QUEENSLAND PERFORMING ARTS CENTRE ANNUAL REPORT ...

QUEENSLAND PERFORMING ARTS CENTRE 

ANNUAL REPORT 2011-2012

Contents 

2011-2012 ANNUAL REPORT 

About the Queensland Performing Arts Centre .................................................................................................. 3 

Our Purpose ...................................................................................................................................................... 3 

Our Vision .......................................................................................................................................................... 5 

Our Strategic Focus ........................................................................................................................................... 5 

Our Values ......................................................................................................................................................... 5 

Chair’s overview ................................................................................................................................................6 

Chief Executive’s overview ................................................................................................................................ 7 

2011-12 Highlights and Achievements .........................................................................................................8 

Live Performance ...............................................................................................................................................8 

QPAC Museum ...................................................................................................................................................8 

Public Participation ...........................................................................................................................................8 

Commercial Investments ...................................................................................................................................9 

Festivals ............................................................................................................................................................9 

Home Companies ..............................................................................................................................................9 

Entertainment .................................................................................................................................................. 10 

Public Participation ......................................................................................................................................... 13 

Strategic Relationships ................................................................................................................................... 16 

Commercial Opportunities ............................................................................................................................... 18 

Corporate Governance .....................................................................................................................................20 

Financial Statements ......................................................................................................................................23 

Income Statement ...........................................................................................................................................24 

Balance Sheet ................................................................................................................................................. 25 

Statement of Changes in Equity ......................................................................................................................26 

Cash Flow Statement ....................................................................................................................................... 27 

Notes ...............................................................................................................................................................28 

Certifi cate of the Queensland Performing Arts Trust ....................................................................................... 54 

Future Direction and Challenges ................................................................................................................. 57 

Appendices 

Appendix One – Year in review performance listing.........................................................................................58 

Appendix Two – QPAC Contribution to Government objectives .......................................................................64 

Appendix Three – Organisational Structure .....................................................................................................65 

Appendix Four – Queensland Performing Arts Trust Board of Trustees ........................................................... 67 

Appendix Five – Queensland Performing Arts Trust sub-committees ...............................................................71 

Glossary .......................................................................................................................................................... 72 

The Queensland Government is committed to providing accessible services to Queenslanders from all culturally and 

linguistically diverse backgrounds. If you have diffi culty in understanding the annual report, you can contact us on 

(07) 3840 7444 and we will arrange an interpreter to effectively communicate the report to you. 

1


16 October 2012 

The Honourable Ros Bates MP 

Minister for Science, Information Technology, Innovation and The Arts 

GPO Box 611 

BRISBANE QLD 4001 

Dear Minister 

I am pleased to present the Annual Report for the Queensland Performing Arts Trust for the year ended 30 June 2012. 

I certify that this Annual Report complies with the prescribed requirements of the Financial Accountability Act 2009 and 

the Financial and Performance and Management Standard 2009 and the detailed requirements set out in Annual Report 

Requirements for Queensland Government Agencies. 

A checklist outlining the annual reporting requirements can be accessed at www.qpac.com.au 

Yours sincerely 

HENRY SMERDON 

Chair 

2

About the Queensland Performing Arts Centre 


The Queensland Performing Arts Centre (QPAC) is the State’s leading home of live performance. Located on the banks of the 

Brisbane River, QPAC is one of four organisations that make up the state’s Cultural Centre. 

QPAC fosters an environment of innovation, creativity, entrepreneurship and learning. QPAC is driven by a desire to entertain, 

a capacity to create and the genuine wish to support moving and memorable experiences. 

QPAC’s operations are underpinned by a belief in the essential value of performing arts as well as the broader contribution 

art can make to cities and societies. QPAC encourages participation in the arts and engagement in creative process as a means 

of promoting learning, wellbeing, civic participation and social inclusion. QPAC takes a leading role in the advancement of 

research and debate that articulates the value of creative industries as fundamental drivers of economic growth. 

Each year QPAC showcases the best in performance from Australia and around the world. Our venues host leading 

international and Australian actors, dancers, musicians, artists and companies. In addition, QPAC produces or coproduces 

some of Australia’s most innovative and successful shows. 

QPAC is also a performance home to some of the State’s leading performing arts companies including Queensland Theatre 

Company, Company Queensland Ballet, Queensland Symphony Orchestra and Opera Queensland. 

Host to over a million people in 2011-12, QPAC delivers integrated services designed to offer audiences an experience that 

extends beyond the walls of the theatre, providing information and exchange before they arrive and inviting dialogue after 

they have gone. 

Our Purpose 

QPAC is operated by the Queensland Performing Arts Trust (the Trust). The Trust is a Queensland Government statutory body, 

created and with responsibilities outlined in the Queensland Performing Arts Trust Act 1977. 

The Trust’s purpose, as set out in the Act, is to contribute to the cultural, social and intellectual development of all 

Queenslanders. In achieving this purpose, the Trust functions: 

a. to produce, present and manage the performing arts in the building occupied by the Trust at the Queensland Cultural 

Centre or any other building; 

b. to establish and conduct schools, lectures, courses, seminars and other forms of education in the performing arts; 

c. to teach, train and instruct persons and promote education and research in the performing arts; 

d. to provide or assist in providing premises and equipment for the purpose of the presentation of the performing arts; 

e. to promote and encourage the development and presentation of the performing arts; 

f. to promote and encourage public interest and participation in the performing arts; 

g. to promote and encourage either directly or indirectly the knowledge, understanding, appreciation and enjoyment of the 

performing arts; 

h. to encourage, for persons resident in Queensland 

i. participation as performers for the performing arts; and 

ii. involvement in other aspects of the performing arts 

i. to perform the functions given to the trust under another Act; 

j. to perform functions that are incidental, complementary or helpful to, or likely to enhance the effective and effi cient 

performance of, the functions mentioned in paragraphs (a) to (i); 

k. to perform functions of the type to which paragraph (j) applies and which are given to the trust in writing by the Minister. 

For performing its functions, the Trust has all the powers of an individual and may, for example, enter into arrangements, 

agreements, contracts and deeds; acquire, hold, deal with and dispose of property; engage consultants; appoint agents and 

attorneys; charge, and fi x terms, for goods, services, facilities and information supplied by it; and do anything else necessary 

or desirable to be done in performing its functions. 

3


The principles intended to guide the achievement of the object of the Act are the following – 

a. leadership and excellence should be provided in the performing arts; 

b. leadership and excellence should be demonstrated in the management, on a commercial basis, of venues used for the 

performing arts, for the benefi t of performing artists; 

c. there should be responsiveness to the needs of communities in regional and outer metropolitan areas; 

d. respect for Aboriginal and Torres Strait Islander cultures should be affi rmed; 

e. children and young people should be supported in their appreciation of, and involvement in, the performing arts; 

f. diverse audiences should be developed; 

g. capabilities for life-long learning about the performing arts should be developed; 

h. opportunities should be developed for international collaboration and for cultural exports, especially to the Asia-Pacifi c 

region; and 

i. content relevant to Queensland should be promoted and presented. 

4

Our Vision 

Queensland’s entertainment destination and the leading presenter of performing arts in the Asia Pacifi c. 

Our Strategic Focus 


In order to support the achievement of the vision, QPAC’s Strategic Plan 2010–2014 outlines multiple priorities across four key 

focus areas: 

Entertainment 

Objective: To program, produce and co-produce high quality innovative performing arts. 

Public Participation 

Objective: To deliver arts, entertainment and enrichment for every person of every age, every day. 

Strategic Relationships 

Objective: To build and strengthen relationships that adds value and brings mutual benefi t. 

Commercial Opportunities 

Objective: To deliver integrated commercial services that meet the highest industry standards. 

Our Values 

Passion 

We are curious, relentless and committed. 

Leadership 

We are responsible for creating a respectful environment where our teams work positively, creatively and inclusively. 

Creativity and Innovation 

Dare to seek new ways to grow, express and challenge ourselves without fear of failure. 

Collaboration 

Proactively work together to seek mutually benefi cial solutions that embrace and strengthen our core. 

Engagement 

We stimulate connection through understanding and active participation. 

Integrity 

A commitment to ensure a group consciousness of respect, questioning and open communication in a supportive and nonjudgemental 

environment. 

5


Chair’s overview 

The 2011-12 year for QPAC was both extremely challenging and extremely rewarding. It tested the resilience of our staff to 

put aside the adversity and impacts of the January 2011 fl oods on our business and strive even harder to meet the aspirations 

and expectations of our patrons and other stakeholders. 

It is testament to what a fabulous team we have at QPAC - my fellow board members, the CEO and his executive team and 

staff generally – and it is with great pride that I can say QPAC has had one of its best years ever. Financially, artistically, 

technically and in the important servicing of our many patrons and users of our facilities, we have excelled. 

It has been a huge challenge to have four major musicals in the Lyric Theatre – Dr Zhivago, Rock of Ages, Mary Poppins and 

Annie. The Disney Production of Mary Poppins was a huge success for QPAC and was our highest selling musical in over a 

decade. 

Overall we had in excess of one million patrons visit with us across 1 427 performances in the four theatres and ancillary 

spaces. 

Financially, our operating surplus for the 2011-12 year was $114 000 as against an operating surplus of $882 000 in the 

previous year. The surplus recorded in 2011-12 is after providing for two extraordinary items, namely approximately $446 

000 one-off payment for six staff who took advantage of a Voluntary Separation Scheme available to Government employees 

and a one off write down of investments of around $385 000. Adjusting for these two extraordinary items shows that the 

underlying surplus is approaching $1.1 million. 

As a Government statutory body, we believe we have a responsibility to maximise the public value of all that we do by 

delivering great outcomes for all our stakeholders. We have identifi ed and grown income sources that underpin a diverse 

range of product to support our legislative mandate to contribute to the social, intellectual and cultural development of all 

Queenslanders. We can do this because we successfully balance the public good with the required commercial imperatives. 

We are particularly pleased with the success of our qtix ticketing operation. It has been a signifi cant revenue generator in its 

own right as well as underpinning our marketing strategies with the quality and depth of its data base. It has also helped our 

major home companies with their own customer relationship management strategies. 

Our offerings during the year in our major theatre spaces are outlined in more detail in other areas of the report. However I 

want to highlight three areas that I and the team are particularly proud of: 

• Vienna Philharmonic Orchestra: In October 2011 this wonderful Orchestra gave two unforgettable performances in 

the Concert Hall as part of QPAC’s commitment to bring the best of the best to Brisbane. One of those performances 

was simulcast live to six major centres throughout the State with a total audience of almost 3 500 in Mt Isa, Cairns, 

Townsville, Rockhampton, Gladstone and Mackay enjoying the performance in real time. We expect to do more of these 

broadcasts in the coming years 

• QPAC International Series: During the latter part of the year, we launched our QPAC International Series. The QPAC 

International Series will bring internationally renowned companies to perform exclusively in Brisbane in coming years. 

The fi rst in the International Series is a two week residency by the Hamburg Ballet, Hamburg Philharmonic Orchestra 

and Hamburg State Opera. The QPAC International Series will give our patrons the opportunity to experience the world’s 

best performing arts companies right here in Brisbane. Also we anticipate it will entice visitors not just from the South 

East corner of the state but from across Queensland and the rest of Australia contributing to building cultural tourism in 

Queensland. The list of companies planned to visit in the next fi ve years reads like the “who’s who” of world performing 

arts. 

• The Out of the Box Festival: This outstanding and much loved biennial Festival for young children exceeded all our 

expectations with over 91 000 patron admissions recorded over the 6 days of the Festival. By any measure it was an 

outstanding success and continues to grow in stature and appeal in its important demographic. 

2011-12 was a great year for QPAC and I want to thank all who have contributed to making it a year to remember. There are 

challenges ahead as increasing demands put stress on our facilities. Our audience is also expanding with greater aspirations 

and a need for diversity of experience which will continually test our capacity to deliver and meet expectations. Further 

developing our cultural tourism strategy will also be important. We believe we have the team, the commitment and the 

passion to make Brisbane a culturally vibrant city of which we can all be proud. 

6

Chief Executive’s overview 


In 2011-12, QPAC exceeded its visitation target of one million. While QPAC measures its success against a range of indicators, 

none speak more powerfully to the relevance of our programming than the number of people who have chosen to come to the 

Centre. The diversity of the program, which drew together the best of national and international commercial producers and 

showcased Australian and international artists and companies in both contemporary and classic works, provided audiences 

with a myriad of choices. 

In presenting this program, QPAC worked with government, tertiary institutions, corporate supporters and community 

organisations to ensure that its scope was both broad and deep. The program, which resonated so strongly with Queenslanders 

and tourists, is the result of partnerships which have been developed over many years. 

Working with all three levels of Government was demonstrated in the successful delivery of our Opera Australia season in 

May-June 2012. A season of this scale is a mammoth undertaking for all parties, with Government support and facilitation 

playing an essential role in the presentation. While the season was fi nancially supported by Events Queensland and Arts 

Queensland, further support was provided by the Federal Government to ensure that a live simulcast of an Opera Australia 

season would be broadcast to regional centres later this year. This broadcast will be received in venues owned and managed by 

various Councils throughout the State. 

While also a fi nancial supporter of QPAC endeavours, Griffi th University staff and students worked with QPAC by sharing 

technical expertise and skills through 2011-12. In turn, QPAC provided low cost accommodation for a number of Griffi th 

programs, presentation opportunities for students and support for Conservatorium. A highlight of shared learning experiences 

for both organisations was the premiere live simulcast of the Vienna Philharmonic Orchestra in October, with Griffi th Film 

School working alongside QPAC production teams. 

QPAC has been especially fortunate in 2011-12 with QUT facilitating the appointment of our inaugural Scholar-in-Residence, 

Adjunct Professor Dr Judith McLean. It was particularly fortuitous that QPAC was able to access her expertise and guidance 

in the development of the curatorial framework underpinning the 2012 Out of the Box Festival, and the development and 

delivery of the Connecting the Dots… symposium, focussed on engaging parents, teachers and educators in the importance of 

arts education experiences for children. 

QPAC works closely with its precinct partners, QAGOMA, the Queensland Museum and the State Library. In 2011-12, this 

collaborative approach was evident in two major cross-precinct festivals, the Torres Strait Island Festival as well as Out of the 

Box festival. The breadth of programming and exhibitions, lectures and workshops for these festivals drew on the expertise 

and collections of each of Queensland’s major cultural institutions to provide visitors with rich and engaging experiences. 

The twenty-fi rst century will be the Asian century. The importance of building relationships in the Asian performing arts and 

entertainment sectors has been impressed upon QPAC staff and our board. QPAC is a major performing arts centre in the Asia- 

Pacifi c region and it is important for us to continually learn and expand our awareness, understanding and experience of other 

worlds and their histories and artists. Asia is a diverse, complex and nuanced region and there is no doubt it will take long 

term and meaningful engagement for great partnerships and projects to be realised. 

In 2011-12 QPAC lifted its focus on Asia and I was fortunate to travel to the region twice in 2012. In February, I visited Korea, 

Japan and a number of cities in China to establish relationships with the major performing arts centres in those countries, 

including the National Centre for the Performing Arts (NCPA) in Beijing. This trip was an invaluable exchange with the 

cultural sector and its leaders in these distinctive parts of the world and also allowed me to raise their awareness about QPAC 

and its achievements and reputation in a number of areas. One of the outcomes of this trip was that I was invited to attend 

and present at the World Theatre Forum at the NCPA in Beijing in June. This was a great opportunity to meet more arts leaders 

from Asia and the world, and further my understanding of the state and aspirations of China’s cultural industries. 

Asia will increasingly become a focus for QPAC within its international agenda. I am particularly excited by the artistic, 

commercial and educational opportunities greater engagement will create for our artists, professionals and communities as we 

progress. 

I credit this year’s outstanding successes to the expert guidance and advice from Henry Smerdon and the Board, together with 

the creativity, diligence and passion of the QPAC team. I thank everyone for their support and efforts through 2011-12. 

7


2011-12 Highlights and Achievements 

2011-2012 marks the fi rst year QPAC visitation reached one million people in one year. People came to QPAC to see 1 427 

performances, an average of almost four performances per day, across 255 seasons. 

Live performance 

QPAC hosted the internationally renowned Vienna Philharmonic Orchestra (VPO) for two concerts in October 2011. Both 

concerts were sold out and the second concert was simulcast live to six venues in regional Queensland. The live simulcast was 

the fi rst such venture by QPAC and effectively doubled the number of people able to enjoy the concert. VPO was a highlight 

on Brisbane’s cultural calendar. A VPO rehearsal session was open to music students which provided an opportunity for those 

students to learn from VPO. 

Mary Poppins was the most successful musical at QPAC in over a decade and second highest selling musical at QPAC’s history. 

At a time when families in particular are watching their budgets the phenomenal success of pre-sales and full houses was 

remarkable. This was the fi rst time QPAC has hosted a musical by international entertainment giant Disney and with such 

success we hope it will not be the last. 

In the last year QPAC was one Australian venue to host a season of the new musical version of Dr Zhivago based on the book 

by Boris Pasternak. QPAC also invested in this production which is now showing in Asia. This musical was developed and 

premiered in Australia. Often musicals are developed in Europe or America and come to Australia after long seasons overseas, 

Dr Zhivago was a truly fresh experience for Australian audiences and the feedback was positive indicating that trialling 

musicals in Australia may become more common in the future. 

Perennially popular musical Annie returned to the Lyric Theatre in 2012. This family-friendly favourite played to sold out 

audiences. Annie provided opportunities for young performers to participate, and for younger audiences to visit QPAC. 

Opera Australia (OA) returned to the stages in Brisbane after 25 years with Julie Taymor’s The Magic Flute and Baz Luhrman’s 

A Midsummer Night’s Dream. Funding from the Federal and State Governments ensured this season went ahead and there 

are plans for future seasons from OA in the years ahead. QPAC and OA have been working together to determine the best 

outcomes for the future relationship. 

QPAC Museum 

In 2011-12, QPAC Museum presented two exhibitions in the Tony Gould Gallery, attended by a total of 11 420 visitors. The 

Mary & Me exhibition tied in with QPAC’s season of Mary Poppins. This exhibition was particularly unique for Brisbane and 

Queensland audiences with the author of the Mary Poppins books, P. L. Travers, hailing from Maryborough, Queensland. Mary 

& Me included archival video and costumes from the current musical version of Mary Poppins as well as papers from the P. L. 

Travers collections at the Mitchell Library at the State Library of New South Wales. 

A View from the Sixth Row celebrated one person’s unique vision of the performing arts and featured works in the 

performance as well as ‘behind the scenes’. Photographer Reina Irmer is well-known to performing arts companies visiting 

QPAC for her passion and talent in capturing unique moments on stage. From the mid-1990s to the present day Reina has 

taken photographs from the audience perspective, during the fi nal dress rehearsals with only available stage lighting. This 

exhibition featured a selection of Reina Irmer’s images with an emphasis on recent productions including Fame, West Side 

Story, Queensland Ballet’s The Nutcracker and musical WICKED. 


In July 2011 the entire Cultural Centre collaborated on Torres Strait Islands: A Celebration. Each institution in the Cultural 

Centre contributed to this celebration. QPAC’s contribution was to host the 2011 Mabo Oration by Terri Janke, in association 

with Anti-Discrimination Commission Queensland, as well as the premiere performance of Bangarra Dance Company’s Belong. 

QPAC also contributed to the book documenting this celebration of culture. 

8


In 2012 the KITE Arts Education Program @ QPAC, an early childhood arts education initiative of Education Queensland in 

partnership with QPAC, concluded its three-year iteration. Over three years KITE has collaborated with teachers and children 

in the Logan and Wide Bay Burnett Districts to engage in deep, rich and meaningful arts based learning; to create six theatre 

performances; and to develop community networks between schools and key arts and cultural institutions. 

The QPAC Choir is an audition choir that rehearses weekly at QPAC and performs throughout the year. In 2012 the QPAC Choir 

welcomed a new director, Timothy Sherlock. Performances by the QPAC Choir at QPAC in 2011-12 included QPAC’s annual 

Spirit of Christmas and at a concert in June Pure Imagination. 

Green Jam sessions at QPAC continue to be popular and provide opportunities for local and emerging artists to perform. Green 

Jam additionally opens up the Melbourne Street Green as a venue and captures a market for patrons to attend QPAC who may 

not otherwise attend traditional performances at QPAC. While some Green Jam sessions were affected by weather in 2011-12 

attendances were still strong. 

Commercial Investments 

QPAC is Australia’s largest institutional investor in commercial musical theatre. QPAC’s investments contribute to the viability 

of the performing arts as an art form and ensure continuing supply into its largest venue, the Lyric Theatre. During 2011-12 

QPAC continued its role as an investor and consolidated its relationships with Australia’s major producers, investing in the 

tour of Annie to Sydney, Brisbane, Melbourne and Perth. A profi t will be made on this investment. During the fi nancial year 

QPAC’s investment in Love Never Dies was lost in part due to the early closure during its Sydney season and the remainder of 

the tour being abandoned. 

