Annual Report/2011 - Royal New Zealand Ballet

Annual Report/2011

Extraordinary Experiences/

Annual Report/20111Board of Trustees Report.......................................... page 2Managing Director’s Report..................................... page 4Interim Artistic Director’s Report............................ page 10Artistic Director’s Report........................................... page 13Guiding Principles...................................................... page 14Strategic Plan 2010–2012........................................... page 15The Year’s Activities.................................................... page 17Sponsors and Supporters.......................................... page 22Trustees’ Report and Financial Statements,incorporating the independentauditors’ report............................................................ page 26Appendix 1 – Staff Listing......................................... page 44

2 Annual Report/2011Board of TrusteesReportThe Royal New Zealand Ballet continues to go from strength to strength.Arts companies are high-risk businesses but that high risk can also bring high reward.The hard work, planning and dedication of everyone at the RNZB in 2011 came togetherto make it a momentous year for the company and one in which we lived our missionstatement: to be a national performing arts organisation of global standing.A number of years ago, at the instigation of Managing Director, Amanda Skoog, the Boardagreed that international touring should become part of the company’s annual plan, givingthe dancers a much needed fourth season and the company the international exposure itboth sought and deserved. Attracting world-class talent to the RNZB would not come fromnational touring alone; we needed to be seen and make our mark on the world stage.And whilst it has been a year of highlights, both artistically and in the development of thecompany, the European tour is top of the list. It was a real privilege for me to watch ourbeautiful dancers perform to standing ovations in Cardiff, London and Sisteron, Franceand to see them looking, as the Guardian said, “wide-awake, sexy and charged”. They trulywere, both on and off the stage, ambassadors for the RNZB, the art form and New Zealand.The reviews we received were universally glowing, culminating in a nomination for“Outstanding Company” from the prestigious UK Critics’ Circle National Dance Awards.A wonderful Tutus on Tour season, performing at 44 different centres in New Zealand,opened the year and was followed by our most successful triple bill ever, Stravinsky Selection.2011 ended with years of work and planning coming to fruition in our new production ofThe Sleeping Beauty. One of the great ballets and a “must have” in the repertoire for anyballet company of note, designed by former Artistic Director, Gary Harris, and staged byBallet Master, Greg Horsman. It was both an artistic and financial success for the RNZB.Our place on the world stage has been further enhanced by the highly anticipated arrival ofnew Artistic Director, Ethan Stiefel, from the United States. An event which has generatedmuch comment from the dance community and the press, both here and overseas. Wewelcome him warmly and are looking forward to seeing his vision for the artistic growthand direction of the RNZB.It has been a year of sadness too, with the events in Christchurch affecting us all. Notonly was the RNZB unable to present there in the way which had been intended but ourChristchurch based trustee, Tracey Chambers, resigned to deal with more pressing localissues and we lost good friends.Three new Board members, Geoff Thomas, Miriam Dean and John Meehan, joinedthe Board in January 2011. Other Board changes included our Chair, Anne Blackburn,completing her term as trustee and Candis Craven joining the Board as Chair, along withAlistair Carruthers and Gabrielle Rush. It will be invigorating to have this new talent at theBoard table.

Annual Report/20113The Board continues to be mindful of the volatile financial environment within whichit works and is committed to ensuring that the financial success of 2011 be used tounderpin the RNZB for the future and to invest in development areas which will ensurethe company’s long term viability and sustainability. Box office success and tight expensecontrols are however only part of the picture. We couldn’t do what we do without oursponsors, both individual and corporate, and in particular the Ministry for Culture andHeritage, Meridian Energy (who we farewell as National sponsor in 2012), TOWER and theLion Foundation. We extend our deep gratitude to you all, big and small, for your ongoingsupport and funding.Lastly, a heartfelt thank you from the Board to the management team, led so ably andenthusiastically by Amanda Skoog, Andrew Lees who works miracles behind the scenesin the production department, Matz Skoog, who so calmly and thoughtfully took up thechallenge of being our interim Artistic Director, making what looked to be a seamlesstransition from Gary to Ethan, and last but not least the dancers, who work so hard to bringus the magic we see on stage.Jane MearesTrusteeBoard of TrusteesThe Royal New Zealand Ballet

4 Annual Report/2011Managing Director’sReportIntroduction2011 has been an extraordinary year. As it draws to a close, whilst the main company ison holiday after a year with an unprecedented number of performances, a second smallercompany of dancers is about to open Angelina Ballerina’s Big Audition in Sydney, the start ofan eight week Australian tour.As the person responsible for delivering the vision of the Artistic Director and making surewe have the resources – be those financial or personnel – to deliver the shows, 2011 wasextremely busy, but rewarding.The arrival of Ethan Stiefel has been momentous for RNZB. With all our dancers onlyever having worked under Gary Harris this has been a new challenge and in some cases anervous time for them. Initially Ethan’s start date of 1 September was cause for concernbut having Matz Skoog on board as interim Artistic Director gave dancers and staff time forreflection and adjustment. As a result the transition has been extremely positive.A highlight for me, and I suspect many of the dancers and artistic staff, was the successof the international tour to the UK and France. The opportunity to perform in Londonand France was initiated by City of London Festival (COLF). A chance meeting with COLFDirector Ian Ritchie led to an invitation for RNZB to perform at the Barbican, London.From Here to There, an exhilarating triple bill programme was commissioned by GaryHarris (Artistic Director 2001 – 2010). It featured works by some of the most sought-afterchoreographers working today but that had never been seen in London before. There is nodoubt that the choice of programming attracted much media attention. RNZB had hopedfor one good broadsheet review from the notoriously difficult London reviewers. Thecompany received eight. The press was unanimous in their praise.“The company look wide awake, sexy and charged” – The Guardian“Royal New Zealand Ballet is a textbook case of how a small company can defy the definitionsthat size usually brings” – Evening Standard“These beautifully disciplined kiwis can really rock” - The Times“It’s a tribute to Royal New Zealand Ballet’s eclectic, open spirit that, once again, they visit the UKwith a programme of work never seen here before” – The GuardianTo receive rave reviews from every broadsheet newspaper in London, standing ovations inpacked theatres and fabulous feedback from our fans via social media was thrilling. Thenomination in the UK National Dance Awards for Outstanding Dance Company was ourversion of a Rugby World Cup win.Although we are far from reaching our goal of having a permanent ‘home’ in Auckland,the word is out that we would like to be on the ground for three months of the year. Ifeel confident that RNZB is now considered to be a major player in developing Auckland’scultural identity.Events in Christchurch saw the company accepting the reality of potentially working to asubstantial deficit. A lack of venues meant that we were unable to perform either Stravinsky

