts NSW. Thank you also to the many individuals who supported the Company in 2012 through being members of our Supporting Cast, and donating to Hearts In A Row and the Creative Artists Programme.

Thanks must also go to the entire management team, staff and Board of Bell Shakespeare. It was their commitment and energy, during a year of much change, that kept every element of our business growing with an excellent financial result. That growth will continue in 2013, as will the evolution of our Company. The fact that we’ve already demonstrated how versatile and adaptable we can be gives me great cause for optimism.

Ilana Atlas


geneRAl mAnAgeR’S RepoRtRomeo And Juliet 2012

2012 could be characterised as a year of change for Bell Shakespeare. Mid-year the Company fondly farewelled General Manager Christopher Tooher when he resigned to take up an appointment as the Executive Director of the Sydney Festival. Deputy General Manager Michelle Gortan stepped into the breach as Acting General Manager until my arrival in late August. Later in the year Michelle announced the forthcoming birth of her second child and her subsequent resignation. Both Chris and Michelle were long-term Company members and I want to acknowledge their commitment and hard work which has contributed to the growth and success of Bell Shakespeare.

The Company landscape continued to change when, concurrent with the launch of our 2013 programme in September, we were delighted to announce the appointment of Associate Artistic Director Peter Evans as Co-Artistic Director, joining John Bell in the creation of the Company’s artistic vision.

2012 commenced with Peter’s fresh take on Macbeth at the Drama Theatre of Sydney Opera House. Considered one of Shakespeare’s darkest and most powerful tragedies, Macbeth is shrouded in theatre superstition. Unfortunately, reinforcing the superstition, some of the cast members contracted food poisoning, necessitating cancelled previews and a re-scheduled opening night! The Company is most grateful to the assistance and support Sydney Opera House offered that enabled the Company to care for our cast members and minimise the impact of the cancelled performances. Following a strong Sydney season, Macbeth toured to Canberra and Melbourne.

John Webster’s The Duchess Of Malfi, adapted by Hugh Colman and Ailsa Piper, saw John Bell directing his daughter Lucy Bell in the title role. The father and daughter combination generated strong publicity for the production that played at Sydney Opera House Playhouse. The production was highly regarded and received outstanding reviews but fell a little short of box office target.

The final mainstage production for the year was Justin Fleming’s hilarious adaptation of Molière’s The School For Wives, directed by Lee Lewis. Set in the Paris of the 1920s, the play’s clever concept made it the ideal touring production. The School For Wives was rehearsed in Melbourne and opened at The Lighthouse in Warrnambool thanks to the support of the venue’s Theatre Manager, Greg Diamantis. Twenty-seven venues and six months later, after touring the length and breadth of the country, the production opened at Sydney Opera House to great acclaim and very healthy box office receipts.

As well as mainstage activity, the Company continued to support its important research and development function, Mind’s Eye, which in 2012, concentrated on commissioning playwrights. The Company also successfully partnered with Melbourne Symphony Orchestra to stage a co-production of the narrative and dramatic highlights of Romeo And Juliet, directed by John Bell.

The year ended with a beautiful co-production of Intimate Letters with the Australian Chamber Orchestra, which married the music of Beethoven, Janáček and Schumann with readings of Janáček’s love letters, directed by Peter Evans.

Intimate Letters was staged in the raw space of Pier 2/3 and drew attention to the possibilities of the venue as a home to both Bell Shakespeare and the ACO. In 2012, Bell Shakespeare continued to work with the NSW government on a plan for a permanent home for the Company in the Walsh Bay Precinct and we hope to take a step closer to the reality in 2013.

Education continues to sit at the heart of the Company’s activities. With support from the Department of Education, Employment and Workplace Relations the Company delivered in-schools experiences to not only metropolitan, but regional and remote communities around Australia. A number of trusts and foundations also support this important work. The Company’s

Learning Programme offered a suite of opportunities including regional scholarships for students, and professional development experiences for teachers, so that our work is supported after we have moved to the next community. The Players, who travelled across Australia delivering inspiring and engaging learning experiences, also presented Romeo And Juliet for schools audiences in theatres in Sydney and Melbourne. We enjoy a great relationship with the Sydney Opera House education team, and participated in several digital initiatives with them this year including Romeo And Juliet workshops presented via video-conference technology, and a live-streamed performance of Romeo And Juliet to 600 students at the Glasshouse in Port Macquarie, from Sydney Opera House.

The financial cornerstone of the Company is the support we receive from government. Arts NSW and the Australia Council provide core funding as well as project support for which we are most grateful. In regard to our touring funds, we hope that the transfer of national touring funds to the Australia Council will allow a more efficient alignment of our mission and our touring funds in the future.

Financially the Company finished the year on a strong note thanks to our audiences, our corporate partners and our donors. We thank you all very much! We have a robust balance sheet and a wealth of talent and commitment.

In the short time I’ve been with Bell Shakespeare I have been struck by the dedication of the staff, the artists and technicians; our creative leadership in John Bell and Peter Evans; and the support of the Board, led with great skill and good humour by Chairman Ilana Atlas. I’d like to thank everyone for making me feel so welcome and part of the Company.

I look forward to 2013 with relish!

Bronwyn Edinger


leARning

2012 saw Bell Shakespeare continue to engage and develop new relationships with schools, students and teachers around Australia. The Learning Programme ventured into new and exciting areas, particularly in digital education. Once again the majority of programmes were delivered by our ensemble, The Players. The 2012 Players were Julia Billington, Teresa Jakovich, Felix Jozeps, Edmund Lembke-Hogan, Huw McKinnon, Suzanne Pereira, Matilda Ridgway and Anthony Taufa.

In 2012, Bell Shakespeare’s Learning Programme engaged a total of 81,583 students and teachers, and an online audience of 72,916.

‘We are always incredibly grateful for the VISION of Bell Shakespeare to go beyond the blue curtain of the Dividing Range. Our students are unbelievably inspired by your visits and this must be passed on to John Bell, your Actors At Work, your actors who bring the theatre productions West and the support teams that happen to marvellously ‘come our way.’ We are very appreciative. All of our parent body greatly appreciate your company’s understanding of the tyranny of distance. The energy, empathy, intelligence and skill of your team ensures that you are the premiere company in Australia.’ Trin Graham, Teacher, Kinross Wolaroi School, Orange NSW

in SChoolSBell Shakespeare’s flagship programme, Actors At Work, was once again well received by schools across Australia in 2012. Dividing into two teams, The Players toured the country and performed Midsummer Madness and the brand new Macbeth: Undone, totalling 399 performances to 49,544 students in 296 schools. This year we extended our reach into primary schools with performances in capital cities and regional areas of NSW, with a special practical pre-show workshop, for Years 4-6. Actors At Work toured to many regional and remote areas, including the Roxby Downs region of SA and a special tour of flood-affected schools in QLD.

257 Student Masterclasses were presented around the country in 2012 by Arts Educators and The Players to a total of 8,292 students. All masterclasses were tailored specifically for the class, whether a revision of Hamlet before the HSC or an introduction to Shakespeare using A Midsummer Night’s Dream. Teachers also booked masterclasses to be presented prior to, or following, an Actors At Work performance to supplement or extend the themes explored. Schools were also able to take up the opportunity of booking an in-school Artist in Residence, where a Bell Shakespeare Arts Educator spent one week in a school community working with staff and students on a tailored Shakespeare programme. 510 students participated in this programme.

‘The students LOVED IT! Several at risk students contributed with questions and a group of students had their preconceived notions of Shakespeare absolutely shattered! Absolutely enthralling. Other teachers didn’t want to leave the performance for other duties. Students who are disengaged with school and learning in general were talking about the performance all week!’ Tara Lightfoot, Teacher, Peak Hill Central School, NSW

in theAtReSThis year saw the return of Damien Ryan’s Romeo And Juliet to Sydney Opera House and the National Theatre in Victoria, performed to a combined audience of 17,032. The Players performed all roles, this time with a female actor playing Mercutio, and a revised adaptation making for a spectacular, energised and moving performance. For the first time, schools were able to book pre-show digital workshops by video conference, with Resident Artist in Education James Evans beamed into classrooms directly from Sydney Opera House Playhouse stage.

345 HSC and VCE students and teachers in NSW and VIC took part in Shakespeare Seminars for Senior Students, designed for the final lead up to Year 12 exams. 2012 saw the programme expand to offer half-day

sessions on As You Like It, Julius Caesar, as well as the most popular text for Year 12 study, Hamlet. Each session featured interactive lectures, optional practical masterclasses and performances of key scenes by The Players.

Schools were offered priority bookings for mainstage matinee performances of Macbeth, The Duchess Of Malfi and The School For Wives, with 3,443 students in attendance.

‘We took two carloads of kids on the 10-hour return drive to Lismore yesterday to see the matinee of The School For Wives. The kids loved it! I now have a new favourite Bell Shakespeare show! So strong. Year 9 Koori kids and senior drama queens alike loved it. Well done!’ Ben Daley, Teacher, Macintyre High School, Inverell NSW

pRofeSSionAl leARningTeacher Professional Learning was presented in every state and territory throughout the year, to a total of 361 teachers. This year’s National Teacher Forum was Shakespeare Fever, specifically designed to introduce practical methods for teaching Shakespeare to teachers with little experience, or with an aversion or ‘fear’ of Shakespeare. The Forum was presented in the following regional centres: Coffs Harbour NSW, Nuriootpa SA, Albany WA, Cairns QLD, Warrnambool VIC, Kingston TAS, Canberra ACT and Darwin NT. Specialised Professional Learning was presented in capital cities, offering regional teachers travel incentive prices to attend. Shakespeare Weekender offered teachers a long-form experience in Sydney at Bell Shakespeare’s rehearsal room in Sydney, spending two full days on three key texts, learning Shakespeare’s history, language and viewing Romeo And Juliet and Macbeth at Sydney Opera House. Staging Shakespeare was presented in Sydney and Melbourne for drama teachers and specialised senior Shakespeare masterclasses on Teaching As You Like It, Julius Caesar, Hamlet and Introduction to Teaching Shakespeare were presented in Sydney and Melbourne.

‘I gained so much from the program; a new love for Shakespeare, a deeper understanding, some great practical techniques and enjoyed watching the magic of physical and emotional involvement reinvigorate the teachers.’ Lynne Robertson, Teacher, Coffs Harbour Senior College NSW

RegionAl initiAtiVeS And outReAChFive regional and remote residencies were presented this year, with 991 students participating. The first residency was the Company’s fourth visit to Tennant Creek NT and included visits to the surrounding towns and communities of Canteen Creek, Renner Springs, Elliot and Ali Curung. The residency focused on The Tempest, with students and teachers combining Shakespeare’s text with local dreamtime stories about water, for performance. Two-week residencies were also presented in Mossman in far north QLD, Sea Lake in wheat-belt VIC, Balranald in the Murray River region of NSW and Burnie on the north-west coast of Tasmania.

