annual report — 2018 - royal new zealand...
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A N N U A L R E P O R T — 2 0 1 8
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TS Nau mai, haere mai, Welcome 2
Salute to Sir Jon Trimmer 72018 at a glance 8Repertoire and engagement 10Critical acclaim 16Education, community and access 18Our digital year 20Partnerships and philanthropy 22Our extended family 24Our people 26Financial Statements 2018 28Auditors’ report 29Statement of comprehensive revenue and expense 31Statement of changes in net assets/equity 32Statement of financial position 33Statement of cash flows 34Notes to the financial statements 35
NAU MAI, HAERE MAI W E LC O M E
Ballet has the power to express our humanity and bring communities together. The Royal New Zealand Ballet is driven by our vision to transcend the everyday through dance and to share our art form with the widest possible audience.
2018 marked the 65th anniversary of the Royal New Zealand Ballet. It is fitting that this occasion was heralded by a stellar year at the box office, artistic excellence onstage and a renewed emphasis on engaging with communities and audiences the length and breadth of Aotearoa.
It was also a year of change as the organisation laid the foundations which will take the Royal New Zealand Ballet into the future. This is not only seen in our commitment to reflecting Aotearoa on stage, but to reviewing our internal culture and practices to ensure we are fit for purpose as the company grows and develops.
THE SEASON AT A GLANCEThe year started with a bold production of The Piano: The Ballet based on Jane Campion’s award- winning film, presented in association with the New Zealand Festival and the Auckland Arts Festival. The re-imagining of this iconic New Zealand movie was greeted with rave reviews and audience enthusiasm across the six centre tour. In a first for the Royal New Zealand Ballet, Māori advisor Moss Patterson (Ngati Tūwharetoa) joined choreographer Jiří Bubeníček and designer Otto Bubeníček to establish the cultural context for presenting this ballet.
Reflecting New Zealand stories on the stage was also the impetus behind the Strength and Grace season to celebrate 125 years of women’s suffrage in New Zealand. The company invited four internationally acclaimed choreographers to mark this historic occasion by bringing their unique perspectives to the Royal New Zealand Ballet. The sold out performances at Wellington’s Opera House reaffirmed our commitment to commissioning works which resonate with New Zealand audiences and celebrate our own stories.
Dancing with Mozart brought works by two of the greatest choreographers of the 20th and 21st centuries to New Zealand stages, together with a landmark commission from New Zealander Corey Baker. Corey Baker’s work The Last Dance was the first ballet ever created in the frozen wilderness of Antarctica, and was performed alongside works by legendary Czech choreographer Jiří Kylián and the great Russian-American choreographer George Balanchine, founder of New York City Ballet.
The year finished with the Ryman Healthcare Season of The Nutcracker. This sell-out national tour offered festive enchantment for all ages in a new production, with choreography to Tchaikovsky’s magical score by Val Caniparoli. The production also involved 362 children dancing alongside the artists of the company on stages across the nation, breaking box office records.
REACHING NEW ZEALANDERSA total of 69,650 tickets were issued to performances by the Royal New Zealand Ballet in 2018. Whilst ticket sales in in the metropolitan markets of Auckland, Wellington and Christchurch account for 72% of all ticket sales, the Royal New Zealand Ballet remains committed to touring extensively to regional theatres.
In 2018 the Royal New Zealand Ballet performed in 16 centres from Kerikeri to Gore, with the confirmation of the highly popular Tutus on Tour as an annual season.
A record number of 31,778 participants took part in the Royal New Zealand Ballet’s Education and Community programmes, which reached 39 cities and towns. A comprehensive range of activities continue to be offered for dancers and schools, as well as participation in free or low cost events available to the wider community.
Special mention needs to be made of the work undertaken by the Education team who presented workshops at the Arohata Women’s Prison and
RNZB Annual Report 20182
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coordinated audio-described performances and sign interpreted tours, as well as our second relaxed and sensory performance for young people on the autistic spectrum.
Finally, our digital footprint continued to grow, connecting the Royal New Zealand Ballet with participants, audiences and communities both domestically and internationally. In 2018 we had over 872,000 video views, representing a 12% increase on the previous year.
FINANCIAL PERFORMANCEThe Royal New Zealand Ballet performed well at the box office in 2018, contributing to a surplus of $302,000 (2017: $496,000 loss). Box office revenue is volatile and varies from year to year. It is heartening to note that the surplus achieved in 2018 restores the company’s reserves to a prudent level.
The ability of the production team to contract services to WOW: The World of Wearable Arts, the New Zealand Festival and Tulsa Ballet (Oklahoma, USA) enables us to optimise this valuable theatre-making resource and generate additional revenue. We are grateful for the opportunity to work on these external projects.
We simply couldn’t operate without the support of the Ministry for Culture and Heritage, major funders, charitable trusts and foundations, sponsors and individual donors. Government support accounted for 42% of total turnover, with other non-box office revenue accounting for 30%.
The on-going support from non-box office revenue sources is vital to our sustainability and ability to deliver high quality ballet experiences nationwide.
THE FUTURE OF THE ST JAMES THEATREThe theatres we perform in around the country are the connection between the Royal New Zealand Ballet and our audiences. The St James Theatre, Wellington is particularly special as it is also a much
Madeleine Graham and Massimo Margaria in Sechs Tänze from Dancing with MozartPHOTO: STEPHEN A’COURT
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loved home where our dance studios, costume department and administration are located.
With seismic strengthening required at the St James Theatre we will be relocating to temporary premises in 2019 while essential strengthening work is undertaken. During this time the Royal New Zealand Ballet will continue to perform at the Opera House.
The Royal New Zealand Ballet is extremely grateful for the support of Wellington City Council in providing us with temporary premises.
The St James Theatre is a flagship cultural asset for Wellington. We are committed to working with Wellington City Council and other stakeholders to return the St James Theatre to its full glory when it reopens at the end of 2021.
WE ARE A PEOPLE BUSINESSThe performances that the public sees onstage are the culmination of the efforts of many people; from the talented dancers themselves, to the outstanding creative teams and choreographers that make the work, and the dedicated professionals behind the scenes.
Many people have a stake in the success of the Royal New Zealand Ballet including our audiences, our supporters, past members of the company, theatres and orchestras. We are a people business first and foremost.
During 2018 the Royal New Zealand Ballet commissioned two reports which go to the heart of the Royal New Zealand Ballet’s commitment to people – both those who work at the company and those who are engaged with it externally.
The first of these was an independent review of our complaints policies and procedures. We are pleased to report that all the recommendations made in this report have been implemented, and that the Royal New Zealand Ballet has a robust framework for managing any complaints going forward.
Mayu Tanigaito in Divertimento No. 15 from Dancing with MozartPHOTO: STEPHEN A’COURT
RNZB Annual Report 20184
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The first-ever Stakeholder Engagement Report, which involved people around the country, demonstrated the importance of the Royal New Zealand Ballet to the communities we serve. The report gave a strong mandate for the company to seek ways of funding more regional and international tours, as well as live music. The report also recommended that the Royal New Zealand Ballet be more articulate about what sets us apart as New Zealand’s national ballet company and that we needed to connect more strongly with our alumni.
It was heartening to see so many of our past dancers, staff and board members at the 65th birthday celebrations and we look forward to strengthening the relationship with our alumni in future years.
The company remains committed to facilitating and supporting professional development opportunities for dancers and staff. During the year, amongst other initiatives, we supported dancer and Choreographer in Residence Loughlan Prior’s overseas work in USA and Germany and Ballet Master Clytie Campbell to work at the Queensland Ballet on La Bayadère.
We would like to take this opportunity to acknowledge Sir Jon Trimmer KNZM, MBE who retired from the Royal New Zealand Ballet after a stellar career spanning more than 60 years. Loved by generations of audiences and dancers alike he has been a pillar of the Royal New Zealand Ballet for almost as long as the company has been in existence. We wish Jon (and Jacqui) every happiness in retirement.
In 2018 we farewelled three Trustees: Candis Craven, who also served as Chair from 2012 to 2016, Ros Burdon and John Ryan. All have provided decades-long service to the arts in New Zealand and we gratefully appreciate their contributions to, and support of, the Royal New Zealand Ballet.
Frances Turner returned to Auckland in September 2018 after two and a half years as our Executive Director. Frances bought fresh perspectives to the company and championed new initiatives. We were extraordinarily fortunate that Celia Walmsley
stepped in as Interim Executive Director to bridge the time before Lester McGrath joined us in January 2019.
2018 brought three sad farewells for the RNZB whanau. In July we were devastated by the death, after a sudden illness, of long-serving Office Administrator Nigel Boyes. From the reception desk on level 3 of the St James Theatre, Nigel kept the wheels of the Wellington office turning. Over the years he welcomed thousands of visitors to the Royal New Zealand Ballet, and conducted many behind the scenes tours with warmth, generosity and great pride in sharing the company’s work with diverse communities. He collaborated with the Friends of the Royal New Zealand Ballet to develop fundraising merchandise and undertook invaluable work on the company's archives, especially in the lead up to the company’s 60th anniversary in 2013.
