stc 2013 annual report

SYDNEY THEATRE COMPANY

To provide first class theatrical entertainment for the people of Sydney – theatre that is grand, vulgar, intelligent, challenging and fun. That entertainment should reflect the society in which we live thus providing a point of focus, a frame of reference, by which we come to understand our place in the world as individuals, as a community and as a nation.

Richard Wherrett, 1980 Aims of the Company

6Isabelle Huppert and Cate Blanchett in The Maids. Photo: Lisa Tomasetti

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4

5

new commissions

Rough Drafts undertaken

111,053

new Australian works and adaptations

subsidised or free schools tickets 777

112

total performances

teachers participated in professional learning programs

4national and regional tours presented

18,512 3,733million dollars of total ticket income earned new subscribers6

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resident artists

Sydney Theatre Awards

215actors employed

1,594 weeks of work for actors

280

1,327

archival recordings digitised (in total between 2012-2013)

students participated in the School Drama™ program

6Helpmann Awards for The Secret River

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Hugo Weaving and Richard Roxburgh in Waiting For Godot. Photo: Lisa Tomasetti

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2013 was the year in which Sydney Theatre Company consolidated its home base in Walsh Bay. At a strategic planning day in 2011, our Board and management decided Sydney Theatre had become an important part of the Company’s identity, as well as being an important resource for performing arts in the State more generally, and so resolved to take on the lease, and the risks inherent in assuming control of the theatre, in order to better knit it into our organisational strategy and management. This meant we would consolidate the operations of Sydney Theatre Company and New South Wales Cultural Management (NSWCM), the body that previously held the lease to Sydney Theatre at Walsh Bay and outsourced management of it to the Company. We believe that this consolidation will provide greater clarity, stability and operating efficiency.

The Board also requested, and was granted by the State Government, a long term lease of 45 years across both the Company’s Walsh Bay sites. The leases will give us the time to raise capital to fund refurbishments and to have security of tenure over a long enough period to design, implement and fully utilise these improvements.

We thank the then Arts Minister, The Hon. George Souris MP, members of his department and the team at Arts NSW, for accepting our proposal for leasing the Walsh Bay sites, both at The Wharf and Sydney Theatre; for working with us on these important reforms and for the annual funding received from the State.

We also thank the Australian Government for its commitment to the Company through the Australia Council, its arts funding and advisory body. We look forward to working with Federal Arts Minister George Brandis in keeping Australian creativity dynamic, sustainable and on the world stage.

In 2014, our headquarters at The Wharf turn 30 and will require substantial renewal to ensure they continue to serve artists, audiences and staff for another 30 years. This will be a costly task and one that will clearly require the raising of large amounts of money. Also in 2014, Sydney Theatre at Walsh Bay will have its 10th birthday, another milestone signifying increased maintenance obligations.

With long-term leases sorted, we were able to begin the task of fundraising in earnest and were delighted that the Crown Foundation together with the Packer family – longstanding major supporters of Sydney Theatre Company in addition to many other arts organisations and charities in Australia – elected to make a landmark contribution of $15 million towards our capital plans. This stands as the largest philanthropic gift ever made to a performing arts organisation in Australia. We thank Ros, Gretel and James Packer as well as all at the Crown

Foundation for many years of support and in particular for this outstandingly generous gift to the community.

Our financial result for the year was a very pleasing surplus of $430,837 on a turnover of $34,942,977. This is our first “group” result following the consolidation of operations and accounts of STC and NSWCM.

I take this opportunity to thank our talented and involved Board of Directors for their unstinting enthusiasm and generosity in sharing their many talents with each other and with management, helping to drive the success of the organisation.

I also acknowledge the very substantial contribution made by the trustees of the STC Foundation. The support of philanthropic individuals, as nurtured and developed by the Foundation, has been a crucial part of the transformation of our business over the past four years. I acknowledge outgoing Chair Jillian Broadbent and welcome into the role her successor, Ann Johnson.

Artistic Director Andrew Upton, Executive Director Patrick McIntyre and their brilliant, hard-working staff are to be congratulated for delivering so many great achievements and important reforms in what was an extremely busy year for the Company.

Lastly, but most importantly, I am also pleased to note that the 2013 program – the last by Cate and Andrew as Co Artistic Directors – proved to be enormously successful in both artistic and commercial terms, attracting rave reviews and extraordinary attendances across the year.

The experience of theatre at its most stimulating, spectacular and thought-provoking is of course the motivator behind all the work of the Company and its many supporters. The productions in 2013 were both our inspiration and our reward.

David Gonski AC Chairman

David GonskiChairman

Ursula Yovich, Miranda Tapsell and Ethel-Anne Gundy in The Secret River. Photo: Heidrun Löhr

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Andrew UptonArtistic Director

2013 was the last year that Cate and I programmed together. In order to facilitate the running of the year and the flow on through 2014 and 2015, Cate left the job a little early (but not the Company) and I moved a few couches in the office. As a final season for Cate, I think I am allowed to say that it was a great achievement. So, for all her work as Co Artistic Director, and of course as an actor, a huge thanks on behalf of the company.

2013 was also the concluding year of the Resident Artists program, made possible by funding from Arts NSW and our Resident Artist Patrons. Throughout its variety of incarnations, the program has had an enormous impact on the careers and development of many young theatre artists. On behalf of those artists and the Company, another huge thanks to the NSW Government for their commitment to this program since 2006. The final group of Resident Artists was composed of three Directors, two Designers and a Community Director. This group was chosen because, integral to the values of the Company and the needs of the industry, is the provision of career pathways for emerging Australian directors and designers. STC is perfectly suited to this, as the four spaces that we operate out of allow for the natural growth of vision and experience. To that end the Residents worked extensively in the Company over 2013, directing and designing Mrs Warren’s Profession, Little Mercy, Dance Better at Parties, Fury, Romeo and Juliet, Vere (Faith), Machinal, The Other Way and Road Train.

We had some big shows in Sydney Theatre, probably the most we’ve ever programmed in a single year. It was great to see the theatre change and mature with each new experience, starting with the remarkable The Secret River, which Cate and I initiated in our first year as Co Artistic Directors. This was a landmark production for the Company on many levels. We commissioned Andrew Bovell to adapt Kate Grenville’s novel for the stage, welcomed Neil Armfield back as director and employed one of the biggest casts we’ve ever had. The resulting work was fearless in its emotional bravery and courageous in tackling this delicate but important subject. Following on from that we hosted the

preposterous and brilliantly goofy National Theatre of Great Britain’s One Man, Two Guvnors and then a wild production of The Maids with Cate Blanchett, Isabelle Huppert and Elizabeth Debicki, directed by Benedict Andrews. Benedict is a director whose work for STC over the last ten years also evidences the Company’s unique ability to grow an artist from the small scale to the large vision. Simon Phillips returned to direct Rosencrantz and Guildenstern are Dead with Toby Schmitz and Tim Minchin in the eponymous lead roles. It was another welcome tonic and a brand new vision for Sydney Theatre, with remarkable set and

costumes from Gabriela Tylesova. Finally in Sydney Theatre, Hugo Weaving, Richard Roxburgh, Philip Quast and Luke Mullins gave us a most beautiful production of Waiting for Godot. Conceived and designed by Tamás Ascher and Zsolt Khell and directed by myself in tricky circumstances, it could only have been done with the support of the whole Company. For all these great works and all the other work we did last year, a third huge thanks.

The size and scale of the Company is one of its distinctive qualities. In this day and age, getting behind a production before it’s anything really tangible takes a lot of courage and insight. We have recently been led by our wonderful Chairman David Gonski and Board Member Simon Mordant in creating a new philanthropic Commissioning Patrons initiative for The Secret River. Gretel Packer then joined us to support our family show, Storm Boy. The remarkable, ongoing impact of this initiative seems to be continuing on through the next few years. We certainly could not make the shows of the scale we do without the generosity and support of these individuals.

The list of thanks goes on – our sponsors of course, the NSW Government through Arts NSW, the Federal Government through the Australia Council and all of our co-producing partners over the year: Back to Back Theatre, Barking Gecko Theatre Company, Malthouse Theatre, Sisters Grimm and the State Theatre Company of South Australia. The giant The Secret River was produced with the assistance of the Major Festivals Initiative, Sydney Festival, Perth International Arts Festival and the Centenary of Canberra. Those partners, our Commissioning Patrons and all other donors, sponsors, casts, crew, administrative and workshop staff made all of this great theatre happen, so a final huge thanks to you all.

Andrew Upton Artistic Director

Harry Greenwood, Geraldine Hakewill, Sarah Peirse and Robert Menzies in Fury. Photo: Lisa Tomasetti

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Patrick McIntyreExecutive Director

2013 was a great year for the Company: a barn-storming artistic program soundly backed by an organisation realising the benefits of the substantial change program that had been ticking in the background for the previous three years.

Our group financial result, a surplus of $430,837, is comprised of $131,670 from STC operations (a deficit of $254,420 in 2012) and $287,759 from Sydney Theatre at Walsh Bay operations (a deficit of $243,610 in 2012). The two entities were merged during the year. The STC Foundation increased earnings from philanthropic sources from $2.043 million in 2012 to $2.613 million in 2013, of which $1.265 million was drawn into the Company’s operating budget.

The 2013 season netted $4.851 million compared to $2.047 million in 2012. This financial success was driven by high ticket sales across all shows. Our Season Ticket Holder numbers rose 15% to 16,922, of which 3,733 were new customers. Overall paid attendances in Sydney were 290,370, 14% higher than budget, and we sold 83% of available inventory. It is particularly heartening to see such a strong showing for a season that included nine world premiere Australian works and adaptations on the main stage.

Beyond the main stage, other programs provided ways for us to engage more broadly with our community. We completed the third year of our partnership with Bankstown Youth Development Service, toured Road Train – a new play for young people – around regional NSW in partnership with NRMA Motoring & Services, and doubled access to our professional development program for primary teachers, School Drama™, across metropolitan Sydney, in Broken Hill and in Adelaide.

Corporate Partnerships continued to provide an extremely important source of revenue for the Company, $2.024 million in 2013. The Company is extremely fortunate to have the support of a very engaged circle of sponsors, who are as supportive of our work as they are a pleasure to do business with. Led by our Major Partners Lend Lease, Audi, Fairfax and Suncorp, our sponsors

make important financial contributions, but also collaborate with us on strategic programs such as accessible ticketing, precinct development, enrichment events for audiences, and branding and marketing.

Our many donors also play an increasingly important role in the life of the Company, from major gifts supporting the development of new work or the delivery of education and outreach programs, to the many smaller gifts we receive that add up. In 2013, we completed the process of digitising our archives thanks to a strong response from our donors, ensuring that the many records we keep are safe for future generations. This was becoming increasingly urgent as old-technology videos of performances by the Company dating back to its earliest years were deteriorating at an alarming rate.

The Pier Group, chaired by Anne Schofield, hosted another series of lunches with artists during the year, which both raised funds and helped to provide rich experiences and new insights for audiences.

I would like to thank the STC Board, chaired by David Gonski, for its guidance and support over the course of another busy year and another set of complex challenges. Thanks also to the STC Foundation, chaired in 2013 by Jillian Broadbent, for its tireless and enthusiastic work in philanthropic development. In 2013 the operations of New South Wales Cultural Management, the body that held the lease to Sydney Theatre at Walsh Bay, were wound up and I pay tribute to the commitment and achievements of its directors, chaired by Peter Young.

I congratulate all our staff and artists on a great year. Their talent and commitment, and their shared vision for Sydney Theatre Company and its place in the world, are inspiring always – and the wonderful good humour that characterises our workplace makes the journey a pleasure.

Patrick McIntyre Executive Director

Brian Tilley and David Woods in

Super Discount. Photo: Jeff Busby

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Shaka Cook in Storm Boy. Photo: Brett Boardman

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STRATEGY ONE EXCELLENCE, SCALE AND DIVERSITY

2013 was Andrew Upton and Cate Blanchett’s final program as Co Artistic Directors. It was a huge year on stage and included a record five productions in Sydney Theatre.

First amongst equals was the mighty The Secret River, one of the earliest projects envisaged by Cate and Andrew when they took up their roles with the Company. Director Neil Armfield made his welcome return to the STC stage, working in collaboration with writer Andrew Bovell, whose adaptation of Kate Grenville’s novel was epic in scope and theatricality.

The Secret River was one of many new Australian works and adaptations presented during the year: nine, out of a total of sixteen main stage presentations, not including our Theatre in Communities work. Other new works included: Fury, a scorching new work by Joanna Murray-Smith; Tom Holloway’s adaptation of Colin Thiele’s beloved children’s story Storm Boy; and Dance Better at Parties, the first text-based work from choreographer and former STC Resident Artist Gideon Obarzanek, a project which was devised and developed through creative workshops at STC in 2012.

As we farewelled the Upton/Blanchett directorial twosome, it was fitting that many of the year’s major works explored partnerships, resulting in many extraordinary moments on stage: Hugo Weaving and Richard Roxburgh’s delicate, funny and moving Vladimir and Estragon in Waiting for Godot; Tim Minchin and Toby Schmitz’s exuberant onstage reunion in the title roles of Rosencrantz and Guildenstern are Dead; and the tour de force spectacle of Cate Blanchett and Isabelle Huppert in The

Maids (which also introduced newcomer Elizabeth Debicki as a major theatrical talent).

The Company’s work was seen across Australia including regional NSW, ACT, South Australia, Victoria and Western Australia. In Adelaide, we were proud to have John Doyle’s new work Vere (Faith), have its premiere with State Theatre Company of South Australia before coming to the Drama Theatre; Storm Boy, a co-production between STC and Barking Gecko Theatre Company, was presented in both Sydney and Perth, and Super Discount, a three-way co-production between STC, Malthouse Theatre and Geelong-based Back to Back Theatre, had its world premiere season in Sydney and Melbourne. We were delighted to present Adelaide’s Windmill Theatre’s wonderful School Dance as part of the subscription season and we commissioned Melbourne’s theatrical provocateurs Sisters Grimm to create the gem Little Mercy for us, but kept it all to ourselves. The Wharf Revue continued to tour indefatigably before landing in Sydney for a nine week run. Perhaps most gratifyingly, because it is so rare to be able to take such large works on the road, The Secret River toured to Perth and Canberra with the assistance of the Federal Government’s Major Festivals Initiative.

All in all, it was a year that demonstrated the Company’s incredible artistic elasticity, from first time STC director Imara Savage’s inventive miniature Machinal in Wharf 2, to Simon Phillips’ extravagant theatricality of Rosencrantz and Guildenstern are Dead on the grand stage of Sydney Theatre.

And we were fortunate to do it in the company of some of the country’s finest artists and creatives, an extraordinary roll call of talent which, in addition to those already mentioned, included: Benedict Andrews, Alice Babidge, Paul Blackwell, Simon Burke, Mitchell Butel, Stephen Curtis, Nathaniel Dean, Harriet Dyer, Julie Forsyth, Steve Francis, John Gaden, Iain Grandage, Anita Hegh, Trevor Jamieson, Ewen Leslie, Nigel Levings, Max Lyandvert, Heather Mitchell, Amber McMahon, Robert Menzies, Colin Moody, Luke Mullins, Eryn Jean Norvill, Philip Quast, Nick Schlieper, Jeremy Sims, Bruce Spence, Miranda Tapsell, Helen Thomson, Gabriela Tylesova and Ursula Yovich.

ArtA dynamic mix of creative, distinctive programs that excite and attract artists and audiences

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Harriet Dyer in Machinal. Photo: Brett Boardman

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2013 was a great year across the board in terms of recognition by the industry. At the 2013 Helpmann Awards, The Secret River won six of the categories for which it was nominated: Best New Australian Work, Best Play, Best Direction of a Play for Neil Armfield, Best Music Direction and Best Score for Iain Grandage and Best Male Actor in a Supporting Role in a Play for Colin Moody. STC also dominated the Sydney Theatre Critics Awards, scoring 33 nominations and nine wins, including Best Mainstage Production for Waiting for Godot.

STRATEGY TWO ON THE WORLD STAGE

STC continued its international collaborations in 2013. The Maids offered Sydney audiences the first chance to see acclaimed French actress Isabelle Huppert on stage, and we also presented the National Theatre of Great Britain’s break-out hit One Man, Two Guvnors for the Sydney stop of its national tour.

Unfortunately, Hungarian director Tamás Ascher (STC’s Uncle Vanya) was unable to join us to direct Waiting for Godot as planned, due to injury. We did, however, welcome members of his Hungarian creative team, Associate Director Anna Lengyel and Set Designer Zsolt Khell, who worked with Director Andrew Upton to create a very fine production.

UK director Stephen Rayne joined us towards the end of the year to

commence work on our collaboration with the Australian Defence Force, The Long Way Home. Stephen had directed an earlier work in England, The Two Worlds of Charlie F, that the Chief of the Defence Force, General David Hurley, had seen and which had inspired him to approach STC about creating a local equivalent.

We like to think of her as one of our own, so it was great to welcome back New Zealand actor Sarah Peirse to star alongside Robert Menzies in Joanna Murray-Smith’s Fury.

International interest in STC also remains strong. A number of works of varying scales that premiered during 2013 have received international touring invitations, including The Maids, which will appear as part of the Lincoln Center Festival in New York in August 2014.

STRATEGY THREE A DEVELOPMENT POWERHOUSE

Supporting and developing new Australian artists and creatives continued to be one of the Company’s key priorities. In particular, the Company sought to make an investment in the new generation of main stage theatre directors. Three Co Resident Directors were engaged to become part of the fabric of the Company: Sarah Giles, Sarah Goodes and Kip Williams. Together they made some of the year’s most striking work.

