Underbelly is bringing some of the most exciting names in comedy to the Fringe this summer with a programme spanning improv, musical comedy, standup and character comedy.
Award-winning author, actor and comedian Sara Pascoe (Taskmaster, Live at the Apollo, QI, Mock the Week) will be performing at McEwan Hall in Sara Pascoe: For One Night Only. Comedian, actor, presenter and author Russell Kane (Big Brother’s Big Mouth, Freak Like Me, Geordie Shore: The Reunion) brings his high-energy show Russell Kane: HyperActive to the Fringe 16 years after winning an Edinburgh Comedy Award. BAFTA winner Jack Rooke (creator of Hulu/C4’s Big Boys) revives and updates his debut show Jack Rooke: Good Grief, a decade on from its first Fringe run.
Acclaimed comedian and ventriloquist Nina Conti brings Nina’s C*nti Cabaret to McEwan Hall, joined by her masks and by some of her favourite acts from across the Fringe. Stealing voices in a different way, Britain’s foremost political impressionist Rory Bremner blends sharp comedy, pitch-perfect impressions and surprising revelations in Rory Bremner: Making an Impression.
Following his sold-out London run, Simon Amstell brings his show Simon Amstell: I Love It Here to the Fringe. Just after finally finding inner peace at his friend’s California beach house, Simon receives an invitation from the man who first ignited his teenage desire, throwing his newfound calm into chaos.
Instagram sensation Depths of Wikipedia (1.6 million followers) will be bringing to light some of Wikipedia’s murkiest depths (think ‘list of sexually active popes’), and celebrating the beautiful monster that is an encyclopedia run by anonymous but extremely human volunteers. Viral American comedian Gianmarco Soresi (1.2 million followers on Instagram) celebrates the theatre kid in all of us in his show Gianmarco Soresi: Theatre Adult.
Palestine Comedy Club presents Hanna Shammas Takes It To Heart, a combination of storytelling and stand-up exploring the complexities of everyday life as a Palestinian living in Haifa, in the 1948 territories. In Sammy J: Hero Complex, acclaimed Australian comedian Sammy J details the true story of how swapping comic books with his school gardener set off a chain of events leading to both the birth of his daughter and to him committing a crime.
The programme also features some of the UK’s biggest improv acts: America’s Got Talent runner-up Christ Turner creates jaw-dropping freestyle rap from audience suggestions in Chris Turner: In the Moment. Internet sensation improv troupe Shoot From The Hip (3 million followers across Instagram and Tiktok) will be taking the stage at McEwan Hall.
The classics provide fertile ground for comedy. The smash-hit West End Austentatious: An Improvised Jane Austen Novel returns for its 13th year at the Fringe, an all-star cast improvising a new Jane Austen novel every day. Sh!t-faced Shakespeare returns this year with Sh!t-faced Shakespeare: Hamlet: an entirely serious adaptation arguably the Bard’s most famous tragedy, other than the fact that one member of the cast is, well, sh!tfaced.
The programme also features some fantastic LGBTQ+ comedians. Drag king Roger Prick brings his debut Fringe hour Roger Prick: Sexopolis, in which the 1970s pornographer, erotic novelist, and lecherous casanova relaunches his dirtiest novel, revised to make it completely appropriate for modern feminism. Catch (and maybe kiss?) Alex Franklin (Channel 4, HBO Max) exploring love, romance, and kissing as a trans womanin Alex Franklin: Kiss Me x. Justin Elizabeth Sayre is a 40-Year-Old Woman explores what it means to be a 40 year old woman – a category not necessarily tied to either age or gender.
The comedy programme features a number of people you may have seen on your TV – Sapphire McIntosh, bringing her football-inspired show Sapphire McIntosh: Squeaky Bum Time, appeared as a footballer on the most recent season of Ted Lasso. Edinburgh Comedy Award Nominee Freya Parker, who’s appeared in Jurassic World: Dominion, Wonka, One Day (Netflix), and as one half of sketch duo Lazy Susan (Amazon, BBC3)brings her new show Frey Parker, An Hour of Decay! tackling the terrifying subjects of ageing, AI and Vinted.
Two annual highlights of the Fringe also return. Underbelly’s Big Brain Tumour Benefit brings together a massive line-up of comedy stars to raise money for The Brain Tumour Charity, who do vital research in treatment for the most deadly cancer to children and adults under 40. Edinburgh Comedy Allstars brings together the biggest, brightest comedians at the Fringe in the iconic purple cow, Udderbelly – this year celebrating its 20th year as a venue.
Taking over Modern Two from 1 August, Gwen John: Strange Beauties is the first major exhibition in Scotland devoted to the pioneering painter. Featuring rarely seen drawings and watercolours – many on show for the first time – it offers fresh insight into her quiet yet determined artistic vision. Tickets are on sale now from the National Galleries of Scotland website, with free tickets for under 18s. This exhibition is not to be missed!
Gwen John’s Young Woman with a Coral Necklace (1910-1920) will go on public display for the first time since 1964, especially for this exhibition in the Scottish capital. The striking painting once belonged to the Scottish artist and Gwen John scholar, Mary Edmond Taubman, who became fascinated with Gwen John’s work as a student while studying at Edinburgh College of Art in the early 1950s.
Taubman became the first person to conduct detailed academic research on the life and work of Gwen John, providing vital insight into what we know of her work today. Young Woman with a Coral Necklace was bought by Taubman from the artists estate, in 1968, and has been generously loaned to National Galleries Scotland by her family, in her memory.
Marking 150 years since the Welsh artist was born, Gwen John: Strange Beauties will offer a fresh new perspective on her exquisite work and lasting legacy. Experience over 200 oil paintings, watercolours, and rarely seen sketches and archive materials across two floors of Modern Two.
Explore Gwen John’s journey from Wales to Paris, where she developed her distinctive, contemplative style. Discover her intimate and meditative portraits, shaped by faith, French modernism and her life in the Parisian suburb of Meudon.
