Belgrade Theatre Review of the Year 2019/2020
THE BELGRADE:
CELEBRATING COVENTRY TOGETHER THROUGH THEATRE > Ambitious > Brave > Collaborative
CHAIRMAN’S LETTER It has been another ambitious and overall successful year for the Belgrade, despite closing the 2019/20 financial year with the threat of the Covid19 pandemic. Alongside delivering a busy year of work in both auditoria as well as in the community, the Theatre has also been getting 2021 ready. Phase 1 of a Capital Redevelopment Project has been completed and the building’s exciting transformation will continues with Phase 2. Preparations for a groundbreaking ‘Handing Over the Keys’ project, which will be a centrepiece of Coventry UK City of Culture 2021, have also started. The threat of the pandemic is extremely serious for the Belgrade and puts extra poignancy on my reflections of last year’s achievements. Seeing B2 completely transformed into an almost unrecognizable space for Club 2B and filled with music, drama, food and drink to be enjoyed by all last Christmas was yet another example of the Belgrade’s fantastic creativity. Like There’s No Tomorrow, also in B2, could not have been more different, but seeing the Belgrade Young Company playout their own story about the very current issue of climate change in such a powerful way was equally as moving. As always there is so much more I could talk about. The Belgrade continues to be a thriving hub of activity within the community. Talent development, the environment, access
and diversity are all woven into the work we do and our commercial work has helped us to become more selfsufficient, although it makes us more vulnerable as we fight the impact of Covid 19. The support of the staff and community is vital in these challenging times and our gratitude to them cannot be over stated. Thank you all.
Stewart Fergusson Chairman
“An elusive, effervescent theatrical event… the mood is both intoxicating and mesmerising” The Stage on
Club 2B
Club 2B
The Belgrade Theatre's vision:
Together, with the diverse communities across Coventry and the region, we aim to enrich and fundamentally change people’s lives for the better through theatre. FROM OUR ARTISTIC DIRECTOR & CHIEF EXECUTIVE It was another productive year presenting 113 different productions to serve and develop our broad range of audiences. We produced/co-produced seven professional shows, six of which were premieres, five of which toured, and also produced two full pieces of work co-created with communities, including Like There’s No Tomorrow, co-created by Justine Themen, Claire Procter & Liz Mytton with the Belgrade Young Company, for NT Connections and Behind the Net Curtain co-created by Orla O’Connor with the Belgrade Elders’ Company. Other home produced work included literary adaptations; new versions of Angela Carter’s Wise Children by Emma Rice co-produced with Wise Children, The Old Vic, Oxford Playhouse, York Theatre Royal, and Mary Shelley’s Frankenstein by Rona Munro co-produced with Selladoor Productions, Matthew Townshend Productions, Perth Theatre at Horsecross Arts. Diversity featured in the stories of My Beautiful Launderette co-produced with Leicester Curve, Everyman Cheltenham, Leeds Playhouse and with Alex Wheatle’s Crongton Knights adapted by Emteaz Hussain, co-produced with our Strategic Partners Pilot, Derby, York Theatre and The Gift by Janice Okoh coproduced with Eclipse. All of these shows expanded the reach of the theatre’s work by touring nationally. Our always popular pantomime this year was Puss In Boots by Iain Lauchlan with Imagine Theatre alongside a different take on our alternative Christmas Show. Club 2B was
created by Corey Campbell, co-produced with Strictly Arts. We continue to support our Springboard Companies; Maokwo who work with migrant artists, Underground Lights who work with homeless people and people with mental health issues, and Richard & Rishard diverse-led and integrated learning disabled theatre partnership, Shoot and New English Opera. The appointment of two artists from culturally or ethnically diverse communities as Co-Artistic Directors to join our Deputy Artistic Director to lead and make the entire creative output of the Theatre in 2021, together with a Senior Producer also from culturally or ethnic diverse communities, as part of our City of Culture ‘Handing Over the Keys’ project is also something we are proud to have achieved this year and, despite ending the year with the challenges of Covid 19, gives us all much to look forward to in 2021.
