[PDF] 2026 - Free Download PDF (2024)

Download 2026...

ANNUAL REPORT 2012

ANNUAL REPORT 2012 6 7 8 10

MTC IS A DEPARTMENT OF THE UNIVERSITY OF MELBOURNE MTC Headquarters 252 Sturt St Southbank VIC 3006 03 8688 0900

Mission Statement Board of Management Chairman’s report Programming Team’s report

Mainstage Season 12 Summer of the Seventeenth Doll by Ray Lawler 14 Tribes by Nina Raine 16 The Seed by Kate Mulvany 18 Red by John Logan 20 Australia Day by Jonathan Biggins 22 The Heretic by Richard Bean 24 National Interest by Aidan Fennessy 26 Queen Lear by William Shakespeare 28 His Girl Friday adapted by John Guare 30 Top Girls by Caryl Churchill 32 Elling adapted by Simon Bent 34 Music by Barry Oakley Lawler Studio Season 36 On the Production of Monsters by Robert Reid 38 The Golden Dragon by Roland Schimmelpfennig 40 Happy Ending by Melissa Reeves Touring 42 MTC on tour 43 Awards and nominations

Southbank Theatre 140 Southbank Blvd Southbank VIC 3006

Literary 44 Literary Manager’s report 44 Play readings

Box Office 03 8688 0800 mtc.com.au

MTC Education 46 Education Manager’s report 48 Workshops and participatory events 50 Boy Girl Wall by Matthew Ryan and Lucas Stibbard 52 Helicopter by Angela Betzien

Venues Throughout 2012 MTC performed its Melbourne season of plays at the MTC Theatre (Southbank Theatre), The Sumner and Lawler Studio, and the Fairfax Studio and Playhouse at Arts Centre Melbourne. Managing Editor Debora McInnes Graphic Designer Lydia Baic Cover Image Jeff Busby Production Photographers Jeff Busby, Heidrun Löhr, Gary Marsh Cover Colin Friels and André de Vanny in Red

The Company 54 Executive Director’s report 56 Staff 58 Actors and artists 60 Government Support and Sponsors 62 Patrons Financial report 64 Key performance indicators 66 Income and expenditure 67 Audit certificate 68 Financial statements

MTC MISSION STATEMENT

MTC BOARD OF MANAGEMENT 2012

To produce classic and contemporary Australian and international theatre with style, passion and world class artistic excellence in order to entertain, challenge and enrich audiences in Melbourne, Victoria and Australia.

OBJECTIVES 1 Provide world class theatre for Melbourne residents and visitors by – Presenting a subscription season of plays in Melbourne – Choosing plays from the world repertoire using the joint criteria of artistic quality and likely financial success – Presenting a quality of performance and production that acts as a benchmark for Australian theatre – Supporting the University of Melbourne in contributing to and expanding the cultural life of Melbourne. 2 Contribute to the development of Australian theatre by – Commissioning, workshopping and presenting new Australian writing – Providing employment and development opportunities for Australian and particularly Melbourne actors, directors, designers, theatre technicians, craftspeople and administrators – Supporting the theatre industry through help for smaller theatre companies and through participation in industry forums. 3 Build an audience for live theatre in Australia by – Providing an entertaining educational program for Victorian students with the majority of costs recovered from fees and box office

– Offering touring productions at affordable prices for venues throughout Australia – Offering a range of generally affordable prices including discount for low income earners – Using innovative and appropriate marketing techniques to build subscriber and single ticket sales in Melbourne. 4 Operate a cost-effective and creative theatre company by – Budgeting for modest annual operating surplus to build a reasonable working fund – Selecting repertoire to minimise box office risk while meeting the artistic mission – Operating a Company in which continuous improvement occurs in both the working environment and work practices – Within the financial limitations of the Company, creating an employment environment in which people are rewarded for hard work, initiative, creativity and commitment – Within the financial limitations of the Company, improving the working Conditions and Environmental Health and Safety standards of staff and contractors. 5 Build a working capital base to ensure the long term survival of the Company by building a working capital fund at the recommended Australia Council level of 15–20% of turnover.

Derek Young AM (Chair)

Colin Masters

Managing Director of Accenture Australia Ltd up to 2003; Chair of Australian Major Performing Arts Group; Chair Accenture Australia Foundation; CPA/FCCA. Board member since 1 July 1994. Chairman since 1 June 2005.

Executive Director, Mental Health Research Institute; Senior Deputy Director Florey Institute of Neuroscience and Mental Health; Laureate Professor, The University of Melbourne; B.Med Sc. (Hons), M.B., B.S, M.D. Board member since 1 January 2006.

Lyndsey Cattermole AM

Terry Moran AC

Company Director of Treasury Wine Estates Ltd, Tatts Group Ltd, Melbourne Rebels Rugby Pty Ltd, JadeLynx Pty Ltd, Victorian Major Events Company Pty Ltd. B.Sc. Board member since 3 June 2002.

Secretary of the Department of Prime Minister and Cabinet to 2011; Chair of the Barangaroo Delivery Authority; Special Adviser on Public Sector Reform at the Boston Consulting Group; Chair Cranlana Programme; Board Member Grattan Institute; Senior Adviser at Maddocks law firm; Governor of the Committee for Economic Development of Australia; BA (Hons); AC. Board member since January 2012.

Glyn Davis AC Vice Chancellor, The University of Melbourne; Professor of Political Science; past Chair, Universities Australia; B.A (Hons), PhD, D.Lit. AC, FASSA. Board member since 1 January 2005.

Jonathan Feder Partner at K & L Gates; Theatre Producer (JAF Productions and Two Left Feet Productions); B.Laws (Hons), B.Sc. Board member since 1 June 2010.

Gillian Franklin Founder and Managing Director of The Heat Group; Board member of Cosmetic, Toiletry and Fragrance Association of Australia (CFTA), ACCORD, The Heat Group and Australian Formula 1 Grand Prix. Board member since 15 September 2006.

Martyn Myer AO Chairman, Myer Family Company Holdings Ltd; Member of the Council of the University of Melbourne; Chairman of Cogstate Limited; B.Mech Eng, M.Eng. Science, M. Sc in Management, FIEA. Board member since 1 January 2011.

Brett Sheehy AO Artistic Director of MTC Board member since 1 January 2012.

Ann Tonks Executive Director of MTC. B.Ec (Hons), MBA. Board member since 16 August 1994.

Ian Marshman Senior Vice-Principal, University of Melbourne Chair of the Universitas 21 Managers Group; Director of Headspace National Youth Mental Health Foundation; Chair, VTAC Committee of Management; BA (Honours), LLB. Board member since 1 January 2009.

CHAIRMAN’S REPORT For Melbourne Theatre Company, 2012 was unusual in that we did not have a full time Artistic Director for most of the year, as Brett Sheehy fulfilled his commitments to the Melbourne Festival. In addition, Ann Tonks, our Executive Director for eighteen years, decided it was time to try something new and left the Company. As I said at the several farewell events for Ann in December, she has been the heart and soul of the Company, carefully nurturing our finances, our staff and our audiences to build us into the robust successful company we see today.

Artistic Vibrancy We were extremely fortunate to have the outstanding troika of Robyn Nevin, Pamela Rabe and Aidan Fennessy program our 2012 season. The season commenced with a revival of the classic Australian drama Summer of the Seventeenth Doll and ended with the world premiere of Barry Oakley’s Music. Our productions excited, polarised and challenged our audiences and critics. Notwithstanding the absence of a full time Artistic Director, the sheer professionalism and dedication of all our people ensured our productions were of the highest quality. Audiences We sold 257,000 tickets during 2012 and pleasingly just under 30,000 were to audience members under thirty. Our Education Program reached more than 7,000 students and teachers with our production of Boy Girl Wall proving particularly popular. Financial Results Financial sustainability is a continuing challenge for performing arts organisations. As usual, we budgeted for a breakeven result in 2012. In the event, we achieved a small operating surplus of $8,895. This result was augmented by two extraordinary items, the extension season of The Importance of Being Earnest and the payment of a major insurance claim, resulting in a total surplus for the year of $922,456.

Once again, the grant we received from the State Government of $503,187 was almost completely negated by the payroll tax we (uniquely amongst Victorian not-forprofit arts organisations) paid to the State Government. Corporate Governance The Board of MTC met eleven times during 2012 and, I believe, provided effective oversight and governance to the Company. I wish to thank all Board members for the time, effort and passion they put into the Company during the year. Conclusion Finally, on behalf of the board I would like to thank all of our people for delivering yet another outstanding year of theatre for our audiences.

Derek Young AM

PROGRAMMING TEAM REPORT The slogan for MTC’s Season 2012 was Don’t Miss the Moment, which was certainly apt for the three of us in the Programming Team. Approached to create just one MTC mainstage season, filling in the programming duties between the outgoing Artistic Director Simon Phillips and the in-coming Brett Sheehy, none of us was going to let the moment slip by. It felt like a great honour and turned out to be a great pleasure. Our first artistic decision was to think up a term to describe us. We were not Joint Artistic Directors, that’s for sure, because there’s much more to being an Artistic Director than just choosing a season. And Programming Committee didn’t sit quite right either, because there was a level of artistic vivacity and intensity in our discussions that never felt as if we were involved in a type of bureaucratic process. There was laughter and a fair bit of fighting. Opinions were freely given. It was convivial and mostly adult – and the childish part was playful. No, the best name for us was Programming Team, since, as with any team, the individuals brought their respective strengths to the game. Robyn, of course, had done this before, as Artistic Director of Sydney and Queensland Theatre Companies; Aidan brought a close understanding of the Company and its repertoire, having served as an Associate Director under Simon Phillips; and Pamela brought her long history with MTC – over forty productions as an actor and, more recently, a director – to the mix. Eventually we developed a season filled with plays that all three of us genuinely wanted to see, and, more importantly, plays we thought MTC audiences would want to see. We brought in Belvoir’s wonderful production of Summer of the Seventeenth Doll,

introducing this iconic Australian play to a new generation and reviving memories for the rest of us. The newer Australian work, Kate Mulvany’s The Seed, Jonathan Biggins’s Australia Day, Aidan Fennessy’s National Interest (a co-production with Black Swan State Theatre Company) and Barry Oakley’s Music, showed the breadth and depth of contemporary Australian playwriting. Of the new plays drawn from overseas, there was a similar scope: in Red, Colin Friels made his debut with the Company playing obsessive painter Mark Rothko; The Heretic placed the heated climate debate on stage; and Nina Raine’s Tribes was a thoughtful and heartfelt play about communication and its failure within families. Supplying classic spectacle was Queen Lear, with Robyn Nevin augmenting Shakespeare’s flawed monarch with matriarchal power, and His Girl Friday, the old newspaper farce that put a large talented cast to furious work. With the other two slots we revived Top Girls, Caryl Churchill’s iconic feminist play, and Elling, a new production of the bitter-sweet comedy of social phobia, with Darren Gilshenan reprising the role he had performed to great acclaim in Sydney a few years ago.

Executive Director Ann Tonks delivered into our hands the task of programming a season, and it was our great delight to watch that gift being passed down the line: to directors, to designers, to the craftsmen and professionals in every department in the Company, to the actors and, finally to our audiences. It was an honour, a challenge and enormous fun.