Annual Report/20115Selection or The Sleeping Beauty in the garden city. Given that The Sleeping Beauty is pureclassical ballet and perfect product for Christchurch audiences, we estimated the loss on notbeing able to perform at $275,000.The RNZB believes it has a key role to play in helping to sustain a vibrant community inChristchurch while the city is rebuilt. And so we were very proud to return to performTOWER Tutus on Tour as part of the Christchurch Arts Festival and Auroras Wedding, a mixedbill at the CBS Arena. We are working closely with the Isaac Theatre Royal to support itsendeavours to re-open as soon as is possible.In addition to our three national and one international tour, the company took part andmade huge contributions to WOW, Tempo Dance Festival and the Christchurch ArtsFestival. In a market as small as New Zealand it is always a challenge to offer the dancersthe amount and quality of work they need to develop as elite athletes – this was certainlyachieved in 2011.My thanks to Kat Sprowell, Corporate Administrator and Meredith Dooley, OperationsManager, who worked tirelessly to enable us to achieve this significant jump in the level ofactivity.MarketingBox office income, significant commercial partnerships, income from major and regionaltrusts as well as individual philanthropy have enabled RNZB to maintain an exceptionallevel of artistic activity despite the challenging economic environment.RNZB performance measures are at an all time high:• audience numbers exceeded 150,000• touring to more than 50 centres nationwide• 141 performances• acquisition of a new national sponsor, TelstraClear (valued at $1m over three years)• critical acclaim in both New Zealand and internationally• increased commercial activity e.g. Angelina BallerinaBox office success in 2011 was unprecedented. The Sleeping Beauty box office revenue(excluding sponsor, staff and schools tickets) totalled $1.64m. At 128% of the original budgetthis is a significant increase on the budget of $1.28m. Total average capacity was 91%, animprovement on 79% seen during the season of The Nutcracker at the same time of yearin 2010. 13 of the 28 shows were 100% occupied with both schools shows in Auckland andWellington sold out.With Stravinsky Selection audience numbers also exceeded expectation – especially inAuckland where, for the first time for a triple bill, we had a sell-out show. The growth ofaudience numbers in Auckland is gratifying.Some of the credit for these unprecedented attendance numbers must go to Secret Livesof Dancers which aired on TV3 in a primetime slot and was an immediate hit with tv

6 Annual Report/2011audiences. We were thrilled that a second series was filmed during The Sleeping Beautyseason.Another major initiative from the marketing department was the launch of our onlinemagazine Ballet Secrets. Feedback has been excellent and this is a commercial activity weare keen to explore further.DevelopmentIn 2011, all the hard work paid off for the development team. Although it is with greatsadness we will farewell Meridian Energy as national sponsor in 2012, we are delightedthat TelstraClear will be picking up the mantle. To find a new corporate partner in thesedifficult financial times is a reflection of the status of the company both artistically andadministratively and I would like to take this opportunity to single out the work of DianeField, Corporate Development Manager.Meridian Energy is such a positive organisation and a real pleasure to work with. We feelproud to continue our association with this company. Hosting functions up and downthe country during Tutus on Tour and then with their chosen season The Sleeping Beautyhas been successful for both parties, and as importantly, a lot of fun. Despite making thedecision to step down as National Sponsor in 2012, Meridian will continue as a seasonsponsor – this is a wonderful endorsement of this long term partnership.TOWER continues to sponsor Tutus on Tour which this year was aimed at a family audience.Pinocchio, choreographed by New Zealander Toby Behan, enabled small town audiencesto enjoy a story ballet with full sets and costumes for the first time. The production teamand crew were, once again, the heroes of this tour, making the show ‘work’ in every typeof venue conceivable. Presented as a double bill this attracted a new audience to dancearound the country.The Lion Foundation, sole supporters of Dance Explorer, maintained their level of fundingto ensure this programme continues to flourish.Pub Charity gifted us with an incredibly generous grant, enabling us to recoup some of ourlosses in Christchurch.ASB Community Trust again supported our work in Auckland, specifically within theeducation sector and to significantly enhance our Auckland performances through theemployment of the Auckland Philharmonic Orchestra.Education and Community2011 was a year of consolidation for our Dance Explorer team. With three full-time staffmembers whose skills perfectly complemented each other, 2011 saw them reach not onlynew levels of participation (over 18,000 New Zealanders) but the quality of what wasproduced was also at an all time high.

Annual Report/20117Dance Explorer achievements includedFor schools:• 190 schools participated in the Dance Explorer programme nationwide – that is over6,900 New Zealand school students dancing with RNZB• 7,443 school students enjoyed discounted tickets to see RNZB performances• 1,400 students from the Wellington region participated in our inaugural Ballet in a Boxprogramme.“The ballet was the most brilliant spectacle I have seen at any school. They were amazing. Weloved how the dancers came over to school for lunch, played 4 square, and did some lifts with thekids, they were wonderful ambassadors for dance. The children were so interested and thoroughlyenjoyed the experience” - PrincipalFor dance students:• 17 different centres hosted RNZB Open Classes throughout 2011. The classes gaveballet students the opportunity to participate in technique classes that challenged andextended them. 947 students participated nationwide.For community:• 1,420 attended A Day in the Life events• 2,322 observers and tour group members through the studios• Wellington Open Day saw 505 people visit the RNZB studios, wardrobe and joinworkshops• RNZB engaged with 5,500 New Zealanders through community activitiesThe FutureRNZB is delighted that the Honourable Christopher Finlayson will continue as Ministerfor Arts, Culture and Heritage for a further three years. We acknowledge the support theMinistry for Culture and Heritage offers RNZB. Direct-line funding affords RNZB bothstatus and security, currently representing 43% of annual income. Through increasedcommercial activity and prudent management it is estimated this proportion will drop to37% in 2012. In return for the government’s increased investment in 2009, RNZB has builta stronger, more sustainable business, delivering artistic and educational value to the NewZealand public and enhancing the reputation of New Zealand internationally.No doubt there will be new challenges. Indeed static funding in an environment ofincreasing costs means RNZB is effectively achieving more with less. The company hasdemonstrated fiscal restraint but it is critical it examine ways to build income acrossall sectors of fundraising to mitigate risks as far as possible. Cutting activity to save onexpenditure is a damaging option as both the quantity and quality of work offered needs

8 Annual Report/2011to be maintained. Competition for the corporate dollar and individual donations is high.RNZB will need to invest further resources in order to diversify its income streams in futureand maintain its current profile.One of the key challenges of my role is how to structure the company to make it financiallyrobust enough to sustain producing work in a risk adverse environment. In 2012 we willwelcome Susannah Lees-Jeffries to the team as Marketing and Development Director.Susannah is a New Zealander returning home after working at both the Wigmore Hall andThe Royal Ballet in London. I like to think that Ethan, Susannah and myself along withour Technical Director, Andrew Lees, will make for an inspirational senior managementteam going forwards. The opportunity to form a structure that will support our mission ispossibly the most satisfying thing that I will work on.2011 has been a year that has made big demands on us all but the return has been worth it.The entire company goes into 2012 with a well deserved sense of achievement.Amanda SkoogManaging DirectorThe Royal New Zealand Ballet

