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 1 to the financial statements and comply with the Vincent Dance Theatre's Memorandum and Articles of Association, 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)".
The registered office of the company is Community Base, 113 Queens Road, Brighton, BN1 3XG.
Vincent Dance Theatre’s company number is 04259502 and charity number is 1091615.
The objectives of Vincent Dance Theatre (VDT), as defined in the Memorandum of Association, are:
to promote, maintain, improve and advance education and appreciation of dramatic and visual arts, in particular by the production and performance of dance and similar choreographic arts;
to advance public education in the teaching and choreography of dance;
to provide or assist in the provision of training and the presentation of educational performances.
Please see VDT's Vision, Mission and Values below:
Vision
Dance theatre that actively interrogates who we are and how we live, is a platform for people whose voices might not otherwise be heard, and a space to promote equality of opportunity and social change.
Mission
We produce and distribute collaborative, socially-engaged feminist dance theatre work on stage, on film and across online platforms. We create opportunities for people whose voices are usually less well heard. We move people to think differently.
Values
Socially engaged: the voices of people who might not otherwise be heard are audible at every stage of our creative process.
Practice led: we embed new learning and development in all areas of our activity and operation; safeguarding, trauma awareness and trust are at the heart of our practice.
Relevant: we promote equality of opportunity and inclusion in all aspects of our practice; our work consciously challenges the status quo.
Opportunity driven: we enable employment, training and development opportunities for trustees, staff members, freelance collaborators and non-professionals participants.
Company Information
VDT is based in Brighton, a registered charity focusing on the arts and education/training with direct delivery to the public. VDT is an Arts Council England National Portfolio Organisation (NPO) and Associate Company of Brighton Dome and Brighton Festival.
Founded in 1994, VDT produces the work of Choreographer and Director Charlotte Vincent, who conceives, directs and designs the company’s productions on stage, on film and online. Vincent has developed a unique and confident approach to integrating professional and non-professional practice in the research and making of the company’s production work, whilst maintaining the visually striking, physically compelling and high-quality aesthetic that audiences have come to expect.
Vincent’s productions are politically provocative and make significant claims for gender politics and equality, and increasingly for wider social change and the representation of marginalised voices.
The Trustees have paid due regard to the guidance on public benefit issued by the Charity Commission in deciding what activities Charity should undertake.
Achievements and Performance
2024/25 represents Year 2 of VDT’s latest Arts Council England National Portfolio funding agreement (2023 – 2026).
In this year, VDT continued to make the most of its existing work on film, screening 5 film titles 14 times to a live, in person audience of 261. VDT’s AD/CE additionally presented at a national symposium to an in person audience of 12 partners/arts sector contacts.
VDT worked with 223 participants through its participation & engagement programme, including delivering movement based classes for professional dance artists, working with local partners, Oasis Project and Quiet Down There, to deliver craft-based introductory workshops for women at risk, delivering workshops with youth community groups reflecting on the benefits of using art for well-being, running career development workshops for school pupils through the ESCC Open Doors programme, and developing a partnership with The Royal Ballet school delivering a seminar for their second year students based on VDT’s work Broken Chords.
Over the course of the year, VDT created and distributed 17 online products to an online audience of 4,465. VDT’s YouTube channel received 23,159 views across the year, 29.7% under the age of 25, +494 new subscribers. VDT’s works on Digital Theatre + (DT+) were seen by 45,390 teachers and students, with VDT’s resource packs on DT+ receiving 1845 views.
1. VDT ON FILM
With no on stage production planned or delivered in 2024/25, VDT focussed on distributing its existing work on film; screening short and long form versions to a wide range of audiences. VDT’s assets allow for flexible distribution, and much was delivered through facilitated engagement diversifying distribution, with VDT taking its work to schools, colleges, youth, community and arts spaces.
