QUEENSLAND PERFORMING ARTS CENTRE ANNUAL REPORT … · 2013-05-08 · 2 QUEENSLAND PERFORMING ARTS...

Q U E E N S L A N D P E R F O R M I N G A R T S C E N T R E

Queensland Performing Arts CentreCorner Grey and Melbourne StreetsSouth BankQueensland 4101Australia

PO Box 3567South BankQueensland 4101Australia

Telephone: +61 (7) 3840 7444

Facsimile: +61 (7) 3844 1839

www.qpac.com.au

[email protected]

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This report can be accessed online at www.qpac.com.au

Enquiries about this report can be addressed to:

Executive Offi cerQPACPO Box 3567South BankQueensland 4101 Australia

Email: [email protected]

© Queensland Performing Arts Trust 2012

ISSN: 0156-9147

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Contents

About the Queensland Performing Arts Centre .................................................................................................. 3

Our Purpose ...................................................................................................................................................... 3

Our Vision .......................................................................................................................................................... 5

Our Strategic Focus ........................................................................................................................................... 5

Our Values ......................................................................................................................................................... 5

Chair’s overview ................................................................................................................................................ 6

Chief Executive’s overview ................................................................................................................................ 7

2011-12 Highlights and Achievements .........................................................................................................8

Live Performance ...............................................................................................................................................8

QPAC Museum ...................................................................................................................................................8

Public Participation ...........................................................................................................................................8

Commercial Investments ................................................................................................................................... 9

Festivals ............................................................................................................................................................ 9

Home Companies .............................................................................................................................................. 9

Entertainment .................................................................................................................................................. 10

Public Participation ......................................................................................................................................... 13

Strategic Relationships ................................................................................................................................... 16

Commercial Opportunities ............................................................................................................................... 18

Corporate Governance ..................................................................................................................................... 20

Financial Statements ...................................................................................................................................... 23

Income Statement ........................................................................................................................................... 24

Balance Sheet ................................................................................................................................................. 25

Statement of Changes in Equity ......................................................................................................................26

Cash Flow Statement ....................................................................................................................................... 27

Notes ...............................................................................................................................................................28

Certifi cate of the Queensland Performing Arts Trust ....................................................................................... 54

Future Direction and Challenges ................................................................................................................. 57

Appendices

Appendix One – Year in review performance listing......................................................................................... 58

Appendix Two – QPAC Contribution to Government objectives .......................................................................64

Appendix Three – Organisational Structure ..................................................................................................... 65

Appendix Four – Queensland Performing Arts Trust Board of Trustees ........................................................... 67

Appendix Five – Queensland Performing Arts Trust sub-committees ...............................................................71

Glossary .......................................................................................................................................................... 72

The Queensland Government is committed to providing accessible services to Queenslanders from all culturally and linguistically diverse backgrounds. If you have diffi culty in understanding the annual report, you can contact us on (07) 3840 7444 and we will arrange an interpreter to effectively communicate the report to you.

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QUEENSLAND PERFORMING ARTS CENTRE

16 October 2012

The Honourable Ros Bates MPMinister for Science, Information Technology, Innovation and The ArtsGPO Box 611BRISBANE QLD 4001

Dear Minister

I am pleased to present the Annual Report for the Queensland Performing Arts Trust for the year ended 30 June 2012.

I certify that this Annual Report complies with the prescribed requirements of the Financial Accountability Act 2009 and the Financial and Performance and Management Standard 2009 and the detailed requirements set out in Annual Report Requirements for Queensland Government Agencies.

A checklist outlining the annual reporting requirements can be accessed at www.qpac.com.au

Yours sincerely

HENRY SMERDONChair

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About the Queensland Performing Arts Centre

The Queensland Performing Arts Centre (QPAC) is the State’s leading home of live performance. Located on the banks of the Brisbane River, QPAC is one of four organisations that make up the state’s Cultural Centre.

QPAC fosters an environment of innovation, creativity, entrepreneurship and learning. QPAC is driven by a desire to entertain, a capacity to create and the genuine wish to support moving and memorable experiences.

QPAC’s operations are underpinned by a belief in the essential value of performing arts as well as the broader contribution art can make to cities and societies. QPAC encourages participation in the arts and engagement in creative process as a means of promoting learning, wellbeing, civic participation and social inclusion. QPAC takes a leading role in the advancement of research and debate that articulates the value of creative industries as fundamental drivers of economic growth.

Each year QPAC showcases the best in performance from Australia and around the world. Our venues host leading international and Australian actors, dancers, musicians, artists and companies. In addition, QPAC produces or co-produces some of Australia’s most innovative and successful shows.

QPAC is also a performance home to some of the State’s leading performing arts companies including Queensland Theatre Company, Company, Company Queensland Ballet, Queensland Symphony Orchestra and Opera Queensland.

Host to over a million people in 2011-12, QPAC delivers integrated services designed to offer audiences an experience that extends beyond the walls of the theatre, providing information and exchange before they arrive and inviting dialogue after they have gone.

Our Purpose

QPAC is operated by the Queensland Performing Arts Trust (the Trust). The Trust is a Queensland Government statutory body, created and with responsibilities outlined in the Queensland Performing Arts Trust Act 1977.

The Trust’s purpose, as set out in the Act, is to contribute to the cultural, social and intellectual development of all Queenslanders. In achieving this purpose, the Trust functions:

a. to produce, present and manage the performing arts in the building occupied by the Trust at the Queensland Cultural Centre or any other building;

b. to establish and conduct schools, lectures, courses, seminars and other forms of education in the performing arts;

c. to teach, train and instruct persons and promote education and research in the performing arts;

d. to provide or assist in providing premises and equipment for the purpose of the presentation of the performing arts;

e. to promote and encourage the development and presentation of the performing arts;

f. to promote and encourage public interest and participation in the performing arts;

g. to promote and encourage either directly or indirectly the knowledge, understanding, appreciation and enjoyment of the performing arts;

h. to encourage, for persons resident in Queensland

i. participation as performers for the performing arts; and

ii. involvement in other aspects of the performing arts

i. to perform the functions given to the trust under another Act;

j. to perform functions that are incidental, complementary or helpful to, or likely to enhance the effective and effi cient performance of, the functions mentioned in paragraphs (a) to (i);

k. to perform functions of the type to which paragraph (j) applies and which are given to the trust in writing by the Minister.

For performing its functions, the Trust has all the powers of an individual and may, for example, enter into arrangements, agreements, contracts and deeds; acquire, hold, deal with and dispose of property; engage consultants; appoint agents and attorneys; charge, and fi x terms, for goods, services, facilities and information supplied by it; and do anything else necessary or desirable to be done in performing its functions.

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The principles intended to guide the achievement of the object of the Act are the following –

a. leadership and excellence should be provided in the performing arts;

b. leadership and excellence should be demonstrated in the management, on a commercial basis, of venues used for the performing arts, for the benefi t of performing artists;

c. there should be responsiveness to the needs of communities in regional and outer metropolitan areas;

d. respect for Aboriginal and Torres Strait Islander cultures should be affi rmed;

e. children and young people should be supported in their appreciation of, and involvement in, the performing arts;

f. diverse audiences should be developed;

g. capabilities for life-long learning about the performing arts should be developed;

h. opportunities should be developed for international collaboration and for cultural exports, especially to the Asia-Pacifi c region; and

i. content relevant to Queensland should be promoted and presented.

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Our Vision

Queensland’s entertainment destination and the leading presenter of performing arts in the Asia Pacifi c.

Our Strategic Focus

In order to support the achievement of the vision, QPAC’s Strategic Plan 2010–2014 outlines multiple priorities across four key focus areas:

EntertainmentObjective: To program, produce and co-produce high quality innovative performing arts.

Public ParticipationObjective: To deliver arts, entertainment and enrichment for every person of every age, every day.

Strategic RelationshipsObjective: To build and strengthen relationships that adds value and brings mutual benefi t.

Commercial OpportunitiesObjective: To deliver integrated commercial services that meet the highest industry standards.

Our Values

PassionWe are curious, relentless and committed.

LeadershipWe are responsible for creating a respectful environment where our teams work positively, creatively and inclusively.

Creativity and InnovationDare to seek new ways to grow, express and challenge ourselves without fear of failure.

CollaborationProactively work together to seek mutually benefi cial solutions that embrace and strengthen our core.

Engagement We stimulate connection through understanding and active participation.

IntegrityA commitment to ensure a group consciousness of respect, questioning and open communication in a supportive and non-judgemental environment.

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Chair’s overviewThe 2011-12 year for QPAC was both extremely challenging and extremely rewarding. It tested the resilience of our staff to put aside the adversity and impacts of the January 2011 fl oods on our business and strive even harder to meet the aspirations and expectations of our patrons and other stakeholders.

It is testament to what a fabulous team we have at QPAC - my fellow board members, the CEO and his executive team and staff generally – and it is with great pride that I can say QPAC has had one of its best years ever. Financially, artistically, technically and in the important servicing of our many patrons and users of our facilities, we have excelled.

It has been a huge challenge to have four major musicals in the Lyric Theatre – Dr Zhivago, Rock of Ages, Mary Poppins and Annie. The Disney Production of Mary Poppins was a huge success for QPAC and was our highest selling musical in over a decade.

Overall we had in excess of one million patrons visit with us across 1 427 performances in the four theatres and ancillary spaces.

Financially, our operating surplus for the 2011-12 year was $114 000 as against an operating surplus of $882 000 in the previous year. The surplus recorded in 2011-12 is after providing for two extraordinary items, namely approximately $446 000 one-off payment for six staff who took advantage of a Voluntary Separation Scheme available to Government employees and a one off write down of investments of around $385 000. Adjusting for these two extraordinary items shows that the underlying surplus is approaching $1.1 million.

As a Government statutory body, we believe we have a responsibility to maximise the public value of all that we do by delivering great outcomes for all our stakeholders. We have identifi ed and grown income sources that underpin a diverse range of product to support our legislative mandate to contribute to the social, intellectual and cultural development of all Queenslanders. We can do this because we successfully balance the public good with the required commercial imperatives.

We are particularly pleased with the success of our qtix ticketing operation. It has been a signifi cant revenue generator in its own right as well as underpinning our marketing strategies with the quality and depth of its data base. It has also helped our major home companies with their own customer relationship management strategies.

Our offerings during the year in our major theatre spaces are outlined in more detail in other areas of the report. However I want to highlight three areas that I and the team are particularly proud of:

• Vienna Philharmonic Orchestra: In October 2011 this wonderful Orchestra gave two unforgettable performances in the Concert Hall as part of QPAC’s commitment to bring the best of the best to Brisbane. One of those performances was simulcast live to six major centres throughout the State with a total audience of almost 3 500 in Mt Isa, Cairns, Townsville, Rockhampton, Gladstone and Mackay enjoying the performance in real time. We expect to do more of these broadcasts in the coming years

• QPAC International Series: During the latter part of the year, we launched our QPAC International Series. The QPAC International Series will bring internationally renowned companies to perform exclusively in Brisbane in coming years. The fi rst in the International Series is a two week residency by the Hamburg Ballet, Hamburg Philharmonic Orchestra and Hamburg State Opera. The QPAC International Series will give our patrons the opportunity to experience the world’s best performing arts companies right here in Brisbane. Also we anticipate it will entice visitors not just from the South East corner of the state but from across Queensland and the rest of Australia contributing to building cultural tourism in Queensland. The list of companies planned to visit in the next fi ve years reads like the “who’s who” of world performing arts.

• The Out of the Box Festival: This outstanding and much loved biennial Festival for young children exceeded all our expectations with over 91 000 patron admissions recorded over the 6 days of the Festival. By any measure it was an outstanding success and continues to grow in stature and appeal in its important demographic.

2011-12 was a great year for QPAC and I want to thank all who have contributed to making it a year to remember. There are challenges ahead as increasing demands put stress on our facilities. Our audience is also expanding with greater aspirations and a need for diversity of experience which will continually test our capacity to deliver and meet expectations. Further developing our cultural tourism strategy will also be important. We believe we have the team, the commitment and the passion to make Brisbane a culturally vibrant city of which we can all be proud.

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Chief Executive’s overviewIn 2011-12, QPAC exceeded its visitation target of one million. While QPAC measures its success against a range of indicators, none speak more powerfully to the relevance of our programming than the number of people who have chosen to come to the Centre. The diversity of the program, which drew together the best of national and international commercial producers and showcased Australian and international artists and companies in both contemporary and classic works, provided audiences with a myriad of choices.

In presenting this program, QPAC worked with government, tertiary institutions, corporate supporters and community organisations to ensure that its scope was both broad and deep. The program, which resonated so strongly with Queenslanders and tourists, is the result of partnerships which have been developed over many years.

Working with all three levels of Government was demonstrated in the successful delivery of our Opera Australia season in May-June 2012. A season of this scale is a mammoth undertaking for all parties, with Government support and facilitation playing an essential role in the presentation. While the season was fi nancially supported by Events Queensland and Arts Queensland, further support was provided by the Federal Government to ensure that a live simulcast of an Opera Australia season would be broadcast to regional centres later this year. This broadcast will be received in venues owned and managed by various Councils throughout the State.

While also a fi nancial supporter of QPAC endeavours, Griffi th University staff and students worked with QPAC by sharing technical expertise and skills through 2011-12. In turn, QPAC provided low cost accommodation for a number of Griffi th programs, presentation opportunities for students and support for Conservatorium. A highlight of shared learning experiences for both organisations was the premiere live simulcast of the Vienna Philharmonic Orchestra in October, with Griffi th Film School working alongside QPAC production teams.

QPAC has been especially fortunate in 2011-12 with QUT facilitating the appointment of our inaugural Scholar-in-Residence, Adjunct Professor Dr Judith McLean. It was particularly fortuitous that QPAC was able to access her expertise and guidance in the development of the curatorial framework underpinning the 2012 Out of the Box Festival, and the development and delivery of the Connecting the Dots… symposium, focussed on engaging parents, teachers and educators in the importance of arts education experiences for children.

QPAC works closely with its precinct partners, QAGOMA, the Queensland Museum and the State Library. In 2011-12, this collaborative approach was evident in two major cross-precinct festivals, the Torres Strait Island Festival as well as Out of the Box festival. The breadth of programming and exhibitions, lectures and workshops for these festivals drew on the expertise and collections of each of Queensland’s major cultural institutions to provide visitors with rich and engaging experiences.

The twenty-fi rst century will be the Asian century. The importance of building relationships in the Asian performing arts and entertainment sectors has been impressed upon QPAC staff and our board. QPAC is a major performing arts centre in the Asia-Pacifi c region and it is important for us to continually learn and expand our awareness, understanding and experience of other worlds and their histories and artists. Asia is a diverse, complex and nuanced region and there is no doubt it will take long term and meaningful engagement for great partnerships and projects to be realised.

In 2011-12 QPAC lifted its focus on Asia and I was fortunate to travel to the region twice in 2012. In February, I visited Korea, Japan and a number of cities in China to establish relationships with the major performing arts centres in those countries, including the National Centre for the Performing Arts (NCPA) in Beijing. This trip was an invaluable exchange with the cultural sector and its leaders in these distinctive parts of the world and also allowed me to raise their awareness about QPAC and its achievements and reputation in a number of areas. One of the outcomes of this trip was that I was invited to attend and present at the World Theatre Forum at the NCPA in Beijing in June. This was a great opportunity to meet more arts leaders from Asia and the world, and further my understanding of the state and aspirations of China’s cultural industries.

Asia will increasingly become a focus for QPAC within its international agenda. I am particularly excited by the artistic, commercial and educational opportunities greater engagement will create for our artists, professionals and communities as we progress.

I credit this year’s outstanding successes to the expert guidance and advice from Henry Smerdon and the Board, together with the creativity, diligence and passion of the QPAC team. I thank everyone for their support and efforts through 2011-12.

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2011-12 Highlights and Achievements

2011-2012 marks the fi rst year QPAC visitation reached one million people in one year. People came to QPAC to see 1 427 performances, an average of almost four performances per day, across 255 seasons.

Live performance

QPAC hosted the internationally renowned Vienna Philharmonic Orchestra (VPO) for two concerts in October 2011. Both concerts were sold out and the second concert was simulcast live to six venues in regional Queensland. The live simulcast was the fi rst such venture by QPAC and effectively doubled the number of people able to enjoy the concert. VPO was a highlight on Brisbane’s cultural calendar. A VPO rehearsal session was open to music students which provided an opportunity for those students to learn from VPO.

Mary Poppins was the most successful musical at QPAC in over a decade and second highest selling musical at QPAC’s history. At a time when families in particular are watching their budgets the phenomenal success of pre-sales and full houses was remarkable. This was the fi rst time QPAC has hosted a musical by international entertainment giant Disney and with such success we hope it will not be the last.

In the last year QPAC was one Australian venue to host a season of the new musical version of Dr Zhivago based on the book by Boris Pasternak. QPAC also invested in this production which is now showing in Asia. This musical was developed and premiered in Australia. Often musicals are developed in Europe or America and come to Australia after long seasons overseas, Dr Zhivago was a truly fresh experience for Australian audiences and the feedback was positive indicating that trialling musicals in Australia may become more common in the future.

Perennially popular musical Annie returned to the Lyric Theatre in 2012. This family-friendly favourite played to sold out Annie returned to the Lyric Theatre in 2012. This family-friendly favourite played to sold out Annieaudiences. Annie provided opportunities for young performers to participate, and for younger audiences to visit QPAC.

Opera Australia (OA) returned to the stages in Brisbane after 25 years with Julie Taymor’s The Magic Flute and Baz Luhrman’s The Magic Flute and Baz Luhrman’s The Magic FluteA Midsummer Night’s Dream. Funding from the Federal and State Governments ensured this season went ahead and there are plans for future seasons from OA in the years ahead. QPAC and OA have been working together to determine the best outcomes for the future relationship.

QPAC Museum

In 2011-12, QPAC Museum presented two exhibitions in the Tony Gould Gallery, attended by a total of 11 420 visitors. The Mary & Me exhibition tied in with QPAC’s season of Mary & Me exhibition tied in with QPAC’s season of Mary & Me Mary Poppins. This exhibition was particularly unique for Brisbane and Queensland audiences with the author of the Mary Poppins books, P. L. Travers, hailing from Maryborough, Queensland. Mary & Me included archival video and costumes from the current musical version of & Me included archival video and costumes from the current musical version of & Me Mary Poppins as well as papers from the P. L. Travers collections at the Mitchell Library at the State Library of New South Wales.

A View from the Sixth Row celebrated one person’s unique vision of the performing arts and featured works in the performance as well as ‘behind the scenes’. Photographer Reina Irmer is well-known to performing arts companies visiting QPAC for her passion and talent in capturing unique moments on stage. From the mid-1990s to the present day Reina has taken photographs from the audience perspective, during the fi nal dress rehearsals with only available stage lighting. This exhibition featured a selection of Reina Irmer’s images with an emphasis on recent productions including Fame, West Side Story, Queensland Ballet’s The Nutcracker and musical The Nutcracker and musical The Nutcracker WICKED.

Public Participation

In July 2011 the entire Cultural Centre collaborated on Torres Strait Islands: A Celebration. Each institution in the Cultural Centre contributed to this celebration. QPAC’s contribution was to host the 2011 Mabo Oration by Terri Janke, in association with Anti-Discrimination Commission Queensland, as well as the premiere performance of Bangarra Dance Company’s Belong. QPAC also contributed to the book documenting this celebration of culture.

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In 2012 the KITE Arts Education Program @ QPAC, an early childhood arts education initiative of Education Queensland in partnership with QPAC, concluded its three-year iteration. Over three years KITE has collaborated with teachers and children in the Logan and Wide Bay Burnett Districts to engage in deep, rich and meaningful arts based learning; to create six theatre performances; and to develop community networks between schools and key arts and cultural institutions.

The QPAC Choir is an audition choir that rehearses weekly at QPAC and performs throughout the year. In 2012 the QPAC Choir welcomed a new director, Timothy Sherlock. Performances by the QPAC Choir at QPAC in 2011-12 included QPAC’s annual Spirit of Christmas and at a concert in June Pure Imagination.

Green Jam sessions at QPAC continue to be popular and provide opportunities for local and emerging artists to perform. Green Jam additionally opens up the Melbourne Street Green as a venue and captures a market for patrons to attend QPAC who may not otherwise attend traditional performances at QPAC. While some Green Jam sessions were affected by weather in 2011-12 attendances were still strong.

Commercial Investments

QPAC is Australia’s largest institutional investor in commercial musical theatre. QPAC’s investments contribute to the viability of the performing arts as an art form and ensure continuing supply into its largest venue, the Lyric Theatre. During 2011-12 QPAC continued its role as an investor and consolidated its relationships with Australia’s major producers, investing in the tour of Annie to Sydney, Brisbane, Melbourne and Perth. A profi t will be made on this investment. During the fi nancial year QPAC’s investment in Love Never Dies was lost in part due to the early closure during its Sydney season and the remainder of the tour being abandoned.