Festivals 

As in previous years QPAC again hosted several performances for the 2011 Brisbane Festival including international pianist 

Evgeny Kissin, the world premiere performance of Australian composer Elena Kats-Chernin’s Symphonia Eluvium and Sydney 

Dance Company’s The Land of Yes and the Land of No. The popular Santos City of Lights brought people to QPAC to watch the 

nightly laser show from the Cultural Forecourt. 

In 2012, the biennial Queensland Music Festival (QMF) returned to venues at QPAC. As part of the Festival QPAC co-produced 

Piano Lessons with QMF, an original work that premiered in the Festival. 

2012 marked the twentieth birthday for the Out of the Box Festival. Between 12 and 17 June the Cultural Centre was taken 

over by children under eight years old, their parents, carers and teachers. With over 91 000 admissions across workshops, 

performances, free events and the specially designed Out of the Box Symposium, Connecting the Dots…, this was the biggest 

Out of the Box yet. QPAC presented three premiere works at this year’s festival including The Flying Orchestra, Stradbroke 

Dreamtime with Queensland Theatre Company and Invisible Me with the Southern Cross Soloists. 

Home Companies 

QPAC’s four home companies – Queensland Theatre Company, Opera Queensland, Queensland Ballet and Queensland 

Symphony Orchestra – delivered strong programs across each of QPAC’s theatres. Collectively the companies presented 248 

performances during the year, generating attendances of 148 003. 

9


Entertainment 

Program, produce and co-produce high quality, innovative performing arts 

QPAC’s role as a leading entertainment destination is evidenced in the scale and breadth of its program, a range of 

collaborations; recognition within the community and position as the State’s foremost centre for live performance. Each 

year, QPAC delivers entertainment options in a program that mixes Australian and international artists across classic and 

contemporary forms that bring together arts experts and fi rst time visitors. 

A wide range of performing arts 

QPAC’s theatres and foyers are rarely quiet spaces. As a major performing arts centre, QPAC is alive day and night with 

performances, rehearsals, meetings and creative development. Throughout 2011-12 1427 performances were presented across 

the Centre’s four theatres and outdoor performance spaces which equates to an average of almost four performances per day. 

The performances covered a wide range of performing arts genres and included: classical and contemporary dance and music; 

comedy; theatre; opera; physical theatre; musical theatre; family programs; and festivals and special events. Traditionally, 

theatre, musical theatre as well as ballet and dance are larger scale works and have longer runs in our venues. Conversely, 

forms such as contemporary music and comedy regularly play only one or two performances. These variations in the length 

of seasons make it possible for Concert Hall to host dozens of seasons of different artists during the run of one musical in the 

Lyric Theatre. 

QPAC’s annual program is a combination of works produced in-house by QPAC, works developed or presented in collaboration 

with other artists or companies and works presented exclusively by external hirers. This multi-faceted model offers QPAC 

fl exibility in the management of its venues and ensures audiences are offered the best and most diverse range of productions. 

In 2011-12 QPAC produced a program that encompassed festivals, single night performances, full seasons, exhibitions and 

international exclusives. The program spanned genres from comedy to jazz and played in all theatres and outdoor spaces. It 

featured: 

The Torres Strait Islands: A Celebration including the 2011 Mabo Oration and Bangarra Dance Company’s Belong; The 

Australian Dance Awards; Cradle Songs; Le Grande Cirque – Adrenaline; Vienna Philharmonic Orchestra; Green Jam sessions; 

Harvest Rain (James and the Giant Peach); Ballet Theatre of Queensland (Cinderella); Ozfrank Theatre Film (OzFrank 2012 

Summer Program); I Musici – Viva Italia 60th Anniversary Tour; Expressions Dance Company (R&J); Grin and Tonic (Animal 

Farm); Australian Ballet (Romeo and Juliet); An Evening with Chris Botti; Out of the Box Festival. 

Local, national and international 

In 2011-12, QPAC collaborated with many local, national and international organisations from both the commercial and 

subsidised sectors: 

Skyline Theatricals Pty Ltd (Dr Zhivago); Major Brisbane Festival Pty Ltd (Evgeny Kissin, Mortal Engine, Maria De Buenos 

Aires, Circus Oz –Steampowered, Sydney Dance Company The Land of Yes and the Land of No; Australian Chamber Orchestra 

national subscription tour; Queensland Music Festival (Piano Lessons, Randy Newman with Queensland Symphony Orchestra, 

Queensland Country Comfort Hour); Hour Dylan Moran; Senior Superstar Grand Finals; QI Live; Spring Awakening; Whispering Jack 

concert; John Cleese; Ukulele Orchestra of Great Britain; Flamenco Fire (Gypsy Pathways). 

Venue utilisation 

QPAC exceeded its venue utilisation target of 75%, achieving 85% over 2011-12. QPAC’s four theatres are used for 

performances, rehearsals, workshops and corporate events. Throughout the year, scheduled maintenance periods are also 

allocated to ensure theatres comply with workplace health and safety requirements and that QPAC’s technical equipment 

remains at the forefront of industry standards. One of QPAC’s key priorities identifi ed in the strategic plan is to maximise 

venue usage. A number of strategies are employed to ensure each of the theatres, in particular the Lyric Theatre, are live as 

many nights of the year as possible. 

2011 – 12 was the fi rst time QPAC presented a simultaneous season of live comedy performances during Opera Queensland’s 

(OQ) season – using the Lyric Theatre on traditional OQ dark nights which ensured QPAC remained vibrant and brought in new 

audiences. This model will be used in future seasons when there are dark nights in the Lyric Theatre. 

This year the Lyric Theatre featured 22 different productions and achieved 95% utilisation. This included exclusive seasons 

from Opera Australia and The Australian Ballet, and four major musicals; Doctor Zhivago, Rock of Ages, Mary Poppins and 

Annie. The Lyric Theatre featured a mix of musical theatre, music, comedy and dance that attracted audiences across all age 

10


groups. This included children’s works such as The Flying Orchestra and Nick Junior’s Dora the Explorer LIVE!, as well as 

Opera Queensland’s Tosca, Carl Barron, The Ten Tenors, Le Grand Cirque’s Adrenaline, and audience favourite John Farnham. 

The Brisbane season of Mary Poppins, Disney’s fi rst major musical presentation to open in Queensland, ran for three months 

and was QPAC’s highest selling production in more than a decade. 

QPAC brand 

International exclusives alongside the best in local and national performing arts experiences helped to build QPAC’s brand as 

a leading performing arts centre in Australia and the Asia Pacifi c. Full in-theatre productions combined with free and outdoor 

programs as well as Festivals and collaborations with our Cultural Centre partners contributed to the QPAC brand recognition. 

A recent survey conducted found that 57% of respondents were aware of QPAC unprompted and that prompted recognition 

was at 91%. QPAC had the highest rate of unprompted awareness of all live entertainment venues in Brisbane according to 

survey results. 

Cultural Centre 

QPAC is one of the four organisations that make up Brisbane’s Cultural Centre and values its position within this environment. 

The unique location and combined capacities of the Cultural Centre organisations enable large and small scale collaborations 

and partnerships. In 2011 all four organisations collaborated with Torres Strait Islands: A Celebration. This Celebration saw 

each organisation curate programs unique to their art form and that fi t within the banner of celebrating Torres Strait Islander 

culture. QPAC presented Bangarra Dance Theatre’s premiere work Belong and the Mabo Oration 2011 featuring Terri Janke. 

QPAC also contributed to the Torres Strait Islands publication. 

In 2012 QPAC again collaborated with the Cultural Centre to present the Out of the Box Festival. Whilst the majority of 

performances, workshops and free events were held at QPAC, a number of Out of the Box events were held across the 

Queensland Museum, State Library of Queensland and the Gallery of Modern Art. Of particular note was the Connecting the 

Dots… Symposium held at The Edge, State Library of Queensland over three days of the Festival. 

11


Genre by Performances 

Genre by Ticket Sales 

Genre by Seasons 

12 

Opera 2% 

Contemporary Music 5% 

Musical Theatre 25% 

Theatre 14% 

Special Events 4% 


Opera 3% 




Opera 3% 



Theatre 9% 

Festivals (Single-Category) 10% 

Theatre 5% 

Comedy 3% 

Comedy 6% 

Comedy 5% 

Ballet & Dance 8% 

Children’s/Family 

11% 

Classical Music 5% 

Festivals (Multi-Category) 1% 



Children’s/Family 8% 


Festivals (Multi-Category) 1% 



Children’s/Family 6% 


Festivals (Multi-Category) 3%


Deliver arts, entertainment and enrichment for every person of every age, every day. 


QPAC focuses on maximising public participation as part of its strategy to deliver the best in arts, entertainment and 

enrichment for a wide audience. QPAC defi nes participation as the active connection and involvement with people, ideas and 

experiences. 

To attract and maximise public participation, QPAC identifi ed priorities around recognition, visitor experience, and audience 

engagement, the vibrancy of the South Bank precinct, cultural diversity and learning. 

Recognition 

QPAC is increasingly recognised in the Asia Pacifi c region as a leading performance arts centre passionate about collaboration, 

creativity and innovation. QPAC’s operations are underpinned by a belief in the essential value of performing arts as well as 

the broader contribution art makes to cities and societies. QPAC supports participation in the arts and engagement in creative 

processes as a means of promoting learning, well being, civic participation and social inclusion. QPAC’s programs produce 

social, educational and cultural benefi ts for the state as well as contributing to the increasing recognition of Brisbane as a 

cultural tourism destination. 

This year QPAC further consolidated this reputation by attracting over one million visitors, a fi rst for QPAC, presenting 

companies and artists from around the world and partnering with an eclectic mix of emerging and established artists, major 

commercial producers, small companies and collectives. QPAC staff are recognised as industry specialists and are consistently 

sought out to offer advice and training and to present at conference and forums. QPAC CEO John Kotzas presented a keynote 

speech at the World Theatre Forum in Beijing. 

Visitor experience 

QPAC’s commitment to audiences extends beyond the experience inside the theatre to include all aspects of the public’s 

interactions with the Centre. QPAC recognises that part of the theatre experience comes from education and information before 

the show, what the patron experiences on the stage and during their visit as well as ongoing conversations with our guests 

after a performance to complete a holistic review and maintain a commitment to continuous improvement of our services. 

Patron Services are committed to deliver exceptional customer service which is responsible for a major part of the visitor’s 

experience at the Centre. After purchasing tickets, the Patron Services team are the fi rst and last touch points that patrons 

interact with at QPAC. 

Patron Services team include Front of House staff, merchandise sellers, First Aid and Stage Door offi cers, QPAC Museum 

gallery attendants, chefs, kitchen hands, Café, Bistro, Restaurant and Playhouse Café attendants, bar attendants across the 

Centre’s eight bars and Green Room attendants. 

Integration with the QPAC website continues to improve with the majority of sales now coming from the website where people 

are able to choose their own seat and are given a photo of the view from certain sections of the theatre. The QPAC website also 

offers integration in booking 

The combined Front of House and Food and Beverage team comprises approximately 300 casual staff. During the season 

of Mary Poppins in 2012 patron services rostered around 830 front of house shifts and 565 food and beverage shifts each 

fortnight to ensure QPAC’s operational needs and the needs of our guests were anticipated and not only met but exceeded. 

New and existing audiences 

QPAC has continued to expand engagement with audiences in 2011-12. Website traffi c has increased over 22% since 2010-11 

with the majority of bookings for performances (78%) coming from the website. QPAC launched a mobile site in September 

2011 in recognition of the huge increase in people accessing information from smart phones and tablets. The QPAC website 

and Facebook pages have been enabled to accept patron reviews that allow our audience to directly post reviews and generate 

discussion around performances, often faster than reviews are available through newspapers and magazines. The ‘My Account’ 

feature on the QPAC website allows patrons to view upcoming and past events, reprint their print@home tickets and view their 

booking details and booking confi rmation. Social network sharing has also been enabled for upcoming events. 

The number of patrons who connect with QPAC via social media has increased over 2011-12 with the QPAC Facebook 

page now having over 20,000 fans. Twitter followers have increased 50% on last year’s total. Social media allows QPAC to 

interact in a more immediate way than a traditional website does and patrons can provide instant feedback and engage in 

conversations more readily. 

13


In 2011-12 QPAC’s audience demographics saw an upswing in under 18s attending the centre with 18.5% of all audiences 

being under 18. This was due to the Out of the Box Festival and musicals such as Mary Poppins and Annie. Most other 

demographics remained steady. 

Precinct 

The Cultural Centre and South Bank precincts continue to be activated with expanding restaurants and retail outlets, new 

buildings and high levels of pedestrian traffi c from local, intra-state, inter-state and international visitors. The precinct around 

QPAC has had some signifi cant changes over the past year. 

The ABC Building has now opened and is fully operational. The Queensland Symphony Orchestra is in the process of moving 

into their new offi ces and studio at the ABC Building and we look forward to working in such close proximity with one of our 

home companies. The entry to the Conservatorium continues to evolve and the spaces between the Conservatorium and the 

ABC Building are becoming more active each day. 

QPAC welcomes the new Brisbane Convention and Exhibition Centre extension – BCEC on Grey (Street). This new facility, 

along with the ABC Building, has opened up an area of Grey Street that was previously underutilised. 

With changes to governance at South Bank QPAC looks forward to working with a new Chair of the South Bank Corporation 

and to working with Brisbane City Council as the main government funding body for the Corporation. The South Bank 

precinct continues to grow with more cafés, restaurants and shops opening each month. 

Cultural diversity 

QPAC’s engagement with culturally and linguistically diverse communities in 2011-12 resulted in some vibrant, rewarding and 

well-attended events. The focus was on the presentation of works by or about non-Western peoples and Aboriginal and Torres 

Strait Islander communities. 

QPAC recognises and supports the vision and objectives outlined in Arts Queensland’s Aboriginal and Torres Strait Islander 

Arts Policy 2009-2013. In presenting work relating to Aboriginal and Torres Strait Islander communities, QPAC continued its 

positive partnerships with several organisations. 

During the year, QPAC joined with its cultural precinct partners (Gallery of Modern Art, Queensland Art Gallery, Queensland 

Museum and State Library of Queensland) to present Torres Strait Islands: A Celebration which opened on 1 July 2011. 

QPAC’s contribution to this celebration included its presentation of Bangarra Dance Theatre’s Belong; the fourth Mabo Oration 

presented with Anti-Discrimination Commission Queensland and featuring an oration by lawyer and author Terri Janke; a 

comprehensive program of free performances staged in the Cascade Court and Melbourne Street Green; and a cross-precinct 

partnership on the publication of Torres Strait Islands, a high quality book showcasing the outstanding collections and 

performance programs of the major arts organisations located at South Bank. 

QPAC also continued its long term relationship with Aboriginal Centre for Performing Arts (ACPA) through the presentation of 

Stolen by Jane Harrison and directed by ACPA Artistic Director Leah Purcell in November 2011. 

In late 2011, QPAC and Queensland Theatre Company committed to a formal arrangement for the development and 

presentation of Aboriginal and Torres Strait Island work. The fi rst co-presentation by the partners was Sydney Theatre 

Company’s Bloodland an extraordinary production by Stephen Page and Bangarra Dance Theatre. This work, performed in 

Yolgnu and pidgin was presented in QPAC’s Playhouse in March 2012. The partners also came together to commission, produce 

and present a new work for children which premiered at QPAC’s Out of the Box Festival in June 2012. Stradbroke Dreamtime 

based on the book by Oodgeroo Nunukul, was directed by Sue Rider and featured choreography by Gail Mabo and music 

composition by Kahl Wallace and Jhindu Lawrie. 

Performances presented at QPAC representing non-Western peoples included: 

• Flamenco Sin Fronteras presented in July 2011 

• The Imperial Russian Ballet Company presented in September 2011 

• The Shaolin Warriors during September 2011 

• Maria De Buenos Aires during the Brisbane Festival in September 2011 

• Celebrations of the Golden Jubilee Korea – Australia presented by the Queensland Korean Orchestra Council in 

October 2011 

14

• The Laughing Samoans in October 2011 

• The Chinese Acrobatic Spectacular presented by Voice of Australian Chinese Pty Ltd in February 2012 

• I Musici – Viva Italia 60th Anniversary Tour presented by QPAC in February 2012 


• Buddha Birth Day Meditation Sessions offered by Buddha Light International Association Queensland in May 2012. 

Learning 

In 2011-12 a review was undertaken of the Learning and Development practices. The result has been to enhance QPAC’s 

competency framework that is based on the four pillars of training (job role specifi c, compliance, professional development 

and career planning). A compliance register was set up to ensure that a comprehensive register of all licences and registrations 

is maintained which is readily available to all stakeholders. Furthermore a mandatory unit specifi c induction has been 

developed for all units that underpin the existing QPAC Corporate and Workplace Health and Safety inductions. 

A leadership and management program was implemented for the Executive Team with particular emphasis on building 

productive working relationships, identifying strategic direction and achieving results to ensure effectiveness and effi ciencies 

across the organisation. This program integrated into the newly developed competency framework and aligns with the 

workforce performance and recruitment and selection activities. A supervisor program was offered for staff in frontline 

supervisory positions to support and develop the leadership capability of supervisors ensuring effectiveness in creating 

motivated and productive teams. A new format work experience program was introduced to provide school students with 

experience in the live entertainment industry with a view to possible employment; concurrently successfully addressing 

recruitment requirements in those areas. 

QPAC acknowledges the value of engaging with schools and tertiary institutions in providing work experience and industry 

placements. Throughout 2012 QPAC has hosted nine work experience students across all three disciplines of Lighting, Staging 

and Audio Visual and the feedback has indicated that the benefi cial experience has been a two way process. Further for the 

fi rst time QPAC has provided a dedicated internship for fi ve university students; two in Finance, one in Development, one in 

Visitors Services and one student as part of QPAC Out of the Box Festival. 

15


Strategic Relationships 

Build and strengthen relationships that add value and bring mutual benefi t 

QPAC recognises the critical role partnerships play across all areas of our work. Partnerships expand our capacity, enrich our 

everyday practice, encourage us to think from different perspectives and offer opportunities for growth. Like QPAC’s business, 

our relationships are varied and support a range of activity from the creation of new creative works to delivering impeccable 

customer service. These relationships take a number of forms and vary in their depth and longevity. 

Producers and presenters 

Some of the most critical relationships for QPAC are those with producers and presenters. In 2011-12 QPAC partnered with 

producers and presenters locally and from around the world. QPAC is a signifi cant investor in commercial musicals and in 

2011-12 partnered with the Gordon/Frost Organisation on Annie. 

QPAC also partnered with leading Australian producers Leo Schofi eld and Ian McCrae to secure and present two concerts by 

the Vienna Philharmonic Orchestra in October 2011. 

As a presenting partner, QPAC co-presents with local organisations as well as many companies from around Australia. A 

co-presentation is usually driven by multiple factors and will often focus on expanding the local audience base and/or 

developing the production quality. For example, QPAC regularly co-presents with national companies Bangarra Dance Theatre 

and The Australian Ballet, and this year with Opera Australia; and state based companies Expressions Dance Company, Zen 

Zen Zo Physical Theatre, Queensland Theatre Company, Queensland Symphony Orchestra, Queensland Ballet as well as the 

Queensland Conservatorium, Griffi th University, Brisbane Festival and Queensland Music Festival. The issues that infl uence 

QPAC’s decision to enter into partnerships as well as the outcomes sought vary enormously and range from enhanced public 

participation to art form development or commercial opportunities. 

Industry partnerships 

QPAC is a leading organisation in the performing arts sector in Queensland. As much as QPAC is a venue, QPAC also has a 

strong focus on strategic relationships within the overall arts industry. Through these industry partnerships QPAC seeks to 

support the development and advancement of the performing arts industry and to maintain strong and productive working 

relationships with a variety of artists and organisations. 

QPAC belongs to both the Australian Performing Arts Centres (OZPAC) and Northern Australian Regional Performing Arts 

Centres Association (NARPACA) networks. These associations create networks and build on professional relationships across 

the performing arts industry. 

A signifi cant part of QPAC’s commitment to industry partners is the artists and companies in residence program. QPAC 

continued to work with musical ensemble Southern Cross Soloists as Company-in-Residence. Since forming in the mid-1990s 

Southern Cross Soloists has become one of the most innovative musical ensembles in Australia. In 2011-12 Southern Cross 

Soloists have two showcase concerts and two concerts in their ‘Music and Words’ series. 

Brisbane’s Harvest Rain Theatre Company continues to perform at QPAC with this year showing James and the Giant Peach, 

The Wizard of Oz, The Neverending Story and Hairspray. 

Government stakeholders 

In 2011-12 QPAC partnered with all levels of Government across a range of projects. Brisbane City Council was again a major 

sponsor for the 2012 Out of the Box Festival. 

QPAC consolidated a partnership with Events Queensland by presenting the Vienna Philharmonic Orchestra (VPO). Extra 

funding from the Federal and State governments was also granted for this project to assist with costs in a live simulcast of 

the VPO performance. The VPO live simulcast to six regional Queensland venues was the fi rst such simulcast presented by 

QPAC. The success of the VPO and live simulcast created the momentum for QPAC and Events Queensland to create a formal 

partnership in the QPAC International Series to bring international companies to perform exclusively in Brisbane in coming 

years. The fi rst in this series will occur in August and September of 2012 with the Hamburg Season. A performance in the 

Hamburg Season will also be simulcast live to venues in regional Queensland. 

