the brighton festival society limited

Brighton Dome and Festival Limited

(A company limited by guarantee)

ANNUAL REPORT AND ACCOUNTS

for the year ended 31 March 2020

Registered number: 00889184 Charity number: 249748

CONTENTS Page The Trustees’ Annual & Strategic Report 2

Independent Auditor’s Report 18

Consolidated Statement of Financial Activities 20

Consolidated Balance Sheet 21

Company Balance Sheet 22

Consolidated Statement of Cash Flows 23

Notes to the Financial Statements 24-41

BRIGHTON DOME AND FESTIVAL LIMITED (Company Number: 00889184) Annual Report and Accounts for the year ended 31 March 2020

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TRUSTEES’ ANNUAL AND STRATEGIC REPORT The Trustees are pleased to present their annual report together with the accounts, which includes both the Trustees’ Report and Strategic Report for the year ended 31 March 2020. Reference and administrative details Charity number: 249748 Company number: 00889184 Principal Office: 12a Pavilion Buildings, Castle Square, Brighton BN1 1EE Banker: Royal Bank of Scotland, PO Box 300, Brighton, BN1 9TE Auditors: Haysmacintyre LLP, 10 Queen Street Place London, EC4R 1AG Directors and Trustees: The Directors of the charitable company (the Charity) are its Trustees for the purposes of charity law and throughout this report are collectively referred to as the Trustees. The Trustees serving during the year and since the year end were as follows: Ms Polly Toynbee – Chair (resigned 10th December 2019) Mr Danny Homan – Chair (appointed as Chair 10th December 2019) Mr Judah Armani (appointed 17th September 2019) Mr Tim Aspinall Ms Lucy Davies Mr Simon Fanshawe (resigned 10th September 2019) Prof. David Gann Mr David Jordan Mr Nick Juba (appointed 17th September 2019) Mr Jordan Kensington (appointed 17th September 2019) Ms Melanie Lewis (appointed 17th September 2019) Ms Marina Norris (appointed 17th September 2019) Mr Christopher Martin Cllr Adrian Morris (resigned 22nd May 2019) Cllr Carol Theobald (resigned 22nd May 2019) Cllr Phelim McCafferty (appointed 21st May 2019) Cllr Amanda Grimshaw (appointed 21st May 2019)

Trustees wish to record their deep gratitude to Polly Toynbee for her dedicated service as Chair since 2006. Since that time the organisation has strengthened its purpose, expanded its activities and paved the way for a step-change in its work through the redevelopment of the Corn Exchange and Studio Theatre. Polly has been a tireless advocate for Brighton Dome & Brighton Festival and for the importance of arts and culture in all our lives and we thank her for all her work. As the organisation moves into a new phase the board welcomes Danny Homan as Chair and looks forward to advancing its purpose under his leadership. Officers and Executive Management The current officers, and those who served during the period, are as follows: Mr Andrew Comben – Chief Executive Mrs Amanda Jones – Deputy Chief Executive, Director of Finance & Company Secretary Mrs Kyla Booth-Lucking – Director of Programming and Participation Ms Carole Britten – Director of Marketing & Audiences


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Ms Beth Burgess – Director of Production, Festival Executive Producer Mr Peter Chivers – Head of Music & Arts Ms Zoe Curtis – Director of Visitor & Venue Services Ms Maxine Hort – Director of Operations Mrs Laura Keogh – Director of Human Resources Ms Tanya Peters – Director of Programming and Participation

Disclosure of Information to Auditor

Insofar as each of the Trustees of the Company at the date of approval of this report is aware there is no relevant audit information (information needed by the Company’s auditor in connection with preparing the audit report) of which the Company’s auditor is unaware. Each Trustee has taken all of the steps that he/she should have taken as a Trustee in order to make himself/herself aware of any relevant audit information and to establish that the Company’s auditor is aware of that information.

Auditor

The Trustees were pleased to appoint Haysmacintyre LLP as auditors of Brighton Dome and Festival Limited for the year ending 31 March 2020 and wish to thank them for their professionalism, advice and guidance throughout the period. Appointment of auditors for the financial year ending 31 March 2021 will be proposed and discussed at a future meeting of the Board in accordance with section 485 of the Companies Act 2006.

Principal activities Artistic Ambition Brighton Dome The year-round programme for 2019/20 has continued the one venue model with maximizing events the Concert Hall through until the enforced closure due to the coronavirus pandemic on Mon 17 Mar 2020. We have continued to present specific elements of the programme at the Attenborough Centre (ACCA) with additional minimal use of other external venues including the Phoenix Gallery and Brighton Museum. The total number of events in the Brighton Dome programme (including events during Brighton Festival) was reduced to 265 public performances, tours and workshops - 17 more due to take place in March were cancelled (2019: 276 2018: 294, 2017: 434) with 30 events during Brighton Festival (2019: 29 2018: 32, 2017: 97). However, our total ticketed year-round performance attendance still saw a significant increase to a new all-time high of 213, 514 up 9% on last year (2019: 195,955, 2018: 191,995 2017: 184,071) again due to an increased number of successful high capacity events in the Concert Hall: 159 (2019: 153, 2018: 151, 2017: 137). Our overall paid attendance reached a new high at 82%, significantly above our KPI target of 70% with 87% total occupancy (2019: 77% and 82%, 2018: 76% and 82%, 2017: 77% and 82%). Overall ticketed attendance in our Brighton Dome venues including Brighton Festival was 231,204 (2019: 215,533, 2018: 217,256, 2017: 220,095). With no general daytime opening the venue footfall was exclusively linked to events, open days and Brighton Festival which meant overall total audience reach for Brighton Dome year-round including digital views and private events was 293,688 (2018: 297,751; 2017: 441,877). Our own contemporary music programme was again much reduced and focusing on some key selected events – return visits for Hot 8 Brass Band, The Unthanks and the very successful Jazz Re:Fest one day Jazz Festival, encouraging new and especially younger audiences to jazz. Most successfully we presented two nights from Brighton resident Nick Cave which sold out instantly and generated a record breaking contribution. Major artists as part of our Rock & Pop programme ranged from a most welcome return by 2017 Guest Director Kate Tempest, international artists including k d Lang, Van Morrison and Beth Hart and current emerging stars such as Sam Fender and the draw of younger audiences for hiphop performers Loyle Carner and local artist Ocean Wisdom with Louis Capaldi appearing as part of TGE. The classical music programme featured four successful concerts by the London Philharmonic Orchestra including one sell-out; a much reduced Sunday afternoon series of just 4 concerts from the Brighton


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Philharmonic Orchestra with one cancelled in March; our chamber recital series at ACCA (again suffering a March cancellation) and the Brighton Festival Chorus’s popular Christmas Concert. We also presented a sold-out Concert Hall performance from Ludovico Einaudi and Icebreaker returned to present their multi-media reworking of Brian Eno’s Apollo album alongside other contemporary classical works commemorating the anniversary of the moon landings. DenMarked from hip-hop theatre artist Conrad Murray, presented at Brighthelm, marked a pausing for the year-round theatre programme due to the continued closure of the Corn Exchange and Studio Theatre. However, our younger children’s theatre programme saw great success in presenting Zog in the Concert Hall for a week at half term playing on top of Stewart Lee to an audience of over 4,250 over 5 performances. The rest of the programme continued in the Founders Room successfully and was increased slightly to 25 performances (2019: 19, 2018:40). Our Spoken Word showcase and open mic nights ‘Trope’ also continued but moved to Phoenix Gallery with two more editions. Our Christmas programme combination of circus and ballet was extremely successful this year with the return of Finland’s Race Horse Company with Super Sunday over nine performances and Ballet Theatre UK with 4 performances of Wizard of Oz and a combined audience of just under 15,000. The Choir with No Name, in support of homeless and marginalized people, returned once more and our live orchestrated screening of the Snowman was this time accompanied by a narrated version of Paddington. This type of event is very dependent on being able to present at the most suitable time of day which is not always logistically possible and so required investment despite attracting audiences of 2,400 over the two performances. Our Christmas programme overall achieved audiences of over 20,000 – a new high (2019: 19,605, 2018: 19,678). The dance programme notably saw the black South African company Dada Masilo present their reworking of Giselle with the highest attendance of the Dance Consortium national tour and Kalakuta Republik, from Faso Dance Theatre inspired by the life and work of Fela Kuti and supported as part of France Danse UK. Sadly, the two sold out performances from legendary Cuban dancer Carlos Acosta’s company were cancelled in March. Our comedy programme had major successes in this year with a record number of performances 43 (2019: 32, 2018: 30) and a 45% increase in audiences to an all-time record of 63,250 (2019: 43,884, 2018: 36,956) significantly exceeding our already ambitious contribution targets. This was majorly contributed to by 10 events having multiple performance dates – some returning with the same show later in the year and some major names attracting sellout runs – with three performances from Rob Brydon with Lee Mack and David Mitchell, Eddie Izzard, Rob Beckett and Romesh Ranganathan and a four-performance run from Stewart Lee. There were also multiple performances from Hannah Gadsby, James Acaster and Tim Minchin as well as our own-produced mixed bill night ‘Live at Brighton Dome’ and again including a very successful all-female line-up for International Women’s Day. We have continued our important role in hosting community events for schools, colleges and other local groups with highlights this year GCSE Poetry Live, Streetfunk Straight Up showcase and the major Let’s Dance schools project, all of which are supported as part of our commitment to community events. This year we also hosted the National Youth Dance company with a new commission from their Guest Artistic Director and emerging star choreographer Botis Seva. We hosted an increased programme of free open days and events attracting a new high attendance of 18,022 (2019:16,040, 2018: 10,037) as notably for the first time we hosted a Pride Open Day in August which attracted over 3,000 attenders. This was alongside our extremely successful International Women’s Day in partnership with Brighton Women’s Centre (Mar) and Black History Month Family Day (Oct) which both attracted over 4,000 attenders. Other events and regulars in our calendar included Heritage Open Day (Sep), Christmas Open Day (Dec), Disabled Access Day (Feb) and Refugee Week Community Day (June). We also had an expanded programme of assisted performances including two Audio Described, 15 BSL and four relaxed Performances as well as four touch tours across the programme of year-round events. Brighton Festival For the 53rd Brighton Festival (4-26 May 2019) we welcomed award-winning Malian singer, songwriter, and multi-instrumentalist, Rokia Traore as our 11th Guest director. Her diverse programme, with artists and performers from 20 countries represented, offered opportunities to appeal to and entice a new audience to the Festival but also challenges to engage with our existing core audiences. She looked to connect us all


