for the year ended 31 march 2018 - youth theatre arts … · sponsorship and donations,...

Charity Registration No. SC035765

Company Registration No. 86269952 (Scotland)

YOUTH THEATRE ARTS SCOTLAND

ANNUAL REPORT AND UNAUDITED FINANCIAL STATEMENTS

FOR THE YEAR ENDED 31 MARCH 2018


CONTENTS

Directors' report

Independent examiner's report

Statement of financial activities

Balance sheet

Statement of cash flows

Notes to the financial statements

Page

1-10

11

12

13

14

15-23


DIRECTORS' REPORT (INCLUDING DIRECTORS' REPORT)


The Directors present their report and financial statements for the year ended 31 March 2018.

The accounts have been prepared in accordance with the accounting policies set out in note 1 to the accountsand comply with the charity's articles of association, the Companies Act 2006 the Charities Accounts(Scotland) Regulations 2006 (as amended) and under the requirements of Accounting and Reporting byCharities: Statement of Recommended Practice applicable to chan'ties preparing their accounts in accordancewith the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)(effective 1January 2016) — (Charities SORP (FRS 102)).

Objectives and activities

Mission

Transforming lives through youth theatre by developing inspiring participatory opportunities for young people,and connecting, supporting and training the professionals who work with them,

Vision

That youth theatre in Scotland is the creative crucible where young people choose to come together andprepare for a positive future.

Values

- Intelligence and Support - The young people and professionals we support are a connected and reflectivecommunity. We advocate for their collective knowledge to assure the greatest impact in the work we dotogether.

' Access and Participation - We are passionate about sharing the work of our organisation and ourcommunity. We strive to find new and exciting ways to let people in and deepen their engagement.

- Collaboration for Development - We support a multi—age, multi-arts network from across Scotland; madeup of young people and professionals engaging in multiple levels of provision and development together.Our motivation and talents grow from working together and sharing our achievements.

' Excellence and Experimentation - We celebrate and encourage ambition, innovation and progression,taking responsibility for improving pathways through our sector and striving for quality in all that we do.

Objectives and Outputs

- Through ‘lnformation and Advocacy’ we will support Scotland‘s youth theatre arts sector by providingmembership support, networking and information opportunities, targeted impact and capacity buildingservices and a variety of research, resources and digital platforms.

- Through ‘Youth Theatre Arts Projects and Services’ we will deliver and develop our national partnershipprojects and establish new youth engagement and audience development initiatives for the sector.

- Through ‘Training and Professional Development’ we will support regional development, establish nationalprogression and quality frameworks and evolve our national training projects.

0 We will target ‘Developmental Sustainability’ for the organisation and network by growing and improvingour income streams and fundraising potential, assuring we have efficient resources and processes toachieve impact, and addressing the sector's local, cultural, financial and ecological responsibilities.


DIRECTORS' REPORT (CONTINUED)(INCLUD|NG DIRECTORS' REPORT)FOR THE YEAR ENDED 31 MARCH 2018

Achievements and performance

Youth Theatre Arts Scotland continued to lead and support a dynamic youth theatre sector throughout2017-18. The company and its projects both showed healthy signs of growth and development in response tothe contemporary needs of Scotland's young theatre makers and the professionals who work with them. Thecontinued success of YTAS's annual national events, alongside increased sector development andpartnership projects, demonstrates the company's commitment and performance.

The following pages outline YTAS’s activities and achievements during 2017-18 in its work developing access.deliven‘ng national and international youth theatre projects and providing industry training and professionaldevelopment.

Addressing Fundraising Challenges

Although the scale, diversity and impact of YTAS's sector development work has grown considerably in recentyears. the company still operates with a small core team and only one core funder, Creative Scotland. Withless than 40% of YTAS‘s income funded by Creative Scotland, the company remains reliant on generatingadditional sources of income to sustain its work. In 2017-18 these sources included: earned income,sponsorship and donations, crowdfunding, European funding, in-kind partnership support and grants fromtrusts, foundations and local authorities.

The scale of additional fundraising that YTAS requires continued to be a challenge in 2017-18. In recentyears YTAS has also found that some funders are less willing to invest in our umbrella, development role or inits national festival events, favouring more local activity instead. In addition, many local authon’ties. whopreviously provided financial support for YTAS's events held in their regions, taced their own funding cuts andwere no longer in a position to provide cash support for partner events. Both these contexts contributed to afunding shortfall for some of YTAS’s events and projects throughout the year.

As an established and well-run charity, YTAS is experienced and adept at risk-management. We thereforetook several measures to address funding difficulties in 2017-18. including: cutting back on projectexpenditure, investing our own reserves and successfully experimenting with crowdfunding. By taking thesemeasures, YTAS was able to minimise the annual overspend and maintain limited reserves by the end of2017-18.

Looking fon/vard YTAS has adjusted its next 3-year Business Plan, from April 2018, to move annual projectsand events to a biennial cycle, reduced core and activity expenditure and fundraising targets to reducefinancial risk, and will prioritise a longer-term approach to diversifying core funding.

