The trustees present their report and financial statements for the year ended 31 March 2020.
The financial statements have been prepared in accordance with the accounting policies set out in note 1 to the financial statements and comply with the charity's Articles of Association, the Companies Act 2006 and “Accounting and Reporting by Charities: 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 (FRS 102)” (as amended for accounting periods commencing from 1 January 2016)
The aims and objectives of the charity as set out in Flute Theatre’s Articles of Association dated 31 August 2015 are:
To advance the arts for the general public including special provision for those on the autism spectrum
These aims and objectives have been met during the year in the following ways:
We have continued to perform our specialised production of A Midsummer Night’s Dream for autistic individuals and their families .
We have created an English-speaking version of Pericles for autistic individuals and their families , marking our third full UK production of Shakespeare using the Hunter Heartbeat Method.
We toured Pericles for autistic individuals and their families to Poland and Romania, performing in Polish and Romanian.
We created Deconstructing the Dream , a theatrical performance with artists and scientists exploring the neuroscience of the imagination, in collaboration with UCL and Goldsmiths, University of London.
We delivered the first year of our Three-year Flute Dreams Project, our community partnership project with Queensmill School, Bush Theatre and UAL MA Drama funded by Johns Lyon’s Charity.
We introduced the Hunter Heartbeat Method to Waseda University, Tokyo in Japan and CHRIST (Deemed to be University) Bangaluru in India.
Productions that benefit those on the autism spectrum
A Midsummer Night’s Dream for autistic individuals and their families.
Flute Theatre’s performances of this production continued to provide high quality artistic provision for the marginalised community of individuals with autism and those who care for them. The show was created in 2017, it toured the UK, US and Europe and remained a sold-out event at major London venues, specifically for the marginalised population of those with autism.
St John’s College, Brighton. May 2019
Flute Theatre delivered a one-week residency in partnership with St Johns College, with fifteen performances and bespoke workshops for learners and staff.
Bridge Theatre London. June/July 2019
Flute Theatre delivered three weeks of performances for individuals with autism and their families and carers.
Sala Francesc Tarafa, Granollers, Spain. June 2019
Flute Theatre delivered one week of workshops and one performance with the students, families and staff of Escuela Especial Montserrat Montero. This is the third residency we have made with the school since 2017. We are now supported by AADPC with plans for continuing to develop the work.
Pericles for autistic individuals and their families
Flute Theatre created our third English speaking production of Shakespeare for audiences with autism. In the autumn, the production premiered at Strathmore Special School at Grey Court Campus in Ham and consequently made a European tour to Poland and Romania.
Strathmore School London. October 2019
In co-production with Orange Tree Theatre we made our premiere of Pericles for autistic individuals and their families at Strathmore Special School at Grey Court Campus in Ham. Ongoing from this performance, Orange Tree Theatre invited us to bring the production to their theatre in June/July 2020
Regional Centre of Educational-Methodical Metis, Katowice Poland. October 2019
Fundacja Alpha, Lublin, Poland. October 2019
Flute Theatre delivered seminars, workshops and performances of Pericles for autistic individuals and their families across the two cities of Katowice and Lublin in a partnership project that brought the two Polish organisations together for the first time.
Festivalul Tanar de la Sibiu, Teatrul Gong, Sibiu, Romania. October 2019
Flute Theatre delivered two performances of Pericles for autistic individuals and their families at this international children’s festival . This marked our return visit to the festival by invitation, after performing for them in 2018.
STATISTICS FOR PERFORMANCES FOR AUTISTIC INDIVIDUALS AND THEIR FAMILIES 2019 - 2020 |
|||
Venue |
No of performances |
Autistic Individuals |
Family Members / Carers |
St Johns College |
15 |
150 |
60 |
Bridge Theatre |
12 |
180 |
60 |
Sala Francesc Tarafa, Granollers |
2 |
20 |
180 |
Strathmore Special School |
2 |
30 |
20 |
Lublin Poland |
21 |
168 |
300 |
Katowice Poland |
2 |
30 |
100 |
Teatrul Gong Romania |
2 |
30 |
60 |
Bush Theatre London |
2 |
30 |
30 |
Total |
58 |
638 |
810 |
Productions that benefit the general public
Deconstructing the Dream
Bloomsbury Theatre, UCL, London. May 2019
The first performances of Deconstructing the Dream took place on 15-16 May 2019 at the Bloomsbury Theatre, UCL as part of UCL’s ‘Performance Lab’ series. These two performances included the world’s first scanning of an actor’s brain live on stage.