July too saw the sad loss of Sue Paterson ONZM, General Manager of the RNZB from 1999 to 2006 and an inspiration and leading light in the New Zealand arts sector for four decades. Sue’s work at the Royal New Zealand Ballet built on and fully respected the foundations of the past, but always focused on building and sustaining a ballet company that would serve New Zealand in the 21st century. We are profoundly grateful to have had Sue as part of the Royal New Zealand Ballet whanau. She is deeply missed and affectionately remembered by everyone who worked with her. We were honoured to dedicate Strength and Grace, qualities which Sue embodied, to her memory.
Lastly, in September, we mourned the loss of June Kerr, née Greenhalgh. A dancer with the New Zealand Ballet during the 1960s, June, together with husband Russell, Director of the company from 1962 to 68, was a much-loved member of the Royal New Zealand Ballet family. June played an important role in the growth of professional ballet in New Zealand. Her performances, especially in the works created by Russell for the company, are remembered with admiration and affection.
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THE YEAR AHEAD2019 is shaping up to be an exciting year of change and development for the Royal New Zealand Ballet, with a focus on creating and presenting outstanding ballet for all.
Later in 2019 we will renew and revitalise our Vision and Strategy to take the Royal New Zealand Ballet forward over the next five years. The Stakeholder Engagement Report insights will help shape our thinking.
So we can clearly articulate the value the organisation delivers to New Zealand and New Zealanders we will be transitioning to an ‘outcomes’ based model to measure the impact of our work.
Commissioning of repertoire which speaks to our identity will remain central to our purpose and we will be investigating ways in which we can deepen our engagement with the regions and communities we serve.
To coincide with the relocation out of the St James Theatre we will be investing in a technology upgrade, which will future-proof the organisation as we adapt to an increasingly digital world.
We plan to build on our programme for young dancers at the start of their careers so that there are clearly identified pathways for talent to develop and flourish.
As always our commitment to audiences and participants in our programmes is paramount. In 2019 we will be looking at how we can improve on the customer experience, not only at the venues we perform in, but in terms of all our interactions with people interested in the work of the company.
AND FINALLY…Thank you to everyone who has been part of the Royal New Zealand Ballet in 2018. It has been a year of consolidation and change, providing the foundations on which the company can move forward with confidence.
It is an honour and a privilege to serve the nation as your national ballet company. It also comes with a responsibility to stay engaged with stakeholders, the dance community and audiences. It is a responsibility we take seriously and we look forward to working with our partners to deliver outstanding performances in the years ahead.
STEVEN FYFE CHAIR, BOARD OF TRUSTEES
PATRICIA BARKERARTISTIC DIRECTOR
LESTER MCGRATH EXECUTIVE DIRECTOR
RNZB Annual Report 20186
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W E S A L U T E SIR JON TRIMMER
Sir Jon Trimmer KNZM, MBE has been the mainstay of the Royal New Zealand Ballet for more than 60 years. Jon started dancing at his sister’s ballet school in Wellington at the age of 12. He spent a year with the then New Zealand Ballet, before studying at the Royal Ballet School in 1959, which was followed by two years with Sadler’s Wells. He danced with both The Australian Ballet and the Royal Danish Ballet. He has performed with Dame Margot Fonteyn, Rudolf Nureyev, Erik Bruhn and many of the world’s top dancers. Career highlights include being nominated for the best actor award in the Fireraiser television series (1986) and dancing the title role in Petrouchka, and the role of Albrecht in Giselle.
The last 20 years have seen Jon performing mainly character roles with the Royal New Zealand Ballet, alongside dramatic roles in television and stage plays. In 2004 and 2015 he toured New Zealand with Helen Moulder in the play Meeting Karpovsky. Jon was awarded Television Performer of the Year in 1971, received an MBE in 1974, a Fulbright Scholarship in 1981, and in 1986 was the third recipient of the Turnovsky Award. He received a knighthood in 1999 for services to ballet. To celebrate Jon’s 50th anniversary with the Royal New Zealand Ballet in 2008 he took to the stage as ‘The Don’ in Don Quixote. In 2009 he reprised his role as Hook in Peter Pan, much to the delight of audiences and critics.
In 2010 Jon performed as Matron in The Nutcracker with the Dominion Post calling him a ‘rib-tickling show-stopper’. The New Zealand Herald said his Matron was ‘a masterly portrait that balances the two arts of over-exaggeration and supreme control.’ Recently Jon has featured as Dr Coppélius in Coppélia (2014), the Duke in Ethan Stiefel and Johan Kobborg’s Giselle (2012, 2016), Uncle Henry in The Wizard of Oz (2016) and Friar Laurence in Francesco Ventriglia’s Romeo and Juliet (2017). His final performances with the Royal New Zealand Ballet were, fittingly, out on the road in Tutus on Tour, in Loughlan Prior’s The Long and the Short of It, a work inspired by his long career in dance.
Sir Jon Trimmer has inspired generations of dancers, pioneering the way for male dancers in New Zealand particularly. He has instilled a love of ballet in audiences for generations. His contribution to the Royal New Zealand Ballet is profound and will long be remembered.
Sir Jon Trimmer as Hook in Peter Pan, with Paul Mathews as a Pirate, 2009PHOTO: MAARTEN HOLL
Sir Jon TrimmerPHOTO: STEPHEN A’COURT
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39COMPANY DANCERS
190STAFF AND CREW
77PERFORMANCES
24WEEKS ON ROAD
15GUEST CREATIVES
16CITIES VISITED
298HOURS OF COMPANY CLASS
1,041HOURS OF REHEARSAL
120NIGHTS ON TOUR
2,295POINTE SHOES
14,492INSTAGRAM FOLLOWERS
1,530BALLET SLIPPERS
18,128PEOPLE ATTENDED
FREE EVENTS
28PERFORMANCES WITH LIVE
MUSIC ACCOMPANIMENT
37,138FACEBOOK FOLLOWERS
19VENUES HIRED
10WORKS WITH NZ
ARTISTIC CONTENT
310WORKSHOPS DELIVERED TO
NEW ZEALAND SCHOOLS
39CITIES AND TOWNS REACHED
BY RNZB EDUCATION
73,647AUDIENCE MEMBERS
OVER
450COSTUMES
OVER
1,000METRES OF FABRIC
31,778PARTICIPANTS IN
EDUCATION EVENTS
264,817E-NEWSLETTERS SENT OUT TO SUBSCRIBERS
1,060FRIENDS OF THE RNZB
PERSONAL SUPPORTERS, SPONSORS AND FUNDING BODIES
10LOCAL STAGE CREW
PER VENUE
5,700METRES OF DANCE
FLOOR TAPE
9NEW ZEALAND SCHOOL OF DANCE AND TOI WHAKAARI
STUDENT SECONDMENT AND WORK EXPERIENCE
OPPORTUNITIES
2 0 1 8 — AT A G L A N C E
RNZB Annual Report 20188
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39COMPANY DANCERS
190STAFF AND CREW
77PERFORMANCES
24WEEKS ON ROAD
15GUEST CREATIVES
16CITIES VISITED
298HOURS OF COMPANY CLASS
1,041HOURS OF REHEARSAL
120NIGHTS ON TOUR
2,295POINTE SHOES
14,492INSTAGRAM FOLLOWERS
1,530BALLET SLIPPERS
18,128PEOPLE ATTENDED
FREE EVENTS
28PERFORMANCES WITH LIVE
MUSIC ACCOMPANIMENT
37,138FACEBOOK FOLLOWERS
19VENUES HIRED
10WORKS WITH NZ
ARTISTIC CONTENT
310WORKSHOPS DELIVERED TO
NEW ZEALAND SCHOOLS
39CITIES AND TOWNS REACHED
BY RNZB EDUCATION
73,647AUDIENCE MEMBERS
OVER
450COSTUMES
OVER
1,000METRES OF FABRIC
31,778PARTICIPANTS IN
EDUCATION EVENTS
264,817E-NEWSLETTERS SENT OUT TO SUBSCRIBERS
1,060FRIENDS OF THE RNZB
PERSONAL SUPPORTERS, SPONSORS AND FUNDING BODIES
10LOCAL STAGE CREW
PER VENUE
5,700METRES OF DANCE
FLOOR TAPE
9NEW ZEALAND SCHOOL OF DANCE AND TOI WHAKAARI
STUDENT SECONDMENT AND WORK EXPERIENCE
OPPORTUNITIES
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REPERTOIRE & E N G A G E M E N T
THE PIANO: THE BALLET 23 FEBRUARY – 28 MARCH 2018Centres: Auckland, Christchurch, Dunedin, Napier, Palmerston North, WellingtonFestivals: New Zealand Festival, Auckland FestivalNumber of Performances: 15Children Performing: 44Audience Numbers: 17,024
Inspired by the film The Piano, with permission kindly granted by Jane Campion, Jan Chapman and Saddleback Productions
Choreography and Staging: Jiří Bubeníček Set and Video Design, Music Arrangement, Composition and Staging: Otto Bubeníček Rehearsal Assistant: Arsen Mehrabyan Māori Advisor: Moss Patterson Costume Design: Elsa Pavanel Lighting Design: Jeremy Fern
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E FROM THE ARTISTIC DIRECTOREven though fictional, Jiří tells a story of a time long passed but not forgotten, a time of hardship and of discovery, of pain then love. But most of all, of courage to wake each morning to face and overcome the challenges in front of us. A big thank you to Jiří, Otto, Moss Patterson and Arsen Mehrabyan for guiding each and every one of us throughout our journey; they gave deeper meaning and understanding to our story.