This exhibition will be the second stop of a global tour, following a critically acclaimed run at National Museum Cardiff earlier this year, including five stars from The Guardian and The Independent.
Born in Haverfordwest, Pembrokeshire in 1876, Gwen John studied at the Slade School of Art in London, becoming one of the first generation of women to receive a formal art education, before moving to Paris in 1904 where she led a fiercely independent and creative life.
From becoming a muse and model to renowned French sculptor Auguste Rodin, to modelling for Swiss artist Ottilie Roederstein, Irish sculptor Nuala O’ Donel, German artist Ida Gerhardi and Finnish artist Hilda Flodin.
She later converted to Catholicism, marrying together her faith and her artwork. Gwen John described herself as ‘a seer of strange beauties’, casting herself as a visionary with the ability to see beyond surface appearances.
Her attentive way of looking at the world shaped her art, leading her to paint and draw the same subjects repeatedly, each time observing them in a new way. Today, Gwen John is considered an independent trailblazer, who quietly yet impactfully paved the way for many women artists of the future.
Alongside significant loans will be key works by Gwen John from Scotland’s national art collection. This includes A Young Nun (about 1915-1920) which is part of a series focusing on the convent of the Dominican Sisters of Charity at Meudon, near Paris. The tonal and quietly radiant Portrait of a Girl in Grey, (about 1918 – 1923) another from Scotland’s national art collection, depicting a woman praying, will also be on display.
The exhibition will also delve into Gwen John’s artistic practice, revealing new research about Gwen John’s painting materials and methods. John’s approach to her art was almost scientific, emphasising the importance of close observation and trying to see beyond the surface of things.
The methodical and unique approach she applied to colour theory comes into play too. Gwen John developed a secret coding system for the colour mixtures and tones she used in her paintings – a code which still hasn’t been cracked to this day!
She sought to use colour to create a sense of harmony in her work. From the early 1920s the rich and vibrant colours found in Gwen John’s watercolours appear in her oil paintings, in artworks such as the ‘mulberry dress’ series.”
Visitors can also find out about Gwen John’s life with a free to use audio guide and film created especially for the exhibition which discusses her artistic legacy. Archival materials such as the artist’s notebooks and sketchbooks will be also displayed in the Keiller Library in Modern Two, telling more of Gwen John’s story through objects personal to her.
Anne Lyden, Director-General at the National Galleries of Scotland, said: “Independent, intellectually curious and visionary, Gwen John was an extraordinary painter.
“Her acutely observed and meditative paintings and vivid and evocative watercolours invite us to pause, look closely and discover the uncanny beauty of the world around us.
“We hope visitors to Modern Two this summer will enjoy discovering Gwen John’s world. The exhibition is an international collaboration between four museums and galleries and we are so grateful to the lenders, sponsors and exhibition partners whose generosity has made this celebration of Gwen John in Scotland possible.”
Jane Richardson, Chief Executive of Amgueddfa Cymru – Museum Wales, said: “Gwen John has always been in the shadow of others, but this major exhibition has put her firmly in the spotlight in what would have been her 150th year, offering an opportunity to explore her techniques, processes and inspirations.
“The response to the exhibition in Cardiff has been incredible and we are so proud to be collaborating with National Galleries of Scotland as well as with the Yale Center for British Art and the National Museum of Women in the Arts to celebrate this wonderful Welsh artist and to share her work with even more people.”
This exhibition has been developed by Amgueddfa Cymru in partnership with the National Galleries of Scotland, Yale Center for British Art, and the National Museum of Women in the Arts, Washington DC. Gwen John: Strange Beauties is yours to discover at National Galleries Scotland: Modern Two from 1 August 2026.
Today, Thursday 4 June, the Edinburgh Festival Fringe Society is delighted to launch the 2026 Edinburgh Festival Fringe programme.
This year’s programme celebrates the diverse range of creativity at the Fringe and includes work from 71 countries – reinforcing the Fringe’s place within the world’s cultural landscape, with performers hailing from around the globe.
The programme features 3,649 shows across 258 venues, making up 53,884 performances, with themes tackling some of the most topical issues being discussed in the world today. Prominent themes include artificial intelligence, cults, the manosphere, identity crisis, social class, Y2K nostalgia, the state of the world and resilience and hope.
Launching the 2026 Edinburgh Festival Fringe programme, Tony Lankester, Chief Executive of the Edinburgh Festival Fringe Society, said:‘Programme launch is an exciting moment for everyone involved in making the Festival Fringe happen. Thank you to the artists, venues, producers, technicians, promoters, support staff and audiences that bring their unique creative lens and exceptional energy to Edinburgh each August.
‘Within the number of productions registering this year, we’ve seen a notable increase in artist registrations from overseas. This tells us that, despite the economic and political headwinds the world is facing, the Fringe continues to be relevant and important to our artists, and taking part marks, for them, a significant moment and investment in their careers.
‘This year’s Fringe programme is packed with every kind of performance, so we’re asking audiences to mix it up and explore the unique, creative performances available at this Fringe.
“From theatre or circus, or the best of comedy, music, dance, children’s shows, magic or cabaret, there is something for everyone in Edinburgh this August.’
In Cabaret and Varietyat theSpaceUK,Confirmation Sponsor Variety Hour presents ‘the best damn talent show ever’ that is ‘sponsored by God.’ Head to artSpace@St Marks for a Piano Recital of Dvořák’s Suite, with ‘much variety and richness.’show
In Dance and Physical Theatre, Korean Tightrope Walking explores the ‘edge of balance and freedom’ through the traditional theatrical form of jultagi at Meeting Point at the Meadows.
