Docstoc

Chief Executive Application Pack

Document Sample
Chief Executive Application Pack Powered By Docstoc
					Recruitment Information
EXECUTIVE DIRECTOR
Nov/Dec 2010
      Welcome
      Job Description & Person Specification
      The Theatre Royal in Brief
      Business plan 2010-11
      How to find the Theatre Royal
      Recent Accounts 2009/10 filed 2010/11 draft




[Please save paper – do download the following 116 pages,
but please only print what you really need. Thank you]




Further details about the Theatre Royal and its current season can be obtained from our
web site at www.theatreroyal.org
Welcome

Thank you for your interest in being considered for the new role of Executive Director of the Theatre Royal
Bury St Edmunds!

This very special theatre deserves a very special person to lead us in hugely challenging times for the
sector. With a history dating back to 1819 and with the Theatre reopened following completion of a £5m
restoration in 2007 we are now working to maximise the world class artistic and heritage potential of this
unique asset, building on our solid reputation as a producing and presenting house and a local community
facility. But we need to become more efficient and commercially savvy and the Board has recently agreed
to a major restructuring of our staffing, with the new post of Executive Director taking overall responsibility
for the Theatre‟s operations, turning the Board‟s ambitions into commercial reality, and working alongside
our renowned Artistic Director, Colin Blumenau.

We have no pre conceived ideas about your background but you will need to demonstrate a passion for the
arts, and a track record of successfully running a comparably complex arts organisation or facility, and
adding value to its business and reputation. You will also need to show us successful people management
skills and the ability to work with a committed Board to achieve real outcomes and commercial success in a
challenging environment.

Further details about our work and the requirements of the role can be found in this recruitment pack, or on
our website at www.theatreroyal.org. Colin Blumenau (colin@theatreroyal.org) would also be pleased to
discuss this opportunity with you on a confidential basis.

I do hope this exciting opportunity fits with your own career ambitions and I look forward to receiving your
application by the application deadline of 1200 noon on Friday 31 December 2010. Applications should be
in the form of a CV, with the names and contact details of two referees (who will not be contacted prior to
any appointment being offered) and a short covering letter detailing why you want to be considered for this
role, and outlining your suitability and fit with our requirements. Please also complete the Equal
Opportunities monitoring form. Electronic applications are encouraged and should be sent to
jobs@theatreroyal.org.

Interviews will be held across 11 and 12 of January 2011 (so please keep both days free), and shortlisted
candidates will be informed on 5 January 2011.

With best wishes




Brian Stewart OBE

Chairman of the Board
Theatre Royal Bury St Edmunds





Executive Director
Job Description

Purpose of post

The Executive Director is the Chief Executive of the organisation responsible for the running of the business and
overall financial security and development of the Theatre Royal. The post-holder is the key spokesperson for the
organisation and has overall responsibility for all aspects of the company‟s operation, leading the senior
management team in order to achieve the company‟s ambitions.


Responsible to: The Board of Management

Directly responsible for: Senior Management Team, Customer Services Manager, Administration Manager,
Technical team


Areas of Responsibility

1. To retain overall responsibility for all aspects of the company‟s operation and work with the Senior
   Management Team to lead the organisation by:

        Formulating and implementing the organisation's overall programming, planning and marketing
         strategies always considering the resources available

        Preparing an annual Business Plan that maintains the financial integrity of the organisation while
         progressing the development of its artistic ambitions

        Leading and motivating staff and volunteers to achieve the company‟s objectives

        Setting and monitoring annual and project budgets

        Developing income generation strategies to ensure the long-term financial viability of the organisation

        Setting financial and attendance targets for the organisation and regularly monitoring progress against
         these targets

        Maintaining effective operational and management systems

        Reporting to and attending Board and Sub-Committee meetings as appropriate

        Representing the organisation at external events and making presentations as appropriate

        Regularly reviewing organisational training needs to ensure staff are provided with opportunities to
         develop their professional skills

        Formulating, implementing and monitoring all company policies concerned with equality of opportunity
         and access


2. To act as Company Secretary and to prepare and distribute agendas and reports for Board and other
   committee meetings as required and to attend all such meetings and ensure that accurate minutes are
   taken. To act as executive lead for the Resources Committee and the Staffing and Organisational
   Development Committee.
3. To work alongside and empower the Artistic Director to provide artistic and heritage programmes for the
   stage of the Theatre Royal and any other associated venues. This includes the production of in-house work
   and co-productions with other theatres and partners.

4. To work alongside and empower the Head of Creative Learning to provide a Creative Learning Programme
   that provides exciting opportunities for people of all ages and backgrounds to access the learning
   opportunities presented by the Theatre to develop their knowledge and skills.

5. To work alongside and empower the Head of External Relations to deliver relationships with audiences,
   stakeholders, funders and other appropriate individuals and bodies in order to assist in the delivery of the
   Company's aims.

6. To maintain and develop relationships with St Edmundsbury Borough Council, Suffolk County Council, Arts
   Council England, Heritage Lottery Fund and other funding bodies,

7. To act as the Theatre‟s main advocate in the public arena and to work with the Board and staff to promote
   the Theatre and its activities

8. To be responsible for monitoring and controlling the theatre's income and expenditure and to produce
   monthly management accounts. Also to report on a regular to the Board and its Committees.

9. To be responsible for the personnel function and for recruiting and, either directly or indirectly, managing all
   staff both paid and volunteer.

10. To keep abreast of legislation and ensure that the company complies with the relevant regulations including
    those governing charities, finance, licensing and health and safety. .

11. To support the Customer Services and Technical teams by acting as their line manager.

12. To undertake any other reasonable duties as requested by the Board of Directors including regular duties as
   a House Manager.


The duties must at all times be carried out with due regard to the Theatre Royal’s Equal Opport unities
and Child Protection Policies.
PERSON SPECIFICATION



KNOWLEDGE AND EXPERIENCE

Essential

Senior level leadership in a performing arts organisation

Significant knowledge of the performing arts sector

Experience of working collaboratively with a range of funding partners

High-level financial management in a complex environment

Knowledge of under-pinning law eg employment, health & safety, contract, charity

Desirable

Knowledge/experience of venue programming, producing theatre and touring

Experience of senior management in the charity sector

Knowledge/experience of fundraising and sponsorship

HR management experience



SKILLS AND ATTRIBUTES

Essential

Leading and managing:

Ability to translate vision into reality

Ability to inspire, motivate, develop and support staff

Ability to devise strategies for planning, implementing, monitoring and evaluating



Financial management:

High level of financial literacy

Close familiarity with budget planning and management & financial accounts

An understanding of the central role of finance in running an organisation



Communication:

High-level communication and interpersonal skills

Ability to develop and sustain relationships with all stakeholders

High level of IT literacy



Personal attributes:

Ability to remain enthusiastic when working under pressure

Ability to prioritise, make decisions and manage time

Self-confidence, stamina and resilience
QUALIFICATIONS

Essential

Degree level education

Ability to travel easily to the Theatre Royal and elsewhere in the Region and London

Desirable

Relevant arts and/or management qualification/professional membership


TERMS AND CONDITIONS

Salary

In the region of £40,000

Hours of work
The Theatre‟s standard hours are 39 per week.      The Executive Director will be expected to work the hours
necessary to carry out the responsibilities of the job.

Annual Leave

The annual leave is 22 days in addition to Bank Holidays.    This entitlement rises by one day for each completed
year of service for five years.

Probationary Period
The probationary period for this post is 6 months.

References

All offers of employment are subject to the receipt of satisfactory references and health questionnaire.

Asylum and Immigration Act 1996

The successful applicant will be required to provide documentary evidence of eligibility to work in the UK.

Start Date

The start date will be by negotiation.   The target date is 1 April 2011.
The Theatre Royal in Brief
Built in 1819 by the renowned architect William Wilkins (who also designed the National Gallery in London), the
Theatre Royal in Bury St Edmunds is one of the most significant theatrical buildings in Europe. As this country‟s
only example of a playhouse dating from the Regency period, it offers
visitors a unique and unforgettable theatrical experience. One of only
eight Grade 1 listed theatre buildings in the country, it is also the only
working theatre in the National Trust‟s entire portfolio of properties.
Inspired by its impressive historical pedigree, the Theatre prides itself on
the quality and innovation of its artistic work and enjoys a reputation as
one of the most forward-thinking arts organisations in the UK.


The building is owned by the Greene King Brewery. In 1975, it was
leased to the National Trust, which, in turn, has handed the day-to-day running of the Theatre to the Bury St
                                             Edmunds Theatre Management Ltd. Like many other theatres of its
                                             generation, the Theatre Royal has enjoyed a chequered history,
                                             closing and reopening its doors on a number of occasions. The most
                                             recent of these, in September 2007, followed a £5.3 million
                                             programme of restoration and development. This project, funded in
                                             part by the Heritage Lottery Fund, not only returned the building to
                                             its 1819 configuration and decoration but also provided much
                                             improved customer facilities through the creation of a contemporary
                                             foyer space adjoining the Theatre.



The Theatre presents a high quality, year-round programme of professional drama, music, dance and light
entertainment as well as regular performances for children, including its popular (in-house produced) annual
pantomime. The encouragement of new work is also a key artistic priority, regularly welcoming companies such
Out of Joint and the Henri Oguike Dance Company. In recent years production work has become central to the
Theatre‟s programme and, in addition to the pantomime, its Rural Tour, main house productions and subsequent
national tours have become highlights of the artistic calendar. Through its many education and community
programmes, the Theatre also provides opportunities for the local community to actively engage with the arts. A
wide range of local community and amateur groups also present performances on the Theatre‟s stage.


In addition to its mainstream artistic activity, the Theatre has ambitious plans to establish itself as a significant
heritage and tourist attraction for the region. Rather as the Globe Theatre on London‟s South Bank has increased
the awareness and enjoyment of Elizabethan theatre, so the Theatre Royal aims to do the sam e for the theatre
of the late eighteenth and early nineteenth centuries. Launched in September 2007, the ReVisit ! programme
encompasses guided tours of the building, talks and lectures, merchandising, as well as regular rehearsed
readings and period productions of many of the little-known theatrical gems from the Georgian period.


From 2010/11 The Theatre will employ a paid staff of 44 and is also
supported by over 70 volunteers, and a team of interns as part of our
growing TRAIN programme (Theatre Royal Apprentice and Intern Network
– see the business plan for more details). The charity is overseen by a
non-executive board of management.


A thriving Friends scheme numbers over 1000 members. These together
with Patrons, Sponsors and Donors are enormously important to the
balance of our mixed economy. The Theatre receives regular grant and
project aid from St Edmundsbury Borough Council, Suffolk County
Council and Arts Council England East.
THEATRE ROYAL

   BURY ST

   EDMUNDS

 Business Plan

  2010-2011
Contents
1.    Mission Statement                  (page 8)

2.    Context                            (page 8)

3.    Key Ambitions                      (page 9)

4.    Core Values and SWOT Analysis      (page 10)

5.    Introduction                       (page 10)

6.    Strategic Development              (page 11)

7.    Presented Programme                (page 11)

8.    Produced Programme                 (page 13)

9.    Heritage Programme                 (page 15)

10.   Learning Programme                 (page 17)

11.   External Relations : Marketing     (page 20)

12.   External Relations : Tourism       (page 24)

13.   External Relations : Development   (page 28)

14.   External Relations : Box Office    (page 32)

15.   Operations: Venue Hire             (page 34)

16.   Operations: Front of House         (page 36)

17.   Operations: Catering               (page 37)

18.   Technical                          (page 39)

19.   Finance & Administration           (page 41)

20.   Staffing                           (page 43)

21.   Appendices

A.    TRAIN                              (page 45)

B.    Board Retreat Notes                (page 53)

C.    Staff Structure                    (page 56)

D.    Budget 2010-2011                   (page 57)

E.    SWOT Analysis                      (page 62)


.
1. Mission Statement
         To be a world class theatre delivering a world class offer from a world class building




2. Context

2.1. This plan is written as we attempt to shore the organisation up against the difficult times from
     which we have emerged and look forward to the straightened times ahead.

2.2. We have experienced and continue to experience difficult financial times and the last year has
     been spent trying to stabilise the organisation‟s financial position whilst continuing to encourage
      development. This balance has been hard to achieve.

2.3. In particular, following our failure to attract Arts Council England‟s SUSTAIN funding or
      meaningful support from any of our revenue funders in terms of a short term cash injection of
      grant in advance, we have experienced a collective concern about our cash position. It is being
      managed successfully at present but the volatility of the market and the change in booking
      patterns has given rise to nervousness.

2.4. We continue to carry an accumulated deficit which is projected to reduce by around £30K by the
     end of 2009/10. The accounts for 2008/9 include an emphasis of matter statement.

2.5. It is clear that the national financial climate is not going to change overnight and that public
     funding continues to be at a premium. Indeed indications for the future are not good with local
      authority funding being seemingly insecure in the long term.

2.6. The ACE-funded STEP FORWARD programme has addressed some of the issues which face the
      organisation with its rocketing ambition juxtaposed against the realities and strictures of its
      financial position.

2.7. At a recent Board Retreat the Board approved the development of the initial outputs of the STEP
     FORWARD programme which has given rise to TRAIN – Theatre Royal Apprenticeship and Intern
      Network. This radical programme, if successful in its development, will go a long way to trying
      to reconcile the friction which exists between ambition and available resources.

2.8. This plan is constructed in the belief that short term pain will result in security from which we
     will be able to deliver our longer term ambitions. We have taken the view that our ability to
      develop will not be funded from additional earning from this programme of activity and that our
      income generation will only match that of the previous year.

2.9. The year ahead will witness the delivery of a consolidated programme of activity to be delivered
     within available resources. This consolidation will attempt to deliver a programme of activity
      which is at least equal to that of 2009/10.

2.10. Additional financial security is built into the plan by way of a contingency budget line of over
      £100K. This has been achieved in a number of ways including rates of pay being held at
      2009/10 levels and a small but significant staff restructure.




                                           8
3. Key Ambitions
3.1. Reputation


    to become a major, internationally recognised theatre

    to continue to be a local venue with a great programme and actively seek to make a difference
     to people‟s lives

    To provide the very best possible levels of service to all our customers across the whole
     company operation

    To become recognised as the arts organisation to go to for professional training and
     development opportunities in the east of England


3.2. Artistic Activity

    To continue to be a producer of unique work

    To maintain and develop a consistently high quality programme of presented work

    To ensure that learning is placed at the heart of the Theatre‟s artistic policy and activities

    To continue to develop the Theatre‟s Heritage programme in all its guises.



3.3. Commercial Activity


    To maximise revenue generating potential from existing commercial activity such as Bar,
     Catering and merchandising.

    To develop the tourism offer of the organisation as a key contributor to revenue generating
     activity.


3.4. Audiences

    Whilst maintaining and growing its „local‟ audience base, the Theatre will seek to attract
     audiences from across the UK and beyond, in particular for its Heritage programme of work

    To ensure that the Theatre remains committed to engaging with the widest possible cross-
     section of the community in which it operates



3.5. Organisational

    To support and develop an expert, committed and well-treated staff who are equipped with the
     necessary resources to deliver the Theatre‟s ambitions. In addition to adopt TRAIN as the
     organisation‟s development plan which sees the launch of a new Training and Learning strand
     which permeates the organisation‟s staffing structure.

    To aspire to operate our business in an ecologically responsible and sustainable way at all ti mes.




                                           9
3.6. Money

    To achieve financial stability and prosperity for the company in order that it can fully realise its
     artistic, reputational, organisational and audience development ambitions.




4. Core Values
                to have enthusiasm for, and commitment to our shared ambitions

                           to harness learning and teaching opportunities

                    to plan and work together to achieve quality and excellence

                            to have open and effective communication

                                         to embrace change

                                  to be welcoming and hospitable

         to balance our needs with those of artists, audience and other stakeholders



4.1. As discussed at a previous Board meeting the SWOT Analysis is included as an appendix and will
     not be published.




5. Introduction
5.1. Two years after the re-opening of the building following restoration and development we are
     now sufficiently in possession of the knowledge about how our business operates to enable us to
     plan confidently for the year ahead. We have a relatively stable staffing structure for the first
     time in some time and this stability will help to develop a deliverable Business Plan.

5.2. There are significant challenges ahead but the organisation has a strong, shared sense of where
     it is going.

5.3. Our programme of work has gone from strength to strength with many of our objectives for the
     past year having been successfully achieved. We are beginning to develop a national profile for
     some of our work and audiences have been predominantly enthusiastic about the diversity and
     quality of the work which they have been offered.

5.4. Our Produced work has been very successful and the year in prospect contains plans for the
     delivery of the same quantity of home grown productions although budgets have been curtailed
     in order to deliver the contingency and small surplus at the end of the year.

5.5. Our Creative Learning programme has re-established itself after some time in the doldrums and
     if it continues in this vein will form a central plank of our activity, a position which we have
     always aspired to see it attain. In order to maintain this development we have assumed a small
     increase in staffing which will see the two junior members of the department move to full time.

5.6. Our Heritage programme continues to develop. The progress has been steady and we envisage
     further consolidation in the year ahead.

5.7. Our Presented programme remains variable, particularly in terms of touring Drama, Classical
     Dance and Opera with an unreliable supply of real quality available to us. We will continue to
     programme the best on offer and provide as wide a variety of programming for the Theatre




                                          10
      Royal as possible. Working alongside the Borough Council‟s officers tasked with running the new
      Apex, we will seek to ensure that the programmes of the two venues are complementary. This
      will result in a few changes to the balance of our programming once the Apex is fully
      operational.

5.8. Our Commercial activity is slowly trying to establish itself as a net contributor to the
      organisation‟s bottom line. There is increased usage of the building out of performance times
      with catering, in particular, slowly building a more solid base than has been the case since we
      re-opened.




6. Strategic Development
6.1. The strategic development of the organisation will be undertaken through the development of
      the TRAIN programme which is detailed in Appendix A of this plan. It represents an enormous
      opportunity for us to broker new relationships with partners from a wide variety of different
      sources.

6.2. We will continue to work with the Borough Council to investigate the possibilities further for
      mutual working at the Apex and more generally across the cultural provision in the Borough.



7. Presented Programme
7.1. The aspiration for the programme is to provide a highly regarded platform for a variety of
     professional and amateur voices and faces to be heard and seen.



7.2. Dedicated Staffing Resource

        Artistic Director

        Associate Director

        Artistic Manager



7.3. Key Issues

        Availability of affordable quality product remains a real issue

        We need to ensure that we retain a balanced programme of presented work.

        The opening and programming of The Apex adds a degree of uncertainty to this year‟s
         programme in the Theatre Royal and the targets below reflect this.

        We have allowed for an increase in professionally produced drama [both in-house and
         touring] to compensate for some of our programming being diverted to the Apex.



7.4. Programme Objectives

        To maintain a commitment to a wide variety of programming but to work in collaboration
         with the programmers of the Apex to ensure that competition does not become an issue.




                                          11
       To continue to view „early opera‟ as a development area and to try and source reliable
        productions to fulfil that objective.



7.5. Performance Targets



              Target

              To promote a minimum of 12 weeks of professionally produced Drama at
        1.
              the Theatre Royal

              To promote a minimum of 6 weeks of amateur/community usage at the
        2.
              Theatre Royal

              To promote a minimum of 6 dance promotions either at the Theatre Royal
        3.
              or in collaboration with The Apex.

              To promote a minimum of 3 events programmed by the Bury St Edmunds
        4.
              Festival at the Theatre Royal

        5.    To promote a minimum of 5 BSE Concert Club promotions

              To promote a minimum of 12 promotions of Light Entertainment at the
        6.
              Theatre Royal or in collaboration with The Apex.

              To promote a minimum of 5 promotions of Jazz, Folk or 'World' Music at the
        7.
              Theatre Royal or in collaboration with The Apex.

              To promote a minimum of 4 promotions of professionally produced
        8.
              Opera/Music Theatre at the Theatre Royal

        9.    To promote a minimum of 4 promotions of new work at the Theatre Royal

              To promote a minimum of 4 promotions by Arts Council funded companies,
        10.   who play a significant and high profile part in the provision of high quality
              touring work at the Theatre Royal

              To promote a minimum of 20 performances of work for children at the
        11.
              Theatre Royal excluding the annual Pantomime

        12.   To provide a minimum of 1 tour of children‟s work into rural venues in areas
              recognised by the County Council as having high levels of social deprivation
        13.   To provide a minimum of 1 tour of music and 1 of drama into rural venues

        14.   To ensure that the organisation delivers the relevant TRAIN targets
              contained within the development section of this Business Plan




                                          12
7.6. Risk Assessment



    Risk                        Probability        Impact       Mitigating Action to be taken

    Quality product                                             Keep trying to broaden discussions
    disappears from the          Medium             High         with potential new suppliers of
    market                                                       work.

                                                                Ensure that we monitor returns
    Economic conditions
                                                                 closely and prepare contingency
    worsen resulting in          Medium             High
                                                                 plans in case of failure of Box
    poorer attendances
                                                                 Office

    Confusion of focus                                          Ensure that the organisation
    between „art‟ and            Medium             Low          continues to try and clarify the
    „heritage‟                                                   nature of what is on offer.

    Emergence of Apex as           High             High        Continue to work with relevant
    alternative venue                                            Borough Council staff on co-
                                                                 operation



7.7. Evaluation

        The process of evaluation will be undertaken on a continuous basis by the staff and Board of
        the Theatre Royal, but not less than in a bi-monthly report to the Board by the Artistic Director
        with progress against agreed targets and qualitative evaluation as appropriate.




