2015 | 2016
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THE HOUND OF THE BASKERVILLES
Jan 20–Feb 7, 2016
By Sir Arthur Conan Doyle
Adapted by Steven Canny and John Nicholson
Directed by Kelli Fox
02
2015 | 2016
ANNUAL REPORT
GLOBE THEATRE
MISSION
Our mission is to entertain, educate and
engage Saskatchewan people in the art of
professional theatre by offering high-quality performances to audiences, professional theatre training for artists, and
classes for children and adults.
TABLE OF CONTENTS
Chair Report. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 02
Artistic Director & CEO Report. . . . . . . . . . . . . . . . . . . . . . . . . 04
Redevelopment of the Prince Edward Building. . . . . . . . . . . . . . . . .
06
Globe Theatre School Report. . . . . . . . . . . . . . . . . . . . . . . . . . 08
Globe Theatre Conservatory Actor Training Program . . . . . . . . . . . . . . 10
Globe Theatre Society Board. . . . . . . . . . . . . . . . . . . . . . . . . . 12
Globe Theatre Staff. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12
Artistic Company . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Globe Theatre Volunteers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14
Audit & Finance Report. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16
Globe Theatre Society Financial Statements. . . . . . . . . . . . . . . . . . 18
GLOBE THEATRE VISION
By 2022, Globe Theatre is attracting
capacity crowds to its state-of-theart stages and theatre school.
Management’s Reponsibility . . . . . . . . . . . . . . . . . . . . . . 19
Independent Auditors’ Report . . . . . . . . . . . . . . . . . . . . .
Statement of Financial Position. . . . . . . . . . . . . . . . . . . . . 21
Statement of Operations . . . . . . . . . . . . . . . . . . . . . . . .
Statement of Change in Fund Balances. . . . . . . . . . . . . . . . . 23
Statement of Cash Flows. . . . . . . . . . . . . . . . . . . . . . . . 24
Notes to the financial statements. . . . . . . . . . . . . . . . . . . . 25
Schedule 1 - Schedule of Conservatory Revenues and Expenses. . . 29
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22
Acknowledgements. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30
2015|2016
STRATEGIC PRIORITIES
• Highly Regarded Theatre and School
• Financial Strength
• Culture of Engagement & Innovation
•Broad Base of Stakeholder Support
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Cover: Joshua Ramsden, Lucy Hill, and Nathan Pylypuk in Romeo and Juliet | Photo by Chris Graham Photo
Previous Page: Jeff Irving and Kevin Kruchkywich in The Hound of the Baskervilles | Photo by Chris Graham Photo
2015 | 2016
CHAIR REPORT
G
lobe Theatre had a strong season
artistically. The main stage season
kicked off with a terrific production
of All Shook Up that was directed and choreographed by Stephanie Graham followed
by the premiere of The Snow Queen by
Ruth Smillie and directed by Rachel Peake
with stunning set and costume designs by
Scott Penner. Director Kelli Fox and a talented cast of actors delivered a wonderful
production of The Hound of the Baskervilles.
Rick Chafe’s beautiful play, The Secret Mask
that was directed by Marti Maraden, deeply
touched our audiences. Director Anita Rochon
created a breathtaking production of Romeo
and Juliet that featured five alumnae of the
Globe Theatre Actor Conservatory Training
Program. Max Reimer put together a strong
cast for The Ladies Foursome which was the
final production of the main stage program.
The provincial tour of Ring of Fire: The Music
of Johnny Cash was warmly received in thirteen communities: Saskatoon, Moose Jaw,
Yorkton, Swift Current, Shaunavon, Lloydminster, Kindersley, Ft. Qu’Appelle, North
Battleford, Outlook, Prince Albert, Weyburn
and Indian Head. The Board of Directors is
proud that Globe Theatre’s productions are
having such a positive impact on large and
small communities throughout Saskatchewan.
The 50 th Anniversary Gala on June 22 was
a tremendous success with 430 people in
attendance. It was a great honour to have
TRH the Earl and Countess of Wessex in attendance for this historic celebration. We also
appreciate the contributions of the Conexus
Arts Centre, the Community Initiatives Fund,
the City of Regina and Rawlco Radio to this
special evening.
During the 2015-2016 season, members
of the board focused on the implementation
of the new strategic plan, building strong
relationships with the three levels of government in support of Globe Theatre’s capital
campaign, oversight of planning for the redevelopment and refurbishment of the Prince
Edward Building that will begin during the
2017-2018 season, and providing counsel
as needed to the Artistic Director and CEO.
A great deal was accomplished by the
Board of Directors and senior management
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in support of the capital campaign this season.
Board member Trevor Boquist agreed to Chair
the Capital Campaign Leadership Team. Other
board member volunteers for the campaign
include Anthony Marquart, Brian Killback,
René Carpentier and myself who are working
with a number of outstanding community
members with the goal of raising $27 million
by the fall of 2017. The three levels of government have all committed to supporting Globe
Theatre’s capital campaign. The theatre is
committed to raising $7 million from individuals and businesses.
Unfortunately, subscription sales fell
$120,000 short of the budget goal. The drop in
subscription numbers impacted our box office
revenues throughout the season. Thanks to
careful financial management by the staff the
shortfall on the season was held to $60,000.
On behalf of the Board of Directors we
want to thank our patrons, volunteers, community partners, sponsors, and donors;
without your support our mission would not
be achievable.
Tina Svedahl
Chair, Globe Theatre Board of Directors
Next Page: (Top) Sarah Janz and Zak Neilson in Fusion 2016: Get Lost | Photo by Chris Graham Photo
(Bottom) Jenna-Lee Hyde and Marianne Woods in G-Ram (Grandma) | Photo by Chris Graham Photo
FUSION 2016: GET LOST
Mar 16–19, 2016
Directed by Greg Ochitwa*
SHUMIATCHER SANDBOX SERIES
*Appears with the permission of
Canadian Actors’ Equity Association
G-RAM (GRANDMA)
May 19–28, 2016
Written and Directed by Greg Ochitwa
SHUMIATCHER SANDBOX SERIES
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2015 | 2016
ARTISTIC DIRECTOR & CEO REPORT
G
lobe Theatre’s 50 th Anniversary season
was a time for celebration and reflection; an opportunity to honour the
vision, courage and tenacity of the founding
artistic directors, Ken and Sue Kramer, as well
as the many contributions of former artistic
director Susan Ferley; and a time to recognize
the hundreds of artists, staff members, volunteers, sponsors, donors, funding agencies
and audience members who have contributed
enormously to the longevity and success of
Globe Theatre.
We chose to mark the golden anniversary through the commissioning and publication of a book by Gerald Hill, A Round for
Fifty Years: A History of Globe Theatre and
with a gala evening on June 22, 2016, that
we held at the Conexus Arts Centre. Gerry
Hill did a terrific job of documenting Globe
Theatre’s fifty years of producing professional
live theatre for Regina and Saskatchewan audiences. Regina’s Coteau Books took Gerry’s
narrative as well as a range of photographs,
posters and set maquettes that he had assembled and transformed it all into a gorgeous
publication that can be purchased through
our Box Office.
The June 22 50 th Anniversary Gala was
a premiere cultural event for Regina and
Saskatchewan that shone a bright light on
the achievements of Globe Theatre over
five decades. The attendance by HRH The
Prince Edward, who is our Royal Patron, and
the Countess of Wessex garnered national and international media attention. Other
special guests included Ken Kramer, Susan
Ferley, Lieutenant Governor Vaughn Solomon
Schofield, Premier Brad Wall, Minister Ralph
Goodale, Mayor Michael Fougere and National
Chief Perry Bellegarde.
The 2015–2016 season featured Rick Chafe’s
The Secret Mask, the premiere of The Snow
Queen, Norm Foster’s The Ladies Foursome,
a production of Shakespeare’s Romeo and
Juliet, the musical All Shook Up and a spoof
of the Sherlock Holmes classic The Hound
of the Baskervilles. Five of the six main stage
productions were directed by women.
All of the productions in the 2015–2016
Shumiatcher Sandbox season were original
works created and performed by Saskatch06
ewan artists. The series lineup showcased
Woolgathering by FadaDance, A Soldier’s
War by Josh Ramsden, Fusion directed by
Greg Ochitwa and featuring seven emerging
artists, Paper which was conceived and directed by Judy Wensel in collaboration with
the Globe Youth Company, G-Ram (Grandma)
by Greg Ochitwa and Thicker Than Water by
Heather Morrison.
Provincial touring was the backbone of
Globe Theatre when it was founded as a
professional theatre for young audiences in
1966. A few years later, Ken and Sue Kramer
added main stage touring productions for
adults to the Globe’s annual programming.
