After trying new ways to move this spring, Edinburgh Leisure is inviting the city to keep going. Throughout May, new customers can join Edinburgh Leisure with a £0 joining fee, making it easier than ever to turn new routines into lasting habits.
The limited‑time offer removes a key barrier to commitment, encouraging people who have already started getting active – or are thinking about starting – to make movement part of everyday life.
The campaign follows April’s popular Spring Pass, which gave Edinburgh residents the freedom to explore gyms, pools and fitness classes without pressure. Now, the focus moves from trying things out to staying with what works.
Keep What You Started
Whether it’s energetic gym sessions, swimming lengths, group fitness classes or a slower, wellness‑led routine, Edinburgh Leisure memberships are designed to be flexible. Members can move in different ways across the week and adapt their routine as life and energy levels change. There’s no single “right” way to be active. Edinburgh Leisure supports real people, real schedules and real lives.
Designed for Real Life
Starting something new is one thing – keeping it going is often harder. Busy schedules, rising costs and uncertainty about commitment can all get in the way.
By removing the joining fee, Edinburgh Leisure is making it easier for people to maintain momentum and build routines that fit around work, family and everyday demands. Memberships include access to gyms, swimming, fitness classes and social sports across venues city‑wide, giving members the freedom to change how they move without starting again.
Supporting Activity Across the City
The £0 joining fee offer supports participation across Edinburgh Leisure’s network of venues, including Meadowbank Sports Centre, Ainslie Park Leisure Centre and the Royal Commonwealth Pool, helping more people stay active in ways that work for them.
The £0 joining fee offer is available for a limited time throughout May.
Edinburgh Leisure is a charity dedicated to helping people lead more active, healthy lives. With more than 75 sport, leisure and school venues across the city, it creates opportunities for people of all ages and abilities to get active and stay active.
Original Weasley cast members have reunited at Warner Bros. Studio Tour London, stepping back onto the iconic film sets where they first brought the beloved wizarding family to life 25 years ago
From The Burrow to Platform 9 ¾, the Weasley family revisited their most memorable sets and reminisced on all their filmmaking stories alongside behind-the-scenes filmmakers such as Head Propmaker, Pierre Bohanna, Makeup Artist, Amanda Knight and Art Director, Gary Tomkins
The family reunion comes as research reveals that Harry Potter meeting the Weasley’s on the way to Platform 9 ¾ is one of the top three favourite scenes of the film
The reunion celebrates the launch of the new summer feature ‘First Year at Hogwarts – Where the Filmmaking Magic Began’, marking 25 years since Harry Potter and the Philosopher’s Stone – giving fans the chance to explore Harry Potter’s first-year adventures on the authentic film sets
It feels like only yesterday since ‘the boy who lived’ made his debut on the big screen as Harry Potter and The Philosopher’s Stone launched in cinemas.
To celebrate this anniversary, Warner Bros. Studio Tour London – The Making of Harry Potter today hosted a magical reunion as actors Bonnie Wright, James and Oliver Phelps and Mark Williams – who played Ginny, Fred, George and Arthur Weasley, respectively – came together to revisit the enchanting film sets where the adventures came to life, 25 years ago.
Taking part in the celebration, the wizarding world’s most adored family came together to relive their time on set and surprise Studio Tour visitors.
From the very first time the world saw the Weasleys help Harry onto Platform 9 ¾, to the family’s quaint kitchen in The Burrow, the stars shared memories from filming and offered a rare glimpse into the filmmaking magic behind one of the most iconic and expansive film franchises of all time.
So successful, in fact, that Harry Potter and The Philosopher’s Stone broke the record for the highest-opening weekend ever and was the highest grossing film of 2001- grossing an astonishing $974 million at the box office worldwide during its initial run and subsequently grossing over $1 billion.
Speaking on the reunion, Mark Williams said: “I love coming back to the wizarding world, and the new summer feature is a real delight.
“It was an enormous part of our experience filming The Harry Potter film series – to be involved with the amazing work of the design department. To be reminded of that has made my day.”
Oliver Phelps added: “Being back on the set reunited with Bonnie and Mark has been absolutely superb – it’s like coming into a time warp, like no time has passed at all since we were last together.”
The family reunion at the Studio Tour is well timed, as research reveals that when asked to rank their top three favourite scenes, fans voted Harry Potter meeting the Weasleys on the way to Platform 9 ¾ on average as their third most-loved moment from the film (29%).
Taking the top spot is the iconic scene where Harry Potter receives his Hogwarts letter at Number Four Privet Drive (31%) – brought to life at the Studio Tour with hundreds of acceptance letters flying from the fireplace. Close behind in second place is Harry’s first visit to Ollivanders to receive his wand (30%), which fans can also visit at the Studio Tour as they make their way through Diagon Alley.