In 2012 Opera Australia (OA) returned to Brisbane for a performance season for the fi rst time in 25 years. Extra funding from 

the Federal and State governments made this return season possible. OA will return to Brisbane in coming years. 

16


2012 marked the fi nal year of QPAC’s KITE Theatre partnership with the Australia Council for the Arts. The culmination of 

this three year youth arts project was realised at the Out of the Box Festival with the release of the Yonder DVD. Learning and 

development from this project is ongoing. 

Corporate communities 

QPAC continues to embrace corporate partnerships, striving to build mutually benefi cial relationships that support QPAC’s 

projects and operations and deliver tangible brand outcomes for each partner. 

In 2011–2012 QPAC continued its partnerships with PricewaterhouseCoopers, Heritage Bank and Sirromet; all forming the 

foundations for which QPAC hopes will be long term relationships. Longstanding partners Treasury Casino and Hotel, Qantas 

and Grinders all continued to drive value and positive outcomes from their association with QPAC. 

The new QPAC International Series will present engagement and interest from potential new partners. The gala nature of the 

Vienna Philharmonic Orchestra season provided a backdrop for The House of Louis Roederer Champagne to showcase its 

product. QPAC has now established a Venue Partnership with Louis Roederer as well as support for the QPAC International 

Series. 

QPAC’s Out of the Box Festival continues to resonate with partners and this year’s Festival saw many new partners join the 

family. Special mention must go to IGA, The Courier-Mail, Channel 10 and Oaks Hotels and Resorts for their generous support. 

It is encouraging that so many corporate partners recognise the value of supporting Out of the Box and the richness it delivers 

to the community. 

International partnerships 

QPAC is committed to creating and participating in a vibrant arts community in Queensland. Part of this is to export 

Queensland arts to the world – shows that have been developed in Queensland and at QPAC have been shown around the 

world. Conversely QPAC seeks the best in international performances to show at QPAC. 

QPAC continued its membership of international industry bodies the Association of Asia Pacifi c Performing Arts Centres based 

in Singapore and the International Society for the Performing Arts based in New York. 

In 2011-12 QPAC’s main international focus has been on Asia. The current economic conditions in European and North 

American are forcing fi scal conservatism for many in the performing arts. Now more than ever is the time that QPAC is 

strategically aligning itself to Asia. QPAC’s CEO presented a keynote speech at the World Theatre Forum in Beijing in 2012 

about Opera in Australia and Ideas for the future. This conference also provided the opportunity to meet performing arts 

professionals from arts centres around the world. A key purpose of this and other travel is to maintain QPAC’s profi le as 

a leading international venue and to develop and maintain partnerships that will support QPAC to present a diversity of 

performing arts product from around the world. 

The 2011-12 program featured performances from international artists and companies. Highlights of the international 

collaborations included the presentation of the Vienna Philharmonic Orchestra and children’s classic Angelina Ballerina with 

the Royal New Zealand Ballet. 

Organisational culture 

Information workshops continue to be run throughout the year with QPAC’s Organisation Health and Wellness Program 

offering programs focused on nutrition, fi tness and general lifestyle and health education. In completing its ninth year QPAC’s 

program continues to have a positive impact on our employees. 

With the aim of a continued connection to QPAC employees who have dedicated fi fteen years or more of service to QPAC a 

new program Friends of QPAC has been rolled out with the aim of continuing QPAC’s engagement and recognition of past 

employees contribution and commitment. 

QPAC’s Reward and Recognition program continues to gain momentum since its inception in July 2007. The purpose of the 

program is to ensure all employees who go above and beyond are recognised for their outstanding value to QPAC and their 

contribution. So far to date we have received over two hundred and forty fi ve nominations ranging from outstanding customer 

service to innovation. 

QPAC seriously considers any employee request for fl exible working arrangements to assist our employees to achieve a work 

life balance and we appreciate how fl exible working can benefi t an employee’s performance through improved motivation and 

productivity. 

17



Deliver integrated commercial services that meet the highest industry standards. 

QPAC operates in a fl uctuating market and depends on a strong commercial musical theatre sector to ensure fi nancial 

sustainability. Approximately one-fi fth of QPAC’s annual revenue is derived from government grants and uniquely among our 

Cultural Centre neighbours, functions in a commercial environment, operating seven different revenue producing business 

units. In seeking commercial opportunities, QPAC strives to deliver integrated services to audiences, hirers and partners in 

order to exceed industry standards and achieve mutually benefi cial outcomes. 

Entrepreneurial activity 

In pursuing long term fi nancial sustainability QPAC balances innovation, experimentation and risk. 70% of QPAC’s business 

streams are profi t generating, deriving income primarily from venue rental, investments, food and beverage services and 

ticketing operations. 

Full service model 

In 2011-12 QPAC’s website continued to improve accessibility for patrons. Purchasing tickets through the QPAC website 

continues to attract the most patrons with 78% of single ticket sales going through the website. QPACs new mobile site was 

launched in September 2011 and a new sophisticated white label ticketing solution is available for events not held within the 

QPAC venues. 

A recent upgrade has enabled patrons to integrate ticket purchases with food and beverage packages and parking options via 

the QPAC website. 

The website upgrade also allowed for better integration between the QPAC website and social media. Patrons can post their 

ticket purchases to their social media accounts (Facebook and Twitter) to alert friends and followers to what they are attending. 

From December 2011 patrons are also able to post reviews to QPAC’s website and Facebook pages. This allows for faster word 

of mouth early in seasons which has a correlative effect on infl uencing other people to book tickets. 

New dynamic content in booking confi rmation emails has allowed QPAC to tailor complimentary messages specifi c to 

bookings, and to follow up with suggestions for other performances afterwards. 

The print@home function on the QPAC website continues to be used and saves on cost of printed tickets. Patrons can now 

also reprint tickets using the QPAC website’s ‘My Account’ function which also allows patrons to view upcoming and past 

bookings, view booking details and share events on social media. 

Enhanced real time reporting dashboards allow QPAC and promoters to view tickets sales live on their PC, tablet device or 

smart phone. 

Of people who attended performances at QPAC 75% made an additional purchase whilst at the Centre. This includes 

merchandise for shows, drinks and dinner at QPAC outlets. 

Ticketing 

QPAC is recognised as owning and operating one of the most advanced ticketing systems in the Asia Pacifi c – qtix. This 

high quality, data-rich ticketing service contributes to the overall success and international reputation of QPAC as a premier 

performing arts centre. 

qtix, with its strong focus on audience profi ling and segmentation provides superior ticketing services not only to QPAC but 

also to the broader industry. It offers ticket sales through multiple channels – internet, phone, mail, outlets and box offi ce. 

qtix continues to develop its service this year introducing its white label sales and website offering to external clients, barcode 

scanning, mobile tickets and customer real time reporting portals. 

qtix clients range from large commercial producers to small local organisations and host events both at QPAC and in venues 

around Brisbane. In 2011-12 qtix provided services to organisations, including Queensland Art Gallery/GoMA, State Library of 

Queensland, Mercedes Benz Fashion Festival, Brisbane Festival, Delectable Food Festival and the Brisbane Writers Festival. 

In 2011-12 qtix issued 1,016,991 tickets to events that took place during the fi nancial year, an increase of 19% on the previous 

year. Of these, 800,430 tickets were to performances at QPAC and an additional 102,476 to performances in other venues. 

Actual ticket sales (including events which will take place during the next fi nancial year) were 1,157,165. External venue and 

events paid ticket sales accounted for 17% of total sales in 2011-12. 

18


Sold occupancy is calculated as the total number of tickets sold as a percentage of the total number of tickets offered for 

sale. The sold occupancy achieved for performances across QPAC’s four theatres was 64%. Sold occupancy is one of the key 

performance measures for a production. Achieving high levels of sold occupancy is critical for all productions, particularly for 

national and international producers in QPAC. 

Food and beverage 

QPAC’s food and beverage services continue to grow and gain popularity with theatre patrons. In 2011-12 QPAC served over 

500 000 meals drinks across the QPAC Café, Bistro, Lyrebird Restaurant and foyer bars. With four major musicals showing in 

the Lyric Theatre this year QPAC created unique themed food and beverage packages to enhance patron experience. During 

Mary Poppins which showed at the Lyric Theatre over summer, picnic baskets were available for families to enjoy a more 

casual and leisurely pre-performance meal on the Melbourne Street Green. The uptake was high and has inspired future work 

around how to tie in special menus with performances. 

Performance Statement 

Service standards 

Notes 

2011-12 

Target/est. 

2011-12 

Est. actual (as 

published in 

2012-13 SDS) 

2012-13 

Target/est. 

Venue utilisation 1 75% 85% 76% 

Lyric Theatre 70% 95% 72% 

Concert Hall 70% 65% 70% 

Playhouse 90% 96% 90% 

Cremorne Theatre 75% 82% 75% 

Level of audience satisfaction 90% 97% 90% 

Level of hirer satisfaction 95% 88% 95% 

Other measures 

Visitation 1 000 000 1 053 178 1000 000 

Attendance at paid events 2 800 000 918 391 800 000 

Attendance at unpaid events 3 200 000 134 787 200 000 

Presentations 

Number of performances 950 1 427 970 

Number of seasons 230 255 240 

Number of regional venues receiving QPAC programming 4 12 6 14 

Number of programs hosted by regional venues 4 4 1 5 

Notes: 

1. The increases in 2011-12 Est.actual is due to securing additional unbudgeted 

hires throughout the year, including some at short notice. 

2. The increase in 2011-12 Est.actual is due to increased venue utilisation 

and sold occupancy in major seasons including Mary Poppins. 

3. The decrease in 2011-12 Est.actual is due to weather affected outdoor 

events. 

4. The decrease in 2011-12 Est.actual is due to deferred Opera Australia 

simulcast in 2012-13. 

19


Corporate Governance 

Ethics and Code of Conduct 

To ensure a clear understanding of and commitment to the fi ve ethics principles contained in the Public Sector Ethics Act 

1994, QPAC has developed and implemented a Code of Conduct for Trust members and employees. The Code of Conduct 

is distributed to new staff at induction and is available on the QPAC intranet. Trustees and staff continue to abide by the 

principles contained in the Code. 

Recordkeeping 

QPAC uses the TRIM record management system to ensure compliance with the Public Records Act 2002 and Information 

Standard 40: Recordkeeping and Information Standard 31: Retention and Disposal of Public Records. 

Ethics and Code of Conduct 

To ensure a clear understanding of and commitment to the fi ve ethics principles contained in the Public Sector Ethics Act 

1994, QPAC has developed and implemented a Code of Conduct for Trust members and employees. The Code of Conduct 

is distributed to new staff at induction and is available on the QPAC intranet. Trustees and staff continue to abide by the 

principles contained in the Code. 

Right to Information 

QPAC supports the Queensland Government’s approach to giving the community greater access to information. In accordance 

with the Right to Information Act 2009 and the Information Privacy Act 2009, QPAC makes some information routinely 

available for the public to access through a publication scheme. These documents are available for download from the QPAC 

website or in alternative formats by contacting QPAC. 

20

Consultancies 


Consultant Reason for engagement Actual cost $ 

Livingstones Australia Workplace agreement 23 071 

RiskWorks Pty Ltd 

Review of emergency procedures and investigation 

of alarms 

21 499 

ARUP Pty Ltd Fire and safety program 7 000 

McCormick Traffi c management plan for loading dock 8 500 

Professional Brand Audit Brand identity for food and beverage outlets 3 600 

Future Food Review of food and beverage 5 876 

Deloitte Review of ticketing services and risk management 5 250 

The Consultancy Bureau 

Development Unit restructure, Executive Team 

restructure, ticketing advice, board strategy advice 

24 250 

Tell Creative QTIX identity and brand 3 240 

TOTAL 

Overseas Travel 

Name of offi cer 

and position 

Bill Jessop 

Associate Director – 

Presenter Services 

John Kotzas 

Chief Executive 

John Kotzas 


Destination Reason for travel Agency 

cost 

United Kingdom; Spain; 

Germany; Russia; China 

(Hong Kong/Macau) 

Meet major companies Technical 

Directors 

Korea; Japan; China Meet major companies commercial 

producers and develop trade 

relationship between Australia 

and China 

Beijing, China Attend and speak at 

World Theatre Forum 

18 688 

19 017 

102 286 

Contribution 

from other 

agencies or 

sources 

1 475 Approx 6 614 

21


Human Resources 

QPAC’s performance management framework underwent a review during 2011 and 2012. The main purpose of this review 

was to develop a tool that would provide a vital link between QPAC’s Operational Plan, the Unit’s Individual Business Unit 

Plans, its vision and guiding principles, and the individual. This will ensure that goals and objectives fl ow from the top of the 

organisation to the personal objectives of each employee. It will foster engagement and will ensure our employees reach their 

full potential. For the fi rst time performance reviews were also introduced for our casual employees to promote an increased 

level of engagement with QPAC and the value and importance which QPAC places on our casual employees’ contribution. 

QPAC recorded 100% compliance with the Enterprise Bargaining Agreement and nil hours were lost to industrial disputation 

during this process. QPAC Enterprise Agreement gained an overwhelming 94% support for the ratifi cation of the agreement 

through Fair Work Australia. QPAC’s Joint Consultative Committee plays a vital role to ensure that employee representative’s 

have the opportunity to raise and work through organisational issues in a consultative forum with management. This process 

has fostered closer working relationships between QPAC and employee union representatives throughout 2011 and 2012 with 

four committee meetings being held. 

QPAC’s workforce is made up of 337 full time equivalent staff and the permanent attrition rate is 4.15% and the permanent 

retention rate is 95.85%. 

A Voluntary Separation Program was introduced as part of the Mid-Year Fiscal and Economic Review in January 2011. This 

program was one of a number of measures designed to deliver additional savings and reprioritise spending. The program was 

targeted primarily at non-frontline areas, as a service reprioritisation strategy to ensure continued growth in frontline areas. 

QPAC sought expressions of interest from selected support areas within the organisation. In 2011-12 six employees accepted 

offers of voluntary separation packages at a cost of $445,602. 

22

Operating Revenue 

for the year ended 30 June 2012 

Patron Services 22% 

Marketing & Ticketing 24% 

Operating Expenditure 

Corporate Services 3% 




Directorate 6% 

Grants (Operating 

Facilities) 19% 

Presenter Services 32% 

Marketing & 

Ticketing 17% 


Operating Revenue 




Marketing 

& Ticketing 20% 

Operating Expenditure 




Directorate 7% 


Grants (Operating 

Facilities) 20% 



Marketing & 

Ticketing 16% 

23


STATEMENT OF COMPREHENSIVE INCOME 

For the Year Ended 30 June 2012 

2012 2011 

Notes $’000 $’000 

Income from continuing operations 

Revenues from service activities 8a 35,716 29,956 

Grants and other contributions 8a 8,900 7,936 

Other revenue 8a 1,169 1,067 

Total Income from Continuing Operations 45,785 38,959 

Expenses from continuing operations 

Employee expenses 8c 25,289 21,039 

Supplies and services 8b 19,588 16,233 

Depreciation and amortisation 8b 608 596 

Other expenses 8b 186 209 

Total Expenses from Continuing Operations 45,671 38,077 

Operating Result from Continuing Operations 114 882 

Other Comprehensive Income 

Increase in asset revaluation surplus 406 – 

Total Comprehensive Income 520 882 

The accompanying notes form part of these fi nancial statements. 

24

ASSETS 


STATEMENT OF FINANCIAL POSITION 

At 30 June 2012 

2012 2011 

Notes $’000 $’000 

Current assets 

Cash and cash equivalents 9 12,159 9,074 

Receivables 10 2,609 2,700 

Inventories 11 241 154 

Other 12 141 638 

Total current assets 15,150 12,566 

Non-current assets 

Intangible assets 13 – – 

Property, plant, equipment 14 7,725 7,581 

Total non-current assets 7,725 7,581 

TOTAL ASSETS 22,875 20,147 

LIABILITIES 

Current liabilities 

Payables 15 3,639 2,452 

Accrued employee benefi ts 16 1,248 933 

Other 17 867 161 

Total current liabilities 5,754 3,546 

TOTAL LIABILITIES 5,754 3,546 

NET ASSETS 17,121 16,601 

EQUITY 

Contributed equity 1,033 1,033 

Accumulated surplus 3,112 3,374 

Reserves 

– Asset revaluation 19 3,580 3,174 

– Building development 2,418 1,500 

– Equipment replacement 2,478 2,478 

– General 1,500 2,042 

– Commercial development 3,000 3,000 

TOTAL EQUITY 17,121 16,601 


25


STATEMENT OF CHANGES IN EQUITY 


26 

2012 2011 2012 2011 2012 2011 2012 2011 2012 2011 

$’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000 

Balance 1 July 3,374 3,377 3,174 3,174 9,020 8,135 1,033 1,033 16,601 15,719 

Operating Result from Continuing Operations 114 882 – – – – – – 114 882 

Total Other Comprehensive Income 

Accumulated 

Surplus 

Asset Revaluation 

Surplus (Note 19) 

Other 

Reserves 

Contributed 

Equity 

Increase in asset revaluation surplus – – 406 – – – – – 406 – 

Total comprehensive income for the year 114 882 406 0 0 0 0 0 520 882 

Transfers between reserves (376) (885) – – 376 885 – – – – 

Balance 30 June 3,112 3,374 3,580 3,174 9,396 9,020 1,033 1,033 17,121 16,601 


Total

Cash fl ows from operating activities 


STATEMENT OF CASH FLOWS 


2012 2011 

Notes $’000 $’000 

Infl ows 

Revenues from service activities 36,958 30,934 

Grants and other contributions 8,900 7,936 

Interest 1,121 923 

GST collected from customers 2,996 2,524 

Other revenues 48 79 

Outfl ows 

Employee expenses (24,973) (20,882) 

Supplies and services (20,109) (16,838) 

GST paid to ATO (1,471) (1,415) 

Net cash provided by operating activities 18b 3,470 3,261 

Cash fl ows from investing activities 

Proceeds from sale of plant and equipment – 31 

Payments for plant and equipment (385) (623) 

Investment income – 65 

Net cash used in investing activities (385) (527) 

Net increase in cash and cash equivalents 3,085 2,734 

Cash and cash equivalents at the beginning of fi nancial year 9,074 6,340 

Cash and cash equivalents at the end of fi nancial year 18a 12,159 9,074 


27


NOTES TO THE FINANCIAL REPORT 


Note 1 Objectives and Principal Activities of the Trust 

28 

The objectives of the Trust are to produce, present, and manage the performing arts in the Queensland 

Performing Arts Centre, and elsewhere, as well as to promote and encourage either directly or indirectly the 

knowledge, understanding, appreciation, enjoyment of and participation in the performing arts. 

The Trust is partly funded for the outputs it delivers by Parliamentary appropriations. It also provides services 

on a fee for service basis including: venue rental, production crewing services, ticket sales, marketing services 

and equipment hire. 

Note 2 Signifi cant Accounting Policies 

(a) Statement of Compliance 

General 

The Trust has prepared these fi nancial statements in compliance with section 43 of the Financial and 

Performance Management Standard 2009. 

These fi nancial statements are general purpose fi nancial statements, and have been prepared on an accrual 

basis in accordance with Australian Accounting Standards and Interpretations. In addition, the fi nancial 

statements comply with Treasury’s Minimum Reporting Requirements for the year ending 30 June 2012, and 

other authoritative pronouncements. 

With respect to compliance with Australian Accounting Standards and Interpretations, the Trust has applied 

those requirements applicable to not-for-profi t entities, as the Trust is a not-for-profi t entity. Except where 

stated, the historical cost convention is used. 

Comparative fi gures 

Comparative fi gures and disclosures have been restated and amended to accord with the current year’s 

presentation and disclosure. 

Classifi cation between current and non-current 

In the determination of whether an asset or liability is current or non-current, consideration is given to the time 

when each asset or liability is expected to be realised or paid. The asset or liability is classifi ed as current if it is 

expected to be turned over within the next twelve months. 

Rounding 

Unless otherwise stated, amounts in the report have been rounded to the nearest thousand dollars. 

(b) Revenue Recognition 

Revenue is recognised when goods or services are delivered. 

Services acquired for no cost 

The value of services received free of charge are recognised as revenue at fair value when received. 

Grants and other Contributions 

Grants, donations and gifts which are non-reciprocal in nature are recognised as revenue in the year in which 

the Trust receives them. Where grants are received that are reciprocal in nature, revenue is accrued over the 

term of the funding arrangements.

Note 2 Signifi cant Accounting Policies (Continued) 

(c) Recognition and Measurement of Property, Plant and Equipment 

Acquisition 


Actual cost is used for the initial recording of all acquisitions of assets. Cost is defi ned as the value given as 

consideration at the date of acquisition plus any incidental costs attributable to the acquisition. 