The school tours continued until 1998 and
main stage touring ended in the early 1980s
when the costs became prohibitive. In 2014,
we mounted a provincial tour of A Closer
Walk with Patsy Cline in partnership with the
Saskatchewan Arts Board as a pilot project to
determine if there was a market for our work
in other communities. That pilot project was
so successful that we have added provincial
touring to our annual programming. Again with
the support of the Saskatchewan Arts Board
we mounted Ring of Fire: The Music of Johnny
Cash as our 2015–2016 tour. The production
played for three weeks at Persephone Theatre
where it averaged 93% attendance and then
played to capacity crowds in twelve communities throughout the province.
A strategic priority for Globe Theatre is
to train and employ Saskatchewan artists.
During the 2015–2016 season, Globe Theatre
hired a total of 77 actors and musicians for
main stage, second stage and touring productions; 48 of those artists are from Saskatchewan. We also created numerous opportunities
for Globe Theatre staff and freelance artists to
expand their skill sets as directors, designers,
and playwrights. Globe Theatre Actor Conservatory graduates Alexandria Hartshorn (2012)
was the Assistant Director on All Shook Up
and Nathan Pylypuk (2014) was the Assistant
Director on The Hound of the Baskervilles.
Josh Ramsden (2014 Conservatory graduate)
wrote A Soldier’s War and Greg Ochitwa
(2010 Conservatory graduate) wrote and directed G-Ram (Grandma) for the Shumiatcher Sandbox Series. Theatre School Director
Next Page: Leslie Dos Remedios in The Snow Queen | Photo by Chris Graham Photo
Shaunna Dunn was the designer for Paper,
a site specific work that was conceived and
directed by Judy Wensel in collaboration with
members of the Globe Youth Company. Head
of Props Norm Daschle designed A Soldier’s
War and Fusion 2016: Get Lost. Charity Gadica
(Head of Wardrobe) and Johanna de Vries
(Head of Carpentry) were the designers for
The Ladies Foursome.
We have an exceptional staff team that
are passionate about the work and eager to
contribute to the success of Globe Theatre.
This intrepid group are always impressive; but
they collectively ‘knocked it out of the park’
on the 50 th Anniversary Gala. The entire staff
came together as a team along with our event
planners Martin Charlton Communications to
create a singular event. My heartfelt thanks
to each and every one of you for all that you
do in support of Globe Theatre.
Thank you to our hard-working, dedicated
Board of Directors who each provide outstanding governance and give very generously of
their time and expertise. We also want to thank
and acknowledge our outstanding sponsors,
donors, volunteers and audience members. As
an organization that derives more than 70%
of our annual operating budget from earned
revenues—ticket sales, sponsorships and
donations—we are the envy of our theatre
colleagues across the country. We are deeply
grateful for your support.
On June 30 one of Globe Theatre’s finest
employees, Kathy Schaffer who has been
our Finance and IT Manager, retired after
almost eighteen years with the theatre. We
didn’t know how to cope without her so she
is working for us on a contract basis as our
IT Consultant. Thanks for all of your contributions to Globe Theatre, Kathy.
Ruth Smillie
Artistic Director & CEO
THE SNOW QUEEN
Nov 12–Dec 27, 2015
Written by Ruth Smillie
Directed by Rachel Peake
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REDEVELOPMENT OF THE
PRINCE EDWARD BUILDING
G
lobe Theatre is planning a redevelopment of its current facility. Globe
Theatre’s home for 35 years—first as a
renter and more recently as an owner–desperately needs refurbishment and upgrades. The
heritage building was originally built as a post
office in 1906 and despite renovations falls
far short of modern day expectations. The
redevelopment of the building will completely
restore and upgrade one of Regina’s most
valuable and beloved buildings. It will also
create a state-of-the-art performance and
educational facility that will meet the needs
of patrons, artists, students, employees and
other Regina performing arts organizations.
Improving the physical space and expanding the seating capacity of both the main
stage and second stage theatres will enhance
the experience for the more than 70,000
people who attend performances and for
the more than 100 artists that work in the
theatre. Increased seating capacity will also
strengthen the theatre’s long-term financial
sustainability. A larger second stage theatre
will offer an outstanding venue for other
performing arts organizations and independent artists. With the number of classrooms
doubling to four from two, more children and
adults will experience the benefits of learning
through theatre arts.
The $27M transformation involves:
• Significant repairs and major refurbishment of the exterior of the building;
• Removing pillars in the main stage
theatre to increase seating capacity
from 406 to 498;
• Increasing patron comfort and accessibility by widening the aisles, increasing
leg room, installing larger seats, enlarging the lobby, upgrading washrooms,
and installing two high capacity passenger elevators;
• Excavating the basement to build a
much-needed 250 seat second stage
theatre that will be used for Globe Theatre’s Shumiatcher Sandbox Series and
by other performing arts organizations;
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• Doubling the number of theatre school
classrooms so as to accommodate the
tremendous demand for Globe Theatre
School programming;
• Improving energy efficiency by replacing
the original steam boilers, lighting and
mechanical systems;
• Creating a new accessible entrance on
Scarth Street that will include a main
floor box office.
Globe Theatre’s renovation will not only
allow us to move into a sustainable business
model but will greatly enhance the patron
experience with improved sightlines, seating
and amenities. Globe productions will take a
significant leap forward with the architectural
vision and improved equipment planned for
this renovation. This state of the art facility
will be an architectural jewel in downtown
Regina and strengthen the profile of Globe
Theatre as a national centre of excellence.
The renovations will take 18 months to
two years to complete. While construction
is underway, Globe Theatre will relocate to
temporary premises.
All three levels of government have confirmed their support for the redevelopment
project. Globe Theatre is currently in the quiet
phase of a capital campaign to raise $5–$7
million from individual donors and corporations. We have been very encouraged by
the strong support we are receiving and look
forward to a public campaign launch soon!
Next Page: Jeremy Hilsendager, Devin Wesnoski and Greg Ochitwa in A Soldier’s War | Photo by Chris Graham Photo
A SOLDIER’S WAR
Jan 28–Feb 6, 2016
By Joshua Ramsden
Directed by Judy Wensel
SHUMIATCHER SANDBOX SERIES
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2015 | 2016
GLOBE THEATRE SCHOOL REPORT
T
his was a season of significant growth
for the Globe Theatre School; both in
numbers, program expansion, and professional development opportunities for staff.
Almost 200 students participated in our
Summer Laboratory creation camps; with 60
of those being new immigrant and refugee
youth. With funding from the Community
Initiatives Fund and in partnership with the
Regina Open Door Society, we established
a successful two-week summer camp that
provides new Canadian youth with socialization and communication skills through the
arts. Our summer programming also reached
Indian Head, with a new Globe at the Grand
summer camp for 20 of the community’s
youth and teens.
Our fall and winter enrollment grew by
25 percent, with over 400 children, teens
and adults participating in theatre creation
classes and a new multi-tiered improvisational
theatre offering. The theatre school model has
always had a strong improvisation foundation,
and those tools are now being offered to the
business sector through the development of
our new Corporate Improv program for the
workplace. Instructors for the program underwent specialized training with assistance
from Andrew Chen, Business Dept. professor
at UBC. Instructors from our Outreach and
core programming were also provided with
unique professional development opportunities; including Aboriginal Awareness Training
from John Lagimodiere and Cross Cultural
Sensitivity Training through the Regina Open
Door Society. These continued training workshops support the professional artists that
teach with the Theatre School, ensuring that
our teachers and staff are the best artist-educators in the province.
With a continued commitment to providing inclusive arts programming and classrooms that support students with different
abilities, we embarked on a pilot project that
explored how improvisation workshops can
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assist young people with Autism Spectrum
Disorder. With funding from the Community
Initiatives Fund and in partnership with the
Autism Resource Centre, a program was developed and 15 workshops were led by local
improviser Cameron Chomyn. The program
was a huge success and is the first phase
in establishing an Improv for ASD program
within the Theatre School.
Artistically, the Theatre School celebrated
huge success through the showcasing of
senior projects in media, directing, and theatre
creation. This year we saw the largest number
of advanced ensembles perform for public
audiences, with 50 students participating in
our Teen Creation Showcase, the Cathedral
Village Arts Festival, and the Shumiatcher
Above: Corey Crawford, Laura Muma, Katie Abramovic, Adrian Chevalier, Emma Walter | Photo by Carey Shaw
Next Page: Cast of All Shook Up | Photo by Sharpshooter Photography
Sandbox Series. The achievements of the
Globe Theatre School were exemplified by
our Youth Company’s site-specific performance Paper. Directed by Judy Wensel,
this unique immersive theatre project was a
true testament to the professional practices
that are being established through the Globe
Theatre School.
