Strategic Plan
2013-2017
1 January 2013 – 31 December 2017
78 Montague Road
South Brisbane
PO Box 3310
South Brisbane BC QLD 4101
ABN: 27 822 967 021
Telephone 07 3010 7600
Facsimile 07 3010 7699
Email
mail@queenslandtheatre.com.au
www.queenslandtheatre.com.au
Contents
Executive Summary .................................................................................................................................................... 3
Our Audience ............................................................................................................................................................... 3
QTC Presents................................................................................................................................................................ 3
QTC Produces ............................................................................................................................................................... 4
QTC Develops............................................................................................................................................................... 4
QTC Tours ..................................................................................................................................................................... 4
Mission and Artistic Vision ........................................................................................................................................ 4
Mission ......................................................................................................................................................................... 5
Purpose ......................................................................................................................................................................... 5
Values ........................................................................................................................................................................... 5
Goals/Objectives .......................................................................................................................................................... 5
Artistic Vision .............................................................................................................................................................. 5
The MainHouse ........................................................................................................................................................... 6
The GreenHouse .......................................................................................................................................................... 6
Programs ...................................................................................................................................................................... 6
Strategic / Context Analysis....................................................................................................................................... 7
Framework ................................................................................................................................................................... 7
Government objectives ................................................................................................................................... 7
Object and guiding principles ........................................................................................................................ 7
Key Issues .................................................................................................................................................................... 7
Artistic ............................................................................................................................................................... 7
Social ................................................................................................................................................................. 8
Economic........................................................................................................................................................... 8
Technological ................................................................................................................................................... 8
Artistic Vibrancy .......................................................................................................................................................... 8
History .......................................................................................................................................................................... 9
Internal Situation ..................................................................................................................................................... 10
Strengths........................................................................................................................................................ 10
Weaknesses ................................................................................................................................................... 10
Artistic reputation .................................................................................................................................................... 10
Current financial position ....................................................................................................................................... 10
External Situation..................................................................................................................................................... 11
Positive ........................................................................................................................................................... 11
Negative ......................................................................................................................................................... 11
Peer analysis ................................................................................................................................................. 11
Markets and Relationships ..................................................................................................................................... 11
Market Segmentation ................................................................................................................................... 11
Competitors ............................................................................................................................................................... 15
Goals and Key Strategies ........................................................................................................................................ 16
Goal 1: Be recognised for a consistently high standard of work ....................................................................... 17
Goal 2: Reach a wider audience ............................................................................................................................ 19
Goal 3: Strengthen industry and community relationships................................................................................ 21
Goal 4: Maintain a strong and balanced infrastructure for the Company ........................................................ 23
Financial Plan ........................................................................................................................................................... 25
Current Financial Situation ..................................................................................................................................... 25
Financial Goals ......................................................................................................................................................... 25
Financial Forecast .................................................................................................................................................... 26
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Management Plans .................................................................................................................................................. 28
Role of Board and Governance ............................................................................................................................... 28
Succession Plan ........................................................................................................................................................ 28
Ancillary Plans.......................................................................................................................................................... 29
Risk Management Plan............................................................................................................................................ 30
Scales: ............................................................................................................................................................ 30
L-R: Robyn Nevin, Alison Whyte, Steve Le Marquand, Travis McMahon and Helen Thomson in Summer of the 17th Doll. Photo Jeff
Busby
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Executive Summary
The Queensland Theatre Company Strategic Plan for the next five years is encapsulated in four key areas:
1.
2.
3.
4.
QTC Presents
QTC Produces
QTC Develops
QTC Tours
While the above may not seem to be very different to what has previously occurred it is in fact a marked
departure in terms of the emphasis on what we present and how much we produce. This has been brought
about by:
Analysis of attendance patterns at QTC MainHouse shows which are relatively static despite changes
in programming.
The increasing costs of producing new work.
The short “shelf life” of the work we produce coupled with a strong desire to have a greater return
for our investment and our ambition to be more environmentally sustainable.
Our unique position as the no-borders “State Theatre Company of the North” which in the past
toured the Top End regularly – something we hope to reinvigorate. In addition our proximity and
connection to Asia and the Pacific.
The need to reflect the unique demographic of Queensland – the most decentralized state with huge
distances between towns.
Our ambition not to ape the models of companies that have a stronger audience base but to reinvent
the State Theatre Company model.
We also have strong ambitions to capitalize on the international reputation of our Artistic Director and extend
the presentation and awareness of our work particularly into Asia.
Our Audience
The QTC audience is mainly middle aged females with tertiary qualifications. However while these women
are the backbone the demographic is slowly changing as QTC alters its programming to provide more
challenging work and also have a stronger developmental focus through The GreenHouse.
1
According to Australia Council research most Queenslanders are aware of QTC and four in ten
Queenslanders have attended QTC at some time. In marketing jargon, ‘Flirters’ – those most likely to be
influenced by friends – are most interested in attending a live performance by QTC. The challenge for QTC is
to make our programming more exciting and accessible and to get ‘the word out’. The planned changes over
the period of this Plan reflect that.
QTC Presents
The focus is on building audiences:
1
The Company will present great work from other companies in our MainHouse season to meet the
needs of our audiences. This could be from Australian or international companies and may include
non-traditional theatre,
The Company will present our work anywhere. We will not limit ourselves to traditional theatrical
venues and we will explore partnerships with national and international festivals,
Australia Council (2011) More than Bums on seats: Queenslanders and the arts
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The Company will commence digital broadcasts of our work.
QTC Produces
The focus is on the longevity and relevance of the work:
The Company will produce fewer MainHouse works alone. Other MainHouse works will be coproductions or presentations
There will be at least two Indigenous works each year
There will be at least two productions designed for touring
We will extend the use of our theatre and non theatre spaces to produce other activities and
programs
QTC Develops
The focus is about artistic and industry development:
Through The GreenHouse program the Company will conduct a series of creative
developments/residences with public showings
A short-term ensemble will be engaged which will work on performances of new work such as the
Queensland Premier’s Drama Award a series of playreadings and remounts of local independent
work
We will develop programs for individual artists, youth ensembles and education eg Suitcase project
We will form new partnerships with organisations with similar goals eg PlayLab, Young People and
the Arts Australia (YPAA), Aboriginal Centre for Performing Arts (ACPA), Brisbane Powerhouse
QTC Tours
The focus is on the further exploitation of the work:
We will tour both newly produced work and work from our repertoire
We will investigate the Asian market particularly for Indigenous work
We will aim for at least two tours per year
We will form longer term regional partnerships with key towns
We will incorporate digital broadcasts as part of an overall touring strategy to build audiences in
specific regions
L-R: Kaleenah Edwards, Benjamin Maza and Alinta McGrady performing in
Stradbroke Dreamtime at Stanwell Public School. Photo Sue Donnelly
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Mission and Artistic Vision
Mission
Through our theatre-making we aim to excite and inspire audiences throughout Queensland, Australia and
our near neighbours.
Purpose
To present, produce, develop and tour classic and contemporary theatrical works and programs which
entertain and showcase our stories and creative talent.
Values2
Dynamic
Entrepreneurial
Collaborative
Storytelling
Diverse
Sustainable
Welcoming
Goals/Objectives3
1.
2.
3.
4.