8. Produced Programme
8.1. The aspiration for the programme is to give the Theatre Royal and its audience the opportunity
        to have a drama programme which stands out amongst the crowd.



8.2. Dedicated Staffing Resource

       Artistic Director

       Associate Director

       Artistic Manager



8.3. Key Issues

       Following the development of STEP FORWARD to continue to develop its successor TRAIN as a
        way to try and secure the resources to maintain a resident ensemble of practitioners.

       Due to current lack of funding and consequent lack of resources accorded to each production,
        the sustainability of quality of product is a perennial concern

       The organisation retains a „presenting house‟ infrastructure which is sometimes challenged by
        production.




                                              13
8.4. Programme Objectives

          To build capacity and skill base for production of Georgian drama and opera

          To produce, co-produce and collaborate on other type of work as appropriate

          Investigate all commercial production/co-production and collaborative possibilities



8.5. Performance Targets



                 Target

      1.         To mount a full production of George Barnwell in Autumn 2010.

      2.         To mount a production of The Poor Soldier in late June 2010 and if
                 appropriate to remount it to run in repertoire with the above
      3.         To produce the annual Pantomime Mother Goose 2010/11.

      4.         To produce a Rural Tour for autumn 2010

                 To produce a short repertory season of a minimum of 2 plays in the Spring of
      5.
                 2011.

      6.         To tour nationally with at least one production in the financial year.

                 To continue to build on the initial success of lunchtime and occasional readings by
      7.
                 promoting a minimum of 6 of each during the year.

                 To continue to work with RADA to deliver a minimum of 4 pieces of skill sharing
      8.
                 during the year.

                 To ensure that the organisation delivers the relevant TRAIN targets contained
      9.
                 within the development section of this Business Plan



8.6. Risk Assessment



    Risk                              Probability    Impact   Mitigating Action to be taken

    There is not enough funding
                                                              Ensure that organisation‟s P+L can sustain
    to realise production                High         High
                                                              projected losses.
    ambitions

                                                              Ensure that production is tightly budgeted
    Pantomime sales suffer from
                                                              and contingency measures are developed
    continuing economic                  Low          High
                                                              in case of indicators showing an
    downturn
                                                              underachievement is likely.

                                                              Ensure Marketing department takes
    Rural Tour sales do not                                   advantage of every opportunity and that
                                       Medium         High
    reach target                                              the whole organisation advocates for the
                                                              production.




                                                14
8.7. Evaluation

     The process of evaluation will be undertaken on a continuous basis by the staff and Board of
     the Theatre Royal, but not less than in a bi-monthly report to the Board by the Artistic Director
     with progress against agreed targets and qualitative evaluation as appropriate.




9. Heritage Programme
9.1. The aspiration for the programme is to become a centre for Georgian theatre and to do for it what
     the Globe has done for Elizabethan theatre.

9.2. Dedicated Staffing Resource

        Heritage Manager

        Customer Service Officer [p/t]



9.3. Key Issues

        The organisation and its stakeholder/partners need to understand and share the aspiration
         as articulated

        Whilst there is a definable interest in the programme additional demand needs to be
         cultivated (please refer to Tourism section)

        The need to maintain a high quality volunteer force is time and energy intensive



9.4. Programme Objectives

        To maintain, research and develop a programme of repertoire activity around the Georgian
         period under the banner of Restoring the Repertoire™ [RTR]

        To undertake, use and disseminate in-depth research into connected aspects of Georgian
         society

        To provide learning opportunities as an integral part of the programme and, in turn, to
         inform that programme.

         To continue to develop activity to broaden the appeal of the building and its work as a
         tourist destination

        To ensure that there is both integration with the Learning programme and that there is an
         outward focus on partnership working with other organisations.

        To develop the resources to make Live Interpretation a more regular part of the Heritage
         offer.



9.5. Performance Targets



            Target




                                          15
   1.     To continue the research and development of the Georgian repertoire with a
          series of rehearsed readings throughout the year
          To continue working with the network of trusted readers of plays and to
   2.     continue building a database of specialist researchers to inform the work of the
          departments.
          To build a domestic and international contact network with both academic and
   3.
          practical specialists in the field.


   4.     To continue to investigate and develop publication of materials and archival
          artefacts and documents, including play scripts as appropriate.

   5.     To ensure that the Heritage Manager builds adequate reading/research days
          into her schedule.
          To continue to develop the Creative Learning offer that accompanies Theatre
   6.     Royal Productions and to focus on this as an area of development by creating a
          package of production related Learning events and resources to complement
          each RTR production.

   7.     To develop and deliver a series of 4-6 lunchtime and evening lectures during the
          year.
          To continue to deliver lectures and public speaking engagements concerning the
   8.     restoration of the Theatre Royal and its repertoire and to cultivate a team of
          speakers from amongst TR staff and volunteers. In particular to investigate
          supplying speakers for the NADFAS circuit.
          To continue to produce a variety of Learning resources in respect of the
          building‟s heritage. This to include:
   9.     Image Library
          Virtual Tour
          Website content

   10.    To offer learning and training opportunities for young people by participation in
          productions of the Georgian period and with research in line with TRAIN

   11.    To continue with and to develop the programme of tours of the restored Theatre
          Royal. To maintain the quality control system for this work.

   12.    To develop a knowledge and skills base for live interpretation.


   13.    To contribute to the planning of the range of merchandise available including
          suggestions for the development of an online shop.

   14.    To investigate the possibilities of a Heritage Week in Summer 2010


   15.    To work with the Marketing department to develop and refine the tourism offer
          of the organisation. (See tourism section also)

   16.    To ensure that the organisation delivers the relevant TRAIN targets contained
          within the development section of this Business Plan



9.6. Risk Assessment




                                         16
 Risk                            Probability Impact        Mitigating Action to be taken

 The programme takes
                                                           Ensure that the offer is the right one and
 longer than anticipated to
                                  Medium          Medium   that the marketing strategy is
 attract attention and
                                                           appropriately targeted.
 engagement of audiences

 There is anxiety in the
 organisation that the public                              Ensure that communication about the
                                   Medium         Medium
 perceives TR as „Georgian                                 entire programme is clear and consistent.
 Stuff‟ only



9.7. Evaluation

The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
Theatre Royal, but not less than in a bi-monthly report to the Board by the Head of Creative Learning
with progress against agreed targets and qualitative evaluation as appropriate.



10. Learning Programme
10.1. The aspiration for the programme is to be at the heart of everything we do and believe that
      drama and theatre have the power to transform lives. The Creative Learning department will
        inspire, empower and challenge people of all ages and backgrounds to discover their creative
        potential. Through an open and flexible programme we will raise aspirations, build confidence
        and strive for individual and group excellence.



10.2. Dedicated staffing resource

           Head of Creative Learning

           Education Officer

           Community Officer



10.3. Key Issues

           Staff hours are still not up to the desirable level – Community & Education officers are still
            only ¾ posts.

           The economic downturn will have an impact on participation figures when payment is
            required.

           Over-reliance on full-time staff skills to raise money can limit the potential of the
            programme.



10.4.       Programme Objectives

           To continue to develop and deliver the Creative Learning Strategy

           To stay abreast of National and Local Government movements in training and
            apprenticeships in order to aid in the development of TRAIN.




                                             17
            To produce, in collaboration with the Marketing department, a marketing strategy for the
             Creative Learning Programme.

            To continue to galvanize the whole organisation to support the programme of work

            To secure engagement across a variety of sectors including formal and informal Education
             and Community sectors.

10.5.        Performance Targets



            Targets

1.          To continue to offer a provision of programme and non-programme related work
            including at least 8 high-quality workshops and 10 pre or post-show discussions during
            the year

2.          To create and deliver an education programme throughout the academic year. The work
            will connect the curriculum and the artistic programme and heritage programmes
            whenever possible and include classroom resources as well as workshop offers. The
            work will be for schools at all levels and may partner with other Arts Organisations on
            providing support for SCC CYP delivery.

3.          To offer on-stage experience to school students through a Festival of Student Drama.

4.          To offer at least 2 CPD events for teachers.

5.          To develop a complete Georgian History package for the „Local History‟ Element of KS2
            curriculum and to work towards a Heritage package for Key Stage 3 and 4 as part of
            Heritage target 6.

6.          To continue to develop the Creative Learning offer that accompanies Theatre Royal
            Productions and to focus on this as an area of development by creating a package o f
            production related Learning events and resources to complement each RTR production.

7.          To further develop the relationship with Higher Education partners – continuing the
            connection with the University of Essex in delivering on their Restoring the Repertoire
            course and supporting research opportunities with both Essex and other universities.

8.          To train staff in the delivery of Gold Arts Award before November 2010.

9.          To ensure that young people are given at least 3 opportunities to perform on the
            Theatre Royal stage in full productions

10.         To provide the Youth Theatre Young Company of 16 – 19 year olds with at least two
            dedicated performance opportunities – one of which to be through audition.

11.         To maintain membership of all Youth Theatre and Theatre Makers groups at full
            capacity.

12.         To expand the Summer Holiday offer.

13.         To work with at least 10 teenage parents on a story-telling project to improve their
            engagement with their children.

14.         To bring together at least 20 young gay, lesbian & bisexual people to create a
            celebration of their sexuality as the third year of the Blueprint Project.

15.         To regenerate participation activities for adults; creating a „Reading Group‟ attached to
            at least 2 plays per season and re-start a performance group for 18+ („The Community




                                              18
      Company‟)

16.   To develop relationships with partners working with disabled people (such as Info Bar)
      to offer at least 2workshop/show packages

17.   To create a social enterprise group with disabled young people around the maintenance
      and development of a costume store as part of TRAIN. To steer members through
      Bronze Arts Award.

18.   To successfully manage the See A Voice programme throughout its 2nd year of
      operation (i.e. at least 4 assisted performances) with the supplementary offers of audio
      show programmes and touch tours.

19.   To work with at least 10 adults with Mental Health problems through the project with
      MIND and to produce and tour a professional production to highlight their conditions to
      a wider public.

20.   To work with Unitarian Church on delivery of their 300th anniversary celebrations.

21.   To engage at least 1500 individuals in participative activity

22.   To offer a minimum of 6 and maximum of 14 school work placements throughout the
      year.

23.   To ensure that the organisation delivers the relevant TRAIN targets contained within
      the development section of this Business Plan.

24.   To increase Education and Community officer posts to full time (currently ¾)




                                        19
10.6.       Risk Assessment

 Risk                            Probability    Impact    Mitigating Action to be taken

 Economic downturn affects         High        Medium     Promote free places appropriately and
 attendances & diversity                                  significantly; take up financial support
                                                          such as SCC Collective Opportunities
                                                          Fund; ensure budgets are adhered to
                                                          closely

 Insufficient Finances to          High        Medium     Ensure planning is in place to deliver
 meet the ambition of                                     high quality work; identify clear CL
 department                                               fundraising priorities.



10.7.       Evaluation

Regular evaluation will take place both in terms of individual projects and of the department‟s work as
a whole. Evaluation methods will include the following:

           A bi-monthly Creative Learning report to the board by the Head of Creative Learning

           Continuous updating of the statistical records form to ensure that key targets are being met

           Individual Qualitative evaluation of selected projects will be carried out by the lead officer
            and disseminated to all stakeholders, either in the form of an Evaluation Log or a Final
            Report.




11. External Relations Department: Marketing
11.1. The Marketing Department aims to: a) To develop messages that encapsulate the company‟s
      ambitions, b) To maximise audience/participant numbers and income yields for all of the
        Theatre‟s self-promoted activities to, at least, meet agreed organisational targets and c) To
        build understanding of our audience & community through research in order to identify new
        audience, under represented segments of the community, and better inform those planning the
        long-term Business Planning of the company.



11.2. Dedicated Staffing Resource

           Head of External Relations

           Marketing Officer

           Communications Officer

           Publicity and Marketing Assistant (Intern)

           Communications and Research Assistant (Intern)

           District Publicity Assistants (network outwith the building) – new for 2010/11

           Together with a growing band of Advocates & Volunteers




                                               20
 11.3. Key Issues

         Effectively to manage the department‟s workload and maintain its focus on delivering the
          company‟s key ambitions across all fields of activity.

         To build a clear message for an organisation with a broad range of USPs – seeking to target
          the right message to the right people, and minimise mission confusion. The right mix of
          inclusivity and specificity, community and unique vision can be a confusing one

         To work with the System Manager and Box Office to ensure the best storage of data
          ensuring effective capture, hygiene and management across the company‟s computerised
          ticketing system, associated databases and internet software. And to exploit suitable new
          technologies and viral means to build connectivity with target audiences.

         To build a growing involvement from staff, volunteers, and regional advocates to help foster
          an awareness that “marketing is too important to be left to the marketing
          department”

         To understand when to stop marketing a show or performance either because it will move
          forward under the current strategy, or because the effort is not worth the return.
          (understanding the use of accelerator, brake, clutch and gears in Mktg)

         To support the ambition of the organisation to produce and exploit work outwith the
          Theatre Royal, and to create a department which can handle this longer-term and wider
          workload.

11.4. Programme Objectives

11.5. Short Term

         To reduce the level of “reactive” work in the department, by writing agreed documented
          Marketing & Communication plans for all major productions,

         To build a dynamic team of paid and unpaid workers in the department, embracing TRAIN,
          and ensuring an environment where all parties learn from each other.

         To build a broader audience geographically, socio-economically, culturally and
          demographically. Exploring where we are through research in 2010/11 with a view to
          setting specific targets in 2011/12.

         To ensure that we are better connected and recognised by Bury based businesses,
          influential residents, and networking organisations.

         To continue and expand the range of regional, national and international journalists and
          their representatives who think about the Theatre Royal, and are open to approaches for
          features, reviews, and news stories.

         To continue to expand the opportunities for web based communication through the re -
          working of our existing website, the expansion of its connection to other sites, and the use
          of new technologies.

         To establish a region-wide publicity structure building on the system created by Peter Todd
          in the 1970s at Bristol Hippodrome (DPAs – District Publicity Assistants), refining to serve
          this theatre, this community, this time. Initially established to seek out and inform potential
          customers, not sell to them directly.

         To re-assess the efficacy of each piece of print produced by the Theatre Royal, bei ng clear
          that we understand the target recipient, the best method of communication, and a suitable
          call to action. Where possible minimising cost both financial and environmental in the
          design, print, and distribution of printed matter.




                                           21
           To work with the widest range of partners and networks to build the opportunities which
            come from collaborative ventures in marketing – especially, but not solely, in the area of
            tourism – cultural and heritage.

           To provide pro-bono support and contra-arrangements, wherever possible, to communities
            within the region which could enhance the awareness and collaboration with the Theatre
            Royal and its income generating programme.

           To be a department within the organisation which, whilst never perfect, is well regarded,
            well understood, reactive when “panics” happen, understanding of the stresses and needs
            of other departments, and supportive at all times to the aspirations of other departments.

      Longer Term – by end 2011/12

           Over two years, to turn the focus of the widest possible community towards “what‟s
            happening” at the Theatre Royal. Awareness, accessibility, suitability, welcome,
            engagement and satisfaction being 6 key things to consider through all campaigns.

           Over two years, to ensure that the “loyal audience” of the present and past are the greatest
            possible champions of the work because they understand what we do, why we do it, and
            what the effects are.

           To be available, on request as part of the charity‟s business collaboration, to embrace the
            Apex operation as part of, or a collaborative element in, the Marketing objectives. To allow
            scope within all system planning for expansion to embrace the vastly expanded “offer” that
            the Borough Council along with the charity will be bringing to the public.

           To work with the creative team on the longer-term promotion of the product created
            inhouse, through promotion of tours, transfers, publishing and other creative and lucrative
            operations.

           By the end of 2011/12 to have identified areas of the marketing business which can be
            reformed to embrace sustainability – particularly in the use of recycled paper for printing,
            and the reduced use of direct mail. To work with the Development team to secure any
            necessary funding to support cost increases caused by this target.



11.6. Performance Targets for 2010/11

                Target

       1.       To meet annual financial targets

                To achieve an average audience attendance of 72% capacity across the year
       2.
                for the Theatre‟s produced and presented programme of professional work

       3.       To increase the % of ticket sales made online from 20% to 25%

                To engage 2 interns within Marketing throughout the year, and to develop an
       4.       informal programme of experience which ensures these assistants leave us
                richer in knowledge and opportunities than they arrived.

                To work with existing volunteers (Front of House and Advocates) to
                understand local and immediate opportunities for enhanced presence of the
       5.
                Theatre Royal, and to grasp it with their help. By the end of 2010/11 to have
                a regular meeting and information structure to ensure a 2way flow.

       6.       To identify on a quarterly basis at least 3 new networks or information feeding
                opportunities within Bury and St Edmundsbury which enable us to reach non-




                                            22
      identified theatergoers and interest them in a visit to the theatre.

      To re-consider the 2009 target to reduce main brochure print run (currently
7.    25,000, 3 times a year) but definitely to establish a 30k print run of a mini
      calendar brochure with mini booking form by same deadline.

      To assess box office advance performance against target for each season (and
      main shows within each season), and identifying in advance future “problem”
8.
      shows and performances with time and pro-active strategy to realise
      additional awareness, audience and income for those performances.

      To create Campaign plans for all in-house productions with timelines and
9.
      timed targets.

      To secure 1 national newspaper reviews/features and at least 1 more
10.   honourable mention nationally (radio feature, top tip, on-line report) for each
      of our 2010/11 in house productions

      To undertake a review of the existing website and instigate adjustments and
11.   developments in at least 50% of the short-term “wish list” by the end of
      2010/11, where such short-term list does not involve capital re-writing costs.

      To introduce a print-audit for the marketing department, and across other
12.   relevant departments to re-evaluate cost and effectiveness in time for the
      Spring 2011 season.

      To create an ongoing research and assessment strategy with a two year plan
      through to March 2012 to identify target communities, and sectors
13.
      underrepresented on the database and at the theatre, with a target
      development plan.

      To build ongoing stakeholder collaboration and joint initiatives particularly with
14.
      the National Trust, Greene King and the Borough Council.

      To create a qualitative research programme from Autumn 2010 to build on the
15.
      quantitative research of Autumn 2009.

      To create a single working plan for marketing the “tourism” offer for the
16.   organisation – both cultural and heritage, to increase the non-performance
      based visitor numbers by 10% by March 2011


      To agree and implement a working relationship with the Apex – whether that
17.   is through mutual respect and collaborative opportunities, or through strategic
      integration across activities undertaken by both parties – leading to a clear
      adopted plan by March 2011.
      To create a working strategy to balance the demands on the department to
18.   market inhouse work on tour with the ongoing need to maximize marketing
      and attention for in-house work.


      To widen collaboration with community groups and small organisations so that
      the theatre has an active relationship (through advocates, publicity outlets,
19.   rural tour location, parish newsletter presence, or Greene King pub
      collaboration) with 30% of the villages/towns of over 300 households in
      Suffolk [or suitable scale when researched] by March 2011.




                                  23
                  To create a 360 degree departmental survey which allows assessment of the
         20.      marketing department as part of the overall organisation, with assessment
                  from the other staff, suppliers, beneficiaries, and ourselves.




11.7.          Risk Assessment

  Risk                           Probability        Impact    Mitigating Action to be taken

  Ambitions of the                                               Increased resources or prioritizing
  organisation‟s stretched            Low            Medium      against the impact on the bottom
  too far                                                        line for each element of trading.

  Open up too many outlets
                                                                 Use the Interns and Volunteers to
  and enthusiastic
                                                                 create a series of welcoming
  champions of our work to
                                     Medium          Medium      gatekeepers to avoid 50
  cope with their demands
                                                                 enthusiasts arriving in the office
  to “be helpful” and
                                                                 seeking print.
  promote us.

                                                                 Always identify at least one person
  A major show draws total                                       in the department who will NOT
  attention to maximize                                          get involved with the short-term
                                      High           Medium
  income, and diverts                                            crisis and can shoulder some of
  short-term resources                                           the other necessary continuing
                                                                 work.

                                                                 The pressure on the department is
                                                                 far higher from internal “requests”
  Individual creative                                            than when a single show needs
  departments get over                                           extra push. In this case identify
  excited and fill the                                           just one person to deal with extra
                                     Medium           High
  programme with great                                           stresses, and low risk high demand
  ideas that all need                                            shows for a period, and allow
  selling, beyond capacity                                       everyone else to get on with the
                                                                 high risk / business plan sensitive
                                                                 work.



11.8. Evaluation

The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
Theatre Royal, but not less than in a bi-monthly report to the Board by the Head of External Relations
with progress against agreed targets and qualitative evaluation as appropriate.




12. External Relations Department: Tourism
12.1. The aspiration of the Tourism plan is to reach the one-off visitors to the theatre, and those who
      facilitate their visits, in order to place the Theatre Royal within the wider cultural, herit age, and
        general visitor attraction “offer” of Bury St Edmunds and Suffolk. [For clarification‟s sake we
        define the Marketing plan as attracting “return” visitors with growing loyalty and the Tourism




                                               24
        plan as attracting “one-off” visitors (with their facilitators and guides being potentially the loyal
        ones)]. The Tourism plan seeks to reach those:

             Who could, or do, come to Bury from outwith the town for day visits or short breaks
              (excluding our loyal/regular audience).

             Who are encouraged to visit Suffolk, and could, or do, visit Bury as part of a business,
              family, or holiday occasion.

