Aldi donated almost 12,000 meals to good causes in Edinburgh and the Lothians during the recent Easter school holidays.
Britain’s fourth-largest supermarket pairs its UK stores with local charities, community groups, and food banks to collect unsold fresh and chilled food year-round.
Around 500,000 meals were donated throughout the UK during the recent school holidays, with 34 causes in Edinburgh and the Lothians benefitting from the initiative in total.
The food donations are part of Aldi’s successful partnership with Neighbourly, a community giving platform that links businesses to charitable organisations.
Liz Fox, National Sustainability Director at Aldi UK, said:“We know that the school holidays can be a particularly challenging time for families, and food banks regularly see heightened demand.
“By working with such amazing charities in Edinburgh and the Lothians through our partnership Neighbourly, we are able to give back by providing donations to those who need it most.”
Steve Butterworth, CEO of Neighbourly, said:“The ongoing cost-of-living crisis has increased the demand on food banks, particularly during the school holidays.
“Aldi’s contributions serve as a lifeline for many, providing essential support to enable these causes to continue their vital work within local communities.”
Since the partnership began in 2019, Aldi has donated more than 44 million meals to good causes across the UK.
Aldi also recently partnered with Neighbourly to launch a new “Spring” fund to provide additional help for families in need across the UK.
Eligible charities across the Neighbourly network, such as baby banks and children’s centres, will be able to access microgrants of £500 to help them provide immediate support to struggling families.
World Premiere of Mark-Anthony Turnage’s opera Festen
Eight new opera productions across two stages including: Eugene Onegin, The Tales of Hoffmann, Die Walküre, Semele, The Sound Voice Project and a Bernstein double bill
European Premiere of Wayne McGregor’s MaddAddam
Eight works new to The Royal Ballet by choreographers including Christopher Wheeldon, Joseph Toonga and Pam Tanowitz
40 years of breaking down barriers with our pioneering learning programmes
11 productions shown in 1,500 cinemas across the globe
Tickets available from £3 – on sale from Wednesday 10 July
The Royal Ballet and Opera has announced its 2024/25 Season.
Opening on Monday 2 September 2024 under a new and combined organisational name, the Season features a programme of bold new productions, alongside returning audience favourites, thrilling debuts and bright new voices.
Alex Beard, Chief Executive of the Royal Ballet and Opera, said: “Today we announce a Season of extraordinary breadth and ambition – to audiences old and new, in schools and cinemas across the UK, and through streaming and digital media, right across the world.
“Bringing ballet into our name is long overdue – The Royal Ballet and The Royal Opera have performed under the same roof since 1946 – and both companies now enjoy the prominence that they rightfully deserve.
“The whole of the Royal Ballet and Opera is far more than the sum of our parts. We may perform at the Royal Opera House, but three quarters of what we do is experienced by people outside this building and, as we mark 40 years of our Learning programme, the impact and influence of the Royal Ballet and Opera can be felt in every corner of the country.”
The evolution of its name, the Royal Ballet and Opera, celebrates the institution in its entirety, recognising the whole, not just one of its parts. Together, the Royal Ballet and Opera will continue to perform at Covent Garden’s Royal Opera House, with performances shown in cinemas around the world, marking an exciting new era for the two companies as they enter a thrilling 2024/25 Season.
The Royal Opera 2024/25 Season
In an ambitious Season, eight new productions spanning three centuries are spread across the Main Stage and the Linbury Theatre, including the world premiere of Festen. Based on Academy Award-winning filmmaker Thomas Vinterberg’s 1998 cult film of the same name, Festen is composed by Mark-Anthony Turnage (Greek, Anna Nicole, Coraline) with a libretto by Lee Hall (Billy Elliot) and will be directed by Richard Jones. Previously a hit West End play, this darkest of comedy-dramas delves into the disturbing subject of abuse and generational trauma, with a cast including Allan Clayton, Stéphane Degout, Gerald Finley, Eva-Maria Westbroek, Natalya Romaniw and more, with Edward Gardner conducting.
Director of The Royal Opera, Oliver Mears, said: “2024/25 is set to be a thrilling Season for opera here at the Royal Opera House.
“With the world premiere of Festen, a brand-new commission by Mark-Anthony Turnage, we reaffirm our commitment to new opera; some of the greatest singers of our time perform alongside the most exciting voices of the future; and phenomenal creative teams bring unforgettable stories to life with eight new productions across both our stages.