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through stories, both local and from around the world, and to encourage deep listening. At the heart of the programme was a respect for cultural diversity and a desire to nurture the next generation of artists. She performed herself in three distinct music events – Né So – her debut album 20 years on; Dream Mandé: Bamanan Djourou with emerging Malian musicians and Dream Mandé: Djata which together drew a total audience of almost 3,000 blending musical styles and storytelling from Mali with the European aesthetic of her upbringing. The total audience reach was 150,581, smaller than previous recent years (2019: 179,918, 2018: 182,027, 2017: 226,756). There were 397 performances/experiences (2019: 424, 2018: 448, 2017: 1125) across 130 events (2019: 153 2018: 149, 2017: 153). We made continued use of city centre venues including Brighthelm and presented work across the city from Queens Park, Black Rock to Brighton beach, the King Alfred’s Leisure Centre and the Prince Regents Swimming Pool. We had our lowest ticketed audience since 2009 with 52,488 (2019: 71,068, 2018: 81,285, 2017: 67,074) and ticket sales were lower than anticipated achieving 90% of the sales target at £806,764 (2019: £1,021,655, 2018: £1,148,000, 2017: £971,091) but still we achieved 70% occupancy overall and the demographics showed increased proportion from BAME communities up 2% to 11%. As usual the Children’s Parade – the largest in Europe – in partnership with Same Sky launched the Festival and was led by our Guest Director with 5,000 primary school pupils and their families participating under the theme of ‘Folk Tales from around the World’. Our Theatre programme drew the largest audiences and reached its sales target overall with great successes from Kneehigh Theatre’s Dead Dog in a Suitcase and the hugely inventively staged Flight from Vox Motus which brought an amazing diorama to the King Alfred’s ballroom. It received fantastic word of mouth and ultimately achieved 94% attendance. Berlin’s True Copy – one of this year’s commissions and exclusive international events also performed well at ACCA. Our commissions this year featured local writer/director Sheila Hill working in partnership with Glyndebourne and jazz composer Byron Wallen to create a powerful musical participation event involving 100 amateur mother and daughter performers, Eye to Eye. We extended our partnership with Worthing Theatres for the 20th Anniversary production of Festival regular artists Spymonkey’s Cooped and we took the local dance company Tribe and brought back the Storytelling Army first seen during Kate Tempest’s Festival. 12% of the audience were from Brighton and 48% were first time bookers to Worthing Theatres. Other key events were The British Paraorchestra’s immersive staging of The Nature of Why on the Concert Hall stage; Australian circus troupe Gravity and Other Myths’ exploration of emotional and physical endurance in Backbone; Poland’s Teatre Biuro Podroxy with the outdoor late night spectacle, Silence at Black Rock and the exuberant dance party Session on Brighton Beach from Steppaz and Empire Sounds. The biggest talking point was Luke Jerram’s Museum of the Moon, marking 50 years since the first moon landing. This suspended seven-metre accurate replica model of the moon spent 4 magical days and nights above the lake in Queen’s Park, attracting very large mesmerised crowds - 15,000 overall and much audience-generated social media coverage with over 96,000 posts. Our community initiative Your Place became ‘Our Place’ as the local steering groups of Hangleton and Knoll and East Brighton together with Brighton People Theatre curated two days of Festival programming very much embedded in those local communities. More new audiences were attracted to get involved and take part in a diverse line-up of free performances, workshops and activities, and although overall numbers were less than previous years the levels of engagement and commitment to and awareness of the project was much increased. For the third year ‘Pay It Forward’ invited regular Festival audiences to donate a Festival ticket to someone unable to afford the opportunity. 725 donations for ‘Pay It Forward’ enabled 996 tickets distributed via 44 community organisations. The redemption rate was up to 53% (49% BF18, 43% BF17). A new initiative as part of our long-standing partnership with the University of Sussex as sponsors looked to

work with students to help reach younger audiences through digital channels. For BF19 we also worked with


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media partner The Voice for the first time and across all media channels we achieved our 75% target for

reviews praising artistic excellence (2019: 75%, 2018: 77%, 2017: 80%).

Brighton & Hove Music & Arts

Brighton & Hove Music and Arts (BHMA) and East Sussex Music (ESM) are the lead partners of the Music Education Hubs in Brighton & Hove and East Sussex and collectively represent the single largest music education provider across the 2 areas. Collectively the Hubs engaged with 14,000 children and young people from 250 schools during 2019/20. Following a successful tender process to operate East Sussex Music, the service transferred to BDBF in September 2019. As part of the agreement we set up and moved into the ESM office at the Performing Arts Centre (PAC), Lewes Campus of East Sussex College. The start of the autumn term brought together both teams from across BHMA and ESM, which started the processes of bringing the two services strategically together. New IT systems were required at PAC alongside a process to modernise administrative systems, which involved moving primarily paper systems to electronic. As with other departments this process has accelerated since lockdown. Following submission of the annual MEH data return in October 2019, the annual feedback letter from ACE was received in January 2020. The feedback statement noted that BHMA/SoundCity ‘continues to perform at an exceptional level’ and highlighted that the MEH is achieving engagement in excess of the national average in several areas, including the percentage of schools supported to deliver core roles and to deliver singing strategies, representing strong relationships with local schools. The feedback also referenced that ‘SoundCity continues to demonstrate best practice in its approach to partnerships’ and ‘has a demonstrable commitment to inclusion’, referencing work with the Southern Music Hub Alliance to improve inclusive music making across the region, well-developed partnership with the Virtual School for Children in Care and the high number of pupils engaging in ensembles, including those with SEND through targeted activities such as orchestra 360. The ACE feedback letter for East Sussex Music Education Hub acknowledged that the Hub had underperformed in recent years and welcomed the awarding of the 25-year concession contract to Brighton Dome Brighton Festival, following an extended period of uncertainty. During the initial phase of operation in East Sussex, our focus was to ensure continuity of offer for our young musicians, parents/carers, schools and partners across both services and especially East Sussex. Across the first 2 terms of operation, pupil numbers were sustained, whole class ensemble tuition in school continued and we developed the series of 13 Big Sing events in partnership with Glyndebourne and involving over 3500 young singers. We introduced new repertoire and a more embedded use of Makaton as we further increased our focus on inclusive practice. Each Music Hub operates advisory boards that support the strategic focus of the educational offer and development of partnerships locally and nationally. Previously the Head of ESM chaired the ESM board and following discussion Stewart Drew, CEO of De La Warr Pavilion, kindly agreed to step into the role as interim Chair. As part of our MEH role we support schools to deliver the music curriculum, through training events, conferences and individual support where possible. January 2020 brought together teachers from across East Sussex and Brighton & Hove for a ‘Teach Meet’ sessions which focused on delivering the music curriculum. Following the lockdown, we continued to support colleagues through digital Teach Meets delivered in partnership with University of Sussex, with over 120 teachers from across Brighton & Hove, East Sussex and West Sussex taking part during the summer term. BHMA is the lead partner for ‘Our Future Music’ a regional programme focused on developing inclusive practice in music, working with a partnership of five Music Education Hubs from the south east and funded by Youth Music as part of the Alliance for a Musically Inclusive England. The programme concluded its second year (of four) in March 2020. A substantial evaluation report was submitted, detailing progress made to date which includes the establishment of new inclusive orchestras for young people with Special Educational Needs/Disabilities across the region and youth-led music spaces located in areas of economic deprivation. On receiving the year 2 report, Youth Music noted the positive progression toward the programme aims, particularly in terms of establishing more inclusive music-making in East and West Sussex and the innovative young leaders programme in Brighton. The funder was also keen to see support from BDBF’s marketing team to promote the work and encouraged the partnership to be bolder when it came to


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sharing our learning and successes in developing inclusive work that they consider to be ‘nationally significant’. Developing new partnerships across East Sussex has been another area of focus since September 2019. In our first year this has led to new partnerships with London Mozart Players, Bollo Sound & Vision and SoundCastle. Work with LMP has been linked to the ensemble’s residency in Hastings and included a project with Hastings Music Centre groups that culminated in a massed performance with LMP in February. The partnership with Bollo bought Ghanaian musicians into schools and provided a unique professional development opportunity for teachers to gain an in-depth knowledge of West African music and insight into authentic approaches to incorporate this into the music curriculum. In early 2020 we submitted an application to ACE to develop and produce ‘In C by the Sea’, an innovative performance project based on Terry Riley’s iconic work In C, that would involve young musicians from across our 5 Music Centres (Brighton, Eastbourne, Hastings, Lewes and Wealden) in performing In C at different sites along the south coast, alongside a digital performance that was to take place as part of Brighton Festival 2020. Due to the pandemic, this grant was temporarily closed but the idea was adapted by colleagues and used to underpin the first major creative project as part of our Virtual Music Centre in the summer term. Following the outbreak of the Covid-19 pandemic, the closure of schools and government advice on social distancing, face-to-face delivery was paused on 20 March 2020. We pivoted to develop an online learning offer, for both instrumental/vocal lessons and Music Centre activities, engaging with almost 3000 pupils online during the summer term.

Future Creators

Formerly Our Future City, the Cultural Education Partnership relaunched as ‘Future Creators’ in summer 2020. The new identity had been developed through an extensive period of consultation with partners and young people and seeks to more accurately demonstrate our belief that collective action to nurture creativity works and has long-term, positive and measurable effects. Work continued towards our five strategic goals (creativity, well-being, digital, skills and employability, collaboration) through a range of programmes; working both in and outside of school. The most significant development of the past year was our work through Cities of Learning in partnership with the RSA. This innovative programme helps people find new learning opportunities near them. A new digital platform lets learners transform what they’ve studied into new skills, qualifications and careers (demonstrated by digital badges); and encourages collaboration between local leaders, learning providers, and employers to find untapped sources of community education and transform local lifelong learning. Brighton is a growing hub for the creative, cultural and digital economy with a vast tourism, retail and hospitality offer. Since starting the programme, city leaders, learning providers and employers of Brighton have been working hard with the RSA and Navigatr to create digital badges and inclusive pathways specifically supporting young people - to enter, shape and interact with the city’s vibrant creative and cultural sector. We are particularly focused on highlighting opportunities for 18-24 year olds under the themes 'Experience economy' and 'Creative and digital economy'. We have increased the number of young people and schools engaging with our now established ‘Be Well’ programme that utilizes the potential of creative and cultural experiences to enhance well-being. Five primary schools took part in ‘Exploring the Familiar’ a psychogeography project delivered in partnership with the Centre for Secure, Intelligent and Usable Systems at University of Brighton to explore themes of belonging and transition; and for the first time we worked with schools in West Sussex to co-create and deliver ‘Be Well’ programmes at both primary and secondary schools. When the lockdown disrupted delivery we moved online, to ensure that all programmes reached a satisfying conclusion – with artists facilitating sessions for young people over Zoom. We have also continued to work with 10 schools (across Brighton & Hove and East Sussex) to deliver the ‘Write Sounds’ programme, that uses body percussion to promote literacy and comprehension skills and with the Virtual School for Children in Care to offer holiday art clubs for children in care and their siblings. Both programmes link to our strategic goals, including significant elements of practitioner/teacher training in innovative approaches to creative learning and offering participants the opportunity to achieve an Arts Award to recognize their progress.


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Creative Learning With 58 artists delivering workshops to young people our Creative Learning activity underpins and complements the artistic activity on stage and in the Festival. In 2019 1,178 people aged 0-19 participated in one of our informal learning workshops or experiences. Our objective to extend and enrich our Creative Learning offer for local and regional artists through ‘continued professional development’ opportunities continued. Example activities includes a virtual workshop with internationally acclaimed Alvin Ailey Company and Stage Makeup masterclass. Sitting alongside talks and platform events like ‘Trope’ (spoken word) we provided the space for local and regional artists to extend their practice and connect with us and each other. Community Projects We developed our support for both ‘Forward Facing’ and ‘Umbrella Club’ to join forces on a Memory Making Day. Children from local Hospices and undergoing oncology treatments were welcomed into the venue by our staff and staff volunteers. Joined by their siblings, best friends and carers for a magical day of memory making, they created movies and keepsakes culminating in an uplifting child-led performance on the Concert Hall stage. ‘Umbrella Club’s’ membership is widening, with more Sussex based families joining every week. In the past year we offered approximately 30 shows to families during our Spring, Festival and Autumn season. A wide range of staff from all departments get involved with these projects as volunteers by greeting ticket holders outside the building and hosting them for the events they are attending, ensuring they have a special and memorable time in our venues. Our flagship and award-winning ‘Miss Represented’ project continued providing a safe space for exploration by vulnerable young women (aged 13-24) with particularly complex needs from within the social care and criminal justice systems. These young women, often disengaged from other services available, engage to feel they can exist without judgement and where they have autonomy. Referrals for participation come from the Youth Offending Team, schools, Pupil Referral Units, The Connected Hub, Leaving Care Team, individual social workers, Fostering Service and CAMHS. 2019 saw the launch of their standalone website and a documentary film capturing their previous tour. A celebratory event at Lewes Depot screened the film alongside a public exhibition of their ‘Mirror Mirror’ themed work exploring identity and perception. 2020 saw the launch of a Schools intervention project led by two ‘Miss Represented’ artist mentors. Audiences & Community Our overall audience reach for the organisation across this 11 and a half-month period was 391,082, which was slightly below our target (set at 400,000 for the duration of the capital redevelopment project) and less than previous years (2019: 428,354, 2018: 455,23, 2017: 666,787) mostly due to reduced private events activity and lower Festival ticketed attendances. There would have been another 13,000 attendances which were cancelled in the affected March period. We had a new high number of events in the Concert Hall with a total of 180 (2019: 174, 2018: 171, 2017: 158) which we hope we are able to sustain post the redevelopment. Ticketed attendance percentage levels reached a new all-time high for the organisation with 83% total occupancy and 77% paid attendance (2019: 80%/74%, 2018 80%/74%, 2017: 83%/79%). This was despite this year’s Brighton Festival’s ticketed audiences being lower than previous recent years. Our ticketed audience reach across the city still maintained high levels with 1 in 3.5 households attending events within the last 18 months (KPI target for 2022 is 1 in 3). The total attendance for Creative Learning and participation activity in this period including Open Days was 25,718 a reduction on previous two years (2019: 49,777, 2018: 30,517, 2017: 17,724) as it was focussed on our extensive workshop and focused outreach activity, rather than directly participative events during Brighton Festival beyond the Children’s Parade.