Be recognised for a consistently high standard of work
Reach a wider audience
Strengthen industry and community relationships
4
Maintain a strong and balanced infrastructure for the Company
Artistic Vision
The Artistic Vision and the broader Strategic Plan are based around the following central ideas:
Greater capacity and broad audience base for the MainHouse program
Greater artistic presence in the Company – through artists, ideas, projects
Clearly articulating and resourcing artistic research and development of the Company
The artistic vision for QTC is to be a leader in an artistic community, identify the key social narratives, reflect
the broader community through its storytelling, provide the best international/national/local work which
includes cultural and linguistically diverse stories, audiences and artists; indigenous theatre; large scale
theatrical offerings and family programming. In addition QTC provides the stepping stones for artists to build
a sustainable career in the theatre.
2
QTC spent considerable time discussing these values. Underpinning all of our work is ‘integrity and accountability’ as evidenced by our
overall plan.
3
QTC reports to both the Australia Council for the Arts and Arts Queensland. The former requests companies to state ‘Goals’ and the
latter requests ‘Objectives’ to remain consistent with terms used in the Agency Planning Requirements.
4
Including financial, physical and human resources
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The MainHouse
The purpose of the MainHouse program is to promote and present consistently well produced work, to
expand our audiences through entertaining fare and to show Queenslanders the best work of the state, the
country and the world. This may include presenting existing works (i.e. Melbourne Theatre Company’s (MTC)
Red), producing our own works of scale (i.e. Design for Living), producing Indigenous work (Mother Courage)
and work which can easily tour (The Pitch / The China Incident) and co-producing new works (i.e. Other
Desert Cities with Black Swan Theatre Company).
The programming reflects the need to expand our audience and box office appeal, to ‘democratise’ the art
whilst maintaining our engagement with national and international artistic practice. The plan is to make the
MainHouse more cost effective to allow funds to be allocated to other artistic initiatives.
The GreenHouse
The main purpose of The GreenHouse is:
To help build artistic practice and careers
To clearly invest in artistic research and development
To fill a gap between independent artists and companies working on non-funded projects and
professional opportunities by providing greater access to resources
Box office expectations are modest, and the main aim is to develop true engagement with the sector, new
artists and new works, some of whom will ultimately transfer to the MainHouse. The GreenHouse is the
home of ideas, with forums, play readings and other events built around performance programs. The
GreenHouse is where QTC tests out new innovations such as digital technology in artistic practice. It works
with a younger audience and exposes them to different ways of thinking about artistic practice. The long
term goal is that some developmental work and artists will eventually be part of our MainHouse program.
Programs
The Company Programs are built around eight programming pillars:
Youth
Education
Indigenous
Regional
Development and New Work
Community
New Technology
Performance
Activities can deliver in several program areas and where possible, the public outcomes will be presented in
either the MainHouse or The GreenHouse program.
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Strategic / Context Analysis
Framework
Government objectives
Queensland Theatre Company contributes to the achievement of the following Pledges of the Queensland
Government’s New Government Objectives:
Grow a four pillar economy
Maintaining a financially strong, balanced company and diversifying earning potential through new
initiatives.
Lower the cost of living by cutting waste
Operating sustainably to add to community well being
Deliver better infrastructure and better planning
New business model which incorporates greater utilisation of QTC assets by artists and audiences.
Revitalise front-line services for families
Source new funding to maintain essential education and youth programs.
Object and guiding principles
In performing its functions, the Company must have regard to the object of, and guiding principles for, the
Act.
The object of the Act is to contribute to the cultural, social and intellectual development of all Queenslanders.
The guiding principles behind achievement of this object are:
(a) leadership and excellence should be provided in the arts of the theatre;
(b) there should be responsiveness to the needs of communities in regional and outer metropolitan
areas;
(c) respect for Aboriginal and Torres Strait Islander cultures should be affirmed;
(d) children and young people should be supported in their appreciation of, and involvement in, the arts
of the theatre;
(e) diverse audiences should be developed;
(f) capabilities for life-long learning about the arts of the theatre should be developed;
(g) opportunities should be supported and enhanced for international collaboration and for cultural
exports, especially to the Asia-Pacific region; and
(h) content relevant to Queensland should be promoted and presented.
Key Issues
Artistic
The Company has a commitment to the employment of Queensland based artists, however many good artists
and creatives inevitably move to Sydney or Melbourne to find more job opportunities – thus creating a talent
drain.
We are concerned about the sustainability of our work and thus plan to produce fewer new works but
hopefully extend the life of each production through touring. This not only includes state and national but
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also international - particularly Asia. We plan to build repertoire which can be toured to Asia – this will
primarily focus on Indigenous work. The issue is creating the right repertoire as well as nurturing new
Indigenous performers.
The challenge in programming is the nature of our Brisbane audience who make up the bulk of our
attendance. Precedent tells us that Brisbane audiences like musicals and plays that are familiar – either
classics or plays with movie or television tie-ins. We plan to provide exciting interpretations of classics but
also encourage audiences to trust us and diversify their palette.
Social
Our audience numbers are relatively static. While in 2012 there were increased subscriptions there were
fewer tickets sold. As noted above our stalwart subscribers do not like significant change and it is both a
challenge to keep them engaged whilst introducing new and exciting work.
The Company has ambitions to grow our younger audiences. There is a natural reaction by younger people
to our MainHouse productions which they perceive are oriented to an older demographic. Even with more
dynamic and attractive programming younger audiences prove challenging.
While we are growing a new audience base with The GreenHouse through the collaborative programming,
new technologies, co-productions, NightGarden program, artistic residencies and forums there is not yet a
strong overlap between this newer audience and our traditional subscribers.
Economic
At both state and federal levels, individuals and the corporate sector are exercising caution with consequent
threats to our economic planning in the areas of paid attendances, sponsorship and philanthropy. QTC’s
audience demographic aligns strongly with tertiary-educated professionals in the finance, health and
education sectors; consequently downsizing in these industries, is likely to affect ticket sales as people guard
their disposable income out of the fear (or the reality) of job losses. Many major businesses are also
reviewing downwards their sponsorship and philanthropy budgets in spite of national data suggesting that
the Australian economy is performing strongly.
Production costs over the last year have been scrutinised and we now have a more viable model. However
there is an expectation amongst audiences of a certain level of production values and further reductions in
production budgets could severely undermine the artistic vision and indeed the QTC brand.
Technological
We currently have a strong social media presence and constantly interact with our audiences this way. We
have also integrated digital technology into our performances. The challenge for QTC now is to realize our
ambitions of a three year digital program, including digital broadcasts and online interactive offerings, which
is aimed at engaging regional audiences in years when we cannot physically tour. We envisage establishing
such a program in combination with Queensland Performing Arts Centre (QPAC) and the three other major
performing arts companies in Brisbane. The major issue is attracting the initial funds to support such a
program. QTC is thus seeking sponsors and exploring more cost effective ways to commence a digital
program.
Artistic Vibrancy
The role of a State Theatre Company is to be a leader in an artistic community, identify the key social
narratives, and reflect the broader community through its storytelling. Queensland has a very strong event
audience and a growing independent theatre movement. The missing areas of the theatrical landscape
include family programming; culturally and linguistically diverse stories, audiences and artists; Indigenous
Theatre; large scale theatrical offerings and the stepping stones for artists to build a sustainable career in the
theatre.
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QTC sees building audiences as one of its key roles in the next few years. In order to build the audiences it is
essential for QTC, as the state theatre company, to maintain relevance through a variety of partnerships
including programming collaborations and community engagement; through transparency and accountability
in all our processes (eg board, auditions, employment) and through continually questioning what we are
doing and why.