 12.2. Dedicated Staffing Resource

             Head of External Relations

             Marketing Officer

             The Heritage Manager

             Customer Services Officer

             Tourism Intern

             Senior Tourism Volunteer



 12.3. Key Issues

           To make internal communications and cross-departmental arrangements work best as we
            develop a Tourism strategy across the organisation

           To set aside appropriate funds in the budget for a long-term promotional plan. identifying the
            “offer” which we can make on a regular basis in an effective manner to appeal to the tourist
            visitor.

           To get a clearer understanding of the different groups of „tourist visitors‟, both nationally and
            internationally, and of their expectations, preferences and needs.

           To ensure that the Theatre Royal is recognised by outside Tourism, Government and operating
            bodies as a tourist attraction worthy of mention and collaboration. [This is an issue for most
            theatres in their communities, and one we should be able to tackle with our heritage pedigree]

           To balance the pressures of time, resources and budget between the immediate challenge of
            building and attracting the regular visitor (Marketing shows) with the much longer term
            aspiration of attracting one-off visitors (Tourism plan).



12.4. Programme Objectives

   Short Term – 2010/11

           To establish and operate an internal Tourism Group of staff to coordinate planning, oversee
            projects, explore collaborations, and minimise confusion across departments

           To “plug in” to existing local tourist activity, so that the Theatre Royal is part of the existing
            “offer”, and can offer an additional and complementary attraction to the mix. Especially as a
            guided tour and daytime destination.

           To make tourist destination providers much more aware of the “offer” of the Theatre Royal so
            that guest houses, other attraction help desks, coach operators, and taxi firms (for example)
            can recommend a visit.

           To be closely associated with Festivals Suffolk and the work of Choose Suffolk so that we and
            the Bury Festival are well represented in the “offer”.




                                               25
        To build awareness of our Georgian Heritage brand both in “Restoring the Repertoire” and the
         daytime visitor activity, in order to reach a wider potential audience who choose to visit the
         Theatre Royal specifically, with Bury and Suffolk as associated attractions.

        To work with cultural, educational and tourism partners across the UK, Europe and beyond on
         specific theatre heritage and academic “offers” unique to our cultural sector, and to build
         attractive “offers” with our Bury and Suffolk partners.

        To support Creative Learning to reach schools and young people‟s groups across Suffolk with
         the day out/theatre/history “offer” to build one-off visit volume, but also long-term occasional
         connections for our production programme.

    Longer Term – by end 2011/12

        To be “noticed” and “involved” in strategic planning in Bury and Suffolk which could build
         visitor numbers for us all in the future – especially Festivals Suffolk, Bury Tourism Strategy,
         responses to the 2012 Olympics.

        To undertake longer-term meetings with collaborative tourism partners on the re-routing of
         major tour groups and established group travel tourism providers to include Bury St Edmunds
         as a stop-over, and the Theatre Royal as a visitor attraction.

        To look at family roots and history visitors as a segment of our potential market in
         collaboration with other providers in Suffolk and Bury – including WWII stations, family
         records, theatrical roots, and Georgian lineage.

        To link in with three key international markets with our “offer” and potential collaboration –
         Rwanda (Olympic link to Bury), China (priority for Suffolk), and USA (potential for Georgian
         touring, and large visitor numbers).

        To work closely with Perspectiv and its members to enhance the heritage o ffer by collaborative
         work across European sites – especially France, Belgium, Luxemburg, Holland and Germany.

        Identify how the Theatre Royal can benefit from the existence of the Olympics both in 2012/13
         and 2013/14, working with partners in Bury and Suffolk to trial some provisions and ideas in
         the 2011/12 season



12.5. Performance Targets

                Target

                To operate an active internal Tourist Group. Meeting regularly and reporting
        1.      back via Head of External Relations to Senior Management Team, allowing for
                a clear flow for project management.

                To awaken partners in Bury St Edmunds to the potential for collaboration in
                shared promotion and positioning, adding our “offer” to theirs. By the end of
        2.
                the year to have achieved at least 2 collaborative initiatives, such as
                Discount Vouchers.

                To increase the awareness of guided tours and open doors to build numbers
        1.
                from 2400 known visitors a year to 2600 in 2010/11.

                Work with Creative Learning to increase the number of school/uniform party
        2.
                tour visits by 50% (from 6 in 2009/10).

        3.      Arrange free tours for at least 20 local organisations/business
                representatives in the off-season chosen because they are influential in a




                                           26
               sector of the business, organize tourist activity, or could champion our “offer”

               Be close to the working of Bid4Bury, either through representation on the
     4.
               Board or by involvement close to operations.

               Be part of the Festivals Suffolk steering group and make offers for
     5.        “familiarisation” trips and collaborative involvement to the benefit of Bury St
               Edmunds.

               Develop a simple piggy-back marketing plan to encourage our existing theatre
     6.        audience to be aware of tours – especially aimed at when they have visitors
               staying in the area.

               To work through the extensive research done by Katie Judge to increase
               awareness of our heritage/tourism offer and prepare a series of targets for
     7.        2010/11 to be tackled by the Tourism Group. Specifically to prepare a
               calendar of opportunities (roadshows etc) and group meeting dates to be
               ahead of the game.

               Develop a simple collaborative marketing scheme (either with Local Secrets or
               bespoke discount vouchers) which draw together 5-10 day-visit attractions
     8.
               including ourselves for some cross-fertilisation of visitors (especially Greene
               King, The Cathedral, The Art Gallery).

               To have a Visitor Survey report by the end of 2010/11 which looks at our
               economic impact, our visitor geographic and socio-economic spread, and
     9.
               compares to other regional attractions and national expectations. Allowing a
               more dynamic marketing plan for 20011/12.

               Undertake some specialist publication PR in the Georgian and Theatre areas to
               attract focused interest in the June 2010 and September 2010 productions –
     10.
               offer fam trips, and pre-trail potential 2011 international touring of
               productions.

               Work with Bury Tourism, Suffolk Tourism Partnership and East of England
     11.       Tourism to identify major tour group providers including cruise-lines, day trip
               coaches, and users of the A14 to get the town on their radar.

               Work to ensure there are available introductory downloads on the Website in
     12.       French, German, Spanish and ideally Chinese. Covering the copy of the
               Heritage leaflet, but also introducing the Theatre Royal and Bury St Edmunds


             To develop relationships with at least 3 potential artistic collaborators outwith the
             region (e.g. the Globe, Jane Austen Festival Bath, Dickens Festivals…) and create
     13.
             some shared marketing initiative for 2011/12


             To re-evaluate the Georgian Gem and the ideas for a Georgian Book Festival and
     14.
             bring a report for consideration for possible 2011/12 launch.



12.6. Risk Assessment

     Risk                         Probability       Impact      Mitigating Action to be taken

           Confusion between             Low                         Tourism Group meetings to
                                                       Mediu
           Marketing and                                            streamline procedures and review




                                          27
            Heritage for this                                m      projects.
            new discreet plan

            Little or no interest
                                                                       Good personal connections to
            from other Bury
                                                                    explore ideas, and show the
            organisations for             Low             High
                                                                    potential to save money, increase
            collaboration on
                                                                    offer appeal by working together
            projects

            Bid4Bury ignores                                         We have offered to be on the
            the Theatre Royal             Low             High      Board. We need to remain close to
            as its offer develops                                   this fund of money and activity.

            Our Heritage/                                            We need to temper our
            Tourism message                                         messages with a suitable balance
                                          Low             High
            obscures our “place
            of entertainment”
            programme and we
            are seen as high
            brow

            Local Tourism                 Low             Low          We would need to rely more on
            wanes through lack                                      our core database of existing
            of initiative and                                       customers and focus on family and
            economic changes                                        friends more than tourist
                                                                    strangers.



12.7. Evaluation

The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
Theatre Royal, but not less than in a bi-monthly report to the Board by the Head of External Relations
with progress against agreed targets and qualitative evaluation as appropriate.




13. External Relations Department: Development
13.1.       The key role of the department is:

         To provide and implement a strategy for fundraising

         To raise £200,000 non-restricted funding to support core activity of the Theatre

         To work with others to raise agreed levels of restricted funding to support a range of project
            work

         To provide and implement a strategy for successful donor management to help retention
            rates and develop relations for further giving



13.2. Dedicated Staffing Resource

           Head of External Relations

           Fundraiser: Corporate and Individual Giving




                                           28
             Fundraising & Development Assistant (Intern )

              Note

                 Development Officer – on maternity cover to August 2010

                 Fundraiser: Trusts and Foundation – p/t Current Vacancy

              At present much of this work is being handled by the Fundraiser working extra hours
              through to September 2010, when the situation will be reviewed.



13.3.         Key Issues

   The Current Position

           Two years after the capital appeal there is still, in some quarters, a perception that the
            Theatre Royal has „had its turn‟ with fundraising.

           In the second half of 2009 we have seen a return to productive meetings about sponsorship
            and corporate business relationships. The level which can be sought is much lower than, say,
            3 years ago. However there may be potential for growth in this area.

           There appears to be a lack of connection between the Development offer and individuals (as
            opposed to corporate donors/sponsors). Serious work is needed by Board and in-house team
            to reach potential “treasure” from major donors and patrons.

           Extra work now, hooking new Patrons and sponsors, should pay off in 2010/11 and 2011/12
            through expected renewals and realisation of our potential value to them, and to the
            community.

           The recession has affected, most clearly, the ability of many of the larger Trusts and
            Foundations to countenance new approaches. The expectations of income streams from this
            area need to be tempered by reality. We need to continue to nurture our impressive list of
            previous Trust supporters in order to be ready to seek their support in the future.

           However we enter a period where our Development Officer is taking maternity leave (through
            to August 2010) and the Trusts fundraiser has left us to concentrate on her other
            conservation fundraising clients. We are, until September, reliant on one 5 day a week
            fundraiser until August who is also covering event management and donor stewardship. Our
            targets for 2010/11 are predicated on “treasure hunting” support, and Advocacy from the
            existing Board of Directors and their own immediate and existing contacts.

           We have welcomed our first Intern to the department supporting on event management and
            donor stewardship. A key issue will be to attract suitable future Interns and to facilitate their
            ongoing development within our limited resources.

   The new Development Board

           A key issue for 2010 is to build the strength, numbers and breadth of a new Development
            Board with the expectation that everyone on the Board will themselves donate to the annual
            target. Development works best with a dynamic Board of champions who offer “treasure” or
            the keys to treasure, feeding the Development department with leads and supporting in the
            cultivation and netting of new donors. The Development Board members should not need to
            focus on detail, or to meet together regularly. They need to be a dynamic group of individuals
            with a common aim, spreading their nets wide, and supporting the department as active
            Advocates.

           Development suffers from the lack of „figurehead‟ roles. During this period of economic
            uncertainty Development will be even more reliant on advocacy and leads in order to achieve




                                               29
        financial success. Whilst practical workers are better than passive names – it would be good
        for 2010/11 for the Development Board to be able to welcome one or more “names”.



13.4.     Departmental Objectives


       To build the Patron’s Scheme to a point where it is a reliable annual contributor to the
        overall target. By 2011/12 (2 years time) this could deliver £50k annually without hard
        “selling” provided we ensure first class stewardship.

       To continue with a programme of fundraising Events, working with volunteer event
        committees on detail, to match the delivery target of 2009/10. The key to the events is to
        make them appealing to audiences unaware that they are fundraisers

       To build the Development Board and a group of advocates so that every person gives
        themselves, and opens up deliverable treasure trails.

       To consider a group of US based advocates, or UK based Board members with US
        connections, to begin to attract donor interest from US taxpayers.

       To build on the success of attracting Business Sponsors to link to our productions, print and
        projects.

       To encourage early renewal of Box Sponsorship, the sale of the remaining boxes, and the
        morphing of some of the one-off Box deals into an annual donation or sponsorship.
        [Important to note that some of the contractual arrangements remain in place for 3 -5 more
        years with, currently, zero paid over these future years, having been paid in a lump sum
        upfront]

       The Theatre has been immensely successful in the past in attracting Trusts and Foundation
        support. Times are much harder in this area at the moment and so we set, we hope, a modest
        target for lucky breaks and unexpected researched trusts.

       Alongside the more familiar quoted arts and heritage trusts we aim during 2010/11 to make
        connections to legal and accounting practices across the region to reach intelligence about
        smaller trusts, potential legatees, and small charitable funds which could support our work.

       We aim to work with marketing and box office to develop the number of Friends of the
        theatre as a valuable revenue stream, and source of loyal customer. In addition we will begin
        a process of identifying them into 3 informal groupings:

          a) those with purely an interest in the discounts and benefits

          b) those with an interest in friendly activites and connecting with other friends to support
               the theatre.

          c)   Those who might migrate onto the Patron‟s scheme.

       To work with the Artistic Director and others on sponsorship and fundraising opportunities
        connected with TRAIN which could bring funds direct to the bottom line, or release other
        funds by reducing expenditure budget heads. [Targets are not included for this objective –
        outwith our remit]

       To work with other creative departments on securing sponsorship in kind, where it is clearly
        releasing other funds by reducing expenditure budget heads [Targets are not included for this
        objective – outwith our remit]

       To continue to welcome discussions about Legacy support for the Theatre with families and
        estates, considering ways in which families or individuals can be honoured through their




                                          30
         legacy in the long-term, or in discussion immediately with executors [Targets are not included
         for this area since, for 2010/11 we will seek to be reactive as we build an understanding]

  We continue with certain of the main Objectives from 2009/10

        To establish a reputation for excellence of service to Corporate supporters to encourage an
         increase in level of support and create „word of mouth‟ endorsement.

        To continue nurturing those who have supported in the past where profitable
        To work closely with Press and ensure all opportunities for attracting media coverage to
         encourage support in general are explored and delivered
     And to look forward to 2011/12
        We also look to lay the groundwork for relationships to come to fruition in the following
         financial year 2011/12. Given the often medium / long term nature of fundraising,
         Development also always looks further ahead and keeps control over nurturing relationsh ips
         that have a likelihood of coming to fruition further along the line into the next two financial
         years.

13.5.       Performance Targets



                                      Development Core Funding Target

A.           Patrons Scheme              £28,500

             In addition to retaining a minimum of 80% of the Patrons attracted in 2009/10, the target is to
             attract new Patrons, and morph some Royal Million or Friends to become Patrons.

B.           Events                    £32,000


             To deliver the programme of annual events which fall into three distinct areas;

             8-10 fundraising events targeted to attract ticket buyers to high quality projects with funds
             flowing into Development.

             A creative and engaging range of ‘Donor Events’ in line with our obligations on the Patrons
             scheme and other schemes. All part of good stewardship.

             A series of events as part of the Prospect Cultivation process to engage possible donors and
             advocates.

C.           Business Sponsors            £38,000

             In addition to the £17000 already pledged for 2010/11 to attract a further £21,000 of new
             business support through leads, advocacy, research.

             This figure is net of costs of projects and is designed to support the income of the
             organisation. A minimal budget is held in expenditure to cover some modest entertaining.

             Any sponsorship secured to fund projects additional to and outwith the current overall
             operating budget will need to be netted off and only the net income is allowed against the
             income targets and budgets

D.           Major Donors                 £20,000

             A concerted effort will be made to secure sponsors for the remaining boxes and to re negotiate
             deals with companies up for renewal next year, together with discussions with selected
             existing contracted Box Sponsors to re-negotiate their support with an annual payment over
             some future years.




                                            31
  E.             Trusts and Foundations                £35,000

                 In addition to the £29,500 secured through Esme Fairbairn and three other Trusts, we have
                 allowed for a £10,500 to be raised from other sources – net of the cost of projects.

                 This figure is in addition to the funds sought by the Artistic Director’s applications to Trusts
                 and Statutory funding bodies towards the costs of TRAIN

                 A smaller item of £5,000 is included in this target to be raised from Suffolk based Trusts,
                 legacies from Suffolk based individuals, or through connections made to smaller Trusts in East
                 Anglia not currently supporting the Theatre Royal

  F.             Friends Membership            £32,000

                 Requiring a high renewal rate, and hard promotion of the benefits of Friends Membership
                 through new print and nurturing schemes.

  G.             Additional donations         £1,500

                 A small number of bricks and donations to support the theatre.

  H.             Gift Aid                         £8,000

                 A budget of £7,000 has been allowed in 2009/10. The growth will, we hope, generate a rise in
                 this area.



  I.             Non-Financial Targets

                 By the end of 2010/11 to have a Development Board of at least 5 people outwith Board
                 membership, and to identify a further 2 US based (or US connected) Advocates to allow a
                 fundraising target from US taxpayers to be included in the 2011/12 targets



 1.7 Evaluation

 The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
 Theatre Royal, but not less than in a bi-monthly report to the Board by the Head of External Relations
 with progress against agreed targets and qualitative evaluation as appropriate.




  14. External Relations Department: Box Office
14.1. The key role of the department is to provide an efficient and professional ticketing service for
           Theatre Royal Patrons and Agency business clients and to do so with a particular focus being the
           provision of outstanding customer service that will contribute positively to the company‟s overall
           reputation.

14.2. To work as required with the Apex Management either for the provision of their Box Office
           system or for close liaison with us and their independent system, whilst not diminishing 1.1
           above.

  14.3. Dedicated Staffing Resource

               Box Office Manager

               Deputy Box Office Manager

               Eight Box Office assistants




                                                 32
            Plus staff as required if we take the on the Apex.

14.4.       Key Issues

         The need to work with the IT Manager to ensure the effective running of the Patron Edge
          Ticketing system and to keep abreast of updates to the Patron Edge.

         Need for additional specific training for The Box Office manager to ensure that the Theatre is
          using Patron Edge to its full capacity

         To make sure that the Box Office can make an increased contribution to income generation
          for the company.

          To ensure the reputation of the Theatre Royal Box Office is not compromised by the stress on
          the organisation of opening a new Box Office.

          To ensure whether together or separately there is no conflict of interest between the Apex
          and the Theatre Royal Box Office services.

14.5.       Departmental Objectives

         To remain focused on the key ticket-selling function of the box office

         To continue to provide outstanding customer service and to be proactive in seeking to make
          improvements

         Working within agreed organisational targets, to continue to develop the agency business

         To ensure lines of communication with other departments are working effectively

         To further the knowledge and understanding of what Patron Edge can provide for the
          operation of the Box Office.

          To highlight the agency service with the aim of increasing the number of events we sell and
          to contact previous agency clients to encourage them to use our services.

14.6.       Performance Targets

              Box Office Department Target

 1.       Specific Patron Edge training for Box Office Manager by September 2009

 2.       To achieve £30,000 in agency commissions in the next 12months

          To establish customer service training based on “going the extra mile” for Box Office
 3.
          staff in the next 12months.

 4.       To maintain and enhance Box Office staff skills in Patron Edge



14.7.       Risk Assessment

 Risk                            Probability Impact         Mitigating Action to be taken

  Ensuring that the Box
  Office Manager is able to                                 To monitor with Head of Department
  cope effectively with the                                 current workload on a monthly basis.
  demands created by                Medium         Medium
  growing number of
  Theatre and agency
  events.




                                             33
                                                                Monitor agency sales on a monthly
   Loss of agency events
                                                                basis. Ensure prompt payment of small
   would jeopardise                    Medium        Medium
                                                                promoters. Monitor the effect of the
   commission target
                                                                Apex.

   The impact of running
   two Box Offices on
                                                      Very      Emergency plans to be in place for
   Patron Edge                           high
                                                      high      reversal back to the current system.
   communications and
   hardware.

   The impact of running                                        Communication to be kept open and
   two Box Offices on the              medium        medium     transparent with a need to be aware of
   staff.                                                       extra staff when needed.



 14.8.        Evaluation

 The process of evaluation will be undertaken on a continuous basis by the staff and Boar d of the
 Theatre Royal, but not less than in a bi-monthly report to the Board by the Head of External Relations
 with progress against agreed targets and qualitative evaluation as appropriate.




  15. Operations: Venue Hire
15.1. The key role of this aspect of the company‟s operation is to build a reputation as a venue in which
      events can be held to generate income to support the company‟s ambitions.



  15.2. Dedicated Staffing Resource

           Theatre Manager

           Chef

           Casual Catering and Bar staff



 15.3.        Key Issues

           Constraints of available time presents a significant challenges to this operation.

           The need to earn money from the facilities are difficult to reconcile with the artistic and
            heritage aspirations of the organisation, balancing the demands of the organisation‟s various
            activities in the diary is complex and difficult!

           Lead times for this activity are difficult because of competing demands on the space

           Developing a customer base of individuals and business for the services offered will need
            attention and resources from across the organisation.



 15.4.        Departmental Objectives

           To develop and promote the Theatre Royal as a venue for corporate and private functions,
            meetings and events




                                                34
         The development of the garden as an additional space for customer enjoyment and
          commercial exploitation.



15.5.         Performance Targets



                    Venue Hire Targets

         1.     To retain National Trust Spring Regional Conference for 2011

         2.     In addition, to host 4 other major conferences in the financial year

         3.     To earn £8,500 in venue hire fees for functions, meetings and events

                To host other meetings/events/functions to achieve/exceed balance of
         4.
                revenue target

                To investigate the development of the outside area for both audience and
         5.
                corporate use in the medium term.