Film Screenings
Long and short-form film screenings of VDT works (Art of Attachment, PLAY, Virgin Territory and Shut Down) were delivered at the following venues/with the following groups throughout the year:
VDT Studio, New England House
Canterbury Christ Church University
Turing School
Brighton Youth Centre
Northease Manor School
Peacehaven Community School
Lindfield School
Hazel Court School
VDT reached a total audience of 231 through these film screenings.
VDT’s work on film was seen mainly by non-traditional, non-dance audiences; many of whom were young people (aged between 12 – 19) or HEI students, including those studying on Social Work courses. VDT’s ability to offer bespoke packages to audiences and participants who then become audiences, continues to broaden the company’s reach and take high quality arts to communities less likely to access such work.
‘I enjoyed being able to explore gender stereotypes by watching the performances... Being able to see how society can impact people.’Open Doors Pupil
‘I learnt about Mental Health and how drama/dance can help you with that.’ Open Doors Pupil
VDT & Royal Ballet School Partnership
In 2024/25, VDT’s film of ‘Broken Chords’ (2005) was studied as part of the Royal Ballet School BA (Hons) Degree in Classical Ballet and Dance Performance, second year module Contemporary Context. As part of this, VDT delivered an in-person 2-hour seminar to x30 Royal Ballet School students. The workshop included Charlotte Vincent discussing her choreographic methodology, the role of the director / choreographer, live music and creative collaboration, working with ‘autobiography’ and lived experience in performance. CV then showed a clip from Broken Chords for the students to discuss in more detail, specifically focussing on looking at work from a feminist / female led perspective.
Feedback from Andy Granville, Senior Teacher: Upper School, Head of Degree Programme at Royal Ballet School:
‘The students really enjoyed being challenged, and lots of them have responded very positively to the debates that took place and the discussion of Broken Chords. They have all said they really enjoyed the session!’’
VDT will continue this partnership with the Royal Ballet School in 2025/26 with the licensing of Motherland (2012).
2. VDT ONLINE
In 2024/25 VDT continued its programme of work online through DT+ and YouTube:
Digital Theatre +
Virgin Territory (On Stage and On Film versions) was the first contemporary dance work to be streamed on Digital Theatre + (DT+) in 2017/18 with associated contextualising materials, and remains on the platform, accessed by peer artists, teachers and students across the world. In 2022/23 VDT added Shut Down (On Stage and On Film versions) to the platform along with an updated Virgin Territory Resource Pack. Across the 2024/25 year, 45,390 people watched Virgin Territory and Shut Down via DT+ and 1,845 viewed the available resource packs.
These assets have a global reach, and in 2024/25 were viewed by audiences from 52 different countries, listed here in order of highest to lowest engagement; United Kingdom, United States, Australia, Canada, Portugal, Sweden, Ghana, India, Hong Kong, Ireland (Republic), Spain, Cambodia, China, United Arab Emirates, Malaysia, Singapore, Turkey, Poland, Netherlands, Germany, Armenia, Indonesia, South Africa, Romania, Thailand, Fiji, Swaziland, Taiwan, Switzerland, Israel, Hong Kong SAR, Japan, Nigeria, Qatar, Lithuania, Peru, Czech Republic, Brazil, Austria, New Zealand, Denmark, Italy, Finland, Bangladesh, Norway, Zambia, Luxembourg, Kenya, Mauritius, Korea South, Slovakia, Vietnam.
YouTube
In 2024/25 VDT continued to distribute film assets via its YouTube channel, including adding further content to the VDT PRACTICES playlist (short videos reflecting on VDT’s practice and creation processes).
A total of 23.2k people viewed VDT’s work on YouTube across the year, with a total watch time of 226.5 hours. The live capture of PLAY (2024) performed the best in terms of audience retention. 29.7% of VDT’s audience was under the age of 25, +494 new subscribers.
VDT Website
In 2024/25 VDT started the process of developing and designing a new website and online resource/archive with long term collaborator/web agency HdK. Charlotte Vincent worked with HdK on a ‘Discovery’ phase; conducting an inventory of existing assets, planning the most effective way of presenting assets to optimise for users including agreeing on a tag system, exploring and costing CRM options for customer management sales and services and exploring commercialising the archive. The website development and archive work continues into 2025/26.
