polyglot theatre 2012 annual report

1 ANNUAL REPORT 2012

vision, mission, values

vision

Polyglot’s vision is of a future where children are

empowered artistically, socially and culturally.

mission

Placing kids at the heart of our art, Polyglot creates

interactive experiences which ignite imaginations

everywhere from tiny Australian country towns to the

world’s leading centres for the arts.

values• aCCessiBiliTY to our audiences in price, place

and process.

• CollaBoRaTion with children and peers in our

creative processes, encouraging partnerships.

• DiveRsiTY of audiences and participants, activity

and income.

• eXCellenCe in process, production, performance

and operations.

• BRaveRY in our work to enable new discoveries.

• PlaYFulness in artistic discovery and in

operations, having as much fun as possible in the

process.

• ResouRCeFulness in order to make seemingly

impossible things happen.

• ResPeCT for our artists, audiences, colleagues,

and for the insights of children.

• susTainaBiliTY of operations, of artistic work and

of the planet.

2012 staff list simon abrahams Executive Producer / co-CEO (to March)

Tamara Harrison Executive Producer / co-CEO (from July)

sue Giles Artistic Director / co-CEO

adi Diner Associate Producer / General Manager (from August)

imbi neeme Administrator

scott Dunsdon Marketing & Communications Coordinator (to August)

Catherine French

Marketing & Communications Coordinator

(from September)

Julie Wright Operations Coordinator

Cathy Kirwan

Philanthropy Manager (to December)

Fleur Brett Bookkeeper (contract)

Ts Publicity Publicists (contract)

2012 Board of Directors

Julia White Chair (from June)

angela o’Brien General Secretary

Johanna Platt Treasurer

Dr. Patricia edgar am Tom Gutteridge David Hanrahan Rhiannon Keen Richard Roberts Jamie Dawson

ANNUAL REPORT 2012 2

Polyglot Theatre is an internationally renowned

creator of interactive experiences for children and

families, inspiring kids to turn the simplest things into

extraordinary creations. At Polyglot, theatre is child’s

play.

Polyglot’s artists are inspired by the artwork, play

and ideas of children and our works feature active

participation from audience members through

touch, play and encounter. Our artistic works

respond to the childhood need for experiences

that encourage free artistic expression and an

imaginative interpretation of the world. We seek to

challenge, to foster curiosity and to inspire.

For over 30 years, Polyglot has been recognised as

one of Australia’s leading children’s arts companies.

We make new theatre work, present performances,

run workshops and community projects in Melbourne

and around Australia. In recent years, the company

has been in demand internationally, performing in

five languages in ten countries on four continents.

We have played at some of the world’s most

prestigious arts centres – from the Sydney Opera

House, to London’s Royal National Theatre, to

Washington’s Kennedy Center, to the National

Theatres of Korea and China.

Feed The art

Feed The Art is Polyglot’s

model for appraising,

critiquing and valuing our work,

creating and fostering a holistic

culture of outstanding theatre making.

Feed The Art includes the following five steps:

• CHilDRen’s inPuT engaged throughout the

creative process

• ConneCTion WiTH PeeRs through conversation,

seeing work, and artistic exchange.

• CaTalYsT aRTisTs, who contribute new ideas

to provide provocation and push the artform

development throughout the creation process

• CRiTiCism through invited external responses

from experts who look at our work with a

specialised lens

• ConTinual imPRovemenT is sought through

ongoing skills development and a commitment

to excellence, so we never stop learning.

Feed The Art is a major component of Polyglot’s

Artistic Vibrancy model, designed to assess the

quality, relevance and success of our artistic

program.

aBouT PolYGloT


2012 was a year of internal evolution and change

for Polyglot. An increase in touring, the creation and

world premiere of two new works, and the successful

delivery of two community projects and a major

school residency, resulted in one of the busiest years

we’ve had. At the end of the year we had played to

over 90,000 people in 6 different countries.

We were sad to say farewell to Simon Abrahams

after four and a half years at the helm with

Sue Giles. With their leadership, Polyglot

traversed uncharted territory which helped reshape

the direction of the company.

Tamara Harrison was appointed to the company

as Executive Producer, bringing a wealth of

experience and energy with her from her position

at Malthouse Theatre. Tamara joined Sue Giles as

co-CEO, continuing the successful management

model implemented several years ago. We also

welcomed Catherine French as our new Marketing

& Communications Coordinator, Emma Dodd as

Production Manager, and Adi Diner took on the

newly created position of General Manager.

New energy was brought to the Board with Dr.

Patricia Edgar AM, Jamie Dawson and Rhiannon

Keen joining our dedicated team. Their different

areas of expertise have bought further support

to the small Polyglot team, and we thank all the

Board for their guidance and advocacy in this

busy year. Moving into 2013 we bid farewell to two

longstanding Board members, David Hanrahan and

Richard Roberts. Both brought a wealth of skills and

experience to the table and provided invaluable

advice and leadership over their board terms.

The steady investment from our long term partners

of Arts Victoria, City of Melbourne and City of

Stonnington has provided a consistent base to

our core operations. In 2012 we were fortunate

to receive the support of a number of trusts and

foundations which had a huge impact on our ability

to deliver two well received community projects -

Expecting Something? engaged new young and

expecting mothers with their local communities in

Gippsland; Tangle MOTION won a VicHealth Award

for its activation of communities through creativity.

Both Australia Council and Arts Victoria were

crucial in assisting the company’s international tours

including a showcase performance of Tangle at the

prestigious Lincoln Center in New York.

We also thank our donors and Ambassador program

supporters who made a difference to our creation

of new work. With How High The Sky Polyglot made

its very first work for younger children – babies under

1 year old – and their carers. It premiered to great

success at the Melbourne International Arts Festival.

We thank especially the continued support of Miss

Betty Amsden OAM, Patron of our Ambassadors’

Circle, as well as Daniel and Danielle Besen for their

involvement in this project.

The end of the year saw the company invest back

into reserves with the added security of confirming

Emerging Key Organisational support from the

Australia Council for the next triennium.

On behalf of the Polyglot Board, I thank all of our

partners and the tirelessly devoted Polyglot Team

for propelling the company forward and the

unswerving, ever enthusiastic and artful direction of

our Artistic Director Sue Giles.

Julia White

Chair

CHaiR’s RePoRT


Ceo’s RePoRT

The creative force that is Polyglot, never ONCE

flagged during 2012!

Despite executive changeover and increased

activity across the whole organisation, our staff and

artists continued to deliver and create fun, inspiring,

ambitious and unique performances and workshops

to our every growing audience of kids and families

around the world.

Special mention in 2012 goes to the team of

dedicated artists who have stepped up to

operate independently, working to the company’s

philosophy in Australia and overseas, bringing skill,

professionalism and a joyful spirit of adventure to our

many public events.

Tangle started the year at Sydney Festival and then

played Art Centre Melbourne, APAM in Adelaide,

Morwell, Darwin, Lincoln Center in New York,

Shepparton and Melbourne Museum – a glorious

mix of local, national and international presentations

that has become the hallmark of our Play Space

projects. On top of that we developed a fascinating

model of community process around the touring

works, with the VicHealth supported Tangle MOTION

project taking us to regional areas.

We Built This City was discovered by new audiences

in New Zealand, USA, Brisbane, Korea and Hobart,

continuing the breadth of reach of this now 11 year

old project. Paper Planet transformed the public

spaces at Casula Powerhouse in Sydney and the

Smorgon Family Plaza at Arts Centre Melbourne.

Sticky Maze attracted over 20,000 people at the Out

Of The Box Festival in Brisbane. It then went to the

desert in Newman WA before finishing a fabulous

year in Taipei at the National Theatre of Taiwan.

Our new play space project Ants wowed them at

Federation Square in July and together with outer

west school children we created 24 tent worlds en

masse at Campbelltown Arts Centre with a new

project My Tiny World.

After a three year development process we

presented the world premiere of How High The Sky,

our unique performance for babies under 12 months

old, in a triumphant season at Arts Centre Melbourne

as part of the Melbourne International Arts Festival.

It was also the year that Expecting Something? -

our artistic process with young pregnant women

in Gippsland – found new ways to reach out and

engage those who are isolated in the community.

In 2012, a classic hit was revived as Muckheap

was re-invented as an Auslan/English production

and through philanthropic support, toured regional

schools for free.

We also created a beautiful walk-through installation

with school children from our extended school

residency at Mahogany Rise Primary School in

Frankston North called Knock, Knock! Who’s There?

We roved with our puppets, we ran workshops with

schools and commissioned independent evaluation

reports on elements of our program and we also

won a VicHealth Building Health Through Arts Award

for the Tangle MOTION project. How High The Sky

received a special mention as one of two shortlisted


companies at the Age Critics’ Awards. Media

coverage was excellent, industry word on the street

even better.

The company goes from strength to strength and with

good humour, bundles of creativity and extraordinary

passion and commitment at its centre. We thank

all our government and philanthropic partners, our

Ambassador Program donors led by the one and

only Miss Betty Amsden OAM, and all the partnerships

that enable us to have such impact with our work,

and to dream as big as we do!

To our extremely hard working staff and artists, our

admiration and gratitude continues – you are also

the heart of our art!

Tamara Harrison Executive Producer/ co-CEO

Ceo’s RePoRT

Sue Giles Artistic Director/ co-CEO


• Polyglot gave 362 performances of seven

extant works and two new works, facilitated two

community engagement residencies, undertook

three creative developments and led 177

workshops, reaching over 90,000 people in six

different countries

• Our first work for babies How High the Sky

premiered at Melbourne International Arts

Festival to critical acclaim and a sold out season

• We Built This City celebrated 11 years touring

around the world including Melbourne’s Arts

Centre, Federation Square, The Royal National

Theatre, the Kennedy Centre Washington, and

performances across England, Ireland, Scotland,

Singapore, Korea, North America and Australia

• Muckheap has toured continuously for ten

years in three languages (English, Auslan and

Mandarin-Chinese), with an estimated 90,000

children having seen the work to date – in 2013 it

embarks on a national Australian tour

• Tangle MOTION, a partnership between Polyglot,

VicHealth, Kinship Care and Berry Street

Playgroups received the VicHealth Motion

Award for Building Health Through the Arts

• Tangle premiered at the prestigious Lincoln

Center in New York

• Polyglot partnered with Lord Mayor’s Charitable

Fund, Helen Macpherson Smith Trust, the Ian

Potter Foundation and Australia Council for

the Arts to deliver a long-term community

engagement program for young mothers and

their babies in Gippsland, Expecting Something?