The first residency in a three-year project was presented at Collingwood English Language School, where the student body is comprised of new refugees, students who have recently immigrated to Australia and those needing intensive English training. The residency was based on Shakespeare’s storytelling and Romeo And Juliet and was presented over five weeks by Melbourne-based Arts Educator Kerreen Ely-Harper who is also a trained ESL teacher. 71 students performed their own devised stories in response to Romeo And Juliet on the final day of the residency, showing improved comprehension and literacy skills, public speaking and confidence.

In advance of the national tour of The School For Wives, Arts Educators visited regional venues with complimentary 75-minute workshops preparing students for the production, as part of the Regional Access Programme. Workshops were highly practical and covered the play’s synopsis, key character journeys, scene work and set and costume designs and reached 888 students.

‘One of the few modest risks to students in this beautiful part of the world is insulation. The residency went a long way to countering this and to opening the minds of our students to the happiness, empathy and quiet confidence that comes from acting and from studying the human condition as related by William Shakespeare.’ James Wall, Head of English, Mossman State High School QLD

RegionAl SCholARShipSThe sixth year of the Regional Teacher Scholarship was a great success with 12 eager teachers joining the Company in Sydney, 4-7 May, for four days of intensive Professional Learning, networking, live theatre and unit planning. The teachers met with both John Bell and Peter Evans, and saw Bell Shakespeare productions of Macbeth and Romeo And Juliet at Sydney Opera House. Many of the recipients’ schools have already benefited from Actors At Work visits, student masterclasses and subsidised tickets to in-theatre productions.The 2012 RTS recipients came from: Lowood and Capella QLD; Naracoorte SA; Alice Springs NT;

Macbeth 2012


Taroona TAS; Peak Hill, Bombala and Barham, NSW; Donald and Myrtleford, VIC; Geraldton and Boddington, WA.

The 2011 Regional Performance Scholarship winners were Sorcha Harrop (Armidale High School, NSW), Ava Campbell (Newstead College in Riverside, TAS) and Antonio Robin (Casuarina Senior College, Darwin, NT) and joined the Company in Sydney for one week in February, during Macbeth rehearsals. During the week, Sorcha, Antonio and Ava participated in Meyerhold training with the cast, undertook movement and acting masterclasses, toured NIDA and Sydney Opera House, saw Peter Evans’ Pygmalion and were treated to a backstage tour and chat with the actors after the show.

‘Sensational, I didn’t feel judged. I felt supported and the connections between the activities and the classroom were clear. I have learned how to communicate with my body. I learned how to say lines with

meaning. I understand how a drama approach is valuable to learning. I loved it. I feel more confident within myself.’ Jason Underwood, Boddington District High School, WA, Regional Teacher Scholarship Winner

digitAl innoVAtion And online inteRACtionAs part of the Sydney Opera House Romeo And Juliet season, the 22 May performance was live-streamed to an audience of 550 students at the Glasshouse, Port Macquarie. The Players were recorded, and a live cut was done from Sydney Opera House’s media studio. The performance looked spectacular on the cinema-sized screen, with colours vibrant and with close ups enabled. Following the performance, a live-streamed online Q&A was hosted through the Bell Shakespeare website, with 126 unique online viewers. The cast of Romeo And Juliet

joined director Damien Ryan on stage for the discussion, with a twitter and website feed enabled allowing viewers to post questions live. The Q&A has been uploaded to the Bell Shakespeare website as a classroom resource.

Bell Shakespeare played a key role at the launch of the NBN-Enabled Education and Skills Services Program in August. James Evans demonstrated the technology’s ability to connect with regional schools, by presenting an excerpt of The Tempest workshop live for the audience with students from Willunga High School in South Australia. He was ably assisted by Federal Minister for School Education, Early Childhood and Youth, Peter Garrett, who delivered a booming performance of the powerful Prospero, in a Moved Synopsis.

The Players continued to connect with their audiences via social media – their Meet The Players blog (bellshakespeare.com.au/meettheplayers)

and their popular Facebook page where nearly 1,900 students have interacted with them, posting questions and comments regularly. Armed with iPads and iPhones, The Players use these online spaces to share photos, videos and stories from their tours, tips for budding actors, as well as continue conversations about Shakespeare with students in regional and metropolitan areas.

Bell Shakespeare’s Online Learning Packs support teachers with classroom resources and behind-the-scenes information linked to each individual Bell Shakespeare production. Each pack contains introductory and background material including a synopsis of the play, background of the play, set and costume designs, cast and crew lists, discussion of key themes, character charts and explanations, interviews with key creatives and pre- and post-show classroom activities.

Adult eduCAtion & teRtiARy tRAining2012 marked the commencement of our adult education programme, with a five-week Actor Training course for recent acting school graduates and early career actors. 24 actors were selected for the inaugural course, led by Resident Artist in Education, James Evans. Sessions covered language, voice, classical text analysis, choric work, movement and characterisation. Guest sessions were presented by Artistic Directors John Bell and Peter Evans, as well as movement expert, Scott Witt, and former Head of Voice at NIDA, Bill Pepper.

The course culiminated with a showing of scenework for an audience of family and friends.

Also in 2012, Bell Shakespeare delivered the Shakespeare component of the full-time Acting course at NIDA. James Evans and Damien Ryan took a group of 12 second-year actors through an intensive three-week Classical Immersion course. The course ended with a presentation of scenes from Macbeth for NIDA staff and students. Bell Shakespeare also commenced its

relationship with Brisbane’s Aboriginal Centre for Performing Arts (ACPA) with two days of introductory workshops on Romeo and Juliet and A Midsummer Night’s Dream. Working with 30 students from a diverse range of backgrounds and experiences, we ran workshops on rhythm and text, acting and scene performance. The main purpose of the workshops was demystifying Shakespeare and discovering the joy and abandon of performing these extraordinary characters.

inteRnAtionAl

WoRldS togetheR ShAkeSpeARe in eduCAtion ConfeRenCe, ukHeld 6–8 September 2012 at the Tate Modern, Worlds Together was a collaborative conference between Tate Modern, the British Museum, the National Theatre and the Royal Shakespeare Company (RSC). The conference drew together different disciplines in order to ask what is at stake for children’s cultural lives today and brought the worlds of arts education together across time, place and practice. The three-day event was focused around a Shakespeare strand specifically exploring the world-wide influence of Shakespeare in education. Bell Shakespeare was invited to present on our work with Shakespeare in marginalised Australian communities, in particular our work with Indigenous communities. James Evans, Resident Artist in Education, delivered a presentation titled Dreaming, Power, Shame: Shakespeare on the Margins of Australian Society. The talk was repeated due to popular demand.

ReSeARChIn order for the Learning Programme to achieve maximum impact from available resources, the Company recognised the need to commission an external evaluation that would ascertain aspects of the Programme’s effectiveness and help prioritise areas of focus going forward. Educational Transformations was commissioned to conduct the evaluation, which commenced at the beginning of 2012. Three key programmes were identified to be studied – Actors At Work, Residencies and the Regional Teacher Scholarship. The Educational Transformations research team comprises Dr Tanya Vaughan and Professor Brian Caldwell.

The evaluation will systematically and rigorously analyse and examine qualitative and quantitative data gathered from Learning Programme participants, across a selection of the Programme strands. Alongside input into Bell Shakespeare Learning planning, the evaluation will provide invaluable data and analysis that will help illustrate and inform future funding applications. Significant progress has been made against all the aspects of the evaluation project to date, and the completed report will be delivered by mid-2013.

The School For Wives 2012


mARketing & deVelopment

mARketing Bell Shakespeare’s mainstage season had a healthy year at the box office with both Macbeth and the audience hit, The School For Wives, exceeding target. The Duchess Of Malfi fell short of its target, however with the success of the other two productions we exceeded our overall 2012 financial expectations ending the year at 101% of total target.

2012 saw a tremendous growth and consolidation of Bell Shakespeare’s commitment in 2011 to deepening digital activity. We produced more digital content than ever before including trailers and behind-the-scenes videos for each of our mainstage shows. We created a 2013 microsite at season launch in October 2012 on which we published an electronic version of the brochure and posted five videos consisting of a season trailer, a season overview video and trailers for each of the mainstage productions. The 2013 microsite included a mobile site. We also produced two supplementary videos celebrating The School For Wives and our new Major Automotive Partner, Renault. We moved away from traditional holiday greetings cards and produced a ‘Season’s Greetings’ video for the first time. We live streamed a Macbeth Q&A with the cast and creative team over the web. Our trailers were viewed 39,665 times and our social media communities grew by 46%.

Macbeth was nominated for three Green Room Awards for Mainstage: Lighting Design, Sound/Composition, Set & Costume Design. The School For Wives was nominated for three Sydney Theatre Awards for Mainstage: Leading Actor, Leading Actress, Set & Costume Design.

The Marketing Team saw some major changes at the end of 2012. Upon the resignation of the Deputy General Manager and the Marketing Manager, the department was restructured with the creation of a new position, Head of Marketing, which commenced in December.

CoRpoRAte pARtneRShipS2012 has been an extremely successful year for Corporate Partnerships at Bell Shakespeare. In addition to meeting the very important income target which supports the Company’s operations, an incredible amount of contra was contributed by partners. In terms of investment from cash and contra, it was the highest grossing year in the Company’s history. Products and services such as strategic consulting, legal and public affairs advice, creative communications, media advertising and promotions, production vehicles, wine, hotel rooms and technology all contributed to various areas of the organisation and supported our success. Media partnerships with The Australian and ABC Radio enabled us to significantly increase the scale of our presence nationally throughout the year and with the expertise of PwC consulting executives, we developed a robust five-year strategic business plan.

We welcomed several new partners to the portfolio in 2012: Renault, Foxtel Visa, Aria Catering and immij. The partnerships confirm these organisations’ commitment to supporting the arts even in uncertain global economic times. Renault joins the Company in their first ever Australian-based theatre partnership. These outstanding organisations, together with our valued existing partners, will ensure that the Company goes from strength to strength.

We bid a fond farewell to three of our much loved, long-term partners: Optus, AUSTAR and The Yalumba Wine Company & Jansz Tasmania. After strategic reviews, both Optus and Yalumba are moving in a different direction and we’ve enjoyed fruitful partnerships with both organisations for more than a decade. Our thirteen-year partnership with AUSTAR came to end after Foxtel acquired the company during the year and we were delighted to see Foxtel continue support for our Stage For Life scholarship for regional students.

In addition to many events held in the theatre, we entertained and inspired our partners, their employees and clients with several bespoke live performances at special events large and small. Some performances with beautiful, timeless scenes from Romeo And Juliet and A Midsummer Night’s Dream saw guests swooning over cocktails or dinner while others engaged business leaders by demonstrating the rich context offered by Shakespeare’s works. Businesses today all invest in their people, offering insights to leadership and developing performance. Shakespeare’s diverse characters use language to influence, persuade and inspire. In performances for partners this year we saw Mark Antony persuade the mob, Henry V inspire his troops, and Lady Macbeth convince her husband to kill the King. All were inspiring performances highlighting the power to influence in a unique way to corporate audiences.