Annual Report/20119“This is a programme to entrance the young ballet-loverand the young-at-heart.”Theatreview

10 Annual Report/2011Interim Artistic Director’sReportJanuary – August 2011In anticipation of incumbent Artistic Director Ethan Stiefel joining the company on 1September 2011 I took up the position as Interim Artistic Director in January 2011 withthe specific tasks of providing ongoing artistic management throughout an unusuallydemanding year and a period of extraordinary change.TOWER Tutus on TourTutus on Tour was given a slightly different format in 2011. It featured a one-act storyballet, Pinocchio, choreographed by New Zealander Toby Behan with set and costumedesigns by Julian Southgate from Christchurch and lighting designs by Wellington baseddesigner Nigel Percy. The music score, Les Deux Pigeons by Andre Messager, sounded as if ithad been written specially for the occasion.The programme also offered Verdi Variations, a traditional classical ballet choreographed byRNZB Ballet Master Greg Horsman, to Giuseppe Verdi’s Vespri siciliani (Le Quattro stagioni).Verdi Variations challenged the dancers’ technical abilities, and provided an excellentcounterpoint to Pinocchio, ensuring our audiences got a well-balanced evening of dance.Throughout the tour the programme received enthusiastic and positive feedback frompresenters and audiences. It is really gratifying to see how well received the balletcompany is in many of the smaller communities of New Zealand and to confirm that thesplit company touring format is still very popular. Many useful lessons were learned as aresult of the new programming format, highlighting that there is still scope for excitingdevelopment of Tutus on Tour as an integral part of RNZB activities.Ballet Master Fredric Jahn visited New Zealand during January. Fredric has had adistinguished career including as Ballet Master at the Paris Opera and Artistic Director ofLa Scala Milan in Italy. He offered to give a couple of masterclasses for free, which werethoroughly enjoyed by the dancers.Stravinsky Selection seasonNew Zealand choreographer Cameron McMillan created a new piece entitled Satisfiedwith Great Success, together with costumes by New Zealand fashion designer Karen Walker.National ballet legend Russell Kerr re-created his historic production of Petrouchka, firststaged for the company in 1964. The programme also included Olivier Award nominatedballet Milagros by Javier De Frutos. Lighting design for this triple bill was by Nigel Percyand Stravinsky’s music was performed live in Wellington and Auckland by the VectorWellington Orchestra and the Auckland Philharmonic Orchestra.It was pleasing to present a programme with such a substantial and strong New Zealandcontent in terms of creative artists. The Stravinsky Selection programe enjoyed tremendoussuccess throughout the country and as far as box office was concerned it was the mostsuccessful triple performed in the history of the RNZB.Russell Kerr is one of the unsung heroes of ballet in New Zealand and I would like to takethis opportunity to acknowledge his importance to dance in this country. On AmandaSkoog’s initiative the company celebrated his immense contribution by naming the RNZBgreenroom The Russell Kerr Greenroom and a small naming ceremony with invited guestswas held during the rehearsal period.

Annual Report/201111European TourThe international tour was hugely success and the result of much hard work by AmandaSkoog and her team.The programme featured:Plan to A by Finish choreographer Jorma Elo was re-staged by his partner and assistant,Nancy Euverink. Mr Elo was the 2011 recipient of the very prestigious international Benoisde la Dance Choreographic Award, the Ballet “Oscars”.A Song in the Dark by New Zealand choreographer Andrew Simmons and featuringcostumes designed by Wellington based Kate Venables received excellent critical acclaim,including a Critics Circle nomination for best new classical choreography.Banderillero was created for the RNZB by Venezuelan/Spanish choreographer Javier DeFrutos in 2006. Mr De Frutos, a renowned international choreographer, has declared theRNZB one of his favourite ballet companies to create work for. He returned to New Zealandto work with the dancers in preparation of the European tour.The programme was well conceived by Gary Harris and showcased the dancers at theirbest. All three ballets were, for the purpose of the critics, unique to RNZB, which helpedpique their interest. The excellent reviews from London, where you find some of thetoughest dance critics in the world, resulted in a Critics Circle nomination for OutstandingDance Company. A nomination such as this and the glowing reviews indicates anoutstanding achievement by the company.In the UK we had Bill Cooper taking photographs of the dancers in performance, rehearsalsand in class. Bill is one of the leading dance photographers in Europe and his work is seenin all the leading international dance publications. I also took the opportunity to engagefour different guest pianists for the company’s daily class. This was an excellent professionaldevelopment opportunity for the dancers at minimal cost. For the same reason I alsoengaged ballet mistress Jackie Barrett as guest teacher in London.Wellington Schools WeekA small group of dancers stayed in New Zealand during the European tour, working withthe Dance Explorer team performing a lecture demonstration programme in schoolsaround the Wellington region and also a performance at THE EDGE in Auckland. Wereceived fantastic feedback from this project, complementing the dancers on how well theyperformed and how well they interacted with the students.Glen Harris from Southern Ballet in Christchurch was engaged as guest teacher to workwith these dancers during this period.World of Wearable ArtsIn 2011, the RNZB was invited to appear in the World of WearableArts Awards show.Brendan Bradshaw and Catherine Eddy were charged with the task of producing thechoreography and twenty-five of the company’s dancers were used. They appeared inseveral different sections of the show and it is my view that their contribution added adistinct element of class to the evening.