“And as ever, our world-class Orchestra and Chorus will offer exactly the kind of intense, rich experiences that audiences are craving.”
In a year that has seen Leonard Bernstein celebrated in mainstream cinema with the success of film biopic Maestro, his two major opera works will be staged at Covent Garden for the first time. The Linbury Theatre opera season opens with two of his semi-autobiographical operatic masterpieces, Trouble in Tahiti and A Quiet Place, directed by Oliver Mears and conducted by Nicholas Chalmers.
In the autumn, Ted Huffman (4.48: Psychosis) will make his Main Stage debut directing a new staging of Tchaikovsky’s Eugene Onegin. Henrik Nánási conducts Gordon Bintner in the title role, with Kristina Mkhitaryan (Tatyana), Liparit Avetisyan (Lensky), and Avery Amereau (Olga).
After the success of Cavalleria rusticana/Pagliacci and Carmen, Damiano Michieletto returns to Covent Garden to direct Offenbach’s last and greatest work, The Tales of Hoffmann. Conducted by Antonello Manacorda, Juan Diego Flórez and Leonardo Caimi share the title role and are joined by Alex Esposito, Julie Boulianne and Olga Pudova, Marina Costa-Jackson, and Ermonela Jaho in the three soprano roles.
Following the glittering triumph of Das Rheingold, Barrie Kosky delves back into Wagner’s mythic universe with the second instalment of the Ring cycle, Die Walküre. With Antonio Pappano leading from the podium, Christopher Maltman reprises the role of Wotan, alongside Elisabet Strid (Brünnhilde), Lise Davidsen (Sieglinde), and Stanislas de Barbeyrac (Siegmund).
Premiered in 1774, Semeleis the latest in our Handel series of operas and oratorios that were first performed at Covent Garden. Darkly satirical, this new production from Oliver Mears considers class, privilege and degradation. Handel specialist Christian Curnyn conducts as Pretty Yende marks her return to Covent Garden in the title role, with Ben Bliss making his House debut as Jupiter.
Between Antonio Pappano’s departure as Music Director of The Royal Opera and Jakub Hruša’s arrival in September 2025, this Season hosts them both. Hruša conducts Corinne Winters, Karita Mattila, Thomas Atkins and Nicky Spence in the revival of Claus Guth’s Olivier Award-winning production of Jenůfa.
Other unmissable returning favourites include the first revivals of Tobias Kratzer’s Fidelio conducted by Alexander Soddy and Adele Thomas’Il trovatore conducted by Giacomo Sagripanti and Carlo Rizzi. Aigul Akhmetshina reprises the role of Carmen alongside Freddie De Tommaso, conducted by Mark Elder. Ariane Matiakh conducts the second cast.
Commemorating the centenary of Puccini’s death, Speranza Scappucci, Principal Guest Conductor Designate, leads her first Covent Garden stage production, Richard Jones’ La bohème. Also returning is Jonathan Kent’s Tosca starring Sonya Yoncheva, SeokJong Baek and Bryn Terfel, conducted by Eun Sun Kim in her House debut. Andrei Șerban’s Turandot is conducted by Rafael Payare and Francesco Ivan Ciampa with Sondra Radvanovsky and Ewa Płonka in the title role.
The Season opens with revivals of Richard Eyre’s La traviata and David McVicar’s The Marriage of Figaro which sees Julia Jones conducting rising stars Ying Fang and Huw Montague Rendall alongside Jacquelyn Stucker and Luca Micheletti. Completing the Season are David McVicar’s Faust with Stefan Pop, Erwin Schrottand Lisette Oropesa in the main roles and Robert Carsen’s Aida. For Christmas, Antony McDonald’s story-book production of Hansel and Gretel is conducted by Giedrė Šlekytė who makes her House debut.
In the autumn, the Linbury Theatre will present The Sound Voice Project. With music by Hannah Conway, this internationally award-winning opera-video installation features a libretto by Hazel Gould and performances by Roderick Williams and Lucy Crowe, raising questions about how we make ourselves heard, how we listen, and which voices are invited to the stage.
Continuing our Britten odyssey, impassioned opera meets dreamlike dance in a Royal Ballet and Opera double production of Phaedra + Minotaur, a collaboration with award-winning director Deborah Warner and choreographer Kim Brandstrup. Last performed as part of 4/4 (2020), the work sees Christine Rice reprise her Olivier award-nominated role – expertly harnessing Phaedra’s eroticism and despair.