Angus King, Heather Mitchell, Nicholas Papademetriou, Christopher Stollery and Aaron Tsindos in Rosencrantz and Guildenstern are Dead. Photo: Heidrun Löhr

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With the support of Arts NSW, in the final year of its dedicated support of our Resident Artist activities, we were also able to engage two talented Resident Designers, Renée Mulder and David Fleischer, who worked across the Company on everything from designing main stage shows to styling photo shoots and events.

STC’s Assistant Director program continued to offer talented emerging directors the opportunity to work side-by-side with experienced main stage directors. We continued our Rough Drafts program, week long creative developments that give theatre-makers the opportunity to try out new ideas, new ways of working and new collaborations. Each development culminated in a free public showing and in 2013, STC produced five Rough Drafts:

The Waiting Room – Kylie Trounson and Naomi Edwards (14 – 18 Jan 2013) Alphabet of Arousal – Angus Cerini and Sarah Giles (17 – 21 June 2013) The Secret Project – Duncan Graham and Kip Williams (8– 12 July 2013) Wake in Fright – Andrew Upton and Sarah Goodes (26 – 30 Aug 2013) The Battle of Waterloo – Kylie Coolwell and Sarah Goodes (21 – 25 Oct 2013).

Kylie Coolwell was subsequently commissioned by STC to further develop The Battle of Waterloo.

Imara Savage, the 2012 Richard Wherrett Fellow, made her main stage debut directing Sophie Treadwell’s Machinal to excellent critical reviews.

The Patrick White Playwrights’ Award and Fellowship are annual initiatives in which both emerging and established playwrights are recognised. The prize money is intended to support playwrights by affording them the space and time to develop new work. In 2013, for the first time, the Fellowship prize also included a commission from STC. In recognition of her contribution to the contemporary Australian playwriting canon, Hilary Bell was awarded the Fellowship. Emerging playwright Anna Barnes won the Award for her unproduced work MinusOneSister. STC thanks the Pier Group for its support of the Patrick White Playwrights’ Award and Fellowship.

Hugo Weaving, Luke Mullins, Richard Roxburgh and Philip Quast in Waiting For Godot. Photo: Lisa Tomasetti

Steve Rodgers and Elizabeth Nabben in Dance Better at Parties. Photo: Brett Boardman

Lizzie Schebesta (foreground) and Helen Thomson in Mrs Warren’s Profession. Photo: Brett Boardman

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STRATEGY ONE BUILD THE BALANCE SHEET

In 2013, the Company reported a group surplus of $430,837. This strong result increased our reserves to $4.883 million, or 14% of the Company’s annual cost base.

The Foundation also had an extremely successful year. It raised a total of $2.613 million, of which $1.265 million was contributed to the operating budget.

Taking the operating balance sheet and the Foundation together, the company has a solid financial base of $10.059 million, representing 27% of annual cost base. This is up from 19% in 2009.

STRATEGY TWO MAXIMISE YIELD, MAXIMISE ACCESS

The season attracted 16,922 season ticket holders, including 3,733 new subscribers. Interestingly, 2013 was the first year in which casual tickets outsold tickets purchased via subscription. A total of 111,728 subscriber tickets were sold against a total of 205,600 casual tickets.

On Monday 11 February 2013, single tickets were released for all shows. Over the first two days, 13,000 tickets were sold – each day breaking the previous one-day ticket sales’ record.

STC’s audience base continued to reach out from metropolitan Sydney, with 13% of audience members originating from interstate and regional communities.

Customer Relationship Management (CRM) was one of the key areas underpinning the Company’s ongoing strategy for organisational sustainability. In 2013 a comprehensive CRM plan was devised, focusing on implementing plans for customer retention, rewarding loyalty and longevity and encouraging

advocacy. All customer-facing departments delivered more personalised customer service, enabled by improved procedures, tools and access to data.

Increasing accessibility and affordability to theatre is one of our long held ambitions. In 2013 STC announced a major new partnership with Suncorp which made a selection of $20 tickets available for every STC performance (excluding opening nights) across the year. The announcement of Suncorp Twenties received significant media coverage and the uptake by patrons was phenomenal, with over 3,500 tickets sold in 2013 since its launch on 14 May, introducing 471 new ticket bookers to STC’s work in that time.

In 2013, STC’s generous and loyal family of donors supported a range of programs, from making possible works of vision and scale to funding the commissions and workshops that help us discover and develop new talent. We would like to thank all donors for the vital role they play in allowing the Company to continue functioning at its accustomed level of ambition, scale and excellence.

In particular, we pay tribute to the leadership of: David Gonski and Orli Wargon and Simon and Catriona Mordant for their extraordinary support of The Secret River – a production that could not have been realised without private patronage; Gretel Packer for her contribution towards the development and production of Storm Boy; and The Chairman’s Council, which supported the commissioning and production of Fury.

STC’s School Drama™ program received $250,000 in support from the Origin Foundation, Vincent Fairfax Family Foundation and the Caledonia Foundation. $135,000 was also given to support the work of the Company’s emerging Resident Artists by the Resident Artist Patrons: Anita and Luca Belgiorno-Nettis, Mr Robert Hansen and Dr Annabelle Farnsworth, W & A Johnson Family Foundation, Ms Rebel Penfold-Russell OAM, Michael and Eleonora Triguboff and Carla Zampatti AC.

BusinessLead the industry in creating an innovative and sustainable business platform

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STRATEGY THREE HARNESS THE DIGITAL AGE

In 2013 the STC website was relaunched with improved transactional capabilities. Despite inevitable teething problems, during the record-breaking, first on-sale day of the 2013 season over 51% of ticket sales were processed via the website.

One of the aims of the redesigned website was to provide an accessible resource for all theatre lovers, offering rich content, experiential resources and the opportunity to contribute to the conversation around theatre. The STC website received over 1 million unique visits and 86,000 people viewed STC content on YouTube over the course of the year. During 2013 our social media community grew by 65% on Facebook, an increase of 8,935 page likes to 22,746, and 43% on Twitter, an increase of 4,960 followers to 16,363.

The Archives digitisation fundraising campaign received $59,941 in individual donations from 200 members of the public. As a result of this, the Company was able to digitise and preserve over 280 archival recordings by the end of 2013, many of which were at risk of being lost forever.

STRATEGY FOUR MATCH FIT

2014 will be the 10th anniversary of Sydney Theatre and the 30th anniversary of The Wharf as STC’s home. These significant milestones trigger increasing maintenance obligations and, in the case of The Wharf, substantial renewal is required to ensure the venue and facilities continue to serve audiences, artists and staff for another 30 years.

In 2013, STC signed 45 year leases with the NSW government for both its Wharf and Sydney Theatre premises. This long-term tenure allows the Company to plan confidently and, in particular, to raise and invest significant funds required to renew the facilities.

As part of a $60 million donation to Sydney’s arts community by the Packer family and the Crown Foundation, the Company received a generous philanthropic gift of $15 million, the largest single gift to a performing arts company in Australia. This sum gives us a great headstart in addressing the pressing infrastructure and capital needs of the Company.

New South Wales Cultural Management (NSWCM), the body which held the lease to Sydney Theatre, was wound up and the two organisations consolidated their operations, providing increased operating efficiency. STC thanks the then Arts Minister, The Hon. George Souris MP, and Arts NSW for their support of this restructuring, including the granting of the long-term leases and the contribution of $5 million over the coming 10 years to enhance the contribution of Sydney Theatre as a cornerstone of the Walsh Bay cultural precinct.

Other important capital investments were made in 2013, most significantly in upgrading IT infrastructure and installing a new extraction fan system in Scenic Art department.

96 people received training across the areas of lighting, rigging, project management, desktop publishing, Microsoft Office, digital marketing, customer relationship management, team building, performance management, first aid, fire warden training, manual handling, heath safety representative training and traffic management control. Staff also attended the global Tessitura conference and participated in the Australian Theatre Forum.

STC staff were also invited and encouraged to attend the training and development programs run by Sydney Opera House for their own staff. STC would like to thank Sydney Opera House for facilitating these programs.

Matthew Whittet and Amber McMahon in School Dance. Photo: Lisa Tomasetti

David Woods and Mark Deans in Super Discount.Photo: Jeff Busby

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STRATEGY ONE THEATRE AS A SOCIAL ENGINE

In 2013, STC commenced a collaboration with the Australian Defence Force to develop a stage play based on the personal stories of returned soldiers who had been wounded or injured during active service. For the ADF, the development in 2013 and subsequent delivery of the work in 2014 formed part of a program of rehabilitation and recovery for the participating soldiers. And, for STC, it represented our contribution to the Centenary of ANZAC – a bold partnership exploring the real issues affecting the lives of servicemen and women in the 21st century.

We partnered with NRMA Motoring & Services to develop and deliver a new play on the issue of road safety. Road Train, written and directed by STC’s Resident Community Director, Stefo Nantsou, was performed to young people in eight schools and community venues throughout Western Sydney, regional NSW and ACT, reaching over 2,100 people.

Our three-year partnership with Bankstown Youth Development Service (BYDS) culminated in performances of a new Australian play developed through a series of workshops in schools and communities throughout Western Sydney. Written and directed again by Stefo Nantsou, The Other Way was performed by a unique ensemble of professional actors, students and community members. Performances took place at Bankstown Arts Centre and at STC’s Wharf 2. STC would like to thank Arts NSW for its support of the project.

Other community and advocacy projects included: speaking engagements by Andrew Upton (Wired for Wonder conference) and Patrick McIntyre (Circus – a Festival of Commercial Creativity conference); talks by various staff members at educational institutions; Greening the Wharf initiatives; profiling and sharing sustainability strategies. We continued our collaboration with Lend Lease on the development and online publication of oral histories relating to the ongoing evolution of the Walsh Bay and Barangaroo waterfront precinct.

In 2013, STC formed a partnership with the Self Help for Hard of Hearing People (SHHH!) in which representatives of SHHH! attended preview performances in Sydney Theatre for all STC shows, providing feedback on the Induction Loop System so that

it could be calibrated to optimum effectiveness. The Company also participated in an access cultural appraisal, undertaken by Arts Access NSW. The overall assessment was very positive and the outcomes of this appraisal will form the basis of STC’s Disability Action Plan.

The Company offered audio-described, captioned and Auslan interpreted performances as well as pre-show tactile tours for Sydney Theatre and Drama Theatre shows, plus an audio-described and captioned performance for Super Discount in Wharf 1 Theatre, in collaboration with Accessible Arts.

STC Archives is a valuable cultural resource. In 2013 we processed 387 requests for information or material from staff, the public, researchers, theatre practitioners and other theatre companies. The STC oral history project also continued recording interviews with former STC staff and artists. 51 oral history interviews have been conducted from the project’s inception in 2004 to the end of 2013.

Volunteer guides generously gave their time to conduct backstage tours of the historic Wharf site for the general public. STC thanks the Guides and Archives volunteers for their time and longstanding commitment to the Company.

The Theatre Bar at the End of The Wharf continued to make a vital contribution to the liveliness of the Walsh Bay precinct, and to the experiences of theatre-goers. After its successful launch in 2012 under STC’s management, the Company licensed the operation to Fresh Catering in 2013, significantly streamlining operations.

STRATEGY TWO CREATIVE FUTURES

STC’s School Drama™ program (a joint project with the University of Sydney) continued to grow and, in 2013, doubled its reach to 27 schools, 58 teachers and 1,327 children in NSW. We also completed a pilot interstate roll-out with our partners State Theatre Company of South Australia (STCSA) and Flinders University, reaching four schools and 200 students in South Australia.

Dedicated Schools Days performances, supplemented by resources for teachers and students, were presented during

CommunityMaintain and promote theatre’s traditional place at the centre of social thought, discussion and change

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seasons of The Secret River, One Man, Two Guvnors, Fury, Romeo and Juliet, Rosencrantz and Guildenstern are Dead, Super Discount and Waiting for Godot. Schools Days are an opportunity for students to interact with key members of the creative team through pre-show talks and post-show Q&As.

Co Resident Director Sarah Goodes directed six performances of a staged reading of Moisés Kaufman and the members of Tectonic Theater Project’s The Laramie Project in Wharf 2 Theatre from 12 – 14 June as part of the STC Ed program. The work, part of the HSC Drama syllabus, played to over 1,000 students during its short season.

During the Department of Education and the Board of Studies’ OnStage week in February, STC hosted a week-long program of events, including behind-the-scenes tours at The Wharf. Tours for school groups and children were held on a further 13 dates during the year.

Two primary teacher workshops were held in 2013, attended by over 50 teachers. The sessions, which focussed on Transforming Learning through Drama and Reader’s Theatre, were facilitated by Professor Robyn Ewing.

STRATEGY THREE A GREAT PLACE TO WORK

STC staff gathered together during the year for regular BBQs following our full Company meetings, and 2013 marked the emergence of Schnitzel Friday as the jewel in the crown of discounted staff lunches provided by our partners in The Theatre Bar at the End of the Wharf, Fresh Catering.

Other social activities included: participation in Australia’s Biggest Morning Tea, to raise money for the Cancer Council; donation of over 350 books and toys to The Smith Family’s annual Christmas Toy & Book Appeal; and supporting fundraising initiatives for The Actors Benevolent Society, ACON and the Bobby Goldsmith Foundation. Across the year, the Company donated $54,440 worth of tickets to charities, foundations and schools.

The Preston Award is awarded to employees who have worked at STC for 10 years, in recognition of their commitment to the Company. It is named after John Preston, STC’s longest serving staff member, who has worked at the Company for 34 years. There were five new Prestonians in 2013: Maryanne Lawler, Steve Mason, Serena Hill, Nancy Alexander and Jennifer White.

In 2013, STC joined the CareerTrackers program. CareerTrackers is a national non-profit organisation that works with Indigenous university students, creating career pathways through a paid, structured internship program. STC thanks Lend Lease for enabling the Company to host an intern within the STC Human Resources department.

Four additional interns also joined the Company in 2013, three via the Company’s long-standing partnership with the Boston-Australian Intern program, in which the STC has participated for over 20 years. The fourth intern, a final year WAAPA student who worked on STC’s project with the Australian Defence Force, was subsequently recruited – demonstrating the potential for internships to act as a pathway to employment.

Eryn Jean Norvill and Anna Lise Phillips in Romeo and Juliet. Photo: Lisa Tomasetti

Ash Flanders, Luke Mullins and Jill McKay in Little Mercy. Photo: Brett Boardman

Amber McMahon in School Dance. Photo: Lisa Tomasetti

22

2013 ACHIEVEMENTS

Our landmark Greening The Wharf project continues to deliver on the Company’s, and the environment’s, bottom line. Our consumption of overall purchased energy supply, including natural gas and grid power (3,201 GJ) fell again this year by 32.6%. Our resulting greenhouse gas emissions (504.4 tCO2-e from electricity and gas) also fell 1.8%. Happily, when it rained, it poured – so our town water consumption across the Company (3,649.9 kL) fell again on the previous year by 32.6%.

The 2013 results further reduce the cumulative environmental impact the Company has made since we started to record our baseline data in 2007. Over this time, 174.7 tonnes of coal have been saved by reducing electricity purchased from the grid. Our reductions in greenhouse gas emissions mean we have removed the equivalent of 128.8 cars from the road per year. We have saved five Olympic-sized swimming pools of town water, plus we have saved enough power to run 68 average NSW households’ annual electricity supply.

Our workshop teams continue to deconstruct and re-use our sets so our purchase of timber has remained well under half of when we began measurement in 2007. With 18 waste streams in place, our total waste generated decreased by 10.6% in 2013, while the diversion (recycling and energy capture) from our waste again positively increased by 19.7% to 42.9 tonnes.

STC is not a wasteful company and this year our renewed Green Team of passionate staff continued to raise awareness and encourage sustained behavioural change to support our goals. New initiatives included the promotion of switching off computers at night, and regularly resetting printing defaults to double sided and black and white, saving resources and money. We also started a Company-wide regular “Friday Fling” to encourage clearing workspaces of unwanted paper/materials and returning them for re-use or recycling.

Environmental results verified by Pangolin Associates

Greening the Wharf2007 – 2013 Cumulative Results

GRID ENERGY CONSUMPTION DOWN 53.8%enough to power 68 homes

2007

2013

WATER USAGE DOWN 77%saving 5 Olympic pools

2007

2013

DIVERSION RATE (MATERIALS RECYCLED / ENERGY RECOVERED)

UP 58.3%*

2010

2013

GREENHOUSE GAS EMISSIONS† DOWN 49.3% equivalent to taking 128 cars off the road

2007

2013

*results since 2010 †electricity and gas only

23

In 2013, we decided to permanently recognise those individuals and foundations who have demonstrated a deep commitment to and enduring engagement with the Company.

Our inaugural Life Patrons have made substantial contributions to the growth and achievements of Sydney Theatre Company over many years. Their leadership and generosity have enabled us to take artistic risks, invest in new projects and champion new creative voices.

We commissioned Collider to design a fitting – and of course theatrical – tribute to our Life Patrons for installation at The Wharf. Their solution: a series of “boxes at the theatre” that contain props from our productions to symbolise the breadth of our work, from a glove from Into The Woods to a skull from Titus Andronicus to a dillybag from The Secret River.