Shaunna Dunn
Theatre School Director
ALL SHOOK UP
Sept 16–Oct 11, 2015
Inspired by and featuring the songs of ELVIS PRESLEY®
Book by JOE DIPIETRO
Directed and Choreographed by Stephanie Graham
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2016 GLOBE THEATRE CONSERVATORY
ACTOR TRAINING PROGRAM
T
he Globe Theatre Conservatory began
in 2008 with the goal of providing rigorous professional training in classical
and contemporary theatre to emerging Saskatchewan artists. Since 2008, forty-one
students have graduated from the conservatory many of whom are now working on the
Globe stages and at theatres across Canada.
The sixteen-week program (May to August)
is offered every two years at Globe Theatre;
artists are selected for the conservatory
through an audition process. Graduates of
the 2016 conservatory will be showcased in
two Globe Theatre main stage productions in
the upcoming season: seven of the actors are
cast in Peter and the Starcatcher directed by
Kelli Fox and three of the graduates are cast
in The Last Wife directed by Anita Rochon.
The instructors and directors for the
2016 conservatory are all leading Canadian
theatre professionals.
“DECIDING TO ATTEND THE GLOBE CONSERVATORY IS
ONE OF THE BEST DECISIONS I HAVE EVER MADE. I AM
NOW A WORKING PROFESSIONAL ARTIST WHO HAS
STRONGER CONNECTIONS TO MY PROVINCE AND MY
SASKATCHEWAN PEERS.”
LAUREN HOLFEUER, GRADUATE,
GLOBE THEATRE ACTOR CONSERVATORY TRAINING PROGRAM
Faculty
Ruth Smillie, Conservatory Director
Module One:
Ensemble Building and Devised Creation
Ruth Smillie............................................................................................................................................Acting
Johanna Bundon............................................................................................................................ Movement
Tom Soares (1 Week), Laurel Thomson................................................................................................. Voice
Jayden Pfeifer, Johanna Bundon.......................................................... Improvisation and Devised Creation
David Latham............................................................................................................................. Neutral Mask
Perry Schneiderman....................................................................................................... Character Half Mask
Kana Nemoto........................................................................................................................... Mitzvah/Itcush
Module Two
Greek Drama
Yvette Nolan..........................................................................................................................................Acting
Nancy Benjamin...................................................................................................................................... Voice
Johanna Bundon............................................................................................................................ Movement
Module Three
Contemporary Scene Study
Kelli Fox..................................................................................................................................................Acting
Traci Foster............................................................................................................................................. Voice
Chancz Perry.................................................................................................................................. Movement
Module Four
Shakespeare
Marti Maraden.......................................................................................................................................Acting
Jane MacFarlane.................................................................................................................................... Voice
Allyson McMackon........................................................................................................................ Movement
Members of the 2016 acting ensemble are all from Saskatchewan.
ENSEMBLE
Jennifer Bishop
Devon Bonneau
Grahame Kent
Kyle Kuchirka
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Lauren May
Anna Mazurik
Aren Okemaysim
Donny Ready
Robyn Sanderson
Anna Seibel
Next Page: (L to R) Devon Bonneau, Grahame Kent, Anna Mazurik, Aren Okemaysim, Kyle Kuchirka, Lauren May, Robyn Sanderson, Donny Ready, Anna Seibel,
Jennifer Bishop | Photo by Hayley Peters
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2015 | 2016 GLOBE THEATRE SOCIETY BOARD
GLOBE THEATRE BOARD OF DIRECTORS
Tina Svedahl
Chair
René Carpentier
Vice-Chair
Trevor Boquist
Secretary
Anthony Marquart
Lisa McIntyre
Graeme Mitchell
Patti Pacholek
Chair of Nominating Committee
Craig Reynolds
DIRECTORS
LeeAnn Croft
Brian Kilback
Marty Klyne
Rick Tiefenbach
Chair of Audit &
Finance Committee
Lisa Watson
2015 | 2016 GLOBE THEATRE STAFF
SENIOR MANAGEMENT
Ruth Smillie
Artistic Director & CEO
Wendy Harrison
Chief Financial Officer
Steven Balkwill
Director of Production
Karen Jurzyniec
Sales Administrator
Daniel Lutes
Building Maintenance
Catie Marsh
Capital Campaign Associate
Jayme Oakley
Front of House Manager
Chancz Perry
Outreach Facilitator &
Shumiatcher Sandbox Series
Coordinator
Hayley Peters
Graphic Designer
Karen Prior
Development Manager
Kathy Schaffer
Finance & IT Manager
Sonia Stanger
Box Office Manager
Pu Wah
Custodian
Allison Weed
Marketing Manager
Judy Wensel
Interim Theatre School Director
Johanna de Vries
Head of Scenic Carpentry
Norm Daschle
Head of Props
Kelsey Elvin
Technical Director
Charity Gadica
Head of Wardrobe
Patrick James
Head of Lighting
Kyle Halvorson
Technical Assistant
Stacy Martin
Dresser/Shop Assistant/
Stage Hand
Chris Mason
Stitcher
Zaul McLellan
Lighting Crew
Meagan Miller
Stitcher/Wardrobe
Maintenance/Stage Hand
Billy Patterson
Lighting Crew
Rob Phillipson
Lighting Crew
Celeste Pinder
Cutter/Stitcher/Wardrobe
Maintenance
Riley Richter
Lighting Crew/ Alternate
Studio Technician
Greg Rideout
Carpentry Assistant
Alla Sidorenko
Stitcher
Nilsen Tiefenbach
Stage Hand/Lighting Crew
Mel Vovchuk
Paint Assist
Peter White
Puppet Builder
Letecia Ochoa
Jaki Oehler
Kylie Orr
Cheryl Pepin
Kristi Picklyk
Nathan Pylypuk
Rhea Sali
Tiffany Strachan
Amanda Tessier
Simon Trenholm
Annie Trussler
Mel Vovchuk
Courtney Wall
ADMINISTRATIVE STAFF
Maureen Bachmann
Accounting Clerk
Dawn Bergstrom
Company Manager
Stephanie Boyle
Marketing & Sales Associate
Mackenzie Brock
Theatre School Coordinator
Shaunna Dunn
Theatre School Director
PRODUCTION STAFF
Patrick Andrews
Head of Sound
Devon Bonneau
Production Assistant/
Studio Technician
ADDITIONAL PART-TIME/CASUAL PRODUCTION STAFF
Amber Armstrong
Hair Stylist
Barb Barber
Stitcher
Malia Becker
Dresser
Jay Berreth
Men’s Hair
Christy Betcher
Stitcher/Wardrobe
Maintenance/Dresser/Props
Joanne Betcher
Stitcher/Props Builder/
Wardrobe Maintenance
Jeff Chief
Cutter/Stitcher
Charene Claude
Dresser/Shop Assistant
Rebecca Donison
Dresser/Stitcher
Terri Grant
Scenic Painter
Kenilee Kehler
Lighting Crew
Tyler Kirk
Lighting Crew/Alternate
Studio Technician
Richie Lambert
Carpenter
PART-TIME FRONT OF HOUSE & BOX OFFICE STAFF
Stephanie Boyle
Aja Burton
Barb Cameron
Meghan Dobranski
Renee Dobrowolski
Cheryl Egger
Mackenzie Garbe
Twyla Griesser
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Jeff Hamon
Debbie Johns
Bobbie Katuin
Tiffany Lai
Janelle Lubkiwski
Brigid McNutt
Melanie Metcalf
Rob Neufeld
THE SECRET MASK
Mar 2–20, 2016
By Rick Chafe
Directed by Marti Maraden
GLOBE THEATRE SCHOOL STAFF
Maxwell Adamson
Kris Alvarez
Kristy Apodaca
Sarah Bergbusch
Belle Brown-McEwen
Heather Cameron
Adrian Chevalier
Cameron Chomyn
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Mark Claxton
David Dodsley
Mitch Doll
Allan Dotson
Tianna Ell
Shawn Fulton
Julien Hamon-Fafard
Jeremy Hilsendager
Kendra Kembel
Emily Kutarna
Meredith Larocque
Terrence Littletent
Crystal Massier
Kenn McLeod
Lexi Milligan
Laura Muma
Above: Oliver Becker, Jenna-Lee Hyde and Skye Brandon in The Secret Mask | Photo by Chris Graham Photo