Festivals

As in previous years QPAC again hosted several performances for the 2011 Brisbane Festival including international pianist Evgeny Kissin, the world premiere performance of Australian composer Elena Kats-Chernin’s Symphonia Eluvium and Sydney Dance Company’s The Land of Yes and the Land of No. The popular Santos City of Lights brought people to QPAC to watch the nightly laser show from the Cultural Forecourt.

In 2012, the biennial Queensland Music Festival (QMF) returned to venues at QPAC. As part of the Festival QPAC co-produced Piano Lessons with QMF, an original work that premiered in the Festival.

2012 marked the twentieth birthday for the Out of the Box Festival. Between 12 and 17 June the Cultural Centre was taken over by children under eight years old, their parents, carers and teachers. With over 91 000 admissions across workshops, performances, free events and the specially designed Out of the Box Symposium, Connecting the Dots…, this was the biggest Out of the Box yet. QPAC presented three premiere works at this year’s festival including The Flying Orchestra, Stradbroke Dreamtime with Queensland Theatre Company and Dreamtime with Queensland Theatre Company and Dreamtime Invisible Me with the Southern Cross Soloists.Invisible Me with the Southern Cross Soloists.Invisible Me

Home Companies

QPAC’s four home companies – Queensland Theatre Company, Opera Queensland, Queensland Ballet and Queensland Symphony Orchestra – delivered strong programs across each of QPAC’s theatres. Collectively the companies presented 248 performances during the year, generating attendances of 148 003.

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QUE E N SL A N D PERFORMING ARTS CE NTR E

Entertainment

Program, produce and co-produce high quality, innovative performing artsQPAC’s role as a leading entertainment destination is evidenced in the scale and breadth of its program, a range of collaborations; recognition within the community and position as the State’s foremost centre for live performance. Each year, QPAC delivers entertainment options in a program that mixes Australian and international artists across classic and contemporary forms that bring together arts experts and fi rst time visitors.

A wide range of performing arts QPAC’s theatres and foyers are rarely quiet spaces. As a major performing arts centre, QPAC is alive day and night with performances, rehearsals, meetings and creative development. Throughout 2011-12 1427 performances were presented across the Centre’s four theatres and outdoor performance spaces which equates to an average of almost four performances per day.

The performances covered a wide range of performing arts genres and included: classical and contemporary dance and music; comedy; theatre; opera; physical theatre; musical theatre; family programs; and festivals and special events. Traditionally, theatre, musical theatre as well as ballet and dance are larger scale works and have longer runs in our venues. Conversely, forms such as contemporary music and comedy regularly play only one or two performances. These variations in the length of seasons make it possible for Concert Hall to host dozens of seasons of different artists during the run of one musical in the Lyric Theatre.

QPAC’s annual program is a combination of works produced in-house by QPAC, works developed or presented in collaboration with other artists or companies and works presented exclusively by external hirers. This multi-faceted model offers QPAC fl exibility in the management of its venues and ensures audiences are offered the best and most diverse range of productions.

In 2011-12 QPAC produced a program that encompassed festivals, single night performances, full seasons, exhibitions and international exclusives. The program spanned genres from comedy to jazz and played in all theatres and outdoor spaces. It featured:

The Torres Strait Islands: A Celebration including the 2011 Mabo Oration and Bangarra Dance Company’s Belong; The Australian Dance Awards; Cradle Songs; Le Grande Cirque – Adrenaline; Vienna Philharmonic Orchestra; Green Jam sessions; Harvest Rain (James and the Giant Peach); Ballet Theatre of Queensland (Cinderella); Ozfrank Theatre Film (OzFrank 2012 Summer Program); I Musici – Viva Italia 60th Anniversary Tour; Expressions Dance Company (R&J); shake & stir (R&J); shake & stir (R&J Animal Farm); Australian Ballet (Romeo and Juliet); An Evening with Chris Botti; Out of the Box Festival.Romeo and Juliet); An Evening with Chris Botti; Out of the Box Festival.Romeo and Juliet

Local, national and internationalIn 2011-12, QPAC collaborated with many local, national and international organisations from both the commercial and subsidised sectors:

Skyline Theatricals Pty Ltd (Dr Zhivago); Major Brisbane Festival Pty Ltd (Evgeny Kissin, Mortal Engine, Maria De Buenos Aires, Circus Oz –Steampowered, Sydney Dance Company The Land of Yes and the Land of No; Australian Chamber Orchestra national subscription tour; Queensland Music Festival (Piano Lessons, Randy Newman with Queensland Symphony Orchestra, Queensland Country Comfort Hour); Dylan Moran; Senior Superstar Grand Finals; Queensland Country Comfort Hour); Dylan Moran; Senior Superstar Grand Finals; Queensland Country Comfort Hour QI Live; Spring Awakening; Whispering Jack concert; John Cleese; Ukulele Orchestra of Great Britain; Flamenco Fire (Gypsy Pathways).

Venue utilisation QPAC exceeded its venue utilisation target of 75%, achieving 85% over 2011-12. QPAC’s four theatres are used for performances, rehearsals, workshops and corporate events. Throughout the year, scheduled maintenance periods are also allocated to ensure theatres comply with workplace health and safety requirements and that QPAC’s technical equipment remains at the forefront of industry standards. One of QPAC’s key priorities identifi ed in the strategic plan is to maximise venue usage. A number of strategies are employed to ensure each of the theatres, in particular the Lyric Theatre, are live as many nights of the year as possible.

2011 – 12 was the fi rst time QPAC presented a simultaneous season of live comedy performances during Opera Queensland’s (OQ) season – using the Lyric Theatre on traditional OQ dark nights which ensured QPAC remained vibrant and brought in new audiences. This model will be used in future seasons when there are dark nights in the Lyric Theatre.

This year the Lyric Theatre featured 22 different productions and achieved 95% utilisation. This included exclusive seasons from Opera Australia and The Australian Ballet, and four major musicals; Doctor Zhivago, Rock of Ages, Mary Poppins and Annie. The Lyric Theatre featured a mix of musical theatre, music, comedy and dance that attracted audiences across all age

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groups. This included children’s works such as The Flying Orchestra and Nick Junior’s Dora the Explorer LIVE!, as well as Opera Queensland’s Tosca, Carl Barron, The Ten Tenors, Le Grand Cirque’s Adrenaline, and audience favourite John Farnham. The Brisbane season of Mary Poppins, Disney’s fi rst major musical presentation to open in Queensland, ran for three months and was QPAC’s highest selling production in more than a decade.

QPAC brand International exclusives alongside the best in local and national performing arts experiences helped to build QPAC’s brand as a leading performing arts centre in Australia and the Asia Pacifi c. Full in-theatre productions combined with free and outdoor programs as well as Festivals and collaborations with our Cultural Centre partners contributed to the QPAC brand recognition.

A recent survey conducted found that 57% of respondents were aware of QPAC unprompted and that prompted recognition was at 91%. QPAC had the highest rate of unprompted awareness of all live entertainment venues in Brisbane according to survey results.

Cultural Centre QPAC is one of the four organisations that make up Brisbane’s Cultural Centre and values its position within this environment. The unique location and combined capacities of the Cultural Centre organisations enable large and small scale collaborations and partnerships. In 2011 all four organisations collaborated with Torres Strait Islands: A Celebration. This Celebration saw each organisation curate programs unique to their art form and that fi t within the banner of celebrating Torres Strait Islander culture. QPAC presented Bangarra Dance Theatre’s premiere work Belong and the Mabo Oration 2011 featuring Terri Janke. QPAC also contributed to the Torres Strait Islands publication.

In 2012 QPAC again collaborated with the Cultural Centre to present the Out of the Box Festival. Whilst the majority of performances, workshops and free events were held at QPAC, a number of Out of the Box events were held across the Queensland Museum, State Library of Queensland and the Gallery of Modern Art. Of particular note was the Connecting the Dots… Symposium held at The Edge, State Library of Queensland over three days of the Festival.

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Genre by Performances

Ballet & Dance 8%

Comedy 3%

Children’s/Family

11%11%11%

Classical Music 5%

Festivals (Multi-Category) 1%Festivals (Multi-Category) 1%

Festivals (Single-Category) 22%Musical Theatre 25%

Contemporary Music 5%

Opera 2%

Special Events 4%Special Events 4%

Theatre 14%Theatre 14%

Genre by Ticket Sales

Ballet & Dance 9%

Comedy 6%

Children’s/Family 8%

Classical Music 6%

Festivals (Multi-Category) 1%Festivals (Multi-Category) 1%

Festivals (Single-Category) 4%

Musical Theatre 41%


Opera 3%

Special Events 6%

Theatre 9%Theatre 9%

Genre by Seasons

Ballet & Dance 9%

Comedy 5%

Children’s/Family 6%

Classical Music 26%

Festivals (Multi-Category) 3%

Festivals (Single-Category) 10%Festivals (Single-Category) 10%Festivals (Single-Category) 10%

Musical Theatre 7%


Opera 3%

Special Events 10%

Theatre 5%

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Deliver arts, entertainment and enrichment for every person of every age, every day.QPAC focuses on maximising public participation as part of its strategy to deliver the best in arts, entertainment and enrichment for a wide audience. QPAC defi nes participation as the active connection and involvement with people, ideas and experiences.

To attract and maximise public participation, QPAC identifi ed priorities around recognition, visitor experience, and audience engagement, the vibrancy of the South Bank precinct, cultural diversity and learning.

Recognition QPAC is increasingly recognised in the Asia Pacifi c region as a leading performance arts centre passionate about collaboration, creativity and innovation. QPAC’s operations are underpinned by a belief in the essential value of performing arts as well as the broader contribution art makes to cities and societies. QPAC supports participation in the arts and engagement in creative processes as a means of promoting learning, well being, civic participation and social inclusion. QPAC’s programs produce social, educational and cultural benefi ts for the state as well as contributing to the increasing recognition of Brisbane as a cultural tourism destination.

This year QPAC further consolidated this reputation by attracting over one million visitors, a fi rst for QPAC, presenting companies and artists from around the world and partnering with an eclectic mix of emerging and established artists, major commercial producers, small companies and collectives. QPAC staff are recognised as industry specialists and are consistently sought out to offer advice and training and to present at conference and forums. QPAC CEO John Kotzas presented a keynote speech at the World Theatre Forum in Beijing.

Visitor experience QPAC’s commitment to audiences extends beyond the experience inside the theatre to include all aspects of the public’s interactions with the Centre. QPAC recognises that part of the theatre experience comes from education and information before the show, what the patron experiences on the stage and during their visit as well as ongoing conversations with our guests after a performance to complete a holistic review and maintain a commitment to continuous improvement of our services.

Patron Services are committed to deliver exceptional customer service which is responsible for a major part of the visitor’s experience at the Centre. After purchasing tickets, the Patron Services team are the fi rst and last touch points that patrons interact with at QPAC.

Patron Services team include Front of House staff, merchandise sellers, First Aid and Stage Door offi cers, QPAC Museum gallery attendants, chefs, kitchen hands, Café, Bistro, Restaurant and Playhouse Café attendants, bar attendants across the Centre’s eight bars and Green Room attendants.

Integration with the QPAC website continues to improve with the majority of sales now coming from the website where people are able to choose their own seat and are given a photo of the view from certain sections of the theatre. The QPAC website also offers integration in booking

The combined Front of House and Food and Beverage team comprises approximately 300 casual staff. During the season of Mary Poppins in 2012 patron services rostered around 830 front of house shifts and 565 food and beverage shifts each fortnight to ensure QPAC’s operational needs and the needs of our guests were anticipated and not only met but exceeded.

New and existing audiences QPAC has continued to expand engagement with audiences in 2011-12. Website traffi c has increased over 22% since 2010-11 with the majority of bookings for performances (78%) coming from the website. QPAC launched a mobile site in September 2011 in recognition of the huge increase in people accessing information from smart phones and tablets. The QPAC website and Facebook pages have been enabled to accept patron reviews that allow our audience to directly post reviews and generate discussion around performances, often faster than reviews are available through newspapers and magazines. The ‘My Account’ feature on the QPAC website allows patrons to view upcoming and past events, reprint their print@home tickets and view their booking details and booking confi rmation. Social network sharing has also been enabled for upcoming events.

The number of patrons who connect with QPAC via social media has increased over 2011-12 with the QPAC Facebook page now having over 20,000 fans. Twitter followers have increased 50% on last year’s total. Social media allows QPAC to interact in a more immediate way than a traditional website does and patrons can provide instant feedback and engage in conversations more readily.

14


In 2011-12 QPAC’s audience demographics saw an upswing in under 18s attending the centre with 18.5% of all audiences being under 18. This was due to the Out of the Box Festival and musicals such as Mary Poppins and Annie. Most other demographics remained steady.

Precinct The Cultural Centre and South Bank precincts continue to be activated with expanding restaurants and retail outlets, new buildings and high levels of pedestrian traffi c from local, intra-state, inter-state and international visitors. The precinct around QPAC has had some signifi cant changes over the past year.

The ABC Building has now opened and is fully operational. The Queensland Symphony Orchestra is in the process of moving into their new offi ces and studio at the ABC Building and we look forward to working in such close proximity with one of our home companies. The entry to the Conservatorium continues to evolve and the spaces between the Conservatorium and the ABC Building are becoming more active each day.

QPAC welcomes the new Brisbane Convention and Exhibition Centre extension – BCEC on Grey (Street). This new facility, along with the ABC Building, has opened up an area of Grey Street that was previously underutilised.

With changes to governance at South Bank QPAC looks forward to working with a new Chair of the South Bank Corporation and to working with Brisbane City Council as the main government funding body for the Corporation. The South Bank precinct continues to grow with more cafés, restaurants and shops opening each month.

Cultural diversity QPAC’s engagement with culturally and linguistically diverse communities in 2011-12 resulted in some vibrant, rewarding and well-attended events. The focus was on the presentation of works by or about non-Western peoples and Aboriginal and Torres Strait Islander communities.

QPAC recognises and supports the vision and objectives outlined in Arts Queensland’s Aboriginal and Torres Strait Islander Arts Policy 2009-2013. In presenting work relating to Aboriginal and Torres Strait Islander communities, QPAC continued its positive partnerships with several organisations.

During the year, QPAC joined with its cultural precinct partners (Gallery of Modern Art, Queensland Art Gallery, Queensland Museum and State Library of Queensland) to present Torres Strait Islands: A Celebration A Celebration A which opened on 1 July 2011. QPAC’s contribution to this celebration included its presentation of Bangarra Dance Theatre’s Belong; the fourth Mabo Oration presented with Anti-Discrimination Commission Queensland and featuring an oration by lawyer and author Terri Janke; a comprehensive program of free performances staged in the Cascade Court and Melbourne Street Green; and a cross-precinct partnership on the publication of Torres Strait Islands, a high quality book showcasing the outstanding collections and performance programs of the major arts organisations located at South Bank.

QPAC also continued its long term relationship with Aboriginal Centre for Performing Arts (ACPA) through the presentation of Stolen by Jane Harrison and directed by ACPA Artistic Director Leah Purcell in November 2011.

In late 2011, QPAC and Queensland Theatre Company committed to a formal arrangement for the development and presentation of Aboriginal and Torres Strait Island work. The fi rst co-presentation by the partners was Sydney Theatre Company’s Bloodland an extraordinary production by Stephen Page and Bangarra Dance Theatre. This work, performed in Bloodland an extraordinary production by Stephen Page and Bangarra Dance Theatre. This work, performed in BloodlandYolgnu and pidgin was presented in QPAC’s Playhouse in March 2012. The partners also came together to commission, produce and present a new work for children which premiered at QPAC’s Out of the Box Festival in June 2012. Stradbroke Dreamtimebased on the book by Oodgeroo Nunukul, was directed by Sue Rider and featured choreography by Gail Mabo and music composition by Kahl Wallace and Jhindu Lawrie.

Performances presented at QPAC representing non-Western peoples included:

• Flamenco Sin Fronteras presented in July 2011

• The Imperial Russian Ballet Company presented in September 2011

• The Shaolin Warriors during September 2011

• Maria De Buenos Aires during the Brisbane Festival in September 2011

• Celebrations of the Golden Jubilee Korea – Australia presented by the Queensland Korean Orchestra Council in October 2011

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• The Laughing Samoans in October 2011

• The Chinese Acrobatic Spectacular presented by Voice of Australian Chinese Pty Ltd in February 2012

• I Musici – Viva Italia 60th Anniversary Tour presented by QPAC in February 2012 Anniversary Tour presented by QPAC in February 2012 Anniversary Tour

• Buddha Birth Day Meditation Sessions offered by Buddha Light International Association Queensland in May 2012.

Learning In 2011-12 a review was undertaken of the Learning and Development practices. The result has been to enhance QPAC’s competency framework that is based on the four pillars of training (job role specifi c, compliance, professional development and career planning). A compliance register was set up to ensure that a comprehensive register of all licences and registrations is maintained which is readily available to all stakeholders. Furthermore a mandatory unit specifi c induction has been developed for all units that underpin the existing QPAC Corporate and Workplace Health and Safety inductions.

A leadership and management program was implemented for the Executive Team with particular emphasis on building productive working relationships, identifying strategic direction and achieving results to ensure effectiveness and effi ciencies across the organisation. This program integrated into the newly developed competency framework and aligns with the workforce performance and recruitment and selection activities. A supervisor program was offered for staff in frontline supervisory positions to support and develop the leadership capability of supervisors ensuring effectiveness in creating motivated and productive teams. A new format work experience program was introduced to provide school students with experience in the live entertainment industry with a view to possible employment; concurrently successfully addressing recruitment requirements in those areas.

QPAC acknowledges the value of engaging with schools and tertiary institutions in providing work experience and industry placements. Throughout 2012 QPAC has hosted nine work experience students across all three disciplines of Lighting, Staging and Audio Visual and the feedback has indicated that the benefi cial experience has been a two way process. Further for the fi rst time QPAC has provided a dedicated internship for fi ve university students; two in Finance, one in Development, one in Visitors Services and one student as part of QPAC Out of the Box Festival.

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Strategic Relationships

Build and strengthen relationships that add value and bring mutual benefi t

QPAC recognises the critical role partnerships play across all areas of our work. Partnerships expand our capacity, enrich our everyday practice, encourage us to think from different perspectives and offer opportunities for growth. Like QPAC’s business, our relationships are varied and support a range of activity from the creation of new creative works to delivering impeccable customer service. These relationships take a number of forms and vary in their depth and longevity.

Producers and presenters Some of the most critical relationships for QPAC are those with producers and presenters. In 2011-12 QPAC partnered with producers and presenters locally and from around the world. QPAC is a signifi cant investor in commercial musicals and in 2011-12 partnered with the Gordon/Frost Organisation on Annie.

QPAC also partnered with leading Australian producers Leo Schofi eld and Ian McCrae to secure and present two concerts by the Vienna Philharmonic Orchestra in October 2011.

As a presenting partner, QPAC co-presents with local organisations as well as many companies from around Australia. A co-presentation is usually driven by multiple factors and will often focus on expanding the local audience base and/or developing the production quality. For example, QPAC regularly co-presents with national companies Bangarra Dance Theatre and The Australian Ballet, and this year with Opera Australia; and state based companies Expressions Dance Company, Zen Zen Zo Physical Theatre, Queensland Theatre Company, Queensland Symphony Orchestra, Queensland Ballet as well as the Queensland Conservatorium, Griffi th University, Brisbane Festival and Queensland Music Festival. The issues that infl uence QPAC’s decision to enter into partnerships as well as the outcomes sought vary enormously and range from enhanced public participation to art form development or commercial opportunities.

Industry partnerships QPAC is a leading organisation in the performing arts sector in Queensland. As much as QPAC is a venue, QPAC also has a strong focus on strategic relationships within the overall arts industry. Through these industry partnerships QPAC seeks to support the development and advancement of the performing arts industry and to maintain strong and productive working relationships with a variety of artists and organisations.

QPAC belongs to both the Australian Performing Arts Centres (OZPAC) and Northern Australian Regional Performing Arts Centres Association (NARPACA) networks. These associations create networks and build on professional relationships across the performing arts industry.

A signifi cant part of QPAC’s commitment to industry partners is the artists and companies in residence program. QPAC continued to work with musical ensemble Southern Cross Soloists as Company-in-Residence. Since forming in the mid-1990s Southern Cross Soloists has become one of the most innovative musical ensembles in Australia. In 2011-12 Southern Cross Soloists have two showcase concerts and two concerts in their ‘Music and Words’ series.

Brisbane’s Harvest Rain Theatre Company continues to perform at QPAC with this year showing James and the Giant Peach, The Wizard of Oz, The Neverending Story and The Neverending Story and The Neverending Story Hairspray.

Government stakeholders In 2011-12 QPAC partnered with all levels of Government across a range of projects. Brisbane City Council was again a major sponsor for the 2012 Out of the Box Festival.

QPAC consolidated a partnership with Events Queensland by presenting the Vienna Philharmonic Orchestra (VPO). Extra funding from the Federal and State governments was also granted for this project to assist with costs in a live simulcast of the VPO performance. The VPO live simulcast to six regional Queensland venues was the fi rst such simulcast presented by QPAC. The success of the VPO and live simulcast created the momentum for QPAC and Events Queensland to create a formal partnership in the QPAC International Series to bring international companies to perform exclusively in Brisbane in coming years. The fi rst in this series will occur in August and September of 2012 with the Hamburg Season. A performance in the Hamburg Season will also be simulcast live to venues in regional Queensland.