Discovering how to tell this story onstage, within the conventions of classical ballet and with a company embracing diverse nationalities and backgrounds, was challenging, stimulating and rewarding. What you saw on stage was a result of many conversations and a multitude of different points of view, bound together by the common purpose of making a dance work that is emotionally true. Throughout the creative process, we were committed to telling this powerful story with honesty, and using dance, and the talents of our artists within a theatrical setting, to give a new resonance to Jane Campion’s characters.
THE HEART DANCESThe Royal New Zealand Ballet was delighted to collaborate with film director and producer Rebecca Tansley to create The Heart Dances, a documentary which followed the making of The Piano: The Ballet. This behind the scenes look at the process whereby a theatrical European interpretation of a New Zealand classic re-enters the culture that inspired it, premiered at the 2018 New Zealand International Film Festival and will go on general release in 2019.
RNZB Annual Report 201810
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DANCING WITH MOZART 31 MAY – 8 JULY 2018Centres: Auckland, Blenheim, Christchurch, Dunedin, Invercargill, Napier, Palmerston North, WellingtonNumber of Performances: 17Audience Numbers: 13,355
Four Ballets, Three Choreographers, One Composer
DIVERTIMENTO NO. 15 Choreographer: George Balanchine © The George Balanchine TrustStaged by: Francia RussellMusic: Wolfgang Amadeus Mozart, Divertimento No. 15 in B flat major, K287Costume Design: Barbara KarinskaCostumes: Courtesy of Pacific Northwest Ballet
THE LAST DANCEChoreographer: Corey BakerMusic: Duncan Grimley, after Wolfgang Amadeus Mozart, Requiem in D minor K626
PETITE MORTDance Production/Choreographer: Jiří Kylián Assistant to Choreographer: Stefan ŻeromskiMusic: Wolfgang Amadeus Mozart, Piano Concerto in A major K488, Adagio, and Piano Concerto in C major K467, AndanteSet Design: Jiří KyliánCostume Design: Joke VisserOriginal Lighting Design: Jiří Kylián (concept), Joop Caboort (realization)Technical Realisation: Joost BiegelaarCostumes and Properties: Courtesy of The Australian Ballet
SECHS TÄNZEDance Production/Choreographer: Jiří Kylián Assistant to Choreographer: Stefan ŻeromskiMusic: Wolfgang Amadeus Mozart, Sechs Deutsche Tänze, K571Set and Costume Design Jiří KyliánOriginal Lighting Design Jiří Kylián (concept), Joop Caboort (realisation)Technical Realisation: Joost BiegelaarCostumes and Properties Courtesy of The Australian Ballet
Lighting design and supervision for all Four Works: Michael Mazzola Conductors: Marc Taddei (Wellington), Hamish McKeich (Christchurch, Auckland)
FROM THE ARTISTIC DIRECTORWolfgang Amadeus Mozart’s music was the inspiration and what drove this repertoire of works from great masters, to contemporary re-mixing. ‘Music, even in situations of the greatest horror, should never be painful to the ear but should flatter and charm it, and thereby always remain music.’
George Balanchine’s Divertimento No. 15 is a marriage of movement to music; ‘you will see the music and hear the steps’. Each step is in unison with each musical note, fitting together as one. The ballet is like a brilliant diamond that shimmers in the sunlight full of grandeur and classical verve.
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Corey Baker’s new work The Last Dance, took us on an epic journey through the frozen lands of Antarctica and the evolution of the last frontier. His work depicted the continued destruction by man of one of the purest places on earth.
Jiří Kylián’s Petite Mort took us on an emotional journey of beauty as only the architecture of the human form can create. His Sechs Tänze showed us the humour and intelligence of Mozart himself.
My heart felt thank you to Francia Russell, who travelled to New Zealand, along with her husband Kent Stowell for the staging of Divertimento No. 15. Francia’s presence in the studio, working with the dancers daily and bringing her 60-plus years of knowledge and expertise in Balanchine’s works and style to our dancers was a wonderful gift to us all.
It was another first and with great delight that we welcomed New Zealand-born Corey Baker to our stage. His desire for a better world and greater awareness by mankind propelled and shaped his ideas and concepts for this work. His own epic journey to Antarctica in early 2018, with one of our dancers, Madeleine Graham, explored the vastness of civilization and the ongoing climate change we now face. By using the medium of dance we gained further awareness that each of our actions has an impact to the future wellbeing of this planet.
I was honoured to have Stefan Żeromski with us from the Jiří Kylián Trust staging both Petite Mort and Sechs Tänze. A former company dancer with the Nederlands Dans Theater, he worked closely with Kylián on many of his iconic works, performing them throughout the world before becoming a stager. It was a true pleasure to watch the great care he takes in the studio with our dancers explaining the motivation behind the movement quality and the delicate balance of energy, drive and passion that is needed for Kylián’s works.
Joseph Skelton and Mayu Tanigaito in The Last Dance from Dancing with MozartPHOTO: STEPHEN A’COURT
RNZB Annual Report 201812
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STRENGTH AND GRACE 17 – 18 AUGUST 2018Centres: WellingtonNumber of Performances: 2Audience Numbers: 1,962
SO TO SPEAKChoreography: Penny SaundersMusic: Elisabeth Jacquet de la Guerre, Hildur Guđnadóttir, Dustin O’Halloran, Armand Amar
DESPITE THE LOSS OF SMALL DETAILChoreography: Sarah Foster-SproullMusic: Eden Mulholland
REMEMBER, MAMAChoreography: Danielle RoweMusic: Alton San Giovanni, Wolfgang Amadeus Mozart, Johann Sebastian Bach, Cliff Adams
STAND TO REASONChoreography: Andrea SchermolyMusic: Johann Paul Von Westhoff, Marin Marais, Ludwig Van Beethoven
Lighting design for all four works: Andrew LeesCostumes: the Royal New Zealand Ballet Costume DepartmentHead 0f Costume: Donna JefferisCostume/Workroom Manager: Esther Lofley
FROM THE ARTISTIC DIRECTOR With Strength and Grace we celebrated 125 years of women’s suffrage in New Zealand. The right to vote gave women a voice in shaping the future for ourselves, our children, and our children’s children. The four choreographers' works were chosen, not only because they are women but because of their grace, strength and resilience. When I asked each of them to be a part of this project we discussed what changes took place in their countries, and we discussed the future and what it should look like. We reflected on the past with great joy and sometimes devastating grief, but always with hope. We are women, we are mothers, sisters and friends and together we shape our future and as individuals, we can change the world.
It was with great pleasure that we presented Strength & Grace, not only for what it stands for but for the beauty that has been inspired by all that have come before.
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THE RYMAN HEALTHCARE SEASON OF THE NUTCRACKER 31 OCTOBER – 15 DECEMBERCentres: Auckland, Blenheim, Christchurch, Dunedin, Invercargill, Napier, Palmerston North, Takapuna, WellingtonNumber of Performances: 26Audience Numbers: 33,918School Audience Numbers: 3,997
Choreography: Val CaniparoliMusic: Pyotr Ilyich TchaikovskySet Design: Michael AuerCostume Design: Patricia BarkerLighting Design: Jon BuswellConductor: Hamish McKeichOrchestras: New Zealand Symphony Orchestra, Dunedin Symphony Orchestra, Christchurch Symphony Orchestra, Auckland Philharmonia Orchestra
FROM THE ARTISTIC DIRECTORThe crowning moment in any holiday is sharing good cheer with those we love, and the Stahlbaum family do just that. A grand party full of children and adults along with the dreams of a handsome Nutcracker Prince.
The Nutcracker is an enchanting story of a young girl, Marie, and her coming of age. True love and the fight to keep what is special in life. But most of all it is about family, friends, the holiday spirit and traditions.
We were delighted to host our choreographer Val Caniparoli who brought the magic of this holiday ballet to life. The production and costume teams took on the challenges of the production with aplomb. With over 300 children joining our dancers onstage, we could not have been happier to share the spirit of Christmas with audiences across the nation.
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TUTUS ON TOUR IN ASSOCIATION WITH RYMAN HEALTHCARECentres: Gore, Tauranga, Oamaru, Hamilton, Taupo, Whanganui, KerikeriNumber of Performances: 7Audience Numbers: 3,271
PAS DE DIX FROM RAYMONDAChoreography: after Marius PetipaMusic: Alexander GlazunovStaging: Laura McQueen Schultz
‘MEET THE SWAN’ FROM BLACK SWAN, WHITE SWANChoreography: Mário RadačovskýMusic: Piotr Ilyich TchaikovskyStaging: Nicholas Schultz and Laura McQueen Schultz
THE LONG AND THE SHORT OF ITChoreography: Loughlan Prior
Music: Mikhail Glinka, Ottorino Respighi, Marco Enrico Bossi, Sergei Rachmaninov, Alexander Borodin
NELSON ARTS FESTIVAL13 October 2018 Number of performances: 2 Audience Numbers: 680
A specially curated programme of works, including classical and contemporary favourites performed by artists of the Royal New Zealand Ballet.
