Annual General Meetings

Treasurer’s Report – FY 2025/2026

This past financial year has been an interesting one for the committee. This committee has worked tirelessly to make sure that the show must go on, and I’m proud to say that we managed to stage at least one show, function, or event every single month of the last year. We started the year by finishing the run of Is There Anybody There, directed by Sheila McCormick. While we didn’t make a profit, the production was delightfully eerie, received great reviews, and audiences loved it. It should be noted that the rights were accounted for in the 2024/2025 financial year.
Next came Duo of Drama, with Geraldine Aron’s Bar and Ger and Mickey Kannis Caught My Eye, expertly directed by Godfrey Johnson. Again, no profit, but the rights were also accounted for in the previous financial year, so the impact was minimal. Then we had The Long Way Home, directed by Philippa van Ryneveld with musical direction by Tersia Hartley, co-written by Hema Maskowitz and Tersia. This home-grown  musical transported audiences around the world and featured the Iminqweno Yethu Choir from Dunoon. It was a real highlight and brought in a modest profit of just over R 16 000.
We embarked on our first collaboration with Pinelands Players for Alice in Wonderland, directed by Kyla Thorburn. As with any new partnership, there were lessons to be learned, and although the production resulted in a modest loss, it was embraced by audiences and filled the theatre with an exciting buzz.
Finally, in February, we staged Night of January 16th, directed by Johann van der Merwe. This courtroom drama was a huge success, keeping audiences guessing right to the end. It brought in a healthy profit of R 24 000, though I must admit I was late in settling the rights payment,
which inflated our final net income by R 15 000. 

Looking ahead, our big collaboration with The Masque Theatre is Gentlemen’s Guide to Love and Murder, also directed by Kyla Thorburn, scheduled for June. We’ve already paid Dalro R 26 000 for rights, courier fees, and rehearsal scores so rights payments are partially covered in this financial year. 

Now, let’s talk about other revenue streams. Bar sales nearly doubled compared to last year, with R 200 000 in sales against R 109 000 in expenses. Co􀆯ee bar sales, now tracked separately thanks to our new Yoco machines, brought in R 46 000 against R 22 000 in expenses. 
I want to pause here to commend our Chair, Neal Johnson. Neal is always available to open, lock up, serve drinks, and even clean toilets when needed. He’s also the one dealing with rowdy patrons, often mistaken for being “just the barman.” Neal is truly an anchor for this committee,
and his contribution in making the bar and co􀆯ee bar such successful money spinners cannot be overstated. We’ve also seen a marked increase in venue hires and door shares, with groups like Cape Town Theatre Company, Pieter Dirk Uys, Byron Bure Academy, Oops on Purpose, and Drag Kings Collab keeping our theatre busy and bringing in much-needed income. A huge thank you goes to Hema Maskowitz, who has managed this area tirelessly, alongside her duties as secretary whilst acting as our social media manager and technical crew trainer. Her ability to juggle so many responsibilities makes her an indispensable pillar of our success. Our movie nights have seen mixed results. While our screening of Hamilton was a resounding success, titles such as Mamma Mia, Les Misérables, and Halloween did not meet expectations. Recognizing this, we are eager to refine the o􀆯ering and explore fresh directions. Options under consideration include showcasing timeless classics—such as the 1925 silent film version of The Phantom of the Opera—or partnering with initiatives like National Theatre Live and the Metropolitan Opera to bring world-class productions to our community. 

On maintenance, we’ve spent just under R 12 000 on roof repairs, gutter cleaning, and flashing repairs, plus new paint inside the theatre and on the ticket desk and co􀆯ee bar. And here I must acknowledge York Froon, who is always here fixing, building, painting, or moving  something. York’s willingness, insight and ingenuity are invaluable. We also rebranded the Milnerton Players logo and brand this year, thanks to Jason Duff’s  creativity and thoughtfulness, and launched our own ticketing system. While the process has been a bit more complicated, it’s saving us money — about R 3 500 this year compared to paying additional Quicket fees. We’re working on enhancements for our members, like member coupons and a Seniors Club to make the system easier.

On equipment, we invested in a new digital sound desk, a replacement snake, and headset capsules. Yet significant challenges remain: our hybrid headsets require urgent repairs, and the return of Pierre’s fixtures after Alice in Wonderland has left us without adequate lighting. The
reality is clear—without immediate investment in both lighting and sound, we risk compromising the quality of future productions. In the year ahead, prioritising these upgrades is essential for the sustainability and professionalism of the theatre. We also upgraded the alarm system at a cost of R 9 000 to improve security. 

So, how did we do overall? Our net income comes in at R 159 000. However, because of pending settlements with Pinelands Players and the rights for Night of January 16th, this figure is overstated and may translate into a loss in the next financial year. 

In summary, we are financially healthy, with enough reserves to meet our obligations and pursue our objectives. But aging equipment remains our greatest risk, and we must plan to renew our lighting and sound assets in the next years. Finally, I want to acknowledge the people who made this year possible. Neal Johnson, Hema Maskowitz, and York Froom who have been three pillars of our success, along with our committee members Christian van Heerden, Godfrey Johnson and Camryn Winter. Without their dedication, this report might have been far less positive. To our volunteers — Pat, Jesse, Carlene, Georges, Ilan, and so many others — thank you for keeping the wheels turning. And to our patrons, both loyal and new, you are the beating heart of this society.

An empty stage is only wood and silence. It is you — our patrons, our volunteers, our members — who bring it to life with laughter, music, and stories. Without you, we would be nothing.

Thank you.
Wayne Hendricks
Treasurer