YeaR in RevieW 2012


anTsAnts brings human-sized ants into a public site

for a mix of roving performance and large scale

interaction with children and their adults.

Giant crumbs are scattered all over the ground in

public spaces. The Ants are there to collect their

winter food and make order out of the random

scattering of crumbs. Children gradually follow

the Ants in their endeavor, bringing them crumbs

and laying them in patterns that stretch across the

landscape like mystical messages, interrupting the

desire lines that adults construct around them of

paths and points from A to B.

Soon the entire area is a hive of industrious activity

as the children learn to interact with these gentle

creatures, following the ants’ lead as they in turn are

inspired by the children’s ideas. Breadcrumbs are

stacked and ordered, organised and re-ordered in a

never ending cycle of playful work.

KeY aCTiviTies

Creative DevelopmentDevelopment dates: 14 May & 15 May

number of workshops: 2

Total Participants: 84

Creative Collaborators: Stonnington Primary School, Windsor

Currajong Primary School, Malvern East

Key artists: Christian Bagin, Nick Barlow, Vanessa

Ellis, Katrina Gaskell, Sue Giles, Dan Goronszy, Steph

O’Hara, Emily Tomlins

PerformancesPerformance dates: 2 July – 8 July

number of performances: 39

Total audience: 5850

venue: Federation Square, Melbourne

Key artists: Christian Bagin, Nick Barlow, Dan

Goronszy, Emily Tomlins

FunDinG suPPoRTCommissioned by Federation Square

“ants is a play

space with a

difference.”

– Herald Sun 2012

neW WoRK DeveloPmenT anD PResenTaTion


How High the Sky is an immersive theatrical experience for pre-walking babies and their parents and carers.

The performance is a dual experience for adult and child that takes the audience into a sense-surround experience of lightness and dream-like images, gradually peeling away the logic of narrative to allow adults to absorb images with as open a mind as a baby.

It explores the questions - is it possible for adults to perceive the world as babies do? How often do we get an opportunity to really value and even be influenced by a baby’s unadulterated wonder?

HoW HiGH THe sKY

“it was the kind of

wonder that you so

rarely see in a theatre

but it’s what you want

from an experience

of art. a beautiful,

beautiful joyous

experience”

- John Bailey

KeY aCTiviTies

showcaseDevelopment dates: 20 January


Total audience: 50

venue: State Rehearsal Room, Arts Centre, Melbourne

Key artists: Nick Barlow, David Franzke, Sue Giles,

Andrew Livingston, Emily O’Brien, Anna Tregloan,

Emily Tomlins, Gerard Van Dyck, Jessica Wilson

PerformancesPerformance dates: 19 October - 28 October


Total audience: 619

venue: Arts Centre Melbourne as part of Melbourne

International Arts Festival

Key artists: Penny Baron, Marco Cher-Gibard, David

Franzke, Michelle Heaven, Sue Giles, Rita Khayat,

Andrew Livingston, Emily O’Brien, Anna Tregloan,

Emily Tomlins, Gerard Van Dyck, David Wells, Jessica

Wilson

FunDinG suPPoRTAustralia Council for the Arts

(Theatre Board and Music Board)

Helen Macpherson Smith Trust

Arts Centre Melbourne

Miss Betty Amsden OAM

Daniel and Danielle Besen


mY TinY WoRlD

My Tiny World saw Polyglot artists working with local

school children from six schools in Sydney’s west

at Campbelltown Arts Centre to create a process

culminating in a festival installation of 24 small

painted dome tents.

Children were asked to dream up different interior

worlds within each tent, under the artwork title My Tiny World. The tents explore the idea of a temporary

home and a world where the boundary between

what is permanent and what will disappear the next

day are blurred.

Working with 110 school children, four artists, a

sculpture garden and 24 small dome tents in one

week, we created a camping site of tiny individual

worlds inside brilliantly painted skins. On the festival

weekend for Fisher’s Ghost Kids Polyglot were also

part of the street parade and took over the sculpture

garden with My Tiny World tents.

KeY aCTiviTies

WorkshopsDates: 30 October – 1 November


number of participants: 110

venue: Campbelltown Arts Centre

Key artists: Sue Giles, Dan Goronszy, Steph O’Hara,

Stefanie Robinson

Public outcomes Public outcome dates: 3 November – 4 November


Total audience: 7,200

venue: Campbelltown Arts Centre

Key artists: Sue Giles, Dan Goronszy, Steph O’Hara,

Stefanie Robinson FunDinG suPPoRTCommissioned by Campbelltown Arts Centre


sePaRaTion sTReeT

Separation Street is a large-scale experiential theatre

work exploring the blurred line between dreaming/

reality and truth/fabrication. It works with perspective

and information, acknowledging that our

understanding of the world is affected by everything

we hear and by the people whose authority we

accept. Participants undertake one of two distinct

journeys, with adults following one path and children

another.

This new experiential theatre work, a collaboration

between Polyglot Theatre and The Suitcase Royale,

is also in creative development throughout 2013-14

and will premiere in 2015.

KeY aCTiviTies

Creative Development:

Development Dates: 18 July, 13 - 14 November

venue: Cromwell Road Theatre

Key artists: Marg Horwell, Sue Giles, Joseph O’Farrell,

Miles O’Neil, Glen Walton


“i have never felt string

that was so elasticy in

my whole life. i have

learnt that just some

simple balls of string

can be soooo cool.”

– Eve, 10

TanGleTouRinG RePeRToiRe

Tangle is a large scale, interactive elastic weaving

event created live by children and their families. It’s

part live visual art installation, part performance,

part playground and all fun. On giant peg board

platforms, where slim golden poles tower above,

children and families create a multi-coloured

landscape together, threading elastic around the

poles and each other until the space becomes

dense and difficult to traverse, creating a stretchy

bouncy playground, fuelled by live music. Tangle is a wonderful world where children take control and

everyone creates a spectacular abstract artwork.

PeRFoRmanCe DeTails

sydney Festival Performance dates: 7 January



venue: Hyde Park, Sydney

Key artists: Christian Bagin, Nick Barlow, Sue Giles,

Felicity Horsley, Justin Marshall, Julie Wright (PM)

arts Centre melbournePerformance dates: 18 – 22 January



venue: Forecourt, Arts Centre Melbourne

Key artists: Christian Bagin, Nick Barlow, Sabrina

D’Angelo, Felicity Horsley, Sarah Kriegler, Lachlan

Macleod, Justin Marshall, Emily O’Brien, Jess Smithett,

Glen Walton, Justine Warner

australian Performing arts market (aPam)Performance dates: 28 February


Total audience: 205

venue: Adelaide Festival Centre, Adelaide

Key artists: Christian Bagin, Emma Dodd, Lachlan

Macleod, Justin Marshall, Astrid Pill, Tamara Rewse,

singapore international arts Festival

Performance dates: 18 May – 2 June



venue: Rainbow Canopy, Festival Village, Singapore

Key artists: Sabrina D’Angelo, Sue Giles, Lachlan

Macleod, Justin Marshall, Emily O’Brien, Justine

lincoln Center for the performing artsPerformance dates: 26 – 29 July



venue: Josie Robertson Plaza, Lincoln Center, New

York

Key artists: Christian Bagin, Emma Dodd, Lachlan

Macleod, Bree-Anna Obst, Ania Reynolds, Laura

Sheedy.

Darwin FestivalPerformance dates: 12 August – 17 August



venue: Festival Park, Darwin

Key artists: Sabrina D’Angelo, Emma Dodd, Felicity

Horsley, Lachlan Macleod, Benjamin Morrison, Kyle

Warren

FunDinG suPPoRTArts Victoria International Program (Export & Touring)

Australia Council for the Arts (Going Global)


PaPeR PlaneT

Paper Planet is a constantly evolving artistic

work created live by Polyglot Theatre artists,

children and their families using the simplest

of materials: paper and cardboard. Moving

beyond audience participation, Paper Planet is experiential, tangible and wholly immersive; a

world filled with tall, strange cardboard trees, paper

leaves, boulders, ponds and other mysterious shapes

that inhabit this imaginary world. Visitors populate

the space with their own creations and rustling

paper selves, making fantastical costumes, flora

and fauna out of paper, tape and their own nimble

fingers.

PeRFoRmanCe DeTails

Way out West FestivalPerformance dates: 11 July – 14 July



venue: Casula Powerhouse, Sydney

Key artists: Nick Barlow, Anneli Dyall, Dan Goronszy,

Madeleine Flynn, Tim Humphrey, Winter Humphrey,

Mischa Long, Stefanie Robinson

arts Centre melbourne Performance dates: 26 September – 30 September



venue: Smorgon Family Plaza, Arts Centre Melbourne

Key artists: Penelope Bartlau, Anneli Dyall, Madeleine

Flynn, Tim Humphrey, Rita Khayat, Stef Robinson, Glen

Walton

FunDinG suPPoRTOriginally commissioned by Federation Square


PeRFoRmanCe DeTails

The edgePerformance dates: 18 April – 21 April



venue: The Edge, Auckland

Key artists: Danielle Goronszy, Felicity Horsley, Mischa

Long, Lachlan Macleod, Tam Pay

usa TourPerformance dates: 1 October – 7 October



venues: Scottsdale Center, Arizona

Walton Arts Center, Arkansas

Discovery Green, Texas

Key artists: Emma Dodd, Mischa Long, Glen Walton,

Bree-Anna Obst, Stefanie Robinson

Busan Cinema ComplexPerformance dates: 26 May – 31 May



venue: Busan Cinema Complex, Busan

Key artists: Christian Bagin, Emma Dodd, Dan

Goronszy, Paul Matthews, David Pidd, Zoe Williams

We BuilT THis CiTY

We Built This City is an interactive play space for

families which celebrates absolute simplicity and

the power of children’s imaginations. A giant public

construction site, We Built This City uses thousands

and thousands of cardboard boxes and the

energy and ingenuity of kids and families to build a

magnificent imagined city in one day.