There are a range of new shows at the Scottish Storytelling Centre. In Children’s Shows, Romeo and Juliet for Bairns portrays ‘an immersive, theatrical, comical version of the love story of Romeo and Juliet’ just for children. Exhibition: Craigmillar Tapestry showcases ‘a community initiative to create a series of tapestry panels representing the rich history of Craigmillar.’ The Scottish Storytelling Centre also presents Spoken Word performances such as Traditional Tales, which explores ‘folk tales, fairie tales, myths and legends, stories which have been handed down to inspire and entertain across generations.’
In theatre,the Scottish Storytelling Centre’s Irrational explores the balance between mathematics and storytelling to ‘reflect on the role of mathematics in Western culture.’ In Marjolein Robertson: Shetland Folklore at Traverse, Robertson takes audiences ‘across the sea to the UK’s most northerly isles for an hour of immersive tales.’ Meanwhile, over at theSpaceUK, Until Hope Fades Away ‘follows Ali, a young man anxiously waiting at an old harbour for the return of his father.’
At Pleasance, Copycat features Fringe First winner Joe Sellman-Leava as he explores whether ‘AI spells the end of humanity, or a dawn of a new utopia?’ At Hoots, Australian freestyle comedian Stian Macshane challenges a custom-built AI controlled entirely by the audience to a fully improvised rap challenge in RapGPT: Macshane.
Head to Assembly for An Echo in the Void, ‘a darkly funny, emotionally charged chamber thriller’ about four strangers who must choose between a painful reality and a perfect world designed by AI.
At Just the Tonic, Improbotics Presents: Artificial Reality, letting ‘audiences become producers of a reality show… Because of budget cuts, “celebrities” are recreated using questionable artificial reality methods (deep fakes, video generation and AR glasses to send lines from a chatbot to control the “celebrity”).’
‘Can you create a new and exciting innovative business and still be ethical?… The Provocateurs: Ethical Innovators? / Satellites Destroy Privacy at The Stand Comedy Club explores if new ideas and technologies – including AI – can still be ethical and inclusive’. Over at Venue 13, ‘step into an intimate, immersive campfire where mythical forces of nature meet in the shadow of a changing world. Once again guided by AI database, Symbiolene, as she conjures figures from her past: The Green Man, Brigid and the Cailleach’ in AI Campfire (return).
At Laughing Horse, The Buddha Wears Prada is ‘a dark stand-up comedy hour about Sofia May’s experience as a former member of a Buddhist cult’s inner circle.’ All Religions Explained – The Cabaret Musical is ‘a piano-pounding cabaret musical celebrating faith and the human comedy of belief’ at PBH’s Free Fringe.
Taking place at Gilded Balloon, Brit Barron: CHURCH explores stand-up, storytelling and gospel music about Barron’s experience as a former megachurch pastor. Meanwhile, Prophets from Fringe First-winning writer Jack MacGregor is at Assembly,travelling to Saint John to research the ‘dangerous theology of the cult’ that has taken over.
At Laughing Horse, Eat Pray Cult is ‘ a stand-up comedy about getting divorced and joining a cult’ in a ‘seasonal, off-grid, techo-futurist protopia and decentralized intentional community’.
Sex, Drugs and Conscious Souls at PBH’s Free Fringe explores the unlikely love story built upon polyamorous throuples between a pastor and a prostitute. It focuses upon ‘healing from religious trauma and mental illness while exploring society’s stigmas around sex, drugs and new age consciousness.’
Audiences can also join Jonas and Sylas, who tell their experiences of escaping a cult in Oh My Jehovah! at Hoots.
At Pleasance,MAN!FEST: The Drag Boyband Musical is the ‘riotous drag musical that exposes toxic masculinity and its effect on boybands and fangirls.’
At Monkey Barrel Comedy, Finlay Christie: Champagne Casanova provides an hour of stand-up discussing ‘the myths constructed by incels, billionaires and even human people, that mean we don’t have to admit we’re ordinary, rejected or wrong. There’s also a strong section on air fryers.’ Alice Fraser: Oh Man! is alsoat Monkey Barrel Comedy, with some ‘stuff to say’ about masculinity, featuring ‘a sentient Roomba and some Ancient Greek philosophy’.
In Aideen McQueen: Wo-Manosphere at Gilded Balloon,McQueen ‘finally understands dating, boundaries, attachment and the male loneliness epidemic’ in a stand-up show exploring masculinity and female delusion.
Explore a single mother’s ‘real-world encounter with the Manosphere that stokes her rage’ in SLAYERS by Corinne Salisbury at Assembly.Also, No Hard Felix follows Felix as his ‘chaotic quest to “fix” himself spirals into an accidental journey into vulnerability and the scared parts of himself he’s spent a lifetime avoiding’ at Just The Tonic.
Over at Greenside, Shinjuku follows a woman’s unfinished business in a ‘darkly funny exploration of women’s choices in a man’s world.’
In Extraordinary Alien at Le Monde, a Jewish actress and mum new to New York must prove she’s exceptional in a stand-up about ‘ambition, impostor syndrome and never quite fitting in.’ In Why English?, an Indian woman ‘questions her life in the post-colonial era’ through physical theatre at Assembly.
At Greenside, Chloe Campbell Bites Back explores Campbell’s move from County Down to London and tackles her Irish/British identity. Also at Greenside,Abby tells the story of her ‘immaculate-conception-adjacent origin story’ featuring ‘gay divorce, coming out as straight, OCD, Jewishness and Germans who fetishise it, and career heartache’ in Most of My Moms Are Gay.
Former astrophysics researcher Rao explores being ‘a brown Australian navigating family expectations, creative work and burnout in a confusing world, whilst clinging to a sense of joy’ in How Now Brown Rao at Laughing Horse.