Aidan Fennessy

Robyn Nevin

Pamela Rabe

Looking back, it still seems to us that we chose a season with a nice balance of emotional and intellectual engagement, dealing across a range of themes and issues. For those who believe theatre ought to be a broad church – and this might be a usable definition of an MTC Subscriber – the season delivered variety while supplying plenty of vitality. However, in a way, it was never our season. True, we chose the plays and matched them with artistic teams, but that was merely the beginning. Theatre is such a highly collaborative art form that everything is shared, everything is a gift from someone. The MTC Board and 11

Summer of the Seventeenth Doll by Ray Lawler A Belvoir Production Season Arts Centre Melbourne, Playhouse 12 January to 18 February 2012 Production Director Neil Armfield Set Designer Ralph Myers Costume Designer Dale Ferguson Lighting Designer Damien Cooper Composer Alan John Sound Designer Paul Charlier Assistant Director Susanna Dowling Cast Steve Le Marquand, Travis McMahon, Robyn Nevin, TJ Power, Helen Thomson, Alison Whyte, Eloise Winestock Paid Attendence 26,133 Subscriber Briefing 9 January Forum Night 23 January Audio Described Performances 31 January and 4 February Captioned Performance 11 February Production Partner Australia Post Advertising Partner Adshel It’s a terrific production. Armfield directs with energy and pace, and the drama takes hold with visceral inevitability. If you care about theatre, it’s unmissable. Cameron Woodhead, The Age, 18 January 2012 Nevin is something else in the role. She is almost unrecognisable, and yet there are few who could match her in stage magic. Lawler’s words still carry the impact they had when [The Doll] was first staged in 1953, and it is easy to see why it has lasted through the years. Kate Rose, Sunday Herald Sun, 22 January 2012 Helen Thomson and Travis McMahon

Tribes by Nina Raine Australian Premiere Season Season The MTC Theatre, Sumner 4 February to 14 March 2012 Production Director Julian Meyrick Set Designer Stephen Curtis Costume Designer Louise McCarthy Lighting Designer Matt Scott Composer and Sound Designer Tim Dargaville Cast Alison Bell, Julia Grace, Brian Lipson, David Paterson, Sarah Peirse, Luke Watts Paid Attendence 18,932 Subscriber Briefing 30 January Forum Night 13 February Audio Described Performances 14 and 18 February Captioned Performance 25 February and 5 March Brian Lipson is a force of intellectual nature as the bullying, belligerent, finicky and barely sufferable patriarch. In stark contrast, Alison Bell is all stillness and wet eyed vulnerability as Sylvia … Tribes is as good as the MTC gets. It’s as good as mainstage theatre gets. Don’t miss it. Chris Boyd, The Australian, 13 February 2012 There is much to like about Julian Meyrick’s funny and moving production … Tribes depicts a family as much dominated by its argumentative academic father (Brian Lipson is perfectly rambunctious) as it is by the thwarted ambitions and psychological disabilities of Billy’s siblings, Ruth (Julia Grace), a wannabe singer, Daniel (David Paterson), a PhD candidate with writer’s block, and their mother Beth (Sarah Peirse), an aspiring novelist. Enter Sylvia (Alison Bell), who disrupts the status quo … There is rarely a dull moment. Elly Varrenti, The Age, 11 February 2012

Alison Bell and Luke Watts

The Seed by Kate Mulvany Season Arts Centre Melbourne, Fairfax Studio 17 February to 4 April 2012 Production Director Anne-Louise Sarks Set and Costume Designer Christina Smith Lighting Designer Matt Scott Composer and Sound Designer Jethro Woodward Cast Max Gillies, Sara Gleeson, Tony Martin Paid Attendence 12,138 Subscriber Briefing 13 February Forum Night 27 February Audio Described Performances 13 and 17 March Captioned Performance 24 March The stage direction of Anne-Louise Sarks is wonderfully harmonious. She emphasises the sense of wonder and curiosity in the writing and makes a virtue of its conceits and poetic artifice. Chris Boyd, The Australian, 24 February 2012 Max Gilles is unforgettable as Rose’s blunt, warm, ruthless Granda, his performance growing and becoming central as the play moves on. Tony Martin as Rose’s affected father, a Vietnam veteran, manages to evoke the heart of a father and a man broken by war, patient and loving but stilted, to perfection. The Seed is a brilliant play, full of surprises, and well worth taking in. Rebecca Butterworth, artshub.com, 25 February, 2012

Sara Gleeson and Max Gillies

Red by John Logan Season The MTC Theatre, Sumner 22 March to 5 May 2012 Production Director Alkinos Tsilimidos Set Designer Shaun Gurton Costume Designer Jill Johanson Lighting Designer Matt Scott Composer and Sound Designer Tristan Meredith Cast Colin Friels, André de Vanny Paid Attendence 20,623 Subscriber Briefing 19 March Forum Night 2 April Audio Described Performances 17 and 21 April Production Partner UBS Friels gives an outstanding performance as the tormented, cerebral and terrifically selfabsorbed artist. Holding red and black in dramatic equipoise, it’s a portrait drenched in fury and passion, leached at by a sense of impotence and growing cynicism. Cameron Woodhead, The Age, 28 March 2012 The performances of Friels and de Vanny are the great strength of Alkinos Tsilimidos’s production and they enliven the text, imbuing it with light and darkness. Kate Herbert, Herald Sun, 30 March 2012

Colin Friels

Australia Day by Jonathan Biggins A co-production with Sydney Theatre Company World Premiere Season Season Arts Centre Melbourne, Playhouse 21 April to 26 May 2012 Production Director Richard Cottrell Set and Costume Designer Richard Roberts Lighting Designer Niklas Pajanti Sound Designer David Franzke Assistant Director Gary Abrahams Cast Valerie Bader, Kaeng Chan, David James, Peter Kowitz, Geoff Morrell, Alison Whyte Paid Attendence 20,297 Subscriber Briefing 16 April Forum Night 30 April Audio Described Performances 8 and 12 May Captioned Performance 19 May Production Partner Adshel Corporate Supporter Goldman Sachs Performances are strong and direction skilful in its attention to the need for breathing time when the one-liners threaten to descend into revue-style sketch. Australia Day is a hoot: makes you laugh, makes you wince, makes you think. Elly Varrenti, The Age, 28 April 2012 Funnyman Jonathan Biggins’s new Australia Day … is a breath of fresh air. It is funny, topical, and each of the six characters is individual and must be enormous fun for this fine cast to play. Directed with a deft hand by Richard Cottrell, Australia Day is rather like Grass Roots with the incisive wit of David Williamson. Julie Houghton, Melbourne Observer, 2 May 2012 David James and Geoff Morrell

The Heretic by Richard Bean Australian Premiere Season Season The MTC Theatre, Sumner 12 May to 23 June 2012 Production Director Matt Scholten Set Designer Shaun Gurton Costume Designer Esther Marie Hayes Lighting Designer Lisa Mibus Composer and Sound DesignerJethro Woodward Assistant Director Katy Warner Cast Lyall Brooks, Shaun Goss, Noni Hazlehurst, Andrew McFarlane, Anna Samson, Katy Warner Paid Attendence 18,972 Subscriber Briefing 7 May Forum Night 21 May Audio Described Performances 5 and 9 June Captioned Performance 16 June Major Partner Opening Night Audi The Heretic enjoyed a bumper season at the Royal Court and the MTC production is also a lively, satisfying production … the performances are all first rate, led brilliantly by Hazlehurst, whose accent never falters. She is measured and restrained in keeping with her methodical, yet warmly intelligent character. Shaun Goss as Ben is one to watch. He is brave on stage and is every bit the confused, endearing young man … There is just the right balance between emotional and intellectual stirrings to make this very rewarding theatre. Catherine Lambert, Sunday Herald Sun, 20 May 2012 In Bean’s irreverent – often hilarious – play, the politics of science, the idiocy of academia, and the chaos of family life collide in a quirky version of a family drama. Hazlehurst, as Diane, is a refreshingly still point amid frantic characters as she wrangles her explosively dysfunctional, intellectually gifted daughter, Phoebe (Anna Samson), her obsessive Greenie student, Ben (Shaun Goss) and her ambitious colleague and ex-lover, Kevin [Andrew MacFarlane]. Kate Herbert, Herald Sun, 18 May 2012 Noni Hazlehurst

National Interest by Aidan Fennessy A co-production with Black Swan State Theatre Company Season Arts Centre Melbourne, Fairfax Studio 6 June to 21 July 2012 Production Director Aidan Fennessy Set and Costume Designer Christina Smith Lighting Designer Trent Suidgeest Sound Designer Ben Collins Cast James Bell, Julia Blake, Grant Cartwright, Michelle Fornasier, Stuart Halusz, Polly Low Paid Attendence 12,883 Subscriber Briefing 4 June Forum Night 18 June Audio Described Performances 3 and 7 July Captioned Performance 14 July Julia Blake is magnificent as the feisty mother; she’s locked in combat with her daughter (Michelle Fornasier) over accusations about memory loss and ironically her obsessive recollections of the Balibo dead … Fennessy has written a great role for an actor of Blake’s calibre, and choreographed a fine cast around her pivotal figure. It’s a deeply personal account of a tragic national event. Victoria Laurie, The Australian, 11 May 2012 National Interest is well-honed and moving drama that neither pulls its punches in its critique of the politics of obfuscation nor alienates with a lack of emotional involvement. Fennessy has done impressively to direct his own work and a subject so close: Tony Stewart was his uncle. Elly Varrenti, The Age, 13 June 2012

Michelle Fornasier and Julia Blake

Queen Lear by William Shakespeare Season The MTC Theatre, Sumner 9 July to 18 August 2012 Production Director Rachel McDonald Set and Costume Designer Tracy Grant Lord Lighting Designer Niklas Pajanti Composer and Sound Designer Iain Grandage Assistant Director Benedict Hardie Cast Nicholas Hammond, Belinda McClory, Robert Menzies, Robyn Nevin, Rohan Nichol, David Paterson, Genevieve Picot, Richard Piper, Alexandra Schepisi, Greg Stone Paid Attendence 16,924 Subscriber Briefing 2 July Forum Night 16 July Audio Described Performances 31 July and 4 August Major Partner Opening Night Audi This is a production that will divide audiences, though the performances of Robert Menzies, Greg Stone and Genevieve Picot, at least, should draw universal praise, as should the fine sound design of Iain Grandage. Perhaps Lear is one of those plays that can only ever divide. Division is, after all, the soul of this play, its dramatic mechanism. Andrew Furhmann, Time Out, 17 July 2012 But really, watching Nevin play the role, it could have been written for a female. Director Rachel McDonald has staged a fine Queen Lear. Angus Cameron, theatrepeople.com, 13 July 2012

Rohan Nichol, Robyn Nevin and Robert Menzies

His Girl Friday Adapted by John Guare from The Front Page by Ben Hecht and Charles Macarthur and the Columbia Pictures film Season Arts Centre Melbourne, Playhouse 11 August to 15 September 2012 Production Director Aidan Fennessy Set and Costume Designer Tracy Grant Lord Lighting Designer Matt Scott Sound Designer Russell Goldsmith Assistant Director Roslyn Oades Cast Marco Chiappi, Kate Cole, Tyler Coppin, Jim Daly, Giordano Gangl, Tom Hobbs, Peter Houghton, John Leary, Adam Murphy, Grant Piro, Philip Quast, Pamela Rabe, Deidre Rubenstein, Christopher Stollery, David Woods, Tim Wotherspoon Paid Attendence 20,616 Subscriber Briefing 6 August Forum Night 20 August Audio Described Performances 28 August and 1 September Captioned Performance 8 September Production Partner The Age Major Partner Opening Night Audi Pamela Rabe and Philip Quast are finely matched as the romantic leads: she brings heroic wit and fierce independence to the gauntlet a talented woman must run in a man’s world; he a dapper charm and fiery idealism to the newspaper editor who’d sell his own grandmother for a story. The brawling rapport they establish is a pleasure to watch. Cameron Woodhead, The Age, 20 August 2012 His Girl Friday is engrossing, and often scandalously funny. And at almost three hours long, the time raced by, which is no mean feat. Chris Boyd, The Australian, 20 August 2012 Pamela Rabe and Philip Quast