Developing Access

Regional Development

YTAS carried out the second year of its regional development activity in 2017-18, funded by the RobertsonTrust. YTAS’s Sector Engagement Officer, Vikki Doig, helped develop youth theatre activity in 12 targetedregions: Angus, Argyll and Bute, Clackmannanshire, Dumfries and Galloway, Inverclyde, Midlothian, NorthAyrshire, North Lanarkshire, Scottish Borders, South Ayrshire, South Lanarkshire and Western Isles.

Throughout the year YTAS worked directly with 66 youth theatre and community groups, 651 young peopleand 266 practitioners and YT leaders. We established and developed 25 regional partnerships and increasedengagement in YTAS's events and services from groups and young people who had never accessed our workbefore or had limited engagement.


DIRECTORS' REPORT (CONTINUED)(INCLUD|NG DIRECTORS' REPORT)FOR THE YEAR ENDED 31 MARCH 2018

Cashback Project in SIMD regions - ‘New Territory’

YTAS cam‘ed out the first year of its Cashback funded ‘New Territory’ project targeted at priority Scottish Indexof Multiple Deprivation postcodes. The project aims to establish a new partnership approach to developingaccess, progression and sustainability in the youth theatre sector. Between 2017 - 2019 the lead partners;ignite, Toonspeak and YTAS, will deliver new weekly drama sessions, summer projects, Young Leaderstraining and residentials across Glasgow, lnverclyde, North Lanarkshire and West Lothian, as well as sharingleaming, training and resources between the partners and across the wider youth theatre sector.

By the end of Year 1 New Territory has engaged 284 young people, 59% of which were ‘new to these types ofactivities’ and 76% have ‘sustained their participation’. 20% of the participants reported 62 equality groupcharacteristics; including; BME, Disabled. LGBTI, young people with mental health issues, Looked AfterChildren and Young Carers. 68% of participants have reported their ‘confidence increasing’, 66% havereported their ‘skills increasing’ and 74% have already ‘gone on to do new things after their initial Cashbackinvolvement’.

Youth Theatre Projects & Events

National Festival of Youth Theatre 2017

NFYT moved for the first time in over 6 years thanks to support from our new event partners Ayr Gaiety andSouth Ayrshire Council. The festival was held in Ayr between 7-10th July with performances at the newlyrefurbished Gaiety Theatre, workshops in venues across the town centre and the festival campsite at nearbyRozelle Park. 12 groups and 199 youth theatre participants and leaders attended the weekend from:

- Centrestage Music Theatre (East Ayrshire)

- Cumbemauld Youth Theatre (North Lanarkshire)

- East Lothian Youth Theatre (East Lothian)

- Falkirk Youth Theatre (Falkirk)

' Firefly Arts (West Lothian)

- Gaiety Young Company (South Ayrshire)

- SOPA Youth Theatre Company (Malta)

- The Regal Youth Company (West Lothian)

- Ryan Youth Theatre (Dumfries and Galloway)

- APA Intermediate Youth Theatre (Aberdeen)

0 Rowland's Drama Group (Scottish Borders)

- Tron Youth Theatre (Glasgow)

As well as the normal weekend programme, YTAS offered a new one-day opportunity for groups to see showstake part in workshops. YTAS delivered outreach activity across Ayrshire in the lead up to NFYT andshowcased Laargs Youth Theatre, East Ayrshire Youth Theatre and Ayrshire Film Company at the Friday‘Made in Ayrshire’ opening of the festival. YTAS intends to develop the one-day NFYT opportunity andoutreach work again alongside NFYT 2019 in Ayr, to ensure access and regional engagement for the event.


DIRECTORS' REPORT (CONTINUED)(INCLUDING DIRECTORS' REPORT)


Post event feedback from participants and leaders at NFYT captured the success and impact of the event:

~ 100% of Leaders and Young People rated the number, variety and quality of performances andworkshops at NFYT as Good or Very Good.

- 95% of Young People said being part of NFYT ‘made them feel more confident’, ‘make new fn'ends’ and‘think more creatively’. They also said it had ‘encouraged them to see more theatre and take new ideasback to their local youth group’.

- “It was great to feel part of an artistic community in Scotland, and it is the first time that we have had theopportunity to do anything like this. I loved the conversations that arose With my group following eachworkshop and performance - it was great to hear their views and their ideas on the performances but alsoon the themes which arose in each performance.” — Group Leader

Another significant success alongside NFYT was the Kickstarter campaign YTAS cam'ed out to raise funds fora shortfall on the project. The Board would like to thank all those who contributed and Patron Sam Heughanfor his support.

Chrysalis 2017

The third Chrysalis festival was held at Traverse Theatre in Edinburgh from 17th - 1" 9th November 2017. Wewere delighted with the event; ticket sales and media coverage were both sustained and the festivalatmosphere and reputation continues to grow. Chrysalis staged 10 pertainrag-wees by 7 companies involving50 young artists and technicians for an audience of over 1,100. The festival also included 12 workshops, talksand events for young people, arts professionals and the public to explore the ideas and practice behind thefestival.

