Theatre de Complicite Education Limited Report and Financial ...

Company number 2625105Charity number 1012507

Theatre de Complicite Education Limited

(Limited by Guarantee)

Report and Financial Statements

for the year ended 31 March 2017

Breckman 8 Company Ltd

Chartered Certified Accountants49 South Molton Street

London W1K 5LH



Contents

Page

Reference and Administrative Details

Trustees' Report 2-11

Auditors' Report 12 - 13

Statement of Financial Activities (including Income and Expenditure Account) 14-19

Balance Sheet 20

Cash Flow Statement 21

Notes to the Financial Statements 22-33



Reference and Administrative Details

ConstitutionThe company is incorporated under the Companies Act, company number 2625105 and its governingdocument is its Memorandum and Articles of Association. The company is a registered charity, number

1012507.

Directors and trusteesThe directors of the charitable company ("the charity") are its trustees for the purpose of charity law andthroughout this report are collectively referred to as the trustees.

As set out in the Articles of Association the trustees are appointed by the existing Board of Trustees. A

member of the Board of Trustees must propose such a person for election. Notice shall be given to the Boardof Trustees for the meeting at which it is intended to propose such persons for election, stating the object ofthe meeting, the name and address of the person to be proposed and the name of the board member

proposing such person.

Policies and procedures adopted for the induction and training of trustees are ongoing and incorporated

indirectly into the regular trustees meetings.

The trustees throughout the year and since the year end, were:Roger Graef OBE (Chair)

Stephen Taylor

Sarah CoopSue Woodford-Hollick OBEFrances HughesTom Morris

Chetna Pandya Appointed 27 June 2016Nitin Sawhney Appointed 5 December 2016

SecretaryLouise Wiggins

Chief Excutive/ProducerJudith Dimant MBE

AuditorsBreckman & Company Ltd, Chartered Certified Accountants, 49 South Molton Street, London W1K 5LH.

BankersCAF Bank, 25 Kings Hill Avenue, Kings Hill, West Mailing, Kent ME19 4JQ.

Co-operative Bank, 4th Floor, 9 Prescott Street, London E1 8BE.Aldermore Bank PLC, 1st Floor, Block B, Western House, Lynch Wood, Peterborough PE2 6FZ.

Nationwide Building Society, PO Box 3, 5-11 St Georges Street, Douglas, Isle of Man IM99 1AS

SolicitorsHutchins & Co, 85 Lower Clapton Road, London E5 ONP.

Registered office and operation address14 Anglers Lane, Kentish Town, London NW5 3DG.



Trustees' Report

The trustees present their annual report together with the financial statements of the charity for the year ended 31March 2017, which are also prepared to meet the requirements for a directors' report and accounts forCompanies Act purposes.

The reference and administrative details set out on page 1 forms part of this report. The financial statementscomply with Charities Act 2011, the Companies Act 2006, the Memorandum and Articles of Association andAccounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparingtheir accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland(FRS 102).

These are the first report and financial statements prepared under FRS102, adoption of which has had nomaterial effect on the financial results.

Principal activityThe principal activity of the company during the year continued to be the promotion of education and performancein the arts and in particular theatre. The company trades under the name "Complicite".

Objectives and activities for the public benefitIn shaping our objectives for the year and planning our activities, the trustees have considered the CharityCommission's guidance on public benefit, including the guidance 'public benefit: running a charity (PB2)'.

To advance education by establishing, promoting, equipping, organising and managing educational workshopsin the promotion of the theatre of the arts.

To present/promote the production of plays, operas, variety performances, concerts, dramatic, musical andartistic performances and exhibitions for the public benefit.

The charity's general aim is to contribute to the quality, vitality and creativity of the performing arts, especiallytheatre, through the excellence and inventiveness of its work. To achieve this and remain at the forefront of UKtheatre it makes performance, digital and participatory work, educational initiatives, and professional developmentopportunities that defy expectations, and continues to seek out new audiences and new ways of engaging thoseaudiences.

"Internationally recognized as one of the great theatremakers and theatre-changers of our time" ScotsmanTo support this strategy, and as detailed in its three year business plan, Complicity worked towards the followingkey objectives for delivery in 2016/17:- Raise F90k from trusts and foundations and 754k from individual donors— Increase online subscribers to all platforms by 10%- Present productions in 4 UK cities outside of London- Produce 'A Pacifist's Guide to the War on Cancer'- Appoint a second artist to the Complicity Associates programme— Raise f30k to support further development of The Embodying Mathematics Project- Recruit eight schools to the second year of the Complicity Schools Network- Appoint a trustee with experience in Creative Media to the Board of Trustees- A series of digital teaching resources published and accessed by 3,000 people— 80% of all crew and cast travel by train to UK venues- Switch to a green electricity supplier— Programme inclusive workshop for disabled and non-disabled theatremakers- Trial The Difference Engine at 2 UK performances and collect feedback



Trustees' Report

85% of these objectives were achieved and many were far exceeded. These included raising 23% more funding;

reaching 44% more online subscribers; 63% more digital teaching resources being accessed and a 150%increase in the number of venues that trialed The Difference Engine. Seven of eight schools were recruited tothe Complicite Schools Network (see Creative Learning page 3) and due to competing costs the switch to a greenelectricity supplier has been postponed until 2017/18. The company has created plans to meet any outstandingobjectives by March 2018. Further details are included in the Creative Learning and Performance sections of this

report.

2016/17 was a successful year, both artistically and financially, with 131,951 people seeing the company's work

live, 67,000 watching its first live-streamed production and more than 4,000 taking part in Creative Learning

activity.

Creative Learning achievementsStories M Mother Told Me

Work with refugees, which began with Terrestrial Journeys in 2015, continued when Complicity teamed up with

Migrant Help to run theatre workshops during Refugee Week. Following this, the company was supported by

London Metropolitan University to run a five-day workshop for a new project Stories My Mother Told Me. The

workshop aimed to provide a creative meeting point for existing and new members of the community and to

foster a supportive, open space where people who had recently arrived in the UK might engage with the arts and

express themselves in different ways. Together they explored physical and ensemble storytelling skills, and

learnt to devise and improvise. The workshop was so successful that the company aims to develop it further to

culminate in public performances.

"This week I felt free, like I could fly. It has been the best week since I arrived in London a year ago" Sonia, from

Iran

Embod in Mathematics Pro'ect EMP

EMP has social justice at its core, using the theatrical idea of the ensemble to foster the classroom learning

community, and centring on activities that require the class to master learning together. The voices of pupils and

teachers have been key to its development throughout, with several stages of evaluation and redesign.