Tap Out! (Or I’ll Hit You Again) at Gilded Balloon is a ‘dramedy story about violence, masculinity and morality; an examination of identity, purpose and male loneliness.’ Lance Mao: The Pig with the Dragon Tattoo at Hoots offers ‘a dark confessional hour about racism, mental health, fear, and embracing your crazy’ as ‘a perpetual foreigner’
‘Expect class clashes, romantic disasters and the familiar feeling of trying to do the right thing, and rarely succeeding’ in Gareth Mutch Means Well at The Stand Comedy Club. Follow a portrayal of ambition, social mobility and culture shock featuring ‘pink shell suits, Playboy garms, and Britpop’s parting cries’ in comedy Giro Baby at Greenside.
Drag performance I AM JOHNNY explores the ‘fragile power dynamics, performative masculinity and ownership of the female body’ at Summerhall.
Irene Cleans Up tells the story of an unlikely partnership between a London cleaner and a successful competitive sommelier, exploring reinvention, friendship and the ‘courage to redefine yourself’ at Paradise Green.
haim. teeth. CLUB. explores the story of a ‘working class Scottish young woman at the centre of her own narrative – as a living, breathing, contradictory person’ at Underbelly.
At Pleasance, Emmeline Downie: Gail ‘gives a voice to the voiceless: vivacious middle-aged women from Milton Keynes’.
A&E at theSpaceUK ‘invites the audience to sit in the A&E waiting room and participate in humanity’s favourite activity: voyeurism’ while meeting hospital regulars.
At Pleasance,Cecily Hitchcock: Family Recipe dives into ’00s Britain where ‘Blair and Brown played in her child mind like a Greek tragedy’.
They’re Just Small Town (Northern) Lads at Summerhall explores boyhood, masculinity and the moments young boys must decide what kind of men they will become in a Northern UK working-class town in 2000.
At Underbelly, Saving Britney, inspired by the #FreeBritney movement, returns to the Fringe to explore how the princess of pop, Britney Spears, influenced millennials’ lives and led to ‘an unbelievable moment of self-discovery.’ Over at Laughing Horse,00s Throwback Party explores Noughties’ iconography of ‘Fad diets. Flip phones. MySpace. MSN.’ through a multimedia performance.
YUCK Circus: Naughties is celebrating a decade not to be forgotten, featuring ‘high-flying acrobatics, comedy and absolute bangers’ at Assembly. Based on the film, Brassed Off shows ‘the value of solidarity and friendship and the power of music’ at Inverleith St Serf’s Church Centre.
We Were Young is at theSpaceUK, telling ‘a powerful and hilarious story about the realities of gang culture and young team mentality in Glasgow during the 90s’.
In Broken Planet Show at Just the Tonic, ‘comedy, circus and indie cosmic lunacy collide in an ever-changing nightly riot of world-class weirdos, hellbent on healing our planetary divide.’ Also at Just the Tonic, Meka Mo uses New York as a lens to comedically explore the multicultural world in ‘an age of political chaos and cultural contradiction’ in New York City Dreams.
Lorraine Hoodless: Mean at PBH’s Free Fringe tells Hoodless’ account of ‘burnout, billionaires, consumer guilt, the myth of meritocracy, and the slow collapse of society.’ The Last Funny Womanat PBH’s Free Fringe features Kate, who thinks ‘it is time to burn [the world] down.’
Political comedian Matt Forde ’embarks on finding joy amid global political turmoil, the rising tide of populism and his own ongoing health challenges’ in Matt Forde: Project Holy Moly at Pleasance.
At Paradise Green, The Pod is a comedy play about grief, the state of the world and the importance of human connection, as Kaia and Adam move to a ‘doomsday bunker that might jettison into space when the world ends in eight minutes and 19 seconds’.
Will Adamsdale tell his robo-bromance about finally embracing his old enemy technology in Will Adamsdale: AI, AI, Oh… (Or How I Wrote a Hit Sitcom with ChatGPT But We’re Not Talking Now) at Underbelly.
Part of the Made in Scotland showcase, FLOWERCORE by Siobhan Wilson at The Gilded Saloon is a celebration of ‘preservation, belonging and resilience through music and immersive imagery featuring flower videography and flower art by Scottish artists’.
In his first show in 25 years, Bruce Devlin: Mummy Loves M&S at TheStand Comedy Club explores ‘the four Ds: death, dyslexia, divorce and Dundee’, as well as the need for resilience and the power of laughter in the face of life’s challenges.
At the Ukrainian Community Centre, the Solo Way Ukrainian Choir ‘connects audiences to the passion, resilience and joy of Ukrainian music.’ At the Scottish Storytelling Centre, The Dark Pool explores ‘disability and resilience in the face of trauma and societal expectations’.
Jessies at theSpaceUK ‘dives into the highs and lows of queer life’ between 1980 and 1995 for ‘three unforgettable drag queens.’ Also at theSpaceUK, A Forgotten Woman: Mrs Oscar Wilde explores Constance Lloyd’s life ‘told through letter excerpts written in her own hand’ which reveal her ‘wit to rival Oscar [Wilde’s]’.
At The Speakeasy at The Royal Scots Club, Alan Bennett’s Talking Heads, a ‘multi-generational company of Edinburgh-based women, perform four of Alan Bennett’s iconic Talking Heads monologues’ exploring loneliness, desperation and resilience through humour.
Gilded Balloon Teviotreopens for the Fringe after being closed for renovations since September 2023, featuring Brit Barron: CHURCH, Fab Goualin: Mixed Messages, Aideen McQueen: Wo-Manosphere and many more.
Sauna Theatre @ Summerhall is a working sauna and will feature shows such as Morning Sauna Rave, Mysteries of the Picts and Bubble Schmeisis (Remixed). Sauna Theatre will be a hub for relaxing and recharging, as well as experiencing choreography and storytelling through traditional sauna rituals.
Brown’s of Leith is hosting a ‘site-specific adaption of Andrew O’Hagan’s best-selling novel’ Mayflies, part of the Made in Scotland showcase, within Leith’s unique Victorian engineering works.