Hamish Glen
Artistic Director & Chief Executive
“As an expression of contemporary heroism amid troubling times, the play hits exactly the right note. School children will love it” What’s On Stage on
Crongton Knights
Crongton Knights
Mission:
In our landmark building, across the region, the UK and online, we will use theatre to entertain, inspire, share the city’s stories, uncover hidden histories and unleash the creativity in our communities. FROM OUR EXECUTIVE DIRECTOR The overall Earned vs Grant Ratio was 71.5% last year, down slightly from 75.5% last year partly due to City of Culture Grant Funding as well as a drop in turnover to £5.8m, but still notable compared to 46.4% in 2008/09. Our flexible Business Model has proved its resilience historically through developing diverse income streams but all earnings are based on “mass gatherings” and although delayed until March 2020, the impact of Covid19 crisis has hit hard. Our overall turnover was £5.8m down from £6.2m including earned/ raised £237k specifically to support our Talent Development, Education and Participation programmes. Throughout the year we have delivered 428 performances of 113 different productions and attracted audiences of 190,464 to shows, events and conferences (145,464 to shows alone). The Theatre’s trading subsidiary Belgrade Theatre Enterprises were £1.24m representing 21% of turnover. Several strands now make major contributions including commercial set building Belgrade Production Services (BPS), Catering, and Events and Conferencing plus commercial community and education projects continue to contribute and also enhance our charitable objectives.
The ambition and excitement of the artistic policy and the quality of the Theatre’s work sustains its reputation in the profession. The Theatres’ reserves gave it much needed security at a time of economic uncertainty, although the poor trading results combined with the Covid19 threat has severely weakened the Theatre’s finances. The Theatre has however consistently demonstrated its strength under challenging conditions, benefiting from an excellent staff rising to the crisis, and securing Government support including emergency Cultural Recovery Funding to rebuild, ready for 2021. Our £5m 2020 redevelopment programme, which centres expanding the Theatre’s footprint and the refurbishment of the Main Stage auditorium to ensure the Theatre is City of Culture 2021 ready, is making positive progress despite the complications of Covid 19. Phase 1 has been completed and Phase 2 is well underway ready for a hopeful 2021.
Joanna Reid
Executive Director
““one of the most explosive British plays on race I’ve seen in years” ★★★★★ Afridiziak on
The Gift
The Gift
UNLEASHING THE CREATIVE POWER OF THE CITY >New Work >Talent Development >Participation & Education
FROM CLICK SPRING The impact of the Click Spring ethos (integrating participation, education, talent development & new work across the work of the organisation) continues to grow. Central to the success of the Belgrade’s application to the City of Culture for the ‘Handing over the Keys’ project, this ethos is now being embedded in the Co-Artistic Directors’ planning for the 2021 programme with a welcome injection of new energy - including work with Asian elders and the city’s Roma community. The foundation of our participatory programme continues to be a broad-reaching open-access workshop programme with a particular focus on young people and the least arts-engaged communities of the city. We delivered 12 regular youth workshop programmes - including a new programme of work in Spon End, one of the country’s most disadvantaged areas; and six workshop programmes for adults – including doubling our popular Acting class. Productions included: Like There’s No Tomorrow about the climate crisis, co-created by the Young Company with Justine Themen, Claire Procter & Liz Mytton, and under commission from the National Theatre Connections programme; Behind the Net Curtain, about experiences of dementia, co-created by the Belgrade Elders’ Company & Orla O’Connor, and marking the end of the highly successful Arts Gymnasium programme; Joan Carty’s Holding the Centre, emerging from our Critical Mass programme and presented in association with Women Writes; and Room to Grow touring Primary schools to support Year 6s in their transition to Secondary.
We continue to be creative in our responses to the development needs of the city. Our CPD programme, delivered in partnership with the RSC, combined their successful Stand Up for Shakespeare methodology with the Belgrade’s own TiE practise to empower teachers to use drama to engage pupils, deepen thinking, and encourage aspiration. In a health context, the Connectivity & Community Conference showcased best practice from 4 national companies leading the way in Arts & Elders’ practise, including our own Arts Gymnasium programme, and provided a stimulus for the establishment of the West Midlands Creative Health Alliance. Our Talent Development programme, focusing on underrepresentation in the sector, supported 3 apprentices, six trainee assistant directors, a two-year traineeship in technical theatre, 25 further artist development opportunities and 13,471 participation opportunities. Central to this area of our work, is the support of our Springboard Companies: Maokwo, working with migrant artists, Underground Lights working with people with lived experience of homelessness/ mental ill health; Richard & Rishard, a diverse-led and integrated learning disabled theatre partnership; and Radical Body, working with artists who cannot be in the room due to barriers around disability/ access. In supporting companies whose work complements the work of the Belgrade, we seek to strengthen and diversify the local arts eco-system, encouraging partnership and mutual learning.