"It's a safer place to be for children who find maths difficult. They learn from each other, they' re not on their own"

Teacher

Year 2 of the EMP saw the curriculum being taught in eight Sheffield and London schools. Focus was on data

gathering from this test year after which Sheffield Hallam University will evaluate and report on the impact of the

project on academic attainment. The results will be available in early 2018, with the plan to take the work to a

large scale Randomised Control Trial in the following years.

Complicite's Associate Producer received an Impact Fellowship from Sheffield Hallam University, to embark on

an offshoot research project into what makes creative projects attractive to schools. Working towards this,

teachers and staff members were interviewed at Mulberry School for Girls, Hampstead School and the Barbican.

The project has been supported by the Paul Hamlyn Foundation and the John Lyon's Charity.



Trustees' Report

Com licite Schools Network CSN

CSN, now in its third year, fosters sustained and meaningful relationships with schools that access its learningprogrammes. Seven of its target eight schools were recruited and 128 students involved. Five of the membersare Artsmark accredited, and another is halfway through the application process and says:

"Working with Complicity is a big part of our Artsmark application. . .The work in the CPD has helped my teachingpractice and I have used a number of the activities in my GCSE and A Level lessons. "

Teachers from participating schools attended a day-long Continuing Professional Development workshop toexamine how best to teach the company's methods.

W~orksho sDuring the year the company reached 2112 participants in 213 workshops from primary school children to adults,that included Approaches to Devising, Approaches to Text, Chorus 8 Storytelling, Physical Theatre, PerformanceSkills and Clowning.

The objective to programme an inclusive workshop for disabled and non-disabled theatremakers was realisedwith a 6-week residency at inclusive organisation Magpie Dance."All members of the group showed an increase and improvement in technical and creative skills. Since theproject, the dancers have implemented many physical theatre techniques when choreographing new work andhave been keen to use technology in subsequent pieces. "

Co-founder Marcello Magni led a five day Open Workshop: From Nothing All Appears. 22 adult theatremakersfrom all over the world took part in the workshop, which explored themes from Paulo Coelho's novel TheAlchemist.

Seen and Not Heard SANH

A participatory performance project for young people aged 12-16 developed from drama and photographyworkshops in 2015/16. Exploring their experiences of photography, social media and the internet, a group ofyoung people devised a performance installation including a fully functioning photographic studio, through whichthe audience moved. While posed, styled and photographed by the young performers, the audience heard abouttheir online lives. The piece was performed at artsdepot and the Southbank Centre, London, as part of WHY:What's Happening for Young People? Festival, where it was described by audiences as "beautiful, funny and a bitheart-breaking" and "a very insighfful commentary on the challenges of being young in the digital age - as told byyoung people. "

The John Lyon's Charity supported the show.

Like Mother Like Dau hter LMLD

LMLD reinforces the company's desire to ensure that diversity is at the heart of its artistic programme. Followingits success in 2015/16 the company was invited to recreate the show with local mothers and daughters inToronto, Canada at the Koffler Center for the Arts. 24 women took part, hailing from Pakistan, Venezuela, thePhilippines and Syria. 360 people saw the show and shared a meal afterwards, with a reviewer writing: "Full, richand fascinating. . . connection, community, catharsis: these are some of the best things theatre can bring and thisshow offers all of them. "



Trustees' Report

Carnival Journe sComplicite was commissioned by the V 8 A to celebrate the opening of their new Europe 1600-1815 gallery. A

performance with local adults not in employment was created with company practitioners over 12 weeks, inspired

by the objects in the gallery, the traditions of Commedia dell'Arte and the participants' own stories of journeys.The piece was performanced as part of the Kensington and Chelsea Borough Festival.

A Studio SeasonThree directors that have long-standing relationships with Complicity created three short plays with students atthe Royal Central School of Speech and Drama. Each play provided a unique portrait of the company's evolution,

tracing the shifts and changes that have marked its body of work, one of which will be developed for a schools'

tour in autumn 2017.

OtherTrade Secrets —a new initiative to introduce theatre to people who have never been before. Working with

Project Alchemy, which connects arts organisations with unemployed or low-income adult. Complicite staff have

committed to sharing free tickets they are regularly offered.Arts Award - Complicity worked to make its offer more coherent and had success with a student working with a

company associate director to achieve her Silver Arts Award. The company is keen to engage more applicants in

the future.

Performance AchievementsCom licite Associates 8 A Pacifist's Guide to the War on Cancer

The Associates programme, designed to support the career development of exceptional performance makers,

yielded its first production, A Pacifist's Guide to the War on Cancer (APG). Writer/director Bryony Kimmings said

"This unbelievable commission allowed me to take the almost impossible step from small-scale theatre to

large-scale in a safe, supported and positive environment. That kind of opportunity to dream big has literally

changed my life. "

APG toured to HOME, Manchester, Exeter Northcott and transferred to the National Theatre's Dorfman. It was

seen by nearly 17,000 people and described as "a vital confrontation, extraordinary" (Observer). The production

confronted taboos surrounding illness and death, sparking emotional reactions and audience debate. It was an

opportunity for the company to reach a younger audience, with 37% of audiences at the National Theatre aged

under 34 (compared to 29% at The Encounter at the Barbican). 21% also represented people on the lowest

income bracket and 12% of the audience considered themselves to have a disability.

APG also involved cancer patients in each city, reached through local hospitals and support groups. Ticket offers

were extended to local healthcare providers and networks, including 120 free tickets given to staff and client

groups from Macmillan and Maggie's Cancer Care.

In addition a number of events were programmed including 6 pre and post show discussions; a day-long event for

A Level and HE drama students; a Platform event with writer/director Bryony Kimmings; a writing workshop for 14

teenage cancer patients; three captioned performances; an audio described performance and a touch tour.

The EncounterThis production continued to be in exceptionally high demand abroad and toured for 30 weeks to 11 international

venues including a 16-week run on Broadway. It also marked the company's first visit to New Zealand, where the

Auckland Arts Festival Director wrote:

"Encounter was a true centerpiece for the festival. It is an absolute masterpiece and I am delighted that after so

many years we were finally able to bring Complicite to New Zealand. "



Trustees' Report

This co-production between Complicite and Schaubuhne Berlin had 23 performances to 11,416 people in Berlinand London.