Initiatives sponsored by our partners who support learning activity, enabled us to engage with a diverse range of audiences from community members in cities and far-flung remote locations of the country, to grandparents and children attending a community performance in Australian Unity retirement villages. Additional support from Deutsche Bank’s Flood Relief Appeal enabled us to deliver an important two week initiative involving performances and workshops to almost twenty schools in Queensland in areas most affected by the devastating floods of 2011.

So much has been achieved and celebrated this year and we would like to thank all of our valued partners for investing in us in 2012.

For the full list of our 2012 corporate and community partners please see pages 30 – 31.

philAnthRopyMay 2012 saw the departure, after eleven years, of one of Bell Shakespeare’s longest standing and most well-loved staff members, Philanthropy Manager Ruth Anders. This heralded a period of staff change that has culminated in early 2013 with the appointment of a new Head of Philanthropy. This senior appointment reflects the importance placed by Bell Shakespeare on fundraising from individuals and trusts and foundations, continuing to build meaningful partnerships and nurturing relationships at all levels to grow income.

Our most heartfelt thanks goes once again to all our supporters, individuals and trusts & foundations alike, whose ongoing commitment and generosity continues to enable us to take Shakespeare, live theatre and our Learning Programme to audiences across Australia. Every gift truly makes a difference. We can’t do it without you.

tRUsts And FoUndAtions

2012 was another strong year for fundraising from philanthropic trusts and foundations, with income once again exceeding target. Whilst two multi-year arrangements came to an end during the year, we were able to secure renewed commitments from both organisations for 2013 and beyond, although at a lower level. They have furthermore made it clear that whilst they have been extremely impressed with the work to which their funding has contributed over many years, it is now timely for them to prioritise other organisations once these new commitments are completed. However, alongside applying for and renewing annual grants from regular partners, which was very effective in 2012, work continues to identify and approach new trusts and foundations to grow this income stream further in the years ahead – and this renewed research will form an integral part of the fundraising strategy going forward. Bell Shakespeare’s acclaimed and diverse Learning Programme continues to be the main focus for applications, with the truly national

reach into some of the most remote communities, the well-documented impact of the programme and its dynamic, ground-breaking nature being of particular importance to funders.

sUppoRting cAst

Donations to Supporting Cast in 2012 were at their highest annual level since 2009, although slightly below target. The environment for private philanthropic fundraising remains challenging, but the result in 2012 gives an indication that donors will respond positively to meaningful initiatives, effective and compelling communication, and timely appeals. Several supporters significantly increased their donations during the year, and whilst some indicated that they were no longer able to continue supporting the Company, the combination of new donors and gifts from donors who had not been active for some time, accounted for the increase in income.

heARts in A Row

In 2012 we exceeded the target for donations towards Hearts In A Row, in contrast to an otherwise downward trend since 2008. Hearts In A Row continues to be one of the most immediately engaging and rewarding fundraising programmes available, connecting underprivileged groups from Sydney and Canberra with the magic and wonder of live theatre. In 2012, 20 deserving groups from schools and other charities were given VIP theatre experiences of Macbeth, The School For Wives and the schools-specific production of Romeo And Juliet. It remains of paramount importance to us to continue to develop such a vital and potentially life-changing programme within the community access space, and encourages genuine partnerships with donors, who are given the option to have genuine and direct input into determining beneficiaries who may receive this opportunity.

cReAtive ARtists pRogRAmme

Funds raised to support this programme in 2012 were slightly ahead of 2011. There is still considerable scope to add to the small consortium of supporters of this vital programme, and following the sad passing of Dame Elisabeth Murdoch who was a particularly generous supporter, and the appointment of two Resident Teaching Artists in Education supported by the programme in 2013, there is much opportunity for engagement, development and growth.

Macbeth 2012


CoRpoRAte goVeRnAnCe


Bell Shakespeare seeks to follow the eight Good Practice Governance Principles promulgated by the Australia Council’s Major Performing Arts Board:

1. lAY solid FoUndAtions FoR mAnAgement And oveRsight

During 2012, the Board continued to operate in line with the principle and practices set out in the Company’s Corporate Governance Policy. The focus of the six scheduled Board Meetings held in 2012 was the regular review and monitoring of progress towards achieving the goals and outcomes outlined in the Company’s 2012-2014 Business Plan as well as artistic programming, financial performance and risk management. In addition, Board members participated with senior management in the annual strategic planning process which culminated in the 2013-2017 Strategic Plan.

Directors’ commitment to Board Meetings is reflected by a very high overall attendance rate of 80% with six of the eleven directors attending five or more scheduled meetings.

The Board Audit and Risk Committee complemented the strategic role of the Board dealing with the financial position of the Company and risk management and making appropriate recommendations to the Board on these matters. In addition the Board established the Nominations & Remuneration Committee to make recommendations to the Board on new appointments to the Board, remuneration of senior executives and succession planning. Established working groups continued to deal with specific strategic issues affecting the Company. In 2012, the Pier 2/3 Working Group was active in assisting management of the Company with establishing a permanent home.

Bell Shakespeare commenced a review of the Company’s Corporate Governance Policy during 2012 and revised policies are expected to be issued in 2013.

2. stRUctURe the BoARd to Add vAlUe

The tenure of directors is limited by the Company’s constitution to two terms of three years.

The Board conducted a review of its Committee structure at the end of 2010 and resolved to have one Committee - Audit and Risk. A Nominations and Remuneration Committee was established in 2012. The Board has also established working groups to deal with specific strategic issues when the need arises.

During 2012, there were no new appointments to the Board. Two retirements from the Board occurred late in the year and the Nominations and Remuneration Committee is considering recommendations to the Board in relation to new appointments. Further information, including a brief biography of each director, is contained in the Director’s Report

3. pRomote ethicAl And ResponsiBle decision mAking

The Bell Shakespeare Company’s Governance Framework is informed by the Company’s Constitution. Section 8 of that document sets out the Board’s powers of delegation to committees and management. Each of the Board committees has its own charter. Roles and responsibilities of all personnel are clearly defined and documented within position descriptions, letters of appointment and contracts. Decision making also takes place within the context of the Company Risk Management Plan.

The Company adheres to all legislative requirements. The Board ensures that all decisions are made in an ethical and responsible manner.

4. sAFegUARd integRitY in FinAnciAl RepoRting

A primary aim of the Board is to grow and maintain the financial reserves underpinning the Company’s future activities at a level of at least 20% of annual operating costs. The ratio at 31 December 2012 was approximately 40% (2011 - 35%).

The Audit and Risk Committee reviews major financial issues such as the budget, annual audit, risk management and investment policy as well as overseeing the format and content of all forms of financial reporting.

5. Recognise And mAnAge Risk

The Company’s risk profile, developed as part of the 2011 Enterprise Risk Management Project, was reviewed in April 2012 during the strategic planning process. A key component of the 2013-2017 strategic plan is to revise the risk management plan in line with the changes in risk profile. The Audit and Risk Committee is responsible for making recommendations to the Board on risk management.

6. encoURAge enhAnced peRFoRmAnce

Annually, the Board conducts a self-assessment process of its performance against the agreed expectations of a director. In 2012 the Chairman conducted this process by interviewing each Board member. The Board then agreed certain areas for improvement. This resulted in the establishment of the Nominations and Remuneration Committee.

Outside of the Board and committee structure, the Company receives extensive advice and feedback from external reference groups in the areas of artistic vibrancy and the delivery of its learning program, for example the Artistic Advisory Panel.

7. RemUneRAte FAiRlY And ResponsiBlY

The Chairman, with the approval of the Board, takes responsibility for regular performance and salary reviews for the General Manager and co-Artistic Directors. Base salary levels and any increments are determined by reference to experience, skill sets, market place considerations and industry comparisons. The Board is kept informed of movements in senior executive salaries.

Responsibility for other management salaries is delegated to the General Manager whose recommendations are reviewed by the Chairman.

8. Recognise the legitimAte inteRests oF stAkeholdeRs

Recognising, and responding to, the interests and needs of internal and external stakeholders is a central tenet of the Company’s Strategic Plan.

2012 saw further significant developments with our website, web streaming and social media strategies to enable the Company to better engage with our patrons, subscribers and the general public and to enhance their Bell Shakespeare experiences.

The Company holds an Annual General Meeting of members as required by law.

Sponsors and donors are acknowledged throughout the year in all marketing materials, programmes and publications as well as in this Annual Report

Ilana Atlas Chairman


ARtiStiC Self-ASSeSSment

Bell Shakespeare has an established and active Artistic Advisory Panel comprising Bell Shakespeare artistic staff and external representatives from the broader community. This body meets biannually to appraise Bell Shakespeare’s annual programme of work across all areas of the Company’s operations. It looks at the artistic ambitions of the Company as a whole and of each production individually, together with the reach and impact of Bell Shakespeare nationally, educationally and within the community.

The panel is comprised as follows:

Jane Caro (Chair) Corporate audience members and sponsors

John Bell Co-Artistic Director

Lyndsay Connors Education, community and regional audiences

Campion Decent Industry peers and theatre community

Peter Evans Co-Artistic Director

Fran Kelly Media and broadcasting

Hugh Mackay Broader social and cultural influences

David Malouf Broader arts community

Nick Marchand Industry peers and theatre community

Brett Sheehy International touring and festivals circuit

Each panel member is asked to report from their area of experience in relation to the stated goals for the Company as a whole and for each production. These goals are circulated prior to each meeting and then discussed at length. The discussion and feedback from this meeting is minuted and forwarded to the senior management and Board for review which informs future programming decisions.

