A note from Lesley Orr, Chair
From the beautiful big windows of Stellar Quines’ new home, you can look across the Firth of Forth to our old base in Edinburgh. It might only be 20 kilometres as the gull flies, but the distance between Scotland’s capital city and Kirkcaldy, the Lang Toun of Fife, can sometimes feel vast. In 2022-23 the average cultural spend per head in Edinburgh was £50.85; in Fife it was £3.15. After a lot of hard thinking, informed by the experience of working in Kirkcaldy with Young Quines - our free-to-access youth theatre for young women, trans and non-binary people - we made the bold decision to relocate. Being in Kirkcaldy is not simply about changing office space. By making a commitment to this place and its people, we aim to ground our vision of theatre as a catalyst for social change. We are choosing to root our creative feminist practice in the stories, experiences and participation of communities in Kirkcaldy. And beginning here, Stellar Quines as a touring company hopes to facilitate a national conversation about gender justice. This is about power and who has it, resources and who gets access to them. It’s about confronting and challenging inequalities. Our beating heart will be sustained by making connections, building partnerships, mutual discovery and sharing. This is a complex long-term task, and this year of transition has been a leap of faith. Through the process of developing Frankie Stein, our first Kirkcaldy-created show, we have experienced the warmth of welcome, the importance of trust and belonging; the blossoming of confidence; the joy of collaboration. A local paper called Stellar Quines move to Kirkcaldy game-changing. We’re glad to be here.
A note from Caitlin Skinner, Artistic Director and CEO
This year has made a landmark shift in the work of Stellar Quines and we have discovered a new sense of purpose, strong relationships and an artistic inquiry which is providing renewed opportunities and creative fuel for our staff team. At a time when the world seems increasingly divided our theatre company is more connected than ever and we can see and feel the impact of our work in a much deeper and more immediate way.
Our previous work developing our Anti-Racism Strategy and Action Plan has come into force this year both through our internal procedures and programme. This year we presented two productions (Through the Mud, Detained) exploring stories of Black women fighting injustice, both written by Black women writers based in Scotland. We also continued to develop a new work written by a collective of global majority women writers (for us girls...) and developed our practice working with refugee and migrant committees through our international collaboration with MPower in Berlin.
We have grown the community of our organisation by redeveloping the youth theatre Young Quines to be more integrated into the company, and launching our first adult engagement programme in Kirkcaldy (Quines Community Company). We’ve continued to innovate feminist theatre practice through our Maker Spaces pilot with artists living with chronic illness and by moving to a four-day working week modelling a more accessible, family friendly working structure that offers increased wellbeing for the Scottish theatre sector. Stellar Quines finishes this year with a power of work behind us, a clear sense of direction and a strong foundation on which to build.
The trustees present their annual report and financial statements for the year ended 31 March 2025.
The financial statements have been prepared in accordance with the accounting policies set out in note 11 to the financial statements and comply with the charity's Memorandum and Articles of Association, the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended), the Companies Act 2006 and "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102) (effective 1 January 2019)".
VISION, MISSION, AIMS
Stellar Quines is a touring theatre company for Scotland, dedicated to exploring the role theatre has to play in creating a gender equal society.
Our physical move to Fife this year enables us to collaborate directly with communities, rooting ourselves in an area where social and economic deprivation means the impact of gender inequality is keenly felt. As a feminist theatre company, this move allows us to reshape the way we make theatre and take a collective approach to tackling gender justice.
Our Vision
A gender equal Scotland.
Our Mission
We facilitate a national conversation on gender justice that begins with communities in Kirkcaldy and drives action across Scotland.
We build trust with our communities through active listening, sharing, empowering and creating space.
We act on what we learn, making theatre that platforms the needs and aspirations of our communities.
We share our work, touring across Scotland to spread the conversation and bring all the learning and new ideas back to Kirkcaldy.
Our Aims
Representation/lived experience:
Improve the representation of marginalised people in Scottish culture.
Understanding:
Build understanding and recognise the importance of gender justice for a just society.
Transformation:
Influence transformational change on an individual, community and societal level.