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We continued our successful live streaming partnership with Greater Brighton Metropolitan College focussing on reaching our target number of 12 for Brighton Festival. Again, Facebook Live was successful in generating views for Brighton Festival events. Total views to date across all 12 events was 20,080 (2019: 17,458, 2018: 48,590, 2017: 5,632). The following table breaks down the key performance statistics for ticketed events, showing Brighton Festival 2019 separately for the period. In addition, Brighton Festival 2019 reached 13,583 visual art installations (2019: 20,400, 2018: 19,288, 2017: 51,022) and 38,650 for outdoor non-ticketed performances both reduced from last year (2019: 42,600, 2018: 22,900, 2017: 97,100). But, in total, audience reach for free experiences including livestreams was an increase on last year at 91,509 (2019: 79,343, 2018: 89,720, 2017: 148,122).

2019/20

Total

Total Total Total

Brighton

Dome Brighton Festival

2019/20 2018/19 2017/18 2015/16

Number of ticketed events

194 329 523 467 411 637

Audience capacity

245,201 74,978 320,179 331,908 340,193 345,751

Total paid attendances

200,504 47,426 247,930 246,699 252,765 244,885

Total ticketed attendances

213,514 52,422 265,936 266,982 273,280 263,520

% paid attendances

82% 63% 77% 74% 74% 71%

% total attendance

87% 70% 83% 80% 80% 76%

Digital Audience 92 20,082 20,172 17,458 48,590 6,924

Equality & Diversity In the 2019/20 financial year, we were successful in obtaining funding from the AMA to join their ‘Breakthrough Programme’, which provided training and coaching to our senior management team on how to understand and overcome barriers to develop diversity and inclusion within our organisation. EMT completed this six-month programme (along with 5 other arts organisations) in January 2020. We attended a series of workshops, which helped us to deliver similar presentations to our staff at our staff

share days and to build on developing an inclusive culture. We produced new equality, diversity and

inclusion statements, which were designed with input from all staff and posters were produced, which are

now on display within staff areas in all of our buildings. In addition, we have surveyed staff on the creation of

staff equality groups, collected socio-economic data on our staff for the first time and we are hoping to set up

our first staff equality group in the future.

Our Equality Action Plan has been updated to reflect this work and the actions that are detailed in this were set together as a senior management team. Our main focus from this work has been to improve the number of applications during recruitment from BAME people and from people with disabilities (by 10%). By August 2020, we had appointed two new BAME staff despite reduced recruitment activity due to the continued capital redevelopment. In the autumn of 2019, we sought to increase diversity on our Board and recruited a number of new Trustees with a wealth of valuable experience and who are more representative of our local community. Our staff group is currently made up of 13.6% BAME employees with the local demographic being 20%. To improve on the number of job applications we were receiving from our under-represented groups we implemented new recruitment flyers and banners to use at careers fairs and open days and we updated our website jobs pages to include our Equalities Policy and information about the benefits we could offer. We have also encouraged all staff to provide their equalities data by increasing self-service so that staff can


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update their details direct on our HR system. In February 2020 staff attended an Employer Workshop held by the BMECP to make connections and listen to the work that they do. Attracting BAME and disabled applicants for volunteering and paid employment with us remains challenging and this will remain a specific area of focus for the coming year once our activities stabilise following the Coronavirus outbreak. In April 2019, following a self-assessment evaluation, we achieved Level 2 of the Disability Confident Scheme for employers and are able to say that we are a Disability Confident Employer who is striving to achieve level 3 of this award, which would be to become a Disability Confident Leader. In May 2019, we joined Stagesight who promote equality and diversity within the workforce and we are now listed as a member of this group. In July 2019, we introduced a new recruitment policy and ran recruitment workshops for our managers to promote best practice. A number of staff have been involved in promoting jobs in the community including at the BMECP volunteer fair, job fairs across the city (e.g. at the AMEX, BMECP etc), Disabled Access and BHM open days. Our jobs are also advertised on Communitybase, Community works, artsjobs and on the DWP websites as well as on our own social media sites. Our staff group are currently made up of 6.1% who identify as disabled with the local demographic being 16%. As stated already, BDBF became a Disability Confident Employer and we retained our Disability Action Alliance Volunteer Charter. 11.7% of our staff group currently identify as LGBTQ against a local demographic of 13%. A rolling programme of unconscious bias / equality & diversity training has taken place and will continue. We continue to strive to offer the most diverse artistic programme. Our programme of events and other projects delivered against our objectives to target 4 specific groups which are LGBTQ+, People Of Colour / BAME, Disabled, Socio Economic deprivation. At the end of 2019, we launched Hidden Disabilities Sunflower Lanyards. Not all of our customers with

hidden disabilities require assistance but if they do we now offer this scheme and wearing this lanyard

discreetly indicates to our staff that the person may require help, assistance or a little more time e.g. early

access to our venues to avoid crowds. We also launched our Access Scheme, to enable people with

disabilities to register with us so that each time they visit they don’t have to tell us their access requirements

again.

We applied for a fellowship with the Jerwood Trust, which would allow us to support the recruitment of

someone from a lower socio-economic background into a role during 19/20. Unfortunately, we were

unsuccessful in this application, however, we will continue to look for opportunities like this.

Future developments will include sourcing a new HR system for our organisation which includes an integrated recruitment module so that we can track applications through the recruitment process and monitor that the process is fair for staff with protected characteristics. In addition, we will continue to represent BDBF at many local community events to not only promote our events and support our local communities but to promote us as an employer within the city and the wide variety of jobs that are available with us. Conferencing & Private Events The ongoing refurbishment of the Corn Exchange and Studio Theatre continues to restrict conferencing and private events business levels and the lack of exhibition, catering and breakout space within our Concert Hall further impacts the number and type of events that can fit this space. Despite these ongoing challenges, last year saw 17 events hosted (2019: 25), delivering a contribution of £81,383 (2019: £107,000). Prior to closure, an average of 70 events a year were hosted. 65% of last year’s bookings were from returning clients. In addition, we secured business from new clients, including the British Society of Paediatric Gastroenterology, Hepatology and Nutrition (BSPGN) and Lactalis. The team are working hard to maintain relationships with existing and historic clients providing site visits and regular updates on the capital project. We continue to attend trade shows and proactively market the venues where we are able, but a full marketing campaign will be launched once the re-opening timetable is clearer.


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Work carried out in year to sell the venue for future years promised to deliver very positive results; prior to the announcement that the refurbishment of the Corn Exchange and Studio Theatre were delayed, we were looking at provisional business for 2020 and beyond worth over £500k. The ongoing delays to the project have resulted in most of this business going elsewhere but we are confident that once we can proactively sell the spaces business, we will be able to grow sales.

The current situation with COVID-19 had little impact on this aspect of our business in year but increases uncertainty within the conference and business events market. In response, we will need to work hard to secure more local and domestic business and ensure we can deliver an excellent offer in terms of hybrid events (online and in person) to stay competitive.

Bars & Catering

Results from our in-house bars and catering activity this year are very positive, despite the impact of COVID-19 just before the year-end. Overall, the bars returned a contribution of £284k (2019: £215k). Without the impact of cancellations due to coronavirus in the last two weeks of March this would have stood at £298k. This year has seen the team continue complete some several strategic projects, including tendering for a new till system in readiness for the re-opening of the Studio Theatre & Corn Exchange. We also successfully trialled a reusable cup scheme and were planning to permanently adopt this initiative, to further reduce our use of single use plastic, prior to the pandemic crisis. The team continues to engage with our consultants and a local contractor to progress the concept and designs for the restaurant that will come on-line as part of our capital project.

Appeals and Fundraising The fundraising team delivered a good result in 2019/20 against the backdrop of our ambitious capital campaign. We are grateful for trusts and foundations supporting our ongoing work such as inclusive music and Young Musician Bursaries for children and young people; creative and social learning programme Miss Represented; access through the arts to children with life-shortening conditions through the Umbrella Club; developing reading and writing skills through Adopt an Author; community co-creation programme Our Place and more. Thank you to Andrew Lloyd Webber Foundation, Mrs A Lacy-Tate Trust, BBC Children in Need, Brighton District Nursing Association Trust, The Chalk Cliff Trust, Dixie Rose Findlay Charitable Trust, The Ian Askew Charitable Trust, John Horniman’s Children’s Trust, John Thaw Foundation, The Lawson Trust, The Lynn Foundation, The Pebble Trust, The Sobell Foundation and Youth Music. In terms of corporate support, University of Sussex continued as our Major Sponsor and other supporters included University of Brighton, Southern Water, Selits, Selective Asia, Brighton College and Best of Brighton Holiday Lettings. Trustees are pleased with the ongoing strength of the fundraising operation and building the ‘case for support’ for the whole organisation’s activities. Our individual giving programmes, namely membership (from £30 per year) and patrons (£1,000+ per year) continue to give people the opportunity to participate and engage in different ways. Our Membership (£30+ per year) and Patrons Circle (£1k+) completed a strong year despite the impact of Covid-19. During the year, we restructured the Patrons Circle, removing some levels and incorporating a new Gold (£500) level as a ‘taster’ entry point. Despite the loss of some patrons, we gained 13 new or upgraded patrons (four couples and three individuals, including two new ‘taster’ patrons at the £500 level). By April 2020, the Patrons Circle stood at 73 members.


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Capital redevelopment 2019 saw the principal building contractors for the renovation of the Corn Exchange and Studio Theatre R. Durtnell and Sons Ltd. (RDS) cease trading, which was a great disappointment and a significant blow to what is already recognised as a complex project. Following RDS’s departure Brighton and Hove City Council (BHCC), who lead the project, immediately secured the site and lead architect Fielden Clegg Bradley Studio along with other consultants began a systematic review of all aspects of the build. Within a few weeks BHCC began procurement of a contractor to take on Stage 1 recovery works and we are delighted to be working with local company Westridge Construction Ltd. Westridge have an impressive track record of working on heritage building projects such as Ditchling Museum and Battle Abbey and have recently completed Hove Town Hall’s major refurbishment and the construction of Hannington Lane in Brighton city centre.

The Stage 1 recovery works, which started in earnest in the new year, encompass essential weatherproofing and drainage works to protect and conserve the historic Grade I and Grade II listed buildings, a former riding house and supper room built by the Prince Regent in the early 19th century.

Stage 2 work will include a finishing contract and the planned project completion date is now autumn 2021.