The production is a unique performance that brings together scientists and actors to collect data, create theatre and explore the neuroscience of the imagination. Flute Theatre partnered with experts in neuroscience (UCL team) and wearable computing (Goldsmith’s, University of London team). As part of the preparation, the scientists and actors rehearsed together for 4 days and collected extensive neuroimaging data during the rehearsals.
The project fulfilled several aims for the general public:
To create a unique performance of Midsummer Night's Dream
To collect neuroimaging data from actors rehearsing and performing on stage
To share the science with the audience
To capture audience reactions with wearable sensors
DECONSTRUCTING THE DREAM – Audience Members, General Public |
||
Venue |
Date |
Audience |
Bloomsbury Theatre UCL |
15 May 2019 |
205 |
Bloomsbury Theatre UCL |
16 May 2019 |
315 |
Total |
15-16 May 2019 |
520 |
“The overall impression, needless to say, is captivating. These new developments in neuroscience can only suggest the range of possibilities which may just be around the corner, such as measuring the brain activities of people with autism during social interaction. This may not be the most important work in traditional theatre, but it is certainly one of the most scientifically important ones, presented beautifully and with a tremendous amount of passion”.
★★★★ ★
THE UPCOMING
Flute Dreams Project
We have successfully delivered our first year of the Flute Dreams project and have been awarded the second tranche of our three-year funding. Over the year we have worked with students who would otherwise have no social activity through artistic participation.
The project has fulfilled its aims in the following ways:
We have delivered Hunter Heartbeat workshops onsite at Queensmill School one-two weeks each term. The attending students have been selected as those who will have no chance of attending the project at the Bush Theatre nor any opportunity for other social activities. Therefore, we are providing a unique opportunity for high quality artistic provision for these marginalised individuals.
We have delivered a two-week community project of daily Hunter Heartbeat workshops at the Bush Theatre, London during the summer holidays in August 2019. The workshops have an open-door policy, allowing family members to participate with their autistic relative. Therefore, we are providing a unique opportunity for social inclusion in a public space for these marginalised families.
We have delivered a one-week community project of daily Hunter Heartbeat workshops at the Bush Theatre, London during the Christmas holidays in January 2020. Similar to our Summer project, these workshops were attended by family members allowing for social inclusion in a public space to be continually developed through the project.
During the year we have made two performances of Pericles for autistic individuals and their families for the students of Queensmill to attend at the Bush Theatre, London.
Throughout the year PGCE students from Roehampton University have watched workshops by arrangement with Elise Robinson, project co-ordinator at Queensmill School.
Kelly Hunter MBE delivered a three-day training in September 2019 to the current UAL MA Drama students who have subsequently attended workshops at Queensmill School and Bush Theatre, actively taking part in the sessions.
Flute Theatre is now employing three former UAL MA Drama students as full-time members of the core team of actors. Therefore, we are fulfilling the project’s aims of providing employment for at least two students per year once they have graduated.
FLUTE DREAMS PROJECT STATISTICS |
||
Venue |
Expected Autistic Students / Families |
Actual Number |
Queensmill School |
115 |
187 |
Bush Theatre |
35 |
39 |
Total |
150 |
226 |
FLUTE DREAMS PROJECT STATISTICS |
||
Predicted Graduates Joining Company |
Prediction |
Actual Number |
|
2 |
3 |
Total |
2 |
3 |
We have exceeded the quantifiable number of autistic students attending the workshops from our prediction of 115 to 187
We have exceeded the quantifiable number of families with young autistic family members attending the Holiday workshops from our prediction of 35 to a real number of 39
We have exceeded the quantifiable number of MA UAL Drama graduates joining the company from 2 to 3.