Top Girls by Caryl Churchill Season Southbank Theatre, The Sumner 27 August to 29 September 2012 Production Director Jenny Kemp Set and Costume Designer Dale Ferguson Lighting Designer Richard Vabre Composer and Sound Designer Elizabeth Drake Assistant Director Peta Coy Cast Li-Leng Au, Anita Hegh, Margaret Mills, Eryn Jean Norvill, Sarah Ogden, Nikki Shiels, Maria Theodorakis Paid Attendence 15,880 Subscriber Briefing 20 August Forum Night 3 September Audio Described Performances 11 and 15 September Major Partner Opening Night Audi Director Jenny Kemp brings together a remarkable all female cast: Helpmann-winning Anita Hegh again proves herself a rising star as aspirational protagonist Marlene; younger cast members Nikki Shiels and Eryn Jean Norvill are also luminous. Rebecca Harkins-Cross, The Age, 3 September 2012 Thirty years after its premiere, Top Girls is as chafingly ambiguous and inscrutable as ever. And its scheduling in 2012 is just as intriguing … Dale Ferguson’s richly draped and carpeted sets, like the play itself, tease us with the promise of semiotic riches hidden away like treasure. And, happily, the treasure chest is cracked opened before the final curtain falls. Chris Boyd, The Australian, 3 September 2012

Li-Leng Au, Nikki Shiels, Maria Theodorakis and Anita Hegh

Elling

Based on a novel by Ingvar Ambjørnsen Stage adaptation by Axel Hellstenius in collaboration with Petter Næss Translated by Nicholas Norris Adapted by Simon Bent Presented with Ambassador Theatre Group by arrangement with NORDISKA ApS Season Southbank Theatre, The Sumner 29 October to 8 December 2012 Production Director Pamela Rabe Set Designer and Costume Designer Christina Smith Lighting Designer Matt Scott Sound Designer David Franzke Additional Sound Max Lyandvert Cast Ronald Falk, Darren Gilshenan, Emily Goddard, Bert LaBonté, Hayden Spencer Paid Attendence 16,320 Subscriber Briefing 22 October Forum Night 5 November Audio Described Performances 20 and 24 November Production Partner Genovese Coffee Major Partner Opening Night Audi As Elling, Gilshenan impeccably balances comedy and tragedy, inhabiting this pernickety, emotionally stifled, mentally rigid and socially incapacitated mummy’s boy who lived with his mother until she died when he was forty. Kjell is Elling’s polar opposite. He is a childlike, scruffy, huggable character with minimal impulse control and an unwillingness to wear trousers. Kate Herbert, The Sunday Herald Sun, 4 November 2012 Darren Gilshenan brings a persistent apprehension to his faultless performance of Elling, contrasting with the (equally fantastic) arse-crack flaunting absurdity of Hayden Spencer as Kjell. In this journey of self-discovery, lighting designer Matt Scott highlights moments of loneliness, hilarity and destruction in a way that compliments the chaotic charm of the piece. Alexandra Hayden, Time Out, 2 November 2012 Hayden Spencer and Darren Gilshenan

Music by Barry Oakley World Premiere Season Season Arts Centre Melbourne, Fairfax Studio 9 November to 22 December 2012 Production Director Aidan Fennessy Set and Costume Designer Marg Horwell Lighting Designer Lisa Mibus Composer Ian McDonald Cast Janet Andrewartha, Paul English, Robert Menzies, Richard Piper Paid Attendence 14,942 Subscriber Briefing 5 November Forum Night 19 November Audio Described Performances 27 November and 1 December Captioned Performance 8 December The performances are the strength of this production and Piper is pivotal, playing the dogged Jack with humour and grit, and making his death scene passionate and tragic … Oakley’s play captures comedy and tragedy in its challenging take on death and dying. Kate Herbert, Herald Sun, 16 November 2012 Piper’s Jack is an utterly credible former English academic, with a spiky intelligence that dances around his impending mortality through sardonic put-downs. Yet the most affecting moments are his quiet scenes with Menzies … It’s still entertaining and emotionally involving, with more wit and sensitivity than most. And it achieves the catharsis it seeks, using the imminence of death to show how lonely the fear of life can make us. Cameron Woodhead, The Age 16 November 2012

Janet Andrewartha

ON AS SE

by Robert Reid

O DI U ST

On the Production of Monsters World Premiere Season Season The MTC Theatre, Lawler Studio 23 May to 9 June 2012 Production Director Clare Watson Set and Costume Designer Andrew Bailey Lighting Designer Richard Vabre Composer Kelly Ryall Cast Virginia Gay, James Saunders Paid Attendence 1,181

Gay and Saunders provide exceptional performances, playing multiple roles and peopling the stage with a parade of diverse, recognisable urban types, victims and villains, the powerful and the helpless. Clare Watson’s direction maintains a rapid, rhythmic pace that emphasises the relentless juggernaut that follows the publication of the offending photo. Kate Herbert, Herald Sun, 30 May 2012 This production is so rampantly imaginative, so fast, so sly, and so spectacularly well acted, you would be forgiven for not noticing the playwright’s dastardly un-Melbournian designs … Watson’s production is the sachet of sugar helping the macchiato go down in the most delightful way. Chris Boyd, The Australian, 28 May 2012

Virginia Gay and James Saunders

ON AS SE

by Roland Schimmelpfennig translated by David Tushingham

O DI U ST

The Golden Dragon

Australian Premiere Season Season The MTC Theatre, Lawler Studio 20 June to 7July 2012 Production Director Daniel Clarke Set and Costume Designer Andrew Bailey Lighting Designer Emma Valente Sound Designer Russell Goldsmith Cast Rodney Afif, Ash Flanders Jan Friedl, Dana Miltins, Roger Oakley Paid Attendence 1,100 It’s funny stuff, but also conserves most of their energy for a more poetic imperative and the performers achieve a riveting momentum. Director Dan Clarke and his ensemble have achieved a vigorous and compelling theatrical language – nonchalant, downbeat and utterly Australian – that translates the work’s most striking feature. Cameron Woodhead, The Age, 28 June 2012 It was delightfully different, and nicely strange from start to finish. There are no weak links in this five-member ensemble, who all inhabit the stage for the entire production, although the young Dana Miltins shines bright. Sally Bennett, Herald Sun, 26 June 2012

Dana Miltins with Rodney Afif, Jan Friedl, Ash Flanders and Roger Oakley

O DI U ST

by Melissa Reeves

ON AS SE

Happy Ending World Premiere Season Season Southbank Theatre, The Lawler 5 to 22 September 2012 Production Director Susie Dee Set and Costume Designer Andrew Bailey Lighting Designer Katie Sfetkidis Composer Ian Moorhead Cast Keith Brockett, Christopher Connelly, Nell Feeney, Roz Hammond, Fanny Hanusin, Gareth Yuen Paid Attendence 950

Commissioned by MTC thanks to support from the Joan and Peter Clemenger Trust. Developed thanks to support from the Cybec Foundation. There is a glorious sexual frankness in Melissa Reeves’s new play Happy Ending unrivalled in recent English-language theatre … Happy Ending is a screwball comedy in which race is the linchpin rather than class. It’s a wonderfully refreshing counterpoint to glib, Pretty Womanstyle fantasies … Though some of the political comedy is obvious, it’s never forced, which is a credit to the cast and director Susie Dee. Chris Boyd, The Australian, 10 September 2012 Careful in its portrayal of ageing and desire, Happy Ending doesn’t flinch at describing bodies gone soft, sex drives gone mad, menial conversations about politics and wellmeaning middle-class attitudes. Jenny Valentish, Time Out, 14 September 2012

Nell Feeney and Gareth Yuen

MTC ON TOUR

AWARDS AND NOMINATIONS

Australia Day by Jonathan Biggins A co-production with Sydney Theatre Company

2012 Helpmann Award Winners Best Male Actor in a Supporting Role Bob Hornery, The Importance of Being Earnest Best Female Actor in a Supporting Role Robyn Nevin, Summer of the Seventeenth Doll

Regional Tour Riverside Theatre Parramatta 22 to 25 August 2012

Helpmann Award nominations Best Play The Importance of Being Earnest Best Director Simon Phillips, Songs for Nobodies Best Female Actor Bernadette Robinson, Songs for Nobodies Best Female Actor Helen Thomson, Summer of the Seventeenth Doll Best Male Actor Colin Friels, Red Best Male Actor in a Supporting Role Patrick Brammall, Clybourne Park New Australian Work Joanna Murray-Smith, Songs for Nobodies Musical Direction Ian McDonald, Songs for Nobodies Costume Design Tony Tripp and Tracy Grant Lord, The Importance of Being Earnest Set Design Tony Tripp and Richard Roberts, The Importance of Being Earnest

Canberra Theatre Centre 29 August to 1 September 2012 Sydney Theatre Season Drama Theatre, Sydney Opera House 7 September to 27 October 2012 Production Director Richard Cottrell Set and Costume Designer Richard Roberts Lighting Designer Niklas Pajanti Sound Designer David Franzke Assistant Director Gary Abrahams Cast Valerie Bader, Kaeng Chan, David James, Peter Kowitz, Geoff Morrell, Alison Whyte Paid Attendance Parramatta 934 Canberra 2,376 Sydney 21,915 Total 25,225

2012 Green Room Award Winners Female Actor Eryn Jean Norvill, Top Girls Male Actor Colin Friels, Red Production Top Girls by Caryl Churchill 2012 Green Room Award nominations Female Actor Alison Bell, Tribes Female Actor Helen Thomson, Summer of the Seventeenth Doll Male Actor Darren Gilshenan, Elling Lighting Design Damien Cooper, Summer of the Seventeenth Doll Lighting Design Matt Scott, Red Set and Costume Design Andrew Bailey, Year’s Work (On the Production of Monsters, The Golden Dragon, Happy Ending) Set and Costume Design Dale Ferguson, Top Girls Set and Costume Design Christina Smith, Elling Sound/Composition Paul Charlier (Sound) and Alan John (Composition), Summer of the Seventeenth Doll Sound/Composition Elizabeth Drake, Top Girls Director Neil Armfield, Summer of the Seventeenth Doll Director Jenny Kemp Top Girls Director Pamela Rabe Elling Production Summer of the Seventeenth Doll by Ray Lawler Ensemble The Golden Dragon Writing/Adaption for Australian Stage Aidan Fennessy for National Interest

LITERARY MANAGER’S REPORT

Season 2012 was my last as Literary Manager at MTC and the policy was to hold the ship on a steady course. Knowing that a new Artistic Director was about to renew the Company’s vision for 2013 and beyond, I felt my task was to keep up the good work of the past five years: encouraging new writers, sourcing commissions, reading plays, dispensing advice, getting scripts ready for production, and making sure there was money available to pay for it all. So you can see that ‘steady as she goes’ still requires a lot of time and hard work. Five Australian plays in a twelve play season is the norm these days at MTC and shows the underlying strength of Australian playwriting. Of course, I can take no credit for Summer of the Seventeenth Doll, which had achieved classic status before I was born, but as part of the Programming Team, I was pleased that Kate Mulvany’s The Seed, an Australian play that missed a local production a few years ago when it was receiving accolades elsewhere, received a belated Melbourne production. Australia Day by Jonathan Biggins filled our big social comedy slot in the Playhouse, and Music by Barry Oakley was the perfect small, intense Fairfax Studio experience. Finally, there was my own play, National Interest, that I developed through Black Swan State Theatre Company and their sponsors Rio Tinto.

Our five-play Lawler Studio Season, which included for the first time two productions under the auspices of our Education Department, presented three premieres of Australian plays. On the Production of Monsters by Robert Reid, Helicopter by Angela Betzien and Happy Ending by Melissa Reeves were all commissioned and developed within MTC. The other two Lawler spots were taken by The Golden Dragon, a German play by Roland Schimmelpfennig, and Boy Girl Wall, that had been a hit in Queensland and was a hit all over again with both our Education and general audiences alike. Reinforcing, as it always seems to do, the breadth of style shown in the rest of the season, the line-up for the 2012 Cybec Readings consisted of two commissioned works and one that came out of the blue from an established writer in another medium. Novelist Richard Flanagan’s play Ronnie Gospers was a contemporary dystopian satire of politics and its spin, with a juicy sense of the absurd and the courage to take an argument to its illogical conclusions. Kate Mulvany, as well as seeing The Seed performed in our mainstage season, handed in her commissioned play The Rasputin Affair, a comedy of incompetence about the longest and most convoluted assassination attempt in history. Another commission, The Curtain, came in from Daniel Keene, and the reading revealed his characteristic sympathy for the underclass and magical feel for tone. Once again, I would like to thank the Cybec Foundation for its continuing support of new writing.