Solo from Stand to Reason, The Long and the Short of It, Snow pas de deux from The Nutcracker, Grand pas de deux from The Nutcracker, Excerpts from Black Swan, White Swan.
A selection of works by legendary choreographers, treasured by dance companies the world over, and a whimsical new work by RNZB Choreographer in Residence Loughlan Prior.
FROM THE ARTISTIC DIRECTORTutus on Tour brings family-friendly performances to heartland New Zealand and we were delighted with the response we received from audiences. Our commitment to regional touring is strong; Tutus on Tour introduces classical favourites and contemporary works, tailor-made for intimate venues, to audiences of all ages.
Working in partnership with our Education and Community programme Tutus on Tour also gives local schools in some centres the chance to get up close to the Royal New Zealand Ballet with Ballet in a Box: observing the dancers’ daily warm up, watching them perform brief works, and then exploring their world via a Q&A session.
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"Devoted fans of the movie will enjoy the fresh yet true adaptation of the heart-breaking story. Watching the film beforehand is not necessary as the ballet successfully brings the story to life for a modern audience to appreciate …This original ballet is not to be missed."
SUMMER ACKROYD — DANZ
"All aspects of the production, choreography, performance, music, set, video projections and costume design are in sync, making for an extraordinarily compelling evening at the theatre…This fine production should not be missed."
ANN HUNT — DOMINION POST
"Three genius choreographers throw out a challenge to the dancers of the Royal New Zealand Ballet – and they rise to meet it with grace, vigour and artistry. This season bodes well as Artistic Director, Patricia Barker, places her curatorial and artistic stamp on the company."
LYNE PRINGLE — STUFF.CO.NZ
"The Royal New Zealand Ballet are on the top of their top form as they confidently and exquisitely dance their way through Balanchine, Kylián and Baker’s very different choreographic interpretations of Mozart."
TANIA KOPYTKO — THEATREVIEW PALMERSTON NORTH
THE PIANO: THE BALLET DANCING WITH MOZART
CR I T ICAL A C C L A I M
RNZB Annual Report 201816
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"All four works obviously resonate hugely for the women of this Company, and they seize the moment! Bravo!"
ANN HUNT — DOMINION POST
"What a pleasure to experience this whirling extravaganza, where the women of the RNZB are celebrated in all their noble, elegant, dexterous glory, through the vision of a talented and erudite cabal of choreographers…It is a poignant gift in the form of an exquisitely curated, clever, gutsy, programme.”
LYNE PRINGLE — DANZ
“Spellbinding visuals, technical excellence on the part of the dancers, and a flawless live performance by the New Zealand Symphony Orchestra combined to offer a treat for all ages…Hordes of children in sparkles and finery sat as enthralled as the adults accompanying them, demonstrating the ageless appeal of this all-time favourite.”
SADIE BECKMAN — NZ HERALD
“Marie, danced assuredly by a wide-eyed Katherine Minor, and her handsome Prince, Fabio Lo Giudice, swirl in a lovely pas de deux of lifts and leaps as we wonder how they could possibly dance in such white-out conditions…Act 2 needs to be full of delicious virtuosity and dancing that brings memories to mind and gasps of amazement. The Russian Trio (Massimo Margaria, Joseph Skelton and Laurynas Vėjalis) totally pull this off.”
DEIRDRE TARRANT — THEATREVIEW
“Act One of the Royal New Zealand Ballet’s production is truly magical…New Zealand audiences are overdue for this festive delight…For children in the audience, Act One would be absolutely enchanting and it’s lovely to appreciate the transformative power of the theatre by imagining it through their eyes.”
BRIGITTE KNIGHT — THEATRESCENES
STRENGTH AND GRACE THE NUTCRACKER
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EDUCATION, COMMUNITY & A C C E S S
INCREASED REACH8.3%
PARTICIPANTS31,778 39 CITIES AND TOWNS
ACROSS NEW ZEALAND
130 ACTIVITIES
4,914 PARTICIPANTS
THE PIANO: THE BALLET
39 ACTIVITIES
562 PARTICIPANTS
STRENGTH & GRACE
171 ACTIVITIES
11,353 PARTICIPANTS
DANCING WITH MOZART
193 ACTIVITIES
14,696 PARTICIPANTS
THE NUTCRACKER
17 ACTIVITIES
253 PARTICIPANTS
RNZB STUDIO TOURS
FOR DANCERS• Dance teachers professional development
sessions• Class on Stage• Open classes• Ballet for Boys• National Mentor Programme• Discounted tickets for dance studios
FOR SCHOOLS• School matinee performances• Ballet in a Box events• Discounted school group bookings scheme• Dance workshops• A Day @ Auckland Live• Classroom resources• NCEA Resources
FOR COMMUNITY• The Nutcracker Family Day at Te Papa• Pick & Mix free performances at Auckland Live• Pre-performance talks• Warm up, Curtain up!• Post-matinee Q&A• Backstage tours• RNZB studio and wardrobe tours• Library storytelling sessions• School holiday performances at Te Papa ACCESS FOR ALL• Ballet in prisons - Arohata Women’s Prison project• Audio-described performances• Sign interpreted tours• Relaxed and sensory friendly performance • Touch tours
RNZB Annual Report 201818
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THE NUTCRACKER – TICKET AND TRANSPORT SUBSIDIES FOR LOW DECILE SCHOOLS"Recently 53 students and teachers from our school had the opportunity to attend the Royal New Zealand Ballet’s school matinee performance of The Nutcracker at the Opera House, Wellington.
We are a decile 3 school and without this generous offer of low ticket price and subsidised transport we would not be able to attend.
Attending the performance gave our students an experience they would never have otherwise had. The performance was perfect in terms of timing, content etc. and it catered for a wide range of age levels.
These performances introduce the children to the art of ballet. Our students do not have the benefit of enjoying extra-curricular activities if a cost is involved. Our families do not have the means to support such activities.
We would be very happy to attend future school matinees if this scheme continues.
Many thanks for the opportunity to enjoy this performance. Thank you to the sponsors and organisers for making this possible."
DOREEN O’SULLIVAN — PRINCIPAL, ST ANNE’S SCHOOL, WELLINGTON
THE NUTCRACKER – TOUCH TOURS AND AUDIO DESCRIBED PERFORMANCES"I just want to thank Royal New Zealand Ballet for an unforgettable afternoon. I never thought I would ever be able to truly enjoy ballet again but the audio description made it possible. I’m looking forward to future performances."
LYNDELL JOHNS
RELAXED PERFORMANCE AT THE VODAFONE EVENTS CENTRE, MANUKAU"My students have multiple difficulties and there are issues with the families being able to take them out such as transport issues, financial issues and differing interests. My students are often not readily accepted in community events due to the public not being exposed to people with special needs e.g. noise and screams. There are studies linking music and movement to brain development and some of my students respond to the type of music used. The lighting is good for those with visual impairments such as the light and dark contrast. I am grateful for the fact that all people can attend this ballet and just be themselves without any prejudice because they are different."
NAOMI PIKE — TEACHER, ROSEHILL SCHOOL
Relaxed Performance at the Vodafone Events Centre – RNZB dancer Mayu Tanigaito with students, July 2018.PHOTO: FRANK SIN
19
O U R DIGITAL YEAR
sent to subscribers264,817 E - N E W S L E T T E R
followers37,138 FA C E B O O K
followers14,400
I N S TA G R A M
followers7,927
T W I T T E R
Click on the icons below to connect.
minutes active engagement391,400
V I D E O
Val Caniparoli in rehearsal for The NutcrackerPHOTO: STEPHEN A’COURT
RNZB Annual Report 201820
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MOST POPULAR VIDEOS IN 2018
World Ballet Day 2018257,000 views
WORLD BALLET DAY Advertisement (from The Australian Ballet)111,000 views
Petite Mort with Stefan Zeromski 53,898 views
Television commercial for The Piano: the ballet25,000 views
Dancing with Mozart wardrobe 21,441 views
Jiří Kylián: Petite Mort 21,370 views
Francia Russell: Divertimento No. 15 20,583 views
Andrea Schermoly: Strength and Grace19,000 views
Danielle Rowe: Strength and Grace18,000 views
Dress rehearsal footage from The Piano: the ballet14,000 views
RNZB dancers at Te Papa / Toi Art 13,000 views
SARAH FOSTER SPROULL: Strength and Grace13,000 views
The Nutcracker by Val Caniparoli 13,000 views
The Nutcracker by Val Caniparoli – television commercial13,000 views
Interview with Val Caniparoli 12,000 views
Dancer Biography: Sara Garbowski 11,000 views
Storybook: The Nutcracker by Val Caniparoli11,000 views
Olivia Moore: RNZB dancer profile 10,577 views
Dancer biography: Loughlan Prior 9,300 views
The Piano: the ballet with Abigail Boyle 8,000 views
NZSD at the RNZB 7,597 views
21
PARTNERSHIPS & P H I L A N T H R O P Y
We have an extraordinary family of supporters and are truly proud to be associated with them all. In addition to the acknowledgements on pages 24 and 25, we would like to make special mention of some of our valued partners.