In 2012 Opera Australia (OA) returned to Brisbane for a performance season for the fi rst time in 25 years. Extra funding from the Federal and State governments made this return season possible. OA will return to Brisbane in coming years.

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2012 marked the fi nal year of QPAC’s KITE Theatre partnership with the Australia Council for the Arts. The culmination of this three year youth arts project was realised at the Out of the Box Festival with the release of the Yonder DVD. Learning and Yonder DVD. Learning and Yonderdevelopment from this project is ongoing.

Corporate communities QPAC continues to embrace corporate partnerships, striving to build mutually benefi cial relationships that support QPAC’s projects and operations and deliver tangible brand outcomes for each partner.

In 2011–2012 QPAC continued its partnerships with PricewaterhouseCoopers, Heritage Bank and Sirromet; all forming the foundations for which QPAC hopes will be long term relationships. Longstanding partners Treasury Casino and Hotel, Qantas and Grinders all continued to drive value and positive outcomes from their association with QPAC.

The new QPAC International Series will present engagement and interest from potential new partners. The gala nature of the Vienna Philharmonic Orchestra season provided a backdrop for The House of Louis Roederer Champagne to showcase its product. QPAC has now established a Venue Partnership with Louis Roederer as well as support for the QPAC International Series.

QPAC’s Out of the Box Festival continues to resonate with partners and this year’s Festival saw many new partners join the family. Special mention must go to IGA, The Courier-Mail, Channel 10 and Oaks Hotels and Resorts for their generous support. It is encouraging that so many corporate partners recognise the value of supporting Out of the Box and the richness it delivers to the community.

International partnerships QPAC is committed to creating and participating in a vibrant arts community in Queensland. Part of this is to export Queensland arts to the world – shows that have been developed in Queensland and at QPAC have been shown around the world. Conversely QPAC seeks the best in international performances to show at QPAC.

QPAC continued its membership of international industry bodies the Association of Asia Pacifi c Performing Arts Centres based in Singapore and the International Society for the Performing Arts based in New York.

In 2011-12 QPAC’s main international focus has been on Asia. The current economic conditions in European and North American are forcing fi scal conservatism for many in the performing arts. Now more than ever is the time that QPAC is strategically aligning itself to Asia. QPAC’s CEO presented a keynote speech at the World Theatre Forum in Beijing in 2012 about Opera in Australia and Ideas for the future. This conference also provided the opportunity to meet performing arts professionals from arts centres around the world. A key purpose of this and other travel is to maintain QPAC’s profi le as a leading international venue and to develop and maintain partnerships that will support QPAC to present a diversity of performing arts product from around the world.

The 2011-12 program featured performances from international artists and companies. Highlights of the international collaborations included the presentation of the Vienna Philharmonic Orchestra and children’s classic Angelina Ballerina with the Royal New Zealand Ballet.

Organisational culture Information workshops continue to be run throughout the year with QPAC’s Organisation Health and Wellness Program offering programs focused on nutrition, fi tness and general lifestyle and health education. In completing its ninth year QPAC’s program continues to have a positive impact on our employees.

With the aim of a continued connection to QPAC employees who have dedicated fi fteen years or more of service to QPAC a new program Friends of QPAC has been rolled out with the aim of continuing QPAC’s engagement and recognition of past employees contribution and commitment.

QPAC’s Reward and Recognition program continues to gain momentum since its inception in July 2007. The purpose of the program is to ensure all employees who go above and beyond are recognised for their outstanding value to QPAC and their contribution. So far to date we have received over two hundred and forty fi ve nominations ranging from outstanding customer service to innovation.

QPAC seriously considers any employee request for fl exible working arrangements to assist our employees to achieve a work life balance and we appreciate how fl exible working can benefi t an employee’s performance through improved motivation and productivity.

18


Commercial OpportunitiesDeliver integrated commercial services that meet the highest industry standards.QPAC operates in a fl uctuating market and depends on a strong commercial musical theatre sector to ensure fi nancial sustainability. Approximately one-fi fth of QPAC’s annual revenue is derived from government grants and uniquely among our Cultural Centre neighbours, functions in a commercial environment, operating seven different revenue producing business units. In seeking commercial opportunities, QPAC strives to deliver integrated services to audiences, hirers and partners in order to exceed industry standards and achieve mutually benefi cial outcomes.

Entrepreneurial activity In pursuing long term fi nancial sustainability QPAC balances innovation, experimentation and risk. 70% of QPAC’s business streams are profi t generating, deriving income primarily from venue rental, investments, food and beverage services and ticketing operations.

Full service model In 2011-12 QPAC’s website continued to improve accessibility for patrons. Purchasing tickets through the QPAC website continues to attract the most patrons with 78% of single ticket sales going through the website. QPACs new mobile site was launched in September 2011 and a new sophisticated white label ticketing solution is available for events not held within the QPAC venues.

A recent upgrade has enabled patrons to integrate ticket purchases with food and beverage packages and parking options via the QPAC website.

The website upgrade also allowed for better integration between the QPAC website and social media. Patrons can post their ticket purchases to their social media accounts (Facebook and Twitter) to alert friends and followers to what they are attending. From December 2011 patrons are also able to post reviews to QPAC’s website and Facebook pages. This allows for faster word of mouth early in seasons which has a correlative effect on infl uencing other people to book tickets.

New dynamic content in booking confi rmation emails has allowed QPAC to tailor complimentary messages specifi c to bookings, and to follow up with suggestions for other performances afterwards.

The print@home function on the QPAC website continues to be used and saves on cost of printed tickets. Patrons can now also reprint tickets using the QPAC website’s ‘My Account’ function which also allows patrons to view upcoming and past bookings, view booking details and share events on social media.

Enhanced real time reporting dashboards allow QPAC and promoters to view tickets sales live on their PC, tablet device or smart phone.

Of people who attended performances at QPAC 75% made an additional purchase whilst at the Centre. This includes merchandise for shows, drinks and dinner at QPAC outlets.

Ticketing QPAC is recognised as owning and operating one of the most advanced ticketing systems in the Asia Pacifi c – qtix. This high quality, data-rich ticketing service contributes to the overall success and international reputation of QPAC as a premier performing arts centre.

qtix, with its strong focus on audience profi ling and segmentation provides superior ticketing services not only to QPAC but also to the broader industry. It offers ticket sales through multiple channels – internet, phone, mail, outlets and box offi ce. qtix continues to develop its service this year introducing its white label sales and website offering to external clients, barcode scanning, mobile tickets and customer real time reporting portals.

qtix clients range from large commercial producers to small local organisations and host events both at QPAC and in venues around Brisbane. In 2011-12 qtix provided services to organisations, including Queensland Art Gallery/GoMA, State Library of Queensland, Mercedes Benz Fashion Festival, Brisbane Festival, Delectable Food Festival and the Brisbane Writers Festival.

In 2011-12 qtix issued 1,016,991 tickets to events that took place during the fi nancial year, an increase of 19% on the previous year. Of these, 800,430 tickets were to performances at QPAC and an additional 102,476 to performances in other venues. Actual ticket sales (including events which will take place during the next fi nancial year) were 1,157,165. External venue and events paid ticket sales accounted for 17% of total sales in 2011-12.

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Sold occupancy is calculated as the total number of tickets sold as a percentage of the total number of tickets offered for sale. The sold occupancy achieved for performances across QPAC’s four theatres was 64%. Sold occupancy is one of the key performance measures for a production. Achieving high levels of sold occupancy is critical for all productions, particularly for national and international producers in QPAC.

Food and beverage QPAC’s food and beverage services continue to grow and gain popularity with theatre patrons. In 2011-12 QPAC served over 500 000 meals drinks across the QPAC Café, Bistro, Lyrebird Restaurant and foyer bars. With four major musicals showing in the Lyric Theatre this year QPAC created unique themed food and beverage packages to enhance patron experience. During Mary Poppins which showed at the Lyric Theatre over summer, picnic baskets were available for families to enjoy a more casual and leisurely pre-performance meal on the Melbourne Street Green. The uptake was high and has inspired future work around how to tie in special menus with performances.

Performance Statement

Notes2011-12

Target/est.

2011-12Est. actual (as published in 2012-13 SDS)

2012-13Target/est.

Service standards

Venue utilisation 1 75% 85% 76%

Lyric Theatre 70% 95% 72%

Concert Hall 70% 65% 70%

Playhouse 90% 96% 90%

Cremorne Theatre 75% 82% 75%

Level of audience satisfaction 90% 97% 90%

Level of hirer satisfaction 95% 88% 95%

Other measures

Visitation 1 000 000 1 053 178 1000 000

Attendance at paid events 2 800 000 918 391 800 000

Attendance at unpaid events 3 200 000 134 787 200 000

Presentations

Number of performances 950 1 427 970

Number of seasons 230 255 240

Number of regional venues receiving QPAC programming 4 12 6 14

Number of programs hosted by regional venues 4 4 1 5

Notes:

1. The increases in 2011-12 Est.actual is due to securing additional un-budgeted hires throughout the year, including some at short notice.

2. The increase in 2011-12 Est.actual is due to increased venue utilisa-tion and sold occupancy in major seasons including Mary Poppins.

3. The decrease in 2011-12 Est.actual is due to weather affected outdoor events.

4. The decrease in 2011-12 Est.actual is due to deferred Opera Australia simulcast in 2012-13.

20


Corporate Governance

Ethics and Code of Conduct

To ensure a clear understanding of and commitment to the fi ve ethics principles contained in the Public Sector Ethics Act 1994, QPAC has developed and implemented a Code of Conduct for Trust members and employees. The Code of Conduct is distributed to new staff at induction and is available on the QPAC intranet. Trustees and staff continue to abide by the principles contained in the Code.

Recordkeeping

QPAC uses the TRIM record management system to ensure compliance with the Public Records Act 2002 and Information Standard 40: Recordkeeping and Information Standard 31: Retention and Disposal of Public Records.

Ethics and Code of Conduct

To ensure a clear understanding of and commitment to the fi ve ethics principles contained in the Public Sector Ethics Act 1994, QPAC has developed and implemented a Code of Conduct for Trust members and employees. The Code of Conduct is distributed to new staff at induction and is available on the QPAC intranet. Trustees and staff continue to abide by the principles contained in the Code.

Right to Information

QPAC supports the Queensland Government’s approach to giving the community greater access to information. In accordance with the Right to Information Act 2009 and the Information Privacy Act 2009, QPAC makes some information routinely available for the public to access through a publication scheme. These documents are available for download from the QPAC website or in alternative formats by contacting QPAC.

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Consultancies

Consultant Reason for engagement Actual cost $

Livingstones Australia Workplace agreement 23 071

RiskWorks Pty LtdReview of emergency procedures and investigation of alarms

21 499

ARUP Pty Ltd Fire and safety program 7 000

McCormick Traffi c management plan for loading dock 8 500

Professional Brand Audit Brand identity for food and beverage outlets 3 600

Future Food Review of food and beverage 5 876

Deloitte Review of ticketing services and risk management 5 250

The Consultancy BureauDevelopment Unit restructure, Executive Team restructure, ticketing advice, board strategy advice

24 250

Tell Creative QTIX identity and brand 3 240

TOTAL 102 286

Overseas Travel

Name of offi cer and position

Destination Reason for travel Agency cost

Contribution from other agencies or

sources

Bill JessopAssociate Director – Presenter Services

United Kingdom; Spain; Germany; Russia; China (Hong Kong/Macau)

Meet major companies Technical Directors

18 688

John KotzasChief Executive

Korea; Japan; China Meet major companies commercial producers and develop trade relationship between Australia and China

19 017


Beijing, China Attend and speak at World Theatre Forum

1 475 Approx 6 614

22


Human Resources

QPAC’s performance management framework underwent a review during 2011 and 2012. The main purpose of this review was to develop a tool that would provide a vital link between QPAC’s Operational Plan, the Unit’s Individual Business Unit Plans, its vision and guiding principles, and the individual. This will ensure that goals and objectives fl ow from the top of the organisation to the personal objectives of each employee. It will foster engagement and will ensure our employees reach their full potential. For the fi rst time performance reviews were also introduced for our casual employees to promote an increased level of engagement with QPAC and the value and importance which QPAC places on our casual employees’ contribution.

QPAC recorded 100% compliance with the Enterprise Bargaining Agreement and nil hours were lost to industrial disputation during this process. QPAC Enterprise Agreement gained an overwhelming 94% support for the ratifi cation of the agreement through Fair Work Australia. QPAC’s Joint Consultative Committee plays a vital role to ensure that employee representative’s have the opportunity to raise and work through organisational issues in a consultative forum with management. This process has fostered closer working relationships between QPAC and employee union representatives throughout 2011 and 2012 with four committee meetings being held.

QPAC’s workforce is made up of 337 full time equivalent staff and the permanent attrition rate is 4.15% and the permanent retention rate is 95.85%.

A Voluntary Separation Program was introduced as part of the Mid-Year Fiscal and Economic Review in January 2011. This program was one of a number of measures designed to deliver additional savings and reprioritise spending. The program was targeted primarily at non-frontline areas, as a service reprioritisation strategy to ensure continued growth in frontline areas. QPAC sought expressions of interest from selected support areas within the organisation. In 2011-12 six employees accepted offers of voluntary separation packages at a cost of $445,602.

23

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Operating Revenue

for the year ended 30 June 2012

Operating Revenue


Grants (OperatingFacilities) 19%

Marketing & Ticketing 24%

Corporate Services 3%

Presenter Services 32%

Patron Services 22%Patron Services 22%

Grants (OperatingFacilities) 20%

Marketing & Ticketing 20%

Corporate Services 9%


Patron Services 24%Patron Services 24%

Marketing &Ticketing 17%

Patron Services 25%

Directorate 6%

Corporate Services 21%Corporate Services 21%

Patron Services 23%

Presenter Services 33%Directorate 7%

Corporate Services 24%Corporate Services 24%


Marketing &Marketing &Ticketing 16%

Operating Expenditure


Operating Expenditure


24


2012 2011Notes $’000 $’000

Income from continuing operations Revenues from service activities 8a 35,716 29,956Grants and other contributions 8a 8,900 7,936Other revenue 8a 1,169 1,067

Total Income from Continuing Operations 45,785 38,959

Expenses from continuing operations Employee expenses 8c 25,289 21,039 8c 25,289 21,039 8cSupplies and services 8b 19,588 16,233 Depreciation and amortisation 8b 608 596 Other expenses 8b 186 209

Total Expenses from Continuing Operations 45,671 38,077

Operating Result from Continuing Operations 114 882

Other Comprehensive Income Increase in asset revaluation surplus 406 –

Total Comprehensive Income 520 882

STATEMENT OF COMPREHENSIVE INCOMEFor the Year Ended 30 June 2012

The accompanying notes form part of these fi nancial statements.

25

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S TAT E M EN T O F F I N A N C I A L P O S I T I O NA t 3 0 J u n e 2 0 1 2

2012 2011Notes $’000 $’000

ASSETS

Current assets Cash and cash equivalents 9 12,159 9,074 Receivables 10 2,609 2,700 Inventories 11 241 154 Other 12 141 638

Total current assets 15,150 12,566 Non-current assets Intangible assets 13 – – Property, plant, equipment 14 7,725 7,581

Total non-current assets 7,725 7,581

TOTAL ASSETS 22,875 20,147

LIABILITIES

Current liabilities Payables 15 3,639 2,452 Accrued employee benefi ts 16 1,248 933 Other 17 867 161 17 867 161 17

Total current liabilities 5,754 3,546

TOTAL LIABILITIES 5,754 3,546

NET ASSETS 17,121 16,601

EQUITY

Contributed equity 1,033 1,033 Accumulated surplus 3,112 3,374 Reserves – Asset revaluation 19 3,580 3,174 – Building development 2,418 1,500 – Equipment replacement 2,478 2,478 – General 1,500 2,042 – Commercial development 3,000 3,000

TOTAL EQUITY 17,121 16,601


26


STATEMENT OF CHANGES IN EQUITYFor the Year Ended 30 June 2012

2012 2011 2012 2011 2012 2011 2012 2011 2012 2011 $’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000 $’000

Balance 1 July 3,374 3,377 3,174 3,174 9,020 8,135 1,033 1,033 16,601 15,719

Operating Result from Continuing Operations 114 882 – – – – – – 114 882

Total Other Comprehensive Income

Increase in asset revaluation surplus – – 406 – – – – – 406 –

Total comprehensive income for the year 114 882 406 0 0 0 0 0 520 882

Transfers between reserves (376) (885) – – 376 885 – – – –

Balance 30 June 3,112 3,374 3,580 3,174 9,396 9,020 1,033 1,033 17,121 16,601

AccumulatedSurplus

Asset Revaluation Surplus (Note 19)

Other Reserves

Contributed Equity

Total


27

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S TAT E M EN T O F C A S H F LOW SFor the Year Ended 30 June 2012

2012 2011Notes $’000 $’000

Cash fl ows from operating activities

Infl ows Revenues from service activities 36,958 30,934 Grants and other contributions 8,900 7,936 Interest 1,121 923 GST collected from customers 2,996 2,524 Other revenues 48 79

Outfl ows Employee expenses (24,973) (20,882) Supplies and services (20,109) (16,838) GST paid to ATO (1,471) (1,415)

Net cash provided by operating activities 18b 3,470 3,261

Cash fl ows from investing activities

Proceeds from sale of plant and equipment – 31 Payments for plant and equipment (385) (623) Investment income – 65

Net cash used in investing activities (385) (527) Net increase in cash and cash equivalents 3,085 2,734 Cash and cash equivalents at the beginning of fi nancial year 9,074 6,340

Cash and cash equivalents at the end of fi nancial year 18a 12,159 9,074


28


Note 1 Objectives and Principal Activities of the Trust

The objectives of the Trust are to produce, present, and manage the performing arts in the Queensland Performing Arts Centre, and elsewhere, as well as to promote and encourage either directly or indirectly the knowledge, understanding, appreciation, enjoyment of and participation in the performing arts.

The Trust is partly funded for the outputs it delivers by Parliamentary appropriations. It also provides services on a fee for service basis including: venue rental, production crewing services, ticket sales, marketing services and equipment hire.

Note 2 Signifi cant Accounting Policies

(a) Statement of Compliance

General

The Trust has prepared these fi nancial statements in compliance with section 43 of the Financial and Performance Management Standard 2009.

These fi nancial statements are general purpose fi nancial statements, and have been prepared on an accrual basis in accordance with Australian Accounting Standards and Interpretations. In addition, the fi nancial statements comply with Treasury’s Minimum Reporting Requirements for the year ending 30 June 2012, and other authoritative pronouncements.

With respect to compliance with Australian Accounting Standards and Interpretations, the Trust has applied those requirements applicable to not-for-profi t entities, as the Trust is a not-for-profi t entity. Except where stated, the historical cost convention is used.

Comparative fi gures

Comparative fi gures and disclosures have been restated and amended to accord with the current year’s presentation and disclosure.

Classifi cation between current and non-current

In the determination of whether an asset or liability is current or non-current, consideration is given to the time when each asset or liability is expected to be realised or paid. The asset or liability is classifi ed as current if it is expected to be turned over within the next twelve months.

Rounding

Unless otherwise stated, amounts in the report have been rounded to the nearest thousand dollars.

(b) Revenue Recognition

Revenue is recognised when goods or services are delivered.

Services acquired for no cost

The value of services received free of charge are recognised as revenue at fair value when received.

Grants and other Contributions

Grants, donations and gifts which are non-reciprocal in nature are recognised as revenue in the year in which the Trust receives them. Where grants are received that are reciprocal in nature, revenue is accrued over the term of the funding arrangements.

NOTES TO THE F INANCIAL REPORTFor the Year Ended 30 June 2012

29

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

Note 2 Signifi cant Accounting Policies (Continued)

(c) Recognition and Measurement of Property, Plant and Equipment

Acquisition

Actual cost is used for the initial recording of all acquisitions of assets. Cost is defi ned as the value given as consideration at the date of acquisition plus any incidental costs attributable to the acquisition.

Recognition thresholds

Items of property, plant and equipment with a cost or other value equal to or in excess of the following thresholds are capitalised in the year of acquisition. All other items are expensed in the year of acquisition:

– Buildings and Infrastructure $5,000 – Land $1 – Plant and equipment $5,000 – Heritage and cultural assets $5,000

Revaluation

Land, buildings, infrastructure, heritage and cultural assets are measured at fair value. All other assets are measured at cost. This is in accordance with the AASB 116 Property, Plant & Equipement and the Queensland Property, Plant & Equipement and the Queensland Property, Plant & EquipementTreasury’s Non-Current Asset Accounting Policies for the Public Sector.Non-Current Asset Accounting Policies for the Public Sector.Non-Current Asset Accounting Policies for the Public Sector

Non-current physical assets measured at fair value are comprehensively revalued at least once every fi ve years with interim valuations, using appropriate indices, being otherwise performed on an annual basis where the change would be material to that class of assets.

Only those assets, the total values of which are material, compared to the value of the class of assets to which they belong, are comprehensively revalued.