Recognition thresholds 

Items of property, plant and equipment with a cost or other value equal to or in excess of the following 

thresholds are capitalised in the year of acquisition. All other items are expensed in the year of acquisition: 

– Buildings and Infrastructure $5,000 

– Land $1 

– Plant and equipment $5,000 

– Heritage and cultural assets $5,000 

Revaluation 

Land, buildings, infrastructure, heritage and cultural assets are measured at fair value. All other assets are 

measured at cost. This is in accordance with the AASB 116 Property, Plant & Equipement and the Queensland 

Treasury’s Non-Current Asset Accounting Policies for the Public Sector. Sector 

Non-current physical assets measured at fair value are comprehensively revalued at least once every fi ve years 

with interim valuations, using appropriate indices, being otherwise performed on an annual basis where the 

change would be material to that class of assets. 

Only those assets, the total values of which are material, compared to the value of the class of assets to which 

they belong, are comprehensively revalued. 

Separately identifi ed components of assets are measured on the same basis as the assets to which they relate. 

Where the assets are revalued, the revaluation increments are credited directly to the asset revaluation reserve 

except to the extent that an increment reverses a prior year decrement for that class of asset that had been 

recognised as an expense, in which case the increment is recognised as revenue up to the amount of the 

expense. Revaluation decrements are recognised as an expense except where prior increments are included in 

the asset revaluation reserve for that class of asset, in which case the decrement is taken to the reserve to the 

extent of the remaining increments. Within the same class of assets, revaluation increments and decrements 

within the year are offset. 

Repairs and maintenance 



Routine maintenance, repair costs and minor renewal costs are expensed as incurred. Where the repair relates 

to the replacement of a component of an asset and the cost exceeds the capitalisation threshold the cost is 

capitalised and depreciated. 

29





(d) Leases 

30 

Operating leases 

Lease payments for operating leases are recognised as an expense in the years in which they are incurred as this 

refl ects the pattern of benefi ts derived by the Trust. 

Finance leases 

The Trust has not entered into any fi nance leases. 

(e) Depreciation and Amortisation of Property, Plant and Equipment 

(f) Intangibles 

Land is not depreciated as it has an unlimited useful life. 

Depreciation on buildings, infrastructure and equipment and motor vehicles, is calculated on a straight-line 

basis so as to write-off the net cost or revalued amount of each depreciable asset, less its estimated residual 

value, progressively over its estimated useful life to the Trust. 

Capital work-in-progress is not depreciated until it reaches service delivery capacity. 

Where assets have separately identifi able components, these components are assigned useful lives distinct 

from the asset to which they relate. Any expenditure that increases the originally assessed capacity or service 

potential of an asset is capitalised and the new depreciable amount is depreciated over the remaining useful 

life. 

The depreciable amount of improvements to or on leasehold land is allocated progressively over the estimated 

useful lives of the improvements to the Trust or the unexpired period of the lease, whichever is shorter. 

Major depreciation rates used are listed below and are consistent with the prior year unless otherwise stated: 

Buildings and leasehold improvements 4 to 20% 

Motor vehicles 20% 

Plant and equipment 1 to 33% 

Concert Hall Grand Organ 2% 

All intangible assets with a cost or other value greater than $100,000 are recognised in the fi nancial statements, 

with items of a lesser value being expensed. Each intangible asset is amortised on a straight line basis over its 

estimated useful life to the Trust, less any anticipated residual value. Current amortisation rates are either 20% 

or 33.3%. 

It has been determined that there is not an active market for any of the Trust’s intangible assets. Therefore the 

assets are recognised at cost less accumulated amortisation and any impairment loss. 

There have been no disposals of intangible assets during the year ended 30 June 2012, nor does any intangible 

asset form part of a disposal group held for sale at 30 June 2012.


(g) Impairment of Non-Current Assets 


All non-current physical and intangible assets are assessed for indicators of impairment on an annual basis. 

If an indicator of possible impairment exists the assets recoverable amount is determined. The recoverable 

amount is determined as the higher of the asset’s fair value (net of selling costs) and the depreciated 

replacement cost. 

An impairment loss is immediately recognised in the Statement of Comprehensive Income. If the asset in 

question is carried at a revalued amount then any impairment loss is fi rst offset against the asset revaluation 

reserve of the relevant asset class to the extent available. 

If an impairment loss subsequently reverses, the carrying amount of the asset is increased to the revised 

estimate of its recoverable amount, but only to the extent that the carrying amount does not exceed the carrying 

amount that would have been determined had no previous impairment loss been recognised for the asset. A 

reversal of an impairment loss is recognised as income, unless the asset is carried at a revalued amount, in 

which case the reversal of the impairment loss is treated as a revaluation increase. 

(h) Cash and Cash Equivalents 

(i) Receivables 

(j) Inventories 

(k) Payables 

For the purposes of the Statement of Financial Position and the Statement of Cash Flows, cash assets include all 

cash and cheques receipted but not banked at 30 June as well as deposits at call with fi nancial institutions. It 

also includes liquid investments with short periods to maturity that are convertible readily to cash on hand, at 

the investor’s option and that are subject to a low risk of changes in value. 

Trade debtors are recognised at the nominal amounts due at the time of sale or service delivery, with settlement 

being generally required within 30 days from the invoice date. 

The collectability of receivables is assessed periodically with provision being made for impaired debts. All 

known bad debts were written off as at 30 June. 

Inventories are valued at the lower of cost or net realisable value and is comprised of stock for the Trust’s 

catering operations. 

Cost is assigned on a weighted average basis and includes expenditure incurred in acquiring the inventory and 

bringing it to its existing condition. 

Net realisible value is determined on the basis of the Trusts normal selling patterns. 



Payables are recognised for amounts payable in the future for goods and services received, whether or not 

billed to the Trust. Creditors are included at the nominal amount ie agreed purchase price less any applicable 

discounts. Amounts owing are generally unsecured, not subject to interest charges and are normally settled 

within 30 days of invoice receipt. 

31





(l) Employee Benefi ts 

32 

Employer superannuation contributions, annual leave and long service leave levies are regarded as employee 

benefi ts. 

Payroll tax and workers’ compensation insurance are a consequence of employing employees, but are not 

counted in an employee’s total remuneration package. They are not employee benefi ts and are recognised 

separately as employee related expenses. 

Wages, Salaries and Sick Leave 

Wages and salaries due but unpaid at reporting date are recognised in the Statement of Financial Position at the 

current salary rates. 

For unpaid entitlements expected to be paid within 12 months, the liabilities are recognised at their 

undiscounted values. Entitlements not expected to be paid within 12 months are classifi ed as non-current 

liabilities and recognised at their present value, calculated using yields on Fixed Rate Commonwealth 

Government bonds of similar maturity, after projecting the remuneration rates expected to apply at the time of 

likely settlement. 

Prior history indicates that on average, sick leave taken each reporting period is less than the entitlement 

accrued. This is expected to continue in future periods. Accordingly, it is unlikely that existing accumulated 

entitlements will be used by employees and no liability for unused sick leave entitlements is recognised. 

As sick leave is non-vesting, an expense is recognised for sick leave as it is taken. 

Long service leave 

Under the State Government’s long service leave scheme a levy is made on the Trust to cover the expense. 

Amounts paid to employees for long service leave are claimed from the scheme as and when leave is taken. 

No provision for long service leave is recognised in the department’s fi nancial statements, the liability being 

held on a whole-of-government basis and reported in those fi nancial statements pursuant to AASB 1049 Whole 

of Government and General Government Sector Financial Reporting . 

Superannuation 

Employer superannuation contributions are paid to QSuper, the superannuation scheme for Queensland 

Government employees, at rates determined by the Treasurer on the advice of the State Actuary. Contributions 

are expensed in the period in which they are paid or payable. The Trust’s obligation is limited to its contribution 

to QSuper. 

The QSuper scheme has defi ned benefi t and defi ned contribution categories. The liability for defi ned benefi ts is 

held on a whole-of-government basis and reported in those fi nancial statements pursuant to AASB 1049 Whole 

of Government and General Government Sector Financial Reporting. 

Key Executive management personnel and remuneration 

Key executive management personnel and remuneration discloures are made in accordance with section 5 to 

the Financial Reporting Requirements for Queensland Government Agencies issued by the Queensland Treasury. 

Refer to Note (25) for the disclosures on key executive management personnel and remuneration.


(m) Taxation 


The activities of the Trust are exempt from Commonwealth taxation except for Fringe Benefi ts Tax (FBT) and 

Goods and Services Tax (GST). As such, input tax credits receivable from and GST payable to the Australian 

Taxation Offi ce are recognised. 

(n) Financial Instruments 

Recognition 

Financial assets and fi nancial liabilities are recognised in the Statement of Financial Position when the Trust 

becomes party to the contractual provisions of the fi nancial instrument. 

Classifi cation 

Financial instruments are classifi ed and measured as follows : 

– Cash and cash equivalents – held at fair value through profi t and loss 

– Receivables – held at amortised cost 

– Payables – held at amortised cost 



The Trust does not enter into transactions for speculative purposes, nor for hedging. Apart from cash and cash 

equivalents, the Trust holds no fi nancial assets classifi ed at fair value through profi t and loss. 

All disclosures relating to the measurement basis and fi nancial risk management of other fi nancial instruments 

held by the Trust are included in Note 22. 

33





(o) Reserves 

34 

Building Development Reserve 

This reserve has been established as the Trust is mindful of the need to undertake major building upgrades in 

future years for areas such as catering facilities, entertaining by corporate sponsors and offi ce accommodation. 

Equipment Replacement Reserve 

The balance of this reserve represents funds held for future replacement of the Trust’s general equipment needs, 

including information technology and theatre production equipment. The level of this reserve as at 30 June 2012 

represents 34% of the total accumulated depreciation of the Trust’s property, plant and equipment. 

General Reserve 

The General Reserve provides for fl uctuations in working capital due to the volatile nature of the performing arts 

industry. 

Commercial Development Reserve 

The Commercial Development Reserve is to offset the fi nancial risks associated with investments in copresentations 

with commercial organisations or strategic productions undertaken by the Trust on a commercial 

basis. 

(p) Services Provided by External Parties free of charge 

(q) Insurance 

The Trust was provided with the use of the Performing Arts Centre premises for which the State does not charge 

rent (refer note 3). 

The Trust’s non current physical assets and other risks are insured through the Queensland Government 

Insurance Fund, premiums being paid on a risk asssessed basis. In addition the Trust pays premiums to 

Workcover Queensland in repect of all obligations for employee compensation. 

It is the Trust’s policy to insure against all potential liabilities or losses that would affect its normal operations. 

(r) Judgements and Assumptions 

The preparation of fi nancial statements necessarily requires the determination and use of certain critical 

accounting estimates, estimates and management judgements that have the potential to cause a material 

adjustment to the carrying amount of assets and liabilities within the next fi nancial year. Such estimates, 

judgements and underlying assumptions are reviewed on an ongoing basis. Revisions in accounting estimates 

are recognised in the period in which the estimate is revised and in future periods as required.


(s) New and Revised Accounting Standards 




The Trust did not voluntarily change any of its’ accounting policies during the year ended 30 June 2012. 

Australian Accounting Standards applicable for the fi rst time during 2011 - 2012 have had minimal impact on the 

Trust’s fi nancial statements, as explained below. 

AASB 2010-4 Further Amendments to Australian Accounting Standards arising from the Annual Improvements 

Project [ AASB 1, AASB 7, AASB 101 & AASB 134 and Interpretation 13] became effective from reporting periods 

beginning on or after 1 January 2011. The application of the standard had a minor impact on the Trust’s fi nancial 

instrument disclosures. The Trust is no longer required to disclose amounts that best represent its maximum 

exposure to credit risk where the carrying amount of the instruments refl ects this. If the Trust holds collateral or 

other credit enhancements in respect of any fi nancial instrument, it needs to disclose – by class of instrument 

– the fi nancial extent to which those arrangements mitigate the credit risk. There is no need to disclose the 

carrying amount of fi nancial assets for which the terms have been renegotiated, which would otherwise be 

past due or impaired. Also, for those fi nancial assets that are either past due but not impaired, or have been 

individually impaired, there will be no need to separately disclose details about any associated collateral or 

other credit enhancements held by the Trust. 

AASB 1054 Australian Additional Disclosures became effective from reporting periods commencing on or after 1 

July 2011. The standard had minimal impact on the Trust’s fi nancial statements. Note 8 (b) Other expenses has 

been amended to identify the Trust’s auditor and clarify the nature of the work performed by the auditor. 

AASB 2011 - 1 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence 

Project (AASB 1, AASB 5, AASB 101, AASB 107, AASB 108, AASB 121, AASB 128, AASB 132, AASB 134 & 

Interpretations 2, 112 & 113) became effective for reporting periods commencing on or after 1 July 2011 has a 

potential implication on the Trust’s fi nancial statements as the Standard removes the requirement to disclose 

commitments. At present the Treasury Department’s reporting requirements require disclosure of this 

information, so the Standard has no effect on the Trust’s fi nancial statements. 

The Trust is not permitted to early adopt a new or amended accounting standard ahead of the specifi ed 

commencement date unless approval is obtained from the Treasury Department. Consequently, the Trust has not 

applied any Australian accounting standards and interpretations that have been issued but are not yet effective. 

The Trust applies standards and interpretations in accordance with their respective commencement dates. 

35





(s) New and Revised Accounting Standards (continued) 

36 

At the date of authorisation of the fi nancial report, signifi cant impacts of new or amended Australian accounting 

standards with future commencement dates are as set out below. 

AASB 9 Financial Instruments (December 2010) and AASB 2010-7 Amendments to Australian Accounting 

Standards arising from AASB 9 (December 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 

132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127] are effective from reporting periods 

beginning on or after 1 January 2013. The main impacts of these standards on the Trust are that they will change 

the requirements for the classifi cation, measurement and disclosures associated with fi nancial assets. Under 

the new requirements, fi nancial assets will be more simply classifi ed according to whether they are measured at 

either amortised cost or fair value. Pursuant to AASB 9, fi nancial assets can only be measured at amortised cost 

if two conditions are met. One of these conditions is that the asset must be held within a business model whose 

objective is to hold assets in order to collect contractual cash fl ows. The other condition is that the contractual 

terms of the asset give rise on specifi ed dates to cash fl ows that are solely payments of principal and interest on 

the principal amount outstanding. 

On initial application of AASB 9, the Trust will need to re-assess the measurement of its fi nancial assets against 

the new classifi cation and measurement requirements, based on the facts and circumstances that exist at that 

date. Assuming no change in the types of transactions the Trust enters into, it is not expected that any of the 

Trust’s fi nancial assets will meet the criteria in AASB 9 to be measured at amortised cost. Therefore, as from 

the 2013-14 fi nancial statements, all of the Trust’s fi nancial assets will be required to be classifi ed as “fi nancial 

assets required to be measured at fair value through profi t or loss” (instead of the measurement classifi cations 

presently used in notes 2(n) and 22). The same classifi cation will be used for net gains/losses recognised in the 

Statement of Comprehensive Income in respect of those fi nancial assets. In the case of the Trust’s receivables, 

the carrying amount is considered to be a reasonable approximation of fair value. 

AASB 1053 Application of Tiers of Australian Accounting Standards and AASB 2010-2 Amendments to Australian 

Accounting Standards arising from Reduced Disclosure Requirements [AASB 1, 2, 3, 5, 7, 8, 101, 102, 107, 

108, 110, 111, 112, 116, 117, 119, 121, 123, 124, 127, 128, 131, 133, 134, 136, 137, 138, 140, 141, 1050 & 1052 and 

Interpretations 2, 4, 5, 15, 17, 127, 129, & 1052] apply to reporting periods beginning on or after 1 July 2013. 

AASB 1053 establishes a differential reporting framework for those entities that prepare general purpose 

fi nancial statements, consisting of two tiers of reporting requirements – Australian Accounting Standards 

(commonly referred to as “tier 1”), and Australian Accounting Standards – Reduced Disclosure Requirements 

(commonly referred to as “tier 2”). 

Tier 1 requirements comprise the full range of AASB recognition, measurement, presentation and disclosure 

requirements that are currently applicable to reporting entities in Australia. The only difference between the tier 

1 and tier 2 requirements is that tier 2 requires fewer disclosures than tier 1. AASB 2010-2 sets out the details of 

which disclosures in standards and interpretations are not required under tier 2 reporting. 

Pursuant to AASB 1053, public sector entities like QPAT may adopt tier 2 requirements for their general purpose 

fi nancial statements. However, AASB 1053 acknowledges the power of a regulator to require application of 

the tier 1 requirements. In the case of the Trust, Treasury is the regulator. Treasury has advised that its policy 

decision is to require all Statutory Bodies to adopt tier 1 reporting requirements. In compliance with Treasury’s 

policy which prohibits the early adoption of new or revised accounting standards unless Treasury approval is 

granted, the Trust has not early adopted AASB 1053.


(s) New and Revised Accounting Standards 


A revised version of AASB119 Employee Benefi ts is applicable for reporting periods commencing on or after 

1 January 2013 and is generally to be applied retrospectively. The revised standard clarifi es the concept of 

termination benefi ts and the recognition criteria for liabilies for termination benefi ts will be different under the 

revised standard. If termination benefi ts meet the timeframe criterion for short-term employee benefi ts they 

will be measured according to the AASB119 requirements for short-term employee benefi ts. Otherwise they 

will be measured according to the AASB119 requirements for other long-term employee benefi ts. The Trust’s 

obligations for other long-term employee benefi ts will need to be accounted for under most of the requirements 

for defi ned benefi t plans. 

The Trust is a member of the Queensland Government central scheme for Long Service Leave and the employer 

liability is held by the central scheme. The revised AASB 119 contains changed criteria for accounting for 

employee benefi ts as short-term employee benefi ts. These changes will have a minimal impact on the Trust’s 

fi nancial reporting. 

The following new and revised accounting standards are applicable to reporting periods commencing on or after 

1 January 2013:– 

AASB 10 Consolidated Financial Statements 

AASB 11 Joint Arrangements 

AASB 12 Disclosure of Interests in Other Entities 

AASB 127 (revised) Separate Financial Statements 

AASB 128 (revised) Investments in Associates and Joint Ventures 

AASB 2011 - 7 Amendments to Australian Accounting Standards arising from the Consolidation and Joint 

Arrangements Standards (AASB 1, 2, 3, 5, 7, 9, 2011 - 11, 101, 107, 112, 118, 121, 124, 132, 133, 136, 138, 139, 1023 

& 1038 and Interpretations 5, 9, 16 &17). 

The AASB is currently considering modifying the above standards for use by Australian not for profi t entities. 

Therefore the Trust is not yet in a position to reliably determine the future implications of these Accounting 

Standards to it’s fi nancial statements. 

The following new and revised accounting standards are also applicable to reporting periods commencing on or 

after 1 January 2013:- 

AASB 2010 - 7 Amendments to Australian Accounting Standards arising from AASB 9 (December 2010) [AASB 1, 

3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 

10, 12, 19 & 127] 

AASB 2009-11 Amendments to Australian Accounting Standards arising from AASB 9 [AASB 1, 3, 4, 5, 7, 101, 102, 

108, 112, 118, 121, 127, 128, 131, 132, 136, 139, 1023 & 1038 and Interpretations 10 & 12] 

AASB 13 Fair Value Measurement 


AASB 2010-10 Further Amendments to Australian Accounting Standards – Removal of Fixed Dates for First-time 

Adopters [AASB 2009-11 & AASB 2010-7] 

AASB 2011 - 8 Amendments to Australian Accounting Standards arising from AASB 13 [AASB 1, 2, 3, 4, 5, 7, 9, 

2009-11, 2010-7, 101, 102, 108, 110, 116, 117, 118, 119, 120, 121, 128, 131, 132, 133, 134, 136, 138, 139, 140, 141, 

1004, 1023 & 1038 and Interpretations 2, 4, 12, 13, 14, 17, 19, 131 & 132] 

AASB 2011 - 10 Amendments to Australian Accounting Standards arising from AASB 119 (September 2011) [AASB 

1, AASB 8, AASB 101, AASB 124, AASB 134, AASB 1049 & AASB 2011-8 and Interpretation 14] 

AASB 2012 - 2 Amendments to Australian Accounting Standards – Disclosures – Offsetting Financial Assets and 

Financial Liabilities [AASB 7 & AASB 132] 

AASB 2012 - 4 Amendments to Australian Accounting Standards – Government Loans [AASB 1] 


37





(s) New and Revised Accounting Standards (continued) 

38 

AASB 2012 - 5 Amendments to Australian Accounting Standards arising from Annual Improvements 2009–2011 

Cycle [AASB 1, AASB 101, AASB 116, AASB 132 & AASB 134 and Interpretation 2] 

The Trust is either not yet in a position to reliably determine the future implications of these Accounting 

Standards to it’s fi nancial statements or believes that the Standards will only have a minimal impact on it’s 

fi nancial reporting. 

AASB 2010 - 8 Amendments to Australian Accounting Standards – Deferred Tax: Recovery of Underlying Assets 

[AASB 112] is applicable to reporting periods commencing on or after 1 January 2012. This standard will have no 

impact on the Trusts fi nancial reporting. 