ACTIVITY HIGHLIGHTS
Relocation to Kirkcaldy
Through the Mud at Edinburgh Festival Fringe as part of Made in Scotland Showcase
Developed new musical Frankie Stein in Fife
New development of our youth theatre programme Young Quines
New adult engagement programme - Quines Community Company
Pilot Maker Spaces artist development programme
SHOWS
Through The Mud
By Apphia Campbell, Directed by Caitlin Skinner
Co-produced with Royal Lyceum Theatre Edinburgh
‘a fierce 70 minutes of music and protest’ - ★★★★ - The Scotsman
Following a successful premiere at the Royal Lyceum Theatre, Edinburgh in Autumn 2023, we were selected as part of the Made in Scotland Showcase to present Through The Mud at the Edinburgh Festival Fringe in summer 2024.
Against a stunning live soundtrack of gospel and blues, Through The Mud explores what it takes to become a revolutionary. The story of two generations of women activists in the struggle for black liberation in America. One, notorious Black Panther Assata Shakur, the other a college student at the beginning of the Black Lives Matter movement in Ferguson in 2014.
We welcomed over 1800 people over 4 weeks including engagement groups The Welcoming, Shakti Women’s Aid, Community Wellbeing Collective, Wester Hailes High School, Strange Town, Making Rights Real, Love Music Hate Racism, Fringe of Colour and our own Young Quines. The production received excellent 4 and 5-star reviews and won the Summerhall Lostrum Award for Unforgettable Theatre.
As one of the 14 shows selected for Made In Scotland, this platform supported us to welcome over 40 national and international presenters to view the show with a view to arranging a tour in Autumn 2025. We built good connections with the British Council to promote the show internationally, leading to ongoing discussions most notably with SESC in Brazil as part of the UK/Brazil Season of Culture.
Detained
Written by Michelle Chantelle Hopewell. Directed by Caitlin Skinner
‘as gripping as it is timely, and challenging’ – The Scotsman
Produced by A Play, A Pie and A Pint in association with Stellar Quines, this play by first time playwright Michelle Chantelle Hopewell was set in an immigration detention centre and explored the UK’s immigration system. It was directed by Caitlin Skinner with Associate Director Emma Ruse and ran at Òran Mór in Glasgow and the Traverse Theatre, Edinburgh. As part of this project, we partnered with Scottish Detainee Visitors who provided consultation to the creative team and support materials for audiences. The production received excellent 4-star reviews and sold out at the Traverse.
Quines Cast
Curated by Hannah Lavery and Caitlin Skinner
We presented an evening of performance, music, writing and discussion with Quines Cast, our live event and podcast series. This event explored the theme of Art? What is it Good For? exploring the relationship between feminism and art.
Hannah Lavery hosted Kim McAleese; Director of the Edinburgh Art Festival; poet Harry Joesphine Giles; playwright Zinnie Harris and musician Faith Eliot in the Traverse Bar for a wide-ranging live discussion and performances. Quines Cast has created a unique space, both as a live event and online as a podcast, for the exploration of topics and ideas that matter to women and non-binary people. All episodes can be found online via our website.
Frankie Stein
By Julia Taudevin, with music and lyrics by Bethany Tennick
This year saw the groundwork laid for our first production in Fife.
We had four aims:
Announce our arrival in Kirkcaldy.
Generate conversation/develop understanding on gender justice
Bring people together in and across communities
Grow confidence and skill-level of our youth theatre, Young Quines
Our starting point was an adaptation of Mary Shelly’s Frankenstein written by Julia Taudevin exploring Artificial Intelligence and its impact considered from a feminist perspective, driven by the interests of Young Quines. The Young Quines worked with Julia on a development week in early August and conducted research, interviewing local Kirkcaldy people.
We assembled an excellent and experienced creative team including set design by Karen Tennant, costume by Jennie Löof, lighting by Simon Hayes, movement by Jack Webb and production management by Suzie Normand, produced by Michelle MacKay. After successful open call auditions (over 189 applicants) we cast Yana Harris, Shona White and Antony Strachan as the professional cast. Seventeen local women formed the Quines Community Company who would be joined onstage by the Young Quines in their first full production.
