In 2024/25, Clown Space CIC delivered a range of accessible, community-focused arts activities. We ran three sold-out training programmes in clowning and full mask for 36 local artists, offering affordable places and two free or subsidised spaces. 24% of participants identified as disabled and/or neurodivergent, highlighting the importance of training opportunities designed to be inclusive. We also engaged 24 Leeds Conservatoire students in clowning masterclasses to support their professional development. We carried out research and development for our new flagship children’s production, Doris the Dormouse, in collaboration with York Theatre Royal, Next Door But One CIC, and Wildwood Trust, funded by Arts Council England. 30 young people from York Theatre Royal’s Youth Theatre shaped the show through workshops, and 160 community members attended accessible performances at York Theatre Royal. Free tickets were provided, 100% of audiences said they would return, and 98% said they would recommend us. 12% of the audience identified as disabled or neurodivergent, with many praising our inclusive approach. The project also employed 11 freelance creatives, 80% of whom are based locally, contributing to York’s artistic economy. With support from BBC Children in Need and Two Ridings Community Foundation, we delivered ‘The Story Space Project’, participatory story-making workshops across York, reaching underserved and rurally isolated areas. The programme engaged 128 children and their families through York Explore venues, with overwhelmingly positive feedback and 99% of families saying they would return. A digital resource was created for families to use beyond the workshops. We also delivered a theatre week with Castaway Goole, working with 5 learning-disabled young people. Together we created a brand-new show in just three days. This project gave the group the chance to explore performance, build confidence, and share their creativity in a supportive environment. It also marked an expansion of our reach beyond York, something we are keen to continue building on in future years. Overall, our first year has allowed us to establish Clown Space as a CIC rooted in accessibility, creativity, and community benefit, and we are excited to build on this work in the year ahead.

Our stakeholders are the children, families and artists who take part in our projects, as well as partner organisations such as York Theatre Royal, York Explore and Next Door But One. We consult them through feedback forms, conversations at workshops, and by working closely together in planning and delivery. For example, York Theatre Royal Youth Theatre helped shape ‘Doris the Dormouse’ during R&D stage. Audience feedback from the sharings also made it clear how much people valued the accessible approach, so we’ve committed to carrying that into the full tour. Families involved in ‘The Story Space Project’ workshops told us that keeping sessions free or low-cost and running them in local, rural venues was vital. That’s why we’re planning to expand into more areas next year. The freelance artists we employ, as well as the artists who attend our training, many of whom are disabled or neurodivergent, also share feedback with us about how we work together. This has led us to adapt our rehearsal and training practices around scheduling, communication and access needs.

During the year three directors received remuneration. Two directors were paid on a freelance basis for project delivery and modest administrative/communications work. A third director was paid on a freelance basis for one project. The fourth director received no remuneration.

No transfer of assets other than for full consideration