Greg Ochitwa
Andrew Parry
Annie Trussler
Mackenzy Vida
Judy Wensel
Misty Wensel
2015 | 2016
ARTISTIC COMPANY
Katie Abramovic
Clinton Ackerman
Alden Adair
Ryland Alexander
Patrick Andrews
Danny Balkwill
Kathryn Ball
Gaelan Beatty
Malia Becker
Oliver Becker
Sarah Bergbusch
Sheldon Bergstrom
Nick Blais
Devon Bonneau
Skye Brandon
Kris Bratton
Renee Brode
Timothy E. Brummund
Ken Burton
Heather Cameron
Adam Charles
Dave Chobot
Mark Claxton
Erin Crowley
Natalie Daradich
Norm Daschle
Alixx Davidson
Johanna de Vries
Rebecca Donison
Leslie Dos Remedios
Deborah Drakeford
Jayden Dreher
Emily Dubois
Kathleen Duborg
Allison Edwards-Crewe
Tianna Ell
Fraser Elsdon
Jacey Fahlman
Duncan Fisher
Kelli Fox
Alana Freistadt
Charity Gadica
Loreen Gibson
Fran Gilboy
Mike Gill
Mara Gottler
Christo Graham
Stephanie Graham
David Granger
Daniel Greenberg
Wendy Greenwood
Louise Guinand
Pamela Haig-Bartley
Alexandria Hartshorn
Sierra Haynes
Jason Heistad
Lucy Hill
Jeremy Hilsendager
Lauren Holfeuer
Elinor Holt
Amberlin Hsu
Jason Huska
Jenna-Lee Hyde
Jeff Irving
Sarah Janz
Melanie Janzen
Danny Jones
Kenilee Kehler
Liz King
Kevin Kruchkywich
Emily Kutarna
AJ Laflamme
Matthew Lagacé
Rebecca Lascue
Nicky Lawrence
Joey Lespérance
Marti Maraden
Tawiah Ben M’Carthy
Kenn McLeod
Andrew Moodie
Heather Morrison
Marylu Moyer
Tony Munch
Kyla Musselman
Zak Neilson
Jessica Nickel
Yvette Nolan
Christine Oakey
Greg Ochitwa
Rachel Peake
Wes D. Pearce
Valerie Ann Pearson
Scott Penner
Christina Persson
Elana Post
Nathan Pylypuk
Josh Ramsden
Ben Redant
Max Reimer
Lindsay Robinson
Anita Rochon
Melissa Rood
Stephanie Roth
Lisa Russell
Craig Salkeld
Jeremy Sauer
Ben Schneider
Kaitlyn Semple
Jamie Lee Shebelski
Quelemia Sparrow
Michael Spencer-Davis
Virginia Stephenson
Devra Straker
Mike Thompson
Devon Tullock
Tamara Unroe
Mackenzy Vida
Mel Watkins
Judy Wensel
Misty Wensel
Devin Wesnoski
Geoffrey Whynot
Karen Wood
Dianne Woodrow
Marianne Woods
Allan Zinyk
Gilles Zolty
2015 | 2016
GLOBE THEATRE VOLUNTEERS
Holly Adamson
Max Adamson
Marlene Agar
Edith Angeloni
Anna Aulie
Jan Ayer
Sandi Babyak
Andrea Bellerose
Marg Bells
Phyllis Bells
Helen Bereti
Leona Bouey
Debbie Bulych
Bonnie Briere
Frank Briere
Helen Burton
Jenessa Cameron
Tayler Cameron
Shirley Campbell
Carole Cann
Cindy Chamberlin
Gail Charles
Sarina Lynn Clarke
16
Sharon Clarke
Laurie Collins
Garry Crawford
Myrna Crawford
Beverley Davidson
Linda Dodd
Shirley Dodds
Ken Domoslai
Kim Domoslai
Heather Entner
Diana Florence
Penny Forrest
Ted Forrest
Peggy Forsberg
Gail Fry
Larry Fry
Janet Galger
June Galger
Judy Gates
Shauna Gebhart
Shirley Gieni
Sylvia Graham
Lorane Gray
Blair Gullickson
Jan Gullickson
Elaine Hannah
Donna Harries
Betty Harrison
Anne Heal
Sandra Henderson
Janice Hilsen
Catherine Hologroski
Eugene Hologroski
Irene Huculak
Anna Janikova
Maura Kachan
Heather Kemp
Carol Lynn Klein
Gail Lambert
Marilyn Leask
Suzanne Lendvoy
Shirley Loziak
Sue Luchuck
Joan Mancinelli
Lauren Mang
Bonnie Mann
Next Page: Devra Straker in A Closer Walk with Patsy Cline | Photo by Chris Graham Photo
Dave Mann
Edie Marshall
Greg Marshall
Dianne Martel
Marian Massel
Darlene McClelland
Trina McDowell
Phyllis McGinn
Brenda Miller
John Miller
Mikaela Miller
Veronica (Helen) Miller
Trudy Natyshak
Rose Neumann
Doreen O’Shaughnessy
Gayle Peever
Fran Protz
Trish Reiss
Judy Ries
Linda Robertson
Darwin Rodgers
Janice Rodgers
Laurie Ross
Dean Runge
Edith Seiferling
Gabe Seiferling
Gabe Senft
Joan Snider
Marlene Sparrow
Betty Stang
Robert Stradeski
Myrna Ursan
Don Vonau
Kevin Wagner
Eva Wasserle
Donna Whitelaw
Murray Whitelaw
Wilma Whyte
Jacqueline Wight
Kathy Willis
Kathy Willner
Denise Yano
A CLOSER WALK WITH PATSY CLINE
June 9–18, 2016
By Dean Regan
Directed by Geoffrey Whynot
Starring Devra Straker
17
2015 | 2016
AUDIT & FINANCE REPORT
T
he 2015–2016 season marked the 50 th
Anniversary of Globe Theatre. A number
of memorable performances as well as
a Gala and Royal Visit highlighted the season.
With a tempered local economy and a large
capital project on the horizon, 2015-2016
presented some unique challenges. Overall,
Globe Theatre finished 2015-2016 with a
deficit of $165,212 compared to an $112,991
surplus in 2014–2015.
Globe had overall revenue of $4,937,870,
a 2.2% decrease over the prior year.
A shortfall of $60,000 in sponsorships was
the primary contributor to a deficit in the operating fund during the 2015–2016 season. A
number of major sponsors stepped away from
sponsoring Globe Theatre as their community giving priorities changed. Globe remains
reliant on box office revenue with approximately 70% of revenue being driven by ticket
sales. Subscription sales fell $120,000 short of
the budget goal. In spite of our best efforts to
make up for the gap in subscriptions through
single ticket sales, we never fully recovered
from the shortfall. We have implemented a
comprehensive plan to rebuild our subscription base during the 2016–2017 season. On
the heels of last year’s roaring success of
Ring of Fire: The Music of Johnny Cash Globe
Theatre once again added a seventh show this
season at Casino Regina. A Closer Walk with
Patsy Cline was chosen and also served as the
closing performance for the 50 th Anniversary
Gala. Total earned revenue was right on par
with 2014–2015.
Overall, expenses increased by 3.4% to a
total of $5,103,082. Artistic and Production
Expenses were equivalent to 2014–2015
levels. Administration expenses increased
over 8% due to the one-time cost of the
commemorative 50 th Anniversary book.
Globe Theatre is preparing for a $27 million
renovation and refurbishment of the Prince
Edward Building. In support of the capital
campaign for the renovations, the theatre contracted DCG Philanthropic Services and hired
a Capital Campaign Associate. The theatre
is also working with P3 Architecture and
Ledcor on the preliminary designs and costing
for the project. Over the course of the 2015–
2016 season the theatre made significant
18
headway on securing government support
for the project and securing significant commitments from individuals and businesses
for the campaign pending confirmation of
government funding. These are the reasons
behind the large increase in Fundraising expenses over the 2014–2015 season.
Ownership of the Prince Edward Building
continues to have no impact on the theatre’s
operating budget as revenues generated from
the facility are sufficient to cover the building
expenses including all debt servicing. Management remains in open dialogue with the
tenants regarding possible timelines of the
renovation and refurbishment of the Prince
Edward Building.
Congratulations to management and thank
you to the patrons and supporters of Globe
Theatre Society for another excellent season.
Rick Tiefenbach
Chair of Audit & Finance Committee
Next Page: Melanie Janzen and Elana Post in The Ladies Foursome | Photo by Michael Bell Photography
THE LADIES FOURSOME
May 25–June 12, 2016
By Norm Foster
Directed by Max Reimer
19
GLOBE THEATRE SOCIETY
FINANCIAL STATEMENTS
June 30, 2016
20
MANAGEMENT’S RESPONSIBILITY
To the Members of Globe Theatre Society:
Management is responsible for the preparation and presentation of the accompanying
financial statements, including responsibility
for significant accounting judgments and estimates in accordance with Canadian accounting standards for not-for-profit organizations
and ensuring that all information in the annual
report is consistent with the statements. This
responsibility includes selecting appropriate accounting principles and methods, and
making decisions affecting the measurement
of transactions in which objective judgment
is required.
In discharging its responsibilities for the
21
integrity and fairness of the financial statements, management designs and maintains
the necessary accounting systems and related
internal controls to provide reasonable assurance that transactions are authorized, assets
are safeguarded and financial records are properly maintained to provide reliable information
for the preparation of financial statements.