Separately identifi ed components of assets are measured on the same basis as the assets to which they relate.

Where the assets are revalued, the revaluation increments are credited directly to the asset revaluation reserve except to the extent that an increment reverses a prior year decrement for that class of asset that had been recognised as an expense, in which case the increment is recognised as revenue up to the amount of the expense. Revaluation decrements are recognised as an expense except where prior increments are included in the asset revaluation reserve for that class of asset, in which case the decrement is taken to the reserve to the extent of the remaining increments. Within the same class of assets, revaluation increments and decrements within the year are offset.

Repairs and maintenance

Routine maintenance, repair costs and minor renewal costs are expensed as incurred. Where the repair relates to the replacement of a component of an asset and the cost exceeds the capitalisation threshold the cost is capitalised and depreciated.


30



(d) Leases

Operating leases

Lease payments for operating leases are recognised as an expense in the years in which they are incurred as this refl ects the pattern of benefi ts derived by the Trust.

Finance leases

The Trust has not entered into any fi nance leases.

(e) Depreciation and Amortisation of Property, Plant and Equipment

Land is not depreciated as it has an unlimited useful life.

Depreciation on buildings, infrastructure and equipment and motor vehicles, is calculated on a straight-line basis so as to write-off the net cost or revalued amount of each depreciable asset, less its estimated residual value, progressively over its estimated useful life to the Trust.

Capital work-in-progress is not depreciated until it reaches service delivery capacity.

Where assets have separately identifi able components, these components are assigned useful lives distinct from the asset to which they relate. Any expenditure that increases the originally assessed capacity or service potential of an asset is capitalised and the new depreciable amount is depreciated over the remaining useful life.

The depreciable amount of improvements to or on leasehold land is allocated progressively over the estimated useful lives of the improvements to the Trust or the unexpired period of the lease, whichever is shorter.

Major depreciation rates used are listed below and are consistent with the prior year unless otherwise stated:

Buildings and leasehold improvements 4 to 20% Motor vehicles 20% Plant and equipment 1 to 33% Concert Hall Grand Organ 2%

(f) Intangibles

All intangible assets with a cost or other value greater than $100,000 are recognised in the fi nancial statements, with items of a lesser value being expensed. Each intangible asset is amortised on a straight line basis over its estimated useful life to the Trust, less any anticipated residual value. Current amortisation rates are either 20% or 33.3%.

It has been determined that there is not an active market for any of the Trust’s intangible assets. Therefore the assets are recognised at cost less accumulated amortisation and any impairment loss.

There have been no disposals of intangible assets during the year ended 30 June 2012, nor does any intangible asset form part of a disposal group held for sale at 30 June 2012.


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(g) Impairment of Non-Current Assets

All non-current physical and intangible assets are assessed for indicators of impairment on an annual basis. If an indicator of possible impairment exists the assets recoverable amount is determined. The recoverable amount is determined as the higher of the asset’s fair value (net of selling costs) and the depreciated replacement cost.

An impairment loss is immediately recognised in the Statement of Comprehensive Income. If the asset in question is carried at a revalued amount then any impairment loss is fi rst offset against the asset revaluation reserve of the relevant asset class to the extent available.

If an impairment loss subsequently reverses, the carrying amount of the asset is increased to the revised estimate of its recoverable amount, but only to the extent that the carrying amount does not exceed the carrying amount that would have been determined had no previous impairment loss been recognised for the asset. A reversal of an impairment loss is recognised as income, unless the asset is carried at a revalued amount, in which case the reversal of the impairment loss is treated as a revaluation increase.

(h) Cash and Cash Equivalents

For the purposes of the Statement of Financial Position and the Statement of Cash Flows, cash assets include all cash and cheques receipted but not banked at 30 June as well as deposits at call with fi nancial institutions. It also includes liquid investments with short periods to maturity that are convertible readily to cash on hand, at the investor’s option and that are subject to a low risk of changes in value.

(i) Receivables

Trade debtors are recognised at the nominal amounts due at the time of sale or service delivery, with settlement being generally required within 30 days from the invoice date.

The collectability of receivables is assessed periodically with provision being made for impaired debts. All known bad debts were written off as at 30 June.

(j) Inventories

Inventories are valued at the lower of cost or net realisable value and is comprised of stock for the Trust’s catering operations.

Cost is assigned on a weighted average basis and includes expenditure incurred in acquiring the inventory and bringing it to its existing condition.

Net realisible value is determined on the basis of the Trusts normal selling patterns.

(k) Payables

Payables are recognised for amounts payable in the future for goods and services received, whether or not billed to the Trust. Creditors are included at the nominal amount ie agreed purchase price less any applicable discounts. Amounts owing are generally unsecured, not subject to interest charges and are normally settled within 30 days of invoice receipt.


32



(l) Employee Benefi ts

Employer superannuation contributions, annual leave and long service leave levies are regarded as employee benefi ts.

Payroll tax and workers’ compensation insurance are a consequence of employing employees, but are not counted in an employee’s total remuneration package. They are not employee benefi ts and are recognised separately as employee related expenses.

Wages, Salaries and Sick Leave

Wages and salaries due but unpaid at reporting date are recognised in the Statement of Financial Position at the current salary rates.

For unpaid entitlements expected to be paid within 12 months, the liabilities are recognised at their undiscounted values. Entitlements not expected to be paid within 12 months are classifi ed as non-current liabilities and recognised at their present value, calculated using yields on Fixed Rate Commonwealth Government bonds of similar maturity, after projecting the remuneration rates expected to apply at the time of likely settlement.

Prior history indicates that on average, sick leave taken each reporting period is less than the entitlement accrued. This is expected to continue in future periods. Accordingly, it is unlikely that existing accumulated entitlements will be used by employees and no liability for unused sick leave entitlements is recognised.

As sick leave is non-vesting, an expense is recognised for sick leave as it is taken.

Long service leave

Under the State Government’s long service leave scheme a levy is made on the Trust to cover the expense. Amounts paid to employees for long service leave are claimed from the scheme as and when leave is taken.

No provision for long service leave is recognised in the department’s fi nancial statements, the liability being held on a whole-of-government basis and reported in those fi nancial statements pursuant to AASB 1049 Whole of Government and General Government Sector Financial Reporting .

Superannuation

Employer superannuation contributions are paid to QSuper, the superannuation scheme for Queensland Government employees, at rates determined by the Treasurer on the advice of the State Actuary. Contributions are expensed in the period in which they are paid or payable. The Trust’s obligation is limited to its contribution to QSuper.

The QSuper scheme has defi ned benefi t and defi ned contribution categories. The liability for defi ned benefi ts is held on a whole-of-government basis and reported in those fi nancial statements pursuant to AASB 1049 Whole of Government and General Government Sector Financial Reporting.

Key Executive management personnel and remuneration

Key executive management personnel and remuneration discloures are made in accordance with section 5 to the Financial Reporting Requirements for Queensland Government Agencies issued by the Queensland Treasury. Refer to Note (25) for the disclosures on key executive management personnel and remuneration.


33

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T


(m) Taxation

The activities of the Trust are exempt from Commonwealth taxation except for Fringe Benefi ts Tax (FBT) and Goods and Services Tax (GST). As such, input tax credits receivable from and GST payable to the Australian Taxation Offi ce are recognised.

(n) Financial Instruments

Recognition

Financial assets and fi nancial liabilities are recognised in the Statement of Financial Position when the Trust becomes party to the contractual provisions of the fi nancial instrument.

Classifi cation

Financial instruments are classifi ed and measured as follows :

– Cash and cash equivalents – held at fair value through profi t and loss – Receivables – held at amortised cost – Payables – held at amortised cost

The Trust does not enter into transactions for speculative purposes, nor for hedging. Apart from cash and cash equivalents, the Trust holds no fi nancial assets classifi ed at fair value through profi t and loss.

All disclosures relating to the measurement basis and fi nancial risk management of other fi nancial instruments held by the Trust are included in Note 22.


34



(o) Reserves

Building Development Reserve

This reserve has been established as the Trust is mindful of the need to undertake major building upgrades in future years for areas such as catering facilities, entertaining by corporate sponsors and offi ce accommodation.

Equipment Replacement Reserve

The balance of this reserve represents funds held for future replacement of the Trust’s general equipment needs, including information technology and theatre production equipment. The level of this reserve as at 30 June 2012 represents 34% of the total accumulated depreciation of the Trust’s property, plant and equipment.

General Reserve

The General Reserve provides for fl uctuations in working capital due to the volatile nature of the performing arts industry.

Commercial Development Reserve

The Commercial Development Reserve is to offset the fi nancial risks associated with investments in co-presentations with commercial organisations or strategic productions undertaken by the Trust on a commercial basis.

(p) Services Provided by External Parties free of charge

The Trust was provided with the use of the Performing Arts Centre premises for which the State does not charge rent (refer note 3).

(q) Insurance

The Trust’s non current physical assets and other risks are insured through the Queensland Government Insurance Fund, premiums being paid on a risk asssessed basis. In addition the Trust pays premiums to Workcover Queensland in repect of all obligations for employee compensation.

It is the Trust’s policy to insure against all potential liabilities or losses that would affect its normal operations.

(r) Judgements and Assumptions

The preparation of fi nancial statements necessarily requires the determination and use of certain critical accounting estimates, estimates and management judgements that have the potential to cause a material adjustment to the carrying amount of assets and liabilities within the next fi nancial year. Such estimates, judgements and underlying assumptions are reviewed on an ongoing basis. Revisions in accounting estimates are recognised in the period in which the estimate is revised and in future periods as required.


35

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(s) New and Revised Accounting Standards

The Trust did not voluntarily change any of its’ accounting policies during the year ended 30 June 2012. Australian Accounting Standards applicable for the fi rst time during 2011 - 2012 have had minimal impact on the Trust’s fi nancial statements, as explained below.

AASB 2010-4 Further Amendments to Australian Accounting Standards arising from the Annual Improvements Project [Project [Project AASB 1, AASB 7, AASB 101 & AASB 134 and Interpretation 13] became effective from reporting periods beginning on or after 1 January 2011. The application of the standard had a minor impact on the Trust’s fi nancial instrument disclosures. The Trust is no longer required to disclose amounts that best represent its maximum exposure to credit risk where the carrying amount of the instruments refl ects this. If the Trust holds collateral or other credit enhancements in respect of any fi nancial instrument, it needs to disclose – by class of instrument – the fi nancial extent to which those arrangements mitigate the credit risk. There is no need to disclose the carrying amount of fi nancial assets for which the terms have been renegotiated, which would otherwise be past due or impaired. Also, for those fi nancial assets that are either past due but not impaired, or have been individually impaired, there will be no need to separately disclose details about any associated collateral or other credit enhancements held by the Trust.

AASB 1054 Australian Additional Disclosures became effective from reporting periods commencing on or after 1 July 2011. The standard had minimal impact on the Trust’s fi nancial statements. Note 8 (b) Other expenses has been amended to identify the Trust’s auditor and clarify the nature of the work performed by the auditor.

AASB 2011 - 1 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project (AASB 1, AASB 5, AASB 101, AASB 107, AASB 108, AASB 121, AASB 128, AASB 132, AASB 134 & Interpretations 2, 112 & 113) became effective for reporting periods commencing on or after 1 July 2011 has a potential implication on the Trust’s fi nancial statements as the Standard removes the requirement to disclose commitments. At present the Treasury Department’s reporting requirements require disclosure of this information, so the Standard has no effect on the Trust’s fi nancial statements.

The Trust is not permitted to early adopt a new or amended accounting standard ahead of the specifi ed commencement date unless approval is obtained from the Treasury Department. Consequently, the Trust has not applied any Australian accounting standards and interpretations that have been issued but are not yet effective. The Trust applies standards and interpretations in accordance with their respective commencement dates.


36



(s) New and Revised Accounting Standards (continued)

At the date of authorisation of the fi nancial report, signifi cant impacts of new or amended Australian accounting standards with future commencement dates are as set out below.

AASB 9 Financial Instruments (December 2010) and AASB 2010-7 Amendments to Australian Accounting Standards arising from AASB 9 (December 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127] are effective from reporting periods 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127] are effective from reporting periods 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127]beginning on or after 1 January 2013. The main impacts of these standards on the Trust are that they will change the requirements for the classifi cation, measurement and disclosures associated with fi nancial assets. Under the new requirements, fi nancial assets will be more simply classifi ed according to whether they are measured at either amortised cost or fair value. Pursuant to AASB 9, fi nancial assets can only be measured at amortised cost if two conditions are met. One of these conditions is that the asset must be held within a business model whose objective is to hold assets in order to collect contractual cash fl ows. The other condition is that the contractual terms of the asset give rise on specifi ed dates to cash fl ows that are solely payments of principal and interest on the principal amount outstanding.

On initial application of AASB 9, the Trust will need to re-assess the measurement of its fi nancial assets against the new classifi cation and measurement requirements, based on the facts and circumstances that exist at that date. Assuming no change in the types of transactions the Trust enters into, it is not expected that any of the Trust’s fi nancial assets will meet the criteria in AASB 9 to be measured at amortised cost. Therefore, as from the 2013-14 fi nancial statements, all of the Trust’s fi nancial assets will be required to be classifi ed as “fi nancial assets required to be measured at fair value through profi t or loss” (instead of the measurement classifi cations presently used in notes 2(n) and 22). The same classifi cation will be used for net gains/losses recognised in the Statement of Comprehensive Income in respect of those fi nancial assets. In the case of the Trust’s receivables, the carrying amount is considered to be a reasonable approximation of fair value.

AASB 1053 Application of Tiers of Australian Accounting Standards and AASB 2010-2 Amendments to Australian Accounting Standards arising from Reduced Disclosure Requirements [AASB 1, 2, 3, 5, 7, 8, 101, 102, 107, 108, 110, 111, 112, 116, 117, 119, 121, 123, 124, 127, 128, 131, 133, 134, 136, 137, 138, 140, 141, 1050 & 1052 and Interpretations 2, 4, 5, 15, 17, 127, 129, & 1052] apply to reporting periods beginning on or after 1 July 2013. AASB 1053 establishes a differential reporting framework for those entities that prepare general purpose fi nancial statements, consisting of two tiers of reporting requirements – Australian Accounting Standards (commonly referred to as “tier 1”), and Australian Accounting Standards – Reduced Disclosure Requirements (commonly referred to as “tier 2”).

Tier 1 requirements comprise the full range of AASB recognition, measurement, presentation and disclosure requirements that are currently applicable to reporting entities in Australia. The only difference between the tier 1 and tier 2 requirements is that tier 2 requires fewer disclosures than tier 1. AASB 2010-2 sets out the details of which disclosures in standards and interpretations are not required under tier 2 reporting.

Pursuant to AASB 1053, public sector entities like QPAT may adopt tier 2 requirements for their general purpose fi nancial statements. However, AASB 1053 acknowledges the power of a regulator to require application of the tier 1 requirements. In the case of the Trust, Treasury is the regulator. Treasury has advised that its policy decision is to require all Statutory Bodies to adopt tier 1 reporting requirements. In compliance with Treasury’s policy which prohibits the early adoption of new or revised accounting standards unless Treasury approval is granted, the Trust has not early adopted AASB 1053.


37

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(s) New and Revised Accounting Standards

A revised version of AASB119 Employee Benefi ts is applicable for reporting periods commencing on or after 1 January 2013 and is generally to be applied retrospectively. The revised standard clarifi es the concept of termination benefi ts and the recognition criteria for liabilies for termination benefi ts will be different under the revised standard. If termination benefi ts meet the timeframe criterion for short-term employee benefi ts they will be measured according to the AASB119 requirements for short-term employee benefi ts. Otherwise they will be measured according to the AASB119 requirements for other long-term employee benefi ts. The Trust’s obligations for other long-term employee benefi ts will need to be accounted for under most of the requirements for defi ned benefi t plans.

The Trust is a member of the Queensland Government central scheme for Long Service Leave and the employer liability is held by the central scheme. The revised AASB 119 contains changed criteria for accounting for employee benefi ts as short-term employee benefi ts. These changes will have a minimal impact on the Trust’s fi nancial reporting.

The following new and revised accounting standards are applicable to reporting periods commencing on or after 1 January 2013:–

AASB 10 Consolidated Financial Statements

AASB 11 Joint Arrangements

AASB 12 Disclosure of Interests in Other Entities

AASB 127 (revised) Separate Financial Statements

AASB 128 (revised) Investments in Associates and Joint Ventures

AASB 2011 - 7 Amendments to Australian Accounting Standards arising from the Consolidation and Joint Arrangements Standards (AASB 1, 2, 3, 5, 7, 9, 2011 - 11, 101, 107, 112, 118, 121, 124, 132, 133, 136, 138, 139, 1023 & 1038 and Interpretations 5, 9, 16 &17).

The AASB is currently considering modifying the above standards for use by Australian not for profi t entities. Therefore the Trust is not yet in a position to reliably determine the future implications of these Accounting Standards to it’s fi nancial statements.

The following new and revised accounting standards are also applicable to reporting periods commencing on or after 1 January 2013:-

AASB 2010 - 7 Amendments to Australian Accounting Standards arising from AASB 9 (December 2010) [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 120, 121, 127, 128, 131, 132, 136, 137, 139, 1023 & 1038 and Interpretations 2, 5, 10, 12, 19 & 127]

AASB 2009-11 Amendments to Australian Accounting Standards arising from AASB 9 [AASB 1, 3, 4, 5, 7, 101, 102, 108, 112, 118, 121, 127, 128, 131, 132, 136, 139, 1023 & 1038 and Interpretations 10 & 12]

AASB 13 Fair Value Measurement

AASB 2010-10 Further Amendments to Australian Accounting Standards – Removal of Fixed Dates for First-time Adopters [AASB 2009-11 & AASB 2010-7]

AASB 2011 - 8 Amendments to Australian Accounting Standards arising from AASB 13 [AASB 1, 2, 3, 4, 5, 7, 9, 2009-11, 2010-7, 101, 102, 108, 110, 116, 117, 118, 119, 120, 121, 128, 131, 132, 133, 134, 136, 138, 139, 140, 141, 1004, 1023 & 1038 and Interpretations 2, 4, 12, 13, 14, 17, 19, 131 & 132]

AASB 2011 - 10 Amendments to Australian Accounting Standards arising from AASB 119 (September 2011) [AASB 1, AASB 8, AASB 101, AASB 124, AASB 134, AASB 1049 & AASB 2011-8 and Interpretation 14]

AASB 2012 - 2 Amendments to Australian Accounting Standards – Disclosures – Offsetting Financial Assets and Financial Liabilities [AASB 7 & AASB 132]

AASB 2012 - 4 Amendments to Australian Accounting Standards – Government Loans [AASB 1]


38



(s) New and Revised Accounting Standards (continued)

AASB 2012 - 5 Amendments to Australian Accounting Standards arising from Annual Improvements 2009–2011 Cycle [AASB 1, AASB 101, AASB 116, AASB 132 & AASB 134 and Interpretation 2]

The Trust is either not yet in a position to reliably determine the future implications of these Accounting Standards to it’s fi nancial statements or believes that the Standards will only have a minimal impact on it’s fi nancial reporting.

AASB 2010 - 8 Amendments to Australian Accounting Standards – Deferred Tax: Recovery of Underlying Assets [AASB 112] is applicable to reporting periods commencing on or after 1 January 2012. This standard will have no impact on the Trusts fi nancial reporting.

AASB 2011 - 9 Amendments to Australian Accounting Standards – Presentation of Items of Other Comprehensive Income [AASB 1, 5, 7, 101, 112, 120, 121, 132, 133, 134, 1039 & 1049] is applicable to reporting periods Income [AASB 1, 5, 7, 101, 112, 120, 121, 132, 133, 134, 1039 & 1049] is applicable to reporting periods Income [AASB 1, 5, 7, 101, 112, 120, 121, 132, 133, 134, 1039 & 1049]commencing on or after 1 July 2012. This standard requires items of other comprehensive income to be grouped on the basis of whether they are potentially reclassifi able to profi t or loss subsequently. This standard could potentially give rise to additional disclosure by the Trust.

AASB 2011 - 3 Amendments to Australian Accounting Standards – Orderly Adoption of Changes to the ABS GFS Manual and Related Amendments [AASB 1049] and AASB 2011 - 13 GFS Manual and Related Amendments [AASB 1049] and AASB 2011 - 13 GFS Manual and Related Amendments [AASB 1049] Amendments to Australian Accounting Standard – Improvements to AASB 1049 are also applicable to reporting preiods commencing on or after 1 July 2012. The Trust believes that neither of these standards will impact on it’s fi nancial reporting.

AASB 2011 - 2 Amendments to Australian Accounting Standards arising from the Trans-Tasman Convergence Project – Reduced Disclosure Requirements [AASB 101 & AASB 1054], AASB 2011 - 4 Amendments to Australian Accounting Standards to Remove Individual Key Management Personnel Disclosure Requirements [AASB 124], Accounting Standards to Remove Individual Key Management Personnel Disclosure Requirements [AASB 124], Accounting Standards to Remove Individual Key Management Personnel Disclosure Requirements [AASB 124]AASB 2011 - 6 Amendments to Australian Accounting Standards – Extending Relief from Consolidation, the Equity Method and Proportionate Consolidation – Reduced Disclosure Requirements [AASB 127, AASB 128 & AASB 131] and AASB 2012 - 1 & AASB 131] and AASB 2012 - 1 & AASB 131] Amendments to Australian Accounting Standards - Fair Value Measurement - Reduced Disclosure Requirements [AASB 3, AASB 7, AASB 13, AASB 140 & AASB 141] are applicable to reporting periods commencing on or after 1 July 2013. The Trust believes that the adoption of these standards will not impact on it’s fi nancial reporting.