Buildings go up, others are pulled down, redesigned,

extended, walked through and reconstructed. The

participants make tunnels, archways, towers and

labyrinths. At the end of the event, we ritualistically

build a final cityscape, using every box in the space,

and then everyone joins in trampling the city down

into a gloriously chaotic heap of cardboard rubble.


out of the Box FestivalPerformance dates: 13 June – 17 June



venue: Cultural Forecourt, Southbank, Brisbane

Key artists: Christian Bagin, Penelope Bartlau, Emma

Dodd, Danielle Goronszy, Rolando de Leon DJ, David

Pidd

south Korea TourPerformance dates: 1 October – 7 October



venues: Garden 5 Festival, Garden 5 Square, Seoul

Hi-Seoul Festival, Seoul Plaza, Seoul

Key artists: Emma Dodd, Mischa Long, Lachlan

Macleod, Bree-Anna Obst, Zoe Williams

Hobart Theatre Royal Birthday CelebrationsPerformance dates: 10 & 11 November



venues: Theatre Royal, Hobart

Key artists: Penny Bartlau, Emma Dodd, Dan

Goronszy, David Pidd, Glen Walton

FunDinG suPPoRTArts Victoria International Program (Export & Touring)

Australia Council for the Arts (Going Global)

“i got to

build a big

tunnel.”

- Ella, 6


PeRFoRmanCe DeTails

out of the Box FestivalPerformance dates: 12 June – 17 June



venue: Cultural Forecourt, Southbank, Brisbane

Key artists: Tirese Ballard, Bronwyn Batten, Sam

Bennellick-Jones, Mischa Long, Justin Marshall,

Lachlan Macleod, Amie Moffat, Robbie O’Brien

outback Fusion Festival

Performance dates: 8 September


Total audience: 790

venue: Newman Senior High School Oval, Newman

Key artists: Tirese Ballard, Bronwyn Batten, Emma

Dodd, Lachlan Macleod, Stefanie Robinson, Glen

Walton

national Chiang Kai-shek Cultural CenterPerformance dates: 27 October


Total audience: 600

venue: Main Plaza, National Chiang Kai-Shek Cultural

Center, Taipei

Key artists: Tirese Ballard, Bronwyn Batten, Emma

Dodd, Mischa Long, Justin Marshall, David Pidd

sTiCKY maZe“polyglot is the

best. i went in

a sticky maze!”

- Liza, 9

Sticky Maze is an interactive play space for kids of

all ages where simple and everyday materials are

used to transform public spaces into a labyrinth of

fun. Kids and adults enter a see-through maze made

out of straight upright poles and walls of clear sticky

tape which mark out the twists and turns of a maze

structure. From this see-through, shimmery beginning,

the participants are invited to ‘colour in’ the walls

by sticking newspaper onto the tape. Gradually

the walls become filled in, creating the ultimate

bewildering maze. There are drawing stations outside

the maze, providing materials to draw pictures,

write messages and directions that are also stuck to

the maze walls. The task is huge and gradually the

children explore further and further the potential of

the maze, creating games and tasks for themselves

and their friends: hiding, chasing and tricking others.


muCKHeaP auslan

PeRFoRmanCe DeTails

victorian metropolitan & Regional schools TourPerformance dates: 10 March – 24 March



venues: Bendigo Deaf Facility at Kennington

Primary School, Kennington

Currajong Primary School, Malvern East

Cromwell Road Theatre, South Yarra

Furlong Park School for Deaf Children, Sunshine

Gaslight Festival, Maldon

Horsham Primary School, Horsham

Victorian College for the Deaf, Melbourne

Wilmot Primary School, Craigieburn

FunDinG suPPoRTAustralian Communities Foundation

Besen Family Foundation

Ivor Ronald Evans Foundation

Jack Brockhoff Foundation

“perfectly

bilingual,

gorgeously

visual, funny

and engaging”

– Anna Vost,

participant

Muckheap Auslan is a re-invention of an enduring

Polyglot classic, Muckheap, first created in 2001. This

production took the original touring script and with

the help and consultation of children from Furlong

Park School for Deaf Children, changed it into a

Deaf/hearing compatible work that toured for free

to Victorian schools.

Muckheap is a fun and fantastically messy tale of

two people who have to move out of their house

and must throw away the accumulated junk of

years to do so. As a way of coping they find stories

embedded in their clean out, including a re-telling

of Jack and the Beanstalk, with a twist that mirrors

their own situation. The play uses physical action,

comedy, puppetry, signing and vocal delivery,

all beautifully combined to make a third, new

language.


PeRFoRmanCe DeTails

national Chiang Kai-shek Cultural Centerinternational venue: Main Plaza, National Chiang

Kai-Shek Cultural Center, Taipei



Key artists: Christian Bagin, Emma Dodd, Bruce

Paterson, Justine Warner

RovinG aCTs

Polyglot’s Roving Acts continue to be popular

activities for audiences and our artists. These

beautifully realised puppets activate large public

spaces and provide interactive engagement with

audiences.

national Performancesaustralian venues: Arts Centre Melbourne, Melbourne

Piers Festival, Port Melbourne

University of Melbourne, Parkville

Lord Mayor’s Charitable Foundation ‘Youth in

Philanthropy Day’, Melbourne Town Hall, Melbourne

Picnic in the Gardens Festival, Albury

Manningham Multicultural Festival, Doncaster



Key artists: Nick Barlow, Penelope Bartlau, Danielle

Goronszy, Mischa Long, Lachlan MacLeod, Stefanie

Robinson


Polyglot’s workshops continue to foster important

relationships with schools and other artists. Our

junk workshops remained very popular and we had

the opportunity to tailor some of our processes to

particular requests from schools and organisations.

In 2012 our workshops included: Junk Puppetry, Rod

Puppetry, Shadow Puppetry, Classroom Blitz.

naTional anD inTeRnaTional WoRKsHoPsvenues:Arts Centre Melbourne, Melbourne

Buxton Primary School, Buxton

Camp Blitz, Angelsea

Carnegie Library and Community Centre, Carnegie

Catholic Regional College, Keilor North

Croydon Leisure & Aquatic Centre, Croydon

Drama Victoria Workshop, James Forbes Academy,

Hawthorn

Greensborough Library, Greensborough

Haileybury College at Cromwell Rd Theatre, South

Yarra

Ivanhoe Library, Ivanhoe

Manchester Primary School, Mooroolbark

Mill Park Library, Mill Park

Methodist Ladies College Junior Campus, Kew

Penbank School, Moorooduc

Berry Street Offices, Morwell

Regional Arts Expo, Melbourne Exhibition Centre,

Southbank

Roola Boola Festival, Chapel-off-Chapel, Prahran

St Augustine’s Catholic Primary School, Keilor

St Christopher’s Primary School, Airport West

A Children’s Christmas & Carols in the Park, Ardrie

Park, Malvern East

Studio, National Theatre, Taipei

Wantirna Primary School, Wantirna

muCKHeaP auslan WoRKsHoPs

While touring Muckheap Auslan, the performers ran

creative workshops wherever this offer was taken up

by the schools.

muckheap auslan Workshopsvenues: Furlong Park School for Deaf Children, Sunshine

Gaslight Festival, Maldon

Horsham Primary School, Horsham

Victorian College for the Deaf, Melbourne

Wilmot Primary School, Craigieburn



Workshop artists: Jodee Mundy, David Pidd

FunDinG suPPoRT Australian Communities Foundation

Besen Family Foundation

Ivor Ronald Evans Foundation

Jack Brockhoff Foundation

WoRKsHoPs

Number of workshops: 70

Total Participants: 4,136

Workshop Artists: Nick Barlow, Penelope Bartlau, Dan

Goronszy, Mischa Long, Jodee Mundy, David Pidd,

Stefanie Robinson, Emily Tomlins, Justine Warner


eXPeCTinG someTHinG?

“i think from

being in the project

it’s made me more

confident in myself

and proud of myself

as a young mum,”

– Deanna Fear,

participant

KiDs in ConTRol

Expecting Something? is a project mobilising young

mothers to strengthen vital relationships with their

babies, family and community through creative play

and performance. Polyglot Theatre, in partnership

with Latrobe City Council, facilitated the project in

regional townships of the Latrobe Valley.

The project aimed to engage isolated or

disengaged young pregnant women and mothers

who accessed support programs through Berry

Street, Latrobe Community Health Service, Good

Beginnings, Anglicare, Central Gippsland Aboriginal

Health Services, Queen Elizabeth Centre, Quantum

Support Services, Head Space and Latrobe City

Council Enhanced Maternal Child Health Service.

These programs target children and families who had

significant support needs due to a range of factors

including mental illness, poverty and isolation from

family supports.

Expecting Something? included weekly workshops

involving the participants in art and creativity, that

produced a space where young mothers could

explore, make new connections, and develop their

parenting skills. This culminated in a Christmas party

and tactile interactive baby space created by the

participants and Polyglot.

This program is formally known as the Play Box Project.

KeY aCTiviTies

WorkshopsWorkshop dates: 21 June – 29 November


average participants per workshop: 7venues: St Luke’s Church Hall, Morwell

Traralgon East Community Centre, Traralgon

Key artists: Lis Blake, Madeleine Flynn, Shaun

Gardiner, Tim Humphrey, Meg Viney, Claire van der

Velden, Jessica Wilson.

Public outcomeevent date: 6 December


venue: Traralgon East Community Centre, Traralgon

Key artists: Lis Blake, Madeleine Flynn, Shaun

Gardiner, Tim Humphrey, Bree-Anna Obst, Claire van

der Velden, Jessica Wilson.

FunDinG suPPoRTAustralia Council for the Arts

(Projects with Public Outcomes)

Helen Macpherson Smith Trust

Ian Potter Foundation

Lord Mayor’s Charitable Foundation


TanGle moTion WinneR 2012 viCToRian HealTH PRomoTion FounDaTion aWaRDs – BuilDinG HealTH THRouGH THe aRTs

Tangle MOTION was a collaborative partnership

project between Polyglot Theatre, Berry Street, the

La Trobe Regional Gallery, Melbourne Museum, and

Shepparton Art Museum (SPP Kidstown). The project

included three multi arts based workshop programs

with early learning service providers, and preschool

aged children and their families who are part of Berry

Street’s supported playgroups. Three large-scale

public events were also presented based on the

Polyglot Tangle installation.

This project was a fascinating new direction for

the company, creating and producing tailored

explorative play sessions with playgroups across a

wide demographic and geographical area, working

with at risk families and non-arts goers, involving

these groups in specialised activities and then

hosting them for private sessions within the Tangle

event.

It was a discovery that connected our touring work

to a deeper process, up-skilled our artists and made

the touring relationship more attuned to cultural

exchange than to simply rolling out a show. Using

the materials of the work, the stretchy elastic and

the physical play, our artists explored the relationship

between parent and child, and sometimes between

grandparent and child, and how they played

together. The project took our team to at risk families

in Morwell, to the Sudanese community in Carlton

and to kinship care in Shepparton.