The Jette Parker Artists programme welcomes seven talented newcomers who will perform on stage throughout the year, as well as bringing their talents to a lively new production of Telemann’s Pimpinone in the Linbury Theatre.
In the summer, the award-winning, interactive, multi-sensory opera for toddlers and babies Catch a Sea Star, will be staged in the Clore Studio. With music from J.S. Bach, children can step into an enchanting underworld realm of mermaids and sea monsters.
The Royal Ballet 2024/25 Season
In 2024/25 The Royal Ballet presents a diverse programme of works that celebrate the Company’s rich heritage while featuring groundbreaking creations by some of the world’s leading choreographers and creative teams.
Following the landmark success of Woolf Works and The Dante Project, Wayne McGregor returns with the European premiere of MaddAddam. Combining forces of contemporary dance, music, fashion and literary worlds, Margaret Atwood’s monumental trilogy of novels (Oryx and Crake, The Year of the Flood and MaddAddam) comes alive in this thrilling visceral three-act ballet. With a specially commissioned score by celebrated composer Max Richter and costume design by Gareth Pugh, it promises to be a spectacular experience.
In October, Encounters: Four Contemporary Ballets features the work of four distinctive choreographers championed by The Royal Ballet on the Main Stage. Experience a spectrum of human emotion beginning with Kyle Abraham’s gentle meditation on love, loss and memory in The Weathering.
Four characters battle for control in Crystal Pite’s gripping boardroom drama The Statement. Expanding Dispatch Duet, which received critical acclaim on its premiere in 2022, Pam Tanowitz employs her trademark style to turn the conventions of dance inside out. Joseph Toonga presents his second Main Stage work for the Company where the idioms of classical ballet and hip-hop converge.
Masses of dancers move as a mesmerising whole in Crystal Pite’s Light of Passage which receives its first revival in February. Grappling with themes of safe passage, displacement, community and mortality, this award-winning work is set to Gorecki’s affecting Symphony of Sorrowful Songs – a reminder of the power of human connection in our turbulent times.
Wonderland becomes wondrously real as the ballet Season opens with two Technicolor adaptations of Lewis Carroll’s popular children’s story, Alice’s Adventures in Wonderland – both of which will be part of our Schools’ Matinee roster. On the Main Stage, The Royal Ballet’s Artistic Associate Christopher Wheeldon’s interpretation partners with magical music by composer Joby Talbot and whimsical designs by Bob Crowley. Powerhouse storytellers ZooNation: The Kate Prince Company return to the Linbury Theatre with The Mad Hatter’s Tea Party, transforming Carroll’s Wonderland into a dysfunctional institution in this energetic hip-hop show featuring original music and family-friendly storytelling.
Christopher Wheeldon’s versatility as a choreographer is showcased in a new mixed programme – Ballet to Broadway – where sensuous contemporary ballet meets the energy of musical theatre. Luminescent and shimmering, Fool’s Paradise marked the first of his many collaborations with composer Joby Talbot. Three works follow, new to The Royal Ballet. Recognising Wheeldon’s extraordinary success in musical theatre, the Company performs the ballet from his Tony Award-winning musical An American in Paris, set to Gershwin’s jazzy melodies. Its zesty spirit is contrasted with two duets of intimacy and yearning. The wistful songs of Joni Mitchell set the scene for The Two of Us, while the music of Keaton Henson is used in the tender duet from Us that Wheeldon created for BalletBoyz in 2017.
When George Balanchine arrived on the shores of America, he changed the landscape of 20th-century ballet. Pushing the boundaries of the art form with extreme speed, dynamism and athleticism, he defined the American neoclassical style. With Balanchine: Three Signature Works, The Royal Ballet present a triptych of distinctive pieces in one programme. Serenade was the first ballet he created in America, and its ethereal beauty is contrasted with the avant-garde Prodigal Son, a parable of sin and redemption. Symphony in C with its symmetrical formations and crystalline placements will bring this programme to a majestic and exhilarating close.
The Royal Ballet brings Shakespeare’s young lovers vividly to life with the return of Kenneth MacMillan’s Romeo and Juliet, a modern classic that celebrates its 60th anniversary. Prokofiev’s glorious score feeds this epic tragedy, sweeping the ballet towards its inevitable and devastating conclusion.