The project continues to be central to delivering the future strategic vision for BDBF. Key to that longer-term plan is the need to run more efficiently and decrease running costs. The new buildings offer BDBF the opportunity to develop new and increased commercial activities which are planned to generate higher levels of self-earned income to invest in maintenance and an increased programme of artistic and participation activities.

When the project is completed the site will showcase significant improvements to front of house and back of house areas, leading to a much-improved experience for venue users and artists. Spaces that have been hidden away from the public will now be accessible and visitors will be able to learn much more about the fascinating history of these heritage spaces. New lifts will provide entry to previously inaccessible places and new bars and toilets will enhance the guest experience.

The 200-year-old Corn Exchange will be a flexible space which can move easily between a flat floor set up and 500 seat theatre style set up due to the installation of a new retractable seating system. The Studio Theatre will provide a reconfigured 250 seat space and both venues will benefit from new mechanical and electrical infrastructure and investment in production equipment.

The new Creative space will provide a much needed and dedicated space for artists and partners to develop and rehearse work with us and offers the opportunity to build a pipeline for work that could be showcased in the venues or during the Brighton Festival.

Teams continue to plan for the handover, and we have delivered a programme of staff engagement days to focus on what ‘life after re-opening’ will be like. In tandem with our revenue fundraising, we continue to fundraise for our capital project and have secured £2.38 million from private giving to date. In addition to existing support from Arts Council England Lottery Project Grants, the Heritage Lottery Fund (now National Lottery Heritage Fund), Brighton and Hove City Council and Local Economic Growth Fund, in this financial year we secured funds from hundreds of supporters as we focused on our ‘Build Brighton Dome’ public appeal which was launched in February 2018 and fundraising continues through to re-opening. This includes our name a seat appeal and other initiatives such as ‘Round Up Your Round’ (round up your bar bill to the nearest pound), as we continue to reach across our audiences and engage the wider public. We are very grateful to the many individual donors and trusts and foundations for their support and for agreeing to advocate so positively on behalf of our vision; this includes The Regency Society. We are also immensely grateful to our own Board members and capital fundraising group for continuing to make financial commitments and organise successful fundraising events such as supper clubs and a Burns Night evening.


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Heritage Interpretation and Activity

Our Participatory Interpretation Manager continued working with the Drinkall Dean Design team and the BDBF team to progress and deliver the interpretation designs for the capital redevelopment project. A number of activities targeting different audiences and volunteer groups were carried out clustered in a series of themes including; Research, Making Movies, Scriptwriting; Remembrance Day; Black History Family Day; SEN projects; Visually Impaired support activity; Christmas Open Day; Oral History activity. A journey of engagement document shows how we are working to staging our offer to groups, to show the progression and development of our work with groups. We are mindful of legacy and we are building in handover and working in sync with the BDBF department to ensure this work endures post National Lottery Heritage. BDBF producers are progressing commissioned artistic events that draw from the heritage stories: Plein Air Play, Inhabit etc. Our ‘Flying the Flag’ project started looking at the BDBF stories and identifying characters for audiences to connect with. The staff and volunteer training programme continued apace with several tours taking place including site visits and tours of the refurbished spaces and Pavilion Gardens alongside talks for staff and volunteers such as ‘Dome Performance History’ and ‘From Superstars to Paupers’ and a successful Share Day model with Heritage quizzes and the display and interpretation archive acquisitions. These have made a valuable contribution to staff interest and support for the activity. We prioritised connecting with those who may face barriers to access and have made inclusive activity for people, especially children and young people. An example is the film-making workshops for young people on the autism spectrum, aged 14 – 25, led by learning disabled and non-disabled workshop leaders from the organisation ‘Carousel’. Our connection with children and young people was developed through Scriptwriting Activity workshops as part of the ‘Flying the Flag’ initiative. With Primary Schools (Yr 3 and Yr 6) we explored our BDBF social history looking at ‘People Power’ and characters that have been involved in human rights issues. The outcome was a series of flags created as a response to the stories we presented. Research volunteers are currently exploring a number of stories that specifically relate to the experience of

Black and minority ethnic people including; Queen Charlotte, Treatment of the Indian Soldiers during WW1,

Brighton’s relationship with the slave trade and artists of colour who have performed at Brighton Dome.

Environmental Sustainability

Energy We are pleased to be able to continue to use renewable electricity from biomass fuel with comparable electricity usage in the Concert Hall reducing by a further 2% in the last 12 months. Consumption of electricity at 12a Pavilion Buildings has decreased by a further 9% year on year. Behavioural patterns, environmental awareness and a reduced reliance on the office building as a work location are contributors. Electric heating is a substantial cost to the organisation. We are also delighted that our gas usage decreased by 3% compared to the previous year. The gas contract was retendered and BDBF moved to 100% green gas in the second half of the 2019/20 financial year. More sustainable than natural gas, biomethane, or ‘green gas’, comes from several renewable sources. These include domestic waste-water treatment plants, food waste, residues such as straw and unusable vegetables, or a combination of these. We recognise that there are still areas for investment which would reduce our utilities consumption and we will wish to turn our attention to these post-redevelopment. Examples include completion of the phased installation of LEDs in the foyer and auditorium, the replacement of toilets with water efficient units, and upgrade of the venue chillers. Two of our air handling units that had reached end of life were replaced in Summer 2019, providing more efficient air handling to the basement areas and ground floor toilets.


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Waste Reduction of single use plastic remains a key area of focus. With the removal of plastic straws and cutlery already addressed, our attention this year rested on removing other single use plastic from the bars’ operation. A trial of returnable and reusable drinks cups was very successful and the response from audience overwhelmingly positive. Our plans to proceed with the scheme on a permanent basis was stalled by the Covid-19 pandemic but remains a part of our environmental action plan for the future. We estimate that 10,000 plastic bottles have been saved by the transition from plastic water bottles to canned water in 2019/20. It remains our target to remove single use plastic entirely alongside the reopening of the redeveloped venues and new catering operation in New Road. Planning for the new catering outlet includes a focus on local and sustainable food, and a composting scheme. It is positive that across our venue the proportion of recycled waste, against waste which is sent to be burned for energy, remained at 60%. The proportion of waste recycled from our main office location increased by 9% year to year, from 46% to 55%. Having successfully moved away from sending out year-round and Brighton Festival brochures wrapped in plastic packaging which saved 65,000 pieces of single use plastic, the Marketing team combined the Autumn 2019 and Spring 2020 brochures to reduce brochure print by 50%. Travel Travel to our events by our audiences represents the organisation’s largest carbon impact and we continue to encourage our audiences to choose sustainable ways of travel to the venue, amongst other initiatives, promoting the use of folding bicycles by accepting these into our cloakrooms free of charge and working to highlight sustainable initiatives and stories through our visitor information and social media feeds. Audience surveys now include travel questions, enabling us to monitor audience travel. During Brighton Festival, 61% use sustainable travel methods. There is a longstanding existing partnership with the NCP car park. Communications for this offer now focus on promoting car sharing. Car sharing is currently 5% within our audience year-round. For Christmas 2019 we partnered with Brighton & Hove buses to promote bus travel to our Christmas show as part of a wider campaign with bus panels on the back of a fleet of local buses and using the story to communicate to our audiences. We have added all sustainable travel options to pre-show emails being sent to our audiences. We continue to encourage our staff to cycle to work by offering a salary sacrifice cycle to work scheme to assist with the purchase of bikes and other equipment. Popular free bike maintenance sessions are now a regular occurrence, organised with support from Brighton & Hove City Council. BDBF participated in the Love to Ride scheme, incentivising bike journeys amongst the staff group. Environmental Communications We remain focused on publicly highlighting environmental milestones to our audiences and raising awareness of our aims as a central part of wider messaging of the organisation’s ethics. The Brighton Dome and Brighton Festival websites were updated to refresh messaging on our aims and achievements and a staff group made arrangements to be involved again in the WWF Earth Hour where lighting in the venue was minimised to encourage audiences here for the show to consider any unnecessary electricity consumption. A workshop was held in July 2019 involving the whole Management group and staff Green Team to review

BDBFs Environmental Action Plan. The session was facilitated by the Sustainable Business Partnership.

Having joined the Partnership for Active Travel and Health, Brighton Dome acted as host for the partnership

meeting in October 2019, focussing on positive interventions to climate change.

Financial Results Consolidated results are presented for the year ended 31 March 2020 with a recorded loss on unrestricted net operations of £121,371 (2019: Loss £116,451).


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The Charity earned 63% (2019: 58%) of its normal operating income from ticket sales, sponsorship, catering and the private event income channelled through the trading company (Brighton Dome and Festival (Trading) Limited) and 37% (2019: 42%) of its income through grants and donations. 31% (2019: 36%) of normal operating income comes from the Charity’s two public funders: Brighton & Hove City Council (BHCC) and Arts Council England (ACE); the Charity has a long-term agreement (29 years remaining) with BHCC that determines the details of the Lease of Brighton Dome, the Sinking Fund and the Arts Fund which supports the activity of both Brighton Dome and Brighton Festival. In 2019/20 the Arts Fund contributed £1,885,445 (2019: £1,681,412) to income. The Charity is a long-standing National Portfolio Organisation of ACE with confirmed funding through to 31 March 2022. Our Creative Learning programmes have been significantly enhanced since the addition of the Brighton & Hove Music Service in 2017 and the East Sussex Music Service in 2019. Grant and donation income for these activities totalled £397,540 (2019: £535,986) with income from tuition and workshops totalling £1,919,166 (2019: £755,557). Total expenditure on Creative Learning activities totalled £2,817,673 (2019: £1,588,416). As in previous years, and particularly through the period of major redevelopment of the Corn Exchange and Studio Theatre, we are continuing to work towards building stability in our financial position in order to support the year-round Brighton Dome programme, our city-wide creative learning offer and our continued innovation within the annual Brighton Festival. Our strategy continues to establish a balance in the use of our venue spaces between subsidised shows, hires and conferences and other private events. The Trustees are very grateful to Brighton & Hove City Council for delivery of the current redevelopment works and for the provision of an annual Sinking Fund that meets maintenance costs and builds up a replacement fund, however they remain concerned at the cost of maintaining the fabric of the historic building and replacing key items of equipment as they wear out. This is particularly important as the building becomes increasingly busy, therefore escalating wear and tear. Research and development costs for the year were £27,816 (2019: £16,773). Going Concern Accounting standards require the Trustees to consider the appropriateness of the going concern basis when preparing the financial statements. Trustees have considered the level of funds currently held by the Group and the Company and the expected level of income and expenditure for a period of twelve months from the date of signature of these financial statements. These considerations take into account the expected impact of the COVID-19 pandemic. After reviewing the funding streams available to it and making appropriate enquiries, Trustees consider that the going concern basis is appropriate. Additionally, the Group had a carried forward balance of cash at bank and in hand at the reporting date of £2,016,767 (2019: £1,588,078) and have positive total unrestricted operational reserves of £132,950 (2019: £253,959). Trustees have a reasonable expectation that the Group and the Company have adequate resources to continue in operational existence for the foreseeable future and until full trading has resumed. For this reason, they continue to adopt the going concern basis in preparing the financial statements. Further details regarding the adoption of the going concern basis can be found in the Accounting Policies. Trustees are mindful that the impact of the COVID-19 pandemic and the ongoing capital renovation of the Corn Exchange and Studio Theatre, are continuing to place significant strain on the financial resources of the organisation. Consequently, in 2020 the Group made a loss on unrestricted operational funds before transfers of £121,371 (2019: Loss £116,451). At 31st March 2020 the Group had negative free reserves, being unrestricted, undesignated funds not held in fixed assets, of £571k (2019: Negative £571k). Plans for future periods Careful financial management is our priority as we lead our organisation through recovery from the COVID-19 lockdown; the impact of the pandemic coming at a time when two of our three main venues were already closed for redevelopment. We are very grateful to Arts Council England for both their ongoing and emergency support and to Brighton & Hove City Council for retaining their ongoing investment in us in these difficult times. We are embarking on a process of organisational change including a temporary staffing restructure, working hard to avoid the compulsory redundancies so prevalent in our industry at present, so as to ensure we retain our highly valued staff team who will be central to our recovery.