The Kid Sta s in the Picture

Based on the life of Hollywood producer Robert Evans, this production directed by Simon McBurney and in

association with Complicite played a sold out season at the Royal Court, where it was seen by over 7,500 peopleand received excellent reviews.

Other ProductionsThe company continues to support revivals of work directed by Simon McBurney, including operas A Dog's Heart,The Rake's Progress and The Magic Flute. This includes arranging auditions and research and development.

Research & DevelopmentBristol-based collective The Wardrobe Ensemble will be the next Complicite Associates. A young group ofactors, musicians and devisers, they have gained a reputation for exciting small scale touring work and spent aweek with the company to explore new ideas.

The company has acquired the rights to adapt the novel Grief is the thing with Feathers by Max Porter. In

January the company worked with renowned director Enda Walsh to explore the possibilities of adapting it for thestage.

OtherAccessCaptioned performances of The Encounter, A Pacifist's Guide to the War on Cancer, Beware of Pity and The KidStays in the Picture took place, along with six touch tours and two audio-described performances, ensuring Deaf,hearing and visually impaired audiences were able to access the company's productions.

The Difference Engine was trialed at five UK venues and feedback collected. Although taken up by hearingimpaired audiences it is still in its early stages of development and not necessarily the tool that Complicite will usegoing forward. The requirement for individuals to access it on their mobile phones, and in any seat, meant that itprovided some distraction for those audience members sitting nearby. Complicity will continue to evaluate themost effective way of reaching Deaf and hearing impaired audiences.

Diversity

In casting APG, Complicity proactively sought performers from protected characteristics groups, with greatsuccess. Alongside its theatrical output, Creative Learning activity ensures that diversity is at the heart of theartistic programme. Participatory projects focus on a range of groups, including: workshops for a mixed group ofrefugees and professional actors; The Wait, which used prisoners' testimonies and artworks to explore corruptionin Pakistan's criminal justice system; and LMLD for mothers and daughters from different religious backgrounds.

Theatre de Complicite Education LimIted


Trustees' Report

Di ital Develo ment

Digital output significantly increased access to the company's work. Following the success of The Encounter live

stream in early 2016 the company invested in and expanded its digital output, including a series of 22 free online

videos charting the development and production of A Pacifist's Guide to the War on Cancer, and reaching beyondtraditional theatregoers. Beware of Pity was also live streamed and the company repeated its innovative 'embed

partner' model to make connections with venues where live touring might not be possible. One viewer said "First

Encounter, now this. I can't tell you how grateful I am to Complicity for making your work available to those of uswho can't afford tickets to see it live.

"

187,034 people viewed the live stream of Beware of Pity, via Facebook and YouTube. Supported by 14-18 NOW

and presented in partnership with Goethe-Institut London, the company partnered with 42 organisationsworldwide to embed it on their websites.

The company has far exceeded its targets to increase subscribers to all platforms by 10% as follows:— Email list by 24%— YouTube subscribers by 267%— Facebook likes by 27%- Twitter followers by 20%

The company is overhauling the 'experience' section of its website, which will have the dual purpose of creating

an online archive as well as an opportunity for audiences to engage more closely by sharing their interactions with

the company.

Continuin Professional Develo ment 8 Mentorin

Complicity is committed to offering its employees CPD opportunities, which during the year included Stage One

New Producers' Workshop, Sustainable Office Practice, Education Inequality and UK Theatre Finance and

Business Conference.

Staff contributed to talks and events including Careers Event at Charming School, Year 13 careers conference at

Camden School for Girls.

The company also supports talent through mentoring: each year providing business support for emerging artists

and their producers and administrators. In 2016/17 these included Rhum and Clay, Kandinsky, Shane Shambhu,

Christopher Brett Bailey and Creative Scene Yorkshire.

, Evaluation

The Creative Learning department carries out annual reviews, a process that includes yearly meetings for

teachers and educators, and for the artists who lead its work. They focus on collecting feedback on Complicity's

work and generating ideas for the future. From 2018, practitioners will also be required to attend an annual

training day to ensure their work keeps pace with changes in educational and community settings.

Other evaluation included - working with a consultant to produce a series of recommendations for the future of

the Associates programme; data sharing agreements with touring venues to explore new ways of accessing

information about audiences and audience surveys to benchmark and evaluate its digital output.

Fundraisin Con sultanc

The company committed to overhaul its fundraising function and recruited Liz Loudon from Prospect Partners to

evaluate the current set up and to make recommendations going forward. New systems will be put in place in

2017/18.



Trustees' Report

Future PlansProductions

Further development will take place with The Wardrobe Ensemble with a full production due to tour in 2018/19.- A Pacifist's Guide to the War on Cancer is being reworked, on a smaller scale, and will tour to venues in theUK and Australia in Spring 2018.

The Encounter returns to the Barbican Centre in Spring 2018, following its sold out run last year. In addition it

will tour to Paris, Antwerp, Berlin and Moscow.

Grief is the thing with Feathers will be performed in Ireland for three weeks in Spring 2018, with a moreextensive tour to take place in future years.

Balancing Act, development of weekly sessions to performance for older people.Research & Development for Landmarks, a new production created and directed by Simon McBurney and Mrs

Cole, a show for children aged 5-10 years directed by Complicite collaborator Catherine Alexander.

Creative Learnin

The second year of the Embodying Mathematics Project will draw to a close in July 2017. To mark its end andlook to its future, Complicite and project advisor Marcus du Sautoy will host an event at the Department ofEducation to representatives from funding bodies, policy makers, universities and arts organisations. In Sheffield,all 150 participating Year 3 students will perform to one another and their parents. The six schools will also meetto review the project.

Intezaar (The Wait) —a project in Pakistan with Lahore's Ajoka Theatre. An original piece of theatre will becreated charting the experiences of prisoners on death row. It will be supported by the Justice Project Pakistanand Highlight Arts.

Balancing Act - weekly sessions for people aged 70+ and living in sheltered housing in Southwark, who will

work with circus artists to explore the ageing body.

Like Mother Like Daughter - will be performed at the Cork Midsummer Festival and supported by the BritishCouncil, NASC and Cork City Council's Arts Office.

everything that rises must dance - a two week research and development project with sixty women (dancersand non dancers) from across London to begin creating a living archive of female movement.

Tomorrow I' ll Be Twenty - developed as a result of 'A Studio Season', this production will tour to five schools inBradford and Leeds.