         6.     To identify a budget line for the promotion of the Venue for Hire

                To evaluate and distribute feedback from Venue hires through Artistic
         7.       T
                Director‟s Board report



15.6. Risk Assessment

  Risk                            Probability Impact        Mitigating Action to be taken

                                                            Targets to be kept under review

                                                            Close collaboration with marketing staff to
 Numbers of venue hire
                                                            maximise awareness and promotion of
 bookings does not meet              Medium         High
                                                            what is on offer
 required levels
                                                            Customer feedback to be kept under
                                                            review

                                                            Close collaboration with programming
 Venue hire bookers have to                                 departments to ensure that balance is
 be turned away owing to             Medium        Medium   achieved and that there is clarity over the
 lack of space in diary                                     dates available. Careful management of
                                                            expectations will be needed.



15.7.         Evaluation

The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
Theatre Royal, but not less than in a monthly report to the Resources Committee and/or Board using
the organisational monitoring document with progress against agreed targets and qualitative
evaluation as appropriate.




                                              35
 16.           Operations: Front of House
16.1. The Front of House department is the welcoming face of the company at all its venues, its staff
      are responsible for the welfare of all members of the public on any premises operated by the
         company and for maintaining high standards of customer care as well as achieving income
         targets set for the retail operation. The department is also responsible for the delivery of service
         elements of tours for groups [excluding tour staff].



  16.2. Dedicated Staffing Resource

          Theatre Manager

          Customer Service Assistant

          Casual Duty Managers, Bar, Parking and Front of House Stewards

          Volunteer Stewards and Tour Guides



 16.3.         Key Issues

          The ongoing recruitment training and development of paid and volunteer staff to ensure the
           highest standards of customer care and safety are achieved at the Theatre Royal

          To continue with customer service training based on “going the extra mile” for customer
           facing staff in the next 12months.

          The ongoing development of retail outlets at the Theatre Royal in order to maximise the
           income generated.

          The provision of adequate levels of staffing within budgets and the volunteer hours available.

          Improvements to internal signage, ambience and services following the capital project



 16.4.         Departmental Objectives

          To provide the audience with a welcoming, clean, safe and helpful environment at all times.

          To meet the licensing requirements, with particular regard to the evacuation of the audience
           in the event of an emergency.

          To meet the retailing objectives of the Theatre Royal.



 16.5.         Performance Targets



                     Front of House Department Targets

                 Programme of cleaning for all buildings to be continued and kept in line with
          1.
                 budgeted expenditure headings

          2.     To reduce energy consumption within the Theatre Royal

                 Regular training events for all staff and volunteers to cover safety and
          3.
                 customer care matters




                                              36
          4.      Bi-annual trial evacuations of the Theatre Royal

          5.      To achieve a minimum of £90,000 sales from the Theatre‟s bars

          6.      To achieve a gross profit on Bar sales of 75% over the year

          7.      To reduce overhead cost base by 10% of 2009/10 levels on Bar operation.

                  To maintain cleaning payroll at 2009/10 levels plus inflationary increase if
          8.
                  applied, but to investigate cost staving measures as appropriate

          9.      To reduce paid FOH staff by 15% in the year

                  To develop a new offer in the Premier Bar in time for Summer brochure
          10.
                  2010.

                  TRAIN TARGET: To appoint a customer services apprentice to work as part
          11.
                  of the FOH staffing team.

          12.     £27,100 net profit from the sale of sweets and ice-creams

          13.     £10,000 net profit from programme related merchandise

          14.     £3,000 net profit from visitor souvenirs

          15.     Audit arrangement with Greene King to ensure profitability of car parking.



 16.6.          Risk Assessment

   Risk                             Probability     Impact        Mitigating Action to be taken

                                                              Systems of control to be agreed with
  Targets not reached                 Medium        Medium    Finance & Admin dept and regular
                                                              monitoring meetings held.

  Volunteer numbers and                                       Early forward planning to be
                                        Low         Medium
  quality not forthcoming                                     implemented.

  Target audiences not large                                  Monitor income on a regular basis and
                                      Medium         High
  enough to reach targets                                     prepare contingencies as appropriate.

  Potential franchise
  arrangements cherry pick                                    Ensure franchise discussions are
                                        Low          High
  best bits and impact the                                    thoroughly audited by Board.
  remaining offer



 16.7.          Evaluation

 The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
 Theatre Royal, but not less than in a bi-monthly report to the Board by the Artistic Director with
 progress against agreed targets and qualitative evaluation as appropriate.



 17.            Operations: Catering
17.1. The key role of this aspect of the company‟s operation is to enhance the audience experience and
         to generate income to support the company‟s ambitions.




                                               37
17.2. Dedicated Staffing Resource

          Theatre Manager

          Chef (currently on maternity leave)

          Relief Chef

          Casual Catering and Bar staff



17.3.          Key Issues

         The experience of the recent improvement in the performance of the catering model has
          indicated the way forward. The organisation needs to build on this success.

         The lack of dedicated space limits the performance of the catering operation and until this is
          satisfactorily addressed there will be limits to its profitability.

         The catering operation needs to ensure that it derives maximum yield and consequent profit
          from all of its opportunities.

         The organisation needs to continue to consider the benefits of franchising out the operation
          compared to keeping it running in-house.



17.4.          Departmental Objectives

          To establish a profitable pre-theatre meal service that provides high quality food in good
           time.

          To develop and promote the potential of daytime and weekend opening to bring in additional
           income

          To succeed in gaining recognition from the catering industry as a venue for „great food‟



17.5.          Performance Targets



                       Catering & Venue Hire Targets

          1.     To achieve a minimum of £48,000 sales from the evening catering operation

          2.     To achieve a gross profit on catering of 55% over the year.

                 To develop a permanent solution to the issue of employing a chef who will
          3.
                 operate within the constraints of the organisation‟s needs.

          4.     To earn £8,000 for catering provided for functions, events and tour parties

                 To assess the lunchtime trade pilot and develop a coherent approach to
          5.
                 daytime opening from April 2010.

          6.     To continue to discuss franchise arrangements with relevant parties.

                 Develop an approach to gaining recognition within the catering industry by
          7.
                 April 2010

          8.     To investigate & develop purchasing arrangements to reduce Catering costs.




                                                 38
          9.     Ensure that regular marketing discussions are held with relevant staff.



 17.6. Risk Assessment

   Risk                             Probability Impact     Mitigating Action to be taken

                                                           Targets to be kept under review

  Numbers of customers                                     Close collaboration with marketing staff to
  eating at performances                                   maximise awareness and promotion of
                                      Medium        High
  does not reach required                                  what is on offer
  levels
                                                           Customer feedback to be kept under
                                                           review

  Recruitment and retention
                                                           Ensure staffing is of the highest quality
  issues may affect the              Medium         High
                                                           available.
  catering operation

  Franchise discussions do                                 Ensure that the in-house operation is
                                       High         Low
  not lead anywhere                                        robust.



 17.7.         Evaluation

 The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
 Theatre Royal, but not less than in a monthly report to the Resources Committee and/or Board by the
 Head of Finance & Administration with progress against agreed targets and qualitative evaluation as
 appropriate.



 18.           Technical
18.1. The key role of this department is the management of staff and resources in order to ensure the
      highest possible production and customer care standards are established and maintained. The
         department is responsible for the smooth operation of the Theatre Royal stage and for technical
         support for all the company‟s events.



 18.2.         Staffing

          Associate Director

          Technical Manager

          Chief technician

          2 Technicians

          1 Technical Apprentice

          Casual Technicians



 18.3.         Key Issues




                                               39
        The continuation of a disciplined, effective and flexible team to deliver the company‟s
         ambitions

        The management of staff time to ensure working hours are kept within reasonable bounds

        The continuance of the high production and presentation standards for the work that appears
         under the Theatre Royal name, on its stage and for the premises themselves.

        The need to develop and use routines and procedures to ensure the effective and safe
         operation of the Theatre at all times including the implementation of a statutory training
         programme to meet Health & Safety requirements

        The need to develop effective production management that achieves the highest possible
         production standards within the available budgets either using freelancers or the resources
         within the department itself

        Building maintenance within the available time and financial resources remains a challenge.

        Building and maintaining communication with FOH and other operational staff.



18.4.      Departmental Objectives

        to develop a team of skilled and customer-focused resident technicians, casuals and freelance
         production staff in order to ensure the highest production values for all aspects of the
         Theatre‟s operation at the Theatre Royal, The Guildhall and at touring venues.

        to retain and develop the Theatre Royal‟s reputation as a popular and welcoming venue for
         the professional and amateur companies who work there.

        To ensure that all equipment is kept properly maintained and that all licensing and Health and
         Safety standards are met.



18.5.      Performance Targets

             Technical Department Targets

  1.    To operate within agreed budgets and staffing levels.

  2.    To recruit, train and retain a pool of skilled casual technicians.

        To work with the relevant Production Manager to ensure that the physical production
  3.
        costs of In-House Productions are controlled within budget.

  4.    Regular training programme for all staff to cover H+S and other statutory legislation.

  5.    Write departmental operational guidelines to mitigate risk of hazardous working.

        To establish a programmme of repairs and renewals for FOH areas including the
  6.
        auditorium by Summer 2010

        To explain contractual details and sign off the technical account with a representative
  7.
        of visiting companies at the end of engagements.




                                             40
 18.6.       Risk Assessment

   Risk                          Probability   Impact     Mitigating Action to be taken

                                                          Technical Manager and Associate Director
   Staff build up too much
                                                          to monitor staff time regularly from the
   TOIL resulting in               Medium       Medium
                                                          beginning of the year against agreed
   additional staff costs
                                                          monthly targets.

                                                          Systems of control to be agreed with
                                                          Finance & Admin dept and regular
                                                          monitoring meetings held
   Budgets exceeded                Medium       Medium
                                                          Involvement of Technical Manager in
                                                          budgeting process for productions from
                                                          outset

                                                          Ensure a quick and effective replacement
   Staff Turnover                  Medium           Low
                                                          regime when staff leave.

                                                          Ensure proper training and guidelines are
   Injury to technical staff       Medium       Medium
                                                          put in place.



 18.7.       Evaluation

 The process of evaluation will be undertaken on a continuous basis by the staff and Board of the
 Theatre Royal, but not less than in a bi-monthly report to the Board by the Artistic Director with
 progress against agreed targets and qualitative evaluation as appropriate.



 19.         Finance & Administration
19.1. The department provides the administration, systems, personnel and finance functions for the
         Company and is responsible for the co-ordination of all activities and internal communications



 19.2.       Departmental Staffing

          Head of Finance & Administration

          IT Manager

          Finance & Admin Officer



 19.3.       Key Issues

          Further development and implementation of improved financial controls and high-quality
           financial information to ensure the financial stability and viability of the company.

          The ongoing need for careful monitoring of cash-flow.

          Development of effective internal systems and communications to support and monitor the
           many strands of the artistic programme.

          The ongoing development of IT systems Artifax Event, Raiser‟s Edge and Patron Edge and the
           telephone system as effective tools for the organisation.




                                               41
       The ongoing assessment and provision of IT and systems training across all departments
        within the organisation.

       Securing the future of the organisation through the consideration of the most financially
        effective structures.



19.4.     Departmental Objectives

       To control expenditure on overheads to the extent that all controllable budget headings will
        not be exceeded.

       To prepare detailed, high quality information, both projected and retrospective on a monthly
        basis.

       To prepare and effect contingency plans against poor achievement against budget predictions.

       To review systems, information and services of the Finance section in order to support
        budget-holders effectively and efficiently and to deliver the objectives in this plan.

       To work with budget holders to ensure their understanding of both income and expenditure
        budgets under their control in order to achieve targets.

       To construct and implement a medium and long-term financial planning strategy, with
        provision for review and adjustment on a regular basis.

       To target an annual surplus in order to eradicate the accumulated deficit as quickly as
        possible.

       To develop and promote the use of Artifax Event as a tool to ensure balance is achieved
        between all departments in the utilisation of the space available.

       To develop and encourage use of existing software packages to fulfil the requirements of
        existing and future projects.

       To develop the structure, flow and content of the Theatre‟s website incorporating the vision
        for a multiple language site.

       To be included from an early stage in all projects which may potentially involve the collection
        of or flow of data.



19.5.     Performance Targets



            Finance & Admin Department Targets

        Preparation of end of year work is of high quality to ensure a smooth audit
  1.
        process
        Development of improved management accounting leading to better
  2.
        financial reporting

  3.    Achievement of a minimum year-end operating surplus of £ 10,000

        To restore the Captive Insurance Fund to a minimum of £25,000 BY April
  4.
        2012.

  5.    To repay all bridging finance by the end of the financial year 10/11

        Completion of the integration of the Patron Edge and Raiser‟s Edge IT
  6.
        systems and the full implementation of Artifax Event




                                          42
            To work closely with Event, Patron Edge and Raiser‟s Edge users to ensure
    7.
            optimum use of the systems and assess ongoing training requirements

            To produce a plan for the development of the website working closely with
    8.
            the Head of External Relations



 19.6.        Risk Assessment



   Risk                             Probability Impact       Mitigating Action to be taken

                                                            Review of financial procedures and
   Overspending by budget
                                       Medium        High   controls to minimise possibility of this
   holders
                                                            happening

   Economic downturn results                                Work closely with budget holders to keep
   in failure of any fundraising                            budgets under review, control expenditure
   or income generating                Medium        High   and maximise income streams
   activity
                                                            Continue to encourage staff to develop
                                                            cost-saving initiatives



 19.7.        Evaluation

 As a minimum, monthly financial reports by Head of Finance & Administration to the Resources
 Committee and/or Board showing expenditure and income against plan with explanation of variances,
 updated projections to year end, cash flow and balance sheet.




 20.          Staffing
20.1. The new staffing structure was implemented by the beginning of FY 09/10 and has since had time
      to bed down.

20.2. Following the redundancy of the Head of Development and Head of Marketing the two posts were
      amalgamated to form a Head of External Relations and this post was filled in September 2009.

20.3. Staff appraisals have been carried out for the second year and are becoming part of the busine ss
      planning and staff development process. Personal objectives agreed during appraisal are being
         used by line managers to monitor staff performance during the year.

20.4. Some staff training has taken place during the year focussing on health and safety. This has
         included first aid and working at height training for technical staff. Further first aid training will
         be rolled out throughout the organisation ensuring that at least two fully trained first aiders are
         on duty whenever the theatre is open and other nominated persons are available at other times.

20.5. Staff CPD needs have been identified as part of TRAIN and a budget will be identified to enable a
         rolling programme of personal development training.

20.6. Preparation is underway to recruit, train and develop our invaluable volunteer force to ensure all
         volunteers are fully engaged and have equal opportunities wherever they work within the
         organisation.




                                                43
20.7.        Staffing Objectives

       To cultivate an enthusiastic, committed and well-treated staff, both paid and voluntary, which
        will act as ambassador for the Theatre‟s ambitions.

       To encourage staff participation in the direction of the Theatre‟s ambitions and operational
        decision making process.

       To offer opportunities, where feasible, for staff to work outside their normal areas of
        responsibility, to develop both their skills and their understanding of the organisation as a
        whole.

       To regularly monitor staff working hours and workloads.

       With the support of Arts Council England, the Company will develop and implement Diversity
        and Equality Action Plans to include review of recruitment methods and setting of specific
        targets.



20.8.        Performance Targets

                   Staffing Targets

        1.      To complete the review of staff structure.

                To implement a programme of statutory and other staff training with the
        2.
                allocation of an appropriate budget
                To implement a programme for the recruitment, training and retention of
        3.
                volunteer staff.

        4.      To keep terms and conditions under review

        5.      To produce a comprehensive staff manual

        6.      To complete and implement the Diversity and Equality Action Plan

        7.      To complete the implementation of the Safe from Harm Policy.



20.9.        Risk Assessment



 Risk                            Probability Impact     Mitigating Action to be taken

Lack of time to dedicate           Medium     Medium Review staffing as work burgeons
adequately to each strand of
operation
Not maintaining adequate                                  Ensuring Box Office is adequately staffed.
staff levels.                      Medium     Medium


Poor performance owing to          Medium     Medium      Monitor workload, job satisfaction and
workload or gaps in staffing                               look at measures to retain staff
when staff leave                                          Use of temporary staff to bridge gaps
                                                           during recruitment of new staff

Loss of staff to higher paying       Low      Medium      Review terms and conditions on an ongoing
employment/inability to                                    basis
attract staff                                             Prioritise effective internal communication and
                                                           consultation to keep people on board




                                            44
       APPENDIX A.

   DEVELOPMENT PLAN 2010-2013

1. TERMINOLOGY

1.1.     It may be useful at the outset to understand the following terminology definitions:

1.2.     Practitioner – A freelance individual employed for their creative or technical skills by the
         Theatre Royal.

1.3.     Existing staff – all salaried employees on the payroll at the end of the financial year 2009/10.

1.4.     Volunteer staff – all staff offering the services free of charge at the end of the financial year
         2009/10 with the exception of those already working under the TRAIN programme [see
         below].

1.5.     Trainee - the umbrella term to cover all individuals attached to the Theatre Royal under the
         TRAIN programme.

1.6.     Apprentice – a paid employee on a short or long contract working with us under the TRAIN
         programme.

1.7.     Intern – a long term [more than 3 months] unpaid employee working with us under the
         TRAIN programme.

1.8.     Work Placement - a short term [less than 3 months] unpaid employee working with us under
         the TRAIN programme.

1.9.     Work Experience – a short term [usually two weeks] attachment of a young school-age
         person coming to experience a work place environment

1.10.    CPD – stands for Continuing Professional Development, a title which encompasses all training
         and career development opportunities for staff.



2. CONTEXT



2.1.     In 2009/10 we undertook work to research and develop the Theatre Royal‟s „world class
         cultural offer‟, its delivery methodology and resourcing. Once the direction of this progression
         had been identified the company was to implement a new strategic plan, building on the
         fusion of the historic strengths of the organisation and the findings of the research project.

2.2.     This work has been ongoing for the whole of the past year and has resulted in a clearly
         defined way forward which the company is now seeking to adopt. Surprisingly, the outcomes
         have not been focussed solely on either the creation of cultural work nor on the existing
         infrastructure which has historically supported that work. Instead we are looking to change
         the relationship between the two components and extend it to develop a new dynamic which
         sees the human resource recruited and, crucially, trained to deliver the cultural offer that the
         company has identified as its core work.

2.3.     That cultural offer remains very much as stated in last year‟s Business Plan and the
         objectives in the main body of this year‟s plan bear that out:

             to become a major, internationally recognised theatre

             to continue to be a local venue with a great programme and actively seek to make a
              difference to people‟s lives




                                             45
           to continue to be a producer of unique work

           to maintain and develop a consistently high quality programme of presented work

           to ensure that learning is placed at the heart of the Theatre‟s artistic policy and activities

           to continue to develop the Theatre‟s Heritage programme in all its guises

2.4.    Our work in the foregoing year has identified that the relationship between our cultural
        objectives and our organisational structure, specifically our human resources, has changed.
        Each has developed in a different plane and we need to adjust the way that we do things.
        This adjustment offers us a huge opportunity in the forthcoming years and this plan
        addresses the way we wish to develop the organisation to maximise the benefit that such an
        opportunity affords us.

2.5.    The cultural objectives which we aspire to deliver, arising from the unique position of the
        company as both arts and heritage organisation, have altered the organisation significantly
        over the past 5 years and we are now clear about the way we wish to deliver our programme.
        We are developing our abilities and skill sets all the time in order to be able to move forward
        in our cultural practice areas.

2.6.    However, our historic focus on being a presenting house means that our predominantly
        administrative staffing structure relies on freelance staff to develop the specific practical skills
        we require to deliver our work. This in turns means that many of the skills we develop
        through practical work are used by us for only a few weeks in the year when we can raise
        enough money to employ freelance practitioners to work with us.

2.7.    An example - we have developed considerable set design ability and knowledge based on
        18th century theatre practice which is lodged in the skills portfolios of a number of freelance
        designers who work with us for short period only. When they go, their experience and skills
        go with them. These practitioners take with them also their ancillary skills and experience as
        workshop leaders, teachers, interpreters, and advocates etc.

2.8.    Clearly if the staffing structure of the organisation is to serve its cultural objectives
        adequately we need to be able to retain the acquired skills, knowledge and experience within
        the organisation and, crucially, pass them on to others to learn and develop further.

2.9.    At the same time as our work highlighted the need to retain and develop our skill base, we
        became aware of the societal need and political impetus to deliver additional learning,
        apprenticeship and employment opportunities. There was therefore a real synergy between
        the way we were trying to acquire and develop skills and the opportunities presented by the
        political momentum behind training.

2.10.   We have also understood that lodged in our professional and volunteer staff are skills and
        experience that can improve our offer in the field of training opportunities.

2.11.   Thus in addition to the major objectives identified in 2.3 above we have now added a
        significant new one:

           Using the TRAIN acronym [Theatre Royal Apprentice and Intern Network] - To become
            recognised as the arts organisation to go to for professional training and development
            opportunities in the east of England

2.12.   This plan details how that objective will be realised over the next three years.




                                          46
3. THE NEW DYNAMIC



3.1.   The new dynamic is one which will turn the Theatre Royal into a training and learning
       organisation of significance.

3.2.   Our core administrative, customer service and technical staff have a huge number of skills.
       When the volunteer workforce is added to that staff role the list of skills and experience
       grows enormously. We believe that this staff has much to offer in terms of enabling access to
       our industry and, given the time to pass that skill on, would prove a valuable resource for
       people wanting to get a start in our business and other industries to which the learned skills
       are transferable.