KeY aCTiviTies

moRWell

Professional Development WorkshopWorkshop date: 16 February

number of workshops: 1 number of Participants: 20 venues: Berry Street Offices, Morwell Key artists: Tamara Rewse, Justine Warner

Community Workshops Workshop dates: 6 March – 10 April

number of workshops: 5 average Participants per workshop: 22 venue: Noah’s Ark Children Research Centre, Morwell

Key artists: Tamara Rewse, Justine Warner

Public outcome Performance dates: 14 April & 15 April

number of performances: 5 Total audience: 538

venue: Latrobe Regional Gallery, Morwell

Key artists: Nick Barlow, Sabrina D’Angelo, Tamara

Rewse, Justine Warner, Julie Wright


“this is an

opportunity you

rarely get to do

since you can’t

do it at home or

anywhere else.”

- Bethany, 13

CaRlTon

Community Workshops Workshop dates: 11 September – 23 October number of workshops: 5

average Participants per workshop: 25 venue: Sacred Heart, Carlton Key artists: Tamara Rewse, Justine Warner

Public outcome Public outcome date: 24 October

number of performances: 3 Total audience: 900 venue: Romp & Stomp Festival, Melbourne Museum

Key artists: Sabrina D’Angelo, Dan Goronszy, Lachlan

Macleod, Jodee Mundy, Steph O’Hara, Julie Wright

sHePPaRTon

Professional Development WorkshopWorkshop date: 30 October


number of Participants: 12

venues: sound Shell Queens Gardens, Shepparton

Key artist: Jodee Mundy

Community Workshops Workshop dates: 31 October – 21 November

number of workshops: 4 average Participants per workshop: 8 venue: Church Hall, Pine Road, Shepparton

Key artists: Jodee Mundy, Justine Warner

Public outcome Public outcome date: 24 & 25 November

number of performances: 5 Total audience: 399 venue: SPC Ardmona Kidstown, Shepparton Key artists: Emma Dodd, Lachlan Macleod, Justin

Marshall, Jodee Mundy, Bree-Anna Obst, Justine

Warner

FunDinG suPPoRTArts Victoria (Community Partnerships)

Berry Street

Lord Mayor’s Charitable Foundation

R.E. Ross Trust

VicHealth

TanGle moTion


KeY aCTiviTies

Workshops Workshop dates: 28 March – 16 August


average participants per workshop: 25

venue: Mahogany Rise Primary School, Frankston

Key artists: Nick Barlow, Lis Blake, Kate Kantor, Carla

Ori, Zak Pidd, Jacob Williams

opening night Performance Performance date: 31 August


Total audience: 250

venue: Mahogany Rise Primary School, Frankston

Key artists: Nick Barlow, Lis Blake, Kate Kantor, Carla

Ori, Zak Pidd, Jacob Williams

exhibition exhibition dates: 3 September – 7 September

Mahogany Rise Primary School

10 September – 23 September

The Cube, Frankston Arts Centre

number of exhibition days: 19


FunDinG suPPoRTArts Victoria (Extended School Residencies)

Department of Education and Early Childhood

Development (Strategic Partnerships Program)

KnoCK, KnoCK! WHo’s THeRe?Knock, Knock! Who’s There? saw Polyglot Theatre

working closely with students from Mahogany

Rise Primary School to develop an interactive

multi-artform installation focusing on the theme of

transition.

The idea of transition – moving from place to place,

whether in geography or in your mind – is a powerful

one. It involves change and invokes fear, excitement,

anticipation and trepidation. This project fostered

a connection between two distinct age groups -

the youngest and the oldest in the school – finding

similarities in their feelings when exploring their

dreams, fears, challenges and hopes through

photography, animation and three dimensional

installation art.

Polyglot artists spent May to September 2012 at

the school. The first half of the project was spent

eliciting ideas and responses to materials, talking

and listening in groups and one-on-one, setting

up exercises that start each day across the whole

school, collecting information, drawings and art

works, exploring physical play and performative

styles. The creative process followed the impulses

of the children. The second half of the process was

spent drafting the final plan, creating the elements

of the work, finessing the images and animation

and setting up the aesthetic framework for two

installation outcomes.

Knock, Knock! Who’s There? followed the child-led

practice through to the creation of a walk through

installation maze for the whole school community

to enjoy. A pared down version of the installation

was produced for the general public at Frankston

Arts Centre, complementing the presentation at

Mahogany Rise Primary School.

“i’ve learnt

many new

things and

learnt to never

give up my

dreams.”

– Billie, 11


In 2012 Polyglot commissioned Dr. Ricci-Jane

Adams, research fellow at the Graduate School

of Education, University of Melbourne, to write an

independent evaluation of the social and cultural

impact of company’s 2012 extended school

residency project Knock, Knock! Who’s There?

This residency was curated with a Mahogany Rise

Primary School centring on themes of transition for

children in years prep/one and five/six.

The project’s aims were used to conduct the 2012

evaluation, these being:

1. Learning exchange between

teachers and artists.

2. Fostering a respectful relationship between

children, teachers and artists in the short

and long term.

3. Showcasing the school to the community.

4. Strengthening child participants’ literacy and

oral language skills through an art based activity.

5. Providing children with coping

mechanisms for change.

6. Increasing children’s self-esteem, ability to

contribute, ability to work as a team and

ability to work productively on their own.

7. Increasing children’s confidence in

their own creativity, defined by:

i. An ownership and pride in their own work

and an appreciation of others creative work

ii. Willingness to take risks, share ideas

and offer suggestions

evaluaTion PRoJeCT

KeyfindingsThe direct findings of the evaluation based on the

project aims are summarised below, grouped in

terms of the process, impact and outcome for the

stakeholders:

Process• The partnership successfully engaged all key

stakeholders in the delivery of the residency.

• Clear and regular communication, a mutual

respect, a willingness to learn from one another,

a diversity of skills and a supportive learning/

creative environment facilitated a relatively

stress-free and smooth partnership.

• In both year groups the majority of the students

demonstrated a genuine engagement with the

workshops and an enthusiasm to participate.

• Children were treated with respect and

encouraged to take the lead creatively in the

workshops.

• The twice weekly workshops functioned to

provide students with both breadth and depth

in the creative arts, as well as opportunities for

increasing social and emotional intelligence

in the young people in offering them ways of

learning and interacting outside of the usual

teaching environment.

“this partnership, in my

assessment, stands as a

model of best practice in not

only collaboration between

professional artists and

the education sector, but in

regards to the use of the arts in

achieving the core demands of

the curriculum”

– Dr. Ricci-Jane Adams


impact • The residency offered students - especially in the

senior class - coping mechanisms for change, an

increased confidence in themselves and their

fellow class mates, and a more coherent group

dynamic.

• Building trust steadily between students, teaching

staff and artists created a space where bold

student-led artistic exploration could take place.

• The younger students demonstrated increased

imaginative capabilities and a greater

vocabulary of ‘play’.

• Language and literacy skills for both the junior

and senior students were improved upon in

‘authentic’ and stimulating ways.

• The majority of teachers directly involved in the

residency reported that they were equipped with

new skills in regards to engaging their students,

and felt that they were able to see their students

with renewed enthusiasm as a result of the

workshops.

outcome• Several children in the year five/six group now

self-identify as creative people with a desire to

continue to pursue the creative arts in their adult

lives.

• All of the children reported gaining new skills and

discovering latent artistic talent.

• It is likely that these young people will continue

to feel confident to partake in creative activity

in high school, and with that feel a sense of

familiarity in an unfamiliar environment.

• Strengthening young people’s sense of

self facilitates a smoother transition for the

young person as they work to find a place for

themselves in this new landscape.

• The art based skills taken on by the teachers,

will ensure that those students who operate best

in imaginative (rather than cognitive) learning

environments will have the opportunity to excel.

• Strengthening individual teacher’s capacities to

teach through the use of the arts improves the

class room environment for everyone.

• Concluding the workshop process with the

final event in the school hall was vital to the

success of the residency, as it allowed students

the opportunity to experience a sense of

achievement, display their new artistic skills,

imaginative capacities and increasing self-

confidence.

• All students reported a sense of pride in

displaying the work to their family and friends.

• The broader community connection to the

school has been built upon allowing them to

experience the school in a unique and dynamic

way.

• The bonds between the school and the arts

organisation have been strengthened as a result

of this effective partnership, paving the way for

further collaboration in the future, something that

would immensely benefit the students.

“imagine if i

became one

of the polyglot

people.”

– Rosanna, 10.


PolYGloT aRounD ausTRalia anD THe WoRlDPolyglot continued to travel far and wide in our

adventures in 2012. Our national development

strategy prioritises face to face meetings, which can

often occur at the same time as seasons of work.

In 2012 this activity included:

• Artistic Director Sue Giles and Executive Producer

Tamara Harrison visited Sydney for key meetings

with government funding bodies and some

presenters.

• Tamara attended the Association of Performing

Arts Centre’s Australia (APACA) conference and

Long Paddock in Darwin in August.

• Tamara accompanied the We Built This City tour

to Hobart to meet with Tasmanian presenters.

• Tamara attended the 2012 International

Association of Theatre for Children and Young

People (ASSITEJ) meeting in Okinawa Japan,

which coincided with the Kijimuna Children’s

Festival. Meetings were also held in Tokyo and

Taipei.

• Tamara attended the Performing Arts Market

Seoul (PAMS) which is the major performing arts

market event for the region.

• Sue & General Manager Adi Diner travelled to

New York when Polyglot presented a showcase

season of Tangle at the Lincoln Center, and

met with presenters who had flown in especially

to see the work, in addition to other New York

based presenters.

FunDinG suPPoRTDepartment of Foreign Affairs and Trade

Australia Council for the Arts

Arts Victoria

We thank you!


aRTs inDusTRY leaDeRsHiPArts Industry development, networking, employment

and leadership within our sector, remains a strength

of our activity within the arts community. There is a

growing recognition of our artistic practices and our

national and international reach.

Polyglot continues to organise the Artistic Director/

General Manager (AD/GM) network which meets

regularly to discuss issues relevant to small-to-medium

arts organisations and invites speakers from the

industry and beyond to meet the group and answer

questions. This network group forges valuable

connections between companies and is aimed at

sharing information and knowledge and providing

opportunities for conversation and potential

collaboration.