Also marking 60 years since its creation, John Cranko’s 1965 take on Pushkin’s novel Oneginreturns to the Main Stage. Set to an arrangement of Tchaikovsky’s heartbreaking score, Cranko’s expressive choreography results in a sumptuous period ballet.
For Christmas, Cinderella continues to cast its spell. This enchanting work by The Royal Ballet’s Founding Choreographer Frederick Ashton, with evocative music by Prokofiev and some spectacular stagecraft, is a rich theatrical experience not to be missed. In the Linbury Theatre, nothing says Christmas like a Greek tragedy: Ben Duke and Lost Dog’s electric and darkly hilarious work of dance theatre set to live music, Ruination, returns, turning the classic Greek myth of Medea on its head.
In the Linbury Theatre, the Company continues its commitment to honing new and diverse choreographic and performing talent. In October, First Soloist of The Royal Ballet Joseph Sissens is the driving force behind Legacy, a celebration of Black and Brown dancers from all over the world.
In the spring, International Draft Works returns, gathering burgeoning choreographers from all over the world, revealing how the art form is ever changing and evolving. Closing the Season, celebrating both national and international talent, the Next Generation Festivalis a showcase for the diversity and range of global performing talent presented by a selection of junior companies and dance schools.
Across the Season, the Linbury Theatre welcomes returning guest companies including Northern Ballet, Acosta Danza and Ballet Black. The Ballet Black: Heroes mixed programme will include a new work, If at First, by Choreographer-in-Residence at Scottish Ballet Sophie Laplane, that explores the complexity of humanity, heroism and self-acceptance.
Director of The Royal Ballet, Kevin O’Hare, said: “An electrifying Season lies ahead as we stage thrilling works new to the Company, crafted by creatives at the forefront of choreographic innovation.
“The breadth of the Company’s artistry is highlighted in revivals of rich repertory favourites alongside a Linbury Season that welcomes guest collaborators and bright burgeoning talents. As ever, audiences will have the chance to witness world-class performances by our remarkable dancers. There really is something for everyone.”
Inspiring creativity across the UK
40 years at the forefront of arts education
Reaching more than 45,000 students across the UK
Seven Schools’ Matinees
In 2025, the Royal Ballet and Opera celebrates 40 years of pioneering learning programming as it unveils its biggest year of learning initiatives to date. Over the past year the schools programme has grown from 1,575 schools to 2,710, working with more than 46,000 students, 1500 teachers and 700 schools to inspire creativity and open access to the arts across the UK.
These programmes sit alongside on-going projects in communities up and down the country including regional partnerships with Bradford 2025, UK City of Culture, Rotherham, Children’s Capital of Culture 2025 and a new focused initiatives in the east of England.
Jillian Barker, Director of Learning and Participation, Royal Ballet and Opera explains: “Our vision is to work towards creativity for every child. At a time when arts education in schools is squeezed and specialist teachers are in decline, it is more important than ever to strive to reach more children and young people.
“We are redoubling efforts to offer high quality opportunities to any primary school in the country, inspiring children and building the creative confidence of teachers and opening the opportunity to discover ballet and opera.
“We are working to diversify young dancers and singers. And we want ROH to be a place of creative adventure, welcoming to all, particularly families.”
This Season, the Royal Ballet and Opera will continue to offer a range of programmes to enhance arts education, spark creativity, and improve access to the arts for all. These learning and community-based initiatives include:
Extending its flagship programme to reach more schools nationwide, offering free resources to help teachers and students be creatively confident in the classroom. This Season will also introduce new live streamed lessons into schools from the Companies and artists of the Royal Ballet and Opera.
The return of Create Day, a large single national school event, held in partnership with UNICEF RRSA UK (Rights Respecting Schools Alliance), bringing together 30,000 children in person and virtually in a celebration of everything they have learned.
Hosting seven Schools’ Matinees across the Season, giving children from across the UK the chance to experience a live production at the Royal Opera House with heavily discounted tickets and travel grants.
The Creative Exchange programme – partnerships with commonly underrepresented groups in the arts to create a collaborative performance piece representing different life experiences.
Growing the reach of its Chance to Dance programme, where the Royal Ballet and Opera partner with local dance and primary schools in areas with limited artistic provision to introduce young people to ballet.
The Youth Opera Company, where over 100 state school children have the chance to work with Royal Ballet and Opera artists, performing on the Main Stage in productions including Carmen and Hansel and Gretel.