And it’s not just Weasleys getting back together, as a number of behind-the-scenes filmmakers also joined the magical reunion. Pierre Bohanna (Head Prop Maker), Gary Tomkins (Art Director), Nick Pelham (Storyboard Artist), Glen Gathard (Sound Designer), MinaLima (Graphic Design duo), Amanda Knight (Makeup Designer) and Rob Bliss (Concept Artist) all took part in the celebrations, reflecting on the film making legacy of the series.;
Commenting on the reunion, Gary Tomkins said: “My main role on the first film was to help create the drawings for the Hogwarts castle model that you can still see today at the Studio Tour.
“It feels fantastic to see so many of the crew and actors back on the sets we all worked on all those years ago that everyone knows and loves so much. I always love coming back here – it really keeps the magic alive and is such a great opportunity to show the close-up details of the film.”
For fans’ second favourite scene of the film, the Graphics and the Props Departments joined forces to create over 17,000 wand boxes at Ollivanders Wand Shop in Diagon Alley. And Harry Potter’s first broomstick? The Props Department went through 25 different iterations of the Nimbus 2000 before settling on the final version.
Not to mention the iconic Great Hall set which took 18 whole weeks to build! Now, 25 years later fans are invited to discover the craftsmanship behind these moments first-hand at Warner Bros. Studio Tour London.
To continue the 25th anniversary celebrations, the Studio Tour is taking fans back to the very beginning, with the launch of its summer feature, ‘First Year at Hogwarts – Where the Filmmaking Magic Began’, bringing classic moments to life from Harry Potter’s first-year of adventures.
From 7th May 2026, before beginning the tour, visitors will be able to relive the moment where Harry Potter experiences the Sorting Hat. In the Great Hall, Gryffindor house banners and floating hats will hang proudly above the tables – capturing the moment first-year students toss them into the air in celebration of Neville winning Gryffindor the House Cup.
The new feature also showcases other beloved moments, including Hermione Granger casting the Petrificus Totalus spell on Neville Longbottom in the Gryffindor common room, plus, how flying lessons and Quidditch matches were brought to life on the demonstration stage and even a brand-new Wizard’s Chess photo opportunity, featuring moving pieces.
Geoff Spooner, Senior Vice President, WBD Global Experiences EMEA, says: “This summer, we’re celebrating 25 years since Harry Potter first began his journey at Hogwarts, a story that has enchanted generations, and our new summer feature invites fans right back into the very heart of that magic.
“Reuniting Bonnie, James, Oliver, and Mark to the original authentic film sets for this milestone makes it all the more special, as they step back into those unforgettable moments and reminisce about the film that started it all.”
‘First Year at Hogwarts – Where the Filmmaking Magic Began’ is a brand-new special feature running from 7th May to 7th September 2026, with all new additions included in the ticket price.
The top ten favourite scenes in Harry Potter and the Philosopher’s Stone are:
Hogwarts letters arrive at Privet Drive – 31%
Harry gets his wand at Ollivanders – 30%
Harry meets the Weasleys on the way to Platform 9 ¾ – 29%
Harry and Hagrid visit Diagon Alley to get supplies – 28%
Harry has his first Quidditch match – 22%
We see the moving staircase for the first time – 22%
The students get sorted into their Houses in the Great Hall – 21%
Madame Hooch teaches the students how to fly a broom – 14%
Harry, Ron and Hermione play Wizard’s Chess – 14%
Harry, Ron and Hermione fight a troll in the girl’s bathroom – 13%
Six new mainstage productions: The Galloping Cure, Turandot, Alcina, Fidelio, Madama Butterfly, and Così fan tutte
Commitment to bringing opera right across Scotland with a new touring production of Hansel & Gretel with local children’s chorus, threePop-up Opera shows and a newly commissioned Primary Schools Tour, visiting over 80 locations in total
Season championed by female creative talent with a world premiere by Grammy-nominated Missy Mazzoli, and productions directed by Olivia Fuchs, Ruth Knight, Daisy Evans, Rebecca Meltzer and Lucy Bradley
Britten: Music for Voice and Orchestra concert marks the 50th anniversary of the composer’s death
Scottish Opera General Director, Alex Reedijk OBE, celebrates 20 years with the Company
BUILD brings together a range of initiatives for young people, nurturing the creative arts in Scotland and developing the professionals of tomorrow, on stage and behind the scenes
Tickets on general sale from 28 May for mainstage productions with affordable pricing from £23, £15 for under-26s and £12.50 for Access Opera
WATCH THE 2026/27 TRAILER, READ THE SEASON BROCHURE AND LISTEN TO THE SCOTTISH OPERA PODCAST HERE
In its 2026/27 Season, which is unveiled today (7 May), Scottish Opera presents seven new productions spanning almost 300 years of operatic innovation. Ambitious, outward-looking, socially committed and artistically uncompromising, the Company remains as devoted as ever, holding its artistic nerve in challenging times, producing exceptional work at every scale and creating opera for everyone in Scotland.