VDT’s current website was visited by 8.8k active users in 2024/25 with the average engagement time of 40 seconds. 4.5k of VDT’s website users found VDT’s website through an organic google search.
3. PARTICIPATION
VDT’s Participation & Engagement programme reached a wide range of participants in 2024/25. See below activities:
Art of Recovery Workshops
VDT worked with new partner Quiet Down There (QDT) and their experienced facilitators Emily Atkinson and Saj Fareed, as well as Charlotte Vincent, to offer a programme of free Introductory Creative Workshops followed by free Creative Research Workshops for VDT’s Art of Recovery project. The project began in September 2024 and concluded at the end of February 2025.
The workshops were structured as open / drop in creative laundry sessions for women on Thursday and Friday mornings at QDT’s Harriet’s Press in the Open Market Brighton, and closed sessions on Tuesday mornings for women in recovery from domestic violence and substance misuse with VDT’s long term partner Oasis Project. Craft sessions included creating soap dishes and other objects from clay, soap-making, jelly printing, paper quilling, doodling and embroidery/stitching, whilst research sessions started to introduce some movement and chair-based yoga. The workshops contained a mix of taught skills and experimentation with techniques.
VDT delivered a total of 52 workshops over this period with women. Total attendances at the workshops from September ‘24 – February ‘25 = 141 attendances.
Survey results and Feedback:
61% of survey respondents stated that the workshops exceeded their expectations
78% of survey respondents saw the benefit of using art for emotional self-regulation
78% of survey respondents felt more self-confident when leaving the sessions
See a selection of feedback from participants below:
‘I cannot believe I got up this early. I feel good, I am trying to keep boundaries and break the patterns. Coming here gives me emotional strength’
‘I feel proud of myself. This group has really helped me.’
‘I've enjoyed the last 12 weeks immensely- all the creative stuff has helped me to focus and take my mind off all my stress. I've learned to better deal with overwhelming situations. I've loved learning all the yoga exercises and will take everything I've learned forward on my recovery journey.’
‘Feel strengthened physically and emotionally. Thank you so much.’
‘Art reaffirms positive feelings. It changes how I feel for the better. Always.’
‘I never want it to end. A complete break from overthinking.’
‘I consider myself an artist now.’
Eastbourne Recovery Café
As part of VDT’s longstanding relationship with Oasis Project, a recovery service organisation in Brighton, VDT was invited by East Sussex Service Manager Louise Owen-Thomas to deliver x5 workshops in their Eastbourne Recovery Café for women from January – February 2025. A total of 76 participants were engaged throughout these sessions. The participants were women at risk and at the very early stages of their recovery journeys. Feedback from Oasis Service Manager:
‘It has been an absolute pleasure working with you over the last 5 weeks. You have brought a really special perspective to recovery and the women really enjoyed your activities. I really enjoyed working with you. Thanks again for all your kindness in supporting our clients.’
Louise Owen-Thomas Open Doors Schools Workshops
From November 2024 – March 2025, VDT’s Participation and Digital Development Director, Sian Williams, delivered x 5 free schools workshops as part of the East Sussex County Council Open Doors scheme for young people to experience local workplaces and find out about the various careers available in the arts.
VDT worked with:
Turing School (Eastbourne)
Northease Manor School (co-educational independent school for primarily autistic students and/or students with dyslexia)
Peacehaven Community School
Lindfield School (The Lindfield is a secondary special school for students aged 11-16 years. All students have an EHCP and a range of additional needs: Moderate learning difficulties, Autism, Speech, Language and Communication difficulties)
Hazel Court School (Eastbourne) (Secondary and 6th Form Special School for students from 11-19 who need the support of a unique and specialised curriculum to enable them to reach their full potential. All students have an EHCP and their identified needs will be complex and significant in the area of cognition and as described in the SEN Code of Practice)
VDT worked with a total of 86 participants on this programme and engaged a total on film audience of 145.