AASB 2012 - 3 Amendments to Australian Accounting Standards – Offsetting Financial Assets and Financial Liabilities [AASB 132] is applicable to reporting periods commencing on or after 1 January 2014. Application of this standard is not expected to have an impact on the Trust’s fi nancial reporting.


39

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Note 3 Services and Assets Provided to the Trust

Arts Queensland, through the Department of Science, Information Technology, Innovation and the Arts, owns and maintains the Performing Arts Centre premises on behalf of the State of Queensland. The Trust is provided with the use of the building and items of fi tout, including certain items of plant and equipment that are not performance related, by way of a service level agreement with the Corporate Administration Agency (CAA). While the State does not charge rent on the premises occupied by the Trust, the Trust does make a contribution to the continued maintenance of the building.

Note 4 Controlled Entity

No controlled entity was owned by the Trust for the reporting period, therefore consolidated accounts have not been prepared.

Note 5 Trust Fund

A separate Trust Fund bank account is maintained to hold ticket sales monies until the completion of the performance or event when the funds are released to the promoter. As QPAT is only the custodian of these moneys, they are not refl ected in the Financial Statements.

Commission earned on the sale of tickets is included as Operating Revenue in the Financial Statements. Ticket sales for the year amounted to $72.613 million ( 2011 $54.945 million ).

Interest earned on the Trust monies held are included as Operating Revenue in the Financial Statements. The balance of monies invested at 30 June 2012 was $16.733 million ( 2011 $12.372 million ).

Note 6 Concessions Provided by the Trust

Rental concessions provided to Government subsidised cultural organisations, charitable organisations, Government Departments and educational institutions, amounted to $565,000 (2011 $568,707). These concessions are part of the advertised policy of the Trust in accordance with its objectives under the Queensland Performing Arts Trust Act 1977.

Note 7 Results Across Business Units

(a) Management Information by Business Units

Operating Revenue and Expenses have been broken down by Cost Centre Groupings, or Business Units, refl ecting lines of Management control and responsibility within the Trust.

Presenter Services

The Trust’s Presenter Services Business Unit encompasses both arts programming and commercial operations. Arts programming includes the Community, Access Arts and Arts Excellence programmes as well as the Performing Arts Museum. These activities are undertaken as part of the Government’s Arts Policy and are not expected to recover all costs. The Trust’s commercial operations include venue hire for commercial productions, QPAC Presents, as well as production services.

Marketing & Ticketing

The Trust’s Marketing & Ticketing Business Units oversee the operation of QTIX, Corporate Marketing, Event Marketing and sponsorship.

Patron Services

The Trust’s Patron Services Business Unit is responsible for operations management, which includes Visitor Services and all catering operations throughout QPAC.


40


* Facilities costs include an infrastructure services fee of $3.517M (2011: $3.141M) charged by the CAA, and charges for electricity sourced through CAA.

Note 7 Results Across Business Units (Continued)

(a) Management Information by Business Units (continued) Corporate Services & Directorate

The Trust’s Corporate Services Business Unit and Directorate are responsible for the provision of a range of corporate services to business units which deliver both Arts Programming and Commercial events.

The Trust is partly funded for the outputs it delivers by Parliamentary appropriations. It also provides services on a fee for service basis including: venue rental, production crewing services, ticket sales, marketing services and equipment hire.

(b) Operating Revenue and Expenses by Business Unit - Current Year

Presenter Marketing & Patron Corp Servs Total Services Ticketing Services & OCE**

2011 2011 2011 2011 2011 $’000 $’000 $’000 $’000 $’000

Operating revenue (see note 8a)

Revenues from service activities 14,485 10,779 10,307 145 35,716

Operating grant – – – 8,900 8,900

Other revenues – 48 – 1,121 1,169

14,485 10,827 10,307 10,166 45,785

Operating expenses

Employee expenses (see note 8c) 9,368 3,925 6,803 5,193 25,289

Supplies and services (see note 8b) 5,891 3,937 3,797 2,332 15,957

Facilities costs * (see also note 8b) – – – 3,631 3,631

Depreciation and amortisation – – – 608 608

Other expenses – – – 186 186

15,259 7,862 10,600 11,950 45,671

OPERATING SURPLUS OR (DEFICIT) (774) 2,965 (293) (1,784) 114


41

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

Note 7 Results Across Business Units (Continued)

(c) Operating Revenue and Expenses by Business Unit – Previous Year

Presenter Marketing & Patron Corp Servs Total Services Ticketing Services & OCE**

2011 2011 2011 2011 2011 $’000 $’000 $’000 $’000 $’000 Operating revenue (see note 8a)

Revenues from service activities 10,529 7,526 9,396 2,505 29,956

Operating grant – – – 7,936 7,936

Other revenues – 144 – 923 1,067

10,529 7,670 9,396 11,364 38,959

Operating expenses

Employee expenses (see note 8c) 7,079 3,024 5,913 5,023 21,039

Supplies and services (see note 8b) 3,620 3,064 3,520 2,707 12,911

Facilities costs * (see also note 8b) – – – 3,322 3,322

Depreciation and amortisation – – – 596 596

Other expenses – – – 209 209

10,699 6,088 9,433 11,857 38,077

OPERATING SURPLUS OR (DEFICIT) (170) 1,582 (37) (493) 882

* Facilities costs include an infrastructure services fee of $3.141M (2010: $3.139M) charged by the CAA, and charges for electricity sourced through CAA.


42


2012 2011 $’000 $’000

Note 8 Income statement - disclosures

(a) Revenue Revenues from service activities Rental income 5,607 4,974

Box Offi ce 6,632 4,802 Sales 11,639 8,162 Recoveries 8,709 9,116 Project income 2,843 2,622 Other service revenue 286 280

35,716 29,956

Grants and Other Contributions Operating grant 8,882 7,829

Other 18 * 107

8,900 7,936

* Other Grants relate to the recognition of project funding grants as revenue. Project costs relating to these grants will be incurred in subsequent years

Other Revenues Interest 1,121 923

Investment income – 65 Donations 48 79

1,169 1,067

Total Operating Revenue 45,785 38,959

(b) Net gains and expenses

Depreciation and amortisation

Buildings 15 15 Leasehold improvements 54 53 Plant and equipment 459 448 Concert Hall Grand Organ 80 80

608 596


43

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T


2012 2011 $’000 $’000

Note 8 Income statement - disclosures (Continued)

Supplies and services Cost of services non labour 8,341 6,308

Facilities costs 3,631 3,322 Staff recruitment and training 289 277 Travel 227 223 Motor vehicle costs 41 37 Recurring equipment replacement 249 274 Marketing 515 476 Information services 864 710 Library services 16 19 Consultants, contractors, legals 844 488 Memberships and Sponsorships 57 51 Entertainment 54 72 Stock and consumables/materials 3,052 2,595 Agency staff 183 170 Insurance – QGIF 85 85 Insurance – Other 26 17 Repairs and maintenance 257 232 Telecommunications 240 225 Freight and postage 195 186 Printing, stationery and offi ce supplies 172 246 Other 250 220

19,588 16,233

Other Expenses External audit fees 33 86

Internal audit fees 24 6 Doubtful debts/(write back of debts collected) 33 13 Loss on sale of plant and equipment 17 36 Sundry 79 68 186 209

Total Operating Expense 20,382 17,038

Total audit fees paid to the Queensland Audit Offi ce in respect of the external audit are $62,400 (2011 $60,000). There are no non audit services included in these amounts.

(c) Employee Expenses Salaries and wages 21,391 17,876

Employer superannuation contributions 2,159 1,756 Long service leave levy 398 291 Payroll tax 1,054 907 WorkCover insurance 193 120 Other employee costs 94 89

25,289 21,039

The Trust had 337 full time equivalent employees at 30 June 2012 (300 at 30 June 2011).

44


2012 2011 $’000 $’000

Note 9 Cash and Cash Equivalents

Cash on hand and at bank 200 499 Deposits at call 11,959 8,575

12,159 9,074

Note 10 Receivables

(a) Current

Trade debtors 1,508 1,770 Provision for impairment (54) (29) 1,454 1,741 Accrued income 1,019 799 GST receivable 136 160 2,609 2,700

(b) Trade Debtors Aging Analysis

Current 1,252 1,617 30 - 60 Days 139 99 60 - 90 Days 71 4 Over 90 Days 46 50 1,508 1,770

(c) Movement in allowance of provision for impairment

Balance at beginning of year 29 108 Amounts written off during the year (8) (91) Increase/decrease in allowance recognised in profi t or loss 33 12 Balance at the end of the year 54 29

Note 11 Inventories

Supplies and consumables at cost 241 154

Note 12 Other Current Assets

Prepayments 141 638


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2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

2012 2011 $’000 $’000

Note 13 Intangible Assets Software

– at cost 517 517 less: accumulated amortisation (517) (517)

Total Intangible Assets – net book value – –

Note 14 Property, Plant and Equipment Buildings – at independent valuation 250 302

less: accumulated depreciation – (72) 250 230

Land – at independent valuation 2,050 1,497

Leasehold Improvements – at cost 914 948 less: accumulated depreciation (420) (402) 494 546

Plant and Equipment – at cost 9,000 9,234

less: accumulated depreciation (6,840) (7,041) 2,160 2,193

Heritage and cultural assets (Concert Hall Grand Organ) – at independent valuation (2006: independent valuation) 2,700 3,360

less accumulated depreciation – (399) 2,700 2,961 Motor Vehicles – at cost 37 37 less: accumulated depreciation (37) (37)

– – Work in progress – at cost 71 154 less: accumulated depreciation – – 71 154

Total Property, Plant and Equipment – net book value 7,725 7,581

Independent valuations of land, buildings, heritage and cultural assets were performed as at 30 June 2012 by an independent valuer API qualifi ed in Queensland on behalf of AssetVal Pty Ltd using ‘fair value’ principles. A physical stocktake of the Trust’s property plant and equipment was performed as at 30 June 2012. The valuation of land and buildings is based on current market values. For heritage and cultural assets, the basis of valuation is depreciated current replacement cost. Plant and equipment and motor vehicles are valued at cost. Details of the Trust’s accounting policies in relation to non-current assets are provided in notes 2c to 2g.


46


Note 14 Property, Plant and Equipment (Continued)

Reconciliation of Property, Plant and Equipment.

Carrying Transfers Depreciation Carrying

value at 1 Acquisitions Disposals between Revaluation and value at 30 July 2011 Classes Amortisation June 2012 $’000 $’000 $’000 $’000 $’000 $’000 $’000

Land 1,497 – – – 553 – 2,050 Buildings 230 – – – 34 (14) 250 Leasehold Improvements 546 – – – – (52) 494 Plant and equipment 2,193 – (17) 446 – (462) 2,160 Motor Vehicles - – – – – – – –Grand Organ 2,961 – – – (181) (80) 2,700 Capital work in progress 154 385 22 (446) – – 71

Total 7,581 385 (39) – 406 (608) 7,725

2012 2011

Note 15 Payables $’000 $’000

Trade creditors 795 926 Other creditors 2,474 1,351 GST Payable 370 175

3,639 2,452

Note 16 Accrued employee benefi ts

Annual leave 1,005 682 Wages and salaries payable 243 251

1,248 933

Note 17 Other current liabilities

Unearned revenue 867 161

Note 18 Statement of cash fl ows – disclosures

(a) Cash and cash equivalents at the end of the year, as shown in the Statement of cash fl ows Cash on hand and at bank 200 499

Deposits at call 11,959 8,575 12,159 9,074

(b) Reconciliation of net cash from operating activities to net result for the period Net result for the period 114 882

Depreciation and amortisation 608 596 Net loss on sale of non-current assets 39 36

Investment income – (65)

Change in operating assets and liabilities:

(Increase)/decrease in receivables 67 1,390 (Increase)/decrease in prepayments 497 (172) (Increase)/decrease in inventories (87) 38 (Increase)/decrease in GST input tax credits receivables 24 17

Increase/(decrease) in GST payables 195 12 Increase/(decrease) in operating payables and unearned revenue 1,698 401

Increase/(decrease) in accrued employee benefi ts 315 126 Net cash from operating activities 3,470 3,261


47

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

Note 19 Asset Revaluation Reserve by Class:

Balance Revaluation Revaluation Balance 1 July 2011 Increments 30 June 2012 Decrements $’000 $’000 $’000 $’000 Land 1,047 553 – 1,600 Buildings 121 34 – 155 Heritage and cultural assets 2,006 – (181) 1,825 3,174 587 (181) 3,580 Balance Revaluation Revaluation Balance 1 July 2010 Increments 30 June 2011 Decrements $’000 $’000 $’000 $000 Land 1,047 – – 1,047 Buildings 121 – – 121 Heritage and cultural assets 2,006 – – 2,006 3,174 – – 3,174

2012 2011 $’000 $’000

Note 20 Commitments

Non-Cancellable Operating Lease Commitments

At 30 June the Trust had the following operating lease commitments inclusive of GST:

Not later than one year 21 16 Later than one year and not later than fi ve years 25 17 Later than fi ve years – –

46 33

The total of operating lease payments for the year was $20,252 (2011 $16,475).

The Trust has lease agreements for the rental of motor vehicles. The rentals for all agreements are paid on a monthly instalment basis. There are no fi nancial or other restrictions imposed by any of these agreements. Other Commitments

Not later than one year 305 – Later than one year and not later than fi ve years – – Later than fi ve years – –

305 –

Note 21 Contingencies

As at 30 June 2012 there are no material contingent liabilities for the Trust.


48


Note 22 Financial Instruments

(a) General Objectives, Policies and Processes

The Trust is exposed to risks that arise from its use of fi nancial instruments. This note describes the Trust’s objectives, policies and processes for managing those risks and the methods used to measure them. Further quantitative information in respect of these risks is presented throughout these fi nancial statements.

There have been no substantive changes in the Trust’s exposure to fi nancial instrument risks, its objectives, policies and processes for managing those risks or the methods used to measure them from the previous periods unless otherwise stated in this note.

“The Board of Trustees has overall responsibility for the determination of the Trust’s risk management objectives and policies and, designing and operating processes that ensure the effective implementation of the objectives and policies to the Trust. The Trust’s risk management policies and objectives are therefore designed to minimise the potential impacts of these risks on the results of the Trust, where such impacts may be material. The Risk Management Audit Committee (RMAC) receives quarterly reports from the Trust’s Director of Corporate Services, through which it reviews the effectiveness of the processes put in place and the appropriateness of the objectives and policies it sets. The Trust’s internal auditors also review the risk management policies and processes and report their fi ndings to the RMAC, which in turn reports to the Board.

The overall objective of the Board is to set polices that seek to reduce risk as far as possible without unduly affecting the Trust’s competitiveness and fl exibility. Further details regarding these policies are set out below:

(b) Interest Rate Risk

The exposure to interest rate risks and the effective interest rates of fi nancial assets and fi nancial liabilities, both recognised and unrecognised at balance date are as follows:

Floating 1 Year Non Total Weighted Interest or less Interest Average Rate Bearing Rate

2012 2012 2012 2012 2012 $’000 $’000 $’000 $’000 %

Financial AssetsCash on hand and at bank 109 – 91 200 0.78%Short term securities – 11,959 – 11,959 5.40%Receivables – – 2,609 2,609 0.00%

Financial LiabilitiesPayables – – 3,639 3,639 0.00%

2011 2011 2011 2011 2011 $’000 $’000 $’000 $’000 %

Financial AssetsCash on hand and at bank 408 – 91 499 1.45%Short term securities – 8,575 – 8,575 5.55%Receivables – – 2,700 2,700 0.00%

Financial LiabilitiesPayables – – 2,452 2,452 0.00%


49

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T


Note 22 Financial Instruments (cont’d)

(c) Credit Risk

Credit risk exposure refers to the situation where the Trust may incur fi nancial loss as a result of another party to a fi nancial instrument failing to discharge their obligation.

The maximum exposure to credit risk at balance date in relation to each class of recognised fi nancial asset is represented by the carrying amount of those assets inclusive of any provisions for impairment. There are no concentrations of credit risk as the Trust has a large number of customers. The Trust’s policy is that sales are only made to customers that are credit worthy.

The maximum exposure to credit 2012 2011 risk at balance date is as follows : $’000 $’000

Financial Assets Cash on hand and at bank 200 499 Short term securities 11,959 8,575 Receivables 2,609 2,700

14,768 11,774

(d) Liquidity Risk Liquidity risk refers to the situation where the Trust may encounter diffi culty in meeting obligations associated with fi nancial liabilities that are settled by delivering cash or another fi nancial asset. The Trust is exposed to liquidity risk through its trading in the normal course of business.

The Trust manages liquidity risk through use of the Financial Reserves Policy. This policy aims to reduce exposure to liquidity risk by ensuring the Trust has suffi cient funds available to meet employee and supplier obligations as they fall due. This is achieved by ensuring that minimum levels of cash are held within the various bank accounts so as to match the expected duration of the various employee and supplier liabilities. Maturity Analysis

Less than 1 1-3 3 months Greater Carrying months to 1 year than 1 year Rate Amount

2012 2012 2012 2012 2012 $’000 $’000 $’000 $’000 %

Financial AssetsCash on hand and at bank 200 – – – 200 Short term securities 11,959 – – – 11,959 Receivables 2,353 210 46 – 2,609

Financial LiabilitiesPayables 3,639 – – – 3,639

2011 2011 2011 2011 2011 $’000 $’000 $’000 $’000 %

Financial AssetsCash on hand and at bank 499 – – – 499 Short term securities 8,575 – – – 8,575 Receivables 2,547 103 50 – 2,700

Financial LiabilitiesPayables 2,452 – – – 2,452

(e) Net Fair Value

It is considered that the net fair value of the fi nancial assets and fi nancial liabilities of the Trust approximate the book values due to their short term to maturity.

50


Note 23 Remuneration of Trustees Remuneration paid or payable to Trustees for attendances at meetings held during 2011-2012 was as follows:

2012 2011 $’000 $’000

H. R. Smerdon 3 3

S. A. Mitchell 2 2

W. H. Grant 2 2

P. A. Piticco 1 1

R. Hunter 2 2

R. M. White 1 2

H. C. George 2 2

S. P. Street 1 1

S. A. Gallaher 2 2

M. C. Power 1 1

Total 17 18

Note 24 After Balance Date Events

No matters or circumstances have arisen since the end of the fi nancial year which signifi cantly affected or may signifi cantly affect the operations of the Trust, the results of those operations, or the state of affairs of the Trust in future fi nancial years.


51

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

Note 25 Key executive management personnel and remuneration

Key executive management personnel and remuneration disclosures are made in accordance with the section 5 addendum (issued in May 2011) to the Financial Reporting Requirements for Queensland Government Agencies issued by Queensland Treasury.

(a) Key executive management personnel

The following details for key executive management personnel include those positions that had authority and responsibility for planning, directing and controlling the activities of the agency during 2011-12. Further information on these positions can be found in the body of the annual report under the section relating to Executive Management.

Position Responsibilities Current incumbents

Contract classifi cation and appointment authority

Date appointed to position

(Date resigned from position)

Chief Executive

Responsible for QPAC’s vision to be an internationally recognised destination for performing arts and entertainment experiences by providing strategic direction and leadership for QPAC.

Employment contract/terms and conditions specifi ed in the contract/Governor in Council/Queensland Performing Arts Trust Act 1977

11-Dec-08

Director – Presenter Services

To create, manage and implement the Presenter Services strategies of QPAC including initiatives of the CEO, commercial productions and programs that fulfi l QPAC’s commitment to social justice, education, research, heritage and community cultural development.

Employment contract/appointment by Chief Executive/Queensland Performing Arts Trust Act 1977

28-Oct-09

Director – Corporate Services

To provide strategic advice and support to the Board, CEO and senior management of the Trust to ensure the achievement of the strategic targets agreed with the Minister in the Strategic and Operational Plans.


25-May-04

Director – Patron Services

To lead QPAC’s operations and service delivery units and continuously improve the standard of our services so we can satisfy our stakeholders now and into the future.


14-Dec-10

Director – Marketing

To develop and manage innovative and integrated marketing strategies to achieve the Trust’s strategic goals and organisational priorities, maximise participation in and the profi tability of all programs and events at QPAC.


10-Aug-11


52


Note 25 Key executive management personnel and remuneration (Continued)

b) Remuneration Remuneration policy for the agency’s key executive management personnel is set by the Queensland Public Service Commission as provided for under the Public Service Act 2008. The remuneration and other terms of employment for the key executive management personnel are specifi ed in the employment contracts. The contracts provide for the provision of performance-related cash bonuses and other benefi ts including motor vehicles.

