for the Period Ended 28 February 2025
| Profit and loss | |
| Balance sheet | |
| Additional notes | |
| Balance sheet notes | |
| Community Interest Report |
for the Period Ended
| 2025 | 2024 | |
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| Turnover: |
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| Cost of sales: |
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| Gross profit(or loss): |
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| Distribution costs: |
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| Administrative expenses: |
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| Other operating income: |
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| Operating profit(or loss): |
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| Interest receivable and similar income: |
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| Profit(or loss) before tax: |
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| Profit(or loss) for the financial year: |
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As at
| Notes | 2025 | 2024 | |
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| Current assets | |||
| Cash at bank and in hand: |
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| Creditors: amounts falling due within one year: | 3 |
(
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| Net current assets (liabilities): |
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| Total assets less current liabilities: |
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| Creditors: amounts falling due after more than one year: | 4 |
(
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(
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| Total net assets (liabilities): |
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| Members' funds | |||
| Profit and loss account: |
( |
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| Total members' funds: |
( |
( |
The notes form part of these financial statements
This report was approved by the board of directors on
and signed on behalf of the board by:
Name:
Status: Director
The notes form part of these financial statements
for the Period Ended 28 February 2025
Basis of measurement and preparation
Turnover policy
for the Period Ended 28 February 2025
| 2025 | 2024 | |
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| Average number of employees during the period |
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for the Period Ended 28 February 2025
| 2024 | ||
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| £ | ||
| Other creditors |
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for the Period Ended 28 February 2025
| 2025 | 2024 | |
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| £ | £ | |
| Other creditors |
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Green Curtain Theatre’s objective as a CIC is to engage with members of the Irish diaspora (1st, 2nd and 3rd generation) and the public at large in London and the wider UK in order to educate and include them in the creation, promotion and performance (by plays, videos etc) of stories about the Irish experience as migrants over the years into the UK. Our activities are project based. To this aim in the financial year being reported we were engaged in the following projects: a) “Hope and Fear” video production in April 2024. To mark the centenary of the ending of the Civil War in Ireland (June 1922 to May 1923) we invited members of the Irish community living in Great Britain to submit pieces of new writing reflecting on those turbulent years. Of those submitted 12 were filmed using professional actors of Irish descent and made available to view via our Youtube channel and our own website. In order to prepare our writers to submit scripts we held on-line (zoom) and face-to-face classes. Approximately 30 people booked onto these classes. In addition, one of our volunteers, a retired English teacher provided on-line support to people preparing scripts for submission for filming. b) “Legacy of Loss” play performance in May 2024. This is writing by a member of Green Curtain Theatre. It is about Muriel MacSwiney, wife of Terence MacSwiney, mayor of Cork city and famous hunger striker in Brixton prison in 1920. Now in her sixties and living in England she looks back on her journey during the turbulent years of 1915 -1923 of the Irish freedom struggle as she eschewed her wealthy background in favour of the cause. The play was rehearsed and performed by professional actors of Irish descent at the Blue Elephant Theatre in Camberwell, London. There were 5 performances. Funding for much of the expense of producing the above two projects came in the form of a grant from the Irish Embassy in London’s Emigrant Support Programme.
We have had, in the financial year being reported, two types of stakeholder: financial and cultural. a) Financial The activities of the theatre company are funded by: - Grants - Donations from the public - Ticket Sales for our productions which happen in a physical venue - Injection of capital by the directors where there is a shortfall of funds This year we benefitted from a grant from the Irish Embassy in London’s Emigrant Support Programme. In return we were required to provide the Embassy with a detailed report on the outcome of the two projects which were part funded by them. KPIs included a breakdown of the demographic of the people who participated (e.g. writers, actors, producers etc) or attended the productions (numbers, breakdown by 1st, 2nd, 3rd Irish; non Irish attendees etc). Where we make an operating profit in a financial year, we donate the proceeds to our nominated charity, “Aisling – Return to Ireland”. We have not been able to donate anything this year as we have made a loss. b) Cultural In this category our stakeholders are the various people who benefit from working with us or attending an event put on by us. It is easy to interact with writers and actors as we are in discussions with them over the course of a project, either in person, over zoom calls, at rehearsals or by email. Modifications are sometimes made based on their feedback. Interaction with our audiences is more nuanced as we gauge our success and failure in their eyes by the volumes of people who come to our events or sign up for our mailing list. Where our productions are made available as videos posted to our Youtube channel, we monitor views, which is not an exact science (i.e. how many people are watching a view?).Feedback tends to be informal with people telling us what they like (and very rarely dislike) about our productions. There is definite a “market” for what we produce as tickets for our performances sell well.
No remuneration was received
No transfer of assets other than for full consideration
This report was approved by the board of directors on
16 June 2025
And signed on behalf of the board by:
Name: D A Johnstone
Status: Director