The representative body of the Helsinki Theatre Foundation was

Transcription

1 J.B. Priestley VASTANAINEET (When We Are Married) Tiia Louste, Sari Mällinen, Leena Uotila takana/behind Jouko Klemettilä, Risto Kaskilahti, Jari Pehkonen Report of the Board of Directors of the Helsinki Theatre Foundation 2011 The mission of the Helsinki City Theatre The City Theatre is a modern popular theatre, which is maintained by the Helsinki Theatre Foundation. It aims to provide a diverse range of performances, which are of the highest possible standard, to as many people as possible. An extensive range of family theatre performances, the productions of the Helsinki Dance Company and a diverse range of Finnish and foreign drama, comedies and musicals, performed in Finnish or in Swedish, are central to the programme of the Helsinki City Theatre. Administration The representative body of the Helsinki Theatre Foundation was appointed for the period by the Helsinki City Board. Its members are Ms Arja Karhuvaara, Ms Aira Suvio-Samulin, Mr Matti Enroth, Mr Josa Jäntti, Ms Nina Suomalainen, Mr Henrik Creutz, Ms Niina Ilola, Ms Minerva Krohn, Ms Sanna Hellström, Mr Pekka Mäkelä, Mr Arto Grönholm, Ms Pirkko Karhi, Mr Pentti Saarikko and Ms Leena-Maija Tuominen. Their alternate members are Ms Hannele Luukkainen, Ms Apollonia Kortelampi, Mr Kauko Koskinen, Ms Ritva Laurila, Mr Matti Salminen, Ms Ayla Shakir and Mr Mikko Myller. Ms Arja Karhuvaara has chaired the representative body, with Ms Minerva Krohn and Ms Leena-Maija Tuominen serving as deputy chairs and Ms Helena Ahonen, finance and administration director of the City Theatre, acting as the secretary. Chairman of the board of 38

2 VASTANAINEET Antti Litja takana/behind Jouko Klemettilä, Tiia Louste, Risto Kaskilahti, Sari Mällinen Leena Uotila, Jari Pehkonen, Pia Runnakko, Lotta Vaattovaara directors Jorma Bergholm, director general of the City Theatre Asko Sarkola, deputy director Kari Rentola and financial manager Marja Kuuluvainen were also present at meetings. The representative body convened twice during the year under review. Managing director Jorma Bergholm continued to serve as the chair of the Theatre Foundation s board of directors. The board members are Mr Erkki Helaniemi, Ms Suvi Rihtniemi (who serves as the deputy chair of the board), Mr Jehki Härkönen, Ms Annukka Mickelsson, Ms Anna Kirstinä and Ms Annika Andersson. The term of the present board of directors continues until the representative body s spring meeting in Director general Asko Sarkola, finance and administration director Helena Ahonen, deputy director Kari Rentola, technical director Keijo Koli and financial manager Marja Kuuluvainen represented the Theatre s management on the board of directors. Dancer Valtteri Raekallio represented the Helsinki Dance Company on the board, while chief dramaturge Merja Turunen represented the City Theatre s dramaturges and directors. Ms Ursula Salo ( ), Ms Leena Uotila ( ) and Mr Antti Timonen represented the actor s association and Mr Sasu Tuominen the association of technical staff. The board of directors convened 11 times during the year under review. Significant events during the year Cultural exchange and study trip to Moscow The cultural exchange programme between the City Theatre and the world-famous Russian State Academic Theatre Maly continued. The reciprocal visits realised to mark the 2010 jubilee year of Anton Chekhov had been a great success, and a decision to continue the cultural exchange was made after Maly s director general Yury Solomin invited the City Theatre to visit Moscow in The study trip to Moscow took place on May The 176 participants included the chair and some members of the Theatre Foundation s board of directors, City Theatre management as well as a broad selection of personnel from all of the Theatre s functions. Among other things, the programme included a performance of the Gogol play Government inspector at the Maly and a joint concert featuring artistic staff from both theatres. In addition to City Theatre and Maly personnel, the event was attended by representatives of the city administrations of Moscow and Helsinki, guests from the Finnish embassy in Moscow as well as City Theatre cooperation partners such as directors and theatre managers from Moscow. The Finnish delegation also visited the Kremlin and other historical sights during their visit to the Russian capital. The trip was realised with support from the Helsinki City Theatre study fund. Arena stage The City Theatre continued to stage performances on the Arena stage, which is located next to Hakaniemi Square in Helsinki, in The stage is leased from Komediakiinteistöt Oy under a lease agreement that is valid until The City Theatre leased the premises to Hakaniemen musiikkiteatteri Oy for the spring season; Uusi Iloinen Teatteri (UIT) will practice and stage revue performances there. 39