The Royal Ballet and Opera also continues to invest in future talent and professional development through initiatives such as the specialist apprenticeship programme, which will see the number of participants double this Season.
Remaining one of the largest employers of artistic professionals in the UK, the apprentices join 1,044 full or part time staff, 2,060 contractors who are consistently employed, and freelancers or commissioned staff.
The fostering of talent and diversity is also seen in our second Overturecohort in partnership with Black Lives in Music, beginning in Autumn 2024. The year-long mentorship by players in the Orchestra of the Royal Opera House is available to young musicians aged 18-25 from the global majority or other underrepresented backgrounds. The scheme provides support tailored to the participants’ individual needs, enhancing skill sets, insight and training in the classical music field.
The Royal Ballet and Opera also present 11 productions in 1500 cinemas across the globe next Season, including such beloved classics as Cinderella, The Nutcracker and The Marriage of Figaro and exciting new productions of The Tales of Hoffmann and Die Walküre.
The 2024/2025 Season’s ambitious work contributes to the enduring influence of the Royal Ballet and Opera, with a recent study finding it has one of the largest economic impacts on the ACE’s National Portfolio.
Whether it is welcoming audiences from across the globe to experience magic on its stages or inspiring creativity in classrooms across the UK, the Royal Ballet and Opera celebrates everything that the arts bring to UK society, looking boldly ahead to a new and exciting Season of world-class productions.
A consultation on replacing the UK Government’s Industrial Injuries Scheme in Scotland has been launched.
Views are sought on how the Scottish Government’s planned Employment Injury Assistance should be delivered and on the next steps for introducing this benefit.
The consultation is the first step in considering how the replacement benefit can better meet the needs of the modern workforce and be more reflective of occupational health and employment.
Cabinet Secretary for Social Justice Shirley-Anne Somerville said: “The Industrial Injuries Scheme was introduced in 1948 and it does not account for many of the injuries and diseases common in the modern workforce.
“We know that the outdated eligibility criteria for the Industrial Injuries Scheme does not account for the injuries and illnesses that are most likely to affect people today. This is especially true for women, young people, and people from an ethnic minority group.
“We want to hear a broad range of views on the approach we should take to delivering Employment Injury Assistance, and I would encourage individuals and stakeholders to respond to our consultation.”
The consultation will run for 8 weeks and will close on 24 June 2024.
The exhibition is the world’s largest interactive exhibition of the culture and history of video games, with 120 playable games spanning more than 50 years.
Game On will run at the National Museum of Scotland from 29 June to 3 November 2024. It will feature iconic characters from Space Invaders to Mario and highlight Scotland’s role as a pioneer and world leader in game development.
The exhibition will reveal the roots and development of Scottish gaming. From manufacturing the ZX Spectrum computer in Dundee in the 1980s to highlighting Scotland as home to some of the most innovative and influential game makers, including Rockstar North, creators of Grand Theft Auto.
Game On will showcase emerging Scottish talent such as Sad Owl Studios, whose game Viewfinder was awarded Best British Game at the Bafta Game Awards 2024. Visitors will also discover the important role Edinburgh studio 4J played in making Minecraft a global phenomenon.
Game On is curated and toured by Barbican Immersive. The exhibition examines the creative and technological advances that have established gaming as a new art form.
The National Museum of Scotland was the exhibition’s very first touring venue in 2002, and Game On has since been visited by over 5 million people of all ages in 25 cities around the world. Game On returns to Scotland in a landmark year for gaming that includes significant anniversaries such as 30 years since the release of the first PlayStation console and 40 years of the iconic puzzle game Tetris.
Patrick Moran, Game On Associate Curator, said: ““The gaming world has had an undeniable social, cultural, and technological impact. Games transcend the boundaries between art and technology, becoming part of popular culture.
“Game On presents the opportunity to not only see the evolution of video games and how they have changed over time but also to immerse yourself inside gaming worlds with over 100 playable games.
“The show features the largest playable collection in the world, including original arcades, hand-held consoles, and key games, including Pac-Man, Super Mario, Tetris, Sonic the Hedgehog, Just Dance and FIFA. The exhibition also explores new advances in the gaming world.
“Highly interactive, groundbreaking and popular, Game On is engaging for hardcore gamers and visitors new to gaming. Crucially, the show is suitable for players of all ages.”