Justine Themen
Deputy Artistic Director
““Beautifully done,
well written, thought provoking” ★★★★★ Audience Member on
Like There’s No Tomorrow
Like There’s No Tomorrow
Click Spring 4 productions
17% of participants from priority postcode areas
47 performances
11,576 participation opportunities
774 workshops
37 performances in schools
“So many of our students came away feeling enthusiastic and inspired about pursing careers within the performing arts and felt that the people they met today have given them the confidence that they can achieve great things” University of Warwick
“a wonderful show, amazing company and inspiring project” Audience comment on Behind the Net Curtain.
Springboard Companies The Belgrade Theatre acts as a Hub for local creatives. As part of this process we have established the Springboard initiative which supports early stage artists and companies to develop to the next chapter of their careers; offering performance and office space, mentoring, communications and fundraising support. Our Springboard companies in 2019/20 were: New English Opera, Shoot Festival, Strictly Arts Theatre Company, Underground Lights, Gertrude, Maokwo, Radical Body & Richard & Rishard.
Behind the Net Curtain
Our Year in Figures
145,464 tickets sold
428 113 performances
productions
190,464 tickets for shows, events and conferences 37% concession tickets 34% tickets to people living in priority postcode areas 23% tickets for children and young people
(Disabled, Unemployed, Students, Children, Seniors, Passport to Leisure)
Where our customers came from North - 5,947 Coventry City -13,624 South - 4,451 Other - 5,829
20%
46% 15% 20%
29,851 total number of bookers
“A magical experience for all ages”
Puss In Boots
Elementary What’s On on Puss in Boots
Helping Ourselves The Theatre works hard to develop and diversify its income streams, creating commercial set building via Belgrade Production Services (BPS), commercial workshop programmes for children, young people and adults, and also developing Events & Conferencing. Catering was brought in-house in March 2016.
71.5% £6.86 £1.22m
The amount of income the theatre now earns. Breakdown: 28.5% Enterprises & Commercial*, 3% Fundraising & Sponsorship, 40% Box Office *incorporates income earned by Belgrade Production Services, Catering, Conferencing & Events, Commercial Workshops and ices/merchandising.
The amount each £1 of CCC funding generated which rises to £8.44 with ACE funding. The amount of additional & existing sources of commercial income earned, totalling £9.85m since 2007.
BPS
Belgrade Production Services (BPS), our commercial set building arm, builds sets for Belgrade productions that are seen in other theatres as well as building sets for numerous other companies around the country.
BPS retains a pool of skilled workers in the city and in 2019/20 provided almost 12,500 hours of work for freelance/casual carpenters, welders, props makers, scenic artists and wardrobe technicians, in addition to the Belgrade’s core staffing.
““Glorious –
a controlled explosion of theatrical glee” ★★★★ The Times on
Wise Children
Wise Children
Community Cohesion “Theatre that keeps the attention of a teenager & has him talking about it's themes all the way home! 5 stars from all of us. Important & captivating work on gang violence & more” Audience comment on Holding the Centre
16,983
school pupils attended performances.
1,498
pupils saw our TiE show Big School aiding the transition from primary to secondary school.
2,844
disabled tickets purchased plus 2,708 carer tickets.
TiE
Theatre in Education was born at the Belgrade in 1965 and became a world-wide movement.
FREE
participative arts activity ensures wide access, helping develop confidence and skills.
A Greener Belgrade 33.6%
decrease in gas & electricity use over the last 10 years. Photovoltaics were installed during the year enabling us to start to generate electricity by Dec 2019.