3 Programme A total of 20 first nights were arranged in 2011, seven of which were Finnish first performances. There were a total of three Finnish- or Swedish-language first performances of foreign plays. In all, the Theatre s programme included 47 different works during the year under review and the aggregate audience was 349,054. In addition, the Theatre arranged presentations about performances, behind-the-scenes tours and other audience events, which drew 5,158 visitors in total, bringing the aggregate visitor number to 354,212. A total of 982 performances were staged in Thorbjørn Egner s Kolme iloista rosvoa (Folk og Røvere i Kardemomme by), a musical play for family audiences, premiered on the big stage in February; during the year, its performances attracted almost 50,700 spectators. The big stage s other new musicthemed production, Katri Helena by Ilpo Tuomarila, was performed to more than 35,600 spectators during the autumn. Other autumn first nights included the J.B. Priestley comedy Vastanaineet (When We Are Married), which was seen by more than 18,500 people, and the classic Aleksandr Ostrovski play Metsä ( ), which was performed to an aggregate audience of more than 9,600. Metsä was directed by the renowned actor-director Yury Solomin, head of Moscow s Maly theatre. The year s final first night was Helsinki Dance Company s (play), a joint NorrlandsOperan and Kenneth Kvarnström & Co production that was seen by nearly 2,700 spectators. Arsenikkia ja vanhoja pitsejä (Arsenic and Old Lace) and Viimeinen valssi (Sista dansen) continued on the programme and managed to draw aggregate audiences of about 5,500 and more than 12,600, respectively. Wicked and Enron also remained on the programme, attracting audiences of over 27,500 and about 8,700, respectively. In addition to this, the big stage hosted guest performances such as Circo Aereo s modern circus show Petit Mal and Birds with skymirrors, a dance performance by Samoan choreographer Lemi Ponifasio that was included in the programme of the Helsinki Festival. The Parhaat palat II charity concert was held in April to assist the Finnish Association for Mental Health s crisis hotline campaign and a number of storytelling events were organised in the foyer on National Story Day in October. The play Ihmisen osa, which is based on a novel by Kari Hotakainen, premiered on the small stage in February and attracted more than 17,100 spectators. The second spring premiere on the small stage, a children s musical play called Yökyöpelit by Laura Ruohonen, attracted over 9,000 spectators. More than 3,300 people came to see the Pasi Lampela play Meidän poika during the autumn, while the play Kaksi maailmaa (To verdener), which is based on a movie script by Niels Arden Oplev and Steen Bille, attracted an aggregate audience of over 1,800. The established audience favourite Kvartetti (Quartet) continued on the programme for the spring season and drew almost 5,200 spectators. This play premiered in 2002 and was performed 481 times to an aggregate audience of 166,958 during an exceptionally lengthy run. Koljatti continued as part of the spring programme and drew some 3,100 spectators. Eila, Rampe ja palvattu onni transferred from the Arena stage to the small stage in March and it was seen by more than 6,500 people there. Other performances on the small stage included Risto Räppääjä ja villi kone, which premiered in 2009, as well as Magic! and Vaimoni on toista maata (Venise sous la neige). The children s play Siiri ja kamala possu by Tiina Nopola premiered in the foyer of the small stage in October and drew an aggregate au- Neil Simon OMAKA PAR (The Odd Couple) Marc Svahnström, Peter Ahlqvist, Pekka Strang, Robert Kock, Peter Kanerva, Sampo Sarkola 40

4 dience of almost 1,700. Vaavin salattu elämä continued in the foyer of the small stage and likewise attracted some 1,700 spectators, while Tontut suutareina (The Elves and the Shoemakers) kicked off the traditional pre-christmas children s programme; this play has been on the programme since Kolme tarinaa, a Grimminremmi production based on music and the stories of the Brothers Grimm, was also staged in the foyer of the small stage. Studio Elsa s spring season launched with the Helsinki Dance Company production YOUMAKEME, which was seen by about 2,500 spectators in the spring and autumn. The spring season s second first night was the David Greig youth drama Keltainen kuu (The Ballad of Leila and Lee), which drew more than 1,600 viewers. The dance work More or less love songs, a joint production with the Helsinki Festival, attracted almost 1,100 spectators in the autumn. Elsa was also the venue for performances. The Larry Shue comedy Ulkomaalainen (The Foreigner) attracted almost 11,800 spectators after its spring premiere at studio Pasila. A fresh musical theatre piece called Striking 12 was staged in November-December to an aggregate audience of some 3,400. Almost 11,600 people came to to see the hit play