PLAYREADINGS

the commissioned writers, who this year included Angela Betzien, Beatrix Christian, Brendan Cowell, Declan Greene, Eddie Perfect and Simon Stone. At the beginning of 2013, my successor Chris Mead took up the post as Literary Director and I wish him all the best in bringing top class Australian works to the stage in the coming years.

The Rasputin Affair by Kate Mulvany Thursday 27 September 2012 Director Leticia Cáceres Cast Tom Budge, Marco Chiappi, Petra Kalive, Alex Menglet, David Paterson Paid Attendance 46

Ronnie Gospers by Richard Flanagan Aidan Fennessy Associate Director and Literary Manager

Friday 28 September 2012 Director Aidan Fennessy Cast Christopher Brown, Luke Elliot, Brigid Gallacher, Virginia Gay, Francis Greenslade, Tim Potter Paid Attendance 25

The Curtain by Daniel Keene Saturday 29 September 2012 Director Matt Scholten Cast Paul English, Alex Menglet, Helen Morse Paid Attendance 24

Also supporting new Australian plays is the Joan and Peter Clemenger Trust which provides the funds for play commissions. I would like to thank the Trust on behalf of 45

EDUCATION MANAGER’S REPORT

In 2012, MTC Education collaborated with two young and independent theatre companies, The Escapists and RealTV, to present two fantastic pieces of new Australian writing for the next generation of theatre-lovers. For the first time, these productions in our Education season were also featured in the Lawler Studio Season, allowing more opportunities for school students and the general public to share the theatre experience. The energetic one-man show Boy Girl Wall by The Escapists found the perfect home in the 2012 MTC Education season, and seemed to be universally loved by students, teachers, the press and the general public. Listed on the VCE Drama playlist, the show was a fantastic example of non-naturalistic solo performance, giving students plenty of inspiration for their own solo performance exams at the end of the year. Co-writer and performer Lucas Stibbard effortlessly shifted between about fifteen characters, which included people (both realistic and caricatured), inanimate objects, and even days of the week. Overall, the production was a fantastic addition to the Education program and a fun and lively start to the Lawler Studio Season. Our second Education production of the year, Helicopter by Angela Betzien, was

incredibly exciting in that it was MTC’s first commissioned work for young people in many years. Following its inclusion in a Playwriting Australia Script Workshop, the play received two weeks of script development in late 2011, evolving into a fantastic piece of contemporary writing for its world premiere in the 2012 MTC Education season. It’s always challenging to find an audience for a play directed at senior secondary students when it’s not featured on the curriculum, and unfortunately we didn’t reach quite as many students as we would have liked with Helicopter. However, the response from the schools that did attend the play was overwhelming. It was a piece which challenged and divided its audience, and made for robust classroom discussion. Also, the inclusion of the production in the MTC Lawler Studio Season meant that it had the chance to reach a broader audience. It was fantastic to see this great new Australian work reach so many people beyond the Education Program. The MTC Ambassador Program entered its third year, with another enthusiastic group of young theatre lovers getting together for regular meetings to hear from industry guest speakers, attend MTC productions and share in-depth discussions about all things theatrerelated. This year we increased our regional reach with seven country students participating in the program; many of whom travelled up to three hours each way for our monthly gettogethers. A highlight of the year for many Ambassadors was being invited onstage for the 2013 Season Launch at Hamer Hall and attending the VIP after-party, where they had the chance to meet some of their stage and screen idols, including Robyn Nevin and David Wenham. Joanna Murray-Smith’s visit as

guest speaker was also inspirational for many, and favourite productions of the group included Boy Girl Wall, Elling and Helicopter. MTC continues to offer a variety of outreach initiatives for disadvantaged young people, including our annual Youth Scholarship Course, which provides twenty-four young people with the opportunity to attend a week-long intensive drama program focussed on building self-esteem, self-expression and teamwork. In 2012, this program was funded entirely by the generous support of Patrons who gave through our annual tax appeal. We also offered free tickets to MTC productions for disadvantaged schools through the Sidney Myer Geoffrey Cohen AM Scholarship Fund, and we were able to reimburse many regional schools for the travel costs associated with attending an MTC production, through the Tattersalls Regional Travel Subsidy Fund.

Performance exam preparation. Students also had the opportunity to be exposed to the ‘inner workings’ of MTC through regular Production, HQ and Theatre tours and our Work Experience program. In summary, another busy and rewarding year of providing magical first theatre experiences for many young people, while deepening and broadening the connection to the art form for many others. The future is looking bright.

Suzie Thomas Education Manager

Although 2012 school group mainstage attendance was a little lower than in 2011, the results were much more evenly spread across the twelve productions than they have been in recent years, indicating that schools are making broader choices rather than just attending the ‘blockbuster’ productions, or those that fit neatly within the curriculum. Two mainstage productions, Tribes and Top Girls, were featured on the VCE Theatre Studies playlist, and for these productions, as well as Boy Girl Wall and Helicopter, we provided comprehensive Teachers’ Notes and curriculum-linked Pre-show Talks and Post-show Q&A’s. We also helped students prepare for the practical side of their VCE Drama and Theatre Studies course with a preparatory Summer School and one-day intensive workshops in Solo and Monologue 47

WORKSHOPS AND PARTICIPATORY EVENTS

VCE Summer School Course 16 January to 20 January 2012 MTC Headquarters Paid Attendance 28 MTC and Harvey World Travel Theatre Study Tour 8 April to 13 April 2012 MTC Headquarters and MTC Theatre, Lawler Studio Attendance 61 VCE Solo Performance Workshops 15 June to 22 June 2012 MTC Headquarters Paid Attendance 234 Youth Scholarship Course 9 July to 13 July 2012 MTC Headquarters Attendance 24 VCE Monologue Performance Workshops 20 August to 24 August 2012 MTC Headquarters Paid Attendance 212 Pre-show Talks and Post-show Q&As March to December 2012 MTC Theatre, Sumner and Lawler Studio Paid Attendance 741 MTC Ambassador Program April to December 2012 MTC Headquarters Attendance 25 MTC Headquarters and Theatre Tours February to November 2012 Paid Attendance 283 Work Experience Placements and Volunteers January to December 2012 Attendance 15 Education sales for MTC Mainstage and Lawler Studio productions: Paid Attendance 5, 358 Geoffrey Rush meets our 2011 Ambassadors

ON TI CA U ED

BOY GIRL WALL by Matthew Ryan and Lucas Stibbard A production by The Escapists Season The MTC Theatre, Lawler Studio 17 April to 4 May 2012 Production Director Matthew Ryan Realisers Matthew Ryan, Lucas Stibbard, Neridah Waters and Sarah Winter Set and Costume Designer Jonathon Oxlade Lighting Designer and Stage Manager Keith Clark Composer and Sound Designer Neridah Waters Cast Lucas Stibbard Musician Neridah Waters Paid Attendance 2,853

This is a wonderful, sweet, charming, energetic play and Stibbard’s million-watt performance is very much the beating heart of it … Boy Girl Wall has a lovely sense of the romantic to it without being saccharine; and a beautiful sense of whimsy without being self-conscious. Kate Rose, Sunday Herald Sun, 22 April 2012 Stibbard gives a dexterous, witty and resourceful performance as he darts about endlessly, amid a set made of blackboards, inhabiting one Dickensian-like character to the next: the one-eyed Scottish taxi driver out to avenge an evil magpie; a competitive and nerdy colleague; the unctuous, corporate publisher, and a Goth librarian and mediaeval recreationist … A wonderful night in the theatre. Elly Varrenti, The Age, 23 April 2012

Lucas Stibbard

ON TI CA U ED

HELICOPTER by Angela Betzien In association with RealTV World Premiere Season Season The MTC Theatre, Lawler Studio 2 to 17 August 2012 Production Director Leticia Cáceres Set and Costume Designer Tanja Beer Lighting Designer Lisa Mibus Composer Pete Goodwin (THE SWEATS) Cast Paul Denny, Daniela Farinacci, Charles Grounds, Terry Yeboah Paid Attendance 1,858 Commissioned by MTC and developed with the assistance of Playwriting Australia.

Helicopter is a work of skilful, nasty, profound yet unpretentious writing. There are moments of suprising imagery used to great effect. Good use is made of space where action happens on different levels, offering symbolism, and utilisation of a simpler set than some we’ve seen. Lisa Dezfouli, australianstage.com.au, 5 August 2012 Still, satire of such uncompromising savagery, theatre that makes such little effort to be liked, is rare on the Australian stage. For decades, David Williamson and his imitators have tickled the tootsies of the white middle-class with bare recognition and droll oneliners; it’s about time someone flayed us alive. Cameron Woodhead, The Age, 17 August 2012

Paul Denny

EXECUTIVE DIRECTOR’S REPORT

have a new creative team bursting with fantastic ideas to reimagine what theatremaking and storytelling can be. Brett and I have a shared vision of audience engagement: we want to excite, to entertain, to fire the imagination and to make you think. Thank you to all the MTC staff – all hard working professionals delivering theatre at its best.

Having started in January 2013 as the Executive Director of the Melbourne Theatre Company, joining Brett Sheehy as part of the new team, I cannot give you a detailed report on the past twelve months. I would, however, like to pay tribute to Ann Tonks who, after eighteen years of great dedication and commitment, has left us with a financially robust company poised for the next exciting chapter in its history.

Virginia Lovett Executive Director

When Ann started in 1994, the Company’s headquarters at Ferrars Street was ramshackle and in desperate need of refurbishment. The Company was forced to close Russell Street Theatre as the Company’s home and scale back operations to ensure continued financial viability. Now, in 2013, I sit in a beautiful light-filled office in Sturt St, with amazing facilities for theatre-making, a mere five-minute amble to the Company’s own Southbank Theatre in the heart of Melbourne’s cultural precinct. I cannot help but marvel at Ann’s foresight, passion and sheer tenacity in ensuring the sustainability of this company — a company she loved. It is a very exciting time for MTC. We

Southbank Theatre, The Sumner

MTC STAFF 2012

Artistic Direction Artistic Director Brett Sheehy Associate Director Aidan Fennessy Casting Director Kylie McCormack Artistic Administrator Martina Murray Casting Co-ordinator Matt Bebbington 2012 Programming Team Aidan Fennessy Robyn Nevin Pamela Rabe Management Executive Director Ann Tonks Executive Administrator Stephanie Convery Catering Manager Andrea Purvis Caterers Anita Lyovic Norma Seager Elizabeth McMahon Development Development Director Andrew Boyd Philanthropy Manager Rupert Sherwood Philanthropy Co-ordinator Upeka Kumarasinghe Corporate Partnerships Executive Laura Vamos Major Donor and Foundations Manager Adrienne Conway Fundraising and Event Manager Mandy Jones Corporate Partnerships Co-ordinator Julia Dyer Patron Ticketing Officer Ryan Nicolussi Education Education Manager Suzie Thomas Education Bookings/ Ticketing Officer Mellita Ilich Education Co-ordinator Mattie Young

Finance and Administration Finance Director Patrick Healey IT & Systems Manager Michael Schuettke Finance Officers Ivan Downey Stas Hempel Personnel Administrator Christine Verginis Accountant Stan Wong Salaries Officer Julia Godinho Casual Accountants Rebecca Dodd Yolley Thomas-Kalos Marketing Marketing Director Vanessa Rowsthorn Marketing Managers Lisa Scicluna James Wright Digital Marketer Megan Byrne Marketing Co-ordinator Lydia Gibala Marketing Assistant Daniel Coghlan Senior Graphic Designer Lydia Baic Graphic Designers Kate Francis Helena Turinski Production Head of Production Adam J Howe Production Manager Alyson Brown Technical Manager – Systems Kerry Saxby Acting Technical Manager – Staging David Hobbs Electrics Allan Hirons David Farmer Scott McAlister Production Administrator Lyn Cyrill Production Co-ordinator Michaela Deacon EHS Co-ordinator Eliza Neil CAD Drafting Andrew Bailey Andrew Bellchambers