Dr Geoff Belknap, Keeper of Science and Technology at National Museums Scotland, said: “It’s great to welcome Game On back to the National Museum of Scotland. As someone in charge of Scotland’s national science and technology collections, it’s exciting to explore the country’s incredible contribution to gaming, past and present.
“I’m delighted to bring Scottish independent games to a new audience, including The Longest Walk, a pioneering project exploring the experience of living with mental health issues and Highland Song, a beautiful adventure through the Scottish landscape.
“The exhibition has been continually updated at each new touring venue since the early 2000s and so we look forward to bringing the story of video gaming right up to date here in Scotland, where the industry today is so vibrant.”
The exhibition is organised in thematic sections, exploring hardware formats such as handheld to home consoles to arcade machines, as well as wider cultural aspects such as the links between music, film and gaming.
A programme of public events will support the exhibition, including a Museum Late and family-focused activities to inspire the next generation of game creators.
Book in *advance to save, general admission: Adult £12-£15, Over 65s £11-£14, Student, Young Scot, Disabled, Unemployed** £9-£12, Child 5-15† £8-£11, Under 5s free.
10% off when you book as a family‡
Discounts available for groups of 10 or more.
*Advance ticket prices are applicable up to 23:59:59 the day before.
**Valid ID required. Carers of disabled people free.
†Under 16s must be accompanied by an adult.
‡10% off when you buy up to three Child 5–15 tickets alongside up to any two Adult, Over 65s, Student, Young Scot, Disabled, Unemployed tickets, with a maximum of five tickets in total. Cannot be used in conjunction with National Museums Scotland Member tickets or any other discount or promotional offer.
Garden Centre announces winners of community competition at monthly gardening workshop
Showing support for National Gardening Week (29 April – 5 May) Dobbies, the UK’s leading garden centre retailer, is encouraging gardeners to brighten up their garden with summer bedding plants at its free Grow How session in its Edinburgh store, taking place on Saturday 4 May.
Plus, all stores across the UK will simultaneously announce their winners for Dobbies Community Gardens.
Gardeners of all skill levels are invited to attend the session that starts at 10.30am and lasts around 10-15 minutes. They will be introduced to summer bedding plants, and get helpful hints and tips on how to introduce colour to garden beds this summer.
From Begonias, with their large flamboyant blooms, to Sweet Peas with their delightful fragrance and wide range of colours, there’s something for every garden, no matter the size.
Dobbies’ garden experts in Edinburgh will guide attendees through specific bedding plants that are in season in May, as well as how to create colour themes in pots or baskets by pairing large flowers like Dahlias as the focal point and enhancing space around them with summer bedding plants like Begonias, Petunias and Impatiens (Busy Lizzies).
This year’s winner of Dobbies Community Gardens from Edinburgh will also be announced at May’s Grow How session, with all entrants invited to attend to hear the result.
Dobbies Community Gardens launched in March to offer support for community and charity groups in Edinburgh to help transform, restore or start their indoor or outdoor green spaces.
Dobbies Edinburgh store will announce the local group that they have selected to receive support through products, tools, plants and volunteer hours to make their indoor or outdoor green space flourish.
Ahead of the session, Dobbies’ Plant Buyer Nigel Lawton shares some expert advice on creating colour themes from bedding plants. He said: “Summer bedding plants can bring that special seasonal vibrancy to all shapes and sizes of garden space.
“The key is to combine plants with their needs; most summer bedding plants perform best in full sun, but some, such as Begonias and tobacco plants, can tolerate little shade.
“We would encourage people in Edinburgh to come along to this month’s Grow How session for help and advice on how bedding plants can breathe new life into gardens, patios and baskets.
“We’re also looking forward to announcing the winners of Dobbies Community Gardens and learning about all of the green spaces we will help to transform in the year ahead.”
For more information about Dobbies’ Grow How session and to make a booking, visit dobbies.com/events.
Police Scotland are appealing for assistance in tracing Keith Brodie who has been reported missing from the Leith area.
Keith is 30 years old. He is a white male, with short fair coloured hair, 5ft 6, broad build, last seen wearing a red baseball cap, red tartan jacket and grey jogging bottoms.
He was last seen in Chambers Street, Edinburgh, at about 1.45pm today (30/4/24).
If anyone has any information as to his whereabouts or has seen him, please can they contact police on 101 quoting incident number 3719 of 30/4/24.