The Young Quines and the Quines Community Company benefited from workshops with the playwright, musical director, vocal coach and movement director.
‘This was an incredible show, and I look forward to seeing more original programming of this standard in central Fife!’ – audience member
‘Stellar Quines 21st century take on Frankenstein doesn’t disappoint’ – The Scotsman
‘Such a joy to see such an intergenerational, mixed cast create something so beautiful.’ – audience member
‘I am so grateful that Young Quines has become a part of her life. She was becoming increasingly isolated spending a lot of time at home alone… I don’t know how to put into words my gratitude for Young Quines and all that you do and stand for.’ – parent of a Young Quine
DEVELOPMENT
For us girls of colour making half notes into song when the haar is all
By Hannah Lavery after Ntozake Shange with Shasta Hanif Ali, Clementine E Burnley, Anita McKenzie and Catherine Bisset
Co-produced with Royal Lyceum Theatre Edinburgh
We invested in the further development of this new production led by women writers of colour through a residential development weekend. This was supported by City of Edinburgh Council Diversity Fund with in-kind support from Pitlochry Festival Theatre.
For Us Girls was conceived as a landmark new play which explores, expands and celebrates the lives of women of colour in Scotland, interrogating the intersections between race, gender and class in our particular national context. There have so far been very few, if any plays, exploring these experiences on Scottish stages.
“The personal stories woven through the poems, I loved the singing, and movement, and the flow, energy and respect between the four of you. The bravery you all have for getting on stage, being vulnerable, challenging us, making me feel and think deeply, cry, laugh. Honestly one of the best things I’ve seen on stage in a long time. Thank you.” - audience member
The development of this show will continue in 2025 with a view to presenting a full production in 2026/27.
ENGAGEMENT
Young Quines
Following a successful pilot in 2021-2024, we redeveloped our youth theatre through consultation with practitioners and participants.
Our priorities were to
support a focus on creating performance
integrate the young people and the project into Stellar Quines
create opportunities for youth leadership
To give stability, we switched from a freelance delivery team and created two part-time PAYE roles for Creative Engagement Associates, Rachael Keiler and Katrine Turner to lead the programme. We employed a Support Worker one day a week to meet the pastoral, access and safeguarding needs of participants.
We centralised the programme to create one larger company based in Kirkcaldy working weekly to develop skills, explore ideas and make original performance.
MPower
Stellar Quines was accepted as part of Cultural Bridge, a programme which supports arts and cultural organisations across the UK and Germany to develop partnerships that explore social arts practice.
We conducted an international exchange with MPower, a film education collective working with young women and girls with migration and refugee experience in Berlin, Germany. Both companies visited each other to share practice, learn from one another and explore possible collaboration. It was an incredible experience to grow our work in solidarity with another feminist arts organisation and a strong bond has developed between the companies. This will be developed further in 2025/26.
CREATIVES
SSP @50
We are working in collaboration with playwright Kathy McKean who has been awarded a fellowship from the Scottish Society of Playwrights to celebrate 50 years of the organisation. Kathy will create an online archive and podcast series to highlight Scottish women playwrights from history and up to the present day, drawing attention to many of the writers who despite their success have been largely unrecognised and remembered.
Maker Spaces
We developed a pilot project for our new artist development programme Maker Spaces working with artists who live with chronic ill health. Three artists - Liz Strange, Emma Jayne Park and Susan Carlton - met regularly to share their experiences and design their own artist development programme which will culminate with individual lab projects in 2025/26.
ORGANISATIONAL DEVELOPMENT
Strategic Shift to Fife
In October 2024, Stellar Quines relocated the company base to Kirkcaldy, Fife as part of a strategic shift within the organisation. Following a period of reflection and development, the company is operating under a new Business Plan to take a place-based approach and make co-creating with communities and the Young Quines more central to the company’s work.
Lang Toun Partners
Since arriving in Kirkcaldy we have been shown a very warm welcome and are now part of the Lang Toun Partners group. The Partners are cultural, creative, environmental, academic, business development and community organisations from across Kirkcaldy, supported by Fife Council’s Project Manager for Place and Tourism in Kirkcaldy. We work together across the diverse range of communities within Kirkcaldy to deliver initiatives for the benefit of the people of the Lang Toun.