77,150*
plastic cups saved from landfill, by replacing plastic cups with biodegradable Vegware. “Belgrade plastics are not plastic” almost all have been replaced with biodegradable alternatives including straws, takeaway cutlery and salad bowls. * 2018/19 data
We continue to re-use, repair, rethink, reduce, refuse and recycle. Further information on our Environmental Policy can be found on www.belgrade.co.uk/stories/plastic-plan-reducing-our-environmental-impact
“The piece retains its 80s ethos while speaking to today’s world ” ★★★★ The Guardian on
My Beautiful Launderette
My Beautiful Launderette
Thank you to our supporters The Belgrade Theatre Trust is a registered charity (number 219163)* and relies on support we receive from generous individuals and organisations. Those who support our work enable us to continue to develop our artistic, community, educational and talent development work – so thank you.
ÂŁ170,134
raised in donations, grants ,corporate support and memberships - enabling us to provide amazing opportunities, including;
775 Making Memories tickets for our Panto Puss in Boots supporting 188 local families facing challenging circumstances.
98 27 1,498 774 5,656 work placement hours including apprenticeships of which 2,369 are intern hours. engagement opportunities for older people.
local schools received our Big School tour for
year 6 pupils.
workshop programmes for youth and community groups.
In addition to our individual members and corporate supporters, the Belgrade Theatre gratefully acknowledges financial support from the following Trust and Foundations in 2019/2020;
For more information, please visit:
www.belgrade.co.uk/support
*We are committed to being open, honest and transparent – adhering to the Fundraising Promise and
The 29th May 1961 Charitable Trust
the independent regulator of charitable fundraising.
“a fresh take on the well-worn tale, in which Mary Shelley has a message for us today� Photographs: Robert Day, Tommy Ga-Ken Wan, Ellie Kurttz, Joe Bailey & Nicola Young
Bum on a Seat on
Frankenstein
Frankenstein
Board Members:
Belgrade Theatre Trust (Coventry) Limited (A company limited by guarantee)
Mr S Fergusson, Chairman Ms Sheila Bates Cllr Roger Bailey Mr Paul Carvell Mr Nathan Dodzo Mr W H Glen LLB Ms Annette Hay Mr A F Pollock
Ms K J Reid BA Hons Mr A C Skipper Ms Rebecca Warwick Mr Jon Wilby Honorary Ambassadors: Mr David Burbidge Mr David Shortland
Company Secretary and Executive Director : Ms K J Reid BA Hons Chief Executive and Artistic Director: Mr W H Glen LLB Funding Body Representatives entitled to attend Board meetings: Arts Council England West Midlands - Mr Tom Wildish (Relationship Manager), Coventry City Council - Mr D Cockcroft (Assistant Director, City Centre & Development Services) Charity registered number 219163
Company registered number 593331
Registered office: Belgrade Theatre Belgrade Square Coventry West Midlands CV1 1GS
Coventry’s vibrant producing & presenting theatre.
THE IMPACT OF PUBLIC INVESTMENT 2019 20 The Belgrade Theatre is a charity. Public funding received from Arts Council England, Coventry City Council, fundraising from various Trusts and Foundations, and Charitable and Business Sponsorship, enables us to leverage considerably
We worked with over
54
£572k
113
artists from the UK’s talent pool in the creative industries
was paid in Tax and NI
productions
£2.5m
Spent on gross payroll, creating full or part time employment for over 275 people
145,464 people experienced a live performance at the Belgrade Theatre
£595k
£9.8m
Coventry City Council grant
equivalent value of press coverage
leveraging £942k Arts Council grant
£5.8m turnover
We attracted
Our average ticket price of £19.73 meant our tickets were affordable & accessible
£170,134 in philanthropic support
5,656
work placement hours
We earn
71.5%
of our income Up from 46% in 08/09
Economic Impact
£6.86 GENERATED FOR EVERY £1 OF COVENTRY CITY COUNCIL FUNDING
£5.9m* worth of local economic impact
*2018/19 data
33,796
tickets for children and young people sold
Cultural & Social Impact
BROADENING CULTURAL ENGAGEMENT & SOCIAL COHESION
Printed on FSC paper
4
apprenticeship posts making 34 since 2009 &
11,576
children, young people & aged 50+ participated in workshops, and