As Scotland’s largest arts organisation and an industry leader which currently employs 188 staff, and 450 freelancers, it is also dedicated to cultivating the creative arts pipeline of audiences and professionals for the next era of opera. This includes new initiatives such as BUILD, and a new collaboration with Royal Conservatoire of Scotland.
Alex ReedijkOBE, Scottish Opera General Director said: ‘Opera is not a luxury, it is a necessity. At Scottish Opera, we believe in the power of music, drama, and great art to provoke thought and move people to their core, and in my 20th year as General Director, that conviction has never been stronger. Nothing matters more to us than bringing opera to everyone across Scotland.
‘The mainstage shows at the centre of the Season centre on brilliant, complex, powerful female characters. We also make a concrete, visible commitment to the women shaping the next era of opera including the work of composers and directors Missy Mazzoli, Olivia Fuchs, Ruth Knight, Daisy Evans, Rebecca Meltzer and Lucy Bradley.
‘There are new co-productions and co-commissions with Irish National Opera, Opera Ventures Productions, NorrlandsOperan, Canadian Opera Company, San Francisco Opera, State Opera of South Australia, and Edinburgh International Festival.
‘Our impact and reach will also be evident as we tour the country, visiting 34 communities with Opera on Your Doorstep, as well as Pop-up Opera, schools shows and outreach and education projects.
‘We are immensely grateful to everyone who buys a ticket and generously supports the Company as a Patron or a Friend, and indeed all our funders. We look forward to welcoming you to one of our performances.’
Stuart Stratford, Scottish Opera Music Director said: ‘Our unwavering dedication to new work and opera’s future comes to the fore with the world premiere of Missy Mazzoli and Royce Vavrek’s The Galloping Cure – a dazzlingly inventive and urgent opera exploring the human toll of the opioid crisis – at the Edinburgh International Festival.
“Our five subsequent mainstage productions – Puccini’s Turandot and Madama Butterfly, Handel’s Alcina, Beethoven’s Fidelio, and Mozart’s Così fan tutte in collaboration with the new Advanced Artist Diploma in Opera programme at Royal Conservatoire of Scotland – are no less vibrant and urgent for today’s audiences.
‘These works are not museum pieces. They ask us difficult questions about identity, freedom and betrayal – questions that constantly re-emerge in our own world. We hope you find something to treasure here.’
SEASON 2026/27
At the core of the new Season are remarkable tales of transformation and transcendence, love and loss, finding oneself, and standing up for truth and goodness in the face of seemingly insurmountable odds.
At Edinburgh International Festival this August is the world premiere of Grammy-nominated composer Missy Mazzoli’sThe Galloping Cure. Co-commissioned with Opera Ventures Productions, it is directed by Tony Award-winning Tom Morris and conducted by Stuart Stratford. Mazzoli’s score blends orchestral and choral writing with club rhythms and DJ textures, and it is performed by a cast including Daniela Mack, Justin Austin and Susan Bullock with Gabrielle Turgeon joining the cast as Noy. This ambitious production has already been picked up by opera houses on three continents for future performances.
This October, Sir David McVicar, who first directed for Scottish Opera in 1996, returns to the Company to stage a new, visually opulent production of Puccini’s Turandot, featuring the more expansive Alfano One ending. Stuart Stratford conducts Trine Bastrup Møller in the title role, alongside Victor Starsky, Insung Sim, and Hye-Youn Lee in what promises to be a production like no other. Reuniting with the creative team behind 2023’s award-winning Il trittico, McVicar confronts the darkness of Puccini’s work head on.
In February 2027, Olivia Fuchs directs Handel’s romantic fantasy, Alcina. For the Company’s first Handel in over a decade, renowned conductor Dmitri Jurowski is on the podium, and the cast includes Madeline Boreham, 2026/27 Emerging Artists Charlotte Clapperton, Charlotte Jane Kennedy, and Luvo Maranti; and Emerging Artist alumni Chloe Harris and Edward Jowle.