It should be noted that QTC has had a strong education program for almost the whole of its 40 year history
and this is a distinguishing factor when compared with other peer companies. For many years QTC has been
the yardstick by which to measure the artistic temperature of Queensland theatre with very few companies
offering the same level of durability, artistic standards and investment. The pressure to grow attendances is
sometimes at odds with our brief to tour throughout the state, focus on local employment, maintain a wellestablished education program and develop industry building activities.
This balancing act is not unique to QTC but the distinctive history and demography of Queensland creates
idiosyncrasies not experienced anywhere else in the country.
The QTC core audiences are enthusiastic and the dialogue that QTC has with them through the various play
briefings, nights with artists, social media interactions, season launches and special events are extremely
important. They provide valuable feedback which assists us in shaping an artistic program. Consequently the
artistic programming of our MainHouse is necessarily less risk taking than our southern state theatre
colleagues.
To help better service the articulated goals of the Company QTC is attempting to delineate its specific
business areas - Presenting, Producing, Developing and Touring. Clarifying specific goals rather than
expecting each project to service all our goals will help in the allocation of resources and the measures of
success.
As part of an ongoing artistic renovation of the Company and our engagement with the community we have
re-introduced a development wing (The GreenHouse), a pitching process for artists, a Commissioning
Program (after a gap of 12 years), an Artistic Associate, artistic residencies, a formalised internal
programming process and a peer review process through the selection of 10 Associate Artists. These
mechanisms help identify ideas and artists who need support whilst reviewing the work of the Company to
maintain standards and connection with the artistic community and the general public.
Currently the Associate Artists are David Burton, Candy Bowers, Carol Burns, Andrea Moor, Matt Delbridge,
Benjamin Law, Kathryn Marquet, Suellen Maunder, Lucas Stibbard, Gayle McGregor. The Associate Artists
meet four to five times a year to review the artistic merits of a show and explore public opinions of the
Company and its work.
History
Queensland Theatre Company was established as a statutory body when the Queensland parliament passed
the Queensland Theatre Company Act in 1970. From its outset, the Company has placed priority on
educational, youth and regional activities, furthering the skills and creating employment for Queensland
artists as well as providing a diverse range of experiences for its MainHouse audiences. The MainHouse
program offers a diverse program in style, era and a mix of Australian and international work.
In the past the Company has had a history of regional and national touring of our MainHouse shows and of
co-productions with other major performing arts theatre companies. Over the last decade this has been
gradually eroded although the QTC brand remains current.
Under Michael Gow’s artistic leadership the Company developed a reputation for developing emerging artists
i.e. actors, writers and other theatre practitioners, a process which has been continued and expanded by the
Company’s sixth Artistic Director, Wesley Enoch.
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A key component of the Company has always been its Youth Ensemble. It is a group that developed talent
such as Deborah Mailman, Scott Maidment and Wesley Enoch. In 2012 the Youth Ensemble was reinstated
after an absence of 17 years.
Internal Situation
With two relatively new Executives at the helm of Queensland Theatre Company – Wesley Enoch (Artistic
Director) and Sue Donnelly (Executive Director) there will continue to be changes internally as the Company’s
Strategic vision evolves.
A summary of the strengths and weaknesses of the Company at present is as follows:
Strengths
Excellent facilities for all areas of the organisation and ability to provide accommodation for other
organisations and positions
Statutory body status and strong inter-governmental support
Reputation for high quality drama
Strong education and youth programs
High satisfaction from audiences/sponsors/artists connected with the Company
The ability to reactivate a strong national reputation through touring
Supportive of new ideas - willingness to try
Increased profile through the well-received appointment of a new Artistic Director
Weaknesses
Limited environmental and artistically sustainable practices in what we do
Lack of diversity in audiences
Limited pool of well-known theatre practitioners in Queensland
Lack of local partners (with good revenue streams) for artistic collaborations/co-productions
Low levels of philanthropic giving and corporate sponsorship
High cost involved in servicing regional Queensland
Lack of strong brand presence
Artistic reputation
Through the new Artistic Director Wesley Enoch and the development of The GreenHouse project the artistic
reputation of QTC has grown. The Company is now generally seen as more of a risk-taker artistically and
open to new ideas, however a strong artistic reputation does not necessarily translate to increased box office
sales.
QTC is a Company known for high production values but is not perceived as producing artistically daring
work. When it does it frequently goes unnoticed or unattributed. Our plan is to change these perceptions
over time.
Current financial position
Queensland Theatre Company is recovering after two deficit years ($377,000 in 2010 and $883,000 in
2011) which were mainly the result of the Global Financial Crisis and the Brisbane River flood. We are
currently expecting a small surplus for 2012 of approximately $200,000. This improvement in our financial
situation means that we are planning to maintain at least 20% of expenditure in reserves for the period
2013 – 2017.
There has been a 13% increase in box office income from the MainHouse from 2011 to 2012 and we are
expecting this upward trend to continue. This growth is partly due to price increases, increased capacity
(more Playhouse shows) and the introduction of tiered pricing in the Playhouse (A Reserve and B Reserve).
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We have successfully tightened expenditure controls during 2012 and can report that all MainHouse
productions so far this year (to October 2012) have come in under budget. Having said this there are
probably few further expenditure reductions that can be made if we wish to maintain our production values.
Any revenue growth will need to come from box office, sponsorship / philanthropy and commercialising of
assets.
External Situation
Positive
Excellent working relationship with other Brisbane based Major Performing Arts (MPA) companies
Strong links with other MPA theatre companies nationally
Change in artistic and executive positions in Queensland MPA companies
Growing relationship with QPAC
Discussions with festivals on developing new Indigenous work
Located in a city and state of growth
Negative
Heavy reliance on QPAC venues
Inability to sell single tickets to our productions in QPAC
Static funding
Competition for the event dollar, particularly in single ticket sales
Limited expertise locally in producing digital broadcasts
Uncertain economic position within the State
Uncertainty about lease negotiations
Peer analysis
In Brisbane our closest theatre peer is La Boite which tends to attract younger audiences. It is considerably
smaller than QTC and unable to fulfill industry development goals and achieve sustainable careers for artists
– this differs significantly to our counterparts in Melbourne and Sydney where there are other companies of
scale to complement the State Theatre Company.
With Events Queensland supporting more artistic endeavours QPAC is taking the lead on more mainstream
international works including Warhorse and Driving Miss Daisy which ultimately affects our ticket sales. We
have thus started doing co-productions with QPAC – typically works of scale – in order to positively address
this competition. Nonetheless it is a threat. We are also talking with QPAC about opportunities for digital
broadcasts however it is dependent on funds.
Nationally our closest peers are Black Swan State Theatre Company (BSSTC) and State Theatre Company of
South Australia (STCSA) as they also battle with the same issues of engaging local artists as we do.
We continually explore opportunities for co-productions with companies such as Malthouse, Belvoir, Bell
Shakespeare and Melbourne Theatre Company (MTC).
On a broader level our relationship with our Brisbane major performing arts colleagues is extremely positive.
We are constantly exploring opportunities to work with Brisbane Powerhouse and also Brisbane Festival.