Pianodrome’s new, second location at St Oswaldsshares ‘the world’s first amphitheatre made entirely from disused pianos’ which will feature free shows, evening events and workshops such as Golden Beryl: Special Oblivion, Piano Dismantling Action and Vroni’s Streetpiano Party.
The Fringe Society is grateful to the many partners, supporters, funders and sponsors this year. They would like to thank Cheez-It, The Magnum Ice Cream Company, Edinburgh Gin, Baillie Gifford, Cirrus Logic, Apex Bars & Events, Binks Trust, Bloomberg Philanthropies, PPL, EventScotland, VisitScotland, and Young Start – The National Lottery Community Fund.
The Fringe Society would also like to thank the UK Government, Foyle Foundation, SP Energy Networks, and the Changing Places Toilets Scotland Fund for their support of Fringe Central. The Scottish Government and City of Edinburgh Council for strategic funding support, the Scottish Government’s Festivals EXPO Fund support for the Made in Scotland programme; and Screen Scotland for supporting Screen Fringe.
The Fringe Society works with accommodation partners who provide much needed affordable accommodation to artists – they would like to thank Queen Margaret University, the University of Edinburgh and Theatre Digs Booker.
Health in Mind are also returning in 2026 to support the delivery of mental health and wellbeing services within Fringe Central.
Gilded Balloon today announces the launch of its Show Support Fund, a new initiative designed to help artists overcome the growing financial barriers of bringing work to the Edinburgh Festival Fringe.
Delivered by Gilded Balloon Futures Ltd, the organisation’s registered charity, the fund marks a significant step in expanding Gilded Balloon’s long-standing commitment to artist development. Gilded Balloon Futures was originally established following the Cowgate fire and relaunched at the end of 2025 as part of Gilded Balloon’s 40th anniversary, with a renewed focus on supporting artists and sustaining the future of the Fringe.
At its core, the Show Support Fund will raise commercial, public and charitable donations to directly support artists in Gilded Balloon’s annual Fringe programme. With the cost of participating in the Fringe continuing to rise, the fund aims to ensure that more artists, particularly those with distinct voices and limited financial means, can bring their work to Edinburgh.
The fund is designed to be flexible and collaborative, allowing donors to support the kinds of artists and projects they are most passionate about, while Gilded Balloon identifies productions that would most benefit from additional backing. Funding may contribute to a wide range of artist’s needs, including marketing, rehearsal space, creative support, travel, accommodation and wellbeing.
Alongside the Show Support Fund, Gilded Balloon Futures will also support the So You Think You’re Funny? Artist Development Programme, helping to cover the costs of the competition and providing vital opportunities for emerging comedians. This includes financial assistance for travel and accommodation for selected performers, removing one of the biggest barriers to accessing the fringe.
In its inaugural year, the Show Support Fund has been kickstarted by a generous contribution from globally acclaimed comedian, writer and composer Tim Minchin alongside his wife Sarah Minchin, their donation will support five shows selected by Gilded Balloon Artistic Directors Karen Koren and Katy Koren, focusing on solo performers with bold voices and sharing personal stories across comedy and theatre.
Tim Minchin who first found major success at Gilded Balloon at the Edinburgh Fringe in 2005 has particular interest in supporting artists who have struggled with mental health issues who may require additional support to make the Fringe achievable with their work.
In 2026, a total of £10,000 has been raised for the Show Support Fund which will be split between five supported artists as follows:
These productions represent a mix of emerging and established voices, each facing unique challenges in bringing their work to the Fringe, from international travel costs to personal circumstances and the realities of early-career development.
Support from the fund will directly impact these artists’ ability to present their work, whether through financial relief, creative resources, or practical adjustments that make participation possible.
Karen and Katy Koren, Artistic Directors of the Gilded Balloonsaid: ““For over 40 years, Gilded Balloon has been a home for artists at every stage of their careers, from first-timers to global stars. But the reality now is that the financial barriers to getting to the Fringe are higher than ever.
“We are delighted to finally launch this fund which has been a long time coming and is about protecting what makes the Fringe special, taking risks on new voices and giving artists the chance to be seen – something we’ve always prioritised at Gilded Balloon. We want to work with supporters who believe in that mission and help us keep those doors open.
“Every year we meet extraordinary artists with urgent, exciting work who simply can’t afford to bring their work to the Fringe. The Show Support Fund and the So You Think You’re Funny? Artist Development programme – both delivered by Gilded Balloon Futures – allow us to raise funds for where it matters most.
“Whether that’s helping artists to cover travel or accommodation costs, giving artists proper time and space to develop their work, or supporting their wellbeing during what can be an incredibly intense month.
“It’s practical, targeted support that can genuinely change the trajectory of someone’s career and we are eternally grateful to our pal, Tim Minchin, for being the first to support the Show Support Fund.”
Tim Minchinsaid: “Late one night in March, 21 years ago, a furiously passionate woman with a strong Scottish accent called me up and demanded I go to the Gilded Balloon.
“I didn’t know what the fuck a Gilded Balloon was, and I was deeply cautious, because I’d spent ten years grafting away, and didn’t really believe in big breaks. But a big break is exactly what that phone call was.
“Karen Koren – and now her daughter Katy – have remained loyal friends and passionate supporters for two decades, and it’s a huge privilege to be able to support them a bit as they head into their 41st Fringe.”
A CALL TO THE INDUSTRY
Gilded Balloon hopes that the Minchins’ contribution will inspire others, particularly alumni, industry partners and Fringe supporters, to invest in the next generation of performers.
As one of the Fringe’s longest-running venues, Gilded Balloon has played a pivotal role in launching the careers of countless comedians and theatre-makers. The Show Support Fund represents a new chapter in that legacy, ensuring that talent, not financial means, remains the driving force behind who gets to take part.
By contributing to the fund, supporters will play a direct role in shaping the future of the Fringe, enabling more artists to take risks, share their stories, and reach new audiences on one of the world’s most important cultural stages.