In the same month, Ruth Knight directs Beethoven’s Fidelio, to mark the 200th anniversary of the composer’s death. Beethoven’s only opera, conducted by Kensho Watanabe, features a cast including Julia Sporsén and Thorbjørn Gulbrandsøy. Fidelio has been designed on the same set as Alcina, demonstrating how the Company is consistently thinking of more sustainable and innovative ways to present opera.
In May 2027, Daisy Evans directs Puccini’s heartbreaking masterpiece, Madama Butterfly. Stuart Stratford conducts a cast led by Sunyoung Seo, with Andrés Presno, Lea Shaw and Phillip Rhodes. Hailed in the press as a ‘Butterfly for the ages’, it reimagines Cio-Cio-San’s story as a journey through memory and identity. There are also two relaxed Access Opera performances of Madama Butterfly, in Glasgow and Edinburgh, which make coming to a favourite title as easy and stress-free as possible.
Rebecca Meltzer directs Mozart and Da Ponte’s biting social satire, Così fan tutte, also in May of next year. In this first opera presented in collaboration with the RCS Advanced Artist Diploma in Opera, John Butt conducts The Orchestra of Scottish Opera and a cast of hand-picked, international singers in the final stages of their training.
At the mainstage shows, those who are visually impaired can also take advantage of audio-described performances, free Touch Tours and pre-show talks, all of which enhance the audience enjoyment and extend their knowledge of the piece.
CONCERTS
Britten: Music for Voice and Orchestra this September marks the 50th anniversary of the renowned British composer’s death. The concert at Lammermuir Festival features Arvo Pärt’s Cantus in memoriam Benjamin Britten, and Britten’s Les Illuminations, Our Hunting Fathers and Phaedra. Douglas Boyd conducts 2026/27 Emerging Artists Charlotte Jane Kennedy, Avery Lafrentz and Charlotte Clapperton.
This November,to celebrate 120 years of His Majesty’s Theatre, Aberdeen, The Orchestra of Scottish Opera and soloists including Jamie MacDougall unite for a one-off concert. The programme includes the Great American Songbook and opera and operetta’s best-loved composers.
Presented in November by much-loved broadcaster and tenor Jamie MacDougall, and with the full forces of The Orchestra of Scottish Opera is an evening at Eden Court Inverness, which celebrates its 50th year. From Missy Mazzoli’s Breaking the Waves to iconic arias from Carmen, Madama Butterfly, and The Magic Flute, this is opera at its most vivid. As a special treat, Jamie also performs a collection of irresistible songs popularised by Harry Lauder.
TOURING
Opera On Your Doorstep returns with a staged production of Humperdinck’s Hansel & Gretel, directed by Lucy Bradley. Thanks to a new funding partnership with Laidlaw Opera Trust, it istouring to 34 locations across Scotland in Autumn 2026 and Spring 2027.
The Music Director/Pianists JoséJavier Ucendo and Alistair Burton are joined by Charlotte Clapperton, Charlotte Jane Kennedy, Holly Teague, Avery Lafrentz, Rosie Lavery, Alexey Gusev, Ross Cumming, Emily Wishart and Audrey Tsang. In each location on the tour, local children will have the unique opportunity to perform in the production.
Pop-up Opera tours to audiences all over the country from May, with performances of A Little Bit of The Elixir of Love,A Little Bit of Rigoletto, and children’s opera,Be a Sport, Spike!, for children aged four to eight. Directed by Darren Brownlie,these 30-minute, miniaturised classics are ideal for anyone new to the artform. There will also be free school performances plus free illustration workshops for kids at select venues. Storytellers Marc MacKinnon and Dani Heron, along with singers Holly Teague, Marie Claire Breen, Ross Cumming, Colin Murray, cellist Andrew Drummond Huggan and guitarist Sasha Savaloni — present the story.
EMERGING ARTISTS, NATIONAL OPERA STUDIO & ROYAL CONSERVATOIRE PARTNERSHIP
The Scottish Opera Emerging Artistsprogramme offers rising talent a period of full-time work with the Company to help launch their careers. The Company is delighted to welcome sopranos Charlotte Jane Kennedy, Avery Lafrentz, mezzo-soprano Charlotte Clapperton, tenor Luvo Maranti, baritone Daniel Barrett, repetiteur Alistair Burton and casting officer Joseph Hookway, with the name of the Elizabeth Salvesen Costume Trainee to be announced. The Emerging Artist singers perform in several of this Season’s productions and tours, and a recital at the Royal Conservatoire of Scotland.
Scottish Opera is once again partnering with National Opera Studio, hostingthe 2026/27 cohort – a group comprising some of the brightest rising star singers and repetiteurs from around the world, for a brand-new showcase performance of operatic scenes and extracts on the set of Alcina.