The 4 productions selected for the festival by the Chrysalis Consortium were:

- ‘There is a Light: Brightlight’ by Contact Young Company (Manchester)' ‘Dark Mechanics' by Firefly Arts (West Lothian)- 'Queer Fish’ by Reading Rep (Reading)- ‘How to Save the World... ish’ by Beacon Young Company (lnverclyde)

The Emergence ‘scratch’ platform also hosted:

- ‘Remote Control’ by Ryan Youth Theatre / Performance Collective Stranraer, and their Director DrewTaylor

- ‘Hard Times’ by Citizens Young Company. and their Director Lauren Mitchell- ‘Mr Blue Sky’ by Jo Sharp (Saltire Young Director Award) working with Lyceum Youth Theatre

The reach of Chrysalis in 2017 was broader than expected across Edinburgh, Scotland and the UK andwelcomed a diverse mix of ages to the Traverse, including a significantly younger audience than most theatrescan attract. We also noted an increase in the level of interest, awareness and engagement in Chrysalis thisyear from the professional arts sector. Building on this will be key to securing the festival’s core long-termarms.

Post event feedback from the audience and press captured the success and impact of the event:

- Quality of the work: 81% of the audience said the performances deserved a 4 or 5-star rating

- Learning and challenge: 86% of the audience said they ‘felt challenged and provoked” by the work and88% said the ‘performances made them think differently about things’


DIRECTORS' REPORT (CONTINUED)(|NCLUDING DIRECTORS’ REPORT)


~ “Theatre and performance have become such an important tool when highlighting sen'ous issues affectingus today. Chrysalis is a brilliant example of such messages being brought to the forefront. Hopefully this isa trend that will continue to grow”. — Audience Member

- “It is clear that there is a demand for the type of ambitious and provocative youth-led performance thatChrysalis seeks to nurture. By bringing the young theatre-makers into the professional setting of one ofScotland's most respected theatres, the festival is already making a strong statement about the type ofhigh quality work rt‘ wants to showcase. ” - The List, 2017

Unfortunately, YTAS did not achieve its fundraising target for Chrysalis in 2017 and the company had to usecore reserves to cover the shortfall. YTAS plans to address the ongoing challenge of Chrysalis’ fundraising infuture years by reducing event expenditure and assigning core funds from YTAS’s annual budget as strategicinvestment in the project. YTAS also plans to shift the festival to biennial after 2018, similar to YTAS’s othernational events.

lntemational

Creative Commons — Strategic Partnership

YTAS and Youth Theatre Ireland (YTI) carn'ed out the second year of their international partnership andresource development project. 'Creative Commons' enabled YTAS and VT! to share best practice andstrategically build innovative resources in Young Critics practice and Young Leaders mentors-hip and skillsdevelopment. The project is funded through the European Commission’s Erasmus+ programme and is due forcompletion by summer 2018.

Activities carried during 2017-18 included:

- Joint delivery of a Young Critics Youth Exchange in Dublin, Apn'l 2017.- Delivery of a new Young Critics residential at the Edinburgh Fringe, August 2017.- Developing and publishing a Youth Arts Mentoring Toolkit, July 2017.

Developing and launching an online ‘Young Critics Toolkit’, March 2018.Developing and launching an online ‘Leaders Resource Suite’, March 2018.Hosting training events for the dissemination of the resources, March 2018.Hosting Transnational Project Meetings with YTI for planning and exchange, throughout the year.

10 Scottish Young Cn'tics took part in the Apn'l Exchange from YTAS Members in Aberdeen, Aberdeenshire,Argyll & Bute, Ayrshire, Dundee, Edinburgh, Glasgow and Renfrewshire. Throughout the week they took partin practical discussions, workshops and theatre visits to gain a greater understanding of the art of theatrecriticism. When they returned home, Scotland’s Young Critics continued to use their skills at local theatres aswell as at an additional residential YTAS hosted during Edinburgh Fringe in August 2018. The Fringe Societyand Lyra Theatre in Craigmillar are thanked for their support; providing ticket bursaries, venues and low-costaccommodation.

During the remainder of the year YTAS and YTI developed and published the Creative Commons ‘Youth ArtsMentoring Toolkit’, online ‘Young Critics Toolkit“ and online “Leaders Resource Suite’. These were significantdevelopments for YTAS and YTl’s best practice and resources for Young Critics and Young Leaders. Theyprovide comprehensive best practice guides and new avenues of digital support and information for thesector. Resource development was supported by specialists including; youth arts mentoring Consultant HelenLe Brocq, Birds of Paradise Theatre Company’s disability and inclusion Youth Arts Consultants, WebDesigners Infinite Eye, and Filmmaker Chris Nelms. Many Scottish and Irish youth theatres and practitionerswere also involved in filming new media for the sites.


DIRECTORS' REPORT (CONTINUED)(INCLUDING DIRECTORS' REPORT)FOR THE YEAR ENDED 31 MARCH 2018

TeeNEXTers - Young Critics Exchange

For the third year in a row, YTAS supported a group of 6 Scottish young critics to attend another exchangeprogramme in November in Lille, France. This exchange was hosted by long-term partners Le Grand Bleuand was funded through the European Commission's Erasmus+ programme. The TeeNEXTers projectenabled the group to experience innovative, avant—garde shows at the cross-border NEXT festival in Franceand Belgium and to work with international partners from France, Norway, Ireland and Belgium to enhancetheir ability to express opinions about the work.