AASB 2011 - 9 Amendments to Australian Accounting Standards – Presentation of Items of Other Comprehensive 

Income [AASB 1, 5, 7, 101, 112, 120, 121, 132, 133, 134, 1039 & 1049] is applicable to reporting periods 

commencing on or after 1 July 2012. This standard requires items of other comprehensive income to be grouped 

on the basis of whether they are potentially reclassifi able to profi t or loss subsequently. This standard could 

potentially give rise to additional disclosure by the Trust. 

AASB 2011 - 3 Amendments to Australian Accounting Standards – Orderly Adoption of Changes to the ABS 

GFS Manual and Related Amendments [AASB 1049] and AASB 2011 - 13 Amendments to Australian Accounting 

Standard – Improvements to AASB 1049 are also applicable to reporting preiods commencing on or after 1 July 

2012. The Trust believes that neither of these standards will impact on it’s fi nancial reporting. 

AASB 2011 - 2 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence 

Project – Reduced Disclosure Requirements [AASB 101 & AASB 1054], AASB 2011 - 4 Amendments to Australian 

Accounting Standards to Remove Individual Key Management Personnel Disclosure Requirements [AASB 124], 124] 

AASB 2011 - 6 Amendments to Australian Accounting Standards – Extending Relief from Consolidation, the 

Equity Method and Proportionate Consolidation – Reduced Disclosure Requirements [AASB 127, AASB 128 

& AASB 131] and AASB 2012 - 1 Amendments to Australian Accounting Standards - Fair Value Measurement - 

Reduced Disclosure Requirements [AASB 3, AASB 7, AASB 13, AASB 140 & AASB 141] are applicable to reporting 

periods commencing on or after 1 July 2013. The Trust believes that the adoption of these standards will not 

impact on it’s fi nancial reporting. 

AASB 2012 - 3 Amendments to Australian Accounting Standards – Offsetting Financial Assets and Financial 

Liabilities [AASB 132] is applicable to reporting periods commencing on or after 1 January 2014. Application of 

this standard is not expected to have an impact on the Trust’s fi nancial reporting.

Note 3 Services and Assets Provided to the Trust 


Arts Queensland, through the Department of Science, Information Technology, Innovation and the Arts, owns 

and maintains the Performing Arts Centre premises on behalf of the State of Queensland. The Trust is provided 

with the use of the building and items of fi tout, including certain items of plant and equipment that are not 

performance related, by way of a service level agreement with the Corporate Administration Agency (CAA). While 

the State does not charge rent on the premises occupied by the Trust, the Trust does make a contribution to the 

continued maintenance of the building. 

Note 4 Controlled Entity 

Note 5 Trust Fund 

No controlled entity was owned by the Trust for the reporting period, therefore consolidated accounts have not 

been prepared. 

A separate Trust Fund bank account is maintained to hold ticket sales monies until the completion of the 

performance or event when the funds are released to the promoter. As QPAT is only the custodian of these 

moneys, they are not refl ected in the Financial Statements. 

Commission earned on the sale of tickets is included as Operating Revenue in the Financial Statements. Ticket 

sales for the year amounted to $72.613 million ( 2011 $54.945 million ). 

Interest earned on the Trust monies held are included as Operating Revenue in the Financial Statements. The 

balance of monies invested at 30 June 2012 was $16.733 million ( 2011 $12.372 million ). 

Note 6 Concessions Provided by the Trust 

Rental concessions provided to Government subsidised cultural organisations, charitable organisations, 

Government Departments and educational institutions, amounted to $565,000 (2011 $568,707). These 

concessions are part of the advertised policy of the Trust in accordance with its objectives under the Queensland 

Performing Arts Trust Act 1977. 

Note 7 Results Across Business Units 

(a) Management Information by Business Units 

Operating Revenue and Expenses have been broken down by Cost Centre Groupings, or Business Units, 

refl ecting lines of Management control and responsibility within the Trust. 


The Trust’s Presenter Services Business Unit encompasses both arts programming and commercial operations. 

Arts programming includes the Community, Access Arts and Arts Excellence programmes as well as the 

Performing Arts Museum. These activities are undertaken as part of the Government’s Arts Policy and are not 

expected to recover all costs. The Trust’s commercial operations include venue hire for commercial productions, 

QPAC Presents, as well as production services. 

Marketing & Ticketing 

The Trust’s Marketing & Ticketing Business Units oversee the operation of QTIX, Corporate Marketing, Event 

Marketing and sponsorship. 

Patron Services 



The Trust’s Patron Services Business Unit is responsible for operations management, which includes Visitor 

Services and all catering operations throughout QPAC. 

39




Note 7 Results Across Business Units (Continued) 

(a) Management Information by Business Units (continued) 

* Facilities costs include an infrastructure services fee of $3.517M (2011: $3.141M) charged by the CAA, and charges for 

electricity sourced through CAA. 

40 

Corporate Services & Directorate 

The Trust’s Corporate Services Business Unit and Directorate are responsible for the provision of a range of 

corporate services to business units which deliver both Arts Programming and Commercial events. 

The Trust is partly funded for the outputs it delivers by Parliamentary appropriations. It also provides services 

on a fee for service basis including: venue rental, production crewing services, ticket sales, marketing services 

and equipment hire. 

(b) Operating Revenue and Expenses by Business Unit - Current Year 

Operating revenue (see note 8a) 

Presenter Marketing & Patron Corp Servs Total 

Services Ticketing Services & OCE** 

2011 2011 2011 2011 2011 

$’000 $’000 $’000 $’000 $’000 

Revenues from service activities 14,485 10,779 10,307 145 35,716 

Operating grant – – – 8,900 8,900 

Other revenues – 48 – 1,121 1,169 

Operating expenses 

14,485 10,827 10,307 10,166 45,785 

Employee expenses (see note 8c) 9,368 3,925 6,803 5,193 25,289 

Supplies and services (see note 8b) 5,891 3,937 3,797 2,332 15,957 

Facilities costs * (see also note 8b) – – – 3,631 3,631 

Depreciation and amortisation – – – 608 608 

Other expenses – – – 186 186 

15,259 7,862 10,600 11,950 45,671 

OPERATING SURPLUS OR (DEFICIT) (774) 2,965 (293) (1,784) 114

Note 7 Results Across Business Units (Continued) 

(c) Operating Revenue and Expenses by Business Unit – Previous Year 

Operating revenue (see note 8a) 


Presenter Marketing & Patron Corp Servs Total 

Services Ticketing Services & OCE** 

2011 2011 2011 2011 2011 

$’000 $’000 $’000 $’000 $’000 

Revenues from service activities 10,529 7,526 9,396 2,505 29,956 

Operating grant – – – 7,936 7,936 

Other revenues – 144 – 923 1,067 

Operating expenses 



10,529 7,670 9,396 11,364 38,959 

Employee expenses (see note 8c) 7,079 3,024 5,913 5,023 21,039 

Supplies and services (see note 8b) 3,620 3,064 3,520 2,707 12,911 

Facilities costs * (see also note 8b) – – – 3,322 3,322 

Depreciation and amortisation – – – 596 596 

Other expenses – – – 209 209 

10,699 6,088 9,433 11,857 38,077 

OPERATING SURPLUS OR (DEFICIT) (170) 1,582 (37) (493) 882 

* Facilities costs include an infrastructure services fee of $3.141M (2010: $3.139M) charged by the CAA, and charges for 

electricity sourced through CAA. 

41




Note 8 Income statement - disclosures 

42 

2012 2011 

$’000 $’000 

(a) Revenue 

Revenues from service activities 

Rental income 5,607 4,974 

Box Offi ce 6,632 4,802 

Sales 11,639 8,162 

Recoveries 8,709 9,116 

Project income 2,843 2,622 

Other service revenue 286 280 

35,716 29,956 

Grants and Other Contributions 

Operating grant 8,882 7,829 

Other 18 * 107 

* Other Grants relate to the recognition of project funding grants as revenue. 

Project costs relating to these grants will be incurred in subsequent years 

8,900 7,936 

Other Revenues 

Interest 1,121 923 

Investment income – 65 

Donations 48 79 

1,169 1,067 

Total Operating Revenue 45,785 38,959 

(b) Net gains and expenses 

Depreciation and amortisation 

Buildings 15 15 

Leasehold improvements 54 53 

Plant and equipment 459 448 

Concert Hall Grand Organ 80 80 

608 596

Note 8 Income statement - disclosures (Continued) 




2012 2011 

$’000 $’000 

Supplies and services 

Cost of services non labour 8,341 6,308 

Facilities costs 3,631 3,322 

Staff recruitment and training 289 277 

Travel 227 223 

Motor vehicle costs 41 37 

Recurring equipment replacement 249 274 

Marketing 515 476 

Information services 864 710 

Library services 16 19 

Consultants, contractors, legals 844 488 

Memberships and Sponsorships 57 51 

Entertainment 54 72 

Stock and consumables/materials 3,052 2,595 

Agency staff 183 170 

Insurance – QGIF 85 85 

Insurance – Other 26 17 

Repairs and maintenance 257 232 

Telecommunications 240 225 

Freight and postage 195 186 

Printing, stationery and offi ce supplies 172 246 

Other 250 220 

19,588 16,233 

Other Expenses 

External audit fees 33 86 

Internal audit fees 24 6 

Doubtful debts/(write back of debts collected) 33 13 

Loss on sale of plant and equipment 17 36 

Sundry 79 68 

186 209 

Total Operating Expense 20,382 17,038 

Total audit fees paid to the Queensland Audit Offi ce in respect 

of the external audit are $62,400 (2011 $60,000). 

There are no non audit services included in these amounts. 

(c) Employee Expenses 

Salaries and wages 21,391 17,876 

Employer superannuation contributions 2,159 1,756 

Long service leave levy 398 291 

Payroll tax 1,054 907 

WorkCover insurance 193 120 

Other employee costs 94 89 

The Trust had 337 full time equivalent employees at 30 June 2012 (300 at 30 June 2011). 

25,289 21,039 

43




Note 9 Cash and Cash Equivalents 

Note 10 Receivables 

(a) Current 

44 

2012 2011 

$’000 $’000 

Cash on hand and at bank 200 499 

Deposits at call 11,959 8,575 

12,159 9,074 

Trade debtors 1,508 1,770 

Provision for impairment (54) (29) 

1,454 1,741 

Accrued income 1,019 799 

GST receivable 136 160 

2,609 2,700 

(b) Trade Debtors Aging Analysis 

Current 1,252 1,617 

30 - 60 Days 139 99 

60 - 90 Days 71 4 

Over 90 Days 46 50 

1,508 1,770 

(c) Movement in allowance of provision for impairment 

Note 11 Inventories 

Balance at beginning of year 29 108 

Amounts written off during the year (8) (91) 

Increase/decrease in allowance recognised in profi t or loss 33 12 

Balance at the end of the year 54 29 

Supplies and consumables at cost 241 154 

Note 12 Other Current Assets 

Prepayments 141 638

Note 13 Intangible Assets 


2012 2011 

$’000 $’000 

Software 

– at cost 517 517 

less: accumulated amortisation (517) (517) 

Total Intangible Assets – net book value – – 

Note 14 Property, Plant and Equipment 

Buildings 

– at independent valuation 250 302 

less: accumulated depreciation – (72) 

250 230 

Land 

– at independent valuation 2,050 1,497 

Leasehold Improvements 

– at cost 914 948 

less: accumulated depreciation (420) (402) 

494 546 

Plant and Equipment 

– at cost 9,000 9,234 

less: accumulated depreciation (6,840) (7,041) 

2,160 2,193 

Heritage and cultural assets (Concert Hall Grand Organ) 

– at independent valuation (2006: independent valuation) 2,700 3,360 

less accumulated depreciation – (399) 

2,700 2,961 

Motor Vehicles 

– at cost 37 37 

less: accumulated depreciation (37) (37) 

– – 

Work in progress 

– at cost 71 154 

less: accumulated depreciation – – 

71 154 

Total Property, Plant and Equipment – net book value 7,725 7,581 

Independent valuations of land, buildings, heritage and cultural assets were performed as at 30 June 2012 by an 

independent valuer API qualifi ed in Queensland on behalf of AssetVal Pty Ltd using ‘fair value’ principles. 

A physical stocktake of the Trust’s property plant and equipment was performed as at 30 June 2012. 

The valuation of land and buildings is based on current market values. 



For heritage and cultural assets, the basis of valuation is depreciated current replacement cost. 

Plant and equipment and motor vehicles are valued at cost. 

Details of the Trust’s accounting policies in relation to non-current assets are provided in notes 2c to 2g. 

45




Note 14 Property, Plant and Equipment (Continued) 

46 

Reconciliation of Property, Plant and Equipment. 

Carrying Transfers Depreciation Carrying 

value at 1 Acquisitions Disposals between Revaluation and value at 30 

July 2011 Classes Amortisation June 2012 

$’000 $’000 $’000 $’000 $’000 $’000 $’000 

Land 1,497 – – – 553 – 2,050 

Buildings 230 – – – 34 (14) 250 

Leasehold Improvements 546 – – – – (52) 494 

Plant and equipment 2,193 – (17) 446 – (462) 2,160 

Motor Vehicles - – – – – – – – 

Grand Organ 2,961 – – – (181) (80) 2,700 

Capital work in progress 154 385 22 (446) – – 71 

Total 7,581 385 (39) – 406 (608) 7,725 

2012 2011 

Note 15 Payables $’000 $’000 

Trade creditors 795 926 

Other creditors 2,474 1,351 

GST Payable 370 175 

Note 16 Accrued employee benefi ts 

3,639 2,452 

Annual leave 1,005 682 

Wages and salaries payable 243 251 

Note 17 Other current liabilities 

1,248 933 

Unearned revenue 867 161 

Note 18 Statement of cash fl ows – disclosures 

(a) Cash and cash equivalents at the end of the year, as shown in the Statement of cash fl ows 


Deposits at call 11,959 8,575 

12,159 9,074 

(b) Reconciliation of net cash from operating activities to net result for the period 

Net result for the period 114 882 

Depreciation and amortisation 608 596 

Net loss on sale of non-current assets 39 36 

Investment income – (65) 

Change in operating assets and liabilities: 

(Increase)/decrease in receivables 67 1,390 

(Increase)/decrease in prepayments 497 (172) 

(Increase)/decrease in inventories (87) 38 

(Increase)/decrease in GST input tax credits receivables 24 17 

Increase/(decrease) in GST payables 195 12 

Increase/(decrease) in operating payables and unearned revenue 1,698 401 

Increase/(decrease) in accrued employee benefi ts 315 126 

Net cash from operating activities 3,470 3,261

Note 19 Asset Revaluation Reserve by Class: 


Balance Revaluation Revaluation Balance 

1 July 2011 Increments 30 June 2012 Decrements 

$’000 $’000 $’000 $’000 

Land 1,047 553 – 1,600 

Buildings 121 34 – 155 

Heritage and cultural assets 2,006 – (181) 1,825 

3,174 587 (181) 3,580 

Balance Revaluation Revaluation Balance 

1 July 2010 Increments 30 June 2011 Decrements 

$’000 $’000 $’000 $000 

Land 1,047 – – 1,047 

Buildings 121 – – 121 

Heritage and cultural assets 2,006 – – 2,006 

3,174 – – 3,174 

Note 20 Commitments 

Non-Cancellable Operating Lease Commitments 

At 30 June the Trust had the following operating lease commitments inclusive of GST: 

2012 2011 

$’000 $’000 

Not later than one year 21 16 

Later than one year and not later than fi ve years 25 17 

Later than fi ve years – – 

The total of operating lease payments for the year was $20,252 (2011 $16,475). 

46 33 

The Trust has lease agreements for the rental of motor vehicles. The rentals for all agreements are paid on a 

monthly instalment basis. There are no fi nancial or other restrictions imposed by any of these agreements. 

Other Commitments 

Not later than one year 305 – 

Later than one year and not later than fi ve years – – 

Later than fi ve years – – 

Note 21 Contingencies 

As at 30 June 2012 there are no material contingent liabilities for the Trust. 



305 – 

47




Note 22 Financial Instruments 

(a) General Objectives, Policies and Processes 

48 

The Trust is exposed to risks that arise from its use of fi nancial instruments. This note describes the Trust’s 

objectives, policies and processes for managing those risks and the methods used to measure them. Further 

quantitative information in respect of these risks is presented throughout these fi nancial statements. 

There have been no substantive changes in the Trust’s exposure to fi nancial instrument risks, its objectives, 

policies and processes for managing those risks or the methods used to measure them from the previous 

periods unless otherwise stated in this note. 

“The Board of Trustees has overall responsibility for the determination of the Trust’s risk management objectives 

and policies and, designing and operating processes that ensure the effective implementation of the objectives 

and policies to the Trust. The Trust’s risk management policies and objectives are therefore designed to 

minimise the potential impacts of these risks on the results of the Trust, where such impacts may be material. 

The Risk Management Audit Committee (RMAC) receives quarterly reports from the Trust’s Director of Corporate 

Services, through which it reviews the effectiveness of the processes put in place and the appropriateness of 

the objectives and policies it sets. The Trust’s internal auditors also review the risk management policies and 

processes and report their fi ndings to the RMAC, which in turn reports to the Board. 

The overall objective of the Board is to set polices that seek to reduce risk as far as possible without unduly 

affecting the Trust’s competitiveness and fl exibility. Further details regarding these policies are set out below: 

(b) Interest Rate Risk 

The exposure to interest rate risks and the effective interest rates of fi nancial assets and fi nancial liabilities, 

both recognised and unrecognised at balance date are as follows: 

Floating 1 Year Non Total Weighted 

Interest or less Interest Average 

Rate Bearing Rate 

2012 2012 2012 2012 2012 

$’000 $’000 $’000 $’000 % 

Financial Assets 

Cash on hand and at bank 109 – 91 200 0.78% 

Short term securities – 11,959 – 11,959 5.40% 

Receivables – – 2,609 2,609 0.00% 

Financial Liabilities 

Payables – – 3,639 3,639 0.00% 

2011 2011 2011 2011 2011 

$’000 $’000 $’000 $’000 % 


Cash on hand and at bank 408 – 91 499 1.45% 

Short term securities – 8,575 – 8,575 5.55% 

Receivables – – 2,700 2,700 0.00% 


Payables – – 2,452 2,452 0.00%

Note 22 Financial Instruments (cont’d) 

(c) Credit Risk 

(d) Liquidity Risk 




Credit risk exposure refers to the situation where the Trust may incur fi nancial loss as a result of another party to 

a fi nancial instrument failing to discharge their obligation. 

The maximum exposure to credit risk at balance date in relation to each class of recognised fi nancial asset is 

represented by the carrying amount of those assets inclusive of any provisions for impairment. There are no 

concentrations of credit risk as the Trust has a large number of customers. The Trust’s policy is that sales are 

only made to customers that are credit worthy. 

The maximum exposure to credit 2012 2011 

risk at balance date is as follows : $’000 $’000 



Short term securities 11,959 8,575 

Receivables 2,609 2,700 

14,768 11,774 

Liquidity risk refers to the situation where the Trust may encounter diffi culty in meeting obligations associated 

with fi nancial liabilities that are settled by delivering cash or another fi nancial asset. 

The Trust is exposed to liquidity risk through its trading in the normal course of business. 

The Trust manages liquidity risk through use of the Financial Reserves Policy. This policy aims to reduce 

exposure to liquidity risk by ensuring the Trust has suffi cient funds available to meet employee and supplier 

obligations as they fall due. This is achieved by ensuring that minimum levels of cash are held within the various 

bank accounts so as to match the expected duration of the various employee and supplier liabilities. 

Maturity Analysis 

Less than 1 1-3 3 months Greater Carrying 

months to 1 year than 1 year Rate Amount 

2012 2012 2012 2012 2012 

$’000 $’000 $’000 $’000 % 


Cash on hand and at bank 200 – – – 200 

Short term securities 11,959 – – – 11,959 

Receivables 2,353 210 46 – 2,609 


Payables 3,639 – – – 3,639 

2011 2011 2011 2011 2011 

$’000 $’000 $’000 $’000 % 


Cash on hand and at bank 499 – – – 499 

Short term securities 8,575 – – – 8,575 

Receivables 2,547 103 50 – 2,700 


Payables 2,452 – – – 2,452 

(e) Net Fair Value 

It is considered that the net fair value of the fi nancial assets and fi nancial liabilities of the Trust approximate the 

book values due to their short term to maturity. 

49




Note 23 Remuneration of Trustees 

50 

Remuneration paid or payable to Trustees for attendances at meetings held during 2011-2012 was as follows: 

2012 2011 

$’000 $’000 

H. R. Smerdon 3 3 

S. A. Mitchell 2 2 

W. H. Grant 2 2 

P. A. Piticco 1 1 

R. Hunter 2 2 

R. M. White 1 2 

H. C. George 2 2 

S. P. Street 1 1 

S. A. Gallaher 2 2 

M. C. Power 1 1 

Total 17 18 

Note 24 After Balance Date Events 

No matters or circumstances have arisen since the end of the fi nancial year which signifi cantly affected or may 

signifi cantly affect the operations of the Trust, the results of those operations, or the state of affairs of the Trust 

in future fi nancial years.