Extinction Rebellion Scotland, Christian Climate Action and Scottish Palestine Solidarity Campaign held a noisy Earth Day protest outside BlackRock offices in Edinburgh yesterday.
BlackRock is the world’s largest investment asset manager using the immense power of its algorithms and wealth to fund three crimes against life and humanity: AI, fossil fuels, war and genocide. The protest demanded that BlackRock stops using its power to crush humanity, and stops funding death by algorithm.
The protest included drummers from the Rhythms of Resistance network and Discobedience dancers.
Three corpses dressed in shrouds labelled with the words: BlackRock Funds Climate Violence, War and Genocide, AI Terror. Protest in Harmony, a radical activist singing group, sung songs of protest and an original work of art was created for the protest.
Activists held a giant banner saying BlackRock CRUSHING EVERYTHING AND EVERYONE and some held placards drawing attention to the fact that BlackRock’s wealth and algorithms fund climate violence, genocide and Big Tech. Larry Finkenstein, the alter ego of BlackRock CEO Larry Fink, also made an appearance.
Alex Cochrane, website manager, from XR Scotland said:“We are protesting on Earth Day because BlackRock is funding climate breakdown with its investments into fossil fuel companies and major polluters.
“They are a company prepared to lie, greenwash and crush us all under the weight of climate catastrophe just so their shares can get some returns.
“They have captured finance and become too big to fail – we will all suffer from this, including the staff of BlackRock. Climate breakdown will destroy our way of life and their way of business.”
A spokesman from Scottish Palestine Solidarity Campaign said:“BlackRock uses its financial might directly against the Palestinian people.
“As the UN special report on ‘the economy of genocide’ by Albanese details, BlackRock’s vast investments in Elbit Systems, Lockheed Martin, Boeing, Raytheon and others add up to a ‘joint criminal enterprise’ where there is a direct line between BlackRock’s profits and genocide.”
Levi Clark, support worker, from XR Scotland said:“Young families in Scotland like mine are struggling as BlackRock’s AI investment platform Aladdin, the algorithmic engine of the global financial system, drives historically unprecedented inequality.
“There have never been more billionaires, yet ordinary people everywhere are facing hardship. BlackRock funds Palantir which is using AI technology to devastate human rights. We need to wrestle back control of this technology’s future for the benefit of all humanity.”
Photography enthusiasts are being encouraged to enter a competition running until October celebrating three decades of Edinburgh’s World Heritage Site.
The Old and New Towns of Edinburgh were first inscribed on the UNESCO World Heritage List in 1995 making this World Heritage Day (Saturday, 18 April) so special as the competition is part of the Site’s 30th birthday celebrations.
This makes this weekend the perfect time to explore the Old and New Towns to capture images of one of the most extraordinary urban landscapes in the world.
Entries will be grouped into twelve categories, each celebrating a particular value of Scotland’s capital city. The winning photograph in each category will become part of a year-long calendar, which will be sold on Historic Scotland sites and at Edinburgh World Heritage events to raise money for the Trust.
The over-all winner will take pride of place on the front cover of the calendar and will receive a one-year membership for Historic Scotland, who run top-rated visitor attractions all over the country.
The entries will be judged by Tom Duffin, a professional photographer who specialises in showcasing Edinburgh’s heritage; Neil Hanna, a multi-award-winning photographer with over 35 years of experience; and Jane Bradley, celebrated Arts and Culture Correspondent at the Scotsman.
This year’s World Heritage Day celebrations also include the following event:
DID JOHN BAYNE TAKE A SECRET TO HIS GRAVE?
TODAY (Saturday 18 April) as part of the Legacies in Stone project, Edinburgh World Heritage, the Friends of Greyfriars Kirkyard, and the Council (funded by the National Lottery Heritage Fund) aim to lift the lid on a secret centuries in the making: does a broken gravestone in John Bayne’s mausoleum hide a forgotten burial vault?
By repairing a simple flat grave slab, the aim is to unlock the mystery of this unique tomb in Scotland’s most famous kirkyard.
How to join:
In person: Attend the event in Greyfriars Kirkyard, followed by expert talks at Augustine United Church.
Cllr Joan Griffiths Planning Convener said: “This year World Heritage Day is so special as there is much to celebrate. The 30th birthday is a significant achievement and milestone to reach as looking after the Site with our partners takes a lot of care and has many challenges. Edinburgh is a living, breathing city and it needs to be well managed to balance the needs of our residents, businesses and visitors.
“This World Heritage Day is a great time to enter our photography competition as it’s a lovely time of year to capture the changing light, sunsets and skylines this part of our stunning capital city is so famous for.
“The beautiful spring flowers appearing in the many gardens and open spaces are also there for us all to enjoy. If you’re interested in photography, why not explore the area this weekend to capture what inspires you most about the Old and New Towns.
“You could combine your visit to find out if John Bayne took a secret to his grave by attending the event in Greyfriars Kirkyard – or if history is more your interest – just attend the event instead.”
George Findlater, Head of Community and Economic Development at Historic Environment Scotland, said:“After thirty years of being a World Heritage Site, Edinburgh continues to inspire admiration from visitors and locals alike.
“We are excited to offer a year’s membership to Historic Scotland as a prize in the photography competition, and World Heritage Day is a terrific opportunity to bring out your camera and capture what makes Edinburgh so unique across the competition categories.”
Douglas Brotherston, Chairman of Edinburgh World Heritage, said: “Thirty years as a World Heritage Site is quite a wonderful achievement and we are delighted at Edinburgh World Heritage, together with our partners at HES and the City of Edinburgh Council to mark the occasion by holding this photography competition.
“The unique appeal of Edinburgh’s streets and landscapes, skylines and special heritage is so varied, it lives up to its reputation as one of the most beautiful cities in the world. We hope that we will get many entries from locals and visitors alike who can capture the glorious views of our spectacular city.”