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We continue to plan for the reopening of the Corn Exchange and Studio Theatre in late 2021, despite the setback of the COVID-19 pandemic in 2020 and the collapse of the principal contractor in 2019. We will continue to develop our artistic offer alongside planning for the efficient operational delivery of the newly refurbished spaces. A key part of this planning will be the focus on the delivery of our Commercial Strategy including planning for the new commercial spaces that will be available once the renovation is complete. We are very excited that our investment in 5G infrastructure has received a significant financial boost from the Department for Digital, Culture, Media & Sport (DCMS) via their 5G Create awards. We will be developing and delivering a 5G Powered Festival concept working with industry leaders Sennheiser, Warner Music, O2 (Telefonica UK), Digital Catapult, Mativision, Metropolis and Sonosphere. The initiative will enable artists to collaborate creatively and audiences to engage and connect both remotely and live in person using cutting edge technology. We are partnering with Wired Sussex to engage with the music and events industry and invest in talent and idea development so that Brighton can continue to be at the cutting edge of art and technology, combining to create new cultural experiences. Building on the successful partnership with Brighton and Hove Music and Arts, Brighton Dome and Festival were selected as preferred bidders for a contract to run East Sussex Music Service from September 2019. This opportunity has given a much greater geographic reach to our music education programme as well as engaging many more young people and families with the wider work of Brighton Dome and Festival and we are looking forwards Online. Indemnity insurance During the period the Charity paid £1,029 (2019: £1,029) to provide indemnity cover for the Charity and its Trustees from loss arising from the neglect or defaults of its Trustees and Officers. Investment policy The Charity only holds short-term surplus funds which it invests in deposits with its bankers, the Royal Bank of Scotland, Lloyds TSB and Barclays. Reserves policy With the Capital Project having commenced in early 2017 the Charity has been working to increase its unrestricted general reserve to ensure that on exiting the project period its reserves are in no worse a financial situation than when it started (£54,953). The carried forward surplus on the general operations reserve (unrestricted) was £132,950 as at 31 March 2020. At 31st March 2020 the Group had negative free reserves, being unrestricted, undesignated funds not held in fixed assets, of £571k (2019: Negative £571k).

In addition, our designated fund has a balance of £172,106 as at 31 March 2020. This is the carrying value of musical instruments, the use of which have been gifted to Brighton Dome and Festival by Brighton and Hove City Council for use by Brighton and Hove Music and Arts and by East Sussex County Council for use by the East Sussex Music Service. Restricted reserves of £10,362,480 relate to the carrying value of the Dome Refurbishment project 1999 – 2002 and £216,729 of restricted funds relate to funds received to be used for projects in future periods. It should also be noted that a portion of the Sinking Fund is held by Brighton & Hove City Council as a reserve for replacing major capital items. The balance on this fund was £242,500 as at 31 March 2020.

Statement of Trustees’ responsibilities The charity trustees for the purposes of company law are responsible for preparing a trustees’ annual report and financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice). Company law requires the charity trustees to prepare financial statements for each year which give a true and fair view of the state of affairs of the charitable company and the group and of the incoming resources and application of resources, including the income and expenditure, of the charitable group for that period. In preparing the financial statements, the trustees are required to:


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● select suitable accounting policies and then apply them consistently; ● observe the methods and principles in the Charities SORP; ● make judgements and estimates that are reasonable and prudent; ● state whether applicable UK accounting standards have been followed, subject to any material departures disclosed and explained in the financial statements; ● prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in business. The trustees are responsible for keeping proper accounting records that disclose with reasonable accuracy at any time the financial position of the charity and to enable them to ensure that the financial statements comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charity and the group and hence taking reasonable steps for the prevention and detection of fraud and other irregularities. The trustees are responsible for the maintenance and integrity of the corporate and financial information included on the charitable company’s website. Legislation in the United Kingdom governing the preparation and dissemination of financial statements may differ from legislation in other jurisdictions. This Annual Report of the Trustees, under the Charities Act 2011 and the Companies Act 2006, was approved by the Board of Trustees on 22nd September 2020 including approving in their capacity as company directors the Strategic Report contained therein, and is signed as authorised on their behalf by:

Mr Danny Homan (Chair) 22nd September 2020


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INDEPENDENT AUDITOR’S REPORT TO THE MEMBERS OF BRIGHTON DOME AND FESTIVAL LIMITED Opinion We have audited the financial statements of Brighton Dome and Festival Limited for the year ended 31 March 2020 which comprise the Group Statement of Financial Activities, the Group and Parent Charitable Company Balance Sheets, the Group Cash Flow Statement and notes to the financial statements including a summary of significant accounting policies. The financial reporting framework that has been applied in their preparation is applicable law and United Kingdom Accounting Standards, including Financial Reporting Standard 102 The Financial Reporting Standard applicable in the UK and Republic of Ireland (United Kingdom Generally Accepted Accounting Practice). In our opinion, the financial statements:

• give a true and fair view of the state of the group’s and of the parent charitable company’s affairs as at 31 March 2020 and of the group’s and parent charitable company’s net movement in funds, including the income and expenditure, for the year then ended;

• have been properly prepared in accordance with United Kingdom Generally Accepted Accounting Practice; and

• have been prepared in accordance with the requirements of the Companies Act 2006. Basis for opinion We conducted our audit in accordance with International Standards on Auditing (UK) (ISAs (UK)) and applicable law. Our responsibilities under those standards are further described in the Auditor’s responsibilities for the audit of the financial statements section of our report. We are independent of the group in accordance with the ethical requirements that are relevant to our audit of the financial statements in the UK, including the FRC’s Ethical Standard, and we have fulfilled our other ethical responsibilities in accordance with these requirements. We believe that the audit evidence we have obtained is sufficient and appropriate to provide a basis for our opinion. Responsibilities of trustees for the financial statements As explained more fully in the trustees’ responsibilities statement set out on page 13-14, the trustees (who are also the directors of the charitable company for the purposes of company law) are responsible for the preparation of the financial statements and for being satisfied that they give a true and fair view, and for such internal control as the trustees determine is necessary to enable the preparation of financial statements that are free from material misstatement, whether due to fraud or error. In preparing the financial statements, the trustees are responsible for assessing the group’s and the paren] charitable company’s ability to continue as a going concern, disclosing, as applicable, matters related to going concern and using the going concern basis of accounting unless the trustees either intend to liquidate the group or the parent charitable company or to cease operations, or have no realistic alternative but to do so. Auditor’s responsibilities for the audit of the financial statements Our objectives are to obtain reasonable assurance about whether the financial statements as a whole are free from material misstatement, whether due to fraud or error, and to issue an auditor’s report that includes our opinion. Reasonable assurance is a high level of assurance, but is not a guarantee that an audit conducted in accordance with ISAs (UK) will always detect a material misstatement when it exists. Misstatements can arise from fraud or error and are considered material if, individually or in the aggregate, they could reasonably be expected to influence the economic decisions of users taken on the basis of these financial statements. A further description of our responsibilities for the audit of the financial statements is located on the Financial Reporting Council’s website at: www.frc.org.uk/auditorsresponsibilities. This description forms part of our auditor’s report.

http://www.frc.org.uk/auditorsresponsibilities

http://www.frc.org.uk/auditorsresponsibilities


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Conclusions relating to going concern We have nothing to report in respect of the following matters in relation to which the ISAs (UK) require us to report to you where:

• the trustees’ use of the going concern basis of accounting in the preparation of the financialstatements is not appropriate; or

• the trustees have not disclosed in the financial statements any identified material uncertainties thatmay cast significant doubt about the group’s or the parent charitable company’s ability to continue toadopt the going concern basis of accounting for a period of at least twelve months from the datewhen the financial statements are authorised for issue.

Other information The trustees are responsible for the other information. The other information comprises the information included in the Trustees’ Annual Report. Our opinion on the financial statements does not cover the other information and, except to the extent otherwise explicitly stated in our report, we do not express any form of assurance conclusion thereon.

In connection with our audit of the financial statements, our responsibility is to read the other information and, in doing so, consider whether the other information is materially inconsistent with the financial statements or our knowledge obtained in the audit or otherwise appears to be materially misstated. If we identify such material inconsistencies or apparent material misstatements, we are required to determine whether there is a material misstatement in the financial statements or a material misstatement of the other information. If, based on the work we have performed, we conclude that there is a material misstatement of this other information, we are required to report that fact. We have nothing to report in this regard.

Opinions on other matters prescribed by the Companies Act 2006 In our opinion, based on the work undertaken in the course of the audit:

• the information given in the Trustees’ Annual Report (which includes the strategic report and thedirectors’ report prepared for the purposes of company law) for the financial year for which thefinancial statements are prepared is consistent with the financial statements; and

• the strategic report and the directors’ report included within the Trustees’ Annual Report have beenprepared in accordance with applicable legal requirements.

Matters on which we are required to report by exception In the light of the knowledge and understanding of the group and the parent charitable company and its environment obtained in the course of the audit, we have not identified material misstatements in the Trustees’ Annual Report (which incorporates the strategic report and the directors’ report).

We have nothing to report in respect of the following matters in relation to which the Companies Act 2006 requires us to report to you if, in our opinion:

• adequate accounting records have not been kept by the parent charitable company; or• the parent charitable company financial statements are not in agreement with the accounting records

and returns; or• certain disclosures of trustees’ remuneration specified by law are not made; or• we have not received all the information and explanations we require for our audit.

Use of our report This report is made solely to the charitable company's members, as a body, in accordance with Chapter 3 of Part 16 of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable company's members those matters we are required to state to them in an Auditor's report and for no other purpose. To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the charitable company and the charitable company's members as a body, for our audit work, for this report, or for the opinions we have formed.

10 Queen Street Place London EC4R 1AG

Anna Bennett (Senior Statutory Auditor) For and on behalf of Haysmacintyre LLP Statutory Auditors

08 December 2020

https://eu1.documents.adobe.com/verifier?tx=CBJCHBCAABAA_jWKp-uJIEFzw74lcdkVvCgUMk9_hiRk


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CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES

(including consolidated Income & Expenditure Account)

Unrestricted funds Restricted funds Total 2020

Total 2019

Operations Designated Projects

The Brighton

Dome Venue

Note £000's £000's £000's £000's £000's £000's

Income:

Grants & donations 1, 2 1,935 600 2,364 147 5,046 4,078

Income from charitable activities 4 7,429 - - - 7,429 5,433

Income from trading activities 3 217 - - - 217 273

Investment Income 5 4 - - - 4 2

──────── ──────── ──────── ──────── ──────── ────────

Total income 9,585 600 2,364 147 12,696 9,786

──────── ──────── ──────── ──────── ──────── ────────

Expenditure on:

Raising funds 373 - - - 373 294

Charitable activities 6 9,333 60 2,219 466 12,078 9,671

──────── ──────── ──────── ──────── ──────── ────────

Total expenditure 9,706 60 2,219 466 12,451 9,965

──────── ──────── ──────── ──────── ──────── ────────

Net income/(expenditure) (121) 540 145 (319) 245 (179)

Transfers between funds - - - - - - ──────── ──────── ──────── ──────── ──────── ────────

Net movement in funds (121) 540 145 (319)

245

(179)

──────── ──────── ──────── ──────── ──────── ────────

Total funds brought forward 19,20 254 196 72 10,682 11,204 11,383

──────── ──────── ──────── ──────── ──────── ────────

Total funds carried forward 19,20 133 736 217 10,363 11,449 11,204

════════ ════════ ════════ ════════ ════════ ════════

Note 27 shows 2019 comparatives for the Statement of Financial Activities The notes on pages 24 to 41 form part of these financial statements.