The Board of Directors and Audit Committee are composed entirely of Directors who
are neither management nor employees of
the Society. The Board is responsible for overseeing management in the performance of
its financial reporting responsibilities, and for
approving the financial information included
in the annual report. The Audit Committee
has responsibility of meeting with management and the external auditors to discuss the
internal controls over the financial reporting
process, auditing matters and financial reporting issues. The Committee is also responsible
for recommending the appointment of the
Society’s external auditors.
MNP LLP is appointed by the members
to audit the financial statements and report
directly to them; their report follows. The
external auditors have full and free access
to, and meet periodically and separately with,
both the Committee and management to
discuss their audit findings.
August 23, 2016
INDEPENDENT AUDITORS' REPORT
To the Members of Globe Theatre Society:
We have audited the accompanying financial statements of Globe Theatre Society,
which comprise the statement of financial position as at June 30, 2016 and the statements
of operations, changes in fund balances and
cash flows for the year then ended, and a
summary of significant accounting policies
and other explanatory information.
Management’s Responsibility for the Financial Statements
Management is responsible for the preparation and fair presentation of these financial
statements in accordance with Canadian
accounting standards for not-for-profit organizations, and for such internal control as
management determines is necessary to
enable the preparation of financial statements
that are free from material misstatement,
whether due to fraud or error.
Auditors’ Responsibility
Our responsibility is to express an opinion
on these financial statements based on our
audit. We conducted our audit in accordance
22
with Canadian generally accepted auditing
standards. Those standards require that we
comply with ethical requirements and plan
and perform the audit to obtain reasonable
assurance about whether the financial statements are free from material misstatement.
An audit involves performing procedures
to obtain audit evidence about the amounts
and disclosures in the financial statements.
The procedures selected depend on the auditors’ judgment, including the assessment
of the risks of material misstatement of the
financial statements, whether due to fraud or
error. In making those risk assessments, the
auditor considers internal control relevant to
the entity’s preparation and fair presentation
of the financial statements in order to design
audit procedures that are appropriate in the
circumstances, but not for the purpose of
expressing an opinion on the effectiveness
of the entity’s internal control. An audit also
includes evaluating the appropriateness of
accounting policies used and the reasonableness of accounting estimates made by
management, as well as evaluating the overall
presentation of the financial statements.
We believe that the audit evidence we have
obtained in our audit is sufficient and appropriate to provide a basis for our audit opinion.
Opinion
In our opinion, the financial statements
present fairly, in all material respects, the
financial position of Globe Theatre Society
as at June 30, 2016 and the results of its operations, changes in fund balances, and cash
flows, for the year then ended in accordance
with Canadian accounting standards for notfor-profit organizations.
Regina, Saskatchewan
August 23, 2016
Chartered Professional Accountants
Accounting > Consulting > Tax
Suite 900, Royal Bank Building,
2010 - 11th Avenue, Regina SK, S4P 0J3
1.877.500.0780 P: 306.790.7900
F: 306.790.7990 MNP.ca
GLOBE THEATRE SOCIETY
STATEMENT OF FINANCIAL POSITION
As at June 30, 2016
Assets
Current
Cash
Accounts Receivable
Marketable securities (note 3)
Prepaid expenses
Inventory
Capital assets (Note 4)
Endowment Investments
TheatreBuilding
Operations
Capital
Endowment
Operations
Fund
Fund
Fund
Fund
798,531 –
57,964 –
251,404 –
223,126 –
3,163 –
1,334,188 –
–
–
–
–
–
–
2016 2015
7,376805,907
11,53969,503
– 251,404
8,956232,082
– 3,163
27,8711,362,059
871,023
37,808
407,539
206,114
2,059
1,524,543
– 2,216,298
– – 2,216,298 2,312,403
– – 11,771 – 11,771 11,831 1,334,188 2,216,298
11,771
27,8713,590,128 3,848,777
Liabilities
Current
Accounts payable and accruals (Note 5) 184,899 – – 21,807206,706 242,406 Deferred revenue – operating (Note 6) 1,398,647 – – – 1,398,647 1,314,398
Building mortgage (Note 7)
– 900,000
– – 900,000 900,000
1,583,546 900,000
–
21,8072,505,353 2,456,804
Deferred revenue – capital (Note 8)
– 538,774
– – 538,774 680,760
1,583,546 1,438,774
–
21,8073,044,127 3,137,564
Fund Balances
Working Capital Reserve –
Internally Restricted
50,000 – – – 50,000 50,000
Endowment Fund –
Externally Restricted
– – 11,771 – 11,771 11,831
Invested in Capital Assets
– 777,524
– – 777,524 731,643 Unrestricted
(299,358)– – – (299,358)(81,366)
Building Fund
– – – 6,0646,064 (895)
(249,358) 777,524
11,771 6,064546,001 711,213
1,334,188 2,216,298
11,771
27,8713,590,128 3,848,777
The accompanying notes are an integral part of these financial statements
23
GLOBE THEATRE SOCIETY
STATEMENT OF OPERATIONS
For the year ended June 30, 2016
TheatreBuilding
Operations
Capital
Endowment
Operations
Fund
Fund
Fund
Fund
2016
Earned Revenue
Conservatory (Schedule 1)
30,000 – – – 30,000
Subscriptions
882,145 – – – 882,145
Single tickets
1,602,545 – – – 1,602,545
Theatre school
171,500 – – – 171,500
Rental income
– – – 210,142210,142
Tour revenue fees
212,575 – – – 212,575
Other income402,447 119,788 – – 522,235
Investment Income
Investment income
3,611,333
7,591 – (60)– 7,531 12,194
80,325
16,830
257,616
10,000
286,905 – – – 286,905 364,771
Public Sector Revenue
Canada Council Operating Grant302,000
Sask Arts Board Operating Grant279,450
Municipal Operating Grant125,000
Other Grants163,856
–
–
–
–
–
–
–
–
–
–
–
–
78,855
1,550
196,500
10,000
302,000
279,450
122,500
356,290
870,306 141,986 – – 1,012,292 1,060,240
–
–
–
141,986
–
–
–
–
–
–
–
–
302,000
279,450
125,000
305,842
210,1424,937,870 5,048,538
Artistic Expenses
Artistic and Production Expenses2,773,301 – – – 2,773,301 Conservatory (Schedule 1)42,174 – – – 42,174 Theatre School209,426 – – – 209,426 2,771,237
41,070
197,448
3,009,755
Total Revenue
Facilities Expenses
Marketing Expenses
Fundraising Expenses
Administration Expenses
Capital – Amortization
Total Expenses
(Deficiency) excess of revenue
over expenses
4,466,014 261,774 (60)
3,024,901 – – – 3,024,901 539,366
428,916
70,435
463,642
–
– –
– –
172,481 –
37,740 –
215,956 –
149,645689,011 – 428,916 – 242,916 – 501,382 – 215,956 4,527,260 426,177 – (61,246)
(164,403)
The accompanying notes are an integral part of these financial statements
24
30,000
967,892
1,590,166
160,052
189,375
101,855
571,993
210,1423,631,142 3,301,212 119,788 – Private Sector Revenue
Individual Donations78,855
Corporate Donations1,550
Sponsorship196,500
Foundation Grants and Donations10,000
2015
(60)
149,6455,103,082 60,497
(165,212)
729,285
449,985
69,696
463,679
213,147
4,935,547
112,991
GLOBE THEATRE SOCIETY
STATEMENT OF CHANGE IN FUND BALANCES
For the year ended June 30, 2016
TheatreBuilding
Operations
Capital
Endowment
Operations
Fund
Fund
Fund
Fund
2016 2015
Fund balance, beginning of year(31,366) 731,643 11,831 (895)711,213 598,222
(Deficiency) excess of revenue
over expense
(61,246)(164,403)
(60) 60,497 (165,212) 112,991
Interfund transfers (Note 9) (156,746)210,284 – (53,538)
– –
Fund balance, end of year
(249,358)777,524 11,771 6,064 546,001 The accompanying notes are an integral part of these financial statements
25
711,213
GLOBE THEATRE SOCIETY
STATEMENT OF CASH FLOWS
For the year ended June 30, 2016
TheatreBuilding
Operations
Capital
Endowment
Operations
Fund
Fund
Fund
Fund
2016 2015
Cash provided by (used for) the
following activities
Operating
(Deficiency) excess of revenue
over expenses
(61,246)(164,403)
(60) 60,497 (165,212)112,991
Amortization
– 215,956 – – 215,956 213,147
Loss (gain) on sale of capital assets
– 17,263 – – 17,263 (600)
(61,246)68,816 (60)60,497 68,007 325,538
Changes in working capital accounts
Accounts receivable
(20,156)– –
Inventory
(1,104)– –
Prepaid expenses
(27,557)– –
Accounts payable and accruals
(34,670)– –
Deferred revenue
84,249(141,987)
–
Total Operating
Financing activities
Inter–fund transfers
(60,484)(73,171)
(11,539)(31,695)(5,700)
– (1,104)4,533
1,589 (25,968)(31,933)
(1,030)(35,700)138,028
– (57,738)13,708
(60) 49,517 (84,198)444,174
(156,746)210,284 – (53,538)
Investing
Purchase of marketable securities
(250,000)– –
Proceeds on disposal of
marketable securities
404,500 – –
Change in marketable securities –
accrued interest
1,635 – –
Change in endowment investments
– – 60
Purchase of capital assets
– (137,113)
–
Proceeds on disposal of capital assets
– – –
Total Investing
156,135 (137,113)
– –
– (250,000)(604,500)
– 404,500 700,000
–
–
–
–
1,635 1,601
60 (748)
(137,113)(242,844)
– 600
60 – 19,082 (145,891)
(Decrease) increase in cash resources (61,095)– – (4,021)(65,116)298,283
Cash resources, beginning of year
859,626 – – 11,397 871,023 572,740
Cash resources, end of year
Supplementary cash flow information
Interest received
26
798,531 – – 7,376 805,907 871,023
9,192
–
–
–9,19213,047
GLOBE THEATRE SOCIETY
NOTES TO THE FINANCIAL STATEMENTS
For the year ended June 30, 2016
1. INCORPORATION AND NATURE OF THE ORGANIZATION
The mission of the Globe Theatre Society (“Organization”) is to entertain, educate and engage Saskatchewan people in the art of professional
theatre by offering high-quality performances to audiences, professional theatre training for artists, and classes for children and adults.