The twelve categories for which applicants can submit their photographs are:
Planning Convener Cllr Joan Griffiths writes about birthday celebrations for Edinburgh’s World Heritage Site ahead of World Heritage Day on Saturday:
It’s three decades since Edinburgh’s Old and New Towns were inscribed on the UNESCO world heritage list in 1995, recognising the city’s diverse and iconic buildings and landmarks – thirty years on and we have a lot to celebrate this World Heritage Day, Saturday 18 April.
The status recognises the Towns (collectively) as one of the most extraordinary urban landscapes in the world and helps us along with our partners, Historic Environment Scotland and Edinburgh World Heritage, to make sure its value and beauty is preserved for generations to come.
As partners we’re tasked with preserving the organic medieval Old Town and the planned Georgian New Town including the city’s iconic skyline. The Site offers a rich contrast of styles between the Old Town’s narrow, winding closes and the broad, elegant streets of the New Town. Along with our partners we look after around 4,500 individual buildings and for around 30,000 Edinburgh residents the Site is their home.
UNESCO’s values include working with communities and young people. Celebrating this big birthday is giving us a fantastic opportunity to engage residents and visitors in activities to help them find out more about this historically important and internationally renowned area of our beautiful Capital city.
If you’re a photography enthusiast, we’re running a competition with our partners to help celebrate this milestone. We’re asking you to share an image with us before the end of October that captures what inspires you most about the World Heritage Site and makes Edinburgh so special in your eyes. There are 12 categories to choose from, ranging from the Medieval Old Town to the Living City.
Winning images in each category will become part of a year-long calendar and you will be able to buy one in our Museums and Galleries shops, at Historic Scotland sites and at Edinburgh World Heritage events to raise money to help manage the Site going forward.
For our young residents we’ve asked a class of primary four Granton Primary pupils to work with a freelance artist over the summer term. The children will visit the Museum of Edinburgh and be given a special educational tour of the World Heritage Site.
The artist will carry out a number of sessions with the pupils in their classroom guiding them to paint their impressions of what they found interesting and memorable during their trip around this historic area of our city. When complete the work will be exhibited in the Museum of Edinburgh from 5 October to 10 January for everyone to enjoy.
Why not use this week to find out more about the Old and New Towns World Heritage Site and enter any special images of the area you are proud of into our photography competition. Good luck and happy snapping!
Work inspired by natural landscape “reflect need to stay connected with nature at a time when technological progress draws us further indoors and deeper online”
Praise at preview evening with Dundas Street Gallery showcase running until March 22
Wild water swimming – and the landscape in which it is embraced and enjoyed – has inspired a new exhibition of paintings.
Hymn From a Valley by Ryan McGoverne opened to the public yesterday (Friday March 13) at Dundas Street Gallery in central Edinburgh. It runs until March 22.
Invited guests from Lindsays, the city legal firm sponsoring the exhibition, enjoyed a special preview evening on Thursday.
The collection of oil paintings depict figures immersed in natural bodies of water, many of them locations from throughout the Lothians and Scottish Borders.
Artist Ryan McGoverne, whose new exhibition, Hymn From A Valley, is sponsored by legal firm Lindsays. It celebrates the people and landscapes of wild water swimming and takes place at Dundas Street Gallery in Edinburgh until March 22. Picture: Jamie Simpson / Lindsays March 12th 2026
Ryan, who lives in Biggar, said: “The work is inspired by our natural landscape and open water wild swimming – celebrating a life-affirming, temporary disconnection from the modern world.
“The paintings reflect a need to stay connected with nature at a time when technological progress draws us further indoors and deeper online.
“Each work shows a simple nourishment for the soul. They make a positive and quiet statement about action – about embracing life, nature and beauty with courage and curiosity.
“They depict places of accessible tranquility found just behind our roads, towns and cities, capturing the emotional and physical experience of cold open-water immersion.
“I am really grateful to Lindsays for their sponsorship, which has allowed me to share this work, of which I am incredibly proud.”
The exhibition is a celebration of immersing yourself in nature – something Ryan himself has done in order to create the work, which is in the tradition of Impressionist greats including Degas and Manet.
The artist, who completed a Masters in Fine Art through Cardiff University and Kansas State University, began exploring landscapes in detail following the coronavirus pandemic.
He discovered the diverse and accessible beauty of the landscape which surrounds where he lives.
And, looking at how people spend time in it, became intrigued by wild swimming and cold water immersion as its popularity has grown across Scotland – so much so that he too is now also a wild swimmer.
Ryan, who is also a corporate and commercial photographer, said: “I thought I couldn’t do it. But then I got to know people who convinced me otherwise.
“In January last year, I took myself to a reservoir. It was obviously one of the coldest times of the year. It felt amazing.
“The exhibition celebrates that feeling. It’s a call for people to get out there and enjoy the wonderful, accessible landscape that we have.
“Cold water immersion is good for the soul – for your mental and physical health. It can give you huge confidence – such a boost. The work which features in the exhibition celebrates that.”
Guests at Thursday’s preview evening were impressed by what they saw. They included lawyers and clients from sponsors Lindsays.
Ryan has been commissioned by the firm for many years in his “other” role of corporate photographer.
Lindsays Managing Partner Andrew Diamond, left, and artist Ryan McGoverne. Legal firm Lindsays is sponsoring Ryan’s new exhibition, Hymn From A Valley, which celebrates the people and landscapes of wild water swimming. It takes place at Dundas Street Gallery in Edinburgh until March 22. Picture: Jamie Simpson / Lindsays March 12th 2026
Andrew Diamond, Managing Partner at Lindsays,said: “This really is an impressive and memorable collection of work.
“It really gives you a sense of not only the elation that cold water immersion gives, but the confidence that flows from it.
“It is a reminder too of the amazing landscape that we are blessed to have – and how taking time away from our screens to enjoy it can make a positive difference to our lives.