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CONSOLIDATED BALANCE SHEET as at 31 March 2020 Note 2020

£’000 2019

£’000 FIXED ASSETS Tangible fixed assets

11

14,587

14,407

CURRENT ASSETS Stock Debtors Cash at bank and in hand

13 14 15

18 956

2,017

20 1,167 1,588

2,991 2,775

CREDITORS: amounts falling due within one year 16 (3,391) (3,224)

Net current liabilities (400) (449)

Total assets less current liabilities 14,187 13,958 CREDITORS: amounts falling due after one year 18 (2,738) (2,754)

Total net assets 11,449 11,204

The funds of the group: Unrestricted income funds 19 869 450

Restricted income funds 20 10,580 10,754

Total group funds 11,449 11,204

The financial statements on pages 20 to 41 were approved, and authorised for issue, by the Board of Trustees on 22nd September 2020 and are signed on its behalf by:

Mr Danny Homan (Chair) The notes on pages 24 to 41 form part of these financial statements.


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COMPANY BALANCE SHEET as at 31 March 2020 Note 2020

£’000

2019 £’000

FIXED ASSETS Tangible fixed assets Investments

11 12

14,587

-

14,407

-

14,587

14,407

CURRENT ASSETS

Stock 13 18 20

Debtors 14 950 1,255

Cash at bank and in hand 15 1,860 1,360

2,828 2,635

CREDITORS: amounts falling due within one year 16 (3,323) (3,176)

Net current liabilities (495) (541)

Total assets less current liabilities 14,092 13,866

CREDITORS: amounts falling due after one year

18 (2,704) (2,704)

Total net assets 11,388 11,162

The funds of the charity: Unrestricted income funds 19 809 408

Restricted income funds 20 10,579 10,754

Total charity funds 11,388 11,162

A separate statement of the financial activities of the Brighton Dome and Festival Limited, the Charity, is not presented following the exemptions afforded by section 408 of the Companies Act 2006. The financial statements on pages 20 to 41 were approved, and authorised for issue, by the Board of Directors on 22nd September and are signed on its behalf by:

Mr Danny Homan (Chair) The notes on pages 24 to 38 form part of these financial statements.


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Statement of cash flows for the year ending 31 March 2020

2020

£’000

2019 £’000

Cash (used in) / provided by operating activities (Note 24) 1,127 (104)

Cash flows from investing activities

Interest income 4

2

Purchase of tangible fixed assets (Note 11) (706) (359)

Disposal of tangible fixed assets (Note 11) 4 502

Cash provided by / (used in) investing activities (698) 145

Increase / (decrease) in cash in the year 429 41

Cash and cash equivalents at the beginning of the year 1,588 1,547

Increase / (decrease) in cash

429 41

Total cash and cash equivalents at the end of the year 2,017 1,588


24

Principal Accounting Policies BASIS OF ACCOUNTING

The financial statements have been prepared in accordance with Accounting and Reporting by Charities: Statement of Recommended Practice for Charities (SORP 2015) (Second Edition, effective 1 January 2019) applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102) (effective 1 January 2015) - (Charities SORP (FRS102)), the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS102 – issued March 2018), and the Companies Act 2006. GOING CONCERN Accounting standards require the Trustees to consider the appropriateness of the going concern basis when preparing the financial statements. The Trustees consider that the going concern basis is appropriate as the Group had a surplus on unrestricted funds of £291,624 at the balance sheet date and the Charity had a surplus on unrestricted funds of £230,592 The financing of the Group and Charity is supported through future funding commitments from Brighton & Hove City Council and Arts Council England. PRINCIPAL ACTIVITY The principal activity of the company during the year was to manage the charitable business of Brighton Dome and Festival Limited (BDBF). This includes the running of the Brighton Dome venues and the annual Brighton Festival each May including the related provision of catering and beverage services. Brighton Dome and Festival Limited is a private limited company (registered number 00889184) incorporated and domiciled in England and Wales. The charity is a public benefit entity. The address of the registered office is: 12a Pavilion Buildings Castle Square Brighton East Sussex BN1 1EE CONSOLIDATION The Group accounts consolidate the results of the Charity and its subsidiaries, Brighton Dome and Festival (Trading) Limited and Brighton Dome & Museum Development Company Limited on a line by line basis. INCOME Voluntary Income comprises all incoming resources from sponsorship, donations, membership subscriptions and grants. All grants and donations receivable are recognised when the conditions for receipt have been met. Where grants and donations received are performance related or restricted to future accounting periods they are deferred and accounted for as a liability.

Goods and services received in kind, which include musical instruments transferred to the charity during the year, are included within the accounts where material and are included at the lower of current market value and value to the charity. Income from charitable activities includes amounts received from tickets and other event sales for productions and educational activities directly promoted by the Group or, where it shares the financial risk for such an event, promoted by other organisations where such events contribute to the artistic programme of the Group.

Investment income comprises interest receivable on cash balances held in appropriate interest bearing deposits.


25

EXPENDITURE All expenditure is accounted for on an accruals basis. The cost of raising funds includes the costs of securing sponsorship and donations, and also includes the costs of providing membership benefits and other costs incurred in the Group’s trading activity. Expenditure on charitable activities include expenditure associated with staging promoted events, providing education projects and the costs of the artistic programme at Brighton Dome and Brighton Festival. Support costs relating to single activities are allocated directly to that activity. Where support costs relate to several activities they are apportioned accordingly. Governance costs include secretarial, legal and audit fees associated with the constitutional and statutory requirements of the Charity. INVESTMENTS

Investments in active subsidiary undertakings are included in the balance sheet at cost. DEPRECIATION AND FIXED ASSETS

Depreciation is provided on all tangible fixed assets at rates calculated to write off the cost less estimated residual value of each asset systematically over its expected useful life as follows: Long-term improvements Over the life of the lease

Short-term improvements 10% - 20% per annum

Venue fittings and equipment 10% - 20% per annum

Office equipment 20% - 25% per annum

Musical instruments 10% per annum

Fixed assets costing more than £1,000 are capitalised. The Charity does not have a policy to revalue its assets.

LEASES Rentals applicable to operating leases where substantially all of the benefits and risks of ownership remain with the lessor are charged to the SOFA as incurred. Rental charges are charged on a straight-line basis over the life of the lease. STOCK

Stocks of goods for resale are included in the balance sheet at the lower of cost or net realisable value. This includes Bar stock and Front of House consumables. PENSION COSTS

The Charity offers a stakeholder scheme to its employees and contributes to a defined contribution scheme for certain other employees. Costs are expensed in the Consolidated Statement of Financial Activities. Certain staff are members of the Teachers’ Pension Scheme which is a multi-employer pension scheme. It is not possible to identify the Charity’s share of the underlying assets and liabilities of the Teachers’ Pension Scheme on a consistent and reasonable basis and therefore, as required by FRS102, accounts for the scheme as if it were a defined contribution scheme. The Charity’s contributions, which are in accordance with the recommendations of the Government Actuary, are charged in the period in which the salaries to which they relate are payable.


26

TAXATION

Brighton Dome and Festival Limited’s charitable activities fall within the exemptions afforded by section 505 of the Income Corporation Taxes Act 1988. The trading subsidiary, Brighton Dome and Festival (Trading) Limited donates its profits to the charitable company under the provisions of Gift Aid. Accordingly there is no Corporation Tax charge in these accounts. VALUE ADDED TAX The Group is registered for Value Added Tax (VAT) and income and expenditure is stated net of VAT to the extent that it is recoverable. FINANCIAL INSTRUMENTS Financial assets and liabilities are recognised when the Charity becomes a party to the contractual provisions of the instrument. Trade debtors do not carry any interest and are stated at nominal amount less any provision for estimated irrecoverable amount. Trade creditors are not interest bearing and are stated at their nominal value. JUDGEMENTS IN APPLYING ACCOUNTING POLICIES AND KEY SOURCES OF ESTIMATION UNCERTAINTY The group makes judgements, estimates and assumptions that affect the application of policies and the carrying values of assets and liabilities, income and expenses. The resulting accounting estimates calculated using these judgements will, by definition, seldom equal the related actual results but are based on the experience of the Directors (or Trustees) and the expectations of future events. The estimates are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is reviewed. Such basis include:

• Expenditure accounted for on an accruals basis

• Costs allocated to charities activities on a time basis.

• Grants and donations receivable are recognised when the conditions for receipt have been met.


27

1. GRANTS & DONATIONS – ANALYSIS BY FUND

Unrestricted funds Restricted funds

Operational funds 2020 £’000

Designated funds 2020

£’000s

Projects 2020 £’000

Brighton Dome venue

2020 £’000

Total 2020 £’000

Brighton and Hove City Council 1,723 - 15 147 1,885

East Sussex County Council - 600 - - 600

Arts Council England, South East -

- 1,870 - 1,870

Other grants 6 - 187 - 193

Donations, Trusts and Foundations 122 - 292 - 414

Members' subscriptions and events 84 - - - 84

───────── ───────── ───────── ───────── ─────────

2020 1,935 600 2,364 147 5,046

═════════ ═════════ ═════════ ═════════ ═════════

2019 £’000

2019 £’000s

2019 £’000

2019 £’000

2019 £’000

2019 COMPARATIVES

Brighton and Hove City Council 1,682 221 - 117 2,020

Arts Council England, South East - - 1,509 - 1,509

Other grants - - 210 - 210

Donations, Trusts and Foundations 93 - 168 - 261


───────── ───────── ───────── ───────── ─────────

2019 1,853 221 1,887 117 4,078

═════════ ═════════ ═════════ ═════════ ═════════

2. GRANTS & DONATIONS - ANALYSIS BY TYPE

Brighton Dome programme and

hires 2020 £’000

Brighton Dome

venues 2020 £’000

Creative Learning activity

2020 £’000

Brighton Festival

2020 £’000

2020 Total £’000

Brighton and Hove City Council 1,723 147 15 - 1,885

East Sussex County Council - - 600 - 600

Arts Council England 1,150 - 720 - 1,870

Other grants 5 - 150 38 193

Donations, Trusts and Foundations 122 - 247 45 414


_________ _________ _________ _________ _______

2020 3,084 147 1,732 83 5,046

═════════ ════════ ═════════ ════════ ═══════

2019 £’000

2019 £’000

2019 £’000

2019 £’000

2019 £’000

2019 COMPARATIVES

Brighton and Hove City Council 1,682 117 221 - 2,020

Arts Council England 1,195 - 314 - 1,509

Other grants 113 - 83 14 210

Donations, Trusts and Foundations 80 - 142 39 261

Members' subscriptions and events 31 - - 47 78

_________ _________ _________ _________ _______ 2019 3,101 117 760 100 4,078 ═════════ ════════ ═════════ ════════ ═══════


28

3. INCOME FROM TRADING ACTIVITIES

Brighton Dome

programme and hires

£’000

Brighton Festival

£’000

2020 Total £’000

2019 Total

£’000

Sponsorship - 43 43 95

Event Hires 133 - 133 178

Consultancy 41 - 41 -

───────── ───────── ───────── ─────────

174 43 217 273

═════════ ═════════ ═════════ ════════

4. INCOME FROM CHARITABLE ACTIVITES BY INCOME TYPE

Brighton Dome programme and

hires 2020 £’000

Creative Learning activity

2020 £’000

Brighton Festival

2020 £’000

Total 2020 £’000

Ticket sales 2,503 59 632 3,194

Performances and Hires 974 21 - 995

Bar and catering for events 861 - - 861

Tuition & workshops - 1,919 - 1,919

Ticketing fees 423 - - 423

Programme sales 37 - - 37

───────── ───────── ───────── ─────────

2020 4,798 1,999 632 7,429

═════════ ═════════ ═════════ ═════════

2019 £’000

2019 £’000

2019 £’000

2019 £’000

Ticket sales 1,829 48 675 2,552

Performances and Hires 738 - - 738

Bar and catering for events 778 - - 778

Tuition & workshops - 927 - 927

Ticket shop 401 - - 401

Programme sales 37 - - 37

───────── ───────── ───────── ─────────

2019 3,783 975 675 5,433

═════════ ═════════ ═════════ ═════════

5. INVESTMENT INCOME

All of the Group’s investment income of £3,692 (2019: £2,462) arose from interest bearing deposit accounts.