12 Annual Report/2011Christchurch Arts FestivalThis was a revival of the Tutus on Tour programme. Due to the February earthquake it hadbeen impossible to perform this programme in Christchurch as planned. September offereda gap in the company schedule and access to a venue suitable to bring the production toChristchurch. Performances were sold out and it was rewarding to finally bring Pinocchioand Verdi Variations to our loyal Canterbury audiences.Tempo Dance FestivalMary-Jane O’Reilly, Artistic Director of the Tempo Festival, once again invited the RNZB toperform in October. Medhi Angot and Dimitri Kleioris danced a male duet choreographedby RNZB dancer and choreographer, Brendan Bradshaw.I thoroughly enjoyed my brief return to the company as Interim Artistic Director. It hasbeen a pleasure to see how the company continues to grow and develop. I am confidentthe RNZB will continue on this path under the artistic leadership of Ethan Stiefel and lookforward to seeing what the future brings.Matz SkoogInterim Artistic DirectorThe Royal New Zealand Ballet

Annual Report/201113Artistic Director’sReportSeptember – December 2011The Sleeping BeautyThe Sleeping Beauty proved to be one of the most ambitious and rewarding productions todate. The size, expense and various complexities involved in this production found manyareas of Royal New Zealand Ballet breaking new ground. The technical requirementsplaced on the crew and the dancers were of a challenging level, especially due to thescope of the production and adjusting the set to the many different venues. Proudly andenthusiastically the entire organisation rose to the occasion and delivered a production thatI imagine will have many eagerly awaiting a second viewing.The creative team did a fine job with the design, music, choreography and narrativequalities involved. Greg Horsman staged a production that RNZB can truly say is uniqueto its dancers and repertoire, yet upholds the classical vocabulary and tradition required bya Beauty. Gary Harris thrilled audiences with the breadth and scale of his scenic design,combined with the lavish quality of the costumes. Nigel Gaynor, Musical Director andJon Buswell, Lighting Designer, also complimented the production perfectly and withprofessional aplomb. I understand that the show was several years in the planning andI think that the amount of thought and time put into the conceptual process provedinvaluable.The dancers were stretched to the limit by the size of the production, as well as thetechnical demands necessitated by some of the most iconic choreographic passages inballet. I am fortunate to lead such a spirited group of dancers that proved artisticallyinspired, technically proficient and durable. It was most fulfilling to see some of theindividual dancers grow into roles and continually develop them over the duration of thetour. There is no doubt that the dancers always gave their best and audience applauserightfully displayed great appreciation for their efforts.From a personal standpoint, it was wonderful to tour the country and visit all of the varioustheatres for the first time. I was very encouraged to see how well the production soldeverywhere and witness the genuine love and support the country has for RNZB.Ethan StiefelArtistic DirectorThe Royal New Zealand Ballet

14 Annual Report/2011Guiding PrinciplesOur VisionExtraordinary ExperiencesOur MissionTo be a national performing arts organisationof global standingguiding principlesWe will always deliver exceptional performancesWe are dedicated to exceeding expectationsEveryone in this company is on stageNew Zealand’s own, globally acclaimed

Annual Report/201115Strategic Plan 2010-2012Our Vision: Extraordinary ExperiencesOur Mission: To be a national performing arts organisation ofglobal standing.GOAL 1Artistic GrowthOUTCOME STATEMENTA dance company that issought after by artists andaudiencesTo be a company capableof consistently deliveringexceptional performancesand that attractsoutstanding talent fromaround the worldOutcome Indicators• A company of 36dancers includingmore at principal level• International profileand presence• Quality New ZealandGOAL 2Brand GrowthOUTCOME STATEMENTNew Zealand’s own,globally acclaimedFor New Zealandersto be proud of theirnational ballet company– recognising our artisticstrength, internationalstanding and role inenriching the lives of peopleacross the countryOutcome Indicators• Provide experiencesand opportunities thatmoney can’t buy• Deliver greater thanexpected returnon investment togovernment, sponsorsand supporters• Broader individualdonor base• All seasons andeducation departmentsecurely sponsored• Sponsorshipsuccession plan inplace• Direct fundingfrom governmentmaintained• Growth of DanceExplorer, educationand communityprogrammeGOAL 3Audience GrowthOUTCOME STATEMENTTo perform in front of moreNew ZealandersTo increase our boxoffice revenue throughattracting greater numbersand building a morecomprehensive touringcircuitOutcome Indicators• Audience growth of20%• Deliver greater returnfrom marketingexpenditure• Develop profile inAuckland market

16 Annual Report/2011UK National DanceAwards Nominee forOutstanding Companyin 2011

Annual Report/201117The Year’s ActivitiesSummary141.............................................................. Performances62............................................................... Centres152,278....................................................... Audience Members18,399......................................................... Educational Activity ParticipantsTOWER Tutus on Tour26 February – 3 April 2011Number of performances:.........................61Centres:...........................................................41Audience numbers:......................................28,968Educational activity:.....................................134 activities with 7,593 participantsPinocchioChoreography:...............................................Toby BehanDesign:............................................................Julian SouthgateMusic:..............................................................André MessagerVerdi VariationsChoreography:...............................................Greg HorsmanDesign:............................................................Gary HarrisMusic:..............................................................Giuseppe VerdiLighting design for full programme:.......Nigel PercyStravinsky Selection20 May – 9 June 2011Number of performances:.........................12Centres:...........................................................4Audience numbers:......................................12,123Education activity:........................................41 activities with 2,031 participantsMilagrosChoreography and Design:.........................Javier De FrutosMusic:..............................................................Igor Stravinsky

18 Annual Report/2011Satisfied with Great SuccessChoreography:...............................................Cameron McMillanDesign:............................................................Karen WalkerMusic:..............................................................Igor StravinskyPetrouchkaOriginal Choreography:..............................Michel FokineProducer:.........................................................Russell Kerr QSM, ONZMDesign:............................................................Raymond Boyce (after Benois)Music:..............................................................Igor StravinskyLighting Design for all works:...................Nigel PercyConductor:......................................................Marc TaddeiOrchestras:.....................................................Vector Wellington OrchestraAuckland Philharmonia OrchestraFrom Here to There – European tour11 July – 22 July 2011Number of performances:.........................7Centres:...........................................................5Audience numbers:......................................4,960Plan to AChoreography:...............................................Jorma EloStaging:...........................................................Nancy EuverinkDesign:............................................................Joke VisserLighting:.........................................................Jordan TuinmanMusic:..............................................................Heinrich BiberA Song in the DarkChoreography:...............................................Andrew SimmonsDesign:............................................................Kate VenablesLighting:.........................................................Jordan TuinmanMusic:..............................................................Philip Glass

Annual Report/201119BanderilleroChoreography and Design:.........................Javier De FrutosLighting:.........................................................Paul JacksonMusic:..............................................................Yim Hok-Man (percussionist)World of WearableArts Awards (WOW)25 August – 10 September 2011Number of performances:.........................12Audience numbers:......................................43,500Christchurch Arts Festival17 – 18 September 2011Number of performances:.........................3Audience numbers:......................................1,200Tempo Festival Auckland1 October 2011Number of performances:.........................2Audience numbers:......................................394The Meridian season of The Sleeping Beauty28 October – 8 December 2011Number of performances:.........................30Centres:...........................................................8Audience numbers:......................................42,021Education activity:........................................102 activities with 6,251 participantsChoreography:...............................................Greg HorsmanDesign:............................................................Gary HarrisLighting:.........................................................Jon BuswellMusic:..............................................................TchaikovskyConductor:......................................................Nigel GaynorOrchestras:.....................................................Vector Wellington OrchestraAuckland Philharmonia OrchestraSouthern Sinfonia