“As a firm, we have worked with Ryan for over a decade. It’s a pleasure for us to be able to support this side of its work.”
Lindsays has a strong track record of supporting the arts. The firm has supported the ArTay programme in Perth in recent years, as well as sponsoring a number of events in Edinburgh, including Van Gogh Alive with SAMH, Art Friends of St Columba’s Hospice and Postcards for the Sick Kids Friends Foundation in previous years.
Come along for a wonderful community event filled with unique stalls, home baking, handmade gifts, and fun activities for everyone!
Enjoy tea, coffee or juice included with your entry, and children under 12 go free.
Stalls include:
• Ukrainian gifts and crafts
• Home baking
• Handmade laser bags
• Bottle stall
• Lucky dip
• Gnome for home stall
Edinburgh Ukrainian Club, 14 Royal Terrace, EH7 5AB
Saturday, March 14
11:00 AM – 2:00 PM
£2 entry (includes tea/coffee/juice)
Most importantly, this event is held to support Ukraine during this difficult time. Every visit, every purchase, and every show of support helps our community stand strong and united with Ukraine.
Please come, bring your friends and family, and help us make a difference
Commemorating one year since the passing of celebrated Scottish painter Jack Vettriano, National Galleries of Scotland has announced it is to showcase two works by the artist.
Celebrating the life and prolific career of Vettriano, the artist’s estate will loan two self-portraits Portrait of the Artist and Homage to Fontana? over a six-year period. Portrait of the Artist will go on display on the one-year anniversary of his passing on 1 March 2026, at National Galleries Scotland: Portrait.
Free to visit, the painting will stay on display until early 2029 when it will then be swapped with Homage to Fontana?.
A self-taught painter, Vettriano was loved at home in Scotland and internationally for his evocative and timeless works that continue to captivate and inspire. His career made a huge contribution to the Scottish arts and culture scene and even broke records in the UK and Scotland.
In 2004 his painting The Singing Butler achieved a record price for a Scottish painting sold at auction and went on to become the best-selling art print in the UK. The work even inspired Banksy, whose reimagining of the painting sold in March 2025 for £4.3million. Vettriano is internationally recognised, with the likes of Jack Nicholson, Sir Alex Ferguson and Sir Tim Rice among collectors of his work.
Portrait of the Artist, painted in 1993, is an early self-portrait by Vettriano and was painted a year after The Singing Butler. It depicts the artist taking a break from painting at his Edinburgh flat where he had a studio. A dramatic depiction of light and shade sets the scene for a moment of contemplation. The artist’s paint-splattered clothes emphasise the task at hand.
The cinematic Homage to Fontana? was painted later in 1999. The title and slashes in the painted canvas reference the Argentine-Italian artist Lucio Fontana (1899–1968) whose slashed canvases of the 1950s and 60s blurred the distinction between two and three dimensions to create ‘an infinite dimension’.
Vettriano invites us to follow his act of contemplation in relation to what lies beneath the surface and beyond. The painting returned to Edinburgh in July 2025 after its inclusion in a Vettriano exhibition at the Palazzo Pallavicini in Bologna and is the largest of three versions of this composition.
Born Jack Hoggan, Vettriano grew up in the coastal mining village of Methil in Fife. After leaving school at 15, he followed his father down the mine, working as an apprentice engineer.
He later moved on to white-collar jobs in management services, taking up painting as a hobby in the 1970s when a girlfriend bought him a set of watercolours for his birthday.
From then on, Vettriano spent much of his spare time teaching himself to paint.
He learned by copying Old Masters, Impressionists, Surrealists and a plethora of Scottish artists, taking inspiration from studying the collection at Kirkcaldy Galleries. It was his experience living near Leven Beach which prompted him to make the decision: ‘I’m going to set some paintings on beaches.’
A figurative painter, Vettriano described his work as ‘more or less autobiographical.’ He worked from photographs of scenes he staged with models in his studio.
His paintings evoke the nostalgia of the 1940s and 50s and were often set, in the artist’s own words, in ‘sombre and sordid interiors’. Vettriano’s dramatic use of light and shade is a distinctive element of his work and heightens the stories of love, sex and betrayal in his paintings.
In the late 1980s he moved to Edinburgh and took his mother’s last name, Vettriano. The artist’s breakthrough came in 1988 when he submitted two works to the Royal Scottish Academy’s Annual Exhibition, with both works selling within the first day.
Subsequently he was courted by several galleries, with his first solo exhibition in Edinburgh in 1992. Soon, his works began to gather international acclaim, leading to exhibitions in London, Hong Kong, Johannesburg and New York.
The first major retrospective of his work was at Kelvingrove Art Gallery in 2013 and featured Homage to Fontanna?. The exhibition was record-breaking, attracting more than 136,000 visitors over its five-month run.
Imogen Gibbon, Head of Portraiture & Photography & Chief Curator at the National Galleries Scotland, said: ‘‘We’re thrilled to be welcoming visitors to the Portrait gallery to come and see Portrait of the Artist – by Jack Vettriano. It feels particularly significant that we are able to showcase a self-portrait to celebrate Vettriano’s contribution to Scottish culture on the anniversary of his death.
“This portrait and the subsequent work Homage to Fontana? will take their place on loan in The Modern Portrait display amongst the many other contemporary portraits of Scots who have made an impact at home in Scotland and internationally.
“National Galleries of Scotland extend our thanks to the artists estate, who came to us with this idea and supported us to make it happen’.”
Carolyn Osborne, Director, Jack Vettriano Publishing Limited, said: ‘Jack was known as The People’s Painter and it’s entirely fitting that the public will be able to see one of his paintings in such a beautiful setting within a mile of where it was painted.’
Stalls include:
Edinburgh Ukrainian Club, 14 Royal Terrace, EH7 5AB
Saturday, March 14
11:00 AM – 2:00 PM
£2 entry (includes tea/coffee/juice)