STC Life Patrons

Collider Design Team Andrew van der Westhuyzen, Natasha Bartoshefski, Yuna Moon, Sarah Nguyen

Prop Styling Renée Mulder Construction A&W Signs STC Project Management Carmel England, Laura Hough, Tiffany Moulton

With thanks to our inaugural Life Patrons:

Mr Giorgio Armani Shi’s Family Foundation Ian and Min Darling Gretel Packer The Pier Group (Chair Anne Schofield AM) David and Claire Paradice The Caledonia Foundation Anonymous Catriona and Simon Mordant AM W & A Johnson Family Foundation Origin Foundation David Gonski AC and Orli Wargon OAM Mrs Roslyn Packer AO Ilse and Cameron O’Reilly Vincent Fairfax Family Foundation Minderoo Foundation Julie and Stephen Fitzgerald John and Frances Ingham Carla Zampatti AC Andrew Stuart

Photos: Collider

24

Mark Deans and David Woods in Super Discount. Photo: Jeff Busby

26

The Secret River“It’s a stunning, shattering piece of theatre that goes to the heart of our history.” Jo Litson, The Sunday Telegraph

School Dance“...a ridiculously charming kit bag of 80s nostalgia.” Angela Bennetts, Alternative Media Group

Mrs Warren’s Profession“Giles’s production is very fine and thought-provoking.” John McCallum, The Australian

Little Mercy“I haven’t been so surprised or laughed so hard in a theatre in ages. It is perverted, disturbing and very, very funny, thanks to brilliant comic timing, great sound design and lots of sparkling ideas.” Elissa Blake, The Sun-Herald

One Man, Two Guvnors“...possibly the funniest night out at the theatre this year.” Alexandra Spring, Vogue

Dance Better at Parties“If you’d like to spend 70 minutes in the absorbing company of two fascinating characters and a couple of mysterious, funny and touching stories – Dance Better at Parties is the show for you.” Diana Simmonds, Stage Noise

Fury“The play benefits from excellent direction by STC Artistic Director Andrew Upton, who elevates the drama onstage by creating strong physical relationships in designer David Fleischer’s simple, sleek set and drawing strong, textured performances, particularly from Peirse and Menzies whose characters unravel beautifully.” Ben Neutze, Time Out

The Maids“Huppert and Blanchett are magnificent, playing the extremity of their characters with an icily passionate precision.” Alison Croggon, ABC Arts Online

Rosencrantz and Guildenstern are Dead“Tim Minchin and Toby Schmitz are brilliantly intense...” John McCallum, The Australian

Storm Boy“...it was plain awesome. I liked Fingerbone Bill (Trevor Jamieson) a lot, he was very humorous.” Bill Blake – 8 year old critic, Time Out

Romeo and Juliet“...as beautifully tragic as anyone could hope.” Dee Jefferson, Time Out

Super Discount“...a satisfyingly complex and richly entertaining experience.” Keith Gallasch, Real Time

Whoops! The Wharf Revue“...one of the best Wharf Revues ever.” Lloyd Brad Syke, Crikey

Vere (Faith)“...full of intellect, tenderness and humour.” Shona Benson, Limelight

Waiting For Godot“I’ve seen many productions of this great play, including one directed by Beckett himself, but this is the best.” John McCallum, The Australian

Machinal“Dyer’s raw-nerved everywoman is riveting to watch.” Jason Blake, Sydney Morning Herald

What the critics said

27

Rory Potter and Trevor Jamieson. Photo: Heidrun Löhr

Jonathon Oxlade, Luke Smiles and Matthew Whittet. Photo: Lisa Tomasetti

Helen Thomson and Lizzie Schebesta.

Photo: Brett Boardman

Jill McKay. Photo: Brett Boardman

Owain Arthur. Photo: Lisa

Tomasetti

Steve Rodgers and Elizabeth Nabben.


Isabelle Huppert and Cate Blanchett. Photo: Lisa Tomasetti

Tim Minchin and Toby Schmitz. Photo: Heidrun Löhr

Michael Smith. Photo: Brett Boardman

Eryn Jean Norvill and Dylan Young. Photo: Lisa Tomasetti

Simon Laherty, David Woods and Brian Tilley. Photo: Jeff Busby

Jonathan Biggins and Amanda Bishop. Photo: Tracey Schramm

Paul Blackwell. Photo: Matt Nettheim

Hugo Weaving and Richard Roxburgh. Photo: Lisa Tomasetti

Harriet Dyer and Ivan Donato. Photo: Brett Boardman

Sarah Peirse. Photo: Lisa Tomasetti

28

SYDNEY THEATRE COMPANY, SYDNEY FESTIVAL AND ALLENS PRESENT

THE SECRET RIVER BY KATE GRENVILLE AN ADAPTATION FOR THE STAGE BY ANDREW BOVELL

World Premiere37 performances 28,309 paid attendance

On Tour14 Feb – 2 Mar

12 performances 9,783 paid attendance

The Playhouse, Canberra Theatre Centre, Canberra

His Majesty’s Theatre, Perth

Cast

William ThornhillNathaniel Dean

Garraway/Dulla Djin’s ChildBailey Doomadgee

Willie Thornhill Lachlan Elliott

Garraway/Dulla Djin’s ChildKamil Ellis

YalamundiRoy Gordon

Musician/ComposerIain Grandage

BuryiaEthel-Anne Gundy

Sal ThornhillAnita Hegh

Dan OldfieldDaniel Henshall

NgalamalumTrevor Jamieson

Wangarra/BranyimalaRhimi Johnson Page

Mrs. HerringJudith McGrath

Willie Thornhill Callum McManis

Thomas BlackwoodColin Moody

Dick ThornhillRory Potter

Smasher SullivanJeremy Sims

NarabiJames Slee

LovedayBruce Spence

Sagitty Birtles/Suckling/TurnkeyMatthew Sunderland

Gillyagan/MuruliMiranda Tapsell

Dick ThornhillTom Usher

Dhirrumbin/Dulla DjinUrsula Yovich

Production TeamDirector Neil Armfield

Artistic Associate Stephen Page

Set Designer Stephen Curtis

Costume Designer Tess Schofield

Lighting Designer Mark Howett

Composer & Musician Iain Grandage

Sound Designer Steve Francis

Assistant Director Kip Williams

Language Consultant Richard Green

Dramaturg Matthew Whittet

Voice & Text CoachCharmian Gradwell

Additional MusicTrevor Jamieson

Fight DirectorScott Witt

Production Manager John Colvin

Stage Manager Georgia Gilbert

Deputy Stage Manager Matt Schubach

Assistant Stage Manager Remy Woods

Assistant Stage Manager Liam Murray

Wig, Hair & Wardrobe SupervisorLauren A. Proietti

Dresser Katie Hankin

Head Mechanist David Stabback

Head Fly Operator Kane Mott

Floor Mechanist Chris Fleming

Head Electrician Andrew Tompkins

Lighting Board OperatorPat Smithers

Head of SoundKevin White

FOH Sound OperatorDavid Bergman

Radio Mic Technician Olivia Benson

ChaperonesAnne Carroll Alice Hatton Caroline Mooney Katie Hankin (tour)

Rehearsal PhotographerGrant Sparkes-Carroll

Production Photographer Heidrun Löhr

Running Time2 h 45 min including interval

The Secret River was produced by Sydney Theatre Company in association with Sydney Festival, the Centenary of Canberra and the Perth International Arts Festival.

The Secret River was assisted by the Australian Government’s Major Festivals Initiative, managed by the Australia Council, its arts funding and advisory body, in association with the Confederation of Australian International Arts Festivals, Sydney Festival, Perth International Arts Festival and the Centenary of Canberra.

SYDNEY THEATRE

8 JAN – 9 FEB

COMMISSIONING PATRONS

DAVID GONSKI AC & ORLI WARGON OAM CATRIONA & SIMON MORDANT AM

PRESENTING SPONSOR

Trevor Jamieson, Miranda Tapsell and Iain Grandage . Photo: Heidrun Löhr

29


CastJoanie/Danika/Random Girl/Hannah Ellis Amber McMahon

Jonathon Jonathon Oxlade

Luke Luke Smiles

Derek Sturgess Jack Wetere Ben Coles

Matthew Matthew Whittet

Production teamDirector Rosemary Myers

Designer Jonathon Oxlade

Original Soundtrack Luke Smiles Motion Laboratories

Lighting Designer Richard Vabre

Movement Gabrielle Nankivell

Animation Chris More

Production Manager Jason Warner

Stage Manager Gabby Hornhardt

Assistant Stage Manager Alex Hayley

Theatre TechnicianCameron Menzies

Sound OperatorAndrew Lysle

Head MechanistEric Duffy

Backstage Wardrobe SupervisorLisa Peddie

Father’s Voice Richard Vabre

Voice OversAnthony Phelan

Production PhotographerLisa Tomasetti

Running Time1 h 15 min no interval


Tour10 Apr – 20 Apr


IMB Theatre, Illawarra Performing Arts Centre, Wollongong

Riverside Theatre, Parramatta

CastVivie WarrenLizzie Schebesta

Praed Simon Burke

Praed (Extension Season)David Whitney

Mrs. Kitty WarrenHelen Thomson

Sir George CroftsMartin Jacobs

Frank GardnerEamon Farren

The Reverend Samuel GardnerDrew Forsythe

Production TeamDirector Sarah Giles

Designer Renée Mulder

Lighting Designer Nigel Levings

Composer & Sound Designer Max Lyandvert

Assistant Director Harriet Gillies


Production ManagerTerri Richards

Stage ManagerTanya Leach

Assistant Stage ManagerTodd Eichorn

Head MechanistDavid Tongs




Production PhotographerBrett Boardman


SYDNEY THEATRE COMPANY IN ASSOCIATION WITH SYDNEY FESTIVAL PRESENTS A WINDMILL THEATRE PRODUCTION

SCHOOL DANCEBY MATTHEW WHITTET

SYDNEY THEATRE COMPANY PRESENTS

MRS WARREN’S PROFESSIONBY GEORGE BERNARD SHAW

WHARF 1 THEATRE WHARF 1 THEATRE

10 JAN – 3 FEB 14 FEB – 6 APR 4 – 20 JUL EXTENSION SEASON

Jonathon Oxlade and Luke Smiles. Photo: Lisa Tomasetti

Lizzie Schebesta and Helen Thomson. Photo: Brett Boardman

SUPPORTED BY

THE RESIDENT ARTIST PATRONS

30


CastVirginia SummersAsh Flanders

MercyJill McKay

Roger Summers/Miss TrenthamLuke Mullins

MusicianSteve Toulmin

Production TeamDirectorDeclan Greene

Designer David Fleischer

Lighting & AV Designer Verity Hampson

Composer & Sound DesignerSteve Toulmin

Production ManagerSimon Khamara

Stage Manager Sarah Smith

Assistant Stage Manager Roxzan Bowes

Theatre Technician Tony McCoy


Running time1 h 25 min no interval


CastRachelElizabeth Nabben

DaveSteve Rodgers

Production TeamDirector Gideon Obarzanek

Designer Renée Mulder

Lighting Designer Benjamin Cisterne

Composer & Sound Designer Stefan Gregory

Dance Instructor & Choreographer Jessica Prince

Production ManagerKate Chapman

Stage ManagerTim Burns

Assistant Stage ManagerRebecca Poulter

Theatre TechniciansRen Kenward Tony McCoy




LITTLE MERCYBY SISTERS GRIMMCREATED BY ASH FLANDERS AND DECLAN GREENE


DANCE BETTER AT PARTIESBY GIDEON OBARZANEK


7 – 24 MAR 3 APR – 11 MAY

SUPPORTED BY THE RESIDENT ARTIST PATRONS

DANCE BETTER AT PARTIES WAS INITIALLY WORKSHOPPED WITH SUPPORT FROM MRS ROSLYN PACKER AO

Luke Mullins and Ash Flanders. Photo: Brett Boardman

Steve Rodgers and Elizabeth Nabben. Photo: Brett Boardman

31


CastBob Yure Covich

Joe Harry Greenwood

Rebecca Geraldine Hakewill

Annie Claire Jones

Patrick Robert Menzies

Alice Sarah Peirse

Teacher Tahki Saul

Production TeamDirector Andrew Upton

Designer David Fleischer

Lighting Design Nick Schlieper Chris Twyman

Composer & Sound Designer Max Lyandvert

Assistant Director Imara Savage


Fight DirectorScott Witt


Stage ManagerMinka Stevens

Assistant Stage ManagerMatt Schubach


Backstage Wardrobe SupervisorRosalie Lester




FURYA NEW PLAY BY JOANNA MURRAY-SMITH

WHARF 1 THEATRE

15 APR – 8 JUN

MEDIA PARTNER AUDI NIGHT WITH THE ACTORS PARTNER

THIS PRODUCTION IS SUPPORTED BY


CastClaireCate Blanchett

SolangeIsabelle Huppert

MistressElizabeth Debicki

Production TeamDirectorBenedict Andrews

DesignerAlice Babidge

Lighting DesignerNick Schlieper

ComposerOren Ambarchi

Video Designer & Operator Sean Bacon

Sound DesignerLuke Smiles

DramaturgMatthew Whittet

Assistant to the Designer Sophie Fletcher


Translation from the original French versionJulie Rose

Production ManagerAnnie Eves-Boland

Deputy Production ManagerTerri Richards

Stage ManagerGeorgia Gilbert

Deputy Stage ManagerAmy Forman

Rehearsal Assistant Stage ManagerTodd Eichorn

Video System DesignerShane Johnson

Video TechnicianDavid Bergman

Sound System DesignerAdam Iuston


foh Sound OperatorHayley Forward

Wig, Make-Up & Wardrobe Supervisor Lauren A. Proietti

Head MechanistSteve Mason

Head Fly OperatorDavid Stabback

Deputy Head Fly OperatorKane Mott

Head ElectricianAndrew Tompkins

Lighting Board OperatorHarry Clegg

Rehearsal/Production PhotographerLisa Tomasetti


SYDNEY THEATRE COMPANY AND COLONIAL FIRST STATE GLOBAL ASSET MANAGEMENT PRESENT

THE MAIDSBY JEAN GENETIN A NEW TRANSLATION BY BENEDICT ANDREWS AND ANDREW UPTON

SYDNEY THEATRE

4 JUN – 20 JUL

PRESENTING SPONSOR ASSOCIATE SPONSOR MEDIA PARTNER

THE STC CHAIRMAN'S

COUNCIL

Tahki Saul, Robert Menzies and Sarah Peirse.

Photo: Lisa Tomasetti

Isabelle Huppert and Cate Blanchett. Photo: Lisa Tomasetti

32


CastMusicianPaul Cutlan

PoloniusJohn Gaden

AlfredGeorge Kemp

Player/LaertesAngus King

The PlayerEwen Leslie

RosencrantzTim Minchin

GertrudeHeather Mitchell

Player/King in Dumbshow/AmbassadorNicholas Papademetriou

OpheliaAdele Querol

GuildensternToby Schmitz

Player/MurdererBerynn Schwerdt

ClaudiusChristopher Stollery

Player/HoratioAaron Tsindos

HamletTim Walter

Production TeamDirectorSimon Phillips

DesignerGabriela Tylesova


Musical Director & ComposerAlan John

Sound DesignerSteve Francis

Assistant Director Sarah Giles


Movement DirectorScott Witt


Deputy Production ManagerKate Chapman


Deputy Stage ManagerMatt Schubach


Wig & Make-Up Supervisor Lauren A. Proietti



Head Fly OperatorDavid Stabback

Deputy Head Fly/Automation OperatorKane Mott




Audio ProgrammerDavid Bergman

foh Sound OperatorMichael Toisuta

Radio Mic TechnicianOlivia Benson

Rehearsal PhotorapherLisa Tomasetti

Production PhotographerHeidrun Löhr


SYDNEY THEATRE COMPANY AND COMMONWEALTH BANK PRESENT

ROSENCRANTZ AND GUILDENSTERN ARE DEADBY TOM STOPPARD

SYDNEY THEATRE

6 AUG –14 SEP

PRESENTING SPONSOR


CastBenvolioAkos Armont

Friar LaurenceMitchell Butel

ParisAlexander England

MercutioEamon Farren

NurseJulie Forsyth

TybaltJosh McConville

CapuletColin Moody

JulietEryn Jean Norvill

Lady CapuletAnna Lise Phillips

RomeoDylan Young

Production TeamDirectorKip Williams

DesignerDavid Fleischer

Lighting DesignerNicholas Rayment

Composer & Sound DesignerAlan John

Associate Sound Designer Nate Edmondson

Fight DirectorNigel Poulton


Production ManagerJohn Colvin

Stage ManagerTanya Leach

Assistant Stage ManagerRoxzan Bowes

Wig, Make-Up & Wardrobe SupervisorLauren A. Proietti


Radio Mic TechnicianRemy Woods



Running Time3 h including interval

SYDNEY THEATRE COMPANY PRESENTSTHE MOST EXCELLENT AND LAMENTABLE TRAGEDY OF

ROMEO AND JULIETBY WILLIAM SHAKESPEARE

DRAMA THEATRE

20 SEP – 2 NOV

MEDIA PARTNER AUDI NIGHT WITH THE ACTORS PARTNER

ASSOCIATE SPONSOR

SUPPORTED BY

Tim Minchin and Toby Schmitz. Photo: Heidrun Löhr Eryn Jean Norvill and Dylan Young. Photo: Lisa Tomasetti


33


CastPerformers & DevisorsMark Deans Simon Laherty Sarah Mainwaring Scott Price Brian Tilley David Woods

Production TeamDirector And DevisorBruce Gladwin

ChoreographyAntony Hamilton

Lighting DesignAndrew Livingston

Costume DesignShio Otani

Set ConstructionMark Cuthbertson

DramaturgKate Sulan

Sound EngineerMarco Cher-Gibard

Air EngineersMark Cuthberston Alison Harvey Rhian Hinkley Bruce Gladwin Andrew Livingston Van Locker Shio Otani