Note 25 Key executive management personnel and remuneration 


Key executive management personnel and remuneration disclosures are made in accordance with the section 5 

addendum (issued in May 2011) to the Financial Reporting Requirements for Queensland Government Agencies 

issued by Queensland Treasury. 

(a) Key executive management personnel 

The following details for key executive management personnel include those positions that had authority 

and responsibility for planning, directing and controlling the activities of the agency during 2011-12. Further 

information on these positions can be found in the body of the annual report under the section relating to 

Executive Management. 

Position Responsibilities Current incumbents 


Director – 


Director – 

Corporate Services 

Director – 


Director – 

Marketing 

Responsible for QPAC’s vision to be an 

internationally recognised destination 

for performing arts and entertainment 

experiences by providing strategic 

direction and leadership for QPAC. 

To create, manage and implement 

the Presenter Services strategies of 

QPAC including initiatives of the CEO, 

commercial productions and programs 

that fulfi l QPAC’s commitment to social 

justice, education, research, heritage 

and community cultural development. 

To provide strategic advice and 

support to the Board, CEO and senior 

management of the Trust to ensure 

the achievement of the strategic 

targets agreed with the Minister in the 

Strategic and Operational Plans. 

To lead QPAC’s operations and service 

delivery units and continuously improve 

the standard of our services so we can 

satisfy our stakeholders now and into 

the future. 

To develop and manage innovative 

and integrated marketing strategies to 

achieve the Trust’s strategic goals and 

organisational priorities, maximise 

participation in and the profi tability of 

all programs and events at QPAC. 

Contract classifi cation and 

appointment authority 

Employment contract/terms and 

conditions specifi ed in the contract/ 

Governor in Council/Queensland 

Performing Arts Trust Act 1977 

Employment contract/appointment 

by Chief Executive/Queensland 













Date appointed 

to position 

(Date resigned 

from position) 

11-Dec-08 

28-Oct-09 

25-May-04 

14-Dec-10 

10-Aug-11 

51




Note 25 Key executive management personnel and remuneration (Continued) 

b) Remuneration 

52 

Remuneration policy for the agency’s key executive management personnel is set by the Queensland Public 

Service Commission as provided for under the Public Service Act 2008. The remuneration and other terms 

of employment for the key executive management personnel are specifi ed in the employment contracts. The 

contracts provide for the provision of performance-related cash bonuses and other benefi ts including motor 

vehicles. 

Remuneration packages for Key executive management personnel comprise the following components:- 

• Short term employee benefi ts which include: 

Base – consisting of base salary, allowances and leave entitlements paid and provided for the entire year or 

that part of the year during which the employee occupied the specifi ed position. Amounts disclosed equal 

the amount expensed in the Statement of Comprehensive Income 

Non-monetary benefi ts – consisting of provision of parking and/or vehicle together with fringe benefi ts tax 

applicable to the benefi t. 

• Long term employee benefi ts include long service leave. QPAC contributes to the Government long service 

leave central scheme which incurs the liability and subsequent payment of any long service leave payments 

that become due. 

• Post employment benefi ts include superannuation contributions. 

• Redundancy payments are not provided for within individual contracts of employment. Contracts of 

employment provide only for notice periods or payment in lieu of notice on termination, regardless of the 

reason for termination. 

• Performance bonuses are not provided for within individual contracts of employment. 

Total fi xed remuneration is calculated on a “total cost” basis and includes the base, non-monetary benefi ts, long 

term employee benefi ts and post employment benefi ts

1 July 2011 - 30 June 2012 

Position Base 

Short term employee benefi ts Post employment 

Benefi ts 

$’000 


Termination 

benefi ts 

Total 

remuneration 

Non-Monetary 

benefi ts 

$’000 $’000 $’000 $’000 

Chief Executive 220 31 23 – 274 

Director – 


Director – 


Director – 


Director – 

Marketing 

(Appointed 10 Aug 2011) 

174 5 23 – 202 

149 5 19 – 173 

128 8 16 – 152 

125 5 16 – 146 

Total Remuneration 796 54 97 – 947 

1 July 2010 - 30 June 2011 

Position Base 

Short term employee benefi ts Post employment 

Benefi ts 

$’000 

Termination 

benefi ts 

Total 

remuneration 

Non-Monetary 

benefi ts 

$’000 $’000 $’000 $’000 

Chief Executive 198 31 21 – 250 

Director – 


Director – 


Director – 




156 6 20 – 182 

145 6 18 – 169 

71 2 7 – 80 

Total Remuneration 570 45 66 – 681 

53


CERTIFICATE OF THE QUEENSLAND PERFORMING ARTS TRUST 


These general purpose fi nancial statements have been prepared pursuant to section 62 (1) of the Financial Accountability 

Act 2009 (the Act),relevant sections of the Financial and Performance Management Standard 2009 and other prescribed 

requirements. In accordance with section 62 (1)(b) of the Act we certify that in our opinion: 

(a) the prescribed requirements for the establishment and keeping of accounts have been complied with in all material 

respects; and 

(b) the statements have been drawn up to present a true and fair view, in accordance with prescribed accounting standards, 

of the transactions of the Queensland Performing Arts Trust for the fi nancial year ended 30 June 2012 and of the 

fi nancial position as at the end of that year. 

Henry Smerdon, AM 

Chair 

Date: 30 August, 2012 

54 

John Kotzas 


Kieron Roost, CPA 

Director – Corporate Services

INDEPENDENT AUDITOR’S REPORT 

To the Board of Queensland Performing Arts Trust 

Report on the Financial Report 


INDEPENDENT AUDITOR’S REPORT 


I have audited the accompanying fi nancial report of Queensland Performing Arts Trust, which comprises the statement of 

fi nancial position as at 30 June 2012, the statement of comprehensive income, statement of changes in equity and statement 

of cash fl ows for the year then ended, notes comprising a summary of signifi cant accounting policies and other explanatory 

information, and certifi cates given by the Chair, Chief Executive and Director Corporate Services. 

The Board’s Responsibility for the Financial Report 

The Board is responsible for the preparation of the fi nancial report that gives a true and fair view in accordance with prescribed 

accounting requirements identifi ed in the Financial Accountability Act 2009 and the Financial and Performance Management 

Standard 2009, including compliance with Australian Accounting Standards. The Board’s responsibility also includes such 

internal control as the Board determines is necessary to enable the preparation of the fi nancial report that gives a true and fair 

view and is free from material misstatement, whether due to fraud or error. 

Auditor’s Responsibility 

My responsibility is to express an opinion on the fi nancial report based on the audit. The audit was conducted in accordance 

with the Auditor-General of Queensland Auditing Standards, which incorporate the Australian Auditing Standards. Those 

standards require compliance with relevant ethical requirements relating to audit engagements and that the audit is planned 

and performed to obtain reasonable assurance about whether the fi nancial report is free from material misstatement. 

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the fi nancial report. 

The procedures selected depend on the auditor’s judgment, including the assessment of the risks of material misstatement 

of the fi nancial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control 

relevant to the entity’s preparation of the fi nancial report that gives a true and fair view in order to design audit procedures 

that are appropriate in the circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s 

internal control, other than in expressing an opinion on compliance with prescribed requirements. An audit also includes 

evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the 

Board, as well as evaluating the overall presentation of the fi nancial report including any mandatory fi nancial reporting 

requirements approved by the Treasurer for application in Queensland. 

I believe that the audit evidence obtained is suffi cient and appropriate to provide a basis for my audit opinion. 

Independence 

The Auditor-General Act 2009 promotes the independence of the Auditor-General and all authorised auditors. The Auditor- 

General is the auditor of all Queensland public sector entities and can be removed only by Parliament. 

The Auditor-General may conduct an audit in any way considered appropriate and is not subject to direction by any person 

about the way in which audit powers are to be exercised. The Auditor-General has for the purposes of conducting an audit, 

access to all documents and property and can report to Parliament matters which in the Auditor-General’s opinion are 

signifi cant. 

55


Opinion 

In accordance with s.40 of the Auditor-General Act 2009 – 

(a) I have received all the information and explanations which I have required; and 

(b) in my opinion – 

56 

(i) the prescribed requirements in relation to the establishment and keeping of accounts have been complied with in all 

material respects; and 

(ii) the fi nancial report presents a true and fair view, in accordance with the prescribed accounting standards, of the 

transactions of the Queensland 

Performing Arts Trust for the fi nancial year 1 July 2011 to 30 June 2012 and of the fi nancial position as at the end of that year. 

Other Matters – Electronic Presentation of the Audited Financial Report 

This auditor’s report relates to the fi nancial report of Queensland Performing Arts Trust for the year ended 30 June 2012. Where 

the fi nancial report is included on Queensland Performing Arts Trust’s website the Board is responsible for the integrity of 

Queensland Performing Arts Trust’s website and I have not been engaged to report on the integrity of Queensland Performing 

Arts Trust’s website. The auditor’s report refers only to the subject matter described above. It does not provide an opinion on 

any other information which may have been hyperlinked to/from these statements or otherwise included with the fi nancial 

report. If users of the fi nancial report are concerned with the inherent risks arising from publication on a website, they are 

advised to refer to the hard copy of the audited fi nancial report to confi rm the information contained in this website version of 

the fi nancial report. 

These matters also relate to the presentation of the audited fi nancial report in other electronic media including CD Rom. 

J A Latif (CA) 

as Delegate of the Auditor-General of Queensland 

Brisbane 

31 August 2012

Future Direction and Challenges 


QPAC acknowledges a changing local and global context. The objectives, priorities and aspirations within our strategic plan 

refl ect Queensland’s growth, changing demographics and lifestyle patterns, technological innovations and the increasingly 

blurred boundaries between learning, art and entertainment. Our operations and planning address the expanded role cultural 

institutions play in knowledge-based societies that encourage creativity and innovation. 

Broadly, QPAC’s key challenge in the coming four years is to grow and diversify its programs as well as commercial income 

streams in order to ensure fi nancial sustainability. Implicit within this are a number of challenges that span each of the focus 

areas within the strategic plan and include: 

• Producing a balanced program that delivers against a curatorial vision. 

• Building strong brand loyalty and recognition. 

• Consolidating relationships that enable QPAC to expand its capacity and reach. 

• Improving the integration and growing the profi tability of service operations. 

The following priorities and strategies refl ect QPAC’s strategic direction for 2011-2015. 

Live Performance 

Priorities Strategies 

Program Create a diverse program that achieves high levels of visitation and expands audience reach. 

Create and showcase high quality, innovative live performance experiences 

Cultural Collaborations Utilise QPAC resources, networks and expertise to collaborate across the cultural sector and 

support art making 



Access and learning Deliver access and learning opportunities that foster imagination, curiosity and enjoyment. 

Connect people, ideas and experiences to support active participation in cultural life 

Audience experience Provide performing arts experiences that build loyalty and encourage people to return 

Leadership 


International Foster international relationships that promote QPAC’s brand and support the annual 

presentation of high profi le international productions 

Expand delivery Seek partnerships that offer opportunities for growth through program and service delivery 

outside of QPAC. Expand our capacity, cultivate relationships and add value 

Brand Leverage QPAC’s program, facilities, relationships and virtual environment to create and 

communicate a distinct QPAC brand 

Precinct Collaborate with South Bank organisations to maximise the benefi ts of location 



Investments Manage a diverse suits of commercial arrangements to deliver fi nancial return, incentivise 

producers and secure Brisbane seasons 

Services Deliver exceptional, integrated ticketing and food and beverage services. Deliver integrated 

commercial services that provide increasing return and meet the highest industry standards. 

Key priorities identifi ed for the coming year include: 

• Activation of the Cascade Courtyard outside of performance hours 

• Continue to build relationships with venues across Asia 

57


Appendix One – Year in Review Performance Listing 

LYRIC THEATRE 

6 - 31 July 

Doctor Zhivago 

Skyline Theatricals Pty Ltd 

CONCERT HALL 

1 July 

Michael Feinstein 

Dainty Consolidated Entertainment 

5 July 

Ju Percussion Group 

World Arts & Multi-culture Inc 

8 July 

Classic Albums Live presents 

RUMOURS 

Spiritworks Pty Ltd 

11 July 

ACO Concert 3 Baroque Virtuosi 

Australian Chamber Orchestra 

15 July 

QSO Maestro 7 Bruckner’s 

Cathedral of Sound 

Queensland Symphony Orchestra 

Pty Ltd 

19 - 20 July 

QMF Queensland Country 

Comfort Hour 

Queensland Music Festival 

22 July 

QMF Randy Newman 

Queensland Music Festival 

23 July 

Flamenco Sin Fronteras 

HVK Productions Pty Ltd 

25 July 

Mary Poppins Launch 

The Walt Disney Company Australia 

Pty Ltd 

26 – 28 July 

QUT July Graduations 2011 

Queensland University of Technology 

PLAYHOUSE 

3 July 

The Mabo Oration 2011 

QPAC 

1 – 9 July 

Bangarra – Belong 

QPAC 

15 – 23 July 

EDC R&J 

Expressions Dance Company and 

QPAC Presents 

24 July 

Australian Dance Awards 

The Australian Dance Council in 

association with QPAC 

26 – 30 July 

Turns 

Christine Dunstan Productions Pty Ltd 

CREMORNE THEATRE 

1 – 9 July 

Harvest Rain Aladdin (Return 

Season) 

Harvest Rain Ltd and QPAC 

58 

26 – 30 July 

QMF Piano Lessons 

Queensland Music Festival and QPAC 

STUDIO 2 

8 – 9 July 

Jersey Boys Auditions 

Jersey Boys 

FUNCTION ROOM 

2 July 

UQ Business School – Yalari 

Horizons Leadership Sessions 

UQ Business School 

25 July 

Community Cabinet Meetings 

QPAC 

CASCADE COURT 

2 – 3 July 

The Torres Strait Islands: A 

Celebration 

QPAC 

18 July 

Rock of Ages Launch 

Newtheatricals Pty Limited 

23 July 

Hannah Karydas CD Launch 

QPAC 

MERIVALE STREET STUDIO 

1 – 16 July 

Water Wars Rehearsals 

Umber Productions 

27 - 29 July 

Musical Theatre Course – Term 3 

Griffi th University – Queensland 

Conservatorium 

TONY GOULD GALLERY 

1 – 31 July 

Exhibition: A View from the Sixth 

Row – Photographs by Reina 

Irmer 

QPAC 

AUGUST 2011 

LYRIC THEATRE 

1 - 14 August 

Doctor Zhivago 

Skyline Theatricals Pty Ltd 

19 – 24 August 

Grug 

QPAC 

22 August 

Annie Launch 

GFO Entertainment Pty Ltd 

27 August 

Ballet Revolucion 

ATA Allstar Artists Pty Limited 

30 August 

Nick Jr.’s Dora the Explorer LIVE! 

Search for the City of Lost Toys 

The Trustee for the Life Like Touring 

(Australia) Unit Trust 

CONCERT HALL 

3 August 

Grimethorpe Colliery Band 

HVK Productions Pty Ltd 

6 August 

Q Pops Cinema Sensations 

Queensland Pops Orchestra 

8 August 

ACO Concert 4 Schubert String 

Quartet 


9 August 

The Beatles Back to Back 


10 - 12 August 

Ballet Revolucion 


13 August 

QSO Maestro 8 Turmoil and 

Passion 


15 - 18 August 

Dylan Moran 

Adrian Bohm Presents Pty Ltd 

19 August 

Jon English in ‘The Rock Show’ 

Sound One Pty Limited 

20 August 

QYO Masterpiece 3 – Rite of 

Spring 

Queensland Youth Orchestra Council 

21 August 

QSO Music on Sundays 5 Not the 

Last Night of the Proms! 


22 August 

QSO Music on Monday 


24 August 

QPAC Choir Showcase 

QPAC 

27 August 

The Lev Vlassenko Piano 

Competition 

The Lev Vlassenko Competition 

28 August 

Senior Superstar Grand Final 

Presented by Brisbane City Council, 

The Public Trustee of Queensland, 

QPAC, Quest Community Newspapers 

and 4BC 1116 News Radio 

PLAYHOUSE 


QB International Gala 2011 

Queensland Ballet 


QTC Cat on a Hot Tin Roof 

Queensland Theatre Company 



Cabaret 

QPAC 


Animal Farm 

QPAC 

CONCERT HALL MAIN FOYER 

11 August 

Cradle Songs with Karin Schaupp 

QPAC 

STUDIO 1 

25 , 27 & 31 August 

Animal Farm Workshops 

QPAC 

STUDIO 2 


Mary Poppins Auditions 

The Walt Disney Company Australia 

Pty Ltd 

PLAYHOUSE AND LYRIC 

THEATRE LOUNGE 


Cabaret Performance Workshops 

QPAC 

CASCADE COURT 


Mercedes Benz Fashion Festival 

QPAC 


Wednesday/Thursday/Friday 

Weekly August 








Irmer 

QPAC 

SEPTEMBER 2011 

LYRIC THEATRE 

1 – 2 September 

The Ten Tenors 


5 September 

Dylan Moran 


7 September 

QSO 2012 Launch 



Imperial Russian Ballet Company 

– Festival of Russian Ballet 

Russian Ballet Touring Pty Ltd 


Le Grande Cirque – Adrenaline 

QPAC 

CONCERT HALL 

3 September 

QSO Young Performers Award 

Grand Final 

Queensland Symphony Orchestra

8 September 

James Cook University Brisbane 

Graduations September 

Russo Higher Education Pty Ltd 

11 September 

QSO Gala Symphonia Eluvium 


11 September 

Evgeny Kissin Recital 

Major Brisbane Festivals Pty Ltd and 

QPAC 

12 September 

ACO Concert 5 Viennese 

Serenade 



In The Mood 

Mario Maiolo Promotions Pty Ltd 

15 September 

James Morrison 


QPAC 

16 September 

Shaolin Warriors 

Andrew Kay & Associates 

17 September 

QSO Maestro 9 Russian 

Romance 



Bryan Adams 

Frontier Touring Company 

22 September 

Whole Lotta Love Led Zeppelin 

Celebration 

Tim Woods Entertainment 

24 September 

Justine Clarke Little Day Out 

Michael Coppel Presents 

27 September 

Hale and Pace 

Jon Nicholls Productions Pty Ltd 

28 September 

Tic Tic II 

Universal Touring Group Unit Trust 

30 September 

Queen It’s a Kinda Magic 

Rockcity Event Marketing Pty Ltd 

PLAYHOUSE 

1 - 3 September 

QTC Cat on a Hot Tin Roof 



Chunky Move: Mortal Engine 


QPAC 


Maria De Buenos Aires 


QPAC 


Circus Oz: Steampowered 


QPAC 


Sydney Dance Company: The 

Land of Yes and the Land of No 


QPAC 



Animal Farm 

QPAC 

6 September 

2011 Queensland Premier’s 

Literary Awards Ceremony 

Department of Premier & Cabinet 


Fluff 

QPAC 

STUDIO 2 


SeeLive Auditions 

SeeLive Tivoli Entertainment & 

Consulting GmbH 

FUNCTION ROOM 

10 September 

McKay/Mill Wedding Ceremony 

McKay/Mill, Leigh & Sam 

24 September 

Wong/Myer Wedding 

Wong, Dana 


9 September 

Cradle Songs with Rachel Beck 

QPAC 

MELBOURNE STREET GREEN 

17 September 

Brisbane’s Big Uke Jam 

Brisbane Ukulele Musicians Society 

Inc and QPAC 

23 & 30 September 

The Green Jam Sessions 

QPAC 

CASCADE COURT 


Wunder Bar 

QPAC 



Learning How to Breathe 

Rehearsals 

Accolade Productions 

Wednesday/Thursday/Friday 

Weekly September 








Irmer 

QPAC 

OCTOBER 2011 

LYRIC THEATRE 

13 – 29 October 

Tosca 

Opera Queensland Ltd 


Carl Barron 

A List Entertainment 

CONCERT HALL 

1 October 

QSO Gala 4 The Puccini 

Experience 



Vienna Philharmonic Orchestra 

QPAC 

4 October 

Kawai Piano Series – Stephanie 

McCallum 

QPAC 

8 October 

Queensland Korean Orchestra 

Concert 2011 & Celebrations of 

Golden Jubilee Korea-Australia 

Queensland Korean Orchestra 2011 

11 October 

Southern Cross Soloists 

Showcase Concert 3 

QPAC 

12 October 

Kawai Piano Series – Liam Viney 

& Anna Grinberg 

QPAC 

14 October 

The Laughing Samoans Greatest 

Hits 

The Laughing Samoans Ltd 

15 & 17 October 

Chris Cornell 

Michael Coppel Presents 

16 October 

UQ School of Music Showcase 

Concert October 

School of Music University of 

Queensland in association with QPAC 


QSO Education 3: The Composer 

is Dead 

Queensland Symphony Orchestra in 

association with QPAC 

22 October 

Q Pops Chartbusters 2 


25 October 

St Rita’s Annual Thanksgiving 

Celebration 

St Rita’s College 

26 October 

Clayfi eld College Annual Speech 

Night 

Clayfi eld College 

27 October 

All Hallows’ Night of Celebration 

2011 

All Hallows’ School Limited 


28 October 

CSTD in Concert 2011 

Commonwealth Society of Teachers 

of Dancing 

29 October 

QYO 2011 Finale Concert 


30 October 

Ladysmith Black Mambazo 


31 October 

QI Live 


PLAYHOUSE 

1 October 

Sydney Dance Company: The 

Land of Yes and the Land of No 


QPAC 


Ashgrove Dance – On Stage 

Ashgrove Dance Studio 

9 October 

QTC Launch of 2012 Season 



King Arthur and the Tales of 

Camelot 



1 October 

Fluff 

QPAC 

13 - 22 October 

Spring Awakening 

Oscar Theatre Company and QPAC 

28 October 

KITE Yonder Edge City 2011 

QPAC 

STUDIO 2 

5 - 31 October 




FUNCTION ROOM 

8 October 

21st Party 

Wine and Dine ‘M 

9 October 

60th Birthday Celebrations 

Ann Odlum 

10 October 

Arts Queensland Meeting 

QPAC 

27 October 

Sustainability Project Training 

Session 

Live Performance Australia 


Discussions with Steven Wolff 

QPAC 

29 October 

Melba CD Launch 


59


CASCADE COURT 

1 October 

Brisbane Open House 2011 

QPAC 


Carl Barron Post-Show 

Entertainment 

QPAC 


2 - 3 October 

Vienna Philharmonic Orchestra 

Live Simulcast 

QPAC 

7, 14, 21, 28 October 


QPAC 





Irmer 

QPAC 

NOVEMBER 2011 

LYRIC THEATRE 

1 - 6 November 

Whispering Jack 

Sirius Nominees Pty Ltd 

12 – 30 November 

Rock of Ages 


CONCERT HALL 


QI Live 


3 November 

Iona College Junior & Senior 

School Speech Night 

Iona College 

4 November 

Brisbane Boys College Speech 

Night 

Brisbane Boys College 

5 November 

QSO Maestro 10 – Celestial 

Visions 


7 November 

They Will Have Their Way 

Stop Start Music Pty Ltd 

8 November 

Pam Ayres 

Jon Nicholls Productions Pty Ltd 

9 November 

Churchie Centenary Speech 

Night 

Anglican Church Grammar School 

10 November 

Building for the Future 


10 November 

QSO Thursday Masterworks 4 

Tchaikovsky Symphony 4 


60 

11 November 

St John’s Anglican College Night 

of Celebration 

St John’s Anglican College 

12 November 

Bjorn Again 

The Music Group Pty Ltd 

14 November 

St Aidan’s AGS Annual Award 

Ceremony 

St Aidan’s Anglican Girls School 

15 November 

St Margaret’s Speech Night 

St Margaret’s Anglican Girls School 

16 November 

Brisbane Grammar School 

Speech Day 

Brisbane Grammar School 

17 November 

Somerville House Speech Night 

2011 

Somerville House 

18 November 

ACO Concert 6 Beethoven 

Pastoral Symphony 


19 November 

QSO Choral Classics 2 Brahms’ 