Scotland's TeeNEXTers group came from YTAS Members; Dundee Rep, Eden Court, PACE, Toonspeak, TronTheatre and Scottish Youth Theatre. Professional cn'tic Gareth We and Kenny McGlashan also attended tosupport the group, deliver specialist workshops and connect the project to longer-term Young Critics andEuropean partnership activity.

Training and Professional Development

National Convention of Youth Drama

The National Convention of Youth Drama was a new two-day event held in March 2018 at the Macrobert ArtsCentre in Stirling which celebrated the breadth and depth of youth drama and theatre arts practice acrossScotland. Attendees came from across the UK and internationally to share ideas, hear about a diverse rangeof projects, contribute to discussions and participate in workshops and masterclasses.

Throughout Friday, Convention delegates attended a variety of themed presentations and workshopsincluding:

- ‘Embedding Creative Learning’, with Dundee Rep, EIF and Kibble.

- ‘Pathways and Positive Destinations’. with Staged for Life, Modo and Centrestage.

' ‘Health and Wellbeing’, with NHS Forth Valley, Scotrail and ConFAB/Youth Poetry Slam.

- ‘Youth-Led Boards and Projects’. with Toonspeak, YTAS and KIN.

- ‘Supporting Not Leading - a Different Role for a Practitioner', with Reading Rep and Little Red Theatre.

- ‘New Ways to Respond to Performance and the World Around You’, with YTAS and The Artifact.

- ‘Using Drama and Theatre to Promote Intercultural Understanding', with Theatre Sans ‘Accents, lgniteTheatre and BE United.

- ‘Nothing Ever Happens Here — Sustainable Engagement for Young People in Rural Areas’. with TheTouring Network and Rural Youth Project.

- ‘The Great Debate - The Visiting Artist: Accomplice or Provocateur?’, with Paul Gorman from HiddenGiants, Kirsten McCrossan from The Drama Box, Dr Will Barlow from University of Aberdeen, Lou BrodiePerth Programmer for Women of the World and Jack Stancliffe, Arts Education Worker.


DIRECTORS' REPORT (CONTINUED)(INCLUD|NG DIRECTORS' REPORT)


Throughout Friday and Saturday, delegates could delve deeper into practice by taking part in Workshops andMasterclasses including:

- ‘Making Art About Sensitive Subjects’. with Celia Knapp from The Roundhouse

- ‘Dramaturgy Toolbox', with Hanna Slattne

- ‘Visual Language'. m‘th Raamesh Meyyappan

- ‘Creative Incubator‘, with YTAS

- ‘When Theatre and Youth Work Collide’ with The Street

- ‘Creating with Community: Making A Mess‘ with Macrobert Creative Leaming

- ‘The Golden Thread’, with KIN

110 delegates attended the National Convention from multiple sectors and professions. 95% of delegatessaid they had ‘noticed a real buzz at the event’. ‘felt challenged and provoked’ and were ‘inspired to keeptalking’ about the topics and issues raised.

YTAS produced a detailed Event Report and a short film which is available on YTAS’s website. TheConvention is now expected to replace YTAS’s Symposium and return every 2 years.

Forums for Managers and Directors

YTAS continued to host specialist Forums in 2017-18 for experienced Youth Theatre Directors and Managerswho wanted to push their own practice and work with other professionals on sector-wide opportunities. TheForums take place every six months and include a specialist masterclass or case-study, facilitated exchangesand networking.

In May, the Directors Forum welcomed guest facilitators Orla O’Loughlin, Artistic Director of the Traverse, andAnna Hodgart from National Theatre of Scotland’s Artists Development. November‘s Forum was replaced bymultiple Chrysalis masterclasses led by Directors from selected festival productions. YTAS now plans toreview the model for training and networking youth theatre directors, as we seek to develop a longer-term,residential and group work approach which will require additional fundraising.

In May, the Managers Forum welcomed guest facilitators Suzanne Miller and Janis Marshall-Reilly from theCultural Enterprise Office to establish the unique 'offers’ and ‘desires’ the professional peer group could share.In the afternoon, and at the subsequent Managers Forum in November, the group worked together to developa consortia project for youth audience development across Scotland. YTAS plans to continue developing theManagers‘ Forum as a key steering group and development incubator for the organisation and sector.


DIRECTORS' REPORT (CONTINUED)(|NCLUD|NG DIRECTORS' REPORT)FOR THE YEAR ENDED 31 MARCH 2018

Financial review

YTAS financial management has been excellent over the past 12 years; setting and delivering balancedbudgets, attracting significant external funding from a range of sources and gradually developing prudentreserves.

Finances are managed by the CEO, supported by a freelance bookkeeper, and a summary of themanagement accounts is presented to the Board quarterly in addition to the annual approval of accounts.YTAS accounts are compiled annually by McFadden Associates Limited and always filed in good time withCompanies House, as are our annual reports to the Office of the Scottish Charity Registrar.