Markets and Relationships
Market Segmentation
Overall, the Queensland Theatre Company attracts an older audience, mostly aged 45+ There are
some significant differences however, between productions and relevant markets For instance in
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th
2012, Romeo & Juliet attracted more young people to the theatre, while Summer of the 17 Doll was
more popular amongst older people
Attendees to QTC productions are more likely to be female
27% of QTC audiences have children living at home
Approximately 40% of theatre attendees report personal income levels of at least $60,000 per year
The majority of theatre-goers are working on a full time or part time basis (66%, and between one
quarter and one third are retired or on a pension )
QTC theatre attendees are well educated, with approximately 70% having completed a Bachelor
Degree or higher level degree
Three quarters of attendees at a Queensland Theatre Company production reside within 20km of the
venues at South Brisbane
Mosaic analysis of our audience has not changed much over the last few years. Mosaic uses aggregated
consumer data for geo-demographic profiling that categorises data into 11 groups designated by the letters A
to K. An outline of the top five groups making up 73% of our audience is as follows:
Group B: 21% of audience. Academic Achievers - Wealthy areas of educated professional households:
Middle-aged, professional families with preschool or university-aged children
Tertiary educated professionals in the Finance, Health and Education sector roles
Living in family suburbs with high property prices ($1m plus)
Household incomes greater than $130,000
Enthusiasts of cultural AND sporting events, fine food and wine, and read national papers
Group A: 20% of audience. Privileged Prosperity - The most affluent families in the most desirable locations:
Wealthiest households in Australia
Educated professional and managerial couples raising secondary age children
Incomes above $160,000 per annum
Active lifestyles, appreciate fine dining and keen users of technology
Group C: 11% of audience. Young Ambition - Educated and high-earning young singles and sharers in the
inner suburbs:
Mainly young couples, singles and sharers aged 20-34 years
Highly educated professionals and managers
High earnings but also high rents and loan repayments
Place a high priority on fitness
An aspirational segment focussed on professional goals
Unencumbered by children, culturally diverse and techno savvy
Group G: 11% of audience. Learners and Earners - Students and professionals living in high-density, lower
cost suburbs:
Culturally diverse mix of young singles and sharers aged 20-34
Many attending University or TAFE
Working on studying finance, leisure, Asian languages or technical industries
Rent apartments in the inner city and suburban centres
Catch public transport and have little income but also fewer financial commitments
Busy social lives with interest in world affairs and technology
Group E: 10% of audience. Family Challenge - Mixed families with stretched budgets in outer suburbs:
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Family households with school age children
Blue-collar employment in the construction and manufacturing industries
Low-priced housing and average incomes and house costs
Traditional values and concerned with protection of their family
Enjoy home based entertainment, dine at clubs/ pubs, gamble, play sport and have above average
broadband connection
For broader targeting we have profiled our audience into three groups. For each theatre product we align the
relevant market against a perceived attitude and behaviour. The groups are: –
More to Lifers or Networked
Skew AB
Liberal and intellectual
Big spenders
well-educated
Socially aware
Skew CBD
Western & Northern suburbs
Socially active
77% working
Supporters of the arts
Up for Anythings or Social
Skew AB
Liberal and intellectual
Inner city urban dwellers
Heavy users of social media
78% working
Busy social life
SINKS and DINKS
Well-educated
Socially aware
Explorers or Mavens
Busy social life
Connected online
Digital natives
Financially constrained
Working and studying
Socially aware
Global outlook
Image and style
Well educated
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What QTC offers its markets:
Trusted reputation with high quality production values performed at major venues. A live experience, with a
constantly changing product; our offering not only entertains but intellectually engages, emotionally
stimulates and encourages self-reflection.
Strategic direction QTC wishes to take with regard to markets:
1. Build brand awareness, leadership and loyalty
While reflecting on QTC’s brand promise we want to signpost the launch of a new era (new Artistic and
Executive Directors) and build on current perceptions of QTC as a provider of world class theatre, to a hub
of creativity, inspiration and exploration.
2. Develop data-driven customer relationships
With the implementation of a new CRM system (Tessitura) we now have the potential for a 360 degree
view of our audiences and can better assess buying patterns and customer response rates for targeting
marketing activity. To further segment our database and advise on advertising placement we can utilise
past purchase behaviour, demographic and geographic information.
3. Engage audiences through digital media and new technologies
We are looking to identify the highly engaged/quality followers and have invested in activity to speak
directly to this digital audience with the implementation of new e-marketing software, videos online,
blogs, Twitter, Facebook and Youtube. A number of our productions also involve digital technology and
the NightGarden has ongoing digital artistic exploration.
4. Develop social opportunities for audiences to connect with each other and the Company
Within programming we have launches, forums, discussions, opening night opportunities and nights with
the artists to add value for regular attendees. With our VIP benefits program we are developing a calendar
of social activities outside of our core business such as exclusive movie screenings and dining
opportunities. We also have specific syndicate groups such as the Legal Chapter.
5. Strengthen and develop industry, community and promotional partnerships
We aim to expand marketing contracts and promotional partnerships through longer term sponsorships
for better market positioning. We are also developing reciprocal activities with other entertainment,
leisure and tourism organisations.
6. Provide affordable and accessible productions
The Company participates in a number of activities to make our productions more accessible and
affordable, including discounts for concession card holders and youth markets and increasing open
captioned and audio described performances.
7. Instigate and participate in audience and industry research
We are looking to conduct further audience surveys to gauge customer satisfaction post each production
in order to better service and enhance the customer experience.
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Competitors
Broad Market
Competition
Response
More-to-lifers or
Networked
Other Queensland “state” arts
companies, QPAC presented
productions, travel.
In local markets it is fortunate that QTC tends to
have more cross-over with other state based arts
organisations audiences than they have with
QTC.
This group has the means to
be more discerning about their
expenditure and have access
to experience the same
product overseas and
interstate with potentially
bigger draw cards in terms of
production values and “stars”.
Up-foranythings or
Social
Explorers or
Mavens
Commercial theatre and
musicals. Brisbane Festival.
Partner more with other arts organisations and
invest in co-productions to increase recognition
and prestige.
Develop brand loyalty with a benefits program.
Look at our product to attract this group on a
more regular basis.
Sports.
This group will tend toward
the “popular” and what’s being
talked about in their social
group. No brand loyalty, will
taste a variety of experiences.
Increase touch points for consumers to see our
product. Adopt commercial practices. Increase
pricing and package options for flexibility.
Independent arts, music
concerts.
Working more closely with community and social
leaders.
Organisation is seen as more
conservative, tired and safe. A
misconception that QTC is
uncool.
The GreenHouse is seeking to address this issue
by developing audiences with more new, edgy,
variety of work within a more social timeframe.
Create access to MainHouse performances
through lower pricing. Engage through social
media.
L-R: Roxanne MacDonald and Collette Mann in Head Full of Love. Photo Rob Maccoll
Queensland Theatre Company
Strategic Plan 2013-2017
15
Goals and Key Strategies
Measures – Key Performance Indicators
Goal
Success Measure
2011
2012
ACTUAL
FORECAST
2013
2014
2015
2016
2017
Be recognised for a
consistently high
standard of work
Self Evaluation
- Executive and Management team
apprasial
75% or
better
75% or
better
75% or
better
75% or
better
75% or
better
75% or
better
75% or
better
75% or
better
75% or
better
75% or
better
Reach a wider
audience
Positive Reviews
- by Arts Hub, Courier Mail, The
Australian, XS and Stage Whispers
Total number of
participants/attendees
140,152
145,491
111,335
120,482
129,661
138,875
148,122
62,796
72,984
67,585
68,937
70,315
71,722
73,156
7,578
5,357
7,500
7,500
7,500
7,500
7,500
12,641
1,220
1,500
1,500
1,500
1,500
1,500
83,015
79,561
76,585
77,937
79,315
80,722
82,156
6,510
10,500
11,000
12,500
15,000
17,500
20,000
36,158
10,804
9,000
15,000
20,000
25,000
30,000
Increase 2% attendance at self
presented performances .