Globe Theatre is incorporated under the Non-profit Corporations Act of Saskatchewan and is a registered charity under the Income Tax Act
and is exempt from income tax under Section 149 (1) (1) of the Income Tax Act.
2. SIGNIFICANT ACCOUNTING POLICIES
The financial statements have been prepared in accordance with Canadian accounting standards for not-for-profit organizations as issued
by the Accounting Standards Board in Canada using the following significant accounting policies:
FUND ACCOUNTING
Revenues and expenses relating to Theatre program delivery and administrative activities are recorded in the Theatre Operations Fund.
Included in the Theatre Operations Fund, the Board has internally restricted funds for the Working Capital Reserve for unbudgeted expenses
and special projects.
The Capital Fund records the assets, liabilities, revenues and expenditures related to funding and acquisition of Globe Theatre’s capital
assets and facilities which are used to provide performance venues and equipment, and administration facilities. A Capital Improvement
Fee is levied on every Main Stage ticket sold.
The Building Operations Fund includes all assets, liabilities, revenues and expenditures related to building operations.
Endowment contributions are reported in the Endowment Fund and recognized as direct increases in net assets. Investment income earned
on the Endowment Fund will be used to fund continued Globe Theatre operations.
REVENUE RECOGNITION
Revenue received for a particular use is deferred and recognized as revenue in the appropriate fund in the year in which the related expenditures are incurred. Receipts that are not restricted are recognized as revenue in the appropriate fund when received (earned revenue,
investment income, public sector revenue, and private sector revenue).
INVENTORY
Inventory is valued at the lower of cost and net realizable value.
CAPITAL ASSETS
Purchased capital assets are recorded at cost. Contributed capital assets are recorded at fair value at the date of contribution. Normal
maintenance and repair expenditures are expensed in the Operating Fund as incurred.
Amortization is provided using the straight-line method at rates intended to amortize the cost of assets over their estimated useful lives
Building
Theatre equipment
Office and bar equipment
Building improvements
Method Rate
straight-line straight line
straight-line
straight-line
40 years
5 years
5 years
20 years
DEFERRED REVENUE
Deferred revenue in the Theatre Operations Fund includes subscription sales, ticket fees, theatre school revenue and grants received for the
subsequent season. Deferred revenue in the Capital Fund includes donations and revenue received for capital purchases. Deferred revenue
is recognized into revenue at the same rate as the related asset is amortized.
27
GLOBE THEATRE SOCIETY
NOTES TO THE FINANCIAL STATEMENTS
For the year ended June 30, 2016
CONTRIBUTED SERVICES
Volunteers contribute approximately 2,000 hours per year to assist the Globe Theatre Society in carrying out its activities. Because of the
difficulty of determining their fair value, contributed services are not recognized in the financial statements.
FINANCIAL INSTRUMENTS
Globe Theatre recognizes its financial instruments when Globe Theatre becomes party to the contractual provisions of the financial instrument. All financial instruments are initially recorded at their fair value. At initial recognition, Globe Theatre may irrevocably elect to subsequently measure any financial instrument at fair value. Cash, marketable securities and endowment investments have been designated to
be subsequently measured at their fair value. Fair value is determined by reference to quoted market prices.
The Globe Theatre subsequently measures all other financial assets and liabilities at amortized cost.
Transaction costs and financing fees directly attributable to the origination, acquisition, issuance or assumption of financial instruments
subsequently measured at fair value are immediately recognized in the excess of revenues over expenses for the current period. Conversely,
transaction costs and financing fees are added to the carrying amount for those financial instruments subsequently measured at amortized cost.
FINANCIAL ASSET IMPAIRMENT
Globe Theatre assesses impairment of all of its financial assets measured at cost or amortized cost. When there is an indication of impairment, Globe Theatre determines whether it has resulted in a significant adverse change in the expected timing or amount of future cash
flows during the year. If so, Globe Theatre reduces the carrying amount of any impaired financial assets to the highest of: the present value
of cash flows expected to be generated by holding the assets; the amount that could be realized by selling the assets; and the amount
expected to be realized by exercising any rights to collateral held against those assets. Any impairment, which is not considered temporary,
is included in current year excess of revenues over expenses.
Globe Theatre reverses impairment losses on financial assets when there is a decrease in impairment and the decrease can be objectively
related to an event occurring after the impairment loss was recognized. The amount of the reversal is recognized in the excess of revenues
over expenses in the year the reversal occurs.
MEASUREMENT UNCERTAINTY
The preparation of financial statements in conformity with Canadian accounting standards for not-for-profit organizations requires management to make estimates and assumptions that affect the reported amounts of assets and liabilities and disclosure of contingent assets and
liabilities at the date of the financial statements, and the reported amounts of revenues and expenses during the reporting period. Accounts
receivable are stated after evaluation as to their collectability and an appropriate allowance for doubtful accounts is provided where necessary.
Amortization is based on the estimated useful lives of capital assets. Deferred revenue related to the purchase of capital items is recognized
as revenue on the same basis as the related assets are being amortized. These estimates and assumptions are reviewed periodically and,
as adjustments become necessary they are reported in earnings in the periods in which they become known.
3. MARKETABLE SECURITIES
Marketable securities consist of redeemable Guaranteed Investment Certificates stated at market value.
20162015
M arketable securities - bears interest between 0.70% - 1.20% (2015: 0.65% - 1.4%)
maturity ranging from December 2018 – April 2019 (2015 : December 2015 – April 2016)
250,000404,500
Accrued interest on marketable securities
1,4043,039
251,404407,539
28
GLOBE THEATRE SOCIETY
NOTES TO THE FINANCIAL STATEMENTS
For the year ended June 30, 2016
4. CAPITAL ASSETS
20162015
Accumulated
Net Book
Net Book
Cost
Amortization
ValueValue
Land
672,000
-672,000672,000
Building
3,477,0202,059,330 1,417,6901,490,647
Office and bar equipment
289,988237,399 52,58963,674
Theatre equipment
310,752236,732 74,01986,082
4,749,7602,533,4612,216,2982,312,403
Included in Building cost is $156,853 (2015: $107,840) for a feasibility study and architectural consulting related to future renovations which
has not been amortized. Amortization of this amount will begin in fiscal 2019 when renovations are expected to be complete.
Building includes cost of $2,920,335 (2015: $2,889,375), accumulated amortization of $2,011,351 (2015: $1,874,413) and net book value of
$908,985 (2015: $1,014,962) related to building improvements.
5. ACCOUNTS PAYABLE AND ACCRUALS
Accounts payable include GST payable of $19,007 (2015: GST payable - $27,890).
6. DEFERRED REVENUE – THEATRE OPERATIONS FUND
Deferred revenue consists of the following:
20162015
Subscriptions received for the subsequent season
815,184816,739
Sponsorship
60,00095,000
Single tickets
42,99172,648
Ticket service fee
79,11484,880
Grants
249,619130,500
Theatre School
61,93357,551
Conservatory fees
30,000
–
Other
59,80657,080
1,398,6471,314,398
7. BUILDING MORTGAGE
During the year, the Globe Theatre extended the term of their building mortgage whereby interest only payments are required until February
2017, at which point the mortgage will be renegotiated and repayments determined. The mortgage is due on demand and has been advanced
against the building (1801 Scarth Street Regina SK) which is held as security.