Board skills audits and recruitment ensure there is experienced oversight of the finances and financialplanning. YTAS account keeping is specified in its articles of association and the management accounts arepresented and scrutinised at each Board meeting where financial n'sks are identified, tracked and managed.The pn'ncipal aim of all financial oversight and management is to support the YTAS mission and objectives.

As well as these quarterly Board meetings, YTAS also holds strategic planning days with the CEO and theBoard where financial planning is discussed within the context of the organisation's strategic ambitions.

An organisation n'sk register is also prepared for Board discussion at quarterly meetings which includesfinancial risks where relevant. The n'sk register is closely monitored and risks are mitigated through costmanagement and expenditure scheduling.

It is the policy of the charity that unrestricted funds which have not been designated. for a specific use shouldbe maintained at a level equivalent to between three and six month's expenditure. The Directors considersthat reserves at this level will ensure that, in the event of a significant drop in funding, they will be able tocontinue the charity’s current activities while consideration is given to ways in which additional funds may beraised. This level of reserves has been maintained throughout the year.

The Directors have assessed the major risks to which the chan'ty is exposed, and are satisfied that systemsare in place to mitigate exposure to the major n'sks.

Structure, governance and managementThe charity is a company limited by guarantee.

The Directors who served during the year were:Elspeth HoughRachael BrownGillian DonohoeGillian GarrityKen GougeAlan McMillanJohn GlancyDeborah Rennick McArthurS BorleyZ CuthbertC SteeleMs H Wotherspoon

(Resigned 30 March 2018)

(Resigned 11 April 2017)(Resigned 30 March 2018)

(Resigned 11 Apn'l 2017)

(Appointed 14 December 2017)(Appointed 14 December 2017)(Appointed 14 December 2017)(Appointed 14 December 2017)


DIRECTORS' REPORT (CONTINUED)(|NCLUDING DIRECTORS' REPORT)


If a vacancy exists on the board or there is a requirement for a director of specific expertise or expen‘ence,then potential board members are sought through recommendation or by way of open advertising.

Potential board members who agree to be considered are supplied with information about the organisationwhich is followed by an application and interview process with selection informed by the existing members.The shortlisted potential board members are then invited to view a board meeting in progress and to meet theremaining directors. If, following this process, the serving directors are in agreement that the potential boardmember would supplement the existing skills base and board make-up, a formal invitation to join the board asa director is made by the Chair.

It is the desire of the board to maintain a range of lay experience and have membership from both within andwithout the sector. For the accounting year, the board predominately consisted of people from the professionaland youth theatre sectors chosen on the basis of their management, practitioner and marketing expertise.

The directors undergo regular skills audits to identify gaps in their personal or general Board's expertise.Suitable training opportunities are sought as necessary.

All the directors are members of the company and guarantee to contribute £1 in the event of winding up of thecompany. None of the directors has any beneficial interest in the company.

The board has delegated the responsibility for the day-to-day running of the organisation to the. ChiefExecutive of Youth Theatre Arts Scotland. This includes fundraising, staff management. book-keeping,publicity and project development. The Chief Executive attends all board meetings which are held on aquarterly basis.

The Chief Executive is responsible for informing the board of all issues pertaining to the running of YouthTheatre Arts Scotland including the on-going financial position of the organisation and ali activities beingundertaken to achieve the objectives of the organisation.

It is the responsibility of the board to ensure that the organisation has a consistent and relevant strategy. TheChief Executive is responsible for the formulation of this strategy and the setting of a budget to achieve thisstrategy. The strategy and budget so set must be endorsed by the board.

During 2017-18 the core staff team included:

- Kenny McGlashan — Chief Executive- Helen Bain — General Manager- Clara Bloomfield — Creative Leaming Manager (Resigned Nov 2017)- Vikki Doig - Sector Engagement Officer/ Creative Leaming Manager- James Coutts — Communications & Marketing Manager0 Olivia Ainsworth - Projects Administrator (Resigned July 2017)- Catherine Makin - Projects Coordinator (Appointed June 2017)- Andy Catlin - Marketing Coordinator- Sophie Howell - Young Leaders' Mentor and Coordinator (Appointed March 2018)

As well as the core staff posts listed above, YTAS offered a number of other contracts throughout 2017-18 tosupport the delivery and development of its events and services.As well as numerous freelance contracts, longer-term roles included YTAS’s Bookkeeper since 2013, KarenCalliaud (of Keeping Account), Production and Logistics Manager for Chrysalis and NFYT, Paul Rodger,NFYT's Volunteer Coordinator, Lisa Thompson, Young Critics Coordinator, Amy Watt, Young Critics Specialist,Gareth We and Young Critics Welfare Officers, Eoin Mckenzie and Rachael-Jane Morrison. The companyalso welcomed Emily Tobin as an intern from Ontario, Canada to observe Interchange and assist the teamwith activities around the country.

YTAS's Patron, actor Sam Heughan, continued to be an important advocate for YTAS's work, galvanizing fangroups to support the organisation and the benefits it brings to young theatre makers across Scotland. TheBoard would like to say a special thanks to Sam and his fans for their incredibly generous time and support.