29

6. EXPENDITURE ON CHARITABLE ACTIVITIES

The Charity undertakes direct charitable activities and does not make grant payments.

Unrestricted funds 2020 £’000

Designated funds 2020 £’000

Restricted funds 2020 £’000

Brighton Dome venue

2020 £’000

Total 2020 £’000

Brighton Dome programme and hires 4,836 - 1,188 59 6,082

Creative Learning activity 1,856 - 962 - 2,818

Brighton Festival 1,650 - 69 - 1,719

Support and governance costs 845 - - - 845

───────── ───────── ───────── ───────── ─────────

9,187 - 2,219 59 11,465

Brighton Dome venues - - - 88 88

Depreciation 146 25 - 319 489

───────── ───────── ───────── ───────── ─────────

9,333 25 2,219 466 12,042

═════════ ═════════ ═════════ ═════════ ═════════

2019 £’000

2019 £’000

2019 £’000

2019 £’000

2019 £’000

2019 COMPARATIVES

Brighton Dome programme and hires 3,913 - 1,166 54 5,133

Creative Learning activity 993 - 596 - 1,589

Brighton Festival 1,524 - 20 - 1,544

Support and governance costs 855 - - - 855

───────── ───────── ───────── ───────── ─────────

7,285 - 1,782 54 9,121

Brighton Dome venues - - - 63 63

Depreciation 97 36 35 319 487

───────── ───────── ───────── ───────── ─────────

2019 7,382 36 1,817 436 9,671

═════════ ═════════ ═════════ ═════════ ═════════

7. ANALYSIS OF SUPPORT AND GOVERNANCE COSTS

2020 Total £’000

2019 Total

£’000

Executive and finance costs 634 605

Lease payments 22 21

Auditors remuneration 16 24

Information technology 173 205

Research & development

───────── ─────────

845 855

═════════ ═════════

Costs are allocated to the Charity's activities on a time basis.


30

8. STAFF COSTS AND NUMBERS

The average number of permanent staff employed during the period, and as at 31 March 2020, was 149 (2019: 150) Additionally an average head count of 183 (2019: 99) casual weekly staff worked on an hourly basis to support events and performances. Permanent staff are allocated to the charity’s activities as follows:

2020

Number 2019

Number

Artistic Planning 14 9

Learning, Access & Participation 55 53

Trading* 3 3

Operations 47 46

Marketing & Sales 10 19

Development 6 7

Support & Governance 14 13

───────── ─────────

149 150

═════════ ═════════

*All staff engaged in trading related activities are employed through contracts with Brighton Dome and Festival Limited. Relevant costs are therefore recharged to Brighton Dome and Festival (Trading) Limited.

Payroll costs

2020 Total

£’000

2019 Total

£’000

Wages and salaries 4,583 3,891

Social security 363 302

Other pension costs 451 283

______ ______

5,397 4,476

The number of employees who received emoluments greater than £60,000 in the following range was:

2020

Number 2019

Number

£75,001 - £80,000 1 0

£100,001 - £105,000 0 1

£110,001 - £115,000 1 0

The Key Management Personnel are considered to be the Officers and Executive Management Team. Their employment benefits were £553,291 in 2020 (£481,782 in 2019).


31

9. NET TRADING RESULTS OF SUBSIDIARY TRADING COMPANY BRIGHTON DOME AND FESTIVAL

(TRADING) LIMITED

2020 £’000

2019 £’000

Turnover 217 273

Cost of sales (64) (113)

───────── ─────────

Gross profit 153 160

Administration and overheads (92) (117)

───────── ─────────

61 43

Interest receivable - -

──────── ────────

61 43

Donation payable to parent company (43) (38)

───────── ─────────

Net profit / (loss) 18 5

═════════ ════════

Cost of sales includes £25,406 (2019: £46,441) charged by the parent company for the provision of services.

10. RELATED PARTY TRANSACTIONS

None of the Trustees received any remuneration during the period under review. Trustee expenses of £1,255 (2019: £809) were recorded for meeting catering for 14 trustees. The financial results of our Trading Company (as per note 9 above) are reflected within our Consolidated SOFA on Page 24.

A yearly recharge is made in March between the Charity and Trading Company apportioning venue running costs on the basis of conference turnover/ total group turnover. This includes insurance, utilities and cleaning costs and is eliminated on consolidation. Inter Company balances as at 31 March 2020 were £22,246.


32

11. TANGIBLE FIXED ASSETS

GROUP AND COMPANY

Dome leasehold asset: Venue

Long-term Short-term Fittings Musical Office Enabling

Improve Improve and equip Instruments Equip Works Total

£’000 £’000 £’000 ‘£000s £’000 £’000 £’000

COST

As at 1 April 2019 16,444 6,508 2,728 221 542 2,797 29,240

Additions - - 19 600 27 61 707

Disposals - - (4) - - 0 (4)

──────── ───────── ───────── ───────── ──────── ──────── ───────

As at 31 March 2020 16,444 6,508 2,744 821 569 2,858 29,944

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════

DEPRECIATION

As at 1 April 2019 5,427 6,497 2,410 25 474 - 14,833

Charge for the period 329 4 107 60 25 - 525

Disposals - 0 (2) - 0 - (2)

──────── ───────── ───────── ───────── ──────── ──────── ───────

As at 31 March 2020 5,757 6,501 2,515 85 499 - 15,357

════════ ═════════ ═════════ ═════════ ════════ ════════ ══════

NET BOOK VALUE

As at 31 March 2020 10,687 7 229 736 70 2,858 14,587

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════

As at 31 March 2019

11,017 11 318 196 68 2,797 14,407

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════

2019

GROUP AND COMPANY

Dome leasehold asset: Venue

Long-term Short-term Fittings Musical Office Enabling

Improve Improve and equip Instruments Equip Works Total

£’000 £’000 £’000 ‘£000s £’000 £’000 £’000

COST

As at 1 April 2018 16,444 6,576 2,871 - 676 2,816 29,383

Additions - - 12 221 33 93 359

Disposals - (68) (155) - (167) (112) (502)

──────── ───────── ───────── ───────── ──────── ──────── ───────

As at 31 March 2019 16,444 6,508 2,728 221 542 2,797 29,240

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════

DEPRECIATION

As at 1 April 2018 5,098 6,557 2,309 - 617 - 14,581

Charge for the period 329 8 132 25 24 - 518

Disposals - (68) (31) - (167) - (266)

──────── ───────── ───────── ───────── ──────── ──────── ───────

As at 31 March 2019 5,427 6,497 2,410 25 474 - 14,833

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════

NET BOOK VALUE

As at 31 March 2019 11,017 11 318 196 68 2,797 14,407

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════

As at 31 March 2018 Restated

11,346 19 562 - 59 2,816 14,802

════════ ═════════ ═════════ ═════════ ════════ ════════ ═══════


33

TANGIBLE FIXED ASSETS (continued) All of the Group’s tangible fixed assets are used for activities in furtherance of the Charity’s objects. Arts Council England and Brighton & Hove City Council hold legal charges over the value of the leasehold asset in accordance with their standard funding terms. The lease of the Brighton Dome was granted to Brighton Dome and Festival Limited in 1999 by Brighton & Hove City Council for a total of 50 years at a peppercorn rent. The leasehold improvements shown above represent the value of the capital refurbishment work carried out by the Group. The lease cannot be assigned or sold. The main categories of fixed assets are as follows: Dome leasehold asset: long-term improvements - represents the value of the main construction works to the venues with a useful life extending over the remaining term of the lease. Dome leasehold asset: short-term improvements - represents the value of improvements to the venues with a useful life of ten years. Brighton & Hove City Council have made available a Sinking Fund in order to provide for renewals of fixtures and fittings included in this category. The City Council set aside, from the annual Sinking Fund allocation, sums to cover non-recurring major maintenance work at the Brighton Dome Venue. At 31 March 2020 the allocation stood at £242,500 (2019: £361,000) and is held in a designated account by Brighton & Hove City Council and consequently is not included in these accounts. Venue fittings and equipment – represents the value of fittings and equipment purchased for the operation of the Dome venues, which have a useful life of five years. Musical Instruments addition in the year is an estimated valuation of musical instruments leased to Brighton Dome and Festival by Brighton and Hove City Council for use by Brighton and Hove Music and Arts Service and East Sussex Music Service. During the year, a donation of instruments worth £599,517 was made by East Sussex County Council to BDBF for use by the East Sussex Music Service. Office equipment – represents the value of computer hardware and software and similar items which have an expected useful life of three years.


34

12. FIXED ASSET INVESTMENTS

2020 Cost

£

2019 Cost

£

Investment in subsidiaries: 181 181

═════════ ═════════

The investment above represents Brighton Dome and Festival Limited’s investment in subsidiary companies. On 1 September 2005 the Group reorganised its subsidiaries following completion of the Brighton Dome Development. Since that date all charitable activities are managed in the registered charity, the Brighton Dome and Festival Limited. All non charitable activities are managed through Brighton Dome and Festival (Trading) Limited. The remaining company in the Group was a dormant company from 1 September 2006. Details of the subsidiaries as at 31 March 2020 are set out below: Name Controlling Incorporated/Company number Interest

Brighton Dome and Festival (Trading) Limited 100% UK 5541005

The Brighton Dome and Museum Development Company Limited (Unaudited) 81% UK 3665552

Both subsidiaries are registered at 12a Pavilion Buildings, Castle Square, Brighton, BN1 1EE

Note: 19% of the shares in The Brighton Dome and Museum Development Company Limited are owned by Brighton & Hove City Council. The net assets / (liabilities) of the subsidiaries at the end of the financial period were as follows: Net assets / Share capital Reserves (liabilities) £ £ £

Brighton Dome and Festival (Trading) Limited 100 42,962 43,062

The Brighton Dome and Museum Development 100 - 100 Company Limited

13. STOCK

Group and Company 2020 2019 £’000 £’000 Bar Stock 12 13 Front of House Consumables 6 7 ───────── ─────────

Total 18 20 ═════════ ═════════

Stock recognised as an expense in 2020 totalled £220k (2019: £221k).


35

14. DEBTORS

Group Company

2020 2019 2020 2019

£’000 £’000 £’000 £’000

Trade debtors 802 285 774 233

Prepayments and accrued income 152 879 152 879 Amounts owed by Brighton Dome and Festival (Trading) Limited - - 22 140

Sundry debtors 2 3 2 3

───────── ───────── ───────── ─────────

956 1,167 950 1,255

═════════ ═════════ ═════════ ═════════

15. CASH AT BANK AND IN HAND

Cash at bank and in hand includes petty cash, floats and short term highly liquid investments with a short maturity of three months or less from the date of acquisition or opening of the deposit or similar amount.

16. CREDITORS – AMOUNTS FALLING DUE WITHIN ONE YEAR

Group Company

2020 2019 2020 2019

£’000 £’000 £’000 £’000

Trade creditors 604 336 601 336

Bank overdraft 5 6 5 6

Accruals 396 258 391 251

Deferred income 1,075 2,302 1,065 2,269

Other creditors 1,027 224 987 224

Taxation and social security 112 77 112 77

VAT Payable 172 21 162 13 ───────── ───────── ───────── ─────────

3,391 3,224 3,323 3,176

═════════ ═════════ ═════════ ═════════

Royal Bank of Scotland holds a legal charge over the book debts of the Charity as security against the overdraft facility. Deferred income includes £964,666 (2019: £2,172,980) relating to ticket sales for events taking place beyond the balance sheet date.