3.3.   In order to secure the unique skills developed for the organisation‟s cultural work and to
       strengthen the training offer, we aspire to see the incorporation of a group of practitioners
       contracted to the organisation for appropriate periods of time. Simply put, the adjusted focus
       of the organisation will witness the development of a creative core of staff at its heart which
       will complement the skills lodged in existing staff.

3.4.   These creative practitioners may be designers, musicians, performers, interpreters or anyone
       who has developed a specialism or unique skill arising from having worked with us on various
       projects.

3.5.   These practitioners, along with the existing staff, will then be offered support by way of
       numerous training opportunities including programmes such as „Train the Trainer‟, in order to
       be able to deliver further training to a significant number of trainees.

3.6.   In this way we will be able to develop a fully rounded and structured programme of training
       by means of offering work- placements, apprenticeships, internships, accredited courses,
       CPD, and employment opportunities of both a paid and unpaid nature. The training offer will
       be right across all areas of our operation - administrative, technical and creative.

3.7.   Whilst the first three years of TRAIN will need financial support, the intention is to develop a
       modus operandi which, recognising the diminishing levels of public support from traditional
       sources in the short and medium term, will establish an income base to support the Theatre
       Royal‟s activity in general. This is dealt with more fully in 5.25 below.

3.8.   The TRAIN programme will be structured in three phases:

          Preparatory – the period of time before the programme is launched in earnest in
           September 2010. During this phase the detail of the pilot phase and its funding will be
           fully developed.

          Pilot – the period between September 2010 and March 2013 during which the detail
           contained within this plan, its evaluation and refinement, will be undertaken.

          Full programme – the period after March 2013 which will see the evaluated and adjusted
           programme adopted by the organisation.



4. PREPARATORY PHASE



4.1.   As described above this short phase of work will lay the ground for the full pilot progr amme
       which will follow. It is clear already that there is a potentially enormous demand for the type
       of training which we aspire to offer. We must ensure that we consider the value and viability
       of any opportunity which we publicise.




                                        47
4.2.    Additionally, it is important that we understand the strain that such a programme could place
        on the organisation if it were not properly considered and resourced. In particular we have
        identified that we need to invest in the infrastructure of the company in terms of its reso urces
        before we can launch such a programme in earnest.

4.3.    Principally these resources are human. Our first TRAIN objective is, subject to successful
        funding bids, to recruit people to do the work currently undertaken by the freelance
        practitioners who can then be incorporated into the core of the organisation to deliver many
        elements of TRAIN during the second pilot phase.

4.4.    We have also identified that we will need a new post which is to be the TRAIN administrator,
        whose responsibilities will be both practical and pastoral. As stated above the pilot
        programme will begin in earnest in September 2010 although there will be a deal of activity
        before that point.

4.5.    It is proposed that a p/t post be recruited in the early part of the new financial year in time to
        support the pilot phase when it is launched in the second part of the year. The role will
        develop organisational systems and paperwork which will ensure that every individual who
        joins us in the capacity of a Trainee is appropriately dealt with in terms of legislation and
        good employment practice. The role will also carry the responsibility for ensuring that all
        trainees have a nominated person, other than their line-manager or trainer to whom they can
        turn for pastoral care.

4.6.    The final responsibility of this post will be to construct an organisational training plan to take
        account of all the opportunities listed in the pilot phase below and beyond.

4.7.    Until funding is obtained it is proposed that this post be undertaken on a voluntary basis by a
        Board member.

4.8.    Also as part of the preparatory phased we will undertake a skills audit of the volunteer
        workforce so that we can begin to look at available skills and see how we can best share
        them during the pilot phase.

4.9.    We will also need technical resources: each programme element has an infrastructure cost
        built into it in order to pay for the resources we need to acquire to deliver it: telephones,
        PC‟s, office furniture, equipment etc.

4.10.   Each opportunity offered by the TRAIN programme itself has many considerations and we
        have begun to develop a database which will catalogue all the training access points in the
        three year period and which will list the detail of each opportunity. This database will be
        further developed in the preparatory phase.

4.11.   We will evaluate the progress of the few apprentices and interns who already work with us to
        ensure that TRAIN is constructed to take account of that evaluation.

4.12.   We will work with City College Norwich, University Campus Suffolk and the University of
        Essex to develop ideas around the continuation or creation of accredited courses, or the
        delivery of course modules, in one or more of our operational areas.

4.13.   The preparatory phase will also see funding applications prepared and submitted in order to
        fund the first three years of the programme. Initially we will make applications to the
        following bodies to support the pilot phase:

           Heritage Lottery Fund‟s Skills for the Future. Our pre-application form has already been
            submitted and we have been given detailed feedback and encouraged to apply by the
            end of March. We have already suggested that this three year programme will need in
            the region of £250K from this source.




                                          48
            The Monument Trust. We have had initial conversations with the administrator of this
             trust which, as one of the Sainsbury family‟s trusts, is one of those which targets its
             support at our industry. Again first indications are positive and we expect to submit an
             application for consideration in May. We have already suggested that this three year
             programme will need in the region of £180K from this source.

            Arts Council England‟s Grants for the Arts reopens in March and we have had initial
             positive discussions about TRAIN at an officer level. This programme supported STEP
             FORWARD which gave rise to TRAIN and we have been encouraged by ACE‟s enthusiasm
             for the way we are heading. We will submit a further application in March for around
             £100K to support two years of activity.

            With City College Norwich to The Learning and Skills Improvement Service with a bid to
             deliver a CPD programme model „Improving the quality of practitioner input to the
             delivery of Creative & Cultural Skills‟. The project duration will be for two years and up
             to 90k, which would fund staff time, possibly a virtual community portal for capturing
             and exchanging best practice, an online CPD portfolio, access to expert mentors
             (provided by the Theatre Royal community) and video to support and monitor reflective
             practice. This application will be submitted by June.

4.14.   The funding landscape is large and we will spend time during the preparatory phase
        researching it further to ensure that we have taken advantage of every opportunity which
        exists.

4.15.   As a final element of the preparatory phase, we will begin to think about the notion of
        embedding training into the staffing structure of the organisation. A good example of the kind
        of activity proposed is at West Suffolk College where the catering students form part of the
        staffing of the professional restaurant. Very much along these lines and those of a teaching
        hospital we will turn our minds to a way in which we can begin to adopt the same principles
        of work-based training delivering the organisation‟s cultural and operational objectives.



5. PILOT PHASE



5.1.    Following an organisation-wide audit of the opportunities TRAIN presents we will offer the
        following TRAIN opportunities and undertake the following work:

5.2.    Technical Apprenticeships funded by SCC which will see young apprentices working in our
        technical department for a year each. This first opportunity has already been recruited to an d
        lasts until January 2011. The post-holder works 4 days a week and is undertaking the formal
        part of the Apprenticeship for one day a week at City College Norwich. Thereafter we will
        offer one further apprenticeship a year.

5.3.    Customer Service Apprenticeships – working alongside our front of house team this post
        will be offered as a paid apprenticeship on the same basis as the Technical apprenticeship
        above. It is scheduled to run from September 2010 for a year. Thereafter we will offer one
        further apprenticeship a year.

5.4.    Heritage Apprenticeships – funded by HLF‟s Skills for the Future programme, from
        January 2011 we will seek to train a minimum of four people for each of the three years of the
        project making a total of twelve. We will offer work-based training plan which will focus on the
        acquisition of heritage skills such as Research, Performance and Live Interpretation.

5.5.    CPD Opportunities for Heritage practitioners – in tandem with the application to HLF we
        will be offering 2 paid opportunities a year for three years for practitioners to develop their




                                          49
        existing skills in the fields of Research, Performance and Live Interpretation. Along with the
        Theatre Royal‟s Artistic Director, these practitioners will also be responsible for the training of
        the Heritage Apprentices identified above.

5.6.    IT Apprenticeship - working alongside our IT Manager this post will be offered as a paid
        apprenticeship on the same basis as the Technical apprenticeship above. It is scheduled to
        run from February 2011 for a year. Thereafter we will offer two further apprenticeships a year
        subject to available funding.

5.7.    Internship – PA to CEO – following the success of the trial Internship currently in place we
        will offer the same opportunity for two further years from August 2010.

5.8.    Internship –Marketing – subject to successful evaluation of the Internship currently in
        place we will offer five of the the same opportunities for six months each for the remaining
        two and a half years of the programme beginning in July 2010.

5.9.    Internship – Fundraising – subject to successful evaluation of the Internship currently in
        place we will offer five of the the same opportunities for six months each for the remain two
        and a half years of the programme beginning in July 2010.

5.10.   Internship – Publicity – subject to successful evaluation of the Internship currently in place
        we will offer five of the the same opportunities for six months each for the remain two and a
        half years of the programme beginning in July 2010.

5.11.   Assistant Director Placements – we will offer a minimum of 3 opportunities a year for
        aspiring/trainee Theatre Directors to work alongside our productions‟ directors to experience
        the role in a professional environment. There will be two opportunities to develop a specific
        focus on learning the skills and experience to understand and shed new light on Georgian
        theatre practice and repertoire.

5.12.   CPD Opportunities for an Associate Director – following the successful development of
        this attachment we will repeat this CPD opportunity in 2010/11 and the subsequent two
        years, offering a director at the early stage in their career the chance to immerse themselves
        in the cultural and organisational life of a significant regional theatre. Along with the Theatre
        Royal‟s Artistic Director, this practitioners will also be responsible for the mentoring and
        development of the Assistant Director placements above.

5.13.   Dramaturgy Placements - we will offer a minimum of 3 opportunities a year for aspiring
        writers/dramaturgs to work alongside our productions‟ directors to experience the p lace and
        role of the Dramaturg in a professional environment. There will be two opportunities to
        develop a specific focus on learning the skills and experience to understand and shed new
        light on Georgian theatre practice and repertoire

5.14.   Stage Management Placements - we will offer a minimum of 3 opportunities a year for
        stage managers in training or at an early point in their career to work alongside our
        productions‟ stage management team to experience the responsibilities of the job in a
        professional environment.

5.15.   Design Placements - we will offer a minimum of 3 opportunities a year for stage and
        costume designers in training or at an early point in their career to work alongside our
        productions‟ design team to experience the responsibilities of the job in a professional
        environment.

5.16.   Lighting Design Placements - we will offer a minimum of 3 opportunities a year for lighting
        designers in training or at an early point in their career to work alongside our productions‟
        lighting designers to experience the responsibilities of the job in a professional environment.




                                           50
5.17.   Casting Placements - we will offer a minimum of 2 opportunities a year for people wanting
        to make their careers in Creative Industries Management to work alongside our productions‟
        producers and casting directors to experience the responsibilities of the job in a professional
        environment.

5.18.   Tourism Placements – subject to the success of the placement offered between March and
        July 2010 we will offer one placement of this kind in each of the following two years to a
        foreign national to work alongside our Marketing and Heritage team to develop skills and
        knowledge surrounding the USP of the Theatre Royal.

5.19.   Future for Jobs Employment – Subject to a successful recruitment campaign we will offer
        two paid opportunities for young people to join our organisation. The Fund aims to create
        170,000 additional jobs, primarily aimed at 18-24 year olds who have been out of work for
        six months to deliver real benefits to communities. We will be offering a General Assistant
        position and a Production Assistant position.

5.20.   In addition to the opportunities listed above we will send time during the pilot phase
        developing our relationships and ability to deliver courses with our partner HE and FE
        institutions.

5.21.   We will continue to develop and deliver the 3 rd year Drama course module entitled Restoring
        the Repertoire with the University of Essex

5.22.   We will develop and deliver a Creative Industries Management course with University
        Campus Suffolk.

5.23.   We will also deliver the Improving the quality of practitioner input to the delivery of
        Creative & Cultural Skills with City College Norwich subject to a successful bid to LSIS.

5.24.   We will explore the potential of founding a Drama School at the Theatre Royal to establish
        the evidence for the need for a regional facility of this kind allied to its ability to generate
        revenue for the organisation.

5.25.   Our penultimate objective in this section is to research and market test the revenue
        generating opportunities offered to us by the accumulation and disseminat ion of the skills we
        have developed in our workforce. We envisage a range of opportunities from Business
        Training to Live Interpretation. As this area of research develops we will use the information
        gathered to put together a portfolio of „saleable skills‟ and begin to market these skills to
        appropriate industry and community consumers.

5.26.   Finally, as an organisation which has placed training at the core of its operation we will take
        forward our initial „teaching hospital‟ thinking and our intention to embed training into the
        staffing structure of the organisation. We will identify areas of our organisation where this
        change of dynamic might be appropriate and conduct at least two trials during the period
        from September 2010 until March 2013.



6. FULL PROGRAMME



6.1.    Before the conclusion of the Preparatory and Pilot phases of the programme, we will write a
        report detailing the successes and failures of those previous phases and map out the plan for
        the fully developed programme.

6.2.    The report will reflect the driving force for change which initiated the STEP FORWARD
        programme and recognised that the Theatre Royal needed to adopt a radical approach to
        realising its ambitious objectives.




                                           51
6.3.   Whilst public funding remains so increasingly under pressure and whilst the Theatre Royal‟s
       current financial model relies heavily on the continuing existence of that funding we must
       accept that our future financial health is likely to be at risk.

6.4.   The full programme will take account of this acceptance and set challenging organisational
       planning objectives which sees training placed at the heart of our activity along with a radical
       re-assessment of how we generate our income.

6.5.   At this stage nothing can be ruled either in or out and the first two phases of the plan are
       intended to be the „planning bridge‟ to the new structure and modus operandi. As such theses
       two phases will need funding support to enable us to plan, deliver, evaluate, realign those
       plans to restructure the organisation.



7. FINANCE



7.1.   A fully worked up indicative budget for the project is included as part of the organisational
       budgets for the year.




                                        52
APPENDIX B.

THEATRE ROYAL BURY ST EDMUNDS

NOTES FROM BOARD RETREAT 1/11/2009:


Attended by

       Brian Stewart, Charles Simpson, Duncan Burke, Christina Birt, Sally Redgate, Derek Blake,
       Amanda Wearing, Eileen Wise, Colin Blumenau [Artistic Director], Lynn Whitehead [Head of
       Creative Learning], Barbara Wallington [Head of Finance and Admin], Chris Grady [Head of
       Creative Learning]

Apologies from

       Karen Knight, Debbie Williams.


SESSION 1:        IT’S ALL ABOUT THE ‘P’s’

Points arising:

General
 We need to ingrain the interest of young people in the operation.

Community Engagement:
 We do it but we don‟t tell ACE that we do it.
 Policies emanate from London but it‟s going to get easier as the net becomes wider than just race.
 Should we know the socio-economic groupings of our audiences?
 Suffolk Observatory website has relevant data. CG will bring data to next Board meeting.
 Do our objectives correlate with those of SCC, SEBC, ACE etc? Are we meeting their expectations?
 Constituent groups and participants should/could be advocates.
 Are we really doing it as well as we can?

Communications
 Perhaps we are not doing as well as we could be doing.
 Get internal right before external.
 Recent discussion fora have been successful
 Informal communication networks are perceived to be effective.
 We need to do more work on our website. £££ implications. BP should address this issue.
 Should we shout more about being a charity?
 Do people think it‟s just a building not an organisation?
 People don‟t understand the economics of what we do. Should we spread the word more widely?
 Profiling a contented and enthusiastic volunteer may attract others.

Seating
 Is still perceived to be a problem in some quarters.

Evaluation
      A conversation about evaluation and monitoring would be useful. What kind are we talking about?
       CBi to send a list of questions to CG. Outcome is as important as quantitative data

Staffing
      We need to ensure that there is consistent high quality service across all customer facing
       elements of the operation.
      There shouldn‟t be a difference in perception between paid and voluntary staff.


Mission Statement




                                           53
 How do we allay fears about world class not including local relevance?
 Do we let people know enough about the breadth of what we do?
 How do we make all of what we do world class?

SESSION 2:         KEEPING GOING IN DIFFICULT TIMES

Points arising:

   Interrogate Raisers Edge to discover the baseline position on Capital Project shortfall.
   To cut or not to cut and put our faith in our vision….?
   Nobody really wants to cut anything but we need to maintain our focus on potential contingency cuts.
   We need to assess the financial gap going forward and plan how to fill it as part of the Business
         Planning process.
   Ideas for extra income/additional cuts
o        Find roads to new money. [CG]
o        Volunteer run Costume hire business. [LW]
o        Front [wo]man at shows selling the future programme from the stage and volunteers doing the
         same in the Greene Room. [SR]
o        Volunteer champions in villages and towns. Theatre going clubs. [DBl]
o        Staff and cast „do‟s‟ for volunteers and advocates.
o        Investment in volunteer programme. Completely volunteer FOH staff. [BW]
o        Pricing policy. Incentive buying. Loyalty buying. Using current technology. [BS]
o        Offer services for which we can charge [AW]
o        Bus services to bring in punters who pay. [CS]
o        Voluntary transport scheme [SR]
o        Be rigorous about invoicing for all services [CS]
o        Recruit more volunteers attracted to working for a charity [DBu]
o        Explain our offer to hotels and TIC [DBu]
o        Use commercial contacts to lend us space rather than the Guildhall [EW]
o        Last minute offers for shows [EW]
o        After-school clubs – could be held in schools, and funded? [CBi]
o        Linking in with curriculum for ReVisit stuff [CBi]
o        Theatre Royal book club [DBu]
o        Birthday parties [CBi]
o        Volunteer of the year award [DBu]
o        Build catering during the daytime. [CBl]
o        Negotiate 100% rate relief from SEBC [CBl]
o        Volunteer Fundraiser of the year. [Subsequent idea]

OTHER STUFF

 APEX – Can the Board go on a trip please? Tony Doherty to be contacted by Chair to organise.
 All Board members pass info to CG re anything that might be considered helpful in terms of contacts,
        new businesses, etc etc.

SESSION 2:         CREATIVE CORE

Points arising:

   Costs of the engagement of Interns/Apprentices/Volunteers must be recoverable.
   Where does the Board fit in to all this? How can they engage with the programme as participants?
   Should Board become less „committee-focused‟ and get more involved?
   How do we define „involvement‟?
   We need a clear managed framework which is coherent.
   It needs mainstreaming into all our work.
   Audit Board skills
   Should we list what we outsource which the „Creative Core‟ could do for us
   Is there a next step which persuades ACE to fund the development of the programme through a post…
   Fits in with RSA development objectives – explore further.
   Case studies of Katie Bonna and Harriet Garbas to be constructed for dissemination as appropriate.
          Annexe to ACE GftA application.




                                           54
OTHER STUFF

   Should we try and „count‟ the demographics of our various audience esp. Young people.
   Take a photo of each audience each night.
   BP should include some of the more „bonkers‟ stuff. Burns Night?
   Board to include a Young person if and when a vacancy arises. Perhaps two of them would be
     fairer for them in terms of not being intimidated.