Kiviä taskussa (Stones in His Pockets). CLUB act!one stand-up comedy nights continued to draw capacity crowds. The musical Next to Normal continued on the programme and drew almost 7,900 spectators alongside Viivi ja Wagner Teneriffalla, which had its first night in Lilla Teatern continued to stage Swedish- and Finnish-language productions under the artistic directorship of Pekka Strang. The play Spikfull, which is based on a novel by Juhani Seppänen, launched the spring season and drew about 1,800 spectators. The Molière classic Den girige (L avare) was the second first night of the spring season and attracted about 5,600 viewers. Albert Camus De rättfärdigan (Les justes) was seen by some 1,600 people in the autumn, while the Neil Simon comedy Omaka par (The Odd Couple) attracted more than 4,000 spectators. The biggest audience attraction was the play Vaimoni on toista maata (Venise sous la neige), which premiered in 2010; it was performed also on the small stage and drew an aggregate audience of about 12,300. The revue Vill ha mera and Mies joka kieltäytyi käyttämästä hissiä, a monologue performed by Lasse Pöysti, also continued on the programme. In addition, Lilla Teatern staged numerous stand-up comedy sessions as well as other musical performances and visiting productions during its Nöjesbolaget Lillan club nights. The Harvey Fierstein and Jerry Herman musical comedy Lainahöyhenissä (La Cage aux Folles) premiered on the Arena stage in September and it was seen by almost 25,500 people during the autumn. Eila, Rampe ja palvattu onni continued at Arena in January- February and attracted an audience of about 4,500. In addition, the dance orchestra Dallapé performed twice at the Arena in November. Visits City Theatre productions visited venues in Finland and abroad during the year under review. Kiviä taskussa visited the Vaasa and Hämeenlinna city theatres, the Mikkeli Theatre and the Karelia Cultural Association in Tammisaari. Lilla Teatern s Mies joka kieltäytyi käyttämästä hissiä also visited the Karelia Cultural Association in Tammisaari as well as the Pärnu Monologue Festival in Estonia, where veteran actor Lasse Pöysti received the best actor award. The Grimminremmi performance Kolme tarinaa toured Helsinki primary schools. OMAKA PAR Sampo Sarkola, Pekka Strang, Heidi Lindén, Nelly Hristova 41

5 Audience work In all, the audience work efforts of the City Theatre comprised 265 different events or workshops in which 5,158 people took part over the course of the year. Among other things, the Theatre arranged workshops and presentations about its productions, organised open rehearsals, hosted visits and discussions as well as organised behindthe-scenes tours. Some of these activities were open to the general public, while others targeted specific groups such as workshops arranged for groups of schoolchildren and day-care pupils, work communities and senior citizens. In addition to this, a total of six longer-term audience work projects as well as a theatre camp for schoolchildren were arranged. A communal scriptwriting tool called Noodi, which was developed as part of the Medios project, had almost 1,500 individual users and more than 300 group users by the end of the year. Noodi was also used in a playwriting project for school classes that resulted in the drafting of a recital drama as well as in the international Young Europe II project that launched last autumn with the recruitment of young writers through a public search. Mothers and daughters was the main theme of a workshop totality arranged in South Korea last April by dance artist Hanna Brotherus and audience work manager Mirja Neuvonen as well as in the open Letter to mother workshops held at the City Theatre in November. The City Theatre organised eleven presentations in 2011 of its productions Kolme iloista rosvoa, Ulkomaalainen, Ihmisen osa, Yökyöpelit, Keltainen kuu, Katri Helena, Meidän poika, Lainahöyhenissä, Vastanaineet, Striking 12 and Kaksi maailmaa. A open discussion was arranged at Lilla Teatern to present the play Spikfull. The play Metsä was examined in a three-part Ostrovski seminar, which was open to the public and featured docent Liisa Byckling, actor and translator Jukka Voutilainen as well as professor Pekka Pesonen as speakers. These presentations attracted 912 participants in total. The City Theatre participated in the events of Helsinki s Night of the Arts by staging Grimmiremmi performances, arranging open rehearsals and hosting behind-the-scenes tours of its productions and workshops associated with the dance work More or less love songs. These events attracted 627 visitors. Open rehearsal were also arranged in relation to the YOUMAKEME dance production in the spring. Helsinki Dance Company Choreographer Kenneth Kvarnström served as the chief choreographer of the Helsinki Dance Company in Marinella Jaskari served as producer of the Helsinki Dance Company and supervisor