Structure, governance and managementGovernin DocumentTheatre de Complicite Education Limited is a company limited by guarantee governed by its Memorandum andArticles of Association dated 28 June 1991. It is registered as a charity with the Charity Commission.

Or&ranisation

The Board of Trustees, which currently has eight members, administers the charity. The ChiefExecutive/Producer Judith Dimant has delegated authority for operational matters including finance, employment,and general management and works in conjunction with Artistic Director Simon McBurney on the company'screative direction.

Complicity is committed to employing the most skilled people in the sector. As such, rates of pay are competitivewith other subsidised theatre companies and staff welfare is of the upmost importance, providing staff with theopportunity to engage in social events and away days. Appraisals, to review performance, take place twice ayear.



Trustees' Report

A ointment and trainin of TrusteesTrustees are selected for their areas of expertise and knowledge of specific disciplines, and are proposed by

current members of the board. On appointment trustees are provided with a Board Induction pack, which

outlines the function of the Board, the company's financial position and current and future programme. Trusteesare offered training as required and appropriate to their role.

EcCualitit

Complicity will provide equality of opportunity and equal treatment as an integral part of good practice. Its

practices will ensure that staff, workers, trustees, and customers will not be discriminated against on any groundsincluding age, disability, race, sex, religion or cultural beliefs, gender reassignment, marital status and civil

partnerships, sexual orientation, pregnancy and maternity.

It will also support staff, workers, trustees and contractors in not tolerating any inappropriate, violent or abusivebehaviour from colleagues, other organisations or customers.

Fair and E ual Pa Polic

Complicite is committed to the principle of fair and equal pay and to working with trade unions to take action to

promote and implement fair and equal pay. As a member of UK Theatre it adheres to agreements with BECTU,

Equity, SOLT, the Writers' Guild of GB and other relevant trade unions and associations with regards salaries,

fees and subsistence. Complicity recognises that women and men in the workforce should receive equal pay for

work of equal value and that this principle is enshrined in both UK and European law. It aims to ensure that its

pay system is free of bias. Fairness and equality across gender, age, race and disability are integral to its values

and send a positive message on diversity and equality to managers, employees, potential employees, partners

and customers and enhance productivity, efficiency and morale.

Risk Mana ement

The trustees have analysed and sought to quantify the major operational risks the company faces in meeting its

objectives. The major risks identified are:

Development risk - not all development work proves to be artistically fruitful. The company needs to be able to

fund development that will not lead to income-generating production projects. It can also take many years for

projects to come to fruition.

Overhead risk - in order to maintain the company's record of exceptional quality and creative success, the

company needs to hold sufficient reserves to be able to sustain its ongoing overheads without being compelled to

embark on productions in which there is not sufficient creative confidence to proceed.

Technical risk - Simon McBurney's ambitious artistic vision is now at the forefront of theatre technology. The

company often finds itself seeking to use novel and innovative production techniques, with the attendant risk of

schedule disruption and cost overruns.

Financial risk - the company's productions are conceived at a high level of creative ambition, which means the

company typically has to finance a deficit on the initial run of a new production. This is particularly true if the

show is devised by the company and therefore requires a lengthy preparation period, rather than being based on

an existing text. These deficits are only recouped in the event that the show is successful and revived as atouring production.

Touring risk - the company tours most of its productions, and in doing so faces the risk that venues may cancel

at little notice or have difficulty in paying the company's fees.

Fundraising risk —the next National Portfolio Organisation (NPO) funding round for April 2018 to March 2022

has opened with decisions made in July 2017.

Theatre de Compiicite Education Limited


Trustees' Report

Staff risk - Simon McBurney and Judith Dimant have been with the company for 34 and 23 years respectively.It is vital that the company's sustainability does not rely on individuals, but equally vital that these impressivelylongstanding contributors play a role in shaping its future. Any change in the senior management team poses arisk and this is being managed by supporting and developing the skills of current staff, in particular the Producerand Assistant Producer, who could step in if necessary. The company continues to expand its pool of artists whomake work under the Complicity banner, which should leave it in a strong position for the future.

Financial ReviewThe company is reporting a surplus of F219,051 on a turnover of F2,219,554. It reached a total reserves level off1,654,421. The principal source of funding continued to be from Arts Council England, which was f363,622 andrepresented 16% of total income.

Income from touring productions represented 62% of total income and increased significantly from 2015/16 dueto increased activity.

Fundraising targets were exceeded with f95,200 raised from trusts and foundations (target 590k) and f82, 521(target 254k) from individual donors.

Management fees are received when Complicity acts as producer during the research and development phase ofa production and for subsequent touring. Fees were considerably higher this year due to receiving a weeklymanagement fee during the Broadway run of The Encounter.

A significant growth in overseas touring, including The Encounter on Broadway, increased the company'soverseas income to 61% of total performance fees/box office (15% in 2016).

Complicity is grateful to Arts Council England, The John Ellerman Foundation, the Paul Hamlyn Foundation andthe John Lyon's Charity, the biggest supporters this year.

The Trustees review the company's reserves policy in detail on a regular basis. In doing so, they seek to make arealistic assessment of the company's requirements in the light of planned future activities and expenditures,likely income levels and the major operational risks outlined above. The Trustees consider it prudent to maintaindesignated reserves under five headings:

- Building reserve F300,000 - to carry out the preliminary work required to acquire a suitable building ie. propertysearch/undertake survey/fund a deposit.

Production reserve F400,000 - to underwrite new production/large-scale projects where future exploitation isunknown.

— Research 8, Development reserve 6100,000 — to enable un-budgeted research 8 development to take placewhen required at any time during the financial year.— Education reserve f100,000 - to enable large-scale education projects to be realised beyond those budgetedduring the financial year.- Development of Associates F90,648 - to support development and training for company collaborators and thedevelopment of work by company associates.

10



Trustees' Report

Statement of Trustees ResponsibilitiesThe Trustees (who are also directors of Theatre de Complicite Education Limited for the purposes of company

law) are responsible for preparing the Trustees' Annual Report and the financial statements in accordance with

applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting

Practice).

Company law requires the trustees to prepare financial statements for each financial year, which give a true and

fair view of the state of affairs of the charitable company and of the incoming resources and application of

resources, including the income and expenditure, of the charitable company for the year. In preparing thesefinancial statements, the Trustees are required to:

- select suitable accounting policies and then apply them consistently;— observe the methods and principles in the Charities SORP 2015 (FRS 102);- 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

charitable company will continue in operation.

The trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at

any time the financial position of the charitable company and enable them to ensure that the financial statements

comply with the Companies Act 2006. They are also responsible for safeguarding the assets of the charitable

company and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

In so far as the trustees are aware at the time of approving our trustees' annual report:- there is no relevant information, being information needed by the auditor in connection with preparing their

report, of which the charitable company's auditor is unaware; and- the trustees, having made enquiries of fellow directors and the charitable company's auditor that they ought to

have individually taken to make themselves aware of any relevant audit information and to establish that the

auditor is aware of that information.

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.

Small Company ExemptionsThis report is prepared in accordance with the provisions of the Companies Act 2006 relating to small companies.

This'r port was ayprceKH)y the Board of Trustees on 5 December 2017 and signed on its behalf by

n

(

Steph n TaylorTrustee

11

Independent Auditors' Report to the Members of Theatre de Complicite Education Limited

We have audited the financial statements of Theatre de Complicite Education Limited for the year ended 31March 2017 which comprise the Statement of Financial Activities, the Balance Sheet, the Cash FlowStatement and the related notes numbered 1 to 21. The financial reporting framework that has been appliedin their preparation is applicable law and United Kingdom Accounting Standards (United Kingdom GenerallyAccepted Accounting Practice) including FRS 102 "The Financial Reporting Standard applicable in the UKand Republic of Ireland".

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

Respective responsibilities of trustees and auditorsAs explained more fully in the Statement of Trustees' Responsibilities set out on page 11, the trustees (whoare also the directors of the charitable company for the purposes of company law) are responsible for thepreparation of the financial statements and for being satisfied that they give a true and fair view.

Our responsibility is to audit and express an opinion on the financial statements in accordance withapplicable law and International Standards on Auditing (UK and Ireland). Those standards require us tocomply with the Auditing Practices Board's (APB's) Ethical Standards for Auditors.

Scope of the audit of the financial statementsAn audit involves obtaining evidence about the amounts and disclosures in the financial statementssufficient to give reasonable assurance that the financial statements are free from material misstatement,whether caused by fraud or error. This includes an assessment of: whether the accounting policies areappropriate to the charitable company's circumstances and have been consistently applied and adequatelydisclosed; the reasonableness of significant accounting estimates made by the trustees; and the overallpresentation of the financial statements. In addition, we read all the financial and non-financial information inthe Trustees' Annual Report to identify material inconsistencies with the audited financial statements and toidentify any information that is apparently materially incorrect based on, or materially inconsistent with, theknowledge acquired by us in the course of performing the audit. If we become aware of any apparentmaterial misstatements or inconsistencies we consider the implications for our report.

Opinion on financial statementsIn our opinion the financial statements:

give a true and fair view of the state of the charitable company's affairs as at 31 March 2017, and of itsincoming resources and application of resources, including its income and expenditure, for the year thenended;

have been properly prepared in accordance with United Kingdom Generally Accepted AccountingPractices;- have been prepared in accordance with the Companies Act 2006.

Opinion on other matter prescribed by the Companies Act 2006In our opinion the information given in the Trustees' Annual Report for the financial year for which thefinancial statements are prepared is consistent with the financial statements; and the Trustees' AnnualReport has been prepared in accordance with applicable legal requirements.

12

Independent Auditors' Report to the Members of Theatre de Complicite Education Limited

Matters on which we are required to report by exceptionIn the light of our knowledge and understanding of the company and its environment obtained in the courseof the audit, we have not identified material misstatements in the Trustees Annual Report.

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

- adequate accounting records have not been kept or returns adequate for our audit have not been receivedfrom branches not visited by us; or

- the 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; or

- the trustees were not entitled to prepare the financial statements in accordance with the small companies

regime and take advantage of the small companies exemption in preparing the Trustees' Annual Report and

take advantage of the small companies exemption from the requirement to prepare a strategic report.

Mr Richard Nelson (Senior Statutory Auditor)

For and on behalf of Breckman 8 Company Ltd

Chartered Certified Accountants Statutory Auditors and

Statutory Auditors

49 South Molton StreetLondon W1K 5LH

5 December 2017

13

'DQl

E

0(UV

'ZlILJ

Ql

V

CL

E0O

Ql

(U

I-

QlQl

C(U

(U

0'DQl

E

0VV

I

CQlCL)C

LLI

Cm O

CV

0(Uc Q

DI ~Ql'D

VC QlZ L

(n

V0

V

(U

Ll

V0

Ql

EQl

(U

N

m

O 0 gCV

'DQl

(n

(n

IL

(U

O 0~ cu

I(nVC 4l

Ql8IL

'DQl

.V Ul'L 'DC 4l

MICD

NQl

0Z

E0

CQl

E

C

Ql

E0C

COCV

COCO(A

(0CVCl

C)

(AQ)

(0I

(A

QlD)(0

I

(nQl0(g UlCD .QlQl

c 0(U mUl Ql

(U

mC (Up L

Cl (3

OCD

OCV Gl(AO

OOCO

CD

(0CVCO

(0

0CD

OGl

C9CD

CDO (ACO

O P(0(0

(A(AQ)

PJ

O I

OCV

(0

CVCO

OCl

CO

CQ

(0

(A

QlDl(UCL

I

Ql MC

(U QlQl

M(U

oI-

VlQl

C '7o ~O

a- (U

C (U

Ql 'L

CL (U

UJ O

CO(0

P)C)(AC)

OPJ

CO

I

QlD)(UCL

I

Ql

(UQl

I-

(ACDCO

CV

C9

CV

CO(0CV

O(AOClOCV

0I-

EAClCD

Pl

CD(A

(0CV

Ql

'ZlCQlQ.Ql

E0VC

Ql

(h'DC

0C0(U

V

0VQl

(0GlG)(0P4

COOCV

(U

0)0

Ul

C

(U

0I-

(0CDCD

(0CV

COClCV

EO

lA

0

QlPI(UVVl

(U

0I-

(nQl

0(U

D)

C:

p0E0MQl

CQl

Ql

DQ)CLXQ)