Scottish Opera’s Music Director Stuart Stratford is a regular guest tutor at Royal Conservatoire of Scotland; he and The Orchestra of Scottish Opera are helping to train the next generation of conductors studying at the Conservatoire. RCS MMus conductors enjoy concerto workshop sessions with The Orchestra of Scottish Opera and RCS student soloists, under Stuart’s guidance.
The Company also supports the Leverhulme Conducting Fellowship, facilitated through RCS, with each year’s Fellow closely involved with Scottish Opera. This Season’s Fellow, Stefano Boccacci, will receive coaching and performance opportunities, including on Così fan tutte, and other professional classical music organisations across Scotland.
OUTREACH AND EDUCATION
BUILD, supported by The William Syson Foundation, is new for the 2026/27 Season and brings together a range of initiatives for young people looking to further their knowledge of the arts industry. Through practical and transferrable experiences, the Company aims to equip budding artists and arts professionals for future employment and help them make informed and ambitious choices – to fulfil their potential and define opera’s next era with confidence, passion, and skill.
Over the years, the Scottish Opera Primary Schools Tour has inspired over 850,000 children across all 32 Local Authority areas. This year’s show is newly commissioned work, Vive La Révolution, with a live tour, supported digital package and on-demand digital packages all available to prepare for a performance in costume in front of friends and family. Music is by Alan Penman with words by Natalie Arle-Toyne, and through song and stagecraft, pupils will find out what really happened in 1789 when the people of Paris stormed the infamous Bastille.
The Elixir of Love: Three Ways to Stagean Operais a free teaching resource for teachers, where Secondary School pupils learn about music, drama, and art and design – incorporating elements of history, storytelling, and critical thinking – as they explore Donizetti’s comedy.
Disney Musicals in Schools collaborates with primary schools facing challenges in engaging with the arts. Teaching Artists guide pupils through rehearsals for special adaptations of Disney musicals and, crucially, provide training for teachers to build their pupils’ skills and confidence through the performing arts, creating a sustainable arts legacy for the future. Scottish Opera is Disney Musicals in Schools’ first Scottish partner, and this sixth successful year of the programme is the third year to engage with Additional Support Needs Schools.
Scottish Opera partners with key specialist music schools across Scotland, Aberdeen City Music School at Dyce Academy, St Mary’s Music School in Edinburgh, and Douglas Academy in Glasgow, to support and mentor young singers exploring opera as a career. In 2026/27, the Company now expands this very successful programme to engage with secondary age students at other institutions who are exploring classical music as a career, giving more students a chance to engage with the operatic repertoire. The aim is to bolster arts industry career pathways and support the classical music industry in Scotland.
Scottish Opera’s Children’s Chorus led by Chorus Director Susannah Wapshott and the Company’s Outreach & Education Department, for youngsters aged 8-11, continues, as doesEdinburgh Tonic Arts Chorusfor NHS Lothian staff.
Expanding the Company’s partnership with Tonic Arts and NHS Lothian is a new dual-strand pilot programme in West Lothian to offer extra support, build physical strength and promote emotional wellbeing for new parents. It will offer therapeutic singing for families of premature babies, to encourage bonds when the baby might still be in an incubator, and specialised yoga, stretching and breath control.
Another new project this Season is for young instrumentalists, led by The Orchestra of Scottish Opera, alongside award-winning composer Karen MacIver and renowned playwright, poet and theatre-maker Martin O’Connor. The players will mentor secondary school-aged pupils, and encourage new ways of thinking about composition, collaboration and creating new work.
Scottish Opera is once again running Memory Spinners for those living with dementia, with the free project using music, storytelling, movement, and visual arts to help Glasgow-based people living with dementia get creative and form new support networks.
The ground-breaking, online programme, Breath Cycle, winner of the 2025 Classical:NEXT Innovation Award, continues to benefit those living with conditions affecting lung health – particularly Long COVID – with free resources that introduce participants to vocal exercises and breathing techniques.
Places are available in Scottish Opera’s Community Choir, open to adults of all ages and conducted by Katy Lavinia Cooper. It gives members an opportunity to sing a wide variety of music in a supportive atmosphere, with sharings each term and chances to perform in full operas.
Resources forThe Small Magician, a trauma-aware, inclusive, accessible vocal education resource, are available online. These enable participants to healthily challenge and build their vocal technique and knowledge from the comfort of their own home or chosen space.
Further information on the 2026/27 Season can be found at:
Competition launched in celebration of National Year of Reading 2026, encouraging children to ‘Go All In’ on reading with 25‑word book review challenge
TGJones has launched a nationwide competition for UK primary schoolchildren and primary schools, with a total prize value of over £17,000 up for grabs.