2018 marked the sixth year of our partnership with Telecommunications Partner Vodafone, and our fourth year of working with Ryman Healthcare. We were delighted to deepen our relationship with Ryman Healthcare with the sponsorship of Tutus on Tour, as well as The Ryman Healthcare Season of The Nutcracker. As always, it was a delight to connect with Ryman Healthcare residents and staff around New Zealand, in theatres and in Ryman Healthcare villages.
At the end of the year, it was our pleasure to acknowledge the decades of generous investment by Golden Edge Nelson Pine Industries, led by Murray and Jocelyn Sturgeon. Nelson Pine are one of New Zealand’s most devoted sponsors of the arts and we are honoured to have their support.
Exceptional support from Pub Charity Limited supported our national touring operations and also investment in technical resources for our production department. Wellington City Council continued to be a valued partner as we moved Wellington performances from our home at the St James to the Opera House and planned for our 2019 move to temporary premises.
RNZB Education’s new accessibility initiatives for audiences of all ages were made possible through the generosity of a number of far-sighted funders, including the Four Winds Foundation, the Ballet Foundation and Perpetual Guardian, who supported our schools’ matinee programme, and the Trillian Trust, which supported the expansion of our audio description programme for the visually impaired.
Personal supporters made a significant contribution to our work, including through the Partner a Dancer programme and donations in support of The Nutcracker. Members of the Dress Circle and the Friends of the RNZB were at the heart of all our personal support programmes. In 2018, the Friends of the RNZB made the decision to cease operations as a separate incorporated society, with memberships now managed through the Royal New Zealand Ballet. We would like to thank National President Christine Connor and the National Committee, together with all the branch presidents and committees around the country, who have contributed so much over the years, and continue to be an important part of the Royal New Zealand Ballet family as generous supporters and committed volunteers.
WE WOULD LIKE TO ACKNOWLEDGE THE FOLLOWING GRANTS• Pub Charity Limited - $350,000 - National
Touring Partner - supporting our national tours• Foundation North - $150,000 supporting
programmes in Auckland and Northland • Wellington City Council - $198,000 supporting
programmes in the Wellington region• Lion Foundation - $100,000 supporting the
education and community programme nationwide • Four Winds Foundation - $70,000 supporting
education and community programmes, including the low decile schools’ bus subsidy for schools’ performances in Wellington and Auckland
• NZCT - $60,000 supporting programmes around New Zealand
• Rata Foundation - $40,000 supporting programmes in Canterbury and Blenheim
• Chisholm Whitney Charitable Trust - $30,000 towards the production of the set and costumes for the new production of The Nutcracker
• Southern Trust - $25,000 supporting work
RNZB Annual Report 201822
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around New Zealand• Trillian Trust - $24,257 towards programmes
for the blind and visually impaired in Auckland, Wellington, Christchurch and Dunedin
• Otago Community Trust - $15,000 supporting programmes in Otago
• Community Trust of Southland - $15,000 supporting programmes in Southland
• Wellington Community Trust - $12,000 supporting dance workshops in Wellington women’s and men’s prisons
• Auckland Council’s Regional Arts and Culture Grants - $5,000 towards education programmes in Auckland
• Perpetual Guardian/ New Zealand Charitable Foundation - $5,000 towards low decile schools’ bus subsidy for schools’ performance in Christchurch
• Perpetual Guardian/ Farina Thompson Charitable Trust - $5,000 towards our programmes in Canterbury
• Pelorus Trust - $4,352 - coach transport for Dancing with Mozart tour
• Les and Sonia Andrews Cultural Foundation - $5,000 towards education programmes
• Australian High Commission - $2,128 towards Danielle Rowe’s new work for Strength & Grace
Touch Tour and audio described performance of The Nutcracker.PHOTO: STEPHEN A’COURT
A group of students from Bulls School enjoying a dance workshop with RNZB dance educator Lucy Marinkovich.PHOTO: DAVID UNWIN
23
O U R EXTENDED FAMILY
S U P P O R T E D B Y M A J O R M E D I A P A R T N E R N A T I O N A L T O U R I N G P A R T N E R
W E L L I N G T O N P A R T N E RK E Y C O M M U N I T Y P A R T N E R T E L E C O M M U N I C A T I O N S P A R T N E R
S E A S O N S P O N S O R P E R S O N A L S U P P O R T E R S
M A J O R S U P P O R T E R S
rnzb.org.nz/getinvolved
To discuss how your organisation could benefit from a strategic partnership with the Royal New Zealand Ballet, please contact Diane Field, Corporate Development Manager, [email protected] or on 09 379 4004.
24 RNZB Annual Report 2018
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S U P P O R T F R O M T R U S T S A N D F O U N D A T I O N S
S P O N S O R S
P A R T N E R A D A N C E R
The Royal New Zealand Ballet is pleased and proud to acknowledge the generous support of the following individuals and organisations through the Partner a Dancer programme: Agincourt Family Trust, Antipodes Water Company, Mark and Louise Binns, Isaac Hikaka and Jessica Miles, Catherine and Steven Fyfe, Friends of the Royal New Zealand Ballet, Gibson Sheat, Golden Edge Nelson Pine Industries, Les Mills, Rob and Michele MacDonald, Nautilus Estate of Marlborough, PW Dance & Sportswear, The Pye Foundation, Ryman Healthcare, Todd Corporation, The Dress Circle, The Wallace Foundation.
Les and Sonia Andrews Cultural
Foundation
25
O U R PEOPLE
BOARD OF TRUSTEESLisa Bates MNZMToby BehanLilias BellRos Burdon CNZMCandis Craven CNZMSteven Fyfe (Chair)Isaac Hikaka (Deputy Chair)Trish OakleyJohn RyanLiora Bercovitch (Intern)
ARTISTIC DIRECTORPatricia Barker
EXECUTIVE DIRECTORFrances Turner (ending September 2018)Celia Walmsley (Interim Executive Director, October – December)
ARTISTICArtistic Planning ManagerMichelle Davis (née Lewis)Ballet MastersClytie CampbellLaura McQueen SchultzNicholas SchultzArtistic AssistantKatie Hurst-SaxtonCompany Class PianistNicholas Giles-PalmerRehearsal PianistThomas NikoraMusic LibrarianChristine Pearce MNZMPhysiotherapistsLibby Eglinton andJane WoolleyPilates InstructorCatherine Eddy
NutritionistBecky JonesLeading ArtistSir Jon Trimmer KNZM MBE
Guest ArtistsVeronika Part Nadia Yanowsky
Artists of the RNZBAbigail BoyleLuke CooperFelipe DomingosRhiannon FairlessAlexandre FerreiraWilliam FitzgeraldKiara FlavinSara GarbowskiMadeleine GrahamTristan GrossKate KadowShaun James KellyAlyssa KeltyKihiro KusukamiMinkyung LeeYang LiuFabio Lo GiudiceMassimo MargariaYuri MarquesPaul MathewsNathan MennisKatherine MinorOlivia MooreGeorgia PowleyKatharine PrecourtLoughlan PriorClare SchellenbergKirby SelchowJoseph SkeltonKatherine SkeltonMayu TanigaitoMarie Varlet
Laurynas Vėjalis Leonora VoigtlanderCaroline WileyWan Bin Yuan
New Zealand School of Dance students performing with the companyCadence BarrackTeagan TankVincent FraolaStudent from The Australian Ballet SchoolElla ChambersSeasonal artistsYayoi MatchesIndigo RobbJoaquin Thomas-Mourad (Angelucci)Intern from Mount Eden Ballet Academy(The Nutcracker)Jemima ScottYoung Dancers performing with the Company (The Piano: the ballet)Hazel CouperGemma LewBianca Lungu
PRODUCTIONTechnical DirectorAndrew LeesTechnical ManagerAndrew Tindal – DaviesOperations ManagerLouise JakewayStage ManagerPaul ThomsonVicki CooksleyKathryn Osborne
26 RNZB Annual Report 2018
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Assistant/Deputy StageManagerRuth LoveProduction Assistant (Temp)Evelyn Santana PazHead of LightingCameron NichollsDeputy Head of Lighting Daniel WilsonDominic CrossmanHead of Sound Whare MokeHead of VisionSam Johnston (Multi Media Ltd)Audiovisual TechnicianJosh WoodHead Flyman Ed HarrisonFollowspot Operator Kate-Jane BowenHead MechanistAntony GoodinCarpenterKieran GunnWorkshop ManagerGavin UnderhillWorkshop and ProductionAssistantOliver HawkeOllivier BallesterAnne Le BlondTaylor JoynesHead of CostumeDonna JefferisCostume ManagerEsther LofleyCostume AssistantMonique Bartosh Sarah Carswell
Costume Assistants (Touring)Alison RoigardPaul SmithRuby Read
MARKETING ANDDEVELOPMENTDirector of Marketing andDevelopmentSusannah Lees-JeffriesMarketing and Sales ManagerEleanor Bucher Media and CommunicationsManagerJeremy BrickTicketing ManagerHayley McCarthyMarketing AssistantAnna HinderwellCorporate DevelopmentManagerDiane FieldPhilanthropy ManagerBryna O’Brien KiddeyAllison GrovesEvents and Partnerships ManagerLisa ParkesEsme Taylor
EDUCATIONEducation and CommunityManagerPascale ParenteauDance EducatorsPagan DorganLucy-Margaux Marinkovich Bea Lee-Smith (contractor)Education CoordinatorBerys Cuncannon
ADMINISTRATIONDirector of People & CultureChristine HanksChief Financial OfficerMatt ConnellyJan DunneAssistant AccountantChristine DongFinance AssistantOdette AlleyneJude KrautschunOffice AdministratorNigel BoyesJane BurkeNational Administrator,Friends of the Royal New Zealand BalletAnthony King Executive AssistantJoanna LyallLouise TownsendMelinda Bramwell
ADVISERSRepresenting the RNZBEmployees’ UnionE tūLegalGibson SheatImmigrationMalcolm PacificInformation TechnologyTEAMnetwork
AUDITORSPricewaterhouse Coopers
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F I N A N C I A L S TAT E M E N T S — 2 0 1 8
WA
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AUDITORS’ REPORT3 1 D E C E M B E R 2 0 1 8
TO THE TRUSTEES OF THE ROYAL NEW ZEALAND BALLETWe have audited the financial statements which comprise:• the statement of financial position as at 31
December 2018;• the statement of comprehensive revenue and
expense for the year then ended;• the statement of changes in net assets/equity for
the year then ended;• the statement of cash flows for the year then
ended; and• the notes to the financial statements, which
include a summary of significant accounting policies.