Production Manager Touring Michele Preshaw Production Assistant Lisette Drew PR and Communications Public Relations and Communications Director Debora McInnes Publicists Mayuca Pandithage Rosie Shepherdson-Cullen Public Relations and Communications Assistant Yunuen Perez Martinez Receptionists Chloe Gordon Claire Haggan Publications Co-ordinator Paul Galloway Properties Supervisor Geoff McGregor Properties Maker Colin Penn Brenton Clark Scenic Art Supervisor Shane Dunn Scenic Artists Tansy Elso Colin Harman Southbank Theatre Theatre Manager Mark D Wheeler Building Services Manager Stuart Duffield Theatre Operations Manager Samantha Potts Production Services Manager Frank Stoffels Lighting Supervisor James Conway House Services Manager Emily Davies Staging Supervisors Robert Bristow Grant Kennelly Sound Supervisor Terry McKibbin Lawler Studio Technician Josh Noble Head Flyman James Tucker

Stage and Technical Staff Nicola Andrews Tom Brayshaw James Cunningham Kieran Daniels Adam Froling Richard Gorr Paul Lim Kane Meade Fiona Murray Philip Ivan Pietruschka Nicholas Reich House Supervisors Tash Commons Marisa Cuzzolaro Pieta Farrell Nathan Smith Bar Supervisors Jessica Addy Natasha Cuddihy Soren Jensen Daniel O’Farrell Matthew Phoenix House and Bar Attendants Danny Alder Stephanie Barham Tanya Batt Paul Blenheim Ella Burrell Lisa Dallinger Mel Dodge Rhea Famlonga Susannah Frith Kasey Gambing Ellen Grimshaw Damian Harrison Natalie Holmwood Angus Keech David Loney Andrea McNamara Brienna Macnish Ross MacPherson Paige Marshall Cameron Moore Ryan Nicolussi Caley Otter Zoe Partington Richard Pettifer Thomas Pollard Clare Reddan Glyn Roberts Tain Stangret Caitlyn Staples Paul Terrell Andrew Thomson Mattie Young Jamaica Zuanetti Debbie Zuckerman

Ticketing CRM and Ticketing Director Dale Bradbury Ticketing Managers Daniel Brace Brenna Sotiropoulos Ticketing Services Administrator Lisa Mibus Database Specialist Ben Gu VIP Ticketing Officer Michael Bingham Box Office Supervisors Julie Wood Sarah Hart Box Office Attendants Kristy Barnes-Cullen Joel Checkley Tom Gittings Julia Godinho Jean Lizza Bridget Mackay Andrea McNamara Paige Marshall Yunuen Perez Martinez Teale Nicholls Ryan Nicolussi Kaytlin Petrarca Matthew Phoenix David Samuel Nathan Smith Paul Terrell Shannon Woodford Melina Wylie Samuel Yeo Subscriptions Team Leader Katie Dircks Subscription Team Nina Baeyertz Katie Budge Danny Delahunty Peter Dowd Scott Dunsdon Maxwell Foskey Mary Gotsi Simon Hiler Michelle Hines Sonia Marcon Daniel Scaffidi Kate Shearman Lee Threadgold Rachel Warren

Wardrobe Wardrobe Manager Judy Bunn Wardrobe Supervisor John Molloy Costume Makers Jocelyn Creed Justine Coultham Bianka Gunay Nicole Lacsni Lyn Molloy Claire Mueller Darren Noyes Tatyana Rugema Sophie Woodward Ailsa Woodyard Buyers Lucy Moran Joanne Paterson Keryn Ribands Wardrobe Hire Liz Symons Wardrobe Maintenance Angela Cavalot Millinery Margaret Chrisfield Phillip Rhodes Wigs & Makeup Jurga Celikiene Jutta Schmitz Workshop Workshop Supervisor Aldo Amenta Deputy Supervisor Andrew Weavers Set Makers Ken Best Bryce Hartnett Philip de Mulder Alastair Read Jamie Spiers Volunteers Finance Jen Dutton Carolyn Elvins Consultants Consultant Speech Pathologist Debbie Phyland Overseas Representatives London Yolande Bird/Diana Franklin New York Stuart Thompson

ACTORS AND ARTISTS 2012

Actors Rodney Afif Janet Andrewartha Li-Leng Au Valerie Bader Alison Bell James Bell Julia Blake Keith Brockett Lyall Brooks Christopher Brown Tom Budge Grant Cartwright Kaeng Chan Marco Chiappi Kate Cole Christopher Connelly Tyler Coppin Jim Daly Paul Denny Luke Elliot Paul English Ronald Falk Daniela Farinacci Nell Feeney Ash Flanders Michelle Fornasier Jan Friedl Colin Friels Giordano Gangl Brigid Gallacher Virginia Gay Max Gillies Darren Gilshenan Sara Gleeson Emily Goddard Shaun Goss Julia Grace Francis Greenslade Charles Grounds Stuart Halusz Nicholas Hammond Roz Hammond Fanny Hanusin Noni Hazlehurst Anita Hegh Tom Hobbs Peter Houghton David James Petra Kalive Peter Kowitz Bert LaBonté

John Leary Steve Le Marquand Brian Lipson Polly Low Belinda McClory Andrew McFarlane Travis McMahon Tony Martin Alex Menglet Robert Menzies Margaret Mills Dana Miltins Geoff Morrell Helen Morse Adam Murphy Robyn Nevin Rohan Nichol Eryn Jean Norvill Roger Oakley Sarah Ogden David Paterson Sarah Peirse Genevieve Picot Richard Piper Grant Piro Tim Potter TJ Power Philip Quast Pamela Rabe Deidre Rubenstein Anna Samson James Saunders Alexandra Schepisi Nikki Shiels Hayden Spencer Lucas Stibbard Christopher Stollery Greg Stone Maria Theodorakis Helen Thomson André de Vanny Katy Warner Luke Watts Eloise Winestock David Woods Tim Wotherspoon Alison Whyte Terry Yeboah Gareth Yuen

Musicians Elizabeth Drake Peter Neville Neridah Waters Directors Neil Armfield Leticia Cáceres Daniel Clarke Richard Cottrell Susie Dee Aidan Fennessy Jenny Kemp Rachel McDonald Julian Meyrick Pamela Rabe Matthew Ryan Anne-Louise Sarks Matt Scholten Alkinos Tsilimidos Clare Watson Set and Costume Designers Andrew Bailey Tanja Beer Stephen Curtis Dale Ferguson Tracy Grant Lord Shaun Gurton Esther Marie Hayes Marg Horwell Jill Johanson Louise McCarthy Ralph Myers Jonathon Oxlade Richard Roberts Christina Smith Lighting Designers Keith Clark Damien Cooper Lisa Mibus Niklas Pajanti Matt Scott Katie Sfetkidis Trent Suidgeest Richard Vabre Emma Valente

Composers and Sound Designers Paul Charlier Ben Collins Tim Dargaville Elizabeth Drake David Franzke Russell Goldsmith Pete Goodwin (THE SWEATS) Iain Grandage Alan John Max Lyandvert Ian McDonald Tristan Meredith Ian Moorhead Kelly Ryall Neridah Waters Jethro Woodward Realisers Matthew Ryan Lucas Stibbard Neridah Waters Sarah Winter Writers under Commission Beatrix Christian Brendan Cowell Declan Greene Joanna Murray-Smith Roslyn Oades Eddie Perfect Simon Stone Voice and Dialect Coaches and Consultants Anna McCrossin-Owen Geraldine Cook Fight Choreographers Brad Flynn Nigel Poulton Scott Witt Audio Visual Designer Josh Burns Harmonica Tutor Ian Collard Cultural Advisor Felix Ching Ching Ho

Mandarin Coach Melodie Yingxiu Shen Massage Tutor Vincent Bang Hsiao Education Consultant and Resource Writer Meg Upton Education Teaching Artists and Program Co-ordinators Jane Bayly Tania Bosak Maude Davey Eli Erez Andrew Gray Bec Matthews Nick Pappas Emily Taylor Nicholas Tranter Meg Upton Nicholas Waxman Education Volunteers Jackson Cowan Meredith Faragher Indiana Scully Assistant Directors Gary Abrahams Peta Coy Susanna Dowling Benedict Hardie Roslyn Oades Katy Warner Stage Managers Amy Bagshaw Christine Bennett Jessica Burns Keith Clark Lisette Drew Megan Fitzgerald Bindi Green Anna Dymitr Hawkes Sally Hitchco*ck Mellita Ilich Jess Keepence Whitney McNamara Jess Maguire Natalie Moir

Theresa O’Connor Rebecca Poulter Vivienne Poznanski Julia Smith Sarah Smith Peter Sutherland Pippa Wright Directorial Attachments Felix Ching Ching Ho Suzie Hardgrave Stephen Nicolazzo Alister Smith Mark Wilson Stage Management Secondments Lauren Box Katie Hankin David Kelly Stephen Moore Ryan Murphy Xavier Newton Gemma Simpson Joyce Tay Jonathan Ware Design Secondments Fiona Delalande Nick Mackinnon Amaya Vecellio Lighting Secondment Nicola Andrews Sarah Willetts Photographers Marcel Aucar Jeff Busby Earl Carter Al Caeiro Melissa Cowan Jodie Hutchinson Pam Kleemann Heidrun Löhr Gary Marsh

GOVERNMENT SUPPORT AND SPONSORS

Melbourne Theatre Company is a department of the University of Melbourne.

Melbourne Theatre Company is assisted by the Commonwealth Government through the Australia Council, its arts funding and advisory body, and by the State Government of Victoria through Arts Victoria.

Major Partners Opening Night

Corporate Partners Media

Production Partners

MTC is a member of Live Performance Australia and the Australian Major Performing Arts Group

PATRONS

15000+

Louise and Martyn Myer AO

5000+

Anonymous Dr Andrew Buchanan

and Mr Peter Darcy Ian and Jillian Buchanan John and Robyn Butselaar The Dowd Foundation Dr Helen Ferguson Dr Geraldine Lazarus and Mr Greig Gailey Anne and Peter Le Huray Professor David Penington AC and Dr Sonay Hussein Jeanne Pratt AC Price and Christine Williams Dr Michael and Mrs Lynne Wright

Personalised Support Artistic Development Education Mentoring Wardrobe

10000+

Lyndsey Cattermole AM and Andrew Cattermole Mr Norman and Mrs Betty Lees Maureen and Tony Wheeler Derek and Caroline Young

4000+

Anonymous 1 Sandy Bell and Daryl Kendrick Margaret Gardner and Glyn Davis Murray Gordon and Lisa Norton Orloff Family Charitable Trust Ralph Ward-Ambler AM and Barbara Ward Ambler

3000+

Anonymous 1 James Best and Doris Young The Michael and Andrew Buxton Foundation Barry and Joanne Cheetham Mrs Jane Hemstritch Joan and George Lefroy Mr Alex and Mrs Halina Lewenberg Ashton Raggatt McDougall George and Rosa Morstyn Tim and Lynne Sherwood Andrew Sisson Denise Smith

2000+ Anonymous 8 Noel and Sylvia Alpins James and Helen Angus Rosemary Ayton and Sam Ricketson Marc Besen AO and Eva Besen AO Louisa Bewley and Geoff Harris Bill Bowness Bill and Sandra Burdett Mrs Patricia Burke Stephen and Jenny Charles Elizabeth Chernov Caroline and Robert Clemente

Yvonne and Sandy Constantine Lois Doery Dr Anthony Dortimer and Mrs Jillian Dortimer Eva and Les Erdi OAM Paul and Janice Ferla Gjergja Family Heather and Bob Glindemann OAM Henry Gold Robert and Jan Green Lesley Griffin Gil and Sandi Hoskins Bruce and Mary Humphries Malcolm Kemp