Remuneration packages for Key executive management personnel comprise the following components:-

• Short term employee benefi ts which include: Base – consisting of base salary, allowances and leave entitlements paid and provided for the entire year or that part of the year during which the employee occupied the specifi ed position. Amounts disclosed equal the amount expensed in the Statement of Comprehensive Income

Non-monetary benefi ts – consisting of provision of parking and/or vehicle together with fringe benefi ts tax applicable to the benefi t.

• Long term employee benefi ts include long service leave. QPAC contributes to the Government long service leave central scheme which incurs the liability and subsequent payment of any long service leave payments that become due.

• Post employment benefi ts include superannuation contributions.

• Redundancy payments are not provided for within individual contracts of employment. Contracts of employment provide only for notice periods or payment in lieu of notice on termination, regardless of the reason for termination.

• Performance bonuses are not provided for within individual contracts of employment.

Total fi xed remuneration is calculated on a “total cost” basis and includes the base, non-monetary benefi ts, long term employee benefi ts and post employment benefi ts


53

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

1 July 2011 - 30 June 2012

Short term employee benefi ts Post employment Benefi ts

Termination benefi ts

Total remuneration

Position Base

$’000

Non-Monetary benefi ts

$’000 $’000 $’000 $’000

Chief Executive 220 31 23 – 274


174 5 23 – 202


149 5 19 – 173


128 8 16 – 152

Director –Marketing (Appointed 10 Aug 2011)

125 5 16 – 146

Total Remuneration 796 54 97 – 947

1 July 2010 - 30 June 2011

Short term employee benefi ts Post employment Benefi ts

Termination benefi ts

Total remuneration

Position Base

$’000

Non-Monetary benefi ts

$’000 $’000 $’000 $’000

Chief Executive 198 31 21 – 250


156 6 20 – 182


145 6 18 – 169


71 2 7 – 80

Total Remuneration 570 45 66 – 681


54


These general purpose fi nancial statements have been prepared pursuant to section 62 (1) of the Financial Accountability Act 2009 (the Act),relevant sections of the Financial and Performance Management Standard 2009 and other prescribed requirements. In accordance with section 62 (1)(b) of the Act we certify that in our opinion:

(a) the prescribed requirements for the establishment and keeping of accounts have been complied with in all material respects; and

(b) the statements have been drawn up to present a true and fair view, in accordance with prescribed accounting standards, of the transactions of the Queensland Performing Arts Trust for the fi nancial year ended 30 June 2012 and of the fi nancial position as at the end of that year.

Date: 30 August, 2012

Henry Smerdon, AMChair


Kieron Roost, CPADirector – Corporate Services

CERTIF ICATE OF THE QUEENSLAND PERFORMING ARTS TRUSTFor the Year Ended 30 June 2012

55

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

INDEPENDENT AUDITOR’S REPORTFor the Year Ended 30 June 2012

INDEPENDENT AUDITOR’S REPORT

To the Board of Queensland Performing Arts Trust

Report on the Financial Report

I have audited the accompanying fi nancial report of Queensland Performing Arts Trust, which comprises the statement of fi nancial position as at 30 June 2012, the statement of comprehensive income, statement of changes in equity and statement of cash fl ows for the year then ended, notes comprising a summary of signifi cant accounting policies and other explanatory information, and certifi cates given by the Chair, Chief Executive and Director Corporate Services.

The Board’s Responsibility for the Financial Report

The Board is responsible for the preparation of the fi nancial report that gives a true and fair view in accordance with prescribed accounting requirements identifi ed in the Financial Accountability Act 2009 and the Financial and Performance Management Standard 2009, including compliance with Australian Accounting Standards. The Board’s responsibility also includes such internal control as the Board determines is necessary to enable the preparation of the fi nancial report that gives a true and fair view and is free from material misstatement, whether due to fraud or error.

Auditor’s Responsibility

My responsibility is to express an opinion on the fi nancial report based on the audit. The audit was conducted in accordance with the Auditor-General of Queensland Auditing Standards, which incorporate the Australian Auditing Standards. Those standards require compliance with relevant ethical requirements relating to audit engagements and that the audit is planned and performed to obtain reasonable assurance about whether the fi nancial report is free from material misstatement.

An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the fi nancial report. The procedures selected depend on the auditor’s judgment, including the assessment of the risks of material misstatement of the fi nancial report, whether due to fraud or error. In making those risk assessments, the auditor considers internal control relevant to the entity’s preparation of the fi nancial report that gives a true and fair view 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, other than in expressing an opinion on compliance with prescribed requirements. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by the Board, as well as evaluating the overall presentation of the fi nancial report including any mandatory fi nancial reporting requirements approved by the Treasurer for application in Queensland.

I believe that the audit evidence obtained is suffi cient and appropriate to provide a basis for my audit opinion.

Independence

The Auditor-General Act 2009 promotes the independence of the Auditor-General and all authorised auditors. The Auditor-General is the auditor of all Queensland public sector entities and can be removed only by Parliament.

The Auditor-General may conduct an audit in any way considered appropriate and is not subject to direction by any person about the way in which audit powers are to be exercised. The Auditor-General has for the purposes of conducting an audit, access to all documents and property and can report to Parliament matters which in the Auditor-General’s opinion are signifi cant.

56


Opinion

In accordance with s.40 of the Auditor-General Act 2009 –

(a) I have received all the information and explanations which I have required; and

(b) in my opinion –

(i) the prescribed requirements in relation to the establishment and keeping of accounts have been complied with in all material respects; and

(ii) the fi nancial report presents a true and fair view, in accordance with the prescribed accounting standards, of the transactions of the Queensland

Performing Arts Trust for the fi nancial year 1 July 2011 to 30 June 2012 and of the fi nancial position as at the end of that year.

Other Matters – Electronic Presentation of the Audited Financial Report

This auditor’s report relates to the fi nancial report of Queensland Performing Arts Trust for the year ended 30 June 2012. Where the fi nancial report is included on Queensland Performing Arts Trust’s website the Board is responsible for the integrity of Queensland Performing Arts Trust’s website and I have not been engaged to report on the integrity of Queensland Performing Arts Trust’s website. The auditor’s report refers only to the subject matter described above. It does not provide an opinion on any other information which may have been hyperlinked to/from these statements or otherwise included with the fi nancial report. If users of the fi nancial report are concerned with the inherent risks arising from publication on a website, they are advised to refer to the hard copy of the audited fi nancial report to confi rm the information contained in this website version of the fi nancial report.

These matters also relate to the presentation of the audited fi nancial report in other electronic media including CD Rom.

J A Latif (CA)

as Delegate of the Auditor-General of Queensland

Brisbane31 August 2012

57

2 0 1 1 - 2 0 1 2 A N N U A L R E P O R T

Future Direction and Challenges

QPAC acknowledges a changing local and global context. The objectives, priorities and aspirations within our strategic plan refl ect Queensland’s growth, changing demographics and lifestyle patterns, technological innovations and the increasingly blurred boundaries between learning, art and entertainment. Our operations and planning address the expanded role cultural institutions play in knowledge-based societies that encourage creativity and innovation.

Broadly, QPAC’s key challenge in the coming four years is to grow and diversify its programs as well as commercial income streams in order to ensure fi nancial sustainability. Implicit within this are a number of challenges that span each of the focus areas within the strategic plan and include:

• Producing a balanced program that delivers against a curatorial vision.

• Building strong brand loyalty and recognition.

• Consolidating relationships that enable QPAC to expand its capacity and reach.

• Improving the integration and growing the profi tability of service operations.

The following priorities and strategies refl ect QPAC’s strategic direction for 2011-2015.

Live Performance

Priorities Strategies

Program Create a diverse program that achieves high levels of visitation and expands audience reach. Create and showcase high quality, innovative live performance experiences

Cultural Collaborations Utilise QPAC resources, networks and expertise to collaborate across the cultural sector and support art making



Access and learning Deliver access and learning opportunities that foster imagination, curiosity and enjoyment. Connect people, ideas and experiences to support active participation in cultural life

Audience experience Provide performing arts experiences that build loyalty and encourage people to return

Leadership


International Foster international relationships that promote QPAC’s brand and support the annual presentation of high profi le international productions

Expand delivery Seek partnerships that offer opportunities for growth through program and service delivery outside of QPAC. Expand our capacity, cultivate relationships and add value

Brand Leverage QPAC’s program, facilities, relationships and virtual environment to create and communicate a distinct QPAC brand

Precinct Collaborate with South Bank organisations to maximise the benefi ts of location

Commercial Opportunities


Investments Manage a diverse suits of commercial arrangements to deliver fi nancial return, incentivise producers and secure Brisbane seasons

Services Deliver exceptional, integrated ticketing and food and beverage services. Deliver integrated commercial services that provide increasing return and meet the highest industry standards.

Key priorities identifi ed for the coming year include:

• Activation of the Cascade Courtyard outside of performance hours

• Continue to build relationships with venues across Asia

58


LYRIC THEATRE6 - 31 July Doctor ZhivagoSkyline Theatricals Pty Ltd

CONCERT HALL1 JulyMichael FeinsteinDainty Consolidated Entertainment

5 JulyJu Percussion GroupWorld Arts & Multi-culture Inc

8 JulyClassic Albums Live presents RUMOURSSpiritworks Pty Ltd

11 July ACO Concert 3 Baroque VirtuosiAustralian Chamber Orchestra

15 JulyQSO Maestro 7 Bruckner’s Cathedral of SoundQueensland Symphony Orchestra Pty Ltd

19 - 20 JulyQMF Queensland Country Comfort HourQueensland Music Festival

22 JulyQMF Randy NewmanQueensland Music Festival

23 JulyFlamenco Sin FronterasHVK Productions Pty Ltd

25 JulyMary Poppins LaunchThe Walt Disney Company Australia Pty Ltd

26 – 28 JulyQUT July Graduations 2011Queensland University of Technology

PLAYHOUSE3 JulyThe Mabo Oration 2011QPAC

1 – 9 JulyBangarra – BelongQPAC

15 – 23 JulyEDC R&JExpressions Dance Company and QPAC Presents

24 JulyAustralian Dance AwardsThe Australian Dance Council in association with QPAC

26 – 30 JulyTurns Christine Dunstan Productions Pty Ltd

CREMORNE THEATRE1 – 9 July

Harvest Rain Aladdin (Return Season)Harvest Rain Ltd and QPAC

26 – 30 JulyQMF Piano LessonsQueensland Music Festival and QPAC

STUDIO 28 – 9 JulyJersey Boys AuditionsJersey Boys

FUNCTION ROOM2 JulyUQ Business School – Yalari Horizons Leadership SessionsUQ Business School

25 JulyCommunity Cabinet MeetingsQPAC

CASCADE COURT2 – 3 JulyThe Torres Strait Islands: A CelebrationQPAC

18 JulyRock of Ages LaunchNewtheatricals Pty Limited

23 July Hannah Karydas CD LaunchQPAC

MERIVALE STREET STUDIO1 – 16 JulyWater Wars RehearsalsUmber Productions

27 - 29 JulyMusical Theatre Course – Term 3Griffi th University – Queensland Conservatorium

TONY GOULD GALLERY1 – 31 JulyExhibition: A View from the Sixth Row – Photographs by Reina IrmerQPAC

AUGUST 2011LYRIC THEATRE1 - 14 August Doctor ZhivagoSkyline Theatricals Pty Ltd

19 – 24 AugustGrug QPAC

22 AugustAnnie LaunchGFO Entertainment Pty Ltd

27 AugustBallet RevolucionATA Allstar Artists Pty Limited

30 AugustNick Jr.’s Dora the Explorer LIVE! Search for the City of Lost ToysThe Trustee for the Life Like Touring (Australia) Unit Trust

CONCERT HALL3 AugustGrimethorpe Colliery BandHVK Productions Pty Ltd

6 AugustQ Pops Cinema SensationsQueensland Pops Orchestra

8 AugustACO Concert 4 Schubert String QuartetAustralian Chamber Orchestra

9 August The Beatles Back to BackSpiritworks Pty Ltd

10 - 12 AugustBallet RevolucionATA Allstar Artists Pty Limited

13 AugustQSO Maestro 8 Turmoil and PassionQueensland Symphony Orchestra

15 - 18 AugustDylan MoranAdrian Bohm Presents Pty Ltd

19 AugustJon English in ‘The Rock Show’Sound One Pty Limited

20 AugustQYO Masterpiece 3 – Rite of SpringQueensland Youth Orchestra Council

21 AugustQSO Music on Sundays 5 Not the Last Night of the Proms!Queensland Symphony Orchestra

22 AugustQSO Music on Monday Queensland Symphony Orchestra

24 AugustQPAC Choir ShowcaseQPAC

27 AugustThe Lev Vlassenko Piano CompetitionThe Lev Vlassenko Competition

28 AugustSenior Superstar Grand FinalPresented by Brisbane City Council, The Public Trustee of Queensland, QPAC, Quest Community Newspapers and 4BC 1116 News Radio

PLAYHOUSE5 – 7 AugustQB International Gala 2011Queensland Ballet

15 – 31 AugustQTC Cat on a Hot Tin RoofQueensland Theatre Company

CREMORNE THEATRE4 – 20 AugustCabaretQPAC

23 – 31 August Animal FarmQPAC

CONCERT HALL MAIN FOYER11 August Cradle Songs with Karin SchauppQPAC

STUDIO 125 , 27 & 31 AugustAnimal Farm WorkshopsQPAC

STUDIO 223 – 24 AugustMary Poppins AuditionsThe Walt Disney Company Australia Pty Ltd

PLAYHOUSE AND LYRIC THEATRE LOUNGE5 – 18 AugustCabaret Performance WorkshopsQPAC

CASCADE COURT20 – 26 AugustMercedes Benz Fashion FestivalQPAC

MERIVALE STREET STUDIOWednesday/Thursday/Friday Weekly AugustMusical Theatre Course – Term 3Griffi th University – Queensland Conservatorium

TONY GOULD GALLERY1 – 31 AugustExhibition: A View from the Sixth Row – Photographs by Reina IrmerQPAC

SEPTEMBER 2011LYRIC THEATRE1 – 2 SeptemberThe Ten TenorsSpiritworks Pty Ltd

5 SeptemberDylan MoranAdrian Bohm Presents Pty Ltd

7 SeptemberQSO 2012 LaunchQueensland Symphony Orchestra

8 – 10 SeptemberImperial Russian Ballet Company – Festival of Russian BalletRussian Ballet Touring Pty Ltd

15 – 30 SeptemberLe Grande Cirque – AdrenalineQPAC

CONCERT HALL3 SeptemberQSO Young Performers Award Grand FinalQueensland Symphony Orchestra

Appendix One – Year in Review Performance Listing

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8 SeptemberJames Cook University Brisbane Graduations SeptemberRusso Higher Education Pty Ltd

11 SeptemberQSO Gala Symphonia EluviumQueensland Symphony Orchestra

11 SeptemberEvgeny Kissin RecitalMajor Brisbane Festivals Pty Ltd and QPAC

12 SeptemberACO Concert 5 Viennese SerenadeAustralian Chamber Orchestra

13 – 14 SeptemberIn The MoodMario Maiolo Promotions Pty Ltd

15 SeptemberJames MorrisonMajor Brisbane Festivals Pty Ltd and QPAC

16 SeptemberShaolin WarriorsAndrew Kay & Associates

17 SeptemberQSO Maestro 9 Russian RomanceQueensland Symphony Orchestra

20 – 21 SeptemberBryan AdamsFrontier Touring Company

22 SeptemberWhole Lotta Love Led Zeppelin CelebrationTim Woods Entertainment

24 SeptemberJustine Clarke Little Day OutMichael Coppel Presents

27 SeptemberHale and PaceJon Nicholls Productions Pty Ltd

28 SeptemberTic Tic IIUniversal Touring Group Unit Trust

30 SeptemberQueen It’s a Kinda MagicRockcity Event Marketing Pty Ltd

PLAYHOUSE1 - 3 SeptemberQTC Cat on a Hot Tin RoofQueensland Theatre Company

7 – 10 SeptemberChunky Move: Mortal EngineMajor Brisbane Festivals Pty Ltd and QPAC

14 – 17 SeptemberMaria De Buenos AiresMajor Brisbane Festivals Pty Ltd and QPAC

21 – 25 SeptemberCircus Oz: SteampoweredMajor Brisbane Festivals Pty Ltd and QPAC

28 – 30 SeptemberSydney Dance Company: The Land of Yes and the Land of NoMajor Brisbane Festivals Pty Ltd and QPAC

CREMORNE THEATRE1 – 2 SeptemberAnimal FarmQPAC

6 September2011 Queensland Premier’s Literary Awards CeremonyDepartment of Premier & Cabinet

13 – 30 SeptemberFluffQPAC

STUDIO 222 – 23 SeptemberSeeLive AuditionsSeeLive Tivoli Entertainment & Consulting GmbH

FUNCTION ROOM10 SeptemberMcKay/Mill Wedding CeremonyMcKay/Mill, Leigh & Sam

24 SeptemberWong/Myer WeddingWong, Dana

CONCERT HALL MAIN FOYER9 SeptemberCradle Songs with Rachel BeckQPAC

MELBOURNE STREET GREEN17 SeptemberBrisbane’s Big Uke JamBrisbane Ukulele Musicians Society Inc and QPAC

23 & 30 SeptemberThe Green Jam SessionsQPAC

CASCADE COURT7 – 24 SeptemberWunder BarQPAC

MERIVALE STREET STUDIO4 – 11 SeptemberLearning How to Breathe RehearsalsAccolade Productions

Wednesday/Thursday/Friday Weekly SeptemberMusical Theatre Course – Term 3Griffi th University – Queensland Conservatorium

TONY GOULD GALLERY1 – 31 SeptemberExhibition: A View from the Sixth Row – Photographs by Reina IrmerQPAC

OCTOBER 2011LYRIC THEATRE13 – 29 OctoberToscaOpera Queensland Ltd

16 – 30 OctoberCarl BarronA List Entertainment

CONCERT HALL1 OctoberQSO Gala 4 The Puccini ExperienceQueensland Symphony Orchestra

2 – 3 OctoberVienna Philharmonic OrchestraQPAC

4 OctoberKawai Piano Series – Stephanie McCallumQPAC

8 OctoberQueensland Korean Orchestra Concert 2011 & Celebrations of Golden Jubilee Korea-AustraliaQueensland Korean Orchestra 2011

11 OctoberSouthern Cross Soloists Showcase Concert 3QPAC

12 OctoberKawai Piano Series – Liam Viney & Anna GrinbergQPAC

14 OctoberThe Laughing Samoans Greatest HitsThe Laughing Samoans Ltd

15 & 17 OctoberChris CornellMichael Coppel Presents

16 OctoberUQ School of Music Showcase Concert OctoberSchool of Music University of Queensland in association with QPAC

19 – 20 OctoberQSO Education 3: The Composer is DeadQueensland Symphony Orchestra in association with QPAC

22 OctoberQ Pops Chartbusters 2Queensland Pops Orchestra

25 OctoberSt Rita’s Annual Thanksgiving CelebrationSt Rita’s College

26 OctoberClayfi eld College Annual Speech NightClayfi eld College

27 OctoberAll Hallows’ Night of Celebration 2011All Hallows’ School Limited

28 OctoberCSTD in Concert 2011Commonwealth Society of Teachers of Dancing

29 OctoberQYO 2011 Finale ConcertQueensland Youth Orchestra Council

30 OctoberLadysmith Black MambazoAdrian Bohm Presents Pty Ltd

31 OctoberQI LiveAndrew Kay & Associates

PLAYHOUSE1 OctoberSydney Dance Company: The Land of Yes and the Land of NoMajor Brisbane Festivals Pty Ltd and QPAC

6 – 8 OctoberAshgrove Dance – On StageAshgrove Dance Studio

9 OctoberQTC Launch of 2012 SeasonQueensland Theatre Company

15 – 29 OctoberKing Arthur and the Tales of CamelotQueensland Ballet

CREMORNE THEATRE1 October FluffQPAC

13 - 22 October Spring AwakeningOscar Theatre Company and QPAC

28 OctoberKITE Yonder Edge City 2011QPAC

STUDIO 25 - 31 OctoberMusical Theatre Course – Term 4Griffi th University – Queensland Conservatorium

FUNCTION ROOM8 October21st PartyWine and Dine ‘M

9 October60th Birthday CelebrationsAnn Odlum

10 OctoberArts Queensland MeetingQPAC

27 OctoberSustainability Project Training SessionLive Performance Australia

27 – 28 OctoberDiscussions with Steven WolffQPAC

29 OctoberMelba CD LaunchQueensland Symphony Orchestra

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CASCADE COURT1 OctoberBrisbane Open House 2011QPAC

16 – 28 OctoberCarl Barron Post-Show EntertainmentQPAC

MELBOURNE STREET GREEN2 - 3 OctoberVienna Philharmonic Orchestra Live SimulcastQPAC

7, 14, 21, 28 OctoberThe Green Jam SessionsQPAC

TONY GOULD GALLERY1 – 31 OctoberExhibition: A View from the Sixth Row – Photographs by Reina IrmerQPAC