of the dance troupe. The dance troupe consisted of 12 dancers, six of whom performed with K. Kvarnström & Co / Helsinki Dance Company, while the other six provided dancing support to the Theatre s musicals and other productions. K. Kvarnström & Co / Helsinki Dance Company s 45 dance performances attracted an aggregate audience of 10,671 in During the year, the Company staged two first nights at Studio Elsa: YOUMAKEME in March and, in August, More or less love songs, a joint production with the Helsinki Festival that was choreographed by Liisa Risu. The dance work (play) was produced jointly between Norrlands- Operan and Kenneth Kvarnström & Co; its double first nights were held on the big stage of the City Theatre in November and at NorrlandsOperan in Umeå in December, respectively. K. Kvarnström & Co / HDC staged visiting performances in Finland and abroad during the year under review. XPSD was performed in Backnang, Germany, Linz and Villach, Austria, as well as in Nicosia and Limassol, Cyprus. YOU- MAKEME visited Oldenburg, Germany, Stockholm s Dansens Hus and the JoJo Oulu Dance Centre. HDC also arranged Everyman s choreography school performances at Studio Elsa in the autumn that provided audiences with an opportunity to learn about the factors behind the birth of a dance work. These events were based on XPSD. Audiences and communications In 2011, the City Theatre sold 349,054 tickets to 982 performances (2010: 370,893 tickets to 1,068 performances). In all, 175,904 people came to see performances on the big stage, 50,395 on the small stage, 5,655 in Studio Elsa, 40,689 in Theatre studio Pasila, 28,857 at Lilla Teatern and 30,526 on the Arena stage. Additionally, about 9,178 people came to see foyer performances and productions visiting different venues attracted some 7,850 spectators. Three issues of the magazine Teatteriin (To the Theatre) were published during the year under review. Its printings ranged from 270,000 to 300,000 and copies were distributed at, for example, the Theatre s premises, metro stations, libraries, hotels and at Lippupiste ticket sales outlets. The magazine was also distributed as a supplement to the daily newspaper Helsingin Sanomat. Ads aimed at different target groups were published in Helsingin Sanomat as well as in other titles and special magazines if tickets were still available. Regular adverts about the programme at Lilla Teatern were placed in the Swedish-language daily Hufvudstadsbladet. Copies of Teatteriin magazine were mailed to people belonging to the Theatre s target-group register. Members of our ing list have received info on City Theatre events. Lighted outdoor advertisement panels, advertisements on public transport and billboards at metro and trains stations as well as wall hangings were also used to keep the public informed about premieres. The City Theatre website was revamped in autumn Pages on the Theatre s website are loaded over 500,000 times each month. In addition to programme schedules, the website contains video samples and presentations of plays, reviews, comments from spectators, electronic bills, a discussion forum and theatre-based games for children. Focused web advertising was carried out to promote specific productions. The City Theatre s social media presence, on Facebook and through a dedicated YouTube channel, was strengthened substantially in conjunction with the website revamp. According to media intelligence firm Cision Finland, the Helsinki City Theatre was mentioned 2,103 times in various media outlets during the year under review. Several performance presentations and theatre outings were arranged for selected customer groups, such as theatre liaison persons. Free-of-charge public presentations were also arranged in association with almost all of the Theatre s performances before their respective first nights. Foyer advertising at theatres and box offices reaches some 350,000 potential spectators. An extensive spectator survey, which is carried out at two-year intervals, was realised at all City Theatre performance venues in autumn Finances Revenues The Theatre s operating revenue excluding subsidies was 9,847,000 in 2011, 371,000 less than in 2010, which was an exceptionally good year. Ticket revenues were 9,053,000, representing a decrease of 241,000 from the previous year. In 2011, the Theatre Foundation received a State operating grant (based on an assumed annual labour unit amount of 336 person years). The grant totalled 6,949,612. In 2010, the assumed labour unit amount was set at 335. An inflation-tied rise in the unit price from 55,021 to 55,901 meant that the annual operating grant received by the Helsinki Theatre Foundation increased by 129,759 from the previous year. The Theatre also received a total of 139,000 in State subsidies for its children s and dance theatre activities as well as for Swedishlanguage performances in This amount was exactly the same as in the previous year. In addition, the Ministry for Foreign Affairs granted the Theatre 11,476 to subsidise the Dance Company s visit to Cyprus, while Revolve Ab channelled 34,444 for, among other things, the Helsinki Dance Company s marketing efforts and the cost of establishing new productions. Interest income on bank deposits totalled about 79,279, up 42,609 from the previous year because of an increase in the average deposited amount and rising interest rates. The City of Helsinki granted the Theatre a subsidy of 35,000 for 42