OUR OPINIONIn our opinion, the accompanying financial statements of the Royal New Zealand Ballet (RNZB) present fairly, in all material respects, the financial position of the RNZB as at 31 December 2018, its financial performance and its cash flows for the year then ended in accordance with Public Benefit Entity Standards Reduced Disclosure Regime.
BASIS FOR OPINIONWe conducted our audit in accordance with International Standards on Auditing (New Zealand) (ISAs (NZ)) and International Standards on Auditing (ISAs). Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report.
We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion.
We are independent of RNZB in accordance with Professional and Ethical Standard 1 (Revised) Code of Ethics for Assurance Practitioners (PES 1) issued by the New Zealand Auditing and Assurance Standards Board and the International Ethics Standards Board for Accountants’ Code of Ethics for Professional Accountants (IESBA Code), and we have fulfilled our other ethical responsibilities in accordance with these requirements.
Other than in our capacity as auditor we have no relationship with, or interests in, the RNZB.
INFORMATION OTHER THAN THE FINANCIAL STATEMENTS AND AUDITOR’S REPORT
The Trustees are responsible for the annual report. Our opinion on the financial statements does not cover the other information included in the annual report and we do not express any form of assurance conclusion on the other information. At the time of our audit, there was no other information available to us.
In connection with our audit of the financial statements, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the audit, or otherwise appears to be materially misstated. If, based on the work we have performed on the other information that we obtained prior to the date of this auditor’s report, we conclude that there is a material misstatement of this other information, we are required to report that fact.
29
RESPONSIBILITIES OF THE TRUSTEES FOR THE FINANCIAL STATEMENTSThe Trustees are responsible, on behalf of the RNZB, for the preparation and fair presentation of the financial statements in accordance with Public Benefit Entity Standards Reduced Disclosure Regime, and for such internal control as the Trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error.
In preparing the financial statements, the Trustees are responsible for assessing the RNZB’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the Trustees either intend to liquidate the RNZB or to cease operations, or have no realistic alternative but to do so.
AUDITOR’S RESPONSIBILITIES FOR THE AUDIT OF THE FINANCIAL STATEMENTSOur objectives are to obtain reasonable assurance about whether the financial statements, as a whole, are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with ISAs (NZ) and ISAs will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements.
A further description of our responsibilities for the audit of the financial statements is located at the External Reporting Board’s website at:
https://www.xrb.govt.nz/standards-for-assurance-practitioners/auditors-responsibilities/audit-report-8/
This description forms part of our auditor’s report.
WHO WE REPORT TOThis report is made solely to the Trustees, as a body. Our audit work has been undertaken so that we might state those matters which we are required to state to them in an auditor’s report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the RNZB and the Trustees, as a body, for our audit work, for this report or for the opinions we have formed.
The engagement partner on the audit resulting in this independent auditor’s report is Kevin Brown.
For and on behalf of:
CHARTERED ACCOUNTANTS, WELLINGTON10 APRIL 2019
RNZB Annual Report 201830
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STATEMENT OF COMPREHENSIVE
REVENUE AND EXPENSEF O R T H E Y E A R E N D E D 3 1 D E C E M B E R 2 0 1 8
The above statement of comprehensive revenue and expense should be read in conjunction with the notes on pages 35 to 45.
Notes 2018 2017
$000 $000
REVENUE
MCH Funding 5,384 5,384
Box Office Revenue 3,557 2,741
Grants, Sponsorships, Donations and Bequests 3,380 3,410
Interest Revenue 38 42
Other Revenue 361 256
TOTAL REVENUE 3 12,720 11,833
EXPENDITURE
Season Productions, Touring and Marketing Expenses 4 5,541 6,185
Personnel Expenses 5 4,368 4,303
Other Expenses 6 2,509 1,841
TOTAL EXPENDITURE 12,418 12,329
NET SURPLUS/(DEFICIT) 302 (496)
Other Comprehensive Revenue and Expense
- -
TOTAL COMPREHENSIVE REVENUE AND EXPENSE 302 (496)
31
STATEMENT OF CHANGES IN NET ASSETS/EQUITYF O R T H E Y E A R E N D E D 3 1 D E C E M B E R 2 0 1 8
The above statement of changes in net assets/equity should be read in conjunction with the notes on pages 35 to 45.
2018 2017
$000 $000
Balance as at 1 January 974 1,470
Total Comprehensive Revenue and Expense For The Year 302 (496)
BALANCE AS AT 31 DECEMBER 1,276 974
RNZB Annual Report 201832
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STATEMENT OF FINANCIAL POSITION
A S A T 3 1 D E C E M B E R 2 0 1 8
Notes 2018 2017
$000 $000
CURRENT ASSETS
Cash and Cash Equivalents 7 812 502
Trade and Other Receivables 8 213 121
Prepayments 124 194
Other Investments 9 450 350
Inventory 4 10
TOTAL CURRENT ASSETS 1,603 1,177
NON-CURRENT ASSETS
Property, Plant and Equipment 10 427 373
TOTAL NON-CURRENT ASSETS 427 373
TOTAL ASSETS 2,030 1,550
CURRENT LIABILITIES
Trade and Other Payables 11 471 233
Revenue Received In Advance 283 343
TOTAL CURRENT LIABILITIES 754 576
NET ASSETS/EQUITY 1,276 974
Accumulated Comprehensive Revenue and Expense 1,276 974
TOTAL NET ASSETS/EQUITY 1,276 974
The above statement of financial position should be read in conjunction with the notes on pages 35 to 45.
The Board of Trustees of the Royal New Zealand Ballet authorised these financial statements presented on pages 31 to 45 for issue on 10 April 2019.
For and on behalf of the Board.
STEVEN FYFE, CHAIR ISAAC HIKAKA, AUDIT COMMITTEE CHAIR10 APRIL 2019 10 APRIL 2019
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STATEMENT OF CASH FLOWS
F O R T H E Y E A R E N D E D 3 1 D E C E M B E R 2 0 1 8
2018 2017
$000 $000
CASH FLOWS FROM OPERATING ACTIVITIES
Receipts from MCH 5,384 5,384
Receipts from Grants, Sponsorships, Donations and Bequests 1,885 2,003
Receipts from Box Office 3,557 2,741
Interest Received 29 42
Other Revenue 361 256
Payments to Suppliers and Employees (10,648) (11,020)
NET CASH FLOWS FROM OPERATING ACTIVITIES 568 (594)
CASH FLOWS FROM INVESTING ACTIVITIES
Purchases of Property, Plant and Equipment (158) (255)
Increase in Other Investments (100) -
NET CASH FLOWS FROM INVESTING ACTIVITIES (258) (255)
Cash and Cash Equivalents at Beginning of the Year 502 1,351
Net Increase/(Decrease) in Cash and Cash Equivalents 310 (849)
CASH AND CASH EQUIVALENTS AT END OF THE YEAR 7 812 502
The above statement of cash flows should be read in conjunction with the notes on pages 35 to 45.