(U

Ql

Ep0

L

(0(U

(D

CVl

QlQlMCDl

(n 0m (D

(n(UC

Ql

MC M

0UlQl

QlmM0 C(U

(U

(U(U Vl

C 0C(nQl

p4~

m

p m0m

M CQl 4:Dl v—(U 0CL ~C S

Ql

p (U

C Vl

Ql Ql

I- I—



Year ended 31 March 2017

2017 2016

Income from donations and legacies

GrantsArts Council England- Regular funding

John Ellerman Foundation

The Goldsmiths' Company

Joseph Strong Frazer Trust

DonationsAficionados/Accomplices/Allies

Gift aid tax reclaimed

General - restricted

GeneralDonations in kind

363,62230,000

1,000

26,25310,368

45,90073,851

394,622

394,622

156,372

550,994

363,62230,000

3,0001,000

31,94410,832

25029,00068,780

397,622

397,622

140,806

538,428

Income from charitable activities

Theatrical incomeBox office/performance feesRechargesBarbican BoxWorkshop feesManagement feesProgrammes/merchandise

Licensing rights/royalties

Research and development projects

Digital

Creative Learning

BooksSundry

1,050,011321,306

4,00091,19583,951

4,85915,421

5,0005,0007,0307,5231,213

1,596,509

726,93973,91712,19461,34612,73410,1642, 142

18,818

12,7631,573

932,590

15




2017f

2016

Wellcome TrustGarfield Weston Foundation

Harold Hyam Wingate FoundationJohn Lyon's Charity

Paul Hamlyn Foundation

Inlight TrustWomen's Interfaith Network

The London Community Foundation

Sheffield Hallam University

25,0008,600

25,0005,600

64,200

64,200

14,800

28,00060,000

5,00012,000

119,800

119,800

16




Expenditure on charitable activities

Theatre

2017f

2016E

Production/touring costsProduction salariesProduction feesSocial security costsStaff pension costsSetsCostumesPropsSound/video/lighting

Travel/trans porl/accommodation

Hospitality

RefreshmentsInsurance

Venue/tech hires/contras

RehearsalsRoyaltiesLegal expensesSundry

Recharged expenditure

266,685330,565

1,8143,869

81,9778,9266,094

149,937213,408

1,794

3,34741,64139,71482,206

95949,091

1,282, 027

62,466299,955

6,684348

35,702628

2,712130,50136,899

1,579167501

4,96017,22028,339

5001,660

71,941

702,762

Research and development costsResearch and development 44,632 85,515

Education costsTravel/subsistence

Workshop fees/expensesMaterials/miscellaneous

Barbican boxSeen and Not Heard/CSN/Embodying

Access performancesLike Mother Like Daughter

Encounter resourcesAPG educationCSSD ProjectDigital development

Carried forward

17157,976

9093,549

50,413300775

8,50112,94517,452

152,991

1,479,650

32138,141

2,24610,70727,588

1,82928,882

6,585

42, 971

159,270

947,547

17

Theatre de Compiicite Education Limited



Brought forward 1,479,650 947,547

Nlarketing/publicity costsAdvertising/archive

Website developmentWebsite maintenanceBOP Live StreamMerchandise

Temporary staffAccomplices/allies costs

Support costs - page 19Governance costs - page 19

17,8529,850

41453,956

8,748

5,061

95,881

1,575,531417,009

7,963

2,000,503

19,96812,486

5,006670

1,261

39,391

986,938348, 141

7,816

1,342,895

18



Year ended 31 Mlarch 20172017 2016

Support and governance costsSupport costsOffice overheadsOffice rent

Rent —ground floor

RatesLight/heat/water

Telephone/fax/internet

Insurance

StorageRepairs/equipment cost 8 charges

Computer software/maintenance

Cleaning

SecurityDepreciation of furniture/fittings

Depreciation of office equipment

Depreciation of touring equipment

Administration costsSalariesSocial security costsStaff pension costsStaff training

Staff welfare

Staff recruitment

Travel/transport

Hospitality

Printing/stationery

Postage/deliverySubscriptions/licences

Professional/financialLegal/professional/consultancy

Bank charges

Governance costsBoard meeting expensesAccountancyAudit

Charity SORP/FRS 102 amendments

30,00015,5003,3804,0493,659

10,0813,2057,4331,7551,1171,351

2222, 179

278,63727,616

8,3591,205

774

1,3181,1751,3052,2064,300

5,298885

2133,5004,000

250

83,931

326,895

6, 183

417,009

7,963

424, 972

28,75015,5003,3523,8563,3699,0662,630

7132,7521,0711,114

2222,931

349

225,49021,540

4,728688

1,60516

2,3741,0871,8002,6503,935

5,723830

663,5004,000

250

75,675

265,913

6,553

348, 141

7,816

355,957

19



Balance Sheet31 March 2017

Notes E

2017 2016

Fixed assetsTangible assetsInvestments

Current assetsDebtorsCash at bank and in hand

LiabilitiesCreditors: amounts falling

due within one year

Net current assets

Total assets less currentover total assets

10 279, 1591,565,711

1,844,870

12 (191,370)

9201

921

1,653,500

1,654,421

123,3821,444, 334

1,567,716

(134,721)

2,3741

2,375

1,432,995

1,435,370

The funds of the charity:Unrestricted funds- General fund—Designated funds

Restricted funds

Total charity funds

15

16

480,323990,648

1,470,971

183,450

1,654,421

217,124991,250

1,208, 374

226, 996

1,435,370

The trustees have prepared these accounts in accordance with section 398 of the Companies Act 2006 andsection 138 of the Charities Act 2011. These accounts are prepared in accordance with the specialprovisions of Part 15 of the Companies Act relating to small companies and constitute the annual accountsrequired by the Companies Act 2006 and are for circulation to members of the company.

The accounts weie a roved by the Board of Trustees on 5 December 2D17 and signed on its behalf by

Steph TaylorTrustee

ui'R rGraefO ETrustee

The notes on pages 22 to 33 form an integral part of these financial statements.

20



Cash Flow Statementfor the year ended 31 March 2017

Notes2017 2016

Cash flows from operating activities 21 114,473 . 289,384

Cash flows from investing activities:Dividends, interest and rents from investments

Purchase of property, plant and equipment

Net cash provided by investment activities

7,851(947)

6,904

9,021(3,411)

5,610

Change in cash and cash equivalents in the reporting period

Cash and cash equivalents at the beginning of the reporting

penod

Cash and cash equivalents at the end of the reporting

period

121,377

1,444, 334

1,565,711

294,994

1,149,340

1,444,334

21



Notes to The Financial Statementsfor the year ended 31 March 2017

1. Accounting policies

1.1. Basis of preparing the financial statementsThe financial statements have been prepared in accordance with Accounting and Reporting byCharities: Statement of Recommended Practice 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 (FRS 102)) and the Companies Act 2006.