Climate Emergency
The organisation has continued our work adopting the Theatre Green Book to incorporate an environmentally sustainable approach into all projects. This has presented new challenges due to relocation, with increased travel and new premises. Stellar Quines maintains its commitment to monitoring, analysing and reducing carbon emissions whilst using our influence as a creative company to encourage conversation around the climate emergency.
Fair Work
Stellar Quines is committed to implementing Fair Work principles and continues to embed this in recruitment, pay, conditions and company culture. This year the whole staff team moved to a four-day working week following a successful trial period. We offer family friendly provisions including paid care leave, no qualifying period for enhanced maternity pay and paternity/partner pay, contractual entitlement to up to four weeks of paid sick leave alongside flexible and family friendly working practices for everyone from day one of employment. We pay a 5% employer pension contribution to match the 5% employee contribution and this is paid from the first day of employment.
Equality, Diversity and Inclusion
As an intersectional theatre company Stellar Quines is committed to Equality, Diversity and Inclusion and this runs through every aspect of the company’s work. This year we have continued to implement our Anti-Racism Strategy and Action Plan across the whole organisation. Following a period of development last year we have applied improved practices to remove barriers for people with disabilities across our work with audiences, participants and practitioners.
In January 2025, Stellar Quines were successful in receiving Multi Year Funding from Creative Scotland for the period April 2025-2028. This gave the organisation much needed stability for forward planning and we are delighted to be part of the portfolio of arts organisations recognised in this way.
Alongside the continued regular funding from Creative Scotland, we generate earned income from our shows and projects, support from trusts, foundations, crowdfunding and from Quines Collective, our individual giving programme.
In 2024/2025, the Board increased the salaries of the staff team by 3% to address inflation.
Of fund balances carried forward to 2024-2025, £22,190 represents restricted funding, £66,700 represents designated funding for future projects, the majority for the production of Frankie Stein in April 2025, and £60,191 is unrestricted reserves.
It is the policy of the Charity that unrestricted funds which have not been designated for a specific use should be maintained at a level equivalent to between three and six months’ core expenditure. This equates to between £45,000 and £80,000 of reserves. The Directors consider that reserves at this level will ensure that, in the event of a significant change in circumstances, they will be able to continue the Charity's current activities whilst consideration is given to ways in which additional funds may be raised. This level of reserves has been maintained throughout the year. The charity ends the year with unrestricted reserves of £60,191, which is within its target level for 2025-2026. The Directors are content with this level of closing unrestricted reserves.
The charity is a company limited by guarantee.
Our People
In everyday working, productions, engagement and campaigns, Stellar Quines endeavours to model our feminist values – inclusivity, collaboration, economic justice, recognising and celebrating diversity, mobilising resources for positive change. Our partners, participants, audiences, funders, freelance artists and the larger constellation of our supporters are vital. We continue to share and learn so much from so many.
Our Quines staff and Board are the beating heart of the company, and we’re grateful for their commitment, integrity and manifold skills.
Staff Team April 2024 - March 2025
Barbie Lyon General Manager (FT)
Caitlin Skinner Artistic Director and Chief Executive (FT)
Emma Ruse Company Assistant (PT)
Katrine Turner Creative Engagement Associate (PT)
Rachael Keiller Creative Engagement Associate (PT)
RJ Morrison Project Co-Ordinator (PT)
Board April 2024 - March 2025
Lesley Orr Chair
Rachel Edgar Vice-Chair
Brenna Hobson (Resigned May 2024)
Catherine Makin (Appointed October 2024)
Clementine E Burnley (Appointed July 2024)
Holly Patrick-Thomson (Appointed October 2024)
Miranda Barty-Taylor
Natasha Lee-Walsh
Shasta Hanif Ali (Appointed July 2024 – Resigned August 2025)
Tamara Zimet
Zoe Farruiga
The Board is appointed under the Memorandum and Articles of Association of the Company.
None of the Board has any beneficial interest in the Company. All of the Board are members of the Company and guarantee to contribute £1 in the event of a winding up.