20 Annual Report/2011Angelina Ballerina’s Big Audition – Australia tourNumber of performances:.........................14Centres:...........................................................1Audience numbers:......................................19,112Choreography:...............................................Antony DowsonSet Design:.....................................................Al RichesCostume Design:..........................................Wizzy ShawyerLighting:.........................................................David RichardsonMusic Arrangement:....................................Gavin SutherlandAdditional Education Activity:Wellington Schools Week11 July – 15 July 2011..........................................................................5 events with 1,400 participantsPick’n’Mix Presentationat THE EDGE..........................................................................1 event with 1,124 participants

Annual Report/201121“The audienceseemed captivatedevery time thecurtain lifted.”Otago Daily Times“Royal New Zealand Ballet’s latest production manages tocombine all the elements of the fairy tale, pantomime andthe tragic fable along with riveting theatre.”National Business Review

22 Annual Report/2011Sponsors and SupportersRNZB would like to thank and acknowledge the people of New Zealand who support theirnational ballet company through funding from the Ministry for Culture and Heritage.This ongoing funding from central government enables us to plan well in advance and asimportantly plan with our creative vision in mind.Thank you to all our major sponsors, supporters, donors and Friends of the Royal NewZealand Ballet for their committed support.The company continues to enjoy an exceptional partnership with its national sponsor,Meridian Energy.In addition to Meridian, RNZB continued to enjoy strategic partnerships with TOWER,season sponsor of Tutus on Tour in 2011, and The Lion Foundation, the major supporter ofDance Explorer, our education and community programme.Thank you to the Ministry for Culture and Heritage’s Cultural Diplomacy InternationalProgramme, Qantas Airways, New Zealand Van Lines Ltd, The Providores and Tapas Roomand the New Zealand/France Friendship Fund for their support of the European tour.SPONSORSNational Sponsor: Meridian EnergySeason Sponsor: TOWER LimitedMAJOR SUPPORTERSDance Explorer: The Lion FoundationASB Community TrustPub CharityCityLife Auckland A Heritage HotelFriends of the Royal New Zealand BalletNewstalkZBNew Zealand Van Lines LtdTV3SUPPORTERSBluestarClicksuiteDuncan Cotterill LawyersFuji XeroxGolden Edge Nelson Pine Industries LtdLes MillsMalcolm PacificMuseum Art HotelNautilusPeugeot (Sime Darby Automobiles NZ Ltd)

Annual Report/201123Radio New Zealand ConcertSnowberryTamsin CooperThe Todd Corporation LtdVillage Accommodation GroupWellington City CouncilPARTNER A DANCERAgincourt Holdings Ltd., Brontë Heath, Friedlander Foundation, Friends of the Royal NewZealand Ballet, Golden Edge Nelson Pine Industries Ltd, Meridian, NewstalkZB, Ron andMargaret Saunders Trust, , The Pye Foundation, The Todd Corporation Ltd., Two PaddockWines, The Wallace Arts Trust, The Richard and Tina Yan Foundation.OFFICIAL SUPPLIERS TO THE RNZBBendon Limited, ecostore, Gibson Sheat, Mall Drycleaning, Media Monitors, Special GroupDesign.SUPPLIERSSuppliers of facilities and other valuable provisions for the company included Paula BevegeEvents, Bunnings Warehouse, Caffe L’affare, The Daily Squeeze, The getfunkd Group, JustWater, Logan Brown Restaurant and Bar, M.A.C Cosmetics, and Robt. Jones Holdings Ltd.TRUSTS AND FOUNDATIONSTrusts and Foundations played an ongoing and crucial role in 2011 enabling us to continueto tour to up to eight centres for each main stage tour, contributing towards employinglocal orchestras in main centres, venue hire and other associated costs.We gratefully thank: ASB Community Trust, The Canterbury Community Trust,ILT Foundation, NZCT (New Zealand Community Trust), Otago Community Trust,Perpetual Trust, Pub Charity, Community Trust of Southland, The Southern Trust andWellington Community Trust.

24 Annual Report/2011“Every ballet day it was the talk of the morning. They lovedit, all of them, despite different abilities and special needs”Teacher

Annual Report/201125“It was a fantastic programme – well thought out andreally informative. Very special for the dancers to sharetheir experiences with the audience and the makeupdemonstration was awesome too. We had some lovelycomments from visitors at the front desk.”Jaqui KnowlesPublic Programmes/Exhibitions Developer Museum of Wellington

26 Annual Report/2011Trustees’ ReportThe Board of Trustees have pleasure in presenting the Annual Report of The Royal NewZealand Ballet, incorporating the financial statements and the auditors’ report, for the yearended 31 December 2011.The Board of Trustees of The Royal New Zealand Ballet authorised these financialstatements presented on pages 29 to 41 for issue on 21 February 2012.For and on behalf of the Board.ChairTrustee15 March 2012 15 March 2012

Annual Report/201127Independent Auditors’ ReportTo the Trustees of The Royal New Zealand Ballet (“the Ballet”)Report on the Financial StatementsWe have audited the financial statements of the Ballet on pages 29 to 41 which comprisethe statement of financial position as at 31 December 2011, statement of comprehensiveincome, and statement of changes in equity for the year then ended, and the notes to thefinancial statements that include a summary of significant accounting policies and otherexplanatory information.Trustees’ Responsibility for the Financial StatementsThe Trustees are responsible for the preparation and fair presentation of financialstatements in accordance with generally accepted accounting practice in New Zealand andfor such internal controls as the Trustees determine are necessary to enable the preparationof financial statements that are free from material misstatement, whether due to fraud orerror.Auditors’ ResponsibilityOur responsibility is to express an opinion on these financial statements based on ouraudit. We conducted our audit in accordance with International Standards on Auditing(New Zealand) and International Standards on Auditing. These standards require thatwe comply with relevant ethical requirements and plan and perform the audit to obtainreasonable assurance about whether the financial statements are free from materialmisstatement.An audit involves performing procedures to obtain audit evidence about the amounts anddisclosures in the financial statements. The procedures selected depend on the auditors’judgement, including the assessment of the risks of material misstatement of the financialstatements, whether due to fraud or error. In making those risk assessments, the auditorsconsider the internal controls relevant to the entity’s preparation of financial statementsthat present fairly the matters to which they relate, in order to design audit proceduresthat are appropriate in the circumstances, but not for the purpose of expressing an opinionon the effectiveness of the entity’s internal control. An audit also includes evaluatingthe appropriateness of accounting policies used and the reasonableness of accountingestimates, as well as evaluating the overall presentation of the financial statements.We believe that the audit evidence we have obtained is sufficient and appropriate to providea basis for our audit opinion.We have no relationships with, or interests in, the Ballet other than in our capacity asauditors and providers of other assurance services. These services have not impaired ourindependence as auditors of the Ballet.OpinionIn our opinion, the financial statements on pages 29 to 41 present fairly, in all materialrespects, the financial position of the Ballet as at 31 December 2011, and its financialperformance for the year ended on that date in accordance with generally acceptedaccounting practice in New Zealand.