Romeo And Juliet 2012


thAnk you to ouR donoRSWe ARe deeply gRAteful to the folloWing donoRS foR theiR SuppoRt duRing the 2012 CAlendAR yeAR

individUAl donoRsACTEW CorporationPatricia AdamsonHeather AdieRobert Albert AO RFD RD

& Libby AlbertElizabeth AleksanianMatthew & Helen AllchurchJenny AllumWendy AmigoJennifer AndersonBill & Kate AndersonAnnamila Pty LtdAmanda ArmstrongMeredith AshJudith and Geoff AshcroftAtlas D’Aloisio FoundationJanie AustinJohn & Helen AyliffeBrett BackhouseIan BarnettDr Margaret BarterHelen Bauer & Helen Lynch AMHelen BaxterIlknur BayariMelonie Bayl-SmithPaul BedbrookMerrilyn & Chris BeenyPauline BellAnnabelle and David BennettKerry BennettAdrian Beresford-WylieBerg Family FoundationPamela BerrimanAmy BerrymanDr Jennifer Bichel-FindlaySarnia BirchPeter BishopEva BitelPascaline BizienElva BlairTed BlameyJohn BlattmanJudith BongiornoDavid BookallilGraham & Charlene BradleyJoanne BrandsonBrigitte BraunHelen BristowAndrea BrockLaurel BrownBeth Brown & Tom Bruce AMDawn BrownhillDr Catherine Brown-WattMegan BryanGraham BuckettJune BullotBill & Sandra BurdettSusan BurnsJan Burnswoods

Rick BurrowsStephanie BurtonKerry ByrnesDiane CallenderEdmund CampionSophie Capodanno & Hayden HillsJim & Diana CarltonJane CaroMark CarrollElizabeth CarvossoAnn CasimirJohn Cauchi SC &

Catherine Walker PSMRosie & Peter CauntTim & Margaret CavanoughLeela CejnarYola & Steve CenterDr Fay ChambersJenny & Stephen CharlesJillian M CheekLouise ChristiePhil ChronicanAndrew ChurchyardGeorge ClarkWinifred ClarkRobert & Carmel ClarkIan CochranToni CodyVictor CohenMichael Collins PersseEnzo CondelloProfessor Conal CondrenBrian Connor AMGraham CookeJanet Coombs AMSarah CoombsDayn CooperKevin CosgraveDiana CosicRobert & Sheena CoupeTim Cox AO & Bryony CoxHelen Crain-WelsbyProfessor A T CraswellJennifer CrewJohn CrockerEdna CrohnMichael Crouch AOAmy and Philip Crutchfield SCSusan Culverwell & Grace FarrugiaPatricia CunninghamMary CurottaMuriel DaleJoanne & Sue DaltonJennifer DarinBeverley Davis OAM JP Margaret DavisDavid DayAntony de Jong & Belinda PlotkinSharon DebreczeniRobin Delahunty

Peter DemouDoreen DempsterCharlotte DenisonDeutsche Bank AustraliaBridget DexterMichael S Diamond AM MBEJane DiamondAndrew DickesonMartin Dickson AM & Susie DicksonAllan W DonaldAlan & Nancy DonaldDeirdre DrummondDavid DunkerleyDiane & John DunlopIan DunlopDr & Mrs B DuttaKaren DwarteDavid EagerFrank EastaughffeJoanne EdwardsMichael EdwardsHans & Gaby EisenRosemary EllisMark EntwistleKaren EslerRalph & Maria EvansNoelene EvansElizabeth EvattGarry FeeneyJennifer FildesJean FinneganJohn FirthHelen FisherDiana & Richard FisherProfessor PJ FletcherAnita FlorinDr Kathleen ForsterDavid FranksDavid & Jo FreckerKatie & Vic FrenchJohn & Diana FrewMargaret FreyShirley & Ron FriedmanGraham FroebelChristine FullartonNerin GallagherJustin & Anne GardenerRoss & Jill GavinNorma GavinJeff GestierBelinda GibsonThe late Tony Gilbert AMOwen GilesJennifer GilesJoan GilliesMichele GladdenRobert GlassColin & Sharon GoldschmidtJan Gordon-ClarkGourlay Charitable Trust

Macbeth 2012


Carole Grace Janet M GracePamela GrantAngus GrantRichard & Anna GreenCarolyn Griffin Pauline GriffinJohn Griffiths & Beth JacksonAlexandra GrimwadeMark & Patricia GrolmanRobert GubbinsSandra GurnerDr Dasia GutmanKate GuyAlison HaleElizabeth HamiltonStuart & Sue HamiltonGreg & Beth HammondDavid HarcombeLesley HardcastleDr Ian Hardingham QCPaul HardyLesley HarlandVicki HarpurDavid HarslettChristina HartMatilda HartwellSteven K HarveyJohn HayesBill & Alison HaywardThe Hon Peter Heerey AM QCJanet HeffernanDr Stella HeleyJane HemstritchAngela HenningsenVerna J HennockPhilip HentyAlison HerdSally HermanDr Michele HerschMargaret HeuerArmon Hicks & Dr Karin SowadaJohn & Rosanna HindmarshRosanna HindmarshRev Father William HoekstraLorraine HoldenJulia & Nick HolderDr Gary Holmes & Dr Anne ReeckmannRhae HooperKen & Lilian HorlerMaureen HorneElizabeth HowardReverend Bill &

Mrs Rosemary Huff-JohnstonMike & Stephanie HutchinsonIn Memory of Herta ImhofJohn & Barbara InglisErnest L IslesCarole JacksonGeraldine James

Margaret JamiesonDanielle JelinekBarbara JenkinsLeslie JesudasonVincent JewellJohn Colet SchoolJulie JohnsonCam & Caroline JohnstonCatherine JohnstonAngela Jones Marjorie JonesChris Jordan & Hayley BrabanTom & Elisabeth KarplusIlse KatzM & F Katz Family FoundationFrances KeaneGrace and Michael KeckSharon KellyAnthony KemenyKennards HireSteve KennedyDr Sue KessonHelen KetelbeyPatrick KevansDerek KidleyBob KijurinaDr Angela KirsnerJames KissellDirk KleinHelen KneeboneDr Joan KnowlesJeanette KnoxMary Kostakidis & Ian WilcoxJacqueline KottDame Leonie Kramer AC DBEMarlies LagerbergDr Julie LandvogtCarolynn LarsenSarah LawrenceFaye LawrenceWilliam & Anne-Marie LawsonSusan & David LeaverMargaret LedermanEdda LeembruggenLois LemchensOwen LenniePeter & Frances LewinJohn LewisBob Lim & Jennifer LedgarThe Limb Family FoundationLarraine LinkinsThe Little FamilyCatherine Livingstone &

Michael SatterthwaiteArdelle LohanRichard & Elizabeth LongesRobin LowCarolyn & Peter Lowry OAMSue LyonsDr Pamela MacDonald

Robyn MacintoshRobert & Nicole MacFarlanCarol & Rod MackenzieMargaret MackenzieHon Ian MacPhee AOMacquarie Group FoundationGeorge Maltby AO & Mary MaltbyNancy ManefieldProf and Mrs Bruce MansfieldMrs Sue Maple-BrownMaple-Brown AbbottJennifer MarchionniTom MarinicDr Guy MarksVeronica MarshanDavid MartinIn memory of the late Lloyd Martin AMJohn MartinDr Colin MartinPeter & Kate MasonHeidi MasonKaren MatherJustice Jane Mathews AOSandra MathewsDiane MatthewsDelphine McCormackRoss & Chris McDivenMargaret J McDonaldPatricia McEnernyBrian & Helen McFadyenPhilip McGarnMaureen McGrathSheila McGregorRichard McGregorDuncan McKayPaula McKenryAnn McLarenMarie McLeodAimee McLeonardFiona McWhinniePamela MelveyGraeme & Emma MendelsohnBridget MiallRichard MichellLouise MillerNick & Caroline MinogueAlana MitchellHolly Mitchell & Keith BaylissKen MoonDr Brian MoodyThe late Dame Elisabeth

Murdoch AC DBEDr W B MustonAnne MyersLéonie NagleMonica NaishBarbara NeillDouglas & Susan NicholasMichael NoonanJ Norman

Linda NotleyPatricia NovikoffTom & Ruth O’DeaJohn O’HeareThe Hon Mr Justice Barry O’Keefe AM

QC & Mrs Janette O’KeefeAnthony Oliver Max OliverKathy Olsen & Bruce FloodGertrude O’NeilHelen O’NeilOptusRuth & Steve OrmerodAnne OwensRoslyn Packer AODaphne ParisJanette ParkinsonCatherine Parr & Paul HattawayMargaret ParsonsJoan & Ronald PearsonNigel &Patricia Peck FoundationIan PenbossRebel Penfold-RussellNola PickettBetty PizzeyBrian & Jane PollardNerelle Poroch & Phil WaiteRonald PostleCMDR Warwick Potter RANUrsula PotterKathleen PowrieRosalie Pratt AMJ & K PreedyAnthony PrestonBeverley PriceDr Susan Pugh & Dr Michael BennettDavid & Jill PumphreyLoraine PunchWilliam PurdueRodney PyneKenneth RafteryDonna RavenscroftKenneth ReedMary & Michael ReganGreg J ReinhardtPamela ReisnerLiah RenePatricia RizviKatharine RobertsStephen & Robbie RobertsRoslyn RobertsonChristina RocheJohn RoeDavid RolfeTerry RooneyLorenzo RosaDavid & Hazel RosenfeldThe Rowley FoundationPatricia RushtonSharon Rutledge

Noreen RyanPamela RyanBridget & Peter SackDr Elizabeth SakkerJennifer SaulMargaret-Clare SaundersSandra SavageJulie SchofieldMark ScholemMr & Mrs Max SchultzElisabeth & Doug ScottPenelope Seidler AMPeter SekulesJulia SelbyFiona ShearmanDavid ShelmerdineSam SheppardJanice ShierSandy ShuetrimSue SieberMargaret SimpsonPamela SinclairDr Agnes SinclairJean Singleton-TurnerAndrew SissonJanner SkinnerMaria Sola & Malcolm DouglasAda StantonGabriella StarzynskiColin StenningHeather StockRalph StoneDiane SturrockHelen Swift & Les NeulingerRobin Syme AM & Rosemary SymeJennifer SymonAlan & Jenny TalbotRuth TarloVictoria TaylorDiana TaylorSamuel TeedDavid & Jenny TemplemanDiane TennieRob & Kyrenia ThomasOonagh ThomasPatricia ThompsonCassie ThornleyElizabeth TrainorMary TranterDr Sophie TreleavenJudith TribeJohn TuckeyJennifer TurnbullSuzanne & Ross Tzannes AMUBS FoundationWendy UrquiaNgaire van der JagtHenk Van LeeuwenDick & Sue VineyBenson Waghorn

Dr Sharon WallaceRonald WalledgeJames WaltonJenny & Ming WangSusan WannanJuliette WardDonald C WardJoyce WatsonGreg WatsonPenny WebsterThe Weir Anderson FoundationHonourable Justice Anthony WhealyAngus & Emma WhiteSally WhiteAlexander G White OAMDr Bernadette WhiteMargaret WhiteElizabeth Whitecross & Ian FrenchAlison WhitneyRosemary WildieGeorge M WilkinsSally Wilkins & Shane StanleyEvan Williams AMHelen Williams AODavid & Kristin WilliamsonDavid WilsonPamela WinchesterAlison WitcombeNicholas WithersAdrianna WitkowskiRoger Woock & Fiona ClyneHelen C WoodwardCapt W Graham Wright RAN retCarolyn WrightMargie YenRonald YuenGeorge YuilleBarry ZietschAnonymous (16)




thAnk you to ouR 2012 pARtneRS

leAding pARtneRS

National Education & Youth Partner Regional Communities Partner

mAJoR pARtneRS

Official Wellbeing PartnerNSW Education Partner Leadership Partner Automotive Partner

SuppoRting pARtneRS

WA Season Partner The School For Wives

Special Projects Partner Canberra Season Partner Stage For Life

CompAny pARtneRS

Accommodation Partner

Media PartnerSpecial Event Partner

Public Affairs AdvisorsCommunity PartnerLegal Partner

Creative Partner

Special Event Partner

Printing Partner Sydney Catering Partner

Radio Partner

The following organisations, trusts and foundations are supporting our national education and creative development initiatives:

Collier Charitable FundJames N Kirby FoundationJ S Love TrustScully FundThe Ian Potter FoundationThe Pratt FoundationThe Trust Company atf E T A Basan Charitable TrustVincent Fairfax Family Foundation

Community pARtneRS

GOVERNMENT PARTNERS

Bell Shakespeare is assisted by the NSW Government through Arts NSW.