The day to day running of the organisation is delegated to the Artistic Director and CEO, assisted by the General Manager and Company Administrator. All major decisions, including the review and approval of budgets, are made by the Board at meetings.
Charity number (Scotland) | SC023628 |
Company number | SC157796 |
Registered Office to November 2024 | 30B Grindlay Street |
| Edinburgh |
Registered Office from November 2024 | EH3 9AX 9 Esplanade Kirkcaldy Fife KY1 1HR |
Independent Examiner | Thomson Cooper Accountants |
| 3 Castle Court |
| Carnegie Campus |
| Dunfermline |
| KY11 8PB |
We would like to thank the Quines Collective, our group of individual donors, for their ongoing support of our work.
Jackie Crichton, Barbie Lyon, Elspeth Macarthur, Ishbel McFarlane, Erin McElhinney, Sarah Marie Mooney, Rachel O'Regan, Deborah Ritchie, Kathryn Welch, Alice Donnelly, Marilyn Wilson, Nikki Macdonald, Lesley Orr, Thom Schuman, Leigh Robieson Cleaver, Andrew Grant, Sarah Keir, Natasha Lee Walsh, Rosie Kellagher, Anne Hart, Brenna Hobson, Miranda Barty-Taylor, Hilda Hudson, Emma Ruse, Shona White, Michaella Fee, Shirley Montieth, Hayley Blakeman, Rachel Edgar, Cynthia Cheung, Hannah Davidson, Lindy Newns, Barbara Melville, Joan Skinner, Lesley Backhouse, Jerome Barty-Taylor, Kenneth Burnham and Clare Prenton.
Thank you to Creative Scotland for supporting our programme and to Culture Collective for supporting our Young Quines youth theatre programme in Fife.
Thank you to the Goethe Institute for Cultural Bridge funding for our work with MPower in Berlin; St Andrews Community Fund and National Lottery Awards for All for support for Frankie Stein; The William Syson Foundation for unrestricted funding and Kirsty Paton Shea, Jennifer Webb and Ciaran McFadden for their kind donations.
The trustees, who are also the directors of Stellar Quines for the purpose of company law, are responsible for preparing the Trustees' Report and the financial statements in accordance with applicable law and United Kingdom Accounting Standards (United Kingdom Generally Accepted Accounting Practice).
Company Law requires the trustees to prepare financial statements for each financial year which give a true and fair view of the state of affairs of the charity and of the incoming resources and application of resources, including the income and expenditure, of the charitable company for that year.
In preparing these financial statements, the trustees are required to:
- select suitable accounting policies and then apply them consistently;
- observe the methods and principles in the Charities SORP;
- make judgements and estimates that are reasonable and prudent;
- state whether applicable UK Accounting Standards have been followed, subject to any material departures disclosed and explained in the financial statements; and
- prepare the financial statements on the going concern basis unless it is inappropriate to presume that the charity will continue in operation.
The trustees are responsible for keeping adequate accounting records that disclose with reasonable accuracy at any time the financial position of the charity and enable them to ensure that the financial statements comply with the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended) and the Companies Act 2006. They are also responsible for safeguarding the assets of the charity and hence for taking reasonable steps for the prevention and detection of fraud and other irregularities.
The trustees' report was approved by the Board of Trustees.
I report on the financial statements of the charity for the year ended 31 March 2025, which are set out on pages 11 to 25.
The charity’s trustees, who are also the directors of Stellar Quines for the purposes of company law, are responsible for the preparation of the financial statements in accordance with the terms of the Charities and Trustee Investments (Scotland) Act 2005 and the Charities Accounts (Scotland) Regulations 2006. The trustees consider that the audit requirement of Regulation 10(1)(a) to (c) of the 2006 Accounts Regulations does not apply. It is my responsibility to examine the financial statements as required under section 44(1)(c) of the Act and to state whether particular matters have come to my attention.
My examination is carried out in accordance with Regulation 11 of the Charities Accounts (Scotland) Regulations 2006. An examination includes a review of the accounting records kept by the charity and a comparison of the financial statements presented with those records. It also includes consideration of any unusual items or disclosures in the financial statements, and seeking explanations from the trustees concerning any such matters. The procedures undertaken do not provide all the evidence that would be required in an audit and consequently I do not express an audit opinion on the view given by the financial statements.