The ‘Bitesize Bookworms’ competition supports the National Year of Reading 2026, the biggest campaign in a generation designed to inspire everyone to discover a passion for reading and embed it into our everyday lives.
A Department for Education initiative supported by the National Literacy Trust, the National Year of Reading is delivered with the support of major sponsors and partners, including TG Jones. Primary school children across the country will be asked to share what they love about their favourite book – in 25 words or less.
Each winner will receive a £200 TGJones Gift Card, plus £4,000 of books and stationery for their school, while runners-up will win a £50 TGJones Gift Card and £500 of equipment for their school.
All entrants will be in with a chance of winning the huge prize, with three winners and nine runners up to be selected by an expert panel of literary judges, including primary school teacher turned rapper MC Grammar, Richard Madeley and Judy Finnigan.
Competition entries will be split across three primary school age groups, with one winner and three runners-up from each group.
Reception – Year Two (England & Wales) / Primary 1-3 (Scotland & Northern Ireland)
Year Three – Year Four (England & Wales) / Primary 4-5 (Scotland & Northern Ireland)
Year Five – Year Six (England & Wales) / Primary 6-7 (Scotland & Northern Ireland)
The competition has been launched after a poll of 1,500 schoolchildren between the ages of 5 and 12 years old found that they spend over 6.8 hours a week reading, with an average of 3.8 hours spent reading for pleasure, and 3 hours a week spent reading for homework.
This trumps time spent on other activities including gaming (5.5 hours a week), playing outside (6.2 hours) and even chatting with their friends (5.8 hours).
The National Year of Reading aims to change the perception of reading, and redefine it as a modern, relevant and social activity. The campaign encourages the nation to Go All In in 2026, reading into our passions and interests to get more out of the things we already love, whether it’s football, gaming, music, sci-fi, or baking.
The competition adds to the momentum, providing an opportunity to encourage new readers to pick up a book, and share their recommendations with others to spark a conversation about reading.
MC Grammar (Jacob Mitchell) commented: “I can’t wait to hear of the adventures and wonders that kids have discovered within the pages of the books they’ve loved.
“The knowledge they have gained will help shape their lives, and now they have the chance to share that magic with the world – inspiring more readers, everywhere, to open a book and dream.”
David Hayman, Director of the National Year of Reading 2026 said: “Reading has the power to open doors, spark imagination and build confidence in every child.
“Through the National Year of Reading 2026, we’re encouraging families, schools and communities to rediscover the joy of books and inspire a lifelong love of reading.
“We’re incredibly grateful to TG Jones and all of our partners for their support and their shared commitment to making reading a relevant and rewarding part of everyday life.”
Alex Willson, CEO of TGJones and Head Judge of Bitesize Bookworms, said: “Nothing is more creative than a child’s imagination and we want to celebrate that unfiltered, accidental comedy that comes from a child giving their honest opinion about their favourite book.
“Reading is so important for a child’s development, and as partners of the National Year of Reading 2026 we hope this campaign encourages more children to pick up their favourite book.”
When it comes to why children want to read more, polling showed that 52% are driven by the desire to learn new things, 40% said they were inspired to pick up a book based on its cover, while 33% want to keep up with what their friends are reading.
The surge in engagement is fuelled by a love of enduring characters and stories that continue to capture children’s imaginations. The research revealed that JK Rowling’s boy wizard Harry Potter (36%) was the most popular storybook character among primary school-aged children.
In second place was Julia Donaldson’s The Gruffalo with 20%, followed by Roald Dahl’s Matilda with 18%. Marmalade loving Paddington Bear came in fourth place with 16% of the vote, with 15% voting for Peter Rabbit.
When it came to the nation’s favourite children’s authors, JK Rowling topped the charts with 28% of the vote. Roald Dahl was in second place with 23%, followed by Julia Donaldson with 18%. Jeff Kinney, best known as the author and illustrator of ‘Diary of a Wimpy Kid’ secured 10% of the nation’s vote, and ‘The Cat In The Hat’ author Dr. Seuss came fifth with 9% of the vote.
School children who want to share why they love their favourite books can enter via the online entry page, which remains open until 23:59 on Friday 5th June 2026.
A major public discussion on the future of tourism in Edinburgh will take place at the City Chambers on 12 May, bringing together European experts, local practitioners, and community voices to address one of the most pressing issues facing historic cities today.
Hosted by the Cockburn Association as part of the Festival of Europe, Homes or Homecomings? Managing Tourism Tensions with European Partners will explore how cities can balance the economic benefits of tourism with the needs of residents.