Script ConsultantMelissa Reeves

STC Production ManagerKate Chapman

Stage ManagerAlice Fleming

Assistant Stage ManagerMinka Stevens

Lighting OperatorLachlan O’Dea

Show DirectorSamara Hersch

Artist SupportJo Leishman Shannon Quinn Adriana Sobolewski Nikki Watson

Rehearsal/Production PhotographerJeff Busby

Running Time60 min no interval


CastGina/Gianna/HollyMatilda Bailey

VerePaul Blackwell

Mike/MichaelMatthew Gregan

Marissa/MelissaKsenja Logos

Kate/KatherineRebecca Massey

Ralph/RogerGeoff Morrell

Simon/ScottYalin Ozucelik

Production TeamDirectorSarah Goodes

Set DesignerPip Runciman

Costume DesignerRenée Mulder

Lighting DesignerNigel Levings

Composer & Sound DesignerSteve Francis

Assistant Director Nescha Jelk

Production ManagerGavin Norris

STC Production ManagerJohn Colvin

Stage ManagerMelanie Selwood

Assistant Stage ManagerSarah Smith


Backstage Wardrobe SupervisorRosalie Lester

Rehearsal PhotographerShane Reid

Production PhotographerMatt Nettheim


SYDNEY THEATRE COMPANY PRESENTSBACK TO BACK THEATRE, SYDNEY THEATRE COMPANY AND MALTHOUSE THEATRE

SUPER DISCOUNTSYDNEY THEATRE COMPANY PRESENTSA SYDNEY THEATRE COMPANY AND STATE THEATRE COMPANY OF SOUTH AUSTRALIA PRODUCTION

VERE (FAITH)A NEW PLAY BY JOHN DOYLE

WHARF 1 THEATRE DRAMA THEATRE

20 SEP – 19 OCT 6 NOV – 7 DEC

Brian Tilley, Simon Laherty and David Woods. Photo: Jeff Busby

Yalin Ozucelik, Paul Blackwell and Geoff Morrell. Photo: Matt Nettheim

SUPPORTED BY THE RESIDENT ARTIST PATRONS

34


CastLuckyLuke Mullins

BoyOtis Pavlovic Rory Potter

PozzoPhilip Quast

EstragonRichard Roxburgh

VladimirHugo Weaving

ProductionDirectorAndrew Upton

Associate DirectorAnna Lengyel

Set DesignerZsolt Khell

Costume DesignerAlice Babidge


Sound DesignerMax Lyandvert

Assistant to the Costume Designer Sophie Fletcher



Deputy Production ManagerNathaniel Lunn

Stage ManagerGeorgia Gilbert


Wig, Make-Up & Wardrobe SupervisorLauren A. Proietti


Head Fly OperatorKane Mott

Deputy Head Fly OperatorChris Fleming




foh Sound OperatorMichael Toisuta

ChaperonesSally Manning Kay Drummond

Rehearsal /Production PhotographerLisa Tomasetti


SYDNEY THEATRE COMPANY AND QANTAS PRESENT

WAITING FOR GODOTBY SAMUEL BECKETT

SYDNEY THEATRE

12 NOV – 21 DEC


CastStenographer/Doctor/Older Man In Bar/Lawyer/Priest Robert Alexander

Filing Clerk/Boy In Bar/ Lawyer/BarberMatthew Backer

Mr Jones/Man In BarBrandon Burke

Lover/Lawyer/BarberIvan Donato

Young WomanHarriet Dyer

Adding Clerk/Mr Smith/Lawyer/SingerKatie McDonald

Telephone Girl/Nurse/Lawyer/ReporterTerry Serio

Mother/Woman In Bar/ Judge/Reporter Wendy Strehlow

Production TeamDirectorImara Savage

DesignerDavid Fleischer

Lighting DesignerVerity Hampson

Composer & Sound DesignerSteve Francis




Assistant Stage ManagerLiam Murray

Head MechanistEric Duffy

Theatre TechnicainPat Smithers

Sound OperatorLuke Davis




MACHINALBY SOPHIE TREADWELL

WHARF 2 THEATRE

21 NOV – 7 DEC

PRESENTING SPONSOR ASSOCIATE SPONSOR MEDIA PARTNER

Hugo Weaving, Philip Quast, Richard Roxburgh, Luke Mullins Photo: Lisa Tomasetti

Katie McDonald, Harriet Dyer and Robert Alexander. Photo: Brett Boardman

SUPPORTED BY


35


CastFrancis Henshall Owain Arthur

Stanley Stubbers Edward Bennett

DollyAmy Booth-Steel

Harry Dangle Nick Caveliere

AlfieMark Jackson

Charlie ClenchColin Mace

Lloyd BoatengMark Monero

PaulineKellie Shirley

Alan DangleLeon Williams

GarethMatthew Woodyatt

Rachel CrabbeRosie Wyatt

EnsembleSabrina Carter Alicia Davies Joshua Lacey Alan Pearson Seun Shote Russell Wilcox

The CrazeMusic Director/Bass Richie Hart

Lead Vocal/GuitarPhilip Murray Warson

Guitars Oliver Seymour-Marsh

DrumsBilly Stookes

Production TeamDirector Nicholas Hytner

Physical Comedy Director Cal McCrystal

Revival Director/ChoreographerAdam Penford

Designer Mark Thompson

Lighting Designer Mark Henderson

Music & SongsGrant Olding

Sound Designer Paul Arditti

Associate Set DesignerJonathan Allen

Associate Costume DesignerPoppy Hall

Associate Lighting DesignerTom Snell

Fight Director Kate Waters

Company Voice Work Jacquie Crago

Literal TranslatorFrancesca Manfrin

UK Touring Production StaffProducerPádraig Cusack

Production ManagerAnna Anderson

Company Stage ManagerAndrew Speed

Deputy Stage ManagerNik Haffenden

Assistant Stage ManagerCharlotte Heath

Assistant Stage ManagerTanya Harrison

Technical SupervisorCraig Emerson

Lighting Supervisor & RelighterBen Dodds

Sound EngineerRoss Chatfield

Sound OperatorSam Clarkson

Wardrobe SupervisorJo Kuhn

Wigs SupervisorSuzanne Scotcher

Staff DirectorSam Yates

STC Production StaffProduction ManagerJohn Colvin

Assistant Stage ManagerSarah Smith

Assistant Stage ManagerEdwina Guinness

Backstage Wardrobe SupervisorDarryl Myott

DresserAnita Oram

Wig & Make-Up SupervisorLauren A. Proietti

Wig StylistMargaret Aston

Head MechanistSteve Mason Dave Stabback

Head Fly OperatorKane Mott

Floor MechanistChris Fleming

Floor ElectricianAndrew Tompkins


foh Sound OperatorPete Sforcina

Floor Sound TechnicianKevin White

Production PhotographersJohn Persson Tristram Kenton Lisa Tomasetti


SYDNEY THEATRE COMPANY AND UBS AUSTRALIA PRESENT A NATIONAL THEATRE OF GREAT BRITAIN PRODUCTION

ONE MAN, TWO GUVNORS BY RICHARD BEAN BASED ON THE SERVANT OF TWO MASTERS BY CARLO GOLDONI WITH SONGS BY GRANT OLDING

Special Presentation

SYDNEY THEATRE

30 MAR – 11 MAY

CULTURAL SPONSORASSOCIATE SPONSORPRESENTING SPONSOR

Owain Arthur. Photo: Lisa Tomasetti

36


CastStorm BoyJoshua Challenor

Mr Ponder/Mr PrideShaka Cook

Fingerbone BillTrevor Jamieson

Hideaway TomPeter O’Brien

Storm BoyRory Potter

Mr PercivalMichael Smith

Production TeamDirectorJohn Sheedy

DesignerMichael Scott-Mitchell

Puppetry DirectorPeter Wilson

Lighting DesignerDamien Cooper

Sound DesignerKingsley Reeve

Assistant Director Scarlet McGlynn

Puppets created byAnnie Forbes Tim Denton (Aboutface Productions) STC Props



Stage ManagerSarah Smith

Assistant Stage ManagerJemima Hogg

Backstage Wardrobe SupervisorGenevieve Blewitt


ChaperonesSally Manning Kay Drummond

Rehearsal/Production PhotographerBrett Boardman


SYDNEY THEATRE COMPANY PRESENTSA SYDNEY THEATRE COMPANY AND BARKING GECKO THEATRE COMPANY PRODUCTION

STORM BOYBY COLIN THIELEADAPTED FOR THE STAGE BY TOM HOLLOWAY

WHARF 1 THEATRE

9 AUG – 10 SEP


On Tour5 Sep – 19 Oct


Joan Sutherland Performing Arts Centre, Penrith

Riverside Theatre, Parramatta

IMB Theatre, Illawarra Performing Arts Centre, Wollongong

Casula Powerhouse, Casula

Civic Theatre, Newcastle

Glen Street Theatre, Belrose

The Playhouse, Canberra Theatre Centre, Canberra

CastJonathan Biggins Amanda Bishop Simon Burke Drew Forsythe

Production Team Musical SupervisorPhillip Scott

Lighting DesignerMatthew Marshall

Musical Director & AccompanistAndrew Worboys

Sound & Video Designer David Bergman

Production Manager & Set Realiser Barry Searle

Stage ManagersNicole Robinson Matt Schubach

Head ElectricianPat Smithers

Costume SupervisorScott Fisher

WigsMargaret Aston

Video ArtistTodd Decker

Voice CoachCharmian Gradwell

Rehearsal PhotogrpaherGrant Sparkes-Carroll

Production PhotographerTracey Schramm


SYDNEY THEATRE COMPANY AND BANK OF AMERICA MERRILL LYNCH PRESENT

WHOOPS!THE WHARF REVUE 2013WRITTEN AND CREATED BY JONATHAN BIGGINS, DREW FORSYTHE AND PHILLIP SCOTT

WHARF 1 THEATRE

23 OCT – 21 DEC

ASSOCIATE SPONSORPRESENTING SPONSORCOMMISSIONING PATRON

GRETEL PACKER

Rory Potter and Trevor Jamieson. Photo: Brett Boardman

Simon Burke and Jonathan Biggins.

Photo: Tracey Schramm

Special Presentation Special Presentation

37

World Premiere18 Jul

4 performances 720 free attendance

Bankstown Arts Centre, Bankstown

19 – 20 Jul

2 performances 391 free attendance

Wharf 2 Theatre

CastThe Hajj FamilyVera Zindzi Okenyo

David Fayssal Bazzi

Matuse Matuse

Alia Randa Sayed

Kayla Emni El Masri

Mohammed Karim Zreika

Hajj Stefo Nantsou

Tamar Alice Ansara

The Webb FamilyMayaAlice Ansara

Jasmine Talisha Diaz

Ziggy Anees Quader

The Fostevski FamilyGotse Vasko Srbinovski

Lena Ildiko Kiss

The Gill FamilyGayatriAishverya Nidhi

BobbyArman Gupta

LuckyRijul Banerjee

Mohammed’s MatesJojoMadhi Hussian

AliAbdullah El Sayed

SimAli El Chebib

Kayla’s FriendsPixieNaomi Najarin

PonyaEsaena Tanaki

PetraAida Zjakic

The GangRedJustin Kilic

The BeatJoey Wells

MungoNaser Chamali

SlickFilip Stempien

Centro ShopsMr Warsaw’s ButcherFilip Stempien

Sharman’s Fruit And VegetablesSharneel Sharma

Two Dollar Toni’sShauna Connolly

Gabriella’s Hair SalonSophie Bilton

Habib’s Mixed BusinessNaser Chamali

Taj Mahal’s Indian Take-AwaySho Nidhi

Target Staff & CustomersEntire Cast

Centro SecurityLennySopa Enari

HoHenry Vo

PaulStefo Nantsou

DavidFayssal Bazzi

Centro Information MillyIsabella Henriques

Centro Manager NoelNaser Chamali

Train Inspector ItaAlice Ansara

ThievesOlivia TwistKadeja El Masri

LexiCaoimhne Quinn

Community Services TinaZindzi Okenyo

ShellyEmily Warwick

Police Officer NeoKellie Pritchard

Production TeamStudio EngineerSho Nidhi

Assistant Director/DramaturgRanda Sayed

STC Production ManagerJohn Colvin

Stage Manager Suzanne Large

Lighting Technician (Bankstown)Frank Mainoo

Original MusicZindzi Okenyo Matuse Stefo Nantsou

Bankstown Youth Development ServiceDirectorTim Carroll

Engaging Young Men Through The ArtsJohn Shrimpton

Aboriginal Youth ArtsTim Bishop

Digital Producer/AdministrationKavita Bedford

Bankstown Arts CentreDirectorVandana Ram

Front Of HouseChillet Paz

Thanks to The students and teachers of Sir Joseph Banks High School, Easthills Girls High School, Baulkham Hills High School and James Meehan High School


SYDNEY THEATRE COMPANY IN PARTNERSHIP WITH BYDS PRESENT

THE OTHER WAYWRITTEN AND DIRECTED BY STEFO NANTSOU

WHARF 2 THEATRE

19 JUL – 20 JUL

COMMISSIONING PATRON THIS PROJECT IS SUPPORTED BY

THE GIRGENSOHN FOUNDATION

THE NSW GOVERNMENT THROUGH ARTS NSW

Matuse and the cast. Photo: Lee Pham

Community Presentation

38

World Premiere1 performance 200 free attendance

On Tour17 May – 6 Jun

14 performances 1,903 free attendance

James Meehan High School, Macquarie Fields

Merrylands High School, Parramatta

Lismore High School, Lismore

Mount View High School, Cessnock

Hunter River High School, Heatherbrae

Cowra High School, Cowra

Dapto High School, Wollongong

Melrose High School, Canberra

CastRyan Holden/Freda Suburu/Preston Tucker/Calvin Bedford/Police Officer/Adam Kia/Ronaldo Skoda/Manfred Benz/Castrol GuyJohn Shrimpton

Karla Ford / Carol Ford / Magistrate / Vicki Holden / E.J. / Bruce Hillan / Wayne Torana / Jude Jag / Slade Panelvan / Bundy GirlEllen Bailey

Eddie Ford / Court Clerk / Graham Holden / Muz Selica / Ethan Monaro / Alicia Datsun / Nathan Ute / Chris Fiat / Ziggy Bluebird / Mark Ferrari / Tyre ManAaron Tsindos

Production TeamDirectorStefo Nantsou

Voice ConsultantCharmian Gradwell

Production ManagerJohn Colvin

Stage ManagerSophie Berry




CastAndy ParisBrandon McClelland

John McAdamsNicholas Brown

Stephen BelberMarshall Napier

Greg PierottiStephen Multari

Mercedes HerrenoNatasha Beaumont

Kelli SimpkinsSara West

Barbara PittsMichelle Lim Davidson

Amanda GronichSarah Woods

Production TeamDirectorSarah Goodes

Production ManagerKate Chapman

Stage ManagerSarah Smith

Running time1 h 50 min no interval

NRMA MOTORING AND SERVICES AND SYDNEY THEATRE COMPANY PRESENT

ROAD TRAINWRITTEN AND DIRECTED BY STEFO NANTSOU

STC ED PRESENTS A STAGED READING OF

THE LARAMIE PROJECTBY MOISÉS KAUFMAN AND THE MEMBERS OF TECTONIC THEATER PROJECT


20 MAY 12 – 14 JUN

Ellen Bailey, Aaron Tsindos and John Shrimpton Photo: Brett Boardman

Community Presentation STC Ed Presentation

39

Since 2009, Sydney Theatre Company and The University of Sydney have partnered to design and deliver School DramaTM. School DramaTM is a professional development program for teachers that uses drama strategies to improve learning outcomes across the primary school curriculum, particularly in literacy.

For 90 minutes a week over seven weeks, each participating teacher works in the classroom alongside a specially trained teaching artist who helps build confidence and capacity in utilising drama to develop literacy outcomes in primary school students from kindergarten to grade six. Together they explore how drama strategies can be integrated into any area of English and literacy, such as narrative writing, comprehension and inference, confidence in oracy, descriptive language and student engagement.

The process begins with a day-long professional development workshop at STC, followed by a series of planning sessions focused on tailoring a “team-teaching” program to meet the class’ individual learning goals. The teaching artists then go into the schools, modelling the drama strategies and empowering teachers to carry these ideas into their regular teaching practice.

In 2013, The University of Sydney delivered a longitudinal evaluation of the program which demonstrated its efficacy. Key research findings show significant shifts in teacher-reported knowledge, understanding and confidence to use process drama strategies. Further, increased student academic achievements in literacy and English, improvements in student confidence and class cohesion and ongoing research and evaluations illustrate that the co-teaching model provides a powerful professional learning experience for teachers. Teachers also report that they

continue to use the knowledge and expertise gained long after the teaching artist has left the school, ensuring the program has a lasting and scalable impact.

Armed with this research, we doubled access to School Drama™ in 2013 across metropolitan Sydney, working with 58 teachers in 27 schools and in the process engaging with 1,327 children. We also trialled regional delivery models in Broken Hill and the Blue Mountains, as well as conducting an interstate pilot of the program in South Australia in partnership with State Theatre Company of South Australia and Flinders University.

Pre-service teachers from The University of Sydney shadowed teaching artists in Term 2, and our Education Manager has shared School Drama™ practice and research with pre-service teachers in Primary and English courses, and at conferences both nationally and internationally.