The Australian Government is proud to be associated with Bell Shakespeare through the national performing arts touring programme, Playing Australia, which gives Australians across the country the opportunity to see some of our best performing arts.

Bell Shakespeare is assisted by the Australian Government through the Australia Council, its arts funding and advisory body.

Bell Shakespeare Learning Initiatives 2012 to 2015 are supported by the Australian Government Department of Education, Employment and Workplace Relations.

The Bell Shakespeare Company is proud to be a member of the Australian Major Performing Arts Group and Live Performance Australia.


finAnCiAl StAtementS



the bell shakespeare company limitedabn: 87 050 055 251directors’ report

the bell shakespeare company limitedabn: 87 050 055 251

directors’ report

Your directors present this report on the entity for the financial year ended 31 December 2012.

diRectoRs

The names of each person who has been a director during the year and to the date of this report are:

ilAnA RAchel AtlAs

John AnthonY Bell

cAtheRine JAne cARo

AntonY de Jong

RichARd John FReUdenstein

gRAhAm chARles FRoeBel

kAthRYn theRese gReineR

chRistopheR dAvid JoRdAn (RetiRed 31/12/12)

mARgARet hAnnAh osmond (RetiRed 12/09/12)

gene thomAs tilBRook

helen RoddA williAms

Directors have been in office since the start of the financial year to the date of this report unless otherwise stated.

compAnY secRetARY

The following person held the position of Company secretary at the end of the financial year:

• Mark Ramsden - BComm (Accy) CPA

pRincipAl Activities

The principal activity of the entity during the financial year was the presentation of theatrical productions and learning programs.

No significant changes in the nature of the Company’s activity occurred during the financial year.

The entity’s short term objectives are to:

• Produce a diverse theatre programme that respects and challenges Shakespeare and classic works

• Deliver a Learning programme that is first choice for theatre knowledge/experience and is accessible for all Australians

• Establish a high performing workplace that recognises, attracts and develops talent

The entity’s long-term objectives are to:

• Transform Mind’s Eye the Company’s Creative Development arm, into an established engine room, driving ideas and creativity through the organisation and broader industry

• Develop a national presence with a permanent home in Sydney

• Achieve long term financial sustainability through increased stakeholder and market engagement

To achieve these objectives, the entity has adopted the following strategies:

• Initiate, develop and produce new works through Mind’s Eye

• Base at least one theatre production each year in a metropolitan centre other than Sydney

• Pursue Reserves Policy of further increasing ratio of financial reserves to annual expenditure each year over and above industry benchmark of 20%

• Expand Actors At Work and Masterclass programmes to increase the geographical reach of learning activities

• Maintain positive and mutually beneficial relationships with all BSC stakeholders with focus on Govt & Corporate sectors

The entity measures its performance (including any key performance indicators) by:

• reference to Financial Indicators & KPIs; and

• operating KPI’s developed within the framework of the Company’s Strategic Plan 2013-2017.

A summary of Financial Indicators & KPIs can be found in the Additional Information section of this Annual Report.

opeRAting ResUlts

The profit of the Company amounted to $285,014.

The income of the company is exempt from income tax under section 50-45 of the Income Tax Assessment Act 1997.

dividends pAid oR Recommended

The Constitution of Association of the company prohibits the distribution of income and property by way of dividend or bonus.

Review oF opeRAtions

During the year, the company completed seasons in Sydney, Canberra, and Melbourne and also toured in various states in Australia. Further details of operations are contained in the Chairman’s Report.

signiFicAnt chAnges in stAte oF AFFAiRs

No significant changes in the Company’s state of affairs occurred during the financial year.

AFteR BAlAnce dAte events

No matters or circumstances have arisen since the end of the financial year which significantly affected or may significantly affect the operations of the Company, the results of those operations, or the state of affairs of the Company in future financial years.

FUtURe developments

The Company expects to maintain the present status and level of operations and hence there are no likely developments in the Company’s operations.

enviRonmentAl issUes

The Company’s operations are not regulated by any significant environmental regulation under a law of the Commonwealth or of a state or territory.

options

No options over issued shares or interests in the Company were granted during or since the end of the financial year and there were no options outstanding at the date of this report.

inFoRmAtion on diRectoRs

ilAnA RAchel AtlAs

Chairman, Director since January 2004

QuAlifiCAtioNs: BJURIS (HONS) LLB (HONS) LLM

ExpEriENCEDirector, Suncorp Limited, Westfield Holdings, Coca Cola Amatil Limited, Human Rights Law Centre Limited and Pro-Chancellor Australian National University. Previously, Group Executive, People and prior to that, Group Secretary and General Counsel, Westpac Banking Corporation. Before her roles at Westpac, Ilana was a partner at national law firm Mallesons Stephen Jaques.

John AnthonY Bell Ao

Artistic Director since inception July 1990

QuAlifiCAtioNs: BA (HONS)

ExpEriENCEPerformed with the Old Tote Theatre Company from 1963 to 1964. British Council Scholarship to Bristol Old Vic Drama School, UK in 1964; Associate Artist at Royal Shakespeare Company from 1965 to 1969; Company Director of the Nimrod Theatre, 1970 to 1984; Head of Acting, NIDA, 1970; and freelance work as Director and Actor until 1991. In 1997 the National Trust of Australia named him as one of the 100 Australian National Living Treasures. In 2009 John was appointed as an Officer in the Order of Australia in recognition of his service to the performing arts.

cAtheRine JAne cARo

Director since April 2009

QuAlifiCAtioNs: BA (ENG LIT)

ExpEriENCEAuthor, novelist, lecturer, mentor, social commentator, columnist, workshop facilitator, media broadcaster and award winning advertising writer. Runs her own communications consultancy and lectures in Advertising Creative at The School of Communication Arts at UWS. Also sits on the Board of the NSW Public Education Foundation.

RichARd John FReUdenstein

Director since December 2006

QuAlifiCAtioNs: BEC LLB (HONS)

ExpEriENCECurrently Chief Executive Officer of FOXTEL and a Director of Real Estate Group Limited. Previously, CEO of The Australian Newspaper and CEO of News Digital Media. Has served as Chairman of the Royal Television Society and as a Director of the English National Ballet.

gRAhAm chARles FRoeBel

Director since April 1998

QuAlifiCAtioNs: BCOM LLB CA

ExpEriENCEGroup Taxation Manager of Boral Limited and previously a partner with the international accounting firm Arthur Andersen.

kAthRYn theRese gReineR Ao

Director since October 2005

QuAlifiCAtioNs: BSOCWK

ExpEriENCEChairman and/or Director of a number of listed, private and non profit entities.

AntonY de Jong

Director since February 2002

QuAlifiCAtioNs: BSC LLB (HONS) MBA, GAICD

ExpEriENCESenior executive with Telstra Corporation. Previously, Partner with Accenture, a global technology and information services company. President of The Duldig Gallery Inc, a public museum, gallery and arts resource centre in Melbourne.

gene thomAs tilBRook

Director since May 2010

QuAlifiCAtioNs: BSC, DIP COMP, MBA (UWA); AMP(HBS)

ExpEriENCEDirector of GPT Group, Aurizon Holdings (formerly QR National), Fletcher Building and Perth Festival. Council member of Curtin University and AICD(WA). From 1985-2009 held roles at Wesfarmers in strategy, mergers and acquisitions, finance and projects; executive director 2002-2009.

helen RoddA williAms Ao

Director since June 2010

QuAlifiCAtioNs: BA(HONS) FAIM

ExpEriENCERecently retired from the Australian Public Service where she headed five departments (Education, Tourism, Immigration, Communications and the Arts, and Human Services) and was Public Service Commissioner. Has served on a wide range of government boards and committees, including the National Library Council and the Australia Council for the Arts. Is Chair of the Migration Agents Registration Authority Board, Deputy Chair of the National Archives Advisory Council and a member of the Origin Foundation Board.


the bell shakespeare company limitedabn: 87 050 055 251directors’ report


directors’ report

The interests of the directors in the ordinary share capital of the company at the date of this report are:

BeneFiciAl inteRest in oRdinARY shARes

NumbEr of shArEs

Ilana Rachel Atlas 5,000

John Anthony Bell 5,001

Catherine Jane Caro 5,000

Antony de Jong 5,000

Richard John Freudenstein 5,000

Graham Charles Froebel 5,005

Kathryn Therese Greiner 5,000

Gene Thomas Tilbrook 5,000

Helen Rodda Williams 5,000

The above shares are deemed to have no commercial value. The Constitution of the company prohibits the distribution of income and property by way of dividend or bonus. The Constitution also prohibits the return of capital or of any other distribution to members on winding up.

meetings oF diRectoRs

During the financial year 6 meetings of directors were held. Attendances of meetings by each director were as follows:

DirECtors’ mEEtiNgs

No. EligiblE to AttEND No. AttENDED

Ilana Rachel Atlas 6 6

John Anthony Bell 6 4

Catherine Jane Caro 6 5

Antony de Jong 6 5

Richard John Freudenstein 6 3

Graham Charles Froebel 6 6

Kathryn Therese Greiner 6 6

Christopher David Jordan 6 5

Margaret Hannah Osmond 4 2

Gene Thomas Tilbrook 6 4

Helen Rodda Williams 6 4

indemniFYing oFFiceRs oR AUditoR

No indemnities have been given or insurance premiums paid, during or since the end of the financial year, for any person who is or has been an officer or auditor of the Company with the exception of the following matter. During the financial year the company obtained insurance to indemnify directors and officers, as named in this report, for loss arising from any claims made against them by reason of any wrongful act. The premium paid was $3,960.

pRoceedings on BehAlF oF the compAnY

No person has applied for leave of Court to bring proceedings on behalf of the Company or intervene in any proceedings to which the Company is a party for the purpose of taking responsibility on behalf of the Company for all or any part of those proceedings.

The Company was not a party to any such proceedings during the year.

diRectoRs’ BeneFits

During or since the end of the previous financial year, no director has received or become entitled to receive a benefit because of a contract, other than benefits disclosed in the financial statements or the fixed salary of a full time employee of the company or a related corporation or with a firm of which a director is a member, or with a company in which a director has a substantial financial interest.

oFFice BeAReRs At the dAte oF this RepoRt

I R Atlas, Chairman

J A Bell, Co-Artistic Director

P Evans, Co-Artistic Director

M Ramsden, Company Secretary

B E Edinger, General Manager

AUditoR’s independence declARAtion

The lead auditor’s independence declaration for the year ended 31 December 2012 has been received and can be found on page 38 of the financial report.

Signed in accordance with a resolution of the Board of Directors.