Survey results and Feedback:
94% of survey respondents agreed or strongly agreed that they found it useful to hear from staff about their jobs
49% of survey respondents agreed or strongly agreed that they saw a job they might want to do in the future
79% of survey respondents agreed or strongly agreed that they learnt about how they could get a job in the future
What was your favourite part of the trip?
‘Reflecting on gender stereotypes. The lessons learnt and evaluations.’
‘I enjoyed seeing the environment of the work because it gives an insight into the real world.’
‘I really liked learning about all the jobs that you could get in the creative arts industries.’
What did you learn about jobs and careers on the trip?
‘That everyone needs to work as a team, for it all to run smoothly.’
‘That the creativity of a job doesn't have to be limited. Be open to other things.’
‘I learnt that dance jobs aren't just the dancers, but the people behind the scenes as well.’
Teacher feedback – Hazel Court
‘What an amazing Open Doors first experience this year we had! Thank you to Sian who was able to communicate so effectively and deliver such a relevant and interactive session.’ Karen Lindsey
Teacher feedback - The Turing School:
‘Thank you Sian, that was great. I was really impressed by some of the sophisticated responses you drew from some of the students. For others in the group, it has been a real eye opener to explore a different arts organisation in this way.’ Lead Teacher
Brighton Youth Festival – B-Fest 2024
On Thursday 31 October 2024, VDT’s Participation and Digital Development Director, Sian Williams, delivered x2 2-hour workshops for B-Fest 2024 curated by Brighton Youth Centre. The sessions focussed on craft/creative activities, including individual doodling, while reflecting on the benefits of using art for well-being, alongside watching and listening to clips from VDT’s work Virgin Territory. VDT engaged a total of 41 participants over the two sessions.
Professional Class at South East Dance
Charlotte Vincent was invited to teach 3 x 1.5 hour sessions as part of South East Dance’s Professional Class at The Dance Space. The sessions were for established, professional dance artists and focussed on grounding, authentic, release-based readiness, avoiding entrenched habits and authentic learning through layering. Feedback was positive:
‘It’s so nice to think in a different way – to discover your body because I’m so used to doing my own thing. When I change my mentality like this – it’s a totally different mind work – I love it.’
‘The whole class was working from the inside out – it’s different – going back to basics…’
‘It feels authentic – there is often a cultural conversation in technique classes, but this connects me back to my body and what it is speaking.’
‘I feel in your facilitation there was also a conversation between you and us.’
‘It brings up that sense of curiosity – in life it tends to be about input but with this there are a lot of things that are already in us – stuff within you to bring up….’
4. PROFESSIONAL DEVELOPMENT
Mentoring
In 2024/25 Charlotte Vincent continued to be in demand as a paid mentor. The Company also shared its resources and space with the local arts community.
Charlotte Vincent worked with Sylvie Holder, a Northern School of Contemporary Dance graduate, as part of her Arts Council funded DYCP project. Charlotte spent three days mentoring at Sylvie Holder’s Yorkshire Dance residency with her collaborators. Charlotte also offered ad hoc support to Melonie Poole who is an experienced film maker and performance artist.
‘Thanks for all your support, insight and reflection. It was really inspiring.’ Melonie
‘I always feel that I have such clarity after our mentoring sessions… I am tremendously grateful for your support over the past few months.’ Sylvie
VDT supported the following freelancers/organisations with free space at VDT’s studio in New England House: Lucy Clark, Tia, the Orange Collective, Kate Darach and Katie Dale Everett.
Supporting Young Performers
In 2024/25, VDT supported exceptionally talented Ukrainian young performer Veronika (PLAY) to continue her dance training. Encouraged by fellow PLAY performer Sorrel, Veronika successfully auditioned for Lee Smikle’s Dance Academy in Hove. VDT negotiated a reduced annual fee for Veronika for one academic year of contemporary training on Sundays with Smikle Dance Academy in Hove and covered the cost of this.