We believe that School DramaTM demonstrates the extremely positive instrumental value of the arts in education, and hope that confident, drama-literate teachers will help impart a joy of learning, language and storytelling to primary students.

Developing the program has been a major commitment and investment. Crucial support for the program has come from the Origin Foundation, Vincent Fairfax Family Foundation, the Caledonia Foundation and the STC Foundation and we thank them wholeheartedly for their help in getting it off the ground.

School DramaTM is supported by: The Caledonia Foundation Origin Foundation Vincent Fairfax Family Foundation

School Drama

40

Plays and Performances

No. of Performances Paid Attendance

Subscription Season

The Secret River 37 28,309

School Dance 28 7,140

Mrs Warren’s Profession 75 21,199

Little Mercy 19 3,290

Dance Better at Parties 41 6,840

Fury 61 14,961

The Maids 53 43,027

Rosencrantz and Guildenstern are Dead 44 34,263

Romeo and Juliet 49 20,637

Super Discount 26 3,002

Vere (Faith) 36 13,990

Waiting for Godot 44 34,861

Machinal 17 2,799

Sub Total 530 234,318

Special Presentations

One Man, Two Guvnors 49 24,657

Storm Boy 36 10,446

Whoops! The Wharf Revue 68 19,917

Sub Total 153 55,020

Education/Family/Community Free Attendance

Road Train – Sydney, Regional NSW & ACT 15 2,103

The Other Way – Bankstown & Wharf 2 Theatre 6 1,111

The Laramie Project 6 1,032 124

Sub Total 27 1,032 3,338

Total Subscription Season, Education and Special Presentations 2013 710 290,370

Total Subscription Season, Education and Special Presentations 2012 769 214,372

41

No. of Performances Paid Attendance

Touring

The Secret River – ACT & WA 12 9,783

Mrs Warren’s Profession – NSW 10 3,132

Whoops! The Wharf Revue – NSW & ACT 40 14,043

Sub Total 62 26,958

Free Ticketed Events Free Attendance

Rough Draft #19 – The Waiting Room 1 178

Rough Draft #20 – Alphabet of Arousal 1 200

Rough Draft #21 – The Secret Project 1 191

Rough Draft #22 – Wake in Fright 1 191

Rough Draft #23 – The Battle of Waterloo 1 184

Sub Total 5 944

Total Performances in 2013

Sydney Metropolitan Area 734

National 43

International 0

Grand Total Performances 2013 777

Total Attendance 2013 321,610

Total Attendance 2012 311,571

42

2011 2012 2013

Art Subscription season productions presented 12 11 13

�Average rehearsal time (STC produced & co-produced shows only) 5 weeks 4.3 weeks 4.6 weeks

Average performers per play 8.25 6.45 7.4

New Australian works and adaptations produced 15 13 11

Next stage productions presented 3 1 0

New commissions 6 8 4

Readings and workshops 30+ 15 20

Regional and national tours 4 5 4

International tours and presentations 1 3 0

Business Subscription season ($’000) 1,706 1,820 4,273

Non-subscription activities ($’000) (281) (7) 466

Touring ($’000) 419 235 113

�Net overheads (including funding and development income) ($’000) (1,853) (2,301) (4,719)

Surplus/deficit ($’000) (9) (254) 431

Reserves as % of turnover 17.03% 14.80% 13.93%

Total raised (net) including Foundation ($’000) 3,630 3,478 3,921

Paid attendance

Subscription season 196,796 174,809 234,318

Non-subscription activities 36,614 37,438 56,052

Subscriber members 16,696 14,652 16,922

Subscriber renewal 63% 75% 76%

Community/Education Productions presented 3 3 2

Workshops 3 12 18

No of participants 24,834 12,686 14,932

School Drama™ (no of schools participating) 17 17 27

Theatre in community productions (no of participants) 5 43 34

Key Performance Indicators

2013 results represent the merged Sydney Theatre Company and Sydney Theatre (NSWCM) entity

43Lizzie Schebesta in Mrs Warren’s Profession.


2013 results represent the merged Sydney Theatre Company and Sydney Theatre (NSWCM) entity

44

Philanthropic donations directly contribute to STC’s ability to create visionary theatre of scale, develop its artists and engage with the broader community. I would like to earnestly thank the many individuals and families who make up this critical support group as it is through you that the Company has the confidence and capacity to take risks and deliver the dynamic and engaging program of work we all enjoy.

In 2013, donations totalled $2,612,709, an increase of 28% on 2012 figures. Donations were raised alongside sales transactions, via direct mail campaigns, from major gifts for specific projects, fundraising events (including an auction, private dinners and Pier Group lunches) and from generous individuals who chose to leave the Company a gift in their Will.

This year we disbursed back to STC an amount of $1,464,237. Disbursements were directed towards:

Our creative work Donations directly supported the main stage productions of The Secret River, Storm Boy and Fury.

Our artists Donations empowered the work of emerging Resident Directors Sarah Giles, Sarah Goodes and Kip Williams.

Our community Donations gave us the capacity to expand our education outreach program, School Drama™.

Our company Donations from many generous individuals funded a much needed digital upgrade of our archives.

The accumulated balance held in the Foundation has been earmarked for a number of our 2014 main stage productions (some of which were already in development during 2013), ongoing investment in Resident Artists and support for new creative talent,

new Australian commissions and the ongoing investment in STC’s capacity to carry out its core work.

I would like to thank the STC Foundation Trustees for their continued commitment to STC. Without their skill, dedication and support we could not sustain the level of donations raised.

After a wonderful 17 years of working with STC, first as a Board Member, then as a member of the STC Foundation and finally as Foundation Chair, I have decided to step down with the confidence that I remain very close to the Company and the many individuals I respect, admire and have worked with over the years.

I would also like to acknowledge Carla Zampatti, who after 18 years of incredible service to the STC Foundation has also decided to step down from an official role with the Company.

The role of Foundation Chair has been taken up with enthusiasm and great skill by Ann Johnson, who has been a significant supporter of the Company for a number of years.

Both Carla and I look forward to continuing to support the work of the Sydney Theatre Company. The passion and impact of theatre keeps us connected to each other as individuals and as a community, and ongoing support is essential to continuing the quality and energy of Sydney performances.

Jillian Broadbent Chair STC Foundation

STC Foundation

Foundation TrusteesChairJillian Broadbent AO

Deputy ChairAndrew Stuart

TrusteesCate Blanchett Nick Greiner AC Judi Hausmann Ann Johnson Justin Miller Peter Miller Gretel Packer Matthew Playfair Carla Zampatti AC

Shaka Cook, Michael Smith and Rory Potter in Storm Boy. Photo: Brett Boardman

45

Foundation TrusteesChairJillian Broadbent AO

Deputy ChairAndrew Stuart

TrusteesCate Blanchett Nick Greiner AC Judi Hausmann Ann Johnson Justin Miller Peter Miller Gretel Packer Matthew Playfair Carla Zampatti AC

Revenue 2,612,709 2,042,504

Fundraising expenses (211,810) (185,715)

Administrative expenses (426,543) (414,014)

Greening funds applied to charitable purposes (198,795) (198,620)

Funds applied to charitable purposes (1,265,442) (2,341,324)

Profit before financing income 510,119 (1,097,169)

Financing income 78,903 105,632

Net financing income 78,903 105,632

Profit for the period 589,022 (991,537)

Other comprehensive income - -

Total comprehensive income for the period 589,022 (991,537)

Sydney Theatre Company Foundation TrustStatement of financial position As at 31 December 2013

Statement of comprehensive incomeFor the year ended 31 December 2013

2013 2012

$ $

Current assets

Cash and cash equivalents 3,105,283 3,058,000

Trade and other receivables 2,083,046 1,579,445

Total assets 5,188,329 4,637,445

Current liabilities

Trade and other payables 5,439 43,576

Deferred revenue 7,217 7,218

Total liabilities 12,656 50,794

Net assets 5,175,673 4,586,651

Equity

Retained earnings 2,628,088 1,275,271

Restricted funding – Greening 2,102,585 2,301,380

Restricted funding – other 445,000 1,010,000

Total equity 5,175,673 4,586,651

46

2013 DONATIONS

$100,000 and above David Gonski AC and Orli Wargon OAM John & Frances Ingham Catriona & Simon Mordant AM Origin Foundation Gretel Packer Mrs Roslyn Packer AO David and Claire Paradice

$50,000 - $99,999 Anonymous, The Caledonia Foundation, Julie and Stephen Fitzgerald, W & A Johnson Family Foundation, Vincent Fairfax Family Foundation, Carla Zampatti AC

$25,000 - $49,999 Anita & Luca Belgiorno-Nettis Foundation, Ian & Min Darling, Prudence MacLeod, Petre Foundation, The STC Pier Group, Ms Rebel Penfold-Russell OAM, John Symond AM

$15,000 - $24,999 John and Julie Connolly, Craig & Bernadette Drummond, Mr Robert Hansen & Dr Annabelle Farnsworth, Will & Jane Vicars

Chairman’s Council Mr Neil Balnaves AO, Catherine and Phillip Brenner, Michael Carapiet & Helen Carapiet, Mr and Mrs Robin and Judy Crawford, Rowena Danziger AM & Ken Coles AM, Ian & Min Darling, Craig & Bernadette Drummond, Julie and Stephen Fitzgerald, David Gonski AC and Orli Wargon OAM, John M Green & Jenny Green, John & Frances Ingham, Mark & Anne Lazberger, Danita R. Lowes & David M. Fite, MacKenzie Family, Andrew Messenger, Catriona & Simon Mordant AM, David and Claire Paradice, Robert Purves AM, Ian & Kelly Saines, Mr Fred Street AM & Mrs Dorothy Street, Andrew Stuart, TAG Family Foundation, The Hon Malcolm Turnbull MP and Lucy Hughes Turnbull AO, Kim Williams AM & Catherine Dovey, Graeme Wood AM

$10,000 - $14,999 Anonymous, Robert Albert AO & Libby Albert, Robert Cameron AO & Paula Cameron, Edward and Diane Federman, Mrs Megan Grace, Hausmann Communications, Mark & Anne Lazberger, Ross Littlewood & Alexandra Curtain, Maple-Brown Charitable Foundation Ltd, Roger Massy-Greene & Belinda Hutchinson, Dick & Pip Smith, Michael and Eleonora Triguboff, Phillip and Suzy Wolanski

Our Donors

Life Patrons Mr Giorgio Armani Shi’s Family Foundation Ian and Min Darling Gretel Packer The Pier Group (Chair Anne Schofield AM) David and Claire Paradice The Caledonia Foundation Anonymous Catriona and Simon Mordant AM W & A Johnson Family Foundation

Origin Foundation David Gonski AC and Orli Wargon OAM Mrs Roslyn Packer AO Ilse and Cameron O’Reilly Vincent Fairfax Family Foundation Minderoo Foundation Julie and Stephen Fitzgerald John and Frances Ingham Carla Zampatti AC Andrew Stuart

A special thank you to all of our generous donors who make our work possible. We applaud you!

47

$5,000 - $9,999 Anonymous, Wayne Adams in memory of Liz O’Neill OAM, Michael Adena & Joanne Daly, Ruth Armytage AM, Philip Bacon, Ms Jillian Broadbent AO, Anne and David Craig, Y Faros and P McIntyre, Bill Hayward, Lowy Family Group, The William McIlrath Charitable Foundation, Miss Janette O’Neil, Andrew & Andrea Roberts, Barbara Spencer, in memory of Lance Bennett, Mr Fred Street AM & Mrs Dorothy Street, Mr Kim Williams AM

$2,000 - $4,999 Anonymous (4), Mr Victor Baskir, Tom & Diane Beecroft, Billy Bennett and Marguerite Gregan, Christine Bishop, Anthony and Leda Booth, Janice Burke, Dr Bishnu Dutta & Ms Jayati Dutta, Julia Farrell, Mandy Foley Quin, Amanda Harkness, Claire Hilmer, H. Kallinikos Pty Ltd, Mrs Elizabeth Laverty, Alexandra Martin in memory of Lloyd Martin AM, Robert McDougall, Timothy & Eva Pascoe, Robert Purves AM, Emine Sermet, Louise Taggart and Peter Homel, Lynne Watkins and Nicholas Harding, Sarah Whyte, Dr John Yiannikas

$1,000 - $1,999 Anonymous (17), Janet Abernethy and Richard Willis, Alex and Paula Adamovich, Mr Andrew Andersons AO, Bruce & Judy Baird, J Berry, S Browne, Mr Joseph Catanzariti, JT Clark, Tim and Bryony Cox, Jane Douglass AM, Diane & John Dunlop, Ms Anne Galbraith, The Gill Family, R Godlee & A Maxwell, Nick and Kathryn Greiner, Priscilla Guest, Donald Hector & Sandra Ollington, Andreas & Danielle Heidbrink, Jennifer Hershon, Michael Ihlein & Gosia Dobrowolska, Geraldine James, Richard and Elizabeth Longes, Danita R. Lowes & David M. Fite, M. J. Mashford, Mr & Mrs G. McConnochie, Dr Ann McFarlane, J. A. McKernan, Dr Stephen McNamara, Andrew Messenger, Peter and Jannette Miller, Andree Milman, Sue O’Keefe in memory of Lynda Shearer, Janine Perrett, Dr S A Reeckmann & Dr G S Holmes, Lesley and Andrew Rosenberg, John Sheahan & Shannon Gregory, John and Christina Stitt, Gai Wales, Sue-Anne Wallace, Antony Whitlam, Mr Tony Williams

$500 - $999 Anonymous (25), Charles and Hannah Alexander, Mrs Margaret Arnott, Alan & Susie Bardwell, James Barron, Mr John Blattman, Bonnie Boezeman AO, Ellen Borda, Mrs Geraldine Bull, Annette & Kevin Burges, Dr Gil Burton, Mr & Mrs Andrew Cornish, Christopher Cosier, Sandy and Les Csenderits, Joan and John Dale, Hon Mrs Ashley Dawson-Damer, Peter Demou, Graham Egan, Gary and Susanne Elliott, Archie Elliott, Mr & Mrs Paul Espie, James Fairfax AC, Julie Goold, His Honour Geoffrey Graham, W M & E L Gray, Wendy & Rhys Gwyn, Anthony Harris, Professor Margaret Harris, Lady P. H. M. Harrison, Dorothy Hoddinott AO, Ceri & Peter Ittensohn, I M & N R Jackman, Dr George Jacobs, Prof. Richmond Jeremy and Dr. Janet Lee, Julia Jane Pty Limited, Margaret Johnston, Holly Kramer and Malcolm Noad, Gilles & Susan Kryger, Jennifer Ledgar and Bob Lim, Gillian Long, Andrew and Bronwyn Lumsden, Ken McKinnon AO & Suzanne Walker, Dr & Mrs A Moss, Richard Owens, Christina Pender, Wayne Perkins, Mr Reg Perry, Brenda Petrisic, Simone and John Rasko, Manfred and Linda Salamon, Mrs Lee Schimann, Brian and Gene Sherman, Emily Simpson, Ann and Quinn Sloan, Dr P and Mrs D Southwell-Keely, Titia Sprague, Fiona Stewart, Victoria Taylor, Janet Tepper, Sue Thomson, G & M Watson, Dr Peter Wilkins MBE, Ms Joan Wilkinson, Evan Williams AM, A. Wilmers & R. Pal, Neil & Lynn Wykes, In Memory of Isobel Yuille

Bequest We gratefully acknowledge those individuals who have chosen to leave us a gift in their Will.