The charity meets the definition of a public benefit entity under FRS 102. Assets and liabilities areinitially recognised at historical cost or transaction value unless otherwise stated in the relevantaccounting policy notes.

The company and its subsidiary comprise a small group. The company has taken advantage of theexemption provided by Section 398 of the Companies Act 2006 not to prepare group financialstatements.

The financial statements present information about it as an individual undertaking and not about itsgroup.

1.2. Reconciliation with previous Generally Accepted Accounting PracticeIn preparing the accounts, the Trustees have considered whether in applying the accounting policiesrequired by FRS 102 and the Charities SORP FRS 102 the restatement of comparative items wasrequired.

There was no requirement for restatement.

22




1.3. Incoming resourcesAll incoming resources are included in the Statement of Financial Activities when:

—the charity is legally entitled to the funds- any performance conditions attached to the income have been met or are fully within the control of

the charity

- there is sufficient certainty that receipt of the income is considered probable—the amount can be reliably measured

- Donations and legaciesGrants/donations are recognised in incoming resources in the year in which they are receivable,

except as follows:

- when donors specify that grants/donations given to the charity must be used in future accounting

periods, the income is deferred until those periods

- when donors impose conditions which have to be fulfilled before the charity becomes entitled to usesuch income, the income is deferred and not included in incoming resources until the preconditions

for use are met.

- Charitable activitiesTheatre income - income from box office, performance fees and sundry other theatrical income is

included in incoming resources in the period in which the relevant show takes place.

Project specific funding - when donors specify that donations and grants are for particular restricted

purposes, which do not amount to pre-conditions regarding entitlement, this income is included in

incoming resources of restricted funds when receivable.

- Donated services and facilitiesDonated services or facilities are recognised as income when the charity has control over the item,

any conditions associated with the donated item have been met, the receipt of economic benefit from

the use by the charity of the item is probable and that economic benefit can be measured reliably. On

receipt, donated services and facilities are recognised on the basis of the value of the gift to the

charity which is the amount the charity would have been willing to pay to obtain services or facilities of

equivalent economic benefit on the open market; a corresponding amount is then recognised in

expenditure in the period of receipt.

- Investment incomeInterest on funds held on deposit is included when receivable and the amount can be measured

reliably by the charity; this is normally upon notification of the interest paid or payable by the Bank.

23




1.4. ExpenditureAll expenditure is included on an accruals basis inclusive of any VAT which cannot be recovered andis recognised when:

- there is a legal or constructive obligation to make a payment- it is probable that settlement will be required- the amount of the obligation can be measured reliably

- Costs of raising fundsCosts incurred in attracting donations, and those incurred in trading activities that raise funds.

- Charitable activitiesTheatre production costs —costs incurred in production and running of productions toured in the year.

- Support costsThe administrative and overhead costs associated with running the office from which the companyoperates as well as governance costs. Support costs are wholly attributable to theatre productioncosts.

- Governance costsCosts associated with the constitutional and statutory requirements of the charity.

1.5. Tangible fixed assets and depreciationIndividual fixed assets costing f500 or more are capitalised at cost.Depreciation is provided at annual rates calculated to write off the cost less residual value of eachasset over its expected useful life, as follows:

Furniture/fittings

Office equipmentTouring equipment

20% on cost50% on cost50% on cost

1.6. DebtorsTrade and other debtors are recognised at the settlement amount due after any trade discountoffered. Prepayments are valued at the amount prepaid after taking account of and trade discountsdue.

1.7. Cash at bank and in handCash at bank and in hand includes cash and short term highly liquid investments with a short maturityof three months or less from the date of acquisition or opening of the deposit or similar account.

1.8. Creditors and provisionsCreditors and provisions are recognised where the charity has a present obligation resulting from apast event that will probably result in the transfer of funds to a third party and the amount due to settlethe obligation can be measured or estimated reliably. Creditors and provisions are normallyrecognised at their settlement amount after allowing for any trade discounts due.

24




1.9. LeasingRentals payable under operating leases are charged to the income and expenditure account on astraight line basis over the lease term.

1.10. InvestmentsFixed asset investments are stated at cost less provision for diminution in value.

1.11. Production costs in advanceCosts incurred in respect of a theatre production which opens in the following accounting period, andwhich are to be paid out of general unrestricted funds, are carried forward at the balance sheet date.

1.12. PensionsThe Company operates a defined contribution pension scheme and the pension charge representsthe amount payable by the Company to the fund in respect of the year.

1.13. Fund accountingFunds held by the charity are either:— Unrestricted general funds - these are funds which can be used in accordance with the charitable

objects at the discretion of the trustees.

- Designated funds - these are unrestricted funds of the charity which the trustees have decided attheir discretion to set aside to use for a specific purpose.

- Restricted funds —these are funds that can only be used for particular restricted purposes within the

objects of the charity. Restrictions arise when specified by the donor or when funds are raised for

particular restricted purposes.

Further explanation of the nature and purpose of each fund is included in the notes to the financial

statements.

2. Incoming resources

The total incoming resources for the year has been derived from the principal activity. The proportion

of incoming resources derived from outside the UK amounted to 61% (2016 - 15%).

3. Net income for the year isstated after charging:

2017 2016

Depreciation of tangible fixed assetsAuditors' remuneration—external audit- other services

2,401

4,0003,750

3,502

4,0003,750

25




4. Trustees' emoluments and reimbursed expenses

The trustees received no remuneration during the year (2016 - anil).

The aggregated amount reimbursed to trustees during the year was anil (2016 - anil).

5. Staff costs and numbers

Staff costsSalaries and wagesSocial security costsPension costs

2017

294,90229,43012,228

336,560

2016E

287,95628,224

5,076

321,256

One employee earned F70,000 or more during the year (2016 - 0).No employee earned F60,000 or more during the year (2016 - 1).

The key management personnel of the charity comprise the trustees and the senior managementteam. The total employee benefits of the key management personnel of the charity were f80,340(2016 —F64,375).

Staff numbersThe average numbers of employees (including casual and part time staff) during the year was madeup as follows:

2017Number

2016Number

Production/touring

Support

6. Pension costs

The company operates a defined contribution pension scheme in respect of its employees. Thescheme and its assets are held by independent managers. The company also contributes to theEquity Pension Scheme for performers and stage managers. The pension charge representscontributions due from the company and amounted to F12,228 (2016 - F5,076).