                                       55
APPENDIX C – structure following re-organisation




                                          56
APPENDIX D.

                                                    Forecast to     Budget       Budget
                                                     Y/E 09/10       09/10        10/11
10001   RTR Productions Ticket sales                    41,403      57,886       51,760
10005   RTR Productions Venue income                     4,085       4,085            0
10006   RTR Productions Co-production income            15,646      15,646            0
10101   Rural Tour Ticket sales                         20,843      31,490       17,626
10105   Rural Tour Venue income                         26,489      13,250       31,953
10201   Panto Ticket sales                             275,029     275,986      279,417
10301   Other TR Productions Ticket Sales               58,000      40,414       58,145
10305   Other TR Productions Venue income                     0          0      104,050
10306   Other TR Productions Co-production income       14,600      14,600            0
10320   Writers Group Income                             1,025           0            0
10401   ReVisit RTR income                               1,000       5,000        5,100
10402   ReVisit projects income                          1,000       3,631       11,893
11001   Presented Programme Ticket sales               275,702     370,369      403,336
12001   Amateur hire                                    49,077      50,411       43,077
        Total Artistic Income                         783,899     882,768    1,006,357
13001   Box Office Agency commission                   25,000      32,000       30,000

14011   Adult Theatre income                              185       2,448          766
14021   Autumn Stages income                              -45         600            0
14031   Theatre Makers subscriptions                   21,650      27,969       20,489
14032   Theatre Makers ticket sales                         0                    1,273
14042   Youth Theatre subscriptions                     1,252       4,950        8,962
14043   Arts Awards income                                  0         910          700
14051   In-house productions                                0         100          100
14052   Projects                                            7                    5,699
14061   Schools programme                                   0       3,200        1,820
14062   Teacher development                                 0                      200
14071   Visiting companies programme                        0          320           0
14081   Theatre Crew                                        0          480         300
14091   University of Essex                             1,650        2,000       2,300
        Total Creative Learning Income                24,699       42,977      42,609
15001   Bar income                                     92,000       90,000      95,000
15002   Confectionery income                           34,100       40,000      35,000
        TR Programmes income                            8,200        9,000       9,000
15004   Panto merchandise                               7,723       13,500      12,000
15005   Heritage merchandise                            5,600        5,000       6,000
15006   Greene King parking                             2,850            0       2,500
15007   Venue hire                                        500        8,500       8,000
15008   Commissions                                       920        2,500       2,000
15009   Restaurant income                              40,000       45,000      45,000
15010   Tour/venue catering                               760        8,500       8,000
15011   In-house catering                                 350            0           0
        Total FOH Income                             193,003      222,000     222,500
16001   Heritage Visitors Standard Tours                    0            0       1,989
16002   Heritage Visitors Group Tours                   4,920       10,276      10,532
16003   Heritage Visitors School Groups                     0            0         511
16004   Open Doors                                                                 326
        Total Heritage Income                           4,920      10,276      13,358
17001   Suffolk County Council grants                 141,525      141,525     141,525
17002   St Edmundsbury Borough Council grants          75,000       75,000      75,000
17003   Arts Council England grants                   134,114      134,114     137,735
        Total Grant Income                           350,639      350,639     354,260
18001   Friends                                        26,000       30,000      32,000




                                      57
18003   Patrons Scheme                                  10,000       10,000      28,500
18004   Donations - general                             23,000       15,000
18005   Donations - specific                             2,700            0
18006   Sponsorship                                     43,500       50,000       38,000
18008   Box sponsorship                                      0            0        5,000
18009   Bricks                                           1,500            0            0
18010   Trusts & Foundations                            18,270       15,000       25,000
18011   Events                                          35,000       35,000       32,000
18012   Corporate donations                                500       25,000       15,000
18013   Other donations                                      0       10,000        1,500
18015   Gift Aid reclaimed                               7,000            0        8,000
        Total Development Income                      167,470      190,000      185,000
19001   Management contributions from projects          91,366       91,366       94,615
19500   Interest receivable                                200        5,000          500
        Total Other Income                             91,566       96,366       95,115
        TOTAL INCOME                                1,641,196    1,827,026    1,949,199
20001   RTR Productions Payroll                         52,529       44,674       29,322
20002   RTR Productions Creative fees                   19,643       17,000       15,240
20003   RTR Productions Subsistence & travel             2,508       13,251        8,515
20004   RTR Productions Rehearsal/audition space         1,764          800        1,000
20005   RTR Productions Set & costumes                  18,807       21,000       10,000
20006   RTR Productions Props/hires                        578            0            0
20007   RTR Productions Technical/sound                    470        2,000          500
20009   RTR Productions Transport                        1,258          450          900
20010   RTR Productions Running costs                    1,299          850          625
20011   RTR Productions Marketing                        9,312        9,000        7,500
20012   RTR Productions Management fee                   4,946        4,946        3,655
20014   Contingency                                          0        2,764        1,843
20101   Rural Tour Payroll                                   0            0       30,282
20102   Rural Tour Creative fees                             0            0        8,500
20103   Rural Tour Subsistence & travel                      0        1,350        9,088
20104   Rural Tour Rehearsal/audition space                  0            0          500
20105   Rural Tour Set & costumes                            0            0        3,000
20106   Rural Tour Props/hires                               0        1,650            0
20107   Rural Tour Technical/sound                           0          750          250
20109   Rural Tour Transport                             1,828        4,500        5,000
20110   Rural Tour Running costs                         2,980        4,680        6,075
20111   Rural Tour Marketing                             3,210            0        4,000
20112   Rural Tour Management fee                          824          824        3,336
20113   Rural Tour Royalties                               140        3,150            0
20114   Contingency                                          0          342        1,715
        Rural Tour costs to restricted fund                                      -15,000
20201   Panto Payroll                                  62,607       61,180        62,675
20202   Panto Creative fees                            33,368       34,234        38,525
20203   Panto Subsistence & travel                        738        1,200         1,100
20204   Panto Rehearsal/audition space                    231          750           750
20205   Panto Set & costumes                           36,058       30,000        30,000
20206   Panto Props/hires                                 699            0             0
20207   Panto Technical/sound                           5,626        8,000         8,000
20209   Panto Transport                                   636          500           500
20210   Panto Running costs                             1,482        3,000         1,500
20211   Panto Marketing                                 9,401        7,500         7,500
20212   Panto Management fee                            3,600        3,600         7,478
20214   Contingency                                         0        3,749         3,926
20301   Other TR Productions Payroll                   35,396       56,153        76,059
20302   Other TR Productions Creative fees              9,483       14,500        16,950
20303   Other TR Productions Subsistence & travel         110        1,500        31,597
20304   Other TR Productions Rehearsal/audition           415          650           750




                                       58
        space
20305   Other TR Productions Set & costumes         10,675      8,000      8,000
20307   Other TR Productions Technical/sound             0        500        500
20309   Other TR Productions Transport                   0        400        900
20310   Other TR Productions Running costs           1,196          0     11,768
20311   Other TR Productions Marketing               4,171      7,750     11,250
20312   Other TR Productions Management fee          5,893      5,893      6,972
20313   Other TR Productions Royalties                 479      2,021      2,084
20314   Contingency                                     21      5,613      4,088
20320   Writers Group expenditure                    1,125          0          0
20401   ReVisit RTR expenditure                      2,500     12,650     10,350
20402   ReVisit projects expenditure                   500      7,749     13,411
21001   Presented programme expenditure            200,171    262,872    300,380
        Total Artistic Expenditure                548,676    673,945    792,859
24011   Adult Theatre expenditure                        0        100        100
24021   Autumn Stages expenditure                       30        300          0
24041   Theatre Makers hall hires                    2,300      1,900      3,360
24042   Theatre Makers freelance fees                3,820      3,000      3,000
24043   Theatre Makers materials                       500        100        100
24044   Youth Theatre freelance fees                 2,000      3,750        150
24045   Youth Theatre materials                        500        100        100
24046   Youth Theatre productions                      800      3,000      2,500
24050   Arts Awards                                    100        910        585
24052   Projects                                         0                 2,800
24061   Schools programme expenditure                    0          0        300
24081   Learning Travel & subsistence                   50          0          0
24082   Learning Sundry expenditure                    500        500        500
        Total Creative Learning Expenditure        10,600     13,660     13,495
25001   Bar purchases                               34,500     25,000     28,000
25002   Confectionery purchases                     16,750     12,900     14,000
        TR programmes expenditure                    2,556      4,500      4,500
25004   Merchandise purchases                        5,000          0      5,000
25005   Heritage merchandise purchases               1,000      5,500        500
25006   Greene King car park expenditure             1,500          0      1,500
25009   Restaurant purchases                        22,500     17,000     17,000
25010   Venue/tour catering purchases                    0      2,000          0
25012   Sundry FOH expenditure                         639        500        700
25021   FOH payroll including bar                   66,087     54,000     52,276
25022   Catering payroll                            23,327     29,722     24,222
25023   Kitchen equipment & maintenance              2,683      3,000      3,000
        Total FOH Expenditure                     176,543    154,122    150,698
30001   Casual technical staff                      15,000      5,000      5,000
30002   Stage materials & equipment hire             6,500      8,000      8,000
30010   Scenery store rental                         3,600      3,600      3,600
        Total Technical Expenditure                25,100     16,600     16,600
40001   Theatre Rent                                17,000     48,000     17,000
40002   Theatre Rates                                    0          0      4,057
40003   Theatre Utilities                           32,000          0     30,000
40004   Theatre Cleaning & waste disposal            6,000      6,000      6,000
40005   Theatre Repairs & maintenance                6,500     10,000      6,000
40101   Guildhall Rent                              11,400     17,000     11,400
40102   Guildhall Rates                              1,500          0      1,550
40103   Guildhall Utilities                          2,500          0      2,000
40104   Guildhall Cleaning & waste disposal            300          0        300
40201   6 Westgate St Rent                          19,000     23,500     19,000
40202   6 Westgate St Rates                          5,262          0      5,450
40204   6 Westgate St Cleaning & waste disposal      2,600          0      2,200
40300   4 Westgate St Rental income                 -6,300          0     -6,000




                                       59
40301   4 Westgate St Rent                           5,700          0      5,700
40303   4 Westgate St Utilities                      3,000          0      3,000
40304   4 Westgate St Cleaning & waste disposal         50          0         50
        Total Premises Expenditure                106,512    104,500    107,707
50001   Advertising                                 13,000     13,200     12,000
50002   Website                                        500      4,900      5,500
50003   Print                                        5,000      3,400      6,500
50004   PR                                             960      1,000      1,000
50005   Brochure                                    29,100     22,500     29,000
50006   Stationery                                   3,500      3,900      3,500
50007   Distribution                                23,200     27,500     21,000
50008   Travel & entertainment                         650      1,270      1,000
50009   Design                                       1,000      2,950      2,000
50010   Income                                        -181     -1,450       -300
        Research                                         0          0      1,500
        Total Marketing Expenditure                63,729     65,970     82,700
50101   Tickets                                      3,485      1,500      2,500
50102   Ticketing IT                                10,226      4,500      9,390
        Total Box Office Expenditure               13,711       6,000    11,890
58001   Other Fundraising expenditure                3,500      5,000      3,500
58011   Development Events expenses                 10,000     10,000     10,000
58021   Irrecoverable VAT                              100          0          0
        Total Development Expenditure              13,600     15,000     13,500
60010   Artistic Salaries & wages                   59,138     58,504     80,504
60011   Artistic Employers NI                        6,108      6,220      6,220
60020   Creative Learning Salaries & wages          73,043     75,192     83,833
60021   Creative Learning Employers NI               6,299      7,088      7,616
60030   Administration Salaries & wages             62,950     59,887     63,354
60031   Administration Employers NI                  6,427      5,763      6,207
60040   External Relations Salaries & wages         59,635     65,278     68,278
60041   External Relations Employers NI              5,020      6,453      6,837
60050   Development Salaries & wages                38,196     36,528     41,410
60051   Development Employers NI                     5,020      1,085      4,032
60060   Box Office Salaries & wages                 70,167     76,366     71,364
60061   Box Office Employers NI                      3,135      2,939      2,939
60070   Theatre Operations Salaries & wages         50,827     47,508     43,704
60071   Theatre Operations Employers NI              3,289      3,545      3,216
60080   Technical Salaries & wages                  70,598     68,485     69,009
60081   Technical Employers NI                       6,186      6,230      6,297
60102   Training                                     1,286      2,000      2,000
60103   Recruitment                                  4,066      6,000      3,000
60104   Staff welfare                                2,157      2,800      2,000
60105   Other staff costs                            1,876          0      1,000
        Total Personnel Expenditure               535,423    538,621    572,320
70001   Insurance                                   20,900     21,000     15,000
70002   Telephone                                    7,700     10,500      9,000
70003   Post                                        13,313      6,300      6,500
70004   Post income                                 -8,290     -7,500     -7,500
70005   Stationery                                   4,500      4,500      4,500
70006   Office equipment inc hires                   9,000      6,000      7,500
70007   IT support                                  10,000      4,000     11,180
70008   IT expenses                                  3,200      2,500      2,500
70009   Subscriptions                                4,200      3,500      3,500
70100   Travel & subsistence                         3,500      3,500      2,500
70101   Vehicle running costs                        1,200      2,700      1,500
70201   PRS                                          2,000         50      1,200
70202   PRS income                                    -600          0       -600
70203   Licences                                       360      1,000        700




                                       60
70301   Audit                                    15,000      14,000       10,000
70302   Non-audit accountancy fees               17,000           0        3,000
70303   Governance                                1,750         750        1,600
70401   Sundry expenditure                        8,300       1,500        1,500
70402   Sundry income                              -280      -3,500       -1,000
70500   Depreciation                             13,243      13,243       14,500
70510   Bad debts                                 1,800         200          200
80001   Bank charges                                338         200          200
80011   Credit card charges                      14,296      13,000       14,500
80012   Credit card income                      -11,046     -10,500      -11,500
80020   Other interest charges                        0           0            0
        Total Admin Expenditure                131,385      86,943       90,280

        TOTAL EXPENDITURE                     1,625,278   1,675,361    1,852,049
        Surplus/-Deficit before contingency      15,918     151,665       97,150
        Contingency                                           55,341       97,150
        SURPLUS/-DEFICIT                        15,918       96,324             0




                                        61
APPENDIX E
Swot analysis

                STRENGTHS                       WEAKNESSES

      Georgian USP                       General financial Position
      Produced programme                 Auditorium capacity
      Learning Programme                 Local unease about Georgian
      Heritage Programme                  Programme
      Understanding our Business         Meeting funders
      Committed staff                     requirements/criteria
      Committed Board                    Perception of the seating
      Committed stakeholders             Inability to afford a quality
      Loyal audience                      presented programme
      Newly restored theatre&            Lack of staffing resources
       prestigious unique building        Access
      Catering and other non-stage       Young adults under-represented
       based capabilities                 No single mission (produced,
      National Trust Property             heritage, receiving)
      History of engaged patronage       Location / little passing trade
      Loyal creative practitioners       Lack of meeting/breakout space
      Audience buys drama                No dedicated space for r&d
      High percentage own “earned         work
       income” – not dependent on         Lack of interest from Arts
       ACE                                 Council
                                          Bad public transport
                                           connections
                                          Difficulty in attracting patrons

          OPPORTUNITIES                            THREATS

      TRAIN                              Apex
      KTIF Award                         Revenue Grant Reduction
      Programme development in all       Further economic downturn
       areas                              Homogeneous programming in
      Tourism Development                 Ipswich and Colchester
      Commercial Development             Senior staff
      New Working Partnerships            departures/succession issues
      New Financial Partnerships         Other demands on established
      Growing a new audience              income from “patronage”
      Replace some of the seating        Loss of Guildhall (and nowhere
      Work with the Apex - build          else)
       capacity                           Staff morale
      Other theatres want our drama      Staff burnout/exhaustion
      Funding opportunities through
       popularity of „heritage‟
      Overseas markets




                               62
How to Find the Theatre Royal
                                                                                Our offices and Box Office
                                                                                are located at 6 Westgate
                                                                                St next door to the Theatre
                                                                                Royal.


                                                                                By Road - Bury St
                                                                                Edmunds is just off the A14
                                                                                east of Cambridge and west
                                                                                of Ipswich. From the
                                                                                Midlands or the East Coast,
                                                                                follow the A14. From
                                                                                London, take the M25 and
                                                                                M11/A11 then A14 heading
                                                                                east (sign-posted
                                                                                Newmarket/Ipswich/Felixst
                                                                                owe). Approaching from
                                                                                the west, take the third exit
                                                                                for Bury St Edmunds and
                                                                                turn right at the big
                                                                                roundabout towards the
                                                                                town centre. Go right at
                                                                                the next roundabout then
                                                                                right at the third
                                                                                roundabout onto Southgate
                                                                                St. Follow the road and
                                                                                you will join the one way
                                                                                system, the Theatre is on
                                                                                your left opposite the
                                                                                Greene King Brewery
                                                                                Museum.




Car-parking is probably the biggest head-ache for first time visitors!     There is very limited parking
close to the theatre. There are a number of unlimited street parking places on Westgate Street after 6 pm.
The nearest car-park is at the Manor House Museum.


By Bus - The Bus Station is on St Andrew‟s Street North, 10 minutes walk from the theatre.         In
addition to local services it is serviced by National Express coach connections from all over the coun try.
Enquiries/Reservations: 01284 702020


By Train - Bury St Edmunds Railway Station is on Station Hill and is 20 minutes walk from the
theatre, connecting to Cambridge, Ipswich and the London-Norwich line. Enquiries/Reservations: 08457
484950

Taxis
A1 Cars 01284 766777; Premier Cars 01284 704004; United Cars 01284 762288




                                               63
   The Bury St Edmunds Theatre Management Limited

(A company limited by guarantee and not having share capital)

              Report and Financial Statements

                 Year ended 31 March 2010

                         (DRAFT)




                                                      Company number: 842455
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Annual report and financial statements for the year ended 31 March 2010
_________________________________________________________________________________
_________

Contents

Page:

2             Report of the directors

12            Independent auditors report

11            Statement of financial activities (including income and expenditure account)

15            Balance sheet

13            Notes forming part of the financial statements

_________________________________________________________________________________
_________

Directors

B Stewart OBE (Chair)                           K Knight
D Williams                                      D Burke
C Birt                                          A Wearing
D Blake                                         E Wise
C Simpson (resigned 5th October 2009 then co-   P Shea
opted as advisor)
C Blumenau                                      S Redgate

Artistic Director and Chief Executive

C Blumenau

Secretary and registered office

B Wallington
Westgate Street, Bury St Edmunds, Suffolk, IP33 1QR

Company number

842455

Registered charity number

242977

Auditors

Baker Tilly UK Audit LLP, Abbotsgate House, Hollow Road, Bury St Edmunds, Suffolk, IP32 7FA

Bankers

Lloyds TSB Bank Plc, 28 Risbygate Street, Bury St Edmunds, Suffolk, IP33 3AH




                                                  1
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010
_________________________________________________________________________________
_________

The directors present their report together with the audited financial statements for the year ended
31 March 2010. The financial statements comply with current statutory requirements, the
Memorandum and Articles of Association and the Statement of Recommended Practice –
“Accounting and Reporting by Charities” issued in March 2005 (SORP 2005).

Structure, governance and management

Governing document
The company was formed on 24 March 1965 to manage the Theatre Royal, Bury St Edmunds,
which is leased from The National Trust. The company is a registered charity. The company has no
share capital and is limited by guarantee. Each member is liable for an amount not exceeding £1
and total members may not exceed 50.

Organisation
The directors of the Theatre determine the general policy of the company. The day to day
management of the Theatre is delegated to the Artistic Director who is also a director of the
company and a Senior Management Team comprising Head of Finance & Administration, Head of
External Relations and Head of Creative Learning.

Further details have been given in accordance with SORP 2005 and can be found on the contents
page.

Appointment of directors
The directors of the company are its trustees for the purposes of charity law and throughout this
report are collectively referred to as the directors. They serve terms of office in accordance with the
company‟s constitution and are appointed by the directors themselves. Directors are recruited
through open advertising and interview. Prior to advertising the directors carry out an audit to
identify gaps in expertise or representation among their number and advertise for suitable
candidates accordingly.

The directors of the company during the year were:

 B Stewart OBE (Chair)                           K Knight
 D Williams                                      D Burke
 C Birt                                          A Wearing
 D Blake                                         E Wise
 C Simpson                                       P Shea
 C Blumenau                                      S Redgate

The directors meet bi-monthly, and there are sub-committees for Resources (Finance &
Administration), External Relations and Development (Fundraising).

Director induction and training
New trustees undergo an induction which provides them with information about the
organisation, its work and aspirations; their legal obligations under charity and company law;
the content of the Memorandum and Articles of Association; the committee and decision
making processes; the business plan and recent financial performance of the charity. They
are also invited to meet key employees and discuss aspects of the company’s work relevant to
their expertise.




                                                  2
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)


Report of the directors for the year ended 31 March 2010 (continued)

Structure, governance and management (continued)

Related parties
One independent and separately registered charity exists in connection with the Bury St Edmunds
Theatre Royal as follows:-
The Theatre Royal Foundation Appeal                  Registration Number – 1044027
Given its independence this charity’s results are not incorporated within these accounts.
During the year the Theatre Royal Foundation Appeal made no donations to the Company.

The company works closely with Greene King plc, the ultimate owners of the Theatre Royal, and
the National Trust, who lease the building from Greene King and to the company. The building is a
National Trust property.

The company is in receipt of annual funding from Arts Council England, Suffolk County
Council and St Edmundsbury Borough Council all of whom appoint observers to the Board.
The National Trust also appoints observers.

Risk management
The directors annually update the Business and Development Plan of the Theatre which is a
comprehensive and strategic plan setting out the major opportunities available to the Theatre and
the risks to which it is exposed. The Plan sets out objectives for each area of the organisation's
activities and considers the resources required to deliver its objectives. The directors monitor
progress against their strategic objectives at their meetings. An annual risk analysis is carried out
as part of the business planning process and a risk map with mitigating actions is incorporated into
the Business Plan, this is monitored by the Resources Committee.

Public benefit
The directors have referred to the guidance contained in the Charity Commission‟s general guidance
on public benefit when reviewing our aim and objectives and in planning our future activities. In
particular, the directors consider how planned activities will contribute to the aims and objectives they
have set.

      A broad range of ticket prices, and further concessions for certain groups, enable all sections
       of the community to attend performances at the theatre;
      Community tours to outlying parts of our geographical area bring drama and musical offerings
       to those not able to visit the theatre premises;
      The inclusion of audio-described, captioned and signed performances in our programme
       enable the visually impaired, deaf, deafened and hard of hearing to enjoy live theatre;
      The refurbishment of the theatre has provided better access for wheelchair users and those
       with mobility difficulties;
      A range of tours and talks in and around the theatre allow access to the history of the theatre
       and the local area at little or no cost;
      Our creative learning programme undertakes a number of projects including working with
       other local bodies and charities to use drama as a method to understand minority and
       disenfranchised groups within the community. Other projects include working with schools on
       curriculum related projects either at the theatre or in schools, touring schools with workshops
       highlighting issues of importance to young people such as smoking, alcohol or drug abuse,
       improvisational workshops to help work on social and life skills training. Drama and theatre
       clubs for all ages and ability are also run both at the theatre and at several community venues



                                                   3
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
      enabling a wide range of people throughout the area to benefit from professional coaching
      with subsidised and free places available to those in need.




                                              4
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010 (continued)


Chairman‟s Report

Artistically, 2009/10 has been another highly successful year for the Theatre Royal, with a full and
exciting programme which has received fantastic audience reaction and critical acclaim. Our own
produced work, including our ever popular pantomime and rural tour, the presented work from other
theatres and touring companies, our learning programmes and the efforts of local community theatre
groups have all produced delight to thousands of theatregoers and participants of all ages, abilities
and tastes. And the unique heritage asset which is the Theatre Royal Bury St Edmunds continues to
attract visitors eager to know about the Theatre‟s fascinating history as the only surviving example of
a working Regency playhouse.