Notes
RNZB Annual Report 201834
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NOTES TO THE FINANCIAL STATEMENTS
F O R T H E Y E A R E N D E D 3 1 D E C E M B E R 2 0 1 8
1. GENERAL INFORMATION The core activities of the Royal New Zealand
Ballet (RNZB) are: • Bringing world-class ballet performances
to audiences throughout New Zealand.• Providing opportunities for New Zealand
dancers and creative artists and nurturing their talent.
• Bringing dance experiences to communities beyond traditional ballet audiences.
The RNZB has operations in New Zealand but aims to tour internationally on a regular basis.
The RNZB, a not-for-profit entity, is incorporated under the Charitable Trusts Act 1957 and domiciled in New Zealand. The address of its registered office is Level 3, St James Theatre, Courtenay Place, Wellington.
The financial statements for the RNZB are for the year ended 31 December 2018 and were approved by the Board of Trustees on 10 April 2019.
2. SUMMARY OF SIGNIFICANT ACCOUNTING POLICIES
(a) Basis of preparation
The financial statements are prepared in accordance with Generally Accepted Accounting Practice in New Zealand (NZ GAAP). They comply with Public Benefit Entities Standards Reduced Disclosure Regime (PBE Standards RDR) and authoritative notices that are applicable to entities that apply PBE standards.
The RNZB applies XRB A1 Accounting Standards Framework (For-profit Entities plus Public Sector Benefit Entities plus Not-for-profit Entities minus For- profit Tier 3 and Tier 4 Update) (XRB A1). XRB A1 establishes a PBE tier structure and outlines which suite of accounting standards entities in different tiers must follow. The RNZB is eligible to and has elected to report in accordance with
Tier 2 PBE Standards (PBE Standards RDR), on the basis that the RNZB has no public accountability and is not large as defined in XRB A1.
(b) Foreign currency translation
The financial statements are presented in New Zealand dollars, which is the RNZB’s functional and presentation currency. Unless otherwise stated, amounts are rounded off to the nearest thousand dollars.
Foreign currency transactions are translated into New Zealand dollars using the exchange rates prevailing at the dates of the transactions. Foreign exchange gains and losses resulting from the settlement of such transactions and from the translation at year end exchange rates of monetary assets and liabilities denominated in foreign currencies are recognised in the statement of comprehensive revenue and expense.
(c) Revenue
The specific accounting policies for significant revenue items are explained below:
(i) Government funding
The RNZB is significantly funded from the Crown. This funding is restricted in its use for the purpose of the RNZB meeting the objectives specified. The RNZB recognises government funding as revenue at the point when control of the resource passes to the RNZB.
The RNZB considers the Crown payments made by the Ministry for Culture and Heritage to the RNZB to be exchange transactions. As such revenue is recognised as the services specified in the Outcome Agreement are delivered. This is a critical accounting judgement that materially impacts the timing of the recognition of this revenue.
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(ii) Grants received
Grants are recognised as revenue when they become receivable unless there is an obligation in substance to return the funds if conditions of the grant are not met. If there is such an obligation, the grants are initially recorded as grants received in advance and recognised as revenue when conditions of the grant are satisfied. Grant revenue is aggregated with other sponsorship revenue.
Grants revenue is categorised as non-exchange where there is no obligation in substance associated with the funding provided to the RNZB. The majority of this revenue is received by the RNZB either as cash from various Trusts and Foundations or territorial local authorities. Such revenue is generally only obtained on a (non-recurring) application basis and is contained within a single financial year.
(iii) Sponsorships, donations and bequests
Donations are recognised when received (unless there is to be a service to be provided in a subsequent year relating to this donation) and included in the statement of comprehensive revenue and expense as sponsorship, donations and bequests. Bequests are recognised when all conditions of the bequest have been met. Any bequests where the conditions have not been met are included in revenue in advance.
Sponsorship revenue can be received by the RNZB in cash and/or non-cash (contra) exchange transactions. Revenue is recognised when it becomes receivable except when in the case of contra sponsorship there is a realistic expectation that those sponsored services will not be realised.
Sponsorship revenue is categorised as non-exchange where there is a substantive obligation associated with the funding provided to the RNZB and its value is not considered approximately equal. Sponsorship contracts are negotiated between the RNZB and the Sponsor. The range
of services provided to sponsors will differ in type and volume depending on both the amount of sponsorship received and the particular servicing preferences of the sponsor.
Sponsorship contracts often span multiple financial years but both the sponsorship revenue and the services provided in return are usually negotiated for annual cycles and fully delivered within discrete RNZB production seasons (which correlate with calendar years).
(iv) Box office revenue and production expenses
Box office revenue and related production expenses are recognised in the period the specific performances are staged.
All revenue and production expenses incurred on performances to be staged in the next reporting period are included in the statement of financial position as revenue and costs relating to future productions.
(v) Sales of merchandise and costume hire
Sales are included in other revenue and are recognised when the RNZB has delivered a product to the customer.
(vi) Interest revenue
Interest revenue is recognised on a time-proportion basis using the effective interest method.
(d) Goods and services tax (GST)
The statement of comprehensive revenue and expense is prepared so that all components are stated exclusive of GST. All items in the statement of financial position are stated net of GST, with the exception of receivables and payables, which include GST invoiced.
(e) Income tax
The RNZB as presently constituted is not liable for income tax as it is deemed a charitable trust for taxation purposes.
RNZB Annual Report 201836
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(f) Leases
Leases in which a significant portion of the risks and rewards of ownership are retained by the lessor are classified as operating leases. Payments made under operating leases (net of any incentives received from the lessor) are charged to the statement of comprehensive revenue and expense on a straight-line basis over the period of the lease.
(g) Impairment of non-financial assets
Assets are reviewed for impairment whenever events or changes in circumstances indicate that the carrying amount may not be recoverable. An impairment loss is recognised for the amount by which the asset’s carrying amount exceeds its recoverable amount. The recoverable amount is the higher of an asset’s fair value less costs to sell and value in use. For the purposes of assessing impairment, assets are grouped at the lowest levels for which there are separately identifiable cash flows (cash generating units).
(h) Cash and cash equivalents
Cash and cash equivalents includes bank balances, funds held at call with financial institutions, other short-term and 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 changes in value.
(i) Trade and other receivables
Trade receivables are recognised initially at fair value and subsequently measured at amortised cost, less provision for doubtful debts.
Collectability of trade receivables is reviewed on an on-going basis. Debts which are known to be uncollectible are written off. A provision for doubtful receivables is established when there is objective evidence that the RNZB will not be able to collect all amounts due according to the original terms of receivables. The amount of the provision is the difference between the
asset’s carrying amount and the present value of estimated future cash flows. The amount of the provision is recognised in the statement of comprehensive revenue and expense.
(j) Inventories
Inventories are stated at the lower of cost and net realisable value. Cost is determined on a first in, first out basis. Net realisable value is the estimated selling price in the ordinary course of business less the estimated costs necessary to make the sale.
(k) Loans and receivables
The RNZB classifies its financial assets as loans and receivables. Loans and receivables are non- derivative financial assets with fixed or determinable payments that are not quoted in an active market. They arise when the RNZB provides money, goods or services directly to a debtor with no intention of selling the receivable. They are included in current assets, except for those with maturities greater than 12 months after the end of the reporting period which are classified as non-current assets. Trade receivables, bank balance and funds held on deposits are the only items the RNZB holds in this category.
(l) Fair value estimation
The fair value of current assets and current liabilities is equal to their carrying value.
(m) Property, plant and equipment
All property, plant and equipment are stated at historical cost less accumulated depreciation and impairment. Historical cost includes expenditure that is directly attributable to the acquisition of the items.
Subsequent costs are included in the asset’s carrying amount or recognised as a separate asset, as appropriate, only when it is probable that future economic benefits associated with the item will flow to the RNZB and the cost of the
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item can be measured reliably. All other repairs and maintenance are charged to the statement of comprehensive revenue and expense during the financial period in which they are incurred.
Depreciation of property, plant and equipment is calculated using straight line rates so as to expense the cost of the assets over their useful lives. The rates are as follows:
• Alterations to leased premises 33%• Computer hardware & database 33%• Lighting, sound and video equipment 20%• Manufacturing equipment 20%• Motor vehicles 10%• Office furniture and equipment 20%• Theatrical plant and equipment 20%
An asset’s 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 carrying amount. These are included in the statement of comprehensive revenue and expense.
(n) Trade and other payables
These amounts represent liabilities for goods and services provided to the RNZB prior to the end of financial year which are unpaid. The amounts are unsecured. Liabilities for wages and salaries, including non-monetary benefits, annual leave and long service leave expected to be settled within 12 months of the end of the reporting date are recognised as employee entitlements in respect of employees' services up to the end of the reporting date and are measured at the amounts expected to be paid when the liabilities are settled.
The liability for employee entitlements is carried at the present value of the estimated future cash flows.
These are the only financial liabilities of the RNZB.
(o) Cash flow
For the purpose of the statement of cash flows, cash and cash equivalents include cash at bank and on hand and term deposits with original maturities less than 3 months. The following terms are used in the statement of cash flows:
• Operating activities are the principal revenue generating activities of the RNZB and other activities that are not investing or financing activities.
