During the financial year 1 February 2025 to 31 January 2026, Fuse Theatre CIC continued its work as a Deaf-led theatre company creating and supporting high-quality work by Deaf artists and increasing opportunities for Deaf people to participate in, experience and lead cultural activity. Our work centred British Sign Language (BSL), Deaf culture and Deaf lived experience, while creating opportunities for Deaf and hearing audiences to engage with theatre and performance. During the year, Fuse developed a range of new Deaf-led work and supported Deaf artists through commissioning, performance, workshops and professional development. Across our activity during the year, we employed or commissioned 35 Deaf artists and presented 20 performances of Deaf-led work. We commissioned four Deaf artists to create new pieces of work, which went on to be performed at Camden People’s Theatre, Pleasance Theatre and Alphabetti Theatre. We also continued developing Love Language and developed The Only Brown Deaf Man in England at the National Theatre Studio. The latter originated from a commission by Fuse and was developed under Fuse’s guidance, providing a significant development opportunity for Deaf-led storytelling and talent. Fuse became the first-ever Resident Company at Camden People’s Theatre, establishing an ongoing base from which to create new work, support Deaf artists and deliver workshops and engagement activity. Through this residency, Fuse ran workshops and created opportunities for Deaf artists to develop and present their work. Fuse produced and presented a number of Deaf-led performances and events during the year. A Night in Sign, a mixed-bill cabaret featuring Deaf performers, was presented at Alphabetti Theatre in Newcastle and attended by approximately 200 people. Pray For Me, a Deaf-led production commissioned by Fuse and Surface Area, was also presented at Alphabetti Theatre and attended by approximately 200 people. The work was written and performed by a young Black Deaf person, providing a platform for Deaf artists whose voices and experiences are underrepresented within the wider cultural sector. Fuse also collaborated with major cultural organisations to create new Deaf-led work. In December 2025, we collaborated with Shakespeare’s Globe to create Macbeth and Banquo, a BSL-led production performed in the Sam Wanamaker Playhouse, which was attended by 218 people. Fuse also developed, wrote and made a Deaf-led film for LumoTV, a Deaf-led film company, involving 30 people in its production and creating opportunities for Deaf talent to work within film and television as well as theatre. Alongside producing work, Fuse delivered participation, education and access activity for Deaf and hearing communities. This included delivering a Deaf awareness session at the Donmar Warehouse, running a workshop at Southampton Deaf Fest attended by approximately 300 participants, and running workshops for people of all ages at Newcastle Deaf Centre, reaching approximately 250 people. Fuse also performed and ran workshops at Flarewave Festival, a Deaf-led festival in Brighton, and attended a Deaf rave event in Newcastle in partnership with Surface Area Dance Theatre, engaging with Deaf cultural activity outside traditional theatre settings. Fuse's work also contributed to greater recognition and visibility for Deaf-led theatre. Follow The Signs was nominated for Best Production and Best Access at the OFFIES and was also nominated for Media Event of the Year at the Scope Awards. These nominations recognised the quality of the work and its approach to accessibility and Deaf-led cultural production. Through its activity during the year, Fuse created paid and professional opportunities for Deaf artists, provided platforms for new Deaf-led work, increased access to theatre and cultural participation, supported the development of Deaf talent, and helped to increase the visibility and representation of Deaf people and Deaf culture within the wider arts sector. Fuse's activities benefited the community by creating opportunities for Deaf people to participate as artists, audiences, learners and cultural leaders, while also supporting greater understanding of Deaf culture and BSL among wider audiences and arts organisations.

Fuse Theatre CIC places consultation with stakeholders at the heart of our work. As a Deaf-led organisation, ongoing conversations with Deaf artists, Deaf audiences, participants, partners and community organisations inform our creative development, delivery and decision-making. Throughout our projects, we maintained regular conversations with Deaf artists we commissioned and employed, discussing their experiences, access requirements, creative ambitions and what support they needed to thrive. Feedback from Deaf artists has directly influenced our approach, including our commitment to creating more paid opportunities, supporting Deaf talent development and increasing opportunities for Deaf-led new writing. We gathered informal feedback from audiences following performances, particularly from Deaf audience members. This feedback reinforced the importance of authentic Deaf representation, BSL-led performance and creating more opportunities for Deaf audiences to experience high-quality theatre and cultural events where they see their experiences reflected. Participants in our workshops were also encouraged to share feedback through conversations and discussions. This helped us understand the impact of our engagement work and shape future workshops, ensuring they remained relevant, accessible and responsive to community needs. As part of our residency with Camden People’s Theatre, ongoing conversations with the venue influenced the development of our workshops, artist development activity and the work we created during the residency. Similarly, collaborations with partner organisations including Surface Area, Deaf festivals, LumoTV and Shakespeare’s Globe involved regular discussions about shared aims, audience needs, access requirements and how we could create meaningful partnerships. A key piece of feedback from the Deaf community was the need for more opportunities for Deaf writers and Deaf-led storytelling. This directly influenced Fuse’s commitment to developing new Deaf-authored work and creating more pathways for Deaf creatives across different roles within the arts. Consultation is an ongoing part of Fuse’s practice, ensuring that our work continues to be shaped by the communities we exist to serve.

Directors’ remuneration was received. The directors of Fuse Theatre CIC are paid on a project-by-project basis for specific contracted creative roles, including directing, choreography, writing and other artistic services. Payments are made from income generated through external commissions, grants and project funding, and are proportionate to the work delivered. Directors do not receive a fixed salary or ongoing payment for their board/director role; remuneration relates solely to specific creative and professional services provided to projects. The total amount paid or receivable by directors in respect of qualifying services was £11,400 to Christopher Fonseca and £11,967.49 to Harry Jardine.

No transfer of assets other than for full consideration