Mr Larry Kornhauser Dr Peter and Mrs Amanda Lugg Mr Graeme Lush Carol Mackay and Greg Branson Ian and Margaret McKellar Donald Murray Jan Nolan Tom and Ruth O’Dea Janet and Allan Reid Diana and Jeffrey Sher Cheryl and Paul Veith Ray and Margaret Wilson Gillian and Tony Wood Laurel Young-Das and Heather Finnegan

Philanthropic Trusts and Foundations The Joan and Peter Clemenger Trust The Cybec Foundation Marshall Day Acoustics (Denis Irving Scholarship)

Harold Mitchell Foundation The Myer Foundation Sidney Myer Fund (Geoffrey Cohen AM Scholarship)

1000+ Anonymous 10 Margaret Astbury Miriam Bass and Peter Jaffe John and Lorraine Bates Peter and Carolyn Berger Jay Bethell and Peter Smart David and Rhonda Black Ross and Alix Bradfield Beth Brown and Tom Bruce AM Diana Burleigh David Byrne Pam Caldwell Ingrid and Per Carlsen Clare and Richard Carlson Fiona Caro A Carroll Kathleen and Harry Cator Chef’s Hat Joan and Peter Clemenger Dr Robin Collier and Mr Neil Collier Mark and Jo Davey Pamela Davies Lenor and Gary Dempsey Jessica Denehey Elizabeth and Geoffrey Donnan The Farrands Family Mr Grant Fisher Robert and Jeanette Flew Rosemary Forbes and Ian Hocking Gillian and Wayne Franklin Nigel and Cathy Garrard Diana and Murray Gerstman Judy and Leon Goldman Roger and Jan Goldsmith

Richard and Isabella Green John and Jo Grigg Scott Herron Dawn and Graham Hill OAM Professor Andrea Hull AO Christina Ibbotson and Keith Lawson Will and Jennie Irving Peter and Halina Jacobsen Irene Kearsey Doris and Steven Klein B Kornhauser Rosemary Leffler Mrs Alison Leslie Mary Lipshut Mr Peter and Mrs Judy Loney Ken and Jan MacKinnon Pamela Marshall Ian Marshman Garry McLean Elizabeth McMeekin Douglas and Rosemary Meagher Gabriele Medley AM Dr Mark and Dr Alla Medownick Ruth Wisniak OAM and Dr John Miller AO Leanne and Clark Morgan Andrew and Jane Murray Daniel Neal and Peter Chalk Brian Nebenzahl OAM RFD and Jocelyn Nebenzahl Dr Paul and Mrs Sue Nisselle Uri and Nili Palti Mrs Alison Park

Jane Peck Cliff Peel Bill and Katharine Ranken Marnie Rawlinson Peter and Terryl Read Sally and Peter Redlich Victoria Redwood Ian and Diana Renard Mr David Richards Dr S M Richards AM and Mrs M R Richards Rae Rothfield Edwina Sahhar Susan Santoro Lola Schattner Max and Jill Schultz Prof Barry Sheehan and Pamela Waller Diana and Jeffrey Sher Judith and John Sime Reg and Elaine Smith OAM Earimil Gardens Charity Diana and Brian Snape AM Ricci Swart Lyle Thomas and Christina Turner Peter and Liz Turner Ursula Whiteside Graeme and Nancy Yeomans Greg Young Roz Zalewski and Jeremy Ruskin Ange and Pete Zangmeister

Sir Andrew and Lady Grimwade Ian and Wendy Haines Jane Hansen Mr Glen Harrington and Mrs Robyn Eastham David Harris and Geraldine Kinsella Mr Michael Heine Glenda Hutchinson Ed and Margaret Johnson Ms Inge Johnston Fiona Kirwan-Hamilton and Simon E Marks SC Margaret Knapp Ruth Krawat Mrs Elizabeth Lyons Alister and Margaret Maitland Dr Ray Marginson AM and Mrs Betty Marginson AM Bernard Marin AM Robert and Helena Mestrovic Mr John G Millard Ross and Judy Milne-Pott

Barbara and David Mushin Naphtali Family Foundation Dr Annamarie Perlesz Dug and Lisa Pomeroy Leah Rodger-Hoskins The Satir Centre of Australia Mr Berek Segan AM OBE and Mrs Maria Segan Serendipity Lavender Farm Bill and Julia Silvester Jane Simon and Peter Cox Tim and Angela Smith Rodney and Aviva Taft M Taylor Mr David Walsh Kevin and Elizabeth Walsh Pinky Watson Erna and Neil Werner OAM Mandy and Ted Yencken

750+ Anonymous 10 Ann Auld John and Dagnija Balmford Robert Bird and Jane Howe Sally Browne Fund – Australian Communities Foundation Elise Callander John and Jan Campbell Mrs Jocelyn Davies Mark and Amanda Derham Mrs Katherine Derham-Moore Kathy and George Deutsch Robert Drake Bev and Geoff Edwards Florentine England George and Eva Ermer Dr Alastair Fearn Nola Finn John Fullerton Lindsay Garner Gill Family Foundation Marco Gjergja Mr Brian Goddard

KEY PERFORMANCE INDICATORS 2012 Artistic Vibrancy

Subscription Season Productions Co-Productions Buy-ins Total New productions Studio Season Productions Co-Productions Buy-ins Total New productions Other Plays Touring Entrepreneurial Co-productions Buy-ins Total New productions Profile of plays New Australian Existing Australian New overseas Existing overseas Education Program Productions Tours Explorations Workshops/Forums/Talks Holiday Program Ambassador Program

9 2 1

12 12

3 0 0

3 3

1 1 0 0

2 0 0 1

2 1

3 1

5 2

6 3

2 0 0 6 3 1

2012

2011

2012

2011

Access Number of Performances

Number of Paid Attendances

Self Entrepreneured Home City

Studio Season Home City Buy-ins Home City Sold Off Home City Regional Other Capital City International Education Development Total Performances

523

512

197,438

2011

199,126

111

Buy-ins Home City

26,133

41,315

0 4 21 0

Sold Off Home City Regional Other Capital City International

0 934 24,291 0

0 1,580 9,856 0

Education

4,711

4,615

Development

124

737

792

Total Paid Performances

0 5 62 0

3,231

2011

32.3%

27.6%

$8,895

$329,851

68.9% 3.7% 17.8%

68.0% 4.4% 18.5%

9.6%

9.1%

100.0%

Financial Viability Based on Audited Accounts

Studio Season Home City

2012

6,231

Strength of reserves Profitability (excluding nonoperating income) Sources of Income as % of Total Box Office * Private Sector Other Income Government Funding Contribution ** Total *

Regional No. of Productions No. of Towns

256,833 262,847

1 1

Includes Ticketing Fees earned on Box Office sales ** Excludes Non-Operating income and netting State Government Grant Against Payroll tax expense Grants Operating Commonwealth Base Total Commonwealth Grants State Base Less Payroll Tax paid to State Total State Grants

$2,020,658

$1,977,160

$2,020,658

$1,977,160

$503,187

$494,290

-$481,388

-$475,948

$21,799

$18,342

2 0 0 6 3 1

INCOME AND EXPENDITURE

2012 Income Other Income including Education and Touring 12%

6% Ticketing

Development 6% Interest received 1% Grant lost to Payroll Tax 2% Grant 9%

64% Box Office

2012 Expenditure

Theatre costs 14%

2% Development

Royalties & commissions 6%

Marketing 6% Administration 2% 53% Salaries & associated costs

Subscription, credit card fees & ticketing 7.5% Other 1% Production costs 8% 0.5% Depreciation

INCOME STATEMENT FOR THE YEAR ENDED 31 DECEMBER 2012

Notes

2012 $

2011 $

2,020,658 503,187 527,789 671,780 405,411 13,282,970 1,410 40,000 4,012,809 21,466,014

1,977,160 494,290 588,905 790,657 366,348 13,993,788 0 40,000 4,176,304 22,427,452

11,184,853 26,000 3,198 353,920 525,232 87,360 44,213 446,498 22,786 244,370 40,661 50,209 170,670 11,418 216,805 22,728 86,238 3,170 165,974 132,095 131,155 1,875,360 2,389,812 198,325 330,139 1,338,814 1,355,115 21,457,119

11,250,687 24,759 3,045 515,199 606,266 70,891 54,763 456,900 21,339 246,362 44,554 47,343 179,142 8,832 170,127 23,063 72,897 4,230 131,467 134,728 181,171 1,851,929 2,653,016 340,973 223,749 1,280,261 1,499,907 22,097,601

8,895

329,851

2012 $

2011 $

93,631 137,962 1,036,649 (354,680) 0 913,562

(72,439) 0 0 0 (62,800) (135,239)

922,457

194,612

(231,593)

72,439

NET SURPLUS AFTER TRANSFERS

690,864

267,051

ACCUMULATED FUNDS/(DEFICIT) AT START OF YEAR

3,089,579

2,822,528

3,780,443

3,089,579

Notes

REVENUE Commonwealth Government Grants Victorian Government Grants Donations and Bequests Sponsorships Investment Income Retail Sales (Box Office MTC) Gain on Sale of Non-Current Assets Operating Funds from Melbourne University Other Income

TOTAL REVENUE

2 3 4 5 21

LESS EXPENSE Salaries and Oncosts (incl. Leave Provns movement) Audit Service Fees Accountancy & HR Service Fees Printing & Publications Other Consumable Supplies Depreciation and Amortisation Expense Staff Training & Development Travel & Accommodation on University Business Motor Vehicle Running Expenses Postage Telephone Land Line Charges (Usage & Equipment) Garbage and Refuse Removal Contract Cleaning Laundry Services Electricity Gas (Mains and LP) Council Rates Insurance Entertainment Computer Software and Services Asset Expense $1,000-$9,999 General Expenses Rent and Hire Charges Catering Repairs and Maintenance Royalties and Commissions Ticketing

TOTAL EXPENSE

NET OPERATING SURPLUS/(LOSS)

6 7 7 8

Extra Ordinary Items Income on Reserve Incentive Scheme (Loss)/Gain on Valuation of RIS Pool Units Insurance Income Net Lawler Season Gain/(Loss) MTC Theatre Building Project Net Extra Ordinary Items Gain/(Loss)

11 11 22 23 13

NET SURPLUS/(LOSS) Transfers from/(to) Reserves

ACCUMULATED FUNDS/(DEFICIT) AT END OF YEAR

BALANCE SHEET AND STATEMENT OF CHANGES IN EQUITY AS AT 31 DECEMBER 2012

CURRENT ASSETS Cash Assets Receivables Other Assets TOTAL CURRENT ASSETS

CASH FLOW STATEMENTS FOR THE YEAR ENDED 31 DECEMBER 2012 2012 $

2011 $

8,895,496 260,911 1,914,045 11,070,452

8,960,655 375,094 1,699,889 11,035,638

11 14 15

2,015,660 4,851,865 0 6,867,525 17,937,977

1,784,065 4,807,715 0 6,591,780 17,627,418

16 17 18

1,788,399 997,740 9,217,581 12,003,720

1,416,061 1,064,981 10,232,921 12,713,963

Notes

10 12

NON-CURRENT ASSETS Other Financial Assets Property, Plant & Equipment Intangible Assets TOTAL NON-CURRENT ASSETS TOTAL ASSETS

CURRENT LIABILITIES Payables Provisions Other Current Liabilities TOTAL CURRENT LIABILITIES

NON-CURRENT LIABILITIES Provisions TOTAL NON-CURRENT LIABILITIES

TOTAL LIABILITIES NET ASSETS

138,156 138,156

39,811 39,811

12,141,876 5,796,101

12,753,774 4,873,644

2,015,658 3,780,443 5,796,101

1,784,065 3,089,579 4,873,644

EQUITY Reserves Retained Surplus/(Accumulated Deficit)