But 2009/10 has been another challenging year for the Directors as they sought to maintain and
develop the post restoration artistic excellence and reputation of the Theatre Royal, while having to
face up to the financial realities of running a provincial theatre during a recession. Like many theatres
which live day to day from public sector grants and the box office receipts for future shows managing
our cash flow has been especially important, and the Directors have insisted on a robust regime of
weekly cash flow projections, and monthly integrated financial forecasts. This work has been
invaluable in predicting when cash flow was likely to be a problem for us during the year, and enabled
us to secure appropriate bridging finance from our bankers, and a more formal loan from the Charity
Bank to tide us over. Against this background it is pleasing to be able to highlight that the accounts
show a small operational surplus on the general fund of £33k, and that Development income
exceeded target by nearly £27k.

We have also noticed that our loyal audience‟s ticket buying habits have changed, with greater use
being made of our online box office (with lower transaction costs, which is welcome) but a trend of
ticket purchases being made later, which further affects our cash flow situation. Mindful of further
difficult years to come the Directors have made a start on changing the business model on which the
Theatre is run to become less reliant on public sector support and more self sufficient from box office
income and Development income from sponsorship and private giving. We also have to continue to
reduce our cost base, including staffing and this is expected to continue into the future. At the same
time we have altered our understanding of the Theatre Royal as a predominantly building based
operation into a social enterprise and learning based operation, and we have been pleased to
welcome a wide range of apprentices and interns, who have enriched our skills base, and in turn have
enjoyed excellent training and development opportunities, including some moving in to permanent
jobs with us. During the year we were also pleased to welcome Chris Grady, who joined us in
September 2009 in the new post of Head of External Relations.

Looking ahead we know that the existing financial challenges we currently face will continue and the
Directors will be required to exercise their Trustee responsibilities in new ways to ensure the survival
of the Theatre, in a different local context where we are not the only high quality performance venue
in Bury St Edmunds. But the Theatre Royal has always innovated and adapted to changing contexts,
and the key changes the Directors have introduced during 2009/10 should enable us to weather the
inevitable storms ahead, and continue to provide an excellent contribution to the local cultural offer of
a growing region.

Finally, can I take this opportunity to thank the Theatre‟s senior management team and staff, our
volunteers, public sector funding partners, Friends, Patrons, funders, corporate sponsors, the National
Trust, my Board colleagues and everyone else who has contributed to another successful year for the
Theatre Royal. We look forward to your continued support in the years ahead.


Brian Stewart OBE
Chair




                                                    5
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010 (continued)

Objects and Activities

    The objects of the company as set out in the Memorandum of Association are:
    To promote, maintain, improve and advance education particularly by the production of
    educational plays and the encouragement of the Arts including the arts of drama, ballet,
    music, singing, literature, sculpture and painting and to formulate, prepare and establish
    schemes therefore provided that all the objects of the company shall be of a charitable
    nature.

The Company‟s Mission Statement is:

                           To be a world class theatre delivering
                       a world class offer from a world class building

The Company’s Key Ambitions are:

Reputation
          to become a major, internationally recognised theatre
           to continue to be a local venue with a great programme and actively seek to
          make a difference to people‟s lives
            To provide the very best possible levels of service to all our customers across
          the whole company operation
             To become recognised as the arts organisation to go to for professional
          training and development opportunities in the east of England

Artistic Activity
             To continue to be a producer of unique work
           To maintain and develop a consistently high quality programme of presented
          work
            To ensure that learning is placed at the heart of the Theatre‟s artistic policy
          and activities
            To continue to develop the Theatre‟s Heritage programme in all its guises.

Commercial Activity
          To develop and maximise revenue generating potential from commercial
       activity.
            To develop the tourism offer of the organisation as a key contributor to
          revenue generating activity.

Audiences
           Whilst maintaining and growing its „local‟ audience base, the Theatre will seek
        to attract audiences from across the UK and beyond, in particular for its Heritage
        programme of work
            To ensure that the Theatre remains committed to engaging with the widest
          possible cross-section of the community in which it operates


                                               6
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010 (continued)



Organisational
           To support and develop an expert, committed and well-treated staff who are
        equipped with the necessary resources to deliver the Theatre‟s ambitions. In
        addition to adopt TRAIN as the organisation‟s development plan which sees the
        launch of a new Training and Learning strand which permeates the organisation‟s
        staffing structure.
            To aspire to operate our business in an ecologically responsible and
          sustainable way at all times.

Money
            To achieve financial stability and prosperity for the company in order that it
          can fully realise its artistic, reputational, organisational and audience
          development ambitions.


Core Values

              to have enthusiasm for, and commitment to our shared ambitions
                         to harness learning and teaching opportunities
                 to plan and work together to achieve quality and excellence
                          to have open and effective communication
                                       to embrace change
                                to be welcoming and hospitable
         to balance our needs with those of artists, audience and other stakeholders


Key Objectives for the year:

Produced work – to deliver the same quantity of home grown productions as 2008/9
although budgets have been curtailed in order to deliver the contingency and small surplus
at the end of the year.
Creative Learning - to form a central plank of organisational activity, including a provision
for a small increase in staffing to enable a growth in activity
Heritage - to consolidate previous years‟ achievements and to encourage limited further
development.
Presented programme - To continue to programme the best on offer and provide as wide a
variety of programming for the Theatre Royal as possible. Working alongside the Borough
Council‟s officers tasked with running the new Apex, to ensure that the programmes of the
two venues are complementary.
Commercial activity to build a more solid base than has been the case since the
organisation re-opened the Theatre in 2007.


Report of the directors for the year ended 31 March 2010 (continued)


                                               7
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)

Strategic development –to undertake a piece of work to try to establish a more stable
financial base from which to operate. This piece of work was entitled STEP FORWARD


Achievements and Performance
The Theatre presented a full programme on stage with, for a second year running, a greater
proportion of produced work than hitherto.

The very successful spring rural touring production of Three Men in a Boat played to towns
and villages across Suffolk, Cambridgeshire and South Norfolk and then was further
exploited with a successful tour to some other venues on the national touring circuit. It formed
part of a short season of in-house produced work including Twelfth Night and Relatively
Speaking. All three productions were very well received, critically successful and well
attended. The Theatre Royal‟s Restoring the Repertoire work came to national attention with
our production of The Massacre which saw a huge swell of interest due to the content of the
play and its history of non-performance. During the year the Theatre staged a further eight
rehearsed readings of plays from the Georgian period, with Thomas Holcroft‟s He’s Much to
Blame, being taken into full production in September.

The Christmas pantomime Jack and the Beanstalk played to over 21,000 people and did much for
our reputation in the community as well as making a major contribution to our finances.

For spring 2010 the Theatre undertook a further rep season with The Merchant of Venice and Cider
with Rosie, which also toured nationally for ten weeks. Once again the success of this venture was
marked with high attendance levels and much critical and popular acclaim.

The Theatre‟s presented work was a diverse mix of high quality drama, opera, dance, music, comedy
and young people‟s theatre with appeal across all sections and ages of our community. We continued
to make the Theatre available for local amateur groups for some three weeks of the year.

As part of the objective of promoting the Theatre's Georgian heritage, we promoted a full programme
of events during the year under the title ReVisit:

The work of the Theatre‟s learning department continues to grow with numerous projects being run for
a wide and diverse range of partners and participants. Of note was our work with a community
suffering from Borderline Personality Disorder alongside West Suffolk Mind.

Financial Review

The Theatre‟s Statement of Financial Activities shows that the organisation achieved a surplus on
unrestricted fund of £35,235 on its operations. This has been added to the accumulated deficit
brought forward to give an accumulated deficit on unrestricted funds of £86,645. This outcome is in
line with the Trustees financial plans for the company and it is the Board's intention that in future
years a surplus on unrestricted funds is again achieved and maintained.

Funds continued to be received in respect of the Capital Development Project, a further £35,859
being received in the year. Of this £70,497 has been expended during the year. At 31 March 2010
the Restricted Capital Development Project Fund stood at £4,591,879.




                                                 8
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010 (continued)

Two new restricted funds were created during the year. Arts Council England gave £90,893 to
support a one-year project, Step Forward, to review the theatre‟s future sustainability and offering.
While the project was completed on 31st March 2010 some income and expenditure has been
carried over the year end. Suffolk County Council funded a joint project between the theatre and
mental health charity Mind to work with people with Borderline Personality Disorder. This project
continues into 2010/11.

During the year a further £19,920 was received from the Heritage Lottery Fund for the project
Populating the Past to research and bring to life Georgian Bury St Edmunds. Arts Council England
gave a further £13,196 to the Evolve Project Fund. V/Blueprint project brought a further grant of
£12,013 from The Garage Trust for a volunteer to work with disenfranchised groups. The Esmee
Fairbairn Foundation gave a further £25,000 towards the cost of Rural Touring, the second of three
years‟ support. £10,000 was received from the Headley Trust as part of a two-year grant towards
the work of the Creative Learning department.

The Designated Captive Insurance Fund was established to provide cover for in house productions;
during the year no further income was received nor funds drawn and the balance of the fund stood
at £17,004 at the year end.

Funding from Arts Council England, St Edmundsbury Borough Council and Suffolk County Council
equates to 28% of turnover and the support of these bodies is essential to the successful delivery of
a wide-ranging programme that offers so many opportunities to the community it serves.           The
company will work closely with its funders to maintain strong relationships while pursuing all
opportunities to reduce its reliance on the public purse.

Investment powers
Under the Memorandum and Articles of Association, the company has the power to make
any investment which the directors see fit.

RESERVES POLICY
Plans for Future Periods

The organisational Business Plan for 2010/11 is written in the context of the difficult times from
which we have emerged and look forward to the straightened times ahead.

As reported elsewhere in the accounts, the organisation continues to carry an accumulated deficit.
The reduction in the level of this deficit is welcome news and it is the company‟s intention to reduce
it by the same margin in the years in prospect.

It is clear, however, that the national financial climate is not going to change overnight and that
public funding will continue to be at a premium. Indeed indications for the future are not good with
local authority funding being seemingly insecure in the long term.

The ACE-funded STEP FORWARD programme has addressed some of the issues which face the
organisation with its rocketing ambition juxtaposed against the realities and strictures of its financial
position.

At a recent Board Retreat the Board approved the development of the initial outputs of the STEP
FORWARD programme which has given rise to TRAIN – Theatre Royal Apprenticeship and Intern
Network. This radical programme, if successful in its development, will go a long way to trying to
reconcile the friction which exists between ambition and available resources.



                                                   9
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010 (continued)


This Business Plan and subsequent further contingency and structural planning to be adopted in
October 2010 are both predicated on the belief that short term pain will result in security from which
we will be able to deliver our longer term ambitions. We have taken the view that our ability to
develop will not be funded from additional earning from this programme of activity and that our
income generation will only match that of the previous year. It is intended that some immediate
contingency measures will result in some savings against budget in 2010/11 whilst a more
significant reduction in outgoings is being proposed for 2011/12.

Thus 2010/11 will witness the delivery of a consolidated programme of activity to be delivered within
available resources. This consolidation will attempt to deliver a programme of activity which is at
least equal to that of 2009/10.

Additional financial security is built into the plan by way of a contingency budget line of over £100K.
This has been achieved in a number of ways including rates of pay being held at 2009/10 levels and
a small but significant staff restructure referred to above as an immediate contingency measure.

There are significant challenges ahead but the organisation has a strong, shared sense of where it
is going.
Our programme of work has gone from strength to strength and we are beginning to develop a
national profile for some of our work and audiences have been predominantly enthusiastic about the
diversity and quality of the work which they have been offered.

Our Produced work for the year in prospect contains plans for the delivery of the same quantity of
home grown productions although budgets have been curtailed in order to deliver the contingency
and small surplus at the end of the year.

Our Creative Learning programme now forms a central plank of our activity, a position which we
have always aspired to see it attain. In order to maintain this development we have assumed a
small increase in staffing which will see the two junior members of the department move to full time.
This area of activity remains one of the few where public and charitable funding is still accessible.

Our Heritage programme during the year is to consolidate its initial success by retaining the same
level of activity as in the preceding year.

Our Presented programme remains variable, particularly in terms of touring Drama, Classical Dance
and Opera with an unreliable supply of real quality available to us. We will continue to programme
the best on offer and provide as wide a variety of programming for the Theatre Royal as possible.
Working alongside the Borough Council‟s officers tasked with running the new Apex, we will seek to
ensure that the programmes of the two venues are complementary. This will result in a few changes
to the balance of our programming once the Apex is fully operational.

Our Commercial activity is slowly trying to establish itself as a net contributor to the organisation‟s
bottom line. There is increased usage of the building out of performance times and this activity will
be further explored during the year.

The longer term strategic development of the organisation will be undertaken through the
development of the TRAIN programme. It represents an enormous opportunity for us to broker new
relationships with partners from a wide variety of different sectors and to restructure the
organisation over the coming years along the lines of a „teaching hospital‟ model.




                                                  10
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Report of the directors for the year ended 31 March 2010 (continued)


Directors’ responsibilities

The directors are responsible for preparing the annual report and the financial statements in
accordance with applicable law and regulations.

Company law requires the directors to prepare financial statements for each financial year. Under that
law the directors have elected to prepare the financial statements in accordance with United Kingdom
Generally Accepted Accounting Practice (United Kingdom Accounting Standards and applicable law).

Under company law the directors must not approve the financial statements unless they are satisfied
that they give a true and fair view of the state of affairs of the company and of the profit or loss of the
company for that period.

In preparing those financial statements, the directors are required to:

a.   select suitable accounting policies and then apply them consistently;

b.   make judgements and accounting estimates that are reasonable and prudent;

c.   prepare the financial statements on the going concern basis unless it is inappropriate to
     presume that the company will continue in business.

The directors are responsible for keeping adequate accounting records that are sufficient to show and
explain the company‟s transactions and disclose with reasonable accuracy at any time the financial
position of the company and enable them to ensure that the financial statements comply with the
Companies Act 2006. They are also responsible for safeguarding the assets of the company and
hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.

Statement as to the disclosure of information to auditors

The directors who were in office on the date of approval of the financial statements have confirmed as
far as they are aware, that there is no relevant audit information of which the auditors are unaware.
Each of the directors have confirmed that they have taken all the steps that they ought to have taken
as directors in order to make themselves aware of any relevant audit information and to establish that
it has been communicated to the auditor.

Auditors

A resolution to reappoint Baker Tilly UK Audit LLP, Chartered Accountants, as auditors will be put to
the members at the annual general meeting.

On behalf of the Board on




…………………………………….
Director




                                                    11
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
INDEPENDENT AUDITORS' REPORT TO THE MEMBERS OF BURY ST EDMUNDS THEATRE
MANAGEMENT LIMITED

DRAFT AUDITORS REPORT

We have audited the financial statements of The Bury St Edmunds Theatre Management Limited for the year ended 31
March 2010 on pages 11 to 22.

This report is made solely to the charitable company’s members, as a body, in accordance with Chapter 3 of Part 16
of the Companies Act 2006. Our audit work has been undertaken so that we might state to the charitable
company’s members those matters we are required to state to them in an auditor’s report and for no other purpose.
To the fullest extent permitted by law, we do not accept or assume responsibility to anyone other than the
charitable company and the charitable company’s members as a body, for our audit work, for this report, or for the
opinions we have formed.
Respective responsibilities of trustees and auditors
The trustees‟ (who are also the directors of the company for the purposes of company law) responsibilities for preparing the
Annual Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards
(United Kingdom Generally Accepted Accounting Practice) and for being satisfied that the financial statements give a true
and fair view are set out in the Statement of Trustees‟ Responsibilities.

Our responsibility is to audit the financial statements in accordance with relevant legal and regulatory requirements
and International Standards on Auditing (UK and Ireland).

We report to you our opinion as to whether the financial statements give a true and fair view, have been properly
prepared in accordance with United Kingdom Generally Accepted Accounting Practice and have been prepared in
accordance with the Companies Act 2006.

We also report to you whether in our opinion the information given in the Trustees’ Report is consistent with those
financial statements.

In addition we report to you if, in our opinion, the charitable company has not kept adequate accounting records, if
the charitable company’s financial statements are not in agreement with the accounting records and returns, if we
have not received all the information and explanations we require for our audit, or if certain disclosures of trustees’
remuneration specified by law are not made.

We read the Trustees’ Report and consider the implications for our report if we become aware of any apparent
misstatements within it.
Basis of audit opinion
We conducted our audit in accordance with International Standards on Auditing (UK and Ireland) issued by the Auditing
Practices Board. An audit includes examination, on a test basis, of evidence relevant to the amounts and disclosures in the
financial statements. It also includes an assessment of the significant estimates and judgments made by the trustees in the
preparation of the financial statements, and of whether the accounting policies are appropriate to the charitable company's
circumstances, consistently applied and adequately disclosed.

We planned and performed our audit so as to obtain all the information and explanations which we considered
necessary in order to provide us with sufficient evidence to give reasonable assurance that the financial statements
are free from material misstatement, whether caused by fraud or other irregularity or error. In forming our opinion
we also evaluated the overall adequacy of the presentation of information in the financial statements.
Opinion
In our opinion
-      the financial statements give a true and fair view of the state of the charitable company‟s affairs as at 31 March 2010
       and of its incoming resources and application of resources, including its income and expenditure, for the year then
       ended;
-      the financial statements have been properly prepared in accordance with United Kingdom Generally Accepted
       Accounting Practice;
-      the financial statements have been prepared in accordance with the Companies Act 2006; and
-      the information given in the Trustees‟ Report is consistent with the financial statements.

Emphasis of Matter – Going Concern
In forming our opinion on the financial statements, which is not qualified, we have considered the adequacy of the
disclosures made in Note 1a to the financial statements, on the Charity‟s ability to continue as a going concern. There is a
lack of certainty surrounding the future income levels and therefore the ability of the Charity to continue to meet its liabilities
as they fall due. The Trustees are confident that planned cost cutting measures will enable the Charity to continue to operate
within its current bank facilities. However, current projections indicate that existing facilities may be exceeded within the
next 12 months if these measures are not successful or forecast income levels are not achieved. These conditions, along
with other matters set forth in Note 1a, indicate the existence of a material uncertainty which may cast significant doubt
about the Charity‟s ability to continue as a going concern. The financial statements do not include the adjustments that
would result if the Charity was unable to continue as a going concern.



                                                               12
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)

Statement of financial activities (including income and expenditure account)
for the year ended 31 March 2010
_________________________________________________________________________________
_________

                                                      Unrestricte Restricte      Total       Total
                                                          d          d
                                            Note        Funds      Funds         2010        2009
                                                            £          £            £                £
Incoming resources
Incoming resources from generated
funds:
Voluntary income
Grants and donations                         0          466,811     257,031     723,842     711,519

Activities for generating funds
Fundraising                                              39,153           -      39,153      33,321
Front of House activities                               195,114           -     195,114     175,693

Investment income
Interest receivable                                        102            -         102        6,482

                                                        701,180     257,031     958,211     927,015
Incoming resources from charitable
activities:
Operation of theatre and artistic            0          853,337           -     853,337     818,236
programmes



Total incoming resources                              1,554,517     257,031    1,811,548   1,745,251

Resources expended
Costs of generating funds:
Fundraising costs of grants and donations                70,497       2,747      73,244      86,887
Front of House activities                               177,629           -     177,629     161,749

Charitable activities:
Operation of theatre and artistic            0        1,243,438     307,423    1,550,861   1,492,734
programmes

Governance costs                             0           27,718       1,747      29,465      41,713

Total resources expended                              1,519,282     311,917    1,831,199   1,783,083


Net movement of funds in year                0           35,235     (54,886)    (19,651)    (37,832)
Reconciliation of funds
Total funds brought forward                            (121,880)   4,672,801   4,550,921   4,588,753


Total funds carried forward                             (86,645)   4,617,915   4,531,270   4,550,921




                                                 13
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)

The statement of financial activities includes all gains and losses recognised in the year.
All incoming resources and resources expended derive from continuing activities.


The notes on pages 13 to 22 form part of these financial statements.




                                                   14
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Balance sheet at 31 March 2010
_________________________________________________________________________________
_________
                                     Not             2010           2009
                                      e
                                                 £            £   £          £

Fixed assets
Tangible assets                         0                  4,937,149                 5,008,418

Current assets
Stocks                                  0       15,611                       6,732
Debtors                                 0      190,824                     159,461
Cash at bank and in hand                       113,549                     119,557

                                               319,984                     285,750

Creditors: amounts falling due
within one year                         0      725,863                     743,247

Net current (liabilities)/assets                            (405,879)                 (457,497)


Total assets less current liabilities                      4,531,270                 4,550,921

Creditors: amounts falling due
after more than one year                13                             -                     -

Net assets                              0                  4,531,270                 4,550,921

Represented by

Funds of the charity

Unrestricted:-                          14
  - General Funds                                           (103,649)                 (138,884)
  - Designated Captive Insurance                              17,004                    17,004
  Fund

                                                              (86,645)                (121,880)

Restricted                              15                 4,617,915                 4,672,801

Total charity funds                                        4,531,270                 4,550,921


The financial statements on pages 11 to 22 were approved by the board of directors and
authorised for issue
on                                  and are signed on its behalf by:



……………………………….
Director
The notes on pages 13 to 22 form part of these financial statements.