VDT Trainees
In 2024/25 VDT offered paid training opportunities to two practitioners supporting Artistic Director Charlotte Vincent with VDT’s Archive project.
Trainee Archivist- Catherine Adams
Dr Angela Pickard at the De Haan Centre for Arts and Health at Canterbury Christ Church University employed Catherine Adams via Unitemps to work on digitising and cataloguing VDT’s paper-based materials – including Charlotte Vincent’s choreographic sketchbooks, previews, posters and programmes from past productions. This work ensured that Charlotte Vincent can start work on VDT’s archive project in autumn 2025.
Digital Archive Collaborator- Phil Sanger
Former VDT collaborator, Phoenix Dancer, NSCD senior lecturer and PhD student, Phil Sanger, was secured to work with Charlotte Vincent in September/October 2024 to research VDT’s archiving processes and start cataloguing and digitising VDT’s hardware including VHS, Beta and DV tapes, floppy discs, DVD’s, Mini discs and CD-ROMs. Phil Sanger documented this process for his PhD studies with one chapter of his final thesis based on VDT’s work.
Safeguarding CPD Training
In 2024/25 VDT offered a professional development opportunity for arts organisations and individuals to book a Safeguarding in the Arts CPD Workshop. The workshop is based on an online resource: ‘Safeguarding Questions for Working in the Arts’ that emerged from reflective discussions between VDT and Playing ON Theatre Company. The resource encourages artists, facilitators, gatekeepers, producers, programmers, creative leaders and arts organisations to develop their approach to safeguarding and wellbeing within the planning, creation and delivery stages of projects, productions and programmes. The CPD Workshop and peer to peer learning opportunity explores the practical application of this resource, facilitated by Charlotte Vincent.
VDT delivered 1 x workshop with Rochdale Development Agency on 28 February 2025 to a total of 7 x participants made up of dance/art/theatre practitioners and administrative staff. See below for feedback:
How did the event compare to your expectations?
67% MET
17% SOMEWHAT EXCEEDED
17 % EXCEEDED
How would you rate your experience overall?
50% EXCELLENT
33% GOOD
17% NEUTRAL
‘I just wanted to take a moment to thank you for your time, flexibility, and for leading such an incredible session. Everyone certainly took something valuable away from the discussion and learnings, whether for their organisation or personal development. Thank you for also sharing all VDT own safeguarding recourses, policies and practices.’
Louis Lisle, Cultural Project Manager
5. DIALOGUE & DEBATE
Parenting and Dance Network Symposium
Charlotte Vincent delivered a presentation based on her PhD findings at a Parenting and Dance Network Symposium at Canterbury Christ Church University on 12 April 2024. As part of the discussion, Charlotte introduced issues around attachment, the impact of domestic violence/substance misuse on attachment and childhood developmental trauma, the emotional wellbeing and labour of birth mothers, adoptive parents and the children themselves and PACE parenting – which offered an alternative view to the presentations that looked more at dancers and post-partum physiology.
The presentation included a screening of the Art of Attachment short film to 26 attendees (12 in person / 14 online) as well as discussion around the creative process and production.
6. SECTOR LEADERSHIP
SE NPOs/Sector Round Table Discussion
Charlotte Vincent was invited along with other South East NPO Executives to join ACE Executive Board members Laura Dyer, Hazel Edwards and Peter Heslip in a round table discussion on Thursday 13th February 2025 at The Royal Pavilion to discuss some of the interesting opportunities and challenges facing the NPO sector in Brighton currently alongside Chenine Bhathena MBE, Director Culture and Environment and Howard Barden, Head of Culture and Events from Brighton & Hove City Council.
London Road Network Development
At the latter end of 2024/25, VDT became a lead partner in developing the London Road Network (LRN) - a nascent consortium of Brighton based arts organisations and individuals engaged in a cultural enquiry to promote systemic change along Brighton’s London Road area.