The estimated interest payments for the next year are $39,330 at an interest rate of prime +1.5% (2015: prime +1.5%).
8. DEFERRED REVENUE - CAPITAL FUND
In 1998, Globe Theatre launched a capital campaign to raise $1,000,000 by the year 2001 for major renovations to the facility. This project
was completed in 1999 with pledges being received until 2001. In 2005, Globe Theatre launched another capital renovation project, budgeted
at $1,635,700, to renovate the second, third and fourth floors of the facility, and to create a space for the addition of a theatre school. Globe
Theatre received commitments in the amount of $1,554,624 from municipal, provincial and federal levels of government. Globe Theatre
also received $80,500 of contributions from foundations and corporations within the community. Contributions to capital campaigns and
investment income related to funds raised are treated as restricted contributions available for use only in the Capital Fund. These amounts
are included in deferred revenue and are being recognized as revenue on the same basis as the related assets are being amortized.
2016 2015
Beginning of year
680,760 797,750
Additions
– 25,000
Recognized during the year
(141,986)(141,990)
End of year
29
538,774)680,760
GLOBE THEATRE SOCIETY
NOTES TO THE FINANCIAL STATEMENTS
For the year ended June 30, 2016
9. INTER-FUND TRANSACTIONS
During the year the Board approved the following transfers:
Theatre
Operations Fund Endowment Unrestricted Capital Fund Fund Building
Operations
Fund 2016 2015
Opening balance
(Deficiency) excess of
revenue over expenses
Inter-fund transfers
(61,246)(164,403)
(60) 60,497 (165,212)112,991
(156,746)210,284 – (53,538)
– –
(249,358)777,524 11,771 6,064 546,001 711,213
(31,366)731,643 11,831 (895)711,213 598,222
In fiscal 2014, there was a $1,084,011 purchase of 1801 Scarth Street which was financed through a building mortgage of $900,000 and
an $184,011 down payment from the Theatre Operations Fund. It is anticipated that the Capital Fund will reimburse the Theatre Operations
Fund through a capital campaign in the next few years.
10. COMMITMENTS
Future minimum lease payments under operating leases for equipment for the next five years are as follows:
201715,916
201810,445
20199,629
20204,292
Thereafter
1,894
11. CONTRACTUAL OBLIGATIONS
As is common among theatres, Globe Theatre enters into agreements with various individuals and organizations to secure production rights
for Globe Theatre’s use in future periods. These rights and other production costs are recorded when the production occurs.
Globe Theatre has a bond in the amount of $58,438 (2015 – $69,025) supporting a security bond in favour of the Canadian Actors’ Equity
Association as the beneficiary. This is a requirement for theatres for the purpose of ensuring Association members will be properly compensated in the event of financial difficulties.
12. FINANCIAL INSTRUMENTS
Globe Theatre, as part of its operations, carries a number of financial instruments. It is management’s opinion that the Organization is not exposed
to significant interest, currency, credit, liquidity or other price risks arising from these financial instruments except as otherwise disclosed.
CREDIT CONCENTRATION
Financial instruments that potentially subject Globe Theatre to concentrations of credit risk consist of accounts receivable. The maximum
credit risk exposure is $69,503 (2015: $37,808). However, the Globe Theatre believes that there is minimal risk associated with the collection
of these amounts because of established collection procedures.
INTEREST RATE RISK
Interest rate risk is the risk that the value of a financial instrument might be adversely affected by a change in the interest rates. Changes
in market interest rates may have an effect on the cash flows associated with some financial assets and liabilities, known as cash flow risk,
and on the fair value of other financial assets or liabilities, known as price risk.
Globe Theatre is exposed to interest rate price risk on its marketable securities as they are at fixed rates. Globe Theatre’s marketable
securities with a fixed rate of 0.70% - 1.20% (2015: 0.65% - 1.4%), has maturity dates ranging from December 2018 - April 2019 (2015:
December 2015 - April 2016).
30
GLOBE THEATRE SOCIETY
NOTES TO THE FINANCIAL STATEMENTS
For the year ended June 30, 2016
Globe Theatre is also exposed to interest rate price risk on the building mortgage. The debt has a fixed rate of interest of prime plus
1.5%, and matures February 2017.
13. COMPARATIVE FIGURES
Certain comparative figures have been reclassified to conform to current year presentation.
GLOBE THEATRE SOCIETY
SCHEDULE 1 – SCHEDULE OF CONSERVATORY REVENUES AND EXPENSES
For the year ended June 30, 2016
2016 Total
2015 Total
Revenue
Conservatory Fees
30,000 30,000
Expenditures
Auditions
Materials
Miscellaneous
Registration
Teachers
Travel and accommodation
300
365
312
1,650
28,700
10,847
–
–
1,524
1,150
28,850
9,546
Total expenditures
42,174 41,070
Deficiency of revenue over expenditures for the year
Conservatory programs are supported by funds from Globe Theatre’s Operating Fund.
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(12,174)(11,070)
2015 | 2016
ACKNOWLEDGEMENTS
ROYAL PATRON
His Royal Highness
The Earlof Wessex KG,
CGVO, SOM
PATRONS OF THE ART
Dr. Morris &
Dr. Jacqui Shumiatcher
HONORARY PATRONS
Her Honour, the Honourable
Vaughn Solomon
Schofield, Lieutenant
Governor of
Saskatchewan
The Honourable Brad Wall,
Premier of Saskatchewan
The Honourable Robert
Richards, Chief Justice of
Saskatchewan
His Worship Mayor
Michael Fougere
HONORARY LIFE
MEMBERS
Kenneth Kramer
Susan Ferley
GRANTING AGENCIES
Canada Council for the Arts
Saskatchewan Arts Board
City of Regina
Saskatchewan Arts Board
Creative Industries
Transition Fund
SEASON PRESENTING
SPONSOR
The Mosaic Company
THEATRE DEVELOPMENT
SPONSOR
Harvard Developments
and its downtown
Building Partners
IT SPONSOR
ISM Canada
EMERGING ARTIST
PROGRAMS SPONSOR
RBC Foundation
COMMUNICATIONS
SPONSOR
SaskTel
MAIN STAGE
PRODUCTION
SPONSORS
Great-West Life, London
Life and Canada Life
Phoenix Group
PotashCorp
2015|2016 SEASON
SPONSORS
Bennett Dunlop Ford –
Vehicle Sponsor
Dumur Industries –
Welding Sponsor
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Failsafe House Lifting
Systems International Inc.
Golf Town #555
Hillberg & Berk –
Jewelry Sponsor
Impact Printers –
Program Sponsor
Ledcor – Executive Sponsor
P3Architecture –
Executive Sponsor
REMAX –
Opening Night Sponsor
Regina Pats –
Executive Sponsor
Sleek Advertising Ltd. –
The Snow Queen
Snowflake Sponsor
Sun Life Financial –
Executive Sponsor
TD Bank Group –
Executive Sponsor
Wascana Flower Shoppe –
Flower Sponsor
SEASON PERFORMANCE
SPONSORS
CITE360studio
CUETS
MNP LLP
RBC Dominion Securities
Russell Investments
PRODUCT SPONSORS
Big Rock – Product Sponsor
E & J Gallo Winery –
Product Sponsor
Koko Patisserie –
Product Sponsor
Rushton’s Catering –
Catering Sponsor
Sprout Catering –
Reception & Matinee
Tea Sponsor
SEASON MEDIA
SPONSORS
Rawlco Radio - NewsTalk
Radio 980 CJME, Z99,
94.5 Jack FM
Canadian Digital Network
THE SHUMIATCHER
SANDBOX SERIES
Series Donor - Dr. Morris &
Dr. Jacqui Shumiatcher
CORPORATE DONORS
July 1, 2015 to June 30, 2016
$1,000–$4,000
Alliance Energy Ltd.