28 Annual Report/2011Independent Auditors’ ReportTo the Trustees of The Royal New Zealand Ballet (“the Ballet”)Restriction on Distribution or UseThis report is made solely to the Ballet’s Trustees, as a body. Our audit work has beenundertaken so that we might state to the Ballet’s Trustees those matters which we arerequired to state to them in an auditors’ report and for no other purpose. To the fullestextent permitted by law, we do not accept or assume responsibility to anyone other thanthe Ballet and the Ballet’s Trustees, as a body, for our audit work, for this report or for theopinions we have formed.Chartered AccountantsWellington15 March 2012

Annual Report/201129FINANCIAL STATEMENTSROYAL NEW ZEALAND BALLETStatement of Comprehensive Incomefor the year ended 31 December 2011Revenue2011 2010Restatednotes $’000 $’000Ministry for Culture andHeritage funding 4,384 4,384Sponsorship, donations and bequests 2,566 2,256Box office revenue 3,155 2,87010,105 9,510Interest income 40 53Other income 150 84ExpensesSeason Production 3 5,165 4,642Marketing, Administration,Artistic and Production 5,037 4,687Surplus from operations 93 318Total Comprehensive Income 93 318Attributable to:The Royal New Zealand Ballet 93 318The above statement of comprehensive income should be read in conjunction with the notes on pages 32 to 41.

30Annual Report/2011FINANCIAL STATEMENTSROYAL NEW ZEALAND BALLETStatement of Changes in Equityfor the year ended 31 December 2011Retained earningsTotal equity$’000 $’000Balance as at 1 January 2010as previously reported 1,144 1,144Prior period adjustment(See note below) 255 255Balance as at 1 January 2010as restated 1,399 1,399Surplus for the year 318 318Total comprehensive income 318 318Balance as at 31 December 2010 1,717 1,717Balance as at 1 January 2011 1,717 1,717Surplus for the year 93 93Total comprehensive income 93 93Balance as at 31 December 2011 1,810 1,810The above statement of comprehensive income should be read in conjunction with the notes on pages 32 to 41.NOTEThe Royal New Zealand Ballet Trust is an entity established a number of years ago. It has been wound upsubsequent to 31 December 2011. During the period covered by these financial statements, the trustees havebecome aware of assets held by the Ballet Trust on behalf of the Ballet and which were not previously includedin the financial statements of the Ballet. On wind-up of the Ballet Trust all of its assets (comprising cashdeposits of $283,000 and a fully depreciated dance floor) have been distributed to the Ballet.A prior period adjustment has been included in the current financial statements to recognise the impact of thecash balances (2009: $255,000, 2010: $268,000) and related interest income (2010: $15,000), held on behalf of theBallet but not previously recognised.

Annual Report/201131FINANCIAL STATEMENTSROYAL NEW ZEALAND BALLETStatement of Financial Positionas at 31 December 2011ASSETS2011 2010 2009Restated Restatednotes $’000 $’000 $’000Current assetsBank balance 216 241 175Funds held on deposit 1,384 1,290 1,260Trade receivables 305 199 136Prepaid Expenses 54 102 128Costs relating to futureproductions 546 187 153Inventory 4 4 16Total current assets 2,509 2,023 1,868Non current assetsProperty, plant and equipment 4 246 279 153Total non current assets 246 279 153Total assets 2,755 2,302 2,021LIABILITIESCurrent liabilitiesTrade payables 474 159 283Employee entitlements 89 94 59Accrued expenses 36 33 97Deferred revenue 150 150 150Revenue relating to future productions 196 149 33Total current liabilities 945 585 622Net assets 1,810 1,717 1,399EQUITYRetained earnings 5 1,810 1,717 1,399Total equity 1,810 1,717 1,399ChairTrustee15 march 2012 15 March 2012The above statement of comprehensive income should be read in conjunction with the notes on pages 32 to 41.

32 Annual Report/2011Notes to the Financial Statementsfor the year ended 31 December 20111 General informationThe activities of The Royal New Zealand Ballet (“the Ballet”) involve touring and the stagingof ballet productions, which include:• New Zealand audiences nationwide have access to their national ballet companythrough live performances and education programmes• The presentation of classical and contemporary ballets reflects and contributes to NewZealand’s distinct cultural identity• The Ballet achieves high standards of excellence and international recognition throughrewarding employment.The Ballet has operations only in New Zealand, but performs overseas from time to time.The Ballet is incorporated under the Charitable Trusts Act 1957 and domiciled in NewZealand. The address of its registered office is Level 3, St James Theatre, 77-83 CourtenayPlace, Wellington.These financial statements have been approved for issue by the Board of Trustees on 21February 2012.The Trustees do not have the power to amend these financial statements once issued.The financial statements are prepared in accordance with Generally Accepted AccountingPractice in New Zealand. They comply with the New Zealand Equivalents to InternationalFinancial Reporting Standards (NZ IFRS) and other applicable Financial ReportingStandards (NZ IFRS), as appropriate for public-benefit entities.2 Summary of significant accounting policies(a)Basis of preparationThe principal accounting policies adopted in the preparation of the financial statementsare set out below. These policies have been consistently applied to both periods presented,unless otherwise stated.Entity reportingThe financial statements are for the Royal New Zealand Ballet as a separate legal entity.The Ballet is designated as a public-benefit entity for financial reporting purposes.Statutory baseThe Ballet is a Charitable Trust registered under the Charitable Trusts Act 1957.Differential reportingThe Ballet is a qualifying entity within the Framework of Differential Reporting. The Balletqualifies on the basis that it is not publicly accountable and is not large. The Ballet has takenadvantage of all differential reporting concessions available to it.