• Investing activities are the activities relating the acquisition, holding and disposal of property plant & equipment, intangibles and of investments. Investments can include securities not falling within the definition of cash; and
• Financing activities are activities that result in changes in the size and composition of the contributed equity and borrowings of the entity.
(p) Comparative reclassification
Comparative information has been reclassified, to achieve consistency with the current year chart of accounts in Xero compared with last year in MYOB.
RNZB Annual Report 201838
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3. REVENUE
2018 2017
$000 $000
EXCHANGE REVENUE
MCH Funding 5,384 5,384
Box Office Revenue 3,557 2,741
Sponsorship 115 115
Interest Revenue 38 42
Other Revenue 361 256
TOTAL EXCHANGE REVENUE 9,455 8,538
NON-EXCHANGE REVENUE
Grants, Sponsorships, Donations and Bequests 3,265 3,295
TOTAL NON-EXCHANGE REVENUE 3,265 3,295
TOTAL REVENUE 12,720 11,833
Within exchange revenue $25,000 is non-cash (2017: $25,000), while within non-exchange revenue $1.352m is non-cash (2017: $1.550m)
OTHER REVENUE 2018 2017
$000 $000
Education 44 49
Merchandising 31 17
Hiring and Sale of Equipment, Shoes and Studio 286 190
TOTAL OTHER REVENUE 361 256
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4. SEASON PRODUCTIONS, TOURING AND MARKETING EXPENSES
6. OTHER EXPENSES
5. PERSONNEL EXPENSES
2018 2017
$000 $000
Direct Production Expenses 1,383 1,495
Direct Touring Expenses 2,180 2,420
Sales and Marketing 1,978 2,270
TOTAL SEASON PRODUCTIONS, TOURING AND MARKETING EXPENSES 5,541 6,185
2018 2017
$000 $000
Lease Expenses 210 205
Depreciation Expense 104 64
Expenditure for Future Productions 57 61
Other Expenses 2,138 1,511
TOTAL OTHER EXPENSES 2,509 1,841
2018 2017
$000 $000
Salaries and Wages 4,211 4,131
Contribution to Superannuation Schemes 157 172
TOTAL PERSONNEL EXPENSES 4,368 4,303
RNZB Annual Report 201840
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7. CASH AND CASH EQUIVALENTS
8. TRADE AND OTHER RECEIVABLES
9. OTHER INVESTMENTS
2018 2017
$000 $000
Cash at Bank and On Hand 312 302
Term Deposits with Original Maturities Less Than 3 Months 500 200
TOTAL CASH AND CASH EQUIVALENTS 812 502
2018 2017
$000 $000
Restricted Investments 450 350
TOTAL OTHER INVESTMENTS 450 350
2018 2017
$000 $000
RECEIVABLES UNDER EXCHANGE TRANSACTIONS
Trade Debtors 163 18
TOTAL RECEIVABLES UNDER EXCHANGE TRANSACTIONS 163 18
RECEIVABLES UNDER NON-EXCHANGE TRANSACTIONS
GST Refund /Receivable 3 88
Sundry Debtors 47 15
TOTAL RECEIVABLES UNDER NON-EXCHANGE TRANSACTIONS 50 103
TOTAL TRADE AND OTHER RECEIVABLES 213 121
Other investments is cash that is held on term deposit (with Westpac NZ) in support of potential liabilities arising in the normal course of business on credit cards, payroll and international customs bond.
Cash is held at bank, at call or in fixed term interest bearing deposits with a New Zealand registered bank (Westpac).
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10. PROPERTY, PLANT AND EQUIPMENT
AS AT 31 DECEMBER 2017Cost
$000
AccumulatedDepreciation
$000
Closing Net Book
Value $000
Alterations to Leased Premises 56 (56) -
Theatrical Plant and Equipment 306 (201) 105
Computer Hardware and Database 67 (44) 23
Lighting, Sound and Video Equipment 451 (256) 195
Manufacturing Equipment 33 (31) 2
Motor Vehicles 110 (63) 47
Office Furniture and Equipment 30 (29) 1
TOTAL PROPERTY, PLANT AND EQUIPMENT 1,053 (680) 373
AS AT 31 DECEMBER 2018
Opening Net Book
Value$000
Additions$000
AnnualDepreciation
$000
Closing Net Book
Value$000
Theatrical Plant and Equipment 105 15 (28) 92
Computer Hardware and Database 23 28 (17) 34
Lighting, Sound and Video Equipment 195 58 (47) 206
Manufacturing Equipment 2 12 (1) 13
Motor Vehicles 47 44 (10) 81
Office Furniture and Equipment 1 1 (1) 1
TOTAL PROPERTY, PLANT AND EQUIPMENT 373 158 (104) 427
AS AT 31 DECEMBER 2018Cost
$000
AccumulatedDepreciation
$000
Closing Net Book
Value$000
Alterations to Leased Premises 56 (56) -
Theatrical Plant and Equipment 321 (229) 92
Computer Hardware and Database 95 (61) 34
Lighting, Sound and Video Equipment 509 (303) 206
Manufacturing Equipment 45 (32) 13
Motor Vehicles 154 (73) 81
Office Furniture and Equipment 31 (30) 1
TOTAL PROPERTY, PLANT AND EQUIPMENT 1,211 (784) 427
RNZB Annual Report 201842
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11. TRADE AND OTHER PAYABLES
12. FINANCIAL INSTRUMENT CATEGORIES
2018 2017
$000 $000
PAYABLES UNDER EXCHANGE TRANSACTIONS
Trade Payables 305 146
Accruals 44 16
Employee Entitlements 122 71
TOTAL PAYABLES UNDER EXCHANGE TRANSACTIONS 471 233
TOTAL TRADE AND OTHER PAYABLES 471 233
2018 2017
$000 $000
LOANS AND RECEIVABLES
Trade and Other Receivables 163 33
Cash and Cash Equivalents 812 502
Restricted Investments 450 350
TOTAL LOANS AND RECEIVABLES 1,425 885
FINANCIAL LIABILITIES MEASURED AT AMORTISED COST
Trade Creditors and Other Payables 349 162
Employee Entitlements 122 71
TOTAL TRADE AND OTHER PAYABLES 471 233
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14. RELATED PARTIES
13. COMMITMENTS AND CONTINGENCIES
2018 2017
$000 $000
VALUE OF NON-CANCELLABLE RENTAL
Less Than One Year 209 134
Between One and Five Years 692 508
Greater Than Five Years 667 794
TOTAL NON-CANCELLABLE OPERATING LEASE 1,568 1,436
RNZB leases premises and operating leases held over properties give RNZB the right to renew the lease subject to a re-determination of the lease rental by the lessor.
There are no known material capital commitments as at 31 December 2018 (2017: nil).
The RNZB is related to the Ballet Foundation of New Zealand Trust and has the right to appoint two common Trustees. The RNZB received $25,000 from the Ballet Foundation of New Zealand Trust for the low decile schools project in 2018 (2017: $10,000). The RNZB also received $10,000 from the Ballet Foundation of New Zealand Trust for limited administration services (2017: $10,000).
There are no known material contingent liabilities as at 31 December 2018. As at 31 December 2017, RNZB had contingent liabilities in respect of certain employment matters which were resolved during 2018.
All staff members (including contractors and trustees) are entitled to tickets for shows. Full time permanent and casual employees are entitled to 6 complimentary tickets per year (2 per season) at an average cost of around $80 per ticket (varying based on the location of the show within New Zealand).
There are no other related party transactions.
RNZB Annual Report 201844
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15. BOARD OF TRUSTEES AND MANAGEMENT TEAM
16. EVENTS OCCURRING AFTER END OF THE REPORTING PERIOD
Key management personnel are those persons having authority and responsibility for planning, directing and controlling the activities of the RNZB. This includes the nine Trustees, Executive Director, Artistic Director and their senior leadership team.
There have been no material events, after balance date, that require adjustment to or disclosure in the financial statements (2017: nil).
BOARD OF TRUSTEES FOR 2018:
• Lisa Bates MNZM• Toby Behan• Lilias Bell• Ros Burdon CNZM (Retired 31 December 2018)• Candis Craven CNZM (Retired 31 December 2018)• Steven Fyfe (Chair)• Isaac Hikaka (Deputy Chair)• Patricia Oakley• John Ryan (Retired 30 June 2018)
As from 1 January 2019, Mary Slater, Katrina Todd ONZM and John Avery were appointed as Trustees, replacing Candis Craven, Ros Burdon and John Ryan who all retired in 2018.
Trustees receive no remuneration for their services.
2018 2017
COMPENSATION OF KEY MANAGEMENT PERSONNEL
Number of Personnel (FTEs) 6 6
TOTAL COMPENSATION $734 $832
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RNZB Annual Report 201846
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RTANNUAL REPORT DESIGN BY
DANICA PROWSE
ROYAL NEW ZEALAND BALLETSt James Theatre
77-83 Courtenay PlaceWellington 6011
New Zealand
P.O Box 27050Wellington 6141
New ZealandPhone: 64 4 381 9000
Fax: 64 4 381 9003Email: [email protected]
rnzb.org.nz
RNZB Annual Report 2018