“I found the entire experience sensational!
There are many things I have observed in this workshop that I would use in my teaching and take into consideration to improve my methods of inclusion. When children were given an activity, they would have plenty of time to experiment all together with the actors before being given the opportunity to interact one by one with the actors in the centre of the circle. They were then given the opportunity to repeat over and over in order to grasp and feel a sense of achievement. In my practice, I will value that some students require modelling and repetition in order to follow instruction, and that many will benefit from having more time to process what is being asked. Having done this, children should feel a greater sense of achievement as they have been able to undergo processes in their own time to work towards their own successes. I found it really enlightening and am thankful for the experience”.
PGCE Student , Roehampton University.
“As a teacher within a specialist provision for autism it is imperative to explore different ways in which we can support young children and adults on the autism spectrum. I have seen the amazing benefits creative arts and the flute theatre sessions have had on the children within Queensmill School and their respective family members. These sessions allow children and their families to explore in a safe space, often resulting in increases in communicative attempts, happiness and self-esteem. Both the staff and students await eagerly for the next sessions to start. Thank you to Flute Theatre Company and their amazing efforts to make a difference in these children’s lives”.
Teacher, Queensmill School.
Grants – Received
Unrestricted Grants Under £ 10,000.00 |
|
Name |
Amount |
Didymus Charity |
£ 3,000.00 |
John Thaw Foundation |
£ 2,000.00 |
Newcomen Collett Foundation |
£ 1,500.00 |
The Sherling Foundation |
£ 7,000.00 |
Chapman Charitable Trust |
£ 1,000.00 |
St Olave’s Charity |
£ 3,000.00 |
TOTAL |
£ 17,500.00 |
Restricted Grants |
|
Name |
Amount |
Backstage Trust |
£ 6,000.00 |
John Lyon’s Charity |
£ 30,000.00 |
TOTAL |
£ 36,000.00 |
Fundraising campaigns
Big Give Christmas Challenge 2019 |
|
Donor |
Amount |
Caro Newling CBE |
£ 900.00 |
Greg Parston |
£ 100.00 |
National Lottery Heritage Fund |
£ 2,500.00 |
Big Give Christmas Challenge |
£ 1,500.00 |
Online Donations |
£ 4,196.58 |
Total Raised |
£ 9,196.58 |
Flute Theatre took part in the Big Give Christmas Challenge 2019.
The campaign’s achievements were as follows:
We exceeded our target of £4000
National Lottery Heritage Fund sponsored our campaign.
Big Give awarded us “Best Small Charity 2019 with a donation of £1500 (included in the total).
WhatsOnStage Awards |
|
Donor |
Amount |
WhatsOnStage Awards Donations |
£ 2,700.00 |
General Public Donations |
£ 935.83 |
Total Raised |
£ 3,635.83 |
Flute Theatre were awarded WhatsOnStage Charity of the Year 2020.
The campaigns achievements were as follows:
A donation of £2700 recognising a percentage of ticket sales from Award ceremony on March 1 st 2020
Donations on the night of the ceremony raising £935.83
International Relations
Waseda University, Tokyo, Japan. August 2020
Flute Theatre were invited by Waseda University, Tokyo, Japan to run a week’s workshop for local actors to begin their understanding of the Hunter Heartbeat Method. Artistic Director Kelly Hunter MBE undertook the workshops as an expenses only trip. No fee was available. It was understood that there would be a return visit in 2020 to coincide with the Paralympics, however due to Covid-19 crisis, this has not been possible.
CHRIST (Deemed to be University) Bangaluru, India. February 2020
Flute Theatre were invited by CHRIST (Deemed to be University) Bangaluru, India to run a week’s seminars and workshops for students, staff and special schools to begin their understanding of the Hunter Heartbeat Method. Artistic Director Kelly Hunter MBE undertook the workshops as an expenses only trip. No fee was available.