This July, Scottish Opera Young Company is presenting the world premiere of RED, a darkly comedic piecedrawn from fairy tales by The Brothers Grimm, at the Company’s Production Studios in Glasgow.
An interwoven story of the four stages of women’s lives that often feature in folk tales, RED is by award-winning composer Karen MacIver, with a libretto by Scottish Opera’s Director of Outreach and Education, Jane Davidson MBE.
The conductor is Young Company’s Artistic Director Chris Gray, with Flora Emily Thomson (Maud & Down in the Valley 2023 and As The Seasons Turn 2022) returning to direct the 14 young performers aged between 17 to 21. Set and costume designs are by Finlay McLay.
RED is inspired by Little Red Riding Hood, Rapunzel, Snow White and Hansel & Gretel, and features aspects of the ages of unnamed female figures — girl, maiden, mother, crone — that often appear in these famous stories. The 70-minute opera examinesthe circular, metamorphic nature of these tales as well as experiences shared by generations of women across time through magical realism.
Karen MacIver (above) andJane Davidsonsaid: ‘RED is an exploration of the some of the key defining characteristics of the female protagonist in stories – bringing the tradition from its beginnings in folk tales and right up to contemporary interpretations.
‘Women are judged by a different set of values, and many still face the unenviable choices of relationships (family) versus personal aspiration. In more recent times, the medium of stage and film – and of music composed for these– has gained dominance in terms of how we experience storytelling.
‘Stephen Sondheim and Bernard Herrmann are masters in the art of musically driven plots. Their works have greatly influenced the score, not only in the musical choices made, but also as a guiding light for compelling storytelling in terms of the landscape of sound.
‘Literary influences include Margaret Atwood, whose beautifully concise, darkly humorous style, with twists and turns at the most unexpected of moments, we have tried to capture in the libretto.
‘Working within the parameters of four short acts drove the need for a musical score that describes the plot every bit as much as the words. Interspersed throughout are strands of magical realism, lending an everyday quality to the more outrageous aspects of the story arc that we are confident most of the audience will recognise.
‘So, throw in some chatty crockery, firefighters with a nice line in barbershop singing, some 1980s shoulder padded glamour, a wolf that needs therapy and you might just get a sense of what to expect.’
Director Flora Emily Thomson said: ‘I’m so excited to be working with the Young Company again to bring to life RED.
“Karen MacIver and Jane Davidson’s intricate and charged piece is brimming with possibilities, compelling us to consider the relationship between women, power and patriarchy across a lifetime, and the shifts and sacrifices needed to navigate these.
“As we follow our protagonist through her ages, our ensemble uses dynamic and sensory movement to build her worlds and destroy them, constantly moving the goal posts and manipulating the parameters of her world.
“Taking place on a striking and stark, angular set, prepare to experience some of society’s oldest tales in a thoroughly modern way.’
Scottish Opera Young Company offers young singers a unique and practical introduction to the world of opera and the chance to develop their talent through a year-long programme, working with a range of music professionals.
For many of the singers, it is the first step towards building a career in the arts, and gives them the opportunity to perform music written especially for young voices.
Tickets for RED, which is supported by Scottish Opera’s Education Angels and The Rose Fund, are available to buy now from www.scottishopera.org.uk/shows/red
Top visitor attraction is calling for passionate storytellers to become Experience Ambassadors
Johnnie Walker Princes Street, the award-winning global visitor experience in the heart of Edinburgh, has announced exciting opportunities for passionate individuals to join its renowned team.
With both part-time and full-time Experience Ambassador positions available, aspiring actors and storytellers are invited to become a part of an exceptional team dedicated to delivering unparalleled experiences to visitors from around the globe.
Ambassadors will guide guests through the venue across the many different experiences available, taking them on a journey through the story of Johnnie Walker, the single malt and single grain whiskies from which it is crafted, and through the multitude of ways whisky can be enjoyed.
Dedicated to challenging stereotypes and busting myths around Scotch, no background in whisky is required for the roles available at Johnnie Walker Princes Street. Instead, applicants should be natural presenters and storytellers and have a passion for hospitality.
Successful candidates will have the chance to work in the multi-award-winning destination starting from June 3, with the opportunity to be a part of a key venue during the Edinburgh Festival Fringe, work with experts in the experience and whisky field and receive extensive training and development from industry leading professionals.