NOVEMBER 2011LYRIC THEATRE1 - 6 November Whispering JackSirius Nominees Pty Ltd

12 – 30 NovemberRock of AgesNewtheatricals Pty Limited

CONCERT HALL1 – 2 NovemberQI LiveAndrew Kay & Associates

3 NovemberIona College Junior & Senior School Speech NightIona College

4 NovemberBrisbane Boys College Speech Night Brisbane Boys College

5 NovemberQSO Maestro 10 – Celestial VisionsQueensland Symphony Orchestra

7 NovemberThey Will Have Their WayStop Start Music Pty Ltd

8 NovemberPam AyresJon Nicholls Productions Pty Ltd

9 NovemberChurchie Centenary Speech NightAnglican Church Grammar School

10 NovemberBuilding for the FutureQueensland Symphony Orchestra

10 NovemberQSO Thursday Masterworks 4 Tchaikovsky Symphony 4Queensland Symphony Orchestra

11 NovemberSt John’s Anglican College Night of CelebrationSt John’s Anglican College

12 NovemberBjorn AgainThe Music Group Pty Ltd

14 NovemberSt Aidan’s AGS Annual Award Ceremony St Aidan’s Anglican Girls School

15 NovemberSt Margaret’s Speech Night St Margaret’s Anglican Girls School

16 November Brisbane Grammar School Speech Day Brisbane Grammar School

17 NovemberSomerville House Speech Night 2011Somerville House

18 NovemberACO Concert 6 Beethoven Pastoral SymphonyAustralian Chamber Orchestra

19 NovemberQSO Choral Classics 2 Brahms’ Radiant RequiemQueensland Symphony Orchestra

21 NovemberThe Lakes College Night of CelebrationThe Uniting Church in Aust Property Trust t/a The Lakes College

23 NovemberDavid Hobson and Teddy Tahu Rhodes in ConcertAndrew McKinnon Presentations Pty Ltd

25 NovemberJohn Waters – Looking Through a Glass OnionThe Harbour Agency

26 NovemberQSO Maestro 11 Towards a New EraQueensland Symphony Orchestra

30 NovemberArj BarkerLaugh Productions Pty Ltd

PLAYHOUSE7 – 27 NovemberQTC PygmalionQueensland Theatre Company

CREMORNE THEATRE2 – 5 NovemberJane Harrison’s STOLEN, directed by Leah PurcellQPAC

14 – 30 NovemberQTC FractionsQueensland Theatre Company

STUDIO 11 – 2 NovemberCQ University Music and Theatre Auditions 2011CQ University’s Central Queensland Conservatorium of Music

14 – 15 NovemberMusical Theatre Course – Term 4Griffi th University – Queensland Conservatorium

STUDIO 221 – 22 November APSA Rehearsals 2011Asia Pacifi c Screen Awards

FUNCTION ROOM12 NovemberCocktail ReceptionWagners Brisbane Social Club

15 NovemberOpera Australia LaunchOpera Australia

18 NovemberPeddle Thorpe Christmas PartyWine and Dine ‘M

22 NovemberOzpac MeetingQPAC

CONCERT HALL MAIN FOYER18 November Cradle Songs with Katie NoonanQPAC

MELBOURNE STREET GREEN4, 11, 18, 25 NovemberThe Green Jam SessionsQPAC

MERIVALE STREET STUDIO3 – 11 NovemberMusical Theatre Course – Term 4Griffi th University – Queensland Conservatorium

15 – 25 NovemberImaginary Theatre Rehearsals ‘Look’Imaginary Theatre

TONY GOULD GALLERY1 – 30 NovemberExhibition: A View from the Sixth Row – Photographs by Reina IrmerQPAC

DECEMBER 2011LYRIC THEATRE1 – 4 DecemberRock of AgesNewtheatricals Pty Limited

30 – 31 DecemberMary PoppinsDisney Theatrical Productions (Australia)

CONCERT HALL1 - 2 DecemberArj BarkerLaugh Productions Pty Ltd

3 DecemberQSO Choral Classics 4 ...All of Heaven Before MeQueensland Symphony Orchestra

9 – 10 DecemberSpirit of ChristmasQPAC

12 – 16 DecemberQUT Graduations December 2011Queensland University of Technology

22 DecemberChristmas in LazytownAndrew Kay & Associates

31 December Q Pops New Year’s Eve Concert – Music Around the WorldQueensland Pops Orchestra

PLAYHOUSE3 – 21 DecemberSwan LakeQueensland Ballet

CREMORNE THEATRE1 – 10 DecemberFractionsQueensland Theatre Company

14 - 18 DecemberCharlie and Lola’s Best Bestest PlayMEI Live Pty Ltd

19 December Shake & Stir’s Holiday Workshop ShowcaseShake & Stir Theatre Co

PLAYHOUSE STUDIO 213 – 19 DecemberShake & Stir’s Holiday WorkshopsShake & Stir Theatre Co

FUNCTION ROOM9 DecemberHudsons Christmas PartyHudsons

12 DecemberCreative Lab PresentationsQueensland Museum

16 DecemberBoard Meeting and LuncheonQueensland Museum

LYRIC THEATRE LOUNGE6 – 7 DecemberQueensland Museum MeetingsQueensland Museum

MERIVALE STREET STUDIO19 DecemberThe Christie ProjectKatrina Torenbeek Trust

GRASS PLAZA2, 9 DecemberThe Green Jam SessionsQPAC

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TONY GOULD GALLERY1 – 3 DecemberExhibition: A View from the Sixth Row – Photographs by Reina IrmerQPAC

13 – 31 DecemberExhibition: Mary & MeQPAC

JANUARY 2012LYRIC THEATRE1 – 29 JanuaryMary PoppinsDisney Theatrical Productions (Australia)

CONCERT HALL14 JanuaryReece Mastin Live in ConcertThe Harbour Agency

21 JanuaryThe Angels – Waiting for the Sun TourQPAC

27 JanuaryMorning of the EarthBold Jack Pty Ltd

28 JanuaryAn Unforgettable Evening with Natalie ColeArtist Network

PLAYHOUSE7 – 13 JanuaryAngelina Ballerina’s Big AuditionQPAC

18 – 21 JanuaryCinderellaBallet Theatre of Queensland

29 JanuaryZeta Screen Public Awards – design developmentQPAC

CREMORNE THEATRE5 - 21 JanuaryJames and the Giant PeachHarvest Rain and QPAC

STUDIO 229 – 30 JanuaryThe Addams Family AuditionsNewtheatricals Pty Limited

PLAYHOUSE LOUNGE7 JanuaryAngelina Ballerina High TeaQPAC

23 JanuarySLQ MeetingState Library of Queensland

MELBOURNE STREET GREEN6 – 22 JanuaryFairytales and Fantasy Tunnel and Picnic PlaygroundQPAC and Queensland Museum

MERIVALE STREET STUDIO16 – 21 JanuaryFlamenco Fire Gypsy Pathways RehearsalsRed Chair Pty Ltd and QPAC Presents

24 – 31 JanuaryOzfrank 2012 Summer ProgramOzfrank Theatre Film

TONY GOULD GALLERY1 – 31 JanuaryExhibition: Mary & MeQPAC

FEBRUARY 2012LYRIC THEATRE1 – 29 FebruaryMary PoppinsDisney Theatrical Productions (Australia)

CONCERT HALL7 FebruaryChinese Acrobatic SpectacularVoice of Australian Chinese Pty Ltd

9 FebruaryAll Hallows’ Inaugural Mass 2012All Hallows’ School Limited

11 FebruaryQSO Maestro 1 QSO with KovacevichQueensland Symphony Orchestra

13 FebruaryACO Concert 1 – Chopin & Mendelssohn’s OctetAustralian Chamber Orchestra

15 FebruaryJersey Boys LaunchNewtheatricals Pty Limited

19 FebruaryQ Pops and The King’s SingersQueensland Pops Orchestra

20 – 27 FebruaryJohn CleeseAdrian Bohm Presents Pty Ltd

23 FebruaryI Musici – Viva Italia 60th Anniversary TourQPAC

29 FebruaryUkulele Orchestra of Great BritainLes Currie Presentations

PLAYHOUSE2 – 4 FebruaryFlamenco Fire Gypsy PathwaysRed Chair Pty Ltd and QPAC Present

9 – 19 FebruaryThe Wizard of OzHarvest Rain Ltd and QPAC Present

22 – 29 FebruarySummer of the Seventeenth DollQueensland Theatre Company

STUDIO 210 FebruaryMusic Theatre Masterclass with Simon Burke and Daniel EdmondsMedia Entertainment & Arts Alliance

15 FebruaryJersey Boys Band AuditionsJersey Boys Australia Joint Venture

CONCERT HALL MAIN FOYER21 FebruaryHamburg Season LaunchQPAC

CASCADE COURT25 FebruaryRio Tinto Ride to Conquer Cancer – Big OrientationRio Tinto Ride to Conquer Cancer

MERIVALE STREET STUDIO6 – 17 FebruaryBabushka Cabaret Rehearsal ‘I Can Keep a Secret’Divalution Pty Ltd

TONY GOULD GALLERY1 – 29 FebruaryExhibition: Mary & MeQPAC

MARCH 2012LYRIC THEATRE 1 – 17 MarchMary PoppinsDisney Theatrical Productions (Australia)

23 – 28 MarchRomeo and JulietThe Australian Ballet

CONCERT HALL1 MarchRyan AdamsFrontier Touring Company

3 MarchQSO Maestro 2 QSO with Markus SchirmerQueensland Symphony Orchestra

7 March QSO Education Concert 2012Queensland Symphony Orchestra Pty Ltd in association with QPAC

9 MarchJohnny CleggZeridium Pty Ltd

10 MarchDavid CampbellThe Harbour Agency

11 MarchQSO Music on Sundays 1 Espana!Queensland Symphony Orchestra Pty Ltd

12 MarchACO Concert 2 – The Hilliard EnsembleAustralian Chamber Orchestra

13 MarchAn Evening with Chris BottiQPAC

14 MarchTafelmusikMusica Viva Australia

15 MarchQSO Morning Masterworks 1 QSO Plays EdgarQueensland Symphony Orchestra

16 MarchPetula ClarkATA Allstar Artists Pty Limited

20 - 24 MarchRoss NobleA List Entertainment

30 MarchQSO Maestro 3 QSO with Sergio TiempoQueensland Symphony Orchestra

PLAYHOUSE1 – 11 MarchSummer of the Seventeenth DollQueensland Theatre Company

14 – 18 MarchBloodlandQPAC and Queensland Theatre Company present a Sydney Theatre Company and Adelaide Festival production in association with Bangarra Dance Theatre

22 – 24 MarchDickens’ WomenAndrew McKinnon Presentations Pty Ltd

31 MarchAlice in WonderlandQueensland Ballet

CREMORNE THEATRE5 MarchOOTB 2012: Media LaunchQPAC

6 MarchOOTB 2012: Teachers LaunchQPAC

19 – 31 MarchBombshellsQueensland Theatre Company

STUDIO 212 – 24 MarchBrisbane Children Rehearsals for AnnieGFO Entertainment Pty Ltd

FUNCTION ROOM6 MarchVenue Management Association MeetingQPAC

28 MarchLPA Member Forum 2012Live Performance Australia

LYRIC THEATRE LOUNGE1 – 2 MarchSLQ Team Building DayState Library of Queensland

MELBOURNE STREET GREEN23, 30 March The Green Jam SessionsQPAC

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TONY GOULD GALLERY1 – 17 MarchExhibition: Mary & MeQPAC

26 – 31 MarchBrisbane Children Rehearsals for AnnieGFO Entertainment Pty Ltd

APRIL 2012LYRIC THEATRE7 – 29 AprilAnnieGFO Entertainment Pty Ltd

CONCERT HALL5 AprilQSO Morning Masterworks 2 QSO Plays BeethovenQueensland Symphony Orchestra

13 – 14 AprilMacbethOpera Queensland Ltd

19 AprilStephen Amos Laugh Productions Pty Ltd

20 AprilClass of ‘59The Harbour Agency

21 AprilQSO Maestro 4 QSO with Johannes FritzschQueensland Symphony Orchestra

22 AprilSouthern Cross Soloists Concert 1 – Serenade d’un JourQPAC

27 AprilEndeavour College of Natural Health Graduations 2012Endeavour College of Natural Health

28 AprilDivine DivasMario Maiolo Promotions Pty Ltd

PLAYHOUSE3 – 14 AprilAlice in WonderlandQueensland Ballet

21 – 28 AprilRomeo & JulietQueensland Theatre Company

CREMORNE THEATRE3 - 21 AprilBombshellsQueensland Theatre Company

27 – 29 AprilThe Neverending StoryHarvest Rain Ltd and QPAC

STUDIO 116 AprilSouth Pacifi c AuditionsOpera Australia (South Pacifi c)

19 AprilI Will Survive AuditionsFremantle Media Australia

FUNCTION ROOM24 AprilBusiness South Bank Networking FunctionQPAC

PLAYHOUSE LOUNGE3 – 5 & 14 AprilAlice’s High TeaQPAC

GRASS PLAZA13, 20, 27 AprilThe Green Jam SessionsQPAC

MERIVALE STREET STUDIO5 – 9 AprilOzfrank Easter Actor Training Workshop 2012Ozfrank Theatre Film

MAY 2012LYRIC THEATRE1 – 13 MayAnnieGFO Entertainment Pty Ltd

24 – 31 MayMagic FluteOpera Australia

CONCERT HALL3 MayQSO Morning Masterworks 3 QSO Plays TchaikovskyQueensland Symphony Orchestra

4 MayHeston Blumenthal LiveLateral Marketing & Management

5 – 7 MayThe Wiggles – Live in ConcertThe Wiggles Live Australia Pty Ltd

11 MayCliff Joins the BeatlesThe Harbour Agency

12 May QSO Maestro 5 QSO with Valery PolyanskyQueensland Symphony Orchestra

19 MayQ Pops on BroadwayQueensland Pops Orchestra

20 MayUQ School of Music: Elgar’s Cello ConcertoUniversity of Queensland School of Music in association with QPAC

22 MayNaturally 7 – All Natural TourQPAC

25 – 26 MayHi-5Andrew Kay & Associates

PLAYHOUSE1 – 13 MayRomeo & JulietQueensland Theatre Company

19 – 31 MayDon QuixoteQueensland Ballet

CREMORNE THEATRE 1 – 12 May The Neverending StoryHarvest Rain and QPAC

16 – 31 MaySongs for NobodiesDuet Productions Pty Ltd

LYRIC THEATRE LOUNGE5 – 6 MayBuddha Birth Day Meditation Sessions 2012Buddha’s Light International Assn of Queensland

CONCERT HALL MAIN FOYER18 MayThe Magic Flute Insight NightOpera Australia

CASCADE COURT12 MaySenior Superstar Auditions 2012Presented by Brisbane City Council, The Public Trustee of Queensland, QPAC, Quest Community Newspapers and 4BC 1116 News Radio

MELBOURNE STREET GREEN4, 11 MayThe Green Jam SessionsQPAC

JUNE 2012LYRIC THEATRE1 – 9 JuneMidsummer Night’s DreamOpera Australia

2 – 8 JuneMagic FluteOpera Australia

12 – 17 JuneOOTB 2012: The Flying OrchestraQPAC

20 – 24 JuneImperial Ice Stars – Nutcracker on IceLunchbox Theatrical Productions Limited

26 – 30 JuneRock the BalletATA Allstar Artists Pty Limited

CONCERT HALL1 & 26 June Les Ballet Eloelle ‘ Men in Pink Tights’Retfar Entertainment Pty Ltd

2 JuneQYO Masterpiece Two The EmperorQueensland Youth Orchestra Council

9 JuneTom Burlinson – Now We’re SwingingDownunder Promotions

12 – 15 JuneOOTB 2012: The Race for the Chinese ZodiacQPAC

16 JuneQSO Maestro 6 QSO with Eivind AadlandQueensland Symphony Orchestra

18 JuneQPAC Choir ShowcaseQPAC

19 JuneLenny Henry – Cradle to RaveMaggie Gerrand Presents Pty Ltd

24 JuneQSO Music on Sundays 2 Romance and PassionQueensland Symphony Orchestra

25 JuneACO Concert 3 – Danielle De NieseQPAC

28 JuneMiss Chinese Cosmo Pagaent Queensland Voice of Australian Chinese Pty Ltd

29 JuneGuy Sebastian – Armageddon 2012The Harbour Agency

PLAYHOUSE1 – 2 JuneDon QuixoteQueensland Ballet

13 – 17 JuneOOTB 2012: Me and My ShadowQPAC

22 – 30 JuneHairsprayHarvest Rain and QPAC

CREMORNE THEATRE1 – 3 JuneSongs for Nobodies Duet Productions Pty Ltd

10 JuneIn Conversation with Colin FirthEquity Foundation

12 – 17 JuneOOTB 2012: Hello Space BoyQPAC

20 – 23 JuneThe Last Five YearsIgnatians Musical Society

29 – 30 JuneMenopause the MusicalHit Productions

STUDIO 112 – 17 JuneOOTB 2012: Leftside Rightside FlipsideQPAC

STUDIO 212 – 16 JuneOOTB 2012: Stradbroke DreamtimeQPAC

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FUNCTION ROOM12 – 17 JuneOOTB 2012: Story Dramas WorkshopQPAC

LYRIC THEATRE LOUNGE12 – 17 JuneOOTB 2012: Scary BeastQPAC

PLAYHOUSE LOUNGE12 – 17 JuneOOTB 2012: Design Your Story WorldQPAC

LYRIC THEATRE BALCONY FOYER12 – 17 JuneOOTB 2012: Digital PlayQPAC

CONCERT HALL MAIN FOYER12 – 17 JuneOOTB 2012: Invisible MeQPAC

PLAYHOUSE REAR STAGE12 – 17 JuneOOTB 2012: Dream WeaversQPAC

CASCADE COURT12 JuneOOTB 2012: Opening Event (Birthday Party)QPAC

12 – 17 JuneOOTB 2012: Under Age StageQPAC

MELBOURNE STREET GREEN13 – 17 JuneOOTB 2012: Dinosaur Petting ZooQPAC

21 JuneFete de la MusiqueBrisbane City Council

LYREBIRD RESTAURANT12 – 16 JuneOOTB 2012: The Art, Heart and Soul of FoodQPAC

MERIVALE STREET STUDIO18 – 24 JuneLa Voix Humaine Rehearsals Motherboard Promotions

30 JuneThe Christie Project: Creative DevelopmentKatrina Torenbeek Trust

TONY GOULD GALLERY12 – 17 JuneOOTB 2012: This [Baby] LifeQPAC

12 – 17 JuneOOTB 2012: Bear With meQPAC

THE TUNNEL12 – 17 JuneOOTB 2012: Chalk the WalkQPAC

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Appendix Two – QPAC Contribution to Government objectives

Getting Queensland back on track

The Queensland Performing Arts Trust contributes to the achievement of the Queensland Government’s Getting Queensland back on track pledges:

Grow a four pillar economyQPAC presents events with a national presence that attract international and national visitors, support cultural tourism and position Queensland as a signifi cant force in the events industry.

Revitalise frontline services QPAC presents a diverse live performance program that incorporates a range of arts education programs that align with the Government’s objective to revitalise frontline services by contributing to early childhood education in and through the arts.

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Appendix Three – Organisational Structure

Director – Presenter ServicesRoss Cunningham

Director – Marketing Leisa Bacon


Tony Smith


Kieron Roost

QPAC Board of Trustees

Chief Executive John Kotzas

Programming

Production Services

Out of the Box

Marketing

Partnerships

Visitor Services

Food and BeverageOperations

Finance & Business

Human Resources and Organisational

Development

Information, Communication and

Technology (ICT)

Facilities and Maintenance;

Safety and Security

qtix

Office of the Chief Executive

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Executive Management

John Kotzas: Chief Executive Offi cer John Kotzas commenced working at QPAC in the education area, progressing to the position of Artistic Director of QPAC’s celebrated Out of the Box Festival. Following two successful festivals, Mr Kotzas left QPAC to be Managing Director of Warana and later Managing Director of the inaugural Brisbane Festival. Returning to QPAC as the Executive Manager, Programming, Mr Kotzas was appointed as Artistic Director in 2002, and Chief Executive in 2009. Mr Kotzas holds a Bachelor of Arts and Diploma of Education.

The responsibilities of the Chief Executive Offi cer include the provision of strategic direction and leadership of the organisation, setting and driving the artistic vision for the Centre. Staff within the Offi ce of the Chief Executive provide research and advice to the Chief Executive, working on whole of organisation issues.

Ross Cunningham: Director – Presenter Services Ross Cunningham commenced as the Executive Producer – Programming in 2009. Mr Cunningham has over 30 years experience in the entertainment, hospitality club and venue management industries.

The responsibilities of the Director – Presenter Service include leading the Programming team which comprises of Venue Hire, Commercial Programming, QPAC Collections Museum, QPAC Presents; and the Production Services Unit which comprises of Staging, Lighting, Stage Management, Audio/Visual and Events Management.

Leisa Bacon: Director – Marketing Leisa Bacon was appointed Director-Marketing at QPAC in August. She comes with 20 years experience in marketing and business strategy. She holds a Bachelor of Business majoring in Marketing and a Masters in Business.