DIRECTORS' REPORT (CONTINUED)(INCLUDING DIRECTORS' REPORT)FOR THE YEAR ENDED 31 MARCH 2018

The Directors' report was approved by the Board of Directors.

NWDeborah Rennick McArthurDirectorDated: 6 September 2018

-10-


INDEPENDENT EXAMINER'S REPORT

TO THE DIRECTORS OF YOUTH THEATRE ARTS SCOTLAND

l report on the financial statements of the charity for the year ended 31 March 2018, which are set out onpages 12 to 23.

Respective responsibilities of Directors and examinerThe chan‘ty's trustees (who are also directors of the company for the purposes of company law) areresponsible for the preparation of the accounts in accordance with the terms of the Charities and TrusteeInvestment (Scotland) Act 2005 and the Charities Accounts (Scotland) Regulations 2006, and they considerthat the audit requirement of Regulation 10(1)(a) to (c) of the Accounts Regulations does not apply. It is myresponsibility to examine the accounts as required under section 44(1)(c) of the Act and to state whetherparticular matters have come to our attention.

Basis of independent examiner's reportMy examination was carn'ed out in accordance with the Statement of Standards for Reporting Accountants andRegulation 11 of the Chan‘ties Accounts (Scotland) Regulations 2006. An examination includes a review of theaccounting records kept by the charity and a comparison of the accounts presented with those records. It alsoincludes consideration of any unusual items or disclosures in the accounts, and seeks explanations from thetrustees concerning any such matters. The procedures undertaken do not provide all the evidence that wouldbe required in an audit and consequently I do not express an audit opinion on the view given by the accounts.

Independent examiner's statementIn connection with my examination. no matter has come to my attention:

(a) which gives me reasonable cause to believe that in any material respect the requirements:(i) to keep accounting records in accordance with section 44(1)(a) of the 2005 Act and Regulation 4

of the 2006 Accounts Regulations; and(ii) to prepare accounts which accord with the accounting records and comply with the accounting

requirements of Regulation 8 of the 2006 Accounts Regulations and with the methods andprinciples of the Statement of Recommended Practice: Accounting and Reporting by Charities;

have not been met or(b) to which. in my opinion, attention should be drawn in order to enable a proper understanding of the

financial statements to be reached.

David Stewart CA

19 Rutland SquareEdinburghEH1 2BB

Dated: 6 September 2018

-11-


STATEMENT OF FINANCIAL ACTIVITIESINCLUDING INCOME AND EXPENDITURE ACCOUNT


2018£Notes

]_Q_e___q&ncmfr:Donations and grantsIncome from charitable activitiesInvestments

164,956165,836

30|

330,795Total income

Mxenditron:Raising funds 5,865

340,821

346,686

Charitable activities

Total resources expended

Net expenditure for the yearlNet movement in funds (15,891)

Fund balances at 1 April 2017 33,683

17,792Fund balances at 31 March 2018

The statement of financial activities includes all gains and losses recognised in the year.

All income and expenditure den've from continuing activities.

2017£

164,994114,409

11

279,414

269

283,227

283,496

(4,082)

37,765

33,683

The statement of financial activities also complies with the requirements for an income and expenditureaccount under the Companies Act 2006.

-12-


BALANCE SHEET

AS AT 31 MARCH 2018

2018Notes

Current assetsDebtorsCash at bank and in hand

12 9,87721,264

31,141Creditors: amounts falling due withinone year 13 (13,349)

17,792Net current assets

Income fundsUnrestricted funds 17,792

17,792

2017

4,85344,623

49,476

(15,793)

33,683

33,683

33,683

The company is entitled to the exemption from the audit requirement contained in section 477 of the CompaniesAct 2006, for the year ended 31 March 2018. No member of the company has deposited a notice, pursuant tosection 476, requin‘ng an audit of these financial statements.

The Directors acknowledge their responsibilities for ensuring that the charity keeps accounting records whichcomply with section 386 of the Act and for preparing financial statements which give a true and fair view of thestate of affairs of the company as at the end of the financial year and of its incoming resources and application ofresources, including its income and expenditure, for the financial year in accordance with the requirements ofsections 394 and 395 and which otherwise comply with the requirements of the Companies Act 2006 relating tofinancial statements, so far as applicable to the company.

These financial statements have been prepared in accordance with the provisions applicable to companiessubject to the small companies regime.

The financial statements were approved by the Directors on 6 September 2018

Awe/wDeborah Rennick McArthurTrustee

Company Registration No. 80269952

-13-


STATEMENT OF CASH FLOWS


20172018Notes

Cash flows from operating activitiesCash absorbed by operations 14 (7,298)(23,362)

Investing activitiesInterest received 11

Net cash generated from investingactivities 11

Net cash used in financing activities

Net decrease in cash and cash equivalents (23,359) (7,287)

51,910Cash and cash equivalents at beginning of year 44,623

44,623Cash and cash equivalents at end of year

-14-


NOTES TO THE FINANCIAL STATEMENTS


1.1

1.2

1.3

1.4

Accounting policies

Company informationYouth Theatre Arts Scotland is a pn’vate company limited by guarantee incorporated in Scotland. Theregistered office is Summerhall, 1 Summerhall, Edinburgh, EH9 1PL.