Performance
a) Presenter – QTC
i)Main stage
ii)Studio/GreenHouse
iii)Education*
Total
b) Presenter - Other
iv)Tours
v)Co-productions
vi)Affiliate
Performances
Total
30,000
42,668
51,304
20,000
27,500
35,000
42,500
50,000
125,683
130,865
96,585
105,437
114,315
123,222
132,156
i)Workshops
4,896
3,182
3,500
3,570
3,641
3,714
3,789
ii)Readings
1091
1715
2000
2,040
2,081
2,122
2,165
41
255
250
255
260
265
271
8,441
9,474
9,000
9,180
9,364
9,551
9,742
Grand Total
14,469
14,626
14,750
15,045
15,346
15,653
15,966
Number of tours / sell offs
1
2
2
2
3
3
4
Number of co-productions / guest
productions
5
7
7
7
8
8
8
Number of women directors
36%
18%
30%
35%
40%
40%
40%
Indigenous artists employed
2%
3%
4%
4%
5%
5%
5%
Plan and
Targets
established
Targets as
per plan
Grand total
Non-Performance
iii)Other
iv)Audience
Development
Strengthen industry
and community
relationships
Sustainability targets
Maintain a strong and Ratio of dollar value of reserves to
balanced
total expenditure.
infrastructure for the
Company
Target 20-30%
17.8%
21.4%
20.7%
20.3%
20.6%
20.8%
21.9%
Gross margin as % of total income.
(14.1%)
3.61%
0.6%
0.24%
0.84%
0.91%
1.41%
$2,423,467
$2,749,638
$3,014,628
$3,105,067
$3,198,219
$3,294,165
$3,392,990
% change and dollar value of box
office sales
(Self presented productions only).
Sponsorship – Cash
Donations
6.9%
13%
10%
3%
3%
3%
3%
increase
increase
increase
increase
increase
increase
increase
$301,188
$438,349
$376,500
$395,325
$415,091
$435,846
$457,638
$95,723
$110,000
$130,000
$150,000
$170,000
$185,000
$200,000
2 systems/policies reviewed each
year
Annual performance review
Effective Board measured by annual
review
Queensland Theatre Company
Strategic Plan 2013-2017
New Board
members
recruited
New Board
members to
be
appointed
New Board
members to
be
appointed
New Board
members to
be
appointed
16
Goal 1: Be recognised for a consistently high standard of work
Strategy
Key Activities/A
Activities/ Annual Outcomes
2013
201 3
2014
201 4 - 2017
201 7
Holistic programming of a
diverse range of
productions/events/works
Annual MainHouse season with broad and
specific works (Eg education and Indigenous)
included.
7 Productions (5 Playhouse, 2
Cremorne)
Balance of programming in larger
venues, and of co-productions,
presentations of other companies
and produced works. At least three
MainHouse co-productions/guest
companies in 2013 and beyond.
Expanded developmental program to include
new Australian work, play readings, coproductions with independent companies and
individual artists with increased flexibility and
smaller box office risk to encourage
experimentation.
3 x The GreenHouse seasons
Bille Brown Studio (BBS) is primarily
dedicated to The GreenHouse &
family shows.
Further development of regional and community
programs.
Development of program ideas and
strategies, with a view to forming a
regional partnership most likely
with Cairns.
Continued expansion of program.
Engaging artistic staff.
Appointment of Artistic Associate
and Associate Artists (a group of
artists acting as an honorary
‘sounding Board’) who will develop
and lead the artistic culture of the
organisation.
Annual appointment of 10 Associate
Artists.
Managers’ debrief & Associate
Artists’ debrief.
Programming at least two famous
names annually to complement local
casting and engagement.
Development of an artistic
culture within QTC
Vibrancy process - ongoing internal and external
evaluation and discussion of our work.
Queensland Theatre Company
Strategic Plan 2013-2017
Monitor success of productions,
developments, events and forums in
2013 to understand correct program
activity for following years.
17
Review success of Resident artistic
positions (eg Designer), and offer at
least 1position per year as
appropriate to programming.
Encouraging mentorships and professional
development opportunities for Queensland
artists.
Identifying opportunities for
Queensland artists to be extended
and mentored, including
observation and internship
opportunities.
At least two partnerships with key
independent artists and groups.
Ensure flexible and
responsive systems to
support the creation of a
diversity of work
Queensland Theatre Company
Strategic Plan 2013-2017
At least three mentorships and
interns as appropriate per year.
Ongoing exploration of models for
partnering and delivering
productions.
The GreenHouse season as a lean, flexible
program with capacity for responsiveness.
Ongoing development of
relationships with independent
artists. Opportunities for scratch
shows, readings, discussion forums.
Collaboration with independent
artists as part of The GreenHouse
season.
Support writers and independent performance
makers.
Queensland Premier’s Drama Award
Trollop; Mother Courage (new
adaptation by Indigenous writers).
At least two new works annually.
18
Goal 2: Reach a wider audience
Strategy
Key Activities/A
Activities/ Annual Outcomes
2013
201 3
2014
201 4 - 2017
201 7
Gain a better understanding of
the Queensland theatre market
Refinement of new CRM program.
All staff trained in Tessitura and
using it continuously.
Tessitura database refined
and grown.
Approach funding partner to conduct research into
the size and characteristics of the market for theatre
in Queensland.
Qualitative customer research
conducted.
Ongoing
Institute qualitative customer research.
Market research commissioned.
Market research every 2-3
years.
Implement longitudinal research to measure
perceptions of our brand over time.
Initial brand survey conducted.
Brand survey repeated in
2015.
Develop a brand advertising campaign.
Brand advertising commences.
Develop a clear brand identity
Integrate branding into Company philosophies and
activities.
Attract and retain more
customers in existing product
categories
Present and produce more popular national and
international theatrical productions with known
actors in the MainHouse program.
MTC’s Red, QPAC co-pro End of the
Rainbow, BSSTC co-pro Other
Desert Cities.
Commence negotiations
with international artists to
perform in our season
(supported by SuperStar
Fund).
Promote The GreenHouse as a complementary
product to MainHouse plays.
Offer at least two productions as
“add-ons” to subscription season.
Ongoing.
Form partnerships which create two-way access to
large numbers of target customers.
Work on co-pros with national
festivals & other MPA companies,
eg Opera Qld.
At least two touring shows
each year.
More productions earmarked for
touring.
Develop a customer loyalty program.
Queensland Theatre Company
Strategic Plan 2013-2017
Customer loyalty program
implemented.
19
Customer loyalty program
reviewed in 2013.
Increase audience accessibility
Offer theatre in more places
Consult disability groups re: equality of access issues.
Disability plan implemented.
Ongoing.
Engage a diverse range of cultural and ethnic
communities.
Diversity Associate commences
pilot program.
Outcomes delivered by
2015.
Offer the most competitive student and concession
prices available.
New pricing structure
implemented.
Ongoing review.
Stage special performances for charity and low
socio-economic groups.
One performance held.
Ongoing.
Continue national and state wide touring programs.
Implement stronger touring
program – state wide in
conjunction with NARPACA.
Established Queensland
touring circuit.
Continued dialogue with
AusIndustry & Asian venues.
Two Asian partners
secured over period of
Strategic Plan.
Investigate a 100km touring circuit.
Investigate Asian market (locally and internationally).
Attendance at minimum of one
international performing arts
market.
Deliver theatre experiences online.
Queensland Theatre Company
Strategic Plan 2013-2017
20% performance content
available online by 2014
(dependent on rights
issues being resolved).