36

17. DEFERRED INCOME

Group Company Deferred Income < 1 year

2020 £’000

2019 £’000

2020 £’000

2019 £’000

Balance as at 1 April 2019 2,302 1,960 2,269 1,891

Released in-year (2,302) (1,960) (2,302) (1,891) Deferred in-year 1,075 2,302 1,065 2,269 Balance as at 31 March 2020 1,075 2,302 1,065 2,269

Deferred Income relates to advance deposits and advance ticket sales for events taking place beyond the balance sheet date.

18. CREDITORS – AMOUNTS FALLING DUE AFTER ONE YEAR

Group Company

2020 2019

Restated 2020 2019

Restated

£’000 £’000 £’000 £’000

Loan from BHCC 2,704 2,704 2,704 2,704

Deferred income 34 50 - -

───────── ───────── ───────── ─────────

2,738 2,754 2,704 2,704

═════════ ═════════ ═════════ ═════════

The loan of £2.7m is secured by a floating charge against the assets of the charity. The loan is repayable in equal instalments commencing in 2022 and ending in 2050. Interest is charged on the loan at 2.85%.

19. ANALYSIS OF MOVEMENTS IN UNRESTRICTED FUNDS

Balance at 1 April

Movement in resources

Transfer from restricted

Balance at 31 March

2019 Incoming Outgoing funds 2020

£’000 £’000 £’000 £’000 £’000

GROUP AND COMPANY

General 254 9,585 (9,707) - 133 ════════ ═════════ ═════════ ═════════ ═══════════

Designated 196 - (25) - 171

═════════ ═════════ ═════════ ═════════ ═════════

Total 450 9,585 (9,731) - 304

═════════ ═════════ ═════════ ═════════ ═════════

2019 Total 365 7,780 (7,712) 17 450

═════════ ═════════ ═════════ ═════════ ═════════

Designated funds represent the carrying value of musical instruments, the use of which have been gifted to Brighton Dome and Festival by Brighton and Hove City Council for use by the Music Services.


37

20. ANALYSIS OF MOVEMENT IN RESTRICTED FUNDS

Balance at 1 April


Transfer from

unrestricted funds

Balance at 31 March

2019 Incoming Outgoing 2020

£’000 £’000 £’000 £’000 £’000

GROUP AND COMPANY

Brighton Dome Regeneration

Project & Brighton Dome Venue 10,682 147 (466)

- 10,363

Brighton Dome Other Projects 72 2,364 (2,219) - 217

_________ _________ _________ _________ _________

Total 2020 10,754 2,511 (2,685) - 10,580

═════════ ═════════ ═════════ ═════════ ═════════

Balance at 1 April


Transfer from

unrestricted funds

Balance at 31 March

2018 Incoming Outgoing 2019

£’000 £’000 £’000 £’000 £’000

GROUP AND COMPANY

Brighton Dome Regeneration

Project & Brighton Dome Venue 11,018 117 (436)

(17) 10,682

Brighton Dome Other Projects - 1,889 (1,817) - 72

__________ _________ _________ _________ _________

Total 2019 11,018 2,006 (2,253) (17) 10,754

═════════ ═════════ ═════════ ═════════ ═════════

The Dome Regeneration Project fund represents the capitalised value received in respect of the development and regeneration of the Brighton Dome; it comprises improvements to the leasehold asset and income from fund-raising activities. Arts Council England & Brighton and Hove City Council hold legal charges over the value of the leasehold asset in accordance with their standard funding terms. The Dome Sinking Fund represents monies receivable from Brighton & Hove City Council to enable expenditure on certain items of building maintenance and renewals in accordance with the terms of the lease of the Brighton Dome venues. Brighton Dome Other Projects Fund represents monies received from Individuals, Trusts, Foundations and other grant making bodies.


38

21. ANALYSIS OF NET ASSETS BETWEEN FUNDS

Fixed

Assets

Cash

Net

Liabilities

Total £’000 £’000 £’000 £’000

GROUP

Unrestricted funds 1,520 1,800 (2,451) 869

Restricted funds:

Brighton Dome Venue 10,363 - - 10,363

Corn Exchange Renovation 2,704 - (2,704) -

Other Projects - 217 - 217

───────── ───────── ───────── ─────────

Total funds 14,587 2,017 (5,155) 11,449

═════════ ═════════ ═════════ ═════════

2019 Total 14,407 1,588 (4,791) 11,204

═════════ ═════════ ═════════ ═════════

COMPANY

Unrestricted funds 955 1,642 (2,353) 244

Restricted funds:



Other Projects - 217 - 217

───────── ───────── ───────── ─────────

Total funds 14,022 1,859 (5,057) 10,824

═════════ ═════════ ═════════ ═════════

2019 Total 14,407 1,360 (4,605) 11,162

═════════ ═════════ ═════════ ═════════

UNRESTRICTED FUNDS

Group

Company

2020 £’000

2019 £’000

2020 £’000

2019 £’000

Balance as at 1 April 450 365 408 327

Surplus / (deficit) for the year 419 68 401 64

Transfer from restricted funds - 17 - 17 Balance as at 31 March 869 450 809 408


39

22. 2019 ANALYSIS OF NET ASSETS BETWEEN FUNDS

Fixed Assets

Cash

Net

Liabilities

Total £’000 £’000 £’000 £’000

GROUP


Restricted funds:



Other Projects - 214 (142) 72

───────── ───────── ───────── ─────────

Total funds 14,407 1,588 (4,791) 11,204

═════════ ═════════ ═════════ ═════════

2018 Total 14,802 1,547 (4,966) 11,383

═════════ ═════════ ═════════ ═════════

COMPANY


Restricted funds:



Other Projects - 214 (142) 72

───────── ───────── ───────── ─────────

Total funds 14,407 1,360 (4,605) 11,162

═════════ ═════════ ═════════ ═════════

2018 Total 14,802 1,529 (4,986) 11,345

═════════ ═════════ ═════════ ═════════

23. PENSION COMMITMENTS

Defined contribution schemes The Group operates defined contribution schemes for certain employees. The assets of the schemes are held separately from those of the Group in independently administered funds. The pension cost charge represents contributions payable by the Group and Charity to the funds and amounted to £177,899 (2019: £282,793). Included in the total are contributions of £38,767 (2019: of £19,370) which were owed to the relevant pension funds at 31 March 2020. Teachers’ Pension Scheme The Charity participates in the Teachers' Pension Scheme (England and Wales) ("the TPS") for relevant staff in the Music Services. The pension charge for the year includes contributions payable to the TPS of £274,192 (2019: £98,721) and at the year-end £50,801 (2019: £11,947) was accrued in respect of contributions to this scheme. The scheme is closed to new members. The TPS is an unfunded multi-employer defined benefits pension scheme governed by The Teachers’ Pensions Regulations 2010 (as amended) and The Teachers’ Pension Scheme Regulations 2014 (as amended). Members contribute on a “pay as you go” basis with contributions from members and the employer being credited to the Exchequer. Retirement and other pension benefits are paid by public funds provided by Parliament.


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The employer contribution rate is set by the Secretary of State following scheme valuations undertaken by the Government Actuary’s Department. The most recent actuarial valuation of the TPS was prepared as at 31 March 2016. Employers are also currently required to pay a scheme administration levy of 0.08% giving a total employer contribution rate of 16.48%. As a result of the 31 March 2016 valuation of the Teachers’ Pension Scheme, the Government has determined that the employer contribution rate should increase to 23.68% of contributory pay with effect from 1 September 2020 (this includes the administration levy of 0.08%). The Department for Education has launched a consultation seeking views on their proposal to support certain education institutions with the increase to the Teachers’ Pension Scheme in 2020 to 2020. The consultation closed on 12 February 2020 and the Department will respond in due course. Local Government Pension Scheme The Charity also participate in the East Sussex Local Government Pension Scheme (“LGPS”) for relevant staff in the Music Services. The pension charge for the year includes contributions payable to the LGPS of £9,009 (2019: £20,166) and at the year-end £432 (2019: £1,786) was accrued in respect of contributions to this scheme. The scheme is closed to new members. The East Sussex Local Government Pension Scheme is administered by the County Council. The scheme provides retirement benefits for County Council employees, but members also include employees of Brighton & Hove City Council, the five borough and district councils, academies, universities, colleges and public authorities. In accordance with the Local Government Pension Scheme Regulations, associated legislation and the Pensions Committee terms of reference, the East Sussex Pension Fund Pension Committee is responsible for all functions and responsibilities relating to the management of the East Sussex Pension Fund, this includes making arrangements for the investment, administration and management of the Pension Fund, receiving advice as appropriate from the Pension Board. The Pension Committee also agrees Policy Statements, as required under the LGPS regulations, and decides on the admission and cessation of bodies to the Pension Fund. The employer contribution rate set by the administrators of the scheme was 18.1% of contributory pay during the 19/20 financial year. An actuarial valuation of the LGPS was prepared during the year which ascertained that the fund had a surplus of £53,000 as at 31/03/2019. It was determined that the employer contribution rate for the financial years 2020/21 to 2022/23 will be 0%.

24. RECONCILIATION OF NET MOVEMENT IN FUNDS TO NET CASH FLOW FROM OPERATING ACTIVITIES

Group Group 2020 2019 £’000 £’000

Net movement in funds 245 (179) Add back depreciation charge 522 252 Deduct interest income (4) (1) Decrease (increase) in stock 1 2 Decrease (increase) in debtors 211 (388) Increase (decrease) in creditors

152 210

Net cash used in operating activities 1,127 (104)


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25. AGENCY RELATIONSHIP WITH BHCC (CAPTAL PROJECT) During the financial year BDBF collected fundraising income and incurred costs on behalf of the Capital Project. Fundraising income is invoiced by BHCC and costs recharged by BDBF. All balances relating to the funds raised and costs incurred were invoiced for by the balance sheet date. 26. AUDITORS REMUNERATION A fee of £16,500 for the audit of the group of companies has been accrued in the 2019/20 accounts. (2019: £16,500) 27. 2019 COMPARATIVES FOR SOFA

CONSOLIDATED STATEMENT OF FINANCIAL ACTIVITIES

(including consolidated Income & Expenditure Account)

Unrestricted funds Restricted funds Total 2019

Total 2018

Operations Designated Projects

The Brighton

Dome Venue

Note £000's £000's £000's £000's £000's £000's

Income:

Grants & donations 1, 2 1,853 221 1,887 117 4,078 3,622

Income from charitable activities 4,5 5,431 - 2 - 5,433 5,022

Income from trading activities 3 273 - - - 273 287

Investment Income 6 2 - - - 2 1

──────── ──────── ──────── ──────── ──────── ────────

Total income 7,559 221 1,889 117 9,786 8,932

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Expenditure on:

Cost of raising funds 294 - - - 294 298

Expenditure on charitable activities 7 7,382 36 1,817 436 9,671 9,096

Exceptional expenditure 28 - - - - - 110

──────── ──────── ──────── ──────── ──────── ────────

Total expenditure 7,676 36 1,817 436 9,965 9,504

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Net income/(expenditure) (117) 185 72 (319) (179) (572)

Transfers between funds 17 - - (17) - - ──────── ──────── ──────── ──────── ──────── ────────

Net movement in funds (100)

185 72 (336)

(179) (572)

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Total funds brought forward 19,20 354 11 - 11,018 11,383 11,955

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Total funds carried forward 19,20 254 196 72 10,682 11,204 11,383

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the brighton festival society limited

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