Tourism remains central to Edinburgh’s economy and identity, but increasing visitor numbers have placed growing pressure on housing, infrastructure, and everyday life in the city centre. The event will present new research on tourism impacts in Edinburgh while drawing on European case studies to examine how other historic cities are responding to similar challenges.
Speakers include academics and practitioners working across the UK and Europe, alongside representatives from business and community-led organisations. The discussion will consider issues such as short-term lets, housing availability, and how to sustain living communities in globally recognised heritage destinations.
The event is open to the public and will bring together policymakers, researchers, residents, and those working in tourism and heritage.
Event details:
Date: Tuesday, 12 May
Venue: City Chambers, Edinburgh
Host: The Cockburn Association
Part of: Festival of Europe programme
Tickets and further information are available via Eventbrite.
A jam-packed, free Living Heritage Discovery Day on Sunday at the Storytelling Centre with Michael Fortune, one of Ireland’s leading folklorists, a traditional fayre, cèilidh and taster sessions.
EDINBURGH TRADFEST runs until Monday 11 May 2026
An unmissable weekend of the very best in traditional music, storytelling and film kicks off with Swedish folk trio Northern Resonance on Thursday playing explosive rhythms using a combination of viola d’amore, Hardanger fiddle and 12-string guitar.
Followed by, internationally acclaimed saxophonist Brian Molley and his quartet (Tom Gibbs-piano, David Bowden-bass, Stephen Henderson-drums) sharing tunes from their recently released album Tùs/Origin which loosely follows an 18th century journey from the Outer Hebrides of Scotland, all the way to Louisiana, and features a mix of traditional folk, Afro-Caribbean Grooves, Gospel, Sea-Shanties and Fugue.
Continuing into the weekend, on Friday night The Nexus Project led by piper Bede Patterson launch their new album Glaisvair which unites different musical voices from around the world. Plus, headliners RANT (Anna Massie, Lauren MacColl, Bethany Reid, Gillian Frame) who areat the forefront of the Scottish fiddle scene, share powerful melodies and some favourite tunes from their new album, that celebrates a decade of them performing together.
The trad tunes continue over the weekend with Isla Ratcliff’s reinterpretation of Vivaldi’s The Four Seasons released last year to mark the 300th anniversary of the work’s original publication; multi-award-winning harp and percussion duo Eleanor Dunsdon and Gregor Black; and live-looping artist GANNA Gryniva performing tracks from her new album UTOPIA which mixes Ukrainian folk tunes, with Peruvian grooves, jazz- tinged arrangements, and electronic soundscapes.
Plus, singer-songwriter and artful banjo player from Montreal Kaïa Kater performs solo, ahead of this year’s ETF Spotlight concert which will showcase threeamazing up-and-coming combos: Jeri Foreman & Ruth Eliza, Curlew and Dauntless. (Fans can also find Dauntless popping-up on stage at Nobles Bar, in Leith on Friday 8 May at 2pm.)
Other unmissable weekend highlights include:
· Folk legend Dick Gaughan in conversation with Dr Lori Watson from the University of Edinburgh’s School of Celtic and Scottish Studies. (This talk is currently sold out but will be streamed online.)
· The Cold Heart by storyteller Franziska Droll and musician Greg Harradine which explores the terrible cost that comes with the desire for wealth and belonging. (Storytelling Centre)
· A jam-packed Living Heritage Discovery Day which will include a talk with Michael Fortune, Ireland’s folklore aficionado, to discuss approaches to Intangible Cultural Heritage (Living Heritage) and tradition-bearing. On the day there will also be a Living Heritage Fayre, Come and Try Sessions, and a traditional ‘house cèilidh’. (Storytelling Centre – Sun 10 May)
· The Folk Film Gathering’s screening of Jack Archers’ Sailm nan Daoine (Psalms of the People) fresh from its recent success at the Glasgow Film Festival, which follow’s psalm precentor Rob MacNeacail’s journey across Scotland and Ireland, to bring together communities old and new through the power of Gaelic psalm singing. (Cameo Cinema)
· A rousing performance by Edinburgh’s Ukrainian Choir who will perform live ahead of a rare screening of 1954 Ukrainian classic cinematic folk tale Andriesh. (Cameo Cinema)
· And, finally Scotland’s original folk supergroup Session A9, will close the festival with great tunes and top banter on Monday night.
Douglas Robertson and Jane-Ann Purdy, co-producers of Edinburgh Tradfest said: “Don’t miss the final weekend of this year’s festival, there are some amazing bands coming up, and fantastic films and storytelling events still to come.
“Shows are selling out and the 5 star reviews are rolling in. The buzz around the ETF venues is palpable, come and be part of it.”