Significant activities of public benefit
Flute Theatre’s continuing activities, workshops, projects and productions are of significant benefit to the public. Our work with and for marginalised communities of autistic audiences and their families continues to offer beneficial opportunities for artistic participation where there is no other provision available. Flute’s productions in major theatres directly benefit the public in the specific matter of social inclusion for the neurodiverse community. Our continuing collaboration with the scientific community at UCL and Goldsmiths University of London is contributing to the further knowledge of living with autism thereby benefitting this community and the wider public
The creation of Pericles for autistic individuals and their families , our third major production of a Shakespeare play for autistic audiences.
The creation of Deconstructing the Dream , a unique theatre piece combining science and art and including the world’s first brain imaging of an actor live on stage.
The tour of Pericles for autistic individuals and their families to Poland and Romania with our UK company of actors learning and performing in these two languages with autistic individuals; thereby pushing the boundaries of language and setting a new international framework for the company’s prospects.
The first year of our Flute Dreams project combining workshops on site at Queensmill School and community workshops at the Bush theatre, London for a total of 226 autistic individuals.
We have exceeded the quantifiable outcomes of graduate MA Acting
students from the Drama Centre MA Acting course working full-time as Flute
Theatre actors from 2 to 3. Therefore 50% of our current company is
now made up of graduate Drama Centre students. This employment is a
direct result of the Flute Dreams project
Plans for the future
In March 2020 Flute Theatre had a full programme of performances and workshops confirmed and scheduled:
King Lear
Craiova Shakespeare Festival, Craiova, Romania. April 2020
Cancelled on March 15 th 2020 resulting in a £35,000 loss of income
Pericles for autistic individuals and their families.
Escuela Especial Montserrat Montero, Granollers, Spain. June 2020
Orange Tree Theatre. June/July 2020
St Johns College, Brighton. July 2020
Teatrul Gong, Sibiu, Romania. November 2020
Bridge Theatre London November December 2020
Flute Dreams Project.
Summer Community Project, Bush Theatre August 2020
Queensmill school workshops April 2020 – March 2021
In response to Covid-19 we have adapted our work in following ways:
We have concentrated on keeping contact with the families we work with through our Flute Dreams project, offering artistic provision for them every day.
We have created an online resource for parents on our website, so they can play Hunter Heartbeat games at home.
We adapted our production of Pericles for autistic individuals and their families to be performed online for one autistic individual at a time. In June/July 2020 we delivered 90 performances via zoom.
Flute Dreams project is continuing with online workshops at Queensmill School and in the family’s homes.
It is the policy of the charity that sufficient unrestricted funds, are retained to cover day to day running costs, as each project is funded separately. The trustees consider that reserves at this level will ensure that, it will be able to continue running on a day to day basis whilst seeking individual project funding.
The trustees have assessed the major risks to which the charity is exposed, and are satisfied that systems are in place to mitigate exposure to the major risks.
An overview of grants greater than £ 10,000.00. March 2020 – August 2020
£30,000 John Lyons charity Granted us the second tranche of funding (restricted for the project) in order that we adapt our work and continue reaching the marginalised community
£20,000 Foyle Foundation granted us the funds for Pericles for autistic individuals and their families (restricted for the project ) in order that we adapt it to be experienced as an online performance. These funds were pledged by Foyle in January 2020 for our performances at Orange Tree Theatre.
£35,000 Arts Council England granted us Emergency funding in May 2020
£47,950 City Bridge Trust granted us Emergency funding in May 2020 as part of the London Community Response fund.
GRANTS GREATER THAN £10,000 MARCH 2020-AUGUST 2020
|
||
Name |
Restricted / Unrestricted |
Amount |
John Lyons Charity |
R |
£ 30,000.00 |
Foyle Foundation |
R |
£ 20,000.00 |
ACE |
U |
£ 35,000.00 |
City Bridge Trust |
U |
£ 47,950.00 |
Total |
R/U |
£ 132,950.00 |
The charity is a company limited by guarantee incorporated on 10 November 2014 and registered as a charity on 23 September 2015. The company was established under a Memorandum of Association which sets out the objects and powers of the charitable company and is governed under its Articles of Association.
The trustees, who are also the directors for the purpose of company law, and who served during the year and up to the date of signature of the financial statements were:
Trustees can be nominated by any member of the Board of Trustees to replace a trustee stepping down.