TOTAL EQUITY

19 20

Cash Flows from Operating Activities Inflows: Cash flows from government: Commonwealth Grants Victorian Government Grants Interest received Other income GST collected/refunded by the ATO Operating funds from Melbourne University Outflows: Payments to employees Payments to suppliers Net Cash Inflow (Outflow) from Operating Activities Cash Flows from Investing Activities Inflows: Proceeds from sale of non-current assets Outflows: Repayment of Pool Unit Unrealised gain on Pool Unit Investment Plant and equipment purchases Net Cash Inflow (Outflow) from Investing Activities

Notes

2012 Inflows/ (Outflows) $

2011 Inflows/ (Outflows) $

1,962,105 503,187 405,411 18,835,091 43,891 40,000

1,977,160 494,920 366,348 19,344,215 69,084 40,000

(11,458,687) (10,172,406) 158,592

(11,268,308) (11,068,016) (44,597)

14,551

0 (1,856,505)

(93,631) (144,671) (223,751)

(595,915) (2,452,420)

(65,159)

(2,497,017)

Cash at the beginning of the reporting period Increase/(Decrease) in Cash Cash at the end of the reporting period

8,960,655 (65,159) 8,895,496

11,457,672 (2,497,017) 8,960,655

Reconciliation of Cash at 31 Dec 2012 Cash/(Overdraft) Petty cash floats Deposits – Maturity < 90 days

8,875,224 20,272

8,940,527 20,128 0 8,960,655

Net Increase/(Decrease) in Cash

8,895,496

STATEMENT OF COMPREHENSIVE INCOME

2012 Inflows/ (Outflows) $

2011 Inflows/ (Outflows) $

8,895

329,851

13 11 22 23

0 93,631 1,036,649 (354,680)

(62,800) 0 0 0

8 5

87,360 (1,410)

70,892 0

114,701 (143,250) (55,707) (15,199) (502) 372,338 25,937 (1,015,337) 5,166 158,592

71,616 752,132 (89,101) 0 0 (1,300,280) (17,621) 204,811 (4,097) (44,597)

Notes Reconciliation of Net Cash used in Operating Activities to operating result – Operating result Less Extraordinary Item Building Expenses (Loss)/Gain on Reserve Incentive Scheme Insurance Income Net Lawler Season Gain/(Loss) Add/(Less) Non-Cash Flows in Net Profit/(Loss) Depreciation Loss/(Gain) on the sale of non-current assets Changes in Assets and Liabilities Decrease/(increase) in receivables Decrease/(increase) in prepayments Decrease/(increase) in other assets Decrease/(increase) in inventories Increase/(decrease) in provision for doubtful debts Increase/(decrease) in payables Increase/(decrease) in wages and salaries payable ## Increase/(decrease) in Income in advance Decrease/(increase) in other provision Net Cash used in Operating Activities ## represents movements in Leave Provisions

Notes Operating result for the year Gain/(loss) on revaluation of land and buildings Available-for-sale financial assets: - Valuation gains/(losses) taken to equity

Total Comprehensive Income for the year

2012 $

2011 $

690,863

267,051

231,593

(72,439)

922,457

194,612

2012 $

2011 $

4,873,644

4,679,032

231,593

(72,439)

922,457

194,612

922,457

194,612

5,796,101

4,873,644

STATEMENT OF CHANGES IN EQUITY

Notes Total Equity at the beginning of the financial year Change in Pool Unit Value of Reserve Incentive Scheme Operating result for the year after tax Total recognised income and expense for the year attributable to the members of the University

Transactions with equity holders in their capacity as equity holders Total Equity at the end of the financial year

SUPPORTING NOTES TO THE FINANCIAL STATEMENTS Note No.

Supporting Notes to the financial statements -

Statement of Accounting Policies

The principal accounting policies adopted by MTC in the preparation of the financial report for the year ended 31 December 2012 are set out below. These policies have been consistently applied to all the years presented, unless otherwise stated.

(i) Freehold Land and Buildings

Land is recorded in the Statement of Financial Position at cost, which is considered to equate fair value. MTC contributed $4,600,000 toward the development of the Sturt Street Headquarters. The funds contributed by MTC are recognised as interest in the land value: refer to Note 14.

(ii) Motor Vehicles

Recorded in the Balance Sheet at cost less depreciation and where applicable, any impairment losses. Profits in respect of the sale or trade-in of motor vehicles are included in Note 5 to the Financial Statements.

1.1 Basis of Preparation

This special purpose financial report has been prepared in accordance with Australian equivalents to International Financial Reporting Standards (AIFRS’s), the Financial Management Act 1994, Urgent Issues Group Consensus Views and other authoritative pronouncements of the Australian Accounting Standards Board. The financial statements have also been prepared in accordance with the guidelines issued by the Department of Education, Employment and Workplace Relations (DEEWR).

(iii) Furniture and Equipment

Recorded in the Balance Sheet at cost less depreciation and where applicable, any impairment losses. Profits and losses in respect of disposals are included in Note 5 to the Financial Statements. MTC has a policy of only recording as fixed assets furniture and equipment costing $10,000 or more. Items under $10,000 are expensed.

Compliance with IFRSs Australian Accounting Standards include Australian equivalents to International Financial Reporting Standards. Compliance with AIFRSs ensures that the financial statements and notes comply with International Financial Reporting Standards (IFRSs). The financial statements and notes also comply with IFRSs except that it has elected to apply the relief provided to parent entities in respect of certain disclosure requirements contained in AASB 132 Financial Instruments: Presentation and Disclosure, AASB 124 Related Party Disclosures and AASB 116 Property, Plant and Equipment.

(iv) Depreciation

Depreciation is provided on a straight line basis on all tangible fixed assets other than Freehold Land which is not depreciated. Major Depreciation Rates are:

- Motor Vehicles 20% - Furniture, Fixtures and Fittings 12.5% - Telephone Equipment (PABX System) 33.3% - General Equipment 20% - Scientific and Computing Equipment 33.3%

These rates have been consistently maintained and there has been no change from rates applied in prior years. Acquisitions are depreciated from the date of purchase; disposals are depreciated up to the date of sale.

1.3 Impairment of assets

At each reporting date MTC assesses whether there is an indication of impairment for all assets except for, inventories, assets arising from employee benefits, investment property and financial instrument assets. If there is an indication of impairment, the assets concerned are tested as to whether their carrying amount exceeds the recoverable amount, the difference is written-off by a charge to the Income Statement except to the extent that the write-down can be debited to an asset revaluation reserve amount applicable to that class of asset.

At each reporting date assets previously determined to be impaired are assessed for circ*mstances indicating that an impairment loss recognised in prior periods no longer exists or may have decreased. If there is an indication that the impairment loss has been reversed, the assets concerned are tested as to whether the recoverable amount exceeds the carrying amount, the difference not exceeding the original impairment is credited to the Income Statement except for revalued assets which are credited to an asset revaluation reserve.

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

Reporting basis and Conventions MTC is considered to be a not-for-profit entity, as such the financial report has been prepared in accordance with the not-for-profit requirements of AIFRS. The financial statements have been prepared on an accruals basis and are based on the historical cost convention as modified by the revaluation of available for sale financial assets, financial assets and liabilities at fair value through profit or loss, certain classes of property, plant and equipment and investment property.

Statement of Accounting Policies Continued

Critical accounting estimates The preparation of financial statements in conformity with AIFRS requires the use of certain critical accounting estimates. It also requires management to exercise its judgement in the process of applying the Group’s accounting policies. Estimates and judgments are continually evaluated and are based on historical experience and other factors, including expectations of future events that are believed to be reasonable under the circ*mstances.

(a) Critical accounting estimates and assumptions MTC makes estimates and assumptions concerning the future. The resulting accounting estimates will by definition, seldom equal the related actual results. The estimates and assumptions that have a significant risk of causing a material adjustment to the carrying amounts of assets and liabilities within the next financial year include impairment of assets as described in note 1.3 of the financial report.

(b) Critical judgements in applying the entity’s accounting policies MTC does not apply any critical judgements that may have a material impact on the amounts presented in the Financial Report.

1.2 Non-Current Assets

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

Statement of Accounting Policies Continued

1.7 Investments

1.4 Intangible Assets

Investments in University of Melbourne Pool Units are carried at fair value, and are consequently restated on an annual basis. Income is taken to account as credited to the fund.

1.8 Leases

MTC leases a property for storage in Laverton. This lease is an operating lease and payments are brought to account in the Income Statement.

1.9 Taxation

MTC is exempt from income tax pursuant to Part 50.1 of the Income Tax Assessment Act 1997.

1.10 Cash

For the purpose of the Statements of Cash Flows, MTC considers cash to include cash on hand and at bank, at-call deposits and commercial/ bank bills with a maturity of 90 days or less.

1.11 Revaluation of Non-Current Assets

Accounting Standard AASB 116 Revaluation of Non-Current Assets and requires reporting entities to measure assets within each class of non-current asset on either the cost basis or on a fair value basis. Subsequent to initial recognition, non-current physical assets, other than plant, equipment, vehicles and intangible assets, are measured at fair value. Plant, equipment and vehicles are measured at cost.

In accordance with the not-for-profit requirements of AASB 116, revaluation increments are credited directly to the asset revaluation reserve, except that, to the extent that an increment reverses a revaluation decrement in respect of that class of asset previously recognised as an expense in net result, the increment is recognised immediately as revenue in the net result.

Revaluation decrements are recognised immediately as expenses in the net result, except that, to the extent that a credit balance exists in the asset revaluation reserve in respect of the same class of assets, they are debited directly to the asset revaluation reserve.

Software Major computer software is recorded in the Balance Sheet at cost less amortisation and where applicable, any impairment losses. Only the cost of the software is capitalised, installation costs are expensed in the Income Statement in the year they are incurred. Amortisation is provided on a straight line basis at the rate of 33 1/3%.

1.5 Employee Benefits

Provision is made for MTC’s liability for employee benefits arising from services rendered by employees at the reporting date. Employee benefits expected to be settled within one year together with entitlements arising from wages and salaries, annual leave which will be settled after one year, have been measured at the amounts expected to be paid when the liability is settled, plus related on costs. 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.

(i) Annual Leave

Liabilities for annual leave have been determined in accordance with Australian Accounting Standard AASB 119 Employee Benefits. Annual leave is an entitlement that an employee can access at any time and is therefore classified as a current liability. In Note 17 this balance is further segmented between the balance that we believe will be taken within 12 months (any balance up to 20 days), and any balance that is likely to be taken after 12 months (any balance greater than 20 days).

(ii) Long Service Leave

Liabilities for long service leave are measured using the nominal method and the projected unit credit method which measures the present value of expected future payments to be made in respect of services provided by employees up to the reporting date. Where there is no material difference, the nominal method is used which recognises leave entitlements of employees with more than four years service. The current portion of the liability is the amount that employees are entitled to take now. In Note 17 this figure is segmented between the amount we expect people to take within the next 12 months and that amount expected to be taken after 12 months (based on historical patterns).

(iii) Superannuation

Employee contributory superannuation funds exist to provide benefits for MTC’s employees and their dependents on retirement, disability or death of the employee. The contributions made to these funds by MTC are recorded in the Income Statement. Further details are provided in Note 6.

Revaluation increments and decrements relating to individual assets within a class of property, plant and equipment are offset against one another within that class but are not offset in respect of assets in different classes. Revaluation reserves are transferred to accumulated funds on derecognition of the relevant asset.

1.12 Comparatives

1.6 Revenue Recognition

Revenue is measured at the fair value of the consideration received or receivable. Revenue is recognised for the major business activities as follows: Operating revenues are taken up in the Income Statement in the year to which they apply. Revenue from rendering a service is recognised upon the delivery of the service. Revenue from the sale of goods is recognised upon the delivery of goods to customers. Income in the form of endowments and bequests is brought to account as revenue when actually received by MTC, except where they are tied to specific expenditures, in which case they are brought to account at the same time as the relevant expenditure.

Comparative figures have been adjusted where there are changes in presentation for the current financial year unless otherwise stated.