Young People and the Arts Australia (YPAA) invited

Sue Giles to be Keynote Speaker for the national

symposium held at Casula Powerhouse. Sue

delivered a paper on the subject of Speaking in

Tongues. Sue was also a guest speaker at The Boite

Annual General Meeting.

Simon Abrahams was part of the Australia Council’s

Emerging Leaders’ Development Program. Polyglot

also showcased Tangle and presented How High The Sky at Australian Performing Arts Market (APAM).

Tamara Harrison spent the first few months of her

tenure overseas at industry events ASSITEJ in Japan,

Korean PAMS and at the APACA gathering in Darwin,

making connections and getting to know the

industry. She also continued to work on the board of

Balletlab.

Sue undertook grant assessments for Arts Victoria

which gave a fantastic insight into the breadth of

artistic work in Victoria and the directions artists are

going in across artforms in terms of development of

new work.

We also continued our one-on-one artist support

program, offering advice to independent artists on

funding, touring, budgeting, and providing artistic

feedback on their work, as well as lending them

props, puppets, lights and giving them free and

discounted use of our venue. We wrote many letters

of support for artists across a year.


PolYGloT’s amBassaDoR CiRCle

Polyglot’s Ambassador Circle continued to be an

important group of supporters for the company,

led by our great advocate and patron Miss Betty

Amsden OAM.

In July Betty hosted a morning tea at Federation

Square for donors to coincide with Polyglot’s

premiere of Ants. A group of supporters also joined us

for an end of year celebration at the home of board

member Dr. Patricia Edgar AM.

We thank all of our donors for their continued and

crucial support and the positive impact they have on

building our capacity.

CiTY BeneFaCToR ($10 000+)Miss Betty Amsden OAM


House amBassaDoRs ($1,000 - $2 499)Greg Shalit and Miriam Faine

BoX amBassaDoRs ($200 - $999)Simon Abrahams

Dr. Patricia Edgar AM

Ruth Giles

Damien Hodgkinson

Tom Gutteridge

Angela O’Brien

Rosalind Price

Naomi Tippett

Tim & Lynne Sherwood

Fiona Sweet

Fiona Wahr and Julian Pocock

Julia White


THanK You

Dr. Ricci-Jane Adams

Gavin D Andrew

Joseph Alessi, Katherine Tsai

and Juliet Woo at Austrade

Miss Betty Amsden OAM

Polyglot’s Artistic Catalyst

Group: Madeleine Flynn, Tim

Humphreys, Julianne O’Brien,

Anna Tregloan

Michelle Armstrong, Greg

Andrews, Amanda Browne, Fay

Chomley, Julie Cotter, Penny

Hutchinson, Lisa Jennings, Anna

Kelly, Erica Sanders and all at

Arts Victoria

Asphyxia and Jesse

Robin Batt and Merryn Tinkler at

the Frankston Arts Centre

Simon Abrahams, Hannes

Berger, Emer Harrington, Sally

McPhee and Robin Penty at

Arts Centre Melbourne


Nicole Beyer and Anna Kelsey-

Sugg at Theatre Network

Victoria

Collette Brennan, Ellen Dwyer,

David Everest, Rose Hiscock, Tori

Louden, and Lyn Wallis at the

Australia Council for the Arts

Brisbane Powerhouse

Campbellfield Arts Centre

Megan Cameron, Cosmo

Cosmolino, Graeme Davis,

Jim Fulton, Sarah Kriegler, Paul

Newcombe, Bronwyn Pringle,

Kathryn Sproul, and the 16

Muckheap casts over its 10

years of touring

Sheryl Cardozo and Dizzy

Claudia Chidiac at Casula

Powerhouse

Laura Colby, Sabine Dabady,

Anna Amadei and all at Elsie

Management in New York

Colorific Storage Solutions

Kate Denborough

Federation Square especially

Matt Jones and Renee Dudfield

Furlong Park School for Deaf

Children and the wonderful

Robyn Lawrence

Andrew Gun

Hi-Seoul Festival, thank you!

Hal, Nina, Leo, Evie, Orla, Coco,

Allegra, Jarvis and Hugo

Damien Hodgkinson

Anita Hopkins

Bill Bragin at Lincoln Center for

the Performing Arts

Michiyo Horita at the Australian

Embassy in Tokyo

Junction Festival, CU@Home

and Uniting Care

Jim Lawson and the YPAA team

Bo-Young Lim and the staff at

the Australian Embassy, Korea

James O Lucas

Edwina Lunn at Darwin Festival

Maryanne Lynch

Debby Maziarz

Candy Mitchell and the City of

Melbourne

The brilliant folks at Melbourne

Museum

Monique McNamara and

Jenna Read at Up and Up

Creative

The people of Minami Sanriku,

Japan

Jodee Mundy

Tim Munro

Alice Nash

Ray Park

Jan Panettieri

Ian, Rosie and Zak Pidd

The staff of Pink Ginger for

delicious sushi

Peter Redden, Rhylla Mitchell

and the City of Stonnington

Lee Hyun Sil (Zoe Jones)

Emma Costello, Amaya Courtis,

Bree Mansell, Tatia Sloley, Mary

Thompson at TS Publicity

Kirsten Slifirski and all at Berry

Street

Julia Topliss, Jim Koutsouris and

Amber Henry at Web Prophets

Sarah Walker for capturing us

beautifully!

Julia White and the rest of our

amazing Board: Jamie Dawson,

Dr. Patricia Edgar AM, Tom

Gutteridge, David Hanrahan,

Rhiannon Keen, Angela

O’Brien, Richard Roberts and

Johanna Platt

White Room Design

Jessica Wilson

Michelle Wild

David Young

We give huge thanks to all the children and parents who were part of our creative processes this year

all of our core artists and creatives – thank you for your inspiration!

Thanks to all of our non-Polyglot family and friends for supporting us, forgiving our absences and helping us find the playfulness in the rest

of our lives. We would also like to sincerely thank and acknowledge the support our many volunteers who generously give their time to

support the company and teachers and kids from Mahogany Rise, Carrum Downs, Karingal, Dinjerra, Currajong and Stonnington Schools.


PaRTneRs anD suPPoRTeRs

Triennial Funding Partners

Government Funders

Philanthropic Partners

Corporate Partners

PaRTneRs anD suPPoRTeRs

Project Partners

market Development Funding Partners



FinanCial snaPsHoT

2012 inCome

Trust & Foundations

Donors

nationalinternational

Workshops

other

34%

14%

1%4%

23%16%

8%

Government

2012 eXPenses

Core

new Work

national

international

Residencies

Workshops

46%

11%11%

15%

15%

2%


DiReCToR’s RePoRT

The Directors present their report together with the

financial report of Polyglot Theatre Limited for the

year ended 31 December 2012 and the auditor’s

report thereon.

DiReCToRs lisTThe Directors of the Company at any time during or

since the end of the calendar year are:

Julia White (Chair) Board member since march 2009___________________________________________________

Member of Finance Sub-Committee

Currently Philanthropy Manager with Zoos Victoria,

Julia has a wealth of experience working in the not

for profit sector in both marketing and development.

Most recently employed as Development Director

at Melbourne Theatre Company, Julia has also

worked with Frankston Arts Centre, The Australian

Ballet School, Melbourne Symphony Orchestra

and Melbourne Festival, acquiring skills in venue

management, touring and event management as

well as marketing and fundraising.

angela o’Brien (General secretary) Board member since april 2011 ___________________________________________________

Dr Angela O’Brien is a Barrister-at-law and

independent consultant with specialist expertise

in the areas of dispute resolution, education and

the arts. In 2009 she retired from the University of

Melbourne where she was an Associate Professor,

Deputy Dean of the School of Graduate Studies

and Discipline Chair of Creative Arts in the School of

Culture and Communication, Faculty of Arts.

Johanna Platt (Treasurer) Board member since april 2008 ___________________________________________________

Member of Finance Sub-Committee

Johanna works as General Manager Financial

Planning & Analysis for Kraft Foods. Prior to this

Johanna held corporate executive positions

as Financial Controller Sales at Cadbury and

Commercial Manager at Mayne Nickless. Johanna

has an MBA from Melbourne Business School.

David Hanrahan Board member since april 2008___________________________________________________

David is General Manager of Microsoft Infrastructure

Solutions for Dimension Data. Previously, David was a

freelance lighting designer, working at Her Majesty’s,

Comedy and Princess Theatres, and for Australian

Opera and Australian Ballet. David has an MBA

from Southern Cross University and completed the

Graduate Company Director Course from Australian

Institute of Company Directors

Richard Roberts Board member since December 2007 ___________________________________________________

Richard Roberts is a freelance theatre designer and

teacher based in Melbourne. His design experience

has included designs for drama, dance, film,

television and opera. Alongside his design practice,

he has considerable experience in design training.

He was head of Design at WAAPA in Perth from 1991-

96, head of Production at the VCA from 2000-2007

and senior lecturer in Design at the VCA 2007-10. He

is the recipient of four Greenroom Awards. He won


best design for Drama in 1998 for Stolen, and in 2000

for the original production of Life After George and

best design in Dance in 2001 for Requiem and in 2004

for Molto Vivace.

Tom Gutteridge

Board member since october 2009___________________________________________________

Tom Gutteridge is the Artistic Director of Union House

Theatre. He was the former Artistic Director, Black

Swan Theatre Company Perth. Performance and

multi-media creator, with credits including mainstage

opera and theatre direction, sound design and

composition, and dramaturgy and writing across

all live and digital media. Tom has worked with

Melbourne and Queensland Theatre Companies;

Australian, Queensland and West Australian Opera

Companies.

Dr. Patricia edgar am Board member since February 2012___________________________________________________

Founder and inaugural head of the Australian

Children’s Television Foundation (ACTF), Patricia

Edgar was also the architect of the Australian

Children’s Television Standards and founder of the

World Summit Movement, hosting the first World

Summit on Media for Children in Melbourne in 1995.

She is a teacher, researcher, producer, writer and

experienced policy maker. Her programs have

garnered more than 100 national and international

awards. She is the author of 10 books, numerous

articles and reports and widely recognized as an

authority in the media field.

Jamie Dawson Board member since February 2012 ___________________________________________________

Jamie is a Producer/Director with over 20 years

experience engaging communities across a wide

variety of artistic and creative programs. He has

held senior management positions with Queensland

Theatre Company, The Pleasance Theatre

(Edinburgh), Circus Monoxide and Merrigong Theatre

Company (NSW). He was Artistic Director of Sydney

Children’s Festival, a creative and performing

arts children’s festival, Executive Producer at

Carriageworks, Sydney’s newest contemporary

arts and culture centre, and Executive Director

of Platform Hip Hop Festival, Australia’s largest all-

encompassing hip hop and street art festival.