Appointment of newly nominated Trustees requires unanimous approval of all Trustees .
The new trustee is provided with details of trustees’ roles and responsibilities. Training as such is not provided as no one has felt it to be necessary. At meetings, there is always room for questions and explanations.
None of the trustees has any beneficial interest in the company. All of the trustees are members of the company and guarantee to contribute £1 in the event of a winding up.
The Trustees' r eport was approved by the Board of Trustees.
I report on the financial statements of the charity for the year ended 31 March 2020, which are set out on pages 10 to 18.
The charity’s trustees, who are also the directors of Flute Theatre for the purposes of company law, are responsible for the preparation of the financial statements. The trustees consider that an audit is not required for this year under section 144(2) of the Charities Act 2011 (the 2011 Act) and that an independent examination is needed.
Having satisfied myself that the charity is not subject to audit under company law and is eligible for independent examination, it is my responsibility to:
examine the financial statements under section 145 of the 2011 Act;
In connection with my examination, no matter has come to my attention:
to keep accounting records in accordance with section 386 of the Companies Act 2006; and
to prepare financial statements which accord with the accounting records, comply with the accounting requirements of section 396 of the Companies Act 2006 and with the methods and principles of the Statement of Recommended Practice: Accounting and Reporting by Charities;
Donations and grants
The statement of financial activities includes all gains and losses recognised in the year.
All income and expenditure derive from continuing activities.
Flute Theatre is a private company limited by guarantee incorporated in England and Wales. The registered office is 57 Queen Anne Street, London, W1G 9JR.
The accounts have been prepared in accordance with the charity's Articles of Association, the Companies Act 2006 and “Accounting and Reporting by Charities: 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 (FRS 102)” (as amended for accounting periods commencing from 1 January 2016). The charity is a Public Benefit Entity as defined by FRS 102.
The charity has taken advantage of the provisions in the SORP for charities applying FRS 102 Update Bulletin 1 not to prepare a Statement of Cash Flows.
The financial statements are prepared in sterling , which is the functional currency of the charity. Monetary a mounts in these financial statements are rounded to the nearest £.
The financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.
At the time of approving the financial statements, the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements.
Unrestricted funds are available for use at the discretion of the trustees in furtherance of the charity's objectives unless the funds have been designated for other purposes.
Costs are accounted for when they are incurred, with irrecoverable VAT being charged as a cost against the relevant activity.
Tangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net of depreciation and any impairment losses.
Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:
The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in net income/(expenditure) for the year.
At each reporting end date, the charity reviews the carrying amounts of its tangible assets to determine whether there is any indication that those assets have suffered an impairment loss. If any such indication exists, the recoverable amount of the asset is estimated in order to determine the extent of the impairment loss (if any ) .
Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.
Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.
Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future p aymen ts discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.
Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.
Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.
In the application of the charity’s accounting policies, the trustees are required to make judgements, estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparent from other sources. The estimates and associated assumptions are based on historical experience and other factors that are considered to be relevant. Actual results may differ from these estimates.
The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accounting estimates are recognised in the period in which the estimate is revised where the revision affects only that period, or in the period of the revision and future periods where the revision affects both current and future periods.
Donations and grants
Grants income
Theatrical Income - Productions that benefit the general public
Theatrical Income - Productions that benefit those on the autism spectrum
Direct fundraising costs
Production expenses
General support
Governance
Production expenses
General support
Governance
Actors and producers fees
Advertising
Insurance
Sundries
Accountancy
Props and costumes
Room hire
Travel and subsistence
Bank fees
Designer fees
Postage and stationery
IT expenses
None of the other trustees (or any persons connected with them) received any remuneration or benefits from the charity during the year.
Kelly Hunter MBE was paid fees of £32,820 (2019: £25,736) in her capacity as Artistic Director, workshop leader and for administration of the charity.
The income deferred in 2020 & 2019 represents a grant received from John Lyon's Charity for funding of the Flute Dreams project commencing in the next financial year.
Unrestricted
Unrestricted