A 17-year-old male youth has been convicted of the murder of John McNab that happened in Leith in September, 2025, and a further serious assault in Portobello in March, 2025.
The youth, who cannot be named for legal reasons, pleaded guilty at the High Court in Edinburgh yesterday (Wednesday, 6 May, 2026). He will be sentenced at a later date.
John McNab, aged, 22 was found injured on Great Junction Street at the corner of Bonnington Road in the Leith area around 2.10am on Tuesday, 2 September, 2025. He died at the scene.
A 17-year-old male youth was stabbed around 8.45pm on Friday, 21 March, 2025 at The Promenade in the Portobello area. He was taken to hospital with serious injuries.
A 17-year-old male youth has been convicted of the murder of John McNab that happened in Edinburgh in September, 2025, and a serious assault in the city in March, 2025.
— Police Scotland Edinburgh (@PSOSEdinburgh) May 6, 2026
Detective Inspector Kevin Tait, senior investigating officer, said: “Our thoughts are with the family and friends of John McNab at what is a very difficult time for them. And also with the victim seriously injured in the separate incident.
“An extreme level of violence was used in these incidents. This kind of behaviour is never acceptable and will not be tolerated. This conviction sends a message to anyone carrying knives that they will be apprehended and dealt with robustly.
“I would like to personally thank the officers who worked on these harrowing investigations and the public who significantly assisted my investigation team.”
Superintendent Neil Wilson said that proactive work is being carried out across Edinburgh to educate young people and tackle knife crime and violence.
“I can’t stress enough the devastating impact weapon carrying and use has on our communities and our thoughts go out to all who have been affected by this type of crime.
“Officers regularly carry out patrols in areas where knife crime is reported and we urge the public to support us and get in touch with any information or concerns that they have.
“While bringing offenders to justice is vital in keeping communities safe, education to prevent offending happening in the first place is key, along with promoting positive life choices.
“We have a number of new initiatives on violence prevention in Edinburgh involving partners and young people and details will be unveiled in the coming months. These will focus on raising awareness of the dangers of carrying weapons and the impact of violence.
“Edinburgh is a safe place to live, work and visit but we will not be complacent. We know that violence remains a concern in our communities and we’re determined to do everything we can to reduce harm and keep people safe.”
Since her son’s murder Lisa Petrie has tirelessly campaigned to address knife crime and has embarked on a mission to increase access to blood kits across the city:
My name is Lisa Petrie. On 2nd September 2025 my son, John McNab, was fatally stabbed on a street in Leith, Edinburgh. He was 22.
We were best pals, we were inseparable at times, and now it feels like I’ve lost my right arm and my left leg.
No family should ever get that phone call.
I’m determined that John’s death will not be in vain, and one simple change could help stop other families going through this.
Right now in the UK you often need ID and staff checks to buy alcohol, razors or even energy drinks. But in many supermarkets, kitchen knives sit openly on shelves, easy to steal or buy with minimal challenge.
We’re calling on major supermarkets and retailers – including Tesco, Sainsbury’s, Asda, Morrisons, Aldi, Lidl and others – to:
Put all kitchen knives in locked cabinets or behind customer service counters
Fit security tags to knife packaging so alarms trigger if someone walks out with them
Only allow knives to be brought to the till by staff, with strict over-18 ID checks
We’re also asking the UK Government and Scottish Government to work with retailers and Trading Standards so secure storage and display of knives becomes the norm, building on existing laws that already restrict knife sales to under-18s.
This won’t end knife crime on its own and it won’t stop online sales. But letting lethal weapons sit unsecured on supermarket shelves is an obvious weak point we can fix now – just as we already do for alcohol and razors. It’s a basic safety measure, not a ban.
Please add your name. I will deliver this petition, and John’s story, to the CEOs of the major supermarkets, the Scottish Government and the Home Office.
The more signatures we have, the harder it is for them to ignore us.I don’t want any other family to live with the pain we do.
TODAY – Thursday 7 May – the people of Scotland will decide which MSPs will represent them in the Scottish Parliament, and which party will form a new Scottish Government.
But how does the voting system work in Scotland?
Everyone gets two votes
73 constituency MSPs are chosen by First Past the Post
56 regional MSPs, representing Scotland’s eight regions, are chosen by the share of the regional vote (Additional Member System)
Each constituency has one MSP and seven MSPs are chosen to represent each region
It’s REALLY important that you use your vote, so that our elected politicians best reflect the views of the people of Scotland.
Watch this video to find out how the system works in more detail:
On Thursday 7 May, the people of Scotland will decide which MSPs will represent them in the Scottish Parliament, and which party will form a new Scottish Government.