1.13 Rounding

All amounts shown in the financial statements are expressed by reference to the nearest dollar unless otherwise specified.

Note No. 2

2012 $ Commonwealth Government Grants From operating activities: Australia Council MPAB Annual Grant Young & Emerging Artists Please refer Note 27 for reconciliation of timing of receipt and recognition of grants Victorian Government Grants From operating activities: Arts Victoria Annual Grant Please refer Note 27 for reconciliation of timing of receipt and recognition of grants

2011 $

2,020,658 0

1,977,160 0

2,020,658

1,977,160

503,187

494,290

503,187

Investment Income Interest Receivable from University

Profit/(Loss) on sale of Non-Current Assets Operational Proceeds from Sale Property, Plant and Equipment

503,187 (481,388) 21,799

494,290 (475,948) 18,342

405,411 405,411

366,348 366,348

14,551 14,551

0 0

Net Profit/(Loss) Operational

13,141 13,141 1,410

0 0 0

Net Profit/(Loss)

1,410

8,924,345

8,911,346

795,032 795,032 481,388 48,366 34,449 314,465 586,807 11,184,853

801,252 801,252 475,948 48,376 38,024 129,527 846,214 11,250,687

Carrying Amount of Assets Sold/Scrapped Property, Plant and Equipment

Note 6

Salaries and On-costs Total Salaries Contributions to superannuation and pension schemes: Superannuation Guarantee Charges Total Superannuation Contributions Payroll Tax paid to the Victorian Government Workcover Long Service Leave Expense(*) Annual Leave (*) Other Total

2012 $

2011 $

100 41 141

103 33 136

6,691

6,372

- Internal Audit Charge (Uni of Melb.)

19,309

18,387

Financial Operations Charge (Uni of Melb.) HR Charge (Uni of Melb.)

1,215 1,983 29,198

1,155 1,890 27,804

22,607 13,614 11,018 40,122 0 87,360

21,037 13,731 15,520 20,603 0 70,891

238,332 56,609 1,127,284 453,134 1,875,360

282,127 66,068 1,107,662 396,073 1,851,929

259,480 (3,527) 255,953

115,788 (4,029) 111,759

4,958 260,911

263,335 375,094

Employee Numbers Full-time equivalent permanent and contract Full-time equivalent casual Average number of employees during the year

494,290

MTC pays State payroll tax due to its status as a department of the University of Melbourne. The net payment from the Victorian Government is: Operational Grant less Payroll Tax

Note No.

Audit and Accounting Services Auditing Accounts: - Auditor General (charged with Internal Audit Charge)

Depreciation and Amortisation Expense Motor Vehicles Furniture Computer Equipment General Equipment Software General Expenses Patron/Sponsor Benefits Cartage and Freight Advertising and Promotions Other Receivables Receivables (Current): Sundry Debtors – External Less: Provision for Doubtful Debts

Sundry Debtors – Internal (owed by Uni of Melb Opns)

(*) Represents the movement (i.e. increase/(decrease) in the provision for accumulated long service leave and annual leave during the year.

Note No. 11

2012 $ Other Financial Assets Non-Current Investments: Units in Uni of Melb. Investment Pool – Funds Invested from Incentive Scheme Reserve

2011 $

2,015,659

1,784,065

2,015,659

1,784,065

Note No.

Other Assets Prepaid Expense Accrued Income Stock

560,887 1,337,959 15,199 1,914,045

176,769 (116,686) 60,083

112,929 (105,668) 7,261

636,558 (559,380) 77,178

589,658 (519,257) 70,401

36,383 (36,383) 0

1,185,626 4,600,000 5,785,626

1,097,986 4,600,000 5,697,986

(933,761)

(890,271)

Total written down value

4,851,865

4,807,715

Intangible Assets Software At Cost Provision for Amortisation Software after Amortisation

254,257 (254,257) 0

1,613,675 191,206 (16,482) 1,788,399

1,310,656 118,576 (13,171) 1,416,061

General Equipment At Cost Provision for Depreciation: General Equipment after Depreciation Communications Equipment At Cost Provision for Depreciation: Communications Equipment after Depreciation Total Property, Plant & Equipment At Cost At Independent Valuation

417,637 1,282,252 0 1,699,889

Provision for Depreciation and Amortisation: At Cost

Expenses on Theatre Building In 2011 MTC spent $182,730 on enclosing the terrace space attached to the restaurant. $119,930 of that expenditure was provided from funds held by the University of Melbourne for Theatre construction. The $62,800 represents the amount that MTC contributed to the project. The amount, as in past financial years, was expensed because the Theatre is the property and asset of the University.

2011 $

Laboratory and Computing Equipment At Cost Provision for Depreciation: Laboratory and Computing Equipment after Depreciation

The Reserve Incentive Scheme Investment came about through grants from The Australia Council and Arts Victoria of $373,000 each, as well as a contribution by MTC of $373,000. The funds have been invested in the University of Melbourne Investment Pool. Each year MTC recognises the capital gain or loss on the Pool Units as well as the income earned from the Investment Pool Units. In 2012, the capital gain on the Investment Pool Units was $137,962 and the income earned was $93,631. The capital gain and income earned is considered to be extra-ordinary income as the amounts are unrealised gains that have not been used to fund operational activities. 12

2012 $

Property, Plant & Equipment Freehold Land 252 Sturt St At Acquisition Costs

4,600,000 4,600,000 4,600,000

Motor Vehicles At Cost Provision for Depreciation Motor Vehicles after Depreciation

199,262 (151,155) 48,107

222,362 (172,419) 49,943

Furniture At Cost Provision for Depreciation: Furniture after Depreciation

136,654 (70,157) 66,497

136,654 (56,544) 80,110

Total Freehold Land

Payables Current: Creditors and Accruals – External Creditors and Accruals – Internal (owed to Uni Opns) GST payable to the Australian Taxation Office

Note No. 17

2012 $ Provisions Current: Employee Entitlements - Annual Leave - Long Service Leave Other

2011 $

209,757 63,340 3,778 276,875

243,316 90,506 (1,389) 332,433

256,371 464,494 720,865 997,740

189,144 543,404 732,548 1,064,981

138,156 138,156

39,811 39,811

9,217,581 9,217,581

10,232,921 10,232,921

2,032,122 (16,463) 2,015,659

1,784,065 0 1,784,065

Balance at beginning of year Transfers from/(to) Retained Earnings

1,784,065 231,593

1,856,504 (72,439)

Balance at end of year

2,015,659

1,784,065

Current provisions expected to be settled > 12 months Employee Benefits - Annual leave - Long Service Leave

Non-Current: Employee Entitlements - Long Service Leave 18

Other Current Liabilities Income in Advance

Reserves Incentive Scheme Reserve Pool Units Investment Revaluation Reserve

Note No.

1,784,065

1,856,504

231,593

(72,439)

2,015,658

1,784,065

2011 $

3,089,579 8,895 231,593 1,036,649 0 (354,680) (231,593) 3,780,443

2,822,528 329,851 (72,439) 0 (62,800) 0 72,439 3,089,579

26,168 168,756 3,666 80,175 56,341 98,152 1,229,618 83,270 117,438 203,702 1,067,047 437,511 361,181 79,784 4,012,809

26,425 170,563 4,810 98,170 49,299 188,544 1,277,381 94,519 165,740 181,422 1,119,456 234,908 416,897 148,170 4,176,304

Retained Surplus Balance at beginning of year Operating Surplus/(Deficit) Reserve Incentive Scheme, Net Increase/(Decrease) Insurance Income Building Projects Surplus/(Deficit) Net Lawler Season Loss Transfers to Reserves Balance at end of year

Other Income Costume Hire Staff Cafe Studio Hire Program Commission Education Programme Fundraising Ticketing Touring/Entrepreneurial (Excl box office) Sponsorship Tickets Production Income MTC Theatre Hire – Internal MTC Theatre Hire – External MTC Theatre Bar Sales Miscellaneous Income

Extra Ordinary Item – Insurance Income In 2010 a severe hail storm damaged the Southbank (MTC) Theatre. Due to the damage and time required to repair the theatre, MTC lost a week of performances in February 2010. Also, normal programming of productions for the period 22 November, 2010 to 31 January, 2011 could not be undertaken while more extensive repairs were undertaken. As a result, MTC made an insurance claim for loss of income. That insurance claim was successful and paid to MTC in 2012 and has been allocated to retained earnings.

Extra Ordinary Item – Lawler Season In 2012 MTC determined in its strategic plan to utilise general reserves to invest in new audience development by programing the Lawler Studio Season. In 2013 and 2014, MTC will continue to draw on general reserves to invest in new audience development and to support and strengthen Melbourne's wider theatre community through mentoring and access programs such as the Neon Festival of Independent Theatre.

Incentive Scheme Reserve:

Pool Units Investment Revaluation Reserve: Balance at beginning of year Investment Change due to Pool Unit Revaluation and Income at 31 December Balance at end of year

2012 $

Note No. 24

Unrecognised Funds 1. Capital Fund In September 2007 MTC launched a $5m capital campaign to raise funds to assist with the fit out of the new MTC theatre on Southbank Boulevard (which opened in January 2009) and the new MTC headquarters in Sturt St Southbank (opened in October 2009). The remaining funds are invested in short term assets, and income earned on these funds during 2012 totalled $9,294 (2011 – $11,206). In 2012 $5,687 was reimbursed from the fund for prior year capital campaign expenses. The balance of the Capital Fund as at 31 December is $281,829 (2011 – $278,222). The funds are held in trust by the University of Melbourne. 2. Endowment Fund In parallel with the creation of the Capital Fund, MTC also created an Endowment Fund in 2007. The aim of this fund is to build a pool of money that can ensure the long term financial viability of MTC. At the end of the Capital Campaign, any surplus funds will be transferred to the Endowment Fund. At 31 December 2012 the Endowment Fund was valued at $207 (2011 – $198), and income earned on the fund during 2012 was $9 (2011 – $9). 3. Sidney Myer Geoffrey Cohen Fund In 2004 the Sidney Myer Fund on behalf of Geoffrey Cohen provided an endowment of $50,000 to the University of Melbourne for the benefit of the MTC Education Program. The net income of the fund will be applied to providing disadvantaged school students with access to a Melbourne Theatre Company main stage production or an Explorations event each to be known as a Sidney Myer Fund Geoffrey Cohen Scholarship. The scholarships are to be awarded by the University Council on the recommendation of the director of MTC. After a period of ten years from the 16 January 2004, the University Council, after consulting the trustees of the Sidney Myer Fund and Mr Cohen will review the value of the capital and decide whether it is to continue to be invested or the capital expended in full for the MTC Education Program. During 2012 MTC provided $2,749 in tickets for Sidney Myer Geoffrey Cohen AM Scholorship recipients (2011 – $2,660). As at 31 December 2012 these funds had not been distributed or recognised in MTC Accounts. As at 31 December 2012 the capital of the Fund was valued at $58,767 (2011 – $54,950). The result is a gain in 2012 of $3,866 in capital value (2011 – $3,766) and income earned of $2,877 (2011 – $2,995) after administrative fees.

Note No. 25

Cash For reconciliation of Cash, refer the Statement of Cash Flows

Subsequent Events No matter or circ*mstance has arisen since the end of the financial year that may subsequently affect the organisation

Timing of Receipt and Recognition of Grants Unexpended Grants brought forward from previous financial year Australia Council Triennial Access initiative Young & Emerging Artists Development of "Moths" Australia Council total Arts Victoria Triennial Arts Victoria total Total Grants

Grants Income Received this year

Grant Expenditure this year (Net Grant income)

Unexpended Grants carried forward to next financial year

0 50,000* 0 0 0

2,020,658 0 0 30,000 2,050,658

2,020,658 0 0 0 2,020,658

0 0 0 30,000 30,000

0 0

503,187 503,187

0 0

2,553,845

2,523,845

30,000

*Grant of $50,000 for Access Initiative Project was unexpended and refunded to Australia Council in 2012