DirECtor

ilAnA RAchel AtlAs

DAtED this 22ND DAy of April 2013


the Bell ShAkeSpeARe CompAny limitedABN: 87 050 055 251

StAtement of CompRehenSiVe inCome foR the yeAR ended 31 deCemBeR 2012

the Bell ShAkeSpeARe CompAny limitedABN: 87 050 055 251AuditoR’S independenCe deClARAtion undeR SeCtion 307C of the CoRpoRAtionS ACt 2001 to the diReCtoRS of the Bell ShAkeSpeARe CompAny limited

Note 2012 2011

$ $

Revenue 2 9,998,097 10,174,888

Employee benefits expense (4,270,751) (4,153,182)

Depreciation and amortisation expense (78,793) (81,568)

Production expenses (914,520) (927,828)

Marketing expenses (905,465) (905,384)

Administration expense (950,998) (977,812)

Fundraising expense (166,062) (213,089)

Venue costs (1,079,405) (1,075,659)

Touring Costs (1,347,089) (1,407,009)

Surplus before income tax 285,014 433,357

Income tax expense - -

Surplus after income tax for the year 285,014 433,357

Other comprehensive income after income tax:

(Decrease)/increase in fair value of available for sale financial assets 115,752 (111,645)

Other comprehensive income for the year, net of tax 115,752 (111,645)

Total comprehensive income for the year 400,766 321,712

The above Statement of Comprehensive Income should be read in conjunction with the accompanying notes.


the Bell ShAkeSpeARe CompAny limitedABN: 87 050 055 251

StAtement of ChAngeS in eQuity foR the yeAR ended 31 deCemBeR 2012

the Bell ShAkeSpeARe CompAny limitedABN: 87 050 055 251StAtement of finAnCiAl poSition AS At 31 deCemBeR 2012

Note 2012 2011

$ $

ASSETS

CURRENT ASSETS

Cash and cash equivalents 3 498,212 903,669

Trade and other receivables 4 349,393 140,404

Other assets 5 216,095 161,876

TOTAL CURRENT ASSETS 1,063,700 1,205,949

NON-CURRENT ASSETS

Financial assets 6 4,372,507 3,758,628

Property, plant and equipment 7 105,915 78,528

Intangible assets 8 - 29,816

TOTAL NON-CURRENT ASSETS 4,478,422 3,866,972

TOTAL ASSETS 5,542,122 5,072,921

LIABILITIES

CURRENT LIABILITIES

Trade and other payables 9 1,507,809 1,398,444

Provisions 10 156,576 184,808

TOTAL CURRENT LIABILITIES 1,664,385 1,583,252

NON-CURRENT LIABILITIES

Provisions 10 23,855 36,553

TOTAL NON-CURRENT LIABILITIES 23,855 36,553

TOTAL LIABILITIES 1,688,240 1,619,805

NET ASSETS 3,853,882 3,453,116

FUNDS

General Funds 3,756,450 3,471,436

Available-for-sale revaluation reserve 1,391 (114,361)

Issued Capital 11 96,041 96,041

TOTAL FUNDS 3,853,882 3,453,116

The above Statement of Financial Position should be read in conjunction with the accompanying notes.

issued Capital

Available-for-sale revaluation reserve

general funds

total

$ $ $ $

Balance at 1 January 2011 96,041 (2,716) 3,038,079 3,131,404

Surplus attributable to the entity 433,357 433,357

Total other comprehensive income for the year -

Decrease in fair value of available for sale financial assets (111,645) (111,645)

Balance at 31 December 2011 96,041 (114,361) 3,471,436 3,453,116

Surplus attributable to the entity 285,014 285,014

Increase in fair value of available for sale financial assets 115,752 115,752

Balance at 31 December 2012 96,041 1,391 3,756,450 3,853,882

The above Statement of Changes in Equity should be read in conjunction with the accompanying notes.

Bell Shakespeare Annual Report 2012 | 43


notes to the Financial statements For the year ended 31 december 2012

42 | Bell Shakespeare Annual Report 2012

the Bell ShAkeSpeARe CompAny limitedABN: 87 050 055 251StAtement of CASh floWS foR the yeAR ended 31 deCemBeR 2012

Note 2012 2011

$ $

CASH FLOW FROM OPERATING ACTIVITIES

Receipt of grants 2,239,092 2,025,067

Other receipts 28,786 54,405

Payments to suppliers and employees (10,148,281) (9,975,012)

Interest received 56,636 100,333

Receipts from sales 4,979,511 4,816,264

Receipts from fundraising 2,684,231 2,993,318

Investment income received 282,497 239,067

Net GST received 46,563 (53,487)

Net cash generated from operating activities 17 169,035 199,955

CASH FLOW FROM INVESTING ACTIVITIES

Proceeds from sale of property, plant and equipment - -

Receipts from other financial assets - 154,162

Payment for property, plant and equipment (76,365) (60,078)

Proceeds from sale of available-for-sale investments - -

Payment for available-for-sale investments (498,127) (498,313)

Payment for financial assets at fair value through profit and loss - -

Payment for intangible asset - -

Net cash used in investing activities (574,492) (404,229)

Net decrease in cash held (405,457) (204,274)

Cash and cash equivalents at the beginning of the financial year 903,669 1,107,943

Cash and cash equivalents at the end of the financial year 3 498,212 903,669

The above Statement of Cash Flows should be read in conjunction with the accompanying notes.

The financial statements are for THE BELL SHAKESPEARE COMPANY LIMITED as an individual entity, incorporated and domiciled in Australia.

note 1 SummARy of SignifiCAnt ACCounting poliCieS

BASiS of pRepARAtionTHE BELL SHAKESPEARE COMPANY LIMITED has elected to early adopt the pronouncements AASB 1053 Application of Tiers of Australian Accounting Standards and AASB 2010–2 Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements to the annual reporting period beginning 1 January 2010.

The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements of the Australian Accounting Standards Board and the Corporations Act 2001.

Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless otherwise stated.

The financial statements have been prepared on an accruals basis and are based on historical costs, modified, where applicable by the measurement at fair value of selected non-current assets, financial assets and financial liabilities.

ACCounting poliCieS

(A) RevenUe

Revenue from provision of theatrical and educational productions is recognised upon the provision of the service to customers. Revenue from the sale of programs and merchandise is recognised upon the delivery of goods to customers.

Grants received on the condition that specified services are delivered, or conditions are fulfilled, are considered reciprocal. Such grants are initially recognised as a liability and revenue is recognised as services are performed or conditions fulfilled. Revenue from non-reciprocal grants is recognised when the company obtains control of the funds

Sponsorship revenue where the company incurs an obligation to deliver an equivalent economic value directly back to the contributor, is considered a reciprocal transaction and initially recognised as a liability and revenue is recognised as services are performed or conditions fulfilled. Sponsorship that is considered non-reciprocal is accounted for similarly to donations, and recognised as income upon receipt.

Donations are recognised as revenue when the company gains control, economic benefits are probable and the amount of the donation can be measured reliably.

Investment income comprises interest, dividends and investment trust distributions. Interest income is recognised as it accrues, using the effective interest method. Dividends and investment trust distributions are recognised when the right to receive a dividend or distribution has been established.

(B) pRodUctions in pRogRess

Where the company has theatrical productions in progress, the practice is for the running costs for the tour of each activity to be accumulated and reduced by box office income until completion, at which time the result is determined and the company’s share brought to account. All costs with respect to uncompleted seasons are carried forward at balance date on the basis that it is reasonably expected that future revenue sufficient to absorb the costs carried forward will be derived. Where this is not the case such costs are written off in the period in which they are incurred.

(c) pRopeRtY, plAnt And eqUipment

Each class of property, plant and equipment is carried at cost or fair values as indicated, less, where applicable, accumulated depreciation and impairment losses.

plANt AND EQuipmENtPlant and equipment are measured on the cost basis less depreciation and impairment losses.

The carrying amount of plant and equipment is reviewed annually by directors to ensure it is not in excess of the recoverable amount from these assets. The recoverable amount is assessed on the basis of the expected net cash flows that will be received from the assets employment and subsequent disposal. The expected net cash flows have been discounted to their present values in determining recoverable amounts.


the bell shakespeare company limitedabn: 87 050 055 251notes to the Financial statements For the year ended 31 december 2012



DEprECiAtioNThe depreciable amount of all fixed assets is depreciated on a straight-line basis over the asset’s useful life to the entity commencing from the time the asset is held ready for use. Leasehold improvements are depreciated over the shorter of either the unexpired period of the lease or the estimated useful lives of the improvements.

The depreciation rates used for each class of depreciable assets are:

ClAss of fixED AssEt DEprECiAtioN rAtEProduction and theatre equipment 33.3%, straight lineOffice furniture and equipment 33.3%, straight lineLeasehold improvements 33.3%, straight lineVehicles 20%, straight line

The assets’ residual values and useful lives are reviewed, and adjusted if appropriate, at each Statement of Financial Position date.

Asset classes carrying amount is written down immediately to its recoverable amount if the asset’s carrying amount is greater than its estimated recoverable amount.

Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are included in the Statement of Comprehensive Income.

(d) leAses

Lease payments for operating leases, where substantially all the risks and benefits remain with the lessor, are charged as expenses on a straight-line basis over the lease term.

(e) FinAnciAl instRUments

iNitiAl rECogNitioN AND mEAsurEmENtFinancial instruments are initially measured at cost on trade date, which includes transaction costs, when the related contractual rights or obligations exist.

ClAssifiCAtioN AND subsEQuENt mEAsurEmENtSubsequent to initial recognition these instruments are measured as set out below.

(i) Available-for-sale financial assets

Available-for-sale financial assets comprise investments in listed and unlisted entities and any non-derivatives that are not classified as any other category of financial assets, and are classified as non-current assets (unless management intends to dispose of the investment within 12 months of end of the reporting period). After initial recognition, these investments are measured at fair value with gains or losses recognised as a separate component of equity (available-for-sale investments revaluation reserve). Where there is a significant or prolonged decline in the fair value of an available for sale financial asset (which constitutes objective evidence of impairment) the full amount including any amount previously charged to equity, is recognised in the net profit for the period. Purchases and sales of available for sale financial assets are recognised on settlement date with any change in fair value between trade date and settlement date being recognised in the available for sale reserve. On sale, the amount held in available for sale reserves associated with that asset is removed from equity and recognised in the net profit for the period.

(ii) Other financial assets

Other financial assets are reflected at fair market value and largely represent cash balances, which are not available for use.

(iii) Financial liabilities

Non-derivative financial liabilities are recognised at amortised cost, comprising original debt less principal payments and amortisation.

fAir vAluEFair value is determined based on current bid prices for all quoted investments. Valuation techniques are applied to determine the fair value for all unlisted securities, including recent arm’s length transactions, reference to similar instruments and option pricing models.

impAirmENtAt each end of the reporting period, the entity assesses whether there is objective evidence that a financial instrument has been impaired. In the case of available-for-sale financial instruments, a prolonged decline in the value of the instrument is considered to determine whether an impairment has arisen. Impairment losses are recognised in the profit or loss.

(F) impAiRment oF Assets

At the end of each reporting period, the entity reviews the carrying values of its tangible and intangible assets to determine whether there is any indication that those assets have been impaired. If such an indication exists, the recoverable amount of the asset, being the higher of the asset’s fair value less costs to sell and value in use, is compared to the asset’s carrying value. Any excess of the asset’s carrying value over its recoverable amount is recognised in profit or loss.