Annual Report/201133NOTES TO THE FINANCIAL STATEMENTSHistorical cost conventionThe financial statements are prepared under the historical cost convention.(b)Foreign currency translation(i)Functional and presentation currencyThe financial statements are presented in New Zealand dollars, which is the Ballet’sfunctional and presentation currency.(ii) Transactions and balancesForeign currency transactions are translated into New Zealand dollars using the exchangerates prevailing at the dates of the transactions. Foreign exchange gains and lossesresulting from the settlement of such transactions and from the translation at year endexchange rates of monetary assets and liabilities denominated in foreign currencies arerecognised in the statement of comprehensive income.(c)Revenue recognitionRevenue comprises the fair value for the sale of goods and services, excluding Goods andServices Tax, and rebates and discounts. Revenue is recognised as follows:(i) Sales of merchandise and costume hireSales are recognised when the Ballet has delivered a product to the customer. Salesare usually in cash or by credit card. The recorded revenue is the gross amount of sale,including credit card fees payable for the transaction. Such fees are included in otherexpenses.(ii) Interest incomeInterest income is recognised on a time proportion basis using the effective interestmethod.(iii)Grants and sponsorship incomeFunding is recognised in the statement of comprehensive income when the requirementsunder the agreement have been met. Any funding for which the requirements under theagreement have not been completed is termed deferred revenue and is carried as a liabilityuntil all the conditions have been fulfilled. Funding received from the Ministry for Cultureand Heritage is recognised in the statement of comprehensive income on a straight-linebasis to reflect the pattern of benefits received, unless any conditions are imposed on theBallet.

Annual Report/201135NOTES TO THE FINANCIAL STATEMENTS(h)Cash and cash equivalentsCash and cash equivalents includes bank balances, funds held at call with financialinstitutions, other short-term, and highly liquid investments with original maturities ofthree months or less that are readily convertible to known amounts of cash and which aresubject to an insignificant risk of changes in value.(i)Trade receivablesTrade receivables are recognised initially at fair value and subsequently measured atamortised cost, less provision for doubtful debts.Collectability of trade receivables is reviewed on an on-going basis. Debts which are knownto be uncollectible are written off. A provision for doubtful receivables is establishedwhen there is objective evidence that the Ballet will not be able to collect all amountsdue according to the original terms of receivables. The amount of the provision is thedifference between the asset’s carrying amount and the present value of estimated futurecash flows, discounted at the effective interest rate. The amount of the provision isrecognised in the statement of comprehensive income.(j)InventoriesInventories are stated at the lower of cost and net realisable value. Cost is determined ona first in, first out basis. Net realisable value is the estimated selling price in the ordinarycourse of business less the estimated costs necessary to make the sale.(k)Loans and receivablesThe Ballet classifies its financial assets as loans and receivables. Loans and receivables arenon-derivative financial assets with fixed or determinable payments that are not quoted inan active market. They arise when the Ballet provides money, goods or services directly toa debtor with no intention of selling the receivable. They are included in current assets,except for those with maturities greater than 12 months after the end of the reportingperiod which are classified as non current assets. Trade receivables, bank balance and fundsheld on deposits are the only items, the Ballet holds in this category.Purchases and sales of assets are recognised on trade date – the date on which the Balletcommits to purchase or sell the asset. Loan and receivables are initially recognised atfair value plus transaction costs. They are subsequently carried at amortised cost usingthe effective interest method. Loans and receivables are derecognised when the rights toreceive cash flows from the assets have expired or have been transferred, and the Ballet hastransferred substantially all the risks and rewards of ownership.(l)Fair value estimationThe fair value of current assets and current liabilities is equal to their carrying value.

36Annual Report/2011NOTES TO THE FINANCIAL STATEMENTS(m) Property, plant and equipmentAll property, plant and equipment is stated at historical cost less accumulated depreciationand impairment. Historical cost includes expenditure that is directly attributable to theacquisition of the items.Subsequent costs are included in the asset’s carrying amount or recognised as a separateasset, as appropriate, only when it is probable that future economic benefits associated withthe item will flow to the Ballet and the cost of the item can be measured reliably. All otherrepairs and maintenance are charged to the statement of comprehensive income duringthe financial period in which they are incurred.Depreciation of property, plant and equipment is calculated using straight line rates so as toexpense the cost of the assets over their useful lives. The rates are as follows:• Alterations to leased premises 33%• Computer equipment 33, 35 and 50%• Lighting, sound and video equipment 10, 20 and 30%• Manufacturing equipment 10, 15, and 20%• Motor vehicles 20 and 30%• Office furniture and equipment 10 and 20%• Theatrical plant and equipment 10 and 20%An asset’s carrying amount is written down immediately to its recoverable amount if theasset’s carrying amount is greater than its estimated recoverable amount.Gains and losses on disposals are determined by comparing proceeds with carryingamount. These are included in the statement of comprehensive income.(n)Software and website costsCosts associated with maintaining the website and computer software programs arerecognised as an expense as incurred.

Annual Report/201137NOTES TO THE FINANCIAL STATEMENTS(o)Trade payables and employee entitlementsThese amounts represent liabilities for goods and services provided to the Ballet prior tothe end of financial year which are unpaid. The amounts are unsecured.Liabilities for wages and salaries, including non monetary benefits and annual leave andlong service leave, expected to be settled within 12 months of the end of the reporting dateare recognised as employee entitlements in respect of employees’ services up to the end ofthe reporting date and are measured at the amounts expected to be paid when the liabilitiesare settled.The liability for employee entitlements is carried at the present value of the estimatedfuture cash flows.These are the only financial liabilities of the Ballet.3 Expenses2011 2010$’000 $’000Expenses includes the following specific items:DepreciationAlterations to leased premises 4 2Computer hardware 30 18Lighting, sound and video equipment 15 14Manufacturing equipment 6 5Motor vehicles – –Office furniture and equipment 3 3Theatrical plant and equipment 46 25Total depreciation 104 67Lease expense 184 207Employee Salary expense 3,151 3,166Employee superannuation expense 99 82Audit expenses are detailed in Note 6

38Annual Report/2011NOTES TO THE FINANCIAL STATEMENTS4 Property, plant & equipmentAlterations Theatrical Computer Lighting Manufacturing Motor Office Totalto leased plant & hardware sound & equipment vehicles furniture &premises equipment video equipmentequipment$’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000At 31 December 2010- Cost 49 422 146 186 97 37 33 968- Accumulateddepreciation (48) (247) (119) (132) (85) (37) (23) (691)- Net book amount 1 175 27 54 12 0 10 279At 31 December 2011- Cost 70 422 182 186 101 37 35 1,033- Accumulateddepreciation (53) (290) (144) (146) (91) (37) (26) (787)- Net book amount 17 132 38 40 10 0 9 246

Annual Report/201139NOTES TO THE FINANCIAL STATEMENTS5 Retained earnings2011 2010$’000 $’000Balance 1 January as restated (See note page 6) 1,717 1,399Surplus for the year 93 318Balance 31 December 2011 as restated 1,810 1,7176 Remuneration of auditorsDuring the year the following fees were paid or payable for services provided by the auditorof the Ballet:2011 2010$’000 $’000(a) Assurance servicesAudit servicesPricewaterhouseCoopersAudit of financial report 19 18Other assurance services 3 –Total remuneration for audit services 22 187 GuaranteesThe following matters have not been recognised in the financial statements because ofthe uncertainty associated with their outcomes. The amounts disclosed are net of anyapplicable taxes:Guarantees2011 2010$’000 $’000A payroll letter of credit in place fromRNZB in favour of DATACOM Services atthe ASB Bank. The Trustees do not expectany liability to arise as a result of this letterof credit 150 130