Radiant Requiem 


21 November 

The Lakes College Night of 

Celebration 

The Uniting Church in Aust Property 

Trust t/a The Lakes College 

23 November 

David Hobson and Teddy Tahu 

Rhodes in Concert 

Andrew McKinnon Presentations 

Pty Ltd 

25 November 

John Waters – Looking Through a 

Glass Onion 

The Harbour Agency 

26 November 

QSO Maestro 11 Towards a New 

Era 


30 November 

Arj Barker 

Laugh Productions Pty Ltd 

PLAYHOUSE 


QTC Pygmalion 




Jane Harrison’s STOLEN, directed 

by Leah Purcell 

QPAC 


QTC Fractions 


STUDIO 1 


CQ University Music and Theatre 

Auditions 2011 

CQ University’s Central Queensland 

Conservatorium of Music 





STUDIO 2 


APSA Rehearsals 2011 

Asia Pacifi c Screen Awards 

FUNCTION ROOM 

12 November 

Cocktail Reception 

Wagners Brisbane Social Club 

15 November 

Opera Australia Launch 

Opera Australia 

18 November 

Peddle Thorpe Christmas Party 

Wine and Dine ‘M 

22 November 

Ozpac Meeting 

QPAC 


18 November 

Cradle Songs with Katie Noonan 

QPAC 


4, 11, 18, 25 November 


QPAC 







Imaginary Theatre Rehearsals 

‘Look’ 

Imaginary Theatre 





Irmer 

QPAC 

DECEMBER 2011 

LYRIC THEATRE 

1 – 4 December 

Rock of Ages 



Mary Poppins 

Disney Theatrical Productions 

(Australia) 

CONCERT HALL 

1 - 2 December 

Arj Barker 


3 December 

QSO Choral Classics 4 ...All of 

Heaven Before Me 



Spirit of Christmas 

QPAC 


QUT Graduations December 2011 

Queensland University of Technology 

22 December 

Christmas in Lazytown 


31 December 

Q Pops New Year’s Eve Concert – 

Music Around the World 


PLAYHOUSE 


Swan Lake 




Fractions 


14 - 18 December 

Charlie and Lola’s Best Bestest 

Play 

MEI Live Pty Ltd 

19 December 

Shake & Stir’s Holiday 

Workshop Showcase 

Shake & Stir Theatre Co 

PLAYHOUSE STUDIO 2 


Shake & Stir’s Holiday 

Workshops 

Shake & Stir Theatre Co 

FUNCTION ROOM 

9 December 

Hudsons Christmas Party 

Hudsons 

12 December 

Creative Lab Presentations 

Queensland Museum 

16 December 

Board Meeting and Luncheon 


LYRIC THEATRE LOUNGE 


Queensland Museum Meetings 



19 December 

The Christie Project 

Katrina Torenbeek Trust 

GRASS PLAZA 

2, 9 December 


QPAC





Irmer 

QPAC 


Exhibition: Mary & Me 

QPAC 

JANUARY 2012 

LYRIC THEATRE 

1 – 29 January 

Mary Poppins 


(Australia) 

CONCERT HALL 

14 January 

Reece Mastin Live in Concert 


21 January 

The Angels – Waiting for the Sun 

Tour 

QPAC 

27 January 

Morning of the Earth 

Bold Jack Pty Ltd 

28 January 

An Unforgettable Evening with 

Natalie Cole 

Artist Network 

PLAYHOUSE 


Angelina Ballerina’s Big 

Audition 

QPAC 


Cinderella 

Ballet Theatre of Queensland 

29 January 

Zeta Screen Public Awards – 

design development 

QPAC 


5 - 21 January 

James and the Giant Peach 

Harvest Rain and QPAC 

STUDIO 2 


The Addams Family Auditions 


PLAYHOUSE LOUNGE 

7 January 

Angelina Ballerina High Tea 

QPAC 

23 January 

SLQ Meeting 

State Library of Queensland 



Fairytales and Fantasy Tunnel 

and Picnic Playground 

QPAC and Queensland Museum 



Flamenco Fire Gypsy Pathways 

Rehearsals 

Red Chair Pty Ltd and QPAC Presents 


Ozfrank 2012 Summer Program 

Ozfrank Theatre Film 




QPAC 

FEBRUARY 2012 

LYRIC THEATRE 

1 – 29 February 

Mary Poppins 


(Australia) 

CONCERT HALL 

7 February 

Chinese Acrobatic Spectacular 

Voice of Australian Chinese Pty Ltd 

9 February 

All Hallows’ Inaugural Mass 

2012 

All Hallows’ School Limited 

11 February 

QSO Maestro 1 QSO with 

Kovacevich 


13 February 

ACO Concert 1 – Chopin & 

Mendelssohn’s Octet 


15 February 

Jersey Boys Launch 


19 February 

Q Pops and The King’s Singers 



John Cleese 


23 February 

I Musici – Viva Italia 60th 

Anniversary Tour 

QPAC 

29 February 

Ukulele Orchestra of Great 

Britain 

Les Currie Presentations 

PLAYHOUSE 


Flamenco Fire Gypsy Pathways 

Red Chair Pty Ltd and QPAC Present 


The Wizard of Oz 

Harvest Rain Ltd and QPAC Present 


Summer of the Seventeenth Doll 


STUDIO 2 

10 February 

Music Theatre Masterclass 

with Simon Burke and Daniel 

Edmonds 

Media Entertainment & Arts Alliance 

15 February 

Jersey Boys Band Auditions 

Jersey Boys Australia Joint Venture 


21 February 

Hamburg Season Launch 

QPAC 

CASCADE COURT 

25 February 

Rio Tinto Ride to Conquer Cancer 

– Big Orientation 

Rio Tinto Ride to Conquer Cancer 



Babushka Cabaret Rehearsal 

‘I Can Keep a Secret’ 

Divalution Pty Ltd 




QPAC 

MARCH 2012 

LYRIC THEATRE 

1 – 17 March 

Mary Poppins 


(Australia) 

23 – 28 March 

Romeo and Juliet 

The Australian Ballet 

CONCERT HALL 

1 March 

Ryan Adams 

Frontier Touring Company 

3 March 

QSO Maestro 2 QSO with Markus 

Schirmer 


7 March 

QSO Education Concert 2012 

Queensland Symphony Orchestra Pty 

Ltd in association with QPAC 

9 March 

Johnny Clegg 

Zeridium Pty Ltd 

10 March 

David Campbell 


11 March 

QSO Music on Sundays 1 Espana! 


Pty Ltd 

12 March 

ACO Concert 2 – The Hilliard 

Ensemble 


13 March 

An Evening with Chris Botti 

QPAC 


14 March 

Tafelmusik 

Musica Viva Australia 

15 March 

QSO Morning Masterworks 1 

QSO Plays Edgar 


16 March 

Petula Clark 


20 - 24 March 

Ross Noble 

A List Entertainment 

30 March 

QSO Maestro 3 QSO with Sergio 

Tiempo 


PLAYHOUSE 

1 – 11 March 

Summer of the Seventeenth Doll 


14 – 18 March 

Bloodland 

QPAC and Queensland Theatre 

Company present a Sydney Theatre 

Company and Adelaide Festival 

production in association with 

Bangarra Dance Theatre 

22 – 24 March 

Dickens’ Women 

Andrew McKinnon Presentations 

Pty Ltd 

31 March 

Alice in Wonderland 



5 March 

OOTB 2012: Media Launch 

QPAC 

6 March 

OOTB 2012: Teachers Launch 

QPAC 

19 – 31 March 

Bombshells 


STUDIO 2 

12 – 24 March 

Brisbane Children Rehearsals 

for Annie 


FUNCTION ROOM 

6 March 

Venue Management Association 

Meeting 

QPAC 

28 March 

LPA Member Forum 2012 

Live Performance Australia 


1 – 2 March 

SLQ Team Building Day 

State Library of Queensland 


23, 30 March 


QPAC 

61



1 – 17 March 


QPAC 

26 – 31 March 

Brisbane Children Rehearsals 

for Annie 


APRIL 2012 

LYRIC THEATRE 

7 – 29 April 

Annie 


CONCERT HALL 

5 April 


QSO Plays Beethoven 


13 – 14 April 

Macbeth 

Opera Queensland Ltd 

19 April 

Stephen Amos 


20 April 

Class of ‘59 


21 April 

QSO Maestro 4 QSO with 

Johannes Fritzsch 


22 April 

Southern Cross Soloists Concert 

1 – Serenade d’un Jour 

QPAC 

27 April 

Endeavour College of Natural 

Health Graduations 2012 

Endeavour College of Natural Health 

28 April 

Divine Divas 

Mario Maiolo Promotions Pty Ltd 

PLAYHOUSE 

3 – 14 April 

Alice in Wonderland 


21 – 28 April 

Romeo & Juliet 



3 - 21 April 

Bombshells 


27 – 29 April 

The Neverending Story 

Harvest Rain Ltd and QPAC 

STUDIO 1 

16 April 

South Pacifi c Auditions 

Opera Australia (South Pacifi c) 

19 April 

I Will Survive Auditions 

Fremantle Media Australia 

62 

FUNCTION ROOM 

24 April 

Business South Bank 

Networking Function 

QPAC 


3 – 5 & 14 April 

Alice’s High Tea 

QPAC 

GRASS PLAZA 

13, 20, 27 April 


QPAC 


5 – 9 April 

Ozfrank Easter Actor Training 

Workshop 2012 

Ozfrank Theatre Film 

MAY 2012 

LYRIC THEATRE 

1 – 13 May 

Annie 


24 – 31 May 

Magic Flute 


CONCERT HALL 

3 May 


QSO Plays Tchaikovsky 


4 May 

Heston Blumenthal Live 

Lateral Marketing & Management 

5 – 7 May 

The Wiggles – Live in Concert 

The Wiggles Live Australia Pty Ltd 

11 May 

Cliff Joins the Beatles 


12 May 

QSO Maestro 5 QSO with Valery 

Polyansky 


19 May 

Q Pops on Broadway 


20 May 

UQ School of Music: Elgar’s 

Cello Concerto 

University of Queensland School of 

Music in association with QPAC 

22 May 

Naturally 7 – All Natural Tour 

QPAC 

25 – 26 May 

Hi-5 


PLAYHOUSE 

1 – 13 May 

Romeo & Juliet 


19 – 31 May 

Don Quixote 



1 – 12 May 

The Neverending Story 


16 – 31 May 

Songs for Nobodies 

Duet Productions Pty Ltd 


5 – 6 May 

Buddha Birth Day Meditation 

Sessions 2012 

Buddha’s Light International Assn of 

Queensland 


18 May 

The Magic Flute Insight Night 


CASCADE COURT 

12 May 

Senior Superstar Auditions 2012 

Presented by Brisbane City Council, 

The Public Trustee of Queensland, 

QPAC, Quest Community Newspapers 

and 4BC 1116 News Radio 


4, 11 May 


QPAC 

JUNE 2012 

LYRIC THEATRE 

1 – 9 June 

Midsummer Night’s Dream 


2 – 8 June 

Magic Flute 


12 – 17 June 

OOTB 2012: The Flying Orchestra 

QPAC 

20 – 24 June 

Imperial Ice Stars – Nutcracker 

on Ice 

Lunchbox Theatrical Productions 

Limited 

26 – 30 June 

Rock the Ballet 


CONCERT HALL 

1 & 26 June 

Les Ballet Eloelle ‘ Men in Pink 

Tights’ 

Retfar Entertainment Pty Ltd 

2 June 

QYO Masterpiece Two The 

Emperor 


9 June 

Tom Burlinson – Now We’re 

Swinging 

Downunder Promotions 

12 – 15 June 

OOTB 2012: The Race for the 

Chinese Zodiac 

QPAC 

16 June 

QSO Maestro 6 QSO with Eivind 

Aadland 


18 June 

QPAC Choir Showcase 

QPAC 

19 June 

Lenny Henry – Cradle to Rave 

Maggie Gerrand Presents Pty Ltd 

24 June 

QSO Music on Sundays 2 

Romance and Passion 


25 June 

ACO Concert 3 – Danielle De 

Niese 

QPAC 

28 June 

Miss Chinese Cosmo Pagaent 

Queensland 

Voice of Australian Chinese Pty Ltd 

29 June 

Guy Sebastian – Armageddon 

2012 


PLAYHOUSE 

1 – 2 June 

Don Quixote 


13 – 17 June 

OOTB 2012: Me and My Shadow 

QPAC 

22 – 30 June 

Hairspray 



1 – 3 June 

Songs for Nobodies 

Duet Productions Pty Ltd 

10 June 

In Conversation with Colin Firth 

Equity Foundation 

12 – 17 June 

OOTB 2012: Hello Space Boy 

QPAC 

20 – 23 June 

The Last Five Years 

Ignatians Musical Society 

29 – 30 June 

Menopause the Musical 

Hit Productions 

STUDIO 1 

12 – 17 June 

OOTB 2012: Leftside Rightside 

Flipside 

QPAC 

STUDIO 2 

12 – 16 June 

OOTB 2012: Stradbroke 

Dreamtime 

QPAC

FUNCTION ROOM 

12 – 17 June 

OOTB 2012: Story Dramas 

Workshop 

QPAC 


12 – 17 June 

OOTB 2012: Scary Beast 

QPAC 


12 – 17 June 

OOTB 2012: Design Your Story 

World 

QPAC 

LYRIC THEATRE BALCONY 

FOYER 

12 – 17 June 

OOTB 2012: Digital Play 

QPAC 


12 – 17 June 

OOTB 2012: Invisible Me 

QPAC 

PLAYHOUSE REAR STAGE 

12 – 17 June 

OOTB 2012: Dream Weavers 

QPAC 

CASCADE COURT 

12 June 

OOTB 2012: Opening Event 

(Birthday Party) 

QPAC 

12 – 17 June 

OOTB 2012: Under Age Stage 

QPAC 


13 – 17 June 

OOTB 2012: Dinosaur Petting 

Zoo 

QPAC 

21 June 

Fete de la Musique 

Brisbane City Council 

LYREBIRD RESTAURANT 

12 – 16 June 

OOTB 2012: The Art, Heart and 

Soul of Food 

QPAC 


18 – 24 June 

La Voix Humaine Rehearsals 

Motherboard Promotions 


30 June 

The Christie Project: Creative 

Development 

Katrina Torenbeek Trust 


12 – 17 June 

OOTB 2012: This [Baby] Life 

QPAC 

12 – 17 June 

OOTB 2012: Bear With me 

QPAC 

THE TUNNEL 

12 – 17 June 

OOTB 2012: Chalk the Walk 

QPAC 

63


Appendix Two – QPAC Contribution to Government objectives 

Getting Queensland back on track 

The Queensland Performing Arts Trust contributes to the achievement of the Queensland Government’s Getting Queensland 

back on track pledges: 

Grow a four pillar economy 

QPAC presents events with a national presence that attract international and national visitors, support cultural tourism and 

position Queensland as a signifi cant force in the events industry. 

Revitalise frontline services 

QPAC presents a diverse live performance program that incorporates a range of arts education programs that align with the 

Government’s objective to revitalise frontline services by contributing to early childhood education in and through the arts. 

64

Director – 


Ross Cunningham 

Programming 

Production Services 

Out of the Box 

Appendix Three – Organisational Structure 

QPAC Board of Trustees 

Director – Marketing 

Leisa Bacon 

Marketing 

Partnerships 


John Kotzas 

Director – 


Tony Smith 

Visitor Services 

Food and Beverage 

Operations 


Office of the 


qtix 

Director – 


Kieron Roost 

Finance & Business 

Human Resources 

and Organisational 

Development 

Information, 

Communication and 

Technology (ICT) 

Facilities and 

Maintenance; 

Safety and Security 

65


Executive Management 

John Kotzas: Chief Executive Offi cer 

John Kotzas commenced working at QPAC in the education area, progressing to the position of Artistic Director of QPAC’s 

celebrated Out of the Box Festival. Following two successful festivals, Mr Kotzas left QPAC to be Managing Director of Warana 

and later Managing Director of the inaugural Brisbane Festival. Returning to QPAC as the Executive Manager, Programming, 

Mr Kotzas was appointed as Artistic Director in 2002, and Chief Executive in 2009. Mr Kotzas holds a Bachelor of Arts and 

Diploma of Education. 

The responsibilities of the Chief Executive Offi cer include the provision of strategic direction and leadership of the 

organisation, setting and driving the artistic vision for the Centre. Staff within the Offi ce of the Chief Executive provide 

research and advice to the Chief Executive, working on whole of organisation issues. 

Ross Cunningham: Director – Presenter Services 

Ross Cunningham commenced as the Executive Producer – Programming in 2009. Mr Cunningham has over 30 years 

experience in the entertainment, hospitality club and venue management industries. 

The responsibilities of the Director – Presenter Service include leading the Programming team which comprises of Venue Hire, 

Commercial Programming, QPAC Collections Museum, QPAC Presents; and the Production Services Unit which comprises of 

Staging, Lighting, Stage Management, Audio/Visual and Events Management. 

Leisa Bacon: Director – Marketing 

Leisa Bacon was appointed Director-Marketing at QPAC in August. She comes with 20 years experience in marketing and 

business strategy. She holds a Bachelor of Business majoring in Marketing and a Masters in Business. 

At QPAC, Leisa is responsible for all Event and Corporate Marketing, in addition to managing the in-house Agency team across 

publicity, digital, graphic design and media buying. Recently, responsibility for partnerships and corporate development was 

added to Leisa’s portfolio. 

Tony Smith: Director – Patron Services 

Tony Smith took up the position of Director – Patron Services in December 2010, following 22 years in management across all 

areas of the hospitality industry. 

At QPAC, Mr Smith is responsible for visitor services, operations administration and leading the food and beverage team 

comprising restaurants, bars and functions. 

Kieron Roost: Director – Corporate Services 

Kieron Roost commenced working with QPAC as Executive Manager – Finance in 2000. He was promoted to the role of 

Director, Corporate Services in 2004. The Corporate Services unit was expanded in 2009 to include responsibility for facilities, 

maintenance, safety and security. 