Accounting conventionThe financial statements have been prepared in accordance with the charity's [governing document], theCompanies Act 2006 and “Accounting and Reporting by Charities: Statement of Recommended Practiceapplicable to charities preparing their accounts in accordance with the Financial Reporting Standardapplicable in the UK and Republic of Ireland (FRS 102)" (as amended for accounting pen‘ods commencingfrom 1 January 2016). The chan‘ty is a Public Benefit Entity as defined by FRS 102.

The financial statements have departed from the Charities (Accounts and Reports) Regulations 2008 onlyto the extent required to provide a true and fair view. This departure has involved following the Statementof Recommended Practice for chan‘ties applying FRS 102 rather than the version of the Statement ofRecommended Practice which is referred to in the Regulations but which has since been withdrawn.

The financial statements are prepared in sterling, which is the functional currency of the chan‘ty. Monetaryamounts in these financial statements are rounded to the nearest £.

The financial statements have been prepared under the histon’cal cost convention, modified to Include therevaluation of freehold properties and to include investment properties and certain financial instruments atfair value. The principal accounting policies adopted are set out below.

Going concernAt the time of approving the financial statements. the Directors have a reasonable expectation that thecharity has adequate resources to continue in operational existence for the foreseeable future. Thus theDirectors continue to adopt the going concern basis of accounting in prepan'ng the financial statements.

Charitable fundsUnrestn'cted funds are available for use at the discretion of the Directors in furtherance of their chan‘tableobjectives unless the funds have been designated for other purposes.

Restricted funds are subject to specific conditions by donors as to how they may be used. The purposesand uses of the restricted funds are set out in the notes to the financial statements.

Endowment funds are subject to specific conditions by donors that the capital must be maintained by thecharity.

Incoming resourcesIncome is recognised when the charity is legally entitled to it after any performance conditions have beenmet, the amounts can be measured reliably, and it is probable that income will be received.

Cash donations are recognised on receipt. Other donations are recognised once the charity has beennotified of the donation, unless performance conditions require deferral of the amount. Income taxrecoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the timeof the donation.

Legacies are recognised on receipt or othenivise if the charity has been notified of an impendingdistribution, the amount is known, and receipt is expected. If the amount is not known. the legacy is treatedas a contingent asset.

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NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)


1.5

1.6

1.7

1.8

(Continued)Accounting policies

Resources expendedExpenditure is recognised when a liability is incurred.

Charitable activities include expenditure associated with staging conferences and events for the benefit ofYouth Theatre groups and include both direct and support costs relating to this activity.

Governance costs include those incurred in the governance of the charity and its assets and are pn'marilyassociated with constitutional and statutory requirements.

Support costs include central functions and have been allocated to the chan'table activity on a basisconsistent with their use.

Tangible fixed assetsTangible fixed assets are initially measured at cost and subsequently measured at cost or valuation, net ofdepreciation and any impairment losses.

Depreciation is recognised so as to write off the cost or valuation of assets less their residual values overtheir useful lives on the following bases:

Computer equipment - 25% straight line

Cash and cash equivalentsCash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquidinvestments with original maturities of three months or less, and bank overdratts. Bank overdrafts areshown within borrowings in current liabilities.

Financial instrumentsThe chan'ty has elected to apply the provisions of Section 11 ‘Basic Financial instruments’ and Section 12‘Other Financial Instruments issues’ of FRS 102 to all of its financial instruments.

Financial instruments are recognised in the charity's balance sheet when the chan‘ty becomes party to thecontractual provisions of the instrument.

Financial assets and liabilities are offset. with the net amounts presented in the financial statements, whenthere is a legally enforceable right to set off the recognised amounts and there is an intention to settle on anet basis or to realise the asset and settle the liability simultaneously.

Basic financial assetsBasic financial assets, which include debtors and cash and bank balances, are initially measured attransaction price including transaction costs and are subsequently carried at amortised cost using theeffective interest method unless the arrangement constitutes a financing transaction, where the transactionis measured at the present value of the future receipts discounted at a market rate of interest. Financialassets classified as receivable within one year are not amortised.

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1.9

Accounting policies (Continued)

Basic financial liabilitiesBasic financial liabilities, including creditors and bank loans are initially recognised at transaction priceunless the arrangement constitutes a financing transaction, where the debt instrument is measured at thepresent value of the future payments discounted at a market rate of interest. Financial liabilities classifiedas payable within one year are not amortised.

Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.

Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary courseof operations from suppliers. Amounts payable are classified as current liabilities if payment is due withinone year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initiallyat transaction price and subsequently measured at amortised cost using the effective interest method.

Derecognition offinancial liabilitiesFinancial liabilities are derecognised when the charity's contractual obligations expire or are discharged orcancelled.

Employee benefitsThe cost of any unused holiday entitlement is recognised in the period in which the employee's servicesare received.

Termination benefits are recognised immediately as an expense men the charity is demonstrablycommitted to terminate the employment of an employee or to provide tennination benefits.