Jamie is currently Coordinator of Arts & Cultural

Development for the City of Greater Dandenong,

encompassing cultural development and planning,

festivals and events, public art and heritage

programming.

Rhiannon Keen Board member since march 2012___________________________________________________

Rhiannon is an Associate Director in KPMG’s

Economics and Government Advisory Services

practice. She has a strong interest in politics,

public policy and advising government on the

efficient allocation of resources. Rhiannon previously

worked as a ministerial adviser at both a State and

Federal level, working for the Victorian Leader of

the Opposition, the Office of the Prime Minister, and

Minister for the Environment. Rhiannon has worked

in Hong Kong, as well as in London, working for the

now British Prime Minister, David Cameron. Rhiannon

also has a Master or Public Policy and Management

(Economics) from the University of Melbourne and a

Bachelor of Arts (Media and Communications).


Feb mar apr* Jun sept nov Dec Totals

angela o’Brien ü ü ü ü ü 5

David Hanrahan ü ü ü 4

Jamie Dawson ü ü ü ü ü 5

Johanna Platt ü ü ü ü 4

Julia White ü ü ü ü ü 5

Dr. Patricia edgar am ü ü ü ü ü ü 6

Rhiannon Keen ü ü ü 4

Richard Roberts ü ü ü 3

Tom Gutteridge ü ü ü ü ü 5

Total Present 6 6 6 5 7 6 5

2012 PolYGloT BoaRD meeTinG aTTenDanCe

PRinCiPal aCTiviTiesThe principal activities of the entity during the course

of the financial year are the creation and production

of theatre for children and young people.

Placing kids at the heart of our art, Polyglot creates

interactive works which explore the relationship

between children’s play and theatrical experience.

There were no significant changes in the nature of

the activities of the entity during the year.

CHanGes in sTaTe oF aFFaiRsIn the opinion of the Directors there were no

significant changes in the state of affairs of the entity

that occurred during the financial year under review.

evenTs suBsequenT To BalanCe DaTeThere has not arisen in the interval between the end

of the financial year and the date of the report any

item, transaction or event of a material or unusual

nature likely, in the opinion of the directors of the

Company, to affect significantly the operations of

the entity, the results of those operations, or the state

of affairs of the consolidated entity, in the future

financial years.


environmental RegulationsThe entity’s operations are not subject to any

significant environmental regulations under either

Commonwealth or State legislation. However, the

Board believes that the entity has adequate systems

in place for the management of its environmental

requirements and is not aware of any breach of

those environmental requirements as they apply to

the entity.

inDemniFiCaTion anD insuRanCe oF oFFiCeRs anD auDiToRs

IndemnificationSince the end of the previous financial year, the

company has not indemnified or made a relevant

agreement of indemnifying against a liability any

person who is or has been an officer or auditor of the

company.

insurance PremiumDuring the financial year the company has paid

premiums on behalf of the company in respect of

directors’ and officers’ liability and legal expenses

insurance contracts for the year ended 31

December 2012 and since the financial year, the

company has paid or agreed to pay premiums on

respect of such insurance contracts for the year

ended 31 December 2012. Such insurance contracts

insure against certain liability (subject to specific

exclusions) persons who are or have been directors

or executive officers of the company


auDiToR's inDePenDenCe DeClaRaTion unDeR seCTion 307C oF THe CoRPoRaTions aCT 2001 To THe DiReCToRs oF PolYGloT THeaTRe lTD

I declare, that to the best of my knowledge and

belief, during the year ended 31 December 2012

there have been:

(i) no contraventions of the auditor

independence requirements as set out in

the Corporations Act 2001 in relation to the

audit; and

(ii) no contraventions of any applicable code

of professional conduct in relation to the

audit.

name of Firm: Alan Dredge & Co Pty LtdChartered Accountants

Alan Dredge FCA

address: 16 Hill Street, Richmond VIC 3121

Dated this 15 day of april 2013


sTaTemenT oF FinanCial PosiTion as aT 31 DeCemBeR 2012 PolYGloT THeaTRe lTD. aBn 86 099 894 147

INCOME Note 2012 $ 2011 $

GRanTs 2

Arts Victoria 193,686.00 173,247.00

Australia Council 137,600.00 75,500.00

Local Government Funding 37,800.00 65,005.45

DFAT Grants 25,000.00 98,068.18

Other Government Funding 86,250.45 60,000.00

Philanthropic Organisations 203,203.00 40,000.00

Total Grants income 683,539.45 511,820.63

eaRneD inCome

Performance & Audience Sales 639,872.63 393,374.26

Resources Income 64,440.11 36,565.70

Sponsorship & Fundraising 19,885.00 42,095.45

Business Related Income 18,198.73 23,462.95

Total earned income 742,396.47 495,498.36

ToTal inCome 1,425,935.92 1,007,318.99

eXPenses

Administration 628,110.26 519,578.18

Marketing & Promotion 61,501.63 45,850.76

Production Costs 705,981.36 491,286.05

ToTal eXPenses 1,395,593.25 1,056,714.99

suRPlus (DeFiCiT) FoR THe YeaR 30,342.67 (49,396.00)

other comprehensive income:

Net gain on revaluation of financial assets - -

other comprehensive income for the year - -

Total comprehensive income for the year 30,342.67 (49,396.00)

Total comprehensive income attributable to the members of the entity 30,342.67 (49,396.00)


sTaTemenT oF FinanCial PosiTion as aT 31 DeCemBeR 2012 PolYGloT THeaTRe lTD. aBn 86 099 894 147

ASSETS Note 2012 $ 2011 $

CuRRenT asseTs

Cash and cash equivalents 3 615,613.67 323,791.05

Other current assets 4 112,039.34 273,776.89

ToTal CuRRenT asseTs 727,653.01 597,567.94

non-CuRRenT asseTs

Property, plant and equipment 5 7,816.85 9,987.17

ToTal non-CuRRenT asseTs 7,816.85 9,987.17

ToTal asseTs 735,469.86 607,555.11

liaBiliTies

CuRRenT liaBiliTies

Trade and other payables 6 48,421.89 30,642.74

Provisions 7 18,988.80 15,401.36

Other current liabilities 8 446,700.00 373,712.45

Provision for Bad Debts - 1,900.00

ToTal CuRRenT liaBiliTies 514,110.69 421,656.55

non-CuRRenT liaBiliTies

Provisions 7 16,525.85 11,407.91

ToTal non-CuRRenT liaBiliTies 16,525.85 11,407.91

ToTal liaBiliTies 530,636.54 433,064.46

neT asseTs 204,833.32 174,490.65

equiTY

Retained earnings 9 204,833.32 174,490.65

ToTal equiTY 204,833.32 174,490.65


sTaTemenT oF CHanGes in equiTY as aT 31 DeCemBeR 2012 PolYGloT THeaTRe lTD. aBn 86 099 894 147

Note Retained earnings Total

$ $

Balance at 1 January 2010 223,158 223,158

Surplus (deficit) attributable to members 729 729

Balance at 31 December 2010 223,887 223,887

Surplus (deficit) attributable to members 9 (49,397) (49,397)


Surplus (deficit) attributable to members 30,343 30,343



sTaTemenT oF CasH FloWsFoR THe YeaR enDeD 31 DeCemBeR 2012 PolYGloT THeaTRe lTD. aBn 86 099 894 147

CasH FloWs FRom oPeRaTinG aCTiviTies 2012 $ 2011 $

Receipts from customers 1,663,212.23 1,068,304.16

Payment to suppliers and employees (1,384,517.68) (1,127,698.42)

Interest received 16,928.07 15,732.65

net cash provided for operating activities 295,622.62 (43,661.61)

CasH FloWs FRom invesTinG aCTiviTies

Payment for plant and equipment (3,800.00) (4,223.64)

net cash provided for investing activities (3,800.00) (4,223.64)

Net increase (decrease) in cash held 291,822.62 (47,885.25)

Cash at beginning of financial year 323,791.05 371,676.30

Cash at end of financial year 615,613.67 323,791.05


noTes To anD FoRminG PaRT oF THe FinanCial sTaTemenTs FoR THe YeaR enDeD 31 DeCemBeR 2012 PolYGloT THeaTRe lTD. aBn 86 099 894 147

1StatementofSignificantAccountingPolicies

The financial statement is for Polyglot Theatre Ltd as an individual entity, incorporated and domiciled in Australia. Polyglot Theatre Ltd is a company limited by guarantee.

Basis of Preparation

Polyglot Theatre Ltd has elected to early adopt the Australian Accounting Standards – Reduced Disclosure Requirements as set out in AASB 1053: Application of Tiers of Australian Accounting Standards and AASB 2010–2: Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements. As a consequence, the entity has also adopted AASB 2011–2: Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project – Reduced Disclosure Requirements and AASB 2011–6: Amendments to Australian Accounting Standards – Extending Relief from Consolidation, the Equity Method and Proportionate Consolidation – Reduced Disclosure Requirements. This is because the reduced disclosure requirements in AASB 2011–2 and AASB 2011–6 relate to Australian Accounting Standards that mandatorily apply to annual reporting periods beginning on or after 1 July 2011.

The financial statements are general purpose financial statements that have been prepared in accordance with Australian Accounting Standards – Reduced Disclosure Requirements of the Australian Accounting Standards Board and the Corporations Act 2001. The company is a not-for-profit entity for financial reporting purposes under Australian Accounting Standards.

Australian Accounting Standards set out accounting policies that the AASB has concluded would result in financial statements containing relevant and reliable information about transactions, events and conditions. Material accounting policies adopted in the preparation of these financial statements are presented below and have been consistently applied unless stated otherwise.

The financial statements, except for the cash flow information, have been prepared on an accruals basis and are based on historical costs, modified, where applicable, by the measurement at fair value of selected non-current assets, financial assets and financial liabilities.

accounting Policies

Revenue

Grant revenue is recognised in the statement of comprehensive income when the entity obtains control of the grant and it is probable that the economic benefits gained from the grant will flow to the entity and the amount of the grant can be measured reliably.

If conditions are attached to the grant which must be satisfied before it is eligible to receive the contribution, the recognition of the grant as revenue will be deferred until those conditions are satisfied.