Mr Roost is a qualifi ed Certifi ed Practicing Accountant and holds BA (Hons) Literature. He is a member of the Australian 

Society of CPAs and is a graduate of the Australian Institute of Company Directors (AICD). He has a Graduate Diploma 

Professional Accounting. 

Mr Roost’s current responsibilities include the roles of Chief Financial Offi cer and Company Secretary. He heads a portfolio 

comprising of fi nance and business; human resources; information, communications and technology services; and facilities, 

maintenance, safety and security. 

66

Appendix Four – Queensland Performing Arts Trust Board of Trustees 


Members of the Queensland Performing Arts Trust Board of Trustees are appointed by the Governor in Council in accordance 

with the Queensland Performing Arts Trust Act 1977. Members are appointed for a period of not more than three years. 

During 2001-12, the Board met 9 times. Details of meeting attendance are contained in the table below. 

H enry Smerdon AM DUniv (Griffi th University) 

B.Com, BEcon, FCPA, MAICD 

Chair 

Henry Smerdon had a distinguished 36 year career in the public sector, including fi ve years as the Under Treasurer and Under 

Secretary of the Queensland Treasury Department. 

From the end of 1994 until April 1998, he held the position of Chief Executive Offi cer of the Queensland Investment 

Corporation, an organisation he played a major part in establishing. Mr Smerdon has served on a number of Government 

boards including Suncorp, the Queensland Industry Development Corporation (Deputy Chairman), Workers’ Compensation, 

South Bank Corporation, Queensland Investment Corporation, three Government Superannuation Boards (Chairman) and 

QInvest Ltd (Chairman). He also served as Government Statistician for fi ve years. 

Presently, Mr Smerdon is Deputy Chancellor of Griffi th University and a member of the Public Trust Offi ce Investment Board. 

He is Chairman of Hyperion Flagship Investments Ltd and the Currumbin Wildlife Sanctuary Board and was appointed an 

inaugural director of the Queensland Education Leadership Institute Ltd. He is the independent Chair of the Board of 

AustSafe Super, an industry superannuation fund. He also operates his own consultancy business, Strategic and Financial 

Consulting Services. 

Mr Smerdon is the recipient of a Centenary Medal and in 2010 was made a Member of the Order of Australia. In December 

2010, Griffi th University conferred on him the degree of Doctor of the University for the outstanding contribution he has made 

to public administration, education and the arts. 

Rachel Hunter 

BA DipED BEdST MBA DUniv 

Deputy Chair 

Rachel Hunter is the Chair of the Australian Children’s Education and Care Quality Authority (ACECQA) Board, and the Chair 

of Legal Aid Queensland. She is a member of the Griffi th University Council, and a member of the UQ College Board. 

Ms Hunter’s previous roles as CEO included Director-General of the Department of Education, Training and the Arts, 

and Director-General of the Department of Justice and Attorney-General. She also served as Queensland’s Public Service 

Commissioner. Ms Hunter was Chair of TAFE Queensland, and as such was the lead executive and spokesperson for the 

TAFE system. 

Ms Hunter has an acute interest in the role education, training and the arts play in individual, community, and business 

economic development. 

Simon Gallaher 

Member 

Simon Gallaher has developed a highly successful private performing arts company based in Queensland for the past 20 years 

(Essgee Entertainment). He is best known to Australian audiences as a music theatre star, television and concert performer, 

singer, pianist and songwriter. He has also become one of Australia’s foremost theatrical producers and his company, Essgee 

Entertainment, a major entertainment presenter. 

Mr Gallaher studied at the Queensland Conservatorium of Music before becoming a regular on The Mike Walsh Show and 

hosting his own night-time television variety show on ABC-TV. He has been awarded three Mo Variety Awards, a Logie Award, 

Queenslander of the Year Commendation, Advance Australia Award for his contributions to the arts and was twice voted 

Queensland’s Entertainer of the Year. 

In 1984, Mr Gallaher made the transition from television to the stage as Frederic in the Australian production of The Pirates of 

Penzance and later performed in other musicals including Hello Dolly, The Student Prince, and My Fair Lady. 

In 1994, Mr Gallaher created a new stage production of The Pirates of Penzance which was a huge hit across Australia and 

New Zealand and received a triple platinum video and an ARIA Award. He then created new versions of The Mikado and 

67


HMS Pinafore, and a new production of The Merry Widow. His company has also produced Terrence McNally’s Master Class 

and Sondheim’s A Funny Thing Happened on the Way to the Forum. 

In 2007, Mr Gallaher initiated Shopstoppers, a series of music-theatre workshops for young Queensland performers. In 2001 he 

created a special anniversary revival production of The Pirates of Penzance which opened at QPAC and toured through until 

2003, the $6 million Australian musical Eureka (in 2004 in association with the Melbourne International Arts Festival) and a 

new production of The Mikado (which opened in Brisbane in 2008 and in Adelaide in 2009). He recently returned to the stage 

at QPAC in the Harvest Rain production of Hairspray. 

Helene George 

Member 

Helene George is the Managing Director of Creative Economy, a niche consulting fi rm which she founded in 1992. Ms George 

has over 20 years experience in management and consulting throughout Australia. She has worked as a Manager of creative 

companies and facilities, Export Trade Representative and as an Executive in Local Government. 

Ms George brings extensive experience in arts, creative industries and cultural tourism. This includes investment attraction, 

development and management of cultural facilities, industry development, and strategy, planning for government as well as 

commercialisation and development for creative companies. 

Ms George has held positions as Deputy Chair of the Creative Industries Skills Council, Member of the Working Party for 

Creativity in the Innovation Economy, Member of the Development and Management Advisory Group and the Childers Street 

Theatre (ACT Government). Ms George was also the Spokesperson and a Member of the Kingston Foreshore Development 

Authority Reference Group which was hailed as a model for Sustainable Urban Development by the OECD. 

In 2011 Ms George was appointed as a UNESCO expert on the 2005 Convention for the Protection and Promotion of the 

Diversity of Cultural Expressions. 

She is currently a Fellow of the Australian Institute of Management and in 2011 she completed the Australian Institute of 

Company Directors Course. In 2007 she was honoured with a Leadership Award at the Future Leadership Summit by Australia’s 

pre-eminent leadership organisation, AusDavos. 

Ms George holds a Graduate Diploma in Management and a Bachelor of Arts in Performing Arts. She was fi rst appointed as a 

Trustee of the Queensland Performing Arts Trust in 2007. 

Bill Grant 

Member 

Bill Grant holds a number of Board positions, including Chair of the Brisbane Airport Corporation, a Director of New Hope 

Corporation Ltd and the Brisbane Development Association. 

Previously, Mr Grant held positions including CEO of South Bank Corporation and Newcastle City Council. He has signifi cant 

experience in urban renewal, place management, local government and project management. 

Mr Grant is a Fellow of the Australian Institute of Company Directors. 

Sophie Mitchell 

Member 

Sophie Mitchell is a Director of RBS Morgans and has many years experience in the stockbroking industry. 

She has previously worked as portfolio manager for Seymour Funds Management, analyst for Morgans Stockbroking / ABN 

AMRO Morgans and a research analyst for McNab Clarke / CS First Boston. 

Presently, Ms Mitchell is a Director of Expressions Dance Company, ASX-listed Hyperion Flagship Investment Limited and 

Silver Chef Limited, the RBS Morgans Foundation, a Member of the Australian Government Takeovers Panel and a Trustee and 

Member of CEDA’s Queensland State Advisory Council. 

Ms Mitchell holds a Bachelor of Economics and a Diploma in Taxation Law. She has completed the AICD Directors Course and 

is a Senior Fellow of FINSIA (Financial Services Institute of Australasia). 

68

Paul Piticco 

Member 


Paul Piticco has built his career around shaping the contemporary music landscape of Australia. Mr Piticco has managed the 

career of multi-platinum, multi-award winning Brisbane act Powderfi nger since the band’s inception in 1990, later forming 

Secret Service Artist Management in the late 1990’s and expanding the management roster to include Bernard Fanning and 

The Grates, amongst others. 

In 2001 Paul created Dew Process, an independent record label that has signed and released many Platinum and Gold-selling 

artists such as Mumford & Sons, Sarah Blasko, The Living End and The Panics. He is also heavily involved in the live music 

arena as Co-Producer in his globally recognised award winning annual Australian arts & music festival, Splendour in The 

Grass, and national touring company, Secret Sounds. 

In late 2011 Mr Piticco opened a restaurant with fellow owners Andrew Baturo (Libertine Bar & Restaurant) and Denis 

Sheahan. Popolo Italian Kitchen + Bar is an innovative and fresh take on Italian food which will redefi ne expectations of what 

is a ‘traditional’ Italian restaurant. 

In early 2012 Mr Piticco announced his latest venture, the new digital-focused independent label Create/Control. Create/ 

Control has been designed to specifi cally meet artists needs in today’s music industry environment. The label is helmed by the 

successful team behind Dew Process and includes a roster of artists such as The Smashing Pumpkins, Metric, The Jungle Giants 

and Opossom. 

Paul has been a Board Member for the Queensland Performing Arts Centre since November 2006. He is also an active supporter 

and fundraiser for Youngcare, The Yalari Foundation and Reconciliation Australia. 

Mick Power 

HonFIEAust, FAICD, FAIM (Member since July 2010) 

Founder of the BMD Group of companies, Mick Power AM is widely regarded as one of Queensland’s leading fi gures in the 

civil construction industry. 

After spending his formative years with Leighton Contractors, Mr Power started BMD Group in 1979 as a family business. 

Under his leadership, BMD Group has since grown and diversifi ed into what is today considered to be one of Australia’s largest 

privately owned civil construction, consulting, and urban development organisations. With the company now in its 33rd year 

of operation, Mr Power retains an active position as BMD Group Board Chairman and Managing Director. 

Mr Power also devotes his time to supporting a number of not-for-profi t organisations and is a Board Member for the Greg 

Norman Golf Foundation, Brisbane Lions Football Club, South Bank Corporation and Queensland Performing Arts Centre. 

Mr Power is an Honorary Ambassador of the City of Brisbane and in 2005 was awarded a Member of the Order of Australia for 

his service to the building and construction industry – particularly in the fi eld of civil engineering and for his 

community involvement. 

As Vice Patron of Surf Life Saving Foundation, Mr Power established offi cial naming rights sponsorship (the fi rst of its kind 

in Australia) for BMD Northcliffe Surf Life Saving Club in 2007. In 2009 he was also honoured with the QUT Distinguished 

Constructor Award for his commitment to the Queensland construction industry. 

Professor Susan Street 

Member 

Professor Susan Street is the Executive Director QUT Precincts and formally the Executive Dean of the Creative Industries 

Faculty at Queensland University of Technology (QUT). She is a practicing artist as well as an educator. 

She has previously been Head of Dance, QUT; Dean, School of Dance, Hong Kong Academy for Performing Arts; Chair, 

Dance Fund and Council Member of the Australia Council; Trust Director, Brisbane Arts and Environment Trust, Brisbane 

City Council; Chair, Artistic Advisory Committee and Board Member, Hong Kong Ballet; Arts advisor to Hong Kong Arts 

Development Council and Leisure and Cultural Service Department of Hong Kong Government. 

Presently, Professor Street serves on the following Boards: Australia-China Council (DFAT); Regional and Touring Arts 

Programs Expert Assessment Panel – Playing Australia; Australian Dance Council – Ausdance: Australasian Advisor to the 

Royal Academy of Dance in London. 

69


Rhonda White 

Member 

Rhonda White is a co-founder of the Terry White Chemists (TWC) Group and has been integral to the success of the brand. 

Her visionary skills in developing the systems and disciplines for the Brand, commitment to the development of Professional 

Services combined with exceptional business skills have proven a critical ingredient in growing the franchise network to its 

current position of 168 pharmacies in all states, employing over 4500 staff with a turnover of $1 billion. 

She graduated as a Pharmacist in 1963 and also holds a Bachelor of Arts and Postgraduate Diploma in Organisational 

Psychology from the University of Queensland. 

Ms White currently serves as a board member of TWC Group Investment Limited. She has also been a director of a number 

of government and private companies, including the Energex Retail Board, the Ergon Energy Board, Terry White Chemists 

Board, was a foundation member of the Nudgee College Board and was Foundation Chairman of the Queensland Cancer Fund 

Volunteers Committee. Rhonda has received numerous professional accolades including Australia’s 2000 Leading Women’s 

Entrepreneur of the World, Star Group International Award in Venice, National Business Bulletin – Business Star of the Year in 

2004, Pharmacy Practice Medal of Excellence, University of Sydney 2006, Outstanding Alumni Award for Faculty of Science, 

Queensland University of Technology 2007. 

Rhonda was inducted into the Queensland Business Leaders Hall of Fame in September 2011 in recognition of exceptional 

entrepreneurship and innovation in national retailing, and signifi cant contributions to the community. 

In December 2011, she was awarded the Degree “Doctor of the University” by Griffi th University in recognition of her 

distinguished services to the Pharmacy Industry and to the University. 

70

Appendix Five – 

Queensland Performing Arts Trust sub-committees 

Risk Management and Audit Committee 


QPAC maintains a detailed Risk Management Plan consistent with the statutory requirements of sections 15(1)(h) and 28 of the 

Financial and Performance Management Standard 1997. The plan is reviewed annually by management and presented to the 

Risk Management and Audit Committee. 

The Risk Management and Audit Committee is a sub-committee of the Queensland Performing Arts Trust. It meets quarterly 

and monitors QPAC’s compliance with the Risk Management Plan. The Trust approves its terms of reference, responsibilities 

and membership and all minutes and decisions are reported to the Trust. The Committee is chaired by Bill Grant and members 

are: Henry Smerdon, Helene George, Sophie Mitchell, John Kotzas (Chief Executive), Kieron Roost (Director, Corporate Services) 

and Michael Stout (Management Accountant). Junaide Latif (external auditor, William Buck as appointed by the Queensland 

Audit Offi ce) also attended the meetings. Details of meeting attendance are contained in the table below. 

The Chair of Risk Management and Audit Committee is remunerated at a rate of $169 per meeting and committee members at 

a rate of $139 per meeting. 

QPAC maintains a comprehensive internal audit program. A three-year Internal Audit Strategic Plan has been developed and is 

reviewed annually. The Internal Auditor is appointed by the Risk Management and Audit Committee from a public tender. 

Under its charter, the core responsibilities of the Committee are to review and monitor QPAC’s budget; examine the annual 

fi nancial statements; examine and monitor internal systems, procedures and processes of signifi cance; ensure that QPAC 

has in place an acceptable internal audit function; approve the internal audit strategic plan and monitor its implementation; 

liaise with external auditors in the preparation and audit of fi nancial statements; ensure that fi nancial and other risks to 

which QPAC might be exposed are identifi ed and that strategies are in place through the Risk Management Plan and Business 

Continuity Plan; and otherwise provide advice and assistance to QPAC to enhance the corporate governance of its operations. 

In 2011-12 QPAC completed internal audits of cash handling procedures, deductable gift recipient activities and a review of 

trust account procedures. The Risk Management and Audit Committee operated within the terms of its charter and both the 

Committee and internal audit function had due regard to Queensland Treasury’s Audit Committee Guidelines. 

In 2011-12 there were 9 meetings the Trust and 4 Risk Management Audit Committee meetings. Attendance was as follows: 

Member Queensland Performing Arts Trust Risk Management Committee 

Eligible to attend Attended Eligible to attend Attended 

Henry Smerdon (Chair) 9 9 4 4 

Rachel Hunter (Deputy Chair) 9 8 0 0 

Simon Gallaher 9 8 0 0 

Helene George 9 8 4 4 

Bill Grant 9 6 4 4 

Sophie Mitchell 9 8 4 4 

Paul Piticco 9 7 0 0 

Mick Power 9 4 0 0 

Susan Street 9 7 0 0 

Rhonda White 9 6 0 0 

The Queensland Performing Arts Trust was not subject to any external audits or reviews during the fi nancial year (other than 

the audit report on the fi nancial statements). 

71


72 

Glossary 

ACPA Brisbane-based performance company and training institute the Aboriginal Centre for 

Performing Arts (ACPA). 

The Act QPAC is governed by the Queensland Performing Arts Trust whose responsibilities are 

outlined in The Queensland Performing Arts Act 1977. 

Artist/company in residence QPAC enters into residencies with artists or companies from time to time through invitation 

rather than through a formalised application process. Each residency is different and 

provides for the particular needs of the resident and QPAC. A QPAC contribution to a 

residency may include accommodation, administrative and fi nancial support, or a dedicated 

QPAC producer. A resident contribution may include artist talks or free performances. 

Concert Hall 1 800 seat theatre used primarily for classical music concerts and contemporary music. 

Cremorne Theatre 300 seat theatre used for smaller theatre productions and as a ‘black box’ for hire. 

Dark nights A dark night is a term used to refer to those nights during a performance season when a 

theatre is not in use. Dark nights are most commonly used to give performers a rest during 

the season; vocal performers in particular make use of dark nights. 

Genres QPAC classifi es genres according to categories set by Live Performance Australia. 

Home companies QPAC’s four Home Companies have a particular and defi ned relationship with QPAC as their 

primary performance home. QPAC’s relationship with its Home Companies spans aspects 

of production, marketing, ticketing, catering and functions. The specifi c detail of these 

relationships has evolved over time and remains fl uid in order to accommodate the changing 

needs of all parties. 

Lyric Theatre 2 000 seat theatre used primarily for musicals, operas and large dance and music 

productions. 

NARPACA The Northern Australian Regional Performing Arts Centre Association (NARPACA) is a 

coalition of performing arts and events venues in Queensland and the Northern Territory. 

OA Opera Australia (OA) is the national Australian opera company based in Sydney 

OQ Opera Queensland (OQ) is the State’s fl agship opera company and one of QPAC’s Home 

Companies 

OZPAC OZPAC is a coalition of the major Performing Arts Centres in Australia and New Zealand. 

These Centres are typically the pre-eminent multi-purpose, multi-venue performing arts 

complexes in their cities. They typically include at least a lyric theatre, a concert hall, and 

drama theatres along with other performance, exhibition and function spaces. All are 

publicly owned. 

Performances Scheduled public activity presented indoors or outdoors by any presenter and offsite where 

presenter is QPAC. Includes workshops and lectures. Where multiple acts perform as one 

program for example Green Jam this is considered one performance. Where program is 

over multiple days for example Melting Pot this is consider one performance per day ie 2 

performances. 

Playhouse 850 seat theatre used primarily for theatre productions, classical and contemporary dance.


QB Queensland Ballet (QB) is the State’s fl agship classical dance company and is one of QPAC’s 

Home Companies. 

QMF Queensland Music Festival (QMF) is a biennial whole of state festival. 

QPAC The Queensland Performing Arts Centre (QPAC) is the State’s leading performing arts venue 

and forms part of Brisbane’s Cultural Centre corridor at South Bank. 

QSO The Queensland Symphony Orchestra (QSO) is the State’s fl agship orchestra and is one of 

QPAC’s Home Companies. 

QTC The Queensland Theatre Company (QTC) is the State’s fl agship theatre company and is one 

of QPAC’s Home Companies. 

qtix qtix is an entirely Queensland-based ticketing service provider that is owned and operated 

by QPAC. Ticket sales are managed through phone, internet and mail systems as well as in 

person at the qtix Box Offi ce, QPAC and other ticket outlets. 

The Trust The Trust is the Queensland Performing Arts Trust which governs QPAC through The 

Queensland Performing Arts Trust Act 1977. 

Venue utilisation QPAC calculates venue utilisation as the total number of days booked for performance, 

rehearsal, maintenance or other activity as a percentage of 365 days. 

VPO The Vienna Philharmonic Orchestra (VPO) is one of leading orchestras in the world. 

73

DISCLAIMER 

The materials presented in this PDF are provided by the Queensland Performing Arts Trust for information purposes only. Users should 

note that the electronic versions of fi nancial statements on this site are not recognised as the offi cial or authorised version. The 

electronic versions are provided solely on the basis that users will take responsibility for verifying their accuracy, completeness and 

currency. Although considerable resources are used to prepare and maintain the electronic versions, the Queensland Performing Arts 

Trust accepts no liability for any loss or damage that may be incurred by any person acting in reliance on the electronic versions. 

The offi cial copy of the annual report, as tabled in the Legislative Assembly of Queensland can be accessed from the Queensland 

Parliament’s tabled papers website database: 

http://www.parliament.qld.gov.au/view/legislativeAssembly/tabledPapers/home.asp 

Queensland Performing Arts Centre 

Corner Grey and Melbourne Streets 

South Bank 

Queensland 4101 

Australia 

PO Box 3567 

South Bank 


Australia 

Telephone: +61 (7) 3840 7444 

Facsimile: +61 (7) 3844 1839 

www.qpac.com.au 

enquiries@qpac.com.a 

This report can be accessed online at www.qpac.com.au 

Enquiries about this report can be addressed to: 

Executive Offi cer 

QPAC 

PO Box 3567 

South Bank 


Australia 

Email: enquiries@qpac.com.au 

© Queensland Performing Arts Trust 2012 

ISSN: 0156-9147

QUEENSLAND PERFORMING ARTS CENTRE ANNUAL REPORT ...

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