26




7. Corporation Taxation

The charity is exempt from tax on income and gains falling within section 505 of the Taxes Act 1988or section 252 of the Taxation of Chargeable Gains Act 1992 to the extent that these are applied to its

charitable objects.

8. Fixed assets - tangible assets Furniturel Office Touringfittings equipment equipment

fTotal

Cost1 April 2016Additions

31 March 2017

Depreciation1 April 2016Charge for year

31 March 2017

Net book values31 March 2017

31 March 2016

2,438

2,438

1,771222

1,993

445

667

16,967947

17,914

15,2612, 179

17,440

474

1,706

2,045

2,045

2,044

2,044

21,450947

22, 397

19,0762,401

21,477

920

2,374

9. Fixed Asset Investments Subsidiaryundertakings

shares

Cost1 April 2016/31 March 2017

Net book values31 March 2017

31 March 2016

27




9.1. Holdings of 20% or moreThe company holds 20% or more of the share capital of the following company:

Company

Country ofregistrationor incorporation

Shares heldGlass

Subsidiary undertakingComplicite Enterprises Limited England Ordinary 100%

The Company remained dormant during the year. Its aggregate amount of capital and reserves andthe results of this undertaking for the last relevant financial year were as follows:

Complicite Enterprises Limited

Capital and reservesE

1

Profit for the yearF

10. Debtors 2017 2016f.

Trade debtorsOther debtorsProduction costs in advancePrepayments and accrued income

106,1436, 132

32,719134,165

279, 159

38,246

13,30271,834

123,382

11. Cash at bank and in hand 2017E

2016

Short term depositsCash on depositsCash at bank

Cash in hand

454, 885454,690654,657

1,479

1,565,711

451,356449,768542,647

563

1,444, 334

28



Notes to The Financial Statementsfor the year ended 31 INarch 2017

12. Creditors: amounts falling duewithin one year

2017F

2016

Trade creditorsOther taxation/social security

Other creditorsAccrualsDeferred income (note 13)

63,5809,4983,431

68,02646,835

191,370

14,46333,681

2,21545,73738,625

134,721

13. Deferred income

Balance at 1 April 2016 38,625

Amount released to incoming resourcesAmount deferred in the year

Balance at 31 March 2017

(38,625)46,835

46,835

Deferred income relates to fee income received in advance.

14. Limited by guarantee

The company is limited by guarantee and does not have a share capital. Each member gives aguarantee to contribute a sum, not exceeding f100, to the company should it be wound up. At 31March 2017 there were 8 members.

29




15. Unrestricted funds Brought Incoming Outgoingforward resources resources

f.

Transfers Carriedforward

f ' f

General fundDesignated funds:Building reserveProduction reserveResearch 8 Development reserveEducation reserveDevelopment of Associates

217,124 2, 118,733 (1,856, 136)

300,000400,000100,000100,00091,250

1,208,374 2, 118,733 (1,856, 136)

(602)

300,000400,000100,000100,00090,648

1,470,971

602 480,323

Building reserveThis is to search/carry out/pay an initial deposit when a suitable building has been found, aftercontinuing discussion regarding what sort of building space may be required and for what use.

Production reserveThis is to underwrite new production/large-scale projects where future exploitation is unknown.

Research & Development reserveThis is to enable un-budgeted research 8 development to take place when spontaneously required atany time during the financial year.

Education reserveThis is to support and enable large-scale projects to be realised outside of projects budgeted for duringthe financial year.

Development of AssociatesThis is to support the development and training of some of the company's collaborators and themanagement of the Associates programme.

30




16. Restricted funds Brought Incoming Outgoingfor ward resources resources

E

Carriedforward

E

Embodying Mathematics

Aficionados/Accomplices/AlliesComplicite Associates ProgrammeJohn Lyon's Charity

A Pacifist's Guide tothe War on Cancer

60,000138,756

28,240

5,60036,62125,000

33,600

(22,096)(35,431)(25,000)(28,240)(33,600)

43,504139,946

226, 996 100,821 (144,367) 183,450

Embodying MathematicsEmbodying Mathematics is a collaboration between Complicity and the Mathematics EducationResearch Group at Sheffield Hallam University. Activities are informed by drama and movementprinciples that will offer pupils and teachers different and enriched ways of learning mathematics. ThePaul Hamlyn Foundation has given 260k to support the project for 2 years 2016/17 and 2017/18.

Aficionados/Accomplices/AlliesThe company's membership scheme that supports the development of new work and comes from

individual donors.

Complicite Associates ProgrammeThe Garfield Weston Foundation funded the Complicite Associates Programme, a new initiative through

which the company supports emerging talent, with inaugural Associate and award-winning performance

artist Bryony Kimmings creating the new production A Pacifist's Guide to the War on Cancer

John Lyon's CharityThe John Lyon's Charity supported the company's Creative Learning programme. This was the final

year of funding.

A Pacifist's Guide to the War on Cancer (APG)Following two years of development APG went into full production and toured the UK in London,

Manchester and Exeter. Funding was received from The Harold Hyam Wingate Foundation, for an

Assistant Director, and The London Community Foundation.

31




17. Analysis of net assets between fundsGeneralfunds

Designated Restrictedfunds funds

E

Total

Fund balances at 31 March 2017are represented by:

Tangible fixed assetsInvestments

Net current assets

9201

479,402

480,323

990,648

990,648

183,450

183,450

9201

1,653,500

1,654,421

18. Financial commitments

At 31 March 2017 the company had future minimum lease payments under non-cancellable operatingleases, with payments falling due as follows:

Due:Within one yearBetween one and five years

2017f.

53,265154,850

208, 115

2016

46, 140105,115

151,255

19. Related party transactionsThe company had no related party transactions which require disclosure in the financial statements.

20. Gross Cash Flows

2017f.

2016

Returns on investments and servicing of financeInterest received 7,851 9,021

Capital expenditurePayments to acquire tangible assets (947) (3,411)

32




21. Reconciliation of net income/(expenditure) to net cashf low from operating activities2017 2016

E

Net income/(expenditure) for thereporting period (as per thestatement of financial activities)

Depreciation

Dividends, interest and rents from investments

(Increase) in debtorsIncrease in creditors

Net cash inflow from operating activities

219,051

2,401(7,851)

(155,777)56,649

114,473

256,944

3,502

(9,021)(44,394)82, 353

289,384

Theatre de Complicite Education Limited Report and Financial ...

Documents