VDT started to work alongside Quiet Down There, Dr. Cara Courage, Phoenix Arts Space, Lighthouse, Sew Fabulous, The Rose Hill, the London Road Area Trust, B&H City Council’s Culture & Creative Industries Officer and University of Sussex to identify, develop and expand relationships between cultural and grass roots organisations and the communities who live in, and transit in and out of, the London Road area.
The consortium will continue to build collaborative partnerships between organisations, share resources and raise funds to support the development of a strategic action plan for the area and design and deliver meaningful interdisciplinary, intergenerational cultural pathways/activities between existing organisations, individuals and populations to create a significant step change for cultural provision in the area.
7. TRAINING & DEVELOPMENT
During this period, staff and trustees undertook the following: NSPCC’s Introduction to Safeguarding Training, Level 2 Safeguarding Adults Training, Level 1 Charity Trustee Safeguarding Training, Impact Initiatives -Trauma Informed Practice Training, Designated Safeguarding Lead Training- Young People, St John’s Ambulance Emergency First Aid at Work Training.
Staff also attended events including: The Big Debate: Is Brighton’s creative sector an undervalued powerhouse? a symposium at BHASVIC, National Centre for Academic and Cultural Exchange conference at Bayes Business School, Clore Leadership/ACE ‘Leadership Now’ assembly in Birmingham, ACE’s Place Based Peer Learning Programme Webinar, What’s Next – Creative Health & Wellbeing Session, Coastal Catalyst Development session.
The statement of financial activities included in the report presents a turnover of £262,556 for 2024/25 (2024: £318,712) against expenditure of £295,762 for 2024/25 (2024: £326,257).
Arts Council England remains VDT’s principal funder. 2024/25 represents year two of a three year funding agreement for ACE NPO funding of £254,599 per year until March 2026. At the time of writing ACE have confirmed an extension to the funding agreement for 2026/27 with an intention to extend the current portfolio for another year (2027/28), subject to confirmation by ACE.
In addition to ACE funding £6,487 (2024: £50,785) of earned income was achieved through the distribution of existing and new assets On Stage, On Film and Online and the delivery of services within the charitable activities of VDT. £1,470 (2024: £1,696) was received as bank interest.
Total resources expended for the year was £295,762, supported by designated funds brought forward totaling £40,128 for ART OF RECOVERY (AoR), HOME TRUTHS (including ART OF ATTACHMENT), PLAY and VDT+.
Of the £295,762 total expenditure £97,747 was directly allocated to charitable project activity relating to specific artistic productions. £188,610 of total expenditure was on support activity, including administration staff, staff training, office and storage, telecommunications, training, insurance and accountancy. A further £2,125 on governance and remaining £7,280 on raising funds.
As at 31 of March 2025, total reserves represented by unrestricted general funds were £132,974, in line with the current reserves policy. In addition to the general fund VDT holds unrestricted designated funds of £6,922 earmarked for ongoing projects and are being spent down over a number of years. There are no restricted funds as at 31 of March 2025.
Reserves Policy
It is the policy of incidence later that unrestricted funds which have not been designated for a specific use should be maintained at a minimum level equivalent of three months' unfunded operating costs, including statutory and enhanced redundancy payments, in line with employment contract annexures. The trustees consider that reserves at this level will ensure that, in the event of a significant drop in funding, they will be able to continue Vincent Dance Theatre's core activities for up to a period of three months, or consideration is given to ways in which additional funds may be raised, or in the event of winding up that employees are protected by ensuring sufficient resources are in place to support redundancy payments and notice periods. Reserves Policy and calculations are reviewed annually by the finance sub-committee.
Vincent Dance Theatre is a company limited by guarantee, governed by its Memorandum and Articles of Association, dated 3 July 2001 and registered as a charity with the Charity Commission.