In connection with my examination, no matter has come to my attention:
to keep accounting records in accordance with section 44(1) (a) of the 2005 Act and Regulation 4 of the 2006 Accounts Regulations; and
to prepare financial statements which accord with the accounting records and comply with Regulation 8 of the 2006 Accounts Regulations;
to which, in my opinion, attention should be drawn in order to enable a proper understanding of the financial statements to be reached.
Investments
The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities.
Investments
Stellar Quines is a private company limited by guarantee incorporated in Scotland. The registered office is 30B Grindlay Street, Edinburgh, EH3 9AX.
The financial statements have been prepared in accordance with the charity's Memorandum and Articles of Association , the Charities and Trustee Investment (Scotland) Act 2005, the Charities Accounts (Scotland) Regulations 2006 (as amended), the Companies Act 2006, FRS 102 “The Financial Reporting Standard applicable in the UK and Republic of Ireland” (“FRS 102”) and the Charities SORP "Accounting and Reporting by Charities: Statement of Recommended Practice applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102)" (effective 1 January 2019). The charity is a Public Benefit Entity as defined by FRS 102.
The charity has taken advantage of the provisions in the SORP for charities not to prepare a Statement of Cash Flows.
The financial statements are prepared in sterling, which is the functional currency of the charity. Monetary amounts in these financial statements are rounded to the nearest £.
The financial statements have been prepared under the historical cost convention. The principal accounting policies adopted are set out below.
At the time of approving the financial statements, the trustees have a reasonable expectation that the charity has adequate resources to continue in operational existence for the foreseeable future. Thus the trustees continue to adopt the going concern basis of accounting in preparing the financial statements.
Unrestricted funds are available for use at the discretion of the trustees in furtherance of their charitable objectives.
Restricted funds are subject to specific conditions by donors or grantors as to how they may be used. The purposes and uses of the restricted funds are set out in the notes to the financial statements.
Cash donations are recognised on receipt. Other donations are recognised once the charity has been notified of the donation, unless performance conditions require deferral of the amount. Income tax recoverable in relation to donations received under Gift Aid or deeds of covenant is recognised at the time of the donation.
Expenditure is recognised when a liability is incurred.
Charitable activities include expenditure associated with the staging of productions and include both direct and support costs relating to these activities.
Governance costs include those incurred in the governance of the charity and its assets and are primarily associated with constitutional and statutory requirements.
Support costs include central functions and have been allocated to the charitable activity on a basis consistent with their use.
Tangible fixed assets over £1,000 are initially capitalised at cost, plus any incidental costs of acquisition, and subsequently measured at cost or valuation, net of depreciation and any impairment losses.
Depreciation is recognised so as to write off the cost or valuation of assets less their residual values over their useful lives on the following bases:
The gain or loss arising on the disposal of an asset is determined as the difference between the sale proceeds and the carrying value of the asset, and is recognised in the statement of financial activities.
Cash and cash equivalents include cash in hand, deposits held at call with banks, other short-term liquid investments with original maturities of three months or less, and bank overdrafts. Bank overdrafts are shown within borrowings in current liabilities.
The charity has elected to apply the provisions of Section 11 ‘Basic Financial Instruments’ and Section 12 ‘Other Financial Instruments Issues’ of FRS 102 to all of its financial instruments.
Financial instruments are recognised in the charity's balance sheet when the charity becomes party to the contractual provisions of the instrument.
Financial assets and liabilities are offset, with the net amounts presented in the financial statements, when there is a legally enforceable right to set off the recognised amounts and there is an intention to settle on a net basis or to realise the asset and settle the liability simultaneously.
Basic financial assets, which include debtors and cash and bank balances, are initially measured at transaction price including transaction costs and are subsequently carried at amortised cost using the effective interest method unless the arrangement constitutes a financing transaction, where the transaction is measured at the present value of the future receipts discounted at a market rate of interest. Financial assets classified as receivable within one year are not amortised.