Additionally, Johnnie Walker Princes Street offers staff a strong reward and benefits package with many pathways to great career opportunities across Johnnie Walker and parent company Diageo. Recognising the need for flexibility, employees can also expect a range of shift and working patterns to cater for people at all ages and stages of life.
Rob Maxwell, Head of Johnnie Walker Princes Street, said:“We are proud of the exceptional team we have built at Johnnie Walker Princes Street, and we are excited to offer opportunities for new talent to be part of our award-winning visitor experience.
“If you are energetic, enthusiastic and, passionate about a career in hospitality and tourism then we want to hear from you.”
To apply for the role of Experience Ambassador at Johnnie Walker Princes Street, please visit our website here.
Energy prices and cost-of-living crisis top list of financial concerns
Women are more concerned about external factors, such as a recession, impacting their finances
People plan to increase time spent reviewing their finances due to rising costs
Nearly half (46%) of UK adults are worried that their standard of living will fall over the next 12 months, reveals research conducted on behalf of Handelsbanken Wealth & Asset Management.
Concern was highest among those in their 30s (55%), dropping to 38% of over 50’s – likely due to accumulated savings.
Despite recent declines, energy prices still top people’s biggest concerns on the factors threatening their living standard, along with the cost-of-living crisis and high prices caused by inflation.
External risks worry women more
Women are more concerned than men about most external risks to their finances, including inflation (79% versus 72%), rising interest rates (59% versus 52%) and a recession (83% versus 73%). However, men worry more about geopolitical instability (57% versus 50% women) and stock market volatility (42% versus 37% women), with the latter perhaps due to being more inclined to invest, the research also revealed.
Divided on death and divorce
Men are more concerned about losing wealth through divorce (24% versus 19%), whereas women are more likely to fear the financial impact of their partner or spouse dying (47% versus 42%).
Proportion of people concerned about various factors impacting their personal finances
Factor
Overall proportion of individuals
Women
Men
Energy prices
78%
80%
74%
The cost-of-living crisis / recession
78%
83%
73%
Inflation
76%
79%
72%
A global economic downturn
63%
63%
63%
Rising interest rates
55%
59%
52%
Income tax increases
54%
56%
53%
Geopolitical instability
53%
50%
57%
Scams and frauds
51%
56%
46%
Death of a partner / spouse
45%
47%
43%
Stock market volatility
40%
42%
37%
Time invested
The study showed that these concerns are changing how much time we spend reviewing our finances each month.
On average, consumers spend over six hours a month on their finances, with groceries and other household costs taking up the most time (52 minutes) followed by bank account management (48 minutes), and paying for holidays (42 minutes). Wealthier people with assets over £100k spend longer keeping their financial house in order, averaging eight hours a month. Men, meanwhile, typically spend around 20% longer than women.
A tougher financial climate means we expect to spend more time managing our finances overall, largely in response to dealing with rising costs and stubborn inflation (48%) and the need to save more money (41%).
When it comes to those looking to decrease their time investment, nearly a third (29%) said they plan to reduce the time spent looking at their financial affairs as it makes them feel too anxious.
This may go some way towards explaining the fact that a significant proportion of people don’t currently spend any time at all reviewing commitments such as their pensions (33%), insurance (31%) or investments (23%).
Alasdair Wild, Area Manager at Handelsbanken Wealth & Asset Management, said:“Dealing with the ongoing cost-of-living and keeping your finances in check can be a time-consuming process and a real challenge for most people given there only are so many hours in the day.
“However, doing the bare minimum is unlikely to offer much protection in such a tough financial climate, and investing time to plan and manage your finances and, when required, bringing in external professional support, can make a real difference to protecting your standard of living.
“While avoiding the issue may provide temporary relief, it will only exacerbate problems down the line, so seeking support is key.”
Click here to view the full research report Gender and generation: unravelling the wealth gap.
THE Palace of Holyroodhouse will be holding a special activity day for families on the May Bank Holiday Monday.
This special activity day will celebrate the unicorn, the national animal of Scotland, which can be spotted in objects and in artworks all over the Palace.
All these activities are included with a Palace ticket and take place from 10:00–15:00 on Monday, 6 May.
Activities:
Unicorn hats craft activity where children can discover the tale of the unicorn and craft their own unicorn inspired hat to wear as they explore the Palace.
A fun mini challenge using unicorn hobby horses and jousting.
A special Unicorn family trail which will challenge families visiting to spot all the unicorns on walls and ceilings in the Palace and around the grounds.