Artistic Director/CE Charlotte Vincent leads the company full-time and is responsible for the company's artistic policy. The management team is small and, at the time of writing, comprises of Finance and Operations Director (0.6p/t) and Administrator (0.7p/t), a Freelance Strategic Associate and Participation Producer.
Other roles during 2024/25 year are no long in post. General Manager (returned from maternity leave November 2024 and left post July 25), Participation and Digital development Director (not in post after 31 March 2025) and Executive Director (in post until July 2024).
The Artistic Director, General Manager and Finance and Operations Director have delegated authority, within the terms and conditions approved by the Trustees, for operational matters including finance and employment. In addition to the salaried staff team VDT engaged a number of freelancers with expertise in marketing, fundraising and project management to build capacity when needed and enhance the team. The company has weekly meetings to map and monitor workload and monthly meetings focused on activity delivery planning and outputs against agreed targets.
At writing, Vincent, Dance Theatre has a five strong board of trustees who monitor the company's progress in line with Charity Commission guidance and to ensure effective delivery of VDT’s funding agreement with the principal funder Arts Council England.
The Board of Trustees administers the charity, meeting four times each year with additional sub group meetings as required (for HR, governance, finance and environmental). A board away day is held annually to discuss policy, strategy and future artistic activity. All Trustees are encouraged to take up external training on offer to ensure they are fully aware of the responsibilities of trustees.
The Trustees, who are also the directors for purpose of company law, and who served during the year and up to the date of signature on the financial statements were:
Induction and training of new trustees
New trustees are briefed on their legal obligations under charity and company law, the content of the Memorandum and Articles of Association, the business plan and accounts. Prospective Trustees meet the Chair, Artistic Director and staff and are invited to attend at least one Board meeting as observers before joining.
Risk management
The trustees have a duty to identify and review the risks to which the charity is exposed and to ensure appropriate controls are in place to provide reasonable assurance against fraud and error.
The Trustees have assessed the major risks to which the Vincent Dance Theatre is exposed, and are satisfied that systems are in place to mitigate exposure to the major risks.
None of the Trustees has any beneficial interest in the company. All of the Trustees are members of the company and guarantee to contribute £1 in the event of a winding up.
The Trustees' report was approved by the Board of Trustees.
The Trustees, who are also the directors of Vincent Dance Theatre 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 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.
I report to the Trustees on my examination of the financial statements of Vincent Dance Theatre (the Charity) for the year ended 31 March 2025.
Having satisfied myself that the financial statements of the Charity are not required to be audited under Part 16 of the 2006 Act and are eligible for independent examination, I report in respect of my examination of the Charity’s financial statements carried out under section 145 of the Charities Act 2011 (the 2011 Act). In carrying out my examination I have followed all the applicable Directions given by the Charity Commission under section 145(5)(b) of the 2011 Act.
Since the Charity’s gross income exceeded £250,000 your examiner must be a member of a body listed in section 145 of the 2011 Act. I confirm that I am qualified to undertake the examination because I am a member of the ACCA, which is one of the listed bodies.
I have completed my examination. I confirm that no matters have come to my attention in connection with the examination giving me cause to believe that in any material respect:
accounting records were not kept in respect of the Charity as required by section 386 of the 2006 Act; or
the financial statements do not accord with those records; or
the financial statements do not comply with the accounting requirements of section 396 of the 2006 Act other than any requirement that the accounts give a true and fair view which is not a matter considered as part of an independent examination; or
the financial statements have not been prepared in accordance with the methods and principles of the Statement of Recommended Practice for accounting and reporting by charities applicable to charities preparing their accounts in accordance with the Financial Reporting Standard applicable in the UK and Republic of Ireland (FRS 102).
I have no concerns and have come across no other matters in connection with the examination to which attention should be drawn in this report in order to enable a proper understanding of the financial statements to be reached.
FCCA
Grants and donations
Investment income
Raising funds
The statement of financial activities includes all gains and losses recognised in the year.
The statement of financial activities includes all gains and losses recognised in the year. All income and expenditure derive from continuing activities.