48

Major Sponsors

Government Support

Presenting Sponsors

Associate Sponsors

Sydney Theatre Company is assisted by the Australian Government through the Australia Council, its arts funding and advisory body

Sydney Theatre Company is supported by the NSW Government through Arts NSW

Media Partner

Accommodation Partner

Our PartnersSydney Theatre Company celebrates the support of our valued partners

49

FOR FURTHER INFORMATION PLEASE CONTACT LIBBY GAULD, MANAGER, CORPORATE PARTNERSHIPS ON (02) 9250 1704SYDNEYTHEATRE.COM.AU/SUPPORT

Premium Season Sponsors

Season Sponsors

Corporate Sponsors

Sydney Theatre Sponsor

ACMNMarketing and Advertising

Flick Pest Control and Flick Hygiene Services IDS Displays Tourism & Transport Forum

50

BOARD OF DIRECTORS

David Gonski AC (Chair), The Hon. Bruce Baird AM (from May), Jonathan Biggins, Toni Cody, John Connolly, Ann Johnson (from May), Martin McCallum, Patrick McIntyre, Justin Miller, Simon Mordant AM, Sam Mostyn, Daniel Petre AO, Andrew Stuart, Andrew Upton, Peter Young AM (from May)

EXECUTIVE

Artistic Director Andrew UptonExecutive Director Patrick McIntyre

Executive Administrator Laura Hough Personal Assistant to the Artistic Directors Georgina Pym (until Sep)

ARTISTIC

Director of Programming and Artistic Operations Rachael Azzopardi Casting Director Serena HillCasting Coordinator Annelies CroweLiterary Manager Polly RoweVoice & Text Coach Charmian GradwellSenior Producer Ben WhiteAssociate Producer Zoe O’FlanaganCompany Manager Colm O’CallaghanArtistic AdministratorRhys Holden (until Mar), Ella Minton (from Apr)Program Coordinator Liam Mangan (from Nov)Resident Directors Sarah Giles, Sarah Goodes, Kip WilliamsResident Designers David Fleischer, Renée MulderResident Director Community Stefo NantsouSTC Writers under Commission Hilary Bell, Melissa Bubnic, Duncan Graham, Daniel Keene, Ross Mueller, Sue Smith Patrick White Fellow Patricia Cornelius (until May), Hilary Bell (from May)Education Artists Georgia Adamson, George Banders, Victoria Campbell, Douglas Hansell, Danielle King, Anna Martin, Gwyneth Price, John Saunders, Jennifer White

FINANCE AND ADMINISTRATION

Director of Finance and Administration Claire BeckwithHR Manager Kate Crisp Accountant Helen BanAccounts Officer Julie StaggHR Officer Patricia HennessyIT Manager Andrew KingIT Support Adam GhannoumApplication and Database Manager Patrick Drew Receptionist Karly Pisano (until Aug), Frances Greene (from Aug)

MARKETING AND CUSTOMER SERVICES

Director of Marketing and Customer Services Nicole McPeakeMarketing Manager Carmel EnglandContent Manager Alex Lalak (until Apr), Carl Nilsson-Polias (from May)Marketing & Campaign Specialist Carolyn Johnstone (until May)Digital Marketing Specialist Steve Connolly (Feb-Aug)Digital Marketing Coordinator Elyssa Haratsis (from Jul)Marketing Coordinator Leonardo Pinto-Messias (from Aug)Lead Graphic Designer Grant Sparkes-CarrollGraphic Designer Hon BoeyMarketing Assistant Elyssa Haratsis (until Jul), Amy Church (Aug-Dec)Data Analyst Alex BosiMedia Relations Manager Tim McKeoughPublicist Ella Minton (until April), Georgia McKay (from May)Customer Services and Ticketing Manager Beth DeguaraTicketing Specialists Sarah Coffey, Walter MansfieldSeason Ticket Manager Travis Green (until Apr), Tamar Cranswick (from May)Education Systems & Client Services Manager Travis Green (from Nov)Assistant Customer Services Manager Louise RaffertyCustomer Services Supervisors Nola Dean, Lisa Griffiths, Kaylee Hazell, Anne Howie, Jennifer Mawhinney, Bradley Hinde, Elliott Wilshier

Customer Services Representatives Tamar Cranswick (until May), Nancy Alexander, Loretta Cain, John Calvi, Andrew Castle, Quinn Gibbes, Marietta Hargreaves, Tom Hatfield, Adriana Law, Catherine McCrorie, Bonnie Pares-Carr, Gavin Roach, Amy Wanless, Kennie Ward, Jennifer White, Chris Williams, Heath Wilder

PHILANTHROPY

Director, Private Support Danielle HeidbrinkMajor Gifts Manager Amelia PrykeDonor Program Manager Tiffany Moulton Donor Program Executive Lucy Howard-Taylor Donor Program Coordinator Georgia Shepherd (from Oct)Donor Hospitality Coordinator Jessica Howard (until Aug)STC Pier Group Anne Schofield (Chair), Peggy Carter, Eve Heath, Graham Jennings, Richard Lyle, Virginia Pearce

COMMUNITY AND CORPORATE PARTNERSHIPS

Director of Community & Corporate Partnerships Paul O’Byrne Education Manager (Teacher Learning) John Saunders (from Apr)Acting Education Manager Toni Murphy (until Jan)Archivist Judith SeeffCorporate Partnerships Manager Anna McPherson (until Apr), Libby Gauld (from Sep)Cultural Development Manager Matthew Morse (until May)Partnerships Executive Camilla Lawson (until Sep)Corporate Partnerships Executive Sacha Marie CurtisCorporate Partnerships Coordinator Claudia RoweSchool Drama Coordinator Georgia Adamson (until Feb)School Liaison Officer Beth Downey (until Oct)Education Projects Officer Hannah Brown (from Dec)Administration Assistant Communities Rachel Small (from Dec)

Our Staff1 Jan – 31 Dec 2013

51

Oral Historian for STC Archives’ Oral History Project Dr. Margaret LeaskArchival Videographer Andrew Williams

HOUSE SERVICES

House Services Manager Martyn NightingaleHouse Managers Sherry-Anne Cunniffe, Laszlo Hajdu, Edward Whitmarsh-Knight

PRODUCTION

Head of Production Annie Eves-Boland (until Jul)Acting Head of Production Simon Khamara (from Jul)Production Managers John Colvin, Simon Khamara (until Jun), Terri RichardsHead of Stage Management Georgia GilbertResident Stage Manager Minka StevensTechnical Manager Barry SearleProduction Administrator Daniel O’ConnellHead of Sound Ben LightowlersSound Supervisor Bede Schofield (until Aug)Senior Head Mechanist Eric DuffyHead of Lighting Graham Henstock (until Jun), Pádraig Ó Súilleabháin (from Sep)Theatre Technicians Ian Garrard, Tony McCoy (until May), Cameron MenziesProduction Workshops Manager John PrestonHead of Set Construction James McKayDeputy Head of Set Construction Barry HiblenSenior Set Constructor Andrew CraigSet Constructors Michael Apoifis, Boaz Shemesh, Mark RowleyDraftsperson Andrew PowellHead of Stores and Maintenance Gary EveringhamHead of Props Alex StuartProps Maker Paul HarrisonProps Buyer Traleen RyanHead of Scenic Art Hilary BurrowsScenic Artist Ron ThiessenDriver/Buyer Ashley TrotterCostume Manager Scott FisherCostume Coordinator Sam PerkinsCostumiers Joanna Grenke, Mary Anne Lawler, Martin Roberts, Ruth TickleWig, Hair & Makeup Supervisor Lauren A. Proietti

SYDNEY THEATRE

Technical Manager Kevin SigleyBuilding Services Manager Barry CarrVenue Manager Phoebe Meredith Head Mechanist Steve Mason

Head Fly Operator David Stabback (until Aug), Kane Mott (from Aug)Head Electrician Andrew TompkinsDeputy Head Electrician Pat Smithers (until Mar), Harry Clegg (from Mar)Head of Sound Kevin WhiteDeputy Fly/Venue Maintenance Kane Mott (until Aug), Chris Fleming (from Sep)Sydney Theatre House Manager Alex PlavsicSydney Theatre Venue and Events Coordinator Karly Pisano (from Jul)Operations Coordinator Alexa Dodd (until Jul)Stage Door Attendants (from Oct) Denise Hutch, Errol Robertson

THE THEATRE BAR AT THE END OF THE WHARF

Restaurant Manager Sharon Timms (until Feb), Berri Eggert (Feb-May)Restaurant Day Supervisor Shannon Johnson (until May)Restaurant Floor Manager Lachlan Price (until May)Casual Bar Staff (until May) Jemma Whiteman, Cameron Watt, Kevin Walsh, Ziggy Tockuss, Sharon Timms, Zaid Salah, Hannah Redknap, Lisa Raeburn, Karla Pusz, Povilas Pullinen, Anna Pihan, Joshua Mitchell, Briton Mardirosian, Jacqueline Maloney, Evan Jones, Shannon Johnson, Dan Hunter, Zara Hawkes, James Hansen, Alira Goode, Eliza-Jane George, Dominique Gaultier, Scott Frame, Jed Finlay, Shai Feniger, Berri Eggert, Michael Eggert, Belinda Donnelly, Kavaljit Dhillon, Bonnie Dalrymple, Joe Cutcliffe, Rhys Cornish, Michael Chance, Oliver Champion, Michael Cassidy, Andrew Calvert, Hannah Burnett, Tomar Buki, Paloma Brierley Newton, Timothy Bannister, Georgia Anderson, Irena Adam

STC CASUAL AND SEASONAL STAFF

Costume Casual Lisa Javelin, Shereen Khan, Kia Snell, Stephanie Wigens, Roslyn KeamCostume Seasonal Margaret Aston, Genevieve Blewitt, Brandie Foote, Katie Hankin, Rosalie Lester, Lisa PeddieSeasonal Carpenter Matthew Clouston, Dallas WinspearDraftsperson Casual Matt HigginsElectrics Casual Pat Smithers, Paul Najor, Andrew WilliamsSound Casual Luke Davis, Louis Thorn, Sound Seasonal Dave Bergman, Olivia Benson, Hayley Forward, Michael Toisuta, Remy Woods

Stores Casual Stuart Brown, Jason Keir, Jee Leong, Allan VellaMechanists Casual David TongsProduction Managers Kate Chapman, Nathaniel Lunn, Chris MercerStage Management Seasonal Roxzan Bowes, Amy Burkett, Tim Burns, Todd Eichorn, Amy Forman,Edwina Guinness, Katie Hankin, Jemima Hogg, Suzanne Large, Tanya Leach, Liam Murray, Rebecca Poulter, Matt Schubach, Sarah Smith, Remy WoodsEducation Resources Kerreen Ely-Harper (until Oct) Front of House Lorena Arancibia (until May), James Barrow, Sarah Brown, Loretta Cain, Rita Kahn Chen (until Mar), Amelia Cuninghame, Nick Curnow (until Jun), Michael Cutrupi, Bonnie Dalrymple, Nola Dean, Cloe Fournier, Matt Goodwin, Frances Greene (until Aug), Charlotte Grien, Angelina Grien, Stephanie Gunn (until Mar), Tamlyn Henderson, Lee Horton, Dan Hunter, Shannon Johnson (from May), Maddi Jones, Amy Kersey, Kirsty Kiloh, Grainne King (from May), Tessa Lind, Owen Little, Steve Martin (from Jan), Jodie Payne, Geneveive Reynolds, Ines Richter, Errol Robertson, Amelia Robertson-Cuningham (from Feb), Jessica Rogers, Joanne Sanders, Damian Sommerland, Flora Smith (until Oct), Louise Sykes, Allan Vella, Lucy White, Heath Wilder, Adriane White (from May), Christian WitzFunctions Assistants Kaylee Hazell, Paige Leacey, Laurisa Poulos, Amber VirtueProgram Sellers The Vintage Allsorts (until May), Kitty Van Horne (from May)Volunteer Guides Rosemary Allison, Joan Betteridge, Dianne Johnson, Ron Johnson, Anne Lennard,Lyn Mallesch, Steve McAuley, Vicki Mike, Joan Morgan, Barry Moscrop, Prim Moss, Valda Rigg, Tony Sherlock, Diane Sturrock, Bill TurbetSTC Archives Volunteers Ken Gray, Patricia Ryan, Greig Tillotson, Erin Daly (Jan-Feb)

(clockwise) Nathaniel Dean, Anita Hegh and Ursula Yovich in The Secret River. Photo:Heidrun Löhr

54

Page

1 Directors 55

2 Directors’ meetings 56

3 Company secretary 57

4 Principal activities 57

5 Operating and financial review 57

6 Dividends 57

7 Events subsequent to reporting date 57

8 Likely developments 57

9 Environmental regulation 57

10 Indemnification and insurance of officers and auditors 57

11 Lead auditor’s independence declaration 57

Contents

55

Name and qualifications Experience, special responsibilities and other directorships

David Gonski ACChairperson since 9 February 2010

Company DirectorChairman, Ingeus Ltd, Investec Bank (Aust) Ltd, UNSW Foundation Ltd, National E Health Transition Authority, Swiss Re Life & Health Aust and Coca-Cola Amatil LtdDirector, Lowy Institute of International Policy, and Infrastructure NSWMember, ASIC External Advisory Panel, Australia & New Zealand Banking Group LtdPatron, Australian Indigenous Education FundChancellor of UNSWBachelor of Commerce; Bachelor of Laws (UNSW)

Bruce Baird AMDirector since 30 May 2013

Company DirectorChairman, Advisory Committee of McCabe Terrill, Tourism & Transport Forum, Refugee Resettlement Council & National Heavy Vehicle Regulatory AuthorityDirector, Garvan FoundationMember, Cubic International Advisory Board, Qantas Foundation, Restaurant & Catering AustraliaBachelor of Arts (Sydney Uni), MBA (Melb Uni), Hon PHD (Newcastle) & Hon PHD (UTS)

Jonathan Biggins Director since 13 July 2010

Actor, Writer and Director

Toni CodyDirector since 1 July 2011

ConsultantDeputy Chair, Chris O’Brien Lifehouse at RPADirector, Pierpat Pty LtdBachelor of Economics (Monash University)

John ConnollyDirector since 10 February 2009

ConsultantDirector, John Connolly and Partners and The Manager Pty Ltd

Ann JohnsonDirector since 3 May 2013

Director of W & A Johnson Family FoundationChair, Sydney Theatre Company FoundationDirector, Ecotrust AustraliaCouncil Member, Philanthropy AustraliaBachelor of Arts/Bachelor of Laws (UNSW)

Mark LazbergerDirector since 12 February 2014

Company ExecutiveDirector, CFS Managed Property Ltd, Colonial First State Asset Management (Aust) Ltd, Colonial First State Property Ltd, Colonial First State Property Management Pty Ltd, First State Investment Management (UK) Ltd, RealIndex Investments & Australian Financial Markets AssociationBachelor of Commerce (Uni of WA), Chartered Financial Analyst (CFA)

Martin McCallumDirector since 28 February 2005Term expired 28 February 2014

Producer, Theatre Design ConsultantFellow of the Royal SocietyDirector, Martin McCallum Pty Ltd, Mrs Rupa Mehra Productions Pty Ltd, & Twelve-Twelve-Twelve Pty LtdHonorary Lifetime Member, Society of London Theatre

Patrick McIntyreExecutive Director since 1 January 2013

Executive DirectorBachelor of Arts (University of Technology, Sydney)

Justin MillerDirector since 19 March 2007

Art ConsultantGovernor, Taronga ZooTrustee, Sydney Theatre Company FoundationAmbassador, Museum of Contemporary ArtBachelor of Arts Honours (University of Sydney)

Directors’ ReportFor the year ended 31 December 2013The directors present their report together with the financial report of Sydney Theatre Company Limited (“the Company”) for the year ended 31 December 2013 and the auditor’s report thereon.

1. DirectorsThe Directors of the Company at any time during or since the end of the financial year are:

The number of Directors’ meetings (including meetings of Committees of Directors), and number of meetings attended by each of the Directors of the Company during the financial year are:

Director Directors’ meetings Finance Committee meetings

No. of meetings attended No. of meetings held* No. of meetings attended No. of meetings held*

B Baird 3 4 - -

J Biggins 6 6 - -

T Cody 6 6 - -

J Connolly 4 6 2 2

D Gonski 6 6 2 2

A Johnson 4 4 - -

M McCallum 4 6 2 2

P McIntyre 6 6 2 2

J Miller 5 6 - -

S Mordant 6 6 1 2

S Mostyn 4 6 - -

D Petre 3 3 - -

A Stuart 5 6 1 2

A Upton 6 6 1 2

P Young 2 4 - -* Reflects the number of meetings held during the time the Director held office.

Simon Mordant, AMDirector since 12 February 2008Term expired 12 February 2014

Investment BankerVice Chairman & Managing Director, Greenhill & Co., Inc Chairman, Museum of Contemporary ArtDirector, Opera Australia, Garvan Foundation, Wharton Executive Board for Asia, and Australian Broadcasting CorporationChartered Accountant

Sam MostynDirector since 9 May 2005

Non-Executive Director and AdvisorDirector, Virgin Australia, Transurban, Citibank AustraliaChair, Stakeholder Advisory Committee, CSIRO Climate Adaptation FlagshipDeputy Chair, Diversity Council of Australia Commissioner, Australian Football League, and Australian Mental Health Commission, Public Interest Representative & Chair Community Partnerships, Australia Council of the ArtsMember, Advisory Board, ClimateWorks Australia, and Crawford School of Government & Economics (ANU), NSW Climate Council, National Sustainability CouncilBachelor of Arts with Bachelor of Laws (ANU)

Daniel Petre AODirector since 3 May 2013

Investor/PhilanthropistDirector, Garvan Institute, HRX Ltd, Advisory Board Centre for Social Impact, Smart Sparrow Pty LtdBachelor of Science (UNSW), MBA (Syd)

Andrew StuartDirector since 26 May 2009

Chief Executive Officer, BKK PartnersDirector, Reuse Pty Ltd, Jaada Pty Ltd, and BKK PartnersBachelor of Commerce

Andrew UptonExecutive Director since 7 January 2008

Writer, Executive Director & Artistic Director of the Sydney Theatre CompanyDirector, Dirty Films Aust Pty Ltd, Easter Holdings Pty Ltd, Blutopia Pty Ltd & Upton Super Pty LtdBachelor of Arts

Peter Young AMDirector since 30 May 2013

Non Executive DirectorChairman, Standard Life Investments Australia, Barclays Bank Australia & NZ Governor, The Taronga FoundationDirector, Great Barrier Reef Research Foundation, Fairfax Media LtdMember, Standard Life PLC Asia Advisory Board, Barangaroo Delivery Authority BoardBachelor of Science (Uni of Qld), Master of Business Administration (Uni of NSW)

2. Directors’ meetings

57

3. Company secretary

Claire Beckwith was appointed to the position of Company Secretary in March 2004.

4. Principal activities

The principal activities of the Company during the course of the financial year was the production and presentation of a series of plays.

There were no significant changes in the nature of the activities of the Company during the year.

5. Operating and financial review

Overview of the CompanyThe surplus of the Company for 2013 was $430,837 (2012: deficit of $254,420). This is a combined result for 2013 for NSW Cultural Management Ltd (NSWCM) surplus of $287,759 and Sydney Theatre Company Ltd surplus of $131,670.

On 31 July 2013, NSWCM, the related party company that managed the Sydney Theatre was deregistered as part of the process of signing long term leases with Arts NSW (refer to note 20). The net assets of $387,370 were transferred to STC as directed by the constitution on windup.