At QPAC, Leisa is responsible for all Event and Corporate Marketing, in addition to managing the in-house Agency team across publicity, digital, graphic design and media buying. Recently, responsibility for partnerships and corporate development was added to Leisa’s portfolio.

Tony Smith: Director – Patron Services Tony Smith took up the position of Director – Patron Services in December 2010, following 22 years in management across all areas of the hospitality industry.

At QPAC, Mr Smith is responsible for visitor services, operations administration and leading the food and beverage team comprising restaurants, bars and functions.

Kieron Roost: Director – Corporate Services Kieron Roost commenced working with QPAC as Executive Manager – Finance in 2000. He was promoted to the role of Director, Corporate Services in 2004. The Corporate Services unit was expanded in 2009 to include responsibility for facilities, maintenance, safety and security.

Mr Roost is a qualifi ed Certifi ed Practicing Accountant and holds BA (Hons) Literature. He is a member of the Australian Society of CPAs and is a graduate of the Australian Institute of Company Directors (AICD). He has a Graduate Diploma Professional Accounting.

Mr Roost’s current responsibilities include the roles of Chief Financial Offi cer and Company Secretary. He heads a portfolio comprising of fi nance and business; human resources; information, communications and technology services; and facilities, maintenance, safety and security.

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Appendix Four – Queensland Performing Arts Trust Board of Trustees

Members of the Queensland Performing Arts Trust Board of Trustees are appointed by the Governor in Council in accordance with the Queensland Performing Arts Trust Act 1977. Members are appointed for a period of not more than three years.

During 2001-12, the Board met 9 times. Details of meeting attendance are contained in the table below.

H enry Smerdon AM DUniv (Griffi th University)B.Com, BEcon, FCPA, MAICDChair

Henry Smerdon had a distinguished 36 year career in the public sector, including fi ve years as the Under Treasurer and Under Secretary of the Queensland Treasury Department.

From the end of 1994 until April 1998, he held the position of Chief Executive Offi cer of the Queensland Investment Corporation, an organisation he played a major part in establishing. Mr Smerdon has served on a number of Government boards including Suncorp, the Queensland Industry Development Corporation (Deputy Chairman), Workers’ Compensation, South Bank Corporation, Queensland Investment Corporation, three Government Superannuation Boards (Chairman) and QInvest Ltd (Chairman). He also served as Government Statistician for fi ve years.

Presently, Mr Smerdon is Deputy Chancellor of Griffi th University and a member of the Public Trust Offi ce Investment Board. He is Chairman of Hyperion Flagship Investments Ltd and the Currumbin Wildlife Sanctuary Board and was appointed an inaugural director of the Queensland Education Leadership Institute Ltd. He is the independent Chair of the Board of AustSafe Super, an industry superannuation fund. He also operates his own consultancy business, Strategic and Financial Consulting Services.

Mr Smerdon is the recipient of a Centenary Medal and in 2010 was made a Member of the Order of Australia. In December 2010, Griffi th University conferred on him the degree of Doctor of the University for the outstanding contribution he has made to public administration, education and the arts.

Rachel HunterBA DipED BEdST MBA DUnivDeputy Chair

Rachel Hunter is the Chair of the Australian Children’s Education and Care Quality Authority (ACECQA) Board, and the Chair of Legal Aid Queensland. She is a member of the Griffi th University Council, and a member of the UQ College Board.

Ms Hunter’s previous roles as CEO included Director-General of the Department of Education, Training and the Arts, and Director-General of the Department of Justice and Attorney-General. She also served as Queensland’s Public Service Commissioner. Ms Hunter was Chair of TAFE Queensland, and as such was the lead executive and spokesperson for the TAFE system.

Ms Hunter has an acute interest in the role education, training and the arts play in individual, community, and business economic development.

Simon GallaherMember

Simon Gallaher has developed a highly successful private performing arts company based in Queensland for the past 20 years (Essgee Entertainment). He is best known to Australian audiences as a music theatre star, television and concert performer, singer, pianist and songwriter. He has also become one of Australia’s foremost theatrical producers and his company, Essgee Entertainment, a major entertainment presenter.

Mr Gallaher studied at the Queensland Conservatorium of Music before becoming a regular on The Mike Walsh Show and hosting his own night-time television variety show on ABC-TV. He has been awarded three Mo Variety Awards, a Logie Award, Queenslander of the Year Commendation, Advance Australia Award for his contributions to the arts and was twice voted Queensland’s Entertainer of the Year.

In 1984, Mr Gallaher made the transition from television to the stage as Frederic in the Australian production of The Pirates of Penzance and later performed in other musicals including Penzance and later performed in other musicals including Penzance Hello Dolly, The Student Prince, and My Fair Lady.

In 1994, Mr Gallaher created a new stage production of The Pirates of Penzance which was a huge hit across Australia and The Pirates of Penzance which was a huge hit across Australia and The Pirates of PenzanceNew Zealand and received a triple platinum video and an ARIA Award. He then created new versions of The Mikado and

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HMS Pinafore, and a new production of The Merry Widow. His company has also produced Terrence McNally’s Master Classand Sondheim’s A Funny Thing Happened on the Way to the Forum.

In 2007, Mr Gallaher initiated Shopstoppers, a series of music-theatre workshops for young Queensland performers. In 2001 he created a special anniversary revival production of The Pirates of Penzance which opened at QPAC and toured through until The Pirates of Penzance which opened at QPAC and toured through until The Pirates of Penzance2003, the $6 million Australian musical Eureka (in 2004 in association with the Melbourne International Arts Festival) and a new production of The Mikado (which opened in Brisbane in 2008 and in Adelaide in 2009). He recently returned to the stage at QPAC in the Harvest Rain production of Hairspray.

Helene GeorgeMember

Helene George is the Managing Director of Creative Economy, a niche consulting fi rm which she founded in 1992. Ms George has over 20 years experience in management and consulting throughout Australia. She has worked as a Manager of creative companies and facilities, Export Trade Representative and as an Executive in Local Government.

Ms George brings extensive experience in arts, creative industries and cultural tourism. This includes investment attraction, development and management of cultural facilities, industry development, and strategy, planning for government as well as commercialisation and development for creative companies.

Ms George has held positions as Deputy Chair of the Creative Industries Skills Council, Member of the Working Party for Creativity in the Innovation Economy, Member of the Development and Management Advisory Group and the Childers Street Theatre (ACT Government). Ms George was also the Spokesperson and a Member of the Kingston Foreshore Development Authority Reference Group which was hailed as a model for Sustainable Urban Development by the OECD.

In 2011 Ms George was appointed as a UNESCO expert on the 2005 Convention for the Protection and Promotion of the Diversity of Cultural Expressions.

She is currently a Fellow of the Australian Institute of Management and in 2011 she completed the Australian Institute of Company Directors Course. In 2007 she was honoured with a Leadership Award at the Future Leadership Summit by Australia’s pre-eminent leadership organisation, AusDavos.

Ms George holds a Graduate Diploma in Management and a Bachelor of Arts in Performing Arts. She was fi rst appointed as a Trustee of the Queensland Performing Arts Trust in 2007.

Bill GrantMember

Bill Grant holds a number of Board positions, including Chair of the Brisbane Airport Corporation, a Director of New Hope Corporation Ltd and the Brisbane Development Association.

Previously, Mr Grant held positions including CEO of South Bank Corporation and Newcastle City Council. He has signifi cant experience in urban renewal, place management, local government and project management.

Mr Grant is a Fellow of the Australian Institute of Company Directors.

Sophie MitchellMember

Sophie Mitchell is a Director of RBS Morgans and has many years experience in the stockbroking industry.

She has previously worked as portfolio manager for Seymour Funds Management, analyst for Morgans Stockbroking / ABN AMRO Morgans and a research analyst for McNab Clarke / CS First Boston.

Presently, Ms Mitchell is a Director of Expressions Dance Company, ASX-listed Hyperion Flagship Investment Limited and Silver Chef Limited, the RBS Morgans Foundation, a Member of the Australian Government Takeovers Panel and a Trustee and Member of CEDA’s Queensland State Advisory Council.

Ms Mitchell holds a Bachelor of Economics and a Diploma in Taxation Law. She has completed the AICD Directors Course and is a Senior Fellow of FINSIA (Financial Services Institute of Australasia).

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Paul PiticcoMember

Paul Piticco has built his career around shaping the contemporary music landscape of Australia. Mr Piticco has managed the career of multi-platinum, multi-award winning Brisbane act Powderfi nger since the band’s inception in 1990, later forming Secret Service Artist Management in the late 1990’s and expanding the management roster to include Bernard Fanning and The Grates, amongst others.

In 2001 Paul created Dew Process, an independent record label that has signed and released many Platinum and Gold-selling artists such as Mumford & Sons, Sarah Blasko, The Living End and The Panics. He is also heavily involved in the live music arena as Co-Producer in his globally recognised award winning annual Australian arts & music festival, Splendour in The Grass, and national touring company, Secret Sounds.

In late 2011 Mr Piticco opened a restaurant with fellow owners Andrew Baturo (Libertine Bar & Restaurant) and Denis Sheahan. Popolo Italian Kitchen + Bar is an innovative and fresh take on Italian food which will redefi ne expectations of what is a ‘traditional’ Italian restaurant.

In early 2012 Mr Piticco announced his latest venture, the new digital-focused independent label Create/Control. Create/Control has been designed to specifi cally meet artists needs in today’s music industry environment. The label is helmed by the successful team behind Dew Process and includes a roster of artists such as The Smashing Pumpkins, Metric, The Jungle Giants and Opossom.

Paul has been a Board Member for the Queensland Performing Arts Centre since November 2006. He is also an active supporter and fundraiser for Youngcare, The Yalari Foundation and Reconciliation Australia.

Mick PowerHonFIEAust, FAICD, FAIM (Member since July 2010)

Founder of the BMD Group of companies, Mick Power AM is widely regarded as one of Queensland’s leading fi gures in the civil construction industry.

After spending his formative years with Leighton Contractors, Mr Power started BMD Group in 1979 as a family business. Under his leadership, BMD Group has since grown and diversifi ed into what is today considered to be one of Australia’s largest privately owned civil construction, consulting, and urban development organisations. With the company now in its 33rd year of operation, Mr Power retains an active position as BMD Group Board Chairman and Managing Director.

Mr Power also devotes his time to supporting a number of not-for-profi t organisations and is a Board Member for the Greg Norman Golf Foundation, Brisbane Lions Football Club, South Bank Corporation and Queensland Performing Arts Centre.

Mr Power is an Honorary Ambassador of the City of Brisbane and in 2005 was awarded a Member of the Order of Australia for his service to the building and construction industry – particularly in the fi eld of civil engineering and for his community involvement.

As Vice Patron of Surf Life Saving Foundation, Mr Power established offi cial naming rights sponsorship (the fi rst of its kind in Australia) for BMD Northcliffe Surf Life Saving Club in 2007. In 2009 he was also honoured with the QUT Distinguished Constructor Award for his commitment to the Queensland construction industry.

Professor Susan StreetMember

Professor Susan Street is the Executive Director QUT Precincts and formally the Executive Dean of the Creative Industries Faculty at Queensland University of Technology (QUT). She is a practicing artist as well as an educator.

She has previously been Head of Dance, QUT; Dean, School of Dance, Hong Kong Academy for Performing Arts; Chair, Dance Fund and Council Member of the Australia Council; Trust Director, Brisbane Arts and Environment Trust, Brisbane City Council; Chair, Artistic Advisory Committee and Board Member, Hong Kong Ballet; Arts advisor to Hong Kong Arts Development Council and Leisure and Cultural Service Department of Hong Kong Government.

Presently, Professor Street serves on the following Boards: Australia-China Council (DFAT); Regional and Touring Arts Programs Expert Assessment Panel – Playing Australia; Australian Dance Council – Ausdance: Australasian Advisor to the Royal Academy of Dance in London.

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Rhonda WhiteMember

Rhonda White is a co-founder of the Terry White Chemists (TWC) Group and has been integral to the success of the brand. Her visionary skills in developing the systems and disciplines for the Brand, commitment to the development of Professional Services combined with exceptional business skills have proven a critical ingredient in growing the franchise network to its current position of 168 pharmacies in all states, employing over 4500 staff with a turnover of $1 billion.

She graduated as a Pharmacist in 1963 and also holds a Bachelor of Arts and Postgraduate Diploma in Organisational Psychology from the University of Queensland.

Ms White currently serves as a board member of TWC Group Investment Limited. She has also been a director of a number of government and private companies, including the Energex Retail Board, the Ergon Energy Board, Terry White Chemists Board, was a foundation member of the Nudgee College Board and was Foundation Chairman of the Queensland Cancer Fund Volunteers Committee. Rhonda has received numerous professional accolades including Australia’s 2000 Leading Women’s Entrepreneur of the World, Star Group International Award in Venice, National Business Bulletin – Business Star of the Year in 2004, Pharmacy Practice Medal of Excellence, University of Sydney 2006, Outstanding Alumni Award for Faculty of Science, Queensland University of Technology 2007.

Rhonda was inducted into the Queensland Business Leaders Hall of Fame in September 2011 in recognition of exceptional entrepreneurship and innovation in national retailing, and signifi cant contributions to the community.

In December 2011, she was awarded the Degree “Doctor of the University” by Griffi th University in recognition of her distinguished services to the Pharmacy Industry and to the University.

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Appendix Five – Queensland Performing Arts Trust sub-committees

Risk Management and Audit Committee

QPAC maintains a detailed Risk Management Plan consistent with the statutory requirements of sections 15(1)(h) and 28 of the Financial and Performance Management Standard 1997. The plan is reviewed annually by management and presented to the Risk Management and Audit Committee.

The Risk Management and Audit Committee is a sub-committee of the Queensland Performing Arts Trust. It meets quarterly and monitors QPAC’s compliance with the Risk Management Plan. The Trust approves its terms of reference, responsibilities and membership and all minutes and decisions are reported to the Trust. The Committee is chaired by Bill Grant and members are: Henry Smerdon, Helene George, Sophie Mitchell, John Kotzas (Chief Executive), Kieron Roost (Director, Corporate Services) and Michael Stout (Management Accountant). Junaide Latif (external auditor, William Buck as appointed by the Queensland Audit Offi ce) also attended the meetings. Details of meeting attendance are contained in the table below.

The Chair of Risk Management and Audit Committee is remunerated at a rate of $169 per meeting and committee members at a rate of $139 per meeting.

QPAC maintains a comprehensive internal audit program. A three-year Internal Audit Strategic Plan has been developed and is reviewed annually. The Internal Auditor is appointed by the Risk Management and Audit Committee from a public tender.

Under its charter, the core responsibilities of the Committee are to review and monitor QPAC’s budget; examine the annual fi nancial statements; examine and monitor internal systems, procedures and processes of signifi cance; ensure that QPAC has in place an acceptable internal audit function; approve the internal audit strategic plan and monitor its implementation; liaise with external auditors in the preparation and audit of fi nancial statements; ensure that fi nancial and other risks to which QPAC might be exposed are identifi ed and that strategies are in place through the Risk Management Plan and Business Continuity Plan; and otherwise provide advice and assistance to QPAC to enhance the corporate governance of its operations.

In 2011-12 QPAC completed internal audits of cash handling procedures, deductable gift recipient activities and a review of trust account procedures. The Risk Management and Audit Committee operated within the terms of its charter and both the Committee and internal audit function had due regard to Queensland Treasury’s Audit Committee Guidelines.

In 2011-12 there were 9 meetings the Trust and 4 Risk Management Audit Committee meetings. Attendance was as follows:

Member Queensland Performing Arts Trust Risk Management Committee

Eligible to attend Attended Eligible to attend Attended

Henry Smerdon (Chair) 9 9 4 4

Rachel Hunter (Deputy Chair) 9 8 0 0

Simon Gallaher 9 8 0 0

Helene George 9 8 4 4

Bill Grant 9 6 4 4

Sophie Mitchell 9 8 4 4

Paul Piticco 9 7 0 0

Mick Power 9 4 0 0

Susan Street 9 7 0 0

Rhonda White 9 6 0 0

The Queensland Performing Arts Trust was not subject to any external audits or reviews during the fi nancial year (other than the audit report on the fi nancial statements).

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Glossary

ACPA Brisbane-based performance company and training institute the Aboriginal Centre for Performing Arts (ACPA).

The Act QPAC is governed by the Queensland Performing Arts Trust whose responsibilities are outlined in The Queensland Performing Arts Act 1977.

Artist/company in residence QPAC enters into residencies with artists or companies from time to time through invitation rather than through a formalised application process. Each residency is different and provides for the particular needs of the resident and QPAC. A QPAC contribution to a residency may include accommodation, administrative and fi nancial support, or a dedicated QPAC producer. A resident contribution may include artist talks or free performances.

Concert Hall 1 800 seat theatre used primarily for classical music concerts and contemporary music.

Cremorne Theatre 300 seat theatre used for smaller theatre productions and as a ‘black box’ for hire.

Dark nights A dark night is a term used to refer to those nights during a performance season when a theatre is not in use. Dark nights are most commonly used to give performers a rest during the season; vocal performers in particular make use of dark nights.

Genres QPAC classifi es genres according to categories set by Live Performance Australia.

Home companies QPAC’s four Home Companies have a particular and defi ned relationship with QPAC as their primary performance home. QPAC’s relationship with its Home Companies spans aspects of production, marketing, ticketing, catering and functions. The specifi c detail of these relationships has evolved over time and remains fl uid in order to accommodate the changing needs of all parties.

Lyric Theatre 2 000 seat theatre used primarily for musicals, operas and large dance and music productions.

NARPACA The Northern Australian Regional Performing Arts Centre Association (NARPACA) is a coalition of performing arts and events venues in Queensland and the Northern Territory.

OA Opera Australia (OA) is the national Australian opera company based in Sydney

OQ Opera Queensland (OQ) is the State’s fl agship opera company and one of QPAC’s Home Companies

OZPAC OZPAC is a coalition of the major Performing Arts Centres in Australia and New Zealand. These Centres are typically the pre-eminent multi-purpose, multi-venue performing arts complexes in their cities. They typically include at least a lyric theatre, a concert hall, and drama theatres along with other performance, exhibition and function spaces. All are publicly owned.

Performances Scheduled public activity presented indoors or outdoors by any presenter and offsite where presenter is QPAC. Includes workshops and lectures. Where multiple acts perform as one program for example Green Jam this is considered one performance. Where program is over multiple days for example Melting Pot this is consider one performance per day ie 2 performances.

Playhouse 850 seat theatre used primarily for theatre productions, classical and contemporary dance.

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QB Queensland Ballet (QB) is the State’s fl agship classical dance company and is one of QPAC’s Home Companies.

QMF Queensland Music Festival (QMF) is a biennial whole of state festival.

QPAC The Queensland Performing Arts Centre (QPAC) is the State’s leading performing arts venue and forms part of Brisbane’s Cultural Centre corridor at South Bank.

QSO The Queensland Symphony Orchestra (QSO) is the State’s fl agship orchestra and is one of QPAC’s Home Companies.

QTC The Queensland Theatre Company (QTC) is the State’s fl agship theatre company and is one of QPAC’s Home Companies.

qtix qtix is an entirely Queensland-based ticketing service provider that is owned and operated by QPAC. Ticket sales are managed through phone, internet and mail systems as well as in person at the qtix Box Offi ce, QPAC and other ticket outlets.

The Trust The Trust is the Queensland Performing Arts Trust which governs QPAC through The Queensland Performing Arts Trust Act 1977.

Venue utilisation QPAC calculates venue utilisation as the total number of days booked for performance, rehearsal, maintenance or other activity as a percentage of 365 days.

VPO The Vienna Philharmonic Orchestra (VPO) is one of leading orchestras in the world.

Q U E E N S L A N D P E R F O R M I N G A R T S C E N T R E

Queensland Performing Arts CentreCorner Grey and Melbourne StreetsSouth BankQueensland 4101Australia

PO Box 3567South BankQueensland 4101Australia

Telephone: +61 (7) 3840 7444

Facsimile: +61 (7) 3844 1839

www.qpac.com.au

[email protected]

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This report can be accessed online at www.qpac.com.au

Enquiries about this report can be addressed to:

Executive Offi cerQPACPO Box 3567South BankQueensland 4101 Australia

Email: [email protected]

© Queensland Performing Arts Trust 2012

ISSN: 0156-9147

DISCLAIMER

The materials presented in this PDF are provided by the Queensland Performing Arts Trust for information purposes only. Users should note that the electronic versions of fi nancial statements on this site are not recognised as the offi cial or authorised version. The electronic versions are provided solely on the basis that users will take responsibility for verifying their accuracy, completeness and currency. Although considerable resources are used to prepare and maintain the electronic versions, the Queensland Performing Arts Trust accepts no liability for any loss or damage that may be incurred by any person acting in reliance on the electronic versions.

The offi cial copy of the annual report, as tabled in the Legislative Assembly of Queensland can be accessed from the Queensland Parliament’s tabled papers website database:

http://www.parliament.qld.gov.au/view/legislativeAssembly/tabledPapers/home.asp

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