Vincent Dance Theatre is a private company limited by guarantee incorporated in England and Wales. The registered office is Community Base, 113 Queens Road, Brighton, BN1 3XG.
The financial statements have been prepared in accordance with the Charity's Memorandum and Articles of Association, 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)” (as amended for accounting periods commencing from 1 January 2019). The Charity is a Public Benefit Entity as defined by FRS 102.
The accounts are prepared in sterling, which is the functional currency of 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 accounts, the Trustees have a reasonable expectation that 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 accounts.
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.
Income is recognised when Charity is legally entitled to it after any performance conditions have been met, the amounts can be measured reliably, and it is probable that income will be received.
Cash donations are recognised on receipt. Other donations are recognised once 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 is recognised at the time of the donation.
Earned income is recognised when the activity relating to the income has been performed or goods have been delivered and is net of VAT.
Expenditure is recognised once there is a legal or constructive obligation to transfer economic benefit to a third party, it is probable that a transfer of economic benefits will be required in settlement, and the amount of the obligation can be measured reliably.
Expenditure is classified by activity. The costs of each activity are made up of the total of direct costs and shared costs, including support costs involved in undertaking each activity. Direct costs attributable to a single activity are allocated directly to that activity. Shared costs which contribute to more than one activity and support costs which are not attributable to a single activity are apportioned between those activities on a basis consistent with the use of resources. Central staff costs are allocated on the basis of time spent, and depreciation charges are allocated on the portion of the asset’s use.
Fund-raising costs are those incurred in seeking voluntary contributions and do not include the costs of disseminating information in the support of the charitable activities.
Expenditure on raising funds
These are costs incurred in attracting voluntary income, and those incurred in supplying goods and services at a charge
Charitable activities
These are costs incurred on the company's charitable operations, including support costs and costs relating to the governance of the academy apportioned to charitable 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.
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 Charity's balance sheet when 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 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 Charity is demonstrably committed to terminate the employment of an employee or to provide termination benefits.
Payments to defined contribution retirement benefit schemes are charged as an expense as they fall due.
Grants and donations
Grants receivable
Core Activities
Virgin Territory/Shut Down
Earned income within charitable activities
Core Activities
Home Truths (Inc AoA)
Virgin Territory/Shut Down
Art of Recovery
In Loco Parentis
PLAY
Earned income within charitable activities
Raising funds
Fundraising
Core Activities
VDT+
Art of Recovery
PLAY
Travel
UK Touring and projects
Core Activities
Home Truths (inc AoA)
Art of Recovery
PLAY
Travel
UK Touring and projects
Core Activities
Organisation cost, support and development activity outside scope of artistic costs linked to specific named projects.
Home Truths (inc AoA)
Development, production, distribution and participation activity for Home Truths.
VDT+
Development of online resource and new archive that catalogues and shares 30 years of socially engaged/ choreographic practice and productions alongside new and existing online learning resources and assets.
Virgin Territory/Shut Down
Making, distribution and engagement activity for Virgin Territory and Shut Down on stage, on film and online.
Art of Recovery
All activity related to the Art of Recovery project, including foundation and research workshops, creative development, production, distribution and participatory activity.
PLAY
Development, making, distribution and participatory activity for Play, including all live on stage, on film and online elements.
None of the Trustees (or any persons connected with them) received any remuneration during the year and £776 (2024: £162) was reimbursed relating to travelling expenses during the year.
The average monthly number of employees during the year was:
The average full time equivalent number of employees during the year was 3.83 (2024: 3.2)
The charity is exempt from taxation on its activities because all its income is applied for charitable purposes.
Charity operates a defined contribution pension scheme for all qualifying employees. The assets of the scheme are held separately from those of 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 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.
Unrestricted funds
Unrestricted funds designated
Unrestricted funds
Unrestricted funds designated
There were no disclosable related party transactions during the year (2024 - none).
The Charity had no material debt during the year.