$500–$999
Gerrand Rath Johnson LLP
INDIVIDUAL DONATIONS
July 1, 2015 to June 30, 2016
MAJOR GIFTS
$15,000–$19,999
Barb & Bob Ellard
BENEFACTORS ($1,000–
$4,999)
Deanna Bergbusch
Sterling & Janet Bjorndahl
George & Lina Garbe
Robert Hawkins &
Marie-France Menc
Paul & Carol Hill
Donald & Claire Kramer
Foundation
Ken & Sue Linnen
Harold & Jean MacKay
Carolyn McBean &
John Haas
Rich & Bernadette McIntyre
Janet McLellan Folk &
Douglas Folk
J.D. & M.J Mollard
Vivian Norbraten
Anna Martha Ottenbreit
Anne Parker
Graham Parsons
Robert & Muriel Peterson
Ann Phillips
Eric & Erna Pullam
Alan Rowe
Delaney Seiferling &
Gaetan Bourassa
Jacqui Shumiatcher
Jim & Jan Ursu
SUSTAINERS ($500–$999)
Dwight Blomander &
Debra Hengen
Bland & Dorothy Brown
Marc Buchholz
David & Elizabeth Calam
George & Sheila Carson
Andrew Donovan
Al Fitzpatrick
Sharon & Reg Gimas
Lyn Goldman
Teresa Hensrud
Bryan & Joanne Hillis
Barbara Keirnes-Young
Malcolm & Ellen Lindeburgh
Larry & Cynthia Mack
Brenda MacLaughlan &
Ruth Blaser
Doug & Barbara Mader
Lois Mang
Charlotte Miller
Jason & Tracy Moser &
Family
John & Linda Nilson
Brian & Ellen Pegg
Heather Salloum
Susan & Bryce Schurr
Ken & Bette Sexton
Ruth Smillie
Lynn & Jim Tomkins
Foundation
CONTRIBUTORS
($250–$499)
Shirley Andrist
Dan & Judi Ash
Jan Ayer
Norma Barber
Elayne Bennett Fox
Rene & Bernice Carpentier
Raysa Cheberiak
Terry & Dave Creurer
Nans E.J. Davies
Delta Kappa Gamma
Society, Alpha Chapter
Glen Downton
Aaron & Lenore Fox
Patty Gill
Stewart Graham &
Gilda Treleaven-Graham
Marlene Hall
Nancy Hassen
Doug & Cindy Johnson
Angus & DeVona Juckes
Gordon Kerfoot &
Brenda Ziolkowski
Michelle Krueger &
Brian Baker
S Humphries & G Lawrence
Elizabeth Magee
Jean & Ian McDonald
Allan McDougall
Don & Jill McDougall
Terence & Sheila McKague
David & Anne Millar
Graeme Mitchell
Ken & Marybelle Powers
Craig Reynolds
Tim & Cornelia Seiferling
Tina & Darren Svedahl
Elsie Toupich
Flora & Tom Waller
Ian & Nora Yeates
SUPPORTERS ($100–$249)
Larry & Donna Adams
David & Greta Allen
Laurel Ayerst
Mary-Anne &
Roland Bachelu
Marjorie Badham
Erika Jackle &
Charlie Baldock
Stan & Donna Barber
Lou Beltramini
Bill & Marie Bill
Debra & Vincent Boczulak
Glen & Claire Bolt
Richard & Carol Bolt
Lois J. Borden
Leona Bouey
Elizabeth Brandsgard
James Brewer
Rose Bruce
V. Bugera & B. Ochitwa
Kathryn Buitenhuis
Brian & Dianne Burrows
Joe & Bess Butel
Hanne Caleval
Next Page: (Top) Judy Wensel and Pamela Haig-Bartley in Sum Theatre’s Production of Thicker Than Water | Photo by JL Photo
(Bottom) Cast of Paper | Photo by Chris Graham Photo
Elaine Clark
Gordon Cowie & Linda Selin
Nancy Croll
June Crowe
Valerie Crowther
Pat Dean
Janice Decelles
Gaylene Diekrager
Dennis & Gayle Dodds
Dwaine & Barbara Dornan
Selina Dorrell
Hans & Julia Eckart
John Edgar
Dave & Carla Edwards
Robert Ellis
Duncan & Elyse Fisher
Frank & Sandra Flegel
Bernie & Chris Flynn
Beryl Forgay
Larry & Gail Fry
Marguerite Gallaway
Evelyn Gay
Elaine Giroux-Sylvestre &
Roger Sylvestre
Perry & Sandra Gray
Joanne Green &
Wayne Williamson
Marie Jean Grohn
Marlene Y. Hall
Vilma & Laurie Hammond
Tom Hannan
Jean Henders
Lisa Heron
Patricia Hesterman
Carol Mae Hill
Frederick & Beverley Hill
Ian & Elaine Hill
Marilyn & Robert Hill
Sandra Lynne Hill
Gayl Hipperson
Nancy Hipperson
Neal & Margaret Holt
Linsell & Janice Hurd
Leone & Gordon Hutch
Dale Jackman
Michael & Helen Jackson
Don Jewitt
Bob & Nadine Johnson
Phyllis & Ken Jones
Angus & DeVona Juckes
Allan & Anne Karasin
William & Shelagh Kelly
Dawn & Monte Kesslering
Marjorie Kirkby
John Konoff
Clarence & Donelda Krause
Susan Kurdziel
Pam Lysak
Alex MacDonald
Darlene MacKenzie
Marti Maraden
Malita Marshall
John & Hilary McKay
Shirley McLeod
Kyle & Crystal Mitchell
Doreen & Robert Mitchell
Sum Theatre’s Production of
THICKER THAN WATER
June 2–11, 2016
By Heather Morrison
SHUMIATCHER SANDBOX SERIES
PAPER
Apr 28–30, 2016
Conceived and Directed by Judy Wensel
Co-Created by Judy Wensel and Globe Youth Company
SHUMIATCHER SANDBOX SERIES
33
Gord & Diane Neale
Rosemary Oddie
Linda Olson
E. Kathleen O’Reilly
Ken Orr
Alec & Linda Paul
Barbara Pawson
Lois Pearce
Ray & Delores Pentland
David & Marilyn Petrie
Gloria & Garth Pickard
Basil Pogue
David & Linda Pratt
Karen Prior
Russell & Shirley Prior
David & Leanna Prost
Barb Quinney
Nancy Redfern
Ernie & Rikki Richardson
Celia & Owen Ricker
Joyce Rippert
Greg Rivett
Danielle Roy &
Donovan Stengler
Wayne & Maureen Runyon
Marilynn Sandercock
Raymond Savage
Savaria Public Relations
Suzanne & Doug Schneider
34
Joanne Seitz &
Denise Hersikorn
Alexandra Sentes
Fred & Judy Short
Joanne Silzer
Joanne Skidmore
Allan & Elizabeth Smith
Ken & Terry Smith
Laura Soparlo
Caroline & Lorne Sparling
Dan & Sharon Spott
Robert & Patricia Stevenson
Sandra Stretten
Scott & Kerry Teece
Ian & Brenda Thomson
Laura Thomson
Ed & Marg Tiefenbach
Karl Tiefenbach
Ken Tonogai
Larry & Dawn Trask
William Treat &
Jomarie Alano
Joan & Bill Turner
Jeanne Tweten
Judy Verbeke
Don & Shirley Walker
Cathy Walkington
Brenda Wallace
Greg & Penny Wensel
Floralyn & Warren Wessel
Gordon Wiles
Larry Wiser
Elaine Wood
Amber Yaskiw
Alvin Yau
Elaine Yeomans
FRIENDS ($35–$99)
Sylvia Aitken
Jean Alexander
Claire Antoshewski
Norma Barber
Ellen Basler & John Bissett
Nancy Bateson
Leona Burkhart
Florence Cattell
Duane & Lynn Chipley
Jerry Coppens
Theresa Diekrager
Michele Ellingsen Ailsby
Sheila Fahlman
Shelley Farnden
Don & Joanne Felstrom
Duncan Fisher
Ann & Joe Flegel
William & Janet Fleming
Janet Galger
Carol Gardner
Top: HRH The Prince Edward, Earl of Wessex | Photo by Chris Graham Photo
Next Page: Misty Wensel in Woolgathering | Photo by Chris Graham Photo
Kathy Joann &
Andrew Gilbertson
Myron & Helen Herasymuik
Colin & Judith Hindle
Theresa Hochban
Lorrie Howe
Allan Johnston
Garry Kerr
Lois Kirk
Linda & John Kort
Kim Kovacs
Carol Kruszelnicki
Don Lee
Carol Lewis
Patsy Lim
MacKenzie Gallery
Volunteers
Joanna Majkut
Margaret Malley
Malita Marshall
Lisa Markesteyn
Gwen Marte
Ross & Darlene McClelland
Marcella McDonald
Valerie Neison
Andre Nogue &
Terry Gabriel
Ann Norgan
Janice Norleen
Nita O’Shaughnessy
Liz Paul
Keith & Wendy Prior
Sandra Proseilo
Claire and Donald Putz
Linda Reiss
Evelyn J. Rogers
Lorraine & Bob Scott
Mildred Stepan
Linda Stumpf
Allan & Millie Taylor
Lerissa Thaver
Rick Tiefenbach
Audrey Toews
Rosemary Torjusen
Anita Warriner
Louise Weir
Liz Wiebe
Allen & Rhonda Wills
IN MEMORIAM
Sonia Pacholek –
In Memory of
Sandra Sebastian
Krajewski Family –
In Memory of
Brent Krajewski
WOOLGATHERING
Oct 20–24, 2015
A FadaDance and Tamara Unroe collaboration
SHUMIATCHER SANDBOX SERIES
35
1801 Scarth Street Regina, SK S4P 2G9
306.525.6400 or toll free 1.866.954.5623
www.globetheatrelive.com
36