20
Goal 3: Strengthen industry and community relationships
Strategy
Key Activities/A
Activities/ Annual Outcomes
2013
201 3
2014
201 4 - 2016
201 6
Support a vibrant local
performing arts sector
Access and support to Company resources for local
practitioners and theatre companies and partnerships
with local theatre and arts based organisations.
Ongoing Industry Access program
for access to props, costumes,
space etc. Partnerships with
Polytoxic, The Forgetting of
Wisdom Collective, Playlab, ACPA,
QPAC.
Ongoing Industry Access
program and local
partnerships. At least two per
year.
Theatre forum events tailored towards supporting the
local performing arts sector.
Industry events programmed
through The GreenHouse.
At least three industry events
programmed through The
GreenHouse.
Provide accommodation for select small to medium
companies.
Continue PlayLab agreement and
accommodate one other S2M
company.
Ongoing. Second S2M company
housed during period of
Strategic Plan.
Develop and present work by Queensland playwrights
and theatre makers.
Trollop by Maxine Mellor,
Minimum two productions.
Provide support and
development opportunities for
local artists
I don’t want to die in Melbourne,
Candy Bowers hip hop.
Audition opportunities for actors.
Two general audition opportunities
each year - general and graduate.
Ongoing.
Seek opportunities to support and employ Indigenous
artists in Queensland.
Casting of Indigenous actors in the
MainHouse and The GreenHouse
productions.
Ongoing program.
Ongoing partnership with ACPA.
Provide pathways for youth and
education sector
Queensland Theatre Company
Strategic Plan 2013-2017
Open pitch process as part of repertoire planning.
Formalise and continue pitching
process.
Continue pitching process.
Opportunities through work experience, secondments
and internships.
10 work experience.
10 work experience.
10 secondments.
10 secondments.
Company Youth Ensemble: 13-18 year old training
ground for actors.
Continuation of Company Youth
Ensemble and showings of their
work.
Continuation of Company Youth
Ensemble.
21
Engage with regional artists,
companies and underunder -served
communities
Communicate evidence of our
community value to attract new
partners
Queensland Theatre Company
Strategic Plan 2013-2017
Artist residencies and creative development
opportunities in regional and remote areas.
At least three.
Ongoing.
Regional workshops/artists in schools, teacher
professional development.
At least five.
Ongoing.
On-line tools such as Virtual Set Designer.
Full roll out of Virtual Set Designer.
Ongoing.
Multi year regional partnerships established.
The Arts Centre, Gold Coast and
JUTE in Cairns.
Four partnerships developed
over the period of plan.
Theatre Access Program.
$5000 available for subsidised
travel, scholarships and other
access programs.
Continue.
Marketing plan for disseminating & using results media, government and audience directly.
Develop communication plan for
key relationships.
Review & update plan.
Sponsorship proposals.
As required to achieve targets.
Acquire Principal Sponsor.
Grant applications.
As required to achieve targets.
Ongoing.
Donor news.
Four per year.
Review and update.
Company news & blog activity on website.
12 per year.
Assess effectiveness of social
media campaigns.
22
Goal 4: Maintain a strong and balanced infrastructure for the Company1
Strategy
Key Activities/A
Activities/ Annual Outcomes
2013
201 3
2014
201 4 - 2017
201 7
Better financial result for
MainHouse productions
New business model which incorporates less solo
productions and more co-productions and
presentations.
Three co-productions and four guest
productions.
Eight co-productions/
Increase total available capacity at MainHouse
productions.
Five Playhouse and two Cremorne.
Capacity 109,000.
Achieve box office income target for MainHouse
season and grow box office income over next three
years.
$3m box office over eight productions.
5% year on year 2013 to
2015.
Refining single ticket prices (while maintaining
accessibility).
Increased discounts for previews and
Wednesday matinees.
Analyse impact of ticket price
changes and implementpricing
structure supported by
analysis.
Secure ability to sell single tickets.
Increasing income through
existing revenue streams and
new initiatives
Decrease discount given to season ticket holders.
Reduce discount to maximum of 35%
of single ticket prices.
Maintain 35% maximum
discount.
Grow philanthropy program.
Emphasis on growing major donors.
Costs of raising donations no
more than 25%.
Maintain existing and increase acquisition of new
sponsors.
Find Principal sponsor and maintain
existing sponsors.
Budget for minimum 5%
increase in income.
Commercialise assets.
Increasing community usage of BBS
bar and courtyard as popular
destination.
Increasing bar and venue
income by 10% in 2014 and
thereafter at least 5%.
Increased touring of productions.
Productions developed with a view to
touring directly from MainHouse.
Two tours per year from the
MainHouse.
Successful grant applications for new work/activity.
Three successful applications.
Ongoing.
1
Including financial, physical and human resources
Queensland Theatre Company
Strategic Plan 2013-2017
guest productions by 2014.
23
Ensuring strong expenditure
controls
Develop an environmentally
sustainable Company
Create a positive work
environment
Queensland Theatre Company
Strategic Plan 2013-2017
Analysing and reviewing expenditure to improve
efficiencies.
Detailed review of at least two major
suppliers.
Detailed review of at least two
major suppliers per year.
Maintain strong procurement and authorisation
procedures.
Regular review and enforcement of
Finance Procedures Manual.
Ongoing.
Executive interrogation and sign off on each
production budget.
Any overages must have Executive
pre-approval.
Better optimisation of
production budgets.
Longer running of self-produced shows.
Reduction in workshop waste.
More recycling of sets.
Sustainability committee formed.
Plan instigated and supported by all.
Ongoing.
Install solar energy devices (subject to successful
funding).
Decrease in electricity usage.
Ongoing.
Continue recycling efforts and publicise green
initiatives.
Trial ‘green’ production and recycle
sets to other companies.
Awards for sustainability
efforts.
Robust HR practices and recruitment.
Annual review of employment policies.
Ongoing.
Training, professional and career development
opportunities.
Annual performance reviews.
Ongoing.
Consider gender equality and cultural diversity in
all areas of Company employment.
Review statistical measures to note
diversity and gender equality in
employment opportunity.
Ongoing.
Flexible & family friendly work practices
Ongoing.
Ongoing.
24
Financial Plan
Current Financial Situation
2013
Budget
2012
Forecast
2011
Actual
2010
Actual
2009
Actual
COMPARATIVE ANALYSIS
Total Earned Income
% change in earned income
4,784,624
-10.7%
5,356,124
6.3%
5,040,918
4.2%
4,836,221
-1.0%
4,884,729
7.1%
Total Expenses
% change in expenses
9,228,313
-1.3%
9,349,192
2.2%
9,149,372
-0.4%
9,186,122
7.8%
8,524,877
6.8%
Driver Analysis
Net Surplus / (Deficit)
$52,418
$143,101
($882,786)
($339,102)
$1,059,226
2013
Budget
Excluding the application of AASB 1004
Net Surplus / (Deficit)
$52,418
2012
Forecast
$245,981
2011
Actual
($363,127)
2010
Actual
($247,719)
2009
Actual
$109,678
The table above shows the Company’s earned income and total expenses for the five year period from
2009 to 2013. The introduction of AASB 1004 – Contributions has a major impact on the Company’s
reported financial result, therefore the Net Surplus / (Deficit) based on full accrual accounting has also
been included.
Queensland Theatre Company’s financial situation is improving in 2012 with increased income year on
year from box office takings (13%), sponsorship (45%) and donations (15%).
The expected drop in Total Earned Income from 2012 to 2013 (shown in the table above) is due to the
inclusion of $614,500 in 2012 of State and Federal Government special project funding. This relates to
a number of small project grants but mainly the funding received for management of the Australian
delegation’s participation in the Festival of Pacific Arts and the Major New Works funding for Mother
Courage.