                                                 15
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)

Notes forming part of the financial statements for the year ended 31 March 2010
_________________________________________________________________________________
_________
1a Accounting policies

   Basis of preparation of financial statements

    The financial statements have been prepared on the going concern basis. A surplus of £35,235
    has been achieved on unrestricted funds which has reduced the general fund deficit to £86,645.
    Net current liabilities have improved from £457,497 at 31 March 2009 to £405,879 this year.
    Included within creditors due within one year are deposits and ticket income received in advance
    of £307,075 which will be taken to income at the time of performance of the relevant event.

    Financial projections have been prepared for the forthcoming year which the directors have
    considered in their assessment of the going concern position. Cash inflow from productions has
    been modelled on historical patterns of cash receipts also reflecting the changing trends of
    booking patterns. Other sources of income have been included on a realistic basis. Payments
    have been forecast in the projections within normal commercial terms and with no undue delays
    in settlement. On this basis available cash at certain times during the year is expected to be tight

    The directors have put in place several measures to ensure the Theatre continues to operate
    through this difficult period. These include the securing of a new overdraft facility of £100,000 with
    Lloyds TSB which is in place until December 2011. Additionally a loan from the National Trust
    included within creditors due within one year at 31 March 2009 of £89,671 has been rescheduled.
    The loan which was taken out during the course of the capital project will now be repaid in 4
    monthly instalments commencing in September 2011. The Charity continues to work closely with
    its major funding providers maintaining the strong relationships which it has enjoyed. The Charity
    is also seeking alternative sources of funding.

    To ensure that the Charity is able to operate within it current facility the directors have taken cost
    cutting measures and further measures can and will be taken if necessary. However the margin
    of facilities against requirements is not large and, there can be no certainty in respect of forecast
    income levels, grants from funding providers and the success of cost cutting measures. If the
    measures taken are not successful it is possible that the Charity may be unable to meet its
    liabilities as they fall due, however the Directors believe the measures they have implemented will
    provide the Charity with sufficient cash resources. The directors therefore consider it appropriate
    to prepare the financial statements on a going concern basis.

    Compliance with accounting standards

    The financial statements have been prepared in accordance with applicable accounting
    standards, the Companies Act 2006 and the Statement of Recommended Practice “Accounting
    and Reporting by Charities” (SORP) 2005 issued in March 2005.

    Tangible fixed assets and depreciation

    Tangible fixed assets are stated at cost, less depreciation. Depreciation is provided on all
    tangible fixed assets at rates calculated to write off the cost, less estimated residual value, of
    each asset on a straight-line basis over its expected useful life, as follows:

     Equipment            - 5 - 7 years
     Motor vehicles       - 3 - 4 years
     Property improvements - over the remaining period of the lease




                                                   16
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
     Property improvements in excess of £10,000 and equipment additions in excess of £100 are
     capitalised at the discretion of the directors. Costs in relation to the capital development project
     have been capitalised.


Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________
 1a Accounting policies (Continued)

     Donations and grants

     Income from donations and grants, including capital grants, is included in incoming resources
     when these are receivable, except as follows:
         When donors specify that donations and grants given to the charity must be used in
            future accounting periods, the income is deferred until those periods.
         When donors impose conditions which have to be fulfilled before the charity becomes
            entitled to use such income, the income is deferred and not included in incoming
            resources until the pre-conditions for use have been met.
         When donors specify that donations and grants, including capital grants, are for
            particular restricted purposes, which do not amount to pre-conditions regarding
            entitlement, this income is included in incoming resources of restricted funds when
            receivable.
     Gifts in kind are included in the financial statements at market value at the time of the gift.

     Theatre income

     Theatre income represents amounts receivable for goods and services provided in the United
     Kingdom net of VAT and is included in the period in which the relevant production takes place.

     Resources expended

     Theatre expenditure is recognised an on accruals basis. Contractual arrangements and
     performance related grants are recognised as goods or services are supplied.
         Costs of generating funds are those costs incurred in attracting voluntary income, and those
          incurred in trading activities that raise funds.
         Charitable activities include expenditure associated with the staging of performances and
          production of artistic work and educational programmes and include both the direct costs
          and support costs relating to these activities.
         Governance costs include those incurred in the governance of the charity and its assets
          and are primarily associated with constitutional and statutory requirements.
         Support costs include central functions and have been allocated to activity cost categories
          on a basis consistent with the use of resources.

     Leasing commitments

     Rentals paid under operating leases are charged against income on a straight line basis over
     the lease term.

     Stocks

     Stocks are valued at the lower of cost and net realisable value. Cost is based on the cost of
     purchase on a first in, first out basis. Net realisable value is based on estimated selling price
     less additional costs to completion and disposal.




                                                   17
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)



Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________
1a Accounting policies (Continued)
     Fund accounting

     Unrestricted funds comprise accumulated surpluses and deficits on the General Fund and a
     Designated Captive Insurance Fund. They are available for use at the discretion of the directors
     in furtherance of the company‟s charitable objectives.
     Restricted funds are created when grants or donations are made available for a particular
     purpose, the use of which is restricted to that purpose.
     Further explanation of the nature and purpose of each fund is included in the notes to the
     financial statements.

Voluntary income
                                                 Unrestricted Restricted         Total    Total
                                                   Funds       Funds             2010     2009
                                                      £            £               £              £
     Grants
     Suffolk County Council                      141,525         48,000      189,525       163,750
     St Edmundsbury Borough Council               75,000              -       75,000         75,000
     Arts Council England East                   134,114        103,469      237,583        195,588
     Heritage Lottery Fund                             -         19,920       19,920         25,939
     The Garage Trust                                  -         12,013       12,013         11,780
     The Headley Foundation                            -         10,000       10,000               -
     Esmee Fairbairn Foundation                        -         25,000       25,000         35,000
     Donations
     Friends of Theatre Royal                      26,756             -        26,756        24,517
     Others                                        49,238        18,286        67,522        86,550
     Capital Development Project                        -        20,344        20,344        46,555
     Sponsorship                                   40,178             -        40,178        46,840

                                                 466,811        257,031     723,842        711,519


Incoming resources from charitable activities
                                                 Unrestricted Restricted         Total    Total
                                                   Funds       Funds             2010     2009
     The income was primarily derived from            £            £              £               £
     the operation of the theatre and artistic
     programmes
     Professional events                         431,770              -      431,770         393,456
     Touring productions                          47,332              -       47,332          26,433
     Panto                                       275,029              -      275,029         254,881
     Education programme                          26,126              -       26,126          51,943
     Amateur events                               49,042              -       49,042          65,380
     Agency events                                24,038              -       24,038          26,143

                                                 853,337              -      853,337         818,236




                                                 18
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

Allocation of support

     The Theatre allocates its support costs as shown in the table below and then further apportions
     those costs between the charitable activities undertaken (see note 0). Support costs are
     allocated on a basis consistent with the use of resources.
                                                    Costs of
                                                  generating
                                       Theatre     voluntary Governanc          2010          2009
                                      operation      income         e           Total         Total
                                          £              £             £            £              £
     Support costs
     Administration staff             68,970           3,831        3,832       76,634       109,187
     Administration costs            173,311           5,509       21,584      200,404       208,697
     Premises costs                  155,869           4,049        4,049      163,967       204,767

                                     398,150            13,389         29,465      441,005       522,651


Analysis of charitable expenditure

    The charity undertakes direct charitable activities only and does not make grant payments.

                                                                 Education
                                                                    and
                                           Productions           communit
                                               and                   y
                                           performance           programm       2010         2009
                                                 s                   e          Total        Total
                                                   £                   £            £            £

     Professional events                        421,496                         421,496      351,726
     Touring productions                         49,007                          49,007       57,570
     Panto                                      155,238                         155,238      141,497
     Education programme                                          114,228       114,228      111,318
     Artistic staff                              73,635            10,662        84,297       43,008
     Box office                                  76,222            11,036        87,258       79,637
     Marketing                                  124,250            17,991       142,241      154,796
     Technical                                   86,432            12,514        98,946       84,845
     Support costs                              347,793            50,357       398,150      465,916
     New Writing                                      -                 -             -        2,421
     Consortium

                                               1,334,073          216,788    1,550,861    1,492,734




                                                   19
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

Movement in total funds for the year

     This has been arrived at after (crediting)/charging:
                                                                        2010           2009
                                                                          £              £

     Depreciation of tangible fixed assets                             82,574        92,406
     Land and buildings – operating leases                             44,100        44,100
     Plant and machinery – operating leases                             2,360         2,360
     Auditors‟ remuneration – audit fees                               14,905        11,200
                           – non - audit services                      17,968        15,054


Employees

     The average monthly number of employees of the company during the year, excluding directors,
     was as follows:
                                                                        2010           2009
                                                                     Number         Number

     Full time                                                              25            31
     Part time                                                              43            37

                                                                            68            68


     Staff costs consist of:                                               £             £

     Wages and salaries                                                700,349      725,828
     Social security costs                                              59,637       58,245

                                                                       759,986      784,073


     No employee earned more than £60,000 in either year.

Directors

     One director received emoluments for their duties during the year amounting to £634 (2009 –
     two and £741). No expenses were reimbursed to the directors during either year.
     The payments to directors have been authorised by the Charity Commission.

Taxation

      The company is a registered charity and as such its income and gains are exempt from
      corporation tax to the extent that they are applied to its charitable objectives.




                                                       20
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

Tangible assets
                                                     Long
                                                  Leasehold          Motor
                                                   property         Vehicles      Equipment          Total
                                                 improvemen
                                                      ts
                                                       £                  £              £                  £
     Cost
     At 1 April 2009                             5,063,296            14,846        198,321      5,276,463
     Additions                                           -                 -         11,306         11,306
     At 31 March 2010                            5,063,296            14,846        209,627      5,287,769
     Depreciation
     At 1 April 2009                               113,254            14,846        139,945       2268,045
     Charge for year                                58,236                 -         24,338         82,574
     At 31 March 2010                              171,490            14,846        164,283        350,619
     Net book value - owned assets
     At 31 March 2010                            4,891,806                    -      45,334      4,937,149

     At 31 March 2009                            4,950,042                    -      58,376      5,008,418

Stocks
                                                                                       2010            2009
                                                                                         £               £
     Goods for resale                                                                15,611            6,732


     There is no material difference between the replacement cost of stocks and the amounts stated above.

Debtors
                                                                                       2010            2009
                                                                                         £               £

     Trade debtors                                                                  52,847           38,651
     Other debtors                                                                     881                -
     Prepayments and accrued income                                                137,096          120,810
                                                                                   190,824          159,461
     All amounts within debtors fall due for payment within one year.




                                                     21
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

Creditors: amounts falling due within one year
                                                                                       2010             2009
                                                                                         £                £
     Trade creditors                                                               100,582            163,874
     Taxation and social security                                                  118,120            105,468
     Accruals                                                                       10,415             15,526
     Deferred income                                                               307,075            245,651
     Loan                                                                          189,671            212,728
                                                                                   725,863            743,247

    After the balance sheet date revised terms were agreed with the National Trust and the repayment of the
    balance of their loan of £89,671 has been deferred until September 2011.

    The loans are secured by a fixed charge over the leasehold property of the company.

Creditors: amounts falling due after more than one year
                                                                                        2010             2009
                                                                                          £                £
     Bank loan (secured)                                                                      -                 -



Funds

     (a) Unrestricted Funds
     Unrestricted funds consist of the general funds and the designated captive insurance fund,
     established to support in house productions.
                                            At 1 April     Incoming       Resource                       At 31
                                              2009         resources          s         Transfers        March
                                                                          expended                       2010
                                                  £               £             £                 £          £
     General Funds                          (138,884)      1,554,517      (1,519,282              -     (103,649)
                                                                                   )
     Designated Captive Insurance             17,004                  -            -              -       17,004
     Fund

                                            (121,880)      1,554,517      (1,519,282              -      (86,645)
                                                                                   )

     The Designated Captive Insurance Fund provides cover for in house productions. No income
     was received nor charges made to the account in the year.




                                                      22
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)

Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

Funds (continued)

     (b) Restricted Funds
                                               At 1 April      Incoming     Resources        At 31
                                                 2009          resources     expended      March 2010
                                              £               £             £              £
 Capital Development Project Fund              4,626,517         35,859     (70,497)        4,591,879
 New Writing Consortium                           13,872              -     (6,936)             6,936
 Arts Council IT Project Fund                     11,981           (620)    (6,990)             4,371
 HLF Populating the Past Project Fund                  -         19,920     (10,755)            9,165
 ACE Evolve Project Fund                               -         13,196     (13,196)                -
 V for Volunteering/Blueprint Project Fund             -         12,013     (12,013)                -
 The Headley Trust Creative Learning Fund              -         10,000         (10,000)            -
 Esmee Fairbairn Foundation Rural Tour            20,431         25,000         (45,431)            -
 Fund
 SCC Mind Mission Possible Project Fund                   -      50,770     (45,206)            5,564
 ACE Step Forward Project Fund                            -      90,893     (90,893)                -

                                              4,672,801         257,031     (311,917)      4,617,915


     Capital Development Project Fund: In 2002 the company launched its Restoration Appeal to
     raise £5.1 million to restore and develop the Regency Theatre Royal Bury St Edmunds. The
     project commenced in October 2005, this fund contains all the monies raised for the project and
     all the expenses relating to it.

     New writing consortium

     Arts Council IT Project Fund: In 2004 the company received a grant from Arts Council England
     East to purchase new ticketing software and a new network, the project was completed in 2005.
     This fund contains that grant and the expenditure and is being depreciated according to the
     company‟s depreciation policy.

     HLF Populating the Past Project Fund: In 2008 the company received a grant from the Heritage
     Lottery Fund to launch a project, in conjunction with other bodies, to explore, research and bring
     to life Georgian Bury St Edmunds. The first part of the grant was received and fully expended in
     the year. The project continues in 2010/11.

     Arts Council Evolve Project Fund: In 2008 the company received a grant from Arts Council
     England East to launch a project to use the creative learning process to examine the history of
     the building through contemporary audiences. The first part of the grant was received and fully
     expended in the year. The project continues in 2010/11.

     V for Volunteering/Blueprint Project Fund: In 2008 the company received a 3-year Arts Award
     via The Garage Trust to enable volunteer-led projects. In 2009/10 a volunteer was appointed to
     work with young offenders and those at risk of offending. The second part of the grant was
     received and fully expended in 2009/10.

     The Headley Trust Creative Learning Fund. In 2009 the company received a 2-year grant from
     The Headley Trust to support its Creative Learning programme. The first part of the grant in the
     sum of £10,000 was received and fully expended in the year.




                                                 23
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)

Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

     Esmee Fairbairn Rural Tour Fund: In 2008 the company received a 3-year grant from the
     Esmee Fairbairn Foundation to support its Rural Touring programme. The second part of the
     grant in the sum of £25,000 was received in the year and £45,431 expended.

     SCC Mind Mission Possible Project Fund: In 2009 the company received a grant from Suffolk
     County Council to run a project in partnership with the mental health charity Mind, to engage
     with people suffering from Borderline Personality Disorder and use acting to help them
     understand and live with their condition. £50,770 was received and £45,206 expended in the
     year. The project continues in 2010/11.

     ACE Step Forward Project Fund: The Arts Council gave a grant of £90,893 in the year to
     support a project to research and develop the progression of the Theatre Royal‟s artistic „offer‟,
     its delivery methodology and the resourcing of that world class offer. £90,892 was expended
     during the year.


Analysis of net assets between funds
                                                  General     Designate     Restricted        Total
                                                  Funds        d Funds       Funds            2010
                                              £              £             £              £

     Tangible fixed assets                     345,270              -      4,591,879      4,937,149
     Net current liabilities                  (448,919)        17,004      26,036         (405,879)

                                              (103,649)        17,004      4,617,915      4,531,270



Deferred income
                                                                                2010           2009
                                                                                  £              £

     Balance at 1 April                                                      245,651       248,127
     Amount released to incoming resources                                  (245,651)     (248,127)
     Amount deferred in the year                                             307,075       245,651

     Balance at 31 March                                                    307,075        245,651


     Deferred income comprises box office receipts received in advance, and grants and donations where
     donors have specified that it must be used in future accounting periods.




                                                   24
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)
Notes forming part of the financial statements for the year ended 31 March 2010 (Continued)
_________________________________________________________________________________
_________

Commitments under operating leases
     As at 31 March 2010 the company had annual commitments under non-cancellable operating
     leases as set out below:
                                                2010                        2009
                                       Land and                   Land and
                                       buildings      Other       Buildings         Other
                                            £            £      £              £
     Operating leases which expire:

     In one year                               36,100                      36,100               -
     In two to five years                                     2,360             -           2,360
     Over five years                            8,000                       8,000               -



Related party transactions
      In addition to his duties as a director of the Theatre, Colin Blumenau was employed by the
      Theatre and paid a commercial salary.


Capital commitments
                                                                             2010          2009
                                                                               £             £

      Capital expenditure contracted for but not provided
       in the financial statements                                         29,525        37,528



Contingent liability
      The Trustees of the National Heritage Memorial Fund hold a legal charge over the property
      owned by Bury St Edmunds Theatre Management Limited for the amount of £1,950,000. This
      sum becomes payable under the following conditions:

             A change of ownership of the whole or part of the property
             A material change in the status of Bury St Edmunds Theatre Management Ltd
             A deviation from the Approved Purposes or Approved Usage of the HLF grant or
             Bury St Edmunds Theatre Management Ltd ceases to operate due to its merger with or
              the transfer of its functions to another body.

      In any of these circumstances Bury St Edmunds Theatre Management Ltd, the new body or
      new owner must within 90 days of the relevant breach submit a revised application to NHMF for
      consideration.

      This charge automatically expires on 2nd March 2014.

      The Trustees consider that these conditions are unlikely to arise and as such there is no
      probable outflow of funds to be provided for within these financial statements




                                                  25
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               26
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               27
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               28
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               29
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               30
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               31
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               32
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               33
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               34
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               35
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               36
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               37
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               38
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               39
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               40
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               41
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               42
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               43
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               44
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               45
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               46
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               47
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               48
THE BURY ST EDMUNDS THEATRE MANAGEMENT LIMITED
(A company limited by guarantee and not having share capital)




                                               49
Theatre Royal Bury St Edmunds
Application for Employment

Please read the guidance notes on the back page before completing
this form

Position Applied for


1. Personal Details


Surname

Forename(s)

Address


                                         Postcode


Telephone (day)

Telephone (evening)


2. Why are you applying for this post?
3. What can you offer us?
Please include details of any relevant skills, experience and knowledge (there are later
sections for information about training and education)
4. Present or most recent employment/experience of work


Name and address of
organisation
                                                   Postcode


Position held

Salary (if applicable)

Date appointed

Date left appointment
and why (if applicable)



Outline briefly your duties and responsibilities
5. Previous appointments/experience of work

Name and address   Position held and   Main duties and    Reason for leaving
 of organisation         dates         responsibilities
6. Training and education
Include details of exams passed, courses attended and qualifications obtained
7. What else are you interested in?
eg leisure activities




8. Additional Information

Do you need a permit to work in the United Kingdom?                  Yes     No

Do you have any condition or disability which may affect your ability to do the job,
and/or require us to make reasonable adjustments?                    Yes     No


If Yes please give
details including any
adjustments that you
may need to be made
both in respect of the
job and the interview


9. Travel
Some positions at the Theatre Royal require employees to drive, if this is applicable to the
position you are applying for, please complete this section

Do you hold a current, clean driving licence?                        Yes     No
Do you have access to a car?           Yes                           No
.
If the answer to either
of these questions is
No, please explain how
you would meet the
travel requirements of
the post (where
applicable)
10. Confidential Declaration of Criminal Record
Some positions at the Theatre Royal require employees to be responsible for young

people aged under 18 and vulnerable adults, if this is applicable to the position you are

applying for, you are required to disclose details of any criminal record. Only relevant

convictions and other information will be taken into account so disclosure need not

necessarily be a bar to obtaining this position. All information submitted will be kept

strictly confidential.



Have you ever been convicted by the courts or cautioned, reprimanded or given a final
warning by the police?                                                 Yes     No



If Yes please give
details of offences,
penalties and dates


Are you aware of any police enquiries undertaken following allegations made against
you, which may have a bearing on your suitability for this post?
                                                                                 Yes       No



If Yes please give
details of offences,
penalties and dates


Have you undertaken a Criminal Record Bureau enhanced disclosure for any previous
employment?                                                            Yes     No


If Yes please give the
date your last check
was done

Please note that all posts that involve working with young people aged under 18 and
vulnerable adults at the Theatre Royal are excepted from the Rehabilitation of Offenders
Act 1974, which means that all convictions, cautions, reprimands and final warnings on
your criminal record need to be disclosed.
11. References
Please supply details of two persons (other than relatives) from whom references can be
obtained. If you have had previous employment one of your referees should be your
current or most recent employer.

Name                                      Name

Address                                   Address




e-mail address                            e-mail address


Daytime telephone number                  Daytime telephone number


Occupation                                Occupation

                                          Employer/Personal Referee (delete as
Employer/Personal Referee (delete as      appropriate)
appropriate)



Are you willing for references to be contacted prior to interview?   Yes    No


12.    Declaration

I confirm that the information I have given on this form is correct and complete to the
best of my knowledge, and that misleading statements may be sufficient for cancelling
any agreements made.

I understand that, if the position I am applying for is responsible for young people aged
under 18 and vulnerable adults, I will be required to complete a Criminal Records Bureau
enhanced disclosure if appointed.


Signed

Date

				
DOCUMENT INFO