Critical accounting estimates and judgements

In the application of the charity’s accounting policies. the Directors are required to make judgements,estimates and assumptions about the carrying amount of assets and liabilities that are not readily apparentfrom other sources. The estimates and associated assumptions are based on historical experience andother factors that are considered to be relevant. Actual results may differ from these estimates.

The estimates and underlying assumptions are reviewed on an ongoing basis. Revisions to accountingestimates are recognised in the period in which the estimate is revised where the revision affects only thatperiod, or in the period of the revision and future periods where the revision affects both current and futureperiods.

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NOTES TO THE FINANCIAL STATEMENTS (CONTINUED)FOR THE YEAR ENDED 31 MARCH 2018

3 Donations and grants

Core Grants, donations and sponsorshipKickstarter ‘Play a Lead Role’ Campaign

For the year ended 31 March 2017

Included in Grants and donations are:-

Creative Scotland - Regular Funding - £125,000Donations/Sponsorship - £20,251

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2018£

145,25119,705

164,956

2017£

164,994

164,994

164,994




4 Income from charitable activities

Cashback/CreativeScotlandNFYTChrysalisNational Convention ofYouth DramaFife CouncilFoyle FoundationTurcan ConnellSaltire SocietyThe Russell TrustThe Robertson TrustMcDonald HotelsNapier UniversityBig Lottery FundErasmus+ Grantln-kind supportYTAS MembershipDesk rentalOther income

Analysis by fundUnrestricted funds

Grants

39,960

39,960

For the year ended 31 March 2017Unrestricted funds

Investments

Interest receivable

Earnedincome

26,966

26,966

20,093

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Funding andsponsorship

£

5,0003,000

13,500500

5,00080

30,71436,068

93,862

93,862

87,912

Core earnedincome

(I

5,048

6,404

Total

39.96017.963

4,584

4,419

5,0003,000

13,500500

5,00080

30,71436,068

3,720558770

165,836

165,836

2018

2017

12,5844,002

3,5074,000

15,0005,0003,0001,000

13,500

9,83236,580

2,3462,3141,744

114,409

114,409

2017

11




6 Raising funds

Wundraisinand ublici

Other fundraising costs

Charitable activities

Staff costsSector research and resourcesRegional DevelopmentNFYTChrysalisSector and Youth SymposiumInterchangeCreative CommonsTeeNEXTers - Young CriticsIn kind supportNational Convention of Youth DramaNew Territory

Share of support costs (see note 8)Share of governance costs (see note 8)

Analysis by fundUnrestricted funds

For the year ended 31 March 2017Unrestricted funds

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2018

5,865

5,865

2018£

123,3321,667

14,81342.89730,425

22,6602,076

36,0687,565

29,357

310,860

26,9692,992

340,821

340,821

340,821

2017

269

269

2017E

115,7461,309

13,08125,00738,1352,643

12,1325,7212,284

36,580

252,638

27,5803,009

283,227

283,227

283,227




8 Support costsSupport Governance 2018 2017 Basis of allocation

costs costs£ £ £

13,0894,7892,2252,742

54

RentStaff expensesTrainingOffice resourcesPostageMarketing andcommunicationsBookkeeper

- 13,089 12,114- 4,789 7,257- 2,225 607- 2,742 3,133- 54 64

1,3752,695

- 1,375 1,779- 2,695 2,626

AccountancyLegal and professionalGovernance

- 1,032 1,032 1,032 Governance- 1,417 1,417 1,657 Governance-- 543 543 320 u-‘overnance‘

26,969 2,992 29,961 30,589

Analysed betweenCharitable activities 26,969 2,992 29,961 30,589

9 Directors

None of the Directors (or any persons connected with them) received any remuneration during the year, but3 of them were reimbursed a total of £419 for expenses (2017- 3 were reimbursed £654).

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10

11

12

Employees

Number of employeesThe average monthly number employees during the year was:

2018Number

Administration

Employment costs£

Wages and salariesSocial security costsOther pension costs

113,0957,4132.824

2017Number

£

107,7906,4371,519

115,746

The key management personnel of the charity, comprise the Chief Executive. The total employee benefitsof the key management personnel of the charity were £39,754 (2017: £39,148).

There were no employees whose annual remuneration was £60,000 or more.

2018Financial instruments

Carrying amount of financial assetsDebt instruments measured at amortised cost 9,877

Carrying amount of financial liabilitiesMeasured at amortised cost 13,349

Debtors2018

Amounts falling due within one year:

Trade debtorsPrepayments and accrued income

9,877

9,877

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2017

736

15,793

2017

7364,117

4,853




13 Creditors: amounts falling due within one year2018 2017

Trade creditorsOther creditorsAccruals and deferred income

- 5,51913,349 10,272

13.349 15,793

14 Cash generated from operations 2018 2017£

Deficit for the year (15.891) (4.082)

Adjustments for:Investment income recognised in statement of financial activities (11)

Movements in working capital:(Increase) in debtors(Decrease)/increase in creditors

(5,024) (4,102)(2,444) 897

Cash absorbed by operations (23,362) (7,298)

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for the year ended 31 march 2018 - youth theatre arts … · sponsorship and donations,...

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