In 2011, the Greening the Wharf Project was successfully completed and acquitted. Ongoing expenses of $198,729 in Greening the Wharf Assets depreciation charge are fulfilled by Greening the Wharf donation income.

Significant changes in the state of affairsIn the opinion of the Directors there were no significant changes in the state of affairs of the Company that occurred during the financial year under review.

6. Dividends

No dividends were paid or proposed by the Company during the financial year.

7. Events subsequent to reporting date

There has not arisen in the interval between the end of the financial year and the date of this report any item, transaction or event of a material and unusual nature likely, in the opinion of the Directors of the Company, to affect significantly the operations of the Company, the results of those operations, or the state of affairs of the Company, in future financial years.

8. Likely developments

Further information about likely developments in the operations of the Company and the expected results of those operations in future financial years has not been included in this report.

9. Environmental regulation

The Company is not subject to any significant environmental regulation under either Commonwealth or State legislation. However, the Board believes that the Company has adequate systems in place for the management of its environmental requirements and is compliant with any environmental requirements as they apply to the Company.

10. Indemnification and insurance of officers and auditors

Indemnification

The Company undertakes to indemnify current Directors and Executive Officers against all liabilities to other persons (other than the Company or a related body corporate) that may arise from their positions as Directors of the Company, except where the liability arises out of conduct involving a lack of good faith.

Insurance premiums

The Company has paid insurance premiums under contracts insuring Directors and officers of the Company against liability incurred in that capacity.

11. Lead auditor’s independence declaration

The lead auditor’s independence declaration is set out on page 77 and forms part of the Directors’ report for financial year ended 31 December 2013.

This report is made with a resolution of the Directors:

David GonskiChairpersonDated at Sydney this 14th April 2014.

58

Statement of comprehensive incomeFor the year ended 31 December 2013

Note 2013 2012

$ $

Revenue 2 34,942,977 29,827,820

Theatre and production expenses (22,805,639) (19,020,186)

Sales and promotion expenses (2,525,686) (2,481,869)

Administrative expenses (4,682,521) (3,752,146)

Occupancy expenses (3,526,902) (2,552,267)

The Bar expenses (930,061) (2,185,582)

Greening the Wharf expenses 3b (200,317) (227,595)

Other expenses 3a (104,583) (110,500)

Profit from operating activities 167,268 (502,325)

Finance income 6 263,569 247,905

Net finance income 263,569 247,905

Profit/(Loss) for the period 430,837 (254,420)

Other comprehensive income - - Total comprehensive income for the period 430,837 (254,420)

The statement of comprehensive income is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

The statement of changes in equity is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

NoteGeneral reserves

Reserves incentive scheme

Total reserves

Retained earnings Total Equity

$ $ $ $ $

Balance at 1 January 2012 1,453,000 219,872 1,672,872 3,033,913 4,706,785

Total comprehensive income for the year - - - (254,420) (254,420)

Transfers 7 (ii) - 8,305 8,305 (8,305) -

Balance at 31 December 2012 1,453,000 228,177 1,681,177 2,771,188 4,452,365

Balance at 1 January 2013 1,453,000 228,177 1,681,177 2,771,188 4,452,365

Total comprehensive income for the year - - - 430,837 430,837

Transfers 7 (ii) - 6,194 6,194 (6,194) -

Balance at 31 December 2013 1,453,000 234,371 1,687,371 3,195,831 4,883,202

Statement of changes in equity

59

Statement of financial positionAs at 31 December 2013

The statement of financial position is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

Note 2013 2012

Assets $ $

Cash and cash equivalents 7 11,372,147 9,063,587

Trade and other receivables 8 2,325,901 2,464,204

Inventories 9 119,231 138,520

Other assets 10 1,544,166 2,463,864

Total current assets 15,361,445 14,130,175

Plant and equipment 11 3,139,111 2,837,757

Greening the Wharf – plant and equipment 12 3,239,886 3,438,681

Intangible assets 13 1,156,373 758,481

Total non-current assets 7,535,370 7,034,919

Total assets 22,896,815 21,165,094

Liabilities

Trade and other payables 14 3,875,516 3,367,230

Employee benefits 15 886,789 831,528

Other liabilities 16 297,862 461,706

Deferred revenue 17 12,766,535 11,843,183

Total current liabilities 17,826,702 16,503,647

Employee benefits 15 186,911 209,082

Total non-current liabilities 186,911 209,082

Total liabilities 18,013,613 16,712,729

Net assets 4,883,202 4,452,365

Equity

Reserves 1,687,371 1,681,177

Retained earnings 3,195,831 2,771,188

Total equity 4,883,202 4,452,365

60

Statement of cash flowsFor the year ended 31 December 2013

Note 2013 2012

$ $

Cash flows from operating activities

Cash receipts from customers and contributions 36,906,906 32,806,069

Cash paid to suppliers and employees (32,826,894) (32,147,162)

Interest received 263,569 247,905

Net cash from operating activities 22 4,343,581 906,812

Cash flows from investing activities

Acquisition of plant, equipment and software (2,035,021) (2,402,258)

Net cash from investing activities (2,035,021) (2,402,258)

Net Increase/(Decrease) in cash and cash equivalents 2,308,560 (1,495,446)

Cash and cash equivalents at 1 January 7 9,063,587 10,559,033

Cash and cash equivalents at 31 December 7 11,372,147 9,063,587

The statement of cash flows is to be read in conjunction with the notes of the financial statements set out on pages 62 to 74

61

Contents Page

1 Significant accounting policies 62

2 Revenue 64

3 Other income and expenses 65

4 Personnel expenses 65

5 Auditor’s remuneration 65

6 Net finance income and expenses 65

7 Cash and cash equivalents 66

8 Trade and other receivables 66

9 Inventories 66

10 Other assets 66

11 Plant and equipment 67

12 Plant and equipment – Greening the Wharf 68

13 Intangible assets 69

14 Trade and other payables 70

15 Employee benefits 70

16 Other liabilities 70

17 Deferred income 70

18 Grant income 71

19 Financial instruments 72

20 Operating leases 73

21 Contingencies 73

22 Reconciliation of cash flows from operating activities 73

23 Key management personnel disclosures 73

24 Charitable fundraising 74

Notes to the financial statements

62

Sydney Theatre Company Limited (the “Company”) is an Australian Public Company, limited by guarantee incorporated and domiciled in Australia. The Sydney Theatre Company Limited is a not for profit entity.

Its principal registered address and place of business is Pier 4, Hickson Rd, Walsh Bay, NSW 2000.

The financial report was approved by the Board of Directors on 14th April 2014.

(a) Statement of compliance

The financial report is a general purpose financial report which has been prepared in accordance with Australian Accounting Standards (“AAS”) (including Australian Accounting Interpretations) adopted by the Australian Accounting Standards Board (“AASB”) and the Corporations Act 2001.

(b) Basis of preparation

The financial report is presented in Australian dollars, which is the Company’s functional currency.

The financial report is prepared on the historical cost basis except that the following assets and liabilities are stated at their fair value: derivative financial instruments, financial instruments held for trading, and financial instruments classified as available-for-sale.

The preparation of a financial report requires management to make judgements, estimates and assumptions that affect the application of policies and reported amounts of assets and liabilities, income and expenses. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised and in any future periods affected.

The accounting policies set out below have been applied consistently to all periods presented in the financial report.

All financial information presented in Australian dollars has been rounded to the nearest dollar unless otherwise stated.

(c) Foreign currency transactions

Transactions in foreign currencies are translated at the foreign exchange rate ruling at the date of the transaction. Monetary assets and liabilities denominated in foreign currencies at the balance sheet date are translated to Australian dollars at the foreign exchange rate ruling at that date. Foreign exchange differences arising on translation are recognised in the income statement. Non-monetary assets and liabilities that are measured in terms of historical cost in a foreign currency are translated using the exchange rate at the date of the transaction. Non-monetary assets and liabilities denominated in foreign currencies that are stated at fair value are translated to

Australian dollars at foreign exchange rates ruling at the dates the fair value was determined.

(d) Plant and equipment

(i) Owned assetsItems of plant and equipment are stated at cost less accumulated depreciation (see below) and impairment losses (see accounting policy i).

(ii) Greening the Wharf assetsGreening the Wharf assets are stated separately to highlight the enormity of the project. These assets to date include the roof photovoltaic array, public bathroom refurbishment, office refurbishments, and theatre lighting. All these assets have been purchased to provide investment in the latest sustainability infrastructure; new green theatre technology and up to date energy efficiencies that will ultimately save the Company money and reduce our carbon footprint.

(iii) DepreciationDepreciation is recognised in profit or loss on a straight-line basis over the estimated useful lives of each part of an item of plant and equipment. The estimated useful lives in the current and comparative period are as follows:

Theatre and production equipment 4 – 10 yearsFurniture, fittings and equipment 4 – 10 yearsLeasehold improvements 6 – 25 years

The depreciation method and useful lives, as well as residual values, are reviewed at each reporting date.

(e) Intangible assets

Intangible assets that are acquired by the Company are stated at cost less accumulated amortisation. Amortisation is recognised in profit or loss on a straight-line basis over the estimated useful life of intangible assets. The estimated useful lives on the current and comparative period are as follows:

Software 4 years

(f) Trade and other receivables

Trade and other receivables are stated at their amortised cost less impairment losses (see accounting policy i).

(g) Inventories

Inventories are valued at the lower of cost and net realisable value.

(h) Cash and cash equivalents

Cash and cash equivalents comprises cash balances and call deposits.

1. Significant accounting policies

Notes to the financial statements

63

(i) Impairment

The carrying amounts of the Company’s assets, other than inventories (see accounting policy g), are reviewed at each balance sheet date to determine whether there is any indication of impairment. If any such indication exists, the asset’s recoverable amount is estimated (see accounting policy j).

An impairment loss is recognised whenever the carrying amount of an asset or its cash-generating unit exceeds its recoverable amount. Impairment losses are recognised in the income statement, unless an asset has previously been revalued, in which case the impairment loss is recognised as a reversal to the extent of that previous revaluation with any excess recognised through profit or loss.

When a decline in the fair value of an available-for-sale financial asset has been recognised directly in equity and there is objective evidence that the asset is impaired, the cumulative loss that had been recognised directly in equity is recognised in profit or loss even though the financial asset has not been derecognised. The amount of the cumulative loss that is recognised in profit or loss is the difference between the acquisition cost and current fair value, less any impairment loss on that financial asset previously recognised in profit or loss.

(j) Calculation of recoverable amount

The recoverable amount of the Company’s receivables carried at amortised cost is calculated as the present value of estimated future cash flows, discounted at the original effective interest rate (i.e., the effective interest rate computed at initial recognition of these financial assets). Receivables with a short duration are not discounted.

Impairment of receivables is not recognised until objective evidence is available that a loss event has occurred. Significant receivables are individually assessed for impairment. Non-significant receivables are not individually assessed. Instead, impairment testing is performed by placing non-significant receivables in portfolios of similar risk profiles, based on objective evidence from historical experience adjusted for any effects of conditions existing at each balance date.

The recoverable amount of other assets is calculated as the depreciated replacement cost of the asset.

(k) Employee benefits

(i) Defined contribution plansObligations for contributions to defined contribution pension plans are recognised as an expense in the income statement as incurred.

(ii) Long-term service benefitsThe Company’s net obligation in respect of long-term service benefits, other than defined benefit plans, is the amount of future benefit that employees have earned in return for their service in the current and prior periods. The obligation is calculated using expected future increases in wage and salary rates including related on-costs and expected settlement dates, and is discounted using the rates attached to the Commonwealth Government bonds at the balance sheet date which have maturity dates approximating to the terms of the Company’s obligations.

(iii) Wages, salaries, annual leave, rostered days off and non-monetary benefitsLiabilities for employee benefits for wages, salaries, annual leave and rostered days off that are expected to be settled within 12 months of the reporting date represent present obligations resulting from employees’ services provided to reporting date, are calculated at undiscounted amounts based on remuneration wage and salary rates that the Company expects to pay as at reporting date including related on-costs, such as workers compensation insurance and payroll tax.

(l) Trade and other payables

Trade and other payables are stated at amortised cost.

(m) Revenue

(i) Production and related revenueRevenue from production and other service related revenues is recognised in the period in which the service is provided.

(ii) Sponsorship revenueRevenue receivable from sponsors may be cash or in-kind. Where a sponsorship constitutes a reciprocal transfer (i.e. where there is an obligation to return unspent funds or the Company is obliged to give approximately equal value in return for funds) the Company defers the unearned portion of these funds at year end. Where a sponsorship does not constitute a reciprocal transfer, the amount is recognised as revenue when it is reliably measurable and controlled by the Company.

(iii) Government grantsGrant funds are recognised as revenue when the Company gains control of the contribution or when services and obligations are rendered under the terms of the funding agreement. Where the grant has been received but the revenue recognition criteria has not yet been met, the revenue is deferred until such time as revenue recognition conditions have been met.

(n) Operating lease payments

Payments made under operating leases are recognised in the income statement on a straight-line basis over the term of the lease. Lease incentives received are recognised in the income statement as an integral part of the total lease expense and spread over the lease term.

Where the Company is required to make-good any leased premises at the end of the lease, provision for the estimated costs is made and the expense is spread over the lease term.

(o) Finance income and expenses

Interest income is recognised in the income statement as it accrues, using the effective interest method.

Finance expenses comprise loss on disposal of held-to-maturity investments and impairment losses recognised on financial assets.

(p) Income tax

The Company is exempt from paying income tax in accordance with the Income Tax Assessment Act.

64

(q) Goods and services tax

Revenue, expenses and assets are recognised net of the amount of goods and services tax (GST), except where the amount of GST incurred is not recoverable from the taxation authority. In these circumstances, the GST is recognised as part of the cost of acquisition of the asset or as part of the expense.

Receivables and payables are stated with the amount of GST included. The net amount of GST recoverable from, or payable to, the ATO is included as a current asset or liability in the statement of financial position.

Cash flows are included in the statement of cash flows on a gross basis. The GST components of cash flows arising from investing and financing activities which are recoverable from, or payable to, the ATO are classified as operating cash flows.

(r) Fundraising appeals

The Company holds an authority to fundraise for charitable purposes under the provisions of Section 16 of the Charitable Fundraising Act, 1991. The details of fundraising appeals conducted in 2013 are disclosed in Note 24.

(s) Capital

The Company is limited by guarantee and has no paid up capital. The amount of capital which is capable of being called up only in the event of and for the purpose of the winding up of the Company is not to exceed $20 per member by virtue of the Company’s Memorandum and Articles of Association.

A person may become a member of the Company upon subscription to the Company’s current theatre season and upon payment of an annual membership fee. Members are entitled to attend and vote at general meetings of the Company and to elect 50% of the non-executive Directors of the Company. As at 31 December 2013 the Company had 31 members (2012: 31 members).

(t) New standards and interpretations not yet adopted

No standards, amendments to standards or interpretations available for early adoption at 31 December 2013 have been applied in preparing these financial statements and none would have a material impact.

2. Revenue 2013 2012

$ $

Production and related revenue 23,438,973 17,355,104

Royalty revenue 152,401 467,722

Sponsorship revenue 2,023,601 2,266,284

Government grants

Australia Council MPAB Annual Grant 2,102,797 2,053,513

Australia Council MPAB Project Grants 30,000 -

Australia Council MFI Project Grants 681,618 -

NSW Government through the Ministry of the Arts 361,703 361,703

Residents endowment grant 712,600 712,600

Donation of rent in-kind 1,905,009 1,824,948

Interconnections Grant 40,000 -

Department of Environment, Water, Heritage & the Arts

Greening the Wharf - 75,000

Australian Government Austrade

Export Market Development Grant 90,000 60,000

Donations 1,265,441 2,341,324

Donations, Greening the Wharf 198,795 198,620

Restaurant rental 346,555 -

The Bar at the End of the Wharf revenue 1,005,412 1,990,820

Other revenue 588,072 120,182

34,942,977 29,827,820

65

3. Other income and expenses

2013 2012

$ $

3a. Other expenses

Other expenses 104,583 110,500

104,583 110,500

3b. Greening the Wharf expenses

Consultancies 1,250 2,613

PV Installation - -

Energy and water efficiencies - 1,020

Asset depreciation 198,795 198,729

Marketing and education 272 501

Other costs - 24,732

200,317 227,595

Wages and salaries 13,245,395 14,518,008

Superannuation 1,378,258 1,353,713

(Decrease)/increase in employee benefits 33,090 (20,801)

14,656,743 15,850,920

4. Personnel expenses

5. Auditor’s remuneration

6. Net finance income and expenses

Audit Services

KPMG Australia:

Audit of the financial report 70,000 55,210

70,000 55,210

Interest income 263,569 247,905

Finance income 263,569 247,905

Net finance income and expense 263,569 247,905

66

7. Cash and cash equivalents

2013 2012

$ $

Bank balance 851,905 1,121,412

Cash deposits 9,748,251 7,190,587

Asset maintenance cash deposit account (i) 537,619 523,410

Reserves Incentive bank account (ii) 234,372 228,178

Cash and cash equivalents in the statement of cash flows 11,372,147 9,063,587

(i) In 2004, the Company received cash on behalf of NSW Cultural Management Limited in relation to a grant for assistance towards maintenance of the Sydney Theatre. The Company holds these funds on behalf of NSW Cultural Management Limited invested in a cash deposit account and funds are transferred to NSW Cultural Management Limited when grant conditions are satisfied. The unexpended balance of this grant funding is $297,862 (2012: $461,706).