Financial Goals
The financial goals directly relate to making the MainHouse more cost effective to allow funds to be
allocated to other artistic initiatives.
This will be achieved through producing fewer MainHouse works alone (other MainHouse works will be
co-productions or presentations) allowing further exploitation of the work through touring regionally,
nationally and internationally.
The key financial goals are:
Minimum eight co-productions/ guest productions from 2014 across both the MainHouse and
The GreenHouse onwards, allowing minimum increases in MainHouse production expenditure
Queensland Theatre Company
Strategic Plan 2013-2017
25
Increased box office takings in 2013 by increasing the number of Playhouse productions from
three in 2012 to five in 2013 (10% increase in box office income enabled through a 14%
increase in capacity)
Two works touring regionally or nationally in 2013 and 2014 increasing to three works from
2015
One work touring internationally from 2014 (investigating the Asian market particularly for
Indigenous work)
Financial Forecast
2013
2014
2015
2016
2017
Budget
Budget
Budget
Budget
Budget
Income
Productions/ Programs
MainHouse Program
The GreenHouse
Co-production Contribution
Education Program
Regional Program
Touring
Touring - National/Regional
Touring - Education
Touring - International
Touring
Sponsorship
Cash
Contra (In Kind)
Corporate Entertaining Income
Philanthropy
Donations
Fundraising Events
Other
Interest
S/Coast Buses - STH
Set Builds Income & Costume / Props Sales
Hire
Sundry Income
Bar Sales
Profit /(Loss) sale of Cap. Eq.
Subsidy
State Government
Recurrent - Tripartite including indexation
Recurrent - Qld State Govt 78 Montague Road
Special - Qld State Govt (Qld Premier's Drama Award)
Special - Qld State Govt Matching Subsidy
Special - Qld State Govt Other
Federal Government
Recurrent - Federal Govnt Aust
Special - Federal Govnt Aust - Other
Other subsidy
Other
Total Income
Queensland Theatre Company
Strategic Plan 2013-2017
3,014,628
80,000
413,764
190,550
22,000
3,720,941
3,105,067
82,400
412,000
196,267
22,660
3,818,393
3,198,219
84,872
424,360
202,154
23,340
3,932,945
3,294,165
87,418
437,091
208,219
24,040
4,050,933
3,392,990
90,041
450,204
214,466
24,761
4,172,461
100,000
80,000
180,000
102,000
81,600
12,500
200,000
83,232
25,000
204,000
84,897
35,000
208,080
86,595
75,000
196,100
308,232
323,897
369,675
376,500
174,000
15,000
565,500
395,325
182,700
15,750
593,775
415,091
191,835
16,538
623,464
435,846
201,427
17,364
654,637
457,638
211,498
18,233
687,369
130,000
3,000
133,000
150,000
3,500
153,500
170,000
4,000
174,000
185,000
4,500
189,500
200,000
5,000
205,000
180,640
24,000
2,333
1,167
2,042
40,000
250,182
186,059
24,720
10,000
10,000
2,103
46,000
278,882
191,641
25,462
15,000
15,000
2,166
52,900
302,169
197,390
26,225
20,000
20,000
2,231
60,835
203,312
27,012
20,600
20,600
2,298
69,960
326,682
343,782
3,095,179
358,000
81,500
75,000
3,609,679
3,157,083
358,000
170,000
100,000
3,220,224
358,000
80,000
100,000
3,284,629
358,000
178,500
100,000
3,350,321
358,000
84,000
100,000
3,785,083
3,758,224
3,921,129
3,892,321
773,331
113,098
886,428
788,798
20,000
808,798
804,574
20,600
825,174
820,665
21,218
841,883
837,078
21,855
858,933
-
9,345,731
-
9,634,531
-
9,924,207
-
10,312,660
-
10,533,541
26
Expenditure
Productions/Programs
MainHouse Program
The GreenHouse
Education Season & Program
Regional Program
4,408,246
350,000
282,196
123,640
5,164,082
4,452,328
352,400
289,251
126,731
5,220,711
4,519,113
362,972
297,929
133,068
5,313,082
4,609,496
373,861
306,867
139,721
5,429,944
4,701,686
385,077
316,073
146,707
5,549,542
90,000
72,000
91,800
73,440
50,000
180,000
74,909
50,000
183,600
76,407
70,000
187,272
77,935
67,500
162,000
215,240
304,909
330,007
332,707
88,629
98,300
15,000
13,098
215,027
170,000
101,249
15,450
13,490
300,189
80,000
104,286
15,914
13,895
214,095
178,500
107,415
16,391
14,312
316,618
84,000
110,638
16,883
14,741
226,261
398,500
121,110
25,000
544,610
410,455
124,743
26,000
561,198
422,769
128,486
27,000
578,254
435,452
132,340
28,000
595,792
448,515
136,310
29,000
613,826
152,642
175,000
7,500
335,142
157,222
182,700
7,875
347,797
161,938
191,835
8,269
362,042
166,796
201,427
8,682
376,905
171,800
211,498
9,116
392,415
134,136
5,200
139,336
138,160
5,356
143,516
142,305
5,517
147,822
146,574
5,682
152,256
150,971
5,853
156,824
1,400
30,000
31,400
2,500
5,000
33,000
40,500
3,750
7,500
36,300
47,550
5,000
10,000
39,930
54,930
5,150
10,300
43,923
59,373
1,197,060
19,097
1,216,157
1,232,971
19,670
1,252,641
1,269,961
20,260
1,290,221
1,308,059
20,868
1,328,927
1,347,301
21,494
1,368,795
27,500
12,000
10,000
111,275
160,775
27,500
12,360
15,000
114,613
169,473
28,000
12,731
20,000
118,052
178,782
28,500
13,113
20,600
121,593
183,806
29,000
13,506
21,218
125,241
188,965
102,290
105,359
108,519
111,775
115,128
758,503
300
52,500
21,000
40,000
872,303
781,258
309
54,075
21,630
41,200
898,472
804,696
318
55,697
22,279
42,436
925,427
828,837
328
57,368
22,947
43,709
953,189
853,702
338
59,089
23,636
45,020
981,785
Computer Expenses/Communications
186,500
190,230
195,937
201,815
207,869
Operations Costs
113,690
115,964
119,443
123,026
126,717
50,000
50,000
55,000
60,000
65,000
9,293,313
9,611,291
9,841,082
10,218,991
10,385,208
Touring
Touring Touring Touring Touring
National/Regional
Education
International
Programming
Qld Premier's Drama Award Program
General
Commissions
Creative Development
Marketing and Season Ticket Sales
Season Ticket Sales Costs
Marketing General
Marketing Studio Program
Marketing - Special Initiative/Research
Sponsorship
Sponsorship Development Costs
Sponsorship Development Contra
Corporate Entertaining
Philanthropy
Donations
Grants & Foundations
Fundraising Events
Other
Hire
Set Builds
Bar Operations
Salaries & Wages
Administration (Inc Mkting, Operations, Finance, Exec.)
Trainee / Apprentice
Administrative Management
Legal & Consultancy Fees
Staff Recruitment Costs
Overseas Travel
Doubtful Debts Provision
Other Administration Costs
Production Department
Property Management
Property Maintenance 78 Montague Rd
Property Maintenance Workshop
Insurance Costs
Asset Maintenance
Depreciation
Special Strategies
Total Expenditure
NET RESULT
Queensland Theatre Company
Strategic Plan 2013-2017
$52,418
$23,240
$83,125
$93,669
$148,333
27
Management Plans
Role of Board and Governance
QTC is a statutory body and as such Board members are appointed by the Governor in Council, upon
recommendation by the Minister and Cabinet. QTC makes recommendations to the Minister about
potential Board appointees.