40Annual Report/2011NOTES TO THE FINANCIAL STATEMENTS8 CommitmentsThe following are details of capital and lease commitments of the Ballet:(a)Lease commitments : Ballet as lessee2011 2010$’000 $’000Commitments for minimum lease payments inrelation to non-cancellable operating leases arepayable as follows:Within one year 174 194Later than one year but not later than five years 418 588Later than five years 1,722 2,042Total 2,314 2,824The Ballet leases premises, plant and equipment. Operating leases held over propertiesgive the Ballet the right to renew the lease subject to a re-determination of the lease rentalby the lessor.There are no options to purchase in respect of plant and equipment held under operatingleases. There are no sub-leases from the above.

Annual Report/201141NOTES TO THE FINANCIAL STATEMENTS9 Related party transactions(a)Related organisationsThe Ballet Foundation of New Zealand is related to the Ballet by virtue of a commonTrustee. At 31 December 2011, the Foundation had no assets or liabilities.There were no transactions with the Ballet Foundation of New Zealand during the year.(b)TrusteesThe names of persons who were trustees of the Ballet at any time during the year are asfollows:Anne BlackburnAlastair CarruthersTracey ChambersDon HunnJane MearesJohn MeehanPhilip AndrewHon. John LuxtonGabrielle RushGeoff ThomasCandis CravenMiriam DeanAnne Blackburn, Jane Meares, John Meehan and Geoff Thomas are also trustees of theBallet Foundation of New Zealand.Trustees receive no remuneration for their services.10 Events occurring after end of the reporting periodThere have been no material events after balance date that requires adjustment to ordisclosure in the financial statements (2010 Nil).

42 Annual Report/2011

Annual Report/201143“These beautifullydisciplined kiwis canreally rock,”THE TIMES“Royal New Zealand Ballet is a textbook case of how a smallcompany can defy the definitions that size usually brings”EVENING STANDARD

44 Annual Report/2011Appendix 1 – Staff ListingBoard of TrusteesPhilip AndrewAnne Blackburn (Chair)Alastair CarruthersTracey ChambersCandis CravenMiriam DeanDon HunnHon. John LuxtonJane MearesJohn MeehanGabrielle RushGeoff ThomasArtistic DirectorEthan StiefelInterim Artistic DirectorMatz SkoogManaging DirectorAmanda SkoogArtisticBallet Mistress:..............................................Turid RevfeimBallet Master:.................................................Greg HorsmanCompany Class Pianist:...............................Nicholas Giles-PalmerGuest Class Pianist:......................................Wayne TwohillRehearsal Pianist:..........................................Michael PanstersMusic Librarian:............................................Christine PearceEducation Manager:.....................................Caroline DinnissActing Education Manager:........................Brigitte KnightDance Educators:..........................................Shannon DawsonHannah KayeDaniel Cooper,Vivencio Samblaceno Jr.Hannah RossAbby DuttonPhysiotherapist:.............................................Inge Bahle

Annual Report/201145Leading ArtistSir Jon Trimmer KNZM MBEGuest ArtistsStella AbreraShannon DawsonArtists of the CompanyMedhi AngotLucy BalfourVictoria BennettAbigail BoyleBrendan BradshawClytie CampbellJacob ChownEmmi CoupePierre DoncqRory Fairweather-NeylanGinny GanJaered GlavinKatherine GrangeLucy GreenAdriana HarperSara HavenerAntonia HewittChristopher Hinton-LewisQi HuanKohei IwamotoEliza JostBronte KellyDimitri KleiorisHelio LimaYang LiuTonia LookerPaul MathewsDaniel MorrisonMadeleine MurrayAlayna NgLoughlan PriorJoseph SkeltonHarry SkinnerSergio TorradoMaree WhiteCassandra Wilson

46 Annual Report/2011Appendix 1 – Staff ListingProductionTechnical Director:.......................................Andrew LeesStage Manager:.............................................Kathryn OsborneDeputy Stage Manager:...............................Miriam EmersonTechnical Stage Manager:...........................Chris CavillHead Mechanist:...........................................Malcolm StephenMechanist:......................................................Mike Norman, Glen Watts and Tim AdriaansenHead Flyman:................................................Chris WardleHead Electrician:...........................................Jason Morphett and James KearneySecond Electrician:.......................................Jonny Cross and Cameron NichollsHire Manager:...............................................Gavin UnderhillWorkshop Assistants:...................................Steve Chambers and Allan RockellScenic Artist:..................................................Nicole CosgroveWardrobe Manager:.....................................Andrew PfeifferWardrobe Mistress:......................................Gaye WardsTouring Wardrobe Master:.........................Hank CubittWardrobe Assistant:......................................Esther LofleyMarketing and DevelopmentMarketing and Development Manager:..Penn TrevellaConsultant Marketing Director:................ Janet ColsonMarketing Campaigns Manager:..............Nadia Cook and Thomas DrentMarketing & Ticketing Co-ordinator:......Helen AndersonCorporate Development Manager:...........Diane FieldDevelopment Manager (Auckland):..........Michal McKayDevelopment Co-ordinator:.......................Karen Mackersy and Liesl NunnsCommunications Manager:.......................Robyn McLean and Andrea TandyMarketing & Media Co-ordinator:............Julia HughesAdministrationFinance Manager:.........................................Alison HosieFinance Co-ordinator:.................................Odette AlleyneOperations Manager:...................................Meredith DooleyCorporate Administrator:............................Kat SprowellOffice Administrator:...................................Nigel BoyesNational Administrator,Friends of Royal New Zealand Ballet:......Susie ClarkeAdvisersLegal:...............................................................Gibson SheatAudit:...............................................................Pricewaterhouse CoopersImmigration:..................................................Malcolm PacificInformation Technology:............................Team NetworkAuditorsPricewaterhouseCoopers

Annual Report/201147“This triple bill demonstrates the phenomenal stamina,style, commitment and talent of the national balletcompany’s dancers.”Dominion Post

48 Annual Report/2011Royal New Zealand BalletSt James Theatre77-83 Courtenay PlaceWellington 6011New ZealandP.O Box 27050Wellington 6141New ZealandPhone: 0800 4 DANCE (0800 432 623)Phone: 64 4 381 9000Fax: 64 4 381 9003Email: inquiry@nzballet.org.nznzballet.org.nz

Encore/