Where the future economic benefits of the asset are not primarily dependent upon on the asset’s ability to generate net cash inflows and when the entity would, if deprived of the asset, replace its remaining future economic benefits, value in use is determined as the depreciated replacement cost of an asset.

Where it is not possible to estimate the recoverable amount of an assets class, the entity estimates the recoverable amount of the cash-generating unit to which the class of assets belong.

(g) emploYee BeneFits

ANNuAl lEAvEProvision is made for the company’s liability for employee benefits arising from services rendered by employees to balance date. Employee benefits expected to be settled within one year have been measured at the amounts expected to be paid when the liability is settled plus related on-costs.

loNg sErviCE lEAvEOther employee benefits payable later than one year have been measured at the present value of the estimated future cash outflows to be made for those benefits. Expected future payments are discounted using national government bond rates at Statement of Financial Position date with terms to maturity and currency that match, as closely as possible, the estimated future cash outflows.

(h) cAsh And cAsh eqUivAlents

Cash and cash equivalents include cash on hand, deposits held at call with financial institutions, other short-term, highly liquid investments with original maturities of three months or less that are readily convertible to known amounts of cash and which are subject to an insignificant risk of change in value, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities on the Statement of Financial Position.

(i) goods And seRvices tAx (gst)

Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Taxation Office. In these circumstances the GST is recognised as part of the cost of acquisition of the asset or as part of an item of expense. Receivables and payables in the Statement of Financial Position are shown inclusive of GST.

(J) income tAx

No provision for income tax has been raised as the entity is exempt from income tax under Div 50 of the Income Tax Assessment Act 1997.

(k) intAngiBles

WEbsitE upgrADEWebsite upgrade is recorded at cost, has a finite life and is carried at cost less any accumulated amortisation and impairment losses. It has an estimated useful life of two years. It is assessed annually for impairment.

(l) pRovisions

Provisions are recognised when the entity has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured. Provisions recognised represent the best estimate of the amounts required to settle the obligation at the end of the reporting period.

(m) FoReign cURRencY tRAnsActions And BAlAnces

Foreign currency transactions during the year are converted to Australian currency at the rates of exchange applicable at the date of the transactions. Amounts receivable and payable in foreign currencies at Statement of Financial Position date are converted at the rates of exchange ruling at that date. The gains and losses from conversion of short-term assets and liabilities, whether realised or unrealised, are included in the Statement of Comprehensive Income as they arise.





(n) tRAde And otheR ReceivABles

Trade and other receivables are recognised at original invoice amounts less an allowance for uncollectible amounts and have repayment terms of 30 days. Collectability of trade receivables is assessed on an ongoing basis. Debts which are known to be uncollectible are written off. An allowance is made for doubtful debts where there is objective evidence that the company will not be able to collect all amounts due according to the original terms.

(o) tRAde And otheR pAYABles

Trade and other payables represent liabilities for goods and services provided to the company prior to the year-end and which are unpaid. These amounts are unsecured and have 30 day payment terms.

(p) compARAtive FigURes

Where required by Accounting Standards comparative figures have been adjusted to conform with changes in presentation for the current financial year.

(q) cRiticAl AccoUnting estimAtes And JUdgments

The directors evaluate estimates and judgments incorporated into the financial statements based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the company.

KEy EstimAtEsGeneralEstimates and assumptions are continually evaluated and are based on historical experience and other factors, including expectations of future events that are believed to be reasonable under the circumstances.

ImpairmentThe company assesses impairment at the end of each reporting period by evaluation of conditions and events specific to the company that may be indicative of impairment triggers. Recoverable amounts of relevant assets are reassessed using value-in-use calculations which incorporate various key assumptions.

KEy JuDgEmENts(a) Available-for-sale investments There are no critical judgements that have a significant risk of causing a material adjustment to the carrying amounts of assets

and liabilities.

note 2 ReVenue And otheR inCome

2012 2011

$ $

Revenue from government grants and other grants

State/federal government grants 2,359,270 2,390,826

Other government grants - 5,000

2,359,270 2,395,826

Other Revenue

Charitable income and fundraising 2,572,109 2,986,256

Other revenue 28,786 54,405

Performance revenue 4,698,799 4,399,001

Investment income 282,497 239,067

Interest received 56,636 100,333

7,638,827 7,779,062

Total Revenue and Other Income 9,998,097 10,174,888

note 3 ReConCiliAtion of CASh And CASh eQuiVAlentSFor the purpose of the Statement of Cash Flows, cash and cash equivalents include cash on hand, deposits held at call with financial institutions, other short-term, highly liquid investments with original maturities of three months or less that are readily convertible to known amounts of cash and which are subject to an insignificant risk of change in value, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities on the Statement of Financial Position. Cash at the end of the financial year as shown in the Statement of Financial Position is made up as follows:

2012 2011

$ $

CURRENT

Cash at bank 495,112 400,981

Cash on hand 3,100 2,688

Cash on deposit - 500,000

498,212 903,669

note 4 tRAde And otheR ReCeiVABleS

2012 2011

$ $

CURRENT

Trade receivables 266,078 122,377

Other receivables 83,315 18,027

Total current trade and other receivables 349,393 140,404





note 5 otheR ASSetS

2012 2011

$ $

CURRENT

Prepayments 216,095 161,876

216,095 161,876

note 6 finAnCiAl ASSetS

2012 2011

Note $ $

NON-CURRENT

Available-for-sale financial assets 6(a) 4,111,988 3,464,047

Other financial assets

Bank Deposit 6(c) 145,838 145,838

Managed cash on deposit 6(c) 14,681 48,743

Bank guarantee deposit 6(c) 100,000 100,000

4,372,507 3,758,628

(a) Available-for-sale financial assets comprise:

– Unlisted investments at fair value

Managed Fixed Interest Portfolio 6(d) 2,945,000 2,450,000

Balanced Investment Fund 154,680 141,243

RIS Investments - Units in Investment Trust 6(b) 1,012,308 872,804

4,111,988 3,464,047

(b) RIS Investments represent a part of the amount invested under the Reserve Incentive Scheme (‘RIS’), an initiative of the two core Funding Bodies, the Australia Council and the NSW Ministry for the Arts. In accordance with the RIS Agreement between the company and the Funding Bodies, these funds may only be accessed with the express agreement of the Funding Bodies and under prescribed circumstances until 12 June 2018, after which date they are freed from any restrictions. RIS Funds have not been used to secure any liabilities of the Company.

(c) Other Bank deposits and managed cash are not considered accessible to the company for the purposes of this classification.

(d) The Managed Fixed Interest Portfolio is an investment portfolio managed by Perpetual Trustees for the company. The investments are fixed interest securities and cash management funds with returns typically in the range 4% to 6%.

note 7 pRopeRty, plAnt And eQuipment

2012 2011

$ $

PLANT AND EQUIPMENT

Production and theatre equipment

At cost 72,366 51,010

Less accumulated depreciation (49,120) (40,790)

23,246 10,220

Office furniture and equipment

At cost 233,411 192,159

(Accumulated depreciation) (174,095) (139,906)

59,316 52,253

Leasehold improvements

At cost 138,600 124,843

(Accumulated depreciation) (115,247) (108,788)

23,353 16,055

Motor vehicle

At cost - 19,091

(Accumulated depreciation) - (19,091)

Total plant and equipment 105,915 78,528

moVementS in CARRying AmountSMovement in the carrying amounts for each class of property, plant and equipment between the beginning and the end of the current financial year:

leasehold improvements

production & theatre Equipment

office furniture and Equipment

total

$ $ $ $

2011

Balance at the beginning of the year - 14,934 45,329 60,263

Additions at cost 16,999 5,173 37,906 60,078

Disposals -

Depreciation expense (944) (9,887) (30,982) (41,813)

Carrying amount at end of year 16,055 10,220 52,253 78,528

2012

Balance at the beginning of the year 16,055 10,220 52,253 78,528

Additions at cost 13,757 21,356 41,252 76,365

Disposals -

Depreciation expense (6,459) (8,330) (34,189) (48,978)

Carrying amount at end of year 23,353 23,246 59,316 105,915





note 8 intAngiBle ASSetS

2012 2011

$ $

Website Upgrade – at cost 159,803 159,803

Accumulated amortisation (159,803) (129,987)

Net carrying value - 29,816

Website Upgrade $

2011

Balance at the beginning of the year 69,571

Additions -

Amortisation charge (39,755)

29,816

2012

Balance at the beginning of the year 29,816

Additions -

Amortisation charge (29,816)

-

note 9 tRAde And otheR pAyABleS

2012 2011

Note $ $

CURRENT

Trade payables 328,034 301,852

Deferred income 1,179,775 1,096,592

9(a) 1,507,809 1,398,444

(a) Financial liabilities at amortised cost classified as trade and other payables

Trade and other payables

– Total current 1,507,809 1,398,444

1,507,809 1,398,444

Less deferred income (1,179,775) (1,096,592)

Financial liabilities as trade and other payables 328,034 301,852

note 10 pRoViSionS

2012 2011

$ $

CURRENT

Employee Benefits 156,576 184,808

156,576 184,808

NON-CURRENT

Employee Benefits 23,855 36,553

23,855 36,553

2012 2011

$ $

Analysis of Total Provisions

Current 156,576 184,808

Non-current 23,855 36,553

180,431 221,361

pRoViSion foR long-teRm employee BenefitSA provision has been recognised for employee entitlements relating to long service leave. In calculating the present value of future cash flows in respect of long service leave, the probability of long service leave being taken is based on historical data. The measurement and recognition criteria relating to employee benefits has been included in Note 1 of the financial statements.

note 11 iSSued CApitAl

2012 2011

$ $

Issued Capital

96,041 ordinary shares of $1.00 each 96,041 96,041

The above shares are deemed to have no commercial value. The Constitution of the company prohibits the distribution of income and property by way of dividend or bonus. The Constitution also prohibits the return of capital or of any other distribution to members on winding up.





note 12 CApitAl And leASing CommitmentS(a) Operating Lease Commitments

Non-cancellable operating leases contracted for but not capitalised in the financial statements.

2012 2011

$ $

Payable – minimum lease payments

– not later than 12 months 99,901 228,439

– later than 12 months but not later than 5 years 44,399 118,613

144,300 347,052

The major part of the lease commitments reported above relates to the lease of rehearsal premises for the company expiring in March 2013 with an option to renew for a further 2 years. Commitments for the rental of office premises for the company ceased in March 2010 when the leases expired. Rental of office premises continues on a month to month basis. A lesser part relates to the lease of office equipment which expires in June 2015; this lease carries an escalation clause which is expected to be in line with economic conditions.

note 13 Contingent liABilitieS And Contingent ASSetSEstimates of the potential financial effect of contingent liabilities that may become payable:

Bank guarantee - lease premises 70,000 70,000

Bank guarantee - autopay facility 30,000 30,000

100,000 100,000

note 14 eVentS AfteR the RepoRting peRiodNo events have occurred since balance date which would have a material impact on the financial statements.

note 15 key mAnAgement peRSonnel CompenSAtionKey management personnel are those persons having authority and responsibility for planning, directing and controlling the activities of the company, directly or indirectly, including any director (whether executive or otherwise) of that entity.