(ii) The Reserves Incentive bank account relates to funds of $94,000 received in 2003 through the Reserves Incentives Funding Scheme of the Australia Council and the NSW Government through the Ministry of the Arts. It also includes $47,000 transferred in 2003 from the general reserves of the Company. The funds and any interest earned on those funds are held in escrow for fifteen years and cannot be accessed without the express agreement of the Funding bodies under prescribed circumstances. These funds have not been used to secure any liabilities of the Company.Refer to Statement of changes in equity.

Trade debtors 282,939 978,366

Less: Provision for doubtful debts - -

282,939 978,366

Other debtors 2,042,962 1,485,838

2,325,901 2,464,204

The aging of the Company’s trade debtors at the reporting date was:

Not past due 110,197 143,535

Past due 0-30 days 164,215 688,551

Past due 31-120 days 8,527 146,280

282,939 978,366

8. Trade and other receivables

9. Inventories

10. Other assets

Bar Stock - 86,471

Raw materials and consumables 119,231 52,049

119,231 138,520

Prepaid production and subscription season costs 1,166,265 1,545,960

Prepaid assets 79,980 736,296

Other 297,921 181,608

1,544,166 2,463,864

67

Leasehold improvements

Furniture, fittings and equipment

Theatre and production equipment Total

$ $ $ $

Cost

Balance at 1 January 2012 3,324,969 1,927,660 2,257,249 7,509,878

Acquisitions 506,947 196,121 918,847 1,621,915

Disposals - - - -

Balance at 31 December 2012 3,831,916 2,123,781 3,176,096 9,131,793


Acquisitions 531,977 74,155 675,018 1,281,150

Disposals - - - -


Depreciation


Depreciation charge for the year 315,791 166,128 249,966 731,885

Disposals - - - -




Disposals - - - -


Carrying amounts

At 1 January 2012 878,292 408,067 661,368 1,947,727

At 31 December 2012 1,069,448 438,060 1,330,249 2,837,757

At 1 January 2013 1,069,448 438,060 1,330,249 2,837,757

At 31 December 2013 1,187,042 332,958 1,619,111 3,139,111

11. Plant and equipment

68

Leasehold improvements

Furniture, fittings and equipment

Theatre and production equipment Total

$ $ $ $

Cost

Balance at 1 January 2012 3,677,932 19,602 180,430 3,877,964

Acquisitions - - 14,095 14,095

Disposals - - - -

Balance at 31 December 2012 3,677,932 19,602 194,525 3,892,059

Balance at 1 January 2013 3,677,932 19,602 194,525 3,892,059

Acquisitions - - - -

Disposals - - - -

Balance at 31 December 2013 3,677,932 19,602 194,525 3,892,059

Depreciation

Balance at 1 January 2012 229,082 2,502 23,065 254,649


Disposals - - - -

Balance at 31 December 2012 406,439 4,462 42,477 453,378

Balance at 1 January 2013 406,439 4,462 42,477 453,378


Disposals - - - -

Balance at 31 December 2013 583,796 6,422 61,955 652,173

Carrying amounts

At 1 January 2012 3,448,850 17,100 157,365 3,623,315

At 31 December 2012 3,271,493 15,140 152,048 3,438,681

At 1 January 2013 3,271,493 15,140 152,048 3,438,681

At 31 December 2013 3,094,136 13,180 132,570 3,239,886

12. Greening the Wharf – plant and equipment

69

13. Intangible assets Software

$

Cost

Balance at 1 January 2012 546,975

Acquisitions 766,248

Balance at 31 December 2012 1,313,223

Balance at 1 January 2013 1,313,223

Acquisitions 753,870

Balance at 31 December 2013 2,067,093

Amortisation


Amortisation charge for the year 81,658

Balance at 31 December 2012 554,742


Amortisation charge for the year 355,978

Balance at 31 December 2013 910,720

Carrying amounts

At 1 January 2012 73,891

At 31 December 2012 758,481

At 1 January 2013 758,481

At 31 December 2013 1,156,373

70

14. Trade and other payables

15. Employee benefits

16. Other liabilities

17. Deferred income

2013 2012

$ $

Trade and other payables

Trade payables and other accrued expenses 3,875,516 3,367,230

3,875,516 3,367,230

Current

Accrued salaries and wages 67,852 70,630

Liability for long service leave 305,182 214,465

Liability for annual leave 513,755 546,433

886,789 831,528

Non current

Liability for long service leave 186,911 209,082

186,911 209,082

Defined contribution superannuation plans

The Company makes contributions to various Superannuation Funds, all being defined contribution (accumulation) plans. The amount recognised as an expense was $1,378,258 for the year ended 31 December 2013 (2012: $1,353,713).

Grant funds held in escrow for NSW Cultural

Management Limited (refer Note 7(i)) 297,862 461,706

297,862 461,706

Current

Subscriptions and ticket sales 9,332,925 11,053,157

Other Income 3,433,610 790,026

12,766,535 11,843,183

71

18. Grant income Unexpended Grants at 31

December 2011 2012 Grant

Income 2012 Grant expenditure

Unexpended Grants at 31 December

2012

$ $ $ $

Australia Council

Core Grant - 2,669,567 (2,053,513) 616,054

Project Grant - 30,000 - 30,000

Australia Council Total - 2,699,567 (2,053,513) 646,054

Arts NSW

Core Grant - 361,702 (361,702) -

Project Grant - 712,600 (712,600) -

Non Cash Subsidy (rent) - 1,824,948 (1,824,948) -

Other - 40,000 - 40,000

NSW Arts Total - 2,939,250 (2,899,250) 40,000

Commonwealth Govt

Project Grant - 75,000 (75,000) -

Austrade Export Grant - 60,000 (60,000) -

Commonwealth Total - 135,000 (135,000) -

Total - 5,773,817 (5,087,763) 686,054

Unexpended Grants at 31

December 2012 2013 Grant

Income 2013 Grant expenditure

Unexpended Grants at 31 December

2013

$ $ $ $

Australia Council

Core Grant 616,054 1,486,743 (2,102,797) -

Project Grant 30,000 681,618 (711,618) -

Australia Council Total 646,054 2,168,361 (2,814,415) -

Arts NSW

Core Grant - 361,703 (361,703) -

Multiyear Funding Grant 712,600 (712,600) -

Project Grant - 3,250,000 - 3,250,000

Non Cash Subsidy (rent) - 1,905,009 (1,905,009) -

Other 40,000 - (40,000) -

NSW Arts Total 40,000 6,229,312 (3,019,312) 3,250,000

Commonwealth Govt

Austrade Export Grant - 90,000 (90,000) -

Commonwealth Total - 90,000 (90,000) -

Total 686,054 8,487,673 (5,923,727) 3,250,000

72

Exposure to credit, interest rate and liquidity risks arises in the normal course of the Company’s business. The Company holds a number of financial instruments as at 31 December 2013.

Credit riskAt the balance sheet date there were no significant concentrations of credit risk. The maximum exposure to credit risk is represented by the carrying amount of each financial asset in the statement of financial position.

Liquidity riskLiquidity risk is the risk that the Company will not be able to meet its financial obligations as they fall due. The Company’s approach to managing liquidity is to ensure as far as possible, that it will always have sufficient liquidity to meet its liabilities when due, under both normal and stressed conditions, without incurring unacceptable losses or risking damage to the Company’s reputation. The Board reviews cash flow forecasts formally on a regular basis. The contracted cash flows of the Company as at 31 December 2013 are $3,875,516 (2012: $3,367,230). The contractual maturity of these financial liabilities is 6 months or less.

Fair ValuesThe Company’s recognised financial assets and liabilities are carried at amounts that approximate fair value. These include cash and cash equivalents, held-to-maturity investments, available-for sale investments, receivables and payables.

The fair value of securities is based on quoted market prices at the balance sheet date without any deduction for transaction costs.

Interest rate riskThe Company’s exposure to interest rate risk and the effective weighted average interest rate for classes of financial assets and financial liabilities and the periods in which they reprice are set out below:

19. Financial instruments

2012Effective Average

Interest RateTotal 6 Months or

less6-12

Months 1-2 Years 2-5 Years More than 5 years

$ $ $ $ $ $

Cash and cash equivalents

7 4.28% 9,063,587 8,835,409 - - - 228,178

9,063,587 8,835,409 - - - 228,178

2013

Cash and cash equivalents

7 3.04% 11,372,147 11,137,775 - - - 234,372

11,372,147 11,137,775 - - - 234,372

73

20. Operating leases

21. Contingencies

Leases as lessee

Non-cancellable operating lease rentals are payable as follows:

2013 2012

$ $

Less than one year 842,654 44,225

Between one and five years 1,793,389 -

More than five years 1,870,122 -

4,506,165 44,225

The Company leases its Wharf premises from the Arts NSW. The operating lease commitments detailed above include the contractual value of rent payable for the Wharf and Sydney Theatre, but not the commercial value of rent in-kind donated by the lessor. Lease rentals comprise a base amount plus an adjustment, which is based on movements in the Consumer Price Index. After extensive negotiations with Arts NSW, The Company secured a long term lease of 45 years. The lease contract was renewed for both the Wharf and Sydney Theatre on 1st May 2013 and expires 30th April 2058.

In addition, the Company rents a storage facility at Leichhardt under an operating lease expiring on 31 December 2013. This contract will be renewed in the near future with Arts NSW.

During the year ended 31 December 2013, $2,512,568 was recognised as an expense in the income statement in respect of operating leases (2012: $2,045,254), including the fair value of in-kind rent of $1,905,009 (2012: 1,824,948).

Leases as lessor

Non-cancellable operating lease rentals are payable as follows:

Less than one year 467,500 367,500

Between one and five years 791,044 791,044

More than five years - -

1,258,544 1,158,544

22. Reconciliation of cash flows from operating activities

Profit/(Loss) for the period 430,836 (254,420)

Adjusted for:

Depreciation and amortisation 1,534,570 1,012,272

Operating profit before changes in working capital and provisions 1,965,406 757,852

(Increase) in receivables 138,303 (149,224)

(Increase) in other current assets 919,697 (283,384)

(Increase)/decrease in inventories 19,290 (73,872)

(Decrease) in payables 502,232 (1,562,974)

(Decrease) in provisions (124,700) (290,434)

Increase in deferred revenue 923,353 2,508,848

Net cash from operating activities 4,343,581 906,812

The Directors are not aware of any contingent liability or contingent asset where the probability of future payments/receipts is not considered remote.

74

23. Key management personnel disclosures

Transactions with key management personnelThe key management personnel compensation included in “personnel expenses” (see note 4) are as follows:

2013 2012

$ $

Short-term employee benefits 1,300,617 941,297

Other long term benefits 148,733 112,159

1,449,350 1,053,456

Other key management personnel transactions with the CompanyIn addition to the compensation noted above, in 2013 Jonathan Biggins received $55,244 (2012: $35,810) for artists services rendered on normal commercial terms and conditions.

During the year a number of Directors were employed by or associated with organisations that provided sponsorships to the Company in the ordinary course of business. These organisations received the normal benefits flowing from such sponsorships.

No Directors received Directors fees from the Company during the current or prior year.

Other transactions/relationshipsThe Company had a relationship with NSW Cultural Management Limited. As part of the negotiations with Arts NSW for long term leases it was agreed to deregister NSWCM. NSWCM effectively ceased trading as at 31st July 2013 and transferred net assets of $387,370 to Sydney Theatre Company as required by the constitution. This transfer has been reflected as other income. The process was finalised with the ATO and ASIC in December 2013. All board members of NSWCM were satisfied that NSWCM had fulfilled all legal duties and obligations required. Deregistration occurred on 22nd January 2014.

The Company also has a relationship with the Sydney Theatre Company Foundation. The Sydney Theatre Company and Sydney Theatre Company Foundation have four Directors/Trustees in common, which is less than a majority in each case. Neither Company is a member or shareholder of the other.

In 2013, the Sydney Theatre Company Foundation raised $2,612,709 (2012: $2,032,274) through fundraising events, projects and appeals and donated $1,464,237 to the Sydney Theatre Company Ltd (2012: $2,539,944). Of this, in 2013, $198,795 (2012: $198,620) was donated to the Sydney Theatre Company Greening Project to cover annual depreciation.

The appeals conducted by the Sydney Theatre Company Foundation include: Private Dinner, STC Auction and Dinner, The Residents, Chairman’s Club, Major Gifts, Business Transformation, STC Annual Giving, Archives Project, Production Patronage and Education Projects.

As at 31 December 2013, Sydney Theatre Company had a payable of $2,076,920 (2012: $1,572,063) due to Sydney Theatre Company Foundation.

During the financial year, the Company received donations of $13,126 (2012: $8,727) from ticket donations. The costs associated with raising these funds were absorbed by the Company. The donations received were applied to the development of Next Stage and Education programmes and research and development work.

No fundraising appeals were conducted by the Sydney Theatre Company during the financial year or prior year. The Company’s main fundraising activity is conducted by the Sydney Theatre Company Foundation (please refer note 23).

24. Charitable fundraising

75

Directors’ declaration

In the opinion of the Directors of Sydney Theatre Company Limited (“the Company”):

• the financial statements and notes, set out on pages 62 to 74, are in accordance with the Corporations Act 2001, including:

• giving a true and fair view of the financial position of the Company as at 31 December 2013 and its performance, for the year ended on that date; and

• complying with Australian Accounting Standards (including the Australian Accounting Interpretations) and the Corporations Regulations 2001; and

• there are reasonable grounds to believe that the Company will be able to pay its debts as and when they become due and payable.

Dated at Sydney 14th April 2014Signed in accordance with a resolution of the Directors:

David GonskiChairperson

76

We have audited the accompanying financial report of Sydney Theatre Company Limited (the Company), which comprises the statement of financial position as at 31 December 2013, and the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year ended on that date, notes 1 to 24 comprising a summary of significant accounting policies and other explanatory information and the directors’ declaration.

Directors’ responsibility for the financial report

The directors of the Company are responsible for the preparation of the financial report that gives a true and fair view in accordance with Australian Accounting Standards and the Corporations Act 2001 and for such internal control as the directors determine is necessary to enable the preparation of the financial report that is free from material misstatement, whether due to fraud or error.

Auditor’s responsibility

Our responsibility is to express an opinion on the financial report based on our audit. We conducted our audit in accordance with Australian Auditing Standards. These Auditing Standards require that we comply with relevant ethical requirements relating to audit engagements and plan and perform the audit to obtain reasonable assurance whether the financial report is free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the financial report. The procedures selected depend on the auditor’s judgement, including the assessment of the risks of material misstatement of the financial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity’s preparation of the financial report that gives a true and fair view in order to design audit procedures that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal control An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the directors, as well as evaluating the overall presentation of the financial report.

We performed the procedures to assess whether in all material respects the financial report presents fairly, in accordance with the Corporations Act 2001 and Australian Accounting Standards, a true and fair view which is consistent with our understanding of the Company’s financial position and of its performance.

We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our audit opinion.

Independence

In conducting our audit, we have complied with the independence requirements ofthe Corporations Act 2001.

Auditor’s opinion

In our opinion the financial report of Sydney Theatre Company Limited is in accordance with the Corporations Act 2001, including:

(i) giving a true and fair view of the Company’s financial position as at 31 December 2013 and of its performance for the year ended on that date; and

(ii) complying with Australian Accounting Standards and the Corporations Regulations 2001.

Independent auditor’s report to the members of Sydney Theatre Company Limited Report on the financial report

KPMGSydney 14 April 2014

Duncan McLennanSydney 14 April 2014

77

To: the directors of Sydney Theatre Company Limited

I declare that, to the best of my knowledge and belief, in relation to the audit for the financial year ended 31 December 2013 there have been:

(i) no contraventions of the auditor independence requirements as set out in the Corporations Act 2001 in relation to the audit; and

(ii) no contraventions of any applicable code of professional conduct in relation to the audit.

Lead Auditor’s Independence Declaration under Section 307C of the Corporations Act 2001

KPMGSydney 14 April 2014

Duncan McLennanSydney 14 April 2014

78

VenuesWharf 1 Theatre and Wharf 2 TheatrePier 4, Hickson RoadWalsh BayNSW 2000

Sydney Theatre22 Hickson RoadWalsh BayNSW 2000

Drama TheatreSydney Opera HouseBennelong PointNSW 2000

Sydney Theatre Company Limited

Pier 4, Hickson RoadWalsh BayNSW 2000

PO Box 777Millers PointNSW 2000

Administrationt +61 2 9250 1700f +61 2 9251 3687e [email protected]

Box Officet +61 2 9250 1777f +61 2 9247 3584e [email protected]

sydneytheatre.com.au

Annual Report 2013Project Manager Laura HoughGraphic Designer Hon Boey

Sydney Theatre Company LimitedIncorporated in New South WalesA company limited by guarantee

abn 87 001 667 983

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SYDNEYTHEATRE.COM.AU9250 1777

WITHJONATHAN BIGGINSAMANDA BISHOPSIMON BURKEDREW FORSYTHE

MUSICAL SUPERVISORPHILLIP SCOTTLIGHTING DESIGNMATTHEW MARSHALLMUSICAL DIRECTOR & ACCOMPANISTANDREW WORBOYS

23 OCT – 21 DECWHARF 1 THEATRE

ASSOCIATE SPONSORPRESENTING SPONSOR

WRITTEN AND CREATED BY JONATHAN BIGGINS, DREW FORSYTHE AND PHILLIP SCOTT

SYDNEY THEATRE COMPANY AND BANK OF AMERICA

MERRILL LYNCH PRESENT

TREA

SURY

SLAM

MED

FOR

ECON

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IRRA

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ALISM

2013

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Doom

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