Basic financial liabilities, including creditors and bank loans are initially recognised at transaction price unless the arrangement constitutes a financing transaction, where the debt instrument is measured at the present value of the future payments discounted at a market rate of interest. Financial liabilities classified as payable within one year are not amortised.
Debt instruments are subsequently carried at amortised cost, using the effective interest rate method.
Trade creditors are obligations to pay for goods or services that have been acquired in the ordinary course of operations from suppliers. Amounts payable are classified as current liabilities if payment is due within one year or less. If not, they are presented as non-current liabilities. Trade creditors are recognised initially at transaction price and subsequently measured at amortised cost using the effective interest method.
Financial liabilities are derecognised when the charity’s contractual obligations expire or are discharged or cancelled.
The cost of any unused holiday entitlement is recognised in the period in which the employee’s services are received.
Termination benefits are recognised immediately as an expense when the charity is demonstrably committed to terminate the employment of an employee or to provide termination benefits.
Grants
Grants
Investments
Production & Projects
Production & Projects
Insurance
Direct
Direct
Printing, postage & stationery
Direct
Telephone & fax
Direct
Subscriptions and memberships
Direct
Rent (non-operating lease)
Direct
Staff Training and Expenses
Direct
Accountancy
Insurance
Direct
Direct
Printing, postage & stationery
Direct
Telephone & fax
Direct
Subscriptions and memberships
Direct
Rent (non-operating lease)
Direct
Staff Training and Expenses
Direct
Accountancy
None of the trustees (or any persons connected with them) received any remuneration for their services as a Trustee during this or the prior year, no trustees were reimbursed travel expenses during the year (2024 - none).
In addition, the trustees donated a total of £218 (2024 - £465).
The average monthly number of employees during the year was:
The key management personnel of the charity, comprise the Artistic Director/CEO and the General Manager. The total employee benefits of the key management personnel of the charity were £77,629 (2024 : £75,260)
The charity is exempt from taxation on its activities because all its income is applied for charitable purposes.
The charity operates a defined contribution pension scheme for all qualifying employees. The assets of the scheme are held separately from those of the charity in an independently administered fund.
The restricted funds of the charity comprise the unexpended balances of donations and grants held on trust subject to specific conditions by donors as to how they may be used.
The above funds have been restricted for the following purposes:
Cultural Bridge - MPower - funding for an international collaboration with Mpower - a feminist film collective in Berlin.
Edinburgh Festival Fringe Society/Through The Mud: Funding for the production of Through The Mud as part of the Made In Scotland Showcase.
Culture Collective/Creative Scotland: funding for Young Quines Youth Theatre groups in Fife.
Idlewild Trust: funding for M*****Classes in lighting design
City of Edinburgh Council Diversity and Inclusion Fund: Funding for the development of For us girls of colour making half notes into song when the haar is all.
St Andrews University Community Fund/National Lottery Awards for All/Culture Collective - Frankie Stein - funding to support the skills development of the Young Quines and the Quines Community Company as part of the production of Frankie Stein.
The above funds were also restricted during 2024 for the following purposes:
Inspiring Scotland: funding for the Stepping Up, Stepping Out project with young women in North Edinburgh
Culture Collective/Creative Scotland: funding for Young Quines Youth Theatre groups in Fife.
People's Postcode Trust: funding to deliver Sister Radio Engagement projects
Disciples Crowdfunder: funding towards the tour of Disciples
Idlewild Trust: funding for M*****Classes in lighting design
Edinburgh Festival Fringe Society/Through The Mud: Funding for the production of Through The Mud as part of the Made In Scotland Showcase.
City of Edinburgh Council Diversity and Inclusion Fund: Funding for the development of For us girls of colour making half notes into song when the haar is all.
Quines Cast donation for playwrights
The income funds of the charity include the following unrestricted and designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes:
Incoming resources
Resources expended
Transfers
Incoming resources
Resources expended
Transfers
The unrestricted funds of the charity comprise the unexpended balances of donations and grants which are not subject to specific conditions by donors and grantors as to how they may be used. These include designated funds which have been set aside out of unrestricted funds by the trustees for specific purposes.
There were no disclosable related party transactions during the year (2024 - none).