When grant revenue is received whereby the entity incurs an obligation to deliver economic value directly back to the contributor, this is considered a reciprocal transaction and the grant revenue is recognised in the state of financial position as a liability until the service has been delivered to the contributor, otherwise the grant is recognised as income on receipt.If Polyglot Theatre Ltd receives non-reciprocal contributions of assets from the government and other parties for zero or a nominal value, these assets are recognised at fair value on the date of acquisition in the statement of financial position, with a corresponding amount of income recognised in the statement of comprehensive income.

Donations and bequests are recognised as revenue when received.

Interest revenue is recognised using the effective interest rate method, which for floating rate financial assets is the rate inherent in the instrument.

Revenue from the rendering of a service is recognised upon the delivery of the service to the customers.

All revenue is stated net of the amount of goods and services tax (GST).

Property, Plant and equipment

Each class of property, plant and equipment is carried at cost or fair value as indicated, less, where applicable, accumulated depreciation and any impairment losses.

Plant and equipment

Plant and equipment are measured on the cost basis and are therefore carried at cost less accumulated depreciation and any accumulated impairment. In the event the carrying amount of plant and equipment is greater than the estimated recoverable amount, the carrying amount is written down immediately to the estimated recoverable amount. A formal assessment of recoverable amount is made when impairment indicators are present.

Plant and equipment that have been contributed at no cost or for nominal cost are valued and recognised at the fair value of the asset at the date it is acquired.

Depreciation

The depreciable amount of all fixed assets, including buildings and capitalised lease assets, but excluding freehold land, is depreciated on a straight line basis over the asset’s useful life to the entity commencing from the time the asset is available for use. Leasehold improvements are depreciated over the shorter of either the unexpired period of the lease or the estimated useful lives of the improvements.

The depreciation rates used for each class of depreciable assets are:

Class of Fixed asset Depreciation RatePlant and equipment 33%


The assets’ residual values and useful lives are reviewed and adjusted, if appropriate, at the end of each reporting period.

Gains and losses on disposals are determined by comparing proceeds with the carrying amount. These gains or losses are included in the statement of comprehensive income. When revalued assets are sold, amounts included in the revaluation reserve relating to that asset are transferred to retained earnings.

Financial instruments

initial Recognition and measurement

Financial assets and financial liabilities are recognised when the entity becomes a party to the contractual provisions to the instrument. For financial assets, this is equivalent to the date that the company commits itself to either purchase or sell the asset (ie trade date accounting is adopted). Financial instruments are initially measured at fair value plus transactions costs except where the instrument is classified “at fair value through profit or loss”, in which case transaction costs are recognised in profit or loss immediately.

Classificationandsubsequentmeasurement

Finance instruments are subsequently measured at either fair value, amortised cost using the effective interest rate method or cost. Fair value represents the amount for which an asset could be exchanged or a liability settled, between knowledgeable, willing parties. Where available, quoted prices in an active market are used to determine fair value. In other circumstances, valuation techniques are adopted.

Amortised cost is the amount at which the financial asset or financial liability is measured at initial recognition less principal repayments and any reduction for impairment, and adjusted for any cumulative amortisation of the difference between that initial amount and the maturity amount calculated using the effective interest method. (i) Financial assets at fair value through profit or loss

Financial assets are classified at ‘fair value through profit or loss’ when they are held for trading for the purpose of short-term profit taking, or where they are derivatives not held for hedging purposes, or when they are designated as such to avoid an accounting mismatch or to enable performance evaluation where a group of financial assets is managed by key management personnel on a fair value basis in accordance with a documented risk management or investment strategy. Such assets are subsequently measured at fair value with changes in carrying value being included in profit or loss. (iI) Loans and receivables

Loans and receivables are non-derivative financial assets with fixed or determinable payments that are not quoted in an active market and are subsequently measured at amortised cost. (iii) Held-to-maturity investments

Held-to-maturity investments are non-derivative financial assets that have fixed maturities and fixed or determinable payments, and it is the entity’s intention to hold these investments to maturity. They are subsequently measured at amortised cost. (iv) Available-for-sale financial assets

Available-for-sale financial assets are non-derivative financial assets that are either not capable of being classified into other categories of financial

assets due to their nature, or they are designated by such by management. They comprise investments in the equity of other entities where there is neither a fixed maturity nor fixed or determinable payments.

They are subsequently measured at fair value with changes in such fair value (ie gains or losses) recognised in other comprehensive income (except for impairment losses and foreign exchange gains and losses). When the financial asset is derecognised, the cumulative gain or loss pertaining to that asset previously recognised in other comprehensive income is reclassified into profit or loss.

Available-for-sale financial assets are classified as non-current assets when they are expected to be sold within 12 months after the end of the reporting period. All other available -for-sale financial assets are classified as current assets. (v) Financial liabilities

Non-derivative financial liabilities other than financial guarantees are subsequently measured at amortised cost. Gains or losses are recognised in profit or loss through the amortisation process and when the financial liability is derecognised.

impairment

At each reporting date, the company assesses whether there is objective evidence that a financial instrument has been impaired. In the case of available-for-sale financial instruments, a prolonged decline in the value of the instrument is considered to determine whether impairment has arisen. Impairment losses are recognised in profit or loss. Also, any cumulative decline in fair value previously recognised in other comprehensive income is reclassified to profit or loss at this point.

In the case of available-for-sale financial assets, a significant or prolonged decline in the market value of the instrument is considered to constitute a loss event. Impairment losses are recognised in profit or loss immediately. Also, any cumulative decline in fair value previously recognised in other comprehensive income is reclassified to profit or loss at this point.

In the case of financial assets carried at amortised cost, loss events may include: indications that the debtors or a group of debtors are experiencing significant financial difficulty, default or delinquency in interest or principal payments; indications that they will enter bankruptcy or other financial reorganisation; and changes in arrears or economic conditions that correlate with defaults.

For financial assets carried at amortised cost (including loans and receivables), a separate allowance account is used to reduce the carrying amount of financial assets impaired by credit losses. After having taken all possible measures of recovery, if management establishes that the carrying amount cannot be recovered by any means, at that point the written-off amounts are charged to the allowance account or the carrying amount of impaired financial assets is reduced directly if no impairment amount was previously recognised in the allowance accounts.

When the terms of financial assets that would otherwise have been past due or impaired have been renegotiated, the company recognises the impairment for such financial assets by taking into account the original terms as if the terms have not been renegotiated so that the loss events that have occurred are duly considered.

Derecognition

Financial assets are derecognised when the contractual rights to receipt of cash flows expire or the asset is transferred to another party whereby the entity no longer has any significant continuing involvement in the risks and benefits associated with the asset. Financial liabilities are derecognised


when the related obligations are discharged or cancelled, or have expired. The difference between the carrying amount of the financial liability, which is extinguished or transferred to another party, and the fair value of consideration paid, including the transfer of non-cash assets or liabilities assumed, is recognised in profit or loss.

impairment of assets

At the end of each reporting period, the entity assesses whether there is any indication that an asset may be impaired. If such an indication exists, an impairment test is carried out on the asset by comparing the recoverable amount of the asset, being the higher of the asset’s fair value less costs to sell and value in use, to the asset’s carrying amount. Any excess of the asset’s carrying amount over its recoverable amount is recognised immediately in profit or loss, unless the asset is carried at a revalued amount in accordance with another Standard (eg in accordance with the revaluation model in AASB 116). Any impairment loss of a revalued asset is treated as a revaluation decrease in accordance with that other Standard.

Where it is not possible to estimate the recoverable amount of an individual asset, the entity estimates the recoverable amount of the cash-generating unit to which the asset belongs.

EmployeeBenefits

Provision is made for the entity’s liability for employee benefits arising from services rendered by employees to end of the reporting period. Employee benefits that are expected to be settled within one year have been measured at the amounts expected to be paid when the liability is settled. Employee benefits payable later than one year have been measured at the present value of the estimated future cash outflows to be made for those benefits. In determining the liability, consideration is given to employee wage increases and the probability that the employee may not satisfy vesting requirements. Those cash outflows are discounted using market yields on national government bonds with terms to maturity that match the expected timing of cash flows.

Contributions are made by the entity to an employee superannuation fund and are charged as expenses when incurred.

Cash and Cash equivalents

Cash and cash equivalents include cash on hand, deposits held at-call with banks, other short-term highly liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within short-term borrowings in current liabilities on the statement of financial position.

Goods and services Tax (GsT)

Revenues, expenses and assets are recognised net of the amount of GST, except where the amount of GST incurred is not recoverable from the Australian Tax Office (ATO).

Receivables and payables are stated inclusive of the amount of GST receivable or payable. The net amount of GST recoverable from, or payable to, the ATO is included with other receivables or payables in the statement of financial position.

Cash flows are presented on a gross basis. The GST components of cash flows arising from investing or financing activities, which are recoverable from or payable to the ATO, are presented as operating cash flows included in receipts from customers or payments to suppliers.

income Tax

No provision for income tax has been raised as the entity is exempt from income tax under Division 50 of the Income Tax Assessment Act 1997.

Provisions

Provisions are recognised when the entity has a legal or constructive obligation, as a result of past events, for which it is probable that an outflow of economic benefits will result and that outflow can be reliably measured. Provisions recognised represent the best estimate of the amounts required to settle the obligation at reporting date.

Comparative Figures

Where required by Accounting Standards comparative figures have been adjusted to conform with changes in presentation for the current financial year. When an entity applies an accounting policy retrospectively, makes a retrospective restatement or reclassifies items in its financial statements, a statement of financial position as at the beginning of the earliest comparative period must be disclosed.

Trade and other Payables

Trade and other payables represent the liability outstanding at the end of the reporting period for goods and services received by the company during the reporting period which remain unpaid. The balance is recognised as a current liability with the amounts normally paid within 30 days of recognition of the liability.

Critical accounting estimates and Judgements

The directors evaluate estimates and judgments incorporated into the financial report based on historical knowledge and best available current information. Estimates assume a reasonable expectation of future events and are based on current trends and economic data, obtained both externally and within the company.

economic Dependence

Polyglot Theatre Ltd is dependent on grant income from Australia Council and Arts Victoria for the majority of its revenue used to operate the business. At the date of this report the Board of Directors has no reason to believe Australia Council and Arts Victoria will not continue to support Polyglot Theatre Ltd.