6 Brendan Milburn, Rachel Sheinkin & Valerie Vigoda STRIKING 12 Veera Railio STRIKING 12 Samuel Harjanne STRIKING 12 Petrus Kähkönen 43

7 its loans. This was used for interest and payments on loans received from the insurance company Tapiola and the City of Helsinki. The City of Helsinki granted the Theatre subsidies totalling 2,465,000 to cover the payment of rent on premises leased from the City. The rent paid on Lilla Teatern s premises and for the Arena stage was covered with the Theatre s own revenues. The Theatre received an operating grant totalling 4,837,000 for its principal activities from the City of Helsinki in 2011, 59,000 less than in the previous year. The City granted 420,000 for annual repairs and renovations; this amount was unchanged from Revenues generated through the Theatre s own activities accounted for 41% of all income. If renovation and rent subsidies are deducted from income, this figure increases to 46%. Expenses Personnel expenses totalled 14,973,000, up some 220,000 or 1.49% from the previous year. Factors behind the year s increase were the pay hikes implemented under the collective labour agreement as well as the introduction of a performance-based pay bonus system for actors. A 42,779 reduction in the pension liability to the Pension Security Foundation of Stage and Screen Workers was also recorded during the financial year. Pay costs are not fully comparable with the previous years because, as of 2011, the accounting principles have been amended so that the personnel expenses associated with all new productions are entered as expenses only in their year of realisation, and liabilities due based on signed contracts are no longer prepared for in advance. The Kvartetti paintings by Rafael Wardi are entered at purchase value under the other tangible assets item and they are not subject to depreciation. Other expenses were some 140,000 smaller than in the previous year; among other things, this was due to a fall in copyright payments, which are directly linked to ticket revenue. A total of 700,000 was spent on annual maintenance and renovation procurements. The most important investments were: stage furniture 65,000, lighting equipment 262,000, sound equipment 55,000, annual property repairs and equipment procurements 113,000. In addition, 205,000 was spent on the new stage prop workshop and its equipment. The deficit for the year before extraordinary items and operating grants was about 11,328,000 ( 10,938,000 in 2010). Significant events following the close of the year under review No substantial changes that would have a significant impact on the Theatre s operating prerequisites have occurred after the close of the financial period. Outlook for likely future developments The City Theatre will maintain its activities on its six different stages as well as the foyer premises. The aim is to maintain the strong audience numbers achieved in recent years by staging high-quality performances and by producing about first nights annually. Our diverse programme will consist of drama, comedy, musical theatre, children s theatre and dance performances. The operational and financial volumes will remain unchanged in the next few years, but cuts in public funding will add to the pressure to boost internal revenues; among other things, this will cause upward pressure on ticket prices and other revenue sources. The City Theatre will participate in the events and programme of the World Design Capital Helsinki 2012 year. The Theatre s financial situation has improved over the last few years, making it possible to increase the amount of equity included in the balance sheet as required by the strategy approved by the Theatre Foundation s board of directors. We estimate that the financial result for 2012 will be in the red to the tune of more than 200,000 because of cuts in public funding in particular. The goal for the coming years remains to maintain a strong balance sheet in order to safeguard the City Theatre s long-term operating prerequisites and degree of solvency. Evaluation of the most significant risks and uncertainty factors The City Theatre has analysed the most significant risks and uncertainty factors related to the scope and structure of its operations as well as other issues that have an impact on the development of its activities. As is typical for theatre operations, the most significant risks relate to the uncertainty