Control is the power to govern the financial and operating policies of an entity so as to obtain benefits from its activities.

Key Management Persons (KMP) has been taken to comprise the directors and members of the executive management responsible for the day to day financial and operational management of the entity.

The aggregate compensation of Key Management Persons during the year comprising amounts paid or payable or provided for was as follows:

2012 2011

$ $

Total compensation 737,188 609,288

note 16 RelAted pARty tRAnSACtionSTransactions between related parties are on normal commercial terms and conditions no more favourable than those available to other persons unless otherwise stated.

During the year donations were received from certain Directors and Director-related parties and these are named amongst those private donors listed in the attachment to this report.

note 17 CASh floW infoRmAtion2012 2011

$ $

Reconciliation of cash flow from operations with profit after income tax

Profit after income tax 285,014 433,357

Non cash flows

Depreciation and amortisation 78,793 81,568

Change in assets and liabilities

(Increase)/decrease in trade and other receivables (208,988) 26,215

Increase/(decrease) in trade and other payables 109,365 (293,574)

(Increase)/decrease in other assets (54,219) (62,818)

Increase/(decrease) in provisions (40,930) 15,207

Net cash provided by operating activities 169,035 199,955

note 18 finAnCe fACilitieS2012 2011

$ $

Standby arrangements with banks to provide funds and support facilities.

Credit Card facility 30,000 30,000

Amount used 30,000 30,000

Unused credit facility - -

SeCuRity detAilSThe credit card facility of $30,000 (2011: $30,000) is arranged with Westpac Banking Corporation with general terms and conditions being set and agreed to from time to time.

A letter of set off has also been given by The Bell Shakespeare Company Limited to the bank over a term deposit of $70,000.

note 19 AuditoRS’ RemuneRAtion2012 2011

$ $

Amounts paid/payable to Grant Thornton for audit or review of the financial statements of the entity 29,020 24,000

Amounts paid/payable to Grant Thornton for audit-related services for the entity 7,500 8,350

36,520 32,350





note 20 fundRAiSingThe Bell Shakespeare Company undertakes fundraising appeals throughout the year; it holds an authority to fundraise under the Charitable Fundraising Act 1991 (NSW). Additional information and declarations to be furnished under this Act are as follows:

(a) Details of aggregate fundraising income and expense from fundraising appeals

Note 2012 2011

$ $

Donations:

Capital Fund Campaign - -

Young Artists Fund Campaign 111,500 109,500

Supporting Cast 437,907 427,422

Hearts In A Row 182,766 184,138

Bequests 12,125 525,000

Donations - Total 744,298 1,246,060

Sponsorships 1,300,311 1,210,466

Trusts & Foundations 527,500 529,730

Gross income raised by appeals 2 2,572,109 2,986,256

Less: direct costs of fundraising appeals: 166,062 213,089

Net surplus from fundraising appeals 2,406,047 2,773,167

(b) Application of funds

Funds raised through the Capital Fund and bequests are designated for securing the future of the company. Funds raised through the Young Artists Fund are designated to subsidise a Creative Fellowship Program. All other funds raised support the current theatrical productions and educational work of the company.

(c) Forms of appeal

Appeals during the year included general appeals for sponsorship and donations.

(d) Traders

Bell Shakespeare employs professional staff to manage and coordinate its fundraising activities and consequently does not engage commercial fundraising traders in any capacity.

(e) Comparative figures and ratios

2012 2011

$ $

Overall breakdown of expenditure

Production expenses 5,664,087 5,650,702

Marketing/Fundraising 479,453 610,189

Administration 3,569,543 3,480,640

Total Expenditure 9,713,083 9,741,531

fundRAiSing ReSultS

Total costs of fundraising / Gross income from fundraising ($) 166,062/2,572,109 213,089/2,986,256

T,otal costs of fundraising / Gross income from fundraising (%) 6% 7%

Net surplus from fundraising / Gross income from fundraising ($) 2,406,047/2, 572,109 2,773,167/2, 986,256

Net surplus from fundraising / Gross income from fundraising (%) 94% 93%

Total cost of services provided / Total expenditure ($) 5,664,087/9,713,083 5,650,702/9,741,531

Total cost of services provided / Total expenditure (%) 58% 58%

Total cost of services provided / Total income received ($) 5,664,087/9,998,097 5,650,702/10,174,888

Total cost of services provided / Total income received (%) 57% 56%

(f) Declaration by Chairman as required by the Charitable Fundraising Act 1991 (NSW)

I, Ilana Atlas, Chairman of The Bell Shakespeare Company Limited, declare that in my opinion:

(i) the income statement for the year ended 31 December 2012 gives a true and fair view of all income and expenditure with respect to fundraising appeals; and

(ii) the balance sheet as at 31 December 2012 gives a true and fair view of the state of affairs with respect to fundraising appeals; and

(iii) the provisions of the Charitable Fundraising Act 1991 (NSW) and the regulations under that Act and the conditions attached to the authority have been complied with; and

(iv) the internal controls exercised by Bell Shakespeare are appropriate and effective in accounting for all income received and applied by Bell Shakespeare from any of its fundraising appeals.

Signed

ilana AtlasChairmanDated: 22 April 2013



independent aUditor’s report to the members oF the bell shakespeare company limited

the Bell ShAkeSpeARe CompAny limitedABN: 87 050 055 251diReCtoRS’ deClARAtion

The directors of the entity declare that:

1 The financial statement and notes, as set out on pages 39-55, are in accordance with the Corporations Act 2001 and:

(a) comply with Australian Standards – Reduced Disclosure Requirements; and

(b) give a true and fair view of the financial position as at 31 December 2012 and the performance for the year ended on that date of the entity.

2. In the directors’ opinion there are reasonable grounds to believe the entity will be able to pay its debts as and when they become due and payable.

This declaration is made in accordance with a resolution of the Board of Directors.

Director

IIana Rachel Atlas

Dates this 22nd day of April 2013


the bell shakespeare company limitedabn: 87 050 055 251independent aUditor’s report to the members oF the bell shakespeare company limited

AdditionAl infoRmAtion

Romeo And Juliet 2012


loCAtioNmainstage

productionslearning

programmestotAl

mainstage productions

learning programmes

totAl

2012 2012 2012 2011 2011 2011

Metropolitan

Adelaide – 4,033 4,033 – 4,307 4,307

Brisbane – 1,756 1,756 9,615 1,956 11,571

Melbourne 14,950 10,019 24,969 13,124 8,485 21,609

Perth 2,601 4,003 6,604 2,694 2,988 5,682

Sydney 36,896 41,305 78,201 39,638 30,556 70,194

Total 54,447 61,116 115,563 65,071 48,292 113,363

Other Locations

ACT 11,941 2,151 14,092 13,375 1,975 15,350

NSW 6,638 7,404 14,042 4,657 14,342 18,999

NT 708 350 1,058 784 2,300 3,084

QLD 1,386 2,738 4,124 2,078 1,977 4,055

SA – 578 578 – 2,554 2,554

TAS 1,941 1,873 3,814 2,129 2,702 4,831

VIC 1,220 329 1,549 1,685 3,098 4,783

WA 667 1,601 2,268 947 2,104 3,051

Subtotal 24,501 17,024 41,525 25,655 31,052 56,707

Total 78,948 78,140 157,088 90,726 79,344 170,070

noteS:Other locations includes Canberra, Hobart and Darwin.

Mainstage productions includes attendance of school students at matinee performances.

otheR ACCeSSThe company also engages in a number of other activities through which a wider audience reaches the Bell Shakespeare Company. These include ongoing website development, remote community residencies and pre-performance audience discussion panels, some of which are streamed live on the internet.

pAid AttendAnCeS goVeRnment SuppoRt

AnAlySiS of gRAntS And SuBSidieS

Core touring Education othertotAl 2012

totAl 2011

rent subsidy

projects

Australia Council - Tripartite Funding 619,109 619,109 605,782

Australia Council - Young and Emerging Artists

20,000 20,000 19,900

Australia Council - Creative Development (Mind’s Eye)

30,000 30,000 30,000

Australia Council - Professional Development

19,780 19,780 19,900

Arts NSW - Tripartite Funding 616,686 616,686 605,782

Arts NSW - Multi Year Funding Agreement

116,664 116,664 116,664

Arts NSW - Regional Touring Program (note 1)

149,250 149,250 86,120

Playing Australia (note 2) 357,462 357,462 439,690

DEEWR - Education Initiatives in 2011 (residual)

40,000 40,000 320,000

DEEWR - Learning Initiatives in 2012 - 2015

320,000 320,000 -

Austrade - Export Incentive Grant - Just Macbeth! 2010

25,319 25,319 11,988

Juvenile Justice Dept NSW (note 3) - 25,000

NSW Dept of Education - 40,000

Victorian Dept Education - Residency 20,000 20,000 -

Arts SA - DPC 25,000 25,000 50,000

ACT DET - 20,000

City of Sydney - 5,000

Effective Total Support 1,235,795 532,031 405,000 116,664 69,780 2,359,270 2,395,826

As disclosed in Note 2 to Financial Statements.

Note 1 - 2012 Touring grant of $144,000 plus $5,250 deferred from 2011.

Note 2 - 2012 Touring grant of $352,433 plus $5,029 deferred from 2011.


The Duchess Of Malfi 2012

2012 2012 2011 2011

$’000 % $’000 %

Assets

Net Assets 3,854 3,453

Total Assets 5,542 5,073

Net Assets / Total Expenditure (KPI) 39.7% 35.4%

Income

Performance 4,699 47.0% 4,399 43.2%

Private Sector 2,572 25.7% 2,986 29.3%

Other Income 368 3.7% 394 3.9%

Sub-total: Earned Income 7,639 76.4% 7,779 76.5%

Private Sector / Earned Income (KPI) 33.7% 38.4%

Government support:

Core 1,236 12.4% 1,212 11.9%

Touring 532 5.3% 538 5.3%

Education Funding 405 4.1% 430 4.2%

Other 186 1.9% 216 2.1%

Sub-total government 2,359 23.6% 2,396 23.5%

Total Income 9,998 100.0% 10,175 100.0%

Surplus

Earned Income 7,639 7,779

Expense (9,713) (9,742)

Earned loss (2,074) (1,963)

Government support 2,359 2,396

Net surplus 285 433

Profitability

Total Income 9,998 10,175

Total Expenditure (9,713) (9,742)

Profit 285 433

Reserves % of Revenue: 38.5% 33.9%

SummARy finAnCiAl indiCAtoRS & kpis

Level 1, 33 Playfair Street The Rocks NSW 2000

PO Box 10 Miller Point NSW 2000 Australia

Telephone +61 2 8298 9000 Facsimile +61 2 9241 4643 Email [email protected] Web bellshakespeare.com.au

Documents

AnnuAl RepoRt 2012 - Bell Shakespeare down with food poisoning. ... the play as a clear and strong one that cuts ... Bell Shakespeare Annual Report 2012 Bell Shakespeare Annual Report