2012 $ 2011 $Grants

Arts Victoria 193,686.00 173,247.00

Australia Council 137,600.00 75,500.00

Local Government Funding 37,800.00 65,005.45

DFAT Grants 25,000.00 98,068.18

Other Government Funding 86,250.45 60,000.00

Philanthropic Organisations 203,203.00 40,000.00

Total Grants income 683,539.45 511,820.63

earned income

Performance & Audience Sales 639,872.63 393,374.26

Resources Income 64,440.11 36,565.70

Sponsorship & Fundraising 19,885.00 42,095.45

Business Related Income 18,198.73 23,462.95

Total earned income 742,396.47 495,498.36

ToTal inCome 1,425,935.92 1,007,318.99

eXPensesadministration Costs

Permanent Staff 386,048.46 321,367.91

On-Costs 80,240.91 50,272.65

Allowances 46,072.79 28,338.04

Other Staff Costs 13,186.13 8,993.50

Admin Costs 102,561.97 110,606.08

628,110.26 519,578.18

marketing, Promotion & Documentation 61,501.63 45,850.76

Production Costs

Artist & Creative Fees 319,980.84 200,371.51

Production & Technical Fees 62,556.10 47,067.66

Feed The Art 6,400.00 1,256.45

Venue 17,472.01 20,643.57

Scenic & Staging Costs 153,852.09 76,287.04

Travel & Touring Costs 145,720.32 145,659.82

705,981.36 491,286.05

Total eXPenses 1,395,593.25 1,056,714.99

2 Revenue and other income


3 Cash and Cash equivalents

4 other Current assets

2012 $ 2011 $

Cash on Hand 4,010.27 1,573.44

Cash at Bank 110,359.10 25,932.39

Cash at Bank - Theatre Fund 29,878.87 16,827.12

Cash at Bank - Business Online Saver 471,122.73 224,458.10

Cash at Bank – Other 242.70 55,000.00

Total cash and cash equivalents as stated in the statement of financial position

615,613.67 323,791.05

Reconciliation of cash

Total cash and cash equivalents

as stated in the cash flow statement615,613.67 323,791.05

615,613.67 323,791.05

2012 $ 2011 $

Accounts Receivables 29,130.15 200,000.90

Interest Receivables 1,247.93 -

Prepaid Material Stock 51,088.41 52,156.43

Sundry Prepayments 19,450.09 13,037.32

Prepaid Insurance 7,332.55 5,400.47

Prepaid WorkCover 3,790.21 3,181.77

112,039.34 273,776.89

Provision for impairment of ReceivablesCurrent trade receivables are generally on 30-day terms. These receivables are assessed for recoverability and a provision for impairment is recognised when there is objective evidence that an individual trade receivable is impaired.


5 Propery, Plant and equipment

Plant and equipment:

At cost 40,728.23 258,705.25

Accumulated depreciation (32,911.38) (248,718.08)

Total Plant and equipment 7,816.85 9,987.17

movements in Carrying amounts

Movement in the carrying amounts for each class of property, plant and equipment between the beginning and the end of the current financial year.

$ Plant & equipment

motor vehicles

leasehold improvements equipment Computer

equipment Total

$ $ $ $ $ $

Balance at 1 January 2012

- 6,311.19 - 3,675.98 - 9,987.17

Additions - - - - 3,800.00 3,800.00

Adjustments* (6,311.19) - 1,805.41 - (4,505.78)

Depreciation expense - - - (1,360.04) (104.50) (1,464.54)

Carrying amount at 31 December 2012 - - - 4,121.35 3,695.50 7,816.85


2012 $ 2011 $

Current

Accounts Payable 23,038.61 7,431.57

Sundry Creditors & Accruals 4,145.74 975.00

Superannuation Payable 3,115.83 2,786.65

PAYG Payable 6,527.70 6,037.70

GST Liabilities 11,594.01 13,411.82

48,421.89 30,642.74

Financial liabilities at amortised cost classifiedastradeandotherpayables

Trade and other payables:

- Total current 48,421.89 30,642.74

Financial liabilities as trade and other payables 48,421.89 30,642.74

6 Trade and other Payables

8 other liabilities

7 Provisions

Provision for annual leave

Provision for long service leave Total

Opening balance at 1 January 2012 15,401.36 11,407.91 26,809.27

Additional provisions raised during year 4,915.66 5,117.94 10,033.60

Amounts used (1,328.22) - (1,328.22)

Balance at 31 December 2012 18,988.80 16,525.85 35,514.65

2012 $ 2011 $

Current 18,988.80 15,401.36

Provision for Annual Leave

non-Current

Provision for Long Service Leave 16,525.85 11,407.91

35,514.65 26,809.27

A provision has been recognised for employee entitlements relating to long service leave. In calculating the present value of future cash flows in respect of long service leave, the probability of long service leave being taken is based on historical data. The measurement and recognition criteria relating to employee benefits have been included in Note 1 to this report.

2012 $ 2011 $

Current

Core Grants in Advance 100,000.00 88,759.00

Project Income in Advance 83,450.00 32,500.00

Project Grants in Advance 263,250.00 252,453.45

446,700.00 373,712.45


9 Retained earnings

10 Key management Personnel

11 Related Party Transactions

2012 $ 2011 $

Retained earnings at the beginning of the financial year

174,490.65 223,886.65

(Net deficit) Net surplus attributable to members of the company

30,342.67 (49,396.00)

Retained earnings at the end of the financial year 204,833.32 174,490.65

Short-termemployeebenefits 2012 $ 2011 $

Total Compensation 214,408.86 205,380.88

Total Compensation 214,408.86 205,380.88

There were no related party transactions that occurred during the year.

12 Cash Flow information

2012 $ 2011 $

Reconciliation of Cash Flow from operations with net surplusNet surplus (net deficit) 30,342.67 (49,396.00)

Non-cashflowsinsurplus

Depreciation 5,970.32 2,966.00

Doubtful Debt Expense - 300.00

Loss on disposal of equipment - (338.99)

Changes in assets and liabilities, net of the effects of purchase and disposals of subsidiaries(Increase) Decrease in current receivables 169,622.82 (141,175.90)

(Increase) Decrease in prepayments (7,885.27) (54,039.26)

Increase (Decrease) in trade creditors 15,607.04 3,055.35

Increase (Decrease) in sundry creditors 3,170.74 (2,967.05)

Increase (Decrease) in superannuation 329.18 466.26

Increase (Decrease) in PAYG 490.00 1,240.00

Increase (Decrease) in GST (1,817.81) 6,810.56

Increase (Decrease) in Core Income in advance 11,241.00 88,759.00

Increase (Decrease) in Project Income in advance 61,746.55 104,823.45

Increase (Decrease) in provisions 6,805.38 (4,165.03)

net cash provided from (used in) operations 295,622.62 43,661.61


13 Financial Risk management

2012 $ 2011 $

Financial assets

Cash and cash equivalents 615,613.67 323,791.05

Loans and receivables 112,039.34 273,776.89

Total Financial assets 727,653.01 597,567.94

Financial liabilities

Trade and other payables 48,421.89 30,642.74

Total Financial liabilities 48,421.89 30,642.74

Financial Risk management Policies

The finance committee consist of senior board members, and the committee’s overall risk management strategy seeks to assist the company in meeting its financial targets, whilst minimising potential adverse effects on financial performance. Risk management policies are approved and reviewed by the finance committee on a regular basis. These include credit risk policies and future cash flow requirements.

net Fair values

(i) For listed available-for-sale financial assets and financial assets at fair value through profit or loss the fair values have been based on closing quoted bid prices at the end of the reporting period.

In determining the fair values of the unlisted available-for-sale financial assets, the directors have used inputs that are observable either directly (as prices) or indirectly (derived from prices).

(ii) Fair values of held-to-maturity investments are based on quoted market prices at the ending of the reporting period.

14 Company Details The principle place of business is:

Polyglot Theatre Ltd27a Cromwell RoadSouth Yarra VIC 3141

15 income Tax

The company is exempt from income tax under Section 50-45 of the Income Tax Assessment Act 1997 as its objective is the encouragement of art and culture and its business is not carried on for the profit of its individual members.

The company’s financial instruments consists mainly of deposits with banks, accounts receivable and payable.

The totals for each category of financial instruments, measured in accordance with AASB 139 as detailed in the accounting policies to these financial statements are as follows:


The directors of the company declare that:

1. The financial statements and notes, as set out

on pages 36 to 49, are in accordance with the

Corporations Act 2001 and:

(a) comply with Accounting Standards –

Reduced Disclosure Requirements; and

(b) give a true and fair view of the financial

position as at 31 December 2012 and of the

performance for the year ended on that date of

the company.

DiReCToRs’ DeClaRaTion

2. In the directors’ opinion there are reasonable

grounds to believe that the company will be able to

pay its debts as and when they become due and

payable.

This declaration is made in accordance with a

resolution of the Board of Directors.

Director:

Julia White Johanna Platt

Chair Treasurer



inDePenDenT auDiToR’s RePoRT To THe memBeRs oF PolYGloT THeaTRe lTDaBn 86 099 894 147

Report on the Financial Report

I have audited the accompanying financial report of Polyglot Theatre Ltd which comprises the statement of financial position as at 31 December 2012, and the statement of comprehensive income, statement of changes in equity and statement of cash flows for the year then ended, notes comprising a summary of significant accounting policies and other explanatory information, and the directors’ declaration.

Directors’ Responsibility for the Financial Report

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

auditor’s Responsibility

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

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

I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my audit opinion.

independence

In conducting my audit, I have complied with the independence requirements of the Corporations Act 2001. I confirm that the independence declaration required by the Corporations Act 2001, which has been given to the directors of Polyglot Theatre Ltd, would be in the same terms if given to the directors as at the date of this auditor’s report.

opinion

In my opinion, the financial report of Polyglot Theatre Ltd is in accordance with the Corporations Act 2001, including:

i. giving a true and fair view of the company’s financial position as at 31st December 2012 and of its performance for the year ended on that date; and

ii. complying with Australian Accounting Standards – Reduced Disclosure Requirements and the Corporations Regulations 2001.

name of Firm:

Alan Dredge & Co Pty LtdChartered Accountants

Alan Dredge FCA

address:

16 Hill Street, Richmond VIC 3121


more informationPolyglot Theatre

27a Cromwell Road, South Yarra

Victoria 3141 Australia

T +61 3 8060 4680

[email protected]

polyglot theatre 2012 annual report

Documents

polyglot theatre

new theatre work

artistic works

artistic discovery

ideas of children

insights of children

sustainability of operations

free artistic expression