factors associated with performances, the labour-intensiveness of the industry, the artistic and economic success of productions and audience reactions to opening performances; these have a substantial impact on the achievement of the City Theatre s targets on audience numbers and the internal generation of revenues. The Theatre s programme has been well received, and both individuals and group customers continue to display a lot of interest in our productions. On the other hand, efforts to balance public finances through spending cuts will, in the coming years, lead to a situation where the State operating grant and municipal subsidies grow more weakly than the cost level develops. Assessment of financial standing, key financial indicators and other factors affecting the development of operations Result for financial year Interest earned on the basic capital totalled 67.28, which was transferred to the contingency fund in conjunction with the closing of the accounts as required by the Foundation s by-laws. After this, the financial statements indicate a surplus of 178, The result enabled the Theatre Foundation to further shore up its equity capital, which has increased to 2,979,838. Operating grant The Theatre received an operating grant (based on the Theatre s annual labour unit amount) of 6,949,612 from the State; this increased by 129,759 from the previous year. The increase came about because the Ministry of Education raised its estimate of annual labour units performed at the Theatre from 335 to 336 and increased the compensation paid for each unit from 55,021 to 55,901. The Theatre received an operating grant totalling 4,837,000 for its principal activities from the City of Helsinki in 2011, 59,000 less than in the previous year. The Theatre s income has composed of the following: Own revenues, % Subsidies, % The table below details the Theatre s income developments (renovation and rent subsidies not included): Income, 1,000 17,757 19,164 19,889 22,110 22,181 Own revenues, % Subsidies, % Deficit, operating grant to turnover ratio ( 1,000) and share of equity in balance sheet total 2007 % 2008 % 2009 % 2010 % 2011 % Turnover 8,968 9,452 8,877 10,218 9,848 Deficit -7, , , , , ,0 Operating grants 8, , , , , Equity 1, , , , , Balance sheet total 6,369 9,104 8,496 10,220 10,772 44

8 Personnel In 2011, the Advisory Board of the Helsinki City Theatre comprised deputy director Kari Rentola (chair), finance and administration director Helena Ahonen and technical director Keijo Koli; the actors association was represented by shop steward Antti Timonen, the dancers association by shop steward Kirsi Karlenius and technical staff members by shop steward Sasu Tuominen. Financial manager Marja Kuuluvainen served as secretary to the Advisory Board, which convened three times during the year under review. The Theatre s Artistic Committee convened five times during the year on the invitation of director general Asko Sarkola. The Theatre s deputy director, finance and administration director as well as representatives of the actors and dancers, and of the artistic and production planning groups participated in the meetings of the Artistic Committee. The City Theatre implemented an occupational wellbeing survey that covered all theatre personnel during the early part of the year. It revealed that employees find work at the City Theatre motivating and meaningful; interaction and receipt of support especially from employees in similar positions and other co-workers were also deemed to be good by respondents. Identified development areas were communication and the flow of information, general occupational wellbeing and employee opportunities to wield influence. The findings were reported to all personnel groups and to the board of directors of the Theatre Foundation. Vocal control instruction remained an area of special emphasis during the year. Two intensive courses on vocal control were realised with specialist instructor Anne-Marie Speed in Courses in part singing continued, as did instruction in singing techniques and vocal maintenance. Regular meetings between actors and the Theatre s management continued. In addition, lectures were arranged for all staff members. Russian language and culture were studied prior to the Moscow trip in May. Lectures on personal mental endurance and stress management were arranged in association with April s Parhaat palat II charity event. Department-specific and supervisor-oriented vocational instruction continued in cooperation with Inventiva Oy and Kasvupolku Perita Sipiläinen Oy during the year under review; this project was supported by pension insurer Eläke-Tapiola. About 36,900 in total was spent on the vocational guidance and training of staff members in 2011, in addition to which 29,000 was allocated for song and dance instruction. Annual labour unit development Realised: Permanent Part-time Total Kenneth Kvarnström (play) 45