New Board members are given an induction to the Company and to best practice corporate governance.
A Board manual is provided to all new members, which contains information about the Company, its
strategic plan and their roles and responsibilities.
The Board meets eight times per year. A staff member of Arts Queensland attends all Board meetings in
an observer capacity. The Board has an established Finance Committee and Audit and Risk Management
Committee. Potential conflicts of interest are declared prior to the commencement of each meeting.
The Chair meets with all Board members on an individual basis once a year to discuss issues. Board
members also conduct an internal self-assessment process.
Board Member
Special Responsibilities
Years
Appointed
Term
Ends
Prof Richard
Fotheringham
Chair of Board; member, Finance Committee
& Audit Committee
8
2013
Kent Beasley
Board Member, Audit Committee
4
2013
Penny Everingham
Board Member
7
2013
Sharyn Ghidella
Board Member
3
2013
Terry O’Dwyer
Finance Committee Chair, Audit Committee,
Board Member
10
2013
Karl Morris
Finance Committee, Board Member
2
2013
Erin Feros
Audit Committee Chair, Board Member
2
2013
Liz Mellish
Audit Committee, Board Member
2
2013
Nathan Jarro
Board Member
2
2013
Julieanne Alroe
Deputy Chair of Board; member, Finance
Committee
2
2013
Succession Plan
Queensland Theatre Company has a relatively new leadership team. The Company appointed the
Artistic Director in July 2010 (initially part time until February 2011) and the Executive Director in
February 2012. Both are on contracts of three years with an optional two year extension so that there is
consistency if one person departs.
Queensland Theatre Company
Strategic Plan 2013-2017
28
Part of QTC’s developmental process is to work with artists and to identify ones with leadership
potential. As part of this an Associate Artist position exists within the Company. Todd McDonald, an
experienced actor and director, has been in this position since January 2011.
The Board has appointed a Deputy Chair. All Board members’ appointments will finish in May 2013.
Ancillary Plans
Queensland Theatre Company has developed a Disability Action Plan and is also working on a
Reconciliation Action Plan.
Melanie Zanetti and Thomas Larkin in Romeo and Juliet. Photo Rob Maccoll
Queensland Theatre Company
Strategic Plan 2013-2017
29
Risk Management Plan
Scales:
Likelihood
1 - Rare
2 - Unlikely
3 - Possible
4 - Likely
5 - Almost Certain/ Certain
Consequences
1 - Insignificant
2 - Minor
3 - Moderate
4 - Major
5 - Catastrophic
Risk
Paid attendance drops significantly below
expectation
Action Timeframe
A - Monitor continuously
B - Review Yearly
C - Specific Timeframe (as noted)
LikeliLikeli hood
ConCon sequence
Action
Timeframe
3
3-4
A
Action
Responsibility
Implement Marketing Plan
Monitor attendances
Develop and Implement new audience development
strategies targeted at immediate increases in attendance
Review budget expenditure as required
New strategies to increase average ticket price
Executive Director (ED),
Marketing Manager
(MM)
ED
MM, ED
Marketing
Reduction in government funding
3
4-5
A
Report in accordance with tri-partite agreement
Negative response by patrons to subscription
package modifications
3
3-4
A
Unavailability of Playhouse
2
3-4
B
Maintain relationship with Brisbane Powerhouse
Conversation with Arts Queensland (as funder of QTC &
QPAC) and QPAC about conflicting strategies
ED, AD
Maintain high security on website
Address security issues when updating website to new
season each year
ED, Finance Manager
(FM), MM
Fraud - External
Queensland Theatre Company
Strategic Plan 2013-2017
2
2-4
B
Clear communication to patrons of strategy
Clear communication to staff of strategy
Training of Season Ticket Team
Monitor patron reactions
30
ED, MM, Artistic
Director (AD)
ED, Board, Minister
Fraud - Internal
1
4
A
Strong internal controls
Separation of duties
Reviewed by external auditors yearly
ED, FM
Significant change in government policy
4
2-4
A
Maintain strong relations with State and Federal
Governments
AD,ED, Board
Change of Key Players
3
3-4
A
New ED appointed and commenced in February 2012
New Chair appointment in May 2013
New Board appointments May 2013
Board, Minister
Loss of performance
Artists’ incapacity
Act of God
Destruction of records
3
2-4
2
2-5
2
2-4
B
B
Inappropriate use, storage, or distribution of an
individual’s personal information resulting in
Violation of the individual’s privacy
Breach of Privacy Act
2
2-4
B
2
2-4
B
Implement Performance Cancellation Procedure
Replace artist
Cancel performance
Ticket refund policy
Provide adequate on site storage and good filing system
Maintain Privacy Policy, available on website
Appointment of Privacy Officer and Committee
Induction for new employees
Compliance with regulatory requirements
Secure storage of existing data
AD, ED
AD, ED
ED, Board
ED, Assistant
Accountant (AA)
FM, MM
Industrial Action
Internal
Performance venue
2
3-4
B
2
3-4
B
Workshop
Wardrobe
Administration
Rehearsals spaces
Venue
2
3-5
B
2
3-5
1
2-4
2
3-5
2
3-5
2
3-5
2
4-5
Maintain best practice employment policies
Monitor QPAC industrial relations
AD, ED
ED
Fire
Maintain insurance policies for all premises
Document and register all assets
Maintain safe and secure work practices in all areas
Maintain Business Interruption Insurance
FM
Administrator
All staff, Workplace
Health & Safety (WHS)
Committee
Flood
Workshop
Wardrobe
Queensland Theatre Company
Strategic Plan 2013-2017
B
Maintain Disaster Management Plan and Business
Continuity Plan
31
FM
Administrator
3
3-5
3
3-5
Reputational risk due to actions of key players
3
3-5
Reputational risk due to production quality
3
Major incident involving the public at Bille
Brown Studio (as a result of increased activity
and diversity of productions as part of The
GreenHouse)
Venues do not purchase touring productions
Rehearsals spaces
Venue
Impact of increased Indigenous focus
Document and register all assets
All staff, WHS
Committee
A
Ensure new key players are fully briefed on Code of
Conduct
ED
2-4
A
Publicity and communication plan
Financial risk managed and monitored by Board.
Debriefs after each production addressing production
quality
Artistic assessment of producer to ensure quality of buy-ins
(guest productions)
AD, MM
3
2-4
A
Front of House (FOH) and Venue Manager recruited in Sept
2012
Detailed FOH staff training
Adequate insurance cover
ED, FM, WHS
Committee
3
2-4
A
Recruitment for new position – Touring Co-ordinator to
ensure relationships are built with the venues
Productions identify as touring productions prior to
designing to reduce costs to venues
Feedback sought from venue in relation to productions
Program Manager, AD,
ED
2-3
2-4
B
Improved promotion and publicity
Clear communication to patrons of strategy
Clear communication to staff of strategy
MM, ED, AD
Last review date - August 2012
Queensland Theatre Company
Strategic Plan 2013-2017
32
78 Montague Road
South Brisbane
PO Box 3310
South Brisbane BC QLD 4101
ABN: 27 822 967 021
Telephone 07 3010 7600
Facsimile 07 3010 7699
Email
mail@queenslandtheatre.com.au
www.queenslandtheatre.com.au